iii. 506) says: "Cibber must have raised considerable contributions on

the public by his works. To say nothing of the sums accumulated by dedications, benefits, and the sale of his plays singly, his dramatic works, in quarto, by subscription, published 1721, produced him a considerable sum of money. It is computed that he gained, by the excellent Apology for his Life, no less than the sum of £1,500." "The Laureat" (1740) is perhaps Davies's authority for his computation. "_Ingenious indeed_, who from such a Pile of indigested incoherent Ideas huddled together by the _Misnomer_ of a History, could raise a Contribution on the Town (if Fame says true) of Fifteen hundred Pounds."--"Laureat," p. 96.

Cibber no doubt kept the copyright of the first and second editions in his own hands. In 1750 he sold his copyright to Robert Dodsley for the sum of fifty guineas. The original assignment, which bears the date "March ye 24th, 1749/50," is in the collection of Mr. Julian Marshall.]

[Footnote 7: Of Mrs. Oldfield there was a volume of "Authentick Memoirs" published in 1730, the year she died; and in 1731 appeared Egerton's "Faithful Memoirs," and "The Lover's Miscellany," in which latter are memoirs of Mrs. Oldfield's "Life and Amours." Three memoirs of Wilks immediately followed his death, the third of which was written by Curll, who denounces the other two as frauds. Benjamin Victor wrote a memoir of Booth which was published in the year of his death, and there was one unauthorized memoir issued in the same year. Bellchambers instances the Life of Congreve as another imposition.]

[Footnote 8: From this expression it appears that Cibber did not contemplate again returning to the stage. He did, however, make a few final appearances, his last being to support his own adaptation of Shakespeare's "King John," which he called "Papal Tyranny in the Reign of King John," and which was produced at Covent Garden on 15th February, 1745.]

[Footnote 9: "The Rehearsal," act iii. sc. 4.]

[Footnote 10: The christening of Colley Cibber is recorded in the Baptismal Register of the Church of St. Giles-in-the-Fields. The entry reads:--

"November 1671 Christnings 20. Colly sonne of Caius Gabriell Sibber and Jane ux"]

[Footnote 11: Mr. Laurence Hutton, in his "Literary Landmarks of London," page 52, says: "Southampton House, afterwards Bedford House, taken down in the beginning of the present century, occupied the north side of Bloomsbury Square. Evelyn speaks of it in his Diary, October, 1664, as in course of construction. Another and an earlier Southampton House in Holborn, 'a little above Holborn Bars,' was removed some twenty years before Cibber's birth. He was, therefore, probably born at the upper or north end of Southampton Street, facing Bloomsbury Square, where now are comparatively modern buildings, and not in Southampton Street, Strand, as is generally supposed."]

[Footnote 12: Caius Gabriel Cibber, born at Flensborg in Holstein in 1630; married, as his second wife, Jane Colley, on 24th November, 1670; died in 1700. He was, as Colley Cibber states, a sculptor of some note.]

[Footnote 13:

"Where o'er the gates, by his fam'd father's hand, Great Cibber's brazen, brainless brothers stand." (Final edition of "The Dunciad," i. verses 31-2.)

Bellchambers notes that these figures were removed to the New Hospital in St. George's Fields. They are now in South Kensington Museum.]

[Footnote 14: "It was found by office taken in the 13th year of H. 8. that _John Colly_ deceased, held the Mannour and Advowson of Glaiston of _Edward_ Duke of Buckingham, as of his Castle of Okeham by knights service."--Wright's "History and Antiquities of the County of Rutland," p. 64.

"In the 26. _Car._ I. (1640) Sir _Anthony Colly_ Knight, then Lord of this Mannor, joyned with his Son and Heir apparent, _William Colly_ Esquire, in a Conveyance of divers parcels of Land in Glaiston, together with the Advowson of the Church there, to _Edward Andrews_ of Bisbroke in this County, Esquire: Which Advowson is since conveyed over to _Peterhouse_ in Cambridge."--_Ibid._ p. 65.]

