He followed this appearance by a general tour through the country, and returned to New York in 1858, where he won fresh laurels.  In 1860 he reappeared at Burton’s Theater, then called the Winter Garden, and added Hamlet to his role.  He had improved greatly during the time that had elapsed since his last appearance at this theater, and had gained very much in power and artistic finish.  The most critical audiences in the country received him with delight, crowded his houses, and hailed his efforts with thunders of applause.  This season silenced all the critics, and placed him among the great actors of the American stage.  He bore his honors modestly, and though he was proud of the triumphs he had won, they did not satisfy him.  There were still greater successes to be achieved before the highest honors of his profession could be his, and it was upon these that his eye was fixed from the first.  The applause which greeted him in every city in which he appeared only served to stimulate him to fresh exertions.

In the summer of 1861, he visited England, and played an engagement at the Haymarket Theater in London, where he was favorably received by the British playgoers.  At the close of this engagement, he spent a year on the continent, in travel and in the study of his profession.  He also made careful studies of the scenes of the great historic dramas of the English stage, both in England and on the continent, and of the dresses and other appointments needed for them.  By thoroughly familiarizing himself with these details, he has been able to produce his plays with entire fidelity to history.

Returning once more to New York, he appeared at the Winter Garden, in the winter of 1863-64, in a series of Shakespearean revivals.  He played Hamlet for over one hundred nights, and followed it during that season and the next with “Merchant of Venice” and “Othello” (in the latter playing the parts of Othello and Iago on alternate nights).  During the same seasons he appeared also in “Richelieu,” “Ruy Blas,” “The Fool’s Revenge,” and “Don Caesar de Bazan.”  These performances were extended into the season of 1866-67, when they were suddenly cut short by the total destruction of the Winter Garden Theater by fire on the night of the 23d of March, 1867.  In this fire Mr. Booth lost his entire wardrobe, including many relics of his father, Kemble, and Mrs. Siddons.

The destruction of a theater has seldom drawn forth a more universal expression of regret than that which poured in upon Mr. Booth from all parts of the country.  It was feared that the loss of his valuable wardrobe would be irremediable, as indeed it was in a certain sense.  All over the Union a general wish was expressed that the great actor should have a new theater in some of our large cities, and one which should be worthy of his genius.  Mr. Booth had chosen the city of New York for his permanent home, and after the destruction of the Winter Garden Theater began