October 12 to November 20, ifefr i * .. • 1 910, \ "j* ' •■■ ? 1^ NOON ta 9.3Q PJSS* COMMITTEE. Trustee Members,, Canon Barnex?. Mas. B ARNETT. William C« Johnson, Esq., LC.C [ W. M. Butth, Esq, > The Rt. Hon. The Earl of Plymouth. The Ex. Hon. The Earl of Lytton. The Right Hon, John Burns. " ,: The Rt. Hon. Winston S. Churchill, MP. . The Rt. Hon. Alfred pipFtxraw, K.C , fcf.F; T. Herbert Warren, Esq. (late Vice- Chancellor, Oxford University). . y ' : William Archer,- Esq. ■ . ~* v ' ^ r ' ■ • ^ H. Granville Barker, Esq. - : Sir Nathan Bodingxon (Vice-Chancel Lor, 0 S. H* Butcher, Esq., M. P. ^ J. Comyns CarRj Esq. " '?''<*•* Philip Carr, Esq. vT I- Prof. Sidney Colvin. W/ L. Courtney, Esq. F. J. Harvey Darton. Esu Robert Donald, Esq. < , / ^ Lieut. -Coloneh Fox ; v , Prof. 1. Gollancz, Lit*. D ' * 5 Mrs, G. L. Gomme. ;; J_,. Sir John/ Hare::;' ■ • ■ ' t Rev. Stewart D. Headlam .Tl Heslewood, Esq. ^ Henry -Arthur Jones, Esq Sidney Lee, Esq £ ' ; J. H. Leigh, Esq Sir Oliver Lodge, F.l^S. (Pniicip*!, - .'.V\ ■ Birmingham University). Sidney Low, Esq; C Haldane Macfali^ Esq. H. S. Peilris, Esa. Sir Arthur VVV Pjnero, r William Poel, Esq. : yzut;ky'i '-JS ^w;^Jfo J. L. Rotley, Esq. > > w G. Bernard Shaw, Esq. y.lfej^S M. H. Spielmann, Esq. - X Sir Herbert Tree. v. ; . Frederick Whelen, Esq. 1 f . v ; Charles Aitken, : Esq. , Director V.vyy^.;'./j^ C, Campbell Ross, Esq., Secretary NOTE.— The Lower Gallery will be closed to the general public during trie performances of the plays, WHITECHAPEL ART GALLERY, HIGH STREET, WHITECHAPEL. SHAKESPEARE MEMORIAL AND. THEATRICAL EXHIBITION, 1 91 Q. PREFACE The present Exhibition has been organised by the Trus- tees of the Whitethapel Arti Gallery :J ,mth the help of the National Shakespeare Memorial Committee,, a special joint committee being appointed for the purpose. The object of the Exhibition is to give the : general public an opportunity of realising more* about the history and development of the drama in past times, and in other coun- tries besides England ; and to help on the efforts now being made to found a National Theatre. The drama offers one of the most powerful agencies for the education of a nation. The dramatist, if he can obtain a hearing, is able to bring to bear on his audience a more potent influence than a writer or speaker. The stage, therefore, affording, as it does, the great minds of each epoch such an unequalled opportunity for in- fluencing the average men of their generation, cannot be entrusted entirely to the- ordinary laws of Commercial supply and demand without injury to the nation. The best must, as a rule, Tie given, or /at least offered, on rather easy terms-,; a-o^i: England has the example of Greece i Lower Gallery LENDER ARTIST and Germany in endeavouring to provide a national theatre which shall not be entirely dependent on the average exist- ing public taste of the majority, but shall be in a position to guide and lead that taste and free occasionally to minister to the wants of those minorities at present un- avoidably overlooked. The expenses of this Exhibition, of which performances, as illustrations, form so large a feature, are inevitably heavy. The Trustees of the Whitechapel Gallery have guaranteed a sum sufficient for the ordinary expenses of an exhibition, but the Exhibition Committee hope that the public will help them by donations in the boxes to provide the additional amount required to enable the children and Evening Con- tinuation School Clubs to give their carefully prepared per- foimances of Shakespeare's plays, with dresses and a stage copied as closely as possible from the Elizabethan ones. CATALOGUE. LOWER GALLERY. 7ALL ON RIGHT-HAND SIDE OF TURNSTILE AT ENTRANCE. 1 Photographs, lent by Sir Herbert Tree, George Alexander, Esq., Miss Genevieve Ward, E. Rimbault Dibdin, Esq., Miss L. Caswall Smith, Messrs. Clarkson, Charles McEvoy, Esq., Messrs. Window & Grove, The Dover Street Studios, E. Layton, Esq. Miss Stella Campbell, Mrs. Patrick Campbell ia Statuette — a small figure of Phelps as Sir Pertinax MacSycophant Percy Fitzgerald, Esq. Percy Fitzgerald ib A Patent Focus Type Stage Arc Lamp, complete with set of coloured gelatines; Telescopic Stage Stand and Flexible Cable with Plug Top attached Thos. J. Digby, Esq. (Patentee) ic Mr. Arthur Bouchier as Henry VIII. Arthur Bouchier, Esq. 2 Copy of a Document referring to David Garrick and the Theatre Royal, Drury Lane Alec Knowles, Esq. Lower Gallery 3 LENDER ARTIST 3 Model of Scene : The Grand Stand at Long- champs, Paris, in the Drury Lane Drama of "The Sins of Society " Henry Emden, Esq. Henry Emden 4 Legal Document referring to David Garrick Alec Knowles, Esq. 5 Model of Shakespeare's Birthplace before the final restoration The Great Central Railway Co. EAST BAY. CLASSIC THEATRE. NOTE ON THE DIFFERENCES BETWEEN THE ANCIENT AND MODERN DRAMA. The Greek drama, the earliest form of drama of which the Western world has any knowledge, differs from the modern in almost every possible way. It was primarily religious both in origin and in practice, being in all prob- ability a development of songs and dances performed round a sacred image or altar standing in a circular dancing place or orchestra. Gradually the solo parts became of greater importance, and gradually the one or two principal cha- racters emerged from the crowd and mounted a platform, though the date to which these developments should be assigned is still a matter of controversy. The great patron of the drama was the god Dionysus, at whose festivals the plays were celebrated. The plays were of the nature of competitions, each poet presenting a trilogy, or group of three, with or without the addition of a semi-comic after-piece called a satyr play. The citizens who defrayed the cost of the all-important chorus shared with the winning poet the honours that fell to him. The plays were given in open air theatres of vast extent, holding, in some instances, as many as forty thousand spec- tators. The acoustic properties are in some cases extra- ordinarily fine, e.g., at Epidaurus (see illustration A), where a clearly but quietly spoken word carries to the topmost seat. The scenic arrangements were of the simplest sort, some kind of palace or temple front being generally erected. Generally speaking, no attempt was made at realism in representation, and the rapid movements, the subtle by-play, and never-ceasing change of facial expres- sion of the modern stage were non-existent. Two or three actors, poised on a high and narrow platform at a great distance from most of the spectators, masked and raised to 4 Lower Gallery LENDER ARTIST supernormal stature, declaimed their verses while the chorus moved and chanted below. The fascination of the ancient drama, the explanation of the undoubted hold which it had on the Athenian population must be sought in the splendour and dignity of the verse, the religious association and appeal, the beauty of solemn rhythmic pose, and the accompaniment of all-pervading music — to which last un- happily we have lost the key. J.ff.B.-P. 6 Plates from Stephanus Cybulski's Pamphlet on " Monuments of Classic Antiquity " Messrs. Black well 7 Photographs of the Plates in the British Museum — Greek and Roman Life Guide (Theatre Section) The Trustees of the British Museum 7 a Plates from Haigh's Attic Theatre The Oxford University Press 8 Seventeen Photographs illustrating the Classic Theatre The Hellenic Society 9 Photographs of Greek Vases, Masks, and Theatres, etc. Messrs. W. A. Mansell & Co. 10 Six Photographs of Scenes in Greek Plays per- formed at Bradfield College The Headmaster of Bradfield College 11 Two Sets of Coloured Diagrams and Pictures Illustrating the Classic Theatre Messrs. Blackwell Stefhanus Cybulski 12 Model (not quite finished owing to want of time) of the Theatre in which Performances of Greek Plays are given by the Boys of Bradfield College ivfade by two boys— R. M. Hill and H. L. Stevens— -of Braafield College/ and lent by the Headmaster, Rev. H. Costley White. 13 & 14 Scenes and Costumes as used at the Savoy Theatre, in the "Medea" of Euripides, translated by Professor Gilbert Murray T E. Vedrenne, Esq., Granville Barker, Esq. F. Cayley Robinson Lower Gallery 5 LENDER ARTIST 15 The Greek Theatre at Hengler's Circus, de- signed by E. W. Godwin for the production of " Helen in Troas ' ' J. Todhunter, Esq., M.D. M. H. M. Paget The scene represents Paris (Sir H. Tree) taking leave of his parents, Priam (Hermann Vezin) and Hecuba (Miss Lucy Roche), shortly before his death. The Leader of the Chorus (Miss Kinnaird) stands on the steps of the Altar, the Chorus grouped around her. On the upper stage, in the doorway, Helena (Miss Alma Murray) appears with her attendant (Mrs. Oscar Wilde). END OF CLASSIC SECTBOW. 16 Caricature of Mr. Bernard Shaw Henry Arthur Jones, Esq. Max Beerbohm 17 Drawing of Mr. Granville Barker in " Man and Superman " James McLehose, Esq. Muirhead Bone 18 Three Designs for the Production of " Comus M at Cambridge, 1908 Mrs. F. M. Cornford Albert Rothenstein Milton's " Comus," a masque — a kind of polite pastoral entertainmofit — was written for Lord Bridgewater, and was first performed (in 1634) at his seat at Ludlow, with music by Milton's friend Henry Lawes, ' The plot deals with a young girl's resistance — by the force of her innocence — when she is lost in a wood through which pass the satyr-like Comus and his £C rout of monsters." It was founded upon the fact of Lord Bridgewater's sons and daughter having been lost in a wood not long before. In cc Comus " Milton's power of writing melodious and stately verse in wonderfully simple yet splendid language is seen at its highest : the lyrics in it are also singularly beautiful. — F.J.H.D. 19 Design for Scene Miss Edith Craig Gordon Craig 20 Caricature of Mr. Henry Arthur Jones Henry Arthur Jones, Esq. Max Beerbohm 21 Caricature — Gabriele D'Annunzio Frederick Whelen, Esq. 22 Four Photographs — Mrs. Warren's Profession Frederick Whelen, Esq. 6 Lower Gallery LENDER ARTIST 23 Caricature — Guiseppe Giacosa Frederick Whelen, Esq. 24 Caricature of Mr. Henry Arthur Jones Henry Arthur Jones, Esq. Max Beer do km 25 Coquelin Cadet J. G. Lousada, Esq. W. Rothenslein 26 Three Scenes from " The Blue Bird " — (a) The Graveyard (b) The Farewell (c) The Palace of Night Herbert Trench, Esq. F. Cayley Robinson 27 The Brocken — Drawing for the Scene in "The Witches' Sabbath " in the production of " Faust " by Sir Henry Irving Edward J. Shaw, Esq., J. P. W. Telbin 28 Miss Irene Vanbrugh in " Trelawny of the Wells C. Haldane Macfall, Esq. W . Nicholson ^9 Caricature — Miss Gertie Millar Desmond Coke, Esq. fosefh Sim "p son 30 Miss Ellen Terry as Imogen Desmond Coke, Esq. S. H. Sims 31 View of Nuremburg — Drawing made for one of the scenes in " Faust " during the visit of Sir H. Irving and Mr. Hawes Craven to Nuremburg Edward J. Shaw, Esq., J. P. Hawes Craven 32 Design for Scene Miss Edith Craig Gordon Craig 33 A Scene Julian G. Lousada, Esq. fames Pryde 34 Stage Design Dr. C. Wheeler Gordon Craig 35 Bust of Mr. Lewis Waller Lewis Waller, Esq. Onslow Ford, R.A. 36 Sir Henry Irving as Dubosc in " The Lyons Mail " £. Haldane Macfall, Esq. fames Pryde Lower Gallery 7 LENDER ARTIST 37 Original Design for Costumes for the production of " Ravenswood, or the Bride of Lammer moor " at the Lyceum Theatre Messrs. May Charles Fechter . 