[Footnote 15: Fielding ("Joseph Andrews," chap. iii.), writing of Parson Adams, says: "Simplicity was his characteristic: he did, no more than Mr. Colley Cibber, apprehend any such passions as malice and envy to exist in mankind; which was indeed less remarkable in a country parson, than in a gentleman who has passed his life behind the scenes--a place which has been seldom thought the school of innocence."]

[Footnote 16: Glout is an obsolete word signifying "to pout, to look sullen."]

[Footnote 17: Bellchambers suggests that these two persons were the Earl of Chesterfield and "Bubb Doddington." As to the former he is no doubt correct, but I cannot see a single feature of resemblance between the second portrait and Lord Melcombe. "The Laureat" says (p. 18) that the portraits were "L----d C----d and Mr. E----e" [probably Erskine]. Bellchambers seems to have supposed that "Bubb" was a nickname.]

[Footnote 18: "Set the table on a roar."--"Hamlet," act v. sc. 1.]

[Footnote 19: Ter. _Eun._ i. 1, 18.]

[Footnote 20: _Ars Poetica_, 126.]

[Footnote 21: In William Byrd's collection, entitled "Psalmes, Sonets, & songs of sadnes and pietie," 1588, 4to., is the song to which Cibber probably refers:--

"My Minde to me a Kingdome is."

Mr. Bullen, in his "Lyrics from Elizabethan Song-books" (p. 78), quotes it.]

[Footnote 22:

"And so many a time, When I have spoke of you dispraisingly, Hath ta'en your part."--"Othello," act iii. sc. 3.]

[Footnote 23: This is Gibber's first allusion to Pope's enmity. It was after the publication of the "Apology" that Pope's attacks became more bitter.]

[Footnote 24: Horace, _Epis._ ii. 2, 126.]

[Footnote 25: Charles II.'s flight from his Scottish Presbyterian subjects, at the end of 1650, to take refuge among his wild Highland supporters, was caused by the insolent invectives of the rigid Presbyterian clergymen, who preached long sermons at him, on his own wickedness and that of his father and mother, and made his life generally a burden.]

[Footnote 26: Hor. _Od._ iv. 12, 28.]

[Footnote 27: "Os homini sublime dedit."--Ovid, _Met._ i. 85.]

[Footnote 28: Cibber is pardonably vain throughout at the society he moved in. His greatest social distinction was his election as a member of White's. His admission to such society was of course the subject of lampoons, such as the following:--

"_The_ BUFFOON, _An_ EPIGRAM.

Don't boast, prithee _Cibber_, so much of thy State, That like _Pope_ you are blest with the smiles of the Great; With both they Converse, but for different Ends, And 'tis easy to know their Buffoons from their Friends."]

[Footnote 29: Arlington did not, however, die till the 28th July, 1685, surviving Charles II. by nearly six months.]

[Footnote 30: Cibber was appointed Poet-Laureate on the death of Eusden. His appointment was dated 3rd December, 1730.]

[Footnote 31: "Forsan et hæc olim meminisse juvabit."--Virg. _Æneid_, i. 207.]

[Footnote 32: As Laureate, and as author of "The Nonjuror," Cibber is bound to be extremely loyal to the Protestant dynasty.]

[Footnote 33: Curiously enough, Cibber's praise of his deceased companion-actors has been attributed to something of this motive.]

[Footnote 34: Bellchambers prints these words thus: "Lick at the Laureat," as if Cibber had referred to the title of a book; and notes: "This is the title of a pamphlet in which some of Mr. Cibber's peculiarities have been severely handled." But I doubt this, for there is nothing in Cibber's arrangement of the words to denote that they represent the title of a book; and, besides, I know no work with such a title published before 1740. Bellchambers, in a note on page 114, represents that he quotes from "Lick at the Laureat, 1730;" but I find the quotation he gives in "The Laureat," 1740 (p. 31), almost _verbatim_. As it stands in the latter there is no hint that it is quoted from a previous work, nor, indeed, do the terms of it permit of such an interpretation. I can, therefore, only suppose that Bellchambers is wrong in attributing the sentence to a work called "A Lick at the Laureat."]

