inclined to expense. Cibber made the propensity of each a check on that of the other, and was himself so bent on equity and fair dealing, that, for the first time, perhaps, in theatrical management, for the space of twenty years, every tradesman's bill was paid directly it was sent in; and although, by a somewhat unusual arrangement, no written agreement was ever entered into with the actors, and the sums appended to their names on the pay-list were their only security, yet every one connected with the theatre received their dues without disputes, and with exemplary punctuality. Every Monday morning all claims were liquidated before a penny of the receipts were touched, and the managers could, in addition, afford to double the salaries of all their actors.
All was now smooth sailing, consequently there is little to record. One feature in the management may deserve the attention of contemporary actors and managers. These men—all, perhaps, exceeding in abilities any actors of the present day—never declined to take an insignificant part to strengthen the general cast of a play. Starring was not then the supercilious folly of every successful actor. The company accordingly worked together better, the gratification of the public was increased, while the actor himself gained in the variety and extended range of his powers. In 1714, Dogget, in a huff, retired to make way for Booth, who had acquired universal popularity by his performance of Cato, in Addison's play.
At the accession of George I., Cibber, with wary keenness, perceived a chance of ridding himself of Collier. Their licence being held at pleasure, on Queen Anne's death a renewal became necessary. Sir Richard Steele had great influence at Court, especially with the Duke of Marlborough. He had always manifested a strong predilection for the theatre, and had frequently eulogised the
