very damaging to the fortunes of the theatre. The grievances of the players were laid before the Lord Chamberlain, the Earl of Dorset, who induced King William to grant an audience to Betterton, Mrs. Barry, and others of the company. The death of Queen Mary, by stopping all public diversions, interrupted the negotiations. Royal license (not a patent) was, however, granted to Betterton and his associates to act in a theatre by themselves, and a subscription was formed for the purpose of erecting a theatre within the walls of the tennis-court in Lincoln's Inn Fields. While the old company accordingly, strengthened by some additions, played with marked insuccess at the Theatre Royal, Betterton, with his associates Doggett, Sandford, Williams, Underbill, Bowman, Smith, Mrs. Barry, Mrs. Mountfort, and Mrs. Bracegirdle, who with commendable discretion refused the invitation of the patentees to rival Mrs. Barry and joined the coalition, opened 30 April 1695 in what was frequently called the 'Theatre in Little Lincoln's Inn Fields.' Williams and Mrs. Mountfort, however, soon rejoined the old company. The first venture was Congreve's 'Love for Love,' the success of which was so great that they had, according to Gibber, who was at the rival house, 'seldom occasion to act any other play till the close of the season.' Besides his profits from 'Love for Love,' Congreve accepted a full share from the company, binding himself, if his health permitted, to give them a new play every year. This undertaking was not kept, and the associated comedians were in a bad way when, between two and three years later, 1697, the 'Mourning Bride' came to save them. A like service was accomplished a<rain in 1700 by the 'Way of the World,' which though coolly received on the first production, kept possession of the stature, and 'was very soon after its first exhibition in favour with the public' (Davies, Dramatic Miscellanies, iii. 360). Once more things went wrong in a way that leaves room for suspicion that Betterton was an indifferent manager. A further subscription to provide a new house was set on foot. The building erected by Sir John Vanbrugh in the Haymarket was opened 9 April 1705. Betterton, who felt the weight of increasing years, resigned the management of the new house to Congreve and Vanbrugh, the former of whom soon abandoned it to Vanbrugh. Seventy years of age and a martyr to gout, Betterton, in spite of straitened circumstances, found himself compelled by physical infirmities to act less frequently. At the desire 'of several persons of quality' a benefit was got up for him. The date of this famous performance is generally given 7 April 1709. In Curll's 'History of the Stage' it is said that the benefit took place on Thursday, 7 April. As 7 April was a Friday the date seems suspicious. Genest, however, gives the performance and the cast for the same day. By a note to the 'Tatler' for Tuesday 11 April, No. 157, however, the date, unless the performance was repeated, is fixed for Thursday, 13 April. Addison says: 'Mr. Bickerstaff, in consideration of his ancient friendship and acquaintance with Mr. Betterton, and great esteem for his merit, summons all his disciples, whether dead or living, mad or tame, Toasts, Smarts, Dappers, Pretty-fellows, musicians, or scrapers, to make their appearance at the play-house in the Haymarket on Thursday next, when there will be a play acted for the benefit of the same Betterton.' A great concourse of persons of distinction was assembled, the stage as well as the auditorium being crowded with ladies and gentlemen. The performance, at increased prices, brought Betterton 500l. The piece was 'Love for Love.' Betterton played Valentine; Doggett for that occasion only appeared at the Haymarket, and enacted Ben. Mrs. Barry and Mrs. Bracegirdle came from their retirement and appeared respectively as Mrs. Frail and Angelica. A prologue by Congreve, which has not survived, was, according to Curll, spoken by Mrs. Bracegirdle. After the performance Betterton appeared, supported on either side by Mrs. Barry and Mrs. Bracegirdle, the former of whom spoke an occasional prologue by Rowe. Though it has been much commended, it is poor stuff'. It was then determined that the benefit should be annual. No more than one anniversary was kept. Betterton acted rarely at the Opera House in the Haymarket, then under the management of Owen Swinny or Swiney. For his second benefit he played Melantius in the 'Maid's Tragedy' of Beaumont and Fletcher, 25 April 1710 (13 April according to Genest, who is assumably wrong). Mrs. Barry again appeared and played Evadne. An attack of the gout was relieved by external applications, which, however, drove the disease inward. Betterton played with unusual spirit and briskness, but was obliged to act with a slipper on one foot. On 28 April he died, and on 2 May his body was interred in Westminster Abbey, in the south end of the east cloister. The funeral and the character of Betterton formed the subject of the 'Tatler,' No. 167, 4 May 1710, in which Steele pays a high tribute to the deceased actor. There seems to have been less pomp about the funeral than has been believed. Dr. Doran says he 'had a royal funeral;' Whincop, or the author of the list of 'English Dramatic Poets,' appended
