that could be expected. Kemble had resigned, as King had done before him-Miss Farren threatened retirement altogether. Such was the fate of the Grand National Theatre, under the auspices of the most brilliant genius of his time.

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CHAPTER XIII.

Mr. Colman and the re-opening of his Iron Chest-Season of 1796-7-The losses of Drury; Parsons, Dodd-The latter excellent in Old Winterton-Contrasted with FawcettWroughton appointed stage manager-Mrs. Jordan and her salary-Ballet-Miss Parissot and the Triumph of LoveMadame Hilligsberg, an Atalanta in running-Dowton recommended by Cumberland-An admirer before of Mr. Henderson-Garrick's prejudice-Deficiencies of the company-Revivals-Jephson's Conspiracy-The force of ridicule Miss Farren contumacious-New comedy postponed-Miss Farren's return and triumph-Play destroyed -The Shipwreck-The Operatic Honeymoon-Friend in Need -New Imogen-Miss Farren's retirement to a coronetMrs. Pope's death and character-The Author becomes acquainted with Mrs. Jordan-In the distress of Drury Lane house, Reynolds writes for Mrs. Jordan-Cumberland's behaviour at the exhibition of the Will-Mrs. Jordan's Albina, and her Seven Ages of Woman-Dido, and My Night Gown and Slippers-Prince Hoare at Covent Garden-The Tatlers, by Dr. Hoadly-Miss Mansell-Fanny Alworthy-The benefit of Mrs. Siddons on the wedding day of Miss FarrenHer uncommon selection-Fatal Curiosity-Wedding Day— Deuce is in Him-Mrs. Jordan's aid-Cumberland's Last of

the Family-Mrs. Jordan acts at Covent Garden for Mr. Haymes-and also for the Widows and Orphans on the Victory of Feb. the 14th.-A full contrast to the selfish of her profession.

THE summer season of 1796 at the Haymarket was devoted by Mr. Colman to the revival of his own fame, which suffered a severe wound at the great theatre, that could only be medicated by a more successful treatment at the small one. The Bath theatre on many occasions had the praise of supplying, like its waters, to the salubrity of the metropolis. On the disaster attending his Iron Chest, Mr. Colman looked round him for the means of ensuring its triumph at the Haymarket, and he heard enough of Elliston, then a young man, as to his energy and powers of voice, to think that he might chance to receive in him the peculiar aid he required.

He tried him first in Octavian, and in full confidence of his talent, Elliston chose to act Vapour after it, in the farce of My Grandmother. Every support that could be given to the new performer on this trial was given; it is, however, but justice to acknowledge that he exceeded all late adven

turers in promise, and much as he has done in the profession, I confess I think the 25th of June, 1796, augured a great deal more. His countenance was not such an index as Kemble's, and he could not assume the languor of disappointed love. In the picturesque forms of the character he, and all men, were thrown to an immeasurable distance by Kemble, who had a person that far transcended competition.

Mr. Elliston repeated Octavian on the 28th, and on the 1st of July; and the experiment having completely answered, Mr. Colman turned his attention at once to Sir Edward Mortimer, and gave the docile tragedian the full advantage of the author's instructions. Elliston, to use his own phrase to me, had tried with the great actor "the strength of his youth" in Octavian. In Sir Edward he had nothing to fear; if he raised the character, he had every thing to hope, from his manager's gratitude, and the comparison that would be made by the public. At length, on the 29th of August, after rehearsals carefully attended, and all tediousness in the dialogue and action pared away, the Iron Chest was produced at the Little Theatre, and received

with sufficient applause. It was acted thirteen times in the remainder of the short Haymarket

season.

Among the summer attractions Cumberland produced a Spanish incident called Don Pedro, with the cognomen Il Diabolo, and Palmer might have fancied himself once more at the Royalty; but it did not outlive its third night, and was not above the ordinary sale-work of the stage, without its allatoning machinery, scenes, and splendid decorations.

The opening of Drury Lane season 1796-7, under an inefficient direction and a discontented company, had yet other difficulties, the infliction of time. When Garrick quitted the stage Mrs. Clive amused herself with anticipating the failure of his puppets, when the master hand no longer pulled the wires. She ascribed to his instruction all that was good upon his stage, and, left to themselves, she thought the best of them but sorry artists. But the momentum which he had given to his company had been powerful, and in the right direction; and as there was little to oppose them, they kept their individual course correctly, and preserved the harmony of the system on which they depended.