There are three theatres in the city, besides an old one now rarely opened. The most important--the Carlo Felice: the opera-house of Genoa--is a very splendid, commodious, and beautiful theatre. A company of comedians were acting there, when we arrived: and soon after their departure, a second-rate opera company came. The great season is not until the carnival time--in the spring. Nothing impressed me, so much, in my visits here (which were pretty numerous) as the uncommonly hard and cruel character of the audience, who resent the slightest defect, take nothing good- humouredly, seem to be always lying in wait for an opportunity to hiss, and spare the actresses as little as the actors.

But, as there is nothing else of a public nature at which they are allowed to express the least disapprobation, perhaps they are resolved to make the most of this opportunity.

There are a great number of Piedmontese officers too, who are allowed the privilege of kicking their heels in the pit, for next to nothing: gratuitous, or cheap accommodation for these gentlemen being insisted on, by the Governor, in all public or semi-public entertainments. They are lofty critics in consequence, and infinitely more exacting than if they made the unhappy manager's fortune.

The TEATRO DIURNO, or Day Theatre, is a covered stage in the open air, where the performances take place by daylight, in the cool of the afternoon; commencing at four or five o'clock, and lasting, some three hours. It is curious, sitting among the audience, to have a fine view of the neighbouring hills and houses, and to see the neighbours at their windows looking on, and to hear the bells of the churches and convents ringing at most complete cross- purposes with the scene. Beyond this, and the novelty of seeing a play in the fresh pleasant air, with the darkening evening closing in, there is nothing very exciting or characteristic in the performances. The actors are indifferent; and though they sometimes represent one of Goldoni's comedies, the staple of the Drama is French. Anything like nationality is dangerous to despotic governments, and Jesuit-beleaguered kings.

The Theatre of Puppets, or Marionetti--a famous company from Milan- -is, without any exception, the drollest exhibition I ever beheld in my life. I never saw anything so exquisitely ridiculous. They LOOK between four and five feet high, but are really much smaller; for when a musician in the orchestra happens to put his hat on the stage, it becomes alarmingly gigantic, and almost blots out an actor. They usually play a comedy, and a ballet. The comic man in the comedy I saw one summer night, is a waiter in an hotel. There never was such a locomotive actor, since the world began. Great pains are taken with him. He has extra joints in his legs: and a practical eye, with which he winks at the pit, in a manner that is absolutely insupportable to a stranger, but which the initiated audience, mainly composed of the common people, receive (so they do everything else) quite as a matter of course, and as if he were a man. His spirits are prodigious. He continually shakes his legs, and winks his eye. And there is a heavy father with grey hair, who sits down on the regular conventional stage-bank, and blesses his daughter in the regular conventional way, who is tremendous. No one would suppose it possible that anything short of a real man could be so tedious. It is the triumph of art.

In the ballet, an Enchanter runs away with the Bride, in the very hour of her nuptials, He brings her to his cave, and tries to soothe her. They sit down on a sofa (the regular sofa! in the regular place, O. P. Second Entrance!) and a procession of musicians enters; one creature playing a drum, and knocking himself off his legs at every blow. These failing to delight her, dancers appear. Four first; then two; THE two; the flesh-coloured two. The way in which they dance; the height to which they spring; the impossible and inhuman extent to which they pirouette; the revelation of their preposterous legs; the coming down with a pause, on the very tips of their toes, when the music requires it; the gentleman's retiring up, when it is the lady's turn; and the lady's retiring up, when it is the gentleman's turn; the final passion of a pas-de-deux; and the going off with a bound!--I shall never see a real ballet, with a composed countenance again.