played his last night at the Union Square Theater. At the beginning of the season of 1882 and 1883 he opened at Booth's Theater in The Corsican Brothers, but was taken ill the first night. He lingered for a month, and died unexpectedly at his residence in Fourth Avenue. Mr. Thorne was a fine actor, possessing an excellent stage presence and an effective voice.

GUSTAVUS V. BROOKE.

GUSTAVUS V. BROOKE, who for many years was held in popular favor by the English critics as a great tragedian, was born in Dublin, April 25, 1819, and made his debut in May, 1833, at the Theater Royal in that city as William Tell. He first appeared in America, Dec. 15, 1851, at the old Broadway Theater, New York, as Othello, and in the following year went to the Walnut Street Theater, Philadelphia, where he appeared in a round of characters. He became a great favorite as Sir Giles Overreach in A New Way to Pay Old Debts. In 1860 he visited Australia, and remained seven years. He reappeared at Drury Lane, Oct. 28, 1861. He was drowned at sea January 11, 1866, on the steamship London, bound for Australia. He was the husband of Avonia Fairbanks Jones. He was a tragedian of more than ordinary ability, and as Othello was considered almost the equal to Forrest.

DAN MARBLE.

DANFORD MARBLE, or "Dan Marble," as he was more familiarly known, was born in East Windsor, Conn., in 1807, and made his first appearance in 1831 at Chatham Garden, New York, as Rollin Roughhead in Fortune's Frolic. In 1837 he appeared in Philadelphia at the Walnut Street Theater as Sam Patch, making an instantaneous hit. In 1845 he went to England, and starred throughout the provinces successfully. He then appeared in London at the Strand Theater, Oct. 30, 1845, as Deuteronomy Dutiful. He married Anna Warren, a Philadelphia girl, Nov. 13, 1836. She was quite a prominent actress in her day. Dan Marble was a very popular actor, and such farcical parts as Robin Roughhead, Sam Patch, and Deuteronomy Dutiful were in his special line. He died in Louisville, Ky., May 13, 1849.

BARNEY WILLIAMS.

BARNEY WILLIAMS was born in Cork, Ireland, in 1823. He commenced his career as a supernumerary, and in 1836 appeared at the Franklin Theater, New York, in The Ice Witch, under Wm. Dinneford's management. He appeared in Philadelphia, March 9, 1845, at the Old National Theater, in The Heroic Struggle of 1776. He became manager of the Vauxhall Garden in the Bowery, New York, in 1845, and in 1850 he married Mrs. Charles Mestayer. With her he visited San Francisco, and opened at the Metropolitan Theater. In 1855 he sailed for England, and appeared at the Adelphi Theater, where he was such a success that he traveled all over Europe. He returned to America and opened at Niblo's Garden in 1859. He was manager of the old Broadway Theater from that time until 1869. His real name was Bernard Flaherty.

ELIZA HAMBLIN.

ELIZA HAMBLIN, née LIZZIE BLANCHARD, the first wife of the celebrated actor Thomas S. Hamblin, was born in London, her father being a well-known comedian at the Haymarket Theater. She made her debut at that theater on July 15, 1818, as Emily Worthington. Her American début took place at the old Park Theater, New York, with her husband, playing Mrs. Haller to his Stranger, November 4, 1825. She subsequently became a great favorite in the Bowery Theater. She then procured a divorce from her first husband, and married an actor named Charles, traveling with him throughout the South and West. She reappeared in New York, at Niblo's Garden, in 1848. She died in New Orleans, May 8, 1849. She left three children, Bessie and William Hamblin and Betty Charles.

BEN DE BAR.

