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 HISTORY AND ILLUSTRATIONS '^•^, 
 
 LONDON THEATRES 
 
 COMPRISING 
 
 AN ACCOUNT 
 
 ORIGIN AND PROGRESS OF THE DRAMA IN ENGLAND; 
 
 l^istoiical anit Bcscriptibe Accounts 
 
 THEATRES ROYAL, COVENT GARDEN, DRURY LANE, 
 
 HAYMARKET, ENGLISH OPERA HOUSE, AND 
 
 ROYAL AMPHITHEATRE. 
 
 Bv CHARLES DIBDIN, Jux. 
 
 31llii3trafc^( indlj lEngvaUings. 
 
 LONDON: 
 
 PRIM III rOR THE PROrRIETORS OF THE " I I.LV STRATIOSS OF 
 
 LONDON BUILDINGS." 
 
 {On Iff Twmtti-Five Copies worhtyt.) 
 
 1826.
 
 LONDON 
 rKlNTEIl BY J. MOYSf, BOOVESIS ST51EST.
 
 AN ACCOUNT 
 
 OF THE 
 
 ORIGIN AND PROGRESS OF THE DRAMA IN ENGLAND; 
 
 WITH AN 
 
 HISTORICAL ESSAY 
 
 ox THE 
 
 THEATRE ROYAL COVENT GARDEN. 
 
 Bv C. DIBDIN. 
 
 Among the most attractive and rational amusements of 
 polished society, the Drama must ever hold a pre-eminent 
 distinction, where good sense and correct taste supersede 
 bigotry and fastidiousness ; provided those upon whom the 
 grave responsibility of authorship and management devolves, 
 do not, in the contemplation of private emolument, forget 
 the interest of the public ; nor the public, on whom the 
 existence of the stage depends, forget that to patronise folly 
 is to promote vice ; and that to compromise the interests 
 of morality is to undermine the foundations of social 
 happiness. 
 
 The degeneracy of the modern Stage is a subject often 
 pertinaciously insisted upon ; and, although the accusation 
 contains a portion of cant, the most zealous friend of the 
 Drama must admit it to be not wholly deficient of truth. But 
 human systems are incapable of perfection, and the utmost 
 
 c c 
 
 2015345
 
 2 ORIGIN AND PROGRESS OF THE DRAMA. 
 
 that fallible beings can accomplish is to render them as 
 unexceptionable as their capabilities will permit; neverthe- 
 less, candour must allow that, however a modern Dennis 
 may be supposed justified in his philippics, a modern Collier 
 cannot around his tirades on so substantial a foundation as 
 his prototype.* From about fifty years previous to Prynne's 
 Histriomastix (1632), to the present time, has the licentious- 
 ness of the Stage been attacked; sometimes l)y ignorant 
 prejudice, sometimes by rigid puritanism, and sometimes, it 
 must be acknowledged, by enlightened piety. With a few 
 writers, among whom was Collier, its reformation alone was 
 the object in view; while the majority were, and are still, 
 bent alone -upon affecting that which their precursors accom- 
 plished during the Interregnum, namely, the abolition of 
 Theatres, i" 
 
 In the year 1579, all the players were driven out of 
 the city, and their Theatres (in Gracechurch Street, Bishops- 
 gate, and that near St. Paul's,) demolished ; and in 1583, so 
 furious an attack was made by the puritans on the Theatre, 
 that Queen Elizabeth, at the earnest request of Sir Francis 
 Walsingham, permitted twelve of the principal comedians in 
 London to be selected and licensed, under the denomination 
 of " Her Majesti/'s servants." j But although many writers 
 and preachers have employed invectives and denunciations 
 
 * " While our authors took, these liberties with their wit, I remember 
 the Ladies were then observed to be decently afraid of venturing bare-faced 
 to a new Comedy till they had been assured they might do it without an 
 insult to their modesty : — they came in masks." — Cibbcrs Apology. 
 
 t In 1578, plays were performed on Sundays and holidays, after prayer- 
 time ; but this custom was abolished about two years after; when the theatre 
 itself was nearly suppressed. 
 
 I Among them were, Thomas Wilson, a famous clown, and Richard
 
 oniGIN AND PROGRESS OF THE DRAMA. -J 
 
 against the Stage, it lias found defenders in a majority of 
 writers equal (saying the least) to their antagonists in 
 learning, good sense, and piety ; but in opposition to 
 the preachers, I know of but one solitary instance, namely, 
 the Rev. James Plumptre, B.D. Vicar of Great Gransden, 
 who, in 1808, preached four Sermons at Great St. Mary's 
 Church, Cambridge, upon the " Lawfulness of the Stage ;" * 
 and to this Reverend Gentleman the professors of the Drama 
 are, certainly, under no little obligation for his spirit and 
 single-mindedness. — 
 
 This pertinacious objection to the Stage, however it 
 may excite indignation in some, and fear, contempt, or pity 
 in others, has been thought by many to be politically bene- 
 ficial to it, for the restraint of licentiousness ; in tlie same 
 manner as perpetual and organised opposition in Parliament 
 is considered essential to prevent the encroachments of 
 arbitrary power. 
 
 The excesses of the Stage, like the soldiers which sprang 
 from the Dragon's teeth sown by Cadmus, can only be 
 destroyed by the power which produced them : the Stage 
 was instituted for the benefit of the public, and its con- 
 tinuance depends upon the public will; consequently, with 
 
 Tarleton, so celebrated as a clown, thai our ancestors thought they would 
 " never look upon his like again." 
 
 Tarleton's head was used for a Sign. He is described as a paragon of 
 " wondrous, pleasant, plentiful, extemporall wit." He was buried in 1588, 
 at St. Leonard's, Shoreditch, where many actors of that time were interred. 
 Eight of the players, licensed as above, had each an annual .salary of 
 3l. 6s. ed. 
 
 * Dedicated to the Rev. J. Pearson, D.D., Vice-Chancellor of the 
 University of Cambridge ; under whose sanction, and Iiy wliose advice, 
 (according to Mr. P.'s preface,) the sermons were written, preached, and 
 published.
 
 4 ORIGIN AND PROGRESS OF THE DRAMA. 
 
 that will, also, rests a corrective for its abuses. If manager, 
 author, or actor, be reproached with the abasement of the 
 modern Stage, the Prologue, written by Dr. Johnson, for 
 Mr. Garrick, affords them a very pertinent reply : — 
 
 " Ah, let not censure term our fate our choice, 
 The Stage but echoes back the public voice." 
 
 Previously to an Account of the Theatre Royal 
 CovENT Garden, (as that forms the first of the series 
 of Theatres intended to be illustrated in this work,) it 
 may neither be inapplicable nor unentertaining to give a 
 brief History of the English Stage, from its origin to 
 the present time ; to trace it from rudeness to refine- 
 ment, and from weakness to vigour ; since, from observing 
 by what gradatory means it has been improved, some notion 
 may be formed, or principle acquired, favourable to its further 
 advance towards perfection.* 
 
 The earliest Dramatic entertainments in England were 
 exhibited at the beginning of the twelfth century. They were 
 of a religious kind, called Mysteries, or Miracles, founded 
 upon the stories and miracles contained in both the Old and 
 New Testaments, and were sometimes framed upon the 
 most sacred mysteries themselves. -f- 
 
 * The materials for this brief sketch have been derived from Stow's 
 Annals, — the Historia-Histrionica, — Roscius Anglicanus, — Malone, — 
 Steevens, — Gibber, — Reed, &c. &c. 
 
 f Subjects for these mysteries were, the Creation, Incarnation, Cruci- 
 fixion, Descent into Hell, Miracles of our Saviour, &c. — Pope Pius II. 
 wrote a mystery called " The Court of the King of Heaven," which was 
 performed in his presence. — The Descent of the Holy Spirit was imitated in 
 " St. Powle's" (Paul's), by means of a white Dove, which descended from 
 the dome. 
 
 The Devil was frequently one of the persons of the Drama; he was
 
 OniGIN AND PROGRESS OF THE DRAMA. 'J 
 
 la the time of William the Coiujueior, trade was carried 
 on principally by Friars,* who, to entice people to iIrii 
 marts or fairs, used to employ jugglers, minstrels, buffoons, 
 dancers, &.c. ; and these introduced so much licentiousness 
 by their mummeries, that the clergy became alarmed for the 
 morals of the public; and, in consequence, prohibited ;dl 
 such performances, and excommunicated the performers : 
 but as the multitude then, as well as now, preferred doing 
 what they pleased rather than what they ought, so little 
 attention was paid to the prohibitions of the clergy, that, 
 in order to educe good from evil, the Priests resolved to 
 turn actors themselves ; and for this purpose they formed 
 new mysteries, and selected the best of those which had been 
 produced, and performed them in churches and chapels, or 
 in some selected spot near those sacred buildings. This 
 practice continued till 1542, when Bishop Bonner pro- 
 hibited the further junction of the sacerdotal and histrionic 
 characters. 
 
 In, or about, the thirteenth century, the fraternity of 
 Parish Clerks, (who had been incorporated by Henry III., in 
 1240,) performed plays of a scriptural kind.f 
 
 constantly attended by the \'ice, or Clown, whose cliief business was to 
 play his Satanic majesty tricks, and thwack him with his " wooden dagger" 
 till he roared, which always excited bursts of laughter. Adam and Eve 
 have been represented in a state of actual nudity: and so late as James I., 
 (according to Winwood's History of the Stage,) a pastoral was played at 
 Oxford, before the Queen and her women, in which some of the characters 
 were " almost entirely naked." Queri/, Did they wear flesh-coloured 
 coverings ? 
 
 * Charlemagne countenanced trailing friars in France. 
 
 f This circumstance is corroborated by the following inscription upon a 
 pump in Ray Street, Clerkenwell, London : — 
 
 " A.D. 1800, William Bound, Joseph Bird, Churchwardens. 
 
 " For the better accommodation of the nciglibourhood, this pump was
 
 6 ORIGIN AND PROGRESS OF THE DRAMA. 
 
 After the clerical performers were forbidden to act, 
 students, choristers, and others, even children, (called 
 " Children of the Revels,") enacted these sacred mummeries, 
 for they could scarcely be called better. Until 1328, they 
 were performed in Latin ; but in that year, though with 
 great ditficulty, the Pope was prevailed upon to suffer them 
 to be represented in English. 
 
 About the time of Henry VII., mysteries were superseded 
 by Moralities, the stories or plots of which were derived 
 from moral and profane subjects; notwithstanding which 
 mysteries were occasionally, though rarely, performed so 
 lately as in the reign of Elizabeth. John Rastall, a learned 
 topographer, and brother-in-law of Sir Thomas More, {temp. 
 Henry VII.,) improved the Moralities, connecting with them 
 scientific and philosophic purposes, under the impression 
 that such compositions would increase the general know- 
 ledge, as the other kind did the manners, of society.* It 
 remained for the reign of Elizabeth, glorious to herself and 
 triumphant for the nation in numerous felicitous instances, 
 
 removed to the spot where it now stands. The spring by which it is 
 supplied is situated four feet eastward ; and round it, as history informs 
 us, the parish clerks of London, in remote ages, annually performed sacred 
 plays. That custom caused it to be denominated Clerks'-well, and from 
 which this parish derived its name." — In 1391, a mystery was performed 
 here which lasted three or four days; and in 1409 another was acted 
 at Skinner's-well, near Clerkenwell, which lasted eight days; the subject, 
 the Creation of the World. 
 
 * Stow says, mysteries were abolished in 1598, and public Theatres 
 erected : and the continuator of Stow's Annals says, that sixty years before the 
 time he wrote, which was in 1631, no less than seventeen public Stages, 
 or common Play-houses, had been built in and about London : in which 
 number he includes five inns, or common osteries, turned into play-houses 
 in his own time ; one cockpit; St. Paul's singing-school ; one in Blackfriars ; 
 one in Whitefriars ; and one, in former time, at Newington Butts.
 
 oniGIN AND PnOGRESS OF THE DRAMA. / 
 
 to inipail to the semi-barbarous Drama ol' the age a legiti- 
 mate character; and to grace tlic histrionic annals of the 
 country with tlic name of Sii akspkauk, the great luminary 
 of dramatic poesy, whose muse, (about 1590 or 91,) burst 
 forth with meridian refulgence ; wlien nature, truth, feeling, 
 and dignity, took possession of that Stage which succeeding 
 ages, with all their varied improvements in every other 
 respect, have never equalled; and which, in all probability, 
 the future, if it equal, will never surpass; a Stage which, 
 in addition to the great Bard, boasted the muses of Ben 
 Jonson, Beaumont, Fletcher, and Massinger, who were con- 
 temporaries during part of Elizabeth's and James I.'s 
 reigns.* 
 
 The first approaches to regular Comedy and Tragedy were 
 made in 1566, by Gammer Gurton's Needle, written by Still, 
 (afterwards Bishop of Bath and Wells,) and Feirex ami 
 Pnrrex, written by Lord Buckhurst and Thomas Norton, 
 and played the same year at Whitehall ; for at that time 
 there was no edifice in England appropriated solely to 
 dramatic purposes ; the Players were formed in companies 
 under the protection of the court, the principal nobility, 
 and others, whose servants they were called. 
 
 Theatres began to be regularly established early in Eliza- 
 beth's reign, though many plays were then performed in inn- 
 yards ; t but in 1574, Elizabeth granted license to James Bur- 
 
 * Previous to Shakspeare, the principal ilramatic authors were Greene, 
 Lodge, Peele, Marlowe, Naslie, Lily, and Kyd, each of whom had a regular 
 university education. 
 
 t The mode in which they were titled up was as follows: — the 
 galleries, which were one above the other, went round the exterior of the 
 mu, in the yard; and the small rooms under them served for boxes; the 
 area of the yard supplied the pit, (so called from the cock-pit,) where 
 the common people stood on the stones, or earth; whence, it is said,
 
 8 ORIGIN AND PROGRESS OF THE DRAMA. 
 
 bage and others, to constitute a Company of Players, who were 
 called the Queen's Servants : * and in 1603, James I. granted 
 another license to Lawrence Fletcher, William Shakspeare, 
 and others, who formed the Company at the Globe ; at which 
 
 the term " groundlings," as applied to the common people, was derived : 
 — to " split the ears of the groundlings," is an expression used by Hamlet. 
 Part of the stage was placed under the roof of the gateway; and the 
 audience were admitted at the gate, under a part of the floor of the 
 stage. The prices of admission to the theatres were, to the pit and 
 galleries of the Globe and Blackfriars, sixpence; to the others a penny 
 or two-pence ; to the boxes of the former one shilling, raised afterwards 
 to two shillings, and then to two shillings and sixpence : a more moderate 
 charge being taken at the other theatres. Critics and other persons were, in 
 the regular theatres, admitted on the stage, and paid one shilling, or sixpence; 
 those paying the former sum were supplied with stools, pipes, and tobacco ; for 
 both men and women smoked in the theatre, read, or played at cards, before 
 the play began, which was before twelve o'clock, and it generally finished at 
 from three to half-past three. In 1667, they began at three, and in 1696, at 
 four. The theatres were lighted with two brass branches, (similar to those 
 used in churches,) which were suspended across the stage ; and the 
 auditory was lit with cressets, or large open lanterns : in process of time 
 the theatres were lit by candles in circular hoops, and sometimes the 
 lights were wax. In 1775, Garrick, after his return from France, altered 
 the mode of lighting to that now partially used, and wholly so previous 
 to the introduction of gas. In Shakspeare's time the stage was covered 
 with rushes, and was parted from the pit by palings ; the musicians, 
 who chiefly played wind-instruments, sat in a box over what is now 
 called the stage box, the orchestra obtaining its present position soon after 
 the Restoration. 
 
 * The license was granted to the five following persons: the rest of 
 the company were retained by them: — James Burbage, John Perkyn, 
 John Lanham, William Johnson, and Robert Wilson, servants of the 
 Earl of Leicester. In their patent is a reference to the licensing of dramatic 
 entertainments, or performances, by the Master of the Revels; tlie fee 
 for which was at that time £2.; — it had formerly been about a quarter 
 of that suin.
 
 SHAKSPEARE'S COMPANY. if 
 
 Theatre, and tliat ut Blackfriars, all tlie plays written by 
 our immortal Burd were, it is conjectured, exclusively per- 
 formed ; tile audience of the latter consisting principally 
 of tlie superior orders, while those of the former were 
 composed of the middling and lower classes. Both tiie 
 above Theatres were the joint property of Shakspeare and 
 his Copartners.* 
 
 * This Parlnersliip consisted of the following persons: — Laurence 
 Fletcher, William Shakspeare, Richard Burbage, Augustine Phillippes, 
 John Ilemminge, Henry Condell, William Sly, Robert Armin, and Richard 
 Cowley. 
 
 Of Lai'rence Fletcheii but little is known : he was buried at St. 
 Saviour's, Southwark, 12th September, 1608. 
 
