[1] That is, "The Beaux' Stratagem," by Farquhar, produced 8th March, 1707. Cibber played the part of Gibbet.

[2] "Lady's Last Stake; or, the Wife's Resentment," a comedy by Cibber, produced 13th December, 1707.

Lord Wronglove Mr. Wilks.
Sir George Brillant   Mr. Cibber.
Sir Friendly Moral Mr. Keene.
Lady Wronglove Mrs. Barry.
Lady Gentle Mrs. Rogers.
Mrs. Conquest Mrs. Oldfield.
Miss Notable Mrs. Cross.

[3] "The Double Gallant; or, the Sick Lady's Cure," a comedy by Cibber, produced 1st November, 1707.

Sir Solomon Sadlife Mr. Johnson.
Clerimont Mr. Booth.
Careless Mr. Wilks.
Atall Mr. Cibber.
Captain Strut Mr. Bowen.
Sir Squabble Splithair   Mr. Norris.
Saunter Mr. Pack.
Old Mr. Wilful Mr. Bullock.
Sir Harry Atall Mr. Cross.
Supple Mr. Fairbank.
Lady Dainty Mrs. Oldfield.
Lady Sadlife Mrs. Crosse.
Clarinda Mrs. Rogers
Sylvia Mrs. Bradshaw.
Wishwell Mrs. Saunders.
Situp Mrs. Brown.

[4] The plays from which Cibber compiled "The Double Gallant" are "Love at a Venture," "The Lady's Visiting Day," and "The Reformed Wife" (Genest, ii. 389).

[5] Eighteenpence was for many years the recognized price of plays when published.

[6] These were played on 14th January, 21st January, and 4th February, 1707, in the order Cibber gives them. The alteration of Dryden's plays was done by Cibber, and was called "Marriage à la Mode; or, the Comical Lovers."

Celadon Mr. Cibber.
Palamede Mr. Wilks.
Rhodophil  Mr. Booth.
Melantha Mrs. Bracegirdle.
Florimel Mrs. Oldfield.
Doralice Mrs. Porter.

I have not seen a copy of this, so take the cast from Genest.

[7] An elephant was introduced into the pantomime of "Harlequin and Padmanaba," at Covent Garden, 26th December, 1811. Genest points out that one had appeared at Smock Alley Theatre, Dublin, in 1771-2.

[8] In Mr. Percy Fitzgerald's "New History of the English Stage" (ii. 436) he gives an interesting memorandum by the Hon. Sir Spencer Ponsonby-Fane regarding this point. It begins: "That the Chamberlain's authority proceeded from the Sovereign alone is clear, from the fact that no Act of Parliament, previous to the 10 Geo. II., c. 28 (passed in 1737), alludes to his licensing powers, though he was constantly exercising them."

[9] Langbaine, in his "Account of the English Dramatick Poets," 1691, says (p. 212): "Maids Tragedy, a Play which has always been acted with great Applause at the King's Theatre; and which had still continu'd on the English Stage, had not King Charles the Second, for some particular Reasons forbid its further Appearance during his Reign. It has since been reviv'd by Mr. Waller, the last Act having been wholly alter'd to please the Court."

I think there can be little doubt that the last reason suggested by Cibber was the real cause of the prohibition.

[10] Produced at Dorset Garden, 1681.

[11] Produced at Dorset Garden, 1690. See ante, vol. i. p. 187. I presume that the lines alluded to by Cibber are:—

"Never content with what you had before,
But true to change, and Englishmen all o'er."

[12] In the "Biographia Dramatica" (iii. 24) the following note appears: "Mary Queen of Scotland. A play under this title was advertised, among others, as sold by Wellington, in St. Paul's Churchyard, in 1703." But the work Cibber refers to is "The Island Queens; or, the Death of Mary Queen of Scots," a tragedy by John Banks, printed in 1684, but not produced till 6th March, 1704, when it was played at Drury Lane as "The Albion Queens."

[13] "The Unhappy Favourite; or, the Earl of Essex," produced at the Theatre Royal, 1682.

[14] "Virtue Betrayed; or, Anna Bullen," first acted at Dorset Garden, 1682.

[15] Bellchambers notes here that this order was superfluous, because the prohibition was inserted in the Patents given to Davenant and Killigrew. But, whether superfluous or not, I find from the Records of the Lord Chamberlain's Office that this order was frequently made. On 16th April, 1695, an edict was issued forbidding actors to desert from Betterton's company; on 25th July, 1695, desertions from either company were forbidden; and this latter order was reiterated on 27th May, 1697.

[16] I do not know whether it is merely a coincidence, but it is curious that, after Betterton got his License (on 25th March, 1695), an edict was issued that no one was to desert from his company to that of the Theatre Royal; while a general order against any desertion from either company to the other was not issued for more than three months after the first edict. The dates, as given in the Records of the Lord Chamberlain's Office, are 16th April and 25th July respectively. If this were intentional, it would form a curious commentary on Cibber's statement.

