Not all of the plays were performed; though 'The Parson's Wedding' certainly was, at the King's House, and Luellin told Pepys that it was 'an obscene, loose play.' 'Claracilla,' a 'tragi-comedy,' Pepys himself went to see on 4th July, 1661; he merely says, however, that when he first saw it, it was 'well acted.' On a second occasion, when he saw it performed at the Cockpit, he thought it 'a poor play.' He might, in my opinion, have said the same of them all; but they were nevertheless sumptuously printed. King Charles II.'s own copy is in the British Museum (644, m. 11), and a portrait of the author contemplating the huge pile of his precious productions is prefixed to the volume. The original of this portrait was painted by W. Sheppard, and splendidly engraved by William Faithorne; another portrait (also by Sheppard, according to Redgrave) is in the possession of Mr. J. Buller East, to whom it was presented, shortly before her death in 1819, by Frances Maria Killigrew, the last of her name. There is yet another portrait of Thomas Killigrew, which represents him, not, as Walpole says in his 'Anecdotes of Painting,' 'in a studious posture,' but stooping, worn out with his vicious life, with a gibbering monkey at his side, and clad in a tawdry dressing-gown, on which are represented the portraits of a host of the wantons of his acquaintance. The lines at the foot of this rare engraving by Bosse (British Museum, {669. f. 4}/90) are an even more savage caricature than the picture itself. Of Tom Killigrew's early fondness for plays, Pepys' story will serve as an illustration. 'I would not forget,' he writes, 'two passages of Sir J. Minne's at yesterday's dinner, one being Thomas Killigrew's way of getting to see plays when he was a boy. He would go to the Red Bull, and when the man cried to the boys, "Who will go and be a devil, and he shall see the play for nothing?" then would he go in, and be a devil upon the stage, and so get to see plays.' Would it be going too far to say that throughout his connection with the stage he stuck to his youthful part? He talked, however, much better than he wrote; with Cowley the case was the reverse; hence Denham's epigram: 'Had Cowley ne'er spoke, Killigrew ne'er writ, Combined in one they'd make a matchless wit.' Pepys describes him as 'a merry droll, but a gentleman of great esteem with the King; he told us many merry stories;' again, that Killigrew was 'a great favourite with the King on account of his uncommon vein of humour;' though on one occasion, when the King went to the Tower of London, to see the Dunkirk money, the conversation of Killigrew and the others was but 'poor and frothy.' More than once, however, Tom Killigrew, to his credit, spoke out, and to the point, in a tone of which we have already heard something; and Pepys himself has thus chronicled it: