Chapter C: F. Greville (3)

"From the opening of the doors, to the first crash of the band,
most able in all its movements, the satisfaction and delight of
the audience was expressed by repeated, and increasing,
plaudits--encouraged not a little by the care, and attention,
evinced by the Proprietors, for the convenience of the public, in
the approaches to the House--in every respect answering to the
magnificence, and accommodation, within. Independent of the
attraction, long, very long, to be expected from the novelty, as
well as beauty, of the New Drury, some credit ought to be given
to that which must ever have its weight with the people at large,
as well as amateurs--a numerous, and well appointed, set of vocal
performers. The names of Harrison, Storace, Kelly, Crouch, and
Dignum, are too proverbial for excellence in their several lines,
to need our eulogium. Miss Leake, whose unaffected correctness of
style, and melody of tone, must shortly place her deservedly high
in her profession, may also be deemed almost as powerful an
acquisition as Miss Parke, at the other House. Mr. Meredith, from
Liverpool, possesses a fine deep volume of voice, which he
exerted to great advantage. This Gentleman, we recollect some
years since at Ranelagh, _and_, if we are not very much mistaken,
at the Little Theatre, as the Prodigal Son of Dr. Arnold's
charming Oratorio.

"Giornovici's Concerto would have gone off much better, had the
subject not been so tedious. This is a fault we have too often
cause to find with Concerto Performers, who frequently give us
too much of a good thing. His mode of introduction was
particularly awkward--some other might be contrived than pitching
him upon a plank, brought in at the hazard of discomfiting the
head dresses, or breaking the noses of the ladies in the
Orchestra.

"The sound was rather too redundant, in general, and the language
of the Gods, now and then, too plainly heard in the pit; but, as
it arises merely from the freshness of the building, this
inconvenience will gradually be amended.

"The Prince of Wales was with Mrs. Fitzherbert, and Mr. Sheridan,
in the box appropriated to his Royal Highness. Lord Thurlow sat,
apparently well pleased, in the box beneath. Mr. and Mrs. Kemble,
Mrs. Siddons, and Sir Francis Bourgeois, saw that all was well,
in one of the orchestra boxes.

"From the frequent _encores_, the Selection was not over till a
late hour. The usual cry of 'take care of your pockets' on
quitting the Theatre, was superfluous: for _Townsend_ attended to
keep a 'wary eye;' so the pickpockets, of course, found it
impracticable to make any 'palpable hits.'"--(_Times, March 13,
1794._)

* * * * *

"Miss Farren has left London for Dublin where she is to perform
12 nights. The terms of her engagement, are £500, and a clear
benefit. It is not true that she takes _Derby_ in her
route."--(_Times, June 26, 1794._)

* * * * *

"The high demands made by some Actresses on the Management of
Theatres, are so exorbitant, that we trust they will not be
complied with. Mrs. Jordan, and Storace, have demanded, the
first, £30, and the latter, £20, a night. Much as we admire the
abilities of each on the stage, yet we know, from experience,
that the higher the salaries of some performers are, the more
they are prone to disrespect the public, and to give themselves
insufferable airs."--(_Times, Oct. 4, 1794._)

* * * * *

_Storace_ has come down to the terms of her last engagement, and
they are adequate to her abilities. The ci-devant Princess of
Petersham still holds out: but it is thought that _want_ of
_ammunition_ will occasion her soon to capitulate. When the
theatre was opened in Goodman's fields a first rate actress
thought herself amply paid with _forty shillings_ per week: but,
now, a first rate actress has the conscience to demand _forty
pounds_ Per night."--(_Times, Oct. 9, 1794._)

* * * * *

"Mrs. Jordan has at last _condescended_ to _descend_ to her
former situation in the Theatre, at her former salary."--(_Times,
Oct. 18, 1794._)

"The popular Dramatist, in his rage for hunting down the follies
of the day, we hope will not forget to be _in_ at the _death_ of
our masculine women of fashion. Their hunting, shooting, driving,
cricketing, faroing, and skating, present a monstrous chaos of
absurdity, not only making day, and night, hideous, but the sex
itself equivocal. Lady men, or men ladies, 'you'll say 'tis
Persian, but let it be changed.'"--(_Times, Oct. 18, 1794._)

* * * * *

"Much has been said upon the Bath Fracas, but the circumstance
has never yet been explained. It is briefly this: The Hon. Mrs.
Twisleton was at the Ball-room, and stood up to dance: she
stickled a little for _precedence_ as an _Honorable_: the Master
of the Ceremonies began to object to her dancing at all, as a
_Public Performer_. Her partner instanced a Performer, M.
Yanievitz, who was in the constant habit of appearing there. The
Master of the Ceremonies went up to this amiable, and
distinguished, foreigner, and intimated that his appearance there
was thought too frequent, by the Subscribers. Mr. Yanievitz,
demanded who had given the Master of Ceremonies this intimation:
a satisfaction which was refused. Next morning Mr. Yanievitz
wrote a proper letter to the M. C. expressive of his sentiments
upon this occasion.

"A meeting of subscribers was called, and they resolved, that, in
future, no Public Performer, of any description, should be
permitted to appear in any of the Public rooms."--(_Times, March
4, 1795._)

* * * * *

"Annual tickets, and orders are accompanied with a very great
inconvenience: the side boxes are filled, at present, with
butlers, and valets-de-chambre. It is not that these persons
conduct themselves amiss, but they deter gentlemen from entering,
whose appearance might prove distressing to them."--(_Times,
Sept. 26, 1795._)

* * * * *

"On an information being likely to be made against many of the
performers in both Theatres, on the Act against _profane cursing,
and swearing_--it became a question, as the Act is a
discriminating one, whether they swore as _gentlemen_: when it
was decided that they should be treated according to the
Character they personified."--(_Times, Dec. 17, 1795._)

* * * * *

"The Theatres were shut on Saturday evening, to commemorate, with
the greater solemnity, the _Martyrdom_ of King
Charles."--(_Times, Feb. 1, 1796._)