[17] Genest supposes that this incident occurred about June, 1704. But the Lord Chamberlain's Records of that time contain no note of it, and Cibber's language scarcely bears the interpretation that three years elapsed between Powell's leaving Drury Lane and returning to it, as was the case at that time; for he was at Lincoln's Inn Fields for three seasons, 1702 to 1704. I find, however, a warrant, dated 14th November, 1705, to apprehend Powell for refusing to act his part at the Haymarket, so that the audience had to be dismissed, and for trying to raise a mutiny in the company. He was ordered to be confined in the Porter's Lodge until further notice. On the 24th November Rich was informed that Powell had deserted the Haymarket, and was warned not to engage him. Now these desertions must have followed each other pretty closely, for he was at Drury Lane in the beginning of 1705; at the Haymarket in April of the same year; and about six months later had deserted the latter. The sequel to this difficulty seems to be the silencing of Rich for receiving Powell, on 5th March in the fifth year of Queen Anne's reign, that is, 1707. Unless the transcriber of the Records has made a mistake in the year, Powell was thus suspended for about eighteen months. It will be noticed that Cibber does not say that he was acting the night after his release, but merely that he was behind the scenes.

[18] Among the Lord Chamberlain's Records is a copy of a decree suspending all performances at Drury Lane because Powell had been allowed to play. This is dated 3rd May, 1698. His offence was that he had drawn his sword on Colonel Stanhope and young Davenant. The suspension was removed the following day; but on the 19th of the same month Powell was forbidden to be received at either Drury Lane or Dorset Garden.

[19] A warrant was issued to apprehend Dogget and take him to the Knight Marshall's Prison, on 23rd November, 1697, his offence being desertion of the company of Drury Lane and Dorset Garden. The Records contain no note as to the termination of the matter; but this is, beyond doubt, the occasion referred to by Cibber.

[20] Horace, Epis., i. 6, 68.

[21] At Drury Lane, 14th April, 1713.

[22] This is a pretty way of putting what Johnson, in his Life of Addison, afterwards stated in the well-known words: "The Whigs applauded every line in which Liberty was mentioned, as a satire on the Tories; and the Tories echoed every clap to show that the satire was unfelt." In the next paragraph Johnson describes the play as "supported by the emulation of factious praise."

[23] I confess I do not know Cibber's authority for this statement.

[24] "The Laureat" abuses Cibber for this sentence, declaring that he evidently considered "Sophocles" to be the name of a tragedy. But Cibber's method of expression, though curious, does not justify this attack.

[25] "Caviare to the general."—"Hamlet," act ii. sc. 2.

[26] Malone supposes that Skipwith acquired his shares from the Killigrew family, but in the indenture by which he transferred his interest to Brett, it seems as if he had acquired part of it from Alexander Davenant, and the remainder by buying up shares of the original Adventurers. The indenture will be found at length in Mr. Percy Fitzgerald's "New History of the English Stage," i. 252. Skipwith is described in the "Biog. Dram." (i. 487) as "a weak, vain, conceited coxcomb." The proportion in which the shares were divided among the various holders is shown by the "Opinion" of Northey and Raymond, in 1711, to have been this: Three-twentieths belonged to Charles Killigrew. The remainder was divided into tenths, of which two-tenths belonged to Rich; the other eight parts were owned by the Mortgagees or Adventurers. If Cibber's supposition is correct, two of these parts belonged to Shipwith.

[27] It is dated 6th October, 1707.

[28] As noted vol. i. p. 213, January, 1695, Old Style; that is, January, 1696.

[29] Davies ("Dram. Misc.," iii. 84) says: "The heads of the English actors were, for a long time, covered with large full-bottomed perriwigs, a fashion introduced in the reign of Charles II., which was not entirely disused in public till about the year 1720. Addison, Congreve, and Steele, met at Button's coffee-house, in large, flowing, flaxen wigs; Booth, Wilks, and Cibber, when full-dressed, wore the same. Till within these twenty-five years, our Tamerlanes and Catos had as much hair on their heads as our judges on the bench.... I have been told, that he [Booth] and Wilks bestowed forty guineas each on the exorbitant thatching of their heads."

[30] "The Laureat," p. 66, relates with great acrimony an anecdote of Colonel Brett's reproving Cibber harshly for his treatment of an author who had submitted a play to him. Cibber is said to have opened the author's M.S., and, having read two lines only, to have returned it to him saying, "Sir, it will not do." Going to Button's, he related his exploit with great glee, but was rebuked in the strongest terms by Colonel Brett, who is said to have put him to shame before the whole company. This is related as having occurred many years after the time Cibber now writes of; the suggestion being that Brett did not consider Cibber as a friend.

[31] This was the Countess of Macclesfield, the supposed mother of Richard Savage, who had a large fortune in her own right, of which she was not deprived on her divorce from the Earl of Macclesfield. Shortly after her divorce, probably about 1698, she married Brett. She lived to be eighty, or over it, dying 11th October, 1753.

[32] A comedy by Mountfort the actor, originally played at the Theatre Royal, 1691. The part of Young Reveller was then taken by the author, and we have no record of Cibber's playing it before 1708; but from this anecdote he must have done so ten years earlier.

[33] In Boswell's Life of Johnson (i. 174) there is a note by Boswell himself:—

"Miss Mason, after having forfeited the title of Lady Macclesfield by divorce, was married to Colonel Brett, and, it is said, was well known in all the polite circles. Colley Cibber, I am informed, had so high an opinion of her taste and judgement as to genteel life, and manners, that he submitted every scene of his Careless Husband to Mrs. Brett's revisal and correction. Colonel Brett was reported to be too free in his gallantry with his Lady's maid. Mrs. Brett came into a room one day in her own house, and found the Colonel and her maid both fast asleep in two chairs. She tied a white handkerchief round her husband's neck, which was a sufficient proof that she had discovered his intrigue; but she never at any time took notice of it to him. This incident, as I am told, gave occasion to the well-wrought scene of Sir Charles and Lady Easy and Edging."

