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 could be too much for
her; and when distress or tenderness possessed her, she subsided
into the most affecting melody and softness. In the art of exciting
pity, she had a power beyond all the actresses I have yet seen, or
what your imagination can conceive. In scenes of anger, defiance,
or resentment, while she was impetuous and terrible, she poured out
the sentiment with an enchanting harmony; and it was this particular
excellence for which Dryden made her the above-recited compliment,
upon her acting Cassandra in his Cleomenes. She was the first
person whose merit was distinguished by the indulgence of having an