38 Benjamin Webster making his Final Bow to the Public E. Layton, Esq. Randolph Caldicott 39 Yvette Guilbert Mrs. Knox Johnson Andre Sinet 39 A Sir Henry Irving as Ravenswood J. H. Leigh, Esq. Bernard Partridge 40 Original Designs for Costumes for the pro- duction at the Lyceum Theatre of " The Duke's Motto " Messrs. May Charles Fechter 41 Three Drawings for the production of " The Bride of Lammermoor " of Messrs. Wen- man, Terriss, and Irving as Sir William Ashton, Bucklaw of Hayston, and Edgar of Ravenswood Fred Terry, Esq. Seymour Lucas R.A. 42 Sir Henry Irving Edward J. Shaw, Esq., J. P. Phil May 43 Mrs. Patrick Campbell (drawing) Mrs. Patrick Campbell W. Graham Robertson 44 Mrs. Patrick Campbell (photograph) Mrs. Patrick Campbell Baron de Meyer 45 Sir Henry Irving as Hamlet (statuette) J. H. Leigh, Esq. Onslow Ford 46 Sir Henry Irving as King Lear J. H. Leigh, Esq. B. Partridge 47 Two Frames with Sketches of Sir Henry Irving in Shakespearean Characters Mrs. John Fulleylove John Fulleylove 48 Sketches of Miss Ellen Terry and Sir Henry Irving as Olivia and The Vicar, in " The Vicar of Wakefield " E. Layton, Esq. Henry W. Batley 49 Drawing of Cardinal Wolsey Messrs. May ' Seymour Lucas, R.A, 8 Lower Gallery lender artist 50 Two Drawings of Moncrieff and Craigengelt in " The Bride of Lammermoor " Fred Terry, Esq. Seymour Lucas, R.A. 51 Irving (crayon) J. H. Leigh, Esq. 52 Hermann Vezin D. Le\in, Esq. 53 Sir Henry Irving as Becket Percy Fitzgerald, Esq. 54 Bust of Forbes Robertson Charles Pibworth, Esq. Martin Harvey Carlo Pellegrini Charles Pibworth 55 Poster for " King Lear " at the Haymarket D. J. Rider, Esq. Josefh Sim f son SYMBOLIC STAGING IN GERMANY. Several years ago, in the most progressive theatres in Germany, a new movement sprang up to replace the illusory staging of plays — namely, realistic pictures of life and his- tory shown in a mass of " true " details — by a symbolic and simplified setting, as a frame to bring out the mood and rhythm of the piece through bold and suggestive outlines and the play of light, shade, and colour. This movement had its origin in the Shakespearean Stage of the Court Theatre, Munich, invented and used by Jocza Savits. The exhibits from Germany shown here will illustrate this new style of staging. 56 Scenes of Shakespearean and Other Plays, and Portraits of Actors in Costume Luise Dumont and Georg Lindemann Schauspielhaus, Dusseldorf 57 Prize Designs in a Competition for the Shake- speare Memorial Theatre A. Berrington, Esq. A. Berrington 58 (a) View of a Theatre for Bremerhaven (b) The Hebbel Theatre in Berlin (c) A Grand Opera House for Berlin Oscar Kaufmann (Architect), Berlin Lower Gallery LENDER 9 ARTIST 60 Photographs Scenes from different plays given in Berlin theatres, amongst them Sir Herbert Tree and his Company in Shakespeare's "Twelfth Night 55 at the Krollsche Theatre; two scenes from Synge 5 s " The Well of the Saints, 55 as given at Max Reinhardt 5 s Theatre, etc. Lent by Herren Zander & Labisch, Photographers, Berlin. 61 Case of Japanese Theatrical Prints, Books, etc., lent by Arthur Morrison, Esq., Osman Edwards, Esq. Frederick Whelen, Esq. END WALL. 62 Japanese Theatrical Colour Prints, Posters, and Playbills, lent by Sir Frank Swettenham, R. Phene Spiers, Esq., Frederick Whelen, Esq. SCREEN A. 63 Japanese Theatrical Colour Prints, lent by Sir Frank Swettenham, R. Phene Spiers, Esq. REVERSE OF SCREEN A. 64 Designs for Re-building the Court Theatre at Munich, according to the patented system of Henry Helbig, Architect Herr Henry Helbig 65 Model of a new patented type of theatre, designed to ensure the safety of the public in cases of fire and panic ; also some plans, designs, etc. . Herr Henry Helbig Henry Helbig (Architect) (Descriptive pamphlet may be obtained at the turnstile.) 66 Model of an Auditorium with a patented cupola system Herr 'Henry Helbig Henry Helbig (Architect) 67 Bust of Sir Henry Irving as Hamlet Martin Harvey, Esq. Onslow Ford, R.A. io Lower Gallery LENDER ARTIST SCREEN B. 68 Eight Drawings — " Origins of the English Stage " " Illustrated London News " A. Forrestier 69 Designs on Silk — " Hamlet Miss Pamela Coleman Smith P. Coleman Smith REVERSE OF SCREEN B. 71 Prize Design in a Competition for the Shakes- peare Memorial Theatre A. Berrington, Esq. A. Berrington 72 Prize Design in a Competition for the Shake- peare Memorial Theatre A. Berrington, Esq. A. Berrington 76 Photographs of Celebrated Actors of Shake- spearean parts in Vienna Mrs. Joachim Gibson 77 Reproductions from ''The Stage" Year Book of German productions "The Stage " (For names, see frame.) 78 Reproductions of Professor Max Littmann's Theatres in Munich and Weimar "The Stage " 79 Bust of Mr. Lewis Waller as Henry V. Basil Gotto, Esq. Basil Gotto 80 Photographs of the Teatro Olimpico at Vicenza Messrs. W. A. Mansell & Co. 81 Model of a Scene from " The Taming of the Shrew " Joseph Harker, Esq. Josefh Harker SCREEN C. 82 Six Original Sketches by Professor Heinrich LefTler for "The Tempest," and twelve photographs and three ground plans of Scenes from ." Hamlet " from designs by the Danish painter, Svend Gade, in the Danish Renaissance style Neues Schauspielhaus, Berlin (Director, Herr Alfred Halm) These designs for " Hamlet " were made for a revolving stage. Lower Gallery tt LENDER ARTIST 83 Eleven Scenes from "Hamlet" and "Julius Caesar," Munich Court Theatre; new Shakespearean stage Dr. Kilian and Director Klein 83A Photographs of the Freilicht Theatre, Herten- stein, Lucerne The Director, Herr Rudolf Lorenz REVERSE OF SCREEN C. 84 Scenes from " Gyges und sein Ring," by F. Hebbel " The Stage " Max Martersteig 84A Open-air Theatre at Hertenstein, near Lucerne ; Photographs from Plays, etc. Rudolf Lorenz, Director This was one of the first theatres in German-speaking countries to give open-air performances on a large scale, after Greek traditions 85 Photographs of Scenes from Goethe's " Faust," Municipal Theatre, Cologne. 86 Elizabethan Stage, constructed with Mr. W. Poel's advice by Gilbert Ramsay, Esq. END OF EAST SIDE OF GALLERY. Visitors should now cross in front of Stage to W EST Side of Gallery. 88 A Collection of Mezzotints are hung along the whole length of the Western Wall, lent by The Marquis of Bute, The University of Glasgow, The Rev. Hector de Courcelles, Mrs. Clement Parsons, Mrs. Horace Pym, Mrs. Mytten, Miss Stella Campbell, A. M. Broadley, Esq., K.C., Messrs. F. B. Daniells & Son, E. Rimbault Dibdin, Esq. Percy Fitzgerald, Esq. Tom Heslewood, Esq. E. Layton, Esq., J. H. Leigh, Esq., Messrs. May, E. J. Reiss, Esq. Fritz Reiss, Esq. Messrs. James Rimell & Son, W. Graham Robertson, Esq. Frank T. Sabin, Esq. James R. Saunders, Esq. Edward SPEYER/Esq. — Tuke, Esq. Bernard Weller, Esq., H. Saxe Wyndham, Esq. [Titles of Mezzotints and Names of Lenders are affixed to the Pictures.) Oil Paintings above the Lower Gallery ARTIST Mezzotints. Be 9 1 89 Richard III. urging the Duke of Buckingham to murder the Young Princes u Richard III." J. H. Leigh, Esq. Wm. Nicholson 90 Richard III. in Tent scene ernard Weller, Esq. Wm. Hamilton, R.A. Edith Plantagenet pleading with Richard Cceur de Lion for the life of Sir Kenneth The Brook Street Art Gallery H. J. Fradelle 92 David Gar rick as Don John in " The Two Chances 99 Felix Wagner, Esq. Zojfany 93 Charles Kean as Richard III. J. H. Leigh, Esq. unknown 94 Burning of Drury Lane Theatre Lieut. -Col. C. J. Fox unknown 95 Romeo and Juliet Lieut. -Col. C. J. Fox 96 Portrait of Miss Caroline Fry T. V. Grove, Esq. unknown 97 J. B. Howe as Othello Messrs. May 98 Bust of Charles Mathews Percy Fitzgerald, Esq. 99 Head of Ibsen Percy Fitzgerald, Esq. Percy Fitzgerald Percy Fitzgerald 100 Silver Shield, from design by Flaxman J. H. Leigh, Esq. This shield, together with a helmet (now belonging to Sir Squire Bancroft) was presented by the citizens of Edinburgh to John Philip Kemble on his retirement from the stage. It passed into the possession of Charles Kemble, and from him to Mrs. Sartoris. She gave it to Mr. Henry Kemble, who in turn presented it to Sir Henry Irving. Weight, about 104 ozs. 10 1 Costume worn by Edmund Kean Messrs. Clarkson Lower Gallery 13 LENDER ARTIST 102 Model of Scene from " John Chilcote, M.P.," produced at St. James's Theatre George Alexander, Esq. Frank Stuart Murray 103 Paper Figure of Mr. Tom Heslewood as Charles II. Gladys Gladys 104 Model of Scene Joseph Harker, Esq. Joseph Harker 105 Paper Figure of Miss Winifred Emery as Queen Elizabeth Gladys Gladys 106 Model of Scene from " John Chilcote, M.P.," produced at St. James's Theatre George Alexander, Esq. Frank Stuart Murray 107 Four Costumes for a Romantic Play — 1. The Wicked Queen 2. The Red King 3. The Sick Princess 4. The Wanderer Mrs. Patrick Campbell W . Graham Robertson 108 Original Sketches for Costumes in " As You Like It," St. James's Theatre, 1896 George Alexander, Esq. W. Graham Robertson 109 Model of Scene Joseph Harker, Esq. Joseph Harker no Thiee Painted Caskets, illustrating Shakes- peare's " Merchant of Venice " A. B. Donaldson, Esq. Miss Donaldson in Miss Ellen Terry Messrs. Window & Grove 112 Model of Scene from " Paolo and Francesca ' ; George Alexander, Esq. ' William Telb'n 113 Model of Scene from "Mollentrave on Women" George Alexander, Esq. Walter Hann 114 Paper Figure representing Mr. Wilkie Bard Gladys Gladys 115 Model of Scene from " Paolo and Francesco ,J George Alexander, Esq. William Tel bin 14 Lower Gallery lender artist 116 Model of Scene from "Old Heidelberg" George Alexander, Esq. Walter Hann 117 Pageant Scene in "Richard II." Sir Herbert Tree 118 Original Sketches for "As You Like It," produced at St. James's Theatre, 1906 George Alexander, Esq. W. Graham Robertson CENTRE. 