BENJAMIN DE BAR, better known as Ben De Bar, was born in London, England, in 1814, and made his first appearance in 1831, at the Theater Royal, Margate, England, in Page and the Purse. He appeared in London as a dancer at Drury Lane, and came to America in 1834. He went to New Orleans, and appeared at the St. Charles Theater in 1835, as Sir Benjamin Backbite in The School for Scandal. He opened in New York in 1837, at the old National Theater in Church Street, as Frank Frisby. In 1842 he was the stage manager for Thos. Hamblin, at the Old Bowery. He went to London in 1849, and opened at the Standard Theater in Mose. In 1853 he bought out Ludlow and Smith, of New Orleans, and in 1855 John Bates of St. Louis. He remained a manager in New Orleans for many years. Mr. Ben De Bar was considered one of the finest Falstaffs on the English-speaking stage.

JAMES E. MURDOCH.

JAMES E. MURDOCH (born at Philadelphia, 1811) appeared on the stage as early as 1829, some years later supported Miss Kemble, and became a leading actor in both tragedy and comedy. He is even better known as an elocutionist than as an actor, and has given readings in all parts of the country. In 1840 he was stage manager at the Chestnut Street Theater. Mr. Murdoch was the first Claude Melnotte to appear in Philadelphia. During the civil war he devoted himself to the cause of the Union, serving in the field until his health gave way, and then giving patriotic readings for the benefit of the cause throughout the country. In 1880 was published "The Stage; or, Recollections of Actors and Acting," in which Mr. Murdoch gives delightful personal reminiscences of the actors associated with him in his long career, and many bits of keen and intelligent criticism. His last public appearance was at the Cincinnati Dramatic Festival in the spring of 1883.

Express Company, she took leave of the stage, but when Mr. Wallack assumed the direction of Brougham's Lyceum, changing its name to Wallack's Theater (the first of the name), Mrs. Hoey was induced to become the leading lady, and maintained the position until 1865, when she retired to private life. Her most famous part was that of Miss Hardcastle in She Stoops to Conquer. It is said that Mrs. Hoey was the first to introduce on the American stage the custom (carried, many think, to excess) of using the most expensive and elaborate materials for stage costumes.

OTHER OLD-TIME ACTORS.

IRA ALDRIDGE (1804-1867) is notable as the only negro tragedian the stage has produced. Very naturally his favorite part was Othello. Mr. Aldridge was highly praised by Kean. He never played in the country of his birth, but was given high praise in England and Germany.

MARY GANNON (1829-1868) was a favorite with audiences of a generation ago, and was one of the stars at the Old Bowery, at the Park, at the Walnut Street Theater, at Barnum's and at Brougham's Lyceum. She played light comedy parts and vaudeville. Another popular favorite was MARY TAYLOR (1836-1866), familiarly known as "Our Mary," who was both an actress and a singer. The Olympic and Burton's Chambers Street theaters were the scenes of her most noted triumphs.

TYRONE POWER (born in Ireland, 1797, lost on the ill-fated "President," which sailed from New York, March 21st, 1841) was in his day a somewhat noted actor. He first appeared on the American stage at the Park Theater, in 1833, as Sir Patrick O'Plenipo. This, like most of his parts, was a rattling broad comic part abounding in fun and rich in brogue.

CHARLES BURKE (1822-1854), was an American by birth, and though his stage career was very brief, had many of the qualities of a great actor. He particularly delighted in melodramatic parts, and made his last appearance at the Chestnut Street Theater of Philadelphia, in the lurid drama of Murrell the Land Pirate.

LUCILLE and HELEN WESTERN traveled the country for years as the Star Sisters, and were among the most popular of the melodramatic actresses of the past generation. Such plays as The French Spy, East Lynne and Oliver Twist were the means of exhibiting their emotional qualities at the best.

JOHN R. SCOTT (born in Philadelphia, 1808; died, 1856,) deserves a word of mention, as he was at one time absurdly called a rival of Forrest. He made his debut at the Park, playing Malcolm to J. B. Booth's Macbeth. Rob Roy was one of his best parts. In 1847 he visited England, but met with no great success. He was a tragedian of much promise, but did not live to fulfill the hopes of his friends.

JULIA DEAN (born in Pleasant Valley, New York, 1830; died in New York, 1868) was a charming Parthenia and Julia, and excited enthusiasm by her beauty even more than by her acting. In 1855 she married Dr. Hayne, son of the Senator whose political debate with Daniel Webster made him famous. Her last appearance was in 1867 in New York, in The Woman

in White.

