Chapter XVI (7)

Mills, John, i. 332, ii. 70, _note_ 2, ii. 129, _note_ 2, ii. 259,
_note_ 1, ii. 262;
his friendship with Wilks, i. 259, ii. 223;
his honesty and diligence, i. 260;
his large salary, i. 260;
advertisement regarding his salary, 1709, ii. 78, _note_ 1;
Bellchambers's memoir of, ii. 362;
and the country squire, ii. 363.

Milward, William, i. 224, _note_ 2.

Mist, Nathaniel. See "Mist's Weekly Journal."

"Mist's Weekly Journal," ii. 163, _note_ 1, ii. 167, ii. 187.

Mohun, Lord, ii. 314;
implicated in Mountfort's death, i. 130, _note_ 1, ii. 342.

---- Michael, superior to his successors, i. xxiv.;
apprentice to Beeston, i. xxv.;
acted Bellamente, i. xxv.;
a captain in Charles I.'s army, i. xxix.;
his death, i. 96;
his admiration of Nat. Lee's elocution, i. 114;
Bellchambers's memoir of, ii. 326.

Montague, Captain, insults Miss Santlow, i. 76;
chastised by Mr. Craggs, i. 77.

Moore, Mrs., ii. 77, _note_ 1, ii. 94, _note_ 1.

Morley, Professor Henry, his edition of the "Spectator," ii. 54,
_note_ 1.

Mountfort, William, i. 98, i. 108, i. 170, _note_ 1, i. 237, ii. 314;
taken into good society, i. 83;
Cibber's account of, i. 127-130;
his voice and appearance, i. 127;
his Alexander the Great, i. 127;
his excellent acting of fine gentlemen, i. 127;
his delivery of witty passages, i. 128;
his Rover, i. 128;
his versatility, i. 128, i. 210;
his Sparkish ("Country Wife") and his Sir Courtly Nice, i. 129;
copied by Cibber in Sir Courtly Nice, i. 129;
his tragic death, i. 130, i. 188;
memoir of him, i. 130, _note_ 1;
Tom Brown on his connection with Mrs. Bracegirdle, i. 170, _note_ 1;
his comedy of "Greenwich Park," ii. 41;
copied by Wilks, ii. 241;
Bellchambers's memoir of, ii. 341;
full account of his death by the hands of Capt. Hill, ii. 342-345.

---- Mrs., i. 98, i. 237, ii. 343, ii. 367;
Cibber's account of, i. 165-169;
her variety of humour, i. 165;
her artistic feeling, i. 166;
her acting of the Western Lass, i. 166;
in male parts, i. 167;
plays Bayes with success, i. 167;
the excellence of her Melantha, i. 167;
memoir of, i. 169, _note_ 1;
leaves Betterton's company in 1695, i. 200;
her death, ii. 306;
Anthony Aston's description of, ii. 313.

Mountfort, Susanna, i. 334, _note_ 1.

Music in the theatre, i. xxxii.

Newcastle, Duke of, ii. 219;
(Lord Chamberlain), his persecution of Steele, ii. 193, _note_ 1.

Newington Butts, i. xlix.

Newman, Thomas, actor, one of their Majesties' servants, i. 88,
_note_ 3.

Nichols, John, his "Theatre, Anti-Theatre, &c.," ii. 66, _note_ 2,
ii. 168, _note_ 1, ii. 174, _note_ 2, ii. 176, _note_ 1, ii. 177,
_note_ 1, ii. 193, _note_ 1.

Nicolini (Nicolo Grimaldi), singer, ii. 48, ii. 51;
Cibber's high praise of, ii. 51;
praised by the "Tatler," ii. 52.

Noblemen's companies of players, i. xlvii.

Nokes, James, i. 98;
Cibber's description of, i. 141-145;
his natural simplicity, i. 141;
could not be imitated, i. 142;
his best characters, i. 142;
his ludicrous distress, i. 143;
his voice and person, i. 145;
and Leigh, their combined excellence, i. 147;
compared with Leigh, i. 154;
his death, i. 188;
Bellchambers's memoir of, ii. 346;
why called "Nurse Nokes," ii. 348.

Nokes, Robert, i. 141, _note_ 1, i. 143, _note_ 2, ii. 346.

"Nonjuror, The," a line in the epilogue quoted, i. 49;
cast of, ii. 185, _note_ 2.

Norris, Henry, ii. 77, _note_ 1, ii. 94, _note_ 1.

---- Mrs., said to be the first English actress, i. 90, _note_ 1.

Northey, Sir Edward, his "opinion" on the Patent, ii. 32, _note_ 1.

Oates, Titus, i. 133.

Odell, Thomas, his theatre in Goodman's Fields, i. 282, _note_ 1.

"Old and New London," referred to, ii. 104, _note_ 1.

Oldfield, Mrs. Anne, i. 157, i. 251, _note_ 1, i. 332, ii. 69, ii.
129, _note_ 2, ii. 358;
memoirs of, published immediately after her death, i. 5;
her acting of Lady Townly praised in high-flown terms by Cibber,
i. 51, i. 312, _note_ 3;
admitted into good society, i. 83;
her unpromising commencement as an actress, i. 159, i. 305;
compared with Mrs. Butler, i. 164;
her rivalry with Mrs. Bracegirdle, i. 174, _note_ 2;
Cibber's account of, i. 305-312;
her good sense, i. 310;
her unexpected excellence, i. 306;
Cibber writes "The Careless Husband" chiefly for her, i. 308;
her perfect acting in it, i. 309;
and Wilks playing in same pieces, i. 314;
proposed to be made a manager, ii. 69;
gets increased salary instead, ii. 71;
advertisement regarding her salary, 1709, ii. 78, _note_ 1;
riot directed against, ii. 166;
settles a dispute between Wilks, Cibber, and Booth, ii. 236;
her death, ii. 254;
copied Mrs. Mountfort in comedy, ii. 313;
Bellchambers's memoir of, ii. 367;
and Richard Savage, ii. 369.

Opera, i. 111;
control of, given to Swiney, ii. 48.

---- Italian, account of its first separate establishment, ii. 50-55;
decline of Italian, ii. 87-91.

Otway, Thomas, his failure as an actor, i. 114, _note_ 1;
his "Orphan," i. 116, _note_ 2.

Oxford, visited by the actors in 1713, ii. 133, ii. 135;
Dryden's Prologues at, ii. 134, ii. 136, _note_ 1;
its critical discernment, ii. 136.

---- Lord, Guiscard's attack on, referred to, i. 291.

Pack, George, ii. 77, _note_ 1, ii. 94, _note_ 1;
account of, ii. 169, _note_ 3.

Pageants formed part in receptions of princes, &c., i. xl. _et seq._

Painting the face on the stage, i. 182, _note_ 1.

Pantomimes, the origin of, ii. 180;
Cibber's opinion of, ii. 180;
"The Dunciad" on, ii. 181, _note_ 1.

"Papal Tyranny in the Reign of King John," cast of, ii. 269, _note_ 1.

Parish-clerks, play acted by, in 1391, i. xxxv.

Parliamentary reports on the theatres, i. 278, _note_ 1.

"Parson's Wedding, The," played entirely by women, i. xxxii.

"Pasquin" quoted, i. 36, _note_ 2.

Patent, copy of, granted to Sir William Davenant in 1663, i. liii.;
Steele's, ii. 174.

