Chapter V: Front Matter (5)

She received an incredible number of rich presents, which would have been extremely well, if other sums equal to those employed in their purchase had flowed in a stream at all correspondent towards the meritorious performers of the English Stage, who languished in comparative penury; while the managers profited, and exhibited them in a way which occasioned the following just censure from a contemporary: "When we come to consider the decoration of the Stage at present, we shall sometimes find it magnificent and well ordered. In this I include the habits of the characters or persons of the drama, in which the propriety is not near so well observed as in the scenery; for we shall often see a shabby King surrounded by a party of his guards, every man of which belongs to the ragged regiment. One would think that the managers of the Theatre were republicans in their principles, and they did this on purpose to bring monarchy into contempt; for it is certain that Duncan King of Scotland has not had a new habit for this last century; and the mighty Julius Cæsar first Emperor of Rome appears as ragged as a colt, and many other Monarchs I could name that are no better dressed than heathen philosophers. The reason is, that you will find those parts are not played by any of the _three_ managers; and it is their awkward vanity to appear fine themselves though never so much out of character; so that when you go to see a play there in new habits, it is not the King, the Prince, or the General, but Cibber or B. you are to see well dressed."

One of the entertainments for which the Opera-house was used in 1723 attracted the notice of the Grand Jury of Middlesex, whose presentment follows: "Whereas there has been lately published a proposal for six Ridotto's or Balls to be managed by subscription at the King's Theatre in the Haymarket; we the Grand Jury of the County of Middlesex, sworn to enquire for our Sovereign Lord the King and the body of this County, conceiving the same to be wicked and illegal practices, and which, if not timely suppressed, may promote debauchery, lewdness, and ill conversation; from a just abhorrence therefore of such sort of assemblies, which we apprehend are contrary to law and good manners, and give great offence to His Majesty's good and virtuous subjects; we do present the same, and recommend them to be prosecuted and suppressed as common nuisances to the publick, as nurseries of lewdness, extravagance, and immorality, and also a reproach and scandal to civil government." This presentment had no effect whatever.

The Theatre in Lincoln's-inn-fields seems entitled to the exclusive honour of introducing Harlequinades to the publick. The manager is mentioned in 1723 to have been particularly successful; so much so as to have excited the envy of his brethren of Drury-lane, who determined either to ridicule, or eclipse him, by the introduction of a piece called "Blind Man's Buff, supported by the freaks of _eight_ Harlequins." My author of the Weekly Journal adds: "The thing was so ridiculous, there was no musick to be heard but hissing."

A Footman's gallery is mentioned at the Opera-house in the papers of this date, with the addition that its frequenters were so insolent and noisy that threats of shutting it were circulated.

The Cock-pit and Bowling-green before-mentioned, back of Gray's Inn gardens, was let on a building lease in 1723.

In the month of December an entertainment or pantomimic performance was produced at the Theatre in Lincoln's-inn-fields, founded on the old story of Dr. Faustus, written by Mr. Thurmond, with musick by Monsieur Galliard. The publications of the day take such repeated notice of it, and appear to think it so very wonderful, I shall venture to give the story _verbatim_ from the Universal Journal of December 11.

"At the drawing of the curtain, Dr. Faustus's study is discovered; the Doctor enters, pricks his finger, and with the blood signs a contract; it thunders; and a Devil, riding on a fiery dragon, flies swiftly cross the stage: the Devil alights, receives the contract, and embraces Dr. Faustus, delivers him a wand, and vanishes. Two Countrymen and women enter to be told their fortunes; the Doctor waves his wand, and four pictures turn out of the scenes opposite to these country people, representing a Judge, a Soldier, a dressed Lady, and a Lady in a riding habit: Dr. Faustus, by his action, shews them they are to be what is represented in those pictures. The scene changes, and discovers the outside of a handsome house; the two men and women enter, as returning home; as they are going off the Doctor seizes the two women; the Countrymen return to rescue their wives; the Doctor waves his wand, four Devils enter, the men are frighted, run up the steps of the house, clap their backs against the door, the front of the house immediately turns, and the husbands are thrown out of the stage; the wives remain with the Doctor; and at the same instant the machine turns, a supper ready dressed rises swiftly up, and a Devil is transformed into an agreeable shape, who dances whilst they are regaling, and then vanishes. The husbands appear at the window, threatening the Doctor, who by art magic have large horns fixed to their heads, that they can neither get out nor in. Dr. Faustus and the women go out; he beckons the table, and it follows him off. The scene changes to the street. Punch, Scaramouch, and Pierro enter in Scholars gowns and caps; they are invited into the Doctor's house by a Devil: they enter, and the scene changes to the inside of the house: the Doctor receives them kindly, and invites them to sit down to a bottle of wine; as they are drinking, the table rises, upon which they start back affrighted: then the spirit of Helen rises in a chair of state, with a canopy over her; she entertains them with a dance, goes to her seat again, and sinks. While the Scholars are drinking, the Doctor waves his wand, and large asses ears appear, at once, upon each of their heads: they join in a dance, each pointing and laughing at the others; the Doctor follows them out, pointing and laughing at them all. The scene being changed to the street, a Usurer crosses the stage with a bag of money, goes into the Doctor's house; the scene opens, and discovers the Doctor at a table; the Usurer enters, lends the Doctor the money, but refuses his bond, and demands a limb of him; the Doctor suffers him to cut off his leg, and carry it away. Several legs appear upon the scene, and the Doctor strikes a woman's leg with his wand, which immediately flies from the rest, and fixes to the Doctor's stump, who dances with it ridiculously. A bawd next enters with a courtezan; she presents her to the Doctor, for whom he gives the bawd the bag of money; they all join in a dance, and the Doctor is going off; the bawd stops him, to demand more money; he hangs his hat against the scene, and points to that, and goes out with his mistress. The bawd holds her apron under the hat, from whence a considerable quantity of silver drops; she advances to the front of the stage with a great deal of pleasure, but going to review her money, finds she has none, and runs off. The scene changes to the street, four watchmen enter, and join in a dance adapted to their character. The scene opens, and discovers the Doctor's study, he enters affrighted, the clock strikes one, the figures of Time and Death appear, and in a short piece of recitative declare his latest minute is come. Several Devils enter, tear him in pieces, some fly up, others sink, each bearing a limb of him away; flashes of fire arise, and thunder is heard.

