List of Preceptors.

1. Mr. Charles Millar, late Provost, elected on the 14th of August

2. Mr. William Breadie, merchant, 18th Au

IN OFFICE DURING

THIS PERIOD.

1735-1737

gust

1737-1743

3. Mr. Robert Currie, merchant, 22d De

1743-1751

1751-1759

cember

4. Mr. John Bowie, 19th December

5. Mr. Daniel Baxter, stationer, 22d November 1759-1769 6. Mr. Daniel Campbell, merchant, 21st No

vember

1769-1772 7. Mr. John Jamieson, skinner, 22d November 1772-1782 8. Mr. William Craig, timber-merchant,

10. Mr. David Crawfurd, merchant, 22d April 1816-18

On calculation, it is found that the expense of diet for each person in the Hospital per day in 1734, was one penny and seven-twelfths of a penny sterling, or nineteen pennies Scots.

The average cost of each person in the Hospital, in 1815, was 94. 3s. per

annum.

THEATRE.

Previous to the Reformation in 1560, it had been customary to perform a kind of pantomimic representation of the history of our Saviour, his miracles and passion, and the lives and miracles of the Saints. As these exhibitions stood in direct opposition to the principles of the Reformers, and ultimate Covenanters, it is not surprising that the Citizens of Glasgow, who had shown so much zeal for religion and reformation of manners, should be slow to sanction an amusement, which so readily called scenes to their mind which they conceived to be blasphemous. It would appear, that the passion for exhibiting sacred representations was difficult to extirpate, for, on the 20th of July 1670, being only eighteen years before the Revolution, the Magistrates of Glasgow "interdicted strolling stageplayers from running through the streets, and from performing plays in private houses, which they called the wisdom of Solomon."

The first regular stage-representation in Glasgow, was in the year 1750; it was performed in a hall, kept by Mr. Burrell for teaching dancing, on the east side of the High-Street, a little below the Bell of the Brae.

In 1752, a Timber Shed, or temporary Theatre, was fitted up in the north quarter of the Town, adjoining the wall of the Bishop's Palace; and in this booth, the celebrated Digges, Love, Stampier, and Mrs. Ward, performed, after having finished the season at Edinburgh. At this period, the prejudice of popular opinion in Glasgow, run so strong against amusements of this nature, that ladies and dress parties from the lower parts of the Town, were regularly escorted to the Theatre by a military guard.

In 1754, the celebrated Mr. George Whitefield, Chaplain to the Countess Dowager of Huntingdon, had occasion to preach from a tent in the High-Church Yard, to a numerous

congregation; in the fervour of his zeal, he cast his eyes on the Theatrical Booth, and quickly denounced it to be the Devil's House; no sooner did he articulate the words, than the outskirts of the congregation ran to the Booth, and instantly levelled it with the ground.

In the year 1762, Mr. Jackson, a Comedian, accompanied by Messrs. Love and Beate, came to Glasgow, and endeavoured to procure the patronage of the Magistrates, and other respectable Citizens, for building a regular Theatre*. The Magistrates having declined to interfere, or to patronise a scheme so very unpopular, it became very difficult to get individuals who were able and willing to promote the undertaking. At length, William M'Dowall of Castle-Semple, William Bogle of Hamilton Farm, John Baird of Craigton, Robert Bogle of Shettleston, and James Dunlop of Garnkirk, Esquires, subscribed money, and patronised the erection of a Theatre. Other difficulties, however, were yet to be overcome, for no person within the Royalty could be found bold enough to sell ground for such a purpose. At length, Mr. Millar of Westerton, sold a lot of ground in Grahamston, in the suburbs of the City, for that purpose; and Mr. John Adam, a respectable and liberal-minded architect and builder, erected the Theatre, which was opened in the spring of 1764, by Mrs. Bellamy, and other respectable performers. When the night for its opening arrived, a crowd of disorderly persons filled the galleries, and having impeded the performances by noise and tumult of every description, the mob at length set fire to the stage, and did not retire till they had completely cleared the house of all its machinery, scenery, and ornaments. On the succeeding morning, such parts of the dresses and properties as were not burned, were found, in a mutilated state, in the

* The first regular Theatre that was erected in Scotland since the Reformation, was in the Canongate of Edinburgh; it was opened in the Winter of 1646.

adjoining kitchen-gardens. When the house had been refitted, the performances were allowed to go on; the Managers, however, met with very indifferent success. In the winter of 1780, this Theatre was burned to the ground, and every thing within it completely destroyed; the wardrobe of the performers was estimated at 1000l.

The proprietors having declined to re-build, or to retain any farther interest in the Theatre, Mr. Jackson purchased ground on the east side of Dunlop-Street, and built a Theatre on his own account, capable of containing about one hundred pounds, which he opened in January 1782. From this period, the taste for theatricals began to increase, and it was soon found that this Theatre was deficient in size and decoration for the increasing wealth and population of the City. Accordingly, in 1802, Mr. Jackson and Mr. Aitken of Liverpool, began to enlarge it, which not meeting with the approbation of several of the citizens, a subscription was set on foot for erecting a large Theatre, in shares of 251. The Subscribers having built a Theatre in Queen-Street, they procured an Act of Parliament, vesting the patent in themselves, and then negociated a lease with Messrs. Jackson and Aitken, who opened the Theatre in 1804. Soon after this period, Mr. Jackson sold the DunlopStreet Theatre for a place of business.

The citizens of Glasgow having now erected the most magnificent Provincial Theatre in the Empire, at an expense of upwards of 18,500l.; they let it on lease for twelve hundred pounds per annum, subjecting the Lessees regularly to bring down the most eminent London performers, and to open and shut the Theatre at particular periods in the year; these terms having been all adhered to on the part of the Lessees, it only remained for the community to patronise the undertaking, when, alas! it was soon found that the taste for theatricals did not keep pace with the large sums which had been laid out for accommodation and splendour; the consequence was, that the Lessees could not implement their agreement. The premises

were therefore let to another tenant, at the reduced rent of eight hundred pounds per annum, who also failed in his engagements. The Theatre was then let to a third person, for six hundred pounds, who found that the business could not support the rent and consequent expense, on which it was reduced to four hundred pounds per annum. The embarrassments, severe as they had been on the Lessees, were now transferred to the Subscribers, who were called on to pay the arrears of ground-rent, and certain necessary expenses, which had been incurred. As the sums arising from the shares had been all expended, the Proprietors resolved to sell the Theatre, scenery, and patent. After repeated attempts at public sale, the whole was disposed of for five thousand pounds, a sum barely sufficient to discharge the accumulated debts, without dividing a single shilling to the original subscribers, many of whom were well satisfied to get off without being subjected to a per centage call on their shares to discharge the debt.

Many reasons may be assigned for the want of taste for theatricals in this extensive community; among others, the following may be adduced: a very considerable proportion of the respectable part of the community view theatrical amusements as tending to weaken the moral and religious principles of those whose minds have not been sufficiently fortified against romantic speculations; others, who view these matters very differently, have their time so completely taken up with mercantile or other pursuits through the day, that they prefer to spend their leisure hours in the evening with their friends at home, or with their companions at some favourite club, or such other entertainment. It is remarkable, however, that for a week or two when the first-rate performers, or Stars, as they are called, make their appearance on the Glasgow stage, the house is crowded to excess; and although the Manager is not always successful, there is scarcely an instance where respectable performers have not met with suitable encouragement.