Moll Davies was another of the King’s favourites, and he is said to have fallen in love with her through her singing ’My Lodging is on the Cold Ground’ in ’The Rivals,’ a play altered by Davenant from Beaumont and Fletcher’s ’The Two Noble Kinsmen.’ Pepys frequently mentions her as a rival to Nell Gwynne. She had one daughter by Charles, who was christened Mary Tudor, and was married in 1687 to the son of Sir Francis Ratcliff, who became Earl of Derwentwater. When the King grew tired of her he settled a pension on her of £1,000 a year. It was as a descendant of this Earl that the lady who called herself Amelia, Countess of Derwentwater, in 1868 took possession of the old baronial castle of Devilstone, or Dilston, claiming it and the estates belonging thereto, but then and now vested in Greenwich Hospital, as hers. But the Lords of the Admiralty, in 1870, defeated her claim, and she disappeared from public view. Another famous actress in the days of Charles II. was Margaret Hughes, of whom Prince Rupert became enamoured. At first she pretended to be fiercely virtuous, so as to secure a higher price for her favours. And, in fact, the Prince settled on her Brandenburgh House, near Hammersmith, in which she lived about ten years. The house afterwards became the residence of Queen Caroline, who died there, shortly after which it was demolished. Whatever may be said against women appearing on the stage, there is something more repulsive in men and boys taking female parts in a play, at least, so it seems to our moral feelings, and æsthetically the practice is still more objectionable. Male performers can never represent the spontaneous grace, melting voice, and tender looks of a female, and the ludicrous contretemps the custom frequently caused further showed its absurdity. Thus, on one occasion, Charles II. inquired why the commencement of the play was delayed. The manager stepped forward and craved his Majesty’s indulgence, as the queen was not yet shaved. And whatever Prynne might say in his ’Histrio Mastix’ against female actors, the practice caught on and became general. Of course, the opposition did not cease at once; even in France it raised its head as late as 1733. A speaker against the stage spoke thus at the Jesuits’ College in Paris: ’They (the actresses) do not form the deadly shafts of Cupid, but they level them with the eye, and shoot with the utmost dexterity and skill. Such women I mean as represent destructive love characters.... How artfully do they hurl the most inconsiderable dart! What multitudes are wounded by a single one!’ And, indeed, what multitudes have our Nancy Oldfields, Bracegirdles, Gwynnes, Kitty Clives, Perditas, Meltons, and the whole galaxy of theatrical beauties not only wounded, but conquered, and sometimes killed!