(with his eyeglass), Mary Davies, Mme. Lem-mens-Sherrington, Marie Krebs, Clara Samuell, Gertrude Griswold, Marian McKenzie, Marie Roze, Mme. Trebelli, Mme. Patey, Belle Cole, Alice Gomez (" wearing always Indian costume, which with her dark hair and complexion and rich voice exercised great fascination over audiences "), Clara Novello, Margaret Macintyre, Hilda Wilson, Anna Williams, Liza Lehmann, Evangeline Florence (" advertised," says Mr. Mackinlay, "when she first came to England, as the 'New Eiffel Tower Soprano,' in allusion to her phenomenally high notes ") are some of the famous names that float across the mental vision in looking back at the ballad concerts of that day. At this time Antoinette Sterling was at her zenith. As a ballad singer she has had few, if any, superiors ; she brought to her work a conscientiousness and a passionate attention to detail that made her singing of the most trivial song a finished and artistic achievement. "People," she said once, "think ballads are easy to sing. As a matter of fact, they are the most difficult of all music to render with true effect. The ballad is simple in words, melody, and accompaniment. There is nothing to help out the singer. It depends entirely on the power of expression, the intensity, the variety of feeling. There are no orchestra, scenery, romantic cos-