 William Shakspeare was born 23 April, 1564; obiit 23 April, 1616. 
 He was a player in 1591 ; about which time he began to produce his 
 inimitable Dramas: he discontinued writing for the Stage in 1614, in wiiich 
 year he produced die comedy of " The Twelfth Night." He married, 
 and had a family, early. It has been latterly contended Uiat he received 
 a regular classical education; but the proofs advanced do not carry 
 conviction to every mind. The probability is, tliat he obtained the rudiments 
 of learning at a common grammar school, and improved himself after- 
 wards by reading and reflection. The stories of his stealing deer, and holding 
 horses at the doors of the theatre, make a conspicuous figiu'e in some relations 
 concerning him: the first, as far as it can be relied upon, appears to have 
 been the consequence of a drunken frolic; the latter, perhaps, is more tlian 
 doubtful. He seems to have been a man of a cheerful temper, and a 
 pleasant companion; to have lived independently, and died in easy cir- 
 cumstances. 
 
 Richard Burbage, son of James Burbage, (the most celebrated 
 tragedian, as well as a fine comedian, of Shakspeare"s time,) was born 
 before 1550, in Holywell Street, parish of St. Leonard, Shoreditch. 
 He was the original Romeo, and he had one of his daughters christened 
 Juliet. He appeared on the Stage when quite a child ; and died, some 
 say of the plague, March, 1618-19,and was buried in his own parish church. 
 Camden calls him a "second Roscius." 
 
 Augustine Phillippes, an author as well as actor; he is supposed 
 
 D D
 
 10 EDIFICES OF LONDON. 
 
 As yet, scenery was almost unknown; although pro- 
 perties (sometimes termed decorations) were used, as well 
 
 to have pbyed low comedy. He was a respectable man, amassed con- 
 siderable property, and died at Mortlake in Surrey, May 1605. 
 
 John Hemminge, or IIemminges. He was a tragedian and a printer, in 
 partnership witli Condel; born about 1556; he is supposed to have played 
 Falstaft'. He was a Warwickshire man; a shire fertile in players and 
 poets. In 1623 he published the first edition of Shakspeare's Plays; and 
 continued Manager of the King's Company till his death, 10th October, 
 1630, aged 74 or 75. He probably died of the plague, which raged violently 
 in tliat year. 
 
 Henry Condell, or Cundell. His origin is unknovm; he lived in 
 Aldermanbury, and served the office of a sidesman 1606. He was a 
 comedian, but not so good as Hemminge; he played before 1589, and 
 was buried in St. Mary's, Aldermanbury, December 29, 1627. He left 
 considerable property to his wife and children. 
 
 William Sly. Less is known of him tlian of Condell; of course little 
 can be said about him. He is reported to have played Osrick in Hamlet, 
 and Porrex in Tarleton's " Seven Deadly Sins :" he was one of the Lord 
 Chamberlain's Company. He died before 1612. 
 
 Robert Armin, comedian ; sometimes played the clown. He wrote, 
 among other things, " A Nest of Ninnies, simple of themselves, without 
 co7!ipouu(i." Strange and uncouth titles appear to have been as much 
 the fashion then as at present. The dates of his birth and death are 
 unknown. 
 
 Richard Cowley. Among the low class of actors, as Verges in 
 '' Much Ado About Notliing;" buried in St Leonard's, Shoreditch, INIarch 13, 
 1618-19. Contemporary with the above was, 
 
 Joseph Taylor, a celebrated Hamlet, said to have been instructed by 
 Shakspeare himself : he was a good comedian also. 
 
 There were in Shakspeare's time the following Theatres : — The Theatre, 
 from its denomination supposed to be the first that was built, the site 
 of it unknown. The Globe, Bankside; so called from its sign, — Hercules 
 bearing the Globe. It was an hexagonal building, partly open, and partly 
 thatched. Black friars Theatre, in Play-house Yard, Water Lane; one 
 in Whitefriars, supposed to have stood in Salisbury Court, Fleet Street. 
 The Curtain, (Curtine), Shoreditch. The Red Bull, in St. John Street,
 
 EARLY THEATRES— PROPEIITIES DEFINED. l\ 
 
 as trap-doors.* The mode of indicaling locality in a scene 
 was by introducing such properties as were consistent with 
 
 nearly 0))posite Ilicks's Hall. Tlie Fortune, Wliitecross Street : the 
 two latter were attended solely by the citizens and lower classes. Tlie 
 Cockpit, or F/ianix, in ])rury Lane, which stood nearly opposite the 
 Castle Tavern; it had originally been a Cockpit, and was called the 
 Phoenix, as is conjectured, from having that bird for its sign: others 
 say that it took that name on being rebuilt after the old Cockpit had been 
 burnt down, from the allusion to the phoenix being renewed from its 
 own ashes. In addition to these were three of less note : tlie Hope, 
 Rose, and Sitiaii, which soon fell into disrepute ; the former was con- 
 verted into a bear-garden, and the two latter into gymnastic schools. 
 Stow's Annals say, that at the Blackfriars, Salisbury Court, and Cockpit 
 Theatres, they performed by candlelight, — in tlie others by daylight; 
 and the Ilistoria-Histrionica says, that Blackfriars and the Globe were 
 the winter and summer Tlieatres of the same company, called the King and 
 Queen's Servants. 
 
 * Properties are articles used on the stage ; such as small machinery, 
 tables, chairs, and any thing necessary to tlie stage performance, from a 
 car down to a corkscrew. 
 
 I subjoin, from Malone, a list of " Propertys" (properties) used in a 
 Mystery founded upon Tobit and his Dog, exhibited in the Broadgate, 
 Lincoln, 1563. (6 Eliz.) 
 
 1. " Hell Mouth, with a nether chap. — 2. A Prison with a covering. — 
 3. A Sarah's Chamber. — 4. A great Idol. — 5. A Tomb, with a covering. — 
 6. The City of Jerusalem, with towers and pinnacles.. — 7. King's Palate at 
 Nineveh. — 8. OldTobey's House. — 9. King's Palace at Laches. — lO.AFir- 
 mament, witli a tiery cloud and a double cloud." By this it appears that they 
 termed every piece of machinery, however large, a property ; but properties, 
 as the term is understood now, are furniture for the scenes, not the scenes 
 themselves, or the fixed machinery; and the articles necessary for a per- 
 former, such as sceptres, swords, canes, letters, rings, &c. &c. &c. A 
 car, however large, is a property: so is "a great idol," if embodied; but if 
 it be flat, and only painted and fastened to the stage, it does not come under 
 the care of the property-man, but the scene-man. Some of the above articles 
 appear to convey an idea of scenes, or painted cloths; yet there is no
 
 12 EDIFICES OF LONDON. 
 
 it. Thus, a table and chair conveyed the idea of a chamber ; 
 a walking staff, of a street; and a balcony, or raised platform, 
 at the upper end of the stage (which was a fixture) served 
 for battlements, or any other elevated position. Scenes, 
 it is said, were first exhibited at Christ Church, Oxford, 
 by Iniffo Jones, in a piece performed in 1605, before 
 James I.; who, in 1636, was again present at a representation 
 of a performance at Hampton Court, in which the same 
 artist exhibited another specimen of scenic decoration, which 
 Anthony Wood terms " exquisite machinery ;" but the 
 term appearance, not scene, was used on the occasion : for 
 instance, " first appearance, a Temple of the Sun," &c. There 
 is presumptive, if not positive, proof, that when a Tragedy 
 was performed the stage was hung with black. Female 
 characters were performed by boys, or effeminate-looking 
 young men : which circumstance may account for Shak- 
 speare's females possessing, with a few exceptions, a sub- 
 ordinate degree of interest. Previously to the Restoration, 
 women had appeared on the Stage occasionally; but, 
 o-enerally, not till after it; Desdemona is said to be the 
 first character played by a woman. Mrs. Hughes and a 
 Mrs. Colman are mentioned as playing, but not' regularly ; 
 and the latter spoke or sung in recitative. Mrs. Saunder- 
 son, who afterwards married Betterton (the Romeo to Mr. 
 Kynaston's Juliet), is called the first English actress; 
 because she' was the first female who made the Stage a 
 regular profession. 
 
 During the Protectorate, the splenetic sanctimony of 
 
 mention in any author on the subject of the introduction of scenery 
 till the 17th century. But that omission constitutes no positive proof 
 of scenes never having been previously used; and there are various 
 passages in Shakspeare which appear to favour the opposite notion.
 
 THEATRES IN THE REIGN OF CHARLES II. 13 
 
 the rigid Puritans, conjoined with Presbyterian bigotry, 
 and other causes connected with the peculiar state of public 
 affairs, occasioned the total suppression of theatrical per- 
 formances: — the seal of silence was affixed to the portals of 
 the Drama. 
 
 Charles II. came, and the bonds of Puritanism and the 
 doors of the theatre were burst together. Superstition 
 liberated, by a common resiliency, bounded to the opposite 
 extreme; religion and hypocrisy were confounded, while 
 leoitimacy and licentiousness danced into the Theatre hand 
 in hand ; and if the reign of Elizabeth was the Golden age 
 of the Drama, the term Brazen may be applied to that of 
 Charles. Wit abounded, doubtlessly; but that which is 
 flagitious is so much the more to be detested in pro- 
 portion as it becomes the more capable of seducing and 
 destroying. 
 
 In 1660, Sir William Davenant, the Poet Laureat, and 
 Thomas KiUigrew, Esq., one of the Grooms of the Chamber, 
 obtained Licenses from Charles to erect two new Play- 
 houses, and constitute two separate Companies, to the 
 prohibition of all others in the cities of London and West- 
 minster, or the suburbs. During the Interregnum, (1654,) 
 Davenant had invented a new species of entertainment, of 
 recitative and song, which was performed at Rutland House, 
 with scenes; and in 1658 he exhibited a similar performance 
 at the Cockpit, in Drury Lane ; this attempt was copied 
 from the Italian opera, and may he considered as intro- 
 ductory of that species of performance to the British 
 Stage. 
 
 KiUigrew constituted a Company, which played ai the 
 Red Bull and other Theatres, till a new one was built for 
 them in Drury Lane ; and Sir William Davenant agreed 
 with Betterton and others to perform, under the authority
 
 14 EDIFICES OF LONDON. 
 
 of his license, at the Salisbury Court and other places, 
 till he could erect a new Theatre, " with prospective scenes," 
 for their reception. 
 
 They performed at the Cockpit and Salisbury Court, 
 till the Theatre in Portugal Row, Lincoln's-inn Fields, was 
 ready ; where they were sworn (by Lord Manchester, the Lord 
 Chamberlain) the Duke of York's Servants. In 1671, they 
 played in a new Theatre (designed by Davenant, who died 
 in 1668) opened by Lady Davenant and Betterton, Charles 
 Davenant officiating for his mother; and in 1682, they joined 
 the King's Servants at Drury Lane. In 1690, Christopher 
 Rich, who had been bred to the law, purchased of 
 Davenant's family their patent; but he was afterwards ex- 
 pelled the Theatre, by Collier, formerly a barrister, who had 
 obtained a license. There had been so many disagreements 
 among the proprietors and actors of Drury Lane that, as 
 they could not agree, the Theatre was closed by order of 
 Queen Anne's Lord Chamberlain. This was about 1708: 
 and Rich, after his expulsion, rebuilt the Theatre in 
 Lincoln's-inn Fields, which was opened in 1714, under the 
 management of John Rich, his son, of harlequinade cele- 
 brity: who produced, at that Theatre, the first panto- 
 mime exhibited in England, under the title of Harlequin 
 Sorcerer ; himself playing harlequin, a character for which 
 he was famous, under the assumed name of Lun, a popular 
 performer of the hero of the magic lath in Paris.* 
 
 In 1730, on the site of the present Theatre, (the ground 
 being taken of the Duke of Bedford, at a rent of 1001. per 
 
 * Rich, as his patent had been suspended, had some difficulty in obtain- 
 ing leave to open; but through the interest of Mr. Secretary Craggs, King 
 William took off the suspension, and left the patent in full force. Christo- 
 pher Rich died in 1709, and John Rich in 1761.
 
 EnECTION OF COVENT GARDEN TllEATKlC. 15 
 
 annum,) was built, and in 1733 opened, (by John Rich,) the 
 first Theatre erected in Covent Garden ; which held, before 
 the curtain,* about 200/.; the longitudinal diameter of 
 the auditory part, from the commencement of the stage 
 to the back wall of the boxes, being 54 or 55 feet. The 
 above receipt was thought very considerable in 1750; but to 
 augment it, the custom was to build numerous scats upon 
 the stage, where a very large body of auditors was accom- 
 modated ; but that mode so inconvenienced the actors, that 
 Garrick, after he became Manager of Drury Lane, contrived, 
 at some hazard, to abolish it.f 
 
 In 1746, Garrick (who made his dtbut in London about 
 1741 or 1742, at the Theatre in Goodman's Fields, under 
 Gilford, and appeared at Drury Lane under Fleetwood,) 
 joined Rich at Covent Garden, and drew - great houses; 
 although Rich seemed jealous of his fame, fearing it might 
 eclipse that of his darling pantomimes. 
 
 At the end of the season, Garrick joined Lacy in the 
 patent for Drury Lane, undertook the management, and 
 carried the majority of Mr. J. Rich's principal performers 
 with him; in consequence of which, during January and 
 February 1747, Rich could not perform, through a paucity 
 of good actors, above three or four nights in a week ; and 
 was frequently obliged, even in February, to dismiss the 
 audience without any performance. Rich, who died during 
 
 * In Shakspeare's time 20/. was a good receipt. In 1747, says Gibber 
 in his Apology, Mrs. Rich said she was always contented if the receipi 
 reached three figures. 
 
 "t" Davies says that tlie profits of the season 1746-7 were 8,500/., and 
 in a few years after 11,000/., drawn principally by Maddox, tlie straw- 
 balancer! At any rate, the public taste was as indifferent then as it pos- 
 sibly can be at tliis time. Bad as our present management is said to be, they 
 could not make hut/ out of straw now.
 
 16 EDIFICES OF LONDON. 
 
 the run of a spectacle which he had produced in honour 
 of the Coronation of George III. and Queen Charlotte, 
 left the Theatre to Beard, the singer (who had married his 
 daughter), WUford, (the brother of Mrs. Rich, and father 
 of Mrs. Bulkely,) and others; enjoining by his will, 
 that the property should be sold for the benefit of his 
 heirs, whenever a purchaser or purchasers could be found 
 who would give for it 60,000/. At that time the ground- 
 rent was 300/. per annum : at Rich's death. Beard, (who died 
 ill 1791,) became sole manager. 
 
 In February 1763, a riot took place on the first representa- 
 tion that season of Artaxerxes ; upon the occasion of the 
 public having been advertised that "nothing under full price 
 would be taken." It was headed by a Mr. Fitzpatrick, who 
 had attacked Drury Lane in the same manner the preceding 
 night. Mr. Beard defended his refusal of taking half- 
 price, from the custom on such occasions ; and dilated upon 
 the enormous expenses incurred by managers ; particularly 
 upon the splendid manner in which the pieces were got 
 up at Covent Garden — but in vain: he was told that, as 
 Garrick had submitted, it shewed an overweening confidence 
 in him to resist : and the demand was, whether he would, 
 or would not, comply with their regulation of the prices 
 " yes, or no :" — Beard boldly answered " no." The benches 
 chandeliers, &c., were immediately demolished : and as much 
 injury done as took four or five days to repair. Beard 
 obtained a Lord Chief Justice's warrant, and carried 
 Fitzpatrick and one or two others before Lord Mans- 
 field; who told Fitzpatrick, that if a life had been lost, 
 he should have . answered it with his own. No more at- 
 tempts were, in consequence, made at demolishing the 
 Theatre ; but, firm to their purpose, night after night the 
 party so annoyed the performers and disturbed the per-
 
 COVENT CARDF.N TllEATnE. 
 
 . ITS OWNERS. 17 
 
 formance, witli cat-calls, &c., &c., that Beard was obliged 
 to give up the contest.* 
 
 Ill 1767, (for the sum of 60,000/.) Messrs. Colman.t 
 Harris, Povvel, and Rutherford, purchased the Theatre of 
 Rich's heirs; each had a quarter-share, but the manage- 
 ment was confided to Colman : in consequence, however, 
 of disputes between the partners, which occasioned a paper- 
 war, (many pamphlets on each side being published,) 
 Rutherford, (who had taken part with Harris against Col- 
 man and Powel,) in 1768 sold his share to Messrs. Leake 
 and Degge ; J and, about seven years after, Colman sold his 
 quarter to his copartners jointly, and the management de- 
 volved upon Mr. Harris ; who eventually purchased Leake 
 and Degge's shares, and became thereby the principal pro- 
 prietor, — Powel alone retaining a share. 
 
 * The Coveut Garden Fund f9r Distressed Actors was establislied 
 in the year 1765. The present Stock of tliis Fund, is 27,710/., viz.: 
 10,000/. 3 per cent, reduced; 13,000/. old 4 per cents, which will shortly 
 be reduced to 3^ per cent.; 3,850/. 3 per cent, consols; and 860/. other- 
 wise at interest. At the anniversary festival at Freemasons' Tavern, in 
 March 1824, about 1,300/. was collected by voluntary donations. 
 
 + George Colman, Esq. died in 1794. He was a dramatist and father 
 of G. Colman, Esq. the dramatist, appointed licenser of the Drama in 1824. 
 T. Harris, Esq. was father to H. Harris, Esq., now principal proprietor, and 
 late manager of the Theatre: he is also sole proprietor of the Theatre Royal, 
 Dubhn. 
 
