assumed and consistently maintained, and with that manner was deftly blended the ease of an accomplished man of the world. The natural, seemingly involuntary modifications of bearing toward different persons,toward the beloved wife, the petted daughter, the young artist, the elderly Judge Hoover (who loathes Jews, though a little inclined to make an exception in the case of the Doctor), and the unhappy Clayton, both as friend and patient, were made with a perfect sense of fitness and with indescribable propriety and grace. The level speaking was diversified by fine inflections of tone, sometimes whimsical, sometimes playful, sometimes mildly satiric, always correct and appropriate, while in what may be called impassioned moments, when injustice and vice are to be rebuked and virtue is to be defended, the actor's vocalism rose with his emotion and became touchingly impressive. In Mr. Mason's embodiment of Dr. Seelig,because all the attributes of the character were comprehended and made concentric, and because the free and fine expression of that character was made inevitable,— the audience saw a perfect performance. Also it saw a brilliant and delightful example of a style of acting that was existent in a former period, when yet the traditions of comedy survived which had been handed down by such actors as Henry Placide, James E. Murdoch, James W. Wallack, John Gilbert, and William Warren. That was the period in which John Mason's |