age of forty-eight, and I wish she had left some portion of her fortune to her celebrated but impoverished father.

Miss Macklin reminds me of Miss Barsanti, the original Lydia Languish, whose course on the London stage dates from 1777. The peculiarity of Miss Barsanti,-a clever imitator of English and Italian singers,-was the opposite of that which distinguished Miss Macklin. She had registered a vow that she would never assume male attire; nevertheless, she was once cast for Signor Arionelli, in the "Son-in-Law," a part originally played by Bannister. This was after her retirement from London, and when she was Mrs. Lisley,-playing in Dublin. The time of the play is 1779, but the actress, who might have worn a great-coat, if she had been so minded, assumed-for a music-master of that period, in London, the oriental costume of a pre-Christian, or of no, period, worn by Arbaces, in Artaxerxes!

Miss Barsanti was an honest woman who, on becoming Mrs. Lisley, wished to assume her husband's name, but that gentleman's family forbade what they had no right to prohibit. Her second husband's family was less particular, and in theatrical biographies, she is the Mrs. Daly, the wife of the active Irish manager, of that name; who is forever memorable as being the only Irish manager who ever realized a fortune, and took it with him into retirement.

There remain to be noticed, before we pass to the Siddons period, several actresses, of higher importance than the above ladies, as well as actors, whose claims are only second to those of Macklin.

CHAPTER XV.

A BEVY OF LADIES;-BUT CHIEFLY, MRS. BELLAMY, MISS FARREN, MRS. ABINGTON, AND "PERDITA."

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A DOZEN more of ladies, all of desert, and some of extraordinary merit, passed away from the stage during the latter portion of the last century. Mrs. Green, Hippisley's daughter, and Governor Hippisley's sister,-the original Mrs. Malaprop, and, but for Mrs. Clive, the first of petulant Abigails, finished, in 1779, a public career which began in 1730. In the same year, but after a brief service of about eight years, Mason's Elfrida and Evelina, the voluptuous Mrs. Hartley, in her thirtieth year, went into a retirement which she enjoyed till 1824. She was "the most perfect beauty that was ever seen,"-more perfect than "the Carrara,"

who was "the prettiest creature upon earth." Her beauty, however, was of feature, lacking expression, and though an impassioned, she was not an intelligent actress, unless her plunging her stage-wooers into mad love for her be a proof of it. No wonder, had Smith only not been married, that he grew temporarily insane about this young, graceful, and fair creature.

Then, from the London stage, at least, fell Mrs. Baddeley, at the end of the season, 1780-81. She was a pretty actress with a good voice, and so little love for Mr. Baddeley and so much for George Garrick, that a duel came of it. The parties went out, to Hyde Park, on a November morning of 1770. Baddeley was stirred up to fight Davy's brother, by a Jewish friend, who, being an admirer of the lady, wanted her husband to shoot her lover! The two pale combatants fired anywhere but at each other, and then the lady rushed in, crying "Spare him!" without indicating the individual! Whereupon, husband and friend took the fair one, each by a hand, and went to dinner; and the married couple soon after played together in "It's Well it's no Worse!"

But worse did come, and separation, and exposure, and Memoirs

to brighten Mrs. Baddeley, which, like those of Mrs. Pilkington, only blackened her the more. She passed to country engagements, charming audiences for a while with her Polly, Rosetta, Clarissa, and Imogen, till laudanum, cognac, paralysis, and small sustenance, made an end of her, when she had lost every thing she could value, save her beauty.

The third departure was of as mad a creature as she, Miss Catley-the Irish songstress, all smiles and dimples, and roguish beauty; who loved, like Nell Gwyn, to loll about in the boxes, and call to authors that she was glad their play was damned; and to ladies, to stand up that she might look at them, and to display the fashion of her dress, which those ladies eagerly copied. Her "Tyburn top," which she wore in Macheath, set the mode for the hair for many a day; and to be Catley-fied was to be decked out becomingly.

A more illustrious pair next left the stage more free to Mrs. Siddons, or her coming rendered it less tenable to them; namely, Mrs. Yates, and George Anne Bellamy-the former appearing for the last time for the benefit of the latter. More than thirty years before, as Mrs. Graham, young, fat, and weak-voiced, she failed in Dublin. In 1753-4, she made almost as unsatisfactory a début at Drury Lane, in a new part, Marcia, in "Virginia," in which she only showed promise. Richard Yates then married and instructed her, and she rapidly improved, but could not compete with Mrs. Cibber, till that lady's illness caused Mandane ("Orphan of China") to be given to Mrs. Yates, who, by her careful acting, at once acquired a first-rate reputation. In the classical heroines of the dull old classical tragedies of the last century, she was wonderfully effective, and her Medea was so peculiarly her own, that Mrs. Siddons herself never disturbed the public memory of it, by acting the part.

When Mrs. Cibber died in 1765, Mrs. Yates succeeded to the whole of her inheritance, some of which was a burden too much for her; but she kept her position, with Mrs. Barry (Crawford) for a rival, till Mrs. Siddons promised at Bath to come and dispossess both. Mrs. Yates recited beautifully, was always dignified, but seems to have wanted variety of expression. With a haughty mien, and a powerful voice, she was well suited to the strong

minded heroines of tragedy; but the more tender ladies, Desdemona or Monimia, she could not compass. To the pride and violence of Calista she was equal, but in pathos she was wanting. Her comedy was as poor as that of Mrs. Siddons; her Jane Shore as good; her Medea so sublime as to be unapproachable. I suspect she was a little haughty; for impudent Weston says in his will: "To Mrs. Yates I leave all my humility!"

In one character of comedy she is said, indeed, to have excelled -Violante, in the "Wonder," to the playfulness, loving, bickering, pouting, and reconciliations, in which her "queen-like majesty" does not seem to have been exactly suitable. Her scorn was never equalled but by Mrs. Siddons, and it would be difficult to determine which lady had the most lofty majesty. In passion, Mrs. Yates swept the stage as with a tempest; yet she was always under control. For instance, in Lady Constance, after wildly screaming

"I will not keep this form upon my head,
When there is much disorder in my wit"-

she did not cast to the ground the thin cap which surmounted her head-dress, but quietly took it from her head, and placed it on the right side of the circumference of her hoop! Mrs. Yates died in 1787.

George Anne Bellamy is unfortunate in having a story, which honest women seldom have. That pleasant place, Mount Sion, at Tunbridge Wells, was the property of her mother, a Quaker farmer's daughter, named Seal, who, on her mother falling into distress, was taken by Mrs. Gregory, the sister of the Duke of Marlborough, to be educated.

Miss Seal was placed in an academy in Queen's Square, Westminster, so dull a locality, that the rascally Lord Tyrawley had no difficulty in persuading her to run away from it, in his company, and to his apartments, in Somerset House. When my lord wanted a little change, he left Miss Seal with her infant son, and crossed to Ireland to make an offer to the daughter of the Earl of Blessington. She was ugly, he said, but had money; and when he got possession of both, he would leave the first, and bring the latter with renewed love, to share with Miss Seal.

The lady was so particularly touched by this letter, that she sent it, with others, to the Earl, who, rendered angry thereat, forbade his daughter to marry my lord, but found they were married already. Tyrawley hoped thus to secure Lady Mary Stewart's fortune; but discovering she had none at her disposal, he naturally felt he had been deceived, and turned his wife off to her relations. Having gone through this amount of villany, King George thought he was qualified to represent him at Lisbon, and thither Lord Tyrawley proceeded accordingly.

He would have taken Miss Seal with him, but she preferred to go on the stage. Ultimately she did consent to go; and was received with open arms; but she was so annoyed by the discovery of a swarthy rival, that she listened to the wooing of a Captain Bellamy, married him, and presented him with a daughter with such promptitude, that the modest captain ran away from so clever a woman and never saw her afterwards.

Lord Tyrawley, proud of the implied compliment, acknowledged the little George Anne Bellamy, born on St. George's day, 1733, as his daughter. He exhibited the greatest care in her education. He kept her at a Boulogne convent from her fifth to her eighth year, and then brought her up at his house at Bexley, amid noble young scamps, whose society was quite as useful to her as if she had been at a "finishing" school.

Lord Tyrawley having perfected himself in the further study of demi-rippism, went as the representative of England to Russia, leaving an allowance for his daughter, which so warmed up her mother's affections for her, that George Anne was induced to live with her, and George Anne's mother hoped that her annuity would do so too; but my lord, having different ideas, stopped the annuity, and did not care to recover his daughter.

The two women were destitute; but the younger one was very youthful, was rarely beautiful, had certain gifts, and, of course, the managers heard of her. She had played Miss Prue for Bridgewater's benefit, in 1742, and gave promise. In 1744, Rich heard her recite, and announced her for Monimia. Quin was angry at having to play Chamont to "such a child;" but the little thing manifested such tenderness and ability, that he confessed she was charming. Lord Byron thought so too, and carried her off in his