[34] See note, vol. i. p. 301.

[35] 1707. See note on page 3 of this vol.

[36] The edict which ordered this division of plays and operas is dated 31st December, 1707. Each theatre is ordered to confine itself to its own sphere on pain of being silenced; and no other theatre is permitted to be built. A copy of the edict is given by Mr. Percy Fitzgerald ("New History," i. 258), but it is not a verbatim copy of the original in the Lord Chamberlain's Office, though it contains all that is of importance in it.

[37] At the Union, 1707-8, the Lord Chamberlain took measures to assert his supremacy. Under date 6th January, 1708, he orders that no actors are to be engaged at Drury-Lane who are not Her Majesty's servants, and he therefore directs the managers to send a list of all actors to be sworn in.

[38] Bellchambers notes that Mrs. Tofts "sang in English, while her associates responded in Italian."

[39] The whole passage regarding Nicolini is:—

"I went on Friday last to the Opera, and was surprised to find a thin House at so noble an Entertainment, till I heard that the Tumbler was not to make his Appearance that Night. For my own Part, I was fully satisfied with the Sight of an Actor, who, by the Grace and Propriety of his Action and Gesture, does Honour to an human Figure, as much as the other vilifies and degrades it. Every one will easily imagine I mean Signior Nicolini, who sets off the Character he bears in an Opera by his Action, as much as he does the Words of it by his Voice. Every Limb, and every Finger, contributes to the Part he acts, insomuch that a deaf Man might go along with him in the Sense of it. There is scarce a beautiful Posture in an old Statue which he does not plant himself in, as the different Circumstances of the Story give Occasion for it. He performs the most ordinary Action in a Manner suitable to the Greatness of his Character, and shows the Prince even in the giving of a Letter, or the dispatching of a Message. Our best Actors are somewhat at a Loss to support themselves with proper Gesture, as they move from any considerable Distance to the Front of the Stage; but I have seen the Person of whom I am now speaking, enter alone at the remotest Part of it, and advance from it with such Greatness of Air and Mien, as seemed to fill the Stage, and at the same Time commanded the Attention of the Audience with the Majesty of his Appearance."—"Tatler," No. 115, January 3rd, 1710.

[40] An excellent account of Mrs. Tofts is given by Mr. Henry Morley in a note on page 38 of his valuable edition of the "Spectator." She was the daughter of one of Bishop Burnet's household, and had great natural gifts. In 1709 she was obliged to quit the stage, her mental faculties having failed; but she afterwards recovered, and married Mr. Joseph Smith, a noted art patron, who was appointed English Consul at Venice. Her intellect again became disordered, and she died about the year 1760.

[41] Cibber's most notorious blunder in language was made in this sentence. In his first edition he wrote "was then but an Adept in it," completely reversing the meaning of the word "Adept." Fielding ("Champion," 22nd April, 1740) declares Cibber to be a most absolute Master of English, "for surely he must be absolute Master of that whose Laws he can trample under Feet, and which he can use as he pleases. This Power he hath exerted, of which I shall give a barbarous Instance in the Case of the poor Word Adept.... This Word our great Master hath tortured and wrested to signify a Tyro or Novice, being directly contrary to the Sense in which it hath been hitherto used." It is of course conceivable that the error was a printer's error not corrected in reading the proof.

[42] Nicolini was the stage name of the Cavalier Nicolo Grimaldi. Dr. Burney says: "This great singer, and still greater actor, was a Neapolitan; his voice was at first a soprano, but afterwards descended into a fine contralto." He first appeared, about 1694, in Rome, and paid his first visit to England in 1708. Valentini Urbani was a castrato, his voice was not so strong as Nicolini's, but his action was so excellent that his vocal defects were not noticed.—"General History of Music," 1789, iv. 207, 205.

[43] Colonel Brett, by an indenture dated 31st March, 1708, made Wilks, Estcourt, and Cibber, his deputies in the management of the theatre. Genest (ii. 405) says this was probably "31st March, 1708, Old Style," by which I suppose he means March, 1709. But I cannot see why he should think this. Brett entered into management in January, 1708, and was probably out of it by March, 1709. It may be that Genest supposes that this indenture marks the end of Brett's connection with the theatre; whereas it was probably one of his first actions. It will be remembered that he stated his intention of benefitting Cibber by taking the Patent (see ante, p. 42). A copy of the indenture is given by Mr. Percy Fitzgerald ("New History," ii. 443). It is dated 31st March in the seventh year of Queen Anne's reign, that is, 1708.

[44] On p. 328 of vol. i., Cibber says that Rich (about 1705) had led the Adventurers "a Chace in Chancery several years." From the petition presented in 1709 against the order silencing Rich, we learn that the principal Adventurers were: Lord Guilford, Lord John Harvey, Dame Alice Brownlow, Mrs. Shadwell, Sir Edward Smith, Bart., Sir Thomas Skipwith, Bart., George Sayer, Charles Killegrew, Christopher Rich, Charles Davenant, John Metcalf, Thomas Goodall, Ashburnham Toll, Ashburnham Frowd, William East, Richard Middlemore, Robert Gower, and William Collier. It is curious that everyone who has reproduced this list has, as far as I know, mistaken the name "Frowd," calling it "Trowd." The earliest reproduction of the list of names which I know is in the "Dramatic Censor," 1811, col. III.

