AMUSEMENT—DETAIL OF ITS PRINCIPAL VARIETIES SINCE 1700.
Many pursuits called amusements will be found in this section which the
Moralist must term Crimes .
When the reader has traced the endeavours of the last century in the
art of killing time, as related in this volume, he cannot but agree
with me that a laughing is better than a sullen and ferocious age.
Concerts of vocal and instrumental musick were held as at present
at the commencement of the century, and patronised by Ladies of
distinction.
"The great room " in York-buildings was used for this purpose; and
benefits were appointed for Mrs. Hudson and Mr. Williams, March 20,
1700.
A Concerto was held at the Theatre in Dorset-gardens April 24, 1700,
with a most curious accompaniment, in order to amuse the auditors
optically as well as auricularly. Joseph Thomas, master of the noble
science of defence, had challenged or been challenged by a Mr. Jones,
who came from North Wales, in order to decide whose skill was superior;
after a trial before many of the nobility and gentry the palm was
assigned to Mr. Jones.
While the superior ranks were thus employing their leisure hours, the
canaille had their amusements, perhaps not quite so refined, but
equally palatable to them. The following advertisement will explain
one description of those, probably entirely forgotten by the oldest
inhabitant now living: April 27, 1700. "In Brookfield Market-place,
at the East corner of Hyde-park, is a fair to be kept for the space
of sixteen days, beginning the first of May. The first three days
for live Cattle and Leather, with the same entertainments as at
Bartholomew-fair ; where there is shops to be let ready built for all
manner of tradesmen that usually keep fairs; and so to continue yearly
at the same time and place."
The present Tunbridge-wells, or Islington Spa, was in full favour
with the publick, and opened for the Summer on the 5th of May. The
proprietors admitted dances during the whole of the day on Mondays and
Thursdays, provided they did not appear in Masks, for whom musick was
provided. In this instance, it may be worthy of remark, we have no
parallel at present; and happily none for the Bear-garden at Hockley in
the Hole, where the infamous part of the community were entertained
with battles between eminent professors of the art of fencing, and
sometimes with five pair of young men exhibiting together proofs of
skill and strength.
"At his Majesty's Bear-garden in Hockley in the Hole: a trial of
skill to be performed to-morrow, being the 10th instant (July 1700), at
three in the afternoon, between John Bowler of the City of Norwich, and
Champion of Norfolk, Master of the noble science of defence, and Will
of the West, from the City of Salisbury, Master of the said science of
defence."
The trumpet, always a favourite instrument with the publick, was then
used only by persons licensed by the Serjeant Trumpeter, who received
upon conviction one shilling per day from those who performed without
a licence, which William Shore, Serjeant, assured the publick should
be given to the poor, as the fines had been by his father, whom he
succeeded in the office. These instruments are now used by persons
who wish to attract notice at Puppet-shews, Bartholomew-fair, &c.;
the amusements peculiar to which can only be caught by an attentive
examination of the periodical publications of the day. An article
in one of those, dated August 6, 1700, mentions: "The lessees of
West-Smithfield having on Friday last represented to a Court of
Aldermen at Guildhall, that it would be highly injurious to them to
have the erection of all booths there totally prohibited , the right
honourable Lord Mayor and the Court of Aldermen have, on consideration
of the premises, granted licence to erect some booths during the
time of Bartholomew-fair now approaching; but none are permitted for
Music booths , or any that may be a means to promote debauchery." On
the 23d of the same month the Lord Mayor went on horseback to proclaim
the Fair, when he ordered two booths erected for the performance of
Musick to be taken down immediately.
An anniversary celebration of Musick was held on St. Cecilia's day at
Stationers'-hall in 1700 by a Society of Gentlemen; but whether those
amateurs performed themselves, or hired performers, does not appear.
Certain persons felt great displeasure at the public amusements of
the day; and at length that displeasure found vent in the presentment
of the Grand Jury of Middlesex: "We the Grand Jury of the County
of Middlesex do present, that the Plays which are frequently acted
in the play-houses in Drury-lane and Lincoln's-Inn-fields in this
County are full of prophane, irreverent, lewd, indecent, and immoral
expressions, and tend to the great displeasure of Almighty God, and
to the corruption of the auditory both in their principles and their
practices. We also present, that the common acting of plays in the
said play-houses very much tend to the debauching and ruining the
youth resorting thereto, and to the breach of the peace, and are the
occasions of many riots, routs, and disorderly assemblies, whereby
many murders and other misdemeanors have been frequently done, and
particularly the barbarous murder of Sir Andrew Slanning, which was
very lately committed as he came out of one of the said play-houses;
and further that the common acting of plays at the said play-houses
is a public nuisance. As also the Bear-garden in Hockley in the Hole,
in the parish of St. John's Clerkenwell, in the said County, to be of
the like nuisance. We hope this honourable Court will use the most
effectual and speedy means for the suppressing thereof."
The minor offenders were noticed as follows, in "The presentment of
the Grand Jury sworn for the City of London at Justice-hall in the Old
Bailey the 4th day of June 1701, and in the 13th year of the reign of
our Sovereign Lord King William III. of England, &c.
"This honourable Court, having taken notice in the admirable Charge
given to us of the great advantages which this City hath received
from the zeal and industry of those gentlemen and citizens, who in
and about this City are concerned in Societies for the promoting
more effectually the execution of the Laws against profaneness and
debauchery, in pursuance to his Majesty's proclamations, and who have
received the public approbation of many persons in high stations in
Church and State: we the Grand Jury of this City do think it becomes
us to return our hearty thanks to those worthy persons who are thus
engaged in Societies for the promoting a reformation of manners, so
absolutely necessary to our welfare; and we hope their engaging so
heartily in this noble design will be an encouragement to others to
join with them for the effecting a more general reformation.
"We having observed the late boldness of a sort of men that stile
themselves masters of the noble science of defence, passing through
this City, with beat of drums, colours displayed, swords drawn, with
a numerous company of people following them, dispersing their printed
bills, thereby inviting persons to be spectators of those inhuman
sights, which are directly contrary to the practice and profession of
the Christian Religion, whereby barbarous principles are instilled in
the minds of men: we think ourselves obliged to represent this matter
to this honourable Court, that some effectual method may be speedily
taken to prevent their free passage through the City, in such a
tumultuous manner, on so unwarrantable a design."
"Whereas we have seen a printed order of the Lord Mayor and Court of
Aldermen the 25th June, 1700, to prevent the great profaneness, vice,
and debauchery, so frequently used and practised in Bartholomew Fair,
by strictly charging and commanding all persons concerned in the said
Fair, and in the sheds and booths to be erected and built therein, or
places adjacent, that they do not let, set, hire, or use, any booth,
shed, stall, or other erection whatsoever, to be used or employed for
interludes, stage-plays, comedies, gaming-places, lotteries, or music
meetings[113:A]: and as we are informed the present Lord Mayor and
Court of Aldermen have passed another order to the same effect on the
3d instant, we take this occasion to return our most hearty thanks for
their religious care and great zeal in this matter; we esteeming a
renewing their former practices at the Fair a continuing one of the
chiefest nurseries of vice next to the play-houses; therefore earnestly
desire that the said orders may be most vigorously prosecuted, and
that this honourable Court would endeavour that the said Fair may be
employed to those good ends and purposes it was at first designed."
These Juries omitted noticing a most barbarous amusement which
prevailed to great excess, as will appear by the ensuing advertisements
issued in the same year: "At the Royal Cockpit on the South side of St.
James's-park, on Tuesday the 11th of this instant February, will begin
a very great Cock-match; and will continue all the week; wherein most
of the considerablest Cockers of England are concerned. There will be a
battle down upon the Pit every day precisely at three o'clock, in order
to have done by day-light. Monday the 9th instant March will begin
a great match of Cock-fighting betwixt the Gentlemen of the City of
Westminster and the Gentlemen of the City of London for six guineas a
battle, and one hundred guineas the odd battle, and the match continues
all the week, in Red-Lion-fields."
In the following April another match commenced, to continue for a week,
at four guineas a battle, and forty guineas the odd battle, between the
Gentlemen of London, and those of Warwickshire, at the new Cockpit
behind Gray's-Inn-walks.
The presentments were, however, of some service, as the proprietors
of the Bear-garden advertised subsequently "without beat of drum ."
Wrestling was exhibited by them, and the prizes were gloves at two
shillings and sixpence per pair. Lambeth-wells opened on Easter
Mondays, and had public days on Mondays, Thursdays, and Saturdays, with
musick from seven in the morning till sunset; on other days till two.
The price of admission was three pence; the water one penny per quart
to the affluent, and gratis to the poor.
The good people at Bartholomew Fair were entertained in 1701 by a
Tiger, who had been taught to pick a fowl's feathers from the body.
This feat seems to have roused the proprietors of the Theatre in
Lincoln's-Inn-fields; and they immediately, "at the desire of several
persons of quality," exhibited "that delightful exercise of vaulting on
the managed horse according to the Italian manner," after the play of
the Country Wife.
Amongst the variety of amusements with which London has abounded,
public exhibitions may be fairly included. The first upon record
within the century appears to have been certain models representing
William the Third's palaces at Loo, Keswick, and Hunslaerdike: those
were shown in 1701 from ten in the morning till one, and from two
till eight at night, "at the White head near Pall-Mall facing the
Haymarket, within two doors of the glass lamps ." The proprietors
elegantly observe in their advertisement, that they were "brought over
lately by outlandish men;" and that, "to render those diversions
altogether more delightful and acceptable, there will be a collection
of several curiosities to be sold and raffled for at the opening, and
likewise every Monday and Friday following, those days being appointed
the public raffling-days, besides a great variety of rarities: and to
entertain the nobility and gentry (who, the undertakers hope, will
countenance them with the honour of their company) there shall be on
Wednesday the 14th instant (January) a concert of musick by the best
performers; and if all these diversions please such for whom they are
intended, there shall be from time to time great additions made."
However pleasing and moral the Stage may be at present, we are in great
measure indebted to our Ancestors for the improvements which have taken
place. In the reign of Charles II. the licence permitted to Dramatic
Authors was indecent and infamous in the extreme, and the profane and
immoral expressions inserted in many plays really rendered the use of
masks necessary for those ladies who possessed the least delicacy of
sentiment.
In 1701-2 another and effectual effort was made to reform this evil,
by a prosecution instituted in the Court of King's-bench, and tried
before Lord Chief Justice Holt. The Jury on this occasion found the
players of Lincoln's-Inn-fields play-house guilty of uttering impious,
lewd, and immoral expressions.
In April 1702, an advertisement appeared in the papers, inviting the
publick to see the skeleton of a Whale then lately caught in the
Thames, which the proprietors had carefully scraped and put together in
the field near King-street, Bloomsbury. They asserted that one bone of
his head weighed 40 cwt. The price of admission was threepence.
This stupendous exhibition accompanied another of the model of
Amsterdam, which almost vied with it in size: the length was between
twenty and thirty feet, the breadth twenty; and the artist or artists
were occupied twelve years in completing it. The place of exhibition
was Bell-yard, Fleet-street.
May Fair opened this year with the usual splendid entertainments,
and, if the managers of these elegant diversions were to be credited,
with more than common eclat. There was Mr. Miller's booth "over
against" Mr. Barnes the rope-dancer's, where was "presented an
excellent droll called Crispin and Crispianus, or a Shoemaker a Prince,
with the best machines, singing, and dancing ever yet in the Fair ."
This and other excellent performances attracted the lasses and lads
of London, whose spirits, exhilarated by the season from which the
Fair was named, met in vast numbers, and with them the thief and the
prostitute, who, as usual, did not permit the attractions of drolls
to divert them from business: indeed they were so extremely active
in their vocations, that the Magistrates thought proper to thin the
number of the latter by commitments; but in the execution of this plan
the Constables were resisted by a set of Soldiers, who determined to
protect the Fair , which they did in such serious earnest, that Mr.
John Cooper, one of the peace-officers, lost his life, and in due time
was buried at St. James's Church Westminster, where a Funeral Sermon
was preached by Josiah Woodward, D. D. Minister of Poplar Chapel,
before the Justices, High Constable, &c. and which he published at
their request. The Observator, a paper published twice a week at that
period, says ironically of May Fair; "Oh the piety of some people about
the Queen; who can suffer things of this nature to go undiscovered to
her Majesty, and consequently unpunished! Can any rational man imagine
that her Majesty would permit so much lewdness as is committed at May
Fair for so many days together so near her Royal Palace, if she knew
any thing of the matter? I do not believe the patent for that Fair
allows the Patentees the liberty of setting up the Devil's shops ,
and exposing his merchandise to sale; nor was there ever one Fair
or Market in England constituted for this purpose . But this Fair is
kept contrary to Law, and in defiance of Justice; for the last Fair,
when the Civil Magistrate came to keep the Queen's peace there, one
Constable was killed, and three others wounded." The man who committed
the above murder escaped, and a butcher of Gloucester was hanged for
the crime; but the real culprit finally suffered: and thus tragically
ended the Fair of May 1702.
Mr. Pawlet had a great dancing-room near Dowgate, Thames-street; hither
the gay were invited to a "Consort " produced by violins, hautboys,
flutes, and a trumpet , with singing. The admission 1s. 6d.
The following quotation from the first number of "The Secret Mercury,"
published September 9, 1702, gives a better idea of one of the
Drolls or Interludes of the day than any I have previously met with:
"Wednesday September 2, having padlocked my pockets , and trimmed
myself with Hudibras from head to foot, I set out about six for
Bartholomew Fair; and, having thrown away substantial silver for
visionary Theatrical entertainment, I made myself ready for the Farce;
but I had scarce composed myself when bolts me into the Pit a bully
beau," &c. &c. "The curtain drew, and discovered a nation of beauish
machines; their motions were so starched, that I began to question
whether I had mistaken myself and Dogget's booth for a Puppet-shew. As
I was debating the matter, they advanced toward the front of the stage,
and making a halt began a singing so miserably, that I was forced to
tune my own whistle in romance ere my brains were set strait again.
All the secret I could for my life discover in the whole grotesque
was the consistency or drift of the piece, which I could never
demonstrate to this hour. At last all the childish parade shrunk off
the stage by matter and motion, and enter a hobletehoy of a dance,
and Dogget in old woman's petticoats and red waistcoat, as like Progue
Cock as ever man saw; it would have made a Stoick split his lungs, if
he had seen the temporary harlot sing and weep both at once; a true
emblem of a woman's tears. When these Christmas carols were over,
enter a wooden horse; now I concluded we should have the ballad of
Troy-town, but I was disappointed in the scene, for a dancing-master
comes in, begins a complimenting the horse, and fetching me three or
four run-bars with his arm (as if he would have mortified the ox at
one blow) takes a frolick upon the back of it, and translates himself
into cavalry at one bound: all I could clap was the patience of
the beast. However, having played upon him about half a quarter, the
conqueror was pursued with such a clangor from the crusted clutches of
the mob in the sixpenny place , that for five minutes together I was
tossed on this dilemma, that either a man had not five senses, or I
was no man. The stage was now overrun with nothing but Merry Andrews
and Pickle-herrings. This Mountebank scene was removed at last, and I
was full of expectation the successor would be Pills, Pots of Balsam,
and Orvietan; but, alas, they were but half Empiricks, and therefore
Exeunt omnes."
From several circumstances it appears that, notwithstanding the
proclamation and feeble exertions of the Corporation of London, these
interludes were openly performed in Smithfield: and that the Governors
of St. Bartholomew's Hospital actually permitted prostitutes to walk
the Cloisters. One of the "Secret Mercuries" has this expression:
"Well, I shall catch you in the Cloysters ;" but the Observator of
August 21, 1703, sets the matter beyond doubt: "Does this Market of
lewdness tend to any thing else but the ruin of the bodies, souls,
and estates, of the young men and women of the City of London, who
here meet with all the temptations to destruction? The lotteries to
ruin their estates; the drolls, comedies, interludes, and farces, to
poison their minds with motions of lust; and in the Cloisters (those
conscious scenes of polluted amours) in the evening they strike the
bargain to finish their ruin. What strange medley of lewdness has that
place not long since afforded! Lords and ladies, aldermen and their
wives, squires and fidlers, citizens and rope-dancers, jack-puddings
and lawyers, mistresses and maids, masters and prentices! This is not
an ark, like Noah's, which received the clean and unclean; only the
unclean beasts enter this ark, and such as have the Devil's livery on
their backs." And in another paper he says, "they'll raffle with the
punks in the Cloysters."
The reader will pardon the introduction of the substance of an
advertisement inserted in the Postman, August 19, 1703, by Barnes and
Finley, who, after the usual exordium of their superior excellence,
mention that the spectator will "see my Lady Mary perform such
curious steps on the dancing rope , &c. &c." This lady Mary is
subsequently noticed in Heraclitus Ridens, No. 7, by Earnest, who
says, "Look upon the old gentleman; his eyes are fixed upon my lady
Mary: Cupid has shot him as dead as a Robin. Poor Heraclitus! he has
cried away all his moisture, and is such a dotard to entertain himself
with a prospect of what is meat for his betters; wake him out of his
lethargy, and tell him the young noblemen and senators will take it
amiss, if a man of his years makes pretensions to what is more than a
match for their youth. Those, &c. &c. and roguish eyes have brought her
more admirers than ever Jenny Bolton had; it is a pity, say I, she has
no more manners, and less ill-nature." Chetwood, in his History of the
Stage, mentions a Lady Isabella, which name, writing from memory, he
has evidently mistaken for Mary, who was the daughter of noble parents
inhabitants of Florence, where they immured her in a Nunnery; but, most
fruitlessly careful of their beautiful offspring, she accidentally saw
a Merry Andrew, who unfortunately saw her; in consequence of which a
clandestine intercourse took place, an elopement followed, and finally
this villain taught her his infamous tricks, which she exhibited for
his profit till vice had made her his own; as Heraclitus proves. The
catastrophe of the Lady Mary was dreadful; her husband , impatient of
delays or impediments to profit, either permitted or commanded her to
exhibit on the rope when eight months had elapsed in her pregnancy:
encumbered by her weight, she fell, never more to rise; her infant was
born on the stage, and died a victim with its Mother.
Mr. Abel advertised a concert and dancing at Covent Garden Theatre for
Tuesday December 29, 1702: the performers, himself, Monsieur l'Abbé,
Mr. Isaac's scholar , and others. The galleries were let for the
benefit of the proprietors of the Playhouse.
Hitherto we have had to notice amusements which involved the performers
in little corporeal injury, unless from accidents, or sudden quarrels.
I shall now introduce an entertainment the very zest of which
consisted in a great number of broken pates. "At the White Horse at
Bristol Causeway (now denominated Brixton) in Surrey, three miles
from London in the road to Croydon, will be a Hat played for at
Cudgels, on the 23d of April, 1703; the Country against the Londoners.
He that breaks most heads to have the hat; he that plays puts in
sixpence." Smock-races were run at this elegant place of resort "by
young women and maids," to the utter disgrace of the neighbouring
Magistracy.
The year 1703 produced a new source of amusement, which is noticed by
Tutchin in the Observator: "But I have some Play-house news to tell
you: the great Play-house has calved a young one in Goodman's fields,
in the passage by the Ship Tavern betwixt Prescot and Chambers-street.
Observator—It is in a very good place in Rosemary-lane precinct; I
know no reason why the quality at both ends of the town should not have
the same diversions. This will be a great ease to the Ladies of Rag
Fair, who are now forced to trudge as far as Lincoln's-inn-fields to
mix themselves with quality. The mumpers of Knockvargis will now have
the Playhouse come to them, who were not able to stump it to the other
end of the town on their wooden legs: the Does in Tower-hill Park and
Rosemary-lane purlieu will be foddered nearer home this winter; and
the sailors will have better entertainment for their loose coins than
formerly."
The Grand Jury of Middlesex presented May Fair in November 1703. And
early in the ensuing year, the public mind had been so influenced by
the dreadful storm of November, the effects of which were felt in
every direction, that prelates, the clergy, authors, and in short all
men of virtue, joined in one grand exclamation against the obscenity,
the immorality, and the blasphemy of the stage, which its most ardent
admirers must admit to have arrived at such a height as fully warranted
an order from the Queen to restrain it. At the same period the Lord
Mayor and Aldermen issued a proclamation, forbidding the cruel practice
of throwing at Cocks on Shrove Tuesday; and the Tatler of April 18,
1709, mentions the total abolition of May Fair as far as related to the
exhibition of puppets, and similar contemptible traps for the vulgar.
The Theatre in the Haymarket was opened in 1705, when these strange and
almost impious lines were pronounced as part of the Prologue:
"Such was our Builder's art, that, soon as nam'd,
This fabrick, like the infant World, was fram'd:
The Architect must on dull order wait,
But 'tis the Poet only can create.
In the good age of ghostly ignorance,
How did Cathedrals rise, and zeal advance;
But now that pious pageantry no more,
And Stages thrive as Churches did before."
By Dr. Garth.
The Theatre in Dorset Garden was taken down about 1709, and the site
immediately afterwards converted into a wood-yard and saw-pit.
Firing at marks formed part of the amusement of a certain class of
people in 1709; and prizes were offered of various descriptions,
particularly one at Islington of a pair of doe-skin breeches worth
3l. The terms for the privilege of firing were a subscription of one
shilling each by sixty men.
A most tragical occurrence happened in September 1709, at that polite
place of resort the Bear-garden at Hockley in the Hole. Christopher
Preston, keeper of the Garden, had taught his Bears every thing but
forgiveness of injuries; and this he experienced, at an unguarded
moment, by an attack from one, who not only killed, but almost devoured
him, before his friends were aware of the fact.
In 1710 the publick were offered an exhibition something similar to
the modern moving picture at Vauxhall; it was shown for sixpence and
a shilling opposite Cecil-street in the Strand, and represented ships
sailing out of port, a coach passing over a bridge leading to a city, a
cart drawn by two horses with a woman in it, and many other things.
Matches at Cricket were played for many years on Tuesdays, Thursdays,
and Saturdays, at the Duke of Ormond's head near Lamb's Conduit-fields.
The Tatler of April 25, 1710, advertises a Pastoral Mask to be
performed at York-buildings on the 27th, composed by Mr. Clayton, and
for his benefit, who is there said to have introduced the Italian Opera
into England.
Mr. Winstanley had a "Water Theatre," distinguished by a Windmill
on the summit in Piccadilly near Hyde-park, "wherein was shewn the
greatest curiosities in water-works, the like being never performed
by any." The hours of exhibition were from five to six o'clock every
evening in June and July 1710, for his widow's benefit. This gentleman
had a house at Littlebury, Essex, where some experiments in Hydraulicks
were exhibited for money.
The following notice was issued in August, "that a Gold Ring is to be
danced for on the 31st instant, and a Hat to be played for at skittles
the next day following, at the Green-gate in Gray's walks, near
Lambeth-wells."