 Powel was an actor of celebrity. He died about 17G9, and left 
 his share to his widow, who married Dr. Fisher, many years leader of 
 the band. At the dealli of tlie widow, it descended to Powel's two 
 daughters, who married G. White and J. Martindale, Esqrs.; tlie former 
 a clerk of the House of Commons, and the latter proprietor of the 
 Subscription House in St. James's Street. Rutherford was a private 
 gentleman. 
 
 J Leaki; was a bookseller in the Strand ; Degge was a solicitor. 
 
 E E
 
 18 EDIFICES OF LONDON. 
 
 In 1762, the Theatre was partly rebuilt, from a design 
 of Mr. Holland, the Architect ; towards the expense of 
 which proceeding the late Duke of Bedford lent the pro- 
 prietors 15,000/., granted them a new lease, and raised 
 the ground-rent to 940/. per annum: — at present, 1824, 
 it is above 2,000/. At the opening of the new Theatre, 
 the price of admission to the boxes was raised from five 
 shillings to six shillings. 
 
 About 1803, Mr. John Kemble purchased of Mr. Harris 
 a sixth share of the whole property, for the sum, as reported, 
 of 22,000/. He was soon constituted stage-manager, instead 
 of Mr. Lewis, the celebrated comedian ; who had filled that 
 post for several years, with great credit to himself, and ad- 
 vantage to the concern. 
 
 In the night of September 20, 1808, the Theatre was 
 burnt to the ground. The play of Pizarro had been per- 
 formed, and it was conjectured that the calamity originated 
 from the ignited wadding of the guns, used in the piece, 
 lodging in some inflammable part of the decorations of 
 the stage. The company, during the remainder of the 
 season, performed at the Opera-House. The proprietors, 
 embarrassed but not discouraged by so heavy a misfortune, 
 used such energy and perseverance, that a new Theatre, 
 (from a design by Mr. R. Smirke, Architect,) was erected 
 and opened within a year. 
 
 On December 31, 1808, His Royal Highness the Prince 
 of Wales honoured the proprietors by laying the first stone 
 of the new edifice : for which ceremony preparations were 
 made worthy of so distinguished a mark of patronage. His 
 Royal Highness, decorated with the splendid orders of 
 the Grand Master of Masonry, was attended by his Royal 
 brother, the Duke of Sussex, General Hulse, Colonels 
 M'Mahon and Bloomfield, and a deputation from all the
 
 COVENT GARDEN THEATRE REBUILT. 19 
 
 masonic lodges in the metropolis. His Royal Higlmess 
 was met, at the spot which is now the entrance in Uow 
 Street, by the Earl of Moira, (Deputy Grand Master,) with 
 Messrs. Harris and Kenible, and was conducted to a royal 
 marquee, amid the acclamations of a vast crowd of spectators; 
 the guard of honour lowered their colours, a royal salute of 
 artillery was fired, and the bands of music in attendance 
 struck up " God save the King." He then proceeded to lay 
 the foundation-stone, (which was placed at the north-east 
 angle of the building,) depositing in a cavity which had 
 been formed in it, a brass box, containing a large bronze 
 medal, having the portrait of his Royal Highness on one 
 side, and on the reverse an appropriate inscription. 
 
 The box also contained a series of all the gold and silver 
 coins of the reign of George III. Six freemasons spread 
 the cement, which operation was completed by the Grand 
 Master, with a silver gilt trowel : — the bands, while the 
 stone was deposited in its bed, playing " Rule Britannia," 
 the spectators cheering, and the artillery discharging a royal 
 salute. His Royal Highness next tried the correctness of 
 the work, with the plumb, level, and square, presented to 
 him by Earl Moira : he then gave the stone three strokes 
 with a mallet, and afterwards poured upon it corn, wme, 
 and oil, from three silver goblets, the bands playing " God 
 save the King :" then, expressing his wishes for the success 
 of the undertaking, he retired, with the same formalities 
 which attended him when he came. 
 
 Such was the indefatigable attention of the Architect, 
 and the exertion of the Builder, that the new Theatre was 
 opened on the 18th of September, 1809, with the tragedy 
 of Macbeth. 
 
 The Proprietors, in order the more speedily to cover 
 their loss, had appropriated a larger portion of the audi-
 
 20 EDIFICES OF LONDON. 
 
 toiy than had been customary, to the purpose of private 
 boxes ; * and had increased the prices of admission to the 
 boxes and pit; the former to seven shillings, the latter to 
 four shillings. These circumstances, which were considered 
 as an attempt at imposition, excited so strong a spirit of 
 indignation in the public mind, that the consequence was a 
 most distressing Riot ; which, commencing on the first night, 
 continued with unabated violence for about two months ; 
 during which time the proprietors were playing under the 
 oppression of a very serious loss : for no female, nor any 
 person but those who went either to enjoy the riot, or to riot 
 themselves, would go to the Theatre. It was called the 
 " O. p. Row,"t from those letters being the initials of the 
 
 * These boxes were sumptuously fitted up, with elegant rooms behind 
 them ; and the popular notion was, that they were designed to favour secret 
 assignations ; and, during the disturbance subsequently described, no female 
 could appear in any one of them without being subjected to the grossest 
 insult from the pit and galleries. 
 
 + There was a strange mixture of whimsicality and distressing circum- 
 stance exhibited all through the riot. When the performers entered they 
 were greeted with applause, to indicate that what would follow was not 
 meant personally to them; but the instant they attempted to speak, " Off! 
 off!" overpowering hisses, appalling hoots, and the " 0. P. dance," com- 
 menced, in which the whole audience joined. This dance was performed 
 with a deliberate and ludicrous gravity, each person pronouncing the letters 
 O. P. as loud as he could, and accompanying the pronunciation of each 
 with a beat or blow on the floor or seat beneath him, witii his feet, a stick, 
 or a bludgeon; and, as the numerous performers kept in strict time and 
 unison with each other, it was one of the most whimsically tantalizing 
 banters, or torments, that could be conceived. Numerous placards were 
 exhibited in all parts of the Theatre ; some of them very offensive, others 
 ludicrous. The inscriptions were as various as they were numerous, and 
 exhibited any thing rather than " Mercy " or " Consideration." The 
 public took great offence at Mr. James Brandon, house and box keeper,
 
 COVENT GARDEN THEATRE O. P. ROW. 21 
 
 words " Old Prices ;" and after a severe struggle to " weather 
 the storm," the proprietors were obliged to compromise the 
 matter with the public, by reducing the admissions, to boxes 
 six shillings, and to the pit three shillings and sixpence, 
 and engaging to take away a stipulated number of the 
 private boxes. 
 
 Peace was restored, — but plenty came not with it; for 
 the confidence of female timidity in security was too much 
 shaken to render the boxes of Covent Garden sufficiently 
 refulgent with beauty and fashion, — those magnets of at- 
 traction,— early enough in the season to enable the pro- 
 prietors to make up their loss. 
 
 How far the offence of the proprietors should have 
 provoked so severe a measure, it is now useless to inquire ; 
 but, considering the heavy calamity and loss they had pre- 
 viously sustained, the circumstance appears to present a 
 strange instance of the want of reflection in a public, rarely 
 deficient of generosity, in visiting so acrimoniously a mis- 
 taken and not unprecedented hope that indulgence would 
 be granted to the managers, when the peculiar circum- 
 stances of their situation were contemplated. The punish- 
 ment, by increasing their losses, seems to have been pre- 
 ponderatingly inadequate to their crime; and although the 
 resistance of the proprietors, (which sprang from that innate 
 principle of British independence that irresistibly impels 
 the weakest to opposition, when his property is at stake,) 
 might have irritated those whom it was their interest to 
 soften ; still allowance should have been made, and the 
 
 imputing to him the interference of hired boxers and public-oflicers, and 
 demanded his dismission, with which injunction the proprietors were 
 obliged to comply ; but when consideration returned, mercy was extended, 
 and Brandon was allowed to resume his offices.
 
 22 . EDIFICES OF LONDON. 
 
 thunderbolt should not have been hurled at those who had 
 already been scorched by the lightning. A general secession 
 from the Theatre till the prices were lowered, had been a 
 more speedy and decisive correction of managerial assump- 
 tion, and more noble than organized aggression.* 
 
 It is, perhaps, a remarkable circumstance, that from the 
 period of " the O. P. Row," a London audience has been 
 found more captious than they had previously been. 
 
 About 1810, Mr. Harris, in consequence of ill health, 
 deputed his son Mr. H. Harris to the management; and the 
 Theatre, under his direction, was comparatively prosperous. 
 Still, the loss occasioned by the fire, the very heavy ex- 
 pense incurred by the prevailing taste for splendid spec- 
 tacle, and the great increase of salaries, kept the concerns 
 of the Theatre in an embarrassed state ; in consequence of 
 which, in 1812, a deed of settlement was entered into, by 
 direction of the Lord Chancellor, for the mutual security 
 of the proprietors and creditors; and Mr. John Brandon 
 was appointed, in the deed. Treasurer .f 
 
 * The loss occasioned to the proprietors by the fire was very serious, 
 independently of that which sprang from the riot ; since it is reported that 
 the cost of rebuilding the Theatre was 150,000/.; of which, 44,500?. 
 only, is said to have been recovered from the Insurance-offices. A great 
 proportion of the money (viz., 50,000/.) was raised by subscription, in 
 shares of 500/. eacli ; but this sum was to be repaid, and the annual 
 interest, at 5 per cent., amounted to 2,500/. 
 
 t Mr. Brandon came into the Theatre with Mr. Leake, in 1768, and was 
 always acknowledged by the proprietors to be a most active, zealous, and 
 confidential servant ; but in consequence of a misunderstanding with the 
 directors of 1823, (with the particulars of which the public are well ac- 
 quainted,) he was superseded by a gentleman named Robertson, on con- 
 dition of receiving an annuity of 200/. from the concern; and was engaged 
 by Mr. Elliston at tlie Theatre Royal Drury Lane.
 
 COVENT GARDEN THEATRE ITS SUCCESSIVE PKOPRIETOnS. 23 
 
 In June, 1817, Mr. John Kemble, whose aim during his 
 management was to maintain the dignity of the Stage, took 
 his leave of the public, and went to reside at Lausanne in 
 Switzerland. Mr. J. Fawcett, the comedian, succeeded him 
 as director of the stage : it is but justice to say that he is 
 an excellent actor; and the circumstance of his still (1824) 
 retaining the post, is, perhaps, the best proof that can be 
 given of his impartial and upright conduct. 
 
 In 1821, Mr. T. Harris died, and his property in the 
 Theatre descended to his heirs. In 1822, Mr. Kemble 
 returned to England, and assigned his share of the concern 
 to his brother, Mr. C. Kemble, who ranks, deservedly, in the 
 first class of his profession as an actor, and is at present 
 manager of the Theatre. Mr. J. Kemble revisited Lausanne, 
 and died there, early in 1823. 
 
 The firm of the Theatre now consisted of, Messrs. Hams, 
 C. Kemble, Const, Forbes, and Willett;* and the difficulties 
 of the Theatre increasing, or disputes arising between the 
 partners, I know not which, an arrangement was entered into 
 in 1822, in which it was stipulated that Mr. H. Harris should, 
 for ten years, resign the management to Mr. C. Kemble, 
 for which he (Mr. H. H.) was to receive an annuity (it is 
 reported) of 1,350/.; the other contracting parties were to 
 pay an annual rental (it is also reported) of 12,000/. during 
 the aforesaid term, for the use of the Theatre; which, with 
 a certain portion of the profits, was to be applied to the 
 liquidation of the debts of the Theatre, — with some other 
 conditions, of which I am not likely to be in possession ; 
 
 * When Mr. Martindale died, he left his sliare to his widow, who at 
 her death left a life interest in it to Francis Const, Esq., the present 
 chairman of the Middlesex magistrates. The late Mr. White's daughters 
 
 married, Forbes, Esq., captain R. N. ; and Willett, Esq.; who, 
 
 of course, represent the heirs of JMr. White.
 
 24 EDIFICES OF LONDON. 
 
 nor am I certain that what I have here stated is perfectly 
 correct. 
 
 In consequence, however, of this agreement, Mr. C. 
 Kemble, by consent of the other gentlemen, entered into the 
 management; but Mr. Const, who had not been consuhed 
 in the arrangement, filed a bill in Chancery, the issue of 
 which was, the Chancellor's appointing a receiver, Mr. 
 Robertson, who succeeded Mr. Brandon : — thus has the 
 Lord Chancellor, after having been successively the Manager 
 in Equity of most of the Theatres in London, added to 
 his dramatic duties the guardianship of the Theatre Royal 
 Covent Garden. 
 
 Description of the Theatre: — The Temple of 
 Minerva, in the Acropohs at Athens, suggested the design for 
 the portico of this edifice, — the order of which is pure Grecian 
 Doric. The principal front, in Bow Street, measures 220 
 feet from one extremity to the other ; the Hart-Street 
 front and its parallel (which is approached by piazzas from 
 Bow Street and Covent Garden), are in extent 178 feet, 
 or nearly so. The Bow-Street front presents a magnifi- 
 cent portico, with four columns of the Doric order, very 
 large, fluted, aiid without bases ; supporting a pediment, and 
 elevated upon a flight of steps. The whole front is enclosed 
 by iron rail-work ; and the upper part is decorated by basso- 
 relievo representations of the Drama, ancient and modern, 
 which are sculptured in long pannels, separated by the portico. 
 On that side nearest to Hart Street, in the centre of the sculp- 
 ture, sit three Greek Poets ; namely, jEschylus, the father of 
 Tragedy, his face towards the Hart-Street corner; and Aristo- 
 phanes and Menander, the fathers of antient and modern 
 Comedy: the two latter face the portico; and Thalia, with the 
 crook and mask, is inviting them to imitate her sprightly ex-
 
 COVENT GAnOF-N THEATRE Sni-PTtTlE. 25 
 
 ample. Polyhymnia and Euterpe, with tiie greater and lesser 
 lyres; Clio, with the longer pipe; and Terpsichore, indicative 
 of action, or mime, following her. Three nymphs, crowned 
 with fir pine, succeed, attending Pegasus. Minerva is placed 
 opposite to .-Eschylus, who appears attending to her dictates: 
 and between them, leaning on his fawn, is Bacchus; typical 
 of tragedy having been invented in honour of " the wine- 
 giver." Behind Minerva is Melpomene, with a swoid 
 and mask: two Furies succeed, pursuing Orestes; the 
 latter imploring the aid of Apollo, who appears in his 
 chariot. In the centre, on the other side of the portico, 
 sits OUR immortal Bard; the emblems of dramatic poetry 
 lying around him. He is summoning, with his right hand. 
 Caliban, laden with wood; Ferdinand, sheathing his sword ; 
 and Miranda, with Prospero, whom she is entreating : Ariel 
 is above, sounding enticing airs on his pipe : their backs are 
 towards Shakspeare. This side of the group is filled u]) 
 by Hecate, in her car, drawn by oxen (at the extreme) ; 
 Lady Macbeth, with the daggers; and Macbeth, turning 
 with horror from the dead body of Duncan. The space from 
 Shakspeare to the portico is occupied as follows: — Milton. 
 seated, is contemplating Urania, who surmounts, but faces 
 him ; and Samson Agonistes is chained at his feet. Be- 
 hind them are the two Brothers, driving Comus and three 
 bacchanals before them, the enchanted Sister beinof seated : 
 the sculpture is terminated by two tigers, emblematical of 
 the brutal transformation of the devotees of sensualitv. 
 The figures of Tragedy and Comedy, in niches, occupy, the 
 former the south, and the latter the north, extremity of 
 the building. Comedy has a crook on her right shoulder, 
 the mask in her left hand ; and Tragedy exhibits the mask 
 and a dagfjer. 
 
 The grand entrance to the boxes is under the portico 
 
 F F
 
 26 EDIFICES OF LONDON. 
 
 in Bow Street ; and laterally with it, towards Hart Street, 
 is the entrance appropriated to the private boxes. 
 
 The grand entrance opens to the vestibule, where, at 
 the right extremity, a large stove is placed ; and two boxes 
 for money-takers, and another where free admissions of 
 all kinds are registered, present themselves, immediately 
 upon passing through the folding-doors from the portico. 
 Near each money-taker's box is a Grecian lamp, elevated 
 upon a column of porphyry. The grand staircase is to the 
 left, central in the hall ; divided, longitudinally, by two rows 
 of large Ionic columns, in porphyry, with a superb Grecian 
 lamp suspended between each. This staircase leads to the 
 ante-room, which is ornamented by pilasters of porphyry; 
 and contains a large statue of Shakspeare, executed by 
 Rossi, in yellow marble. To the right, from hence, are the 
 folding-doors that lead to the Auditory; and to the princi- 
 pal Saloon, which is supported by pilasters in porphyry, 
 and contains several plaster statues upon pedestals. The 
 extremity to the right leads to a confectionary, where refresh- 
 ments are supplied to the company; and there is a place 
 provided for the same pui'pose at the opposite extremity. 
 On the entrance side of the saloon is a large staircase 
 leading to it, right and left, from the first circle of the 
 boxes. This room is superbly lighted, and provided with 
 crimson seats. There is, also, another saloon in a higher 
 story, which was originally appropriated to the private boxes. 
 It is supported by four massive columns of porphyry, with a 
 recess at each end, in which are stoves; and over the mantle- 
 pieces are semicircular looking-glasses : — refreshments are 
 provided here also. The sides of this saloon are occupied 
 by crimson seats, and statues of heathen deities on pedestals, 
 alternately placed. There is another entrance to the boxes 
 from Covent Garden, which is handsome, but not so elegant
 
 COVENT G.\nDK\ THEATRE Till'. AUDITORY. 27 
 
 as that from Bow Street : it has two flights of stairs. Tiie 
 entrances to the pit and galleries are from Covent Garden, 
 and on that side of the Theatre which angles (in Bow 
 Street) with the grand front. 
 
