A _rôle_ in which I made my _début_ while I was with Marie Roze and Gary was Aïda. Mapleson was anxious that Roze should have it, but Strakosch gave it to me. One of Mapleson's critics wrote severely about my sitting on a low seat instead of on the steps of the dais during the return of Rhadames, I remember in this connection. But nothing could prevent Aïda from being a success and it became one of my happiest _rôles_. A year or two later when I sang it in London my success was confirmed. Gary was Amneris in it and ranked next to the Amneris for whom Verdi wrote it, although she rather over-acted the part. I have never seen an Amneris who did not. There is something about the part that goes to the head. Speaking of my new _rôles_ at that period, I must not forget to mention my mad scene from _Hamlet_; nor my one act of _Lohengrin_ that I added to my _répertoire_. Lucia had always been one of my successes; and I believe that one of the points that made my Senta interesting was that I interpreted her as a girl obsessed with what was almost a monomania. She was a highly abnormal creature and that was the way I played her. It was a satisfaction to me that a few people here and there really appreciated this rather subtle interpretation. In commendation of this interpretation there appeared an anonymous letter in _The Chicago Inter-Ocean_, a part of which read: "In her rendering of this strange character (Senta) Miss Kellogg keeps constantly true to the ideal of the great composer, Wagner. In her acting, as well as in her singing, we see nothing of the woman; only the abnormal manifestations of the subject of a monomania. The writer is informed by a physician whose observations of the insane, extending over many years, enable him to judge of Miss Kellogg's acting in this character, and he does not hesitate to say that she delineates truthfully the victim of a mind diseased. Such a delineation can only be the result of a careful study of the insane, aided by a wonderful intuitive faculty. The representation of the mad Ophelia in the last act of _Hamlet_, given by Miss Kellogg last Saturday, fully confirms the writer in the belief that no woman since Ristori possesses such power in rendering the manifestations of the insane." [Illustration: =Clara Louise Kellogg as Aïda= From a photograph by Mora]