The Bowling-green and Cockpit behind Gray's-Inn garden were advertised
for sale or to be let in 1710; but, though the publick seem thus to
have lost one place of resort, Punch's Opera, under the direction of
Powell, was opened at the same time at the end of Lichfield-street,
where the prices of admission were, boxes 2s. pit 1s. gallery 6d.
This exhibition must have been something like the modern Fantoccini;
the figures were dressed in character; and one of the performances was
"The History of chaste Susannah."
A new Cockpit and Bowling-green were opened in March 1711 behind
Gray's-Inn gardens; the Gentlemen of Essex against all Britain, at ten
guineas a battle, and 500 the odd battle.
That the reader may not be bewildered by my conjectures as to the real
nature of the entertainment described in the following advertisement,
I shall transcribe it verbatim from the original Spectator, No. 46:
"Mr. Penkethman's (I suppose the actor of that time, 1711) wonderful
invention called The Pantheon, or the Temple of the Heathen Gods, the
work of several years and great expence, is now perfected; being a most
surprising and magnificent machine, consisting of five several curious
pictures, the painting and contrivance whereof is beyond expression
admirable: the figures, which are above an hundred, and move their
heads, legs, arms, and fingers so exactly to what they perform, and
setting one foot before another like living creatures, that it justly
deserves to be esteemed the greatest wonder of the age. To be seen
from ten in the morning till ten at night, in the Little Piazzas,
Covent-garden, in the same house where Punch's Opera is, price 1s.
6d., 1s., and the lowest 6d."
The room in Spring-garden now used as a Toy-shop, and for various
exhibitions, was a Masquerade-room in 1711; which amusement was
afforded for half a guinea per ticket, and a concert included. No
person admitted unmasked or armed.
St. George's-fields abounded with gardens, where the lower classes met
to drink and smoke tobacco; but those were not their only amusements.
Mr. Shanks near Lambeth-marsh contrived to assemble his customers
in 1711 with a grinning match. The prize was a gold-laced hat, and
the competitors were exhilarated by musick and dancing: the hour of
exhibition twelve at noon, and the admission 6d. At six o'clock
the same. And every evening another portion of the same class were
delighted with contortions of a different description, which had
however the sanction of antiquity; posture-masters are represented in
the illuminations of very antient MSS. and in attitudes described in
the following advertisement: "At the Duke of Marlborough's-head in
Fleet-street, in the great room is to be seen the famous Posture-master
of Europe, who far exceeds the deceased posture-masters Clarke and
Higgins; he extends his body into all deformed shapes, makes his hip
and shoulder-bones meet together, lays his head upon the ground, and
turns his body round twice or thrice without stirring his face from the
place; stands upon one leg, and extends the other in a perpendicular
line half a yard above his head, and extends his body from a table with
his head a foot below his heels, having nothing to balance his body
but his feet; with several other postures too tedious to mention."
Queen Anne was prevailed upon in 1711 to issue her proclamation to
the ensuing purport: "Whereas we are informed that the orders we have
already given for the reformation of the Stage, by not permitting any
thing to be acted contrary to Religion or good manners, have in great
measure had the good effect we proposed; and being further desirous
to reform all other indecencies and disorders of the Stage: Our will
and pleasure therefore is, and we do hereby strictly command, that no
person, of what quality soever, presume to stand behind the scenes, or
come upon the Stage, either before or during the acting of any Opera or
Play; and that no person come into either of our houses for Opera or
Comedy without paying first the established prices for their respective
places. All which orders we strictly command the managers of both
our Opera and Comedy to see exactly observed and obeyed; and if any
persons whatsoever shall disobey this our known pleasure and command,
we shall proceed against them as contemners of our Royal authority, and
disturbers of the public peace." Gazette, Nov. 15, 1711.
It was in the latter part of the above year that the Spectator first
noticed the Trunk-maker , a person who appears to have possessed great
critical knowledge in theatrical affairs, which he evinced by violent
blows aimed at the benches and wainscot of the upper-gallery; in short,
according to the accounts of that valuable paper, his judicious manner
of bestowing approbation with his stick soon made him a popular leader
in criticism, and the arbitrator of applause.
The tradesmen who furnished the several materials necessary for
the performance of the Opera in the Haymarket 1710, supported by
a subscription from the Nobility, &c. were not paid their several
demands by December 1711; in consequence of which they advertised
an intended general meeting to concert measures for petitioning the
Lord Chamberlain, or commencing law-suits against the Manager, who
peremptorily refused payment, although the articles obtained were in
constant use.
The following advertisement appeared at the same time: "Mr. Rich and
others having petitioned her Majesty against an order for silencing of
acting Plays, Operas, &c. under the patents granted by King Charles
II. and touching a forcible entry made by Mr. Collier into the Theatre
Royal; the matters of which having been referred to her Majesty's
Attorney and Solicitor-general to examine; it is said they have made
their report of the facts, and of the right of Mr. Rich and other
petitioners under the Patents being a franchise in fee; and that
speedy application will be made to her Majesty in Council to determine
the same. The Town seems very desirous to have two companies, to
emulate one the other, and create more variety of theatrical diversions
without raising the price."
Almost immediately after Messrs. Clayton, Haym, and Dieupart, prevailed
upon the Authors of the Spectator to insert the ensuing notice, from
which it may be inferred that they had in some degree baffled their
own designs in introducing the Italian Opera: "Mr. Spectator, You will
forgive us professors of musick, if we make a second application to
you, in order to promote our design of exhibiting entertainments of
musick in York-buildings. It is industriously insinuated, that our
intention is to destroy Operas in general; but we beg of you to insert
this plain explanation of ourselves in your paper. Our purpose is only
to improve our circumstances by improving the art which we profess; we
see it utterly destroyed at present, and as we were the persons who
introduced Operas, we think it a groundless imputation that we should
set up against the Opera in itself: what we pretend to assert is,
that the songs of different authors injudiciously put together, and a
foreign tone and manner which are expected in every thing now performed
amongst us, has put musick itself to a stand; insomuch that the ears
of the people cannot now be entertained with any thing but what has
an impertinent gaiety without any just spirit, or a languishment of
notes without any passion or common sense. We hope those persons of
sense and quality who have done us the honour to subscribe will not be
ashamed of their patronage towards us; and not receive impressions that
patronising us is being for or against the Opera, but truly promoting
their own diversions in a more just and elegant manner than has been
hitherto performed."
There was an established Cockpit in Prescot-street, Goodman's-fields,
1712: there the Gentlemen of the East entertained themselves, while
the Nobles and others of the West were entertained by the edifying
exhibition of the agility of their running footmen. His Grace of
Grafton declared his man was unrivaled in speed; and the Lord
Cholmondeley betted him 500 guineas that his excelled even the
unrivaled: accordingly the ground was prepared for a two-mile heat in
Hyde-park; the race was run, and one of the parties was victor , but
which my informant does not say.
In the same month a curious Brass Gun was advertised to be shot for at
Hoxton: it was in the shape of a walking-cane, and might be used as gun
or pistol, contained a telescope, a dial on the head, and a perpetual
almanack.
The Spectator, No. 436, enables us to form a correct idea of the brutal
sports of the Bear-garden—the Theatre for the double exhibition of
natural brutes and the degeneracy of human nature. The ridiculous
movements of the bear appear to have been too innocent an amusement
for the populace; they therefore gave place to pugilism and fighting
with swords: the latter diversions were certainly countenanced by the
customs of the Antients; but the tyranny of their government and the
ferocious nature of their people were palliatives that Englishmen could
not plead. Their emperors and senates erected stupendous amphitheatres
for public games; youths were tutored from infancy for gladiators, and
slaves fought for the entertainment of their masters; the populace
were used to see gashes, blood, and death, nay to see criminals rot in
their streets; and the males hardened female feelings by their military
plunder of and cruelty to the surrounding nations. But the British
populace knew not of those horrible proceedings; and most probably
Miller and Buck were ignorant that a Roman state ever existed. We
therefore cannot but be surprised, that so many years were suffered to
elapse before the vigilance of the Magistracy was roused to suppress
the hateful wickedness of a few miscreants who had it in their power to
attract men around a stage to view their fellow-citizens endeavouring
to maim each other; but, however disgusting the recollection that such
things have been, we must rejoice that no Serjeant now dare offer, or
Human Butcher receive, a challenge similar to the following:
"I James Miller, serjeant (lately come from the frontiers of Portugal),
master of the noble science of defence, hearing in most places where I
have been of the great fame of Timothy Buck of London, master of the
said science, do invite him to meet me, and exercise at the several
weapons following: back-sword, sword and dagger, sword and buckler,
single falchon, case of falchons, quarter-staff."
The author of the above paper declares he witnessed the combat the
challenge occasioned; and I shall endeavour to shew it to the reader
in its true colours, divested of that romantic and chivalric air with
which it is glossed in the paper alluded to. Two drummers, whose bodies
were disfigured by the wounds they had received in battle, preceded the
challenger, a stout athletic man with a blue ribband tied round his
right arm, accompanied by a fell dæmon, a second or friend, one who
is described as bearing in his breast that malice which darted amongst
the crowd through his organs of sight, the crowd whose eagerness had
arisen to frenzy; keen expectation marked their features and convulsed
their limbs, motion impelled motion, the stout overwhelmed the weak,
the tallest the short, impatience and anger prompted removals, and
instantly a grand transfer of places ensued: the spectators rushed
from the gallery into the area, and from the area into the gallery;
and confusion reigned triumphant till Buck appeared, when all was
hushed. Now observe the picture: the combatants, stripped to their
shirts, shake hands to show that they kill each other in good will ,
and prepare to injure and defend. Turn to the spectators, examine their
breasts, what is the result?—Humanity? Pity? Fear? Horror? No: those
passions would have rendered the Bear-garden desolate. The painter
finds but one dreadful chaos, a compound of features expressive of
eagerness, partiality, and hope; not that Miller or Buck may escape
injury, but that Buck may conquer Miller, or Miller Buck. Mark the
issue: Miller has received a dreadful cut in the forehead, and his eyes
stream with blood. Who leaps upon the stage to staunch it, or part the
fiends?—no one. What then succeeds?—a yell of satisfaction, a huzza
from the crowd . But, not to dwell on this horrible scene, a gash on
Miller's left leg terminated the combat. "The wound was exposed to the
view of all who could delight in it, and sewed up on the stage ." One
solitary female shed tears for Miller, and hid her face; but, my author
seems to hint, her humanity was selfish.
A far more innocent amusement was announced directly after the
battle, in No. 533. Mr. Clinch of Barnet entertained the publick at
the Queen's-arms tavern, Ludgate-hill, for one shilling each, by
imitations with his voice of the Flute, double Curtel, the Organ with
three voices, the Horn, Huntsman, and Pack of Hounds, the Bells, &c. &c.
Dawks's News-letter of April 2, 1713, has the following article:
"Yesterday a trial of skill was fought at the Bear-garden between
Henry Clements and Parks of Coventry, where there was good sport,
hacking and hewing . It is thought they got 50l. apiece, the French
ambassador being there, and giving them money very liberally ." Soon
after three bouts "at threshing flail" were announced; and a flourish
of "no cut, no bout."
A Renter's share in Drury-lane Theatre was advertised for sale June
1714 (a 36th) the terms 170l. for 23 years: 2s. per night for
acting days, and free admission.
The Weekly Packet of Nov. 6 says, "Christopher Rich, Esq. the patentee
of the Playhouse, and a great encourager of poetical performances, died
two days since without seeing his new Theatre in Lincoln's-inn-fields
perfected, which is left to the care, with other legacies, of his
eldest son Mr. John Rich." The same paper adds, Nov. 13, that Mr. Rich,
driven from the Theatre of Drury lane by his rebellious subjects, was
buried at St. Andrew's Holborn from his house adjoining the King's
Theatre, accompanied by several of those who had resisted his authority
when living.
And in the publication of December 18, is the following paragraph:
"This day the new Playhouse in Lincoln's-inn-fields is to be opened,
and a comedy acted there called The Recruiting Officer by the company
that act under the patent, though it is said that some of the gentlemen
who have left the house in Drury-lane for that service are ordered
to return to their colours, upon pain of not exercising their lungs
elsewhere; which may in time prove of ill service to the patentee, that
has been at vast expence to make his Theatre as convenient for the
reception of an audience as any one can possibly be."
The King and his Family were either really or politically partial to
Drury-lane, in preference to the Italian Opera; and visited the former
frequently.
The King's licence under the great seal was granted, in January 1715,
to Richard Steele, Esq. to form and keep a company of Comedians, to be
styled "The Royal Company of Comedians."
The Evening Post of March 19, 1715, announced, "On Monday next the 21st
of March the Bowling-green at Mary-le-bon will be opened, by order of
the Nobility and Gentry."
The Weekly Packet of June 25, 1715, shews in few words the extravagant
patronage bestowed on the Italian actors at that time: "Seignior
Nicolini's quail pipe continues to lug the nobility and gentry by
the ears, who have gone very far on his last benefit night towards
equipping him for another purchase at Venice, he having already built
a stately edifice there near the Rialto, upon which is written, in
characters of gold, Villa Britannica, as a testimony that Scaliger's
saying that we are hospitibus feri is a downright untruth, and
falsely imputed to our Nation."
George I. seems to have been partial to aquatic excursions. On the
22d of August, 1715, the King, Prince, and Princess of Wales, and a
numerous party of Nobility, went with musick on board their barges from
Whitehall to Limehouse. When they returned in the evening, the captains
of the shipping suspended lanterns in their rigging, and the houses
on both sides of the river were illuminated; an incredible number of
boats filled with spectators attended the Royal party, and cannon
were continually fired during the day and evening. This amusement is
repeatedly noticed in the papers.
Several years elapsed without the least notice of Bartholomew Fair;
but Dawks's News-letter of August 27, 1715, mentions, "On Wednesday
Bartholomew Fair began, to which we hear the greatest number of black
cattle was brought that ever was known. It seems there is not a public
licence for booths and plays as formerly; but there is one great
play-house erected in the middle of Smithfield for the King's players
(as they are called). The booth is the largest that ever was built,
and abundance of puppet-shews and other shews are set out in the houses
round Smithfield, and public raffling and gaming in the Cloisters
(of St. Bartholomew's Hospital), so that the Fair is almost as much
resorted to as formerly."
I have hitherto described the amusements of the Londoners on terra
firma; the frost of 1715-16 enables me to shew how they gamboled on
the Thames when frozen. The following advertisement leads the way:
"This is to give notice to gentlemen and others that pass upon the
Thames during this frost, that over against Whitehall-stairs, they may
have their names printed, fit to paste in any book to hand down the
memory of the season to posterity.
You that walk there, and do design to tell
Your Children's children what this year befel,
Go print your names, and take a dram within;
For such a year as this has seldom been."
Dawks's News-letter of Jan. 14 says, "The Thames seems now a solid
rock of ice; and booths for the sale of brandy, wine, ale, and other
exhilarating liquors, have been fixed there for some time. But now it
is in a manner like a town: thousands of people cross it, and with
wonder view the mountainous heaps of water that now lie congealed
into ice. On Thursday a great Cook's-shop was erected there, and
gentlemen went as frequently to dine as at any ordinary. Over against
Westminster, Whitehall, and Whitefriars, printing-presses are kept upon
the ice, where many persons have their names printed, to transmit the
wonders of the season to their posterity."
Coaches, Waggons, Carts, &c. are said to have been driven over it; and
an Enthusiast preached to a motley congregation on the mighty waters ,
with a zeal fiery enough to have thawed himself through the ice, had
it been susceptible of religious warmth. This and other diversions
attracted the attention of many of the Nobility, and even tempted the
Prince of Wales to visit Frost Fair.
On that day there was an uncommonly high spring tide, which overflowed
the cellars on the borders of the River, and raised the ice full
fourteen feet without interrupting the people from their pursuits.
The Protestant Packet of this period observes, that the Theatres were
almost deserted.
The News-letter of February 15 announces the dissolution of the
ice, and with it the "baseless fabrick" on which Momus had held his
temporary reign. The above paper enables me to conclude this article,
as I began it, with a scrap of doggrel:
"Thou beauteous river Thames, whose standing tide
Equals the glory of thy flowing pride,
The City, nay the World's transferr'd to thee,
Fix'd as the land, and richer than the sea.
The various metals Nature can produce,
Or Art improve for ornament or use,
From the Earth's deepest bowels brought are made
To shine on thee, and carry on the trade.
Here Guilleaum, fam'd for making silver pass
Through various forms——
And Sparks as fam'd for brass.
There's T——, 'tween God and gold who ne'er stood neuter,
And trusty Nicholson, who lives by pewter;
Wrote o'er their doors having affix'd their names,
We under-writ removed to the Thames,
Who on the slippery substance seek their food,
Some miles together for the common good.
Here healing Port-wine, and there Rhenish flows,
Here Bohea-tea, and there Tobacco grows .
In one place you may meet good Cheshire cheese,
And in another whitest Brentford peas;
Here is King George's picture, there Queen Anne's,
Now nut-brown ale in cups and then in canns;
One sells an Oxford dram as good as can be,
Another offers General Peper's brandy.
See! there's the Mall, and in that little hut
The best Geneva's sold, and love to boot.
See there a sleek Venetian envoy walks;
See here an Alderman more proudly stalks.
Behold the French Ambassador, that's he;
And this is the honest Sire and Captain Leigh.
Here is St. James's street, yonder the Strand:
In this place Bowyer plies; that's Lintot's stand."
The Societies of the two Temples gave grand entertainments at their
Halls to the Lord Chancellor and many of the Nobility in February; but
the most remarkable accompaniment to these convivial meetings was the
representation of the comedy of The Chances, performed within the
greater Hall by the Comedians of Drury-lane Theatre.
The present representatives of the Societies will forgive my transition
from their elegant amusements to those of a Bear-garden, "the back-side
of Soho-square," where the proprietors had an amphitheatre of three
gradations; the lowest of which let at 2s. 6d. for each seat, the
next 5s. and the third 10s. 6d. There, "at the desire of several
persons of Quality," a Leopard, twelve feet in length, was advertised
to be baited to death on the 24th of March; and gentlemen who chose to
risk their dogs were permitted to assist in the destruction of this
monstrous animal, which appears to have been the first so used within
the century. The Leopard was shewn with other beasts in a room "at the
boarded-house, Mary-le-bon-fields." We will leave the "Quality" in
full enjoyment of their classical entertainment; and follow another
description of citizens to Wanstead, where a female had long resided,
who annually attracted notice by the following advertisement, in which
she then mentioned her age for the first time: "This is to give notice
to all my honoured masters and ladies, and the rest of my loving
friends, that my lady Butterfield gives a challenge to ride a horse,
to leap a horse, or run on foot, or halloo, with any woman in England
seven years younger, but not a day older, because I won't undervalue
myself, being now 74 years of age. My Feast will be the last Wednesday
of this month, April, where there will be good entertainment for that
day and all the year after in Wanstead in Essex."
From a paragraph in a newspaper we subsequently find the Boarded House
at Mary-le-bon to have been used as a Theatre for Pugilism.
The Prince of Wales frequently visited the Theatre during his father's
first absence in Germany. The visit of Thursday night the 6th of
December, 1716, appears to have been a dangerous one, and very similar
to that of his successor George III. in May 1799; and, what is more
remarkable, Drury-lane was the place selected for a Royal assassination
twice within a century. A Mr. Freeman attempted to enter a box facing
the Prince's in a very coarse dress, which excited suspicion of the
Box-keeper, who, with the assistance of a centinel, discovered a
pistol under his coat; this he immediately discharged at the Soldier,
and wounded him in the neck; but before he could accomplish farther
mischief, the people knocked him down, and, searching his person, found
other loaded pistols. These circumstances led to farther enquiries,
when it was found that he had a servant in waiting with a horse at the
door of the Theatre. It is observed in the papers which relate this
occurrence, that the Prince evinced no signs of agitation, though there
was every reason to suppose the assassin aimed at his life; and in
this particular he has been emulated by his present Majesty under more
trying circumstances.
Mr. Freeman committed horrid outrages some time after his commitment
to Newgate, which he commenced by a pretended quarrel with a woman
occasionally admitted to his cell. Two of the keepers proceeding to
the spot found Freeman without the door, who immediately stabbed Mr.
Russell in the breast with a rusty fork he had held in his hand behind
him, and then returned to his room, shutting the door, which he refused
to open. A guard of Soldiers was called by Mr. Smith, who endeavoured
to force it open; and an unfortunate man introducing his hand, Freeman,
who was upon the watch, almost severed it with a knife from the wrist.
They then threatened to fire through the door: this alarmed him, and he
opened it; but the Soldiers met with a fierce resistance in attempting
to secure him; and he actually overpowered two ere he was mastered
and conveyed to the condemned hole. It is singular that during this
contest he had planned the firing of Newgate; and his handkerchief
was found burning within his hat in a convenient part of the room for
communication. Freeman was afterwards tried at Kingston for the murder
of a Trooper, and acquitted as a lunatic.
Moorfields was occasionally used by Showmen and Merry-andrews as
their Theatre. The Act of the 12th of Queen Anne was aimed at the
suppression of these low amusements. The proprietors of them, fearful
of the penalties annexed, endeavoured to prevail upon Mr. Justice
Fuller to license them in April 1717, but in vain. Finding this worthy
Magistrate obdurate, they ventured to begin their operations; which he
was no sooner acquainted with, than he assembled thirty constables,
and issued his warrant, supported by the signature of Mr. Rand for
their apprehension. When the High Constable and his posse proceeded to
Windmill-hill, they found it occupied by Messrs. Saunders and Margaret,
two Middlesex Justices, who forbade the execution of the warrant, and
declared they would protect the Showmen. The intrepid Fuller, conscious
of his own rectitude, commanded the arrest of the principals, which was
promptly obeyed; and when conveyed to his residence at Clerkenwell, he
committed them to the House of Correction, where they had been but a
few hours, when three other upright Magistrates set them at liberty.
The next occurrence under this head seems perfectly in unison with
the preceding articles: the proprietors of the Boarded House Soho
advertised a savage entertainment for the 21st of May, 1717, which
required the support of such Magistrates as Margaret and Saunders, and
such spectators as Freeman. They had, during the period between the
baiting of the Leopard and May 21, refined upon cruelty to the very
acme , and were ready to exhibit an African Tiger on a stage four feet
high worried by six bull and bear dogs, for 100l.; a mad bull, and a
bear, both covered with fire-works; and, lest those pleasant spectacles
should fail to amuse, six young men were to play at blunts ; in other
words he that broke most heads obtained a hat. The miscreants had even
the audacity to conclude their detestable advertisement with "Vivat
Rex."
