The succession of actors who represented Falstaff, in the second part of Henry IV., was as brilliant as that of the line of representatives above noticed. Ten years after Betterton and Mills, in 1720, we have Harper, and it is somewhat singular that when Mills resigned Falstaff to Harper, he took the part of the King. Hulett, two years subsequently played it at Covent Garden; and, after another two years, Quin made Drury ecstatic with his fun. He held the part without a real rival, and fifteen years later, in 1749, he was as attractive as ever in this portion of the knight’s character, at Covent Garden. Shuter succeeded him in the part at this theatre, in 1755; but in 1758, all London, that is the play-goers of London, might be seen hurrying once more to Drury, to witness lively Woodward’s _very_ old Falstaff played to Garrick’s King. The Garden can not be said to have found a superior means of attraction, when Shuter again represented Sir John, at the Garden, in 1761, on which occasion the parts of Shallow and Silence were omitted! The object, however, was to shorten the piece, and the main attraction was in the coronation pageant, at the conclusion, in honor of the then young King and Queen, who were well worthy of the honor thus paid to them. Love and Holland, who played Falstaff and Hotspur, at Drury Lane, in 1762, played the Knight and the Prince of Wales, at the same house, two years subsequently. Nine years after this, the Garden found a Prince in Mrs. Lessingham, Shuter played Falstaff to her, but the travesty of the former character was only in a slight degree less incongruous than that made by Mrs. Glover, in the present century, who once, if not twice, played the fat knight, for her own benefit. For the next eight or nine years, the best Falstaff possessed by London was Henderson. He played the part first at Drury, and afterward at Covent Garden. Since Quin, there had been no better representative of Sir John; and even Palmer, in 1788, could not bring the town from its allegiance to “admirable Henderson.” The Falstaffs of the present century, in the second part of this historical play, have not achieved a greater triumph than Henderson. Cooke, who played the obese cavalier, in 1804, was not equal to the part; and Fawcett, in 1821, when the play was revived, with another coronation pageant in honor of George IV., was farther from success than Cooke. The managers at this period were wiser than those who “got up” the play at the period of the accession of George III., for they retained Shallow and Silence, and never were the illustrious two so inimitably represented as, on this occasion, by Farren and Emery.