"The last, which is the grand scene, whether proper or not I shall not pretend to determine, is the most magnificent that ever appeared upon the English stage. The Gods and Goddesses discovered there are, Apollo, Mars, Mercury, Bacchus, Ceres, Iris, Flora, and Pales. Apollo advances and sings, inviting the Gods to revel, the power of Faustus being at an end. The rest of the deities (Pales excepted) advance, and dance, agreeable to their several characters, in the greatest order and exactness. Apollo again advances, and invites Diana to appear; upon which a machine flies up and discovers Diana in her chariot, the crescent in an azure sky hanging over her head; she descends, beckons two nymphs who take her bow and quiver; which done, she dances. They then all join in a chorus of singing and dancing; which concludes the entertainment."

The London Journal says, that the Managers received 260_l._ entrance-money the first night, from which we may judge of the size of the Theatre when greatly crowded.

The Universal Journal of December 18, 1723, has the following article: "On Thursday last a new play-house was opened in the Haymarket. The company, we are informed, consists of persons who never appeared in public before. The first play they entertained the town with was a comedy, intituled, 'The Female Fop, or the False one Fitted,' whose author has not yet reached his sixteenth year."

An author mentioned the rehearsal of Dr. Young's tragedy of the Brothers in 1724, and prognosticated its failure in these words: "I am credibly informed the manager of the new house has formed a resolution that it shall be acted to an empty pit and boxes, there being a new entertainment in grotesque characters preparing there, intituled, 'The Cruel Uncle, or the Children in the Wood,' so very artfully contrived, that at the instant Perseus and Demetrius are entering upon that scene, the ruffians (represented by Harlequin and Scaramouch) will be making their appearance at the other house. The consequence of this is easily foreseen: Booth and Cibber will preach to bare walls, whilst Lanyon and Dupre dance before a full audience; and lest Mrs. Oldfield's name should sway some few unfashionable wretches, they have contrived a very musical Robin red-breast, which is to have more melody in its song than there can possibly be in all the mournful accents of the unhappy Erixene."

The Police were at length convinced how very improper the exhibitions of bear-baiting and prize-fighting were in the City of London; and sent the proper officers to Spital-fields, in June 1724, where a stage had been erected for the first time for those purposes, which was immediately pulled down by their orders, and in August they were vainly employed in concerting measures for the total suppression of the long established place of resort at Hockley in the Hole.

An expensive tragedy, intituled, "Julius Cæsar in Egypt," was produced and condemned in 1724, when the following excellent Epigram appeared:

"_The sixth night._

When the pack'd audience from their posts retir'd,
And Julius in a general hiss expir'd,
Sage Booth to Cibber cried: 'Compute our gains;
These dogs of Egypt and their dowdy queans
But ill requite these habits and those scenes,
To rob Corneille for such a motley piece;
His Geese were Swans, but zounds thy Swans are Geese.'
Rubbing his firm invulnerable brow,
The Bard replied, 'The criticks must allow,
'Twas ne'er in Cæsar's destiny to _run_;'
Wilks bow'd, and bless'd the gay pacific pun."

August 1725 produced a conflict for the entertainment of the visitors of Mr. Figg's amphitheatre, Oxford-road, which is characteristic of savage ferocity indeed. Sutton the champion of Kent and a courageous female heroine of that County fought Stokes and _his much admired_ consort of London; 40_l._ was to be given to the male or female who gave most cuts with the sword, and 20_l._ for most blows at quarter-staff, besides the collection in the box. A poetical account of a battle of this kind, was published in the London Journal, and is, I think, worth preserving, especially as it is said to have been written by the author of the Pastoral in the Spectator beginning "My time, O ye Muses, was happily spent:"