Tottenham Court-road was another place of resort for the lower orders
of society; and their successors even now presume at Easter and
Whitsuntide to set order and magistracy at defiance. "Information
having been given upon oath to divers of his Majesty's Justices of the
Peace for the County of Middlesex, that several lewd and disorderly
persons, and players of interludes, had erected booths and sheds at
Tottenham-Court in the County of Middlesex aforesaid, wherein were
used a great deal of prophane cursing and swearing, together with
many lewd and blasphemous expressions, as also several rude, riotous,
and disorderly actions committed; eleven of his Majesty's Justices,
having duly considered the evil tendency of such wicked and abominable
practices, for suppression thereof, and for preventing the like for
the future, granted a warrant under their hands and seals, dated the
10th instant, for the apprehension of several of the persons concerned
in the management of the said interludes, which hath since been put in
execution, and the same have been suppressed accordingly, and the said
booths and sheds pulled down and taken away[148:A]."
On Friday evening September 13 several Constables visited Southwark,
and particularly Penkethman's booth, whom they apprehended, with others
of his company, just as they had concluded a play, and in the presence
of near 150 noblemen and gentlemen seated on the stage. They were soon
liberated, on making it appear that they were the King's servants. The
Prince visited this booth.
In the same month Mr. Rich assigned his patent granted by Charles II.
and his right in the New Theatre, Lincoln's-inn-fields, to Messrs.
Keene and Bullock, who commenced their reign with the performance of
Cymbeline.
One of the amusements of 1718 was the juggling exhibition of a
fire-eater, whose name was De Hightrehight, a native of the valley
of Annivi in the Alps. This tremendous person ate burning coals,
chewed flaming brimstone and swallowed it, licked a red-hot poker,
placed a red-hot heater on his tongue, kindled coals on his tongue,
suffered them to be blown, and broiled meat on them, ate melted pitch,
brimstone, bees-wax, sealing wax, and rosin, with a spoon; and, to
complete the business, he performed all these impossibilities five
times per diem, at the Duke of Marlborough's head in Fleet-street
for the trifling receipts of 2s. 6d. 1s. 6d. and 1s. Master
Hightrehight had the honour of exhibiting before Lewis XIV. the Emperor
of Germany, the King of Sicily, the Doge of Venice, and an infinite
number of princes and nobles—and the Prince of Wales, who had nearly
lost this inconceivable pleasure by the envious interposition of the
Inquisition at Bologna and in Piedmont, which holy office seemed
inclined to try their mode of burning on his body , leaving to him
the care of resisting the flames and rendering them harmless; but he
was preserved from the unwelcome ordeal by the interference of the
Dutchess Royal Regent of Savoy and the Marquis Bentivoglia.
The following paragraph occurs in the Weekly Journal of March 15,
1718; from which an idea may be formed of the audiences at Sadler's
Wells about that period: "Sadler's Wells being lately opened, there is
likely to be a great resort of strolling damsels, half-pay officers,
peripatetic tradesmen, tars, butchers, and others that are musically
inclined," who had an opportunity this year of gratifying their
curiosity at the Duke of Marlborough's head, by listening to sentences
in German, French, and English, pronounced by a Speaking Dog in
sounds so correctly articulate, as to deceive a person who did not see
him into the belief that the vox humana was actually in use at the
moment. Penkethman exhibited at his booth in Southwark several dancing
dogs imported from France.
A person who was called the Grimace Spaniard induced the proprietors
of the Boarded House to advertise his intention of fighting bulls with
darts, and to kill one with his sword after the Spanish manner. The man
attempted the feat; but whether he was unskilful, or John Bull , the
British beast, was too spirited, it is certain he completely failed;
and retired with the disappointed clamour of the populace thundering in
his ears.
A Royal Academy of Musick was established by letters patent in 1719;
and the Directors were concerned in the management of the Opera, for
which Mr. Handel visited the Continent to obtain performers.
The close of the same year presented the eighth wonder of the world to
the Londoners, as Mr. De Lepine, the inventor, had the vanity to call
it. This was a machine, moved by springs and wheels, impelling figures
to advance on a stage, where they performed a pantomimic opera, aided
by the usual changes of scenes, musick, &c. &c.
The patent of Sir Richard Steele, dated October 18, 1714, by which that
gentleman, Robert Wilks, Colley Cibber, Thomas Doggett, and Barton
Booth, had authority to establish a company of Comedians, received a
violent attack in January 1720; when, through the intrigues of the Lord
Chamberlain, the King was induced to revoke his Royal licence, and
to command their silence at Drury-lane Theatre. This proceeding was
violently resented by Sir Richard; who vented his anger in very severe
terms against the Duke of Newcastle in a periodical paper, intituled,
"The Theatre," and the King now and then received a slight rub.
At the very instant a company of French comedians arrived in England,
encouraged by advantageous offers and a large subscription. Whether the
above prohibition had any reference to such arrival does not appear;
but that the King was partial to their performances is very certain,
and he frequently saw them act.
The London Journal of March 5, 1720, says: "Yesterday morning the
King's company of Comedians belonging to the Playhouse in Drury-lane
were sworn at the Lord Chamberlain's office at Whitehall, pursuant to
an order, occasioned by their acting in obedience to His Majesty's
licence, lately granted, exclusive of a patent formerly obtained by
Sir Richard Steele, knight. The tenor of the oath was, that as his
Majesty's servants they should act subservient to the Lord Chamberlain,
Vice Chamberlain, and Gentleman Usher in waiting."
The company of the New Theatre in Lincoln's-inn-fields was dissolved in
July 1720, and the house seized in execution for debt.
The fashionables of 1720 derived one of their amusements from a
most magnificent marriage celebrated between a Jew and a Jewess of
great respectability named Cornele. Part of the ceremony was held at
Leathersellers Hall, which they hired for six days. These spirited
Israelites went in procession on the Sabbath after their marriage to
the Synagogues, preceded by two men strewing flowers and herbs, and
followed by a great number of nobility and their friends, all on foot,
as the Law of Moses forbids the use of carriages or horses on that
holy day; but, as John Bull did not enter into the spirit of these
rites correctly, Master Cornele thought it useful to provide a guard of
grenadiers, who served to render the pageant splendid, and the persons
who composed it safe.
At the Hall the happy pair were seated under a canopy, for the purpose
of receiving the congratulations of their visitors; those they
returned by entertainments of musick, dancing, and every description
of rich viands, presenting them besides with silver favours elegantly
ornamented with the motto, "This is God's command ," inscribed above
their effigies joining hands. The more humble guests had streams of
wine poured from the mouth and breasts of the old Mermaid, which till
recently fronted the Hall door.
The Theatre in the Haymarket appears to have been re-erected by John
Potter, who leased the King's-head inn of John and Thomas Moor at
a fine of 200l. in 1720. On this site he erected the Theatre for
1000l. and expended 500l. on scenes, dresses, &c. It was finished
December 1, 1720, and appropriated to the company of French Comedians,
who arrived in that month from Paris. Their opening was some time in
January; on the 31st they acted, by desire of several ladies of the
first quality, Le Tartûffe and Le Tombeau de Maitre Andrè with
dances. The prices were, boxes 4s. pit 2s. 6d. and gallery 1s.
6d.
A riot which happened in Lincoln's-inn-fields Theatre in March 1721
occasioned the custom, still retained, of having a serjeant and twelve
men stationed round the house during the performance.
Wells, who had left the old Bear-garden at Hockley in the Hole, and
established that at Mary-le-bon, died in 1721. Dan Singleton composed
the following ludicrous epitaph on the occasion:
"Shed, O ye combatants, a flood of tears;
Howl, all ye dogs; roar, all ye bulls and bears!
Ye butchers, weep! for ye, no doubt, are grievers,
And sound his loss with marrow-bones and cleavers.
Wells is no more! Yet death has been so kind
That he hath left the bulls and bears behind."
One of the newspapers of the day says: "By the decease of Mr. Wells,
the original Bear-garden in Hockley in the Hole is now likely to be
thronged, especially since all the old gamesters are resolved to
bait every Monday and Thursday; and the gladiators have promised
frequently to try their skill there; the brutes to box; the furmity
and hasty-pudding eaters to cobble down their hot guttage at Madam
Preston's, and at no other place."
The French Comedians appear to have met with little encouragement at
the Haymarket. Aaron Hill announced himself manager and director of
a new company formed by ladies and gentlemen who had never before
appeared on any stage, with the aid of scenery quite novel and upon
an improved plan. He opened with his own play of "Henry the Fifth" in
December 1721.
The prognostick relating to the Bear-garden in a preceding paragraph
seems to have been realized in June 1722 by the following extract from
the London Journal: "Boxing in public at the Bear-garden is what has
lately obtained very much among the men; but till last week we never
heard of women being engaged that way, when two of the feminine
gender appeared for the first time on the Theatre of War at Hockley
in the Hole, and maintained the battle with great valour for a long
time, to the no small satisfaction of the spectators. The challenge and
answer of these females being originals, we give them to our readers:
"I Elizabeth Wilkinson, of Clerkenwell, having had some words with
Hannah Hyfield, and requiring satisfaction, do invite her to meet me on
the Stage, and box with me for three guineas, each woman holding half
a crown in each hand, and the first woman that drops her money to lose
the battle."
"I Hannah Hyfield, of Newgate-market, hearing of the resoluteness of
Elizabeth Wilkinson, will not fail, —— willing, to give her more
blows than words, desiring home blows, and from her no favour."
Their habits on this occasion were close jackets, short petticoats,
Holland drawers, white stockings, and pumps.
The Opera of 1723 was supported by the introduction of a lady from
Italy, of great musical celebrity, named Cuzzoni. She sung in private
for the amusement of the Prince and Princess of Wales, to their great
satisfaction, previous to her appearance in publick. Her engagement
was at the enormous salary of 2000l. per season, presuming on her
future success; nor were the managers disappointed, for they were
enabled on the second evening of her performance to demand and receive
four guineas each ticket. An excellent epigram was made upon this lady
immediately after her first appearance:
"If Orpheus' notes could woods and rocks inspire,
And make dull rivers listen to his lyre;
Cutzona's voice can with far greater skill
Rouse death to life, and what is living kill."
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 260l.
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; 40l. was to be given to the male or female
who gave most cuts with the sword, and 20l. 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 2,300l. for
rebuilding it, and soon after divided the property into twenty-three
shares, which he assigned by indentures to the subscribers, allowing
them 1s. 6d. 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 45l. 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, 6000l. 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 8000l. per annum , purchased five of the six shares
of the patentees of Drury-lane Theatre in January 1734 for 3500l.;
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 50l. 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 3200l.,
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 1000l. to the Managers of the Opera-house on
this occasion, and added 500l. 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 12,000l. at the Haymarket
and 9000l. 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 2000l.: the Prince of
Wales, 200 guineas; the Spanish Ambassador, 100l.; the Imperial,
50l.; the Duke of Leeds, the Countess of Portmore, Lord Burlington,
and the Duke of Richmond, 50l. each; Colonel Paget, 30l.; and Lady
Rich, 20l. &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.
"The Welsh footmen are said to have been the most contumacious in
this affair; for after several meetings and mature considerations
had, at the Goat and Harp alehouse, they unanimously resolved to
support this essential privilege, at the hazard of their limbs and
liveries; and likewise ordered a message to their brethren at the
Ship victualling-house in the Old Palace-yard, Westminster, requiring
the sense of that venerable body of brass-button Senators , at this
knotty and critical conjuncture. Were these pertinacious gentlemen
but to look into history, they, perhaps, may find by what means their
predecessors forfeited the privilege of wearing swords: for Rapin and
others write, "That in the fourth year of Henry VI. a Parliament was
held at Leicester, which was called the Parliament of batts, because,
their footmen not being allowed swords , they followed their masters
to the House with batts and cudgells in their hands. And it must be
allowed that they have made a pretty good use of them ever since."
Numbers of anonymous letters were thrown down the areas of people of
fashion after this affair, denouncing vengeance against those who
assisted in depriving them of their liberty and property, as they were
pleased to term their riots and the gallery of Drury-lane Theatre. Two
footmen were committed without bail or mainprize to answer for their
conduct; and, while in Newgate, received supplies of every kind through
the generous subscriptions of their sympathising brethren. At the
same time 50 men mounted guard at the Theatre every night under the
direction of Colonel De Veil.
Mary-le-bon Gardens were opened previous to 1737; and till that year
were entered gratis by all ranks of people; but the company resorting
to them becoming more respectable, Mr. Gough, the keeper, determined to
demand a shilling as entrance-money, for which the party paying was to
receive an equivalent in viands.
Mr. Chetwynd and Mr. Odell, Inspectors of Plays under the Lord
Chamberlain, were granted seats at each house gratis in 1738.
The ensuing proposals were published by the master of Vauxhall-gardens
in March 1738:
"The entertainment will be opened the latter end of April or beginning
of May (as the weather permits), and continue three months or
longer, with the usual illuminations and band of musick, and several
considerable additions and improvements to the organ.
"A thousand tickets only will be delivered out, at 24 shillings each;
the silver of every ticket to be worth 3s. 6d. and to admit two
persons every evening (Sundays excepted) during the season.
"Every person coming without a ticket to pay 1s. each time for
admittance.
"No servants in livery to walk in the gardens.
"All subscribers are desired not to permit their tickets to get into
the hands of persons of evil repute, there being an absolute necessity
to exclude all such.
"All possible endeavours will be used that the particulars provided at
the entertainment may be the best in their several kinds; and, that the
Company may judge of the reasonableness of them, printed tables of the
prices of each will be fixed up in different parts of the gardens.
"Receipts will be delivering from this day till Thursday the 13th of
April inclusive, and no longer, by Mr. Thomas Cox, bookseller, under
the Royal Exchange; Mr. John Stagg, bookseller, in Westminster-hall;
and at the Spring-gardens above-mentioned; at all which places tickets
will be ready for delivery on Tuesday the 18th of April. N. B. As the
striking the tickets and engraving the names must necessarily employ a
considerable time, the subscribers are desired to take out receipts as
soon as may suit their conveniency, in order that the tickets may be
delivered at the time mentioned."
The Watermen's company gave notice, at the same time, that two of their
beadles would attend at Vauxhall-stairs from five o'clock till eleven,
to prevent impositions by the members of their Society.
Mrs. Arne sung at a Concert established in the succeeding winter at
the Great Room, Panton-street, the band of which was selected from
that of the Opera-house; but the singularity most attractive consisted
of an organ combined with a harpsichord played by clock-work, which
exhibited the movements of an orrery and air pump, besides solving
astronomical and geographical problems on two globes, and shewing the
moon's age with the Copernican system in motion; in the canopy, Apollo,
and the Muses, &c. &c.
A company of French Comedians hired the Little Theatre in the
Haymarket for the season of 1738, and attempted to play "L'Embarras
des Richesses;" but the audience, evidently assembled to drive the
performers from London, commenced a violent riot, in which they
proceeded till Mr. Hewit, a fencing-master, had one of his cheeks cut
almost off by a sword, and the actors had fled through the back-windows
into Suffolk-street; every thing that could be broken within the house
was completely demolished, and a wag, alluding to the title of the
play, wrote these lines:
"Zealous for Britain, and to teach it sense,
The Gallic players came over——not for pence ;
And as first trials oft give projects health,
Wisely they open'd with "The Plague of Wealth."
The grateful Britons, conscious what they ow'd
For unsought favours with such grace bestow'd;
To prove they lik'd the donor's wholesome lore,
Return'd them cashless to their native shore."
The assertion in the latter line however is not true, as a handsome
subscription was made to enable the disappointed Comedians to return in
comfort to France, which amounted to 600l.
Handel hired the Opera-house in 1738, for the performance of Oratorios
twice a week.
One of the most extraordinary events upon record in the history of the
stage occurred in 1749, when the Duke of Montague, in concert with some
other wits, determined to make trial of the credulity of the publick,
in order to ascertain how far it would extend: in the accomplishment
of this purpose they inserted several most absurd and ridiculous
advertisements in the newspapers, one of which announced that on
Monday, the 16th of January, a man would enter a common wine-bottle
on the stage, and sing in it. Contrary to all probable calculation,
the Little Theatre in the Haymarket received an overflowing audience,
who waited without musick and with exemplary patience till eight
o'clock. At that hour the usual testimonies of discontent appeared, to
the terror of the proprietors of the house. And the contrivers of the
scheme being now totally at a loss how to dismiss their dupes, a person
was at length deputed to offer the return of the admission-money. At
the same moment another unfortunately added, that the Conjuror would
enter a pint bottle for double prices. The riot then became general,
and some injury occurred to the ladies' dresses and the gentlemen's
wigs in effecting their escape from the Theatre. A party who were
determined on mischief remained, and proceeded to demolish the boxes,
benches, scenes, &c. &c. which they carried into the street, and burnt
before the Guards arrived to prevent it.
Though the following incident, and some others of a similar nature,
are not intrinsically worth notice; yet, as they serve to fill the
general outline I have undertaken to sketch of the manners of the last
century, they are necessarily introduced. During the season of 1757 the
audience of Covent-garden Theatre missed their favourite actor Barry;
and finding that the month of December had arrived without producing
him, they loudly demanded his appearance, when Mr. Smith, stepping
forward, assured them, that to his knowledge Mr. Rich was then engaged
in a treaty with Mr. Barry. This information satisfied the majority;
but, several riotous persons continuing their vociferation, partial
battles took place in the pit, and even blood was shed before the civil
and military powers conveyed the delinquents to the office of Justice
Fielding.
An article inserted in the London Chronicle in November 1758 expresses
the writer's surprize that the Theatres and Opera-house were not
furnished with ventilators, as he was convinced many severe complaints
had been and were then caused by the profuse perspirations of
individuals suddenly encountering the chill air of the streets.
Spouting Clubs, or, in other words, assemblies of persons ardent
admirers of the antient art of Acting, were known before the middle
of the century, and have flourished, under the influence of some
unavoidable mutations, to the present moment. The violent action
of the members, their improper emphasis, and their grimaces, have
frequently been successfully ridiculed; but the evil still exists in
private Theatres, where it is asserted some vices are acquired which
are not very creditable to the possessors; and I shall only add that
in my opinion youth is generally sufficiently presuming without having
recourse to this improper mode of education . Influenced by this
conviction, I am always grieved to hear of private plays at colleges
and schools, and particularly at female boarding-schools. It is from
the latter custom, that we have witnessed so much folly in the recent
exhibition of heroes and legislators by infant girls and boys ,
whose feeble and shrill voices pronounce denunciations and elevated
sentiments which are often injured by the imperfect organs even of our
best tragic adults. To illustrate this assertion more forcibly, let
posterity be informed, that we enlightened inhabitants of London
have actually listened to the ensuing speech with rapture uttered by
children under fifteen years of age, and little more than four feet in
height:
"A thousand hearts are great within my bosom.
Advance our standards, set upon our foes,
Our antient word of courage, fair St. George,
Inspire us with the spleen of fiery dragons:
Upon them, Victory sits on our helms
[204:A]."
Let it also be recorded, that the season of 1806 produced a juvenile
Theatre , which was well attended. But let us return to the
Spouting-clubs, lest we pass them without due notice: that indeed
they received in 1759, when these excellent lines appeared in the
London Chronicle, to which I can add nothing new.
"THE SPOUTING CLUB.
A Poetical Dish newly cooked up
By Rigdum Funnidos, Esq.
Professor of Bombast and Blank Verse in the
University of Queerumania.
Conamur tenues grandia.
"NOW o'er the world, in sable cincture clad,
Night rolls her awful clouds. Her misty veil
Hangs black'ning 'fore the eye, whose visual orb
In vain attempts to penetrate the gloom
Condens'd; save where the cotton 'mers'd in oil
Within some glassy concave yields its flame
Twinkling; and save where in the servile hand
Behind a rattling coach, the tædal stick
Held waving glimmers on the face of things.
Free from the business of the bustling day,
This interval indulging, to the Club
Of Spouters I repair; where mortal forms,
Borne high upon the feathers of conceit,
Rise into air; while puffing blasts of wind,
Bursting from loosely-flying Fancy's cave,
Blow them to regions where Theatra dwells.
Here, o'er the summit of a chair I loll;
My circumspective eyes explore the room.
A groupe of staring objects strike my sight;
Features distinct and various. While upon
The table's oval, the resplendent cup
Its pure contents and frothy surface boasts
Invigorant. Virginia's plant matur'd
Lies in the centre. With a clay-form'd tube
Each member graces his extended hand.
Above the rest, with looks erect and sage,
Deputed sits the regent of the night,
In elbow-chair pre-eminent. His hand
The silence-knocking hammer wields. Before
His optic balls are plac'd two shining plates,
Betwixt whose pewter confines, interspers'd
With glittering pieces of argental coin,
Lie wide-spread half-pence, jingling at the touch.
There great he sits, with glee magnificent,
The strong potation quaffing. On the slate
The num'rous pots he marks, with aspect keen.
So, with superior power invested, sits
A constable elate, in dome rotund,
Imbibing porter solid. With an air
Self-confident he scrawls the captive's name.
Now moves around, with circulation quick,
The tankard less'ning. Strait again receives
Its due completion. Like the changing tide
It ebbs and flows alternate. Curling spires
Ascending paint the plaster'd canopy
Fuliginous: the wafture dims the sight,
And thro' the smoaky mist the candles shine
Azure. But lo! a Roscian stands erect
Stentorophontes. Him long time I mark'd,
Saw meditation hover o'er his brow,
And all his faculties absorb'd in thought.
He bends his head addressive to the board,
And thus harangues—"Why sit we here thus mute,
"And frustrate all the purpose of our meeting?
"Already has the hoarse-lung'd watchman bawl'd
"Past nine o'clock." So saying, forth he stalks,
With step theatric. Mark his buskin tread,
And eye-balls rolling. Rang'd along the floor
The candles blaze. And now the signal giv'n,
All bend their eyes on him—No longer now
Pauses the youth, but storms in wild Macbeth.
Lo! now apparent on his horrid front
Sits grim distortion. Every feature's lost,
Screw'd horrible, unhumaniz'd—On stage
Of quack itinerant thus have I seen
An Andrew wring the muscles of his face,
Deforming nature, and extort the grin
And wonder of the many-headed crowd.
He spoke; when strait a loud applauding noise
Ensues: the clap of hands and thump of feet
Commingling. Knuckles on the table's verge
With fury beating, and the sound of sticks
Junctive confirm the rattle of applause.
Tremble the pewter vases, and within
The fluid fluctuates. The surging pipes
Roll from their beds of tin. The wooden plain
Is strew'd on all sides with the clatt'ring ruin.
Lo! now another of theatric mould
"Rises in clouded majesty," yclep'd
Ranter. Forth issue from his steaming mouth
These long imprisoned Alps of tow'ring smoke,
"Riding upon the bosom of the air."
Him had his inauspicious cruel stars
Destin'd to oil, to dress the flowing curl,
And with nice hand to weave the yielding hair.
But each revolving, rising, setting sun
Beheld this hero looking on his trade
With eyes indignant. His exalted soul
Launch'd 'yond the limits of his narrow sphere.
Fraught with extended notions of the stage,
His ample-daring mind the drama's laws
Sole entertain'd—The tonsor now assumes
The part of Richard, and with awkward strut
Affects majestic air.—So at the wake
Roger begins the dance, but, wanting skill,
Betrays himself unequal to the task.