119 Model of a National Opera House for a Foreign Government Edwin O. Sachs, Esq. Edwin O. Sachs (Architect) 120 Plans and Sections of a National Opera House for a Foreign Government Edward O. Sachs, Esq. Edwin O. Sachs (Architect) 121 Swords used by Edmund Kean Messrs. Clark son SCREEN D. 122 Prints of Theatres, lent by H. Batsford, Esq., Bertram Forsyth, Esq., Tuos. W. Glare, Esq., Alec Knowles, Esq. Messrs. May, Miss Rooth, H. Saxe Wyndham, Esq. REVERSE OF SCREEN D. 123 Prints and Caricatures of Theatres and Actors Messrs. Clarkson, Messrs. May, Messrs. J. Rimell & Son 124 Model of a Scene from " A Clandestine Mar- riage," produced at the Haymarket Theatre Joseph Harker, Esq. Josefh Harker 124A John Emery as "Tyke " Messrs. May John Emery. This fine old comedian, though he died in 1822, seems strangely near to us from the fact that his granddaughter is our own well-liked Miss Winifred Emery. John was a sound and reliable actor, particularly successful in Yorkshire and dialect parts generally. He " well under- stood and could play Shakespeare." His Caliban was one of the finest ever seen. He was an excellent musician, a clever song writer, and an artist of ability, his drawings, particularly those of coast scenery, fetching high prices. — L.S. Lower Gallery LENDER SCREEN E 125 Tinsel Pictures Messrs. May REVERSE OF SCREEN E. 126 Colour Prints by H. Bunbury, Tinsels, etc. Francis Harvey, Esq. Messrs, May, Arthur William, Esq. SCREEN F. 127 Theatrical Prints, lent by Miss E. Craig, Messrs. J. Rimell & Son, M essrs. Clarkson, Messrs. May, Lieut. -Col. Croft Lyons, Miss K. Halkett, Bertram Forsyth, Esq. A. Williams, Esq., Edward Speyer, Esq. Leopold Mozart (1719-1787), with his children, Maria Anna (1751-1829) and Wolfgang Amadeus Mozart (1756- 1791). After a water-colour drawing, done from the life, in November, 1763, in Paris, by L. C. de Carmontelle (1717-1806). The original is in the possession of Lord Revelstoke. REVERSE OF SCREEN F. 128 Theatrical Prints, lent by Messrs. Clarkson, T. Y. Grose, Esq., Messrs. J. Rimell & Son, Arthur Williams, Esq. 128A Prints and Photographs illustrating the Ballet Mark Perugini, Esq. END OF WEST SIDE OF GALLERY. (N.B. — Visitors should now cross in front of Stage to get to the entrance to the small galleries at back of stage.) 129 Agreement of an Actress (Anne Biggs) with Sheridan Alec. Knowles, Esq. The form of such agreements has changed very little. 130 Proclamation of Censorship, London Gazette, 1698 Frederick Whelen, Esq. 131 Cutting from The Mirror, with print of St. James's Theatre, October 29, 1836 Mrs. Patrick Campbell *5 ARTIST 1 6 Lower Gallery lender artist 132 Playbills, lent by J. H. Leigh, Esq. Arthur Williams, Esq. Percy Fitzgerald, Esq., George Alexander, Esq., Messrs. Clarkson, E. R. Dibdin, Esq. William Archer, Esq. 133 Announcement of Performance of " Henry VIII " Percy Fitzgerald, Esq. 134 Playbill announcing the First Appearance on the Stage of Miss Ellen Terry Mrs. Charles Enthoven EAST WALL. 135 Collection of Playbills Mrs. Charles Enthoven The collection of playbills from which these exhibits have been selected aims at giving as complete a record as possible of the classic plays in which the great English actors and actresses appeared at Covent Garden and Drury Lane Theatres from the time of David Garrick to that of Charles Kean. The collection includes the playbill of Garrick's appearance at Goodman's Fields, and of his last appearance on any stage. Perhaps the most interesting bill exhibited here, however, is that of a performance of " The Merchant of Venice " at Drury Lane, in which " Portia by a Young Lady ' J is an announcement fraught with momentous issues for the English theatre. It was under that modest pseu- donym that the great Sarah Siddons first appeared before a London audience. The Edmund Kean collection is a very fine one, as it practically comprises the playbills of all his first appearances in his greatest characters. It is worth notice that on May 8, 1814, Kean played Othello, and on the 14th of the same month Iago. These few examples, selected from a collection of many thousands, may enable the public to judge of the great value and interest which play-bills, apart from their romantic charm, have for the student of the history of the stage.— Gabrielle Enthoven. NORTH WALL. 136 Collection of Playbills Mrs. Charles Enthoven 137 Autograph Letters Bertram Forsyth, Esq. Lower Gallery 17 LENDER ARTIST OIL PAINTINGS. (Nos. 138 to 146 are painted and lent by Alfred A. Wolmark f Esq., R.B.A.) ? . 138 Mr. Justice Madden ,139 Professor Bradley v 140 Lord Ronald Sutherland Gower V 141 Mrs. C. C. Stopes 142 Professor Edward Dowden 143 Dr. Fredk. Furnivall 144 Sidney Lee, Esq. 145 The late W. J. Craig, Esq. 146 Wm. Poel, Esq. 147 Old Playbills of St. James's Theatre George Alexander, Esq. 148 Photographs of Productions by the Elizabethan Stage Society W. Poel, Esq. W. Pod 149 Notices of Plays produced by Charles Kean, with Short Accounts of the Plots E. N. Adler, Esq. 150 Photographs of the Productions of "Twelfth Night n and " The Merchant of Venice " by the Elizabethan Stage Society W. Poel, Esq. W. Pod 151 Testimonial to George Wallis for his ser- vices in connection with the amateur per- formance organised to raise a fund for the purchase of Shakespeare's Birthplace G. H.- Wallis, Esq. 152 Engraved Invitation Card and Bill of Per- formance in aid of the fund for the pur- chase of Shakespeare's Birthplace G. H. Wallis, Esq. 153 Prints and Drawings of the Bankside Theatres and of Southwark Messrs. Field, Son & Glasier 1 8 Small Gallery LENDER ARTIST 154 Print showing the Bankside Theatre William Poel, Esq. SHAKESPEARE ROOM. WILLIAM SHAKESPEARE. Born in the heart of England, at Stratford-on-Avon, in April, 1564, Shakespeare came, about 1586, to London, where he mainly lived for a quarter of a century. In London he earned his livelihood as actor and shareholder in theatres, and won immortality as writer of comedies, histories, and tragedies. Retiring about 161 1 to his native town, Shakespeare died there on April 23, 1616, at the age of fifty-two. THE GROWTH OF ENGLISH DRAMA. Before Shakespeare's day there were in England several elements which were bound to develop into the drama as we know it. There were the Miracle plays — simple plays on sacred subjects, originally acted in churches (see the pic- tures by a modern artist, A. Forestier, on Screen B in the Lower Gallery). There were the Morality plays, an off- shoot of the Miracle plays, in which the plot no longer followed the Bible, but dealt with general ideas like Virtue, Idleness, Religion, and the like, put into the form of characters. There were also mummers (who played such things as St. George and the Dragon) and masquers (who gave song and dance in a more or less connected form). None of these players acted in theatres; they used waggons or portable platforms (see Screen B), perhaps with rude symbolic scenery and dresses. The Revival of Learning (or Renaissance) all over Europe spread a knowledge of the classical drama of Greece and Rome. But England developed on native lines, after a time. The first English comedies and tragedies, in the modern sense, used the English cc stage, 55 but a more or less classical form. (There was no real stage ; even the theatres of Shakespeare 5 s time, in their shape and con- struction, showed clearly the makeshift nature of the plat- form from which they had been developed.) By the time of Shakespeare 5 s close predecessors — Lyly, Nash, Greene, Peele, Lodge — men had got a clear conception of dramatic form. Shakespeare 5 s gift was to transmute that form by his genius. He gave a new life to the art of drawing character ; his plays are flexible, elastic, not turned out of a mould. He gave a new variety to blank verse, which Mar- Small Gallery 19 LENDER ARTIST lowe had made so majestic an instrument. He gave a new coherence and "grip" to his plots; he was a perfect and unrivalled master of stage-craft, and to transpose or mutilate his plays is to misrepresent the conditions under which they were produced : his plots are often childish in themselves, but there is nothing irrelevant or unmeaning in them for the needs of the Elizabethan stage. Ben Jonson had a more severe ideal ; he insisted more strongly on classical forms. In the hands of lesser men the standard set by him and his followers (there is room here only to mention typical names ; Jonson and Shakespeare were unique in achievement, but not in purpose or effort) became conventional. On the one hand, sentiment mastered the serious elements in comedy and the whole of tragedy ; poetic tragedy, indeed, has hardly yet recovered from the art of Dryden, Otway, and Rowe. Comedy itself, which jonson had turned on to the "humours 55 or manners of every-day life, became, under the Restoration and later, nothing but "humours 55 — of a kind which a more decent age repudiated- — or else a sort of watered tragedy, a matter of sighs and tears in a ludicrous position. Sheridan and Goldsmith re-created the comedy of manners; the dead hand of their forerunners can be seen in the characters of Falkland and Julia in " The Rivals, 55 and on most pages of eC The Good Natured Man. 55 But the drama degenerated again after them ; staginess and accepted conventions like the soliloquy and the aside divorced it from reality. Robertson got nearer to reality again, though his plots were usually of a conventional kind. To-day, in the opinion of many, we are nearer both dramatic perfection and truth to life. F.J.H.D. PASSAGE. 156 Photographs of a Reconstruction of the Little Fortune Theatre W. Poel, Esq. W. Pod 157 William Shakespeare Sidney Lee, Esq. Portrait of the Bust of Shakespeare, with Latin distich and English inscription, from the monument in the chancel of the Church of the Holy Trinity, Stratford-upon-Avon. 158 Old London Bridge, as Shakespeare saw it about 1600 a.d. Sidney Lee, Esq. Coloured photo-chromo-lithograph, by W. Griggs, of a unique drawing in Pepys 5 Collection in Magdalen College Cambridge. 20 t Small Gallery LENDER ARTIST 159 Photographs of Portraits of Shakespeare, Drayton, Burbage, and Bond Messrs. Mansell, C. T. Hunt, Esq. 160 Etched Copy of Elizabethan Map of London Messrs, Rimell Aggas 161 Old Print of The Fortune Playhouse, Golden Lane C. T. Hunt, Esq. 162 Edward Alleyn, Founder of Dulwich College C. T. Hunt, Esq. An actor and theatre proprietor and contemporary of Shakespeare. 163 Photograph of Madox Brown's Portrait of Shakespeare William Poel, Esq. 164 Shakespeare, from Lord St. Leonard's Col- lection F. T. Sabin, Esq. unknown Exhibited at the National Portrait Exhibition, 1866. 