ELIZA, CELIA and OLIVE LOGAN are the names of three sisters famous in the annals of our stage. Eliza was undoubtedly the best actress of the three. She was at one time manager of Wood's Theater in Cincinnati. Her best part

was probably Pauline. Celia played a successful engagement in London in 1868. Olive Logan has, perhaps, become better known as a bright journalist, magazine writer and author than as an actress, though some years ago she was regarded as a very clever comedienne.

WILLIAM RUFUS BLAKE was born in Halifax, N. S., in 1805, and made his first appearance there in Richard III. His first appearance in New York was in 1824 at the Old Chatham Theater, as Frederick in The Poor Gentleman. In 1839 he acted in London in The Three Singles. His last appearance in New York was April 16, 1863, in Laura Keene's Theater, and he died a week later in Boston, after playing Sir Peter Teazle in the Boston Theater.

JAMES H. HACKETT was born in New York in 1800, and made his first appearance at Newark, N. J., in 1816. In 1826 he first acted before a New York audience at the Park Theater as Justice Woodcock in Love in a Village. He acted during 1828, 1832, 1845, and 1851 in England. death took place in 1876. Mr. Hackett was very popular as Falstaff, being suited for the part both in temperament and physique.

His

JOHN DREW was born in Dublin, Ireland, in 1827. He made his debut at the Richmond Hill Theater, New York, and then traveled for some time in the West, reappearing in New York in 1845. In 1850 he married Mrs. Mossopthe present Mrs. John Drew-who is still before the public. In 1853, in conjunction with William Wheatley, he became lessee of the Arch Street Theater, Philadelphia. He went to England in 1858, and from 1859 to 1862 acted in Australia, when he returned to Philadelphia, and died May 21, 1862.

SUSAN DENIN was born in Philadelphia, March 22, 1835, and made her first appearance in that city at the National Theater at the age of seven years as the child in Pizarro. She next appeared at the Chatham Theater, New York, in a burlesque of Richard III., playing the part of the little Duke of York. On March 28, 1853, she married Mr. F. Woodward, of Syracuse, New York, and after being divorced, married Harry Huntingdon of Christy's Minstrels. She made her first appearance in San Francisco, April 10, 1854, in Love's Sacrifice. She made her debut in London, England, May, 1869. Her beauty and vivacity brought her much applause in burlesque, farce, and light comedy.

JOHN COLLINS, the comedian, was born near Dublin, Ireland, in Sept., 1811. He was the son of John Collins, an inn-keeper, and at the age of 18 years went to London to study. His debut was made in opera at the Haymarket Theater as first tenor, when he made a great hit in The Beggars' Opera. He came to America in 1846, and made his appearance at the Park Theater, New York, as McShane in The Nervous Man. He went to Europe again in 1862, returning in 1863 to appear at Niblo's Garden. He appeared at the Adelphi Theater, London, in 1864, and went to Australia in 1866.

LIVING AMERICAN ACTORS.

