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augered. It was in the very lowest forms of vaudeville, in what is the analogue abroad of our negro minstrelsy, that Mr. Fay had his stage experience, a stage experience that had made him well enough known in burlesque rôles to make it difficult for him to assume with success serious rôles in the early years of the National Dramatic Company. Because of this old association, Dublin audiences insisted in 1902 in seeing humor in his Peter Gillane in "Cathleen ni Houlihan." For all this past, however, Mr. Fay was intent on serious drama, and, with the precept and example of Mr. Russell and Mr. Yeats always present to him in the early days of the National Theatre Company, and with what he had gathered from the experimental performance of Irish plays by "The Irish Literary Theatre," he advanced surely in his art until his withdrawal from the company in January, 1908. His loss was compensated for only by the results of his training of other actors, such as Miss Sara Allgood and Mr. Arthur Sinclair, who on certain roads have outrun their master. When I saw Mr. Fay in 1902, in the little hall in Camden Street, Dublin, with no knowledge of what his stage experience had been, I accepted him at once for what he was, a finished "character" actor of poise and confidence, a dignified figure for all his stature and his predilection for comedy, and the possessor of a speaking voice whose natural pleasantness he had made into something higher than pleasantness by his art in the use of it, if it never attained the resonance and nobility of phrasing of that of his brother, Mr. Frank J. Fay. It was a memorable experience to me, that of that August evening in 1902 on