The selection of dramas was, on the whole, very creditable to the taste of the managers. Five of Lessing’s works, among them “Minna von Barnhelm” and “Emilia Galotti,” are in the list and some of the best productions of Bock, Gotter, Engel and their contemporaries; of translations there were Colman’s “Clandestine Marriage” and “Jealous Wife,” Garrick’s “Miss in her Teens,” Cumberland’s “West Indian,” Hoadly’s “Suspicious Husband,” Voltaire’s “Zaire” and “Jeannette,” Beaumarchais’s “Eugénie,” two or three of the works of Molière, and Goldoni, etc.;--in short, the list presents much variety and excellence. Max Friedrich was evidently pleased with the company, for the “Nachrichten” has the following in the catalogue of performances: “On the 8th (of April) His Electoral Grace was pleased to give a splendid breakfast to the entire company in the theatre.... The company will occupy itself until the return of His Electoral Grace from Münster, which will be in the middle of November, with learning the newest and best pieces, among which are ‘Hamlet,’ ‘King Lear’ and ‘Macbeth,’ which are to be given also with much splendor of costume according to the designs of famous artists.” It may be remarked here that the “Bonn Comedy House” (for painting the interior of which Clemens August paid 468 thalers in 1751, a date which seems to fix the time at which that end of the palace was completed), occupied that portion of the present University Archæological Museum room next the Coblenz Gate, with large doors opening from the stage into the passageway so that this space could be used as an extension of the stage in pieces requiring it for the production of grand scenic effects. Above the theatre was the “Redouten-Saal” of Max Franz’s time. The Elector had, of course, an entrance from the passages of the palace into his box. The door for the public, in an angle of the wall now built up, opened out upon the grove of horse-chestnuts. The auditorium was necessarily low, but spacious enough for several hundred spectators. Though much criticized by travellers as being unworthy so elegant a court, not to say shabby, it seems to have been a nice and snug little theatre. Meanwhile affairs with Seyler were drawing to a crisis. He had returned with his company from Mannheim and reopened at Frankfort, August 3, 1779. On the evening of the 17th, to escape imprisonment as a bankrupt, whether through his own fault or that of another--the Theatre Lexicon affirms the latter case--he took his wife and fled to Mayence. The company was allowed by the magistrates to play a few weeks with a view of earning at least the means of leaving the city; but on October 4, its members began to separate; Benda and his wife went to Berlin, but C. G. Neefe, the music director, and Opitz, descended the Rhine to Bonn and joined the company there--Neefe assuming temporarily the direction of the music in the theatre--of which more in another place.