Part 10
One of the amusements of 1718 was the juggling exhibition of a fire-eater, whose name was De Hightrehight, a native of the valley of Annivi in the Alps. This tremendous person ate burning coals, chewed flaming brimstone and _swallowed_ it, licked a red-hot poker, placed a red-hot heater on his tongue, kindled coals on his tongue, suffered them to be blown, and broiled meat on them, ate melted pitch, brimstone, bees-wax, sealing wax, and rosin, with a spoon; and, to complete the business, he performed all these impossibilities five times _per diem_, at the Duke of Marlborough's head in Fleet-street for the trifling receipts of 2_s._ 6_d._ 1_s._ 6_d._ and 1_s._ Master Hightrehight had the honour of exhibiting before Lewis XIV. the Emperor of Germany, the King of Sicily, the Doge of Venice, and an infinite number of princes and nobles--and the Prince of Wales, who had nearly lost this inconceivable pleasure by the envious interposition of the Inquisition at Bologna and in Piedmont, which holy office seemed inclined to try _their mode of burning_ on his _body_, leaving to him the care of resisting the flames and rendering them harmless; but he was preserved from the unwelcome ordeal by the interference of the Dutchess Royal Regent of Savoy and the Marquis Bentivoglia.
The following paragraph occurs in the Weekly Journal of March 15, 1718; from which an idea may be formed of the audiences at Sadler's Wells about that period: "Sadler's Wells being lately opened, there is likely to be a great resort of strolling damsels, half-pay officers, peripatetic tradesmen, tars, butchers, and others that are musically inclined," who had an opportunity this year of gratifying their curiosity at the Duke of Marlborough's head, by listening to sentences in German, French, and English, pronounced by a _Speaking Dog_ in sounds so correctly articulate, as to deceive a person who did not see him into the belief that the _vox humana_ was actually in use at the moment. Penkethman exhibited at his booth in Southwark several _dancing dogs_ imported from France.
A person who was called the Grimace Spaniard induced the proprietors of the Boarded House to advertise his intention of fighting bulls with darts, and to kill one with his sword after the Spanish manner. The man attempted the feat; but whether he was unskilful, or _John Bull_, the British beast, was too spirited, it is certain he completely failed; and retired with the disappointed clamour of the populace thundering in his ears.
A Royal Academy of Musick was established by letters patent in 1719; and the Directors were concerned in the management of the Opera, for which Mr. Handel visited the Continent to obtain performers.
The close of the same year presented the eighth wonder of the world to the Londoners, as Mr. De Lepine, the inventor, had the vanity to call it. This was a machine, moved by springs and wheels, impelling figures to advance on a stage, where they performed a pantomimic opera, aided by the usual changes of scenes, musick, &c. &c.
The patent of Sir Richard Steele, dated October 18, 1714, by which that gentleman, Robert Wilks, Colley Cibber, Thomas Doggett, and Barton Booth, had authority to establish a company of Comedians, received a violent attack in January 1720; when, through the intrigues of the Lord Chamberlain, the King was induced to revoke his Royal licence, and to command their silence at Drury-lane Theatre. This proceeding was violently resented by Sir Richard; who vented his anger in very severe terms against the Duke of Newcastle in a periodical paper, intituled, "The Theatre," and the King now and then received a slight rub.
At the very instant a company of French comedians arrived in England, encouraged by advantageous offers and a large subscription. Whether the above prohibition had any reference to such arrival does not appear; but that the King was partial to their performances is very certain, and he frequently saw them act.
The London Journal of March 5, 1720, says: "Yesterday morning the King's company of Comedians belonging to the Playhouse in Drury-lane were sworn at the Lord Chamberlain's office at Whitehall, pursuant to an order, occasioned by their acting in obedience to His Majesty's licence, lately granted, exclusive of a patent formerly obtained by Sir Richard Steele, knight. The tenor of the oath was, that as his Majesty's servants they should act subservient to the Lord Chamberlain, Vice Chamberlain, and Gentleman Usher in waiting."
The company of the New Theatre in Lincoln's-inn-fields was dissolved in July 1720, and the house seized in execution for debt.
The fashionables of 1720 derived one of their amusements from a most magnificent marriage celebrated between a Jew and a Jewess of great respectability named Cornele. Part of the ceremony was held at Leathersellers Hall, which they hired for six days. These spirited Israelites went in procession on the Sabbath after their marriage to the Synagogues, preceded by two men strewing flowers and herbs, and followed by a great number of nobility and their friends, all on foot, as the Law of Moses forbids the use of carriages or horses on that holy day; but, as John Bull did not enter into the spirit of these rites correctly, Master Cornele thought it useful to provide a guard of grenadiers, who served to render the pageant splendid, and the persons who composed it safe.