[Footnote 35: The principal allusions to Cibber which, up to the time of the publication of the "Apology," Pope had made, were in the "Dunciad":--

"How, with less reading than makes felons 'scape, Less human genius than God gives an ape, Small thanks to France and none to Rome or Greece, A past, vamp'd, future, old, reviv'd, new piece, 'Twixt Plautus, Fletcher, Congreve, and Corneille, Can make a Cibber, Johnson, or Ozell." Second edition, Book i. 235-240.

"Beneath his reign, shall Eusden wear the bays, Cibber preside, Lord-Chancellor of Plays." Second edition, Book iii. 319, 320.

In the "Epistle to Dr. Arbuthnot" there were one or two passing allusions to Cibber, one of them being the line:--

"And has not Colley still his Lord and whore?"

for which Cibber retaliated in his "Letter" of 1742.

In the "First Epistle of the Second Book of Horace" (1737), Cibber is scurvily treated. In it occur the lines:--

"And idle Cibber, how he breaks the laws, To make poor Pinkey eat with vast applause!"]

[Footnote 36: Cibber's Odes were a fruitful subject of banter. Fielding in "Pasquin," act ii. sc. 1, has the following passage:--

"_2nd Voter._ My Lord, I should like a Place at Court too; I don't much care what it is, provided I wear fine Cloaths, and have something to do in the Kitchen, or the Cellar; I own I should like the Cellar, for I am a divilish Lover of Sack.

_Lord Place._ Sack, say you? Odso, you shall be Poet-Laureat.

_2nd Voter._ Poet! no, my Lord, I am no Poet, I can't make verses.

_Lord Place._ No Matter for that--you'll be able to make Odes.

_2nd Voter._ Odes, my Lord! what are those?

_Lord Place._ Faith, Sir, I can't tell well what they are; but I know you may be qualified for the Place without being a Poet."

Boswell ("Life of Johnson," i. 402) reports that Johnson said, "His [Cibber's] friends give out that he _intended_ his birth-day _Odes_ should be bad: but that was not the case, Sir; for he kept them many months by him, and a few years before he died he shewed me one of them, with great solicitude to render it as perfect as might be."

In "The Egotist" (p. 63) Cibber is made to say: "As bad Verses are the Devil, and good ones I can't get up to----"]

[Footnote 37: "Champion," 29th April, 1740: "When he says (Fol. 23) Satire is _angrily_ particular, every Dunce of a Reader knows that he means angry with a particular Person."]

[Footnote 38: Cibber's allusion to Pope's treatment of Addison is a fair hit.]

[Footnote 39: Juvenal, i. 79.]

[Footnote 40: Davies ("Dram. Misc.," iii. 511) says: "If we except the remarks on plays and players by the authors of the Tatler and Spectator, the theatrical observations in those days were coarse and illiberal, when compared to what we read in our present daily and other periodical papers."]

[Footnote 41: "_Frankly._ Is it not commendable in a Man of Parts, to be warmly concerned for his Reputation?

_Author [Cibber]._ In what regards his Honesty or Honour, I will make you some Allowances: But for the Reputation of his Parts, not one Tittle!"--"The Egotist: or, Colley upon Cibber," p. 13.

Bellchambers notes here: "When Cibber was charged with moral offences of a deeper dye, he thought himself at liberty, I presume, to relinquish his indifference, and bring the libeller to account. On a future page will be found the public advertisement in which he offered a reward of ten pounds for the detection of Dennis."]

[Footnote 42: "_Frankly._ It will be always natural for Authors to defend their Works.

_Author [Cibber]._ And would it not be as well, if their Works defended themselves?"--"The Egotist: or, Colley upon Cibber," p. 15.]

