She had already grown quite gray when I first remember her, in the Civil War period. Such a wonderfully expressive face could not be called altogether homely, although her retreating mouth prevented it from being handsome. Her teeth were small and insignificant, while the blue of her eyes contrasted well with the gray hair. She was built on a generous scale, her figure tall and commanding. As Queen Katherine in “Henry the Eighth” she was at her best. One of her great points was in the trial scene. When the insignificant Cardinal Campeius addressed her she turned to Wolsey, with splendid gesture, looking every inch a queen, as she gave with noble emphasis the lines, “My lord cardinal, to you I speak.” In 1915–16 I again saw this play, after an interval of fifty years, with Sir Beerbohm Tree as the cardinal. Anne Boleyn was graceful and charming, making one understand as never before how Henry was won from Katharine. Bluff King Hal was extremely well portrayed. Cardinal Wolsey was magnificent in his vivid scarlet raiment, the costumes and scenery all beautiful. The whole was a feast of color for the eye. But the one great figure that had dominated the performance of early years I sadly missed. The actress who played Queen Katharine did not even attempt to make Charlotte Cushman’s great point in the trial scene. In the last sad scene Miss Cushman vividly portrayed for us the discarded queen, sick and suffering unto death. I saw her also in “London Assurance,” when she took the part of Lady Gay Spanker. She was gay and rollicking enough, although her gray hair seemed a little incongruous in the part of a young woman. It was out of keeping also in “Fazio,” where she took the rôle of Bianca. Charlotte Cushman possessed wigs, for these were sold, with the rest of her theatrical wardrobe, one being still in curl papers! When I saw her on the stage, however, she appeared with her own gray hair. It will be remembered that she had intended to go on the operatic stage, but, owing to the loss of her singing-voice, was obliged to give this up. The mishap may have been a blessing in disguise. For the perfect development of Miss Cushman’s great dramatic talent the legitimate stage was the best agent. I had the pleasure of hearing her sing, on the occasion of a visit to Lawton’s Valley. It was a wonderful performance. It was not like any other singing, but rather a species of chanting or weird crooning, in which she gave us the simple and moving story of “Mary, go and call the cattle home, across the sands o’ Dee.” The deep tones of her voice intensified the effect. My mother also was accustomed to sing this pathetic ballad, to a tune of her own composition. With her high, clear voice the effect was very different from that produced by Charlotte Cushman; yet she, too, made her hearers feel the deep pathos of the ballad.