announced as coming "from the Pavilion Theatre, London," and he made his first appearance in America at the Arch Street Theatre, Philadelphia, under the management of Maywood & Co., on September 3, 1824, playing Dr. Ollapod, in Colman's "Poor Gentleman," and Wormwood, in "The Lottery Ticket." Ollapod always remained one of Burton's most effective parts. The portrait, on another page, of the comedian in that character is from an engraving by J. Sartain of a picture painted from life by Henry Inman, in 1840.

There lies before us a bill (elsewhere reproduced) of the above theatre, dated Wednesday, September 10, 1834, being the fourth night of Burton's first engagement in this country. The plays on the occasion were Sheridan's comedy of "The Rivals" and the farce of "The Lottery Ticket,"—which last seems to have met with great favor, as the bill states it to be a repetition, owing to "numerous enquiries having been made at the box-office"; thus beginning the train of similar "numerous enquiries" with which, in the years to come, his own box-office became familiar. Burton was the Bob Acres of the comedy and Wormwood in the farce. Then at the age of thirty, we can believe that the comedian's unfolding genius gave full promise of the delightful humor which clothed his Acres at a later day; and that in the Wormwood of the farce he afforded glimpses of that wealth of comic power which thereafter, and for so long, he lavished for the amusement of the public. Miss Pelham was the Lydia Languish and Miss Elphinstone the Julia, English actresses of no special distinction; but it is interesting to note that Miss Elphinstone became the second wife of Sheridan Knowles, the author of a celebrated and far more popular Julia than the lady of "The Rivals," and who appeared on the Philadelphia stage of that year.

Something akin to his reception by the audiences at the Haymarket in London, was for a time Burton's experience in Philadelphia. As the recollection of Liston by the London audience dwarfed the efforts of the youthful aspirant, so the memory of Joseph Jefferson, senior, (who played in the city as late as 1830, [4]) diluted the interest felt in the new actor by the Philadelphia benches. [5] But the native force and humorous capability of the comedian were destined to conquer indifference; and, although the creative genius which informed his subsequent delineations was yet to be made clearly manifest, he soon had a secure footing; and a belief was strengthening in the public mind that an actor of rare endowments and promise had come from the land of Munden, Elliston, and Liston, and one who might, it was not too much to say, worthily perpetuate the traditions of Jefferson.

On the fifth night of his engagement (September 12, 1834) he played Timothy Quaint, in "The Soldier's Daughter," and Tristam Sappy, in the afterpiece of "Deaf as a Post," and so on through a round of characters in comedy and farce—Daffodil Twod, among the latter, in "The Ladies' Man"—written by himself—was a great favorite. And it may here be said, in passing, that the farce, which previous to Burton's advent had sunk into lethargy, revived under his touch and became a vital point of attraction. He made a great hit as Guy Goodluck, in "John Jones," in which part he sang a comic song—"A Chapter of Accidents"—and the fact leads us to remark that very few of those who saw the comedian in his ripe prime were aware of the musical talent he exhibited in earlier years, and that he made a specialty of introducing humorous ballads in his pieces, and sang them with marked effect. A collection of such songs, entitled "Burton's Comic Songster," was published in Philadelphia in 1850; and we were surprised, on looking it over, at the quantity of mirthful verse he had written and sung. The well-known ditty of "The Cork Leg," it may be mentioned, was written expressly for him.

The engagement of Burton with Maywood & Co. lasted two years, and was renewed for two more, during which period the comedian's powers greatly developed, and displayed remarkable versatility and dramatic resource. He widely extended his repertory, and was seen at the Arch and Chestnut Street theatres in a variety of comedy rôles and in innumerable farces. Among the many noted parts performed by him at various times we may name: Ollapod, in "The Poor Gentleman"; Doctor Pangloss, in "The Heir at Law"; Farmer Ashfield, in "Speed the Plough"; Goldfinch, in "The Road to Ruin"; Billy Lackaday, in "Sweethearts and Wives"; Tony Lumpkin, in "She Stoops to Conquer"; Maw-worm, in "The Hypocrite"; Sir Peter Teazle and Sir Oliver Surface, in "The School for Scandal"; Mr. Dove and Mr. Coddle, in "Married Life"; Dogberry and Verges, in "Much Ado About Nothing"; Launcelot Gobbo, in "The Merchant of Venice"; Bob Acres, in "The Rivals";—the last-named character he played on one occasion with the conjunction of the elder Wallack as Capt. Absolute, Tyrone Power as Sir Lucius O'Trigger, and Mr. Abbot (an actor celebrated in his day) as Falkland; truly a striking distribution. A few of the farces out of the many were "The Lottery Ticket," "Sketches in India," "The Mummy" (so famous in Chambers Street), "No Song No Supper," "John Jones," "Deaf as a Post," "The Ladies' Man," and a piece called "Cupid," which had won renown in England through the acting of the famous John Reeve.

Burton's growing popularity was substantially shown in the attendance at his regular benefits. They were always bumpers, and occasions of warm demonstrations of regard. He was always ready, too, with his sympathy and support where the claims of a professional brother were in question. William B. Wood, in his "Personal Recollections of the Stage," to which work we are indebted for much useful information, refers to an occurrence of the kind as follows: "I must apologize for the mention here of a circumstance purely personal, which proved one of the most gratifying events of my life. During the month of December, 1835, while acting in Chestnut Street, Burton called me aside between the acts, and with an expression of great pleasure, informed me that a meeting for the purpose of giving me a grand benefit had just adjourned, after completing the necessary arrangements. This was the first hint I ever had of this intention. The object was at once carried into effect, and on the 11th of January, 1836, I was honored by the presence of one of the most brilliant audiences ever assembled.... The following entertainment was offered: 'Three and Deuce,' two acts of 'Venice Preserved,' 'John of Paris,'