Patentees, the, their foolish parsimony, i. 164;
their ill-treatment of Betterton and other actors, i. 187;
the actors combine against them, i. 189;
their deserted condition, i. 194. (For transactions of the Patentees,
see also Rich, C.)

Pavy, Sal, a famous child-actor, i. xxxvi.;
Ben Jonson's epigram on, i. xxxvi.

Pelham, Hon. Henry, Cibber's "Apology" dedicated to, i. lv., _note_ 1.

Pembroke, Earl of, ii. 105, _note_ 1.

Pepys, Samuel, his "Diary," i. 119, _note_ 1, i. 161, _note_ 2, i.
182, _note_ 1, i. 267, _note_ 1, i. 303, _note_ 1.

Percival (actor), i. 183, _note_ 1.

Perkins, an eminent actor, i. xxvi.;
his death, i. xxxi.

Perrin, Mons. (of the Théâtre Français), ii. 221, _note_ 1, ii. 246,
_note_ 1.

Perriwigs, enormous, worn by actors, ii. 36, _note_ 1.

Phoenix, the, or Cockpit, i. xxvi.

"Picture, The," i. xxv.

Pinkethman, William, i. 313, i. 334, _note_ 1, ii. 129, _note_ 2, ii.
252, _note_ 1;
his inferiority to Anthony Leigh, i. 149;
his liberties with the audience, i. 152;
hissed for them, i. 153, _note_ 1;
his lack of judgment, i. 150;
plays Harlequin without the mask, i. 151;
his success as Lory in "The Relapse," i. 230;
Bellchambers's memoir of, ii. 348.

---- the younger, ii. 349.

Plays, value of old, for information on manners, i. xxi.;
old, no actors' names given, i. xxv.;
originally used for religious purposes, i. xxxiv., i. xxxv.;
their early introduction, i. xxxvii.;
began to alter in form about the time of Henry VIII., i. xlv.;
origin of, in Greece and England, i. xlviii.;
the alteration in their subjects noticed by Stow in 1598, i. xlviii.;
temporarily suspended, i. xlix.;
arranged to be divided between Davenant's and Killigrew's companies,
i. 91;
expenses of, i. 197, _note_ 3.

Players defended regarding character, i. xxii.;
not to be described as rogues and vagabonds, i. xlix.;
entirely suppressed by ordinances of the Long Parliament, i. li.

Playhouses, large number of, in 1629, i. xlix.

"Poems on Affairs of State," quoted, i. 170, _note_ 1.

"Poetaster, The," played by the Children of her Majesty's Chapel, i.
xxxvi.

Poet Laureate, Cibber appointed, 1730, i. 32, _note_ 1.

Pollard, Thomas, a comedian, i. xxvi.;
superior to Hart, i. xxiv.;
too old to go into Charles I.'s army, i. xxix.;
arrested for acting, i. xxx.;
his retirement and death, i. xxxi.

Pollixfen, Judge, ii. 315.

Ponsonby-Fane, Sir Spencer, his memorandum on the power of the Lord
Chamberlain, ii. 11, _note_ 1.

Pope, Alexander, ii. 151;
Cibber's "Letter" to, quoted, i. 3, _note_ 1;
Cibber's first allusion to Pope's enmity, i. 21;
an epigram comparing Pope and Cibber in society, i. 29, _note_ 1;
Cibber's opinion of Pope's attacks, i. 35;
some of Pope's attacks quoted, i. 36, _note_ 1;
his attack on Atticus (Addison), i. 38;
Cibber's "Letter" to, quoted, i. 44, _note_ 1, i. 45, _note_ 2;
epigram attributed to him, on Cibber's Laureateship, i. 46, _note_ 1;
his "Moral Essays," quoted, i. 307, _note_ 3;
attacks Cibber for countenancing pantomimes, ii. 182, _note_ 1;
"The Nonjuror" a cause of his enmity to Cibber, ii. 189, _note_ 1;
his "Epistle to Dr. Arbuthnot," ii. 189, _note_ 1;
his quarrel with Cibber, ii. 270-283;
Cibber's "Letter" to him, ii. 271;
his famous adventure, ii. 278;
Cibber's second "Letter" to, ii. 281;
his portrait of Betterton, ii. 339;
his attacks on Mrs. Oldfield, ii. 370. (See also "Dunciad.")

Porter, Mrs. Mary, ii. 129, _note_ 2, ii. 303, ii. 368;
Dogget plays for her benefit after his retirement, ii. 158;
accident to, ii. 254, ii. 365;
Bellchambers's memoir of, ii. 365.

Portuguese, the, and religious plays, i. xxxv.

"Post-Boy Rob'd of his Mail," i. 328, _note_ 1, i. 329, _note_ 1.

Powell, George, i. 157, i. 193, i. 203, _note_ 1, i. 228, i. 259, i.
334. _note_ 1, ii. 77, _note_ 1, ii. 94, _note_ 1, ii. 129,
_note_ 2, ii. 238, ii. 301, ii. 311, ii. 363;
offered some of Betterton's parts, i. 188;
his indiscretion as a manager, i. 204;
mimics Betterton, i. 205, i. 207, _note_ 1;
the contest between him and Wilks for supremacy at Drury Lane, i.
237-243, i. 251-256;
his carelessness, i. 240, i. 243;
deserts Drury Lane, i. 239;
returns to Drury Lane, i. 239;
arrested for deserting his manager, ii. 18;
arrested for striking young Davenant, ii. 19;
discharged for assaulting Aaron Hill in 1710, ii. 94, _note_ 1;
Bellchambers's memoir of, ii. 352.

Price, Joseph, account of him by Bellchambers, i. 146, _note_ 1.

Prince's Servants, The, before, 1642, i. xxvi.

Pritchard, Mrs., ii. 268, _note_ 1.

Profits made by the old actors, i. xxxii.;
of the theatre, how divided in 1682, i. 97.

Prologue-speaking, the art of, i. 271.

"Prophetess, The," i. 187.

"Provoked Husband," cast of, i. 311, _note_ 1.

"Provoked Wife," altered, ii. 233.

"Psyche," an opera, i. 94.

Puppet-show in Salisbury Change, i. 95.

Purcell, Henry, i. 187, _note_ 1, ii. 312.

Quantz, Mons., ii. 89, _note_ 1.

Queen's Servants, The, before 1642, i. xxvi.

---- Theatre in the Haymarket, success of Swiney's company in, ii. 1;
set aside for operas only, ii. 48;
its interior altered, ii. 79;
opened by the seceders from Drury Lane in 1709, ii. 87.

Quin, James, i. 224, _note_ 2, ii. 259, _note_ 1;
the chief actor at Garrick's appearance, ii. 262.

Raftor, Catherine. See Clive.

---- James, i. 330, _note_ 1.

Raillery, reflections on, i. 11.

Raymond, his "opinion" on the Patent, ii. 32, _note_ 1.

Red Bull Theatre, i. xxvi., i. xxix.;
used by King's Company after the Restoration, i. xxxi.;
drawing of the stage of the, ii. 84, _note_ 1.

Reformation of the stage, Cibber on, i. 81.

Rehan, Ada, a great comedian, ii. 289.

Religion and the stage, i. xxi., i. xxxiii.

"Renegado, The," i. xxv.

Revels, Master of the, his unreasonableness to Cibber, i. 275;
his fees refused to be paid, i. 277.

