rough evincement of strong emotion blended with human weakness. This was the cast: _Shoulders_ Louis Aldrich. _Robert Douglas_ M. J. Jordan. _Downey Dick_ Joseph A. Wilkes. _Bye-Bye_ Johnny Booker. _Col. Richard Grantley_ Fraser Coulter. _Walter Douglas_ Charles Mackay. _Sergt. Tim Meehan_ Charles Bowser. _Millicent Douglas_ Dora Goldthwaite. _Alice Rodney_ Isabelle Evesson. _Sanderson_ J. H. Hutchinson. _Orderly_ William McCloy. _Courier_ M. C. Williams. _Mme. Biff_ Adele Palma. Belasco participated in the work of placing “The Kaffir Diamond” on the stage, receiving a payment of $300, and on September 11, 1888, it was acted, in a handsome setting, at the Broadway Theatre, New York, but it was unsuccessful and it lasted only till October 13. LOUIS ALDRICH. Louis Aldrich (1843-1901) was a good actor. He was a Hebrew, a native of Ohio, and his true name was Lyon. In childhood he was known on the stage as Master Moses, and also as Master McCarthy. His first appearance was made, September, 1855, at Cleveland, Ohio, as _Glo’ster_, in scenes from “King Richard III.” He performed with the Marsh Juvenile Comedians, beginning in 1858, for about five years. His last professional appearance occurred, March 25, 1899, at the New York Academy of Music, as _Colonel Swift_, in Anson Pond’s play of “Her Atonement.” His most striking performance was that of _Joe Saunders_, in Bartley Campbell’s “My Partner,” first produced at the Union Square Theatre, New York, September 16, 1879. Belasco, long afterward (1900-’01), arranged to have Aldrich star in that play, under his management, but the ill-health of the actor compelled abandonment of the plan. The death of Aldrich, caused by apoplexy, occurred at Kennebunkport, Maine, June 17, 1901. THE SCHOOL OF ACTING. During most of the time of his association with the Lyceum Theatre (1886-1890) Belasco incidentally labored as an instructor in the School of Acting, founded by Steele Mackaye, and conducted in connection with that theatre, and he achieved some excellent results. Being a teacher, his view of the importance of the school is, I believe, somewhat exaggerated, and also he mistakenly supposes, or seems to suppose, that all instructors can be as successful in their histrionic tuition as he has frequently been. His recollections of this part of his activity, when associated with the Lyceum Theatre School, have been interestingly written by himself, as follows: