tenant Worthington, in _The Poor Gentleman_, he was a
gentleman indeed--refined, delicate, sensitive, simply courageous,
sustained by native integrity, and impressive with a dignity of manner
that reflected the essential nobility of his mind; so that when he
mistook Sir Robert Bramble for a bailiff, and roused that benevolent
baronet's astonishment and rage, he brought forth all the comic humour
of a delightful situation with the greatest ease and nature. He played
Littleton Coke, Sir Harcourt Courtly, old Laroque--in which he gave a
wonderful picture of the working of remorse in the frail and failing
brain of age--and Nicholas Rue, in _Secrets worth Knowing_, a sinister
and thrilling embodiment of avarice and dotage. He played Dr. Bland, the
elegant medical cynic of _Nos Intimes_; De la Tour, the formidable,
jealous husband of Henriette, in _Le Patte de Mouche_; Horace, in _The
Country Squire_; Goldfinch, in which he was airy, sagacious, dashing,
and superb, in _The Road to Ruin_; and Captain Cozzens, the nonchalant
rascal of _The Knights of the Round Table_, which he embodied in a style
of easy magnificence, gay, gallant, courageous, alert, imperturbable,
and immensely comic. He was the original Matthew Leigh in Lester
Wallack's romantic play of _Rosedale_ (1863). He acted Joseph Surface in
the days when Lester Wallack used to play Charles, and he always held
his own in that superior part. He was equally fine in Sir Peter and Sir
Oliver. When the good old play of _The Wife's Secret_ was revived in New
York, in 1864, he gave a dignified and impetuous performance of Sir
Walter Amyott. I remember him in those parts, with equal wonder at his
comprehensive variety of talent and admiration for his always adequate
skill. I saw him as the volatile Ferment, in _The School of Reform_,
and nothing could be more comic than his unwitting abuse of General
Tarragon, in that blustering officer's presence, or his equally
ludicrous scene of cross purposes with Bob Tyke. He was a perfect type,
as Don Manuel Velasco, in _The Compact_, of the gallant, stately Spanish
aristocrat. He excelled competition when, in a company that included
George Holland, W. Holston, A.W. Young, Mark Smith, Frederick C.P.
Robinson, and John Gilbert, he enacted the convict in _Never Too Late to
Mend_. He was equally at home whether as the King in _Don Caesar de
Bazan_ or as Tom Stylus the literary hack, in _Society_. He passed
easily from the correct and sentimen