Rhodes, the prompter, ii. 333, ii. 339;
his company, at the Cockpit, i. xxviii.;
his company of actors engaged by Davenant, i. 87, _note_ 1.

Rich, Christopher, Patentee of Drury Lane, i. 181, _note_ 1, ii.
336, ii. 361, ii. 367;
description of, i. 233, _note_ 1;
admits servants to theatre gratis, i. 233;
his treatment of his actors, i. 252;
consults Cibber on matters of management, i. 253;
his principles of management, i. 262, ii. 6-8;
his tactics to avoid settling with his partners, i. 328;
his objections to an union of the two companies, i. 329;
permits Swiney to rent the Queen's Theatre, i. 331;
his foolish neglect of his actors, i. 334;
declines to execute his agreement with Swiney, i. 336;
wishes to bring an elephant on the stage, ii. 6;
introduces rope-dancers at Drury Lane, ii. 7;
silenced for receiving Powell, ii. 19, _note_ 1;
his share in the Patent, ii. 32, _note_ 1, ii. 98;
his dealings with Col. Brett, ii. 42-49, ii. 56-60;
Cibber on his misconduct, ii. 46;
his foolish mismanagement, ii. 60, ii. 65;
confiscates part of his actors' benefits, ii. 66;
ordered to refund this, ii. 68;
silenced by the Lord Chamberlain (1709), ii. 72;
his proceedings after being silenced, ii. 77, ii. 79, _note_ 2;
an advertisement issued by him regarding actors' salaries in 1709,
ii. 78, _note_ 1;
evicted by Collier from Drury Lane (1709), ii. 92;
his Patent revived in 1714, ii. 79, ii. 165;
his extraordinary behaviour to the Lord Chamberlain, ii. 98;
Genest's character of him, ii. 98, _note_ 1;
rebuilds Lincoln's Inn Fields Theatre, ii. 100;
his death, ii. 166, _note_ 1.

Rich, John, ii. 79, ii. 98, _note_ 2;
opens Lincoln's Inn Fields Theatre, ii. 166, _note_ 1;
an excellent Harlequin, ii. 181, _note_ 1;
manages the Lincoln's Inn Fields company, ii. 262;
opens Covent Garden, ii. 262.

"Richard III.," Cibber's adaptation of, i. 139;
his playing in, i. 139, i. 275;
cast of, ii. 288, _note_ 1.

Richardson, Jonathan, ii. 276.

Roberts, Mrs., one of Charles II.'s mistresses, ii. 212.

Robins, a comedian, i. xxvi.

Robinson, William, ii. 322;
Hart apprenticed to, i. xxiv.;
a comedian, i. xxvi.;
murdered by Harrison, i. xxix.

Rochester, Lord, ii. 138, _note_ 1, ii. 303.

Rogers, Mrs., i. 332, ii. 129, _note_ 2, ii. 169, _note_ 2, ii. 353;
her affectation of prudery, i. 135;
becomes Wilks's mistress, i. 136;
her eldest daughter, i. 136;
riot caused by, ii. 166.

Rogues and vagabonds, players not to be described as, i. xlix., i. 1.

"Roman Actor, The," i. xxv.

Roman Catholic religion, attacked by Cibber, i. 80.

Rope-dancers on the stage, ii. 7.

"Roscius Anglicanus." See Downes, John.

Rose Tavern, the, i. 303, _note_ 1.

Rowe, Nicholas, in love with Mrs. Bracegirdle, i. 172;
complains of French dancers, i. 317.

Royal Theatricals during George I.'s reign, ii. 208;
during previous reigns, ii. 209;
effect of audience on actors, ii. 214;
fees for, ii. 218.

Rymer, Thomas, ii. 324.

Sacheverel, Doctor, his trial hurtful to the theatres, ii. 91.

St. Giles's-in-the-Fields, Colley Cibber christened at, i. 7,
_note_ 2.

"St. James's Evening Post," ii. 198, _note_ 1.

St. Paul's Singing School, i. xlix.

Salisbury Court, the private theatre in, i. xxiv., i. xxvi., i.
xxviii.

Salvini, Tommaso, the great Italian tragedian, plays in Italian,
while his company plays in English, i. 325, _note_ 1.

Sandford, Samuel, i. 98, i. 327, ii. 244, _note_ 1;
the "Spagnolet" of the theatre, i. 130;
Cibber's account of him, i. 130-1;
his personal appearance, i. 131;
an actor of villains, i. 131, i. 137;
his Creon ("OEdipus"), i. 131;
the "Tatler" on his acting, i. 132, _note_ 1;
anecdote of his playing an honest character, i. 132;
"a theatrical martyr to poetical justice," i. 137;
his voice and manner of speaking, i. 138;
would have been a perfect Richard III., i. 138;
Cibber plays Richard III. in imitation of, i. 139;
Anthony Aston's description of, ii. 306;
Bellchambers's memoir of, ii. 346.

Santlow, Hester, her first appearance as an actress, ii. 95;
her manner and appearance, ii. 95;
her character, ii. 96, _note_ 1;
her marriage with Booth, ii. 96, _note_ 1.
(See also Booth, Mrs. Barton.)

Satire, reflections on, i. 37;
Cibber's opinion regarding a printed and an acted, i. 289.

Saunderson, Mrs. See Betterton, Mrs.

Savage, Richard, ii. 39, _note_ 1;
and Mrs. Oldfield, ii. 369.

Scenes, first introduced by Sir William Davenant, i. xxxii., i. 87,
_note_ 1.

"Secular Masque, The," i. 268, _note_ 1.

Sedley, Sir Charles, Kynaston's resemblance to, ii. 341.

Senesino (singer), ii. 53.

Sewell, Dr. George, his "Sir Walter Raleigh," ii. 186, _note_ 1.

Shadwell, Charles, his "Fair Quaker of Deal," ii. 95.

---- Thomas, his comedy of "The Squire of Alsatia," i. 148.

Shaftesbury, first Earl of, i. 134, _note_ 1.

Shakespeare, William (see also names of his plays), a better author
than actor, i. xxv., i. 89;
his plays, i. xxv.;
his plays depend less on women than on men, i. 90;
expenses of plays in his time, i. 197.

"Sham Lawyer, The," ii. 252, _note_ 1.

Shank, John, a comedian, i. xxvi.;
played Sir Roger ("Scornful Lady"), i. xxvi.

Shatterel, ii. 326;
superior to his successors, i. xxiv.;
apprentice to Beeston, i. xxv.;
a quartermaster in Charles I.'s army, i. xxix.

Shelton, Lady, ii. 303.

Shore, John, brother-in-law of Colley Cibber, i. 184, _note_ 1.

---- Miss. See Cibber, Mrs. Colley, i. 184, _note_ 1.

"Shore's Folly," i. 184, _note_ 1.

"Silent Woman," i. xxiv.

Singers and dancers introduced by Davenant, i. 94;
difficulty in managing, ii. 88.

Skipwith, Sir George, ii. 60.

---- Sir Thomas (one of the Patentees of Drury Lane), ii. 109;
does Vanbrugh a service, i. 217;
receives "The Relapse" in return, i. 217;
a sharer in the Drury Lane Patent, ii. 31;
assigns his share to Colonel Brett, ii. 32;
his friendship for Brett, ii. 39;
claims his share from Brett, ii. 59.

Smith, William, i. 327, ii. 324, ii. 346;
insulted by one of the audience, i. 79;
defended by the King, i. 79;
driven from the stage because of the King's support of him, i. 79;
taken into good society, i. 83;
Bellchambers's memoir of, ii. 319.

Sophocles, his tragedies, ii. 29.

Southampton House, Bloomsbury, i. 7, _note_ 3.

Southerne, Thomas, ii. 311;
prophesies the success of Cibber's first play, i. 212;
his "Oroonoko," i. 216, _note_ 1.

Spaniards, the, and religious plays, i. xxxv.

"Spectator," ii. 353.

Spiller, James, ii. 169, _note_ 2.

Stage, and religion, i. xxi., i. xxxiii.;
the, Cibber on the reformation of, i. 81;
audience on, forbidden, i. 234;
Cibber on the influence of, ii. 24-31;
shape of the, described, ii. 84;
doors, ii. 84, _note_ 1.

Statute regarding rogues and vagabonds, i. 1.;
against profanity on the stage, i. 1.;
against persons meeting out of their own parishes on Sundays for
sports, etc., i. 1.;
entirely suppressing players, i. li.

Steele, Sir Richard, i. 97, _note_ 2, i. 276, ii. 36, _note_ 1, ii.
109, ii. 128, ii. 151, ii. 217, ii. 251, ii. 257;
substituted for Collier in the Licence, ii. 162;
the benefits he had conferred on Cibber and his partners, ii. 162;
Dennis's attacks on, ii. 168, _note_ 1;
receives a Patent, ii. 173;
assigns equal shares in the Patent to his partners, ii. 174;
account of his transactions in connection with the theatre which
are ignored by Cibber, ii. 193, _note_ 1;
persecuted by the Duke of Newcastle, then Lord Chamberlain, ii.
193, _note_ 1;
his Licence revoked, ii. 193, _note_ 1;
restored to his position, ii. 193, _note_ 1;
the expiry of his Patent, ii. 193, _note_ 1;
assigns his share of the Patent, ii. 196;
brings an action against his partners, ii. 196;
account of the pleadings, ii. 196-208;
his recommendation of Underhill's benefit, ii. 351.

Stow, John, his "Survey of London" quoted, i. xxxv., i. xlviii.

Strolling players, i. xl., i. xlvii., i. 1.

Subligny, Madlle., a French dancer, i. 316.

"Summer Miscellany, The," ii. 272, _note_ 1.

Sumner, an eminent actor, i. xxvi.;
his death, i. xxxi.

Sunderland, Lady (the Little Whig), i. 320.

Swan Theatre, drawing of the stage of the, ii. 84, _note_ 1.

Swanston, Eliard, acted Othello, i. xxvi.;
the only actor that took the Presbyterian side in the Civil War,
i. xxix.

Swift, Jonathan, an attack on Cibber by him in his "Rhapsody on
Poetry" quoted, i. 52, _note_ 2.

Swiney, Owen, i. 97, _note_ 2, ii. 43, ii. 223, ii. 267;
his "Quacks," i. 247, _note_ 1;
account of his character, i. 329;
memoir of, i. 330, _note_ 1;
rents the Queen's Theatre from Vanbrugh, i. 330. i. 333. _note_ 1;
his agreement with Rich about renting the Queen's Theatre, i. 331;
Rich declines to execute it, i. 336;
his success at the Queen's Theatre in 1706-7, ii. 1;
his arrangement with his actors in 1706, ii. 9;
control of the opera given to, ii. 48;
his gain by the opera in 1708, ii. 55;
has joint control of plays and operas (1709), ii. 69;
forced to hand over the opera to Collier, ii. 102;
forced to resume the opera, ii. 107;
goes abroad on account of debt, ii. 108;
his return to England, ii. 108;
Cibber plays for his benefit, ii. 262.

"Tatler," the, i. 38, i. 132, _note_ 1, ii. 75, ii. 93, ii. 229,
_note_ 1, ii. 244, _note_ 1, ii. 244, _note_ 2, ii. 328, ii.
362, ii. 363;
its eulogium of Betterton, i. 118, _note_ 1;
recommends Cave Underhill's benefit, i. 155;
praises Nicolini, ii. 52;
its influence on audiences, ii. 162.

Taylor, John, his "Records of my Life" quoted, i. lxv., _note_ 1.

---- Joseph, ii. 334;
superior to Hart, i. xxiv.;
his chief characters, i. xxvi.;
too old to go into Charles I.'s army, i. xxix.;
arrested for acting, i. xxx.;
his death, i. xxxi.

"Tempest, The," as an opera, i. 94;
revival of, ii. 227.

Theatre, the, mentioned by Stow as recently erected, i. xlviii.

Théâtre Français, ii. 221, _note_ 1, ii. 246, _note_ 1.

Theatres, number of, before 1642, i. xxvi.;
more reputable before 1642, i. xxvii.;
less reputable after the Restoration, i. xxvii.;
evil, artistically, of multiplying, i. 92.

Theobald, Lewis, deposed from the Throne of Dulness, ii. 280.

Thomson, James, his "Sophonisba," ii. 368.

Tofts, Mrs. Katherine, i. 334, _note_ 1, ii. 51;
Cibber's account of, ii. 54.

"Tone" in speaking, i. 110, _note_ 1.

Trinity College, Cambridge, Caius Cibber's statues on the Library,
i. 59;
particulars regarding these, i. 59, _note_ 1.

Underhill, Cave, i. 98, i. 142, i. 327, ii. 307, ii. 346, ii. 347,
ii. 361;
his chief parts, i. 154-155;
Cibber's account of, i. 154-156;
his particular excellence in stupid characters, i. 154;
the peculiarity of his facial expression, i. 155;
his retirement and last appearances, i. 155, _note_ 2;
his death, i. 156;
Anthony Aston's description of, ii. 307;
Bellchambers's memoir of, ii. 350.

Underwood, John, originally a "chapel boy," i. xxxvii.

Union of Companies in 1682, i. xxxii., i. 96;
in 1708, i. 301;
causes that led up to, ii. 45, ii. 48.

Valentini (Valentini Urbani), singer, i. 325, ii. 51, ii. 55.

Vanbrugh, Sir John, i. 269, i. 274, i. 284, ii. 107, ii. 110, ii.
190, ii. 337, ii. 353, ii. 367;
his opinion of Cibber's acting of Richard III., i. 139;
his "Relapse," i. 216, i. 218;
his high opinion of Cibber's acting, i. 216;
his "Provoked Wife," i. 216-217;
in gratitude to Sir Thomas Skipwith presents him with "The Relapse,"
i. 217;
his "Æsop," i. 216, i. 218;
his great ability, i. 219;
alters his "Provoked Wife," ii. 233;
his share in the "Provoked Husband," i. 311, _note_ 1;
builds the Queen's Theatre, i. 319;
and Congreve manage the Queen's Theatre, i. 320, i. 325;
his "Confederacy," i. 325;
"The Cuckold in Conceit" (attributed to him), i. 326;
his "Squire Trelooby," i. 326;
his "Mistake," i. 327;
sole proprietor of the Queen's Theatre, i. 326;
lets it to Swiney, i. 330, i. 333, _note_ 1.

Vaughan, Commissioner, ii. 278, _note_ 1.