[45] I do not know when Sir Thomas Skipwith died; but in 1709 the petition of the Adventurers, &c., is signed by, among others, Sir Thomas Skipwith.

[46] This anecdote shows that Rich had some sort of Committee of Shareholders to aid (or hinder) him. Subsequent experience has shown, as witness the Drury Lane Committee at the beginning of this century, how disastrous such form of management is.

[47] Dr. Doran ("Their Majesties' Servants," 1888 edition, i. 103) gives the following account of Goodman's connection with this plot:—

"King James having saved Cardell's neck, Goodman, out of pure gratitude, perhaps, became a Tory, and something more, when William sat in the seat of his father-in-law. After Queen Mary's death, Scum was in the Fenwick and Charnock plot to kill the King. When the plot was discovered, Scum was ready to peach. As Fenwick's life was thought by his friends to be safe if Goodman could be bought off and got out of the way, the rogue was looked for, at the Fleece, in Covent Garden, famous for homicides, and at the robbers' and the revellers' den, the Dog, in Drury Lane. Fenwick's agent, O'Bryan, erst soldier and highwayman, now a Jacobite agent, found Scum at the Dog, and would then and there have cut his throat, had not Scum consented to the pleasant alternative of accepting £500 a year, and a residence abroad.... Scum suddenly disappeared, and Lord Manchester, our Ambassador in Paris, inquired after him in vain. It is impossible to say whether the rogue died by an avenging hand, or starvation."

[48] This anecdote is valuable as establishing the identity of Captain Griffin with the Griffin who retired (temporarily) from the stage about 1688. See note on page 83 of vol. i.

[49] When Betterton and his associates left the Theatre Royal and opened Lincoln's Inn Fields Theatre. See Chapter VI.

[50] Indulto—In Spain, a duty, tax, or custom, paid to the King for all goods imported.

[51] In the "Answer to Steele's State of the Case," 1720 (Nichols's ed. p. 527), it is said: "After Mr. Rich was again restored to the management of the Play-house, he made an order to stop a certain proportion of the clear profits of every Benefit-play without exception; which being done, and reaching the chief Players as well as the underlings, zealous application was made to the Lord Chamberlain, to oblige Mr. Rich to return the money stopped to each particular. The dispute lasted some time, and Mr. Rich, not giving full satisfaction upon that head, was silenced; during the time of which silence, the chief Players, either by a new License, or by some former (which I cannot absolutely determine, my Memoirs being not at this time by me) set up for themselves, and got into the possession of the Play-house in Drury-lane."

[52] See ante, vol. i., p. 161.

[53] This warning is dated 30th April, 1709, and is a very peremptory document. Rich's treasurer is ordered to pay the actors the full receipts of their benefits, under deduction only of £40 for the charges of the house. See the Order for Silence quoted post, page 73.

[54] Mrs. Bracegirdle retired in February, 1707. Mrs. Barry played up to the end of the season, 1708, that is, up to June, 1708. She does not seem to have been engaged in 1708-9, but she was a member of the Haymarket Company in 1709-10.

[55] From Chapter XVI. it will be seen that Wilks's unfair partiality for John Mills, whom he forced into prominence at Booth's expense, was the leading reason for Booth's remaining with Rich.

[56] The Order for Silence has never, I believe, been quoted. I therefore give it in full. The theatre closed on the 4th of June, 1709, which was Saturday, and did not open again under Rich's management, the Order for Silence being issued on the next Monday.

"Play House in Covent Garden silenc'd. Whereas by an Order dated the 30th day of Aprll last upon the peticon of sevll Players &c: I did then direct and require you to pay to the respective Comedians who had benfit plays last winter the full receipts of such plays deducting only from each the sume of 40l. for the Charges of the House pursuant to the Articles made wth ym at ye theatre in the Haymarkett and wch were promisd to be made good upon their removall to the Theatre in Covent Garden.

"And whereas I am informd yt in Contempt of the said Ordr yu still refuse to pay and detain from the sd Comedians ye profits of ye sd benefit plays I do therefore for the sd Contempt hereby silence you from further acting & require you not to perform any Plays or other Theatricall entertainmts till further Ordr; And all her Majts Sworn Comedians are hereby forbid to act any Plays at ye Theatre in Covent Gardn or else where wthout my leave as they shall answer the contrary at their perill And &c: Given &c: this 6th day of June 1709 in the Eighth Year of her Majesty's Reign.

"(Signed) Kent.

"To the Manager or Managrs }
of her MajtsCompany of Comedins }
for their Patentees." }

I have copied this from the Lord Chamberlain's Records.

