No doubt she was greatly helped by the deeply impressive and affecting portrayal by George Belmore of the weak-minded but affectionate old grandfather. The two made a perfect picture. The Quilp of the cast, in the person of clever John Clarke, is a thing that, in its effective, savage, grotesque, and always true realism, haunts the memory. Marion Terry made her first bold, histrionic plunge in 1873. This was at the Crystal Palace, when she played Ophelia to the Hamlet of Steele Mackaye. Mackaye was the _protégé_ of Tom Taylor, and the then leading English dramatist made a new acting version of Shakespeare's masterpiece for his behoof. Great things were expected of it, but the production merely excited passing curiosity, and though it was taken to the Shakespeare-loving provinces it soon flickered out. Thus did Marion and Florence Terry--"twin roses on one stalk," as Davenport Adams called them--take the rank of Princesses in Stage Land. [Illustration: _Photograph by_ [_Lallie Charles._ MARION TERRY. _Showing her autograph, 1901._ [_To face page 194._ ] The career of Florence Terry was destined to be a brief one, but, happily, Marion Terry is still with us, still charming us; and every one will agree with Clement Scott's words--"She is one of the very few actresses I have known who has never gone back from her gentle career of continued success. On and on she has wended her way, improving and improving. With her gifted sisters, some characters have suited her better than others; but from the old Olympic days down to the present time I never remember to have been disappointed with Marion Terry, or wished she had not appeared in such and such a character."