New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-10-10


- Ristori's daughter. who nursed her
70 IN her flness. Ristori's son. the Marquis
DC capranioa del Grillo. is a gentleman-in-
Oi, ,.sr, ~ the court Of Queen Margherita. and
- p,yss with the Queen when his mother
v, F5e has started for Rome.
S,. INST before her death. said that she
-. cherished her visits 20 America as the
So reoouections % her career.
-r.-,osso SalvinI. who is at Florence,
10 ~ the death OF Ristori. said: 1T is
--astsst and perhaps the last grief OF my old
sss"
.,.,.,se Ristori made her first appearance IN
- al the theatre IN 18th street. New
= On September 90. 1866 Her first engage
- including her provincial tour, lasted eight
s,,bs ending on May IL. 1867. She gave. in
-. tine. one hundred and sixty-eight perform
- The parts that she acted We're Medea.
80 stuart. Queen Elizabeth. Phedre. Judith,
= A. Tolorae.. Francesca da Rirnini Adrienne
..o.,,--eur Tisbe. Gamma. Myrria. Deborah.
-,.--,s ana Lazy Macbeth. Her second engage
~. IN America began on September is. 1867.
q tasted nine notwithstanding on June 20, 1858.
az. gsve IN that time. one hundred and eighty
.,s De-forrnanoes fifty-siX OF them being given
:, ,hs Island OF Cuba The chief new parts that
=. -hen played were Marie AnuoineIte and Isa-
..us suarez The drama Of Marie Antoinette
-.s scted for the first time on October Z. 1867.
10Th eugagernents were directed by Jacob Grau,
chs uncle OF Maurice Grau). long since dead
!, New York she always played,-except for an
al occasion now and then-at the Fourteenth
Gree: Theatre. and the most important periods
!, the history OF that variable house are those
vh,,h are associated with her name. Ristoris
,b.rd and farewell engagement began March
she IA
ys- Stuart, Medea. Lucrezia Borgia, Marie
1r,clnerte. AfyTrha. the heroine OF The HUI
rusuots and In the sleep-walking scene,-in
rrgish-fron Macbeth.
The conGuersng characteristics OF RistOri's act
lsF was its humanity. She was faithful 10 actual
lse and that fidelity appeared in her present.
ren; OF classic ideals as well as II her por-
,-a,ture OF The heroines OF history. she was
MT spiritual actress; her art methods We're.
ss.,nctiyely, rugged rather than delicate; and
h.- mind seemed deficient IN the attribute OF
roet-y But all OF her dramatic persons were
vu-uen OF flesh and blood, and she was always
6sau,te n depicting them. She ranked in the
sshool of natural as contrasted with the school
r.tssal. tragedia-s. Those thinkers upon acting
who attach more value 70 imagination IN con-
cey1ng ideals. and 70 intellectual character in
,---ess.ng them. than 70 frenzies OF the person
shls. while rejoicing IN her magnetism, 70 enjoy
with something OF the GOODNESS OF patience.
sbs was. unquestiouably. q great actress: she
tosssssed many attributes. physical and mental.
which made her one Of the foremost women OF
her tine. bur she lacked the inehabie quality
which mas always been found 10 animate and
hsrow the highest forms OF human genius.
The moods and conditions OF human nature
mi expe-ience that Ristori best portrayed are
with little ezception-those that result from
scaHicts IL the irupassioned heart and amidst the
Czorous physical passions. She could express.
q absolute perfection. the fury OF q woman
tcrnsd Her manifestations OF ferocity. the Wild
sagazA OF remOrse, and the delirium OF desola-
rra we're tremendous alike IN their effect and
ass dssgh The roots OF that art, however, did
hc, Frks sto the IDEAL. The springs Of It arose
q the cart Ristoris influence upon the stags
Fas steadily ennobling. and she stored renem-
brsnes With many splendid images. In her Mary
sua1 the spectator saw religious exaltation and
tender pathos: and that performance gave a dis
THO. idea Of her extraordinary reserve power.
II Queen Elizabeth her utmost OF achievement
vas conflict berwixt love and pride. closely sue
ceded BY e deliriurn Of fury and awful col
lapse q renorse--showing the desolation OF a
hsast-broken woman and OF & selt-condemning
Queer. conscious OF lost Innocence and Of a fear
NJ burden q sin. IN Gamma she exhibited
isr-ible conflict of passions. n q nature satu-
faie1 with misery. hatred, and the furious pur-
pose o. vengeance. Her NIyrrha was overwhelnl-
ng as p portrayal Of the condition OF insanity
subsequent upon incestuous passion. The
Eoranhood was beautiful. the passion fierce.
ne death ecstatic. Her Norma, like her Medea,
vas chiefly victorious as type OF luxuriant ami
ma vitality, exhibiting.-under the shaping
FFsFsure q expe-ience.-rage, scorn. the tender
ness Q: The female leopard, the delirium Of out
lSged love ana wounded pride. and the pathos OF
toeot rlise-y. Her loveIiest presentations were
Marie AncoinetJe, Isabella Suarez, and Fia de
1oone. AS Norma In the play OF Il TaZzi per
ffossto," she impaired delicious impression OF
ne sunny side % her artistic nature Comparing
S@ior with herself her Lady Macbeth. Adri-
eHas Lecouyreur Deborah and Tisbe were rep
I3sntatFe and explanatory failures. Her Lady
1scoe;h was rlrrd e-ous Italian virago. Her
oeoofeh Was tnsipid. Her Tribe was over
I@sifs and uEsDirttuaI. Her Adr1enne was arti-
]c-~ and 4 lacked both tenderness and the
'sSSoaal clement OF inherent sadness; but II was
E'NeFTul-as al her works were, at certain
s.-H'-snd the comedy Of it was well com
ssslaea Of erchness and fire. The spell OF her
,'aoaality ceased 10 command as soon as she
ths sphere OF Eaelodrematic tragedy: but
mat sphere she was peerless. In the
- % ne literal, the actual, she had no rival
sss y were Tornasso Salvini. In the imagi-
'e ne IDEAL she has been surpassed; but
poca was not without cause for pride and
S~'1oe that could name Charlotte Cushroan
- seehach. and Adelaide Ristor1 as contem-
'~SSes ana as its own " W