manager, Alexander Henderson, and I remember her as a female at whom it was easily possible to gaze without blinking. Montgomery never married her. Walter Montgomery (Richard Tomlinson, 1827-1871: Montgomery was his mother’s name) married an actress called Winnetta Montague. Her real name was Laleah Burpré Bigelow. She had been the wife of a Boston gentleman, Arnold W. Taylor. Montgomery met her on the stage at the Boston Theatre. She was attracted by him, followed him to England, and captured him. Their marriage occurred on August 30, 1871, and on September 2, in a lodging in Stafford Street, Bond Street, London, he committed suicide, by shooting, and he was buried in Brompton Cemetery. Winnetta Montague returned to America, resumed acting, allied herself with an Irish comedian named James M. Ward, died in New York, in abject poverty, in 1877, and was buried by charitable members of the dramatic profession. The excellent and famous personation of _Fagin_ which was shown throughout our country by J. W. Wallack, the Younger, is ascribed by Belasco to “Lester’s father,” J. W. Wallack, the Elder, who was “Jim” Wallack’s uncle, and by whom the part was never played. The movable stage introduced at the Madison Square Theatre in 1879 is designated “an innovation” invented by Steele Mackaye, whereas, in fact, it was a variant of the movable stage scheme introduced at Booth’s Theatre, in 1869, by Edwin Booth. “Looking over theatrical history,” Belasco exclaims, “has it ever occurred to you how many players have based their fame _on just one rôle_?--Salvini as _Othello_, Irving as _Mathias_, in “The Bells”; Booth as _Hamlet_, Raymond as _Mulberry Sellers_, Sothern as _Dundreary_, Emmet as _Fritz_, Jefferson as _Rip_, Mayo as _Davy Crockett_, Chanfrau as _Kit_?... Most of these men struggled a lifetime and gained recognition as creditable actors. Then, suddenly, they struck a particular part, a sort of entertainment, a combination of all the excellent things they had done throughout their lives but never before had concentrated on one rôle. And there you are! _Any other actor might have become just as famous if Fate had thrown the part first in his way._ I have seen three _Rips_,--that of Jefferson, that of Robert McWade, and finally that of James A. Herne. This last was a wonderful characterization, with all the softness and pathos of the part. I was a _Dwarf_, to Herne’s _Rip_, in the Maguire’s Opera House days. But _Fate_ chose to thrust forward Jefferson as the only _Rip_ that ever was or ever could be. _I happen to know better._ Jefferson was never the Dutchman; he was the Yankee personating the Dutchman. But James A. Herne’s _Rip_ was the real thing.... These actors of one part are like the favored children of heaven; they are handed something on a golden platter, _already created by the author_. It is _to the