the Globe play-house, as appears from the following memorandum, on a blank page of the manuscript.

"This day, March the fourth, 1598, received the sum of seven shillings and four-pence for six bundles of rushes, and two pair of brass snuffers.”

Our commentator's erudition likewise manifested itself in a dramatic piece which he wrote, entitled "No Cure, No Pay." In the early part of his life he distinguished himself by his filial affection, in the support of his poor and aged parents, through the various means above detailed; will not, then, the feeling heart experience a pang at being imformed, that, bowed downby age, poverty, infirmity, and a long and painful illness, Harry Rowe expired in the poor-house at York, many years ago!

DEATH OF JOHN PALMER.

THE last engagement of this eminent actor was at Liverpool; and, on the morning of the day on which he was to have performed The Stranger, he received, for the first time, the distressing intelligence of the death of his second son, a youth in whom his tenderest hopes were centered, and whose amiable manners had brought

into action the tenderest affections of a parent The Play, in consequence of this, was deferred; · and, during the interval, he had in vain endeavoured to calm the agitation of his mind.-The success with which he performed the part called for a second representation (August 2, 1793,) in which he fell a sacrifice to the poignancy of his own feelings, and when the audience were doomed to witness a catastrophe which was truly melancholy.

In the fourth act, Baron Steinfort obtains an interview with The Stranger, whom he discovers to be his old friend. He prevails on him to relate the cause of his seclusion from the world: in this relation the feelings of Mr. Palmer were visibly much agitated, and, at the moment he mentioned his wife and children, having uttered (as in the character,) "there is another and a better world!" he fell lifeless on the stage. The audience supposed for the moment that his fall was nothing more than a studied addition to the part; but on seeing him carried off in deadly stiffness, the utmost astonishment and terror became depicted in every countenance. Hamerton, Callan, and Mara, were the persons who conveyed the lifeless corpse from the stage

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into the Green-room. Medical assistance was immediately procured; his veins were opened, but they yielded not a single drop of blood, and every other means of resuscitations were had recourse to, without effect.

The gentlemen of the faculty, finding every endeavour ineffectual, formally announced his death. The surgical operations upon the body continued about an hour; after which, all hopes of recovery having vanished, he was carried home to his lodgings on a bier, where a regular inventory was taken of his property. Mr. Aickin, the manager, came on the stage to announce the melancholy event to the audience, but was so completely overcome with grief as to be incapable of uttering a sentence, and was at length forced to retire, without being able to make himself understood: he was bathed in tears, and, for the moment, sunk under the generous feelings of his manly nature. Incledon then came forward, and mustered sufficient resolution to communicate the dreadful circumstance.-The house was instantly evacuated, in mournful silence, and the people forming themselves into parties, contemplated the fatal occurrence in the open square, till a late hour next morning. Doctors Mitchell

and Corry gave it as their opinion that he certainly died of a broken heart, in consequence of the family afflictions which he had lately experienced.

RIOT AT THE HAYMARKET THEATRE.

VICTOR'S History of the Stage contains the following account of the contest, in 1749, at the Haymarket Theatre, upon the attempted introduction of French actors, at a period when the English ones were actually in want of bread, the former acting too, as per advertisement, by authority, in a time when the same Theatre and that of Goodman's Fields had been shut up on the national performers.

People went early to the Theatre, as a crowded house was certain. I was there, in the centre of the pit, where I soon perceived that we were visited by two Westminster justices, Deveil and Manning. The leaders, who had the conduct of the opposition, were known to be there, one of whom called aloud for the song in praise of English roast beef, which was accordingly sung in the gallery, by a person prepared for that purpose, and the whole house, besides joining in the chorus, saluted the close with three huzzas. This, Justice Deveil was pleased to say, was a riot, upon which disputes commenced di

rectly, which were carried on with some degree of decency on both sides. The justice first informed us, that he was come there as a magistrate to maintain the king's authority; that Colonel Pulteney, with a full company of the guards, was without, to support him in the execution of his office; and that it was the king's command the play should be acted, and that the obstructing it was opposing the king's authority; and if that were done he must read the proclamation, after which, all offenders would be secured by the guards in waiting directly.

"To all these most arbitrary threatenings, and the abuse of his majesty's name, the reply was in the following effect: that the audience had a legal right to shew their dislike to any play, or actors; that the judicature of the pit had been acknowledged and acquiesced to, time immemorial; and, as the present set of actors were to take their fate from the public, they were free to receive them as they pleased. By this time, the hour of six drew near. The French and Spanish ambassadors, with their ladies, the late Lord and Lady Gage, and Sir Thomas Robinson, a commissioner of the excise, all appeared in the stage-box together. At that in