When a youth, well brought up, takes to the stage, he should not be immediately treated as a pariah. On the contrary, if ever there be a time in a young man's career when more than ever he stands in need of good home traditions, the companionship of his equals, and the encouragement of his superiors, it is when he has honestly chosen, as a means of earning his living, the stage as a profession. That, for evident reasons, it has been usually selected by the dissolute, the idle, and those to whom any restraint is distasteful, accounts to a great extent for the disrepute in which the stage has been held. Of course the statute-book and the puritanism of the seventeenth century have much to answer for in the popular estimate of the players. There is a strong leaven of Puritanism amongst us, and, in some respects, so much the better; but also among very excellent people of various religious opinions, there has been, and it exists now, a sort of vague idea that the stage has always been under the positive ban of the Church. In the temporary laws and regulations of different countries, enforced by narrow-minded men, civil or ecclesiastical, may be found the origin of this mistaken notion. The Church has never pronounced the stage the anathema. On the contrary, she has patronised the stage, and the first mimes who entered France from Italy rather resembled members of a religious order in their pious fervor, than actors of a later date in their laxity. If players were refused Christian burial, it was when they had neither lived nor died as even nominal Christians, and in such cases even “maimed rites” would savor of hypocrisy. In France the actors themselves were under this hallucination. M. Regnier tells us how in 1848 a deputation of comedians went to Monseigneur Affre to ask him to get the sentence of excommunication removed from the theatrical profession. “L'illustre prélat leur répondit qu'il n'y avait pas à la lever, parcequ'elle n'avait jamais été formulée, et que les comédiens français, comme les comédiens de tous les autres pays catholiques, pouvaient participer aux sacraments.” It would be a comparatively easy task to trace the origin of this floating but perfectly false tradition, but I have already overrun the limit of this article. In the time of Louis XIII. the actors were excellent church-goers, had their children baptised, frequented the sacraments, and were on the best terms with curés of Paris; and it will be a consolation to those actors among us who, like the doll in the song, “pine for higher society” to be reminded, that the grand monarch himself did not disdain to stand god-father at the font to the first-born of Molière, and to do the like office to the third child of Domenico Biancolelli, the Italian harlequin.