beautiful attributes the lack of which was just as unfortunate for the singer fifty years ago, as it is to-day. This was not her first visit to Albany. The Advertiser says:

Madame Feron, some years since, gave a concert in this city, as she was passing through. There happened to be a party given the same evening, at some house or other, where the attraction was not greater than usual, and where parties were quite frequent. But our "musical" friends all went off in a body to eat ice cream and oysters, and Madame Feron, who had charmed the connoisseurs of Naples and the amateurs of London, sang some of her most admired songs to exactly seventeen persons! We really wonder at her venturing to the "little Dutch furnace," after a brilliant engagement at the Bowery theatre, and the nightly congregation of a crowded auditory.

The receipts the first night were $71, and the second night, for her benefit, $125.25. Miss Stannard now joined the company. The season closed January 8th, 1831, after the appearance of a number of stars, of whom we have previously spoken. The receipts for the eighty nights on which there were performances, amounted to $5,529.75, and an average of $69.12 per night.

The Museum was removed from its old quarters, and was opened on the first of January, 1831, in the new building, corner of State and Market streets, and, was a consolidation of Trowbridge's collection, corner of Hudson and Market streets, known as the New York State museum, and the Troy museum, all under the management of Vanderwater & Meech. The building was owned by Thorp & Sprague, the stage proprietors. A new drop scene was painted by J. Leslie. The Cosmorama and Phantasmagora were exhibited every evening. Yearly family tickets, $10; single gentlemen, $3; quarter tickets, $1.25.

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CHAPTER XIII.

1831-1833.

The South Pearl Street Theatre under Duffy & Forrest.

HE Albany theatre re-opened January 17th, 1831, under the same management, and with substantially the same company. February 10th, Mr. Duffy played Virginius for the first time, scoring a great success. On the 14th of March, Mr. William Forrest took a benefit, for which this appeal was made:

Mr. Forrest begs leave to impress upon the memory of his friends and the public, this notorious fact, that his benefit is fixed for Monday, 14th inst. He would likewise intimate to both houses of the Legislature, the propriety of deferring their debate on the "Troy bridge" and the "abolishment of imprisonment for debt," until this event has transpired, as the ice is about being cleared away, and will enable his Troy friends to cross the river by the horse boat; and when "imprisonment for debt" is abolished, there will be no need of his taking "the benefit"; he therefore submits to their consideration the following:

Resolved, That both houses adjourn on Monday next, at the usual hour, to meet again at 7 o'clock in the evening, at the theatre.

Mr. F. considers himself justified in devoting a small space to his "brethren of the type," and requesting them to distribute their sorts in his boxes, as nothing could be more grateful than to see full cases, and a press on this occasion. He likewise trusts that the modesty of these appeals may be no impediment to his success, but rather be a flambeau to his merit; for as Jack Falstaff says, "every man must labor in his vocation."

On Monday evening, 14th March, will be presented the grand melo-drama (which has been some time in preparation) of "Abellino the Great Bandit, or the Bravo of Venice," with a variety of songs and dance. Mr. Duffy (by request), will recite the "Debates on the Troy Bridge," rendered in verse by "a gentleman of the assembly," and recited by him with great success.

The receipts were $141.873. Among the novelties now presented were "New York and London," in which a diorama of the Hudson river was introduced; "The Shepherd Boy of Milan," translated from the French by Turnbull; Byron's tragedy of " Werner," as adapted by Mr. Macready (title role acted by Mr. Barton). May 25th, Edwin Forrest began an engagement in "Macbeth" (receipts $151.75), and also played Rolla ($175), William Tell and Carwin, in "Therese, the Örphan of Geneva" ($253), Metamora ($229) and for his benefit, Caius Marius ($234.25). The next night the stock company played " Maid and Magpie " and "Bombastes Furioso," to $9.87. "Caius Marius" was one of the prize plays, which eventually proved a failure.