 The Hart-Street front contains the entrance to the Stage, 
 (or stage door,) which opens to a large and convenient 
 porter's hall. On the right is an ante, or waiting-room. 
 To the left is the door leading, on the right, lo the cellar, (or 
 all that part of a Theatre under the stage, from whence 
 traps, and rising machinery, &c. are worked ;) and on the 
 left to a stone staircase, with iron balustrades, leading up to 
 the stage, and the rooms appropriated to the principals of 
 the different departments in the Theatre; as well as to the 
 painting-room. At the extremity of this part of the front, 
 and laterally, is the royal entrance ; which is a square, called 
 Prince's Place; three sides of which are formed by the 
 walls of different parts of the premises, and the front by 
 lofty iron rails and gates, through which the royal carriage 
 proceeds to the entrance door on the left, whenever His 
 Majesty honours the Theatre with his presence. Adjoining 
 to the gates, and terminating the Hart-Street front, is a 
 handsome building containing the box-office, the house- 
 keeper's residence, and other private apartments connected 
 with the Theatre. 
 
 The Auditory.- — -The form of the Auditory is that of 
 the horse-shoe; the width, at the extremities, is 51 feet 
 '2 inches; and the depth, from the front lights to the front 
 of the boxes, 52 feet 9 inches. There are three tiers ol 
 boxes, each containing twenty-six, including those in the 
 proscenium ; and there are seven boxes on each side 
 above them, and parallel with the lower gallery. The 
 number of private boxes are twenty-six, situated as follows : — 
 three on each side in the proscenium; one on each side
 
 28 EDIFICES OF LONDON. 
 
 even with the orchestra ; five on each side of the first circle, 
 and four on each side of the second circle ; amounting to 
 thirteen on each side. Over the boxes in the proscenium, 
 on each side, is a semicircular appearance of a box, with 
 a crimson enclosure. To the principal private boxes are 
 attached private rooms, with fire-places. The width of the 
 lower gallery is 55 feet, the depth forty. The width of the 
 upper gallery is 55 feet, the depth twenty-five. 
 
 The appearance of the house is very imposing : the 
 colour is a subdued yellow, relieved by white, and superbly 
 enriched with gilding. Around the dress circle are wreaths 
 enclosing the Rose of England, in burnished gold ; the first 
 circle displays the Thistle of Scotland, and the second circle 
 the Shamrock of Ireland : and these three emblems are alter- 
 nately placed, with fancy devices, in rich borderings, &c., in 
 every part of the Auditory ; which, from the reflection of the 
 lights, gratifies the prevalent taste for splendour vnih one 
 blaze of refulgence. The back and sides of the pit are 
 decorated by the representation of dark crimson drapery, 
 as are the interiors of all the boxes ; which produces a very 
 effective contrast to the brilliancy of the front. The boxes 
 are supported by small iron columns, fluted, and gilt. The 
 ceiling, over what is called the sUp boxes, exhibits pannels 
 of blue, relieved by white, and enriched with gold. The 
 middle part of the ceiling is circular ; in the centre of which, 
 from a richly gilded glory, surrounding a circle of golden 
 lyres, &.c. is suspended a chandelier of glass, of the most 
 superb description ; illumined by two circles of gas-lights : 
 the remainder of the ceiling is a light blue sky, relieved by de- 
 licate white clouding. The cove of the proscenium, in the seg- 
 ment of a circle, contains the moiety of a rich gilded glory, and 
 sky to match the ceiling, surrounded by a bordering of gold ; 
 in which, as well as round the ceiling, either fancy flowers
 
 COVEXT GAnnFN TIIEVTHK. THE AiniTOIlV. "29 
 
 are introduced, or representations of those national emblems, 
 the Rose, &c. The proscenium is supported by four pilasters, 
 |)ainted to imitate Sienna marble. Stage doors are wholly 
 dispensed with. The top of the proscenium, from whence 
 the curtain descends, is an arch of about thirty-eight feet 
 wide and tiiree feet deep ; surmounting a superb drapery 
 border of crimson, white, and gold, elegantly disposed u|)(in 
 a transverse bar of gold, terminated on each side with a 
 lion's head : in the centre of this drapery is the King's 
 Arms. For the green curtain is substituted a drop, repre- 
 senting a lu.xuriant profusion of drapery ; crimson, white, 
 and gold, (to match the borders,) drawn up by cords and 
 tassels ; and disclosing part of the interior of a palace, 
 supported by numerous Ionic columns ; which has a most 
 imposing appearance. There are also pilasters, imitative 
 of Sienna marble, which shde backward and forward, in 
 order to widen or contract the stage. 
 
 FT. IX. 
 
 The width of the proscenium in front is 42 6 
 
 Width at pilasters 38 8 
 
 Heigrht to the centre of the arch 36 9 
 
 Ditto, at spring of arch 33 3 
 
 Depth of stage, from the front lights to the sliding ) 
 pilasters ^ 
 
 The number of superbly brilliant cut-glass chandehers, 
 which are hung round the Auditory, is fourteen ; with three 
 gas lights in each. In the two extreme dress boxes are 
 large looking-glasses. 
 
 The King's box is always fitted up on the left of the 
 audience, in the dress circle, and occupies the extent of 
 three or four of the boxes.
 
 30 EDIFICES OF LONDON. 
 
 The public, or open boxes, will contain about 1,200 people. 
 
 The pit 750 — 
 
 Second gallery 500 — 
 
 First gallery 350 — 
 
 2,800 — 
 
 exclusive of standing-room, &c. The private boxes are 
 let, some by the year, some nightly. 
 
 The Stage is large and commodious. On the right of 
 the Auditory, or left of the stage, are the passages which 
 lead to the superior and inferior green-rooms ; the former of 
 which is handsomely fitted up : at one end is a stove, and 
 opposed to it a large looking-glass for the performers to 
 adjust their dresses by, previously to going on the stage. 
 The seats for the performers are covered with crimson, and 
 the windows are decorated with crimson curtains ; the room 
 is handsomely carpetted, and there is a large chimney-glass 
 over the stove, with a portrait of the late T. Harris, Esq., 
 so many years proprietor of the Theatre. Performers re- 
 ceiving under a certain salary are not allowed to enter this 
 room but on particular occasions. The inferior green-room 
 is up a flight of stairs, and is neatly fitted up ; and here is 
 a piano-forte for the singers to try their songs, and for the 
 choristers to learn their music. Beyond the best green-room 
 is the manager's room, and the passage leads on to the 
 coflFee-roora, property-room, and others appropriated to the 
 business of the Theatre. The scene-rooms, carpenter's shop, 
 &c., are in this part of the building. The stage is principally 
 lighted by gas. 
 
 FT. IN. 
 
 The stage measures from the front lights to the ^ 
 
 back wall 3 
 
 Width from wall to wall 82 6
 
 COVENT GARDEN THEATar THE STAGE. 31 
 
 FT. IX. 
 
 The height of the flats (or flat scenes), which stand ^ 
 
 transversely on the stage J 
 
 Width of ditto (14 feet each half) 28 
 
 Heights of wings, or side scenes 21 
 
 Width, about 4 
 
 The Flics, or that part of the Tiieatre surmounting the 
 stage, are in size correspondent with the rest of the The- 
 atre, and consist of two stories. These are filled with 
 the machinery used in lowering the curtain, drops, wheels, 
 borders, clouds, &c. See; and adjoining them is the painting- 
 room, which is furnished with sky-lights, and measures in 
 length seventy-two feet, and in width thirty-two feet. 
 
 Of the Persons employed in an Establishment of this 
 magnitude it is almost impossible to give an account; the 
 number is so arbitrary, and depends so much upon circum- 
 stances. The principal, regularly engaged, (exclusive of the 
 performers,) are as follows: — 
 
 Stage. — The stage-manager, pantomime-director, chorus 
 and ballet masters, prompter, his deputy, copyist, (he has 
 several assistants,) property-man, and call-boy. 
 
 Orchestra: — Director of the musical department, 
 leader of the band, six or eight 1st violins, ditto '2d, two 
 tenors, two violincellos, three or four double basses, oboe 
 and flageolet, 1st and 2d flutes, 1st and '2d clarionets, 
 1st and 2d horns, 1st and 2d bassoons, trombone, trumpet 
 and bugle, piano-forte, bells, carillons or small bells, (the 
 three latter not always used,) and kettle-drums, (other 
 instruments are occasionally introduced) ; music copyist, 
 (he has several assistants,) and an attendant upon the 
 orchestra to lay out the music.
 
 32 EDIFICES or LONDON. 
 
 Painting-Room. — Four principal painters constantly 
 employed, exclusive of accessary principals, subordinates, 
 colour grinders, and attendants. 
 
 Decorative Machinery, &c. — The property maker, 
 machinist, master carpenter, six or eight carpenters, and 
 from twenty-four to thirty scenemen. The property maker 
 and master carpenter, generally, are the joint machinist. 
 
 Wardrobe. — Master tailor and keeper of the gentle- 
 men's wardrobe, &c., mistress of the ladies' wardrobe : — both 
 these have numerous constant and occasional assistants. — 
 Dressers, many of both sexes. Each principal performer has 
 a separate dresser. 
 
 When new pieces of magnitude are preparing, the extra 
 assistants engaged in the three latter departments are very 
 numerous. 
 
 In the House department. — Treasurer, under ditto, 
 housekeeper, his assistant, about ten money-takers, as 
 many check-takers, (from four to six at the offices for ad- 
 mission,) box-keeper, (his attendants are numerous,) lamp- 
 lighters, firemen, porters, and watchmen. 
 
 There are, also, many people employed in other capacities, 
 which, if mentioned, would scarcely be understood, without 
 more detail than can be introduced here. 
 
 On particular occasions, such as during the performances 
 of grand spectacles, &c., there are many supernumerary 
 performers engaged by the night ; the aggregate salaries of 
 whom frequently amount to 50/. or 60/. per week.
 
 COVENT GARDEN THEATRE— PLATES. 33 
 
 REFERENCES TO TIIF. I'lATES. 
 
 The accompanying Engravings will exemplify and ren- 
 der familiar the ])rcccding descriptive letter-press. By the 
 architect and builder these Sections and Plans will be in- 
 stantly understood, as pointing out readily and clearly the 
 relative situations, forms, and arrangement of the diH'erent 
 parts of this complex and extensive edifice. They also indi- 
 cate the proportions and position of the walls, timbers, and 
 open spaces ; and thereby shew how the whole is combined. 
 Few buildings demand so much skill and science in con- 
 struction as theatres ; before the curtain they require an 
 ample open space for the auditory ; great strength in timbers 
 and iron, for joists, beams, cantalivers, &.C., with apparent 
 lightness and elegance in aspect. The floorings must be 
 solid and level, the ceiling strong, with the least possible 
 weight of material ; whilst the complicated nature of the 
 stage, flies, and various connected rooms, puts in requisition 
 all the art of the architect and skill of the carpenter. An 
 examination of the annexed Prints will verify these remarks, 
 and may induce the reader who has never had an oppor- 
 tunity of examining the whole interior of a theatre, to analyse 
 its component parts, and study its anatomy. When we con- 
 sider the extent of the edifice now under notice, — its com- 
 plexity of parts, — its strength and solidity, — with its numerous 
 subdivisions, — we cannot but feel some degree of astonishment 
 and admiration at the skill and labour that jointly co-operated 
 to complete the whole in one year. 
 
 Plate I. — Plan of the Theatre, shewing the forms and 
 situations of the following apartments, &c. : — A., Hall, or 
 V^estibule of approach to the Boxes, after passing under tl>e 
 portico A.* B., Grand Stairs of ascent, with four columns 
 on each side; a View of which Staircase is given in Plate V. 
 C, Ante-room to Corridors, D. D. D. At the angles of these 
 
 F
 
 34 COVENT GARDEN THEATRE. 
 
 are Flights of Stairs, E.E., to the upper tier of Boxes. F., 
 Staircase to Boxes, from the Piazza side of the house. G., The 
 King's Staircase. H., The Royal Saloon. J., The King's 
 Box. K., Store-room. L.L.L.L., Ladies' Dressing-Rooms. 
 M., Committee-room. N., Scene room. O.O.O., Actors' 
 Dressing-rooms. P., Manager's room. Q. Q., Green-rooms. 
 
 Plate II. — Transverse Section of the Theatre, from C. to 
 D. in the Ground Plan. — a. a. a.. Various subterraneous 
 Stables and Rooms ; some of which are arched with brick, 
 and others are covered with boarded floors, b.. Portico in 
 Bow Street, c, Hall, or Vestibule, marked A. in the Plan. 
 d.. Committee-room, e.. Gentleman's Wardrobe, f.. Dressing- 
 room, g., Orchestra, h.. Private Box. k., King's Box, and 
 Ante-room to the same, m., Entrances to Private Boxes, 
 n., Passage, o., Ladies' Wardrobe, p., Carpenters' Work- 
 .shop, in the Roof. q. r. and s.. Private Boxes. 
 
 Plate III. — Longitudinal Section, a. to b. on the Plan. 
 a. b.. Scene-rooms, c. Painting-room, d., Stage, e., Mezza- 
 nine Floor, f., Cellars beneath the Stage, g.. Orchestra, 
 with open arched space beneath, at h., intended to increase 
 the sound of the band, j-j-j-. Stables, &c., under the Pit. 
 k.. Vaulted Passages. 1., Room under the Vestibule, m., to 
 Pit. n.. Corridor round the Pit. o.. Box Lobby, p.. Lower 
 Saloon to Boxes, q., tapper Saloon to ditto, r., Lcjbby to 
 Gallery, s. s.. Carpenters' Workshop, t.. Flies. 
 
 Plate IV. — A., Elevation of the principal Front in 
 Bow Street, with its portico, &c. B., Section through 
 Saloon, or Ante-room, to Boxes ; Staircase to the same, and 
 Entrance Hall, Committee-room, Sec. C, Transverse Section 
 through the Staircase. 
 
 Plate V. — Principal Staircase to the Boxes. 
 
 Plate VI. — Interior of the Theatre from the Stage. 
 
 END OF ACCOUNT OF THE THEATRE.
 
 HART J. STRESr 
 
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 I -■
 
 COVIEHTI- 
 
 irSATIRE
 
 AN ACCOUNT 
 
 THEATRE ROYAL DRURY LANE, 
 
 Bv c. ninoiN: 
 
 A DESCRIPTION OF THE PRESENT THEATRE, 
 
 Bv E. W. BRAVLEY, F.S.A. 
 
 When the Restoration dispelled tbe clouds of puritanical 
 gloom, and liberated "harmless pleasure" from the "dark, 
 prison-house" of superstition, Rhodes, a bookseller, obtained 
 (about 16.59 or 1660) a license for a company of players, 
 who performed at the Cockpit, or Pihkmx, in Drury 
 Lane : at their head were Rhodes's two apprentices, 
 Betterton and Kynaston ; the latter of whom was " the 
 Siddons" of tlie day, — till nature, superseding art, affecta- 
 tion, and formality, made way for beauty, grace, and soft- 
 ness ; and Woman asserted her claim to admiration as well 
 on the Stage as in every other station of society. Not- 
 withstanding this introduction, K.yna.ston's feiiiliiiiie celebrity 
 was such, that it was customary with ladies of rank and 
 fashion to take him, after the play, in his female habit and 
 decorations, in their carriasres durinjr tiieir visitings and 
 airings ; and lie continued to divide the applause of tlie 
 audience witli his fair competitors, in despite of the dis-
 
 36 DRURY LANE THEATRE. 
 
 advantages under which he laboured from comparison. But 
 although one " fair impostor" was endured, the deception 
 could be carried no further ; for female grace, rising like 
 a Genius of light in a scene of gloom, diffused a splendour 
 of fascination over the Stage ; which the enthusiastic hailed 
 with exultation, the fastidious regarded with suspicion, and 
 the superstitious contemplated with horror : the first antici- 
 pating the most rational results for the dignity of the Stage ; 
 the second foreseeing its complete demoralisation ; and the 
 last predicting national calamity as the consequence : for 
 Prynne, at the expense of his own ears, had so influenced 
 those of others, that an actress, by those of the Olivexian 
 leaven, was looked upon as a Circe ; and many have imputed 
 the flagitiousness of the Stage to the introduction of 
 women.* 
 
 * I know not why refinement shall be decried as the organ of demoralisa- 
 tion ; but prejudice is ever prompt, in favour of its theories, to confound 
 conjectures with certainties, principles with passions, and misconceptions 
 with inclinations. It can see but little itself, and imagines all equally blind ; 
 it can feel but little, and concludes, therefore, that all are equally insensible. 
 That the introduction of Women has added grace to the Stage, and refined 
 ilie character of the drama, tlie exaltation of nuim/ of them to coronets and 
 other honourable distinctions will prove ; and estat)lish a very significant 
 answer to their mistaken, and, in some cases, pitiful defamers. Connected 
 with theatres for years, acquainted with most distinctions of society, and no 
 careless observer of human nature, I can bear witness to as much comparative 
 virtue among the histrionic corps as I have been able to discover among the 
 other classes of mankind ; with, frequently, more generosity and less mean- 
 ness than I have observed among many who enjoy more of the world's 
 " golden opinions :" and, if they have their faults, among their illiberal 
 accusers, wiio shall " cast the first stone ?" and who, among their more 
 thinking adversaries, shall say, " I am not as other men are ?" I should 
 uot have ventured upon this subject, but that the Reverend and popular 
 Mr. Irving has lately been preaching against the Stage ; and as it is the
 
 nnunv lane theatre. 
 
