sayings and doings was to argue yourself unknown. The actor who not only caused but sustained all this excitement must have achieved something far greater than the mere creation of a new type of "stage swell." Dundreary was a study for the philosopher as well as a laughing-stock for the idler, and he thus became popular with all classes of the community. But in 1863 Sothern was growing tired of _toujours_ Dundreary. He was a restless as well as an ambitious actor, and he longed for a change. An Englishman by birth and training, all his great successes (including Dundreary) had been won in America, and he wished to show the Haymarket audiences what he could do in other characters. For the time being that fine old actor-manager, J. B. Buckstone, could not hear of his "Lordship" being out of the bill, so Sothern had to content himself with occasional afterpieces. Among the characters that he fancied was that of Captain Walter Maydenblush in that pretty little adaptation from the French, "La Joie de la Maison," entitled "The Little Treasure." It is a very effective light comedy part, but the mainstay of the piece is the "joy of the house," the sweet young girl, Gertrude. When the piece was first produced at the Haymarket this part had been played by Blanche Fane, the idol of her day, and it had also been made familiar to playgoers by the ever-fascinating Marie Wilton, now Lady Bancroft. Sothern knew very well that without an attractive Gertrude his Walter Maydenblush would go for nothing. Where was she to be found? Well, as we have seen, Ellen Terry had played the part in Bristol. Her growing fame had reached London, and she was engaged to re-create it at the Haymarket. Although the piece was a subordinate one, her ordeal was formidable, for she had to challenge comparison with her popular and gifted predecessors in a character that required an abundance of delicacy and finesse. Her success was instantaneous. In writing of it that outspoken critic and encyclopædia of dramatic lore, Edward Leman Blanchard, said:-- "She is very young, but shows no trace of immaturity either in her style or figure. Tall for her age, of prepossessing appearance, and with expressive features full of vivacity and intelligence, she secured at once the sympathies of her audience, and retained them by the joyous spirit and deep feeling with which she imbued the personation. In the girlish playfulness exhibited through the first act Miss Ellen Terry was especially happy, and in characters illustrative of a frank and impulsive temperament the young actress will prove a most desirable addition to the feminine strength of the stage." And so it was with all the leading critics, they, and delighted audiences, telling her that in a moment her permanent popularity in London was a thing assured.