threat to change his nationality shortly after the Censor’s interference called forth a most delightful and good-natured caricature of him by Mr. Bernard Partridge in _Punch_. Wilde was still in prison in 1896 when _Salomé_ was produced by Lugne Poë at the Théàtre de L’Œuvre in Paris, but except for an account in the _Daily Telegraph_ the incident was hardly mentioned in England. I gather that the performance was only a qualified success, though Lugne Poë’s triumph as Herod was generally acknowledged. In 1901, within a year of the author’s death, it was produced in Berlin; from that moment it has held the European stage. It has run for a longer consecutive period in Germany than any play by any Englishman, not excepting Shakespeare. Its popularity has extended to all countries where it is not prohibited. It is performed throughout Europe, Asia and America. It is played even in Yiddish. This is remarkable in view of the many dramas by French and German writers who treat of the same theme. To none of them, however, is Wilde indebted. Flaubert, Maeterlinck (some would add Ollendorff) and Scripture, are the obvious sources on which he has freely drawn for what I do not hesitate to call the most powerful and perfect of all his dramas. But on such a point a trustee and executor may be prejudiced because it is the most valuable asset in Wilde’s literary estate. Aubrey Beardsley’s illustrations are too well known to need more than a passing reference. In the world of art criticism they excited almost as much attention as Wilde’s drama has excited in the world of intellect.