"Venice Preserved," ii. 224, _note_ 1.

Verbruggen, John, i. 108, _note_ 2;
mentioned, i. 157, i. 193;
hangs about Downes, the prompter, i. 74, _note_ 1;
note regarding, i. 157, _note_ 2;
Anthony Aston's description of, ii. 311;
Bellchambers's memoir of, ii. 354.

---- Mrs. See Mrs. Mountfort.

Vere Street, Clare Market, theatre in, i. xxxii.

Versatility, Cibber's views on, i. 209.

Victor, Benjamin, ii. 259;
a story told by him of Cibber's cowardice, i. 71, _note_ 1;
his "History of the Theatres," i. 110, _note_ 1, i. 297,
_note_ 1, ii. 259, _note_ 2, ii. 260, _note_ 1, ii. 261,
_note_ 1, ii. 264, ii. 270;
his "Letters" quoted, i. 58, _note_ 1;
his "Life of Booth," i. 5, _note_ 1, ii. 240, _note_ 2.

Villains, Cibber's views on, i. 131;
Macready's views on, referred to, i. 135, _note_ 1;
E. S. Willard mentioned as famous for representing, i. 135,
_note_ 1;
on the acting of, i. 222.

Vizard-masks (women of the town), i. xxvii. See also Masks.

Voltaire, his "Zaïre," ii. 248.

Walker, Obadiah, his change of religion, ii. 134.

Waller, Edmund, altered the last act of the "Maid's Tragedy," ii. 12.

Walpole, Horace, and Cibber, ii. 284.

Warburton, Bishop, mentioned, i. 106, _note_ 1, ii. 281.

Ward, Professor A. W., his "English Dramatic Literature," i. 187,
_note_ 1.

Warwick, Earl of, his frolic with Pope and Cibber, ii. 278.

Weaver, John, his "Loves of Mars and Venus," ii. 180, _note_ 2.

Webster, Benjamin, i. 88, _note_ 3.

"Wedding, The," i. xxv.

"Weekly Packet" quoted, ii. 171, _note_ 1.

Welsted, Leonard, satirically mentioned by Swift, i. 52, _note_ 2.

Westminster Bridge, difficulties in getting permission to build,
ii. 104.

Whig, the Little (Lady Sunderland), i. 320.

White's Club, Cibber a member, i. 29, _note_ 1.

Whitefriars, i. xlix.

"Whitehall Evening Post," Cibber sends verses to, regarding himself,
i. 47.

Whitelocke's "Memorials," ii. 209, _note_ 2.

Wigs. See Perriwigs.

Wildair, Sir Harry, i. 318.

"Wild-Goose Chase, The," i. xxv.

Wilks, Robert, i. 108, _note_ 2, i. 157, i. 270, i. 332, ii. 36,
_note_ 1, ii. 167, ii. 176, ii. 300, ii. 352, ii. 361, ii. 363,
ii. 368;
memoirs published immediately after his death, i. 5;
mistakes in his Hamlet, i. 100, _note_ 1;
lives with Mrs. Rogers, i. 136;
distressed by Pinkethman's "gagging," i. 153, _note_ 1;
his impetuous temper, i. 190, i. 191, _note_ 1, i. 191, _note_ 2,
ii. 127, ii. 150-155, ii. 171;
his return to Drury Lane from Dublin, i. 235;
his commencing as actor, i. 235;
the contest between him and Powell for supremacy at Drury Lane,
i. 237-243, i. 251-256;
his wonderful memory, i. 240, i. 242;
his diligence and care, i. 240, ii. 160;
his good character, i. 243;
made chief actor at Drury Lane, under Rich, i. 256;
his energy in managing, i. 257;
his disputes with Cibber, i. 258;
his friendship with Mills, i. 259;
as a prologue-speaker, i. 271;
the occasion of his coming to London, i. 304;
and Mrs. Oldfield playing in same pieces, i. 314;
made Deputy-manager by Brett, ii. 56, _note_ 1;
made joint-manager with Swiney and others in 1709, ii. 69;
advertisement regarding his salary, 1709, ii. 78, _note_ 1;
his characteristics as a manager, ii. 111, ii. 117;
his patronage of his friends, ii. 121;
his behaviour on Booth's claiming to become a manager, ii. 131,
ii. 141;
his favour for Mills, ii. 223;
his connection with Steele during the dispute about Steele's Patent,
ii. 193, _note_ 1;
his love of acting, ii. 225;
a genuine admirer of Cibber, ii. 226, _note_ 1;
attacked by Dennis, ii. 226, _note_ 2;
his excellence as Macduff, ii. 228;
gives the part to Williams, ii. 229;
but withdraws it, ii. 230;
complains of acting so much, ii. 232;
a scene between him and his partners, ii. 234-237;
benefits arising from his enthusiasm for acting, ii. 237;
and Booth, their opinion of each other, ii. 240;
formed his style on Mountfort's, ii. 241;
Cibber's comparison of Booth and Wilks, ii. 239-245;
his Othello, ii. 244;
death of, ii. 254;
memoir of, ii. 254, _note_ 4;
Patent granted to him, Cibber, and Booth, after Steele's death,
ii. 257.

Wilks, Mrs., inherits Wilks's share in the Patent, ii. 258;
delegates her authority to John Ellys, ii. 258;
her share sold to Fleetwood, ii. 261.

Willard, E. S., mentioned, i. 135, _note_ 1.

William of Orange, Cibber a supporter of, at the Revolution, i. 60;
made king, i. 70;
gives a Licence to Betterton, i. 192, _note_ 1.

Williams, Charles, Wilks gives him the part of Macduff, ii. 229;
but withdraws it, ii. 230;
hissed in mistake for Cibber, i. 179, _note_ 1.

---- Joseph, mentioned, i. 157, i. 200;
Bellchambers's memoir of, ii. 356.

Wiltshire (actor), leaves the stage for the army, i. 84;
killed in Flanders, i. 85.

Winchester College, Cibber stands for election to, and is
unsuccessful, i. 56;
his brother, Lewis Cibber, is afterwards successful, i. 56;
his father presents a statue to, i. 56;
communication from the Head Master of, i. 56, _note_ 2.

Wintershal (actor), belonged to the Salisbury Court Theatre, i. xxiv.

Woffington, Margaret, her artistic feeling, i. 166, _note_ 1;
an anecdote wrongly connected with her, ii. 266.

"Woman's Wit," cast of, i. 264, _note_ 1.

Women, their first introduction on the stage, i. xxxii., i. 89,
_note_ 1, i. 90.

Wren, Sir Christopher, the designer of Drury Lane Theatre, ii. 82.

Wright, James, his "History of Rutlandshire," i. 8;
quoted, i. 9, _note_ 1;
his "Historia Histrionica," i. xix.

Wykeham, William of, Cibber connected with by descent, i. 56.

"Ximena," cast of, ii. 163, _note_ 1.

York, Duke of (James II.), at Whitehall, i. 30.

Young, Dr. Edward, his "Epistle to Mr. Pope" quoted, i. 54, _note_ 1.

Young actors, dearth of, ii. 221.

END OF VOL. II.

CHISWICK PRESS:--C. WHITTINGHAM AND CO., TOOKS COURT,
CHANCERY LANE.

FOOTNOTES

[Footnote 1: That is, "The Beaux' Stratagem," by Farquhar, produced 8th March, 1707. Cibber played the part of Gibbet.]