"Long was the great Figg by the prize-fighting swains
Sole monarch acknowledg'd of Mary-bon plains;
To the towns far and near did his valour extend,
And swam down the river from Thame to Gravesend.
There liv'd Mr. Sutton, pipe-maker by trade,
Who, hearing that Figg was thought such a stout blade,
Resolv'd to put in for a share of his fame,
And so sent to challenge the Champion of Thame.
With alternate advantage two trials had past,
When they fought out the rubbers Wednesday last.
To see such a contest the house was so full,
There hardly was room left to thrust in your scull.
With a prelude of cudgels we first were saluted,
And two or three shoulders most handsomely fluted;
Till, wearied at last with inferior disasters,
All the company cry'd, "Come, the Masters, the Masters."
Whereupon the bold Sutton first mounted the stage,
Made his honours as usual, and yearn'd to engage;
Then Figg with a visage so fierce and sedate
Came, and enter'd the list with his fresh-shaven pate.
Their arms were encircled by armigers two
With a red ribbon Sutton's, and Figg's with a blue;
Thus adorn'd the two heroes 'twixt shoulder and elbow
Shook hands, and went to 't; and the word it was _bilboe_.
Sure such a concern in the eyes of spectators
Was never yet seen in our Amphitheatres!
Our Commons and Peers from their several places
To half an inch distance all pointed their faces;
While the rays of old Phœbus that shot through the sky-light
Seem'd to make on the stage a new kind of twilight;
And the Gods without doubt, if one could but have seen them,
Were peeping there through to do justice between them.
Figg struck the first stroke, and with such a vast fury,
That he broke his huge weapon in twain I assure you.
And if his brave rival this blow had not warded,
His head from his shoulders had quite been discarded.
Figg arm'd him again, and they took t'other tilt,
And then Sutton's blade run away from its hilt;
The weapons were frighted, but as for the men
In truth they ne'er minded, but at it again.
Such a force in their blows you'd have thought it a wonder
Every stroke they receiv'd did not cleave them asunder.
Yet so great was their courage, so equal their skill,
That they both seem'd as safe as a thief in a mill;
While in doubtful attention dame Victory stood,
And which side to take could not tell for her blood,
But remain'd like the Ass 'twixt the two bottles of hay
Without ever moving an inch either way;
Till Jove to the Gods signified his intention
In a speech that he made them too tedious to mention.
But the upshot of it was, that at that very bout
From a wound in Figg's side the hot blood spouted out;
Her ladyship then seem'd to think the case plain,
But Figg stepping forth, with a sullen disdain,
Shew'd the gash, and appeal'd to the company round
If his own broken sword had not given him the wound.
That bruises and wounds a man's spirit should touch,
With danger so little, with honour so much!
Well, they both took a dram, and return'd to the battle,
And with a fresh fury they made the swords rattle;
While Sutton's right arm was observed to bleed
By a touch from his rival, so Jove had decreed;
Just enough for to shew that his blood was not _icor_,
But made up, like Figg's, of the common red liquor.
Again they both rush'd with as equal a fire on,
That the company cried, 'Hold, enough of cold iron;
To the quarter-staff now, lads;' so first having dram'd it,
They took to their wood, and i'faith never shamm'd it.
The first bout they had was so fair and so handsome,
That to make a fair bargain it was worth a King's ransom;
And Sutton such bangs to his neighbour imparted,
Would have made any fibres but Figg's to have smarted.
Then after that bout they went on to another;
But the matter must end in some fashion or other,
So Jove told the Gods he had made a decree,
That Figg should hit Sutton a stroke on the knee;
Though Sutton, disabled as soon as it hit him,
Would still have fought on, but Jove would not permit him.
'Twas his fate, not his fault, that constrain'd him to yield,
And thus the great Figg became lord of the field."

Sir Richard Steele exhibited a bill in the Court of Chancery against the holders of Drury-lane Theatre for a share in the profits of the house by virtue of his patent, in October 1725.

The editor of the Flying Post observes in February 1727: "The directors of the Royal Academy of Musick have resolved, that after the excellent Opera, composed by Mr. Handel, which is now performing, Signior Attilia shall compose one; and Signior Bononcini is to compose the next after that. Thus, as this Theatre can boast of the three best voices in Europe, and the best instruments, so the town will have the pleasure of hearing these three different styles of composing."

However flattering these prospects seemed, they ended most unharmoniously in a fierce contention between the rival female performers Cuzzoni and Faustina, whose partizans were so vehement in the operations of hissing and clapping, that they proceeded in them even in the presence of the Princess of Wales.

After this notice of the _polite_ portion of the community, the following advertisement, copied literally from the original issued by the proprietors of the Amphitheatre, will appear less wonderful and disgusting: "In Islington road, on Monday, being the 17th of July, 1727, will be performed a trial of skill by the following combatants. We Robert Barker and Mary Welsh, from Ireland, having often _contaminated_ our swords in the _abdominous corporations_ of such antagonists as have had the insolence to dispute our skill, do find ourselves once more necessitated to challenge, defy, and invite Mr. Stokes and his bold Amazonian _virago_ to meet us on the stage, where we hope to give a satisfaction to the _honourable Lord_ of our nation who has laid a wager of twenty guineas on our heads. They that give the most cuts to have the whole money, and the benefit of the house; and if swords, daggers, quarter-staff, _fury_, _rage_, and resolution, will prevail, our friends shall not meet with a disappointment.'--'We James and Elizabeth Stokes, of the City of London, having already gained an universal approbation by our agility of body, dextrous hands, and courageous hearts, need not _preambulate_ on this occasion, but rather choose to exercise the sword to their sorrow, and corroborate the general opinion of the town than to follow the custom of our _repartee_ antagonists. This will be the last time of Mrs. Stokes' performing on the stage.'--There will be a door on purpose for the reception of the gentlemen, where coaches may drive up to it, and the company come in without being crowded. Attendance will be given at three, and the combatants mount at six precisely. They all fight in the same dresses as before."

Although a Coronation cannot by any means be considered as an amusement by a serious and reflecting person, there have been, and will be, numbers who see it in no other light than as a brilliant pageant. The splendour of that of George II. in October 1727 attracted vast crowds of strangers to London; and it was generally computed at the time that full 200,000 seats were provided for their accommodation in every situation which afforded even a glimpse of part of the ceremony.

In the month of October 1727, a lady, seated in the pit of Drury-lane Theatre, thought she perceived smoke issuing through the apertures of the stage, and, fancying she smelt it, declared her apprehensions aloud, and at the same time endeavoured to leave the Theatre. The audience were immediately excessively alarmed, and numbers rushing to the different doors impeded each other's progress; confusion prevailed for half an hour before her error was perceived, during which time a pregnant woman was pressed to death, and several persons severely injured. The Play was that of King Henry VIII. and the house very much crowded.