 37 
 
 The Cockpit was huilt in I'JlT; and mi the 4lli ot 
 Alarch, in the same year, was demolisheil by tlie mol) ; 
 of the exact cause for which I am not in possession. Its 
 .site was opposite to the Castle Tavern, Drury Lane; it was 
 rebuilt, and performed in, in 1629. During the sway of 
 puritanism in Charles II.'s time, this theatre (anno 1G40) 
 was suppressed ; but in Ki.jS, it was re-opened, and assumed 
 a more reaular dramatic form tlian before. Rhodes, as 
 before-mentioned, obtained a license to set up a company ; 
 and tlie theatre was in his possession in 1C60, in which 
 year Charles II. granted patents to Sir William Davcnanf 
 and Killigrew ; the latter of whom built a new theatre upon 
 nearly the site of the present edifice, in Drui-y Lane, whicli 
 was opened in 1663 ; the company being called " the King's 
 Servants," as Davenant's were " the Duke's Servants." In 
 1672, the new house was burnt down : it was rebuilt by Sir 
 Christopher Wren, according to some authorities, and opened 
 in 1674. In 1684, "the Duke's Servants" joined " the 
 King's Servants," and they both played together in Drury 
 Lane Theatre ; of which Christopher Rich, who was bred 
 to the law, became a proprietor, he having purchased Sir 
 William Davenant's patent of his heirs.* In 1709, Rich 
 
 fashion to run after him, of course, liundreds have lieard liini ; but altliough 
 I once heard him preach an excellent C/mriti/ Sermon, I think he cannot 
 reconcile all his sermons to the character of Chanty sls defined by St. Paul. 
 
 * Cibber says, that a Sir Thomas Skipwith had a share in the patent ; 
 which, through indignation at Rich's ill conduct, he gave to a Colonel 
 Brett, who then busied himself in the tlieatre; which becoming more 
 profitable tlian before, Sir Thomas served tlie Colonel with a subpoena from 
 Chancery, declaring that he only gave him his share in trust. Brett, in 
 d'soTJSt, gave up the sliare ; and at tlie death of Sir Thomas it devolved to 
 his son : Brett, to whom it had been legally assigned by Sir Tlioraas, re- 
 signing it to tlie son.
 
 38 DRURV LANE THEATRE. 
 
 and the actors quarrelled ; and the consequence was, that 
 on the 7th of June, in the same year, the theatre was " si- 
 lenced " by the Lord Chancellor. 
 
 In 1710, Mr. Collier (a barrister), who had left the Bar 
 for the Stage, obtained a theatrical license for a terra of years, 
 and a lease of Drury Lane from the landlords. During 
 the time that the house was closed by the suspension of the 
 patent, having recourse to that British battering-ram, a 
 mob, he had broken into the theatre (22d November, 1709,)v 
 and expelled the patentee. Wilks, Cibber, and Dogget, 
 afterwards became managers of the theatre ; their names 
 having been included in a new license with Collier, to whom 
 they agreed to pay a sinecure of 700/. a year; and in 
 December 1712, Booth having created a splendid reputation 
 by playing Cato, (of which character he was the original,) 
 contrived, in conjunction with Wilks and Cibber, but 
 against the inclination of Dogget, to procure the insertion 
 of his own name in the license ;* when Dogget, in ill 
 temper, and after applying to the Vice-Chamberlain, ac- 
 cepted 600/. for his share. The license having nearly ex- 
 pired, Wilks, Cibber, and Booth, invited Sir Richard Steele 
 to join them upon the same terms that connected Collier 
 with them ; on condition that, by his interest at court, he 
 procured them a new license in his own and their names, 
 leaving Collier out, and excluding him altogether : this was 
 effected, and Collier went to law for compensation. 
 
 In 1718 the firm consisted of Steele, Wilks, Cibber, 
 
 * This was principally effected by a veiy curious letter written by 
 Booth to Coke, the \'ice-Chamberlain, (a copy of which is in the possession 
 of .T. Winston, Esq.) in which Booth details many circumstances of his own 
 life, and particularly dwells on the min that would befall him should his name 
 not be inserted in the license.
 
 Dnvnv LANE THEATRE. 39 
 
 and Booth, — Steele having obtained a patent (19th vi 
 June, 1st of George I.) for his own life and three years 
 after it; this patent was revoked in 1720, in consequence 
 of an offensive publication of Steele's. The license then 
 remained with Wilks, Gibber, and Booth : tlie latter of 
 whom sold a moiety of his sliare to Mr. John Highmore, 
 for about 2,500/. Booth dying in 1733, the other moiety 
 was purchased of his widow, by Giffard, formerly pro- 
 prietor of the theatre in Lincoln's-inn Fields. After the 
 death of Wilks, in 1731 or 1732, one Ellis acted as the 
 representative of his widow. Gibber, dissatisfied with tlie 
 introduction of new characters, retired; authorising his son, 
 Theophilus Gibber, to represent him ; but his conduct 
 offending the other partners, Highmore, to avoid the un- 
 pleasantness, purchased Gibber's share for three thousand 
 pounds, or guineas, in 1733. Young Gibber having excited 
 the actors to revolt, and decoyed the best of them to tiie 
 Haymarket, Highmoru's management became much embar- 
 rassed ; and he instituted proceedings at law against the 
 performers, who retaliated on a pretext relating to the patent. 
 In vexation Highmore sold his property in the concern (173(i) 
 to Gharles Fleetwood, Esq.; who also bought the rest of the 
 property from Wilks's widow -and Giffard. 
 
 Fleetwood united the Drury Lane and Haymarket com- 
 panies; and through the attraction of Quin, Macklin, Clive, 
 Pritchard, and afterwards Garrick, (who left Giffard to join 
 Fleetwood,) the theatre was for some time in a state of pro- 
 sperity, and distinguished by an audience as elegant as they 
 were numerous. But it afterwards fell into disrepute, in con- 
 sequence of the introduction of tumblers, rope-dancers, mon- 
 sters, and mummery, brought from Sadler's Wells. Fleetwood 
 was also perpetually at variance with his actors; executions 
 or bailiffs were continually in the theatre, and its internal state
 
 40 DnUnY LANE THEATRE. 
 
 was that of complete confusion. He then farmed the 
 property to one Pierson, the treasurer, when the principal 
 actors, with Garrick at their head, entered into a confederacy 
 to obtain a hcense for themselves from the Duke of Grafton 
 (then Lord Chamberlain), in which, however, they failed. 
 When Fleetwood was preparing to re-open the theatre for 
 the ensuing season (1743), he was much distressed for 
 performers; Garrick, Macklin, Havard, Mrs. Pritchard, 
 Mrs. Clive, and others, having entered into an association, 
 and made a formal agreement not to accede to any terais 
 offered them by the patentee, without the consent of all the 
 subscribers. But interest, that " breaker of leagues and 
 covenants," after some time spent in altercation, occasioned 
 a treaty to be concluded between the manager and the junto; 
 excepting Macklin, who would not agree but upon condi- 
 tions which he could not obtain.* 
 
 In 1744, Fleetwood, being tired of living continually 
 harassed without any countervailing effect, advertised the 
 patent for sale : the purchasers were Messrs. Green and 
 Amber, bankers, for 3,200/. ; who sold to Mr. .T. Lacey a 
 third share of the whole, upon condition of his managing the 
 theatre. Garrick now left Drury Lane, in spite of Lacey 's 
 deteraaination to make him conclude the engagement he had 
 entered into with Fleetwood, and went to Dublin, thougli but 
 
 * Fleetwood expressed his determination that Macklin should never 
 again enter the tlieatre during his management. This occasioned a long, 
 recriminatory, and vituperative paper war between Garrick and Macklin ; 
 the particulars of which are to be foimd in Davies's Life of Garrick. 
 An opposit'on on the part of Macklin was attempted by his friends, and 
 Fleetwood prepared for it by hiring a corps from IIockley-in-the-Hole, the 
 "fancy" Pala-stra of the day. The civil storm lasted two nights, when the 
 perse\erance of Fleetwood, and the public avidity to see Garrick, put a 
 period to it.
 
 DRl•n^■ LANE TllKATllK. 41 
 
 for a very short period : on his return he cngaoed at Covenl 
 Garden with Rich; Quin, Mrs. Gibber, and Mrs. Pritchard. 
 joining him : — Barry, MackHn, Mrs. Woffington, and Mrs. 
 GHve, being at Drury Lane. Garrick, however, being 
 templed by Lacey with the offer of a moiety of liis patent, 
 (which the Duke of Grafton had promised to renew,) and 
 for which he gave 8,000/., returned to Drury Lane in 1747. 
 Garrick and Lacey divided the management between thcni ; 
 they having come into possession of the whole property, 
 through the bankruptcy of Green and Amber. Lacey super- 
 intended the scenes, wardrobe, and economy of the house- 
 hold ; while Garrick directed the stage, and introduced a 
 more efficient mode of conducting the business than had 
 hitherto been observed; and on September 20, 1747, 
 (having altered the mode of lighting to that which was 
 practised previously to the introduction of gas,) he opened 
 the house witli a Prologue, written by his friend Dr. 
 Johnson. 
 
 Garrick, to his lionour, laboured to restore to the Stage 
 its native dignity, (which had been compromised by Fleet- 
 wood,) and commenced with the revival of the plays of 
 Shakspeare. Among the first was Romeo and Juliet, which 
 had lain dormant 80 years : Barry and Mrs. Gibber were 
 the hero and the heroine. But those performers, deserting 
 Garrick, through the querulous temper of Barry, per- 
 formed the same characters at Covent Garden, and Gar- 
 rick opposed them with the same ])Iav; himself acting 
 Romeo, and Miss Bellamy, Juliet : while, in opposition to 
 Rich's Mimes, he brought out Queen Miih, in which the 
 inimitable Woodward played Harlequin. Tliis procedure 
 enabled him wliolly to defeat his competitors. 
 
 The month of October 1754, was remarkable for a 
 dreadful Riof at Drury Lane Theatre, occasioned by a
 
 42 DRURY LANE THEATRE. 
 
 Spectacle brought out under the direction of Noverre, called 
 the Chinese Festival. It was dressed and decorated in the 
 most splendid manner, and introduced, in the words of 
 Davies, " innumerable shapes and characters ; " and the 
 most skilful dancers in Europe were engaged, at veiy heavy- 
 salaries, to appear in it. But, hostilities having commenced 
 between England and France, the public looked with a 
 jealous eye upon the introduction of so many foreigners 
 on the English Stage at such a crisis, and threatened the 
 manager with their vengeance, upon its exhibition ; and 
 notwithstanding that the King (George II.) honoured the first 
 night with a " command," the presence of royalty itself 
 could not repress the indignation of the public : the 
 tempest burst on the appearance of foreigners ; and the 
 King, upon being told the reason of it, laughed very 
 heartily. For five nights successively the riots continued 
 (for it had cost so much, that Garrick, contrary to the 
 advice of Lacey, was bent upon carrying his point, if pos- 
 sible) ; the boxes were inclined to allow its continuance, 
 but the pit and galleries, resolute in their opposition to 
 " all papists and Frenchmen," would neither hear reason 
 themselves nor suffer others to hear it ; and becoming more 
 incensed from being opposed by the people of fashion, 
 resolved to stand by each other and " fight it out; " which 
 they did, not only pugnaciously, and by the argumen- 
 tum bacitlinum, but swords were drawn, blood shed, and 
 eventually the whole theatre, chandeliers, and scenes, left 
 in such a demolished state, that it required several days 
 to repair them : Garrick's windows were shattered, and him- 
 self, hitherto the idol of the people, pubhcly execrated ; 
 so uncertain is the tenure of that so coveted delusion. 
 Popularity ! 
 
 At the coronation of George III. and Queen Charlotte,
 
 DRURV LANE THEATRE. 43 
 
 both Garrick and Rich produced appropriate Spectacles; but 
 that at D'rury l/ane was very inferior to that at the other 
 house. Rich, whose whole mind wa.s engrossed by spec- 
 tacle and splendour, and whose judgment of stage effect, 
 scenic and decorative embellishments, was equal to his 
 avidity for exhibiting thcni, produced a pageant of tlie 
 most brilliant and costly nature; to the production of which 
 he had devoted himself: he lived to see his hope realised, 
 and died during the consummation of his W'ishcs. Garrick 
 next strove to remove a nuisance which had existed from 
 the origin of playhouses, — the intermixture of tlic actors and 
 the audience behind the scenes and upon the stage; which, 
 independently of its destroying dramatic effect, led some- 
 times to very unpleasant results to the performers.* 
 
 But to effect this desired object required much address ; 
 for upon the numbers collected behind, as well as before 
 the curtain, the actors relied for making profitable benefits ; 
 and would, therefore, feel themselves injured by it : and 
 it was not likely that the public would be deprived of a 
 privilege they had so long enjoyed, without resistance ; 
 and as Garrick had acquired more than one fearful lesson 
 of experience from the violence of an enraged audience, he 
 could not be suspected of being disposed to subject himself 
 to a third. The only eligible plan, therefore, appeared to 
 be, such an augmentation of the theatre as would accom- 
 modate an audience sufficiently numerous to satisfy the 
 
 * " One evening in Lear," says Da%ies, " when the old Iwing was re- 
 covering from his delirium, and sleeping with his liead on Cordelia's lap, a 
 gentleman at that instant stepped from bcliiml the scenes upon tlie stage, 
 and threw his arms rouid Mrs. Woffington, who acted tliat character : nor 
 did I hear that the audience resented, as they ought, so gross an affront 
 offered to them and to common decency ; so long had they been accustomed 
 to riotous and illiberal behaviour in the theatre."
 
 44 DRURV LANE THEATUE. 
 
 players, and justify the proprietors in shutting the filage 
 door against the public. The theatre, in consequence, was 
 considerably enlarged, and opened in 1762 with the desired 
 effect, as the nuisance was completely removed. 
 
 It had been the custom to raise the prices on the first 
 night of a new play, and sometimes upon that of the first 
 night of the revival of an old one, when altered from the 
 original ; and this custom was observed on the revival ot 
 Shakspeare's Two Gentlemen of Verona, altered by Victor, 
 m 1763 ; and also on the sixth night, which was the author's 
 own benefit. No objection had, in such a case, been ever 
 before made by the public; but upon this occasion, a Mr. 
 Fitzpatrick, of whom mention is made in the account of Co- 
 vent Garden Theatre, and whom Churchill severely satirised 
 in his Rosciad, harangued the audience from the boxes, in 
 " very intemperate and opprobrious language," upon the 
 imposition of the managers. Garrick went forward to excul- 
 pate himself from the charge, but in vain ; the demolishing 
 system practised at the Chinese Festival was renewed ; and 
 Garrick, to appease the tumult, thought it prudent to sub- 
 mit.* But the storm had only slackened, not subsided ; for 
 on the ensuing night, Mr. Fitzpatrick again officiated as 
 public orator ; to demand " admittance for the public at 
 half-price, after the third act of the play, excepting in the 
 first run of a new pantomime." This point, from fear and 
 necessity, was conceded ; but the spokesman required that 
 some of the performers who had espoused the cause of the 
 managers should make the amende hotwiable ; particularly 
 Moody, whose oflence was, preventing a man's setting fire 
 
 * Garrick informed tlie audience that "the nightly expenses, whicli lu 
 1702 were 34/., had risen (1763) to above 90/.; at present, in 1824, they 
 are about two hundred guineas !
 
 • DRURY LANE THEATRE. 45 
 
 to the theatre. Moody, however, refused to apologise ; and 
 Garrick could not appease the wrath of the audience till 
 he had promised tiiaf JNIoody should not be employed till 
 they had restored hiiu to favour, which was soon after 
 accomplished.* 
 
 Garrick, soon after this, went to the Continent ; tor 
 owing to some injudicious measures with regard to the stage, 
 which he pursued contrary to the advice of his friends, the 
 receipts of the theatre decreased so much, that his vanity 
 was greatly hurt.f He left his brother George as his sub- 
 stitute in his absence: but in April 1765, he returned to 
 England, and resumed the management. The public flocked 
 to greet him : the King commanded his first appearance ; 
 and such was the fervour of his welcome, that if his self- 
 love had been grieved at his departure, his ambition must 
 have been more than gratified at his return. 
 
