was always his
_mistress_.

He likewise excelled in many parts of genteel comedy; such as lord
Townly, Young Belville, &c. &c. The Bastard in King John, was another
fine character of his, which Garrick attempted in vain--having neither
sufficiency of figure, or heroic jocularity. To that may be added Sir
Callaghan O'Brallaghan, in Macklin's farce of Love-a-la-Mode; a part in
which he gave such specimens of the gallant simplicity and integrity of
the _Irish gentleman_, as were sufficient to establish an independent
reputation.

Though his Hamlet, Richard, Lear, Macbeth, &c. were _star height_ above
what we see now, he lost by a comparison with Garrick. Here the latter
showed the _master_ in an uncommon degree; as he did in all the quick
animated parts of tragedy. In the spritely, light kind of gentlemen,
Garrick had likewise the advantage; and in the whole range of low comedy
he blended such a knowledge of his art with the simplicity of nature as
made all the minutiae of the picture complete. Thus his _Abel Drugger_
was as perfect in design and colouring as the miseries and distresses of
_Royal Lear_.

In talking of these actors, it is impossible for the _amateurs_ of the
stage not to regret their loss with some degree of sensibility--not only
as men who contributed to the entertainment and refinement of their
youth, but whose death seem to threaten a decay of the profession
itself. There are periods when the arts and sciences seem to mourn in
sullen silence the departure of those original geniuses, who, for
years, improved, exalted and refined them; and, like widows, whose
hearts were sincerely pledged to their first lords, will not sacrifice
on the altar of affectation to _secondary wooers_. Painting and statuary
suffered such a loss in the deaths of Titian, Raphael, and Michael
Angelo, that more than two centuries have not been able to supply it;
and how long the _present stage_ may want the aid of such powerful
supporters as _Garrick_ and _Barry_, the experience of near thirty years
holds out but very little hopes of encouragement.

To this admirable description as true as it is eloquent, we subjoin the
following extracts from the old Dramatic Censor of England.

* * * * *

Speaking of Castalio in _The Orphan_, he says, "His circumstances give
great scope for the exertion of various capital powers, which were
amazingly well supplied in the elegant figure, bewitching voice, and
e