But that, and sundry other subsequent experiences, left me with the impression that she was truly very powerful in the representation of scorn, indignation, hatred, and all the sterner and less amiable passions of the soul, but failed painfully when her _role_ required the exhibition of tenderness or any of the gentler emotions.

These were my impressions when she was young and I was comparatively so.

But when, many years afterwards, I saw her repeatedly in Italy, they were not, I think, much modified.
The frequent occasions on which subsequently I saw Ristori produced an impression on me very much the reverse.

I remember thinking Ristori's "Mirra" too good, so terribly true as to be almost too painful for the theatre.

I thought Rachel's "Marie Stuart" upon the whole her finest performance, though "Adrienne" ran it hard.
Persiani, I note, supported by Lablache and Rubini, had a most triumphant reception in _Inez de Castro_, while Albertazzi was very coldly received in _Blanche de Castille_.