Thy graceful periods, so oft admir'd,
Divine inspir'd Shakspeare! on his tongue
Imperfect die away. His labour'd speech
Sounds gutt'ral, like the hoarsely croaking race
Upon the banks of some pellucid stream.
Scarce had he finish'd, when salutes his ears
The mingled noise upon the dusty floor
Reverberated. Down the shaver sits
Well-pleas'd. And next upstarts Hibernia's son,
Like some enthusiast on a tripod rais'd
With apish gesture, and with strange grimace,
To rant unto the multitude. The cork
Intruded swift into the candle's blaze
Is nigrified, and marks th'aspiring youth
With whiskers bold. Ferocity now darts
From either eye her broad unmeaning stare;
In Bajazet he raves, and low'ring bids
Defiance. 'Yond just Nature's ample pow'r
He rants elaborate. His roaring voice
Calls echo forth respondent. On the mart
Of fishy Billingsgate thus have I heard
A harsh lung-cracking noise, nor yet to this
Dissimilar. He ended; but the tribe
Withhold the grasp'd-at banners of applause.
Then down he sits, with woeful aspect dull.
But strait emerging from a sea of thought,
He swallows hasty the salubrious stream,
And re-inthrones his abdicated soul.
Bronzoides next his meteor lays down
Igniferous. Him had his parents sent
To London (seat of business)—there the laws
Of England's state to learn and exercise.
For him a well-experienced Don was found,
Whose quick-turn'd eyes foresaw each quibble quaint,
And quirk evasive. As an osier light,
That bending yields to ev'ry blast of wind,
His heart to fraud was flexible,—his heart,
Where dark Deceit, in honest guise array'd,
Had sown its seeds, and poison'd ev'ry grain
Which, warm'd by potent Truth's congenial ray,
With Virtue's plenteous harvest might have teem'd.
But fruitless was the youth's parental aim,
Tho' sedulous. For scarce two years had roll'd
Since fair Augusta first had bless'd his eyes,
When great Bronzoides first soliloquiz'd:
'Was it for this, that o'er the classic deep
I sail'd, and landed on poetic shores?
Have I for this flew round the Aonian mount
With plumes immortal, and so often play'd
With spotless Muses, in Pierian meads?
Am I, ye Gods, eternally to scribe
Inglorious? No—Some power uplifts my soul,
Buoyant, above the common class of earth's
Dull reptiles. Hence, ye wrong-adjudg'd Reports;
Ye dry collections, hence. I leave ye all
To those grave, solid-looking fools, whose ears
Tautology best charms. Oh! Shakspeare, come
With all thy pupils. Fire my glowing breast,
Expand my genius, and enlarge my soul.'
Kindled that instant at the raptur'd thought,
His intellects, high tow'ring flew to realms
Dramatic. There the storehouse of his brain
He fill'd redundant. Here he tries his skill
Theatric, ere upon the graceful stage
With steps adventurous he dares to tread.
So children dabble in the shallow stream
Playful, till fear forsakes their little souls;
Then bold they rush into the middle Thames.
'List, list, O list'—Oh! how his tuneful voice
Rises and falls, as Oysterella's soft
And strong, when ev'ry street and curving lane
Adjacent echo the testaceous cry.
He spouted—and receiv'd his share of praise.
Inflated with the swellings of conceit,
And newly flush'd with large-aspiring hopes
Of excellence, uprises Leatheronzo
Fam'd. In repairing worn-out calcuments
None was his equal. No one better knew
The pointed awl to handle. Yet his breast
With rage dramatic glow'd. In mad-struck Lear
The scene he opens: but for want of crown
Paus'd his mock-majesty. Around the place
Long time his eyes terrific roll'd. At length
'In a black corner of the room he spied'
An empty urinal—Fir'd at the sight,
He snatch'd the vacuum, and to his head
Adapted it well pleas'd. Now, now he raves
With brazen lungs, until a sudden jerk
His action terminates. Upon the floor
Down drops the jordan. As it rolls along
It rings applause unto his list'ning ear.
Lo! now springs forward with elastic step,
A son of Comedy, Soccado call'd.
The tunic dazzling with its golden pride,
The button-hole gay-wrought with wondrous art,
The mode-cut collar, and well-fancied sleeve,
Had oft proclaim'd his taste. Yet not to this
Was his great soul confin'd. Theatra now,
Dramatic goddess, whispers in his ear,
And bids him shine away in Foppington.
Where's now that stately flatness of the gait?
That easy stiffness where? so often seen
In thee, O Cibber! and so oft admir'd,
Alas! how faintly, rudely copied here!
With joints inflexible, and neck oblique,
An object stiff'ning to the sight he stands
In attitude unmeaning, and deprives
Each injur'd word of its emphatic due.
He finish'd, when the wonted noise begins,
Loud as his all-attentive ears can wish;
Nor less than that which shakes the bending stairs
To the Theatric semicircled seats,
Hight upper gallery, ductive, when some
Grand-habited scene-boasting pantomime,
From 'hind their compters, and from cleaning knives,
And from tenebrious porter-breathing cells,
Where all day long in glee they tippling sat,
Calls forth the terrene quick-ascending gods.
Prologues and epilogues increase the sport,
To periodize the humours of the night
Now far advanced; goes round the jovial song,
The laugh-exciting catch, or wanton tale
Re-iterated. Bacchus, King of Joys,
Twines not his vine-branch here. "Trueman's entire"
Reigns arbitrary. With its vapours bland
Their giddy-rolling heads anointed turn
Upon an axis brittle. Total noise
Its anarchy extends. But oh! how soon
Terrestrial mirth evaporates. Amidst
Their jocund glee, and lovely-floating hours,
Enter the Constables. Ten watchmen brave
Their presence dignify. Amazement chill
Sits on each spouting face. So looks the wretch
Involv'd in debt, when first he spies the front—
The front most hated of a Catch-pole grim.
Not e'en Macbeth stands more appall'd with fear,
When murder'd Banquo's horrid-glaring ghost
Disturbs the regal banquet. Such, so great
Their fear unmanly, that their passive souls
To their hard fate submit. Restless all,
All walk desponding to the round-house dire;
And one sad exit terminates the scene.
All hail to thee! thou young dramatic bard!
Ingenious M-rp-y, hail! Before thy shrine
I bend the knee. This epidemic rage
Well hast thou ridicul'd. Oh! may thy scenes
On Fame's high-pending annals be enroll'd:
And as thy Muse shall henceforth deign to grace
Th'enlighten'd scene, and with a steady hand
To hold up Nature's mirrour, may the tribe
Of snarling Critics, with invidious eyes,
View the bright image, and confess it true."
The reader will of course forgive the chasms in dates which he
frequently meets with, by recollecting that most of the amusements of
the people of London occur in succession annually: the Theatres, the
Opera, concerts, exhibitions, Ranelagh, and Vauxhall, have always had
their regular stated periods of opening; and when nothing remarkable
took place at either, it is by no means necessary they should be
mentioned under every year. The Vauxhall season of 1759 produced
some unpleasant animadversions; and the proprietors were publicly
called upon to prevent the infamous conduct of loose women and their
male companions, whose yells have been described as issuing from the
dark walks in sounds full as terrific as "the imagined horror of
Cavalcanti's bloodhounds:" indeed the latter were charged with driving
ladies from their friends into those recesses where dangerous terrors
were wantonly inflicted.
Handel's Decease
Occurred on the 6th of April, 1759. As this eminent composer may
justly be said to have formed a new æra of musick in England, and to
have established the Opera, and the fame of his Oratorios perhaps
for centuries to come; a sketch of his life from his arrival in this
Island cannot be altogether unacceptable, particularly as it must
contain a general history of those amusements with which he became
connected. Handel was born at Hall in Upper Saxony February 24, 1684,
but did not visit England till he had attained his 26th year, and when
perfect master of his profession. The stranger, though only upon leave
of absence from the Court of Hanover, where he received a pension of
1500 crowns per annum , and held the place of Master of the Elector's
chapel, was presented to Queen Anne, and favourably received; thus
honoured, Handel soon enjoyed the patronage of her courtiers, and
immediately commenced his career by correcting the errors of the
Italian Opera, if that could be so called which had been translated
into the English language. As this celebrated composer found it, the
most pathetic parts of the Italian musick frequently fell upon words
expressive of anger, and vice versâ; he therefore composed Rossi's
Rinaldo, written after an outline by Aaron Hill, who favoured the
publick with an English version of it.
When Handel had remained here one year, the full term of his leave of
absence, he returned to Hanover, but promised to re-visit the Queen
at the first convenient opportunity: that occurred in 1712, and he
composed his Te Deum and Jubilate after the signing of the peace
of Utrecht. Queen Anne, highly gratified with his exertions, granted
him a pension of 200l. for life, and added her commands to the
solicitations of the Nobility, that he should assume the management of
the Opera-house. This he complied with, and violated in consequence an
engagement he was under to return to the Elector's Court. When that
Prince ascended the British throne, Handel, conscious of his offence,
dared not venture into his presence; and his friends even thought
stratagem preferable to intercession in restoring him to favour. To
accomplish this, Baron Kilmanseck and several of the English nobility
engaged the King in a party of pleasure upon the Thames: at that hour
of relaxation the King was surprized with those grand movements yet
known as Handel's Water-piece, which were composed expressly for the
occasion, and performed under his direction in a boat attendant on
the Monarch. The scheme was successful beyond expectation; and from
that hour the fortunate musician received both honours and rewards
from George I. The Earl of Burlington and the Duke of Chandos were
his warmest patrons and admirers: the latter indeed retained him at
Canons as master of his splendid choral establishment for the offices
of religion; and as Buononcini and Attilio were then composers for the
Opera, he did not frequently interfere with their province.
At length the period arrived destined to rouse the powers of Handel
as a composer and a tyrant. Several persons of distinction had
determined to found an Academy of Musick in the Haymarket, in order
to insure a constant supply of Operas from the pen of the unrivalled
Saxon, which they intended should be performed under his direction.
The subscription for this purpose amounted to 50,000l.; and they
procured the King's name for 1000l. to grace the head of the list.
Thus authorised and enabled, Handel went to Dresden for performers
of celebrity, and engaged Senesino and Duristanti, with whom he
returned to England, when they acted his Opera of Radamisto to a
most crowded audience, which honoured him with the loudest plaudits.
From that day the powerful partizans of Buononcini, and those of
Handel, became irreconcileable enemies; though their enmity was so
far controuled as to permit an agreement between them, that the rival
masters should alternately compose the acts of Mutius Scævola, and thus
afford a criterion by which their superiority was to be determined.
Handel conquered; and, his reputation firmly established, he reigned
sole monarch of the Academy for nine years. At the close of that
period Senesino accused Handel of oppression, and Handel treated
Senesino as a rebel against his authority; the publick immediately
divided on this important question; and, to complete their vexation,
Faustina and Cuzzoni quarrelled. Harmony ceased in every point of
view, and the Academy was dissolved; but Handel maintained his
post at the Haymarket, where he soon discovered that with Senesino
he had dismissed the majority of his audiences. In this dilemma he
entered into an agreement with the celebrated Heidegger to perform
Operas on their own account; they accordingly engaged several new
performers; but the Nobility, exasperated at the Saxon's tyrannical
conduct, entered into a subscription, with which they opened the
Theatre in Lincoln's-inn-fields, countermatching his Italians with
the incomparable Farinelli. The contest was continued three years in
conjunction with Heidegger; and Handel persisted one year after his
partner retired: he then left the Haymarket to his rivals.
Chagrined and disappointed, he endeavoured to establish himself at
Lincoln's-inn-fields, and afterwards became a partner with Mr. Rich at
Covent-garden Theatre, where he found, to his great mortification, that
his musick, however sublime, was not a match for Farinelli's voice;
yet he persisted till he had almost ruined his fortune, and actually
deranged his faculties, besides causing a paralytic stroke, which
deprived him of the use of his right arm: he was however recovered from
the latter calamities by using the baths of Aix-la-chapelle about the
year 1736.
Fortunately for Handel the publick were pleased with the performance
of his Alexander's Feast at Covent-garden Theatre soon after his
return; and, to add to his good fortune, he was solicited to compose
two Italian Operas for Lord Middlesex, who had been compelled to take
the direction of this difficult concern upon himself, to preserve it
from total ruin. His success on this occasion operated powerfully with
the multitude; and a benefit produced him 1500l. in the year 1738.
An opportunity thus offered to effect a complete reconciliation with
his former employers; but that asperity of temper and impatience of
controul which always marked his character induced him to reject every
proposal connected with subscriptions. After several unsuccessful
attempts to establish the Opera at Covent-garden Theatre, he turned
his attention to the composition of Oratorios, which he intended
should have been acted and sung; but the popular opinion, that such
representations from Scripture would be a profanation of religion,
deterred him from the design; and he caused them to be sung only as
they are at present.
Similar to most human inventions, the Oratorio was of little service
to the Author : posterity, according to custom, has had the honour of
rewarding Handel's memory ; and if an Angel composed new ones, they
would certainly not succeed, till he had fled from the earth half a
century, and till Handel has had his day.
The Irish nation received our great musician and his oratorios with
complacency; and as he gave the produce of the first performance of his
Messiah in Dublin to the City prison, he soon secured their patronage.
After considerably improving his circumstances, he returned to England,
where his oratorios recovered from their previous depression, and
received that approbation which a dread of having lost them probably
excited. Handel gave the profits of an annual performance of the
Messiah to the Foundling Hospital; and attended their oratorios
regularly long after he had lost his sight by a gutta serena, and
till within eight days of his death.
His present Majesty is passionately fond of Handel's musick; and that
the publick are not less so, may be inferred by the eternal repetition
of his Oratorios during the season of Lent; by which means, I shall
be excused in observing, modern musical genius is depressed, and
the pockets of conductors more readily filled. Hence the tiresome
selections upon festivals and at concerts, where, if the audience is
surprised by a new movement, they exclaim, "Ah! this is not like
Handel's strains:"—True, but may they not be equally delightful?
The first description of an Opera which I have met with is in the
eleventh number of the Theatre, for November 18, 1758. As the writer
appears to have entered into the subject with more than usual spirit,
its insertion may possibly prove acceptable to the reader; but he will
immediately discover that even our Theatres for pantomime now rival the
antient Opera.
"King's Theatre. On Saturday the 18th instant was performed a new Opera
called Attalo, with new decorations and dances. I have already thrown
out a few loose hints with regard to the abovementioned performance;
and as in this place I propose speaking of it a little more at large,
I shall begin with observing, that an Opera has in one particular a
manifest advantage over almost every theatrical entertainment, by
admitting of that kind of shew and decoration, which if not absolutely
rejected by the other daughters of the Drama, is at least, generally
speaking, forced upon them: that is to say, though we sometimes see
triumphs and processions in a few of our tragedies and comedies, yet
the best judges have always looked on them as childish and ridiculous:
whereas, the only design of an Opera being to delight, that gay finery
which looks so unbecoming and out of character upon her two elder
sisters, is a necessary part of her dress; and as nobody understands
the method of placing those ornaments better than Mr. Vaneschi, so in
the present case I think he has taken all the care imaginable to set
off Attalo to the best advantage.
"But a dry and circumstantial description of these matters would not
only fall very short of what is meant to give an idea of, but also
be tedious to the readers: for this reason therefore I shall hardly
attempt to do any thing more in the present essay than to assure them
that the finest scenes, the finest pantomime hitherto invented, even
by that father of pantomimes himself, the manager of Covent-garden
playhouse, are considerably inferior to those in the Opera of Attalo;
but particularly, in the first act, where Semiramis enters in a
triumphal car, supported by Medean and Bactrian slaves, and surrounded
by a number of Assyrian soldiers who carry the spoils and trophies
of an enemy which she is supposed lately to have conquered, we are
presented with the scene of a square; not a dead piece of painted
canvass, but one in which the prospective is executed in so masterly a
manner, that one would almost swear it was something more than a mere
deceptio visûs; to which, by the way, a pedestrian statue, which is
elevated in the centre of the buildings, does not a little contribute.
"Scenes of this kind are seldom if ever to be seen in a common Theatre,
where the other charges are so large and numerous, as well as the price
so confined, that the profits of such a pompous apparatus would by no
means answer the expence: the place in our English plays also is too
often varied to allow of it; besides, the business of these stages is,
properly speaking, to provide the understanding with substantial food,
not to treat it with conserves and sweatmeats; and from this reason it
proceeds that dances, which at the playhouses are only made use of as
a garnish, are at the Opera (which may not unaptly be compared to a
dessert or a collation) one of the principal parts of the entertainment.
"I should be extremely glad were it in my power to oblige the readers
even with a faint idea of these: they all know, I believe, that Signior
Galini is universally allowed to be one of the finest dancers in
Europe; but at the King's Theatre, where he at present performs, he not
only gives us the strongest proofs of his executive powers, but also
of his skill in designing, by having composed three of the prettiest
ballets I ever saw; and for plot, movement, humour, and, if I may make
use of the expression, gesticulated wit, they are equal, I believe, to
any, even of those which Lewis the Fourteenth himself was so fond of.
"In the first dance, the scene of which, by the way, may more properly
be called an emulation than a copy of nature, being that of a forest
half cut down, where the trees are represented in the liveliest
manner, and the prospect of clouds and blue mountains extended to an
amazing distance; Forti and Bononi, in the characters of a woodman
and his wife, carry the grotesque to a most entertaining degree of
extravagance. Bononi is allowed to excel in this way every one who has
gone before her; for Galini, as his genius is very different, so it is
greatly preferable to this. His dancing indeed may be considered as a
kind of dumb musick, since there is hardly a note which he does not
express by some significant gesture. Carlini, his partner, is pretty
much in the same mode, and when they appear after the second act in a
very extensive plain, interspersed with villages, there cannot perhaps
be imagined two more agreeable figures. But the third and last ballet,
in which the four principal dancers come out together, surpasses all
the rest. The prospect is that of a rock, which being open in two or
three different places, discovers a wide river, and, in appearance,
at least half a mile long, the transparency of the water is so well
imitated, that we see the shadows of several flags and bullrushes,
which grow upon it; nor is a distant village, which appears at one
side, a small addition to the beauty of the view: down this rock come
the figure dancers, who are met at the door of a cottage by Signior
Galini and his friends; it is a kind of rural feast, and the music is
so antic and lively, that that alone would be sufficient, I should
think, to put an audience into a good humour.
"I had forgot to mention a scene in this Opera which is remarkably
beautiful; I am told it was painted by the celebrated Salvandoni, and
is the representation of a magnificent hall, adorned with arms and
trophies. There was a full house; and the spectators expressed their
approbation by unanimous applause."
The Oratorio of Judas Maccabæus was performed on the 18th of January
1760 at the Music-room in Dean-street, Soho, which was the first night
of subscription. The pit seats were 10s. 6d. and the gallery 5s.;
the performers Signora Passerini, Miss Frederick, Mr. Hudson, and Mr.
Champness; and the chorus contained the best singers of the Chapel
Royal and St. Paul's. The music-room is now Christie's Auction-room for
furniture, and seems in a state of ruin.
WHITE CONDUIT HOUSE[224:A].
And to White Conduit House
We will go, will go, will go.
Grub-street Register.
"Wish'd Sunday's come—mirth brightens ev'ry face,
And paints the rose upon the house-maid's cheek,
Harriot, or Moll, more ruddy. Now the heart
Of prentice resident in ample street,
Or alley kennel-wash'd, Cheapside, Cornhill,
Or Cranborne, thee for calcuments renown'd,
With joy distends. His meal meridian o'er,
With switch in hand, he to the White Conduit House
Hies merry-hearted. Human beings here
In couples multitudinous assemble,
Forming the drollest groupe that ever trod
Fair Islingtonian plains. Male after male,
Dog after dog succeeding—husbands—wives—
Fathers and mothers—brothers—sisters—friends
And pretty little boys and girls. Around,
Across, along, the garden's shrubby maze,
They walk, they sit, they stand. What crowds press on
Eager to mount the stairs, eager to catch
First vacant bench or chair in long-room plac'd!
Here prig with prig holds conference polite,
And indiscriminate the gaudy beau
And sloven mix. Here he, who all the week
Took bearded mortals by the nose, or sat
Weaving dead hairs, and whistling wretched strain—
And eke the sturdy youth, whose trade it is
Stout oxen to contund,—with gold-bound hat
And silken stocking strut. The red-arm'd belle
Here shews her tasty gown, proud to be thought
The butterfly of fashion: and forsooth
Her haughty mistress deigns for once to tread
The same unhallow'd floor—'Tis hurry all
And rattling cups and saucers. Waiter here,
And waiter there, and waiter here and there,
At once is call'd—Joe—Joe—Joe—Joe—Joe—
Joe on the right—and Joe upon the left,
For ev'ry vocal pipe re-echoes Joe.
Alas, poor Joe! Like Francis in the Play
He stands confounded, anxious how to please
The many-headed throng. But should I paint
The language, humours, custom of the place,
Together with all curt'sies, lowly bow,
And compliments extern, 'twould swell my page
Beyond its limits due. Suffice it then
For my prophetic Muse to say, 'So long
As Fashion rides upon the wing of Time,
While tea and cream and butter'd rolls can please,
While rival beaux and jealous belles exist,
So long, White-conduit house, shall be thy fame.'
W. Woty."
One of the entertainments of 1760 was the performance on goblets
containing water at different heights, which, rubbed on the rims by a
wet finger, produces very sweet sounds, and when rapidly combined will
make complete musick. Mr. Puckeridge was celebrated for performances of
this description, which were much admired for some time, but are now
nearly out of fashion.
One of the characteristicks of our various Theatres is the benefits,
or, more properly speaking, the plays which are acted at the close of
each season for the individual profit of the several performers. When
an actor takes a benefit, he pays all the expences of the evening, and
incurs the risk of great charges and small profits. Under the dread
of losing, he exerts every nerve to fill the Theatre, and frequently
lays heavy contributions on tradesmen, who, through some existing
circumstances, think themselves bound to take tickets, and dispose
of them as they can to their friends: and he solicits the wealthy
without risking the imputation of mendicacy, because they know the
actor has from 10l. to 20l. per week salary. The benefit-night at
length arrives, and the doors are besieged at an early hour by crowds
determined not to lose the entertainment they have unwillingly paid
for; in due time they rush forward, clamour prevails, and the quiet
casual spectator is entirely deprived of hearing the play[227:A].
Mrs. Clive, the justly celebrated comic actress, has enabled me to
illustrate this subject by the following spirited letter, addressed
to "the Author of the Daily Gazetteer," concerning her benefit,
and printed in April 1761. If the reader should wish still further
illustrations, I beg leave to refer him to the various apologies
for theatrical lives which have been published by Cibber, Bellamy,
Wilkinson, &c. &c.
"Sir, As I never read your paper, I did not hear of the
malicious letter you had published against my benefit, till the very
day, when it was too late to endeavour to prevent the mischief it might
do me, as it was most artfully put in your paper the day before, as
well as the day of my play. It is dated from George's Coffee-house;
but your correspondent must excuse me for not believing it came from
thence, as I have always heard that Coffee-house was frequented by
gentlemen, not one of whom, I am confident, would have done me an
undeserved mischief. I could not possibly suppose Mr. Shuter was
capable of asking any body to write such a letter for him, as I never
did him, or any performer, the least injury; on the contrary, I have
had the greatest pleasure when it has been in my power to serve them
in their benefits, from the highest class of actors down to the very
lowest. But though he was not concerned in the writing of it (as he has
declared he was not), it is too palpable to admit of the least doubt,
that it must be wrote by some of his acquaintance, in order to serve
his benefit by destroying mine.—That indeed was not quite in their
power, as I had the honour to have a most noble and splendid appearance
of persons of the first distinction that night at my play; who have
been constant in their goodness and favour to me, and who were not to
be influenced by a wretched Letter-writer. The loss I most certainly
sustained by it I should have submitted to in silence, as it is with
the utmost diffidence and reluctance I appear before the public in this
light: but there is a most malicious and wicked insinuation in his
letter, which I think myself under an absolute necessity to reply to.
"The Letter-writer, with great ease, desires the Publick not to go to
my benefit, notwithstanding I had taken infinite pains to endeavour
to entertain them the whole season through; his reason for that
extraordinary request is, that I was to have a French farce, wrote by a
poor wretched author, translated into English, and called The Island
of Slaves:—and then, with great art and malice, he jumbles together
some popular words, as, French Farce , English Liberty , Island of
Slaves ! 'What can Englishmen have to do in the Island of Slaves?'
Poor wretched insinuation! Is it possible for any body to suppose, if
there had been one syllable in the piece that had the least tendency to
sneer at, or affront, the liberties of this country, that the managers
would have suffered it to have been acted; or that the Lord Chamberlain
would have given his sanction; or that I could have been such a fool
as to dare to affront the publick with such a performance on my own
benefit-night? I hope I may be indulged (though a woman) to say I have
always despised the French Politicks; but I never yet heard that we
were at war with their Wit.
"It is imputed to me , by the author of the letter, as a crime, that
I should have a piece taken from the French for my benefit; when at
the same time I believe one part in three of the Comedies and little
pieces, that are now acting at both the Theatres, are acknowledged to
be taken from the French; besides those that both antient and modern
authors have sneaked into the Theatres without confessing from whence
they came. I shall take the liberty to mention two that are known
translations: The Confederacy, by Sir John Vanbrugh, one of our best
Comedies, revived about two years ago, and acted to crowded houses with
great applause; The Guardian, another French piece, brought on about
the same time, and received with the highest approbation: both these
performances acted at a time when we were at war with France, as we
are now. 'Ay,' but says the good-natured Letter-writer, 'The Island
of Slaves (tremendous title!)' I think I have made his malice appear
pretty plain; I shall not have the least difficulty in making his
ignorance full as conspicuous. It does not seem, by the style of his
letter, that he is very intimately acquainted with his own language,
but it is evident he knows nothing of the French; for if he had been
capable of reading Mons. Marivaux's Isle des Esclaves, he could not
have been quite so clumsy a critick, as to say he is a poor paltry
author, when he is acknowledged by all people of taste and judgment
to be one of the very best writers the French have. Then, as to his
malicious insinuation, The Island of Slaves is so very far from being
a satire upon English liberty, that there is the highest compliment
paid to it: the people of that island having quitted their native
country (Athens) because 'they would not be Slaves,' and established
themselves in an island, where, when their passions have subsided, and
they begin to forget the injuries they received in their own country,
they make the most noble, humane, sensible laws. I cannot pretend to
give an account of the whole piece in this letter; but I may with great
truth say, there was not any thing in it that was exceptionable;
great spirit and humour in two of the characters, and fine sentiments
throughout the whole; some part, perhaps, too grave for what is
generally expected in pieces after a play. I shall beg leave to insert
a few lines (not a translation) which concluded the piece: after Philo
(one of the Islanders) has convinced the Athenians, who are then in his
power, of their follies, he promises to provide them ships to send them
into their own country; Cleanthe (one of the characters) says:
'We are all equally obliged to you, most amiable Philo, for
your goodness to us; and if we should be so fortunate to
arrive safe at Athens, I hope we shall have influence enough
to prevail with them, when we recount our adventures, to
imitate the incomparable laws of this ever happy Island.'
"I have done with your Correspondent: now, Mr. Gazetteer, I must say
two or three words to you. I desire you would let me know who was the
author of that letter; or it is possible I may convince you, I am so
truly an English woman, and so little inclined to be a slave , as not
to suffer any one to do me an injury with impunity.
"I am informed, you have more than once drawn yourself into scrapes, by
the delicacy of your paper. If you comply with this request, in giving
up your author, I shall think you intend to reform your manners; and
in that case you will stand a chance of being read by your humble
servant,
C. Clive.
"Henrietta-street, Covent-garden,
April 3, 1761.
"P.S. If I can have leave from the person who did me the honour to
translate The Island of Slaves for me, I shall print it; when every
one that pleases may see how extremely ill I have been treated."
Benefits more congenial to the benevolent mind are, much to the credit
of the proprietors of our places of public amusement, frequently given
to Charitable Institutions: a short bill dated in May 1761 will explain
those as they were and are now announced:
"Ranelagh-house, Tuesday the 9th of June, will be an Assembly for
the benefit of the Middlesex Hospital. The doors will be open, and
the concert begin, at the usual time. At ten o'clock a magnificent
fire-work will be played off on the canal in the garden; and to
conclude with a ball.
"N. B. There will be no collection made for the Charity. Tickets half a
guinea each, &c."
I have in another place recommended the reader to visit Smithfield at
eleven o'clock at night, in order to obtain a perfect knowledge of the
amusements substituted for a Fair. The facetious George Alexander
Steevens wrote the following ludicrous but strictly just description
of it about 1762:
"Here was, first of all, crowds against other crowds driving,
Like wind and tide meeting, each contrary striving;
Shrill fiddling, sharp fighting, and shouting and shrieking,
Fifes, trumpets, drums, bagpipes, and barrow-girls squeaking,
Come, my rare round and sound, here's choice of fine ware,
Though all was not sound sold at Bartelmew Fair.
There was drolls, hornpipe-dancing, and showing of postures,
With frying black-puddings, and opening of oysters;
With salt-boxes, solo's, and gallery folks squawling;
The tap-house guests roaring, and mouth-pieces bawling;
Pimps, pawnbrokers, strollers, fat landladies, sailors,
Bawds, baillies, jilts, jockeys, thieves, tumblers, and taylors:
Here's Punch's whole play of the Gunpowder plot,
Wild beasts all alive, and pease-pudding all hot,
Fine sausages fried, and the black on the wire;
The whole court of France, and nice pig at the fire;
Here's the up-and-downs, who'll take a seat in the chair?
Tho' there's more up-and-downs than at Bartelmew Fair.
Here's Whittington's cat, and the tall dromedary,
The chaise without horses, and Queen of Hungary;
Here's the merry-go-rounds, 'Come, who rides? come, who rides?' Sir;
Wine, beer, ale, and cakes, fire-eating besides, Sir.
The fam'd learned dog, that can tell all his letters;
And some men, as scholars, are not much his betters."
Drury-lane Theatre was much improved in 1762, by lengthening the
stage, enlarging the boxes and pit, and rebuilding the galleries. This
alteration probably originated from the hopes of additional profit.
Another in the management had its rise from the same cause; but the
publick were less satisfied than with the former, as in the latter the
advantage was by no means mutual between the proprietors and their
patrons. The managers intimated that nothing under full prices would be
taken during the performance; and the intimation received no opposition
till January 1763: at that period symptoms of resistance appeared;
and the publick complained that the time had been when they were
admitted to the boxes for 4s. 6d. to witness plays performed by
Booth, Wilkes, Cibber, Doggett, Norris, Penkethman, Johnson, Griffin,
Porter, and Oldfield; and were then compelled to pay 5s. to hear
half a play acted by Garrick, Cibber, Yates, King[236:A], Packer[236:A],
Holland, Obrien[236:B], Bransby, Palmer, and Ackman.
The audience of Covent-garden Theatre seized the first opportunity
of demanding that full prices should no longer be insisted upon for
half plays and the farce, except when new pieces were represented; and
received a promise from the proprietors of acceding to their wishes.
Mr. Garrick of Drury-lane Theatre resisted, and published this notice
in the Advertiser:
"The Managers of Drury-lane Theatre having been suddenly called upon
last night, to answer the charge of an innovation in regard to their
prices, Mr. Garrick acquainted the audience that he was not conscious
that the managers had done any thing in this respect, in which they
were not fully authorised by the established usage of the Theatre;
and that, if there had been the slightest innovation, it should be
rectified:—and this unexpected complaint being grounded on the
assertion contained in a printed paper, which had been the same day
industriously circulated in Coffee-houses, and distributed through
every part of the Theatre, Mr. Garrick promised to publish a full
answer to the charges contained in that paper; but, the clamour still
continuing, the performance of the play was entirely prevented. The
Managers, therefore, find themselves under the necessity of informing
the publick, that a full and satisfactory answer will be published
accordingly; and it is hoped that they will, with their usual candour,
suspend their judgment on this occasion till the appearance of such
answer, which will be in a few days."
The Tragedy of "Elvira" was announced for the evening succeeding the
above address; and the Theatre was filled by a number of persons, who
were determined to enforce their resolution of seeing plays as usual at
half price. They commenced their operations by ordering the orchestra
to play the musick of "Roast-beef" and "Britons strike home," which
was complied with. When Mr. Holland appeared to speak the Prologue, he
was immediately driven from the stage: Mr. Garrick then came on, and
endeavoured to explain his reasons for the alteration complained of;
but in vain, and the tumult was excessive. The following question at
length issued from the pit: "Will you, or will you not, give admittance
for half price after the third act, except during the first winter of a
new Pantomime?" The Manager again attempted to explain without effect:
yes , or no , were the only words granted him. Yes , accompanied
by an expression of indignation, escaped the lips of Roscius; and the
Theatre shook with sounds of triumph.
Mr. Ackman, who had offended the audience on the evening when this
affair was first noticed by the publick, then received a summons to
appear and apologise for his conduct: this order he promptly obeyed;
but our old veteran Moody, when called upon for the same purpose,
seemed refractory, or was misconceived, through the noise which
issued from all parts of the Theatre. The audience commanded him, in
consequence, to drop upon one knee, and thus solicit their pardon: this
imperious order justly roused the actor's resentment, and he retired
without compliance. Mr. Garrick was afterwards obliged to promise, Mr.
Moody should not appear again upon his stage till he had appeased their
displeasure: the play then went on as usual.
Mr. Beard conceived himself under the necessity of publishing "The case
concerning the late disturbance at Covent-garden Theatre fairly stated,
and submitted to the sense of the publick in general," which follows.
"As the opposition to full price at Drury-lane Theatre was founded
upon the pretence of its having been exacted on unjustifiable
occasions, it was imagined, that let what would be the event of
that dispute, the Managers of Covent-garden Theatre ought in no sort
to be affected by it, as no such complaint had ever been pretended
against them; yet, when Mr. Garrick thought proper to wave his private
advantage, for the sake of the public peace, it was deemed necessary
for the same laudable purpose, to perform such pieces only for the
present at Covent-garden, as could by no means bring the point, which
had been so lately and so violently agitated, into immediate debate
again, and even latter account was taken to Love in a Village.
"When the Opera of Artaxerxes was revived (a piece as distinct from
the common course of business as even an Oratorio itself), it was
generally understood, the peculiarity of the performance, together with
the apparent extraordinary expence attending it, would sufficiently
exempt it from the limitations which had been prescribed at the other
Theatre; accordingly it was advertised, in the same manner it had ever
been, at full price .—Mr. Beard received some private hints the
evening before the intended representation, though not till after the
bill was sent to the press, that an opposition was intended by some
particular persons; but flattered himself that the candour and justice
of the Public in general would distinguish in a case so particularly
circumstanced; and when he was called upon the stage, would have humbly
offered such reasons, as, had they been calmly and dispassionately
heard, might possibly have prevented the violence which ensued. In
this he was continually prevented by an incessant and clamourous
demand of a general and decisive Yes or No .—As Manager only, and
Trustee for other Proprietors, he thought himself totally unimpowered
to resign up their rights by so sudden and concise a conveyance; and,
as the point in dispute was an essential matter of Property, conceived
their concurrence absolutely necessary to any determination on his
part, which, at this juncture, was impossible to be obtained.—In this
difficult situation, where acquiescence subjected him to a breach of
that trust which had been reposed in him, and refusal exposed him to
insult and displeasure, his submitting rather to the latter, than
be guilty of the former, it is hoped, will be deemed an offence not
altogether worthy so severe a resentment.
"However unfortunately he may have incurred the imputation of
insolence, obstinacy, or at least imprudence, in not immediately
submitting to the demands proposed; yet, when it is considered that
these demands were enforced by part of the audience only, and that he
had then great reason to believe such submission would be very far from
producing the salutary effect of theatrical tranquillity, he may not
perhaps be judged so blameable.
"Mr. Beard had at that time received several anonymous threatening
letters and notices concerning many other branches of what they call
reformation .—He was ordered by one to add a farce to Love in a
Village, or the house should be pulled about his ears.—By another,
he was commanded to put a stop to the farther representation of that
Opera, upon the penalty of enforcing his compliance by a riot the next
night of performance; and very lately received certain information of
meetings which have already been held, and an association forming, to
reduce the prices at the Theatre to what they were forty years since,
though it is notorious the expence of theatrical entertainments are
more than doubled. For these reasons, he looked upon the occasion
of the present disturbance only as a prelude to future violence; as
the first, not the last salutation of this extraordinary kind, to be
expected; and apprehended, that too easy an acquiescence might possibly
prove rather encouragement than prevention.
"Nevertheless, in gratitude for the many favours and indulgences
received from the Publick, and from an earnest desire to promote
that order and decorum so essential in all public assemblies, the
proprietors have now jointly authorized Mr. Beard to declare, that they
shall think themselves equally bound with the Managers of the other
Theatre, to an observance of those limitations which they have agreed
to.
"Mr. Beard, though sensible how unworthy an object his character is for
the attention of the Publick, yet hopes his zeal to have it appear in
a fair light will not be deemed impertinence, and therefore begs leave
to mention one occurrence that relates particularly to himself. It has
been industriously reported, that both before and after Mr. Garrick's
submission to the point in dispute, he himself had expressly promised
to give it up likewise, but has now insolently dared to resume a right,
which he had already disclaimed. How incapable Mr. Beard is of such a
conduct, he flatters himself those who know him will testify: to those
who do not, it may not be unnecessary solemnly to declare, that so
far from ever making such a promise, he constantly insisted, that it
neither was in his power or intention to comply with the demand.
John Beard."
This imprudent statement might have produced fatal consequences,
had the Police been as little attentive to the preservation of the
public peace as Mr. Beard: on the contrary, the Magistrates held
a meeting, and issued an intimation that every riotous proceeding
would be immediately checked, and the perpetrators prosecuted under
the Act which contains this clause: "That if any persons unlawfully,
riotously, and tumultuously assemble together, to the disturbance of
the public peace, shall unlawfully, and with force, demolish or pull
down, or begin to demolish or pull down, any dwelling-house, house,
barn, stable, or other out-house, they shall be adjudged felons; and on
conviction, shall suffer death, as in cases of felony, without benefit
of clergy."
The evening of March 3, proved the truth of my assertion, that Mr.
Beard had acted imprudently in publishing his address. Covent-garden
Theatre was crowded by gentlemen that seemed little affected by the
threats of the Police, who began the operations of the night by
calling for "Hearts of Oak," and "Britons, strike home;" and, when
the curtain rose, a tumult commenced, which soon drove the actors
from their presence; and the name of Beard echoed from every side
of the house. That gentleman appeared, and, alarmed at his previous
temerity, declared he had complied with their request in publick, and
came before them to confirm it. This declaration was in part approved;
but the audience required that all prosecutions against individuals,
by the Managers, originating in this dispute, should be immediately
discontinued. Mr. Beard assented as far as related to himself, and
retired. Exasperated by this evasion, another and more spirited effort
succeeded; and behold the Manager once more before his Judges, prepared
to promise any thing and every thing the audience demanded. Violent
applause followed, and the play was begun without interruption about
forty minutes after seven o'clock.
The Peace of 1763 was celebrated with uncommon splendour throughout
Europe, and particularly in St. James's Park, where a grand fire-work
was exhibited. Our amiable Queen, animated by the same impulse,
contrived an amusement for his Majesty on his birth-night equally
calculated to surprise and please. The Queen induced her royal consort
to pass several days previous to the 4th of June at St. James's; and in
that interval a great number of persons were employed in preparing a
superb temple and bridge, to be illuminated with upwards of 4000 lamps,
in the gardens of Buckingham-house. Such was the secrecy used, that the
King entertained not the least suspicion of the design in progress,
and was consequently astonished on returning to the above palace at
ten o'clock, when the window-shutters were suddenly thrown open, at
the brilliancy of the scene, which presented an orchestra containing
upwards of fifty performers led by Dr. Boyce, amongst whom were the
most eminent singers of the day, and the front of a temple ornamented
with emblematic paintings conveying the most grateful intimations.
The following article, extracted from the London Chronicle for August
1763, must produce a sensation of regret in the recollection of those
who were partial to the amusements of Ranelagh:
"The only defect in the elegance and beauty of the amphitheatre at
Ranelagh, is an improper and inconvenient orchestra, which, breaking
into the area of that superb room about twenty feet farther than it
ought to do, destroys the symmetry of the whole, and diffuses the
sound of the musick with such irregular rapidity, that the harmonious
articulations escape the nicest ear, when placed in the most commodious
attitude: it also hurts the eye upon your first entry.
"To remedy these defects, a plan has been drawn by Messrs. Wale and
Gwin, for adding a new orchestra, which, being furnished with a
well-proportioned curvature over it, will contract into narrower bounds
the modulations of the voice, and render every note more distinctly
audible. It will by its form operate upon the musical sounds in the
same manner as concave glasses affect the rays of light by collecting
them into a focus. The front of this orchestra being planned so as
to range parallel to the balustrade, the whole area also will be
disencumbered of every obstruction that might incommode the audience
in their circular walk. There is likewise provision made in this plan
for a stage capable of containing 30 or 40 performers, to officiate as
chorus-singers, or otherwise assist in giving an additional solemnity
on any extraordinary occasion."
This, or a similar plan, was afterwards adopted.
The irregularities mentioned in a preceding page as having occurred
at Vauxhall were noticed on the day appointed for licensing places of
amusement in 1763, when the proprietor pledged himself that the dark
walks should thenceforward be lighted, no bad women, known to be such,
admitted, and that a sufficient number of watchmen should be provided
to keep the peace.
The ridiculous custom of placing two centinels on the stage during
the performance of plays was not discontinued in the above year, as
a soldier employed for that purpose highly entertained an audience
in October by laughing at the character of Sir Andrew Ague-cheek in
Twelfth-night, till he actually fell convulsed upon the floor.
Violence and exertion are common occurrences at the doors of the
English Theatres every evening when pieces or performers of superior
attraction are to be seen; but it very rarely happens that those marks
of ill-breeding are practised at the entrances of the Opera-house.
When the Hereditary Prince of Brunswick went to the Opera in January
1764, the eagerness of a titled and fashionable mob was such, that
the male part fought their way with drawn swords, the females fainted,
and lost shoes, caps, ruffles, &c. &c. quite as rapidly as those they
condescended to imitate at the other Theatres.
A letter signed "Theatricus," inserted in the London Chronicle, vol.
XV. contains a rapid but masterly sketch of the state of Theatrical
amusements between 1700 and 1763. Under this impression I shall
transfer it to this work:
"A DISSERTATION ON THE THEATRE.
"Since I was a boy, I have been an admirer of the Drama, and
have, for near sixty years past, observed the revolutions of
the stage (in England and Ireland) more than those of the
State.
"The first play I remember to have seen was The Maid's
Tragedy in the year 1710; the famous Mr. Betterton acted
Melanthius; he died the week following, after having been
above fifty years the ornament of the stage. With great
satisfaction I recollect the memorable theatrical year 1712,
when Cato was first acted: never were the expectations
of the Town more fully satisfied, nor more emulation shewn
by the performers. I was at that time in the first form at
Westminster-school; our master offered a premium of a gilt
Horace for the best Latin translation of Cato's soliloquy
in the fifth act. I had sufficient vanity to be one of the
candidates; but, to my great mortification, was told, 'that
it was a good first attempt,' and saw the premium delivered
to my class-fellow, who, a few years ago, enjoyed one of the
best deaneries in the church.
"My uncle used frequently to take me of a Sunday evening
to Button's Coffee-house; it was there I first saw Addison
and Congreve; he was intimate with Sir Richard Steele, and
belonged to a club with the unfortunate Mr. Budgell.
"I remember the stage in its greatest glory, during the
management of Wilks, Booth, and Cibber; its decline under
the elegant but unfortunate Fleetwood; and its revival, with
uncommon lustre, under Garrick. I must do justice to this
last mentioned performer in saying, that it is to him alone
we owe the bringing of Tragedy nearer to Nature than in the
days of the Triumvirate. This one of them confessed to me not
a year before his death; for formerly a turgid vociferation,
or effeminate whine, were mistaken for the best display of
the heroic and tender passions; but these caricatures are
neglected for the real likenesses, which that great master of
his art, Garrick, has truly delineated. I have often wished
that the Stage could be brought under the regulations hinted
at by Mr. Addison; then it would be, to use his own words, 'a
source of the highest and most rational amusement.'
"I look upon the principal structures of the Drama, to be
Tragedy and Comedy ; the most interesting circumstances
of Tragedy may be reduced to two different heads, viz.
the elevated (such as Julius Cæsar, Coriolanus, &c.) and
the tender and affecting (as Romeo, and the Orphan); but
that tragedy must ever have the preference which unites the
pathetic with the sublime.
"Tragedy should never go beyond the natural; that which is
great in it never goes farther than heroism; it is a living
picture, so that its beauty consists in its resemblance with
the truth.
"Comedy is a feigned action, in which is represented the
ridiculous, in order to correct it; it rebukes with a smile,
and corrects with a facetious stroke: the matter of comedy is
civil life, of which it is an imitation: it ought to be every
where enlivened with all possible care, to have fine and easy
strokes of wit and satire, which present the ridiculous in
the most glaring point of view; it should be pure, easy, and
natural, have no borrowed passions or constrained actions;
morality and instruction ought to be infused into the several
parts, so that we might feel instruction, but not see it.