[57]
"Honoured Sir,
July 1. 1710.
"Finding by divers of your late Papers, that you are a Friend to the Profession of which I was many Years an unworthy Member, I the rather make bold to crave your Advice, touching a Proposal that has been lately made me of coming into Business, and the Sub-Administration of Stage Affairs. I have, from my Youth, been bred up behind the Curtain, and been a Prompter from the Time of the Restoration. I have seen many Changes, as well of Scenes as of Actors, and have known Men within my Remembrance arrive to the highest Dignities of the Theatre, who made their Entrance in the Quality of Mutes, Joynt-stools, Flower-pots, and Tapestry Hangings. It cannot be unknown to the Nobility and Gentry, That a Gentleman of the Inns of Court, and a deep Intriguer, had some Time since worked himself into the sole Management and Direction of the Theatre. Nor is it less notorious, That his restless Ambition, and subtle Machinations, did manifestly tend to the Extirpation of the good old British Actors, and the Introduction of foreign Pretenders; such as Harlequins, French Dancers, and Roman Singers; which, tho' they impoverish'd the Proprietors, and imposed on the Audience, were for some Time tolerated, by Reason of his dextrous Insinuations, which prevailed upon a few deluded Women, especially the Vizard Masks, to believe, that the Stage was in Danger. But his Schemes were soon exposed, and the Great Ones that supported him withdrawing their Favour, he made his Exit, and remained for a Season in Obscurity. During this Retreat the Machiavilian was not idle, but secretly fomented Divisions, and wrought over to his Side some of the inferior Actors, reserving a Trap Door to himself, to which only he had a Key. This Entrance secured, this cunning Person, to compleat his Company, bethought himself of calling in the most eminent of Strollers from all Parts of the Kingdom. I have seen them all ranged together behind the Scenes; but they are many of them Persons that never trod the Stage before, and so very aukward and ungainly, that it is impossible to believe the Audience will bear them. He was looking over his Catalogue of Plays, and indeed picked up a good tolerable Set of grave Faces for Counsellors, to appear in the famous Scene of Venice Preserved, when the Danger is over; but they being but meer Outsides, and the Actors having a great Mind to play the Tempest, there is not a Man of them when he is to perform any Thing above Dumb Show is capable of acting with a good Grace so much as the Part of Trincalo. However, the Master persists in his Design, and is fitting up the old Storm; but I am afraid he will not be able to procure able Sailors or experienced Officers for Love or Money.

"Besides all this, when he comes to cast the Parts there is so great a Confusion amongst them for Want of proper Actors, that for my Part I am wholly discouraged. The Play with which they design to open is, The Duke and no Duke; and they are so put to it, That the master himself is to act the Conjurer, and they have no one for the General but honest George Powell.

"Now, Sir, they being so much at a Loss for the Dramatis Personæ, viz. the Persons to enact, and the whole Frame of the House being designed to be altered, I desire your Opinion, whether you think it advisable for me to undertake to prompt 'em: For tho' I can clash Swords when they represent a Battel, and have yet Lungs enough to huzza their Victories, I question, if I should prompt 'em right, whether they would act accordingly.—I am

"Your Honour's most humble Servant,
"J. Downes.

"P.S. Sir, Since I writ this, I am credibly informed, That they design a New House in Lincoln's-Inn-fields, near the Popish Chapel, to be ready by Michaelmas next; which indeed is but repairing an Old one that has already failed. You know the honest Man who kept the Office is gone already."

[58] The chief actor who remained with Rich was Booth. Among the others were Powell, Bickerstaffe, Pack, Keene, Francis Leigh, Norris, Mrs. Bignell, Mrs. Moor, Mrs. Bradshaw, and Mrs. Knight.

[59] An interesting advertisement was published on Rich's behalf in July, 1709, which gives curious particulars regarding the actors' salaries. I quote it from "Edwin's Eccentricities," i. 219-224, without altering the figures, which, as regards the pence, are rather eccentric:—

"Advertisement concerning the poor Actors, who, under pretence of hard usage from the Patentees, are about to desert their service.

"Some persons having industriously spread about amongst the Quality and others, what small allowances the chief Actors have had this last Winter from the Patentees of Drury Lane Play-house, as if they had received no more than so many poor palatines; it was thought necessary to print the following Account.

"The whole company began to act on the 12th of October, 1708, and left off on the 26th of the same month, by reason of Prince George's illness and death; and began again the 14th of December following, and left off upon the Lord Chamberlain's order, on the 4th of June last, 1709. So acted, during that time, in all 135 days, which is 22 weeks and three days, accounting six acting days to a week.

