Thomas Dibdin, the Cupid on this occasion, afterwards told Campbell that, as it was necessary for him to smile in the part of his godship, Mrs. Siddons kept him in good humour by asking him what sort of sugar-plums he liked best, and promising him a large supply of them. After the performance she kept her word. This is a characteristic trait; most young actresses under the circumstances would have been rather occupied with the effect of their own beauty on the audience than of the smiles of their Cupids. At last the day came on which her fate was to be decided. It fell in Christmas week, 1775, and the audience present is described as “numerous and splendid.” The following is a copy of the play-bill:— (Not acted these two years.) By Her Majesty’s Company at the Theatre Royal in Drury Lane. This day will be performed THE MERCHANT OF VENICE. Shylock Mr. KING. Antonio Mr. REDDISH. Gratiano Mr. DODD. Lorenzo (with songs) Mr. VERNON. &c. &c. Then Jessica (with a song) Miss JARRETT. Nerissa Mrs. DAVIES. Portia, by a Young Lady (her first appearance). The result can best be known by the judgment of the newspaper critics. One says: “On before us tottered rather than walked a very pretty, delicate, fragile-looking young creature, dressed in a most unbecoming manner, in a faded salmon-coloured sack and coat, and uncertain whereabouts to fix either her eyes or her feet. She spoke in broken, tremulous tones; and at the close of each sentence her voice sank into a ‘horrid whisper’ that was almost inaudible. After her first exit, the judgment of the pit was unanimous as to her beauty, but declared her awkward and provincial.” In the famous Trial scene she regained her courage, and delivered the great speech to Shylock with “critical propriety,” but with a faintness of utterance which seemed the result of physical weakness rather than of want of spirit or feeling. Another paper, who “understood that the new Portia had been the heroine of one of those petty parties of travelling comedians which wander over the country,” owned that she had a fine stage-figure; her features were expressive; she was uncommonly graceful; but her voice was deficient in variety of tone and clearness. This, however, might be the effect of a cold or nervousness. Her words were delivered with good sense and taste, only there was no fire or spirit in the performance. “Nothing,” the critic ends, “is so barren of either profit or fame as a cold correctness.”