But the author of the 'Records of a Stage Veteran' asserts that Incledon was not so silly or unlearned as he pretended to be, and could give a Roland (often coarse enough) for an Oliver. When some of the poorer actresses, relying upon his open-handed generosity, used to besiege him in the cold weather for donations to purchase flannel, they always got some money from him; but they not unfrequently repaired forthwith to the 'Brown Bear,' and invested it in egg-flip, which in consequence, it is said, soon came to bear the _alias_ of 'flannel' in the green-room. When Incledon found this out, he took his revenge by sprinkling some 'flannel' with ipecacuanha, and so saved his pocket from similar forays for the future. In 1804, he joined the Duke of Cumberland's sharp-shooters; but, being so fat, the story goes that he and Cooke were generally last of the skirmishers. On one occasion he gave a butcher-boy a shilling to carry his gun for him, and, on another, a shilling to a little girl to carry his sword, which was always getting between his legs; and he thus appeared with his two young subalterns on parade. On the 26th February, 1791, Shield's operetta of 'The Woodman' was brought out at Covent Garden; and Incledon, now earning a salary of £16 a week, or £2 more than was then paid to any other English singer, enraptured all his hearers by the way in which he sang 'The Streamlet.' 'The Cabinet,' in which operetta he sang during the winter of 1804, with Braham and Storace, was also, like 'The English Fleet,' highly popular with the public; but Incledon's favourite part was Captain Macheath in the 'Beggar's Opera'--to play which he used to say he would always willingly get up in the middle of the night. And here it may be observed, that Braham gradually delegated to Incledon most of his younger _rôles_; but Dibdin tells us that, as Incledon's fame advanced, he had to be very cautious, in writing for the stage, to allot equally prominent parts to Incledon and to Braham. 'If one had a ballad, the other was also to have one; each a martial or a hunting song; each a bravura; and if they were to have a duet, each one was to lead alternately.' As an illustration of the relations which existed between the singer and the librettist, I may quote a letter which, about the year 1807, Incledon wrote to Dibdin from Norwich: 'DEAR TOM,