In the hasty sketch of a few representative members of the Literary Guild of America, as it existed a half-century ago, I have made good what I intimated a few chapters back, in alluding to my introductory experience of professional jealousies, which, if cynics are to be credited, pervade the ranks of authors, as the mysterious, fretting leprosy ate into the condemned garment of the ancient Israelite. In all frankness, and with a swelling of heart that is both proud and thankful, I aver that no other order, or class, of men and women is so informed and permeated and colored with generous and loyal appreciation of whatever is worthy in the work of a fellow-craftsman; so little jealous of his reputation; so ready to make his wrongs common property, and to assist the lowliest member of the Guild in the hour of need. I make no exception in favor of any profession or calling, in offering this humble passing tribute to the Fraternity of American Authors. I could substantiate my assertion by countless illustrations drawn from personal observation, had I space and time to devote to the task. In my sixty years of literary life, I have known nearly every writer of note in our country. In reviewing the list, I bow in spirit, as the seer of Patmos bent the knee in the presence of the shining ones. XXIX ANNA CORA (MOWATT) RITCHIE—EDWARD EVERETT—GOVERNOR WISE—A MEMORABLE DINNER-PARTY IN 1854, Anna Cora Mowatt, “American actress, novelist, dramatist, and poet,” as the cyclopædias catalogue her, left the stage to become the wife of William Foushee Ritchie, of Richmond, Virginia. Mrs. Mowatt, _née_ Ogden, was the daughter of a prominent citizen of New York. She was born in France, and partially educated there. Returning to America, she married, in her sixteenth year, James Mowatt, a scholarly and wealthy man, but much the senior of the child-wife. By a sudden reverse of fortune he was compelled to relinquish the beautiful country home on Long Island, to which he had taken his wife soon after their marriage. With the romantic design of saving the home she loved, Mrs. Mowatt began a series of public readings. Her dramatic talent was already well known in fashionable private circles. At the conclusion of the round of readings given in New York and vicinity, she received a proposal from a theatrical manager to go upon the stage. For nine years she was a prime favorite with the American theatre-going public, and almost as popular abroad. She never redeemed “Ravenswood,” and her husband died while she was in the zenith of her brilliant success.