statue stand there no more, save in the fancy of those who recall the epigram which was suggested by that singular group: "This statue placed these busts between Gives satire all its strength; Wisdom and Wit are little seen, But Folly at full length." [Illustration: _Beau Nash._] Folly, though, is a word that carries a different meaning to different ears. Douglas Jerrold made a play on the subject of Beau Nash, an ingenious, effective, brilliantly written play, in which he is depicted as anything but foolish. Much always depends on the point of view. [Illustration: _Bath Abbey._] Quin [1693-1766] was buried in Bath Abbey, and Bath is the scene of _The Rivals_. It would be pleasant to fancy the trim figure of the elegant Sir Lucius O'Trigger strolling along the parade; or bluff and choleric Sir Anthony Absolute gazing with imperious condescension upon the galaxy of the Pump Room; Acres in his absurd finery; Lydia with her sentimental novels; and Mrs. Malaprop, rigid with decorum, in her Bath chair. The Abbey, begun in 1405 and completed in 1606, has a noble west front and a magnificent door of carved oak, and certainly it is a superb church; but the eyes that have rested upon such cathedrals as those of Lincoln, Durham, Edinburgh, and Glasgow, such a heavenly jewel as Roslin, and such an astounding and overwhelming edifice as York minster, can dwell calmly on Bath Abbey. A surprising feature in it is its mural record of the dead that are entombed beneath or around it. Sir Lucius might well declare that "There is snug lying in the Abbey." Almost every foot of the walls is covered with monumental slabs, and like Captain Cuttle, after the wedding of Mr. Dombey and Edith Granger, I "pervaded the body of the church" and read the epitaphs,--solicitous to discover that of the renowned actor James Quin. His tablet was formerly to be found in the chancel, but now it is obscurely placed in a porch, on the north corner of the building, on what may be termed the outer wall of the sanctuary. It presents the face of the famous comedian, carved in white marble and set against a black slab. Beneath is the date of his death, "Ob. MDCCLXVI. Ætat. LXXIII.," and his epitaph, written by David Garrick. At the base are dramatic emblems,--the mask and the dagger. As a portrait this medallion of Quin gives convincing evidence of scrupulous fidelity to nature, and certainly it is a fine work of art. The head is dressed as it was in life, with the full wig of the period. The features are delicately cut and are indicative of austere beauty of countenance, impressive if not attractive. The mouth is especially handsome, the upper lip being a perfect Cupid's bow. The face is serious, expressive, and fraught with intellect and power. This was the last great declaimer of the old school of acting, discomfited and almost obliterated by Garrick; and here are the words that Garrick wrote upon his tomb: