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Rh by engaging them as his covenant-servants to perform gratis."

All the playing fraternity who visited Exeter became acquainted with Brice, and while valuing his hospitality and support, could not fail to notice and be amused at his eccentricities. When Garrick produced Colman's play, The Clandestine Marriage, in 1766, Dr. Oliver says: "There was some hesitation what tone would be most suitable to Lord Ogleby—it was decided at last that Mr. King should assume Mr. A. Brice's." The part, an important one, was originally intended for Garrick: but on his declining it, Mr. King was requested to undertake it. He at first hesitated, but finally consented, and made a great hit with it. "Mr. King—as Lord Ogleby—seemed to give a relief and glow to the character which was not intended by the author."

The character does not accord with what we know of Brice. Lord Ogleby is a hypochondriac, a fop, an aged flirt, who leers at the ladies and makes up his complexion. "I have rather too much of the lily this morning in my complexion," he says to his valet; "a faint tincture of the rose will give a delicate spirit to my eyes for the day." He converses in French, he chirps out stanzas, whilst twinged with rheumatism. "Love is the idol of my heart," says the old fop, "and the demon, interest, sinks before him." But that there is a strong vein of sarcasm in Lord Ogleby, there seems to be no element in the character that agrees with that of Brice.

We now arrive at the production of the Grand Gazetteer, the work upon which rests principally Brice's claim to literary celebrity. Upon it he expended much labour and money. "The very Books by us us'd in