"A Daughter of the Revolution," with which Miss D'Arville was next identified, was made over by J. Cheever Goodwin and Ludwig Englaender from a comic opera called "1776," produced some ten years before by a German company playing at the Thalia Theatre in New York. It achieved but limited popularity at that time, but in its revised form it was an agreeable, if not exactly exciting, entertainment. It was not an ideal comic opera, by any means. Too much of the machinery of construction was left visible for that. There were two characters, the dealer in military supplies and the laundress, so obviously dragged in simply because the low-comedy man needed a foil and a soubrette to play opposite to him, that one looked to see the marks of violence on their ears. But librettos are hard things to write--they must be or we should certainly find one now and then that is above reproach--so one would fain overlook jarring circumstances for the sake of the tuneful melodies of the score and the brisk action. Miss D'Arville sang well, and made an attractive picture in her series of becoming costumes. A starring tour in "Madeleine; or the Magic Kiss," a comic opera of considerable merit although it never won more than a fair degree of popularity, was her next venture, and then she was engaged to create the prima donna role of Lady Constance in "The Highwayman," a Reginald DeKoven and Harry B. Smith composition. A quarrel with the management while rehearsals were in progress caused her to retire from the company, however, and her place was taken by Hilda Clark. CHAPTER XIX MARIE TEMPEST [Illustration: MARIE TEMPEST.] No better characterization of Marie Tempest, that wonderfully fascinating personality which last appeared in this country during the season of 1893-94 in "The Algerian," have I ever seen than that written by Charles Frederick Nirdlinger and published several years ago in the "Illustrated American."