[Footnote 2: "Lady's Last Stake; or, the Wife's Resentment," a comedy by Cibber, produced 13th December, 1707.

LORD WRONGLOVE Mr. Wilks.
SIR GEORGE BRILLANT Mr. Cibber.
SIR FRIENDLY MORAL Mr. Keene.
LADY WRONGLOVE Mrs. Barry.
LADY GENTLE Mrs. Rogers.
MRS. CONQUEST Mrs. Oldfield.
MISS NOTABLE Mrs. Cross.]

[Footnote 3: "The Double Gallant; or, the Sick Lady's Cure," a comedy by Cibber, produced 1st November, 1707.

SIR SOLOMON SADLIFE Mr. Johnson.
CLERIMONT Mr. Booth.
CARELESS Mr. Wilks.
ATALL Mr. Cibber.
CAPTAIN STRUT Mr. Bowen.
SIR SQUABBLE SPLITHAIR Mr. Norris.
SAUNTER Mr. Pack.
OLD MR. WILFUL Mr. Bullock.
SIR HARRY ATALL Mr. Cross.
SUPPLE Mr. Fairbank.
LADY DAINTY Mrs. Oldfield.
LADY SADLIFE Mrs. Crosse.
CLARINDA Mrs. Rogers.
SYLVIA Mrs. Bradshaw.
WISHWELL Mrs. Saunders.
SITUP Mrs. Brown.]

[Footnote 4: The plays from which Cibber compiled "The Double Gallant" are "Love at a Venture," "The Lady's Visiting Day," and "The Reformed Wife" (Genest, ii. 389).]

[Footnote 5: Eighteenpence was for many years the recognized price of plays when published.]

[Footnote 6: These were played on 14th January, 21st January, and 4th February, 1707, in the order Cibber gives them. The alteration of Dryden's plays was done by Cibber, and was called "Marriage à la Mode; or, the Comical Lovers."

CELADON Mr. Cibber.
PALAMEDE Mr. Wilks.
RHODOPHIL Mr. Booth.
MELANTHA Mrs. Bracegirdle.
FLORIMEL Mrs. Oldfield.
DORALICE Mrs. Porter.

I have not seen a copy of this, so take the cast from Genest.]

[Footnote 7: An elephant was introduced into the pantomime of "Harlequin and Padmanaba," at Covent Garden, 26th December, 1811. Genest points out that one had appeared at Smock Alley Theatre, Dublin, in 1771-2.]

[Footnote 8: In Mr. Percy Fitzgerald's "New History of the English Stage" (ii. 436) he gives an interesting memorandum by the Hon. Sir Spencer Ponsonby-Fane regarding this point. It begins: "That the Chamberlain's authority proceeded from the Sovereign alone is clear, from the fact that no Act of Parliament, previous to the 10 Geo. II., c. 28 (passed in 1737), alludes to his licensing powers, though he was constantly exercising them."]

[Footnote 9: Langbaine, in his "Account of the English Dramatick Poets," 1691, says (p. 212): "_Maids Tragedy_, a Play which has always been acted with great Applause at the King's Theatre; and which had still continu'd on the English Stage, had not King _Charles_ the _Second_], for some particular Reasons forbid its further Appearance during his Reign. It has since been reviv'd by Mr. _Waller_, the last Act having been wholly alter'd to please the Court."

I think there can be little doubt that the last reason suggested by Cibber was the real cause of the prohibition.]

[Footnote 10: Produced at Dorset Garden, 1681.]

[Footnote 11: Produced at Dorset Garden, 1690. See _ante_, vol. i. p. 187. I presume that the lines alluded to by Cibber are:--

"Never content with what you had before,
But true to change, and Englishmen all o'er."]

[Footnote 12: In the "Biographia Dramatica" (iii. 24) the following note appears: "Mary Queen of Scotland. A play under this title was advertised, among others, as sold by Wellington, in St. Paul's Churchyard, in 1703." But the work Cibber refers to is "The Island Queens; or, the Death of Mary Queen of Scots," a tragedy by John Banks, printed in 1684, but not produced till 6th March, 1704, when it was played at Drury Lane as "The Albion Queens."]

[Footnote 13: "The Unhappy Favourite; or, the Earl of Essex," produced at the Theatre Royal, 1682.]

[Footnote 14: "Virtue Betrayed; or, Anna Bullen," first acted at Dorset Garden, 1682.]

[Footnote 15: Bellchambers notes here that this order was superfluous, because the prohibition was inserted in the Patents given to Davenant and Killigrew. But, whether superfluous or not, I find from the Records of the Lord Chamberlain's Office that this order was frequently made. On 16th April, 1695, an edict was issued forbidding actors to desert from Betterton's company; on 25th July, 1695, desertions from either company were forbidden; and this latter order was reiterated on 27th May, 1697.]

[Footnote 16: I do not know whether it is merely a coincidence, but it is curious that, after Betterton got his License (on 25th March, 1695), an edict was issued that no one was to desert from his company to that of the Theatre Royal; while a general order against any desertion from either company to the other was not issued for more than three months after the first edict. The dates, as given in the Records of the Lord Chamberlain's Office, are 16th April and 25th July respectively. If this were intentional, it would form a curious commentary on Cibber's statement.]

[Footnote 17: Genest supposes that this incident occurred about June, 1704. But the Lord Chamberlain's Records of that time contain no note of it, and Cibber's language scarcely bears the interpretation that three years elapsed between Powell's leaving Drury Lane and returning to it, as was the case at that time; for he was at Lincoln's Inn Fields for three seasons, 1702 to 1704. I find, however, a warrant, dated 14th November, 1705, to apprehend Powell for refusing to act his part at the Haymarket, so that the audience had to be dismissed, and for trying to raise a mutiny in the company. He was ordered to be confined in the Porter's Lodge until further notice. On the 24th November Rich was informed that Powell had deserted the Haymarket, and was warned not to engage him. Now these desertions must have followed each other pretty closely, for he was at Drury Lane in the beginning of 1705; at the Haymarket in April of the same year; and about six months later had deserted the latter. The sequel to this difficulty seems to be the silencing of Rich for receiving Powell, on 5th March in the fifth year of Queen Anne's reign, that is, 1707. Unless the transcriber of the Records has made a mistake in the year, Powell was thus suspended for about eighteen months. It will be noticed that Cibber does not say that he was acting the night after his release, but merely that he was behind the scenes.]

[Footnote 18: Among the Lord Chamberlain's Records is a copy of a decree suspending all performances at Drury Lane because Powell had been allowed to play. This is dated 3rd May, 1698. His offence was that he had drawn his sword on Colonel Stanhope and young Davenant. The suspension was removed the following day; but on the 19th of the same month Powell was forbidden to be received at either Drury Lane or Dorset Garden.]

[Footnote 19: A warrant was issued to apprehend Dogget and take him to the Knight Marshall's Prison, on 23rd November, 1697, his offence being desertion of the company of Drury Lane and Dorset Garden. The Records contain no note as to the termination of the matter; but this is, beyond doubt, the occasion referred to by Cibber.]

[Footnote 20: Horace, _Epis._, i. 6, 68.]

[Footnote 21: At Drury Lane, 14th April, 1713.]