On the 8th of June, Mrs. Gilfert, the old favorite, appeared as Juliana, in "The Honeymoon," but though supported by the veteran Cooper, failed to attract. Her husband was dead, and she had been trying to support herself teaching school. Failing in this, she was induced to return to the stage, but without success. Cooper, once unrivalled, was also now unable to draw even paying houses. The opening performance was to only $32.37, while the next night, Mademoiselle de Jick, a trick elephant from Siam, played to nearly three times as much money. On the 14th, the elephant took a benefit; receipts, $64.50. We next notice one of the most remarkable engagements of the year, that of the Irish prodigy, Master Burke. Joseph Burke was born in Dublin, in 1818, the son of a doctor, a gentleman of good family, who was induced by the wonderfully precocious development of his child's musical and mimetic abilities, to allow him to appear at the Dublin Theatre Royal, in May,

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1824. As a prodigy in both music and the drama, he has been unapproached, except, perhaps, by Clara Fisher. He made his American debut November 22d, 1830, at the Park theatre, New York, with instantaneous success, his nine nights of performance attracting houses averaging $1,200 each. He appeared in Albany first, on June 20th, 1831, being, at this time, thirteen years old. The first night he played Young Norval, in "Douglas," and Terry O'Rourke, in "The Irish Tutor," between the plays leading the orchestra in the overture to "Guy Mannering." The next night, 'Speed the Plough" was played, with Master Burke as Sir Abel Handy and as Looney McTwolter, in “The Review." The third night he played Shylock and Jerry (in "Whirligig Hall"), and led the overture to the "Caliph of Bagdad: on the fourth night, Doctor Ollapod, in "The Poor Gentleman," and Tristram Fickle, in "The Weathercock;" on the fifth night, Doctor Pangloss and Crack, and for his benefit, Romeo. The receipts for these six performances amounted to $1,568.25, of which $521 was taken on the benefit night. It is said of young Burke, that his readings were always discriminating and forcible, and entirely free from the drilled mannerisms of most child actors, and that all his attitudes and gestures were easy, striking and appropriate. His performance of Richard, Shylock and Sir Giles was so good that none sneered at the absurdity of a child's assuming such characters, while his comedy, especially in Irish parts, was so full of genuine humor, that he never failed to convulse his audience with laughter, his rich native brogue contributing not a little in such parts as the Irish tutor. He was also a violin player of great brilliancy and precision. Stone says: "After witnessing young Burke's remarkable delineations of character at night, and on, the next day, meeting the boy in the street, cutting up all sorts of boyish pranks, rolling his hoop, flying his kite, playing marbles, etc., utterly regardless of the remarks as well as astonishment of the passing crowd, and apparently unconscious of the enviable and important

position he occupied in the world, one could hardly realize that this was really the young Roscius, Master Burke."

He was engaged for three additional nights, and played Dennis Brulgruddery, Richard III, and Hamlet, but the receipts fell off strangely, amounting, respectively, to only $70.50, $84.25, and $100.25. This may be accounted for by the fact that the rumor got abroad among the young Irishman's countrymen that his father had made remarks disrespectful to O'Connell, and they attempted to resent the insult by getting up a demonstration against the son. There was quite a disturbance, and the "watch" had to be called in to eject the leaders from the theatre.

Burke's success throughout the country was phenomenal. In Boston, "balls and parties, sleigh-rides and social gatherings, were dispensed with. The theatre was the centre of the fashionable and literary world, and the boxes were filled to their utmost capacity." For several seasons he proved attractive, but his popularity waning, he revisited Europe and studied music thoroughly under the best masters. He appeared on the stage at Wallack's National as late as 1839, and afterwards devoted himself entirely to music. He assisted in the entertainments of Jenny Lind, Jullien and Thalberg. He afterwards studied law, and for several years resided just out of Albany, on the Troy road, and was a leader of a musical association. He no longer cares to revive the memories of these, his most famous days, as will be seen by the following letter: BATAVIA, New York, June 30th, 1879.

Mr. H. P. Phelps:

DEAR SIR: There is nothing of any possible interest in the way of personal incident or reminiscence, during my residence in Albany, that I recollect, to furnish you with. Perhaps some of "those who still remember me" may, but I doubt it. Respectfully yours, Jos. BURKE.

Mr. Burke passes the summer on his farm, near