and Potier, to whose comic powers we are indebted for many a laughing hour, but they are now replaced, as well as many other of our old acquaintances, by substitutes who are but sorry apologies for those we have lost; however, although the French theatre has certainly retrograded in respect to its dramatics personae, it has gained surprisingly with regard to scenery, decorations, and costumes, which very considerably enhance the interest of a theatrical performance, particularly when it is historical, and it is a satisfaction to know that no pains are spared to render the drapery as exact as possible to that worn at the period the piece is intended to represent; thus you have the most accurate peep into olden times that can possibly be afforded, and Paris offers such extreme facilities for ascertaining what description of dress was adopted at any particular age, by means of their immense collection of engravings, and written descriptions, contained in their old books, and manuscripts, which are freely produced to any individual on making the proper application.  Of these advantages the managers of the theatres avail themselves to the utmost extent, which enables them to be extremely correct, not only with regard to the habiliments, but also the scenery, and all the accessoires are rendered strictly in keeping with the century in which the events recorded have occurred.

The Italian Opera in Paris is considered to be managed with great perfection, the company is much the same with regard to the principal singers as our own, consisting of Grisi, Persiani, Albertazzi, Lablache, Tamburini, Rubini, Mario, etc., as they can be obtained, according to their engagements in London or elsewhere, and the operas performed are also similar, therefore any description of either would be superfluous; altogether, the enjoyment afforded is not so great as at our own, as no ballet is given, and the coup-d’oeil is not so splendid as in ours.  The Theatre de la Renaissance is devoted to the performance of the Italian Opera, it is situated in the middle of a small square, opposite the Rue Mehul, which turns out of the Rue Neuve des Petits Champs, from which it is seen to the best advantage; the facade has a handsome appearance, with the statues of Apollo and the nine Muses, supported by doric and ionic columns.  The prices of the places are from ten francs to two francs, which last is the amphitheatre; the intermediate charges are seven francs ten sous, six francs, five, four and three francs ten sous the pit, and it is capable of containing 2,000 persons.  The performance begins at eight.