[Footnote 22: This is a pretty way of putting what Johnson, in his Life of Addison, afterwards stated in the well-known words: "The Whigs applauded every line in which Liberty was mentioned, as a satire on the Tories; and the Tories echoed every clap to show that the satire was unfelt." In the next paragraph Johnson describes the play as "supported by the emulation of factious praise."]

[Footnote 23: I confess I do not know Cibber's authority for this statement.]

[Footnote 24: "The Laureat" abuses Cibber for this sentence, declaring that he evidently considered "Sophocles" to be the name of a tragedy. But Cibber's method of expression, though curious, does not justify this attack.]

[Footnote 25: "Caviare to the general."--"Hamlet," act ii. sc. 2.]

[Footnote 26: Malone supposes that Skipwith acquired his shares from the Killigrew family, but in the indenture by which he transferred his interest to Brett, it seems as if he had acquired part of it from Alexander Davenant, and the remainder by buying up shares of the original Adventurers. The indenture will be found at length in Mr. Percy Fitzgerald's "New History of the English Stage," i. 252. Skipwith is described in the "Biog. Dram." (i. 487) as "a weak, vain, conceited coxcomb." The proportion in which the shares were divided among the various holders is shown by the "Opinion" of Northey and Raymond, in 1711, to have been this: Three-twentieths belonged to Charles Killigrew. The remainder was divided into tenths, of which two-tenths belonged to Rich; the other eight parts were owned by the Mortgagees or Adventurers. If Cibber's supposition is correct, two of these parts belonged to Shipwith.]

[Footnote 27: It is dated 6th October, 1707.]

[Footnote 28: As noted vol. i. p. 213, January, 1695, Old Style; that is, January, 1696.]

[Footnote 29: Davies ("Dram. Misc.," iii. 84) says: "The heads of the English actors were, for a long time, covered with large full-bottomed perriwigs, a fashion introduced in the reign of Charles II., which was not entirely disused in public till about the year 1720. Addison, Congreve, and Steele, met at Button's coffee-house, in large, flowing, flaxen wigs; Booth, Wilks, and Cibber, when full-dressed, wore the same. Till within these twenty-five years, our Tamerlanes and Catos had as much hair on their heads as our judges on the bench.... I have been told, that he [Booth] and Wilks bestowed forty guineas each on the exorbitant thatching of their heads."]

[Footnote 30: "The Laureat," p. 66, relates with great acrimony an anecdote of Colonel Brett's reproving Cibber harshly for his treatment of an author who had submitted a play to him. Cibber is said to have opened the author's M.S., and, having read two lines only, to have returned it to him saying, "Sir, it will not do." Going to Button's, he related his exploit with great glee, but was rebuked in the strongest terms by Colonel Brett, who is said to have put him to shame before the whole company. This is related as having occurred many years after the time Cibber now writes of; the suggestion being that Brett did not consider Cibber as a friend.]

[Footnote 31: This was the Countess of Macclesfield, the supposed mother of Richard Savage, who had a large fortune in her own right, of which she was not deprived on her divorce from the Earl of Macclesfield. Shortly after her divorce, probably about 1698, she married Brett. She lived to be eighty, or over it, dying 11th October, 1753.]

[Footnote 32: A comedy by Mountfort the actor, originally played at the Theatre Royal, 1691. The part of Young Reveller was then taken by the author, and we have no record of Cibber's playing it before 1708; but from this anecdote he must have done so ten years earlier.]

[Footnote 33: In Boswell's Life of Johnson (i. 174) there is a note by Boswell himself:--

"Miss Mason, after having forfeited the title of Lady Macclesfield by divorce, was married to Colonel Brett, and, it is said, was well known in all the polite circles. Colley Cibber, I am informed, had so high an opinion of her taste and judgement as to genteel life, and manners, that he submitted every scene of his _Careless Husband_ to Mrs. Brett's revisal and correction. Colonel Brett was reported to be too free in his gallantry with his Lady's maid. Mrs. Brett came into a room one day in her own house, and found the Colonel and her maid both fast asleep in two chairs. She tied a white handkerchief round her husband's neck, which was a sufficient proof that she had discovered his intrigue; but she never at any time took notice of it to him. This incident, as I am told, gave occasion to the well-wrought scene of Sir Charles and Lady Easy and Edging."]

[Footnote 34: See note, vol. i. p. 301.]

[Footnote 35: 1707. See note on page 3 of this vol.]

[Footnote 36: The edict which ordered this division of plays and operas is dated 31st December, 1707. Each theatre is ordered to confine itself to its own sphere on pain of being silenced; and no other theatre is permitted to be built. A copy of the edict is given by Mr. Percy Fitzgerald ("New History," i. 258), but it is not a _verbatim_ copy of the original in the Lord Chamberlain's Office, though it contains all that is of importance in it.]

[Footnote 37: At the Union, 1707-8, the Lord Chamberlain took measures to assert his supremacy. Under date 6th January, 1708, he orders that no actors are to be engaged at Drury-Lane who are not Her Majesty's servants, and he therefore directs the managers to send a list of all actors to be sworn in.]

[Footnote 38: Bellchambers notes that Mrs. Tofts "sang in English, while her associates responded in Italian."]

[Footnote 39: The whole passage regarding Nicolini is:--

"I went on _Friday_ last to the Opera, and was surprised to find a thin House at so noble an Entertainment, till I heard that the Tumbler was not to make his Appearance that Night. For my own Part, I was fully satisfied with the Sight of an Actor, who, by the Grace and Propriety of his Action and Gesture, does Honour to an human Figure, as much as the other vilifies and degrades it. Every one will easily imagine I mean Signior _Nicolini_, who sets off the Character he bears in an Opera by his Action, as much as he does the Words of it by his Voice. Every Limb, and every Finger, contributes to the Part he acts, insomuch that a deaf Man might go along with him in the Sense of it. There is scarce a beautiful Posture in an old Statue which he does not plant himself in, as the different Circumstances of the Story give Occasion for it. He performs the most ordinary Action in a Manner suitable to the Greatness of his Character, and shows the Prince even in the giving of a Letter, or the dispatching of a Message. Our best Actors are somewhat at a Loss to support themselves with proper Gesture, as they move from any considerable Distance to the Front of the Stage; but I have seen the Person of whom I am now speaking, enter alone at the remotest Part of it, and advance from it with such Greatness of Air and Mien, as seemed to fill the Stage, and at the same Time commanded the Attention of the Audience with the Majesty of his Appearance."--"Tatler," No. 115, January 3rd, 1710.]

[Footnote 40: An excellent account of Mrs. Tofts is given by Mr. Henry Morley in a note on page 38 of his valuable edition of the "Spectator." She was the daughter of one of Bishop Burnet's household, and had great natural gifts. In 1709 she was obliged to quit the stage, her mental faculties having failed; but she afterwards recovered, and married Mr. Joseph Smith, a noted art patron, who was appointed English Consul at Venice. Her intellect again became disordered, and she died about the year 1760.]

[Footnote 41: Cibber's most notorious blunder in language was made in this sentence. In his first edition he wrote "was then _but_ an Adept in it," completely reversing the meaning of the word "Adept." Fielding ("Champion," 22nd April, 1740) declares Cibber to be a most absolute Master of English, "for surely he must be absolute Master of that whose Laws he can trample under Feet, and which he can use as he pleases. This Power he hath exerted, of which I shall give a _barbarous_ Instance in the Case of the poor Word _Adept_.... This Word our great _Master_ hath tortured and wrested to signify a _Tyro_ or _Novice_, being directly contrary to the Sense in which it hath been hitherto used." It is of course conceivable that the error was a printer's error not corrected in reading the proof.]

