discouraged, sat down, though much against his will. Whereupon these verses were made by a certain scholar.

At Christ Church Marriage done before the king,
Lest that those mates should want an offering,

The king himself did offer-What, I pray?
He offered twice or thrice-to go away.

Several witty copies of verses were made on the said comedy, among which was that of Peter Heylin, of Magdalen College, called "Whoop Holyday," which giving occasion for the making other copies pro and con, Corbet, dean of Christ Church, who had that day preached (as it seems) before the king, with his band starcht clean, did put in for one; for which he was reproved by the graver sort; but those that knew him well, took no notice of it, for they have several times said that he loved, to the last, boy's play very well.-Wood's Athen. Oxon.

THEATRE AT LIMA.

CAPTAIN Hall, in his "Journal of a Residence in Chili," says, "The Theatre, which was opened during the festivities upon the accession of the new Viceroy, was of rather a singular form, being a long oval, the stage occupying the greatest

part of one side, by which means the front boxes were brought close to the actors. The audience in the pit was composed entirely of men, and that in the galleries of women (a fashion, borrowed, I believe, from Madrid); the intermediate space being divided into several rows of private boxes. Between the acts, the Viceroy retires to the back seat of his box, which being taken as a signal, that he is to be considered as absent, every man in the pit draws forth his steel and flint, lights his segar, and puffs away, furiously, in order to make the most of his time; for when the curtain rises, and the Viceroy again comes forward, there can be no longer any smoking, consistently with Spanish etiquette. The sparkling of so many flints at once, which makes the pit look as if a thousand fire-flies had been let loose, and the cloud of smoke rising afterwards and filling the house, are little circumstances, which strike the eye of a stranger as being more decidedly characteristic, than incidents really important. I may add, that the gentlemen in the boxes all smoke on these occasions, and I once fairly detected a lady taking a sly whiff, behind her fan. The viceroy's presence or absence produces no change in the gallery aloft, where

the goddesses keep up an unceasing fire during the whole evening."

GARRICK'S EYE.

ON my first coming to town, about fifty years since, (says Dr. Burney,) I solicited a seat in Garrick's orchestra of Drury Lane Theatre. A musical friend kindly procured me an appointed interview with that little great man, at his house on the Adelphi Terrace. I had heard much of "Garrick's eye" at my dear native place, Exeter; even to a proverb, of course, and I was prepared to have my eye on him. On being announced, this immortal, dapper, and compact personage, glided down stairs like a sylph, into his sitting parlour facing the Thames. But what was that prospect at the moment, with all its grandeur, compared to the man in whose presence I fully felt myself to be? He was dressed neat, like what he was off the stage, always as a private gentleman, with a little black scratch wig, and a pair of green horn mounted spectacles to assist his vision. There was every gesture in him calculated to inspire confidence and even hope; but the green glasses were rolling on me. But they were only a pair of green spectacles, and no harm could

they do a poor professor of music,-an aspirant for favour and protection. I had no fear of being put on my moment of trial, for music was not David Garrick's forte, as I had heard: that department he confided to the Arnes, Arnolds, and Dibdins of the day.

Indeed, I felt more dans mon centre, on seeing this extraordinary personage, than before I entered the enchanted seat of the Muses and the Graces. After many polite, and easy questions, he concluded thus, on taking off his green glasses, "Why, I'll tell ye, Mr. B."-Gracious heavens, what a contrast!!! The glasses fell, but the eye rested! and such an eye as was surely equal to all Argus's hundred, that could penetrate into the centre of the earth.

His common conversation was inspiring, and his tone of voice melodious and flexible. I have ever considered this interview as an epoch in my long musical life.

Every muscle in his face was expressive of all he said and felt. I think the best off-the-stage likeness, and gentlemanly one, is that where he is contemplating his own dear Shakspeare's medal, as steward of the Stratford-upon-Avon jubilee. Every painter must have experienced

some difficulty in pourtraying this illustrious object of extreme admiration, for he ever seemed to me to vary in look (agreeable, or I may say, disagreeable) according to the subject on which he was reflecting or pronouncing. No man, perhaps, ever blended Nature and Art so happily, take him all in all. As I lived then in Great Queen Street, I often had the pleasure of seeing him, early in the morning, marching with firm step towards Lincoln's Inn Fields to meet the great Lord Camden, and they often encountered opposite my apartments. Oh, what a treat to have observed their mutual salutation!

Garrick, most undoubtedly, made the best setout of a little figure, for even his legs seemed to speak; and I remember, after his retirement to Hampton Court, seeing him come to town, strutting through the Strand on a wet day, in a large horseman's great coat, the very flaps and skirts of which seemed animated and in perpetual motion. But to have eyed him sitting in the orchestra of Drury Lane, on the debut of young Bannister (as it was then) anticipating every line and gesture, sometimes looking at his favourite élève, and sometimes giving a kind nod to his elegant friends in the dress boxes, in token