face, his sunk eyes, and his loose yellow cheeks, the most certain marks of age, were incontestable proofs against what they said to me. Notwithstanding all this, I was forced to submit to truth, because I was credibly informed that the actor, to fit himself for the part of this old man, spent an hour in dressing himself, and disguised his face so nicely, and painted so artificially a part of his eyebrows and eyelids, that at the distance of six paces it was impossible not to be deceived." In the next season, at Drury (1717-18), the only remarkable piece produced was Cibber's adaptation of "Tartuffe," under the name of the "Nonjuror." In the lustre of the "Nonjuror" paled and died out the first play by Savage, "Love in a Veil." Not twenty years had elapsed since this luckless and heartless young vagabond was born, in Fox Court, Gray's Inn Lane, his unknown mother, but not that light lady, the Countess of Macclesfield, wearing a mask. Savage had passed from a shoemaker's shop to the streets, had written a poem on the Bangorian Controversy, had adapted a play translated from the Spanish, by the wife of Mr. Baron Price, and which Bullock re-adapted and produced at Drury Lane before Savage could get his own accepted. "Love in a Veil" seems to have been founded on an incident in the Spanish comedy; but however this may be, it failed to obtain the public approval. The author, however, did not altogether fail; generous Wilks patronised the boy, and Steele, befriending a lad of parts, designed to give him £1000, which he had not got, with the hand of a natural daughter, whom the young and wayward poet did not get. The "Nonjuror" alone survives as a memorial of the Drury season of 1717-18.