to weeping bitterly.
Miss Eytinge noticed her, had her heart touched by the spectacle, soothed
the child, and allowed her to play the part. Later on she appeared in the
chorus of a juvenile "Pinafore" company, and was soon promoted to be
_Josephine_.

Then she made a big jump--to the West Indies, to look out for her small
brother Tommy, the "child actor" of the company, later one of the two
famous _Fauntleroys_ and now a dramatic critic on a New York paper. While
with this troupe she was pressed into service to fill a big variety of
parts, giving her a good foundation on which to build her big hit in the
sun-bonnet of "Esmeralda."

She followed this with another success, in an altogether different
line--the poetical one of "Elaine," and then fell ill. For some years she
remained off the boards, close to death's door, and returned to them
finally in a weakling play by Sydney Grundy, "The New Woman."

She took the taste of this out of the public's mouth by a triumph both
here and in London with "Sue," and then went into the background once more
with "Catherine," from the French.

Her real arrival as a popular star was made in the autumn of '99, at the
Lyceum, in "Miss Hobbs."

MEDAL SET MANTELL GOING.

He Was Encouraged to Become an Actor
by a Prize Which, as a Boy, He Won
for Proficiency in Declamation.

Mantell, now in Shakespeare, made his professional start as a sergeant.
This was in 1874, in the Rochdale Theater, Lancashire, England, under the
stage name of Hudson. The play was "Arrah-na Pogue." He was born in
Irvine, Ayrshire, Scotland, on the 7th of February, 1854, but was brought
up in Ireland, where he won a medal at school for his proficiency in
declamation. This turned his attention to the amateur stage, where his
first appearance was made as _De Mauprat_ in "Richelieu."

He came to America in the same year that he began to act professionally,
and he procured an engagement with the Museum stock company in Boston. But
he soon returned to England, where he remained for four years, acting in
the provinces, and when the States saw him again it was in 1878, when he
and Miller were with Modjeska.

His first real lift into popularity arrived when Fanny Davenport engaged
him for _Loris_ in "Fedora." In this part he was accounted one of the
best-looking men who had trod the American boards, and he established a
vogue for himself that paved the way for his stellar career of several
years in the one pl