found for them from time to time. Kate used to be especially fine as Richard the Third, which she was first cast in at the suggestion of Moses Kimball, in the old days of the Boston Museum, which institution he originated. Her best part, though, was Henriette de Vigny, in "The Young Couple." In 1850 the Bateman Children were taken to England, where, in all the great cities of the British Isles, they found even more favor than they had found at home. In August, 1852, they returned to America, and in 1856 they retired from the stage. Ellen was subsequently married and is now Mrs. Claude Greppo. Kate remained in retirement and studied acting. At length, in 1860, she reappeared on the stage, in the character of Evangeline, in a drama, by her mother, based on Longfellow's poem. The performance, though very pretty and pleasing, did not, however, make a deep impression upon the public mind. It was seen in many American cities, during the season of 1860-61, but was nowhere greeted with much enthusiasm. In fact, since the chief quality of the character of Evangeline is silent fortitude, its delineation affords but little scope for the vivid display of dramatic powers. The most that was possible for the actress was to look like a saintly sufferer and to be picturesque in tableaux. Two years afterwards Miss Bateman again appeared in New York-at the Winter Garden, in April, 1862-as Julia, in "The Hunchback," and this time she made a prodigious popular sensation. Following up this success with a great deal of characteristic energy, she appeared as Lady Gay Spanker, in "London Assurance ;" Lady Teazle, in "The School for Scandal;" Juliana, in "The Honeymoon;" Juliet; Bianca, in "Fazio;" Geraldine, in her mother's tragedy of that name, originally written for Matilda Heron, and Rosa Gregorio, in a new drama, written for her, by Mr. T. B. DeWalden. Later in the same year, in August, at the same theatre, she played an

other engagement, which was signalized by the presentation of her Lady Macbeth. Her best successes this year were made in Julia, Bianca, Lady Gay, and Geraldine. In all her personations, however, the chief charm was the innate purity of womanhood that shone through them. Very often her art was defective. In some parts (Juliet and Lady Macbeth, for instance) she seemed utterly at sea. But no person of sensibility could witness her acting without being conscious of contact with an earnest, delicate, womanly nature, that was as refreshing to the mind, jaded by the all too prevalent artifice of the stage, as is the cool, delicious fragrance of trees and flowers and grass, after a light shower in a spring day. And not only did her nature charm by its ingenuous sweetness and win by its purity: a certain fiery force of intellect was perceptible in it, now and then, — shown in the fourth act of "The Hunchback," and in certain scenes of Geraldine," - that vitalized a style of acting which might otherwise have sometimes seemed insipid. This fiery force, combined with an acute perception of simple pathos, was afterwards to find more abundant scope and more vivid expression. In December, 1862, Miss Bateman made her first appearance as Leah, -a character with which her name is now identified; and herein these qualities of her nature were displayed with ample breadth. Few single passages in modern acting are more touching than is her simple, natural, tender scene with Rudolph's child, in the last act of "Leah;" and few kindred efforts have electrified the multitude so much as has her delivery of Leal's curse, in the churchyard scene in that drama. These, however, are facts of such common knowledge, that it were needless to dwell upon them. It should be mentioned, though, that the play of "Leah" is an American adaptation of the German drama of "Deborah," by Dr. Mosenthal, made by Mr. Augustin Daly. Miss Bateman's first appearance as Leah was made in

Boston; but subsequently, for nearly a year, she starred the country in that character, and everywhere attained new popularity. Her first representation of it in New York was given at Niblo's Garden, in January, 1863. Mr. J. W. Wallack, Jr., and Mr. Edwin Adams appeared in the cast, as Nathan, the apostate Jew, and Rudolph, the lover. In the autumn of that year, Miss Bateman, accompanied by her father as manager, proceeded to London, where "Leah" was produced in October, having just been revised and revamped by Mr. John Oxenford, dramatic critic of the London "Times." That the performance was a success may readily be seen in the remarkable fact that it was repeated for two hundred and eleven nights in succession, before crowded houses, and greeted with every possible manifestation of public and critical approval. Writers were not wanting, indeed, to point out, truthfully and frankly, the defects of Miss Bateman's acting; yet its force, and its winning charm of fresh, young, gentle personality were none the less recognized.

