“ But some of her great successes during the ’eighties and early ’nineties—the days of her chief triumphs—were in Italian versions of such plays as La Dame aux camélias, in which Sarah Bernhardt was already famous; and Madame Duse’s reputation as an actress was founded less on her “creations” than on her magnificent individuality. In contrast to the great French actress she avoided all “make-up”; her art depended on intense naturalness rather than stage effect, sympathetic force and poignant intellectuality rather than the theatrical emotionalism of the French tradition. ”