The portrait mentioned in the letter to Mr. Collins, for which he was sitting to Mr. E. M. Ward, R.A., was to be one of a series of oil sketches of the then celebrated literary men of the day, in their studies. We believe this portrait to be now in the possession of Mrs. Ward. In explanation of the letter to Mr. John Saunders on the subject of the production of the latter's play, called "Love's Martyrdom," we will give the dramatist's own words: "Having printed for private circulation a play entitled 'Love's Martyrdom,' and for which I desired to obtain the independent judgment of some of our most eminent literary men, before seeking the ordeal of the stage, I sent a copy to Mr. Dickens, and the letter in question is his acknowledgment. * * * * * "He immediately took steps for the introduction of the play to the theatre. At first he arranged with Mr. Phelps, of Sadler's Wells, but subsequently, with that gentleman's consent, removed it to the Haymarket. There it was played with Miss Helen Faucit in the character of Margaret, Miss Swanborough (who shortly after married and left the stage) as Julia, Mr. Barry Sullivan as Franklyn, and Mr. Howe as Laneham. "As far as the play itself was concerned, it was received on all sides as a genuine dramatic and poetic success, achieved, however, as an eminent critic came to my box to say, through greater difficulties than he had ever before seen a dramatic work pass through. The time has not come for me to speak freely of these, but I may point to two of them: the first being the inadequate rehearsals, which caused Mr. Dickens to tell me on the stage, four or five days only before the first performance, that the play was not then in as good a state as it would have been in at Paris three weeks earlier. The other was the breakdown of the performer of a most important secondary part; a collapse so absolute that he was changed by the management before the second representation of the piece." This ill-luck of the beginning, pursued the play to its close. "The Haymarket Theatre was at the time in the very lowest state of prostration, through the Crimean War; the habitual frequenters were lovers of comedy, and enjoyers of farce and burlesque; and there was neither the money nor the faith to call to the theatre by the usual methods, vigorously and discriminatingly pursued, the multitudes that I believed could have been so called to a better and more romantic class of comedy.