and loving ardor.

"We could not, in Miss Anderson's rendition of the balcony scene, help
feeling in the tones of her voice, an almost stern foreboding of their
saddening fates--a foreboding stranger than that which falls as a shadow
to all ecstatic youthful hope and joy. Other faults--as evident,
undoubtedly, to her and to her advisers, as to us--are for the most part
superficial, and will disappear in a little further experience. A first
appearance, coupled with so much merit and youth, may well excuse many
things.

"A lack of true interpretation we can never excuse. We give mediocrity
fair common-place words, generally of commendation unaccompanied by
censure. But when we come to deal with a divine inspiration, our words
must have their full meaning.

"We do not here want mere commendatory phrases, whose stereotyped faces
appear again and again. We want just appreciation, just censure. Thus our
criticism is not to be considered unkind. Nay, we not only owe it to the
truth and to ourselves in Miss Anderson's case, to state the existence of
faults and crudities in her acting, but we owe it to her, for it is the
greatest kindness, and yet we do not speak harshly and are glad to admit
that most of her faults--such for instance as frequently casting up the
eyes--are not only slight in themselves, but enhanced if not caused by the
timidity natural on such an occasion.

"But enough of faults. We know something of the quality of our home
actress. We see with but little further training and experience she will
stand among the foremost actresses on the stage. We are charmed by her
beauty and commanding power, and are justified in predicting great future
success."

In the following February Mary Anderson appeared again at Macaulay's
Theater for a week, when she played, with success, Bianca in "Phasio,"
studied by the advice of the manager, who thought she had a vocation for
heavy tragedy; also Julia in "The Hunchback," Evadne, and again Juliet.

The reputation of the rising young actress began to spread now beyond the
bounds of her Kentucky home, and on the 6th of March, 1876, she commenced
a week's engagement at the Opera House in St. Louis. Old Ben de Bar, the
great Falstaff of his time, was manager of this theater. He had known all
the most eminent American actors, and had been manager for many of the
stars; and he was quick to discern the brilliant future which awaited the
young actress. The St. Louis engagement was