The _new_ Theatre, as it was called in 1728, now the _little_ Theatre in the Haymarket, was opened in that year for the season with the Beggar's Opera: it was handsomely decorated, and the actors were described as very respectable.

One of the follies of 1728 was the performance of the Beggar's Opera at the Theatre in Lincoln's inn-fields by _children_; and that the childish exhibition might be supported in all its branches, the Managers contrived to send a book of the songs across the Stage by a flying Cupid to Prince Frederick of Wales.

The Village Opera was acted, in March 1729, at the Theatre Drury-lane. The absurd custom of placing seats upon the stage had been much condemned previous to that period; but the Managers ventured to introduce one for the Dutchess of Queensberry on the first representation of the piece; and thus incurring the resentment of the audience, they hissed incessantly till it was removed, and the wits wrote epigrams upon the subject:

"Bent on dire work, and kindly rude, the Town
Impatient hiss'd thy seat, dear Dutchess, down;
Conscious that there had thy soft form appear'd,
Lost all in gaze, no vacant ear had heard:
Thy lambent eyes had look'd their rage away,
And the relenting hiss, and sav'd the play.
Thus not in clouds (as father Homer sung)
Such as fair Venus round Æneas flung,
Had our dull Bard escap'd the dreadful fright,
But sunk conceal'd in an excess of light."

Mr. Handel visited Italy in 1729, for the express purpose of collecting performers for the Opera-house in the Haymarket. Those persons are thus described in the Evening Post: "Signior Bernachi, who is esteemed the best singer in Italy; Signiora Merighi, a woman of a very fine presence, an excellent actress, and a very good singer--a contre-tenor; Signiora Strada, who hath a very fine treble voice, a person of singular merit; Signior Annibal Pio Fabri, a most excellent tenor and a fine voice; his wife, _who performs a man's part exceeding well_; Signiora Bartoldi, who has a very fine treble voice--she is also a very genteel actress both in men and women's parts."

The delicately attenuated nerves of my female reader must be shocked by the transition from the above divine warblers to the horrid Mr. Figg, who fought his 271st battle in October 1730, with a Mr. Holmes, whose wrist he cut to the bone in this _amusing_ description of public entertainment. Master Figg was conqueror in _all_ those conflicts; a tolerable poet, his contemporary, thus celebrated the exploits of the modern Gladiator:

"Inspir'd with generous thirst of martial fame
Figg's early years presag'd his future name,
As Hannibal, ere grown to manhood's bloom,
Swore in his blood fell enmity with Rome:
Like ardour did our infant Hero grace;
Like dire aversion to the Hibernian race.
Long in successful fights both champions view'd
Their oath accomplish'd and their foes subdu'd;
But here th'illustrious parallel must end, }
And Afric's warrior to Britannia's bend; }
Events unequal their last fights attend, }
The former _loses_ what he earn'd before,
The _latter_ closes all his past _with one grand triumph more_."

As the following advertisement appears to be the _acme_ of absurdity and folly, I think it will very properly close those of the prize-fighting Figgs, &c.

"At Mr. Figg's great room to-morrow, the 20th of this instant
May, by the command of several noblemen and others, will be
shewn in full proof the judgment of the sword in all its
noble branches, offensive and defensive.

"We Mathew Masterson, Serjeant from Gibraltar, and Rowland
Bennet from the city of Dublin in the kingdom of Ireland,
masters of the said science, both having lately tasted
our error by unwarily receiving wounds from Mr. Figg, and
resolving if possible to return the keen rebuke by our
chastising swords, make this challenge the hostility of our
confederate arms, inviting them to the brightest of their
performances, Mr. Figg taking Mr. Gill to his assistance,
and fighting us at the time and place above for the benefit
of the whole house, which Mr. Masterson and the said Gill
are solely to have to themselves; the victor of them two
defraying all charges, and taking the surplus to himself as
free plunder. It is that makes a soldier a Cæsar or a Marius,
without the help of Lilly, who was most unmercifully whipped
last Wednesday in quarto by a Yorkshire Jockey with Roman
epithets, in order to extort rules for declining a good house
in favour of the present tense singular; but the grammatical
tit being too high-mettled to be verb-ridden, left his
Elorian corrector in an infinitive ill-mood, confounded in
particles in search of the great negative--nothing.

"MATHEW MASTERSON, ROWLAND BENNET."

* * * * *

"We, James Figg from Thame in Oxfordshire, and William
Gill (his scholar), more surprised than terrified at the
peremptory summons, assure the above gentlemen we did not
apprehend they would have been guilty of repeating those
crimes for which they so lately received the benefit of their
Clergy; but, as Mr. Bennet then obtained mercy by pleading
weakness, occasioned by the fatigue of a long journey, it
is hoped he will not make use of the same plea again, but
more bravely oppose the same arm, if recovered strength and
improvement have given him leave. Otherwise, both him and his
mighty ally may find Cæsars cut into Lazarus's, and Rome's
capitol converted into Chelsea college for the residence
of their titular Majesties, whilst the stock and branch of
superior force flourishes on Britannia's stage like the tall
cedars of Lebanon; and mourn their fate by shedding leaves to
adorn their untimely Monuments--if any be erected.

"JAMES FIGG, WILLIAM GILL."

"Note--On this extraordinary occasion Captain Vinegar has
orders to assemble his whole posse of leather-bottle men,
shin-kickers, and fist-clinckers; so that the whole may be
expected a complete evening's entertainment. The doors will
be opened at 3, and the masters mount at 6."

In December 1731, Figg and Sparks contended with the broad-sword at the French or Little Theatre in the Haymarket, before the Duke of Lorrain, Count Kinski, and many persons of distinction. One of the papers of the day observes, "The beauty and judgment of the sword was delineated in a very extraordinary manner by those two champions, _and with very little bloodshed_: his Serene Highness was extremely pleased, and expressed his entire satisfaction, and ordered them a handsome gratuity."