165 Portrait of Shakespeare Alfred Ewen, Esq. unknown 166 Portrait of The Earl of Southampton The Shakespeare Memorial Association 167 The Earl of Southampton Mrs. LTolman Hunt Paul van Somers This extremely interesting portrait of Shakespeare's patron shows him in early middle age, with the wrinkles beginning to gather round the eyes. The painting is men- tioned in "Historic Portraits" as being by Paul Van Somer, but it is now believed to be by Miereveldt (1568- 1641). 168 Portrait of Shakespeare Alfred Ewen, Esq. unknot? *i 169 Photographs and Facsimiles of Documents C. T. Hunt, Esq. 170 William Shakespeare Sidney Lee, Esq. Portrait of the bust of Shakespeare, from the monument in the chancel of the Church of the Holy Trinity, Stratford- upon-Avon. Small Gallery LENDER 2l ARTISI 171 A Deed of Settlement of New Place, Stratford- upon-Avon, formerly belonging to Shake- speare The Earl of Warwick 172 Early Playhouse, supposed to be the Red Bull — rebuilt 1620. Frank T. Sabln, Esq. This has been denied (vide Albright, in Shakespearean stage, 1909, p. 40). The Red Bull Playhouse, St. John's Street, Clerkenweli (the site of which was, in 1889, covered by Woodbridge Street and facing one side of the Clerkenweli House of Detention) was probably, judging by its name, originally an inn yard theatre. There is no date obtainable of its first opening, but there are records of an accident there is early as 1599. The accompanying print shows the stage in the time of the Commonwealth. It evidently became the home of melodrama, as much fun is made by contemporary dramatists and writers generally of its "blood and thunder 3 ' proclivities. In Cromwell's time plays were prohibited, but the King's Company, by the aid of bribes, were some- times allowed to appear for a few days at the Red Bull, though their performances were frequently interrupted by the advent of the military. The precise date when th^ Red Bull ceased to be is not known, but it was in existence at the time of the Great Fire. 173 Bust of Shakespeare (terracotta) W. Rixon, Esq. Roubillac 174 Old Oil Painting of the Bust of Shakespeare in 175 Portrait of William Sly, the Actor (1 565-1608) after the original in Dulwich Gallery Charles Fullwood The Trustees & Guardians of Shakespeare's Birthplace 176 Case of Early Editions of Shakespeare's Plays E. N. Abler, Esq. 177 Shakespeare Rt. Hon. Earl of Darnley Cornelius Jansen Shakespeare had only one literary patron, the Earl of Southampton, and possibly that nobleman is the hero of the sonnets. The Earl was possessed of good looks, wealth and high position, and his correspondence shows that the compliment " as fair in knowledge as in hue" is well merited. In 1594, the probable date of most of the sonnets, Southampton was 21. The Earl was imprisoned for marrying without the Queen's consent and being impli- cated in Essex's rebellion, but was released by James I. Stratford Church The Earl of Warwick unknown 21 Small Gallery LENDER ARTIST There are at least 15 portraits existing which are believed to represent Southampton. The photograph below of the por- trait now at Welbeck shows the Earl at the age of 21. The oil painting is the most attractive one of him in middle age. Some critics doubt whether No. 166 really represents Southampton. In all the best portraits the eyes are blue and the hair dark auburn. 177A Framed Rubbing of the Inscription on Shake- speare's Tomb at Stratford-upon-Avon, with Small Bust on the top of frame L J. Wicks, Esq. 178 Portrait of Shakespeare Mrs. Edward Burrows unknown 179 Portrait of Ben Jonson E. N. Adler, Esq. unknown 180 Shakespeare Mrs. Frank Gibson unknown 181 Shakespeare Rev. F. H. Hodgson Thomas Wright 182 Case of Engravings and Photographs cf Portraits of Shakespeare Shakespeare Memorial, Stratford 183 Portrait of Spenser The Earl of Kinnoull Edmund Spenser, the author of " The Faerie Queene," was a Londoner, born about 1552, and educated at Merchant Taylors' School. In 1569 he went to Pembroke College, Cambridge. He suffered from lack of means, but on leaving Cambridge was befriended by Sir Philip Sidney and Lord Leicester, and when his poems had made him famous received a pension from Queen Elizabeth. Much of his later life was spent in Ireland; he died in 1599, in Westminster. His poetry is above all things romantic and beautiful, and he gave English verse a new dignity and stateliness; he has been called " the poet's poet," and what- ever he wrote has always an intense poetical feeling and grace. His greatest work, "The Faerie Queene " — un- finished — was intended to glorify England and Queen Elizabeth (Gloriana), and, by means of such characters as the Red Cross Knight, to set up ideals of virtue and nobility.— F. J. H.D. 184 Portrait of Queen Elizabeth The National Portrait Gallery attr. Frederigo Zucharo Small Gallery 2 3 LENDER 185 Shakespeare The Corporation of Manchester Wm. Blake ART [ST 186 Shakespeare as a Young Man Rt. Hon. Earl of Lytton 187 Case containing — Miniature Portraits The Duke of Portland, Colonel W. Hall Walker, M.P. The Corporation of Liverpool First Folio of Shakespeare Lord Cobham Autograph Letters (early editions) A. M. Broadley, Esq., K.C., E. N. Adler, Esq. 188 Ben Jonson Wm. Harvey, Esq. Jansen 1 88a Rubbing of Inscription on the Tomb of Lady Joyce Lucy W. Jaggard, Esq. 189 Portrait of Shakespeare The Shakespeare Memorial Association 190 Copy of Portrait of Richard Burbage, Actor (from Dulwich) Charles Fullwood The Trustees & Guardians of Shakespeare's Birthplace. 191 Bust of Shakespeare The Bethnal Green Free Library 192 Photographs of Dramatists Messrs. Mansell (For names, see frames.) 193 Engraving of Nathaniel Lee, the Mad Poet Messrs. Rimell /. Watts, after Dob son 194 Shakespeare and his Friends James Faed, after John Faed The Shakespeare Memorial Association /'195 Portrait of Betterton Thomas Betterton (1635-17x0) was a famous actor of the Restoration period ; except perhaps Garrick, he was the greatest of English actors. He was especially good as Hamlet; his power of carrying the audience with him was extraordinary. He was personally stout and clumsy, and Rt. Hon. Earl of Darnley Dabil 24 Small Gallery lender artist could not dance even a country dance ; but his acting made the spectators forget his appearance. He died a com- paratively poor man, and was honoured with a funeral in Westminster Abbey.— F. J. H.D. 196 Copy of Portrait of Nathaniel Field, Actor (at Dulwich) Charles Fullwood The Trustees of the Birthplace, Stratford 196A Mask of Shakespeare Marion H. Spielmann, Esq. 197 Portrait of Ben Jonson The Viscount Clifden Cornelius ] arisen (1618) Ben Jonson, "rare lien," the fn'end and adviser of every poet of his day, was born in Westminster, in 1573. He became an actor, and very soon turned to writing plays ; Shakespeare, his intimate friend, acted in his first and great- est comedy, " Every Man in his Humour," in 1588. Thence- forth he wrote ceaselessly tragedies — comedies, masques, lyrics (" Drink to me only with thine eyes " is the most famous of them), and prose — till his death in 1637 '< ne was buried in Westminster Abbey. Though many of his plays are unusually good, and have fallen into a neglect on the stage which is quite undeserved, he is best remembered as the centre of the great circle of poets who met at the " Mermaid Tavern "; he was beloved and admired by all. He was one of the most learned of poets, and very austere in his stand- ards of dramatic composition, with the result that some of his best plays — " Sejanus," for instance — are a little heavy. But this strictness of view, as seen in his plays, did much to get rid of the looseness, pettiness, and irrelevance which were still prominent in English drama, and to set up a more classical model of construction. And the comedy of real men and manners, as opposed to artificial comedy like As you like it," was in England the distinct creation of Jonson. 198 Case — Portraits of Shakespeare — containing Medals, Tokens, Waxes, Statuettes, Small Busts, Cameos, Wedgwood Objects, etc. Marion H. Spielmann, Esq. 199 Portrait of John Milton John Glen, Esq. Daniel Mytens John Milton, the greatest of English poets outside the drama, was, like a host of other great writers, a Londoner, born in Bread Street in 1608. He was educated at St. Paul's School and Christ's College, Cambridge. He travelled a good deal, and was master of several languages and many branches of learning. He was Cromwell's secre- Small Gallery LENDER 25 ARTIST tary. He was totally blind from the age of forty-four onwards. He died in 1674, in Artillery Walk, Bunhill Fields. His poetry, full of classical allusions and often classical in form, reaches the loftiest heights of English verse; his prose at its best is incomparably majestic. £: Paradise Lost" is one of the great poems of the world, and everything Milton wrote is beyond comparison in its kind, and almost beyond criticism. His strong Protestant faith colours nearly all his writings. — F.J.H.D. 200 Reproduction of the Supposed Original of the Droeshout Engraving The Medici Society, Ltd. 201 Engraved Portraits of Dramatists Messrs. Rimell (For titles, see frames.) 202 Engravings of Nell Gwyn Frank T. Sabin, Esq. Eleanor (" Nell ") Gwynne (1642-1691) began life as an orange-woman and ballad-seller in the neighbourhood of the theatres. She attracted the attention of Charles II., and though she herself did not attain the rank conferred upon Lady Castlemaine or the Duchess of Cleveland, she was high in his favour. Apart from any question of morals, she was undoubtedly witty, beautiful, tender-hearted, and generous. She was " a little sprightly, red-haired woman, with laughing blue eyes, round, but beautiful face, and a turned-up nose." She was a very capable comic actress. — F.J.H.D. SOME OF THE RECENT SHAKESPEARE DISCOVERIES MADE BY PROFESSOR CHARLES WILLIAM WALLACE, PH.D. 203 Photographs of Documents at the Record Offices, in which occur references to Shake speare and his signatures Professor C. W. Wallace (Nos. 203A to 203E are lent' by Professor C. W. Wallace.) 