[Footnote 43: In his "Letter to Pope," 1742, p. 7, Cibber says: "After near twenty years having been libell'd by our Daily-paper Scriblers, I never was so hurt, as to give them one single Answer."]

[Footnote 44: "_Frankly._ I am afraid you will discover yourself; and your Philosophical Air will come out at last meer Vanity in Masquerade.

_Author [Cibber]._ O! if there be Vanity in keeping one's Temper; with all my Heart."--"The Egotist: or, Colley upon Cibber," p. 13.]

[Footnote 45: In his "Letter to Pope," 1742, p. 9, Cibber says: "I would not have even your merited Fame in Poetry, if it were to be attended with half the fretful Solicitude you seem to have lain under to maintain it."]

[Footnote 46: The best epigram is that which Cibber ("Letter," 1742, p. 39) attributes to Pope:--

"In merry Old England, it once was a Rule, The King had his Poet, and also his Fool. But now we're so frugal, I'd have you to know it, That Cibber can serve both for Fool and for Poet."

Dr. Johnson also wrote an epigram, of which he seems to have been somewhat proud:--

"Augustus still survives in Maro's strain, And Spenser's verse prolongs Eliza's reign; Great George's acts let tuneful Cibber sing; For Nature form'd the Poet for the King." Boswell, i. 149.

In "Certain Epigrams, in Laud and Praise of the Gentlemen of the Dunciad," p. 8, is:--

EPIGRAM XVI. _A Question by_ ANONYMUS.

"Tell, if you can, which did the worse, _Caligula_, or _Gr--n's_ [Grafton's] Gr--ce? That made a Consul of a _Horse_, And this a Laureate of an _Ass_."

In "The Egotist: or, Colley upon Cibber," p. 49, Cibber is made to say: "An _Ode_ is a Butt, that a whole Quiver of Wit is let fly at every Year!"]

[Footnote 47: "The Laureat" says: "The Things he calls Verses, carry the most evident Marks of their Parent _Colley_."--p. 24.]

[Footnote 48: _A Line in the Epilogue to the_ Nonjuror.]

[Footnote 49: This allusion to time shows that Cibber began his "Apology" about 1737.]

[Footnote 50: Fielding has many extremely good attacks on Cibber's style and language. For instance:--

"I shall here only obviate a flying Report ... that whatever Language it was writ in, it certainly could not be _English_.... Now I shall prove it to be _English_ in the following Manner. Whatever Book is writ in no other Language, is writ in _English_. This Book is writ in no other Language, _Ergo_, It is writ in _English_."--"Champion," 22nd April, 1740.

Again ("Joseph Andrews," book iii. chap. vi.), addressing the Muse or Genius that presides over Biography, he says: "Thou, who, without the assistance of the least spice of literature, and even against his inclination, hast, in some pages of his book, forced Colley Cibber to write English."]

[Footnote 51: In later editions the expression was changed to "She here outdid her usual excellence."]

[Footnote 52: "Decies repetita placebit."--Horace, _Ars Poetica_, 365.]

[Footnote 53:

"For instance: when you rashly think, No rhymer can like Welsted sink, His merits balanc'd, you shall find, The laureat leaves him far behind." Swift, _On Poetry: a Rhapsody_, l. 393.]

[Footnote 54: "_Frankly._ Then for your Reputation, if you won't bustle about it, and now and then give it these little Helps of Art, how can you hope to raise it?

_Author [Cibber]._ If it can't live upon simple Nature, let it die, and be damn'd! I shall give myself no further Trouble about it."--"The Egotist: or, Colley upon Cibber," p. 9.]

[Footnote 55: Young's second "Epistle to Mr. Pope."]

[Footnote 56: Indirectly surely, William of Wykeham being a priest.]

[Footnote 57: I am indebted to the courtesy of the Head Master of Winchester College, the Rev. Dr. Fearon, for the information that this statue, a finely designed and well-executed work, still stands over the door of the big school. A Latin inscription states that it was presented by Caius Gabriel Cibber in 1697.]