A Theatre was erected in Goodman's fields by Thomas Odell in 1729; his property in which was purchased 1731 by Henry Giffard. In 1732 the latter person opened a subscription, and received 2,300_l._ for rebuilding it, and soon after divided the property into twenty-three shares, which he assigned by indentures to the subscribers, allowing them 1_s._ 6_d._ each night of performance, and free admissions, with a mortgage on the Theatre as security. The means of building thus secured, Giffard contracted with Sir William Leman for a piece of ground for 61 years at a rent of 45_l. per annum_, and proceeded with the building, expending several thousand pounds on scenes, dresses, and decorations.

In the month of April 1730, Mr. Odell, proprietor of the New Theatre in Goodman's-fields, waited on the King, requesting his licence to act there; but met with a decisive refusal.

Covent-garden Theatre was built by subscription under the direction of Mr. Rich; in the month of January 1731, 6000_l._ had been obtained, and a design for the building was prepared by James Sheppard, Esq. which met with general approbation. It appears from the public papers that the Crown was then in treaty for Lincoln's-inn-fields Theatre, to use as an office for the Commissioners of the Stamp-duties. In February workmen begun to take down several old houses on the site of the intended Theatre.

The validity of a patent intended to be granted by the King for R. Wilks, C. Cibber, and Barton Booth, for Drury-lane Theatre was argued in April 1732 before the Lord Chancellor, Lord Chief Justice Raymond, and Mr. Baron Comyns; when it was decided to be a lawful grant, and it passed the great seal accordingly.

Prince Frederick of Wales gave a grand entertainment to the Nobility _at the Opera-house_ in 1732. The same Royal personage formed a company of Soldiers, consisting of Courtiers sons, to which he declared himself Corporal; and as such relieved guard between the acts of the Indian Emperor, performed before their Majesties and the Court in the grand ball room at St. James's by noble youths of both sexes.

The first notice of Vauxhall-gardens that I recollect to have seen in the Newspapers was in June 1732, when a Ridotto al fresco is mentioned. The company were estimated at 400 persons, and in the proportion of _ten men_ to _one woman_, who generally wore domino's, lawyers gowns, and masks, but many were without either. The company retired between three and four in the morning, and order was preserved by 100 _soldiers_ stationed at the entrance.

The Tottenham-court Fair was unusually brilliant that year, and Lee, Harper, and Petit's droll of Whittington was attended by many of the Nobility, and the son of Ach Mahomet, Envoy from the Dey of Algiers.

The Theatre in Goodman's-fields opened for the season of 1732, encouraged by the subscription of several merchants and others, and was decorated by two pieces of painting, representing the King supporting Liberty, and Apollo and the Muses--the works of Hayman and Oram.

The St. James's Evening Post of September 19, 1732, has the ensuing paragraph: "We hear that Mr. Harvey and Mr. Lambert have been employed for some time in painting the scenes for the New Theatre in Covent-garden, and that Signior Amiconi, who painted the Lord Tankerville's excellent stair-case in St. James's square, is to shew his art in the cieling of that Theatre; and, in order thereto, hath prepared a design in which Apollo is represented, in an assembly of the Muses, dignifying Shakspeare with the Laurel. And as the several hands employed require some farther time for completing their undertaking, we are informed the Theatre in Lincoln's-inn-fields will be opened in a few days, it being now determined not to act in that of Covent-garden till the decorations are quite finished."

The present magnificent arched entrance from the Piazza's with columns and enrichments of the Ionic order was erected in the above year. The newspapers mention the Theatre as completely finished in November, and that it was to be opened on the 27th of that month, when the following lines made their appearance.

"Thespis, the first of the dramatic race,
Stroll'd in a cart, for gain, from place to place:
His actors rude, his profits came but slow;
The poet he, and master of the show;
To raise attention, he employ'd his art
To build another, and more costly cart:
New Asses he procur'd to drag the load,
And gain'd the shouts of boys upon the road.
Awhile the gay machine spectators drew;
The people throng'd, because the sight was new;
Thither they hurry'd once, and went no more,
For all his actors they had seen before;
And what it was they wish'd no more to see:
The application _Lun_ is left to thee."

There is some difference in our manner of resenting affronts offered to the publick or individuals, by those on the stage at present, from the mode adopted by Sir Robert Walpole in March 1733, who was present at the pantomimic entertainment, called "Love runs all dangers," performed at the Theatre in the Haymarket; when one of the Comedians presumed to hint at the Minister's intended Excise Act. At the conclusion of the performance his Lordship went behind the scenes, and demanded of the prompter whether the offensive words were part of the play: upon receiving an assurance they were not, he gave the actor a severe beating.

It has been mentioned in the third volume of "Londinium Redivivum," that the Princess Amelia rendered the New Tunbridge Wells a place of fashionable resort by drinking the water there for the restoration of her health; a wag made the following poetical queries in the year 1733:

"Whence comes it that the splendid great,
To titles born and awful state,
Thus condescend, thus check their will,
And shape to Islington their way,
To mix with those of vulgar clay?
Astronomers, your glasses raise,
Survey this meteor's dazzling blaze,
And say portends it good or ill?

Soon as Aurora gilds the skies,
With brighter charms the ladies rise,
To dart forth beams that save or kill:
No homage at the toilette paid,
Their thousand beauties unsurvey'd,
Sweet negligence assistance lends,
And all the artless graces blends
That form the tempting dishabille.

