Meanwhile, the popular taste of English playgoers had been educated by the impersonations of Miss Faucit as well as by her own literary expositions of Shakespeare's characters, and by the written discourses of her future husband, Sir Theodore Martin on cognate subjects. The daughter of an actress, Lady Martin received her first education for the stage from an actor, one of a race of actors, Percival Farren, of the Haymarket Theatre. This is the family which at the end of the eighteenth century gave a Countess, acknowledged on Mrs Abington's retirement to be the first actress of her day, to the Derby peerage. Its living representative, the gifted and exemplary William Farren, more than recalls to the present generation the genius of his predecessors. Soon after her arrival in London, Miss Faucit joined Macready's company, and her 'Juliet' became a classical performance. Probably the last occasion that this lady was seen on the London stage is her performance of 'Rosalind' in _As You Like It_ at Drury Lane during the sixties. As a proof that Lady Martin has exercised an abiding influence on her profession for good it is enough to mention the names of Mrs P. H. Lee, as 'Juliet,' of Mrs Boucicault, the graceful and accomplished wife of a popular husband, Miss Kate Terry (Mrs Arthur Lewis), peerless in romantic melodrama, under the lesseeship of Benjamin Webster at the Adelphi. Some bright particular star from the days of Sir Walter Scott downwards has never failed any generation of the Terry family; Henry Irving's inexhaustible co-adjutress has only illustrated anew the ancestral tradition. Artists whether of the pen or pencil, practically experienced in all the publics of Europe, have been unanimous in testifying that there is none with whom conscientious toil and excellence are so sure ultimately to yield the reward of fame and profit as the public of England.