Colley Cibber was not well received. In the middle of the play, he whispered to fellow actor Benjamin Victor that he wanted to go home, perhaps realising he was too old for the part and its physical demands. Cibber also essayed tragic parts in plays by Shakespeare, Ben Jonson, John Dryden and others, but with less success. By the end of his acting career, audiences were being entranced by the innovatively naturalistic acting of the rising star David Garrick, who made his London debut in the title part in a production of Cibber's adaptation of "Richard III" in 1741. He returned to
Scottish art in the eighteenth century there was very little patronage for large and expensive works of art in Scotland. With the growth of civic development there was an increasing demand for public statuary and the portrait bust also became popular. Commissions of new statuary tended to be made in relatively cheap lead and even more economical painted or gilded plaster. From the late eighteenth century there are a handful of examples of work from Scottish artists. Many Scottish painters of the early part of the eighteenth century remained largely artisans. Roderick Chalmers' (fl. 1709–30) painting "The Edinburgh Trades" (1720) shows the artist himself, perhaps ironically,