One art alone did they seek to proscribe, the art dramatic, and in 1762 the Senate was profoundly disturbed by a project then on foot for the erection of the first permanent theatre in Glasgow. The affair originated with five respectable and wealthy merchants, who were prepared to build the house at their own expense, the leading spirit of the five being Robert Bogle of Shettleston, who had himself, we are told by Dr. Carlyle, played "Sempronius" in a students' performance of _Cato_ within the walls of Glasgow College in 1745. Carlyle played the title _role_, and another divinity student, already mentioned as a college friend of Smith's, Dr. Maclaine of the Hague, played a minor part. But an amateur representation of an unexceptionable play under the eye of the professors was one thing, the erection of a public playhouse, catering like other public playhouses for the too licentious taste of the period, was another, and the project of Mr. Bogle and his friends in 1762 excited equal alarm in the populace of the city, in the Town Council, and in the University. The Council refused to sanction a site for the theatre within the city bounds, so that the promoters were obliged to build it a mile outside; but the anger of the multitude pursued them thither, and on the very eve of its opening in 1764 by a performance in which Mrs. Bellamy was to play the leading part, it was set on fire by a mob, at the instigation of a wild preacher, who said he had on the previous night been present in a vision at an entertainment in hell, and the toast of the evening, proposed in most flattering terms from the chair, was the health of Mr. Millar, the maltster who had sold the site for this new temple of the devil.