t." These distinctions in the matter of printing
occasioned endless jealousies among the actors. Macklin made it an
express charge against his manager, Sheridan, the actor, that he was
accustomed to print his own name in larger type than was permitted the
other performers. Kean threatened to throw up his engagement at Drury
Lane on account of his name having been printed in capitals of a
smaller size than usual. His engagement of 1818 contained a condition,
"and also that his name shall be continued in the bills of performance
in the same manner as it is at present," viz., large letters. On the
other hand, Dowton, the comedian, greatly objected to having his name
thus particularised, and expostulated with Elliston, his manager, on
the subject. "I am sorry you have done this," he wrote. "You know well
what I mean. This cursed quackery. These big letters. There is a want
of respectability about it, or rather a notoriety, which gives one the
feeling of an absconded felon, against whom a hue-and-cry is made
public. Or if there be really any advantage in it, why should I, or
any single individual, take it over the rest of our brethren? But it
has a nasty disreputable look, and I have fancied the whole day the
finger of the town pointed at me, as much as to say, 'That is he! Now
for the reward!' Leave this expedient to the police officers, or to
those who have a taste for it. I have none."

Macready, under date of 28th September, 1840, enters in his journal:
"Spoke to Webster on the subject of next year's engagement. He said
that he understood I had said that while I was comfortable at the
Haymarket I would stay. _I mentioned the position of my name on the
playbills; that it should not, on any occasion be put under any other
person's, as it had been_; that I should have the right to a private
box when they were not let," &c.

O'Keeffe relates that once when an itinerant showman brought over to
Dublin a trained monkey of great acquirements, Mossop engaged the
animal at a large salary to appear for a limited number of nights at
his theatre. Mossop's name in the playbill was always in a type nearly
two inches long, the rest of the performers' names being in very small
letters. But to the monkey were devoted capitals of equal size to
Mossop's; so that, greatly to the amusement of the public, on the
playbills pasted about the town, nothing could be distinguished but
the words, MOSSOP, MONKEY. Under John Kemble's management, "for