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voice. It was this voice that was soon to aid her in the struggle for existence. Her father was unfortunate in business, and Charlotte began the study of music, and subsequently sang in a Boston church choir, and she was urged to continue the cultivation of her voice and not to waste time in the mere drudgery of teaching. And thus it came about that Miss Cushman became the pupil of James G. Maeder (afterwards the husband of Clara Fisher), and made her appearance under his instruction in April, 1835, as the Countess Almaviva, in the "Marriage of Figaro," the performance taking place at the Tremont Theatre, and was considered a triumph for Miss Cushman. Visions of future operatic achievements filled her mind, when suddenly her voice failed, from overtraining, and through this apparent misfortune Miss Cushman was led to the stage, and through Caldwell, the theatrical manager, of New Orleans, she was given a part to appear on the stage. Her first appearance was as Lady Macbeth, in a benefit performance in that city. Of herself at that time Miss Cushman says: "I was a tall, thin, lanky girl, about five feet, six inches in height." Her rendition of the part was satisfactory, both to the audience and manager. For three years, from September, 1837, to September, 1840, she was at the Park Theatre, New York, playing various parts. This, no doubt, was a fine experience for her just at this time, and she came out of this ordeal a true actress, who was not afraid to play Romeo, Portia, Lady Macbeth, Joan of Arc, Belvidera, in "Venice Preserved," Roxana, in "The Rival Queens," and many other characters. Her greatest achievement has always been believed to be Meg Merrilies. It was said of her first appearance in this part, "There was an uncanny charm, a wealth of picturesqueness and, at the same time, a depth of senile feeling in her portraiture that stamped it at once with the mark of inspiration." No one who ever saw Meg Merrilies will ever forget its terrible effective-