 * Davies says, " When Moody went tbrwaiil , being a favourite, lie 
 thought to avert their anger by comicality ; and with tlie Irish brogue he 
 said, ' he was very sorry lie had displeased them by putting out the fire.' 
 Tiiis augmented, instead of decreasing their rage, and they insisted that 
 he should ask pardon on his knees. Moody indignantly, and witli an oath, 
 rejected the degradation, and walked ofl' the stage. Garrick was so pleased 
 with his firmness, that he received him with open arms, and told him that 
 while he (Garrick) was master of a guinea, he should have his income ; but 
 that if lie had been mean enough to submit, he would never have forgiven 
 him. Moody sought satisfaction from Fitzpatrick, who, either from fear 
 or conviction of his improper conduct, wrote a concession to Mr. Garrick, 
 and informed him, that on the first night Mr. Moody appeared he would 
 attend with his friends, support him, and contribute to liis being re-instated 
 in the favour of the public ; which was effected." 
 
 t lie had rejected the offer of Miss Brent's services, as well as those of 
 some others ; and while Beard, availing himself of their assistance, filled his 
 house every night, Garrick and Mrs. Gibber actually |ierfornied one night 
 to the sum of 3/. 15.?. I5(/.
 
 46 DRURV LANE THEATRE. 
 
 In 1768 was brought out the Padlock, the music of which 
 was composed by the late Mr. C. Dibdin ; of whom to say 
 that his countrymen have decreed him a public memorial,* 
 is to signalise his fame more forcibly than the warmest 
 eulogium on his genius and originality could effect. 
 
 In 1769 was produced, in honour of Shakspeare, " The 
 Jubilee," which had been represented at Stratford-upon- 
 Avon ; the music composed by Messrs. Arne and Dibdin. 
 In 1773 died Mr. John Lacey, who left his share of the 
 theatre to his son, Mr. Willoughby Lacey. The whole 
 management of the theatre now devolved upon Garrick, who 
 began to be afflicted with chronical disorders, which pre- 
 vented him being so active as formerly ; but, with a mind 
 ever alive to the true interests of his profession, he, in 1776, 
 effected the establishment of the Drury Lane Theatrical 
 Fund, paid all the expenses incurred by obtaining parlia- 
 mentary sanction to it, and contributed himself (as well 
 as his partner, Mr. W. Lacey,) considerably to the Fund. 
 Garrick also gave, for the purposes of the Fund, a house 
 situated in Drury Lane : and it is recorded by Davies, that 
 by acting for its benefit, and by donations, he gained for 
 this establishment a capital of nearly 4,500/.t 
 
 Previously to the opening of the theatre in 1776, he 
 made several alterations, external and internal, and took 
 into it some part of the Rose Tavern, adjoining. Tired 
 of management, however, and crowned with honours, he 
 retired from the stage ; assigning his property in the theatre 
 to Richard Brinsley Sheridan, Thomas Linley, and Richard 
 
 * At a public dinner at llie Freemasons' Tavern, March 5, 1824, a 
 subscription was commenced to erect a monument to his memory. 
 
 t At the Anniversary of this Fund, in 1824, its finances vcere augmented 
 by the payment of a donation of 500/. by a Miss Read.
 
 DnURV LANE THEATRE. 47 
 
 Ford, Esqrs., for 35,000/. ; and soon afterwards those gen- 
 tlemen purchased also the other moiety of Mr. W. Lacey. 
 Garrick now took a formal leave of the stage, " amidst 
 the tears and acclamations of a most crowded and brilliant 
 audience ; " and died within three years after, on the 20th 
 of January, 1779, aged 63 all but one month, being born 
 on February the 28th, 1716. He was buried in the Abbey 
 Church at Westminster, near the monument of his beloved 
 Shakspeare ; his remains having been attended to the grave 
 by some of the first characters in the kingdom for rank, 
 genius, science, and respectability. That he was a man of 
 the most eminent talent is unquestionable ; and that he 
 exerted himself most sedulously to refine and dignify the 
 Stage, is beyond dispute. " Nor was any man," says his 
 biographer, " better formed to adorn society, or more se- 
 riously disposed and qualified to serve mankind, than David 
 Garrick." 
 
 When the new firm, in the following season, opened 
 the theatre, Sheridan's father superintended the stage for 
 two or three seasons; but upon his relinquishment of it, 
 Mr. Younger, who had been for several years prompter at 
 Covent Garden, undertook the arduous task. In the year 
 1779, a coalition was entered into between the two royal 
 theatres ; in consequence of which the principal performers 
 of each house acted occasionally for the benefit of the 
 other.* This interchange of actors was very beneficial to 
 
 * To mention a lew instances : — Mr. J. Bannister, who was engaged 
 at Drury Lane, played Achmet at Covent Garden, on the night of the day 
 on which Mr. Garrick was buried. \'ernon, then at Drury Lane, also played 
 in the Duenna, at CoVent Garden, on another night; while Mr. Smith, 
 (usually called Gentleman Smith,) of Covent Garden, played at Drury Lane: 
 and Mr. Bannister took his benefit that season at Covent Garden. Tlie
 
 48 DnURV LANE THEATRE. 
 
 both theatres in casting the plays ; because, when either 
 theatre had not principals sufficient to cast a play as strongly 
 as was requisite, the defect was remedied by borrowing an 
 actor or two of eminence from the other ; and thus the plays 
 were, generally, more effectively performed than at any former 
 period. But, as the friendship of rivals seldom continues 
 long, the coalition was of short continuance ; its existence 
 terminating with the season. 
 
 In 1782 Mr. King became acting-manager, and conti- 
 nued to direct the stage till 1788, when he was succeeded by 
 Mr. J. P. Kemble, who made his first appearance in London, 
 
 play was Henry IV., in which Mr. Henderson played Falstaff, and Bannister, 
 Prince of Wales. 
 
 Mr. Smitli made his first appearance in 1753, and retired from tlie Stage 
 in 1788. 
 
 Mr. Henderson appeared first (at the Hay market) as Shy lock, June 11, 
 1777, from whence he soon removed to Covent Garden: he died at the 
 age of 40, November 25, 1785, in consequence of taking a wrong medicine, 
 administered by the nurse in mistake ; and was buried in Westminster 
 Abbey Church. 
 
 Mr. J. Bannister made his first appearance in 1778, when 19, at the Hay- 
 market Theatre, as Dick, in tlie Apprentice, for the benefit of his father, the 
 late Mr. C. Bannister; and in the following year was engaged atDruryLane, 
 and made his first appearance as Zaphne, in Mahomet ; in which character, 
 as well as those of Dick, and Dorilas (in Merope), Mr. Garrick instructed 
 him. He was very thin at that time, and, after he had succeeded in those 
 characters, Garrick one day asked him what character he wished to play 
 next. Bannister mentioned Oroonoko : " Oroonoko ? — hey — hey!" said 
 Garrick ; " Oroonoko is a very good part, but your figure, hey ! — your 
 figure! — why — why — when your face is blacked, you'll look like a 
 chimney-sweeper in a consumption ! " Mr. Bannister took his farewell of 
 the public, January 1, 1815, his benefit night. The performances were 
 " the World, and the Children of the Wood ; " in which he played Echo, 
 and Walter.
 
 DRURV LANE TIIEATUE.— REBUILT. 49 
 
 at this theatre (as Hamlet), in 1784 ; his sister, Mrs. Sid- 
 dons, who had played here for a short period in 1770, havinj^ 
 commenced her permanent appearance in 1782. 
 
 In 1791 the theatre was piillcd down to he reljuilt : 
 the company performed at the Opera House the following 
 season, and at the Haymarket Theatre the succeeding one, 
 1792-3. On the 12th of March 1794 the new theatre was 
 opened,* with an Oratorio ; and on the ensuing Easter 
 Monday (April 21st), with Macbeth and the Virgin Un- 
 masked. In 1795, John Grubb, Esq., an eminent solicitor, 
 purchased a share in the theatre,t and, Mr. Kemble having 
 resigned the acting management, Mr. Grubb undertook it, 
 but it was soon resumed by the former. J A short time 
 
 * The dimensions of the new theatre were, — Length, from east to west, 
 320 feet; breadth, from north to south, 155 feet; widtli of roof, 118 feet. 
 The roof was surmounted by a colossal statue of Apollo. 
 
 The boxes held 1828 persons; the pit 800; first gallery 675; second 
 gallery 308 : total 3611, sitting. Receipt, when completely filled, 771/. 6s., 
 at the respective prices of 6s. 3s. 2s. and Is. for each person. 
 
 There were eight private boxes on each side of the pit, and six on each 
 side of the stage ; two tiers of complete boxes, and half-tiers parallel with 
 the gallery. 
 
 t Joseph Richardson, Esq., who was a barrister and Member of Parha- 
 ment for Newport, in Cornwall, purchased a share also; I believe one- 
 eighth. He was the author of one dramatic piece, " Tlie Fugitive," and 
 acted at this theatre with success, in 1792. lie was born in Northumberland, 
 about 1756, and died at Bagshot, of a sudden illness, in 1803. He left his 
 property to his widow, who now (1824) keeps a respectable female seminary 
 in Red Lion Square, London. 
 
 X In 1800, a singular circumstance occurred at this theatre. A lunatic 
 :iamed Hatfield, from the pit, fired a pistol at his late Majesty; whose 
 conduct throughout the whole transaction exhibited a firmness, and a con- 
 fidence in his people, worthy his royal character and the loyalty of theii 
 
 II
 
 50 EDIFICES OF LONDON. 
 
 previous to the season of 1801, Mr. Kemble, with several 
 other principal perforaiers, intimated an intention of seceding 
 from the theatre ; as, the concern being in a state so nearly 
 approaching to complete insolvency, the salaries were unpre- 
 cedentedly in arrear ; and the proprietors fomid it neces- 
 sary to appeal to the Lord Chancellor for protection. At a 
 hearing of the case in the Chancery Court, Mr. Sheridan 
 pleaded the cause of the proprietors in person, and accused 
 Mr. Holland, the architect, with having considerably ex- 
 ceeded the sum specified in the contract for rebuilding the 
 theatre, and yet leaving the house in a very unfinished state ; 
 which charge was sustained by the oaths of Mr. Sheridan, 
 and of Mr. Peake, the treasurer to the concern. The Lord 
 Chancellor having recommended, for the benefit of all the 
 parties, — proprietors, performers, and creditors, — that the 
 theatre should be kept open, and ordered that the salaries of 
 all persons employed should be paid prior to any disburse- 
 ments being made, the Company cheerfully conformed to his 
 decree ; and Mr. Kemble resumed the stage-management, 
 which, however, he finally relinquished at the end of the 
 season. Mr. John Bannister succeeded him ; but, after the ex- 
 perience of one season (1802-3), he threw up the directorship, 
 owing to the perplexed state of the general economy of the 
 theatre, and the exhausting efforts which the united laborious 
 duties of manager and performer occasioned him. 
 
 At the time of the Lord Chancellor's interference, a Board 
 of Management had been formed for conducting the concerns 
 of the theatre, agreeably to the plan which he had recom- 
 mended : it consisted of Mr. Sheridan, Mr. Grubb, Mr. Gra- 
 
 nature ; while the audience testified an unqualified indignation at the act, 
 and an enthusiastic solicitude for the safety of their monarch, which must 
 have been as gratifying to him as it was creditable to them.
 
 DRURY LANE THEATRE.— BUnNT. 51 
 
 ham, the pohce magistrate, and others ; and, on the rehn- 
 quishment by Mr. Bannister, Mr. Wroughton (who had been 
 stage-manager for a short time previously) was induced to 
 undertake the directorship of the stage. 
 
 On the evening of February the 24th 1809 the theatre 
 was burnt to the ground, not more than five months from 
 the time of the destruction of that in Covent Garden. The 
 circumstance of tlie two Royal Theatres being burnt down 
 within so short a period occasioned public conjecture that 
 the fires were the effect of design rather than acciilent ; but 
 nothing has yet transpired to establish such a presumption, 
 and I believe the positive cause was never ascertained.* 
 
 The House of Commons was sitting at the time of tlie 
 conflagration, and, when the news reached the Members, 
 Lord Temple and Mr. Elliot proposed an immediate adjourn- 
 ment, which Mr. Sheridan, with much fortitude and feeling, 
 requested might not take place; obsei"ving (in substance) 
 that public business ought not to be interrupted through the 
 concerns of an individual ; notwithstanding which the Mem- 
 bers separated, and many of them directed their steps to the 
 scene of devastation, from motives as benevolent as their 
 decision was prompt. 
 
 The consternation of the proprietors, renters, and all con- 
 cerned in the interests of the Theatre, was such, that they 
 
 * It is singular that there were placed in the upper part of the Theatre 
 two immense reser\'oirs, sufficient to inundate the house ; yet, whether it 
 were owing to the suddenness of the conflagration, and no one being in 
 attendance to set the water free, or whether they had been neglected and 
 were empty, the purpose for which they were constructed failed ; and a large 
 iron curtain which divided the auditory from the stage (meant in case fire 
 broke out in either part of the building to prevent the consuming element 
 communicating with the other part,) had been removed a few months pre- 
 vious to the fire, it being so rusted that it was impossible to work it,
 
 52 EDIFICES OF LONDON'. 
 
 appeared unable to make any eftbrt to surmount the cala- 
 mity ; for the embarrassed state of the establishment seemed 
 to bid defiance to the hope of raising money for the purpose 
 of replacing the Theatre on the appalling ruins, which were 
 contemplated with despondency by the patentee, and with 
 commiseration by the public* At length thelate Mr Whit- 
 bread, with a spirit that did honour to humanity, roused 
 them from their apathy, undertook to arrange their affairs, 
 and projected the plan of a new Theatre. For this purpose a 
 Bill was carried into Parliament and passed, (in the session 
 of 1810,) " For enabling the Proprietors of the Theatre Royal 
 Drury Lane to form a Joint Stock Company, for the purpose 
 of rebuilding the Theatre by Subscription," and the pro- 
 posals were no sooner made public than the shares were all 
 disposed of.f 
 
 Mr. B. Wyatt was the architect : the first stone was laid 
 on the 29th October, 1811, and the new theatre opened on 
 the 10th October, 1812. It was, partly, built upon the plan of 
 the great theatre atBourdeaux, supposed to be the best theatre 
 in Europe for the accurate conveyance of musical sounds. 
 
 It was opened under the superintendence of S. Whit- 
 bread, Esq., M.P.,J who deputed as the manager S. Arnold, 
 Esq. (the present proprietor of the English Opera-house), and 
 
 * The total loss, including that of the perfoimers, musicians, &c., with 
 that of the proprietors, wag estimated at about 300,000/. 
 
 t These shares were in two classes, viz., 500/. and 100/. ; and an annual 
 interest was to be paid upon tlicm, in the manner usual with all incor- 
 porated and chartered companies ; the amount depending upon the profits 
 to be divided : at the end of the first season they produced 6/. per cent. 
 
 X With this gentleman were joined in the direction, the Hon. T. Brande, 
 M.P. ; the Hon. C. Bradshaw, M.P.; the Hon. D. Kinnaird ; P. Moore, 
 Esq., M.P.; H. C. Combe, Esq., M.P.; W. Adam, Esq., M.P.; R. 
 Sha'DP, P.«^ M.P.; R. Wilson, Esq.; the Right Hon. Lord Holland-
 
 DIILRY LANE THEATRE. — MANAGEMENT. .53 
 
 the late Mr. Ravmond as stag^e-nianaorer. Mr. T. Diljdiii 
 undertook the situation of prompter, and assisted in su|)er- 
 intending the operations of the stage. This regime continued 
 for three years, to the end of the season 1814-15, when, 
 Mr. Whitbread dying, the General Committee of Subscribers 
 selected a Sub-Committee to manage the interests of the 
 whole. The noblemen and gentlemen elected were the Earl 
 of Essex, Lord Byron, Hon. D. Kinnaird, Hon. G. Lamb, 
 and P. Moore, Esq., M.P. ; who appointed Messrs. T. Dibdin 
 and the late Mr. Rae as acting and stage-managers. At the 
 termination of two seasons, (1815-16, 1816-17,) Mr. T. Dib- 
 din became lessee of the Surrey Theatre, and upon his abdi- 
 cating his situation, Mr. Raymond again became stage-ma- 
 nager ; on whose death, which occurred a short time after- 
 wards, Mr. H. Johnson and Mr. Rae were appointed ma- 
 nagers. Mr. Stephen Kemble next succeeded ; about which 
 time, in consequence of the ill success of the thetitre, and the 
 hope of attracting the public by the moderation of the charge 
 when compared with that of the rival theatre, the admission- 
 money to the boxes was lowered :* nevertheless, Covent Gar- 
 den was more popular and attractive, and the General Com- 
 mittee determined to call the Subscribers together, when a 
 proposition was made to let the theatre to the best bidder ; 
 which was unanimously agreed to.f 
 
 Captain Bennet, M.P.; L. Holland, Esq.; Sir R. Barclay, Bart.; 
 G. Templar, Esq.; T. Hope, Esq.; J. Dent, Esq., M.P.; tlie Right Hon. 
 J. Macraahon, M.P.; R. Ironmonger, Esq.; C. P. Crawford, Esq.; and 
 G.W. Leeds, Esq. 
 