In that time £  s. d.
To Mr. Wilkes, by salary, for acting, and taking care of the rehearsals; paid 16868
By his Benefit play; 90149
Total   25915
To Mr. Betterton by salary, for acting, 4l. a week for himself, and 1l. week for his wife, although she does not act; paid 112100
By a benefit play at common prices, besides what he got by high prices, and Guineas; paid 7645
188145
To Mr. Eastcourt, at 5l. a week salary; paid 112100
By a benefit play; paid 5186
163186
To Mr. Cibber, at 5l. a week salary; paid 111100
By a benefit play; paid 51010
1621010
To Mr. Mills, at 4l. a week for himself, and 1l. a week for his wife, for little or nothing 112100
By a benefit play paid to him (not including therein what she got by a benefit play) 5814
170114
To Mrs. Oldfield, at 4l. a week salary, which for 14 weeks and one day; she leaving off acting presently after her benefit (viz.) on the 17th of March last, 1708, though the benefit was intended for her whole nine months acting, and she refused to assist others in their benefits; her salary for these 14 weeks and one day came to, and she was paid, 56134
In January she required, and was paid ten guineas, to wear on the stage in some plays, during the whole season, a mantua petticoat that was given her for the stage, and though she left off three months before she should, yet she hath not returned any part of the ten guineas 10150
And she had for wearing in some plays a suit of boys cloaths on the stage; paid 2109
By a benefit play; paid 6278
13267
Certainties in all   107738
"Besides which certain sums above-mentioned, the same actors got by their benefit plays, as follows:
£  s. d.
Note, that Mr. Betterton having had 76l. 4s. 5d. as above mentioned, for two-thirds of the profits by a benefit play, reckoning his tickets for the boxes at 5s. a piece, the pit at 3s. the first gallery at 2s. and the upper gallery at 1s.——But the boxes, pit, and stage, laid together on his day, and no person admitted but by his tickets, the lowest at half a guinea a ticket; nay he had much more, for one lady gave him ten guineas, some five guineas, some two guineas, and most one guinea, supposing that he designed not to act any more, and he delivered tickets out for more persons, than the boxes, pit, and stage could hold; it is thought he cleared at least 450l. over and besides the 76l. 4s. 5d. 45000
'Tis thought Mr. Estcourt cleared 200l. besides the said 51l. 8s. 6d. 20000
That Mr. Wilkes cleared by Guineas, as it is thought, about 40l. besides the said 90l. 14s. 9d. 4000
That Mr. Cibber got by Guineas, as it is thought, about 50l. besides the said 51l. 0s. 10d. 5000
That Mr. Mills got by guineas about 20l. as it is thought, besides the said 58l. 1s. 4d. 2000
That Mrs. Oldfield, it is thought, got 120l. by guineas over and above the said 62l. 7s. 8d. 12000
In all   88000
"So that these six comedians, who are the unsatisfied people, have between the 12th of October and the 4th of June last, cleared in all the following sums:
£  s. d.
Acted 100 times, Mr. Wilkes certain 25915
   and more by computation 4000
Both   29915
Acted 16 times, Mr. Betterton certain 188145
   and more by computation 45000
638145
Acted 52 times, Mr. Estcourt certain 163186
   and more by computation 20000
363186
Acted 71 times, Mr. Cibber certain 1621010
   and more by computation 5000
2121010
Acted — times, Mr. Mills certain 170114
   and more by computation 2000
190114
Acted 39 times, Mrs. Oldfield certain 13267
   and more by computation 12003
25267
In all   195732

"Had not acting been forbid seven weeks on the occasion of Prince George's death, and my Lord Chamberlain forbad acting about five weeks before the tenth of July instant; each of these actors would have had twelve weeks salary more than is above-mentioned.

"As to the certainties expressed in this paper, to be paid to the six Actors, the same are positively true: and as to the sums they got over and above such certainties, I believe the same to be true, according to the best of my computation.

"Witness my hand, who am Receiver and Treasurer at the Theatre Royal, Drury Lane,

"July 8th, 1709.
"Zachary Baggs."

[60] It was opened 18th December, 1714.

[61] The Lord Chamberlain's Records enable an exact account to be given of the transactions which led to the formation of this Haymarket Company. After Rich was silenced, his actors petitioned the Lord Chamberlain on three separate occasions, namely, 10th June, 20th June, and 5th July, 1709, and in answer to their petitions, the Haymarket, which was then devoted solely to Opera, was permitted to be used for Plays also. In an Answer to the actors' petitions, the Lord Chamberlain permits the manager of the Haymarket to engage such of them as he wished, and to act Plays four times a week, the other days being devoted to Operas. This License is dated 8th July, 1709. This is, of course, only a formal sanction of the private arrangement mentioned by Cibber ante p. 69; and was resented by Booth and others who were in Rich's favour. They therefore petitioned the Queen direct, in despite of the Lord Chamberlain (see "Dramatic Censor," 1811, col. 112; Genest, ii. 426; Mr. Fitzgerald's "New History," i. 273), but no result followed, until Collier's advent, as is related further on.

[62] The description of the shape of the stage which follows is interesting and valuable. In early times the stage was a platform surrounded by the audience, not, as now, a picture framed by the proscenium. This is evident, not only from descriptive allusions, but from the two drawings which have come down to us of the interior of pre-Restoration theatres—De Witt's drawing of the Swan Theatre in 1596, reproduced in Herr Gaedertz's "Zur Kenntniss der altenglischen Bühne" (Bremen, 1888), and the well-known print of the Red Bull Theatre during the Commonwealth, which forms the frontispiece to Kirkman's "The Wits, or Sport upon Sport" (1672). In both of them the pit entirely surrounds the stage on three sides, while the fourth side also contains spectators in boxes placed above the entrance-doors. By gradual modifications the shape of the stage has changed, till now the audience is confined to one side. The doors used for entrances and exits, to which Cibber alludes, have disappeared comparatively recently. They may be seen, for instance, in Cruikshank's plates to Dickens's "Grimaldi."

[63] The Haymarket opened on 15th September, 1709, and there was no rival theatre till 23rd November, when Drury Lane opened; but from this latter date till the end of the season both theatres were open.

