nothing that
has a tendency to fill it."

Here, we let the curtain drop. Neither her private nor her public
character can derive additional lustre from any pen.

PORTRAIT OF THE CELEBRATED BETTERTON.

Mr. Thomas Betterton, dramatist and actor, was born in Tothill-street,
Westminster; and after having left school, is said to have been put
apprentice to a bookseller. It is supposed he made his first appearance
on the stage about the year 1657, at the opera house, which was then
under the direction of sir William Davenant. He went over to Paris to
take a view of the French scenery, and on his return, made such
improvements, as added greatly to the lustre of the English stage.

The professional merits of this great man were of a kind so perfectly
unequivocal and unalloyed that there never was heard one dissenting
voice upon the subject of his superiority to all other actors. He stood
so far above the highest of his profession that competition being
hopeless there was no motive for envy.

Of the few who lived to see him and Garrick, the far greater number gave
him the palm, with the exception of Garrick's excellence in low comedy.
Indeed he seems to have combined in himself the various powers of the
three greatest modern actors, of Garrick, except as before excepted, of
Barry, and of Mossop; add to which, he played Falstaff as well as Quin.
The present writer got this from old Macklin, who was stored with
anecdotes of his predecessors.

Of Betterton, Colley Cibber speaks thus, in his apology for his own
life:

"Betterton was an actor, as Shakspeare was an author, both without
competitors! formed for the mutual assistance, and illustration of each
other's genius! how Shakspeare wrote, all men who have a taste for
nature may read, and know--but with what higher rapture would he still
be read, could they conceive how Betterton _played_ him! Then might they
know, the one was born alone to speak what the other only knew to write!
pity it is, that the momentary beauties flowing from a harmonious
elocution, cannot, like those of poetry, be their own record! that the
animated graces of the player can live no longer than the instant breath
and motion that presents them; or at best can but faintly glimmer
through the memory, or imperfect attestation of a few surviving
spectators. Could _how_ Betterton spoke be as easily known as _what_ he
spoke, then might you see the Muse of Shakspeare in her triumph, with
all her be