These are the means by which the beautiful Isabella Andreini sought to "avoid death," as she phrases it in one of her prefaces, and to live in the memory of mankind; means which have been successful, so far as to insure the registering of her name in the folio pages of those gatherers of literary crumbs, who have been more abundant in Italy than in any other country.
But it is evident that in the day when she was really famous, her fame was that of a great actress. Of all the modes by which one mind may influence its fellows and obtain their admiration, it has been said that that of the histrionic artist is, from its nature, necessarily the most evanescent and perishable. The poet's song, the sculptor's statue, the architect's building, the historian's history, the painter's picture, remain to us, and their authors "being dead, yet speak" to after generations. But the actor, whose immediate power over his public is more intense, perhaps, than that of any of these! His triumphs, however much involving the necessity of intellectual power, having been achieved by means of a perishable machine, are condemned to be equally mortal. The only manner in which some memory of his power, and some conception of its working may be retained in the minds of men, is by attaching his name to that of the characters he has represented. It is thus that the great names of our own dramatic annals have still a real meaning and significance.
But Isabella Andreini has left us no such memorial. Of all the very numerous contemporaries who speak in rapture of her performances, not one has recorded a single hint as to the characters in which she enchanted them. The omission seems a most singular one, and can be accounted for on no other supposition, than that the written words which the actress was to speak were considered a comparatively insignificant part of her performance: and the nature of the praises lavished on her acting seem to point to the same conclusion. We hear much of voice, action, grace, and charm of elocution, but nothing of those higher matters of histrionic art which raise it to the level of an intellectual profession. Nothing is said of the effect produced on the minds of the audience, nothing of conception and interpretation of character, nothing of empire over the sources of smiles and tears.