"Tragedy imitates the beautiful, and the great; Comedy
imitates the ridiculous: one elevates the soul, and forms the
heart; the other polishes the behaviour, and corrects the
manners. Tragedy humanizes us by compassion, and restrains
us by fear; Comedy makes us laugh, because the faults of the
little are trifling, we fear not their consequences.
"If examples have some force and life when trusted to paper,
how much greater must their vigour be, when they live in the
player, and are moved and speak in the most lofty sentiments,
and all the eloquence of action. The spectator imagines that
a series of ages having revolved back, and the distance of
places being contracted, he is suddenly conveyed into those
places and ages, in which the subject of the drama happened;
or else, that past times being renewed, the subject is again
acted in his presence. You do not on these occasions read
silently in your closet the illustrious acts of antient
heroes, who have immortalized themselves by the love they
displayed for their country, their parents, their children,
&c. These wonderful men are called from their tombs where
they have so long slumbered, appear again in the world, and
you behold their generous, their pious strife.
"In Athens the Stage was impowered by the Legislature to
instruct the ignorant vulgar, and, as a censor, to reform the
rude populace; it was its duty to make Tragedy a school of
wisdom, and Comedy of reproof. The poets rendered the Theatre
beneficial to the world, by appointing Tragedy to calm the
passions by terror and pity, and Comedy to reform the mind
by ridicule and censure. The duty of the Poet was, as Horace
expresses it—aut prodesse aut delectare.
"I am sorry to say that some of our comic writers have been
too fond of familiarizing their audiences to vice; and we
need make no doubt that the immorality of the stage has
contributed to the depravity of manners too visible amongst
all ranks of people, and fulfils what Juvenal says,
——nullâ virtute redemptum
A vitiis.——
"Farce I consider as the gleanings of the Drama. I remember
when it was seldom used; those who have seen the Theatrical
Calendar for the years 1708 and 1709, will confirm what I
assert. Dogget, one of the first Comedians of his time, was
three years before he could obtain leave to have his farce
of The Country Wake performed; and, when granted, it was
provided he acted the principal part (Hob). Farquhar, from
the success of his comedies, and interest with the Duke of
Ormond his patron, obtained leave for his farce of The Stage
Coach; and Cibber, with great difficulty, brought on his
School Boy; before these times the plays of Shakspeare,
Jonson, &c. did not need the aid of farce. It must be
allowed, that the farces by Garrick, and some by Foote, have
met with much success, and abound with the utile dulci;
but the generality of those now in possession of the Stage
are, as Dryden says, 'a compound of extravagances, fit only
to entertain such people as are judges of neither men nor
manners.' To confirm this great Poet's opinion, I appeal to
those who have seen a new farce last season at Crow-street
Theatre, devoid both of wit and satire, and composed of
vulgar phrases, beneath a Bartholomew-fair droll; however, I
applaud the author for not printing it; if he had, it must
certainly have suffered the fate it most justly deserved, to
be condemned by all its readers[252:A].
"Pantomime first dawned, in the year 1702, at Drury-lane,
in an entertainment, called, The Tavern Bilkers; it died
the fifth night. It was invented by Weaver, a dancing-master
at Shrewsbury, who, from the encouragement of the Nobility,
invented a second, called The Loves of Mars and Venus,
performed at the same Theatre, in the year 1716, with vast
success; which occasioned Sir Richard Steele to write the
following lines on the back of one of the play-bills at
Button's Coffee-house.
"Weaver, corrupter of this present age,
"Who first taught silent sins upon the stage.
It was about this time that the taste of the Town became
vitiated: one remarkable instance I cannot forget. In January
1717 some dancers arrived from France, and with them one
Swartz, a German. This man brought over two dogs, whom
he had taught to dance the louvre and minuet; they were
immediately engaged by Rich, at ten pounds per night,
and brought above twenty good houses, when the Othello of
Booth, the Wildair of Wilks, and the Foppington of Cibber,
were neglected, and did not bring charges. The town, who were
formerly unanimous in supporting the stage, now were formed
into different parties; some preferred sense to sound, others
were for the Opera and Pantomime, and the actors, as Colley
Cibber remarks, 'were very near being wholly laid aside,
or, at least, the use of their labour was to be swallowed
up, in the pretended merit of singing and dancing.' I must,
however, not forget to mention, that a few years ago, some
ladies of the first distinction, eminent for their just
taste, entered into a society, and distinguished by the name
of the Shakspeare Club, in order to support his plays on the
stage. Many verses were written on this occasion; one stanza
I remember:
"No more shall Merit's passion fail,
Since Beauty wit and knowledge prize,
Whose bright example shall prevail,
And make it fashion to be wise.
"I must do justice to the managers of the Dublin Theatres,
in commending their care and assiduity to please the Town;
and could wish, instead of importing from Sadler's-wells
wire-dancers, &c. they would revive some select plays of
Shakspeare and Jonson.
"I have at my leisure hours drawn up the following scale of
the merits of the performers on the Irish stage; I have no
connections with either Theatre or Managers, but am a lover
of Truth and the Drama. I am, &c.
Theatricus.
"Dublin.
"A Scale of the Merits of the Performers on the Irish Stage,
1763.
| Men. |
Trag. |
Com. |
Women. |
Trag. |
Com. |
| Barry |
20 |
10 |
Dancer |
14 |
16 |
| Mossop |
15 |
6 |
Fitz-Henry |
14 |
6 |
| Sheridan |
15 |
6 |
Abington |
0 |
18 |
| Macklin |
8 |
15 |
Hamilton |
10 |
12 |
| Sowdon |
13 |
12 |
Kennedy |
8 |
10 |
| Dexter |
10 |
12 |
Kelf |
8 |
10 |
| T. Barry |
10 |
8 |
Barry |
8 |
10 |
| Ryder |
6 |
12 |
Jefferson |
6 |
8 |
| Stamper |
0 |
12 |
Ambrose |
0 |
8 |
| Sparks |
0 |
12 |
Mahon |
0 |
6 |
| Jefferson |
8 |
10 |
Roach |
0 |
6 |
| Heaphy |
6 |
8 |
Parsons |
0 |
6 |
| Reddish |
6 |
8 |
|
|
| Walker |
0 |
8 |
|
|
| Glover |
4 |
8 |
|
|
| Mahon |
4 |
6 |
|
|
The doors of the Theatres were opened circa 1765 before five o'clock,
and the house thus filled gradually. The present method of opening
one hour before the commencement of the performance occasions great
confusion, and frequent injury to individuals.
Mrs. Cornely
Died in the Fleet-prison at a very advanced age in 1797. She was born
in Germany, and, having talents for singing, performed publicly in her
native country and Italy. Mrs. Cornely arrived in England about 1756
or 7; and being a woman of much taste and address, and possessed of
many accomplishments, she soon received the patronage those advantages
excited. To continue the celebrity thus obtained, she explored the
regions of fancy, and exhausted every art, to contrive fascinating
amusements for the eager publick, who crowded to Carlisle-house,
Soho-square, as the very focus of pleasure and entertainment. While
this lady confined her exertions to mere frivolous and fashionable
enticements, she succeeded admirably; but, wishing to soar beyond her
sphere in endeavouring to establish a musical meeting, the Proprietors
of the Opera-house became alarmed, and applied to the Civil power
to suppress what they deemed an unwarrantable rivalship. This was
easily accomplished; and Mrs. Cornely had the mortification to find
herself considerably involved without a hope of remuneration; but
her concerts, balls, and masquerades were continued with advantage,
though her influence insensibly declined; and other attractions,
particularly the Pantheon, withdrawing many of her patrons, she was
at length compelled to relinquish her pretensions to public favour,
and fly from the menaces of her creditors, whose number and demands
were very considerable. It is said that she remained in concealment
for many years under the name of Smith; but, her active spirit being
still unsubdued, she ventured once more as a candidate for public
favour in the strange profession of a keeper of Asses at Knightsbridge,
where she fitted up a suite of rooms for the reception of visitors
to breakfast in public, and regale themselves with the milk of that
patient and enduring animal. The success of this enterprise may be
anticipated: a second flight from her creditors, and the catastrophe of
the Fleet-prison, closed the scene.
The above slight outline of the life of this singular female will
explain some subsequent parts of this Chapter. Mrs. Cornely is said
to have expended near 2000l. in 1765 in altering and embellishing
Carlisle-house.
In the year 1766 the Patentees and persons employed about Drury-lane
Theatre commenced a subscription, in order to establish a fund for
the support and relief of such performers and others belonging to the
Theatre as through age, infirmity, or accident, should be obliged to
retire from the stage. To this sum the Patentees gave benefit-plays,
and some benevolent persons not connected with the Theatre augmented
it by donations. In 1776, the amount of their principal was 3400l.,
which the managers vested in the public funds, and a house in
Drury-lane that let for 50l. per annum ; since which period it is
still farther increased.
Partnerships too frequently produce dissentions and a struggle for
individual power: the publick was called upon in 1768 to witness the
truth of this observation in a letter from T. Harris to G. Colman on
the affairs of Covent-garden Theatre, which, with the answer, follows:
"The schemes and arts (says Mr. Harris) that you have practised to
creep into an exclusive management, and in consequence of that into an
exclusive possession, were various, and incessant in their operations.
But, among them all, your favourite scheme to that end, was that of
being thought an able and successful manager; and to support that
character, it is incredible to those who know not your arts, what an
enormous burthen it hath been to the partnership: not less than thirty,
forty, fifty, and sixty pounds in orders, were generally sent into the
Theatre each night; and on one night in particular, in support of one
of your pieces, upwards of one hundred pounds. Thus, Sir, you supported
your fame, at the expence of our common property.
"The next day (June the 12th) by accident I and Mr. Rutherford
severally met Mr. Sarjant's son, one of our box-keepers, who informed
us, that Mr. Colman had taken away the keys of all the doors in the
Theatre, and that the doors were all barred and bolted, but that,
if we applied, we alone might be admitted through Mr. Powell's house
in the Piazza, in which there was a door which communicated with the
Theatre.
"Being well advised that we could not justify entering our own
premises through another man's house, and being well aware of your
—— disposition, we determined not to go into the Theatre through
the house of Mr. Powell, who was then at Bristol.—We therefore, on
Monday the 13th of June, sent a servant with a written order for
admittance: he was refused by Mr. Sarjant, who urged your express
order for that purpose. We then desired two gentlemen to accompany
us to the Theatre, and in their hearing demanded entrance of Mr.
Sarjant, who answered us, thrusting his head out of a barred window,
that Mr. Colman had got all the keys of the doors, and he could not
let us in. We immediately dispatched Mr. Sarjant junior, whom we met
under the Piazza, to you, Sir, with our compliments, desiring you
to send the keys of the Theatre, informing you, that we were then
waiting with two friends, and wished to take a walk in the Theatre.
He very soon returned with this answer (delivered in the hearing of
the above-mentioned two gentlemen): 'That you would not send the keys;
that you had ordered all ingress to the Theatre to be denied us, except
through Mr. Powell's house; and even that way, we, and we only ,
must enter.' With this very extraordinary rebuff we returned to our
respective homes. The time between this event and Friday morning, we
passed in reflection upon your unaccountable treatment of us; and in
consulting and advising with several gentlemen of great eminence in all
departments of the law; who all concurred in assuring us that no damage
could arise to us from entering our own premises, and turning our own
servants out, who refused us admittance. Accordingly, on the 17th
June, after six o'clock, Mr. Harris, attended by two witnesses, again
demanded admittance for himself and Mr. Rutherford, at Mr. Sarjant's
door; he answered from within, in the hearing of the witnesses, that,
by Mr. Colman's order, they would not admit us. Harris then came to
the door in Hart-street, where Mr. Rutherford was waiting for him,
attended by some servants, and told him the result of his demand at
Mr. Sarjant's door; whereupon Harris and Rutherford ordered their
servants to open a window on the North side of the said door, where
they entered with their servants. One of your servants, who kept
possession of the Theatre for you, having struck one of ours, it was
with the greatest difficulty we could prevent ours from doing mischief
to their opponents; we were therefore obliged to turn them all out of
the Theatre. Being thus in possession, we began immediately to take
a survey of the place; and never were men so much astonished as we
were, to find ourselves in so complete a fortification. Emery, the
master-carpenter to the Theatre, coming at that instant, we ordered him
to be let in; and taking him about the Theatre with us, we observed
to him how advantageously he and his men had been employed for the
last week or two in cutting our boards and timber to pieces in order
to bar and fortify every avenue and window in the house, even those
which were thirty or forty feet from the ground. The fellow, with a
good deal of awkward embarrassment, scratching his head, replied,
'Why, Gentlemen, I told Mr. Colman, all I could do would signify
nothing against a sledge-hammer. I thought,' says he, 'it was a strange
undertaking.' We then asked him, if he too was engaged by Mr. Colman;
he said he was. On our telling him it was unaccountable to us how
house-keeper, wardrobe-keeper, and carpenters, should think of entering
into articles; he confessed he never heard of any such thing before in
his life, but that Mr. Colman had taken him one day entirely unguarded,
and in a manner compelled him immediately to sign an article. The more
we examined the Theatre, the more we were astonished at your excessive
precaution to prevent our getting into it. On the same day we sent
you a letter from the Theatre, importing, 'That we did not mean to
retaliate your behaviour; on the contrary, we had given orders to our
servants, at all times to admit you and Mr. Powell.'
"Reflecting now very considerately on our situation, and on your past
conduct; 'That you had from the beginning laid a plan of driving us out
of the Theatre; that, in the execution of that plan, you had persevered
through the whole season, paying no more regard to us than if we were
entirely unconcerned in the property; that you had very essentially
hurt the whole property, and the profits of the past season in
particular; that, in fine, you had engaged to act under your direction
solely every person belonging to the Theatre, upon pain of large
penalties; and had at last absolutely forbid our entrance into our own
house:' For these reasons we determined to remove from the Theatre, to
one of our dwelling-houses, such part of the property as might the most
effectually prevent your proceedings, until a plan should be formed,
which would as effectually confirm to us those legal and equitable
rights in the Theatre, of which you had so unwarrantably divested us.
"With this view only, we sent down to my house in Surrey-street, so
much of the wardrobe as we imagined would make the remaining part
useless, together with the musick, prompt-books, &c. &c. belonging to
the Theatre; of all which we have an exact inventory, and they will be
immediately and safely returned to the Theatre, whenever a fair and
equitable plan for the future government of it shall be fixed upon. It
has been urged by some, that it would have been much better for us at
once to have applied to the Court of Chancery for redress, and that
there we must have found a certain relief, and reparation for all past
damages: this too, Sir, has been always your language—'If I injure
you, why don't you apply to the Court of Chancery for redress?'
"There is no doubt, Sir, the Court of Chancery would redress us. But
delays are dangerous. Of this the history of the acting Manager,
recorded by Cibber, is a memento . A long Chancery suit would be but a
very poor remedy for the injuries you are daily doing us.
"About a month since we were again amused by you with the hopes of a
fair reference.—By our respective counsel a meeting was appointed for
all parties in Westminster-hall. We there met, in order, if possible,
to fix on a mode of arbitrating all differences; both parties brought
preliminary articles to be agreed to, before the general concerns
should be referred. On our part were produced these two:
"1st. That the contracts which you might have made without
our knowledge and consent, for the ensuing season, should be
rescinded, unless agreed to by us.
"2d. That no servants who were employed in shutting us out of
our own house, should be employed in future.
"Surely these can never be deemed unreasonable by any person, when at
the same time he is assured that we never wish, nor ever did wish, to
engage any performer, servant, &c. &c. who should be objected to by Mr.
Colman and Mr. Powell.
"You, Sir, on your part, insisted on the following eight preliminaries.
"1st. Colman and Powell should not be obliged to sell.
"Meaning, we conceive, that if the referees should think it necessary
to oblige either of the parties to sell, it must be Harris and
Rutherford.
"2d. All contracts to be made by Mr. Colman to be confirmed.
"Can this be a reasonable preliminary, to be obliged to confirm all
contracts made by you, without having the least knowledge how many,
with whom, or upon what condition, they were entered into? For we
are at this time entire and absolute strangers to all your late
proceedings, except what we gather from uncertain report, and some few
of the parties who have engaged with you.
"3d. No legal proceedings to be stopped.
"The meaning of this preliminary we did not enter into, as no legal
proceedings were begun, nor had we any guess at your litigious
intention of making Garton put us in the Crown-office; or of your
inquisition, &c. &c.
"4th. Powell's article to be cancelled, and another made,
allowing him more explicitly the largest salary in the house.
"That you should think it proper to give Mr. Powell this douceur, we
were not at all surprised; but it did not occur to us why we should
give any farther indulgence to a man, who, after having attached
himself to you, had separated himself from you, disapproved of your
conduct, and then without the least reason implicitly and blindly
suffered himself to be duped by you again.
"5th. The books to be restored to Garton.
"The books were never intended to be kept from Mr. Garton, so as to
prevent his making up his accounts. We mean, whenever he is disposed to
take his discharge.
"6th. The wardrobe to be restored, and all damages to be made
good by Harris and Rutherford.
"To that we should have no objection, provided we are not obliged to
make good the damages Mr. Powell has done.
"7th. Colman still to be the acting manager. If alteration
in the controuling power, it must be lodged in the other
three proprietors.
"Here the cloven foot indeed appears plainly: so the article must not
be meddled with, or it must be altered in your favour!
"8th. That all bills and all claims upon the Theatre should
be discharged.
"Whoever will attentively consider the above preliminaries must
observe, that there is not a single point on which an arbitration could
turn, which is not most artfully and subtilly provided for by Mr.
Colman; that is to say, on every point they must determine absolutely
for Mr. Colman, or otherwise some one of the preliminary articles will
prevent their considering it at all. And these, Mr. Colman, you called
fair, candid, and honest proposals, and have thrown the grossest abuse
on us for not consenting to what you call a fair reference.
"Mr. Harris and another gentleman calling in at the Theatre one
afternoon, found therein Mr. Powell and yourself, with each a candle in
your hands, lighting and shewing the Theatre to two of your counsel,
your attorney, and another gentleman. Mr. Harris was at a loss to
know whether they came as witnesses, or for what other purposes. The
servants of the Theatre, however, were ordered to shew you, and your
friends, all possible respect. Besides this fact, we defy you to prove
at any one time that either yourself or Mr. Powell, or any one that
came by your order, was refused entrance into the Theatre."
"Mr. Colman's Retort.
"As to my management of the Theatre, whatever reflections T. Harris
may endeavour to throw on it, however he may prevaricate by talking
of the small profits that have resulted from it, the success of it is
incontestible; and the extraordinary receipts of the last season are
an irrefragable proof that Covent-garden Theatre has attracted the
particular notice and favour of the publick under my direction. If
the disbursements have been very large, great part of those sums must
be considered as the first expence of setting up in business, having
been employed in what may be called stock in trade, which is at this
instant of great intrinsic value, and will prevent future expence; and,
large as those disbursements have been, I was not the promoter of them,
except in the single instance of engaging Mr. and Mrs. Yates, more than
Mr. Harris; and that single instance was honoured with Mr. Rutherford's
approbation, till his colleague exerted his undue influence over him,
and taught him to object to it.
"Now I am on the article of expence, it may not be amiss to lay before
the publick a short anecdote. When Mr. Powell, at a meeting of all the
proprietors, proposed some additional illuminations, I objected to
them, at least for the present, saying that they would have a happier
effect at the commencement of a season. Mr. Harris said, the measure
being advisable, the sooner it was carried into execution the better.
Mr. Powell accordingly gave the necessary orders; but when the bills
came in, Mr. Harris and his colleague forbade the payment of the sum
charged for two lustres to their Majesties box, saying it was a measure
that had not been submitted to them.
"The pitiful charge concerning orders sent into the Theatre, as far
as it is imputed to me as an artifice to support my reputation, Mr.
Harris knows to be false. Mr. Rutherford and himself have told me more
than once, that I sent in fewer orders than any of the proprietors.
The little piece at which his malice points was, with all its faults,
extremely successful, and of great advantage to our Theatre last
season. The people sent to the house on one night in particular did not
go at my desire in support of my piece, but at the instance of all the
proprietors in support of the house, which was threatened to be pulled
down; and it was thought a very cheap expedient to sacrifice a hundred
pounds, to prevent a tumult which might perhaps have occasioned a loss
of one or two thousand. As to the piece, good or bad, being very well
acted, it brought great houses, and was received with much applause,
so that however Mr. Harris may prove the soundness of his taste and
judgment, he certainly does not manifest his gratitude by a public
disapprobation of it.
"I am now arrived at that period, where I should think any present
appeal to the publick, if any were necessary, ought to have begun; but
as T. Harris chose to go over the old ground again, I was obliged to
follow him, and to trace him through all his doublings of cunning and
sophistry. What follows is entirely new matter, which has arisen since
the tenth of February, the date of my last publication.
"The first new act of hostility on the side of the negative managers
was intended, like their late proceedings, as a negative general, being
calculated to deprive us of the very sinews of war. On the 14th of
February they sent, without our knowledge, the following letter to the
bankers where our money was deposited.
'To Messrs. Freame, Smith, and Co.
'Gentlemen,
'We desire you will not pay any money, or deliver any
property in your hands belonging to the proprietors of
Covent-garden Theatre to any person whatsoever, until farther
notice from us. And we desire you in like manner, to retain
any further sums of money belonging to the said proprietors
that may be sent to you. We are, &c.
T. Harris. J. Rutherford.
London, 14th Feb. 1768.'
"At the beginning of the season the bankers had received an order,
signed by all the proprietors, to pay all drafts of Mr. Garton,
our Treasurer. It is a question therefore whether any two of the
proprietors had a legal right to revoke the joint order of the
four, and to desire the bankers not to pay any money to any person
whatsoever. However that may prove, a step of such importance could not
have been too early communicated to Mr. Powell and me. It was a measure
that struck at the very being of our Theatre.
"A few days after the following letter was sent to the Treasurer:
'To Mr. Jonathan Garton.
'Sir, We desire you will, with all possible dispatch, send
to each performer, officer, and servant of Covent-garden
Theatre, whose articles expire this season, or who are not
under articles, a copy of the inclosed letter; and that you
will take down the names of those to whom such copy is sent,
and return us a list thereof signed by yourself.
'We also desire you will have your accounts ready for our
examination, and your balance for inspection, on Monday
morning next at eleven o'clock, as we shall then be at the
office for that purpose. We are, Sir, your most humble
servants,
T. Harris. J. Rutherford.
Thursday, Feb. 25, 1768.'
'Letter inclosed.
'I am directed by Messrs. Harris and Rutherford, to give
you notice that "you cannot be considered as belonging to
Covent-garden Theatre, after the expiration of this season,"
unless the engagement you may enter into for the next be
confirmed in writing by one, or both of them.
Yours, &c.
J. Garton.'
Feb. 28, 1768.
