Morton's School of Reform, 15 January 1805; Ralph Hempseed in Colman's X Y Z, 11 December 1810; Dandie Dinmont in Guy Mannering, 12 March 1816, and Ratcliff in the Heart of Midlothian, 17 April 1819, (both by Terry, based on novels by his friend Sir Walter Scott). His last performance was Edie Ochiltree in The Antiquary (again by Terry, based on Scott), 29 June 1822. On 25 July 1822 he died of inflammation of the lungs in Hyde Street, Bloomsbury, and was buried 1 August in a vault in St. Andrew's, Holborn. On 5 August 1822, under the patronage of the Duke of York, several plays and a concert, were given at Covent Garden for the benefit of Emery's aged parents, widow and seven children. An address by Colman was spoken by Bartley, and a large sum was realised. No less than seven portraits of him in various characters, of which four are by De Wilde, and one presenting him together with Liston, Mathews, and Blanchard, by Clint, are in the Mathews collection at the Garrick Club. Assessment of his career Tyke was Emery's great part, in which he left no successor. He was excellent in some Shakespearean parts. Of his Barnardine in Measure for Measure Genest, a reserved critic, says, "Emery looked and acted inimitably". His Caliban and Silence in King Henry IV were excellent. His Ralph in the Maid of the Mill by Bickerstaffe, Dougal in Rob Roy (another adaptation by Terry) and Hodge in Love in a Village were unsurpassable performances. In the New Monthly Magazine, October 1821, a writer, assumably Talfourd, says Emery: "is one of the most real, hearty, and fervid of actors. He is half a Munden. … He has the pathos but not the humour, the stoutness but not the strangeness, the heart but not the imagination of the greatest of living comedians. … To be half a Munden is the highest praise we can give to any other actor, short of a Kean or a Macready". Hazlitt says of his acting: "It is impossible to praise it sufficiently because there is never any opportunity of finding fault with it", and Leigh Hunt says he does not know one of his rustic characters "in which he is not altogether excellent and almost perfect". In the London Magazine, iii. 517, his Tyke is declared inimitable, and his acting is said to remind the writer