 * But tills experiment, producing no profitable effect, was, after a short 
 trial, abandoned, and the customary prices were resumed. 
 
 t It may not be irrelevant to remark, that the evidence of all practical 
 experience has proved that the management of a Committee is prejudicial to 
 
 a Theatre, from the frequent want of unanimity, which paralyses that spirit
 
 54 EDIFICES OF LONDON. 
 
 The Subscribers having come to the resolution of letting 
 the Theatre, advertisements were issued for tenders to be 
 delivered in for a lease of 14 years, containing the nature of 
 the securities to be given by the bidder for the fulfilment of 
 his contract. The two highest tenders were, one from R. W. 
 EUiston, Esq., who ollered 10,200/. per annum, exclusive of 
 an agreement to pay the salaries of the secretary to the com- 
 mittee, and of other persons employed by them, and another 
 from Mr. T. Dibdin, (backed by a wealthy and most respect- 
 able individual,) offering 10,100/. per annum, in the gross. 
 Mr. EUiston, consequently, was preferred, and he opened 
 the theatre in September 1818, with Mr. Winston (one of the 
 present proprietors of the Theatre Royal Haymarket,) as his 
 acting-manager, and Mr. Russel as stage-manager. At this 
 time the proscenium of the theatre underwent a considerable 
 alteration : when, among other improvements, stage-doors 
 were introduced, there having been none in the original 
 Ijuilding ; large tripods, with lustres, occupying the place 
 appropriated to those almost universally adopted charac- 
 
 of promptitude, and celerity of action, so essentially requisite for the 
 operations of the drama ; especially as one great object of theatrical policy 
 is, or should be, to watch every variation of that fickle dictator to the 
 Stage, Public Taste, and to catch with avidity at every subject of popular 
 contemplation. Hence, the execution of every plan ought to follow the 
 conception of it with fen-id rapidity, and this seldom or never can be the 
 case where more than one commands. If a Committee be not unanimous 
 for the adoption of any particiilar plan, although a majority decide upon its 
 admission, there are many ways by which the minority (who, of course, think 
 themselves right,) can retard its progress, and, even among those who agree 
 upon the fitness of the proposed plan, there are often differences of opinion as 
 to the best mode of effecting its operation, and the work, in consequence, for 
 want of cordiality, is obstructed . Committees, in short, deliberate when 
 they should act, while an unrestricted Manager makes dehberation and 
 action proceed together.
 
 nnURV LANE THEATRE. — DESCRIBED. 55 
 
 teristics of a theatre. Previously to the season of 1822-3, 
 the interior of the theatre was completely new-modelled, 
 and a new auditory substituted for the old one ; executed 
 by Mr. Peto, from the designs of Mr. S. Beazlcy, the 
 architect, who superintended the whole. Mr. Eiliston is 
 said to have expended in this alteration 21,000/., aufl in 
 consequence of frequent complaints that the nobility and 
 genti-y were incommoded by rain, when going from their car- 
 riages into the theatre and returning, Mr. E. has also built 
 a portico at the grand entrance in Brydges' Street. Mr. Tho- 
 mas Dibdin succeeded Mr. Russell as director of the stage ; 
 the whole business is now conducted by Mr. Eiliston and 
 Mr. Winston. Among the preparations for the season 1824-5, 
 a re-decoration of the auditory was included, and various 
 alterations were made for ]5ublic convenience. 
 
 Description of the Tiieatke. 
 The general form of this edifice is that of a parallelogram ; 
 its extent from north to south being 131 feet, and from 
 east to west 237 feet, independently of the scene-rooms, &c. 
 extending 93 feet further eastward. The walls are almost 
 wholly built of brick, but they are stuccoed on the principal 
 front, in Brydges' Street. The chief entrance is approached 
 by a flight of steps under a portico, which has been recently 
 erected, and which has a flat roof, surmounted by a statue of 
 Shakspeare. In the central part of the edifice, in the 
 second story, are three large windows, having angular pedi- 
 ments ; and at each extremity are two lofty antae on elevated 
 basements, supporting entablatures, the members of which 
 are continued along the whole front. Below each entabla- 
 ture is a large window, and a semicircular-headed recess, or 
 pannel. Four large tripod lamps, on high pedestals, orna-
 
 56 EDIFICES OF LONDON. 
 
 ment the steps ; two of them being near the ends of the 
 buildmg, and the others in front of the intercolumniations 
 of the three doorways to the entrance-hall. 
 
 The north front, in Russell Street, exhibits a uniform 
 range of spacious doorways, seven in number, on the ground 
 floor, together with eight intervening windows, in pairs ; all 
 of which have semicircular heads. Over them is a tier of 
 thirteen rectangular windows ; and on the same line, in each 
 projecting extremity of the building, is a semicircular niche. 
 
 The easternmost entrance communicates with the stage ; 
 the others in succession, with the king's box, the private 
 boxes, the lower gallery, and the pit. The south side, in 
 Vinegar Yard, or Woburn Court, corresponds in its general 
 elevation with the north front; but a new green-room, 
 stabling, See, have been recently attached to it. In this 
 front are entrances to the pit, to the lower and upper gal- 
 leries, and to the private boxes ; but the latter entrance is 
 seldom used. A series of antae, with a continued cornice, 
 surrounds the roof of the stage and auditory. The eastern 
 extremity is masked by the houses in Drury Lane, as like- 
 wise is a part of the south side by those in Vinegar Yard : 
 some improvements in the latter place have recently been 
 made (Oct. 1824.) by the erection of a circular brick wall and 
 iron railing, inclosing the ground belonging to the Theatre. 
 
 The Entrance Hall communicates, eastward, with the ro- 
 tunda and staircases to the boxes, and, on the north and 
 south, with the pit-lobbies ; and from the latter, Ijy winding 
 passages, with the pit itself. The free-list officers and 
 money-takers, who are fenced in by iron railing, have sta- 
 tions in the hall ; each end of which is crossed by an entabla- 
 ture supported by two fluted columns, of the Doric order. 
 
 The Rotunda and grand Staircase form very beautiful 
 portions of the theatre : the effect is peculiarly striking ; and
 
 DRUnV I.ANE THEATRE. — THE nOTUNDA. 0/ 
 
 tlie entire arcliitcctural aiTaiigemcnt is one of ihc most skilliil 
 and ingenious of modem times. The Rottiiuhi, which is 
 thirty feet in diameter, consists of two stories, separated by 
 a circular gallery, and crowned liy an elegant dome, from 
 which is suspended a large brass chandelier, of a classic 
 design, lit with gas. In the lower story, fronting the en- 
 trance, is a massive stove, surmounted by a cast from 
 Scheemaker's Statue of Shakspeare, the plinth being inscribed, 
 in golden letters, with the fine characteristic line from Ben 
 Jonson, — " IJe iras not for an age, but for all time." Four 
 semicircular niches break the concave of the wails, and on 
 the right and left are doors leading to the principal staircases, 
 which are each flanked by four Ionic columns of dark- 
 coloured porphyry. All the steps and landing-places are of 
 stone, and the ascents are guarded by iron railing, of a 
 fancy pattern, in blue and gold, with hand-rails of mahogany. 
 The check-takers are stationed on the first landing-places, 
 whence short ascents, of five steps each, lead to the entrances 
 into the lobby of the dress circle of boxes. The second 
 flights communicate with the stone gallery and with the 
 upper stoiy of the rotunda ; the latter consists, principally, 
 of a peristyle of eight columns, of the Corinthian order, 
 of Sienna marble, supporting a highly enriched entabla- 
 ture and dome. Both the columns and the entablature are 
 designed on the model of the grand remains of the Temple 
 of Jupiter Stator, in the Campo Vaccino, at Rome, in each 
 alternate intercolumniation is a semicircular niche, containing 
 an allegorical female statue ; these represent Tragedy, Co- 
 medy, Music, and Dancing. The other intercolumniations, 
 which are open, communicate with the saloon, the lobby of 
 the first circle of l)oxes, and the staircases leading to the 
 second circle. The soffite of the dome is ornamented with 
 five circles of deeply sunk panelling, crowned by a sky- 
 
 I
 
 58 ■ EDIFICES OF LONDON. 
 
 light. The circular opening, or well, in the centre, from 
 which the area beneath is overlooked, is guarded by an iron 
 railing, in blue and gold, capped by a mahogany hand-rail. 
 The stone floor is partly sustained by cantalivers of cast iron ; 
 some of which are pinned into the wall, and others tailed 
 down to cross cradles of the same metal.* 
 
 Great skill and science are displayed in the construc- 
 tion of the landing-places connected with the rotunda, which 
 receive and sustain the entire pressure from the upper flights 
 of steps. They are supported by strong iron cradling, which 
 consists of bars, carriage-pieces, trusses, binders, chains, 
 tie-bolts, bolts, cramps. Sic, and is additionally strengthened 
 by abutments of Portland stone, and cross walls extending 
 from the staircases to the external walls of the building; a 
 distance of tea feet. The flooring of the stone gallery itself 
 is constructed with joggle joints, so disposed, that the stones 
 of the landings " press equally and directly upon the stones 
 of the circular gallery in the rotunda, which constitutes a 
 perfect arch to sustain the whole weight discharged hori- 
 zontally across the landings from the upper flights." t 
 
 The Saloon has a very imposing effect, both from its 
 architectural character and from the richness of its decora- 
 tions. It is a well-proportioned room, forming a paral- 
 lelogram of 87 feet 6 inches in length, by 27 feet 6 inches 
 in breadth ; but the extremities have been adapted into 
 semicircles, each of which is fitted up with a handsome 
 stove, having a niche over it : the height from the floor to the 
 
 * The Section through the Rotunda, Sec, marked B, in Plate V., exem- 
 plifies tlie details of the above description ; and the Longitudinal Section, 
 Plate IV., shews the connexion of the Rotunda with the Entrance Hall, 
 Saloon, and tiers of Boxes. 
 
 t Vide Wyatt's" Observations on the Design for theTlieatre Royal Drury 
 Lane."
 
 DRURV LANE TllEATUK. - THE AUDITORY. 
 
 59 
 
 middle of the ses;nient that forms the cove of tlie ceiling, is 
 31 feet. The ccilinp; spvinsis on each side from a continued 
 entablature, supported by eight duplicated pilasters, of the 
 Corinthian order: these are painted in imitation of a choice 
 piece of marble, in the possession of his Majesty, at Carlton 
 Palace. From tlie lower members of the entablature, a 
 profusion of blue and gold drapery (painted) is, apparently, 
 suspended. On the west side are three large panels, with 
 lookino-olasses, in white and gold frames, extending from 
 the floor to the drapery, protected by brass guards ; and the 
 spaces between the pilasters, &.c. are also filled by looking- 
 o-lass. The decorations on the opposite side are accordant, 
 but in place of the looking-glasses there are three folding- 
 doors, which communicate with the rotunda and landings of 
 the grand staircase. Near each end the saloon is crossed by 
 an entablature, supported by two Corinthian columns, painted 
 like the pilasters, but having gilt bases. The light is dif- 
 fused by three handsome cut-glass lustres, illumined with 
 o-as : and two others are suspended from the domes of the 
 refreshment-rooms, which adjoin the extremities of the saloon. 
 These rooms are ornamented with statues of females (bearing 
 lamps), looking-glasses, &c., and on each side are two fancy 
 pilasters, sustaining an entablature, with surmounting archoids, 
 from the level of the crown of which the domes take their 
 ' rise: the walls are coloured of a light red. The saloon is 
 furnished with large ottomans, covered with crimson cloth. 
 
 Over each fliight of steps which leads to the upi)er circle 
 of boxes, a brass chandelier, illtmiined by gas, is suspended 
 from the centre of a square-hijiped sky-light : the ceilings of 
 the staircases are diversified by panelling. 
 
 The Auditorif of this theatre is extremely impressive, and 
 there is a chasteness mingled with its splendour which satis- 
 fies the judgment, whilst its richness pleases the siffht. The
 
 60 
 
 EDIFICES OF LONDON. 
 
 general tone of tlie colouring is a light warm drab, profusely 
 decorated with ornaments in gold, and in some parts blended 
 with a light red colour. In its original state, as constructed 
 by Mr. Wyatt, the auditory included three-fourths of a 
 circle, the diameter of which, across the pit to the line 
 of the breast-work of the dress boxes, was 58 feet ; and the 
 extreme distance, from the front of the stage to the back -wall 
 of the boxes facing it, was 53 feet 9 inches. The present 
 form, as designed by Mr. Beazley, is nearly that of the horse- 
 shoe ; the extremities converging from a semicircle, of 51 
 feet 6 inches in the chord, into an elliptical curve, which 
 decreases, from the above width, to 46 feet 6 inches at 
 its termination near the stage : from the front of the latter 
 to the dress boxes, the extreme distance is 48 feet.* 
 
 The fronts of the dress boxes are tastefully embellished by 
 a series of representations, in long rectangular compartments, 
 or panels, from the most popular of Shakspeare's dramas ; 
 and in the two extreme boxes are large looking-glasses. The 
 upper circles, or tiers, including both the slips and the lower 
 gallery, are each supported in front by fourteen slender shafts, 
 reeded, of iron, richly gilt, and at the back by pilasters 
 and partitions. Grecian ornaments, of varied design, jn 
 running patterns, with rosettes, wreaths, &.c. adorn the fascise 
 of the difl'erent tiers ; the whole presenting a blaze of golden 
 enrichments. Brass guards are continued round the fronts 
 of the upper boxes and slips, and of the upper and lower 
 galleries. From plain gold-like brackets, attached to the bases 
 of the shafts in the first and second tiers, rich cut-glass 
 
 * The relative disposition and arrangements of tlie Intirior will be readily 
 comprehended by referring to the Pluns in Plate II. It will be seen from 
 those Plans, that the Auditory is nearly in the centre of the building ; the 
 entrance hall, lobbies, rotunda, saloon, &c. being to the west; and the 
 stage, its green-rooms, scene-rooms, flies, and other adjuncts, to the east.
 
 DRURY LANE THEATRE —THE AL'DITORN . 61 
 
 lustres are suspended : each of four lights, having bell-glasses 
 inverted over the burners.* The seats of the pit are covered 
 with crimson cloth, and a rail-work back has been recently 
 attached to every alternate row. 
 The dress circle of boxes will contain, — (viz. 26 boxes, 9 persons 
 
 in each) 2.')4 
 
 The first circle, viz. 14 boxes, 14 in each 196 
 
 The second circle 480 
 
 Private boxes, viz. 20 boxes, 8 in each 160 
 
 Ditto, family ditto, viz. 16 boxes, 6 in each 96 
 
 Proscenium boxes, viz. 8 boxes, 8 in each 64 
 
 Slips 130 
 
 Pit 800 
 
 Lower gallery 550 
 
 Upper gallery 350 
 
 3060 
 The principal ceiling of the auditory is constituted by a 
 vast circle, including two lesser ones, subdivided into nu- 
 merous panelled compartments, having bordcrings enriched 
 with roses in annulets, and in the greater spaces other orna- 
 ments, of a classic design, in white and gold. From an 
 
 * The dress circle includes twenty-six boxes, each furnished with nine 
 chairs ; and behind, and looking over them, are ten private or family boxes, let 
 nightly, with six chairs each. The next, or first circle, contains fourteen public 
 boxes, (with six private ones, let nightly, behind them,) and four private boxes 
 at each extreme. The second tier, or upper circle, contains twenty-two double 
 boxes, there being a row of boxes going round the circle, which is separated 
 from the front-row by a partition about three feet high, and at each extreme 
 ;ire two private boxes. In the slips there are three larger boxes, which are 
 parallel widi the lower gallery. On each side of the pit there are three 
 private boxes, and two larger public ones without seat.s. The general 
 arrangement of the boxes, &c. is shewn in the Longitudinal Section, 
 Plate III., together with the roofing of the building, the stage, flies, &c. 
 Tlie roof of the Auditory is 77 feet 5 inches in breadth, between the 
 extreme walls : its height from die pit floor is 48 feet.
 
 62 
 
 EDIFICES OF LONDON. 
 
 opening in the centre, a very large cut-glasf, lustre descends, 
 which is lit by gas, supplied from the Gas-works in Peter 
 Street, Westminster. 
 
 The Proscenium, as now arranged, is exceedingly different 
 from its original state, as designed by Mr: Wyatt, and from 
 which it has been several times altered. On each side, 
 elevated on a lofty pedestal, forming a parallelogram, are 
 two demi-columns, of the Corinthian order, fluted,* and 
 superbly gilt, supporting an entablature, above which, in 
 semicircular niches, are allegorical statues of Tragedy and 
 Comedy. The coved ceiling is a continuation of the circular 
 ceiling of the auditory ; but the four panels into which it 
 is divided are of greater width than those of the other parts 
 of the circle. Beneath it, spanning over the curtain, is 
 an elliptical arch, from which festoons (painted) of crimson 
 drapery descend ; and on an inner plane, in the centre, are 
 the royal arms, within a garter, with the supporters couchant, 
 in subdued colouring. On each side, between the columns, 
 are three private boxes, the fronts of which are of crimson, 
 plaited ; the plaits of each middle box centering in a radiant 
 head of Apollo, gilt : there is, also, another private box, 
 nearly level with the stage, in the pedestal, or basement, 
 on each side, masked by a pierced ornamental (moveable) 
 panel, exhibiting a lyre amidst foliage, in dead and bur- 
 nished gold. The King's box is that between the columns, on 
 the left of the auditory, which ranges with the dress circle : 
 its ante-room is a handsome square apartment, surmounted 
 by a dome, sustained on archoids, which spring from a sur- 
 rounding entablature, supported by four Corinthian columns. 
 
