has hitherto escaped the popular clamour pretty well: the immense fortune that is come into his family by the death of old Wortley Montague has added much to his consequence, and made him be looked upon as more of an Englishman, at least they can no longer call him a poor Scot.
His wife was created a peeress of Great Britain at the same time that Mr. Spencer, Mr. Doddington, Sir Richard Grosvenor, Sir Nat. Curzen, Sir Thomas Robinson, and Sir William Irby were created peers. He has married his eldest daughter to Sir James Lowther and is himself, from being Groom of the Stole, become Secretary of State–Lord Holderness being removed with very little ceremony indeed, but with a pension, to make room for him. He and Mr. Pitt together have made good courtiers of the Tories; Lords Oxford, Litchfield, and Bruce, being supernumerary lords, and Norbonne Berkeley, Northey, and I think George Pitt, supernumerary Grooms of the Bedchamber. Sir Francis Dashwood is Treasurer of the Chamber, in the room of Charles Townshend, who was made Secretary at War upon Lord Barrington's succeeding Mr. Legge as Chancellor of the Exchequer. Lord Talbot, who is in high favour, is Steward of the Household, and with his usual spirit has executed a scheme of economy, which, though much laughed at at first, is now much commended. They made room for him upon Lord Bute's being made Secretary, at which time Lord Huntingdon was made Groom of the Stole, and succeeded as Master of the Horse by the Duke Rutland, who was before Steward of the Household. Thus have I concluded this series of removals, which was first begun, after the old King's death, by Lord Bute's being Groom of the Stole in the room of Lord Rochford, who has a pension, and Lord Huntingdon's being made Master of the Horse instead of Lord Gower, who was made Master of the Wardrobe in the room of Sir Thomas Robinson, who has his peerage for a recompense; and written you a long letter, which may perhaps be no better for you upon the whole than an old newspaper. However, I was determined your curiosity should be no sufferer by my long silence if I could help it.
I must not conclude without saying something of our new Queen. She seems to me to behave with equal propriety and civility, though the common people are quite exasperated at her not being handsome, and the people at Court laugh at her courtesies. All our friends are well, and have had nothing happen to them that I know of which requires particular mention. Gisborne either has or will write to you very soon. Convince me, dear Robinson, by writing soon that you forgive my long silence, and believe me to be, with the sincerest regard for you and yours, your most affectionate friend,
Mrs. Wilson's, Lancaster Court,
Oct'r. 12th.
(Addressed)
To The Ho'd Mr. Will'm Robinson
Recomende a Messieurs Tierney & Merry 2 a Naples.
(Memorandum indorsed)
Ring just rec'd that of 22't Sept. 16th Oct'r. 1761.
CHARACTERS OF ACTORS IN CIBBER'S APOLOGY
Reverting to a Query in your Second Number, p. 29, your correspondent DRAMATICUS may rest assured that Colley Cibber's characters of actors and actresses (his contemporaries and immediate predecessors) first appeareded in his Apology, 4to. 1740, and were transferred verbatim, as far as I have been able to consult them, to the subsequent editions of that very entertaining and excellent work. If Colley Cibber were not a first-rate dramatist, he was a first-rate critic upon performers; and I am disposed to place his abilities as a play-wright much higher than the usual estimate.
Probably the doubt of your correspondent arose from the fact, not hitherto at all noticed, that these characters no sooner made their appearance, than they were pirated, and pirated work may have been taken for the original. It is a scarce tract, and bears the following title–The Theatrical Lives and Characters of the following celebrated Actors; and then follow sixteen names, beginning with Betterton, and ending with Mrs. Butler, and we are also told that A General History of the Stage during their time is included. The whole of this, with certain omissions, principally of classical quotations, is taken from Cibber's Apology, and it professed to be "Printed for J. Miller, in Fleet Street, and sold at the pamphlet shops," without date. The whole is nothing but an impudent plagiarism, and it is crowned and topped by a scrap purporting to be from Shakspeare, but merely the invention of the compiler. In truth, it is the only original morsel in the whole seventy pages. At the end of the character of Betterton, the following is subjoined, and it induces a Query, whether any such work, real or pretended, as regards Betterton, is in existence?
"N.B. The author of this work has, since he began it, had a very curious manuscript of Mr. Betterton's communicated to him, containing the whole duty of a Player; interspersed with directions for young Actors, as to the management of the voice, carriage of the body, etc. etc., reckoned the best piece that has ever been wrote on the subject," p. 22.
This "best piece" on the subject is promised in the course of the volume, but it is not found in it. Did it appear anywhere else and in any other shape? As the Query of DRAMATICUS is now answered, perhaps he may be able to reply to this question from
I should have sent this note sooner, had I not waited to see if any body else would answer the Query of DRAMATICUS, and perhaps afford some additional information.
ANCIENT TAPESTRY
Sir,–I believe I can answer a Query in your Third Number, by N., respecting the whereabouts of a piece of ancient tapestry formerly in the possession of Mr. Yarnold, of Great St. Helen's, London, described, upon no satisfactory authority, as "the Plantagenet Tapestry." It is at present the property of Thos. Baylis, Esq., of Colby House, Kensington. A portion of it has been engraved as representing Richard III, etc.; but it is difficult to say what originated that opinion. The subject is a crowned female seated by a fountain, and apparently threatening two male personages with a rod or slight sceptre, which she has raised in her left hand, her arm being stayed by another female standing behind her. This has been said to represent Elizabeth of York driving out Richard III, which, I need scarcely say, she did not do. There are nineteen other figures, male and female, looking on or in conversation, all attired in the costume of the close of the 15th century, but without the least appearance of indicating any historical personage. It is probably an allegorical subject, such as we find in the tapestry of the same date under the gallery of Wolsey's Hall at Hampton Court, and in that of Nancy published by Mons. Juninal.
I believe one of the seven pieces of "the siege of Troy," mentioned in Query, No. 3, or an eighth piece unmentioned, is now in the possession of Mr. Pratt, of Bond Street, who bought it of Mr. Yarnold's widow.
I may add that the tapestry in St. Mary's Hall, Coventry, contains, undoubtedly, representations of King Henry VI, Queen Margaret, and Cardinal Beaufort. It is engraved in Mr. Shaw's second volume of Dresses and Decorations; but the date therein assigned to it (before 1447) is erroneous, the costume being, like that in the tapestries above mentioned, of the very end of the 15th century.
Brompton, Nov. 20. 1849.
[To this Note, so obligingly communicated by Mr. Planché, we may add, that the tapestry in question was exhibited to the Society of Antiquaries at their opening meeting on the 22nd ultimo.]
TRAVELLING IN ENGLAND
Mr. Editor,–Your No. 3. has just fallen into my hands, with the wonderful account of Schultz's journey of fifty miles in six hours, a hundred years ago. I am inclined to think the explanation consists in a misprint. The distances are given in figures, and not in words at length, if we may trust your correspondent's note on p. 35. May not a 1 have "dropped" before the 6, so that the true lection will be, "dass wir auf dem ganzen
The name is not easy to be made out; but as far as it is determinable by comparison of hand-writing, it is "Cruch." The letter passed through the post-office
The part printed in
