N. Thayer, James E. Murdock, Mrs. Stone, Miss Eliza Riddle, and Mrs. E. N. Thayer. The latter, though of English birth, began her long and honorable career on the stage of this country. Mr. Forrest was backed by his brother Edwin, who produced all his original plays at the Arch Street Theatre—"The Gladiator," "Metamora," "Broker of Bogota," and later "Jack Cade." This season, 1832, "The Ravel Family" came to cheer the oppressed public. What a capital performance it was, and how long they cheered the people! I don't think one of the "Family" is left! We were divided off soon, mother in Baltimore and I in Washington. (During a former engagement in the last-named city, I was on a visit to Mrs. Eaton's little girl, and Mrs. Eaton took me to the President's Levee—General Jackson then filling the chair of state. She introduced me to him. He was very kind and sweet to me, kissed me, and said I was "a very pretty little girl." Need I say that I was a Jackson Democrat from that hour, and have remained one up to date!) [Illustration: Charles Kemble.[F] From a lithographic reproduction of a drawing by R. J. Lane, A.R.A. Published by J. Dickinson, London, May, 1830. In the collection of Douglas Taylor, Esq.] [Illustration: Junius Brutus Booth. From a daguerreotype in the collection of Peter Gilsey, Esq. Junius Brutus Booth was restless and erratic even in youth. After absorbing a fine classical education he attempted to learn the printing-trade, then studied law, which he soon left to enter the navy; finally, at seventeen, he became a strolling actor with Penley's Circuit, and, after two years of provincial playing, reached a small stock position in Covent Garden Theatre in 1815 and 1816. An injudicious attempt of his friends to place him in competition with Edmund Kean, who at times assumed to be his friend, resulted in angry rivalry and riot, and ended in his leaving England in April, 1821, for America. Having already achieved a success with all but Kean's supporters in "Richard III.," he chose that for his principal part in the New World, and soon established his reputation as a star of the first magnitude throughout the Union, especially in _Richard_, _Pescara_, _Iago_, _Hamlet_, _Sir Giles_, _Shylock_, _Sir Edward Mortimer_ and _Brutus_ in John Howard Payne's tragedy. His eccentricity was exhibited in occasionally performing _John Lump_ in the "Review," or _Jerry Sneak_ in the "Mayor of Garrett" (clownish, comic afterpieces on his benefit nights), and his acquirements were shown by his performance at Bristol of _Shylock_ in a strange Hebrew dialect and of _Orestes_ in the original French at New Orleans.