"The determined resolution of Messrs. Rutherford and Harris to rescind
the article respecting the management, appears in the above notice,
wherein they assume, contrary to the letter, spirit, and common sense
of that article, the power of dismission, the dismission of almost
the whole Theatre, as well as the power of signing the articles of
agreement; to which also they have not any right. The ordering the
Treasurer to transcribe and circulate these notices was undoubtedly
intended as a new insult to me; and perhaps the Treasurer, who was now
growing obnoxious to them, because he would not further their attempts
to stop the business of the Theatre, was purposely distressed with this
order, that they might take offence at his denial to comply with it. I
had not the most distant intention of settling the future state of the
company without communicating the plan of it to them. This, whatever
they might have learned from their informers, my subsequent conduct
testified. I suffered, however, the poor young men to continue to
expose themselves. The notices were actually served on the persons they
required, and I passed over this new instance of their insolence and
irregularity with the most silent contempt.
"I do hereby aver to the Publick , for to the Publick alone I now
address myself , that whenever T. Harris and his colleague will prefer
a Bill in Chancery against us, respecting our present Articles and
past Transactions , neither I nor Mr. Powell will make any delay in
putting in a full and sufficient answer. And I now, in this public
manner, call upon them to file this long-threatened bill against us.
And I do hereby pledge my honour , not to T. Harris, but to the
Publick , that no means or endeavours of mine, or Mr. Powell, shall be
wanting to bring it to a short and speedy conclusion.
"It now only remains to assure that Publick, whose protection we have
already so often experienced, that we are determined to open the
Playhouse at the usual time; and then to submit it to their tribunal,
whether they will suffer the insolence and tyranny of T. Harris to
interrupt their amusements, as well as to oppress us and the rest of
their servants in Covent-garden Theatre."
The invitation to try the merits of the dispute between Messrs. Colman,
Harris, &c. offered at the close of the paper published by the former,
was accepted; and a decision took place in the Court of Chancery July
1770, when it was decreed that Mr. Colman should continue the acting
manager, subject to the advice of the three other managers.
One of the most splendid Masquerades which has taken place in England
was that given by the King of Denmark at the Opera-house, in 1768.
3000 persons, or nearly that number, were present, and received an
entertainment consisting of every delicacy in the utmost profusion.
I have just ceased to applaud the old custom of opening the doors of
the Theatre before five o'clock ; and have at this moment to notice
the strange caprice of the publick, in requiring the managers to open
at five . This alteration occurred in October 1768.
The stupid and barbarous diversion of Throwing at Cocks, practised by
the vulgar on Shrove Tuesday, was very properly prevented by the Police
in February 1769.
The reader cannot form a better idea of the amusements prepared for the
publick by Mrs. Cornely than from the following account, published a
few days after the Masquerade occurred February 1770.
"Monday night the principal Nobility and Gentry of this kingdom, to
the number of near eight hundred, were present at the masked ball
at Mrs. Cornely's in Soho-square, given by the gentlemen of the
Tuesday Night's Club, held at the Star and Garter Tavern in Pall-mall.
Soho-square and the adjacent streets were lined with thousands of
people, whose curiosity led them to get a sight of the persons going to
the Masquerade; nor was any coach or chair suffered to pass unreviewed,
the windows being obliged to be let down, and lights held up to display
the figures to more advantage. At nine o'clock the doors of the house
were opened, and from that time for about three or four hours the
company continued to pour into the assembly. At twelve the lower
rooms were opened: in these were prepared the side-boards, containing
sweetmeats and a cold collation, in which elegance was more conspicuous
than profusion. The feast of the night was calculated rather to gratify
the eye than the stomach, and seemed to testify the conductor's sense
of its being prepared almost on the eve of Ash Wednesday. The richness
and brilliancy of the dresses were almost beyond imagination; nor did
any assembly ever exhibit a collection of more elegant and beautiful
female figures. Among them were Lady Waldegrave, Lady Pembroke, the
Dutchess of Hamilton, Mrs. Crewe, Mrs. Hodges, Lady Almeria Carpenter,
&c. Some of the most remarkable figures were,
"A Highlander (Mr. R. Conway.)
"A double Man, half Miller, half Chimney Sweeper (Sir R. Phillips.)
"A political Bedlamite, run mad for Wilkes and Liberty, and No. 45.
"A figure of Adam in flesh-coloured silk, with an apron of fig-leaves.
"A Druid (Sir W. W. Wynne.)
"A figure of Somebody.
"Ditto of Nobody.
"A running-footman, very richly dressed, with a cap set with diamonds,
and the words 'Tuesday Night's Club' in the front (the Earl of
Carlisle.)
"His Royal Highness the Duke of Gloucester in the old English habit,
with a star on the cloak.
"Midas (Mr. James the Painter.)
"Miss Monckton, daughter to Lord Gallway, appeared in the character of
an Indian Sultana, in a robe of cloth of gold, and a rich veil. The
seams of her habit were embroidered with precious stones, and she had a
magnificent cluster of diamonds on her head; the jewels she wore were
valued at 30,000l. The Duke of Devonshire was very fine, but in no
particular character. Captain Nugent of the Guards, in the character of
Mungo, greatly diverted the company.
"The Countess Dowager of Waldegrave wore a dress richly trimmed with
beads and pearls, in the character of Jane Shore. Her Grace of Ancaster
claimed the attention of all the company in the dress of Mandane.
The Countess of Pomfret, in the character of a Greek Sultana, and
the two Miss Fredericks, who accompanied her as Greek Slaves, made a
complete groupe. The Dutchess of Bolton, in the character of Diana, was
captivating. Lord Edg—b, in the character of an Old Woman, was full as
lovely as his lady, in that of a Nun.
"Lady Stanhope, as Melpomene, was a striking fine figure. Lady Augusta
Stuart, as a Vestal, and Lady Caroline, as a Fille de Patmos, shewed
that true elegance may be expressed without gold and diamonds. The
Chimney Sweeper, Quack Doctor, and a Friar, acquitted themselves with
much entertainment to the company.
"About two o'clock the company began to depart, in effecting which
there was great difficulty.
"We hear that two Great Personages were complimented with two tickets
for Monday night's masquerade, which they very politely returned.
"Most of the carriages that came to the masquerade were chalked by the
populace with 'Wilkes and Liberty.'"
It will no doubt be remembered by many, that a very good representation
of an eruption of Mount Ætna, on a large scale, with Cyclops at work
in the centre of the mountain, was exhibited a few years since in
the garden at Ranelagh. That it may not be supposed that this scene
was a new thought, I shall describe the entertainment of an evening
at Mary-le-bon gardens when they were in full reputation. The usual
concerts and songs were performed; but Signior Torré had been employed
to prepare a representation of Mount Ætna as an addition to the common
fire-works, consisting of vertical wheels, suns, stars, globes, &c. in
honour of the King's birth-day, June 4, 1772, who was, with the Queen,
represented in transparencies surrounded by stars. When the fire-works
were concluded, a curtain which covered the base of the mountain rose,
and discovered Vulcan leading the Cyclops to work at their forge; the
fire blazed, and Venus entered with Cupid at her side, who begged them
to make for her son those arrows which are said to be the causes of
love in the human breast: they assented, and the mountain immediately
appeared in eruption with lava rushing down the precipices.
A few trees stand as mementoes of Mary-le-bon gardens near the North
end of Harley-street.
January 27, 1772, was rendered remarkable in the annals of Amusement
by the opening of the Pantheon in Oxford-street, which had been
erected at a vast expence from the designs of Wyatt, the celebrated
architect. Near two thousand persons of the highest rank and fashion
assembled on this occasion to admire the splendid structure, which
contained fourteen rooms, exclusive of the rotunda: the latter had
double colonnades or recesses for the reception of company, ornamented
with the reliefs peculiar to the Grecian style of building; and the
dome contained others equally rich. In order to support the propriety
of the name given to this superb place of fashionable resort, the
architect introduced niches round the base of the dome with statues of
the Heathen Deities; and to complete the circle, added Britannia
and their present Majesties. Such were the ideas of classic taste
exhibited by the proprietors; the Gods worshiped in the real
Pantheon , were compelled to witness a modern Pantheon dedicated to
pleasures and amusements of which even Jupiter himself was ignorant
when in the Court of Olympus.
One of the first steps of the conductors was an order to exclude all
loose women: an order which deserves honourable mention, but one
impossible to be executed. The Masquerades given at the Pantheon would
have been thin of company indeed, had not improper persons formed part
of the silly groupe. The nature of those masked entertainments is so
confined, that when one is seen or described, novelty is at an end.
I shall therefore pass them over, and merely mention, that part of
the commemoration of Handel, noticed at large in the first volume of
"Londinium Redivivum," was celebrated at the Pantheon; after which
caprice or some other cause converted it into an Opera-house, and very
soon after an accidental fire consumed it. The Pantheon has been
rebuilt, but on a miserable plan indeed compared with the original:
it now serves for Masquerades at different periods; and Garnerin and
Lunardi have exhibited their balloons there.
It is by no means creditable to the memory of Mr. Garrick, that
he acted the Beggar's Opera for two seasons in opposition to the
entreaties of Sir John Fielding and his brethren the Magistrates, and
after they had informed him that the representation invariably produced
fresh victims to offended Justice. The latter season alluded to, 1773,
produced a long and serious contention between persons who never
before saw or had received the least injury from each other, through
the turbulent and daring effrontery of the late veteran Macklin. This
actor, offended at the conduct of a player named Reddish, and that of
Sparks, the son of another, presumed to make the publick parties in the
affair, by thus addressing the audience at Covent-garden Theatre on the
night of October 30.
"Ladies and Gentlemen—My appearing before you in my own character,
instead of that which I am this night appointed to perform, is an
unexpected measure; but in my distressed condition, from my feelings as
a man and an actor, and in order to produce decency in this Theatre
to-night, and from my duty to the publick, I humbly hope it will be
found to be a necessary one. I am sensible, that, by a certain set of
people, this address to you will be deemed a very saucy step; and that
their wishes and endeavours will be, that it may be attended with a
very serious and fatal animadversion; but I hope and trust, that it
will excite a very different effect in the minds of the candid and the
just, when they shall have heard my motive for this proceeding; which,
with your indulgence and protection, I will humbly lay before you."
This period was the touch-stone of opinion; the majority of the
audience requested Macklin to proceed: one person exclaimed "No," but
was silenced. The actor proceeded:
"Through the course of my theatrical life, I have constantly thought
it the duty of an actor, and his best policy, to regulate his conduct
in such a manner as to merit the credit and esteem of those who know
him; so as to be able by moral justness to defy, and to be proof
against all insinuations, aspersions, or open attacks upon his private
character. This has been my constant doctrine; this my constant policy;
and as a proof of my practice being conformable to these principles, I
here appeal, not to hearsay, credulity, or party, but to all who know
me: and I call upon every individual of the publick in this great
metropolis to produce, if they can, a single instance to the contrary."
A person observed at this instant, "That is a bold challenge, Mr.
Macklin;" to which he replied, "Sir, I will abide by it; and I repeat
it; I say a single instance ."
"From the first of my appearing upon the Stage, I have met with the
indulgence, protection, and encouragement of a benevolent publick,
until I attempted to act the part of Macbeth last Saturday: in that
attempt I have not the least reason to complain of that awful and
impartial tribunal, which, from my observation, and the experience of
the oldest actors I have known, never yet condemned piece or actor that
had merit: but the usage I have met with from news-writers is without
example in the history of the Stage. I have here in my hand folios of
paragraphs, epigrams, intelligences, and what are called criticisms,
upon me : some even before I appeared in the character; such as do no
great honour to the press, or to the genius, candour, or erudition, of
the gentlemen who produced them. I will not give a name or a quality to
these productions; the present publick and posterity, should they meet
with them, will do it for me."
A voice from the gallery demanded an explanation, why he felt indignant
at what had passed on the Saturday alluded to. Macklin affected to
be at a loss what the gentleman meant: an altercation then ensued
between Mr. Sparks, the person who spoke, and another, which ended in
a challenge to walk out, or to take the unknown's address. Quiet again
took place.
"These criticks or partisans, not satisfied with their newspaper
attacks upon my powers as a man and an actor, assembled in the gallery
last Saturday night; and in two or three parties dispersed about the
gallery, did by groans, laughs, hissing, and loud invectives, attack
me in a violent manner. These parties were headed by two gentlemen,
whom for the sake of truth and justice, with your permission, I will
name.—The one was Mr. Reddish, a player belonging to Drury-lane
Theatre; the other, one Mr. Sparks, a son of the late Luke Sparks,
of worthy memory, an actor belonging to Covent-garden Theatre. This
charge, I own, is a heavy one against Mr. Reddish in particular; as he
is himself an actor: it is likewise heavy on Mr. Sparks, who intends
to be one. Mr. Garrick, in his own defence, I am told, enquired
into this matter in a formal manner behind the scenes; and upon the
evidence produced by Mr. Reddish and Mr. Sparks, I am informed that
Mr. Garrick did acquit Mr. Reddish of the charge; but I here pledge
myself to give a positive proof of the fact of Mr. Reddish's hissing,
which shall be supported by all the circumstances of probability and
truth. I am afraid I have taken up too much of your time; yet, with
your permission, I have a few words more to offer on this disagreeable
subject.
"The condition of an actor on the first night of his performing such
a character as Macbeth is the most alarming, to a mind anxious to
gain the public favour, of any condition that the pursuit of fame or
fortune can cast man into . A dull plodding actor, whose utmost merit
is mediocrity, is in no danger; he plods on from the indulgence of
the publick, and their habit of seeing him, in safety; he never is in
danger of offending by starts of genius, or by the unruly fire that the
fury of his spirits enkindles. Mediocrity is his merit; mediocrity
is all that is expected from him; mediocrity is his protection. But
the actor that can be impassioned in the extreme, and is inflamed
by Shakspeare's genius, will, on his first appearance in Macbeth,
be carried out of the reach of sober judgment , and of wary, nice
discretion; those passions and that flame will run away with
him , will make him almost breathless , crack or hoarsen in his
voice, arrest his memory, confine his sight , his action, gait, and
deportment; and all that candour and the nicest judgment can expect
from him is, that he shewed he understood his character, that he gave
noble marks of genius and judgment, and that, when he had played the
part half a dozen times, he would then charm and convince his audience
of his powers, and of his having a competent capacity for it.
"But let this man be but checked by a single hiss, all his fire will
instantly cool; his spirits abate their motions; grief and despair will
seize him, and at once he becomes the pining broken-hearted slave of
the tyrant that ruined a wretch that was labouring to please him, who
did not dare to resent the cruelty, nor to assist himself. A soldier
in the very front of war, at the teeth of his enemy, and at the mouth
of a cannon , is not in so wretched, nor in so fatal , so hopeless
a state. The noble ardour of the soldier gives him hope, alacrity,
effort, double, treble vigour and courage; the very danger adds to
both, and to such a degree, as to make him lose even the idea of
danger; and sure death, even death, in that state is preferable to an
actor, who by his post is obliged to endure the hiss of a Reddish, or
a Sparks ; or a critic who hisses him for daring to act a part of Mr.
Garrick's, and who would damn him to want and infamy , to shew he is
an admirer of Mr. Garrick."
Mr. Macklin then went on beseeching the audience to believe that the
agitation he felt on Saturday evening prevented him from exerting his
faculties; that he was then under the same terrors; and concluded by
begging them to try his merits by uninterrupted attention for a few
nights, and then applaud or reject him.
Messrs. Reddish and Sparks, though they knew Macklin had gained public
approbation by his strange address, did not hesitate severally to make
oath that Mr. Reddish never hissed the complainant; and that, when
Sparks once did, Reddish warmly insisted that he should forbear. In
addition to these assertions, Sparks published a letter, containing
a positive denial of his being present at the second performance of
Macbeth on the Saturday mentioned.
The reader to whom this scene is now first known cannot but perceive
Macklin's aim in all his proceedings; and, if he entertains the same
ideas of justice with myself, he will be pleased to find those aims
completely disappointed. Whatever impropriety of conduct Reddish and
Sparks might have been guilty of, Macklin had no right to disturb the
public peace by making many hundreds of inconsiderate people judges of
his or their private jealousies.
On Saturday evening the 6th of November Macklin acted the second part
of his appeal to the audience, and affected to be literally overcome by
the awful situation his opponents and himself stood in before Heaven
and the frequenters of theatrical amusements. He called for a glass
of water to prevent him from fainting; and the compassionate audience
ordered him a chair, on which they desired he might sit and read his
proofs in opposition to the oaths of Reddish and Sparks. When he
finished the play proceeded.
Transactions of this nature never fail to produce parties, which
arrange themselves on either side of the question, as caprice, or
justice, actuates the individuals who compose them. A trial of strength
on this most important subject took place at Covent-garden Theatre
on Thursday evening November 18, when a considerable number of persons
raised a violent uproar, for the express purpose of preventing the
commencement of the play in which Macklin was announced to perform.
After some time had elapsed, the offender appeared, but to no purpose,
as neither himself, his accusers, or approvers, could distinguish a
word uttered by either; but the narrators of the disgusting occurrence
say, that Macklin retired and threw off his dress for the character
of Shylock, and re-appeared; that Mr. Bensley was commissioned by
the Managers to pronounce—nobody would hear what—and retired; that
Macklin dressed again, and again entered, but the noise, in which
"Off " predominated, encreased with tenfold violence, and he was
even commanded to go on his knees. This he positively refused, and
made his "exit in a rage ." Mr. Woodward succeeded Mr. Bensley as a
pacificator with equal success. The Managers at length, foreseeing
perhaps fatal consequences, sent Mr. Owenson upon the Stage, who held
a large board before him on which they had written with chalk, "At the
command of the publick, Mr. Macklin is discharged." This concession
procured loud applause from the opposers of the actor; but his friends
in the gallery, doubly exasperated, demanded "Shylock, Macklin, and
Love a-la-mode," instead of "She Stoops to Conquer," which was begun
by the Manager's direction. The confusion soon became general, and
many persons left the Theatre. Mr. Fisher, one of the proprietors,
entered, and attempted to speak; but Colman, and Colman alone, would
satisfy the audience. That gentleman was at length induced to make (as
he observed) his first appearance , attended by Colonel Lechmere; a
general plaudit succeeded; and when silence could be obtained he said
that, from the hour he had undertaken the management of the Theatre,
his first wish had ever been to know the pleasure of the publick, that
he might instantly comply with it; and, as a proof of the truth of his
assertion, he referred the audience to the legible card which had
just been offered to their perusal. Mr. Colman farther observed, that
the Managers really had no other play in readiness besides "She Stoops
to Conquer;" and recommended those who were displeased with it to
receive their money and retire. A new trial of skill commenced between
the contents and non-contents; the musick played, and the first scene
of the above play was completed; but the second produced such brutal
rage in the gallery, that it became unsafe to remain on the stage, and
the curtain was finally dropped. The audience immediately retired, and
received their entrance-money as they went; but the Managers are said
to have lost near 90l. by certain despicable wretches who clambered
from the Pit into the Boxes, and thus obtained Box prices instead of
Pit.
That this most unpleasant affair terminated without bloodshed or
bruises, or broken limbs, must excite both astonishment and pleasure;
and I think it must be allowed equally astonishing, that Mr. Macklin
ever dared again to face an audience.
It is singular that Macklin was under the necessity of publishing the
ensuing extract of a letter, directed to Dr. Kenrick, to clear himself
of a charge of hissing a new play on the 26th of November.
"Sir,
"So far from injuring you in the point you complain of, I
solemnly declare that I sincerely wished you success in
your 'Duellist,' as I do every person who undertakes the
arduous and perilous task of writing for the Stage. And I
further assure you, that I was not near the Theatre on the
night that your Comedy was acted. Nay, that, to the best
of my recollection, I never spoke to a person, directly or
indirectly, who was going, or who told me he intended to go,
to 'The Duellist;' and that I was employed about business
of the utmost consequence to myself the whole day on which
your Comedy was acted; particularly from five that evening
till after all the Theatres were shut for that night. And
as to my friends, Sir, the world must know that I cannot
answer whether any of them were at the 'Duellist' or not,
since I was not there myself; nor ought I to be responsible
for their conduct there. But, Sir, in justice to those whom
I esteem my friends, and for your farther satisfaction, I do
assure you that I have not heard of one friend of mine that
was at your Comedy. My testimony, perhaps, in this cause may
be deemed in your opinion weak and partial, as it tends to
exonerate myself and my friends. In answer to that argument,
Sir, it is the best that it is in my power to give from the
nature of the case. In your request of a re-hearing, and in
the consequence should you be re-heard, I sincerely wish you
success. I am, &c.
Charles Macklin."
Dr. Kenrick was supported by a strong party, which declared that his
play had been unjustly condemned; and that gentleman thought proper to
intimate, through the public papers, to Mr. Colman, that 'The Duellist'
would be called for on the evening when a Mr. Brown was announced to
appear for the first time in the character of Othello; thus clearing
himself from the presumed imputation of wishing to injure a new
performer. This hint did not, however, produce the play; and Kenrick
and his friends were under the necessity of having recourse to other
measures; which were, distributing printed papers to the publick,
and showering cards down upon the Pit from the Gallery: the latter
contained these words, "No Play till an assurance of The Duellist being
given out for Monday." Whether the riot of the preceding week had
satiated the multitude, or whatever else might be the cause, the affair
ended merely in violent hissing and clapping, and Brown had a candid
hearing.
The reader will, without doubt, be satisfied with the preceding
descriptions of theatrical commotions; and under that conviction I
shall omit all that have subsequently occurred, at the same time
assuring him that so many would not have been mentioned, had I not
thought it necessary to illustrate all the operations of the community.
Dr. Kenrick opened a course of Lectures in the Theatre for Burlettas at
Mary-le-bon gardens in the following July, which he termed "a School
of Shakspeare;" where he recited different parts of the works of our
inimitable Dramatist, and particularly that of Sir John Falstaff, with
much success, to crowded audiences.
The newspapers of that month vented severe complaints against the
Proprietors of the gardens alluded to for having demanded 5s.
entrance money to a Fête Champêtre, which consisted of nothing more
than a few tawdry festoons and extra lamps; indeed, they appear to have
been suggested by the conduct of the spectators, who demolished most of
the brittle wares of the scene, and injured the stage. A second attempt
produced this description: "The orchestra, boxes, theatre, and every
part of the gardens were beautifully illuminated at a vast expence
with lamps of various colours, disposed with great taste and elegance.
The grass-plat before Mr. Torre's building was surrounded with two
semicircular rows of trees and hedges prettily contrived, divided,
and forming two walks; and between every tree hung a double row of
lamps bending downwards; between every break orange and lemon-trees
were placed, and the whole was hung with festoons of flowers and other
pastoral emblems. On this place the rural entertainment was held,
consisting of singing and dancing; several airs were well sung by Mr.
Thompson, Mr. Bannister, Miss Wewitzer, and the rest of the performers.
On the left hand of this rural scene was a stile, and a walk which led
to a Temple sacred to Hymen, which was transparent, and had a pretty
effect when viewed at a distance. The gardens were not clear of company
at six o'clock next morning."