203A Shakespeare as Joint-Tenant of the Globe 203B Shakespeare in the First Theatrical " Trust " 203c Shakespeare's Signed Deposition and London Residence 2 ^ Small Gallery LENDER ARTIST 203D Shakespeare's Blackfriars House 203E Shakespeare's Signature 204 Engraving of the Chandos Portrait of Shake- speare The Bethnal Green Free Library 205 Four Prints of Portraits supposed to be those of Shakespeare Sidney Lee, Esq. 206 Wedgwood Bust of Shakespeare Marion H. Spielmann, Esq. Flaxman 207 Bust of Shakespeare, from the Monument at Stratford-upon-Avon Marion H. Spielmann, Esq. 207A Bust of Shakespeare Marion H. Spielmann, Esq. Bevington (of Hanley) 208 Model of Shakespeare Theatre, the Globe Playhouse, 1599-1613, designed by William Poel, Esq., Director of the Elizabethan Stage Society Mrs. Ludwig Mond 209 Photographs of Documents relating to Shake- speare Professor C. W. Wallace Court of King's Bench, October, 1614. Part of the Latin records of a great suit by Thomasina Osteler, a widow nineteen years old, against her father, John Hemynges, business manager of the Globe-Blackf riars Company, who was Shakespeare's near neighbour and in- timate friends. This suit furnishes us the first definite knowledge con- cerning the shares in the Globe and Blackfriars up to 1614 and the ownership of them by Shakespeare and his asso- ciates. On these heads they are the most important records ever found. Incidentally and as a very minor point, this suit estab- lishes the location of the Globe Theatre site as between the Small Gallery i 7 LENDER ARTIST Bankside and Maiden Lane (now Park Street), Southwark, furnishing details of its boundaries on all four sides. (See last eleven lines of first skin and first six at top of second skin). The boundaries are copied directly into the plain- tiff 5 s bill from one of several contemporary leases of the property, all describing it in the same manner. Other voluminous documents on the site will soon appear in the volume mentioned below. Photographs, as arranged, show exact size of original skins, bound in a great bundle or "book" about 12 inches thick, 10 inches wide, and 3 feet long. Published in The Times (London), October 2 and 4, 1909, and The Times (New York), October 3, 1909. Facsimiles in Dr. Wallace's forthcoming volume, presenting the first complete history of Shakespeare, the Globe, and Black- friars, published by the "Shakespeare Head" Press, Stratford-on-Avon. 210 Reproduction of Signatures of Shakespeare Sidney Lee, Esq. 211 Photographs of Shakespeare's Birthplace and other places at Stratford-on-Avon The Great Western Railway Co. ON STAIRCASE. 212 The Kemble Family in " Henry VIII." The Rev. Hector de Courcelles 213 Set of Illustrations to Garrick and his Circle, by Mrs. F. M. Parsons Messrs. Methuen & Co., Ltd. various artists 214 " Twelfth Night " (Act III., Scene 4) engr. by T . Ryder [after Ramberg) Sir Carl Meyer, Bart. 215 Garrick between Tragedy and Comedy Fritz Reiss, Esq. Fischer, after Sir Joshua Reynolds 216 Theatrical Prints (2 frames) of the eighteenth century E. RlMBAULT Dibdin,; Esq. 28 Upper Gallery LENDER ARTIST UPPER GALLERY. It can scarcely be maintained that theatrical paintings belong, as a rule, to the loftiest realms of art. In them the artist is doubly removed from nature. He is set the difficult task of catching the original emotion at second hand, from its reflexion in the actor's face and gesture. Nevertheless, several painters, particularly in the eigh- teenth century, succeeded in producing theatrical paintings, which not only interest us historically but possess a purely artistic value. ZofTany and De Wilde are pre-eminent amongst these. Moreover, the portraits of actors in private life are on the same footing as other examples of portrait painting, and in actors and actresses painters have, as a rule, sitters dis- tinguished by impressive or charming features and ex- pression. The portraits of Peg Woffington by Hogarth, of Mrs. Siddons by Reynolds, of Miss Marie Tempest by Nicholson, and of Miss Ellen Terry by Watts, are worthy to be placed amongst the masterpieces of portraiture. 1 J. Vandenhoff as Sir Giles Overreach G. H. Shepherd, Esq. R. W. Bass 2 David Garrick in Costume Lord Aberdare Zofany 3 Mr. Foote in the Character of Major Sturgeon, in " The Mayor of Garratt " The Earl of Carlisle Zofany 4 Peg Woffington John Glen, Esq. Arthur Pond 5 David Garrick Asher Wertheimer, Esq. Zofany David Garrick was born at Hereford, where his father, Captain Garrick, was then quartered. He was educated at the Lichfield Grammar School, which he entered, just as another future celebrity, a companion of his — Samuel John- son — some seven years his senior, was leaving it. Later on he joined his brother Peter in a wine-merchant's business in London, but he never cared for business, his own ambition being to become an actor. One night, during the run of a pantomime called " Harlequin Students," Yates the Harle- quin was taken so ill that he could not appear. Garrick, who was behind the scenes at the time, offered to take his place. The offer was accepted, and so it was that he made his first bound upon the regular stage. And it must be remembered that the harlequin of those days was not the mere jumping-jack he is now ; he was the hero of the panto- Upper Gallery 29 LENDER ARTIST mime, and had to act and speak. How he acquitted him- self in a role, for which his nimbleness and vivacity well suited him, is not recorded, but immediately afterwards GifTord engaged him for Ipswich, where, under the name of Lydgate, he appeared as Aboan in Southerne's " Oroonoke." Upon his return to London, Garrick seems to have applied for an engagement at both the patent houses, but meeting with no encouragement he was obliged to choose a humbler scene for his appearance in the metro- polis the unlicensed theatre in Goodman's Fields, where he made his debut on October 19, 1741. It was on the 2nd of December, 1741, that, dropping his fictitious name on the occasion of his benefit he first appeared in the bills as David Garrick. He continued to play in the East until the 29th of May, 1742, the following year. — G.E. 6 Mrs. Hannah Pritchard, Actress; b. 17 11 ; d. 1768 The Right Hon. Lewis Harcourt, M.P. R. E. Pint Mrs. Pritchard (1711-1768) was an actress who had served a very hard apprenticeship in Bartholomew's Fair and the somewhat overcoloured and robust methods of the cc penny gaff " clung to her all her life. She was a large imposing person ; Garrick said when she played distressed heroines she was apt to blubber her sorrows, and Dr. Johnson told Mrs. Siddons that, in private life, " she was a vulgar idiot, but on the- stage she seemed to be inspired by gentility and understanding." She was really a great Lady Macbeth, and despite her detractors seems to have been an artiste possessed of great genius. She could, play any role from the highest to the lowest, but her superabundance of flesh made her very unfitted for some of the characters she assumed. She lived a quiet, hardworking, honorable life, and retired with a very comfortable little fortune. f] Mrs. Yates (Tragic Actress in Character Dress) (17 23-1 787), from the Collection of the Marquess of Hastings Sir Hugh Lane Zofany Mrs. Yates (1737-1787) was a lovely woman " with the beauty of an antique statue." She was of the Mrs. Siddons' type — commanding, powerful, haughty. Mis- tress Kitty Clive, a cheery and irrepressible comedienne was never impressed by Mrs. Yates, whose style of acting she summed up as " Too much stumping about and too much flumping about." She did not seem beloved of her play- mates, for Weston, in his will, says, " To Mrs. Yates I leave all my humility." She was great in parts requiring strength and power, but failed in those that called for tenderness and pathos. — L.S. 3° Upper Gallery LENDER ARTIST 8 Peg Woffington Ernest Gye, Esq. Hogarth 9 David Garrick Miss Ethel Wright unknown 10 Mr. Foote and Mr. Weston in the Characters of the President and Dr. Last (" Devil on Two Sticks," Act III., Scene 2) The Right Hon. Earl of Carlisle Zofany 11 Mrs. Pritchard J. H. Leigh, Esq. Zofany 1 2 Garrick Mrs. Bischoffsheim Zofany 13 David Garrick in Costume Lord Aberdare Zofany 14 Baddeley as Moses in the " School for Scandal " Mrs. Hutchison Zofany Robert Baddeley (1732-1794) was as greatly distinguished for his kindness of heart as for his comic talents. By his will he left his riverside cottage at Hampton to the Thea- trical Eund for the purpose of its sheltering four players who had outgrown their 6 playtime, 55 and he ordered a sum of money to be invested and given to these pensioners so that they might never " appear poor or needy in their neighbours' eyes. 55 He also directed that a summerhouse should be erected from which a view of Garrick 5 s " Temple of Shakespeare 55 in the gardens of Garrick Villa might be had. * All who journey to Hampton Court are familiar with Garricks 5 Summerhouse, but where are Baddeley 5 s Cottage and the pensioners? Another bequest of his has survived until the present day; i.e., the hundred pounds which, invested in Consols, was to bear enough interest to provide cake and wine for the Drury Lane company every Twelfth Night. This custom is religiously observed, but I doubt if three pounds is sufficient to provide refreshments for the large company gathered at old Drury in these days. The old actors were known as His Majesty 5 s servants; they were members of the King 5 s household, were " Gentlemen of the Great Chamber, 55 and entitled to wear a handsome uniform of scarlet and gold. Baddeley was the last of the players who wore the dress. 15 David Garrick The Johnson Birthplace Committee unknown Upper Gallery 31 ENDER ARTIST 16 Garrick and his Wife playing Cards The Shakespeare Memorial Association Zofany It was of Garrick that Dr. Johnson wrote "his death eclipsed the gaiety of nations and diminished the public stock of harmless pleasure." It was also of Garrick that Goldsmith wrote : On the stage he was natural, simple, affecting ; 'Twas only that when he was off he was acting : Of praise a mere glutton, he swallowed what came, And the puff of a dunce, he mistook it for fame. David Garrick (1716-1779), the greatest of English actors, raised his profession not only as an art, but socially. 4 Garrick has made a player a higher character," said Johnson. As an actor he brought life and fire into his parts instead of the pompous, oratorical style of the older school. "He could act a gridiron," Mrs. Clive said once, as she watched him. He was physically graceful and active, and his voice was very expressive. His greatest parts were King Lear and Abel Drugger (in Ben Jonson's " Alchemist.") He was the friend of all the famous wits and writers of his age. F.J.H.D. [This painting is very possibly by Allan Ramsay.] 17 Mrs. Pritchard as the Queen and S. Barry as Hamlet in the Ghost Scene T. V. GROVE, Esq. F. Hayman 18 Garrick in the Character of Sir John Brute The Earl of Essex Zofany Sir John Brute was the leading part in Vanbrugh's comedy, "The Provoked Wife." His name sufficiently outlines his character. Many of the great comedians achieved fame in this play, the most notable of all the " Brutes " being Quin.