In the last three months of 1864 Miss Bateman fulfilled prosperous and brilliant engagements in Liverpool, Manchester, Birmingham, Dublin, and Glasgow. The theatres overflowed nightly, and the star of the young actress rose still higher in the skies of fame. Returning to London in the spring of 1865, she reappeared as Leah, and also played Julia, Bianca, Pauline, and Geraldine, concluding her engagement, at the Adelphi, in July of that year. When autumn came, she made another tour of the principal British provincial cities, in all of which she played, with abundant success, a round of her favorite characters. On her next return to London, she received a complimentary benefit, at Her Majesty's Theatre (since destroyed by fire), given to signalize her farewell to England. The occasion is recorded as one of the most delightful of its kind in recent stage life. Miss Bateman plaved Juliet. Shortly afterwards she sailed

for New York, arriving there on the 12th of January, 1866. On the 15th of January, at Niblo's Garden, she reappeared as Leah; and here she acted, for the next six weeks, before crowded audiences. She then proceeded to Boston, where she found her popularity unabated. Thence returning, she reappeared at Niblo's; but was forced, by sudden and severe illness, to relinquish her engagement, and to remain for several months in retirement.

In October, 1866, Miss Bateman became the wife of Dr. George Crowe, an English gentleman, son of Eyre Evans Crowe, author of a "History of France," and other works, and for several years editor of the London "Daily News." During the year following her marriage, she did not appear in public life; but, at length, having been entirely restored to health, she accepted an engagement, offered by an English manager, and, on the 7th of October, 1867, she reappeared in Liverpool, as Leah, creating a still greater popular excitement than before, which also attended her professional progress, at Brighton, Manchester, Bath, Bristol, Cheltenham, Dublin, and Edinburgh. She is now in retirement, at her husband's residence, near the city of Bristol, England; but she will return to the stage in October, 1868, and commence the season at the London Haymarket Theatre, where she is engaged for a period of three months.

Her present is full of success, and her future is full of promise. Young, beautiful, distinguished, a happy wife, an affectionate and cherished daughter, a simple-minded woman, she moves forward, beneath a sunny summer sky, on a pathway that is strewn with roses. Such women honor the stage by their presence upon it; and their personal assertion of the dignity of the dramatic art is more eloquent and more practically effective than words can possibly be.

VI.

HELEN FAUCIT (MRS. THEODORE MARTIN).

For thirty years Helen Faucit has been a favorite actress on the English stage. For thirty years she has amused and instructed the British public, winning with ease, and wearing with grace, the golden crown of success. In both of the chief branches of dramatic art, as a tragic and as a comic actress, she has attained lofty eminence; nor has she been less esteemed as a woman than admired as an artist. It seems proper, therefore, to select her as the representative English actress of her time. The portraits of Helen Faucit - portraits that, of course, were made long ago - represent a tall, elegant figure; a frank, sweet, expressive, good face; large dark-brown eyes, full of eager intelligence; and a stately head, finely poised upon a swan-like neck, and crowned with luxuriant dark hair that falls in abundant curls on ber snowy, sloping shoulders. Such, doubtless, was the fair girl who charmed an earlier generation of the lovers of art, in the brighter days of the British drama. Helen Faucit comes of a theatrical family. Her father and mother, and her three brothers and two sisters, were all members of the dramatic profession. Her early education for the stage was superintended by Mr. Percival Farren, of the Haymarket Theatre. Her first public appearance was made at a theatre in Richmond, near London, in the autumn of 1833, in the character of Juliet. The announcement of her début ran thus: "A young lady - her first appearance on any stage." The public received her kindly, and she seems to have played very well. But no novice can adequately personate Shakspeare's Juliet. The character taxes the art of a thoroughly trained actress; and, in general, it is much more truthfully interpreted by women of fifty, who have passed years upon the