[64] Bellchambers has here the following note:—"The monarch alluded to, I suppose, was Victor Amadeus, King of Sardinia. Carlo Broschi, better known by the name of Farinelli, was born in the dukedom of Modena, in 1705, and suffered emasculation, from an accident, when young. The Spanish king Ferdinand created him a knight of Calatrava, honoured him with his friendship, and added to his fortune. He returned to Italy on his patron's death, and died in 1782."

[65] Francesca Cuzzoni and Faustina Bordoni Hasse, whose famous rivalry in 1726 and 1727 is here referred to, were singers of remarkable powers. Cuzzoni's voice was a soprano, her rival's a mezzo-soprano, and while the latter excelled in brilliant execution, the former was supreme in pathetic expression. Dr. Burney ("History of Music," iv. 319) quotes from M. Quantz the statement that so keen was their supporters' party spirit, that when one party began to applaud their favourite, the other party hissed!

[66] Horace, Epod. xvi. 2.

[67] See note on page 87.

[68] The trial opened on 27th February, 1710, and lasted for more than three weeks. The political excitement it caused must have done great harm to theatricals. Shadwell, in the Preface to "The Fair Quaker of Deal," mentioned post, page 95, says it was a success, "Notwithstanding the trial in Westminster-Hall, and the rehearsal of the new opera."

[69] In the British Museum will be found a copy of the report by the Attorney-General and Solicitor-General, who were ordered by Queen Anne to inquire into this business. Rich declared that Collier broke into the theatre with an armed mob of soldiers, &c., but Collier denied the soldiers, though he admitted the breaking in. He gave as his authority for taking possession a letter signed by Sir James Stanley, dated 19th November, 1709, by which the Queen gave him authority to act, and required him not to allow Rich to have any concern in the theatre. His authority was appointed to run from 23rd November, 1709.

[70] "Tatler," No. 99, 26th November, 1709: "Divito [Rich] was too modest to know when to resign it, till he had the Opinion and Sentence of the Law for his Removal.... The lawful Ruler [of Drury Lane] sets up an Attorney to expel an Attorney, and chose a Name dreadful to the Stage [that is Collier], who only seemed able to beat Divito out of his Intrenchments.

"On the 22d Instant, a Night of public Rejoycing, the Enemies of Divito made a Largess to the People of Faggots, Tubs, and other combustible Matter, which was erected into a Bonfire before the Palace. Plentiful Cans were at the same time distributed among the Dependences of that Principality; and the artful Rival of Divito observing them prepared for Enterprize, presented the lawful Owner of the neighbouring Edifice, and showed his Deputation under him. War immediately ensued upon the peaceful Empire of Wit and the Muses; The Goths and Vandals sacking Rome did not threaten a more barbarous Devastation of Arts and Sciences. But when they had forced their Entrance, the experienced Divito had detached all his Subjects, and evacuated all his Stores. The neighbouring Inhabitants report, That the Refuse of Divito's Followers marched off the Night before disguised in Magnificence; Door-Keepers came out clad like Cardinals, and Scene-Drawers like Heathen Gods. Divito himself was wrapped up in one of his black Clouds, and left to the Enemy nothing but an empty Stage, full of Trap-Doors, known only to himself and his Adherents."

[71] Barton Booth, Theophilus Keen, Norris, John Bickerstaffe, George Powell, Francis Leigh, George Pack, Mrs. Knight, Mrs. Bradshaw, and Mrs. Moore were Collier's chief performers. As most of them had signed the petition in Rich's favour which I mentioned in a note on page 79, it is not wonderful that disturbances soon arose. Collier appointed Aaron Hill to manage the company, and his post seems to have been a somewhat lively one. On 14th June, 1710, the Lord Chamberlain's Records contain an entry which proves how rebellious the company were. Powell, Booth, Bickerstaffe, Keen, and Leigh, are stated to have defied and beaten Aaron Hill, to have broken open the doors of the theatre, and made a riot generally. For this Powell is discharged, and the others suspended. Mr. Fitzgerald ("New History," i. 308 et seq.) quotes a letter from Hill, in which some account of this matter is given.

[72] Charles Shadwell's "Fair Quaker of Deal" was produced at Drury Lane on 25th February, 1710. In the Preface the author says, "This play was written about three years since, and put into the hands of a famous Comedian belonging to the Haymarket Playhouse, who took care to beat down the value of it so much, as to offer the author to alter it fit to appear on the stage, on condition he might have half the profits of the third day, and the dedication entire; that is as much as to say, that it may pass for one of his, according to custom. The author not agreeing to this reasonable proposal, it lay in his hands till the beginning of this winter, when Mr. Booth read it, and liked it, and persuaded the author, that, with a little alteration, it would please the town" (Bell's edition). If, as is likely, Cibber is the actor referred to, his abuse of the play and the actors is not unintelligible.

[73] Hester Santlow, the "Santlow, fam'd for dance" of Gay, married Barton Booth. She appears to have retired from the stage about 1733. Genest (iii. 375) says, "she seems to have been a pleasing actress with no great powers." Her reputation was none of the best before her marriage, for she was said to have been the mistress of the Duke of Marlborough and of Secretary Craggs. See memoir of Booth.

[74] Genest (ii. 430) has the following outspoken character of Rich: "He seems in his public capacity of Patentee and Manager to have been a despicable character—without spirit to bring the power of the Lord Chamberlain to a legal test—without honesty to account to the other proprietors for the receipts of the theatre—without any feeling for his actors—and without the least judgment as to players and plays."

