The most remarkable and most successful of the Infant Phenomena of modern times in America have been the Bateman Children, the Marsh Juvenile Troupe, and the Boone and the Holman Children. On the 10th of December, 1849, E. A. Marshall, manager of the Broadway Theatre, introduced on the boards of that house, for the first time to New York audiences, Kate and Ellen Bateman, whose united ages were not ten years. Kate made her _debut_ as Richmond, and Ellen, the younger, as Richard, in scenes from Shakspere's _Richard III._ The announcement of the coming of the infantile Thespians was not favorably received by the regular attendants of the Broadway; the appearance of prodigies of any kind being a departure from the ways of that traditional home of the legitimate drama, and there was a prejudice formed against these young stars which nothing but the absolute cleverness of their performances was able to overcome. After Mr. Hackett as Falstaff, and Miss Cushman as Lady Macbeth, it was scarcely natural that unknown children in the same and kindred parts should satisfy the critical audiences of the Old Broadway. The popularity of the Batemans, however, was quickly established; those who came to scoff on the first night returned to praise; the whole town, young and old, petted and applauded the children; while still the wonder grew, during the single week of their engagement, how the two small heads could carry all they knew. It seemed incredible that an infant of four years like Ellen Bateman could present anything approaching an embodiment of such characters as Shylock, Richard, or Lady Macbeth; or that a child of six, as was Kate at that time, should be able to play Richmond, Portia, or the Thane with the correctness of elocution, the spirit, and the proper comprehension of the language and the business which she displayed. The simple task of committing to memory the text of so many parts was in itself a marvellous effort for children of their tender age, but to be able to speak these lines as set down for them with correct emphasis and gesture, and with every appearance of a thorough conception of the character sustained, as the little Batemans are said to have done, certainly warranted all the praise that was bestowed upon them. Every fresh character they undertook was a surprise, and was considered more clever than any that had preceded it. Lady Macbeth was, perhaps, the most successful of Ellen's assumptions, while Kate read Portia with amazing skill and propriety; her delivery of the familiar lines was finished, and her carriage throughout was that of an experienced artist.