* * * * *

Drury Lane Theatre has not experienced a riot so wild, and
unappeasable, as that of Tuesday evening, since the _Blackamoor
Washed White_, of famous memory. The Entertainments advertised
for the night's amusements were _three_. The _Smugglers_, having
nothing contraband on board, was not only suffered to pass, but
was hailed with three cheers:--The _Virgin Unmasked_ had her
admirers--but the _Deserter_ was mauled most dreadfully--for
Young Welsh had permitted a new _Skirmish_ to make his _debut_,
as _Suett_ phrased it: and, being a miserable wretch, when the
audience expressed a disapprobation, the Performers, to shorten
the ridicule, shortened the scenes, which on such occasions, is
usual, and prudent--but, the curtain dropping at ten minutes past
ten, created a violent burst of indignation. Kelly first
attempted to enquire the wishes of _John Bull_, and expressed
himself, in the name of the Performers, ignorant of how he was
disobliged. All striving to be heard, none, of course, could be
so, and he retired. Uproar still increased, and, after near half
an hour of this din, Suett made his appearance, and apologised
for the badness of the stage struck hero, but he was soon given
to understand, that that was not the cause of the _Row_, but that
the audience expected to have the "Deserter" played _wholly_ over
again. Mr. S., after "looking as queer as a quartern of soap
after a week's wash," expressed his concern that many of the
Performers were gone, and the stage lights out, but this was the
cause of fresh howlings, and as somebody cried out, 'God save
the King,' he promised to send as many of the Orchestra, as could
be found. In five minutes this popular hymn was received with
acclamation. The curtain drew up, and all the Performers in the
Theatre sung it. The curtain again dropt amid violent tumults
which continued, and increased. Again Mr. Suett appeared, and
declared 'how much hurt the Proprietors were at any part of the
Performance being omitted: that it was without their concurrence,
or even knowledge, and that such a circumstance should never
happen again.' This rather mollified the audience, and many
dispersed at a quarter past 11. Almost the whole of the lights in
the house had been long extinguished: and some of the benches
were torn up."--(_Times, May 13, 1796._)

* * * * *

"On Thursday last a ludicrous _fracas_ took place in one of the
boxes of the first circle, at Drury Lane Theatre. A gentleman,
finding himself much incommoded by the heat, had recourse to his
smelling-bottle. One of the fighting lobby loungers, who stood
close to him, took offence at the scent, and desired him to put
it up. The demand not being obeyed, an altercation ensued, which
ended with the customary _etiquette_ of _Boabdil's_ presenting
his card, and desiring his antagonist's, in return. The card was
accepted, but the only notice taken of it, was a formal offer of
the smelling-bottle. This retort completely disconcerted the
would-be Duellist, who found himself so unexpectedly taken by the
_nose_, and the affair concluded with a general laugh at the
impertinence of the offender."--(_Times, Oct. 7, 1797._)

* * * * *

"The indecent behaviour of the Box-lobby loungers, becomes, every
day, more disorderly, and offensive. Two of this contemptible
class, who frequent the Theatre, merely to interrupt the
performance, and disturb the audience, quarrelled, on Tuesday
night, at Drury-Lane house, and, regardless of every kind of
decorum, stripped in the lobby, and decided their dispute _à la
Mendoza_. We trust that the timely interference of peace officers
will prevent, for the future, a conduct so degrading to society,
and so reproachful to public manners."--(_Times, Oct. 18, 1798._)

Cant phrases, and catch words, have been in use on the stage for many years, Paul Bedford's sonorous "I believe you my Bo-o-o-o-y," and Lionel Brough's "That's the sort of man I am," being illustrations of the fact. Something like these, tickles the fancy of the audience, and, in very little time, the phrase is all over the town, and in everybody's mouth.

"Knight's cant phrase of 'That accounts for it,' is pleasantly
made use of in the new Farce at Covent Garden. Bond St. Bobbies
have, all, their different cant phrases, indeed, they must say
something, and have no other talents for conversation, so 'that
accounts for it.'"--(_Times, Dec. 5, 1798._)

* * * * *

"Cant Phrases.

"Our Dramatic Authors have lately amused themselves, and the
Public, with cant phrases, instead of character, 'That's your
fort'--'Keep moving'--&c. Young Dibdin, in his _Jew and Doctor_,
seems to have hit upon the happiest cant, imaginable; 'That
accounts for it,' which seems applicable in almost all cases.

"There is no opposition to Government, in the House of
Commons--for a change of Ministry would ruin the country--_that
accounts for it_.

"A very great Personage pays no regard to _Lovers' Vows_: he has
been disgusted with a _German_ translation--_that accounts for
it_.

"Buonaparte wishes to return to Paris, though he should go
thither as naked as the back of his hand; he prefers
_soup-maigre_ to water melons--_that accounts for it_.

"Women complain of the want of Gallantry in men, though the
modern dress shows more than enough to excite passion, but--_that
accounts for it_.

"This cant phrase would comprehend all the science of Logic, if
properly used, and appropriately designed. It might be amplified,
in the present instance, to any length of space, but
exemplification breaks off because _ne quid nimis_--_that
accounts for it_."--(_Times, Dec. 14, 1798._)

* * * * *

"The mania of private acting, rages with more fury than ever.
There are, at present, no less than six Private Theatres, in the
Cities of Westminster, and London. This is a kind of amusement
which, on the ground of _morality_, should be 'more honoured in
the breach than the observance,' and calls for the interference
of the Magistracy."--(_Times, Dec. 26, 1798._)

* * * * *

"During the representation of the play of _Macbeth_, at a
Provincial Theatre, some nights since, an incident occurred,
which totally disconcerted all the gravity of the Tragic Muse. In
the Banquet Scene, Banquo's murderer was, by some untoward
accident, missing, and the business of the drama was threatened
with suspension, when in the exigency of the moment, an ignorant
candle-snuffer was pushed forward to tell the horrible tale:--on
seeing him, _Macbeth_, who had been motionless with confusion,
and embarrassment, burst from his state of torpor, and exclaimed,
'There's blood upon thy face!' 'Is there by G--,' cried the
astonished clown, and clapping his hands to his cheek, with a
mixture of anger, and alarm, continued, 'Then that domn'd blunt
razor has cutten me agen.'"--(_Times, Jan. 7, 1799._)

