Chapter 7

You that walk there, and do design to tellYour Children's children what this year befel,Go print your names, and takea dramwithin;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. Overagainst 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 congregationon 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 visitFrost 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 tideEquals 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 madeTo shine on thee, and carry on the trade.Here Guilleaum, fam'd for making silver passThrough 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 Tobaccogrows.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 hutThe 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 ofThe 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 ofcitizens 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, thatmy ladyButterfield 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 undervaluemyself, 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 heactually 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 otherupright Magistratesset 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 veryacme, 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 playat 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 inthe 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 andswallowedit, 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 timesper 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 trytheir mode of burningon hisbody, 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 aSpeaking Dogin sounds so correctly articulate, as to deceive a person who did not see him into the belief that thevox humanawas actually in use at the moment. Penkethman exhibited at his booth in Southwark severaldancing dogsimported 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, orJohn 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, forwhich 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 thepageant 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 TartûffeandLe Tombeau de Maitre Andrèwith 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 kindThat 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 ina 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 ofwomenbeing 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 musicalcelebrity, 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. perseason, 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 skillRouse 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 thescenery; 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 thethreemanagers; 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 timelysuppressed, 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 ofeightHarlequins." 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 storyverbatimfrom 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 thedoor, 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'shouse; 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 acomedy, 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 pulleddown 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 queansBut 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 torun;'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 andhis much admiredconsort 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 swainsSole 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 sedateCame, and enter'd the list with his fresh-shaven pate.Their arms were encircled by armigers twoWith a red ribbon Sutton's, and Figg's with a blue;Thus adorn'd the two heroes 'twixt shoulder and elbowShook hands, and went to 't; and the word it wasbilboe.Sure such a concern in the eyes of spectatorsWas never yet seen in our Amphitheatres!Our Commons and Peers from their several placesTo half an inch distance all pointed their faces;While the rays of old Phœbus that shot through the sky-lightSeem'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 menIn truth they ne'er minded, but at it again.Such a force in their blows you'd have thought it a wonderEvery 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 hayWithout ever moving an inch either way;Till Jove to the Gods signified his intentionIn a speech that he made them too tedious to mention.But the upshot of it was, that at that very boutFrom 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 roundIf 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 bleedBy a touch from his rival, so Jove had decreed;Just enough for to shew that his blood was noticor,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 thepoliteportion 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 oftencontaminatedour swords in theabdominous corporationsof 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 Amazonianviragoto meet us on the stage, where we hope to give a satisfaction to thehonourable Lordof 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 universalapprobation by our agility of body, dextrous hands, and courageous hearts, need notpreambulateon 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 ourreparteeantagonists. 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 audiencewere 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.ThenewTheatre, as it was called in 1728, now thelittleTheatre 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 bychildren; 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:

You that walk there, and do design to tellYour Children's children what this year befel,Go print your names, and takea dramwithin;For such a year as this has seldom been."

You that walk there, and do design to tellYour Children's children what this year befel,Go print your names, and takea dramwithin;For such a year as this has seldom been."

You that walk there, and do design to tell

Your Children's children what this year befel,

Go print your names, and takea dramwithin;

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. Overagainst 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 congregationon 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 visitFrost 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 tideEquals 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 madeTo shine on thee, and carry on the trade.Here Guilleaum, fam'd for making silver passThrough 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 Tobaccogrows.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 hutThe 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."

"Thou beauteous river Thames, whose standing tideEquals 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 madeTo shine on thee, and carry on the trade.Here Guilleaum, fam'd for making silver passThrough 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 Tobaccogrows.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 hutThe 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."

"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 Tobaccogrows.

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 ofThe 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 ofcitizens 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, thatmy ladyButterfield 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 undervaluemyself, 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 heactually 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 otherupright Magistratesset 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 veryacme, 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 playat 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 inthe 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 andswallowedit, 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 timesper 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 trytheir mode of burningon hisbody, 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 aSpeaking Dogin sounds so correctly articulate, as to deceive a person who did not see him into the belief that thevox humanawas actually in use at the moment. Penkethman exhibited at his booth in Southwark severaldancing dogsimported 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, orJohn 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, forwhich 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 thepageant 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 TartûffeandLe Tombeau de Maitre Andrèwith 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 kindThat he hath left the bulls and bears behind."

"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 kindThat he hath left the bulls and bears behind."

"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 ina 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 ofwomenbeing 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 musicalcelebrity, 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. perseason, 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 skillRouse death to life, and what is living kill."

"If Orpheus' notes could woods and rocks inspire,And make dull rivers listen to his lyre;Cutzona's voice can with far greater skillRouse death to life, and what is living kill."

"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 thescenery; 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 thethreemanagers; 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 timelysuppressed, 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 ofeightHarlequins." 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 storyverbatimfrom 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 thedoor, 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'shouse; 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 acomedy, 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 pulleddown 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 queansBut 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 torun;'Wilks bow'd, and bless'd the gay pacific pun."

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 queansBut 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 torun;'Wilks bow'd, and bless'd the gay pacific pun."

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 torun;'

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 andhis much admiredconsort 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 swainsSole 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 sedateCame, and enter'd the list with his fresh-shaven pate.Their arms were encircled by armigers twoWith a red ribbon Sutton's, and Figg's with a blue;Thus adorn'd the two heroes 'twixt shoulder and elbowShook hands, and went to 't; and the word it wasbilboe.Sure such a concern in the eyes of spectatorsWas never yet seen in our Amphitheatres!Our Commons and Peers from their several placesTo half an inch distance all pointed their faces;While the rays of old Phœbus that shot through the sky-lightSeem'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 menIn truth they ne'er minded, but at it again.Such a force in their blows you'd have thought it a wonderEvery 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 hayWithout ever moving an inch either way;Till Jove to the Gods signified his intentionIn a speech that he made them too tedious to mention.But the upshot of it was, that at that very boutFrom 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 roundIf 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 bleedBy a touch from his rival, so Jove had decreed;Just enough for to shew that his blood was noticor,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."

"Long was the great Figg by the prize-fighting swainsSole 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 sedateCame, and enter'd the list with his fresh-shaven pate.Their arms were encircled by armigers twoWith a red ribbon Sutton's, and Figg's with a blue;Thus adorn'd the two heroes 'twixt shoulder and elbowShook hands, and went to 't; and the word it wasbilboe.Sure such a concern in the eyes of spectatorsWas never yet seen in our Amphitheatres!Our Commons and Peers from their several placesTo half an inch distance all pointed their faces;While the rays of old Phœbus that shot through the sky-lightSeem'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 menIn truth they ne'er minded, but at it again.Such a force in their blows you'd have thought it a wonderEvery 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 hayWithout ever moving an inch either way;Till Jove to the Gods signified his intentionIn a speech that he made them too tedious to mention.But the upshot of it was, that at that very boutFrom 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 roundIf 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 bleedBy a touch from his rival, so Jove had decreed;Just enough for to shew that his blood was noticor,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."

"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 wasbilboe.

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 noticor,

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 thepoliteportion 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 oftencontaminatedour swords in theabdominous corporationsof 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 Amazonianviragoto meet us on the stage, where we hope to give a satisfaction to thehonourable Lordof 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 universalapprobation by our agility of body, dextrous hands, and courageous hearts, need notpreambulateon 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 ourreparteeantagonists. 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 audiencewere 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.

ThenewTheatre, as it was called in 1728, now thelittleTheatre 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 bychildren; 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:

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