Sothern's Dundreary, Harry Placide's Monsieur Tourbillon, Booth's Iago and Richard III., Mrs. Scott-Siddons's Viola, Fanny Davenport's Georgette in "Fernande," Mary Gannon's "Little Treasure," Maggie Mitchell's "Fanchon" and "Little Barefoot." In all these undoubted successes, old and new, with the sole exception of Sothern's Dundreary, the actors and actresses appeared and appear undisguised, talk in a natural voice, and fit their characters like a glove, face, figure, and all. This essential of fitness between character and physique is sometimes ignored by managers, with disastrous effects, while its observance has made a success of many a play, bolstered up by the influence of a single character. T. P. Cooke's Long Tom Coffin in the "Pilot" was such an instance of phenomenal success attained by the physique of one actor, carrying a rubbishy play through. Charlotte Cushman's Meg Merrilies was another such instance, the mere power of face, figure, and voice making a triumph, spite of poor play, and even spite of unmitigated and unnatural rant on the part of the actress. I have mentioned one instance in my own observation of the consequences of putting actors into ill fitting parts, in "Flying Scud." If the reader can imagine Lester Wallack in Rip Van Winkle, Jefferson in Elliott Gray or Hugh Chalcote, Barrett in Dundreary, Sothern in Cassius, Booth as Monsieur Tourbillon or Solon Shingle, Owens as Iago, he will have the salient points of our argument in strong light. The best example of a well fitted play I ever saw was Lester Wallack's "Veteran," as first acted, with James W. Wallack for Colonel Delmar, Mrs. Hoey for Amina, Mary Gannon for the other young woman, Mrs. Vernon for Mrs. MacShake. Every part, down to the very slaves, was perfectly fitted, and nothing has since come near it in completeness except Boucicault's plays, written at different times for the same theatre, "Jessie Brown" and the "Shaughraun." The full consideration of all these facts, and especially a retrospect of the relative rank of versatile actors and of specialists, has led to the following further aphorism: XVI. If the actors fit the play, expect success; if they do not, disaster.