Behold the walks (a checquer'd shade)
In all the pride of green array'd;
How bright the Sun! the air how still!
In wild confusion there we view,
Red ribbands group'd with aprons blue,
Curtsies, scrapes, nods, winks, smiles, and frowns,
Lords, milk-maids, dutchesses, and clowns,
All in their various dishabille!"

The pleasant gardens alluded to possessed, and still possess, greater attraction than any others in the vicinity of London; it is therefore by no means wonderful that _once in an age_ they became the scene of attraction; but that noblemen, and men and women of fashion should, by any of the strange mutations of caprice, _ever_ enter the booths of Bartholomew Fair, is to me astonishing. That they did is beyond a doubt; and even Cibber, Griffiths, Bullock, and Hallam, found it worth their while to expend large sums in erecting magnificent booths for their reception. Those prepared in August 1733 for the performance of Tamerlane, the Miser, the Ridotto al fresco, &c. had gilt boxes and other rich decorations, and were lighted by candles placed in glass lustres. A considerable number of gentlemen, tradesmen, and others, went in procession from the Bedford-arms to honour the commencement of the entertainments.

Some absurd persons were at the expence in October the same year of procuring a Holland smock, a cap, clocked stockings and laced shoes, which they offered as prizes to any four women who would run for them at three o'clock in the afternoon in Pall-Mall. The race attracted an amazing number of persons, who filled the streets, the window's, and balconies. The _sport_ attendant on this curious method of _killing time_ induced Mr. Rawlings, high Constable of Westminster, resident in Pall-Mall, to propose a laced hat as a prize to be run for by five men, which appears to have produced much mirth to the projector; but the mob, ever upon the watch to gratify their propensity for riot and mischief, committed so many excesses, that the sedate inhabitants of the neighbourhood found it necessary to apply to the Magistrates for protection, who issued precepts to prevent future races, directed to the very man most active in promoting them.

Senesino, the celebrated Italian performer, is said to have hired the Theatre in Lincoln's-inn-fields for the winter of 1733-4 as an Opera-house.

It is one of the singularities attendant on the present system of Theatrical amusements, that certain actors performing under a patent are gentlemen and ladies of merit, respectability, and fashion; but, leaving the magic circle, and acting for any other person than a patentee, they instantly become _rogues_ and _vagabonds_. It was the same in 1733, when Messrs. Rich, Highmore, and others, patentees of Drury-lane and Covent-garden Theatres, issued a summons against a player of each of the companies employed by Giffard of Goodman's-fields, and Mills of the Haymarket. A hearing of this momentous affair commenced in November before Sir Thomas Clarges and other Justices at the vestry-room of the parish of St. George Hanover-square, in order to decide whether the Act of the 12th of Queen Anne constituted persons acting without the authority of a patent _vagrants_, or _rogues_ and _vagabonds_. After much dispute between the counsel of both parties, Sir Thomas declared with great impartiality that the summons ought to have been worded _rogues_ and _vagabonds_, in strict conformity with the words of the Statute, instead of _vagrants_; that it was therefore nugatory; and as the persons implicated were reputable residents, he declined issuing another. By this decision the two Theatres were in some measure sanctioned by authority, though the performers certainly came within the meaning of the Law, which is too harsh and monopolizing, to the great injury of genuine merit thus denied the means of emulation; but the matter did not end as Sir Thomas Clarges wished, as will appear from the following letter addressed to "Mr. John Mills, and the rest of the persons acting at the Theatre in the Haymarket, lately belonging to the Theatres at Drury-lane and Covent-garden:"

"We have been daily in hopes, that, before this, the
mediation of friends would have put an end to the differences
that have for some time been between us; and though we are
well advised of the unlawfulness as well as unreasonableness
of your acting, yet we are extremely unwilling to take
such methods as the Law prescribes, without first assuring
you, that, if you think fit to return to your respective
companies, we shall be ready on our parts to do whatever can
be thought reasonable for us: but if you still persevere in
your separation, which is greatly prejudicial to us, we shall
be necessitated (though contrary to our inclinations) to
proceed in such a manner as the Law directs, for supporting
the Royal patents under which we act. We are in hopes of
an amicable answer from you, directed to the Theatre in
Drury-lane; and are your humble servants,

"MARY WILKS,
JOHN HIGHMORE,
JOHN ELLYS,
JOHN RICH."

The above letter was conveyed to the Theatre in the Haymarket, but none of the actors were there; it was then sent to Mr. Mills, who returned it unopened; upon which the patentees directed it to Theophilus Cibber, who sent them this answer:

"I have received a letter from you, which speaks of several
persons and different companies; but, as no particular names
are mentioned, and the letter is directed to me alone, I can
only answer for myself. I am well advised that what I am
about is legal, and I know it is reasonable; and therefore I
do not think of changing my present condition for servitude.

"Your humble servant,
THEOPHILUS CIBBER."

Soon after the parties had a trial in the Court of King's Bench on the following grounds: the Managers of the Haymarket Theatre took a lease of two Trustees appointed by the 36 sharers of Drury-lane Theatre, who, wishing that the grant of the Haymarket Theatre should be valid both in Law and Equity, consulted the sharers on the subject, when 27 agreed to the execution of the lease; but the Patentees, thinking otherwise, suffered an action of ejectment to be brought against them, which was decided in November in favour of the plaintiffs, though several unwarrantable methods were adopted to obtain a different verdict: one of those was the arrest of Mr. Harper, who was committed to Bridewell as a vagabond, in hopes to withdraw the attention of the plaintiffs Counsel from the cause at Westminster, and to enrage the publick, before whom he was to have appeared the same night in the character of Sir John Falstaff: but they totally failed in each of their ungenerous attempts, by the Company's permitting the imprisonment of poor Harper, and the house forgiving his non-appearance. Harper's case was afterwards argued before Lord Chief Justice Yorke by twelve Counsellors, six for the plaintiffs, and the same number for the defendants. The Judge admitted the player to bail upon his own recognizance; and ordered a feigned issue, to try the validity of the commitment on the last day of the term.

