This time M. Sardou was on the right side. _La Tosca_ was performed one hundred and twenty-nine times, and was not taken off the boards until March 25, 1888. Ten days later, Sarah was playing _La Dame aux Camélias_ and _La Tosca_ at Bordeaux. Thence she went on to Lisbon and Madrid. Next the indefatigable traveller began a French tour, under the management of M. Emile Simon, at Caen. In July she was in London playing _Francillon_, at the Lyceum, with indifferent success. She was soon off again, her life being now one incessant round of travel with brief stoppages in Paris. M. Maurice Grau was once more her manager, and she opened in October at Antwerp, after which she visited Liège, Amsterdam, the Hague, Rotterdam, Utrecht, Arnheim, Brussels, Vienna, Prague, Budapest, Bucharest, Constantinople, Cairo, and Alexandria. _La Tosca_ was as great a favourite as it had been in Paris, but at the Hague the Huguenot scruples of the Dutch _bourgeois_ led to the performance of the play being forbidden, on the ground that it contained attacks on Roman Catholicism which might prove offensive to persons of that religion. At Bucharest Sarah was received by Queen Natalie, who, living as she was in strict retirement, had been unable to attend any public performance in spite of her great desire to see the artiste. Sarah accordingly performed a scene from _La Dame aux Camélias_ for her at the palace. When the actress uttered the words, “Shall fallen greatness never rise again?” Queen Natalie, who applied them to her own case, burst into tears. Every one present, including Sarah Bernhardt, shared the poor Queen’s emotion, and the performance had to be interrupted. From Bucharest Sarah went on to Italy, Russia, and Scandinavia, returning to Paris on the 21st March. Three weeks afterwards, without taking time for rest, she appeared at the Variétés in _Léna_, a piece adapted from the English by M. Pierre Berton, and in which she added another to the numerous kinds of death already on her list. The piece, however, was merely an ephemeral success, and was not a great triumph for its principal interpreter. M. Jules Lemaître says-- Mme. Sarah Bernhardt played the earlier acts in a rather offhand style. Her delivery was sometimes childish and lisping, and sometimes hard and guttural. [Illustration: As Jeanne d’Arc.] [Illustration: Mme. Sarah Bernhardt on one of her tours.]