At the Hall the happy pair were seated under a canopy, for the purpose of receiving the congratulations of their visitors; those they returned by entertainments of musick, dancing, and every description of rich viands, presenting them besides with silver favours elegantly ornamented with the motto, "_This is God's command_," inscribed above their effigies joining hands. The more humble guests had streams of wine poured from the mouth and breasts of the old Mermaid, which till recently fronted the Hall door.
The Theatre in the Haymarket appears to have been re-erected by John Potter, who leased the King's-head inn of John and Thomas Moor at a fine of 200_l._ in 1720. On this site he erected the Theatre for 1000_l._ and expended 500_l._ on scenes, dresses, &c. It was finished December 1, 1720, and appropriated to the company of French Comedians, who arrived in that month from Paris. Their opening was some time in January; on the 31st they acted, by desire of several ladies of the first quality, _Le Tartûffe_ and _Le Tombeau de Maitre Andrè_ with dances. The prices were, boxes 4_s._ pit 2_s._ 6_d._ and gallery 1_s._ 6_d._
A riot which happened in Lincoln's-inn-fields Theatre in March 1721 occasioned the custom, still retained, of having a serjeant and twelve men stationed round the house during the performance.
Wells, who had left the old Bear-garden at Hockley in the Hole, and established that at Mary-le-bon, died in 1721. Dan Singleton composed the following ludicrous epitaph on the occasion:
"Shed, O ye combatants, a flood of tears; Howl, all ye dogs; roar, all ye bulls and bears! Ye butchers, weep! for ye, no doubt, are grievers, And sound his loss with marrow-bones and cleavers. Wells is no more! Yet death has been so kind That he hath left the bulls and bears behind."
One of the newspapers of the day says: "By the decease of Mr. Wells, the original Bear-garden in Hockley in the Hole is now likely to be thronged, especially since all the old gamesters are resolved to bait every Monday and Thursday; and the gladiators have promised frequently to try their skill there; the brutes to box; the furmity and hasty-pudding eaters to cobble down their hot guttage at Madam Preston's, and at no other place."
The French Comedians appear to have met with little encouragement at the Haymarket. Aaron Hill announced himself manager and director of a new company formed by ladies and gentlemen who had never before appeared on any stage, with the aid of scenery quite novel and upon an improved plan. He opened with his own play of "Henry the Fifth" in December 1721.
The prognostick relating to the Bear-garden in a preceding paragraph seems to have been realized in June 1722 by the following extract from the London Journal: "Boxing in public at the Bear-garden is what has lately obtained very much among the men; but till last week we never heard of _women_ being engaged that way, when two of the feminine gender appeared for the first time on the Theatre of War at Hockley in the Hole, and maintained the battle with great valour for a long time, to the no small satisfaction of the spectators. The challenge and answer of these females being originals, we give them to our readers:
"I Elizabeth Wilkinson, of Clerkenwell, having had some words with Hannah Hyfield, and requiring satisfaction, do invite her to meet me on the Stage, and box with me for three guineas, each woman holding half a crown in each hand, and the first woman that drops her money to lose the battle."
"I Hannah Hyfield, of Newgate-market, hearing of the resoluteness of Elizabeth Wilkinson, will not fail, ---- willing, to give her more blows than words, desiring home blows, and from her no favour."
Their habits on this occasion were close jackets, short petticoats, Holland drawers, white stockings, and pumps.
The Opera of 1723 was supported by the introduction of a lady from Italy, of great musical celebrity, named Cuzzoni. She sung in private for the amusement of the Prince and Princess of Wales, to their great satisfaction, previous to her appearance in publick. Her engagement was at the enormous salary of 2000_l. per_ season, presuming on her future success; nor were the managers disappointed, for they were enabled on the second evening of her performance to demand and receive four guineas each ticket. An excellent epigram was made upon this lady immediately after her first appearance:
"If Orpheus' notes could woods and rocks inspire, And make dull rivers listen to his lyre; Cutzona's voice can with far greater skill Rouse death to life, and what is living kill."
She received an incredible number of rich presents, which would have been extremely well, if other sums equal to those employed in their purchase had flowed in a stream at all correspondent towards the meritorious performers of the English Stage, who languished in comparative penury; while the managers profited, and exhibited them in a way which occasioned the following just censure from a contemporary: "When we come to consider the decoration of the Stage at present, we shall sometimes find it magnificent and well ordered. In this I include the habits of the characters or persons of the drama, in which the propriety is not near so well observed as in the scenery; for we shall often see a shabby King surrounded by a party of his guards, every man of which belongs to the ragged regiment. One would think that the managers of the Theatre were republicans in their principles, and they did this on purpose to bring monarchy into contempt; for it is certain that Duncan King of Scotland has not had a new habit for this last century; and the mighty Julius Cæsar first Emperor of Rome appears as ragged as a colt, and many other Monarchs I could name that are no better dressed than heathen philosophers. The reason is, that you will find those parts are not played by any of the _three_ managers; and it is their awkward vanity to appear fine themselves though never so much out of character; so that when you go to see a play there in new habits, it is not the King, the Prince, or the General, but Cibber or B. you are to see well dressed."
