private with this extraordinary man. Macready’s estimation of Kemble and the Kemble school is not at all highly pitched, save in the case of Mrs. Siddons; but he notes how she outlived her powers, and returned a few times to the stage when her figure had enlarged and her genius had diminished. When John Kemble took leave of the Dublin stage, in 1816, Macready was present; he records that ‘the house was about half full.’ Kemble acted Othello (which, at that time, Kean had made his own). ‘A more august presence could hardly be imagined.’ He was received with hearty applause, ‘but the slight bow with which he acknowledged the compliment spoke rather dissatisfaction at the occasional vacant spaces before him than recognition of the respectful feeling manifested by those present. I must suppose he was out of humour, for, to my exceeding regret, he literally walked through the part.’ The London audiences, as Kemble’s career was drawing to a close, were not more sympathetic. At Kemble’s Cato, ‘The house was moderately filled; there was sitting room in the pit, and the dress circle was not at all crowded.’ To the dignity of the representation Macready renders homage of admiration; but he says that Cato was not in strict Roman attire, and that with only one effort, the ‘I am satisfied,’ when he heard that Marcius ‘greatly fell,’ Kemble’s husky voice and laboured articulation could not enliven the monotony of a tragedy which was felt to be a tax on the patience of the audience. The want of variety and relief rendered it uninteresting, and those at least who were not classical antiquaries found the whole thing uncommonly tedious.