A notice of the Stage, of this time, would be incomplete, if Ireland's impudent forgery of "Vortigern and Rowena," were not mentioned. It was supposed to be an undiscovered play of Shakespeare's, and, with many other Shakespearean forgeries, was fabricated by W. H. Ireland, who is classed as follows:--

"Four forgers born in one prolific age,
Much critical acumen did engage:
The first[6] was soon, by doughty Douglas, scar'd,
Tho' Johnson would have screen'd him, had he dar'd.
The next had all the cunning of a Scot;[7]
The third, invention, genius,--may, what not?[8]
Fraud, now exhausted, only could dispense
To her fourth son, their threefold impudence."

[Footnote 6: Wm. Lauder who tried to make Milton out a
plagiarist,--but his quotations from various Latin authors
were proved to be false.]

[Footnote 7: James Macpherson, for his Ossian.]

[Footnote 8: Chatterton.]

Sheridan believed in the play, and engaged with Samuel Ireland, the father of the forger, to pay down £300, and half the profits of the first 60 nights. It was produced at Drury Lane Theatre, on 2 Ap. 1796, Kemble, playing Vortigern. He was an unbeliever in the authenticity of the MS., and, certainly, did not attempt to uphold it by his acting. In fact he burst the bubble, altogether, in the fifth Act, by emphasising, with much meaning, the words, "And when this solemn mockery is o'er," that the audience caught at it, and, amidst a chorus of yells, and hisses, the play was utterly condemned. W. H. Ireland soon afterwards confessed all his forgeries.

OPERA AND BALLET.

If there were good Actors, in those days, there were also good singers, traditions of whom have lasted until our time. Of course, they were fewer than the Actors, because there was but one Opera--and the operas, then in vogue, required but a very limited number of artists.

Still, the names of several of the _prime donne_ are yet remembered, and the names of Mara, Storace, and Crouch will always live in the annals of song.

_Elizabeth Mara_, whose maiden name was Schmelling, was born at Cassel in 1750. She commenced her musical education by playing on the violin, but, subsequently, finding she had a good voice, she devoted herself to its cultivation, and so far succeeded, as even to earn unqualified approbation, and applause, from Frederick the Great--who was, as a rule, absolutely indifferent to Music. She first came to England, in 1784, and chiefly resided here till 1802; when she retired to Moscow, where she had property, which, however, was destroyed at the French Invasion, and destruction of the city, in 1812, and she was reduced to poverty. She then went to reside at Revel, where her old friends kindly helped to support her. She came once more to London, in 1819, and gave a Concert--but her voice was gone, and this was her last effort. She went back to Revel, where she died, in 1833, aged 84.

_Anne, Selina Storacé_, was born in England, and was sister of the celebrated Composer. She was an excellent actress, a beautiful singer, and was universally popular. She died in 1814.

Of _Mrs. Crouch_, née Phillips, I have already written, slightly, as an Actress. She was born in 1763, and went early on the stage, making her début, at Drury Lane, in the play of "The Lord of the Manor," in 1780, so that she was but 17. In 1784, she went to Ireland, where her admirers were numerous, and some most passionate. One young man, whose affection she did not return, declared he would shoot both her, and himself--and went to the theatre, ostensibly to carry out his threat, but he was ejected from the building, and, ultimately, left the country.

But there was, about this time, a very romantic episode in her life. She was loved by a young man, heir to a title, and fortune, and she returned his love. Naturally, under the circumstances, his family had higher matrimonial aims for him, so the young people had no other course open to them, than a clandestine Marriage. They were even before the Altar, of a Roman Catholic Chapel, but the priest refused to marry them, on hearing the name of the bridegroom, unless he had his father's consent. No priest could be found to marry them, for the lover was under age, so the love lorn couple eloped, hoping, at some seaside port to find a ship for Scotland. They were followed by both irate fathers, Mr. Phillips having informed the other. The lovers were separated, but history is silent as to whether they ever met again.

After she got over this disappointment, which took some time, she married Lieutenant Crouch of the Navy,--good looking, but dissipated, and spendthrift.--Of course the marriage was not a happy one, and they parted:

Her voice was exquisitely sweet, and she was a most graceful actress. She kept her hold on the public, and was on the stage until a short time before her death, in 1805.

The names of Incledon, and Braham, have only to be mentioned, to recall their vocal triumphs.

_Benjamin Charles Incledon_, was the son of a surgeon--and was born at St. Keveran, in Cornwall, in 1764. He made his first appearance, in London, in 1790--when he played in "The poor Soldier." He, at once, became a public favourite, and so continued until his retirement from the stage, which was some time before his death, in 1826. His acting was clumsy, and ungraceful, but his sweet voice rendered him unequalled in ballad singing, which was his especial forte.

_John Braham_, (or more correctly _Abraham_,) was born of Jewish parents, in London, A.D. 1774. Early left an orphan, he was brought up by Leoni, a celebrated Italian Singer, and so well taught by him, was he, that he came out, as a public vocalist, before he was eleven years old, when he sang _bravura_ songs, which had been written for Madame Mara. After singing, both in English, and Italian, Opera, he went to Italy--and, after his return, he appeared at Covent Garden, in 1801. He died in 1856.

_Michael Kelly_ was both composer, and singer, but he cannot take rank with either Incledon, or Braham. He made his first appearance on the stage of the Metropolis, at Drury Lane, in 1787. He composed elegant, and pretty, airs, and he sang nicely, but many of his compositions are said to have had their origin in Italian, and German, sources. This gave rise to a _bon mot_ of Sheridan's, when he heard that Kelly had turned wine merchant--he suggested that, over his door, should be painted, "Michael Kelly, composer of wine, and importer of music." Died 1826.

Far more eminent than he, as composers, were _Arnold_, _Shield_, _Storacé_, _Linley_, and _Jackson_.

_Samuel Arnold_, Mus. Doc., was born in 1740--and had the advantage of studying music under Nares. He was, during his lifetime, both organist to the King, and to Westminster Abbey, wrote several Oratorios, and published selections of sacred music--but it is as a composer for the theatre, that we have to consider him. When only twenty-three years of age, he was appointed composer to Covent Garden Theatre, and his earliest operas were there produced. In 1776, he filled the same position with regard to the Haymarket, and this versatile genius composed Operas, and Oratorios, until his death in 1802.

_William Shield_ (born in 1754) carved his own way up to the eminence, which he enjoyed, in his profession. Apprenticed to a boatbuilder, he gave up that business, as soon as he was out of his time: and, being musical, and, playing well on the violin, he soon obtained a situation at Scarborough, as leader of Concerts there, and gained such a reputation, that he was offered, and accepted, the position of first Viola, at the Italian Opera House. His first theatrical work was composing the Music, (in 1778), to "The Flitch of Bacon." He wrote the music for many other plays--and, on the death of Sir W. Parsons, he gained the appointment of "Master of his Majesty's Musicians in ordinary." He died in 1829.

In spite of his foreign name, Stephen Storacé, was born in England, although of Italian parentage. He was early sent to Italy, and studied at the Conservatorio of St. Onophris, at Naples, in 1787, being then 24 years of age. He returned to England, and, soon afterwards, was appointed Composer to Drury Lane; and, up to his death, in 1796, he was actively engaged on Operas, &c.

_Thomas Linley_ received his musical education from Chilcott, the organist at Bath. One of his daughters, Eliza, married Sheridan, and, soon after the production of his first theatrical essay, "The Duenna," he became joint patentee, with his son-in-law, in Drury Lane Theatre, and, leaving Bath, went to reside in London. There, he wrote for the Stage, and composed many operas, besides songs, madrigals, &c. He received a severe shock, when his son was drowned, in 1778--and, although he lived till 1795, he never recovered from it.

William Jackson (whose _Te Deum_ is, or was, such a favourite), was born, at Exeter, in 1730, and was afterwards Organist to the Cathedral of that city. He did not write much for the Stage, preferring sacred music, songs, and canzonets.

The following paragraph shows a curious state of things at the Opera:--

"When the Gallery at the Opera House, on Saturday night,
expressed its disapprobation of the crowded stage, _Sir John
Gallini_!!![9] who was part of that crowd, _very modestly_
declared, that, unless the gentlemen behind the scenes left the
House, there would be no Opera.--But, upon being asked where the
_half guineas_ should remain, if the gentlemen retired, this
_shark for words_ recanted his former assertion, and, very
composedly, swallowed the gilded pill."--(_Morning Post, Apr. 10,
1788._)

[Footnote 9: Sir John Gallini, was connected with the
Theatre. It was to him that "The Monster," was sent to learn
dancing.]

The same paper (15 Ap. 1788) in its Notice "to Correspondents" rather injures him with its forbearance. "The various articles sent to this paper against Mr. Gallini, previous to his Benefit, we have uniformly refused to insert, being unwilling to injure a POOR MAN, at so important a period."

"How we are ruined! Bruni, the new singer, has 1400 guineas, Mara
1000, and a benefit, and Millerd, 1000 for the present Opera
season."--(_Times, Febr. 16, 1793._)

* * * * *

"Haymarket Opera. Almost all the subscribers, in Town, graced the
Boxes, with the Prince of Wales, and Duke of Clarence, at the
head of the list. The Pit had some pretty, as well as well
dressed, women; but we were sorry to observe several of the
gentlemen in round hats, and many of them slovenly to a degree,
descending even to boots. This ought not to be
permitted."--(_Times, Jan. 13, 1794._)

* * * * *

OPERA.

"Il Capriccio Dramatico, considerably curtailed, on Saturday,
again introduced Signora Negri, and her reception was again most
flatteringly favorable. The Burletta has to boast some very
beautiful music, and the _Finale_ in particular is much indebted
to the exertions of the performers. So far, all was peace, and
harmony. Would we could say the same of Don Giovanni, whose
reception was, throughout, disapproved. So determined an
opposition to this kind of entertainment we have never witnessed:
and, indeed, some of the occurrences were so peculiarly
_striking_, as to baffle all description. Several blows passed in
the pit; and one gentleman, who was remarkably forward in having
a slap at Don Juan, got a slap in the face from an enraged
_amateur_, who, perhaps, would have been better employed in
_beating_ time. In short, till the fall of the curtain, Morelli's
pretty Venetian Ballad, excepted, which gained an encore, all was
noise and uproar; and the scene of Hell, magnificent, and
terrific, as it was, had so far the characteristic accompanyment
of _groans_, not of the damned, but of those troubled spirits who
wished to torment the Manager.

"The Procession was totally omitted, and several other judicious
alterations made, but, as the sense of the subscribers, as well
as the public, seems decidedly against a repetition of this
Opera, we have no doubt but the Manager will submit,
respectfully, to their _fiat_--comforting himself with the
_reflection_, that his liberal exertions deserve--though it is
not always in the power of mortals to command--success.

"The Opposition to the new Opera of Don Giovanni, on Saturday
night, is said to have been preconcerted: and it was known in the
morning of that day that there was to be a riot. In one part of
the Pit, the disturbance became so serious, that two Gentlemen
called each other out, and agreed to meet, as yesterday morning.
Sir W. H. was at the head of the opposition party. In justice to
the Manager of the Opera, it should be recollected by those who
are dissatisfied with the present company of performers, that the
same unprecedented circumstances which prevented several Dancers
from leaving France, also deterred several singers from coming
from Italy, as they must pass through a part of France. This
inconvenience is only of a temporary nature, and cannot be
prevented. In the meantime, the subscribers, and the public, have
the most magnificent, as well as the most commodious, theatre in
Europe to resort to."--(_Times, Mar. 10, 1794._)

* * * * *

"_Tweedle dum_, and _Tweedle twee_--the Soprano, and Tenor, of
the Italian Opera are objects equally important, no doubt, in the
eye of the public. Instead of _high notes_ they have gone to
_high words_. Signor _Tenor_, not having taken the precaution to
soap his nose,--Signor _Soprano_ got fast hold, and gave it a
musical shake, not perfectly in unison with the feelings of the
tenor, who, now, if he wishes to sleep in a whole skin, will, no
doubt, alter the _tenor_ of his conduct!!"--(_Times, Jan. 14,
1795._)

* * * * *

"The Opera.--The Public are acquainted, that on Saturday
se'nnight there was a violent disturbance at the Opera House, in
consequence of the Subscribers shewing great dissatisfaction at
the want of novelty in the Performances. The Manager, having
understood that the greatest clamour came from the Boxes of the
Countess Spencer, and Mr. Pole, Mr. Taylor (a few days since)
sent a letter to her Ladyship, and Mr. Pole, saying, that as they
were not satisfied with the Performances, he desired to return
them their subscription money, which he did. The Subscribers have
taken up this business, which they consider as a gross affront,
and disrespect, and yesterday there was a meeting of them at the
Thatched House Tavern, the result of which we have not learnt. We
are sorry that there should be any misunderstanding respecting an
Entertainment, where harmony only ought to prevail: and, we are
equally concerned, that the Manager should, so indiscreetly, send
such a letter to Lady Spencer, who is the last person in the
world who would be suspected of any impropriety of behaviour,
for, a Lady of greater accomplishments, and more unaffected
manners, is not to be found in the whole circle of
Nobility."[10]--(_Times, Febr. 20, 1795._)

[Footnote 10: _Feb. 29._--A long Advertisement appeared in
the form of an apology from Mr. Taylor to the Duke of Leeds,
who presided at the Meeting of the Subscribers at the
Thatched House.]

* * * * *

"The excuse for the _rows_, in a certain box, at the Opera, is,
that the Gentlemen come in tipsy. This is an excuse, (whether
good, or bad, we will not determine) for the Gentlemen. But, as
we take for granted the Ladies are not tipsy, pray what excuse is
to be offered them?"--(_Times, Dec. 26, 1796._)

The Ballet does not receive so much attention in the public press, as the Opera--and, as far as I know, there are no means of getting at the biographies of the _premieres danseuses_.

The first of note during this period is Mdlle. _Guimard_, who was then playing in the ballet of "Ninette." It is _just possible_ that there may be a suspicion of caricature in the illustration.

The Ballet was a special feature at the Pantheon Theatre (the site of which is now occupied by Messrs. W. & A. Gilbey of Oxford Street), which was built as a counter attraction to Carlisle House, then popularly conducted by Madame Cornelys, of whom more anon.

"The _Pas Trois_, introduced into the Ballet at the Opera House
on Tuesday night, for the first time, had a very pretty effect.
It goes to the tune of 'God save the King,' and is intended as a
compliment to his Majesty."--(_Times, Feb. 16, 1793._)

* * * * *

"Simonet, the dancer, and Grenier, who keeps the hotel in Jermyn
Street, were, last week, ordered to depart the
kingdom."[11]--(_Times, March 26, 1793._)

[Footnote 11: Probably for political reasons.]

The centre figure in this illustration is M. Didelot--and the danseuse on the left, is Miss Rose, an English-woman, who was not bewitchingly handsome, though a good ballerina. The lady on the right is probably Mdlle. Parisot.

"The OPERA.--The mania of expectation was, on Saturday night, at
the very acme of curiosity. The Pit was so crowded even before
the drawing up of the curtain, that it was not possible to edge
another face into the area. Stars, garters, feathers, and
turbans, were so jumbled, and intermixed, at the doors, that all
sex and identity were indistinguishable. The stage itself was
crammed on all sides, and in such a manner, as to render the
shifting of the scenery 'a work of labour, and a service of
danger.' So eager, indeed, was the desire of seeing Didelot and
Rose, that the wings were crowded with Ladies. Amongst those
Ladies who thus made their _first appearance_ on the stage, we
heard some very respectable, and titled names.

"The new Ballet of _Les Trois Sultanes_ taken from _Marmontel
Hillisberg_, is the '_Cock-nosed English-woman_,' yet while we
remember _Abingdon_ and _Jordan_ in Roxalana, with all the
roguishness of language, mere action must appear dull, and
unentertaining. It were injustice, to be sure, to decide what
effect the Ballet might have produced, could it have been
fairly exhibited: but the stage was so very full, that figure
dancers could scarce round a horse-shoe to trip in, and no
performer could make an exit. _Didelot_ and _Rose_ appeared
again in the Ballet, lugged in without character, merely to shew
themselves. We hope that some Ballet will be got up wherein they
may display the fulness of those powers, and talents, which the
great world allow them to possess."--(_Times, Feb. 22, 1796._)

* * * * *

"The Stage at the Opera is so crowded, that Madame Rose, in
throwing up her fine muscular arm into a graceful attitude,
inadvertently levelled three men of the first quality at a
stroke."--(_Times, May 9, 1796._)

Mdlle. Parisot.

The length of Mdlle. Parisot's skirts would have delighted the Bishop of Durham (Shute Barrington), who was much exercised in his mind, in 1798, as to the brevity of those worn by the ladies of the ballet. He seems to have entered into a crusade against the ballet, before he made his memorable speech in the House of Lords, on 2nd March, 1798--for the next illustration is dated January in that year.

It was, however, on the occasion of the second reading of Esten's divorce bill, that the wrath of the Right Reverend Father in God, fairly boiled over, and the _Times_ of 3rd March, reports him to have spoken thus. "He considered it a consequence of the gross immoralities, imported of late years, into this kingdom, from France; the Directory of which country, finding that they were not able to subdue us by their arms, appeared as if they were determined to gain their ends by destroying our morals. They had sent over persons to this country, who made the most indecent exhibitions on our Theatres; exhibitions which would not have been allowed even in France; and which, so far from being allowable in a Christian Country, would have disgraced the ancient Theatres of Athens and Rome.

"It was his intention to move, on some future day, that an Address be presented to his Majesty, beseeching him to order all such persons out of the Kingdom, as people who were likely to destroy our morality, and religion; and who were very probably, in the pay of France."

This tirade made him a fitting subject for the Caricaturists, and they did not forget him.

In a picture by Gillray, 14th Mar. 1798, "Operatical Reform, or La Danse à l'Evêque," we recognise Miss Rose, on the extreme right of the three ladies, who have little other covering for their bodies but the episcopal apron and lawn sleeves. At the foot, is this verse--

"'Tis hard for such new-fangled orthodox rules,
That our Opera troupe should be blamed;
Since, like our first Parents, they only (poor fools!)
Danced naked, and were not ashamed."

And there was yet another amusing Caricature of the Prelate, in connection with this subject. In July 1798, Gillray published a picture of "More short Petticoats, or the Highland Association under Episcopal Examination." The Bishop is accompanied by Lord Salisbury, the then Lord Chamberlain, and inspects the Kilts of three Highlanders, who assure him "You'll find them exactly according to the rules of the Highland Association." But the Bishop's modesty is blushing violently, and he replies "Don't tell me of rules, I say it's abominable! It's about half a foot too short according to the opera Standard. Bring the large breeches directly; why, the _figurantes_ would be ashamed of it."

MASQUERADES, CONCERTS, &c.

Masquerades were introduced into England by Henry 8th, but, perhaps, at no time were they so fashionable, as during the latter half of the 18th Century, although they do not always seem to have been successful. The _Morning Post_, Feb. 6, 1788, speaks of a Masquerade at the Opera House, thus:--"The Supper and Wines were consistent with the well known parsimonious principle of the conductor, the provision being very unequal to the _appetite_, and _number_, of the guests. The music was very indifferent." Thus we see that these amusements were not of equal quality, and the Critics did not fear to say what they thought of them.

"Pantheon, Jan. 26, 1788. The Nobility and Gentry are
respectfully acquainted that the First Masqued Ball, at this
place, will be on Thursday next, the 31st Instant. There will be
a Supper as usual, with Wines, &c. Tickets at One Guinea each may
be had at the Office."--(_Morning Post, Jan. 26, 1788._)

This Masquerade seemed to be very popular.

"The Prince's visit to the Brandenburgh-house Masquerade was to
have been in _female habiliments_; but the shortness of the
notice did not allow time for preparing them, and neither the
shoes, corsette, nor robe, of Mrs. Vanneck, for which his Royal
Highness sent, could be made capacious enough for a momentary
covering. The sailor's habit was, therefore, adopted without any
preparation for the character. The Margravine's Masqued Ball
produced many whimsical events, but none more than that from a
character representing Acteon, who, in brandishing a huge pair of
_antlers_, run full _butt_ against a French looking-glass of 300
guineas value, and smashed it to pieces. The Margrave being near,
endeavoured to give the accident a pleasant turn, by remarking in
German 'that there could be no jollity where they let the _glass
stand_.'"--(_Times, March 1, 1794._)

* * * * *

"The MASQUERADE.

"The entertainment given by the Manager of the Opera House, on
Monday night, was the best attended of any we have seen for many
years, and fully answered the expectations that had been formed
of it. The space allotted, however, large as it was, with the
addition of the new room, and another above stairs, was by no
means sufficient for so large a company: and the pressure of the
crowd rendered the rooms insufferably hot, as well as prevented
the masks from appearing to advantage. For so large an assembly,
there were fewer masks than usual, but the hilarity of the
company made amends for this deficiency. The Prince of Wales was
in a black domino, arm-in-arm with Captain Churchill, and Lord
George Conway; the Duke of Clarence was the whole evening with
Mrs. _Jordan_ in a private box upstairs. _Michael Angelo Taylor_
was dressed in women's cloaths, but was less talkative than
usual. The supper was extremely well conducted, and the
provisions better than usual. The refreshments were also
liberally supplied. There were about 2700 persons in the rooms,
and among them some of the prettiest women in town."--(_Times,
March 5, 1794._)

* * * * *

"MASQUERADE AT THE OPERA HOUSE.

"On Thursday night, for the first time this season, there was a
grand masquerade at this House, which was very numerously
attended, as every room was crowded, and the numbers computed
at about 1600. A party of _Bon-vivans_, unmasked, came into the
rooms about two o'clock, who had evidently made too free use of
the juice of the grape. The primitive dress of one of them, who
appeared to be a Quaker, did not quite accord with his manners,
which were more prone to the flesh than the spirit. Although the
new regulations in price is in favour of Masquerades, yet the
freedom of conversation which is allowed in these motley
meetings, became, on this occasion, indecent ribaldry, and
licentiousness. The _lowness_ of the price of admission was in a
great measure the cause of introducing many _low_ visitors, who
made themselves obnoxious to delicacy, and good manners, by the
coarsest language."--(_Times, Feb. 17, 1798._)

There is a paragraph in the _Times_ of August 23, 1797, whereby "hangs a tale"--

"The miserable death of Mrs. Cornelys, in the Fleet Prison, adds
another melancholy instance to the catalogue of vicissitudes in
what is generally termed _fashionable life_. She was formerly the
law-giver of the circles of dissipation, and gaiety, yet closed
her existence in the hospital room of the prison, in which she
had obtained permission to reside, by the kindness of the
Warden."

The history of Teresa Cornelys is very singular, showing how a nobody--for no one knows even from what part of Germany she came--could come here, and, by her business qualities, and tact, become a person absolutely indispensable to Society. All we know of her is that she was supposed to be a German, who had been a public singer, both in France, and Germany, and that she came over here about 1756 or 1757. Whether there was a Herr Cornelys alive, we have no knowledge--but she had a son, and daughter. That she was not bad looking, is evidenced by her portrait, which must have been taken in her declining years: that she must have been shrewd, business-like, and possessed of much _savoir faire_, is undeniable--for she held "Society" in her grasp, and, for a time, made it do just what she wanted.

What she did for the first five, or six years, after her coming to England is not known, but she must have been possessed of some Capital, or she could not have taken, as she did, Carlisle House--a mansion in Soho Square. Here she started a sort of fashionable Social Club, called "The Society," either in 1762, or 1763, and this was its programme. "The subscription is seven guineas for twelve nights, one ticket each, which introduces only one person, whether gentleman, or lady; but there are frequent subscriptions in the year, and two ladies may be admitted six nights on one subscription. No person can be admitted a Subscriber to this Society, but through the recommendation of a subscriber. Four ladies of quality, having each of them a book, have the joint management, direction, and choice, of the subscribers; every one's name must be entered in one of those ladies' books.

"A non-subscriber can only be admitted by a subscriber's ticket, writing his, or her name on the back; in consequence of which rule, and to avoid the possibility of improper company, their names are, immediately after the night is over, printed, and hung up in the outer room.

"The doors are opened, at 9 o'clock, of the lower rooms, which consist of six, each superior to the other; few people, however, assemble before 10, and those who profess themselves of the genteelest order, not till eleven, when they walk about, and amuse themselves with accosting their acquaintance, and forming themselves into select parties for the evening; then regaling with jellies, syllabubs, cakes, orgeat, lemonade, fruits, &c., prepared in a kind of arched shelving all round the hangings of the tea room.

"At ten, the upper flight of rooms open, which consist of two large rooms, besides a very large ball room, furnished, and hung, in the most superb taste, with an exceeding good band of music in an orchestra erected at the upper end, and rows of benches, down the sides, placed one above the other. In this room they dance country dances, but no minuets at all.

"At half-past eleven, the company in general repair to tea, and have small round tables for their separate parties.

"At twelve, the Cotillion gallery opens, with another range of seven rooms underground, which, from the vast variety of furniture and ornaments, the grandeur, and magnificence, of some, the elegant simplicity of others, together with the amazing beauty of the lights, one of the principal excellencies of the whole, form a view, on descending a perpendicular flight of stairs most sumptuously, and pleasingly, striking.

"In these lower range of rooms, the company finish the evening, the young in dancing cotillions, the others in looking on; for there are no cards, nor gaming, of any kind. At one, the company begin to separate, and continue going till four, but the major part break up about two."

By which set of rules we see that Madame Cornelys, started her establishment in the strictest propriety, whatever became of it afterwards; and these rules were strictly carried out. The rooms, on off nights, were used for other purposes; for instance, she, knowing the power of the class, gave a servants' ball; and the Old Westminster scholars held their Anniversary Meeting in her rooms.

Her prosperity excited envy, and many were the rumours set afloat, to her detriment. For instance, in 1766, it was said she owed her late cook £50, and that she had run away from her ruined creditors, to France, with many thousand pounds.

She had to contradict these reports, and said that she had, within thirteen months, spent £11,000, on the house, &c.

Concerts, both instrumental and vocal, were given at Carlisle House, and the tickets for them, which survive, are very beautiful, many of them being drawn by Cipriani, and engraved by Bartolozzi.

The Royal Family used to patronise her _soirées_, as did also the King of Denmark, when he visited England in 1768.

Early in 1770, she gave her first Masquerade, which immediately lowered the tone of her establishment, and was the precursor of her downfall. This was under the patronage of the "Tuesday Night's Club," and the Dukes of Gloucester, and Cumberland--besides numbers of the aristocracy of both sexes, were present, and it was a very brilliant affair.

She had another grand Masquerade on 6 February 1771, to which the price of admission was two and a half guineas. The same Royalty was present, and also the leading Nobility--Among the masques were five devils, a bear, and, worst of all bad taste, a shrouded corpse in a coffin, (said to be a brother of Colonel Luttrell), but he was, after a short time, ejected by some pseudo sailors.

From this time her fortunes declined--she was twice fined £50 for performing Operas, under the guise of harmonic meetings, and Guadagni, her principal vocalist, had been fined £50 for singing in the same, and these musical performances were put a stop to.

But, in spite of all her enemies could do to her, she still had some friends, if we can believe the _London Chronicle_, 19-21 February 1771.

"A certain D----s, who is a principal promoter of the New Opera House, declared, lately, she would persist in support of Mrs. C., whatever was the consequence, 'for,' said she, 'I hate the thoughts of mixing with any body merely because they have half a guinea in their pocket; and that such scums should sit on the same bench, and think themselves on a level with the first nobility!' 'I agree with you' (says Lady A----r), 'and am grieved to think that we are, one day or other to mix in heaven with the dregs of the people.' 'God forbid' (says the D----s), 'I should ever be in such company.'"

The Subscription balls, and Masquerades still went on--and she instituted a society called "the Coterie," which had not the reputation of insisting on the strictest morality on the part of its members.

This _coterie_ broke up. The Pantheon was built, and opened, in opposition to her. Perhaps she was extravagant, but, anyhow, from some cause or other, she became bankrupt, and was so gazetted on the 9th Nov. 1772, as a "chapwoman, and dealer in gloves." Her goods were sold in Dec. 1772, and it must have been a famous sale, as the Catalogues, to admit two, were five shillings each.

She, herself, was taken to a debtor's prison, where she could not have stopped very long, as there are advertisements of Masquerades conducted by her, at Carlisle House, in the spring and summer of 1773.

She was again a bankrupt in Dec. 1774, and Carlisle House was advertised to be sold. Still, somehow or other, she must have found friends, with money, to help her, for she issued an advertisement, 15 January 1776. "Mrs. Cornelys most respectfully takes the liberty to acquaint the nobility, and gentry, that, through the kind assistance of her friends, she is again reinstated in Carlisle House, on her own account."