[Footnote 58: Bellchambers finds in this sentence "a levity, which accords with the charges so often brought against Cibber of impiety and irreligion;" and he quotes from Davies ("Dram. Misc.," iii. 506) two stories--one, that Cibber spat at a picture of our Saviour; and the other, that he endeavoured to enter into discussion with "honest Mr. William Whiston" with the intention of insulting him. Both anecdotes seem to me rather foolish. I do not suppose Cibber was in any sense a religious man, but his works are far from giving any offence to religion; and, as a paid supporter of a Protestant succession, I think he was too prudent to be an open scoffer. A sentence in one of Victor's "Letters" (i. 72), written from Tunbridge, would seem to show that Cibber at least preserved appearances. He says, "Every one complies with what is called the _fashion_--_Cibber_ goes constantly to _prayers_--and the Curate (to return the compliment) as constantly, when prayers are over, to the _Gaming table_!"]

[Footnote 59: By the kindness of a friend at Cambridge I am enabled to give the following interesting extracts from a letter written by Mr. William White, of Trinity College Library, regarding the statues here referred to: "They occupy the four piers, subdividing the balustrade on the east side of the Library, overlooking Neville's Court. The four Statues represent Divinity, Law, Physic, and Mathematics. That these were executed by Mr. Gabriel Cibber our books will prove. I will give you two or three extracts from Grumbold's Account Book, kept in the Library. He was Foreman of the Works when the Library was built. I think Cibber cut the Statues here. It is quite certain he and his men were here some time: no doubt they superintended the placing of them in their positions, at so great a height.

'Payd for the Carridg of a Larg Block Stone Given by John Manning to ye Coll. for one of ye Figures 01:00:00.'

'May 7, 1681. Pd to Mr Gabriell Cibber for cutting four statues 80:00:00.' '27 June. Pd to ye Widdo Bats for Mr Gabriel Cibbers and his mens diatt 05: 18: 11. Pd to Mr Martin [for the same] 12: 03: 03.'"

In connection with these statues an amusing practical joke was played while Byron was an undergraduate, which was attributed to him--unjustly, however, I believe.]

[Footnote 60: 5th November, 1688.]

[Footnote 61: Fielding, in "Joseph Andrews," book i. chap. I: "How artfully does the former [Cibber] by insinuating that he escaped being promoted to the highest stations in the Church and State, teach us a contempt of worldly grandeur! how strongly does he inculcate an absolute submission to our Superiors!"]

[Footnote 62: Fielding ("Champion," 6th May, 1740): "Not to mention our Author's Comparisons of himself to King _James_, the Prince of _Orange_, _Alexander the Great_, _Charles_ the XIIth, and _Harry_ IV. of _France_, his favourite Simile is a Lion, thus _page_ 39, we have a SATISFIED PRESUMPTION, that _to drive_ England _into slavery is like teaching_ AN OLD LION TO DANCE. 104. _Our new critics are like Lions Whelps that dash down the Bowls of Milk &c._ besides a third Allusion to the same Animal: and this brings into my Mind a Story which I once heard from _Booth_, that our Biographer had, in one of his Plays in a Local Simile, introduced this generous Beast in some Island or Country where Lions did not grow; of which being informed by the learned _Booth_, the Biographer replied, _Prithee tell me then, where there is a Lion, for God's Curse, if there be a Lion in_ Europe, Asia, Africa, _or_ America, _I will not lose my simile_."]

[Footnote 63: Lucretius, i. 102.]

[Footnote 64: John Dennis, in an advertisement to "The Invader of his Country," 1720, says, "'tis as easy for Mr. _Cibber_ at this time of Day to make a Bounce with his Loyalty, as 'tis for a Bully at Sea, who had lain hid in the Hold all the time of the Fight, to come up and swagger upon the Deck after the Danger is over."]

