The actor is born but the artist must be made, and the actor who is not an artist only half fulfils his powers. Edwin Booth had not been long upon the stage before he showed himself to be an actor. During his first season he played Cassio in _Othello_, Wilford in _The Iron Chest_, and Titus in _The Fall of Tarquin_, and he played them all auspiciously well. But his father, not less wise than kind, knew that the youth must be left to himself to acquire experience, if he was ever to become an artist, and so left him in California, "to rough it," and there, and in the Sandwich Islands and Australia, he had four years of the most severe training that hardship, discipline, labour, sorrow, and stern reality can furnish. When he came east again, in the autumn of 1856, he was no longer a novice but an educated, artistic tragedian, still crude in some things, though on the right road, and in the fresh, exultant vigour, if not yet the full maturity, of extraordinary powers. He appeared first at Baltimore, and after that made a tour of the south, and during the ensuing four years he was seen in many cities all over the country. In the summer of 1860 he went to England, and acted in London, Liverpool, and Manchester, but he was back again in New York in 1862, and from September 21, 1863 to March 23, 1867 he managed what was known as the Winter Garden theatre, and incidentally devoted himself to the accomplishment of some of the stateliest revivals of standard plays that have ever been made in America. On February 3, 1869 he opened Booth's Theatre and that he managed for five years. In 1876 he made a tour of the south, which, so great was the enthusiasm his presence aroused, was nothing less than a triumphal progress. In San Francisco, where he filled an engagement of eight weeks, the receipts exceeded $96,000, a result at that time unprecedented on the dramatic stage.