Just at the time that Miss Temple was desirous of seeing him, in order to apologize for the uneasiness which the infamous calumnies and black aspersions of Miss Hobart had occasioned both of them, he was forbid the court for the third time:  he departed without having seen Miss Temple, carried the disgraced governess down with him to his country seat, and exerted all his endeavours to cultivate in her niece some dispositions which she had for the stage; but though she did not make the same improvement in this line, as she had by his other instructions, after he had entertained both the niece and the aunt for some months in the country, he got her entered in the king’s company of comedians the next winter; and the public was obliged to him for the prettiest, but at the same time, the worst actress in the kingdom.

[Though no name is given to this lady, there are circumstances enough mentioned to fix on the celebrated Mrs. Barry, as the person intended by the author.  Mrs. Barry was introduced to the stage by Lord Rochester, with whom she had an intrigue, the fruit of which was a daughter, who lived to the age of thirteen years, and is often mentioned in his collection of love-letters, printed in his works, which were written to Mrs. Barry.  On her first theatrical attempts, so little hopes were entertained of her, that she was, as Cibber declares, discharged the company at the end of the first year, among others that were thought to be a useless expense to it.  She was well born; being daughter of Robert Barry, Esq., barrister at law; a gentleman of an ancient family and good estate, who hurt his fortune by his attachment to Charles I.; for whom he raised a regiment at his own expense.  Tony Aston, in his Supplement to Cibber’s Apology, says, she was woman to lady Shelton of Norfolk, who might have belonged to the court.  Curl, however, says, she was early taken under the patronage of Lady Davenant.  Both these accounts may be true.  The time of her appearance on the stage was probably not much earlier that 1671; in which year she performed in Tom Essence, and was, it may be conjectured, about the age of nineteen.  Curl mentions the great pains taken by Lord Rochester in instructing her; which were repaid by the rapid progress she daily made in her profession.  She at last eclipsed all her competitors, and in the part of Monimia established her reputation.  From her performance in this character, in that of Belvidera, and of Isabella, in the Fatal Marriage, Downes says she acquired the name of the famous Mrs. Barry, both at court and in the city.  “Mrs. Barry,” says Dryden, in his Preface to Cleomenes, “always excellent, has in this tragedy excelled herself, and gained a reputation beyond any woman I have ever seen on the theatre.”  “In characters of greatness,” says Cibber, “Mrs. Barry had a presence of elevated dignity; her mien and motion superb, and gracefully majestic; her voice full, clear, and strong; so that no violence of passion