Charles Fleetwood, Esq. of Bromley-hall, Staffordshire, who was said to be worth 8000_l. per annum_, purchased five of the six shares of the patentees of Drury-lane Theatre in January 1734 for 3500_l._; the seceding actors were determined in consequence to return to their stations at that playhouse.

Plays were not entirely confined to the regular Theatres at this period; for the Benchers of the Society of the Inner Temple gave a splendid entertainment, February 2, to the Lord Chancellor, the Master of the Rolls, Judges, Serjeants, and Counsellors at Law, when the Comedy of Love for Love was acted by the Company from the Haymarket on a temporary stage, fronting of which a gallery was erected for 100 ladies, who, with the Prince of Wales, the Duke of Cumberland, and many noblemen, witnessed the performance: the actors received 50_l._ for their exertions.

A baron of beef, weighing 175lb. and conveyed to the table by the exertions of four men, formed part of the _solid_ entertainment presented to these defenders of the laws of Great Britain.

On the 15th of March 1734, the Players of the Revels to the King, assisted by Sheriffs-officers, went in a body to Drury-lane Theatre, which was delivered into their possession by Mr. Fleetwood as a matter of form.

Ranelagh-house, Chelsea, the residence of the nobleman of that title, was sold in 1733 to an eminent builder named Timbrell for 3200_l._, who advertised it for sale in the following year, as a freehold, with garden, kitchen-garden, and offices, and a smaller house and garden with fruit-trees, coach-houses, &c. &c. These, I apprehend, were the first vicissitudes of Ranelagh, preparatory to its conversion into a place of amusement.

Farinelli engaged to perform fifty nights during the season of 1734-5 for a salary of 1500 guineas and a benefit.

The King gave his annual 1000_l._ to the Managers of the Opera-house on this occasion, and added 500_l._ as a subscription to Mr. Handel, who had Operas at Covent-garden Theatre, in consequence of a dispute with the latter, which caused an expenditure of 12,000_l._ at the Haymarket and 9000_l._ to Handel.

Farinelli's benefit at the close of this season surpassed every other previously received. The Theatre was so contrived as to accommodate 2000 spectators, whose admission money, added to the following sums given by the Nobility, amounted to more than 2000_l._: the Prince of Wales, 200 guineas; the Spanish Ambassador, 100_l._; the Imperial, 50_l._; the Duke of Leeds, the Countess of Portmore, Lord Burlington, and the Duke of Richmond, 50_l._ each; Colonel Paget, 30_l._; and Lady Rich, 20_l._ &c. &c. The pit was filled at four o'clock; and as the Stage was crowded with beauty and fashion, no scenes were used during the performance: gilt leather hangings were substituted, which usually adorned that part of the Theatre at Ridottos. Many of the songs in the Opera were new; that which preceded the chorus was composed by Farinelli, and so vehemently applauded, that he sung it a second time at the request of the audience, though the chorus was over, and the musicians had retired from the orchestra.

The Prince of Wales soon after presented this favourite singer with a richly wrought gold snuff-box set with rubies and diamonds, containing a pair of diamond knee-buckles, and a purse of 100 guineas.

A great deal was written for and against Theatrical amusements in 1735, when the Legislature intended to prevent an increase of Theatres, yet but little information can be obtained from those essays; indeed the matter of fact may almost be said to be confined to the statements in the following extract from the Universal Spectator, No. 340: "What will ensue from _new_ play-houses being erected may be seen by that at Goodman's-fields: the street where it is built used formerly to be inhabited by silk-throwsters, ribband-weavers, and others whose trades employed the industrious poor; immediately on setting up this Playhouse, the rents of the houses were raised, as the landlords could then let them to more _profitable_ tenants; and now there is a bunch of grapes hanging almost at every door; besides an adjacent Bagnio or two; an undoubted proof that innocence and morality are not the certain consequences of a Playhouse. I could urge this much farther; but, as the regulation of the number of Theatres is now before the Parliament, _they_ only are to determine whether the continuance of this Theatre, or the increase of others, are consistent with the public good. Since the above was written, I have received information that a great number of apprentices and _gentlemen_, who play for their diversion, have formed a new company at York-buildings, which shews the necessity for the number of players and playhouses to be regulated, or else the whole nation may degenerate into a set of Stage-players."

A shocking accident occurred during the representation of Dr. Faustus at Covent-garden Theatre in October 1736. Four servants, the _representatives_ of Lun, Nivelon, Salway, and Mrs. Moreau, in the characters of harlequin, the miller, his wife, and man, had entered a car which was to be supposed to convey them an aërial journey; but unfortunately the wires broke when the machine had elevated the people to the greatest height intended, whence they were precipitated on the stage. Harlequin had his head bruised and wrist strained, the miller's arm was broken, his man had his scull fractured, and died a few days after, and the poor woman had a thigh broken and knee-pan shattered.

The Opera of Atalanta, composed by Handel, was acted at Covent-garden Theatre in May 1736 in honour of the marriage of the Prince of Wales: the scenery on this occasion was adapted to the circumstances of the day, and represented an avenue to the Temple of Hymen intermixed with statues of Deities, beyond which a triumphal arch supported the arms of the happy pair; directly above, Fame, seated on a cloud, was supposed to sound the names of Fredericus and Augusta exhibited in transparent characters. Through the arch appeared the façade of a Temple, consisting of four columns and a pediment, on which two Cupids were represented embracing, and supporting the coronet and feathers of the Principality of Wales: the Temple of Hymen closed the brilliant scene.

