During the two years between the projection of this building and its destruction it caused the Senate of the College no common anxiety, and Smith went along with them in all they did. On the 25th of November 1762 he was appointed, with the Principal and two other professors, as a committee, to confer with the magistrates concerning the most proper methods of preventing the establishment of a playhouse in Glasgow, and at the same time to procure all the information in their power concerning the privileges of the University of Oxford with respect to their ability to prevent anything of that kind being established within their bounds, and concerning the manner in which those privileges, if they existed, were made effectual. On the recommendation of this committee the University agreed to memorialise the Lord Advocate on the subject, and to ask the magistrates of the city to join them in sending the memorial. The Lord Advocate having apparently suggested doubts as to the extent of their ancient powers or privileges in the direction contemplated, Smith was appointed, along with the Principal and one or two other professors, as a special committee of inquiry into the ancient privileges and constitution of the University, and the Principal was instructed meanwhile to express to his lordship the earnest desire of the University to prevent the establishment of a playhouse. While this inquiry was proceeding, the magistrates of the city, on their part, had determined, with the concurrence of a large body of the inhabitants, to raise an action at law against the players if they should attempt to act plays in the new theatre, and at a meeting over which Smith presided, and in whose action he concurred, the University agreed to join the magistrates in this prosecution. The agitation against the playhouse was still proceeding when Smith resigned his chair in 1764, but shortly afterwards, finding itself without any legal support, it gradually died away. The part Smith took in this agitation may seem to require a word of explanation, for he not only entertained no objection to theatrical representations, but was so deeply impressed with their beneficial character that in the _Wealth of Nations_ he specially recommends them for positive encouragement by the State, and expressly dissociates himself from those "fanatical promoters of popular frenzies" who make dramatic representations "more than all other diversions the objects of their peculiar abhorrence." The State encouragement he wants is nothing in the nature of the endowment of a national theatre, which is sometimes demanded nowadays. All the encouragement he asks for is liberty--"entire liberty to all those who from their own interest would attempt, without scandal or indecency, to amuse and divert the people by painting, poetry, music, dancing, by all sorts of dramatic representations and exhibitions." But in pressing for this liberty, he expresses the strongest conviction that