In saying that her presentation of Pauline "comprised a series of pictures each more graceful than the preceding," he echoed the general opinion; but I do not think that the great mass of enthusiastic playgoers could be with him when he added that they were "all too good for the lackadaisical play in which she appeared." Poor "Lady of Lyons"! There are still a little band of your faithful admirers who hate to hear you condemned as you are to-day, as tawdry, cheap, and artificial. They look back fondly on happy and soul-stirring hours spent with you in the past; they know that you can still hold intelligent, if somewhat sentimentally inclined, audiences spellbound; and they believe that if any later-day dramatist could write a play containing as good a character for a stage heroine, he would reap a fortune. But among the superfine, my sweet "Lady of Lyons," you are condemned as "old-fashioned," and your loyal followers, if they open their lips in your praise, must be content to share the same ridicule and fate. It is very terrible to be old-fashioned; but I, for one, shall be true to you as long as I live. In the course of his criticism the writer said, "It is too early yet to gauge fully the talent which has revealed itself. It seems probable that Miss Terry's powers will be restrained to depicting the grace, tenderness, and passion of love. In the short scene in the third act, in which Pauline chides her lover for treachery, the actress scarcely rose to the requisite indignation. Limiting, however, what is to be hoped for her within the bounds indicated, what chance is there not afforded? Juliet, in the stronger scenes, would be, we should fancy, outside the physical resources of the artist. Beatrice, Rosalind, Viola, Imogen, Miranda, and a score of other characters of the most delicate and fragrant beauty, are, however, all within what appears to be her range. In the present state of public feeling respecting the Shakespearean drama, it will be strange indeed if some manager does not take the opportunity of mounting some of those plays for which her talent is so eminently adapted. The period during which an actress can play such parts with effect is brief; and a portion of Miss Terry's career has already been lost so far as the stage is concerned. There will be regrettable waste if talent, so specially suited to the Shakespearean drama, is confined to Lord Lytton's facile sentiment and sparkling rhetoric." Do not heed these final words, dear "Lady of Lyons." Believe me, there are still many hundreds of gardeners' sons, Princes of Coma, and Colonel Moiriers, ready to be your lovers, and worship at your feet.