like which those in power had to dramatic entertainments, had intereft enough to have these permitted. They confifted of declamation and mufic. The words were of his own compofition, and may be found in his works; the Music by Coleman and Laws, two eminent masters, and were performed at Rutlandhouse after tolerable fuccefs there, he removed to the Cock-pit in Drury-lane. One of them entitled, "The cruelty of the Spaniards in Peru, expreffed by vocal and inftrumental Music, and by art of perspective in Scenes, reprefented daily at the Cock-pit in Drury-lane, at three in the afternoon punctu ally, 1658." This is faid to have been read and approved of by Cromwell; as it contained fome severe strokes on the Spaniards, with whom he was at variance.

When the gloom of civil diffention was cleared up, Monarchy and the Stage were reftored together. The scattered remnants of fix Play-houses, which had fubfifted in Charles I's time, were then formed into one company, and acted for the first time at theRed bull Play-house, in St. John's street, They afterwards built another

other in Clare-street, Clare-market, in both which places they acted from 1660, to 1663.

About this time, Mr. Thomas Killigrew obtained a patent from the King for erecting a company of Comedians, who were thenceforwards called his Majefty's Company of Comedians, and acted under Mr. Killigrew's directions at Drury-lane.

Previous to this, in 1659, Mr. Rhodes, a Bookfeller at Charing-crofs, who had been formerly Wardrobe-keeper to King Charles I's Comedians in Black-friars, had obtained a licence to set up a company of Players at the fame place. Those celebrated Actors, Betterton, and Kynafton (who were his apprentices) performed at this Theatre; the former in men's, the latter in women's parts. And Sir William Davenant having obtained a patent for erecting a company, under the title of the Duke of York's company, took Mr. Betterton, and all that remained of Mr. Rhode's company into it. In 1663, he opened his Theatre in Lincoln's-inn-fields with a Tragedy of his own writing, called The Siege of Rhodes, where the Stage was first improved

by Scenery. Both these companies were under the patronage of the King and Duke, and greatly encouraged by the Public. By a private agreement, these companies were never to act the fame Play at both houses, which must have added greatly to the entertainment of the town. But Davenant finding that Killigrew's company had better performers, and met with greater fuccefs, was refolved to rival them by feafting the eye and ear, independent of the understanding. Dramatic Operas were now for the first time introduced; and in them were united all the elegancies of Mufic and Painting.

Downes tells us, this company continued acting at Lincoln's-inn-fields till 1671; but this Theatre not proving fufficiently commodious, they built a very elegant one in Dorfet. garden. Mr. Betterton, while this Theatre was building, went over to France, by the direction of King Charles II. to take a view of their Scenery and Machinery; and on his return very much improved the English Stage in both. These expensive decorations obliged Sir William from that time to raise the prices of admittance. The boxes, which were formerly but half a crown, he raised to four fhil

lings; the pit from eighteen pence to half a crown; the first gallery from a fhilling to eighteen pence; and the upper gallery from fixpence to a fhilling.

The principal Actors in Killigrew's com pany growing old, and the audiences de clining, the two companies united in 1686,

The Actors of Killigrew's company were as follow: The famous Mr. Lacy, (who was an excellent low Comedian, and fo pleafing to King Charles II. that he had his picture drawn in three feveral characters, which are now at Windíor; his principal character was Falstaff,) Bird, Buft, Cartwright, Clun, Shatterell, Kynafton, Winterfel, Griffin, Goodman. The women were, Mrs. Marshall, Uphill, James, Rutter, Knight, Bootel, and the celebrated Nell Gwin. In Mr. Rhodes's company were Betterton, Sheppy, Lovel, Underhill, R. Noakes, Turner, Dixon; and the following men performed women's parts, viz. Kynafton, J. Noakes, Wm. Betterton, Angel Mofely, Floyd, &c. To this company Sir Wiliam Davenant added Harris Price, Richards, Smith, Blayden, Sandford, Med

bourne,

bourne, Young, Norris; and women, Mrs, Davenport, Saunderfon, Davis, Long, Gibbs, Norris, Holden, and Jennings.

It is somewhat furprising, that till this time women were never brought upon the Stage. Had there been a Cibber or Pritchard in those days, we might have expected that their inimitable performances would have excited the authors to draw their female characters in a more extenfive manner, which would have added greatly to the excellence of the Drama.

CHA P. VII.

Of the most eminent British Altors from Queen Elizabeth's time to the Reftoration.

S the materials we are furnished with, relative to thefe old theatrical worthies, are fo few and imperfect, it cannot be expected an exact character can be given either of their excellencies or imperfections; and, had it been customary with the first dramatic authors, to annex the Player's names to the parts they performed, we might form a tolerable judgment of them. It would