Anne and Rebecca Marshall are names which one can only reluctantly associate with that of Stephen Marshall the divine, who is said to have been their father. The Long Parliament frequently commanded the eloquent incumbent of Finchingfield, Essex, to preach before them. Cambridge University was as proud of him as a distinguished _alumnus_, as Huntingdonshire was of having him for a son. In affairs of religion he was the oracle of Parliament, and his advice was sought even in political difficulties. He was a mild and conscientious man, of whom Baxter remarked, that "if all the bishops had been of the spirit and temper of Usher, the Presbyterians of the temper of Mr. Marshall, and the Independents like Mr. Burroughs, the divisions of the Church would have been easily compromised." Stephen Marshall was a man who, in his practice, "preached his sermons o'er again;" and Firmin describes him as an "example to the believers in word, in conversation, in charity, in faith, and in purity." He died full of honours and understanding; and Westminster Abbey afforded him a grave, from which he was ruthlessly ejected at the Restoration. It is hardly possible to believe that such a saint was the father of the two beautiful actresses whom Nell Gwyn taunted with being the erring daughters of a "praying Presbyterian." On the other hand, we learn from Sir Peter Leicester's _History of Cheshire_, that the _royalist_, Lord Gerard of Bromley, retained this staunch Presbyterian in his house as his chaplain. Further, we are told, that this chaplain married a certain illegitimate Elizabeth, whose father was a Dutton of Dutton, and that of this marriage came Anne and Rebecca. As Sir Peter was himself connected with both the Gerards and Duttons by marriage, he must be held as speaking with some authority in this matter. Pepys says of Anne Marshall, that her voice was "not so sweet as Ianthe's," meaning Mrs. Betterton's. Rebecca had a beautiful hand, was very imposing on the stage, and even off of it was "mighty fine, pretty, and noble." She had the reputation of facilitating the intrigue which Lady Castlemaine kept up with Hart, the actor, to avenge herself on the King because of his admiration for Mrs. Davies. One of her finest parts was Dorothea, in the "Virgin Martyr;" and her Queen of Sicily (an "up-hill" part) to Nell Gwyn's Florimel, in Dryden's "Secret Love," was highly appreciated by the playgoing public. [Illustration: (Nell Gwyn.)] With the exception of Mrs. Corey, the mimic, and pleasing little Mrs. Boutel, who realised a fortune, with her girlish voice and manner, and her supremely innocent and fascinating ways, justifying the intensity of love with which she inspired youthful heroes, the only other actress of the King's company worth mentioning is Nell Gwyn; but Nell was the crown of them all, winning hearts throughout her jubilant career, beginning in her early girlhood with that of a link-boy, and ending in her womanhood with that of the king.