Telbin and Albert Moore together did up the New Queen's Theater, Long Acre, which was opened in October, 1867, under the ostensible management of the Alfred Wigans. I say "ostensible," because Mr. Labouchere had something to do with it, and Miss Henrietta Hodson, whom he afterwards married, played in the burlesques and farces without which no theater bill in London at that time was complete. The Wigans offered me an engagement, and I stayed with them until 1868, when I again left the stage. During this engagement I acted with Charles Wyndham and Lionel Brough, and, last but not least, with Henry Irving. Mrs. Wigan, _nŽe_ Leonora Pincott, did me the honor to think that I was worth teaching, and took nearly as much pains to improve me as Mrs. Kean had done at a different stage in my artistic growth. Her own accomplishments as a comedy actress impressed me more than I can say. I remember seeing her as Mrs. Candour, and thinking to myself, "This is absolutely perfect." If I were a teacher I would impress on young actresses never to move a finger or turn the eye without being quite certain that the movement or the glance _tells_ something. Mrs. Wigan made few gestures, but each one quietly, delicately indicated what the words which followed expressed. And while she was speaking she never frittered away the effect of that silent eloquence. One of my besetting sins was--nay, still is--the lack of repose. Mrs. Wigan at once detected the fault, and at rehearsals would work to make me remedy it. "_Stand still!_" she would shout from the stalls. "Now you're of value!" "Motionless! Just as you are! _That's_ right." A few years later she came to see me at the Court Theater, where I was playing in "The House of Darnley," and afterwards wrote me the following very kind and encouraging letter: "_December 7, 1877._ "Dear Miss Terry,-- "You have a very difficult part in 'The House of Darnley.' I know no one who could play it as well as you did last night--but _you_ could do it much better. You would vex me much if I thought you had no ambition in your art. You are the one young actress of my day who can have her success entirely in her own hands. You have all the gifts for your noble profession, and, as you know, your own devotion to it will give you all that can be learned. I'm very glad my stage direction was useful and pleasant to you, and any benefit you have derived from it is overpaid by your style of acting. You cannot have a 'groove'; you are too much of an artist. Go on and prosper, and if at any time you think I can help you in your art, you may always count on that help from your most sincere well-wisher "LEONORA WIGAN."