One of the entertainments for which the Opera-house was used in 1723 attracted the notice of the Grand Jury of Middlesex, whose presentment follows: "Whereas there has been lately published a proposal for six Ridotto's or Balls to be managed by subscription at the King's Theatre in the Haymarket; we the Grand Jury of the County of Middlesex, sworn to enquire for our Sovereign Lord the King and the body of this County, conceiving the same to be wicked and illegal practices, and which, if not timely suppressed, may promote debauchery, lewdness, and ill conversation; from a just abhorrence therefore of such sort of assemblies, which we apprehend are contrary to law and good manners, and give great offence to His Majesty's good and virtuous subjects; we do present the same, and recommend them to be prosecuted and suppressed as common nuisances to the publick, as nurseries of lewdness, extravagance, and immorality, and also a reproach and scandal to civil government." This presentment had no effect whatever.
The Theatre in Lincoln's-inn-fields seems entitled to the exclusive honour of introducing Harlequinades to the publick. The manager is mentioned in 1723 to have been particularly successful; so much so as to have excited the envy of his brethren of Drury-lane, who determined either to ridicule, or eclipse him, by the introduction of a piece called "Blind Man's Buff, supported by the freaks of _eight_ Harlequins." My author of the Weekly Journal adds: "The thing was so ridiculous, there was no musick to be heard but hissing."
A Footman's gallery is mentioned at the Opera-house in the papers of this date, with the addition that its frequenters were so insolent and noisy that threats of shutting it were circulated.
The Cock-pit and Bowling-green before-mentioned, back of Gray's Inn gardens, was let on a building lease in 1723.
In the month of December an entertainment or pantomimic performance was produced at the Theatre in Lincoln's-inn-fields, founded on the old story of Dr. Faustus, written by Mr. Thurmond, with musick by Monsieur Galliard. The publications of the day take such repeated notice of it, and appear to think it so very wonderful, I shall venture to give the story _verbatim_ from the Universal Journal of December 11.
"At the drawing of the curtain, Dr. Faustus's study is discovered; the Doctor enters, pricks his finger, and with the blood signs a contract; it thunders; and a Devil, riding on a fiery dragon, flies swiftly cross the stage: the Devil alights, receives the contract, and embraces Dr. Faustus, delivers him a wand, and vanishes. Two Countrymen and women enter to be told their fortunes; the Doctor waves his wand, and four pictures turn out of the scenes opposite to these country people, representing a Judge, a Soldier, a dressed Lady, and a Lady in a riding habit: Dr. Faustus, by his action, shews them they are to be what is represented in those pictures. The scene changes, and discovers the outside of a handsome house; the two men and women enter, as returning home; as they are going off the Doctor seizes the two women; the Countrymen return to rescue their wives; the Doctor waves his wand, four Devils enter, the men are frighted, run up the steps of the house, clap their backs against the door, the front of the house immediately turns, and the husbands are thrown out of the stage; the wives remain with the Doctor; and at the same instant the machine turns, a supper ready dressed rises swiftly up, and a Devil is transformed into an agreeable shape, who dances whilst they are regaling, and then vanishes. The husbands appear at the window, threatening the Doctor, who by art magic have large horns fixed to their heads, that they can neither get out nor in. Dr. Faustus and the women go out; he beckons the table, and it follows him off. The scene changes to the street. Punch, Scaramouch, and Pierro enter in Scholars gowns and caps; they are invited into the Doctor's house by a Devil: they enter, and the scene changes to the inside of the house: the Doctor receives them kindly, and invites them to sit down to a bottle of wine; as they are drinking, the table rises, upon which they start back affrighted: then the spirit of Helen rises in a chair of state, with a canopy over her; she entertains them with a dance, goes to her seat again, and sinks. While the Scholars are drinking, the Doctor waves his wand, and large asses ears appear, at once, upon each of their heads: they join in a dance, each pointing and laughing at the others; the Doctor follows them out, pointing and laughing at them all. The scene being changed to the street, a Usurer crosses the stage with a bag of money, goes into the Doctor's house; the scene opens, and discovers the Doctor at a table; the Usurer enters, lends the Doctor the money, but refuses his bond, and demands a limb of him; the Doctor suffers him to cut off his leg, and carry it away. Several legs appear upon the scene, and the Doctor strikes a woman's leg with his wand, which immediately flies from the rest, and fixes to the Doctor's stump, who dances with it ridiculously. A bawd next enters with a courtezan; she presents her to the Doctor, for whom he gives the bawd the bag of money; they all join in a dance, and the Doctor is going off; the bawd stops him, to demand more money; he hangs his hat against the scene, and points to that, and goes out with his mistress. The bawd holds her apron under the hat, from whence a considerable quantity of silver drops; she advances to the front of the stage with a great deal of pleasure, but going to review her money, finds she has none, and runs off. The scene changes to the street, four watchmen enter, and join in a dance adapted to their character. The scene opens, and discovers the Doctor's study, he enters affrighted, the clock strikes one, the figures of Time and Death appear, and in a short piece of recitative declare his latest minute is come. Several Devils enter, tear him in pieces, some fly up, others sink, each bearing a limb of him away; flashes of fire arise, and thunder is heard.