— L.'S. 19 Actor in part of C. Newton Robinson, Esq. Dobson 20 Shuter as Justice Woodcock, Beard as Haw- ,./ thorne, Dunstall as Hodge in " Love in a v Village »? The Earl of Yarborough Zofany Edward Shuter (1728-1776) ' was pronounced by Garrick to be the greatest comic genius he had ever seen. Like some of our present comedians, he was apt to overindulge in cc gags." His powers of mimicry were very great, his love of low company even greater. His own origin was very humble, and his advancement in life was due to the interest and help given him by a gentleman whom he had assisted to recover a lost pocket-book. Shuter at the time 32 Upper Gallery LENDER ARTIST was pot-boy at a public-house in Covent Garden, and the gentleman, having spent some time there one night, went home in a hackney coach, in which he left his pocket-book. He could not remember the number of the cab, so made enquiries of the boy. Shuter could neither read nor write, but he had a way of his own of scoring up drinks and he declared the coach to have been number " Two pots and a pint." The landlord being called interpreted this, the money was found, and Shuter started on his road to fortune. He played many Shakespearean parts. — L.S. Johann Zoflany, or Zauffely, was born at Regensburg in 1733. He came of a Bohemian family. When only 13 he went to Rome and stayed in Italy for 12 years. After a brief return to Germany, where he made an unhappy marriage, he came to England. A portrait of Lord Barrymore which he painted led to Lord Bute introducing him to the Court. About 1762 he began his interesting series of portraits of actors with that of Garrick as "Abel Drugger " in "The Alchemist," which is exhibited here. He followed it with portraits of Foote as " Dr. Last " and Major Sturgeon." In 1769 he painted the members of the newly-formed Royal Academy. After travelling abroad he visited India but returned to England and died therein 1810. Perhaps from the very fact that he was of foreign extraction, and saw our life with a fresh eye, he has left a far more complete picture of English social life in the 18th century than any English painter. Whether it is the nobility drinking dishes of tea, their children dancing minuets, the Georgian parsons enjoying musical picnics, the nabobs sitting solemnly with their native attendants under the dark shade of Indian trees, the dilettante collectors fingering their classic collections or, as in this Exhibition, great English actors of the 18th century playing their favourite roles, Zoffany seized them just so, cut them out like silhouettes, stuck them into his canvases and left them to posterity with his sharp gift for characteriz- ation and an attractive over-elaboration of pleasant detail that make his paintings an unending joy to those who feel that Georgian England was England indeed. 21 Mrs. Siddons W. Jaggard, Esq. Gainsborough 22 Foote The Duke of Newcastle ' Sir Joshua Reynolds, P.R.A. Samuel Foote (1721- 1777), was a writer and actor of squibs, farces and topical satires. His favourite method was to caricature living persons, often his own friends ; countless stories are told of his ready wit and sarcasm, but very many of the jests recorded of him are either spiteful or cruel. V Upper Gallery 33 LENDER ARTIST Garrick called him "the most entertaining companion I have ever known " ; but Foote was exceedingly bitter to and about Garrick. F.J H.D. 23 Louisa Dubuisson G. H. Shepherd, Esq. S. De Wilde 24 Portrait of Richard Suett G. H. Shepherd, Esq. S. De Wilde 25 Garrick and Mrs. Pritchard in " Macbeth >' J. H. Leigh, Esq. Zofany 26 Portrait of Miss Linley The Glasgow Art Gallery Sir Joshua Reynolds, P.R.A. Miss Linley (1754-1792). Not only is Miss Linley famous as a sweet-voiced and accomplished singer, but she claims our interest as the wife of one of the cleverest, merriest, most unprincipled, and charming of individuals — Richard Brinsley Sheridan, the author of " The School for Scandal," and the mis-manager of Drury Lane Theatre for many years. The romance of her meeting with her hus- band, the troubles of the young lovers, the duel, the elope- ment, and the wedding is too well known to be repeated. Miss Linley was one of a family of songstresses, the most accomplished and the most beautiful of them all. As a child at Bath she attracted universal attention, and when she blossomed into girlhood she was the acknowledged belle of that city, and adorers — noble, rich, young, and old, flocked around her. — L.S. [There is some doubt as to whether this painting is really a portrait of Miss Linley.] 27 Miss Fanny Kemble (Mrs. Butler) Charles Edward Stewart, Esq. Sir T. Lawrence Fanny Kemble only made her debut in 1829, a few months before Lawrence's death. The Farmer's Return from London — Garrick, Mrs. Bradshaw, Master Cope, and Miss Heath The Earl of Yarborough Zofany 29 Foote as Major Sturgeon Guy Laking, Esq. Zofany 30 Mrs. Billington Mrs. Bischoffsheim Hoffner Mrs. Billington (1770-1818). Accomplished both as actress and vocalist. Her parents were well known musi- cians and at fifteen she married a musician and forthwith started her operatic career. The compass of her voice was wonderful — "three octaves from A to A in altissimo." In 34 Upper Gallery LENDER ARTIST Sir Joshua Reynold's picture, Mrs. Billington sat for the figure of St. Cecilia listening to the angels. Haydn, the composer, entering the studio one day when Mrs. Billington was there, looked at the picture a long time and then told the artist it was very good, but had one mistake — instead of Cecilia listening to the angels, they ought to have been listening to her — a compliment which so pleased Mrs. Billington that she promptly embraced the author of it. — L.S. 31 Miss Foote Sir Hugh Lane Clint Maria Foote (1798-1867) obtained a great deal of both enviable and unenviable notoriety — the former by her beauty and her talent, and the latter by her pre-matrimonial troubles. She was the heroine of a breach-of-promise case, over which public opinion ran high, but the lady kept the sympathy throughout and after a career of twenty-one years on the stage she married the Earl of Harrington. Her chief Shakespearean parts were Opelia, Desdemona, Rosamond, Beatrice, and Imogen. — L.S. 32 Mr. David Gar rick in the Character of Abel Drugger ; Mr. Burton and Mr. Palmer as Subtle and Face — in Ben Jonson's " Al- chemist ,? The Earl of Carlisle Zofany This was the first picture exhibited by Zoffany. It was bought by Sir Joshua Reynolds, who resold it for double the original price, on the first day, to the great-grandfather of the present Earl of Carlisle, on the understanding that the increased price was to go to Zoffany. Zoffany's picture of Garrick as Abel Drugger in " The Alchymist 55 depicts Drugger in the hands of Subtle and Face, being persuaded to part with his carefully guarded savings in the hope of gaining untold gold thereby. 33 Garrick as Richard III. J. H. Leigh, Esq. Bar dwell 34 Peg Woffington C. Newton Robinson, Esq. Arthur Pond The very interesting portrait of Peg Woffington is by Arthur Pond, her friend, and is signed with initials and dated 1752. A few years later she was struck with para- lysis, and he painted her again in bed. This latter picture is in the National Portrait Gallery. 35 Peg Woffington as Sir Harry Wildair T. V. Grove, Esq. Upper Gallery LENDER ARTIST 35 36 Mrs. Charke (daughter of Colley Gibber) Lieut. -Colonel Lyons Hudson Charlotte Charke was a wild, lawless, great-hearted soul, ever striving to benefit those she loved, and ever landing herself in difficulties. A clever actress and a good true friend. Everything she tried failed her ; she was an actress, a shopkeeper, a labourer, a booth proprietress, a sausage-maker, a groom, a valet — for years she hid her identity and worked as a man ! But no matter how she strove, fortune always evaded her and she died poor and alone after fifty years of continual fighting in a world in which there was no place for her. — L.S. " The Beggars' Opera," written by the Poet Gay and pro- duced by Manager Rich at Lincoln's Inn Fields Theatre in 1728, was one of the, if not the, greatest successes of the eighteenth century. The fashion of the day was the adora- tion by the upper classes of criminals of all kinds, and Gay wrote his piece to satirise this folly. The scene here repre- sented is the interior of Newgate in which Captain Mac- heath, a notorious highwayman, is awaiting his execution. The gallant captain is not only a robber, but a bigamist, and the two ladies here present are Lucy Lockit and Polly Peachum, both claiming him for their own and seeking his deliverance. The people fenced off with red cloth are not dramatis -persona, but members of the audience who in those days were admitted on the stage. The original Polly was played by Miss Lavinia Fenton, a beautiful and accom- plished actress. After appearing in this part sixty-two times, she retired from the stage and became the wife of the Duke of Bolton. John Rich himself was an extraordinary character, he it was who first popularised pantomime in England, and he was himself the first harlequin seen on our stage. He had a great passion for cats, often having as many as twenty-seven assisting him with his meals. After having achieved much renown as Manager of Lincoln's Inn Fields and Covent Garden, he died in 1761. — L.S. Hogarth, coming at the time he did, will always remain the inexplicable marvel that every great original artist must be. We can, it is true, trace in his method ofc painting the tradition of Lelv, imbibed through Thornhill, Hogarth's nominal master, but while all other painting of the time, though accomplished, is unindividual and facile, Hogarth's own work is, except in some perfunctory pot-boilers, always strongly individual and interesting. Hogarth apparently used the method that had been handed down from Lely, of painting first in a solid impasto of 37 The Beggars' Opera The Duke of Leeds Hogarth 36 Upper Gallery LENDER ARTIST monochrome called "dead colouring" and by " scrumbling and glazing," afterwards reaching a point when he added the finishing>coat in a solid paste. Hogarth was endowed with a rich strong nature, keenly alive and interested in all the play of light and character that met his eye in the unideal, coarse life of his day. Not possessing the customary careful training in drawing from the mcdel considered requisite, he set himself to remedy this by training his eye to take sharp mental phctographs, at the time, of just those essential interesting lights, poses and lines in any scene that struck him. He could thus reproduce just that sharp clear-cut version of a scene that had caught his undaunted, caustic mind. All that is unessential to this view is left out, but all that expresses it is given with an enthusiastic, nervous interest utterly at variance with the skilful but bored facility of Lely and Thornhill. Hogarth possessed the great gift of knowing what to reject in the multitudinous details offered by the scenes around him, and in some ways he surpassed the Dutch painters whose work his resembles, such as that of Jan Steen in his larger canvasses. Hogarth, however, explored new fields, and enlarged the material of art by relating the contemporary life of his day (the comparative failure of some of his attempts demonstrate the difficulty of his task) to art, and giving much that had previously been neglected, as outside the province of art, a very spirited, able, artistic expression. Hogarth selected strong types, and treated his themes with bitter, unflinching realism, but he is not essentially eccentric or exaggerated. 