of condemnation-He could boast that, during a seven years' probation, his most endurable dramatic bantling was a melo-drama, that set every body to sleep. He wore a silver catcall at his button-hole, and expressed his hopes that he should grow more stupid as he grew older; and that, some night, if the acting was as intolerable as the dialogue, he should have to boast of the people in the pit tearing up the benches, and trying what was the thickness of skull possessed by acting managers.

CAPRICE OF GABRIELLI.

THE Viceroy of Sicily once invited the famous Gabrielli, (during her engagement at Palermo,) to a dinner given to the principal nobility. As she did not appear at the hour appointed, a messenger was sent to say, that the company waited for her. She was found reading in bed. She desired the messenger to make her excuses, and to say, that she really had forgotten her engagement. His Excellency was willing to overlook this impertinence, but when he repaired, in the evening, with his guests, to the Opera, Gabrielli played her part with the utmost negligence, and sang all her airs in an under tone. The Viceroy, who was passionately fond of music, threatened

to punish her. She became more obstinate, and declared that they might make her cry, but they never should make her sing. His Excellency, at this declaration, grew enraged, and actually sent her to prison for twelve days. During this time, she gave sumptuous repasts, paid the debts of the poor prisoners, and distributed large sums in charity. The Viceroy was obliged to give way, and she was, finally, set at liberty, amidst the acclamations of the poor, whom she had relieved.

With Gabrielli in some degree we sympathize, because her punishment was absurd, and she was the wonder of the age she lived in. It is only when similar airs are assumed by artists of second or third rate importance, that they become ridiculous and contemptible.

ROYAL THEATRICALS.

THE princes of the House of Brunswick have generally been partial to theatrical entertainments. George II. frequently visited the theatres, notwithstanding the imperfect knowledge which he had of the English language prevented his enjoying the beauties of the drama, as much as he otherwise might have done. This monarch was at Drury Lane Theatre, when the Culloden despatches were presented to him from the Duke

of Cumberland, his darling son. The instant his Majesty had opened them, and collected the substance of the contents, he started up, while the tears streamed from his eyes, and in some glorious ejaculation, thanked his God, and announced the victory. Garrick immediately caught the transporting sound. The orchestra, by his orders, struck up "God save Great George our King," and the whole audience, in rapturous enthusiasm, joined the chorus.

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Prince Frederick of Wales possessed a taste similar to his father, and was very fond of instructing his children, at an early age, to repeat moral speeches out of plays; and, with this view, he desired Mrs. Devenish, whose first husband was Mr. Rowe, the poet, to have a correct edition of Rowe's works printed, which that lady accordingly did. The press was corrected, and the dedication was written, by Mr. Newton, afterwards Bishop of Bristol.

While his family were still very young, the prince had plays at Leicester House, in which the children of his Royal Highness sustained the principal characters. These were under the direction of the celebrated Quin; and it was in reference to the instructions he then gave Prince

George, that, on hearing of the graceful manner in which he delivered his first speech from the throne, he exclaimed, with pride and exultation, "Ah, I taught the boy to speak."

On the 4th of January, 1749, the children of his Royal Highness, with the aid of some of the juvenile branches of the nobility, performed the tragedy of "Cato," before their royal parents and a numerous audience of distinguished personages. The following were the dramatis persone on this interesting occasion :

Previous to the rising of the curtain, Prince George, then eleven years of age, came forward, and delivered an appropriate prologue. After the tragedy, Prince Edward delivered a clever epilogue, which concluded this juvenile histrionic display.

JAMES MILLER.

JAMES MILLER, a dramatic writer, who died in 1744, was the author of ten plays, three of which were performed for thirty nights each in succession; yet he was left to starve, unless he would purchase competence at the price of his independence, which he nobly refused.

THE ROASTED GHOST.

WHEN Garrick performed in Goodman's-fields, the stage was what might be called a rapid descent to the pit, and was very difficult to walk on. As fate would have it, it was the practice of all the ghosts to appear in real armour. The dress for this most august personage had, one night, in honour of Garrick's Hamlet, been borrowed from the Tower, and was somewhat stiff, partaking of the nature of its material. The moment the King of Denmark was put up from the stage door, unable to keep his balance, he rolled down to the lamps, where he lay confined in fires somewhat too lasting, until a wag, in the pit, drew the attention of the other performers to the pitiable object, by crying out, "The ghost will be burned,"