The proprietor of Vauxhall-gardens found it necessary to publish the following statement in 1736:

"As the master of the Spring-gardens at Vauxhall has always
been ambitious of obliging the polite and worthy part of the
Town, by doing every thing in his power that may contribute
to their ease and pleasure: he for that reason was induced
to give out tickets, but in no other view than to keep
away such as are not fit to intermix with those persons of
quality, ladies, gentlemen, and others, who should honour
him with their company. This method he has already tried:
and the publick having been so indulgent as to approve of
his constant endeavours to serve them, it is with the utmost
regret he finds himself obliged to make a change with respect
to the tickets; and that for the following reasons.

"First, with regard to the conveniency of the company--his
entertainments being made (as he presumes) so very
reasonable, such numbers might probably be induced to flock
to it, from this large and populous City (and especially
in hot and sultry weather), that it would be impossible to
accommodate a great part of them. The consequence of this
would be, that as every person had paid a shilling for his
ticket, he would expect an equivalent for it; but, as there
would be no opportunity of doing this in the great hurry, it
might cause such a disturbance as would for ever ruin his
entertainment.

"Secondly, with respect to his own security--because
counterfeit tickets may be taken by the servants (who are
the first receivers) in a great hurry of business, as has
already been found by experience.

"Because of the ill use which his servants (who are very
numerous) make of the tickets, by admitting as many persons
as they please for nothing, and that in the following manner:

"A person takes a ticket at the door, and pays a shilling for
it; he then goes to a servant with whom he is acquainted,
who returns the shilling to him, and takes his ticket, for
which the master must allow the servant a shilling when he
comes to account with him. In this case, it is manifest,
the person is admitted for nothing. In the other case, the
servant may make a private advantage of the tickets, and that
as follows: a person sells his ticket to the servant (suppose
for ten pence), here the servant would gain two-pence, which
is all the person pays for being admitted; and the master
gets nothing, because he must allow the whole shilling to the
servant as above.

"As it is obvious from these several considerations, that
the company may be vastly incommoded, and the master in
danger of being ruined; because servants may be induced to
encourage great numbers of the inferior sort to come to the
gardens, since this would be so much to their advantage:
for these reasons he humbly presumes, that the publick will
be fully convinced of the necessity he is under of taking a
shilling at the gate for the future, without giving a ticket
for it; and his servants have strict orders to solicit no
person to call for any thing, upon pain of being immediately
discharged."

Some wags _amused_ the publick with a most solemn exhibition in June 1736, which originated from a call of Serjeants at Law. Those merry gentlemen, well acquainted with classic story, dressed a huge _Owl_ in a coif and band, and placed him on a broom staff over a door opposite Lancaster-court. Minerva's favourite bird was afterwards observed to behave with great gravity, and particularly during the time his learned brethren were passing in procession under him; one flap of his band was inscribed _Ecce!_ the other _Fratrem_.

The recent amusements afforded by riding asses as ponies, and racing on them, although strong efforts of modern sagacity, were anticipated by our forefathers. An Ass-race attracted vast crowds of people to May-fair in 1736, where there was doubtlessly much good betting.

Fleetwood, the proprietor of Drury-lane Theatre, offered a reward of fifty guineas for the discovery of the author or authors of an incendiary letter sent to him in 1737:

"SIR,

"We are willing to admonish you before we attempt our design;
and provide you will use us civil, and admit us into your
gallery, which is our property according to formalities; and
if you think proper to come to a composition this way, you'll
hear no further; and if not, our intention is to combine in a
body _incognito_, and reduce the playhouse to the ground; we
are

"INDEMNIFIED."

Fog's Weekly Journal contains a well-written and whimsical explanation of the motives which produced the above extraordinary letter--the production, doubtless, of a Committee of aggrieved footmen, remarkable then, and certainly at present, for _propriety of behaviour_ and _modesty_ of demeanour.

March 12, 1737: "The footmen and other livery servants attending the nobility and gentry frequenting the Theatre Royal in Drury-lane, having (on account of their vociferations during the acts, as well as the intervals) been expelled the uppermost gallery of the house, in which they and their _ancestors_ had _sat_ and _voted_, in all affairs that came upon the _Stage_, time immemorial; thus, conceiving themselves to have an indefeasible hereditary right to the said gallery, and this expulsion to be a high infringement on their liberties, and to the end that posterity might see they were not wanting to vindicate the honour of their cloth, and maintain the whole body of the _livery_ in the full and free enjoyment of all their antient rights and privileges; on Saturday night last a great number of them, provided with staves and _truncheons_, and well-fortified with _three threads_ and _twopenny_, assembled at the doors of the said Theatre, when their Royal Highnesses the Prince and Princess of Wales, others of the Royal Family, and many of the Nobility, were in the house; and having made a practicable breach, entered at the same, and carried the stage-door by mere dint of _oak_, bearing down all the _box-keepers, candle-snuffers, supernumeraries, and pippin-women_, that stood in their way, in which assault 25 or 26 persons were said to be desperately wounded. Justice De Veil, _luckily chancing_ to be present in the house (as he was once before when a disturbance of the like kind happened), immediately interposed his Magisterial authority, commanding the proclamation against riots to be read; but so great was the confusion, they might as well have read _Cæsar's Commentaries_. At length the disorder boding very bad consequences, the Justice, supported by the foot-guards, prudently seized some of the principal rioters, and ordered them to be reposited in Newgate, till their claims can be inquired into in a more regular and judicial way, and the whole matter set in a true light.