AMONG the actors who are now prominent on our stage, either as Americans, or as foreign players identified with American theaters, these may be mentioned, although the list might be enlarged considerably. The names are set down without order of merit Edwin Booth, Joseph Jefferson, John McCullough, Thomas Keene, Lawrence Barrett, J. H. Stoddart, John Parselle, Mr. and Mrs. McKee Rankin, Clara Morris, Mary Anderson, Fanny Davenport, Margaret Mather, Sarah Jewett, Maud Harrison, Helena Modjeska, Mme. Janauschek, Mlle. Rhea, Lotta, Annie Pixley, Minnie Palmer, Charles Coghlan, Minnie Conway, John Howson, Osmund Tearle, John Gilbert, Harry Edwards, Rose Coghlan, John Drew, Charles Leclercq, Charles Fisher, James Lewis, Ada Rehan, Mrs. Gilbert, Charles Wheatleigh, Walden Ramsay, R. B. Mantell, Florence Gerard, Agnes Booth, Ada Dyas, Effie Ellsler, Marie Wainwright, Dion Boucicault, F. F. Mackay, Maggie Mitchell, Mr. and Mrs. Lingard, John S. Clarke, John E. Owens, C. W. Couldock, Charles Barron, Frederick B. Warde, Kate Forsythe, Mr. and Mrs. Florence, John T. Raymond, J. W. Albaugh, Catherine Lewis, Mrs. D. P. Bowers, Selina Dolaro, Lillian Russell, Annie Clarke, Digby Bell, Henry Dixey, Emily Rigl, Charlotte Thompson, William Warren, Mr. and Mrs. Chanfrau, Roland Reed, M. B. Curtis, Kate Claxton, Rose Eytinge, Willie Edouin, N. Salsbury, J. K. Emmett, Maud Granger, Lester Wallack, Lewis Morrison, Gustavus Levick, Marie Prescott, Edward Harrigan, Antonio Hart, Stuart Robson, W. H. Crane, Louis James, J. A. Mackay, E. M. Holland, George Clarke, Carrie Turner, Clara Spence, Thomas Whiffen, Mrs. E. L. Davenport, Mrs. Drew, Frederick Robinson, Eben Plympton, E. J. Buckley, George Fawcett Rowe, Anna Dickinson, Louis Aldridge, C. T. Parsloe, Barney McCauley, Edmund Collier, Nelly McHenry, Edward Thorne, Frank C. Bangs, W. J. Ferguson, George Edgar, Henry Lee, George Riddle, James O'Neil, Charles Pope, Denman Thompson, Georgia Cayvan, Annie Russell, Agnes Robertson, Gus Williams, Rose Wood, Harry Pitt, Frank Mayo, Steele Mackaye, Edward Lamb, Genevieve Ward, Effie Germon, Madame Ponisi, J. B. Studley, Tony Pastor, Neil Burgess, Daniel H. Harkins, William Davidge, Jr., Annie Yeamans, Eleanor Carey, Gerald

Eyre, Frank Mordaunt, Herbert Kelcey, Agnes Elliot, Virginia Brooks, Maude Branscombe, Louise Pomeroy, Laura Don, J. N. Gotthold, Helen Tracy, Nat Goodwin, Frank E. Aiken, William Harris, George Fortescue, Kate Castleton, Louise Muldener, Joseph Murphy, Richard Mansfield, Frederick Bryton, Stella Boniface, Otis Skinner, F. C. Mosley, Percy Winter, and probably fifty others. The profession of acting is really overcrowded. Mediocrity is prodigiously apparent in it. Respectability is common. Talent is rare. Art is uncommon. We can hardly do more than make a brief mention of the chief actors whose names have been given.

Among the American actors who will be mentioned in this article, it is necessary to include certain men and women who, although they are not Americans by birth, are distinctly associated with the American stage; for example, Mr. Boucicault, Mme. Modjeska, and Mme. Janauschek. There is more talent in acting on our stage than many are inclined to admit. One fact should be borne in mind. The actors of Paris are the actors of France. The actors of New York are not the actors of the United States. Most of our actors are seen in New York during but a few weeks of the year. They are going from place to place constantly. Their habitation is the whole country. What is called the combination system" has deprived the metropolis of scores of players who might otherwise be established here permanently in stock companies. There must be a center of acting in each country, and New York is the natural center of this country. The stock company is the best school, moreover, for actors, because the stock company represents the perpetual study, practice, and artistic sense to which actors should be subjected. The combination system, which is an extravagant amplification of the star system, has brought into prominence actors who are not at all prominent. The system has, without doubt, its advantages. It has very honest champions. But its vicious influence upon acting, regarded as a serious art, is very great indeed. Every man with a certain amount of cleverness in a single direction is lifted by this system to a false popularity. People applaud what he does, not what he is. And he does the same with monotonous regularity. There are dozens of common-place, shallow, pretentious actors now traveling about the country as stars, and making money, too, who are actors only in a very limited