After thirteen months’ absence Sarah at length returned to Europe. The total receipts during her American tour were a million dollars, of which her own share was £60,000. She landed in England on May 6th, not, as might be supposed, to rest, but to start off again on another tour, under the management of Mr. Mayer, through England, Scotland, and Ireland. On August 10th she started for Cauterets, and begun to prepare for her return to Paris. She re-opened with _La Tosca_ on November 24, 1887, and long and loud was the applause that greeted her. M. Sarcey alone withheld unstinted praise, and took exception, not to the artiste’s talents but to her use of them, and indulged in criticisms of the play itself. M. Sardou responded in a letter addressed to a third person, in which he took advantage of the opportunity to make a hit at the critics of his work-- MONSIEUR, You ask for my opinion on Sarah Bernhardt. It is simply that she is an admirable artiste, and that, in _La Tosca_, she has far exceeded anything that has been done in our generation by Georges, Dorval, or Rachel. As for Sarcey, who knows nothing about painting, music, architecture, or sculpture, and to whom Nature has harshly denied all sense of the artistic, it is not surprising that he should be not merely indifferent but even hostile to any attempt to reproduce the past by means of scenery, costume, and the representation of former customs. He showed this feature by his treatment of _La Haine_, but it would be unjust to blame him for this defect in his intellect. If he likes to play the part of the fox who lost his tail, by all means let him do it. Cordially yours, V. SARDOU.