[Footnote 65: "Champion," 29th April, 1740: "When in _page_ 42, we read, _Beauty_ SHINES _into equal Warmth the Peasant and the Courtier_, do we not know what he means though he hath made a Verb active of SHINE, as in _Page_ 117, he hath of REGRET, _nothing could more painfully regret a judicious Spectator_."]

[Footnote 66: One of the commonest imputations made against Cibber was that he was of a cowardly temper. In "Common Sense" for 11th June, 1737, a paper attributed to Lord Chesterfield, there is a dissertation on kicking as a humorous incident on the stage. The writer adds: "Of all the Comedians who have appeared upon the Stage within my Memory, no one has taking (_sic_) a Kicking with so much Humour as our present most excellent Laureat, and I am inform'd his Son does not fall much short of him in this Excellence; I am very glad of it, for as I have a Kindness for the young Man, I hope to see him as well kick'd as his Father was before him."

I confess that I am not quite sure how far this sentence is ironically meant, but Bellchambers refers to it as conveying a serious accusation of cowardice. He also quotes from Davies ("Dram. Misc.," iii. 487), who relates, on the authority of Victor, that Cibber, having reduced Bickerstaffe's salary by one-half, was waited upon by that actor, who "flatly told him, that as he could not subsist on the small sum to which he had reduced his salary, he must call the author of his distress to an account, for that it would be easier for him to lose his life than to starve. The affrighted Cibber told him, he should receive an answer from him on Saturday next. Bickerstaffe found, on that day, his usual income was continued." This story rests only on Victor's authority, but is, of course, not improbable. There is also a vague report that Gay, in revenge for Cibber's banter of "Three Hours after Marriage," personally chastised him, but I know no good authority for the story.]

[Footnote 67: Cibber (1st ed.) wrote: "new Honours of Duke of _Devonshire_, Lord Steward," &c. He corrected his blunder in 2nd ed.]

[Footnote 68: See Macaulay ("History," 1858, vol. ii. p. 251).]

[Footnote 69: Davies ("Dram. Misc.," iii. 444) says: "Cibber and Verbruggen were two dissipated young fellows, who determined, in opposition to the advice of friends, to become great actors. Much about the same time, they were constant attendants upon Downes, the prompter of Drury-Lane, in expectation of employment."]

[Footnote 70: "The Laureat" states that Miss Santlow (afterwards Mrs. Barton Booth) was the actress referred to; that Captain Montague was her assailant, and Mr. Secretary Craggs her defender.]

[Footnote 71: See memoir of William Smith at end of second volume.]

[Footnote 72: See memoir.]

[Footnote 73:

"As where's that palace whereinto foul things Sometimes intrude not?"--"Othello," act iii. sc. 3.]

[Footnote 74: Captain Griffin was, no doubt, the Griffin who is mentioned by Downes as entering the King's Company "after they had begun at Drury Lane." This is of course very indefinite as regards time. Drury Lane was opened in 1663, but the first character for which we can find Griffin's name mentioned, is that of Varnish in "The Plain-Dealer," which was produced in 1674. At the Union in 1682, Griffin took a good position in the amalgamated company, and continued on the stage till about 1688, when his name disappears from the bills. During this time he is not called _Captain,_ but in 1701 the name of Captain Griffin appears among the Drury Lane actors. Genest says it is more probable that this should be Griffin returned to the stage after thirteen years spent in the army, than that Captain Griffin should have gone on the stage without having previously been connected with it. In this Genest is quite correct, for the anecdote of Goodman and Griffin, which Cibber tells in Chap. XII. shows conclusively that _Captain_ Griffin was an actor during Goodman's stage-career, which ended certainly before 1690. He appears to have finally retired about the beginning of 1708. Downes says "_Mr._ Griffin _so Excell'd in_ Surly. Sir Edward Belfond, _The_ Plain Dealer, _none succeeding in the 2 former have Equall'd him_, [nor any] _except his Predecessor Mr._ Hart _in the latter_" (p. 40). I have ventured to supply the two words "nor any" to make clear what Downes must have meant.]