[Footnote 42: Nicolini was the stage name of the Cavalier Nicolo Grimaldi. Dr. Burney says: "This great singer, and still greater actor, was a Neapolitan; his voice was at first a _soprano_, but afterwards descended into a fine _contralto_." He first appeared, about 1694, in Rome, and paid his first visit to England in 1708. Valentini Urbani was a _castrato_, his voice was not so strong as Nicolini's, but his action was so excellent that his vocal defects were not noticed.--"General History of Music," 1789, iv. 207, 205.]

[Footnote 43: Colonel Brett, by an indenture dated 31st March, 1708, made Wilks, Estcourt, and Cibber, his deputies in the management of the theatre. Genest (ii. 405) says this was probably "31st March, 1708, Old Style," by which I suppose he means March, 1709. But I cannot see why he should think this. Brett entered into management in January, 1708, and was probably out of it by March, 1709. It may be that Genest supposes that this indenture marks the end of Brett's connection with the theatre; whereas it was probably one of his first actions. It will be remembered that he stated his intention of benefitting Cibber by taking the Patent (see _ante_, p. 42). A copy of the indenture is given by Mr. Percy Fitzgerald ("New History," ii. 443). It is dated 31st March in the seventh year of Queen Anne's reign, that is, 1708.]

[Footnote 44: On p. 328 of vol. i. Cibber says that Rich (about 1705) had led the Adventurers "a Chace in Chancery several years." From the petition presented in 1709 against the order silencing Rich, we learn that the principal Adventurers were: Lord Guilford, Lord John Harvey, Dame Alice Brownlow, Mrs. Shadwell, Sir Edward Smith, Bart., Sir Thomas Skipwith, Bart., George Sayer, Charles Killegrew, Christopher Rich, Charles Davenant, John Metcalf, Thomas Goodall, Ashburnham Toll, Ashburnham Frowd, William East, Richard Middlemore, Robert Gower, and William Collier. It is curious that everyone who has reproduced this list has, as far as I know, mistaken the name "Frowd," calling it "Trowd." The earliest reproduction of the list of names which I know is in the "Dramatic Censor," 1811, col. III.]

[Footnote 45: I do not know when Sir Thomas Skipwith died; but in 1709 the petition of the Adventurers, &c., is signed by, among others, Sir Thomas Skipwith.]

[Footnote 46: This anecdote shows that Rich had some sort of Committee of Shareholders to aid (or hinder) him. Subsequent experience has shown, as witness the Drury Lane Committee at the beginning of this century, how disastrous such form of management is.]

[Footnote 47: Dr. Doran ("Their Majesties' Servants," 1888 edition, i. 103) gives the following account of Goodman's connection with this plot:--

"King James having saved Cardell's neck, Goodman, out of pure gratitude, perhaps, became a Tory, and something more, when William sat in the seat of his father-in-law. After Queen Mary's death, Scum was in the Fenwick and Charnock plot to kill the King. When the plot was discovered, Scum was ready to peach. As Fenwick's life was thought by his friends to be safe if Goodman could be bought off and got out of the way, the rogue was looked for, at the _Fleece_, in Covent Garden, famous for homicides, and at the robbers' and the revellers' den, the _Dog_, in Drury Lane. Fenwick's agent, O'Bryan, erst soldier and highwayman, now a Jacobite agent, found Scum at the _Dog_, and would then and there have cut his throat, had not Scum consented to the pleasant alternative of accepting £500 a year, and a residence abroad.... Scum suddenly disappeared, and Lord Manchester, our Ambassador in Paris, inquired after him in vain. It is impossible to say whether the rogue died by an avenging hand, or starvation."]

[Footnote 48: This anecdote is valuable as establishing the identity of _Captain_ Griffin with the Griffin who retired (temporarily) from the stage about 1688. See note on page 83 of vol. i.]

[Footnote 49: When Betterton and his associates left the Theatre Royal and opened Lincoln's Inn Fields Theatre. See Chapter VI.]

[Footnote 50: Indulto--In Spain, a duty, tax, or custom, paid to the King for all goods imported.]

[Footnote 51: In the "Answer to Steele's State of the Case," 1720 (Nichols's ed. p. 527), it is said: "After Mr. Rich was again restored to the management of the Play-house, he made an order to stop a certain proportion of the clear profits of every Benefit-play without exception; which being done, and reaching the chief Players as well as the underlings, zealous application was made to the Lord Chamberlain, to oblige Mr. Rich to return the money stopped to each particular. The dispute lasted some time, and Mr. Rich, not giving full satisfaction upon that head, was silenced; during the time of which silence, the chief Players, either by a new License, or by some former (which I cannot absolutely determine, my Memoirs being not at this time by me) set up for themselves, and got into the possession of the Play-house in Drury-lane."]

[Footnote 52: See _ante_, vol. i. p. 161.]

[Footnote 53: This warning is dated 30th April, 1709, and is a very peremptory document. Rich's treasurer is ordered to pay the actors the full receipts of their benefits, under deduction only of £40 for the charges of the house. See the Order for Silence quoted _post_, page 73.]

[Footnote 54: Mrs. Bracegirdle retired in February, 1707. Mrs. Barry played up to the end of the season, 1708, that is, up to June, 1708. She does not seem to have been engaged in 1708-9, but she was a member of the Haymarket Company in 1709-10.]

[Footnote 55: From Chapter XVI. it will be seen that Wilks's unfair partiality for John Mills, whom he forced into prominence at Booth's expense, was the leading reason for Booth's remaining with Rich.]

[Footnote 56: The Order for Silence has never, I believe, been quoted. I therefore give it in full. The theatre closed on the 4th of June, 1709, which was Saturday, and did not open again under Rich's management, the Order for Silence being issued on the next Monday.

"_Play House in Covent Garden silenc'd._ Whereas by an Order dated the 30^{th} day of Apr^{ll} last upon the peti{c~o}n of sev^{ll} Players &c: I did then direct and require you to pay to the respective Comedians who had benfit plays last winter the full receip^{ts} of such plays deducting only from each the sume of 40l. for the Charges of the House pursuant to the Articles made w^{th} y^m at y^e theatre in the Haymarkett and w^{ch} were promis^d to be made good upon their removall to the Theatre in Covent Garden.

"And whereas I am inform^d y^t in Contempt of the said Ord^r y^u still refuse to pay and detain from the s^d Comedians y^e profits of y^e s^d benefit plays I do therefore for the s^d Contempt hereby silence you from further acting & require you not to perform any Plays or other Theatricall entertainm^{ts} till further Ord^r; And all her Maj^{ts} Sworn Comedians are hereby forbid to act any Plays at y^e Theatre in Covent Gard^n or else where w^{th}out my leave as they shall answer the contrary at their perill And &c: Given &c: this 6^{th} day of June 1709 in the Eighth Year of her Majesty's Reign.

"(Signed) KENT.

"To the Manager or Manag^{rs} }
of her Maj^{ts} Company of Comedi^{ns} }
for their Patentees." }

I have copied this from the Lord Chamberlain's Records.]

[Footnote 57:

"_Honoured Sir_,
_July_ 1. 1710.