Mrs. Barry, the original Euphrasia, died in 1801, having reaped honour enough to enable her to be free from envy of others, and having means sufficient to render her closing days void of anxiety. The Grecian Daughter, the Widow Brady, and Edwina, in Hannah More's "Percy," were the best of her original characters; of her other characters, Lady Randolph is the most intimately connected with her name. As between her and Mrs. Siddons, the judgment seems well-founded which declares that Mrs. Crawford was inferior to Mrs. Siddons in the terrific, but superior in the pathetic. At Mrs. Crawford's "Is he alive?" in Lady Randolph, Bannister had seen half the pit start to their feet. Mrs. Siddons was but a "demi-goddess," as Walpole has it, in comedy, where Mrs. Barry was often inimitable. Walpole saw both actresses in "Percy," and he most admired Mrs. Siddon's passionate scenes. When, years before, he saw Mrs. Barry in the same play, his mind was pre-occupied with politics, and he thought less of the actress than of passing events, of which he was reminded by passages in the play. Mrs. Crawford, to take leave of her in her last name, was no admirer of the great actress by whom she was displaced; and albeit somewhat smartly, the old lady did not ill distinguish between the school to which she belonged and that founded by her comparatively young rival. "The Garrick school," she said, "was all _rapidity_ and _passion_; while the Kemble school is so full of _paw_ and _pause_ that, at first, the performers, thinking their new competitors had either lost their cues, or forgotten their parts, used frequently to prompt them." As we associate the name of Barry with that of Garrick, so do we that of Mossop with Spranger Barry. Mossop, whose career on the stage commenced in 1749, with Zanga,--type of characters in which alone he excelled,--died in 1773, at the age of forty-five. He was the ill-fated son of an Irish clergyman, and he was always on the point of becoming a great actor, but never accomplishing that end. His syllables fell from him like minute-guns, even in or-din-a-ry con-ver-sa-tion, and the nickname of the "tea-pot actor," referred to his favourite attitude with one arm on his hip and the other extended. In London, an evanescent success in Richard and similar characters, almost made of him a rival of Garrick. In Dublin, he ruined Barry by his opposing management, which also brought down ruin on himself. Of this "monster of perfection," or the "pragmatical puppy," as he was variously called, we learn something from the _Dublin Journal_ of May 8th, 1772, which says, "A few days ago, the celebrated tragedian, Mossop, moved to his new apartments in the Rules of the Fleet." When Mossop repaired to London his powers had failed. He could not obtain "first business," declined to accept "second," and proudly died in poverty, at Chelsea, leaving for all fortune one poor penny.[118]