38 David Garrick A. Wynn Corrie, Esq Sir Joshua Reynolds, P.R.A. 39 Peg Woffington The Marquess of Lansdowne, K.G. Hogarth 40 £. Trevelyan Turner, Esq. 41 Portrait of David Garrick as Steward of Shake- spearean Festival E. Layton, Esq. Van der Gucht 42 Mrs. Siddons with John Philip Kemble and Charles Kemble in a Tableau from the Kemble version of " Macbeth." Bernard Weller, Esq. Wm. Hamilton, R.A. 43 Mrs. Siddons Mrs. E. Burrows Sir Joshua Reynolds, P.R.A. 44 Dorothy Fenton, afterwards Duchess of Bolton John Glen, Esq. Arthur Pond Upper Gallery 37 LENDER ARTIST 45 John Palmer as Don Charles in " Ximenes " Felix Wagner, Esq. De Wilde 46 Shuter, Mrs. Green, and Quick, in " She Stoops to Conquer " E. Trevelyan Turner, Esq. Thomas Parkinson Exhibited at the Royal Academy, 1775. 47 Quin Arthur Kay, Esq. Sir Joshua Reynolds, P.R.A . James Quin (1693-1766) was, until the appearance of David Garrick, the leading tragedian of his age. So upset was he by the newcomer that he retired to Bath, but soon recovered his temper and returned to London. In addition to his great histrionic talents, he was a most noted epicure. One day, dining with the Duchess of Marlborough, he was surprised to see she ate only the leanest part of the venison. He had to ask her why, and on her announcing that she did not like the fat his astonishment overcame his manners, and he said, " I like to dine with such fools." Twice Quin had duels thrust upon him and in both cases he killed his man, facts which weighed heavily on his mind, for he was a most tender-hearted and humane man. He was the finest Falstaff of his day. Rich had been desirous of producing cc The Merry Wives of Windsor," but could not find a Fal staff. Quin volun- teered to take the part, but was contemptuously snubbed for his pains. " You attempt Falstaff ! 35 cried Rich. u You might as well think of acting Cato after Booth. It is quite out of your walk, young man. Nobody has any idea of the part except myself. Never think of Falstaff." But the young man did think of Falstaff/ 5 and played it in 1720, and became the greatest since Betterton — so great that no man has ever yet succeeded to his mantle ; and he thought of Cato too, and played it, was encored in the great soliloquy, and the audience rose at him and shouted, " Booth outdone ! 55 48 Oliver Goldsmith Lord Sackville Sir Joshua Reynolds , P.R.A. Oliver Goldsuith, the author of " She Stoops to Conquer " and " The Vicar of Wakefield, ' : and one of the most lovable figures in English literature, was born in Ireland on Nov. 10, 1728. When, as a young man, he came to London, he suffered great poverty until Dr. Johnson befriended him, persuaded Newbery to publish "The Vicar of Wakefield," and urged Garrick to produce "The Good Natured Man." His second comedy "She Stoops to Conquer," shows a remarkable "return to nature" : the drama of the day was full of artificial sentiment and unreality, and Goldsmith, like 3» Upper Gallery LENDER ARTIST Sheridan, brought it into touch with real life again. He had, further, a peculiar gentle and sly humour of his own which gave character to everything he wrote. Personally he was shy , awkward, and a little vain. Perhaps the truest criticisms on him — Garrick's : " He wrote like an angel and talked like po r Poll," and Johnson's : " Let not his frailties be remem- bered : he was a very great man." Johnson also wrote the famous sentence in his epitaph : "he touched nothing which he did not adorn." 49 Mr. Quick as Tony Lumpkin E. Trevelyan Turner, Esq. De Wilde 50 J. Emery as Tom Moody in " The Provoked Husband" 51 The Trial of Queen Katherine (Henry VIII.) — ■ Mrs. Siddons and other members of the Kemble Family , The Shakespeare Memorial Association G. H. Harlow 52 Portrait of Miss Reilly, Comedy Actress John Glen, Esq. G. Clint, A.R.A., (1770-1854) 53 Much Ado About Nothing Max Michaelis, Esq. Rev. M. W . Peters, R.A. 54 Edwin Booth as Hamlet The Shakespeare Memorial Association Oliver I. Lay Edwin Booth (1833-1893). Those of us who are play- goers of some thirty years 5 standing will remember Edwin Booth's season in London in 1881, and how he and Irving alternated the characters of Othello and Jago. He was one of a family of actors, being the son of Junius Brutus Booth. His brother, John Wilkes Booth, assassinated President Lincoln in a fit of temporary insanity. The whole family were very clever but very eccentric. Edwin was the least capricious of them all, but he was of a somewhat unstable mentality. He was a finished and clever interpreter of Shakespeare. — L.S. 56 George Morland and J. Cobb, Dramatic Writer, Author of " The Haunted Tower," etc. Felix Wagner, Esq. De Wilde 55 Miss O'Neill J. J. Buckman, Esq. unknown Percy Fitzgerald, Esq. 57 Miss Kitty Stevens J. J. Buckman, Esq. George Morland unknown Upper Gallery 39 LENDER ARTIST 58 Kemble as Hamlet The Earl of Northbrook Sir T. Lawrence, P.R.A. 59 Mrs. Davenport as the Nurse in " Romeo and Juliet " G. H. Shepherd, Esq. James Holmes 60 Kemble as Hamlet Miss Genevieve Ward Mortimer 61 Garrick in the Green Room E. Reiss, Esq. Hogarth 62 Dance Sir Edgar Vincent Gainsborough 63 George Frederick Cooke as Richard III. J. H. Leigh, Esq. unknown 64 Fanny Kemble as Juliet The Shakespeare Memorial Association Briggs, R.A 65 Talma (b. 1763, d. 1826) as Hamlet J. L. Rutley, Esq. /. Lonsdale 66 Mrs. Ridley James Smirke, R.A. 67 Portrait of David Garrick George Alexander, Esq. Gainsborough 68 Portrait of Ellen Tree The Shakespeare Memorial Association 69 Garrick as Richard III. J. H. Leigh, Esq. Bardwell 70 A Rehearsal E. Trevelyan Turner, Esq. Francis Hay man 71 Mrs. Siddons as Euphrasia in the "Grecian Daughter " Cesar Schlesinger, Esq. Hamilton 72 Trial of Queen Katherine (Members of the Kemble Family) The Shakespeare Memorial Association H. Andrews 73 Fechter as Hamlet J. H. Leigh, Esq. 74 Malvolio and the Countess J. Gresham, Esq., J. P. W. P. Frith, R.A., C.V.O. 40 Upper Gallery LENDER ARTIST 75 Mr. C. H. Workman as the Duke of Plaza Toro C. H. Workman, Esq. G. P. Jacombs Hood 76 Edmund Kean and Henderson in "Richard III." Felix Wagner, Esq. Sir W. Beachey, P. R.A. As Edmund Kean and Henderson were not of the same period, it is doubtful if this title is correct. 77 Portrait of Tom Dibdin — Dramatist E. Rimbault Dibdin, Esq. -5*. Drummond, R.A. 78 Mrs. Siddons and her Son in the " Tragedy of Isabella " B. A. H. Woodd, Esq. W. Hamilton " Isabella, or the Fatal Marriage," a play of five acts, altered from Southern by David Garrick. Printed 1758. Southern was indebted for the plot to Mrs. Behn. The tragical portion of " Isabella " was taken from " The Nun, or The Fair Vowbreaker " ; other incidents from Fletcher's " Little Thief," Drury Lane, December 28, 1818, and May 3, 1828; Covent Garden 1824, April 28, 1830. — G.E. 79 Garrick as Richard III. J. H. Leigh, Esq. 80 J. P. Harley Felix Wagner, Esq. 81 J. Quick — Comedian Felix Wagner, Esq. Dance G. Clint, A. R.A. W. Score 82 Children Watching a Marionette Show Lady Jekyll Sir John E. Millais (1844) 83 Charles Matthews as Goldfinch Felix Wagner, Esq. De Wilde 84 John Masefield, Esq. W. Strang, Esq. W. Strang, A. R.A. 85 Macready J. H. Leigh, Esq. Madise Two of the most drastic theatrical reforms are due to Garrick and Macready. Garrick did away with the objec- tic liable habit of allowing part of the audience seats on the stage, which had become such a nuisance that the poor players often had little or no room, and were for ever falling over the legs of some reclining young "blood." Garrick, in the face of much opposition, cleared the stage. Until Macready's day the front of the theatre was sadly neglected ; quarrels and disturbances were almost of nightly Upper Gallery 4r LENDER ARTIST occurrence, and objectionable characters of both sexes made the place almost unbearable. It was no easy task to sweep away these habitues, but Macready achieved it. 86 Herman Vezin J. H. Leigh, Esq. Forbes Robertson 87 Sir Charles Wyndham as David Garrick Sir Charles Wyndham John Pettie, R.A. 88 Sir Herbert Tree as Gringoire in "The Ballad- monger " Sir Herbert Tree Hermann Herkomer 89 Portrait of Martin Harvey Martin Harvey, Esq. Harrington Mann 90 Helena and Hermia The City of Liverpool Sir E. J. Poynter, P. R.A. 91 Mrs. Patrick Campbell W. Graham Robertson, Esq. W. Graham Robertson 92 Lady Bancroft as Peg Woffmgton The Shakespeare Memorial Association 93 Falstaff The Corporation of Preston Leslie 94 Scenes from " As You Like It " The City of Liverpool Hughes 95 A Mediaeval Miracle Play A. B. Donaldson, Esq. A. B. Donaldson The Early Christians condemned the corrupt Roman plays, and actors were excluded from the sacraments; but later on the Monks began to act stories from the Bible. The service of the Mass itself is partly dramatic. From the Fifth Century it was common for the church services to be illustrated by " living pictures 55 with songs. Such were the offices of "the Shepherds," C£ the Innocents, 55 and the " Holy Sepulchre. 