The illustrations to this edition have been chosen, not from the book "illustrator's" point of view, but with a serious desire to increase its value as a history. In the case of the portraits, those which Dr. Doran specially mentions, have, wherever it was possible, been selected, and in every instance I believe the portrait given is an accurate and trustworthy likeness. The headpieces, intended to form a supplement to the full-page illustrations, include portraits of persons whose importance scarcely justified their place among the larger pictures, drawings of theatres, and of actors in character. The tailpieces are reproductions of Sayer's beautiful little drawings of Garrick and his contemporaries in their best characters; and in their case no chronological arrangement is possible.

For many valuable notes I am indebted to the kindness of Mr. Alban Doran, who intrusted to me his father's annotated copy of this work. These notes have in every case been acknowledged and marked "Doran MS."

ROBERT W. LOWE.

London, September 1887.


[CONTENTS.]

CHAPTER I.PAGE
PROLOGUE[1]
CHAPTER II.
THE DECLINE AND FALL OF THE PLAYERS[37]
CHAPTER III.
THE "BOY ACTRESSES," AND THE "YOUNG LADIES"[60]
CHAPTER IV.
THE GENTLEMEN OF THE KING'S COMPANY[96]
CHAPTER V.
THOMAS BETTERTON[109]
CHAPTER VI.
"EXEUNT" AND "ENTER"[136]
CHAPTER VII.
ELIZABETH BARRY[149]
CHAPTER VIII.
"THEIR FIRST APPEARANCE ON THE STAGE"[162]
CHAPTER IX.
THE DRAMATIC POETS[183]
CHAPTER X.
PROFESSIONAL AUTHORS[213]
CHAPTER XI.
THE DRAMATIC AUTHORESSES[237]
CHAPTER XII.
THE AUDIENCES OF THE SEVENTEENTH CENTURY[246]
CHAPTER XIII.
A SEVEN YEARS' RIVALRY[274]
CHAPTER XIV.
THE UNITED AND THE DISUNITED COMPANIES[310]
CHAPTER XV.
UNION, STRENGTH, PROSPERITY[317]
CHAPTER XVI.
COMPETITION, AND WHAT CAME OF IT[337]
CHAPTER XVII.
THE PROGRESS OF JAMES QUIN, AND DECLINE OF BARTON BOOTH[356]
CHAPTER XVIII.
BARTON BOOTH[391]