Encouraged by their success, the Proprietors entered still farther into
the spirit of hilarity, and prepared an entertainment thus described
in a newspaper a few days after it had taken place:
"On Tuesday evening (July 23, 1776) Mary-le-bon gardens exhibited a
scene equally novel and agreeable; namely, a representation of the
Boulevards of Paris. The boxes fronting the ball-room, which were
converted into shops, had a very pleasing effect, and were occupied
by persons with the following supposititious names, legible by means
of transparent paintings.—Crotchet, a music-shop; a gingerbread
shop (no name over it), the owner in a large bag-wig and deep
ruffles à-la-mode de Paris: Medley (from Darley's), a print-shop;
New-fangle, a milliner; a hardware shop and lottery-office in one
(the price of tickets 11l. 14s.); La Blonde, a milliner; Pine,
a fruiterer; Trinket, a toy-shop; Fillagree, ditto; Mr. Gimcrack,
the shop unoccupied, and nothing in it but two paper kites; Tête,
a hair-dresser. The shopkeepers seemed rather dull and awkward at
their business, till the humour of the company had raised their
spirits by purchasing; and then, in proportion to their trade, their
diligence advanced. Madam Pine, Messrs. Trinket, and le Marchand de
la gingerbread, ran away with the custom from all their competitors.
Mr. Tête indeed would have had a good share of trade, but that the
ladies were previously provided with every article he had to sell, and
superior of the kind; for if his head-dresses were as big as a peck,
many of theirs could not be crammed into a bushel.
"The ball-room was illuminated in an elegant manner with coloured
lamps; and at one end of it women attended, selling orgeat, lemonade,
and other cooling liquors. This was intended as a representation of the
English Coffee-house at Paris.
"There was a great variety of different amusements; and amongst the
rest a booth representing that of Signior Nicola at Paris, in which
eight men, at the command of the supposed Signior, who was behind the
scenes, exhibited a dance called the Egyptian Pyramids, standing on the
backs, arms, and shoulders of each other, to an astonishing height. The
number of the persons present is thought to be about 600."
We will now bid adieu to Mary-le-bon gardens.
Very considerable alterations were made in Drury-lane Theatre previous
to the opening for the season of 1775. The frequenters of it before
the above period describe the interior as very little superior to an
old barn; but the raising of the ceiling twelve feet, the removal of
the side-boxes, and substituting others supported by slight pillars,
the opening of new passages to the boxes and to the Theatre from
Bridges-street, seem to have entitled it to that approbation which
it received till the re-building in 1794 of the spacious edifice
demolished by fire February 24, 1809.
The fashionable world had often read and heard of the Venetian
Regattera, or race of Oarsmen, and were inclined to attempt a grand
effort of imitation on the Thames; for which purpose many preparations
were made, and the following plan was submitted to the publick in May
1775.
"Ladies and gentlemen to arrange their own parties, and to provide
their own barges or boats; excepting those persons who shall apply
to the managers of the Regatta for a seat in the public barges,
which the several City companies have been so kind to lend on this
occasion.—It is recommended that the rowers of the private barges be
uniformly dressed, and in such a manner as may accord with some one
of the three marine colours, chosen by the Marshals of the Regatta,
viz. the White, the Blue, or the Red: the blue division to take the
four Western arches of Westminster-bridge; the red division to take
the four arches next the Surrey shore; and St. George's division the
two arches on each side the centre. The whole procession to move up
the river from Westminster-bridge at seven o'clock in the evening,
the Marshal's division rowing a-head about three minutes before the
second division, and the same interval of time between the second
and third divisions. The company to begin to embark at the several
stairs adjacent to Westminster-bridge, as well on the Lambeth as the
Westminster side, between five and six o'clock. The Marshal's barge
of twelve oars, carrying St. George's ensign (white field, with a
red cross), will be to the Westward of the centre arch; the rest of
the barges and boats to spread at such distances on the rendezvous,
as to fill all the arches of Westminster-bridge at one time; but it
is to be understood, that none of the pleasure-boats, nor others,
do, upon any account, go into the centre arch, which must be left
free for the race-boats; twelve of which, with each two rowers, will
start from Westminster-bridge at six o'clock, and row against tide to
London-bridge; from whence they will return back to Westminster-bridge:
the three boats that first clear the centre arch of Westminster-bridge,
to the Westward, win the prizes.—First men, ten guineas each, with
coats and badges.—Second men, seven guineas each, with coats and
badges of an inferior value.—Third men, five guineas each, with
coats and badges.—Besides which, every successful waterman will have
an ensign given him to wear one year on the Thames, with the word
Regatta, in gold characters, thereon inscribed, and the figures 1, 2,
or 3, according to the order in which he may arrive at the close of the
race. The twelve boats, when the race shall be over, are to wait on the
Marshal's barge, and to obey whatever orders may be given from thence,
both going up the river, and returning home, when the entertainment
is ended.—Circular ranges of tables, with proper intervals, will be
placed round the Rotunda of Ranelagh, on which supper will be prepared
in the afternoon, and the doors thrown open at eleven o'clock: the
several recesses on the ground-floor to serve as side-boards for the
waiters, and for a variety of refreshments, &c. &c.—A band of musick,
consisting of one hundred and twenty vocal and instrumental performers,
will play in the centre of the Rotunda during supper-time: other music
to be disposed of in the garden, as the Committee shall direct.—Three
military bands, composed of fifes, drums, cymbals, &c. will be habited
in a manner consonant with the naval flags of Great Britain, and be
properly stationed, as will likewise three other select bands of the
most eminent masters on wind instruments:—all under such directions
as may best entertain the company while on the water, and at the time
of disembarking.—The garden of Ranelagh will be lighted up, and a
temporary bower erected and decorated round the canal for dancing.—The
platform of Chelsea-hospital to be open, for the greater conveniency of
disembarking.
"If the 20th of June be the day approved of by the Committee, a red
flag will be displayed at ten in the morning over the centre arch of
Westminster-bridge, continue flying all day, and the bells of St.
Margaret's church will ring from ten o'clock till one: without such
notification, be it understood, that the Regatta is, on account of
unfavourable weather, postponed till Wednesday the 21st of June, when
the like signal will be repeated:—if the weather still continue bad,
the Regatta to be put off till Thursday the 22d of June, when it will
be given at all events."
An account of this amusement was inserted in the newspapers, from one
of which I beg leave to repeat it.
"Yesterday before noon several of the companies and great numbers of
pleasure barges were moored in the river, with flags, &c. Half a guinea
was asked for a seat in a common barge, to see the Regatta.
"Early in the afternoon, the whole river, from London-bridge to the
Ship-tavern, Milbank, was covered with vessels of pleasure, and there
seemed to be a general combination to make a gay evening. Above
1200 flags were flying before four-o'clock; and such was the public
impatience, that scores of barges were filled at that time.—Scaffolds
were erected on the banks and in vessels, and even on the top of
Westminster-hall was an erection of that kind.—Vessels were moored in
the river, for the sale of liquors and other refreshments.
"The Thames, by six o'clock, was overspread with vessels and boats
ornamented with divers colours; much about which time they began
to form themselves into divisions. The Director's barge, which was
uncommonly superb, and on the stern of which was displayed a blue
ensign, with the word Regatta in large gold characters, was rowed in
great state to its station, a little before seven, on the West point
of the centre arch. The boats and vessels of the red flag immediately
brought up in the line of the four arches, on the Lambeth-side; the
blue division in the direction of the four nearest Westminster; and the
white, of the two arches on each side the centre: the grand centre arch
being solely appropriated to the race-boats.
"The whole river formed a splendid scene, which was proportionably
more so nearer to Westminster-bridge. A City barge, used to take in
ballast, was, on this occasion, filled with the finest ballast in the
world—above 100 elegant ladies. At half past seven the Lord Mayor's
barge moved, and falling down the stream, made a circle towards the
bridge, on which twenty-one cannon were fired as a salute.
"At half past seven the several candidates for the Regatta honours
started at Westminster-bridge; twelve boats, two men in each, in
three divisions, habited in white, red, and blue, rowed down to
Watermen's-hall, and went round a vessel placed there for the purpose,
and then made up again for the goal, which was gained by one of the red
squadron, who had for their reward each a new boat, with furniture
complete, coats and badges, and an ensign with the word Regatta in
gold letters inscribed thereon; the second boat eight guineas each, and
the third five guineas each; and to every other candidate who rowed the
full distance, half a guinea, with permission to be in Ranelagh-gardens
(in their uniforms) during the entertainment.
"As soon as the winners were declared, and their prizes awarded, the
whole procession began to move from Westminster-bridge for Ranelagh;
the Director's barge at the head of the whole squadron, with grand
bands of musick playing in each.
"The ladies in general were dressed in white, and the gentlemen in
undress frocks of all colours; and it is thought the procession was
seen by at least 200,000 people.
"The company landed at the stairs about nine, when they joined the
assembly which came by land in the Temple of Neptune, a temporary
octagon kind of building erected about twenty yards below the Rotunda,
lined with striped linen of the different-coloured flags of the Navy,
with light pillars near the centre, ornamented with streamers of
the same kind loosely flowing, and lustres hanging between each. It
happened however that this building was not quite finished when the
company assembled, which prevented the cotillion-dancing till after
supper.
"At half after ten the Rotunda was opened for supper, which discovered
three circular tables, of different elevations, elegantly set out,
though not profusely covered. The Rotunda was finely illuminated with
party-coloured lamps, and those displayed with great taste; the centre
was solely appropriated for one of the fullest and finest bands of
musick, vocal and instrumental, ever collected in these kingdoms; the
number being 240, in which were included the first masters, led by
Giardini; and the whole directed by Mr. Simpson, in a manner that did
him great credit. It was opened with a new grand piece composed for the
occasion; after which various catches and glees were sung by Messrs.
Vernon, Reinhold, &c.
"Supper being over, a part of the company retired to the Temple,
where they danced minuets, cotillions, &c. while others entertained
themselves in the great room.
"The company consisted of about 2000, amongst which were the first
personages of distinction; viz. the Dukes of Gloucester and
Cumberland, Duke of Northumberland, Lords North, Harrington, Stanley,
Tyrconnel, Lincoln, their respective ladies, &c. also Lords Lyttelton,
Colrane, Carlisle, March, Melbourne, Cholmondeley, Petersham, &c.; the
French, Spanish, Prussian, Russian, and Neapolitan Ambassadors, &c.
"Mrs. Cornely had the sole management of the decorations and supper,
for which she was allowed 700 guineas; the supper was but indifferent,
and the wine very scarce.
"It is said that part of the company returning this morning early from
Ranelagh by water met with some accidents, and that four persons were
drowned."
I shall now confine myself entirely to the Theatres, with which this
article necessarily concludes. The different amusements of the present
day will come under review in another place.
Mr. Foote had long entertained the inhabitants of London with a variety
of scenic representations, and met with the most rapturous applause;
his dramatic pieces are pregnant with satire, and he stung the votaries
of vice and folly by the most pointed applications. His dispute with
the Dutchess of Kingston has been too often repeated to bear another
recital; but his letter to the Lord Chamberlain on the suppression
of the "Trip to Calais," in which the above lady was supposed to be
alluded to, is too short to create tedium , and too witty not to give
pleasure after twenty perusals.
"My Lord, I did intend troubling your lordship with an earlier address;
but the day after I received your prohibitory mandate, I had the honour
of a visit from Lord Mountstuart, to whose interposition, I find, I am
indebted for your first commands, relative to the 'Trip to Calais,' by
Mr. Chetwynd, and your final rejection of it by Colonel Keen.
"Lord Mountstuart has, I presume, told your Lordship, that he read with
me those scenes to which your Lordship objected; that he found them
collected from general nature, and applicable to none but those who,
through consciousness, were compelled to a self-application. To such
minds, my Lord, the Whole Duty of Man, next to the Sacred Writings,
is the severest satire that ever was wrote; and to the same mark if
Comedy directs not her aim, her arrows are shot in the air; for by what
touches no man, no man will be mended. Lord Mountstuart desired that I
would suffer him to take the play with him, and let him leave it with
the Dutchess of Kingston: he had my consent, my Lord, and at the same
time an assurance, that I was willing to make any alteration that her
Grace would suggest. Her Grace saw the play, and, in consequence, I
saw her Grace; with the result of that interview, I shall not, at this
time, trouble your Lordship. It may perhaps be necessary to observe,
that her Grace could not discern, which your Lordship, I dare say,
will readily believe, a single trait in the character of Lady Kitty
Crocodile, that resembled herself.
"After this representation, your Lordship will, I doubt not, permit me
to enjoy the fruits of my labour; nor will you think it reasonable
because a capricious individual has taken it into her head that I have
pinned her ruffles awry, that I should be punished by a poignard stuck
deep in my heart: your Lordship has too much candour and justice to be
the instrument of so violent and ill-directed a blow.
"Your Lordship's determination is not only of the greatest importance
to me now, but must inevitably decide my fate for the future, as,
after this defeat, it will be impossible for me to muster up courage
enough to face Folly again: between the Muse and the Magistrate there
is a natural confederacy; what the last cannot punish, the first often
corrects; but when she finds herself not only deserted by her antient
ally, but sees him armed in the defence of her foe, she has nothing
left but a speedy retreat: adieu, then, my Lord, to the Stage. Valeat
res ludicra; to which, I hope, I may with justice add Plaudite; as,
during my continuance in the service of the publick, I never profited
by flattering their passions, or falling in with their humours; as,
upon all occasions, I have exerted my little powers (as, indeed,
I thought it my duty), in exposing follies, how much soever the
favourites of the day; and pernicious prejudices, however protected
and popular. This, my Lord, has been done, if those may be believed
who have the best right to know, sometimes with success; let me add
too, that in doing this I never lost my credit with the publick,
because they knew that I proceeded upon principle, that I disdained
being either the echo or the instrument of any man, however exalted his
station, and that I never received reward or protection from any other
hands than their own.
"I have the honour to be, &c.
"Samuel Foote."
Mr. Garrick, whose unrivalled powers as an actor have ever been the
theme of applause and admiration, retired from the Stage in June 1776,
when in full possession of his extraordinary faculties, after disposing
of his share and patent of Drury-lane Theatre to Messrs. Ford, Ewart,
Sheridan, and Linley, for 35,000l.
The property of the Theatre in the Haymarket was transferred from
Mr. Foote to Mr. Colman in the following year, and has remained in
that gentleman's and his son's possession till very lately. It will
be sufficient to observe of this place of amusement, that it is too
confined for a Summer Theatre, and to accommodate the crowds which
attend it, attracted by the best old plays, many excellent new ones,
and good performers selected from the Winter and Provincial Theatres.
The reader who recollects my previous notices of the enlargement of
Drury-lane Theatre will perceive, from those and the subsequent, how
rapidly population and the admiration of theatrical amusements have
increased. Mr. Harris, proprietor of Covent-garden Playhouse, found
it necessary in 1782 to raise the roof eight feet, and make other
alterations, to benefit himself, and accommodate the publick. It was
then that the Theatre was adorned with those genuine ornaments in the
Grecian style, which have lately given place to I know not what strange
substitutes of painted deal boards.
Mr. Kemble, the present Roscius of the British Stage, made his first
appearance in 1784; but his accomplished and unrivalled sister had
astonished and delighted the publick in the previous year. The two
Thalias, Farren and Jordan, were contemporaries with the celebrated
tragedians; but the former is now a Countess, and the latter I had
almost said a Princess, though still the object of rapturous
approbation on the Stage.
The year 1785 produced the agitation of a singular problem, which
has never yet been solved. While an actor of abilities performs upon
the two Stages of Drury-lane and Covent-garden under the patents of
the proprietors of those Theatres (as I have before observed), the
courtesy of the world, or their own pretensions, dignifies them with
the appellations of Gentlemen and even Esquires; but let the same men
only step on the stage of a theatre opened without a patent or licence,
and he instantly becomes a rogue and vagabond. At the time alluded
to, the late Mr. Palmer, an excellent comedian, supported by a large
subscription, determined to erect a new Theatre near Wellclose-square
for the performance of plays, as at the established houses, without
having first obtained a patent or licence; and, however astonishing it
may appear, he actually completed the house, and obtained several of
the higher rank of performers from the two Theatres. The event might
have been anticipated: when every thing was in readiness to receive
the publick, Palmer became a rogue and vagabond ; and as such the
persons engaged deserted his company . He struggled, remonstrated,
and at length went to prison. Since that period the Theatre at
Wellclose-square remains a memento of rashness and folly, used only
at intervals through the indulgence of the Magistracy, by Astley and
others, for the representation of dances, burlettas, serious ballets,
and pantomimes.
A most extraordinary occurrence in the affairs of the Stage marked the
year 1789; which was Mr. Macklin's attempt to perform the character
of Shylock at the age of ninety.
The Theatre of Drury-lane was generally supposed at that time to have
arrived at a period of decay, which rendered the safety of a crowded
audience at least problematical. The proprietors therefore determined
to rebuild it on an enlarged and magnificent plan; and for this
purpose they hired the new Opera-house in the Haymarket for theatrical
performances in 1791, while their own Theatre was in progress; and an
advance in the prices of admission of 6d. in the pit and 1s. in
the boxes took place, as it was said, to reimburse the extraordinary
expences of the measure.
The following account of the operations attending the re-building
appeared in one of the public papers of the time.
"One of the corner-stones of the new Drury-lane Theatre was laid on
Tuesday September 4, 1792, and, as usual, some coins of the present day
were deposited under it. The principal foundation stone will be laid in
a few days, and it is said that a grand procession will appear at the
ceremony of it.
"The articles which follow concerning this Theatre, we can vouch for
being correct: and the curious, as well as those who are theatrically
inclined, will be glad to read them.
"The delay in the building of this new Theatre, which was originally
intended to have been finished by the opening of the ensuing season,
has been occasioned partly from Mr. Sheridan's mind having been long
employed in performing the last mournful duties of a husband; and
from a dispute in the purchase of the dormant patent belonging to
Covent-garden Theatre, on which security the money for the new building
was to be advanced. Mr. Harris had agreed with Mr. Sheridan for the
price of this patent at 15,000l.
"The old Theatre was pulled down, and the money offered to be paid for
the patent, when it occurred that there were other persons necessary to
be consulted, who had a property in it. Mr. White, who had married a
Miss Powell, had a quarter share of the patent; and when the assignment
of it was offered him to be signed, he objected, and said he would not
sell his share under 5000l.
"Here then was a difficulty which had never been thought of. The old
Drury was pulled down, and the money for the new House was not to
be advanced without the patent. What was to be done? There was much
cavilling on both sides; and the dispute had the appearance of being
drawn into Chancery, to compel Mr. White to sell. All this time Mr.
Sheridan was paying 5l. per cent. interest for the first payment
that had been advanced for the new building, which was laying idle;
his present Theatre in the Haymarket was filling every night with new
Proprietors' tickets; and he was paying a heavy ground-rent to the Duke
of Bedford. This was a ruinous business,—and at length Mr. Sheridan
concluded a bargain a few days since at the price of 20,000l. for the
dormant patent. It is believed that had he employed his usual finesse
in the management of this affair, as well as in the dear bargain he
made for the Haymarket Theatre, he might have saved himself full
20,000l.; for he has been likewise outwitted in the agreement he
entered into with Mr. Taylor, which we shall speak of to-morrow.
"The new Drury, however, now proceeds; and Mr. Holland has declared he
will have the Theatre covered in by the month of January next. The plan
is extremely magnificent, and will afford the most ample accommodation.
It is almost a square. A very grand piazzi will be built round three
sides of it, over which will be setts of chambers. The Theatre will be
insulated, as there are to be streets all round it. An opening is to
be cut from Bridges-street into Drury-lane, through Vinegar-yard; and
as the Theatre will extend to Drury-lane, there will be on one side
Brydges-street, on the other Russell-street, the third Drury-lane,
and on the fourth, the street through Vinegar-yard. Thus will there
be avenues on all sides; and then can the Theatre be emptied of its
company in the space of a quarter of an hour, a convenience which is
much required.
"The money raised for this building is 150,000l. payable in three
instalments.—60,000l. of this is to pay off the mortgagees on
the old Theatre——80,000l. is allotted for the new building, and
10,000l. for contingent expences. The mode of raising this money is
by an annuity of 100 years at 5 per cent. and a free admission for
every subscription of 500l. which already bears a premium of 5l.
per cent."
The Theatre is completed; but the East and West ends remain in a state
of ruin, which must be injurious to the walls and foundations. The
sides are faced with stone, and ornamented with pediments; and an
unfinished colonnade protects the audience from rain, while waiting for
admission; or their carriages are drawn before the doors on retiring
from the amusements of the evening. A description of the interior is in
a great measure unnecessary, and would be difficult to comprehend: the
shape is that of the lyre, as indeed are all our present Theatres, and
the decorations appear very splendid, though they are nothing more than
plain boards well painted in relief; in short, the silvered pillars,
and the beams, and the outward walls, are the only substantial parts
of the building; and yet the effect is wonderfully magnificent, and far
superior to Covent-garden Theatre, which underwent great enlargements,
but in my opinion no improvements, at least in effect, about the time
Drury-lane was completed.
The ensuing particulars were given in the Gentleman's Magazine for
1794: "New Drury-lane Theatre contains in the pit 800 persons; whole
range of boxes 1828; two shilling gallery 675; one shilling gallery
308; total 3611: amounting to 826l. 6s. There are eight private
boxes on each side of the pit; 29 all round the first tier, and eleven
back front boxes; 29 all round the second tier, of which eleven are
six seats deep; 10 on each side the gallery three tier; boxes in the
cove nine each side. Diameter of the pit is 55 feet; opening of the
curtain 43 feet wide; height of the curtain 38 feet; height of the
house from the pit floor to the cieling 56 feet 6 inches."
The proprietors deserve every praise for the precautions they have
taken to extinguish fire, by providing reservoirs of water in different
parts of the building, and an iron curtain to drop between the audience
and the stage. Whether those in the hurry of so dreadful a moment,
would be of any real use, is a question which I sincerely hope will
never be decided; I cannot, however, help observing that many large
doors seem so obviously necessary in Theatres, that I dare not attempt
to account for the diminutive size of the two through which the
audience actually creep in the pit of Covent-garden Theatre. An alarm
of fire in that house must end fatally, whether it spread, or was
immediately extinguished[310:A].
The amusements of the present day are very confined: the two Theatres
and the Opera for the winter, and the Haymarket for the summer, are
the only established places of entertainment; if the latter can be
called such, which dares not open till May 15, and must close by
September 14. Astley is a veteran in scenic feats at his Amphitheatre
and Pavilion; Sadler's wells is a more permanent establishment: and
the Circus and Wellclose Theatre are mere moderns in comparison; but
these are literally Summer houses, as the proprietors are compelled to
confine their performances to the period between Easter and October.
There are other inferior places of resort opened at intervals,
exclusive of the various Concerts; but few of which deserve notice.