[75] Rich's Patent was revived, as Cibber states (p. 78), in 1714, when it was the property of his son, John Rich.

[76] There is no more curious transaction in theatrical history than the acquisition of the entire right in the Patent by Rich and his son. Christopher Rich's share (see note on p. 32) was seventeen one-hundredths, or about one-sixth; yet, by obstinate dishonesty, he succeeded in annexing the remainder.

[77] In March, 1705.

[78] There has been some doubt as to the locality of the theatre in Little Lincoln's Inn Fields, in which Betterton acted, one authority at least holding that he played in Gibbons' Tennis Court in Vere Street, Clare Market. But Cibber distinctly states that Rich rented the building which Betterton left in 1705, and old maps of London show clearly that Rich's theatre was in Portugal Street, just opposite the end of the then unnamed street, now called Carey Street. In "A New and Exact Plan of the Cities of London and Westminster," published 30th August, 1738, by George Foster, "The New Play House" is given as the name of this building, and it is worthy of notice that Cibber, a few lines above, writes of "the New Theatre in Lincoln's Inn Fields." See also vol. i. p. 192, note 1, where I quote Downes, who calls Betterton's theatre the New Theatre in Lincoln's Inn Fields. About 1756 this house was made a barrack; it was afterwards an auction room; then the China Repository of Messrs. Spode and Copeland, and was ultimately pulled down about 1848 to make room for the extension of the Museum of the Royal College of Surgeons.

[79] The Licence to Swiney, Wilks, Cibber, and Dogget, for Drury Lane, is dated 6th November, 1710. In it Swiney's name is spelled "Swyny," and Cibber's "Cybber."

[80] Westminster Bridge was authorized to be built in the face of virulent opposition from the Corporation of London, who feared that its existence would damage the trade of the City. Dr. Potter, Archbishop of Canterbury, and others interested, applied for an Act of Parliament in 1736; the bridge was begun in 1738, and not finished till 1750, the opening ceremony being held on 17th November of that year. Until this time the only bridge was London Bridge. See "Old and New London," iii. 297.

[81] I presume the Noble Commissioner is the Earl of Pembroke, who laid the first stone of the bridge on 29th January, 1739.

[82] Collier seems to have relied on Aaron Hill in all his theatrical enterprises, for, as previously noted, Hill had been manager for him at Drury Lane.

[83] At the end of the season 1708-9. See ante, p. 69.

[84] Collier's treatment of Swiney was so discreditable, that when he in his turn was evicted from Drury Lane (1714) we cannot help feeling gratified at his downfall.

[85] Swiney's Licence for the Opera is dated 17th April, 1712.

[86] For a further account of Steele's being given a share of the Patent, which he got through Marlborough's influence, see the beginning of Chapter XV.

[87] See vol. i. 284-285.

[88] That is, he had been the chief of Collier's Company at Drury Lane at his opening in November, 1709. See ante, p. 94.

[89] Martial, x. 23, 7.

[90] This is a blunder, which, by the way, Bellchambers does not correct. "Cato" was produced at Drury Lane on 14th April, 1713. The cast was:—

Cato Mr. Booth.
Lucius Mr. Keen.
Sempronius         Mr. Mills.
Juba Mr. Wilks.
Syphax Mr. Cibber.
Portius Mr. Powell.
Marcus Mr. Ryan.
Decius Mr. Bowman.
Marcia Mrs. Oldfield.
Lucia Mrs. Porter.

[91] "The Laureat" says these Irish actors were Elrington and Griffith, but I venture to think that Evans's name should be substituted for that of Griffith. All three came from Ireland to Drury Lane in 1714; but, while Elrington and Evans played many important characters, Griffith did very little. Again, I can find no record of the latter's benefit, but the others had benefits in the best part of the season. The fact that they had separate benefits makes my theory contradict Cibber on this one point; but what he says may have occurred in connection with one of the two benefits. Cibber's memory is not infallible.

[92] Genest's record gives Wilks about one hundred and fifty different characters, Dogget only about sixty.

[93] Horace, Ars Poetica, 121.

[94] See note on page 120.

[95] Johnson (Life of Addison) terms this "the despicable cant of literary modesty."

[96] 14th April, 1713. See note on page 120.

[97] Mrs. Oldfield, Powell, Mills, Booth, Pinkethman, and Mrs. Porter, had their benefits before "Cato" was produced. "Cato" was then acted twenty times—April 14th to May 9th—that is, every evening except Monday in each week, as Cibber states. On Monday nights the benefits continued—being one night in the week instead of three. Johnson, Keen, and Mrs. Bicknell had their benefits during the run of "Cato," and on May 11th the regular benefit performances recommenced, Mrs. Rogers taking her benefit on that night.

[98] The Duke of Marlborough is the person pointed at.

[99] Theo. Cibber ("Life of Booth," p. 6) says that Booth in his early days as an actor became intimate with Lord Bolingbroke, and that this "was of eminent advantage to Mr. Booth,—when, on his great Success in the Part of Cato (of which he was the original Actor) my Lord's Interest (then Secretary of State) established him as a Manager of the Theatre."

[100] There are five Prologues by Dryden spoken at Oxford; one in 1674, and the others probably about 1681.