But nothing could bring back her old patrons, and the social status of her masked balls got lower and lower. Worse than all, the refreshments were not so plentiful as of old, as we may see in the "Citizen's Complaint to the Priestess of Soho," which concludes thus--

"Yet fairy scenes and preparations,
With all your novel decorations,
Are diet fitter, let me tell ye,
To feed the Fancy than the Belly."

In 1778, Carlisle House was again to be sold, but still Madame Cornelys, somehow, kept her clutches on it. She established an "Academy of Sciences and Belles Lettres"--a Library with Newspapers, &c.--and a debating society, open to both Sexes. This "School of Eloquence" collapsed in 1781. Scientific lectures, Joseph Borouwlaski, the Polish Dwarf, and some more Masquerades, were all tried, but without avail, to resuscitate her fallen fortunes. It was said that she gave four and a half Masquerades, the half being accounted for, by the fact that no license had been taken out, and the masquers were ejected.

After 1782 Carlisle House seems to have been shut up; on 28 June 1785, Christie sold the furniture, China, and other effects; and in 1788 the old Mansion was pulled down, and what was the grand Saloon has been altered into a Roman Catholic Chapel, St. Patrick's, Soho.

There is no record of Madame for some years, but we know from Newspaper notices, that in 1792 she took a large house and grounds in Knightsbridge Road, formerly occupied by a dealer in Asses milk, and converted it into a "female archery."

Luck was against her, this failed; she was very old, had fought her fight, and now the refuge for the remainder of her days was the Fleet Prison. There, however, she met with kindness from friends, and help from her daughter, who was very accomplished, and no more is heard of her, until the paragraph in the _Times_, which heads this memoir.

"Masquerade at Marlboro House.

"At the Duchess of Marlborough's Gala, on Wednesday evening, one
of the principal ornaments was the _statute_ of Precedency,
elegantly illuminated, in variegated lamps over the grand
entrance. Lyon, Clarencieux, and Garter, Kings-at-Arms, in their
coats of office, were stationed in the hall, and marshalled the
guests upon their arrival. Upon the first landing place, were Her
Grace's Vice-Chamberlain, and three Masters of the Ceremonies,
attended by deputy Masters, and the Pages of the Presence, and
back staircase. In the antechamber, covers were provided for the
Lord Mayor, and Sheriffs of London, whose pease were said to be
served cold, but his Lordship eat his peaches without hazarding
any remarks. His Mace was thought to be one of the finest pieces
of sculpture ever executed in pastry. It contained a fine
pine-apple in the capital, with a beautiful crown in
Naples-biscuit, and his chair was entirely composed of barley
sugar drops. In the next room were the Barons and Baronesses, the
newly created ones next the door, and the premier Baron very
near, but not in contact with the lowest Viscount, in the
corridor of the third chamber. The Lord Chamberlain, the Lords of
the Bedchamber, the Gold and Silver Sticks, &c., had their wands
of the best double refined sugar, excepting the Gold Stick, whose
staff was of barley-sugar, or as some say sugar-candy.

"In the inner rooms, according to their rank, and date, were
placed the Earls, Marquisses, and Dukes of England. The premier
Duke, and E. M., nearest to the Noble Hostess. The Lords on the
cross bench were served with some difficulty by _Beefeaters_, who
were obliged to move like the Knights at Chess, which had a very
pretty effect. It added to the liveliness, and gaiety of the
meeting, that every mask had for its neighbour, on both hands,
the same individual it conversed with so frequently at Mr.
Hasting's trial, which made the 'I know you,' and 'Who are you?'
exceedingly facetious and happy. The Lords of the Bedchamber were
in high glee, and spirits, but were discovered by their jokes,
some of which were remembered upon former occasions. The Maids of
Honour were in perfect character and detected in an
instant."--(_Times, June 21, 1799._)

Music was much in vogue both publicly and in private. Concerts were plentiful, the most aristocratic, perhaps, being held in Willis's Rooms, of which I will give one Advertisement, relating to a ball.

Advt.--"Assembly Rooms, King Street, St. James's Square.

"Willis humbly begs leave to acquaint the Nobility, and Gentry,
Subscribers, that the first Ball, this season, commences This
Day.

"The Rooms will be lighted at Ten, and the Ball will be opened at
Half-past Ten o'clock, precisely.

"_N.B._--By order of the Ladies (Directresses), no person
whatever will be admitted without producing their ticket, and no
ticket but those of the night, can possibly be admitted.

"The Nobility and Gentry are most earnestly requested to order
their Coachmen to set down, and take up, with their horses'
heads towards St. James's Street.

"The side doors are for chairs only."--(_Morning Post, Feb. 14,
1788._)

This refers only to the subscription Balls, which were so famous, and so select--but, as I said above, this was the chiefest Concert Hall. A greater libel against the English nation never was uttered, than when it was said they were not a musical nation--and it was, essentially, in Chamber music, glees, madrigals, ballads--small home concerts in which a few friends met together and spent a pleasant evening--in which the harpsichord, or pianoforte (for that instrument was then in vogue), joined with the cello, violin, and flute, in pretty, and harmonious, quartets.

This Illustration shows Mrs. Billington and the Duke of Sussex, with two friends, thus engaged, and an exceedingly home-like group it is.

It was an unusual thing for ladies, then, to play on any other instruments than the harpsichord, or piano, and the harp, or guitar; this latter coming specially into vogue, some twenty years later, after the Peninsular War, so Mrs. Billington created some surprise.

"_Mrs. Billington_ who is solicitous for musical distinction in
any respect, as far as her talents can extend, is now applying,
with very great diligence, to the _violin_; and, from the present
state of her progress, it is supposed she will hereafter figure
amongst the most shining performers on that
instrument."--(_Morning Post, Feb. 16, 1788._)

Judging by this illustration, the ladies of 1799 were not at all restricted in their choice of instruments.

_Apropos_ of Concerts, we get several paragraphs about them from one Newspaper, the _Morning Post_ of Jan. 15, 1789.