55 Gradually the Trade Guilds took up the idea, and developed it, performing their plays every year in the cities. The plays of Chester, York, and othei cities, were famous, and such plays lasted on in Cornwall in the Cymric language as late as the Eighteenth Century. The cc Mummers 55 and " Waits 55 at Christmas are a survival of these plays. For the most part they were solemn, and had a serious purpose, but there were interludes which degenerated into farce, and finally led to the suppression cf the plays. The Archbishop of York suppressed the plays in that city by obtaining the book of the words by guile and refusing to return it. 42 Upper Gallery LENDER ARTIST 96 " Dost know this water fly ? ' ? P. S. Brown, Esq. John Pettie, R.A. 97 The Squire (water-colour) Sir Bruce Maxwell Seton, Bart. Sir Fred. W. Burton 98 Katherine and Petruchio Mrs. Gerald Martineau R. B. Martin eau 99 Miss Ellen Terry W. Graham Robertson, Esq. W . Graham Robertson 100 Sir Peter and Lady Teazle Rev. T. S. Cooper John Pettie, R.A 101 Miss Olga Brandon W. Graham Robertson, Esq. W . Graham Robertson 102 " The Merry Wives of Windsor " (Sir H. Tree Miss Ellen Terry, Mrs. Kendal) Sir Herbert Tree Hon. John Collier 103 Le Bourgeois Gentilhomme The Corporation of Preston W. P. Frith, R.A. 104 Miss Nellie Farren as Ruy Bias W. Graham Robertson, Esq. W. Graham Robertson 105 Miss Marie Tempest The Stafford Gallery (Duke St., W.) W. Nicholson 106 Miss Marion Terry Mrs. Jopling Louise Jo fling, R.B.A. 107 Charles Surface selling the Portraits of his Ancestors Lord Winterstoke John Pettie, R.A. 108 Mrs. Granville Barker (Miss Lillah McCarthy) Hon. Neville Lytton Neville Lytton 109 John Sinclair — Comedian Felix Wagner, Esq. W. Score no " Twelfth Night " James Gresham, Esq., C.E., J.P. W . P. Frith, R.A., C.V.O. Upper Gallery 43 lender artist in Miss Elise Craven W. Graham Robertson, Esq. W. Graham Robertson 112 Malvolio Sir Bruce Maxwell Seton, Bart. Laslett J. Pott 113 Charles Kean as Hamlet Felix Wagner, Esq. A. E. Challon, R.A. 114 Scene in the Temple Gardens (Origin of tho War of the Roses) Messrs. Maple & Co., Ltd. John Pettie, R.A. 115 The Play Scene in " Hamlet " James Gresham, Esq., C.E., J. P. D. Maclise, R.A. 116 Mile. Adeline Genee Hon. Neville Lytton Neville Lytton 117 Mrs. Kendal in "The Merry Wives of Windsor " Miss Louise, Jopling, R.B.A. Louise Jo fling, R.B.A. 118 C. Aubrey Smith, Esq., as Duke Frederick in "As You Like It " at the St. James's W. Graham Robertson, Esq. W. Graham Robertson 119 Lady Tree as Ophelia Miss Louise Jopling, R.B.A. Louise Jo fling, R.B.A. 120 Miss Lilian McCarthy as Dona Ana Mrs. Granville Barker Charles Shannon 121 Miss Violet Vanbrugh Mrs. Sutro Esther S. Sutro 122 Quick as Bob Acres in ' c The Rivals " T. V. Grove, Esq. De Wilde John Quick (1748-1831) was a favourite with George III., and one day, when the actor and his little girl were strolling in the Park, the King and his Horse Guards came along. The child, frightened by the noise, ran away and tried to get through some railings, succeeding only in getting her head fast. His Majesty recognised Quick, and came to the rescue, promising the child that if she would leave off crying she should be a Maid of Honour when she grew up — a promise which the old actor never tired of talking about, thought it was never fulfilled. He was an intensely vain man, and fond of expensive raiment. He was one of the last of the Garrick School, and was an excellent Hamlet, Romeo, and Richard III. — L.S, 44 Upper Gallerv lender artist SCREEN. J22A Miss Ellen Terry Miss Ellen Terry G. F. Watts, R.A., O.M. REVERSE OF SCREEN. T22B Prints Miss Ellen Terry, A. M. Broadley, Esq., K.C. 123 Case — Theatrical Books Mrs. Knox-Johnson, Messrs. Elkin Matthews Dr. C. Wheeler 123A Miss Ellen Terry as Mistress Page Miss Pamela Coleman Smith P. Coleman Smith 124 Model Theatre—" The Wood " from " A Mid- summer Night's Dream " (Figures by Miss Melicent Stone Denis Mackail, Esq. Denis Mackail 125 Model — Scene from "The Corsican Brothers ,? (Figures by Miss Melicent Stone) Denis Mackail, Esq. Denis Mackail 126 Model — Scene from "A Midsumme; Night's Dream " (Figures by Miss Melicf it Stone) Denis Mackail, Esq. De.ris Mackail 127 Model — Scene from "A Midsummer Night's Dream 57 Denis Mackatl, Esq. Denis Mackail 128 Sicilian Marionette Models Denis Mackail, Esq. 128A Figures for "A Midsummer Night's Dream " (by Miss Melicent Stone) 128B Copies of Seven Deadly Sins from a German Print, and of a Costume in a Painting by Veronese W. POEL, Esq. W. Poel These show the ideas of classical dress common in Shake- speare's time. SCREEN. 129 Statuette (wood) — Figure of Hamlet (German) Miss Edith Craig Upper Gallery LENDER ARTIST 130 Four Studies of David Garrick Messrs. E. Rimell & Son 131 Case of Theatrical Relics, Portraits, etc. 132 Rightort, Hill, and Fisher, as Ayrton, Glad- stone, and Lowe, in " The Happy Land " Sir Charles Dilke, M.P. Righton 133 The Merchant of Venice (water-colour) J. Gamble, Esq. A. Stevens 134 Charles Kean as Louis XL J. H. Leigh, Esq. Lam pf^35 Juliet's Nurse (water-colour) Sir Bruce Maxwell Seton, Bart. Wright (of Derby) Drawing Sir Bruce Maxwell Seton, Bart. Rowland son 136 Portia and Balthazar Sir Bruce Maxwell Seton, Bart. Sir James Linton 1 1 38 David Garrick (water-colour) J. Gamble, Esq. 139 Drawing of Desdemona A. E. F. Horniman, Esq. Dante G. Rossetti 140 The Entrv of Bolingbroke into London — " Richard II." Bertram Forsyth, Esq. 141 " As You Like It " (water-colour) J. Gamble, Esq. A. Stevens 1 42 Booth as Richard III. J. H. Leigh, Esq. Boyd 143 Charles Kean as Hamlet J. H. Leigh, Esq. A. E. Chalon 144 Statuette — Mr. Robert Farquharson in the part of Herod in " Salome/' by Oscar Wilde Miss Melicent Stone Melicent Stone 46 Upper Gallery LENDER ART! ST 145 Drawing of Mrs. Siddons Bernard Waller, Esq. Sir Joshua Reynolds, P.R.A. 146 Case of Theatrical Miniatures, Statuettes. Curios, etc. 147 Mrs. Martin Colnaghi R. Smirks, R.A. 148 " The Tempest " D. Levin, Esq. R. Smirke, R.A. 149 Mrs. Siddons as II Penseroso John Glen, Esq. R. We stall, R.A. 150 John Philip Kemble (drawing) Bertram Forsyth, Esq. Sir Thomas Lawrence, P.R.A. 151 Fechter as Hamlet J. H. Leigh, Esq. unknown 152 Mrs. Siddons Bertram Forsyth, Esq. 153 "Taming of the Shrew " (Introductory Part) Mrs. Martin Colnaghi R. Smirke, R.A. 154 " Measure for Measure " D. Levin, Esq. R. Smirke, R.A. 155 Sheridan as a Young Man (crayon drawing) W. Sichel, Esq. 156 " Measure for Measure " — Isabella Mrs. Martin Colnaghi R. Smirke, R.A. 157 Romeo and Juliet Mrs. Martin Colnaghi R. Smirke, R.A. 158 Miss Farren — Countess of Derby Mrs. Aston Sir Thomas Lawrence, P.R.A. Water-colour sketch for the life-size picture painted for the Earl of Derby, but now the property of Mr. Pierpont Morgan. 159 Drawing of the Two Misses Linley John Glen, Esq. Gainsborough 160 Isabella and The Fatal Marriage Mrs. Martin Colnaghi R. Smirke, R.A. 161 Nurse and Peter in " Romeo and Juliet " D. Levin, Esq. R. Smirke, R.A. 162 John Fawcett (b. 1768, d. 1837) — Comedian J. L. Rutley, Esq. G. Danes Upper Gallery 47 LENDER IRTfST 163 D. Levin, Esq. R. Smirke, R.A. 164 D. Levin, Esq. R. Smirke, R.A. 165 Drawing of John Philip Kemble Bertram Forsyth, Esq. 166 John Philip Kemble Bertram Forsyth, Esq. Sir Thomas Lawrence, P. R.A. 167 J. H. Leigh, Esq. 168 Capulet Cursing his Daughter Juliet — " Romeo and Juliet " D. Levin, Esq. R. Smirke, R.A. 169 D. Levin, Esq. R. Smirke, R.A. 170 Original Drawing of Lady Hamilton as L'Allegro John Glen, Esq. R. Westall, R.A. 171 Model Theatre Lord Howard de Walden 172 Model Theatre — 'Made by the Carpenters and Electricians of His Majesty 's Theatre Miss Maeve Whelen 173 Model — Scene from " Hamlet " Gerald Forsyth, Esq. Gerald Forsyth 174 Model — Scene from " Hamlet " Gerald Forsyth, Esq. Gerald Forsyth 175 Model — Old London Gerald Forsyth, Esq. Gerald Forsyth 176 Model — Scene from " As You Like It " The Gaiety Theatre, Manchester B. Iden Payne 177 Model Theatre Jack B. Yeats, Esq. Jack B. Yeats Scene from the flay of Theodore. The Count D^Oyley. Why leave us, Theodore? Constanza. Go, noble youth, and when your fierce heart softens To the foe, then remember Lafitte, that great bloom Of ocean mown down before his ripening, and Give them the old lucky cut — Cut Seven, 4§ Upper Gallery LENDER ARTIST t 78 The Stage. Irishman Jack B. Yeats, Esq. Jack B. Yeats 179 The Oid-fashioned Harlequinade Jack B. Yeats, Esq. Jack B. Yeats t8o The Stage Informef f ■ Jack B. Yeats, Esq. Jack B. Yeats 181 Model — Scene from "Hamlet": The Grave- yard Gerald Forsyth, Esq. Gerald Forsyth 182 Beatrice listening to the Ladies' Plot James Gresham, Esq., C.E., J.P. IV. F. Frith, R. A., C.V.O. 183 Scene from " The Tempest " T. V. Grove, Esq. Stefhanof 184 Marionette Theatre Miss Gertrude Robins Gertrude Robins 185 Scene from " Shakespeare 55 T. V. Grove, Esq. unknown 186 Three Scenes from " Shakespeare " Mrs. Ridley James R. Smirke, R.A. 187 Mr. Kemble as Richard III. R. Eden Dickson, Esq. W. H. Hamilton, R.A. 188 Edmund Kean as Richard III. J H. Leigh, Esq. S. Drummond (1763-1844) 189 " Romeo and Juliet " — Tomb Scene after Dicksee 190 "Romeo and Juliet " — Balcony Scene -; after Dicksee The Director is greatly indebted to Mrs. Enthoven, Miss Lita Smith, Mr. Baker- Penoyre, Mr. Freund, Professor Wallace and Mr. Harvey Darton for notes for the Catalogue. In connection with the Shakespeare performances by the Schools the cordial thanks of the Trustees are due to Mr. William Poel for his advice and for directing M r. G. A. Ramsay in designing the stage, to Mr. F, J. Harvey Dai ton, Mr Geoffrey Strahan and Mr Tom Hesiewood for producing plays, and to Miss Binnie, Miss Halkett, Miss MacDonell and Mrs. Cox for making costumes. PENNY AND HULL, PRINTERS, LEMAN STREET, E. LIST OF PEKFORMANGES m THE LOWER GALLERY, It T p.m» Recital : Julius Caesar Merchant of Venice Romeo and Juliet . - > V Twelfth Night Scenes from Henry IV. , . Merry Wives of Windsor .y Scenes from As You Like It, Twelfth Night,' and. " Romeo and Juliet twelfth Night Romeo and Juliet U Twelfth Night >, Scenes from Henry IV, . . Merry Wives of Windsor.* Recital : King Henry IV. (Part I.) »■» *? Merchant of Venice . King John . . King John , , Kin g J oh n * » • > Richard II. , . * • To be arranged Twelfth Night >\i+\ x Richard II... , % ( -Richard II. . . ^Midsummer Night's Dream tlftidsu mmer Night's D ream -To be arranged, -Merchant of Venice -Midsummer N ight's Dream -As You Like It ••. , -As You Like It , . -As You Like It . . 1* Scenes from Komeo and Juliet '•' " V > .Twelfth Night \. - X Mr, Otto.Sallmann E.C.S. Dramatic Club ECS. Dramatic Club E.C.S. Dramatic Club Rugby* Club E.C.S. Dramatic Club Mr. Harcourt William's, Miss Jean Mackinlay, and Miss Penelope Wheeler Toynbee Shakespeare Society E. C . S. Dramatic Club '/ E.C.S. Dramatic Club . Rugby Club E.C.S: Dramatic Club Mr. Otto Salimarm E.C.S Dramatic Club. Chicksand St, L.C.C. School Chicksand St. L.C.C. School Chicksand St. L.C.C, School , W T hitechapel Foundation School Toynbee Shakespeare Society Whitechapel Foundation School Whitechapel Foundation School Cable St. L.C.C, School Cable St. L.C.C. School E.C.S. Dramatic Club Cable St. L.C.C. School Jews' Free School . Jews' Free School • rt lews' Free School Under the direction of Mr, Ctokm i King. A : V?V Toynbee Shakespeare Society * At, 6. ft>m, CO|ttrifc carriage oeptionail NOTICE. Exhibi consent of the owners. FORTHCOMING EX SPRING, 1911. (APRIL and MAY) SCOTTISH ART' Including: a colled from the Modern Scottish Arfc Association. AUTUMN, 1911. (OCTOBER ii OLD Offers of loans will toe welcome