third plate of Taylor's work; and from that prefixed to the edition of Lowndes. Perhaps the Habiti della donne Venetiane, by Giacomo Franco, published in 1606, might be useful in referring to for the article of dress. I have fomewhere read, that the Venetian school painted most of their historical figures in their own habits, thinking them more noble and picturesque than any other †. The countenance of Anthonio should be marked with an embraced heaviness.

Page 187.

THIS is the first page in which Shylock might be well introduced.

The passages (throughout the course of this play) from whence he might be drawn to moft advantage, in my humble opinion, are at the following pages.

Page 146. If I can catch him once upon the hip,

I will feed fat the antient grudge I bear him.

Page 159. Though the whole of this page is attended to with great attention in the Theatre, particularly when Macklin with a peculiar firm look,) says,

Hath a dog money? is it possible

A cur can lend three thousand ducats?

OR,

† A VERY good subject offers itself in Act 1. Sc. 1. when Morochius says:

Even for that I thank you.

But this play will offer a sufficient number of engravings without this-and yet one is loth te

:

Or, when he afterwards says,

Fair Sir, you spit on me on Wednesday last.

Yet, as a great part of the beauty of this page depends on the tone of voice in which it is delivered, it would of course be lost in engraving. *

Page 169. Let not the found of shallow foppery enter

Page 202. I'll have my bond; I will not hear thee speak.

I'll have my bond; and therefore speak no more.

Page 213-217-220-223-225-226.

Page 228. In christening thou shalt have two godfathers.

As the above pages are too numerous to represent Shylock in each of them; I will endeavour to select such situations as may be deemed most proper for the bringing forward so celebrated a character.

In the scene at page 187, there are many fituations, in each of which Mr. Macklin exhibits such infernal beauties, that it is impossible to say, from which particular line Shylock should be drawn. This present scene is certainly one of the master strokes of Shakespeare; and Mr. Macklin (even now in his advanced age) wonderfully supports the sudden tranfitions from one passion to another-from distraction bordering on despair,

for

* I HAVE very frequently attended the theatre at Mr. Macklin's performance of Shylock; and I have always waited with impatience for his speaking one short line in the next page, which he delivers with a tone of voice so suited to the occafion, as to impress every auditor with a high sense of his masterly conception of this character. It is the line of:

This is kind I offer,

for the loss of his jewels-to joy, malevolence, and vindicative revenge, at the news of Anthonio's losses. † It is impoffible to say which particular situation in this present scene with Tubal would furnish the best painting, and I will therefore only add the following passages which strike me as

the

† MR. MACKLIN was born in the last century. His age therefore creates wonder, when we reflect upon his vigour of body and strength of intellectual faculties. The boxes are crowded with persons of the first distinction, on each night of this veteran's appearance in a character in which he never had an equal. It is unaccountable to many of Mr. Garrick's friends, why he never attempted this part; and whoever peruses the above scene with Tubal, must think it written almost purposely to call forth fuch powers as he possessed. And this indeed is the opinion of Wilkes, who in his general view of the stage, page 260, says, "I have heard one of the best judges of the Drama, I ever knew, say, that if he were to perforin Shylock only, it would furpass all his other characters." I find no mention in any of the old books, written on the subject of the theatre, of any other perfon excelling in the part of Shylock ; but we may suppose the excellent actor, Sandford performed it, from Colley Cibber terming him the Spagnoletto of the theatre.. Mr. King has received much applause in this part, and on the decease of Macklin will stand unrivalled. Those who have seen the late Mr. Henderson in this part, will bear testimony of his excelling powers. In a prologue written for Mr. Macklin's comedy of the Man of the World, is the following tribute to it's author:

In days long past our bard your fathers knew.
Who has not heard of Shakespear's matchless jew ?
Still like an oak in green old age he thrives,
Fanu'd by your breath, the fire of youth furvives.
His fpring was foster'd by a genial ray,
Till time had ripe'd him to his summer's day.
*Now winter's come, protect him from the blast,
And shield a vet'ran genius to the last!

The Dramatic Cenfor pays him the following compliment :- There is no doubt but Mr. Macklin looks the part as much better than any other person as he plays it; in the level scenes his voice is most happily fuited to that sententious gloominess of expression the author intended; which, with a fullen solemnity of deportment, marks the character strongly; in his malevolence, there is a forcible and terrifying ferocity; in the third act scene, where alternate passions reign, he breaks the tones of utterance, and'varies his countenance admirably; in the dumb action of the trial scene, he is amazingly descriptive; and through the whole displays fuch unequalled merit, as justly entitles him to that very comprehenfive, though concife compliment paid_him many years ago, "This is the Jew, that Shakef. peare drew."

AND

the most proper to exhibit Shylock; and in each of these situations, he should be accompanied by Tubal.

I would my daughter were dead at my foot and the jewels in her ear! would she were hears'd at my foot, and the ducats in her coffin! No news of them? - Why so:

-- and no fatisfaction, no revenge: nor no ill luck stirring, but what lights o' my shoulders; no fighs, but o' my breathing; no tears, but o' my shedding.

I thank thee, good Tubal;-Good news, good news: ha! hal-Where? in Genoa? *

I am glad of it; I'll plague him; I'll torture him; I am glad of it.

I would not have given it for a wilderness of monkies.

I will have the heart of him, if he forfeit; for were he out of Venice, I can make what merchandise I will:

* At the words ab! ab! the countenance of Macklin discovers such a mixture of vindictive joy, and deadly revenge, as can never be conceived by those who have not seen him. And he speaks the line of: I would not have given it for a wilderness of monkies, with a spirit of wildness which terrifies the audience.

Page 190.

I WILL select for my reader those passages throughout the course of this play, which appear to me, the most favourable for the exhibiting Baffanio in company with Portia.

They are these :

Baff. The dearest friend to me, the kindest man

Page 243. Por. What ring gave you my lord?

Not that I hope, which you receiv'd of me.