[Footnote 75: The "Biographia Dramatica" (i. 87) gives an account of James Carlile. He was a native of Lancashire, and in his youth was an actor; but he left the stage for the army, and was killed at the battle of Aughrim, 11th July, 1691. Nothing practically is known of his stage career. Downes (p. 39) notes that at the Union of the Patents in 1682, "Mr. _Monfort_ and Mr. _Carlile_, were grown to the Maturity of good _Actors_." I cannot trace Carlile's name in the bills any later than 1685.]

[Footnote 76: Wiltshire seems to have been a very useful actor of the second rank. In 1685 he also appears for the last time.]

[Footnote 77: That Ben Jonson was an unsuccessful actor is gravely doubted by Gifford and by his latest editor, Lieut.-Col. Cunningham, who give excellent reasons in support of their view. See memoir prefixed to edition of Jonson, 1870, i. xi.]

[Footnote 78: Sir William Davenant was the son of a vintner and innkeeper at Oxford. It was said that Shakespeare used frequently to stay at the inn, and a story accordingly was manufactured that William Davenant was in fact the son of the poet through an amour with Mrs. Davenant. But of this there is no shadow of proof. Davenant went to Oxford, but made no special figure as a scholar, winning fame, however, as a poet and dramatist. On the death of Ben Jonson in 1637 he was appointed Poet-Laureate, and in 1639 received a licence from Charles I. to get together a company of players. In the Civil War he greatly distinguished himself, and was knighted by the King for his bravery. Before the Restoration Davenant was permitted by Cromwell to perform some sort of theatrical pieces at Rutland House, in Charter-House Yard, where "The Siege of Rhodes" was played about 1656. At the Restoration a Patent was granted to him in August, 1660, and he engaged Rhodes's company of Players, including Betterton, Kynaston, Underhill, and Nokes. Another Patent was granted to him, dated 15th January, 1663, (see copy of Patent given _ante,_) under which he managed the theatre in Lincoln's Inn Fields till his death in 1668. Davenant's company were called the Duke's Players. The changes which were made in the conduct of the stage during Davenant's career, such as the introduction of elaborate scenery and the first appearance of women in plays, make it one of the first interest and importance. (See Mr. Joseph Knight's Preface to his recent edition of the "Roscius Anglicanus.")]

[Footnote 79: Thomas Killigrew (not "Henry" Killigrew, as Cibber erroneously writes) was a very noted and daring humorist. He was a faithful adherent of King Charles I., and at the Restoration was made a Groom of the Bedchamber. He also received a Patent, dated 25th April, 1662, to raise a company of actors to be called the King's Players. These acted at the Theatre Royal in Drury Lane. Killigrew survived the Union of the two Companies in 1682, dying on the 19th of March, 1683. He cannot be said to have made much mark in theatrical history. The best anecdote of Killigrew is that related by Granger, how he waited on Charles II. one day dressed like a Pilgrim bound on a long journey. When the King asked him whither he was going, he replied, "To Hell, to fetch back Oliver Cromwell to take care of England, for his successor takes none at all."]

[Footnote 80: It is curious to note that this theatre, which occupied the same site as the present Drury Lane, was sometimes described as Drury Lane, sometimes as Covent Garden.]

[Footnote 81: Should be Lincoln's Inn Fields. Dorset Garden, which was situated in Salisbury Court, Fleet Street, was not opened till 1671.]

[Footnote 82: Genest (ii. 302) remarks on this: "How long this lasted does not appear--it appears however that it lasted to Queen Anne's time, as the alteration of 'Wit without Money' is dedicated to Thomas Newman, Servant to her Majesty, one of the Gentlemen of the Great Chamber, and Book-keeper and Prompter to her Majesty's Company of Comedians in the Haymarket." Dr. Doran in his "Their Majesties' Servants" (1888 edition,