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 followed. Her abilities proved to be limited. She had, however, a reputation for beauty sufficient to secure her constant engagements at the patent theatres and in the country. She played with success in both Ireland and Scotland, and accompanied Liston, Tyrone Power, and other actors to Paris, where they all acted with very unsatisfactory results. In 1816 she formed at Cheltenham an intrigue with Colonel Berkeley, by whom she had two children. An alleged promise of marriage made by him was not kept. 'Pea Green' Haynes then proposed to her and was accepted. He retracted, however, his offer, and as the result of an action for breach of promise of marriage had to pay 3,000l. damages. These proceedings gave rise to a keen pamphlet warfare, through which and through some opposition on the stage Miss Foote retained a large measure of public sympathy. At Covent Garden she played every season up to 1824-5 inclusive, frequently in subordinate parts, but taking occasionally characters such as Miss Letitia Hardy in the 'Belle's Stratagem,' Miss Hardcastle, and, for her benefit. Lady Teazle. She was the original Isidora in Barry Cornwall's 'Mirandola.' On 9 March 1826 she made as Letitia Hardy her first appearance at Drury Lane, where also she played Violante in the 'Wonder,' Rosalind, Virginia, Maria in 'A Roland for an Oliver,' Imogen, and Maggy in the 'Highland Reel.' Other parts of importance in which she was seen at one or other house were Maria Darlington, Beatrice, Roxalana, Violante, Imogen, Ophelia, Desdemona, Juliana in the 'Honeymoon,' and Clara in 'Matrimony.' At Bath on 13 and 14 Jan. 1826 she was the object of ill-natured demonstrations on the part of a portion of the audience. Chronicling these and condensing them, Genest says that 'she was a very pretty woman and a very pleasing actress, but she never would have travelled about as a star if it had not been for circumstances totally unconnected with the stage ' (Account of the Stage, ix. 358-9). A writer in the 'New Monthly Magazine' for March 1821, variously stated to be Talfourd, Campbell, and Horace Smith, writes warmly concerning 'the pure and innocent beauty with which she has enriched our imaginations,' and, referring to her then anticipated departure, asks rhapsodically, 'Is comedy entirely to lose the most delicate and graceful of its handmaidens and tragedy the loveliest of its sufferers?' Talfourd speaks highly of the grace of her movements, and specially commends her singing of the song 'Where are you going, my pretty maid?' Her singing and dancing and her power of accompanying herself upon the harp, guitar, and pianoforte added to her popularity. She was undefatigsble in the pursuit of her profession, and is said to have traversed England, Ireland, and Scotland every year for five years, in course of which she posted twenty-five thousand miles. Her theatrical career closed at Birmingham on 11 March 1831, and on 7 April of the same year she married Charles Stanhope, fourth earl of Harrington. She died 27 Dec. 1867. She was of medium height, her face oval, and her features expressive. She had an abundance of light brown hair. By those most under her influence the character of her acting was described as fascinating. A whole-length portrait by Clint of Miss Foote as Maria Darlmgton was sold in June 1847, with the effects of Thomas Harris, lessee of Covent Garden.

 FOOTE, SAMUEL (1720–1777), actor and dramatist, second son of Samuel and Eleanor Foote, was born at a house in Truro long known as Johnson Vivian's, and was baptised at St. Mary's in that city 27 Jan. 1720. His father (1679-1754) was a commissioner of the prize office and fine contract, at one time member for Tiverton and mayor of Truro. His mother, Eleanor Goodere, through the death of her brother, Sir John Dinely Goodere, bt., murdered by another brother. Captain [q. v.], inherited a considerable fortune. Foote was educated at Worcester under Dr. Miles, and matriculated at Worcester College, Oxford, 1 July 1737. His college life, like his subsequent career, was marked by extravagance. Without taking a degree he proceeded to the Temple. A turn for mimicry had already displayed itself, and after wasting his entire fortune as a man of fashion at the Grecian, the Bedford, and other coffeehouses, he appeared at the Haymarket, 6 Feb. 1744, as 'a gentleman' in 'Othello,' playing with a company of novices collected and trained by Macklin, at that period excluded from Drury Lane. He repeated this impersonation three or four times, and gave it for a benefit at Drury Lane on 10 March. On 2 March, at the Haymarket, he played Lord Foppington in the 'Relapse,' and recited an epilogue, apparently of his own composition. He is also said to have played Pierre in 'Venice Preserved.' These ill-judged experiments were complete failures. Foote then proceeded to Dublin, where, according to Hitchcock (Irish Plays, i. 147), 'he brought a few crowded houses and was well received,' 