"The last, which is the grand scene, whether proper or not I shall not pretend to determine, is the most magnificent that ever appeared upon the English stage. The Gods and Goddesses discovered there are, Apollo, Mars, Mercury, Bacchus, Ceres, Iris, Flora, and Pales. Apollo advances and sings, inviting the Gods to revel, the power of Faustus being at an end. The rest of the deities (Pales excepted) advance, and dance, agreeable to their several characters, in the greatest order and exactness. Apollo again advances, and invites Diana to appear; upon which a machine flies up and discovers Diana in her chariot, the crescent in an azure sky hanging over her head; she descends, beckons two nymphs who take her bow and quiver; which done, she dances. They then all join in a chorus of singing and dancing; which concludes the entertainment."
The London Journal says, that the Managers received 260_l._ entrance-money the first night, from which we may judge of the size of the Theatre when greatly crowded.
The Universal Journal of December 18, 1723, has the following article: "On Thursday last a new play-house was opened in the Haymarket. The company, we are informed, consists of persons who never appeared in public before. The first play they entertained the town with was a comedy, intituled, 'The Female Fop, or the False one Fitted,' whose author has not yet reached his sixteenth year."
An author mentioned the rehearsal of Dr. Young's tragedy of the Brothers in 1724, and prognosticated its failure in these words: "I am credibly informed the manager of the new house has formed a resolution that it shall be acted to an empty pit and boxes, there being a new entertainment in grotesque characters preparing there, intituled, 'The Cruel Uncle, or the Children in the Wood,' so very artfully contrived, that at the instant Perseus and Demetrius are entering upon that scene, the ruffians (represented by Harlequin and Scaramouch) will be making their appearance at the other house. The consequence of this is easily foreseen: Booth and Cibber will preach to bare walls, whilst Lanyon and Dupre dance before a full audience; and lest Mrs. Oldfield's name should sway some few unfashionable wretches, they have contrived a very musical Robin red-breast, which is to have more melody in its song than there can possibly be in all the mournful accents of the unhappy Erixene."
The Police were at length convinced how very improper the exhibitions of bear-baiting and prize-fighting were in the City of London; and sent the proper officers to Spital-fields, in June 1724, where a stage had been erected for the first time for those purposes, which was immediately pulled down by their orders, and in August they were vainly employed in concerting measures for the total suppression of the long established place of resort at Hockley in the Hole.
An expensive tragedy, intituled, "Julius Cæsar in Egypt," was produced and condemned in 1724, when the following excellent Epigram appeared:
"_The sixth night._
When the pack'd audience from their posts retir'd, And Julius in a general hiss expir'd, Sage Booth to Cibber cried: 'Compute our gains; These dogs of Egypt and their dowdy queans But ill requite these habits and those scenes, To rob Corneille for such a motley piece; His Geese were Swans, but zounds thy Swans are Geese.' Rubbing his firm invulnerable brow, The Bard replied, 'The criticks must allow, 'Twas ne'er in Cæsar's destiny to _run_;' Wilks bow'd, and bless'd the gay pacific pun."
August 1725 produced a conflict for the entertainment of the visitors of Mr. Figg's amphitheatre, Oxford-road, which is characteristic of savage ferocity indeed. Sutton the champion of Kent and a courageous female heroine of that County fought Stokes and _his much admired_ consort of London; 40_l._ was to be given to the male or female who gave most cuts with the sword, and 20_l._ for most blows at quarter-staff, besides the collection in the box. A poetical account of a battle of this kind, was published in the London Journal, and is, I think, worth preserving, especially as it is said to have been written by the author of the Pastoral in the Spectator beginning "My time, O ye Muses, was happily spent:"