believe his Othello and his Lear were ever surpassed. His great characteristics as an actor were power and naturalness.” In illustration of this judgment the following anecdote, told by James Oakes, may be adduced: “I was visiting my friend in Philadelphia, and went to the theatre to see his Virginius. He had said to me at sunset, ‘I feel like acting this part to-night better than I ever did it before;’ and accordingly I was full of expectation. Surely enough, never before in his life had I seen him so intensely grand. His touching and sublime pathos made not only women but sturdy men weep audibly. As for myself, I cried like a baby. I observed, sitting in the pit near the stage, a fine-looking old gentleman with hair as white as snow, who seemed entirely absorbed in the play, so much so that the attention of Forrest was drawn to him, and in some of the most moving scenes he appeared acting directly towards him. In the part where the desperate father kills his daughter the acting was so vivid and real that many ladies, sobbing aloud, buried their faces in their handkerchiefs and groaned. The old gentleman above alluded to said, in quite a distinct tone, ‘My God, he has killed her!’ Afterwards, when Virginius, having lost his reason, comes upon the stage and says, with a distraught air, ‘Where is my daughter?’ utterly absorbed and lost in the action, the old man rose from his seat, and, looking the player earnestly in the face, while the tears were streaming from his eyes, said, ‘Good God, sir, don’t you know that you killed her?’ After the play Forrest told me that when he saw how deeply affected the old gentleman was he came very near breaking down himself. He esteemed it one of the greatest tributes ever paid him, one that he valued more than the most boisterous applause of a whole audience.” The following critical notice of the histrionic type and style of Forrest is from the gifted pen of William Winter, whose dramatic criticisms in the New York “Tribune” for the past ten years have been marked by a knowledge, an eloquence, an assured grasp and a conscientiousness which make them stand out in refreshing contrast to the average theatrical commenting of the newspaper press. Making a little allowance for the obvious antipathy and sympathy of the writer, the article is both just and generous: