who had sacrificed their youth to our amusement should not
receive the reward due to them, but should be reduced to hard
fare in their old age. We cannot think of poor Falstaff going to
bed without his cup of sack, or Macbeth fed on bones as
marrowless as those of Banquo. (Loud cheers and laughter.) As he
believed that they were all as fond of the dramatic art as he was
in his younger days, he would propose that they should drink "The
Theatrical Fund," with three times three.

Mr. MACKAY rose, on behalf of his brethren, to return their
thanks for the toast just drunk. Many of the gentlemen present,
he said, were perhaps not fully acquainted with the nature and
intention of the institution, and it might not be amiss to enter
into some explanation on the subject. With whomsoever the idea
of a Theatrical Fund might have originated (and it had been
disputed by the surviving relatives of two or three individuals),
certain it was that the first legally constituted Theatrical Fund
owed its origin to one of the brightest ornaments of the
profession, the late David Garrick. That eminent actor conceived
that, by a weekly subscription in the theatre, a fund might be
raised among its members, from which a portion might be given to
those of his less fortunate brethren, and thus an opportunity
would be offered for prudence to provide what fortune had denied
--a comfortable provision for the winter of life. With the
welfare of his profession constantly at heart, the zeal with
which he laboured to uphold its respectability, and to impress
upon the minds or his brethren, not only the necessity, but the
blessing of independence, the Fund became his peculiar care. He
drew up a form of laws for its government, procured at his own
expense the passing of an Act of Parliament for its confirmation,