for the first time felt.  It seemed like the first glimpse of verdant forest, of enameled meadow, of crystal stream, of pure sky to one who had been blind.  It was another atmosphere, another life.  Brief as was her visit, it gave an impulse to those germs which lie deep in every poetic soul.  She saw there was an illimitable world of Art, whose threshold as yet she had hardly trodden—­and she went home full of the inspiration caught at the ancient fountains of Poetry and Art.  From that time an intellectual change seems to have passed over her.  Her studies took new channels, and her impersonations were mellowed and glorified from her personal contact with the associations of a great past.

A visit to Stratford-on-Avon was one of the most delightful events of the trip.  It seemed to Mary Anderson the emblem of peace and contentment and quiet; and though as a stranger she did not then enjoy so many of the privileges which were willingly accorded her during the present visit to this country, she still looks back to the day when she knelt by the grave of Shakespeare as one of the most eventful and inspiring of her life.

Much of the time of Mary Anderson’s European visit was spent in Paris.  Through the kindness of General Sherman she obtained introductions to Ristori and other distinguished artists, and, to her delight, secured also the entree behind the scenes of the Theatre Francais.  Its magnificent green-room, the walls lined with portraits of departed celebrities of that famous theater, amazed her by its splendor; and to her it was a strange and curious sight to see the actors in “Hernani” come in and play cards in their gorgeous stage costumes at intervals in the performance.  On one of these occasions she naively asked Sarah Bernhardt why her portrait did not appear on the walls?  The great artist replied that she hoped Mary Anderson did not wish her dead, as only under such circumstances could an appearance there be permitted to her.  “Behind the scenes” of the Theatre Francais was a source of never-wearying interest, and Mary Anderson thought the effects of light attained there far surpassed anything she had witnessed on the English or American stage.

The verdict of Ristori, before whom she recited, was highly favorable, and the great tragedienne predicted a brilliant career for the young actress, and declared she would be a great success with an English company in Paris, while the “divine Sarah” affirmed that she had never seen greater originality.  On the return journey from Paris a brief stay was made at the quaint city of Rouen.  Joan of Arc’s stake, and the house where, tradition has it, she resided, were sacred spots to Mary Anderson; and the ancient towers, the curious old streets, overlooking the fertile valley through which the Seine wanders like a silver thread, are memories which have since remained to her ever green.  During her first visit to England Mary Anderson never dreamt of the possibility