Ernesto Rossi in "Othello." He shares supremacy with Salvini in Italian tragedy. Beautiful great theatre with boxes you can walk about in; brilliant audience. The Princess Margaret was there - I have never been to the theatre that she was not - and a number of other princesses in neighbouring boxes. G. G. came in and instructed us that they were the M., the L., the P., and c. Rossi is both very bad and very fine; bad where anything like taste and discretion is required, but "all there," and more than there, in violent passion. The last act reduced too much, however, to mere exhibitional sensibility. The interesting thing to me was to observe the Italian conception of the part - to see how crude it was, how little it expressed the hero's moral side, his depth, his dignity - anything more than his being a creature terrible in mere tantrums. The great point was his seizing Iago's head and whacking it half-a-dozen times on the floor, and then flinging him twenty yards away. It was wonderfully done, but in the doing of it and in the evident relish for it in the house there was I scarce knew what force of easy and thereby rather cheap expression.

April 27th. - A morning with L. B. at Villa Ludovisi, which