Part 11

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"MATHEW MASTERSON, ROWLAND BENNET."

* * * * *

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

"JAMES FIGG, WILLIAM GILL."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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