audience, who duly appreciated the distress of her situation, and to the object of their sympathy, who gave such a pathetic attestation of her consciousness of it. Many ladies—and there were many present—could not refrain from tears. Those parts, and there were several throughout the play, capable of being applied to Miss Foote's peculiar situation, were seized on by the audience, and followed by loud plaudits. At the delivery of the lines
What is your fortune, my pretty maid?
My face is my fortune, sir, she said,
a burst of acclamation was sent forth, almost equal to that which greeted her entrance. The two lines which succeeded were, if possible, still more applicable to recent events, which have occupied so much of the attention of the Bar and of the public.
Then I'll not marry you, my pretty maid.
There's nobody asking you, sir, she said.
The good-humoured approval that followed these lines, which was in no degree abated by the arch air with which Miss Foote gave them, cannot be conveyed by verbal description. At the expression of the sentence, 'This moment is worth a whole existence,' Miss Foote bowed to the audience in grateful acknowledgment of the reception she had met with. Altogether Miss Foote's reappearance has been most gratifying. She has been hailed as a favourite of the public, who has been basely lured from virtue, but who is not on that account treated as an alien from its path."
The total receipts that evening amounted to £900. 16s. At the latter end of 1830, Madame Vestris took the Olympic Theatre, and opened it, on 3 January of the following year, with a drama on the subject of Mary