 * These columns are of wood ; they are liollow, and tlie apparent 
 (lutings are real apertures, through which the performances can be seen 
 from the private boxes : the capitals are of plaster.
 
 DRURV LANE TllEATUE.-TIlE PROSCENIUM. 63 
 
 Between the acts, duiing a peif'ormance, a rich drop scene 
 is substituted foi- the curtain : it was executed by Marinari 
 and Stanton (the figures being by the latter), at an expense 
 of about 700/. It is a fine composition of Grecian ruins 
 and figures, within a higlily-wrought fancy bordering, or 
 frame, heightened with gold.* Another elegant drop scene, 
 by Stanton, which is used between the play and the after- 
 piece, includes the Coliseum, and other remains of clas.sic 
 architecture, with figures, landscapes, &c. The weight of 
 each of these drops, with the roller and necessary adjuncts, 
 is about 8001bs. 
 
 FT. IN'. 
 
 The width of the proscenium, in front, is 40 
 
 Ditto, at the curtain 40 
 
 Height of the proscenium, to tlie centre of the arch 43 
 
 Extent from the front of the stage to the curtain 12 9 
 
 The view of the interior of the house, from the stage, pos- 
 sesses great interest, and particularly so when the theatre is lit 
 up and the audience assembled. An accurate idea of its gene- 
 ral character may be conceived from Pl.\te VI. 
 
 In the construction of this building every care has been 
 taken to secure the safety of the audience in case of fire, 
 independently of the provision made by water-tanks, engines. 
 Sec. All the passages and lobbies behind the pit and boxes 
 are of stone ; and the ^staircases, as mentioned before, are 
 of the same materials ; as are also the staircases and land- 
 ings to the galleries. They are likewise sufficiently capacious 
 to contain the entire number of persons that can, at any 
 one time, be assembled in the theatre ; by which arrange- 
 ment a safe egress for the company is, at all times, certain. 
 This fact cannot be too generally known, as it must neces- 
 
 * In the Tfunsvcrse Section, marked A, in I'latk \'., the l^roscenium i 
 shewti, together with the drop scene above described.
 
 64 EDIFICES OF LONDON. 
 
 sarily tend to lessen the apprehension and danger which 
 a sudden alarm would otherwise create.* 
 
 The Stage, although of great extent, and longer than that 
 of Covent Garden, is sometimes insufficient for the conve- 
 nient representation of the spectacles introduced here ; not- 
 withstanding that a large archway has been cut through 
 the main wall, eastward, into an adjoining building ori- 
 ginally intended for a scene-room. There is, likewise, a 
 deficiency of depth in the cellar below the mezzonine floor, 
 which occasionally prevents the machinery, in pantomimes, 
 from being worked so readily as the business requires. The 
 manager's room, actresses' dressing-rooms, and various other 
 apartments, are on the north side of the stage ; and on the 
 south are the two green-rooms, the prompter's room, the 
 
 * " All the doorways throughout these [viz.theauditoiy] parts of the house 
 are from five to six feet wide, according to circumstances; the steps and 
 landings of the staircases to the galleries are five feet, and those to the 
 boxes six. In the principal stone staircases, leading to the boxes, the 
 ascent is first in one flight and then in two; and so on, alternately, to 
 the top; the centre flights being exactly double tlie width of the side 
 flights ; so that tlie conflux of persons from the side flights never can choke 
 or obstruct the centre flights ; and these staircases are capable of containing, 
 upon their own steps and landings, a much greater number of persons than the 
 ivhole of the boxes can contain : consequently, the ingress and egress to and 
 from the boxes never can be obstructed for want of room upon the staircases. 
 The whole of the boxes are capable of containing 1286 persons; and the 
 two staircases in question will jointly contain 1528 persons. The two- 
 shilling gallery is calculated to contain 550 persons ; and the two staircases 
 leading to it will contain 868 persons. The one-shilling gallery contains 
 space for 350 spectators, and the staircase leading to that gallery will 
 contain 480 persons ; allowing (as in both the preceding instances) as 
 much room to each person as they are supposed to occupy when sitting in tlie 
 theatre ; and, of course, more tlian they would really occupy upon a crowded 
 staircase."- — Wyatt's " Observations," Sj-c. p. 40.
 
 DHUnV LANE THEATRE — DESl HU'TION. 65 
 
 % 
 
 actors' dressing-rooms, &c. In the principal Green Room is 
 a large looking-glass, in panels, measuring 8 feet 3 inches 
 by 4 feet 6 inches, for the performers to adjust tlieir 
 dresses by, previously to appearing before the audience; 
 and, oil Inackets, at the sides, are i)usts of Shakspeare and 
 Garrick. On another bracket, between the windows, is a 
 marble bust of " Mrs. Sara/i Sii/do/is," the Tragic jl/«.?e, which 
 was sculptured by James Smith in 1812, and presented to 
 the Green Room by the late Samuel Whitbread, Esq. in 
 August 1814. Opposite to it is a cast of the bust of Edmund 
 Kean, Esq., by S. Joseph. The inferior Green Room, which 
 contains a piano-forte, for the use of the performers and choris- 
 ters, is part of a separate building, attached to the outer wall of 
 the theatre. There are also rangesof stabling for twenty horses, 
 a large yard, &.c. on this side, without the walls. The stage 
 is, principally, enlightened by gas, the pipes being arranged 
 below the flooring, and having their extremities partially 
 inserted in grooves, so as to admit of their being moved 
 in accordance with the play of the machinery. In the winter 
 season, warm air is conveyed into the theatre from two large 
 pipes, at the back of the stage, which conununicate with two 
 furnaces in the lower floor beneath. 
 
 FT. IN. 
 
 The extent of the stage, from the orchestra to the back wall, is. . 96 3 
 
 Widtli of the stage from wall to wall 77 5 
 
 Depth from the upper floor to the mezzanine floor 8 6 
 
 Ditto, from mezzanine floor to the ground 10 
 
 Ditto, of the excavation called the well 3 
 
 Height of the flats, or transverse scenes 21 
 
 Width of ditto, viz. 28 feet ; each half 14 
 
 Height of wings, or side scenes 21 
 
 Width ofditto from 5 to 8 
 
 The stage-floor is pierced by numerous apertures for traps, 
 descent and raising of machinery, &c. The floor beneath it. 
 
 K
 
 66 DRURV LANE THEATRE. — DESCRIBED. 
 
 to a person unaccustomed to such places, has the appearance 
 of a confused wilderness of wheels, ropes, blocks, windlasses, 
 and other apparatus, of too multitudinous a kind to admit of 
 description in these pages. Among the recent alterations 
 was a complete removal of the stage doors ; and all entries 
 before the curtain were made through a tent-like opening in 
 a superb drop-scene, but the latter was disused after the first 
 season. 
 
 Over the stage are the Flies, &c., in two stories, which are 
 wholly supported by the side walls, and by trusses attached 
 to the roof: these contain the windlasses, machinery, &c. 
 employed in lowering the curtain, drops, borders, clouds, cars, 
 and other appendages to the scene. In the line with the 
 upper flies, over the auditory, are carpenters' shops, property- 
 rooms, store-rooms, &c. The Painting Room, which is over 
 the eastern extremity of the stage, is 79 feet in length, and 
 nearly 31 feet in height and width. 
 
 The Scene Room is a detached building at the north-east 
 angle of the theatre, but having a communication with the 
 stage, and also with Drury Lane. Its length is 73 feet 3 
 inches, and its medium width about 30 feet, exclusive of a 
 return towards the south of 15 feet 9 inches in width, and 
 26 feet 6 inches in length . Beneath it is a Tank, and a small 
 Printing O^ce, where all the play-bills, plays, 8cc. issued from 
 the theatre, are printed : over it are property work-shops. 
 
 In a long cellar, beyond the outer wall of the stage, is 
 a powerful engine, on Bramah's principle, which, when full- 
 manned, will throw water upwards of 10 feet above the roof 
 of the building; and on the roof itself are several tanks, 
 which are supplied from the New River.* 
 
 * When the theatre was rebuilt, a very expensive combination of ma- 
 chinery, including pipes for the conveyance of water into every part of the 
 house, was constructed, under the direction of the far-famed Sir William Con-
 
 DnURV LANE THEATRE. — DESCRIBED. 67 
 
 Anioiii;,- tlie many alterations wliicli luive been made in 
 tiii.s theatie, since its constrnction by Mr. Wyatt, has been 
 the piercing the main walls liy numerous internal doorways; 
 the orioinal communications between tlie ditlcrent parts of 
 the house having been so few and .so extremely inconvenient, 
 that the business could not be properly carried on. An 
 arched passage, also, has been made under the orchestra, 
 which communicates, by a flight of stairs at eacli end, with 
 the private boxes on the south side of the theatre; the 
 entrance to which, from Woburn Court, being only accessible 
 on foot, was extremely objectionable to the company, who 
 were obliged to alight from their carriages in Brydges Street. 
 
 greve, for the purpose of extinguishing fire; but as the efficacy of the apparatus 
 could never be tried without endangering the theatre by dimumng, iU assumed 
 utility is still unascertained ; and it is probable, that at the present time tlie 
 machinery is not in a state of sufficient order to admit of the experiment being 
 made. Tlie tirst supply of water was to be obtained from a cylindrical air- 
 tight reservoir, of cast-iron, placed under ground, at tlie back of the stage, 
 and sufficiently capacious for 400 hogsheads. This being half filled with 
 water, and furnished with a powerful condensing air-pump, could, by means 
 of a series of levers contained in a small engine-house on the outside of the 
 building, be so acted on by the condensation of the air in the other half of the 
 reservoir, (equal to about six atmospheres,) that the whole of the water would 
 be forced through the various branch-pipes to the very highest part of the 
 theatre, and by other machinery and branches be directed to the precise spot 
 that might be on fire. Even the Apollo's head, which originally formed the 
 central decoration of the pit ceiling, was made the mask of a concealed pipe, 
 8 inches in length, having a perforated rose at each end, through which 
 the water was to be thrown over the entire auditory, in a rotatoiy discharge, 
 the pipe being caused to revolve upon its centre by the force of the fluid 
 rushing from it, on the same principle of action as the fire-work called the 
 Catharine wheel. On asmo// scale ami model, there is no doubt but that this 
 contrivance was a successful one ; yet, independently of various objections that 
 might be urged against its applicability to a theatre, it has been said that the 
 reservoir never could be made sufficiently air-tight to ensure its effectual 
 co-operation in tlie moment of danger.
 
 68 drury lane theatre. — references to the plates. 
 
 References to the Plates. 
 
 Plate I. — Exterior View of the Theatre, from the north- 
 west, shewing the Brydges Street and Russel Street fronts. 
 
 Plate II. — P/a/is. — The general form, interior divisions, 
 and principal arrangements of the bui}ding, are exhibited in this 
 print, viz. A., which shews the ground plan of the south side 
 of the theatre, according to the design of the original archi- 
 tect, Mr. Wyatt; B., the stage-flooring ; and C, the plan of 
 the dress circle of boxes, agreeably to the alterations made in 
 the auditory by Mr. Beazley. The particular references are 
 as follow : a. Entrance Hall. b.b. Waiting Lobbies, c. Ro- 
 tunda, d.d. Principal Staircases to the Boxes. e. Pit 
 Passage, e*. Pit Lobby, e**. Entrance to Dress Circle. 
 f. Lobby to Private Boxes, g. Pit. h.h. Present Entrance 
 to the Upper Gallery, i. Staircase to Lower Gallery, i*. Pri- 
 vate communication from Dress Boxes to Dress Cirde. 
 j. King's Staircase, j*. Upper Gallery Staircase, k. Box" 
 Entrance from Woburn Court, k*. Staircase to the Upper 
 Gallery, now shut up. 1. Private Lobby to the King's Room. 
 1*. Private Box Staircase, m.m.m. Mrs. Coutts's Ante- 
 room, Lobby, and Box. n*. Duke of York's Box. n.n.n. n. 
 Private, or Family Boxes, o *. Private Box on Stage, o. The 
 King's Room. p. The King's Box. q. Dress Circle Lobby. 
 r. Orchestra, s. Proscenium and Stage, t. Acting Mana- 
 ger's Room, with Treasury over it. u.u. Staircases to the 
 Boxes, &c.; that on the left leads also to the Treasury. 
 v. Private Box on Stage, w. Quick-changing Room, com- 
 municating with principal Green-room. x. Small Property- 
 room, y. Prompter's Box. z. Principal Green-room. a. In- 
 ferior Green-room. b. Mr. EUiston's Room. c. Staircase 
 to the Flies, c*. General Staircase, d. Water Closet. 
 e. Music-room /./. Property and Scene-rooms ; the southern- 
 most being occasionally used to lengthen the stage : over them 
 is the Painting Room. g. Hall at Stage Entrance, h. Occa-
 
 EDIFICES OF 
 
 T.WVBU del. 
 
 B-Vyatt Arch'. 
 1... iMt.U-ili-i .I.in iSr.VW .: Iiivl.M. IQ* H..ll.ori
 
 S H U 

 
 fe.^ 
 
 B 
 
 
 
 ■ 
 
 
 
 1 , 
 j 
 
 i 
 
 
 f 
 
 
 T 
 
 " 
 
 
 --■^- -- - ^^ -^ 
 
 Loiu]oiL.hiblulictl. Jan.l ia23.J [avlot-. Hi^lvltnlhorn
 
 1/ 
 
 drlhy lane theatre. — references to the plates. 69 
 
 sional Entrance, i. General Staircase, j. Committee-room. 
 k.k.k. Scene Depositories. 
 
 Plate III. — Persjn'ctive Vieiv of the lioluiula, fVoin the en- 
 trance to the Lobby of the first Circle, looking into the Saloon. 
 
 Plate IV. — Lotigitudittal Section, horn west to east, 
 lookinn; northward, a. Entrance Hall. b. Rotunda, lower 
 story, c. Ditto, upper story, d. Saloon, e.e. Pit Lobbies, 
 f.f. f.f. Corridors to the Boxes and Slips, g. g. Lobbies to Upper 
 and Lower Galleries, h.h.h.h. Private Bo.xes. i. Pit. j. Dress 
 Circle of Boxes, k.k. First and Second Circles of Boxes. 
 1. Slips, m. Lower Gallery, n. Upper Gallery, o. Proscenium 
 Boxes, p. Orchestra, q. Arched Passage beneath ditto; made 
 to continue the line of communication across the house. 
 r. Stage, s. Continuation of ditto, through an arched aper- 
 ture of 12 feet diameter, to the extreme wall. t. Mezzanine 
 Floor, u.u. Cellars under ditto, v. Well, or Excavation, for 
 letting down scenery, w. w. Upper and Lower Flies, x. Paint- 
 ing-room, y. Carpenters' Shops, Property-rooms, 8cc. z.Roof. 
 
 Plate V. — A. Transverse Section before the Proscenium. 
 '^ a. a. a. a. Lobbies to the Pit and Private Boxes, b.b.b.b. Ditto 
 to Dress Circle. c.c.c.c.Dittoto First Circle. d.d.d.d.Dittoto 
 Second Circle, e. e. Staircases to Slips, f. f. Lobbies to ditto, 
 g.g. Gallery Passages, h.h.h.h. Private Boxes, i.i. Dress 
 Boxes, j.j. Boxes, First Circle, k.k. Ditto, Second Circle. 
 1.1. Slips, m. Carpenters' Work-shops, &c. — B. Section t/iroiig/i 
 the Grand Staircases and Rotunda, a. a. Principal Flights of 
 Steps, b.b. Entrances to Dress Circle, c.c. Ditto, First 
 Circle, d.d. Ditto, Second Circle, e. Rotunda, lower story. 
 f. Ditto, upper stoiy. g. Stone Gallery-floor. h. Iron 
 cradling supporting the upper flights. 
 
 Plate VI. — Interior of the Auditory, as seen from the 
 
 Stage, shewing tlie general forms and decorations of the 
 
 house in 1824. 
 
 end of the account of the theatre.
 
 AN ACCOUNT 
 
 OF THE 
 
 HAYMARKET THEATRE; 
 By C. DIBDIN. 
 
 This Theatre stands on the eastern side of a street called 
 the Haymarket, where a playhouse was first erected in 1720, 
 17^1, by a builder named Potter, who speculated upon the 
 probability of letting it to companies of foreign performers, 
 which, at that period, were much encouraged by the nobility, 
 and through whose patronage they procured licenses pio tem- 
 pore. No sooner was the theatre finished than it was opened, by 
 " special permission," with a French play, called " La Fille a 
 la Morte ; ou le Badeaut de Paris : " the company performing 
 under the designation of " The French Comedians of his 
 Grace the Duke of Montague ."* 
 
 In December 1723 the theatre was occupied by an Eng- 
 lish company of comedians, who were advertised as novices ; 
 but these not succeeding, the French company resumed their 
 
 * The first announcement was in the following terms : — " December 15, 
 1721. At the New Theatre in the Haymarket, between Little Suffolk Street 
 and James Street, which is now completely finished, will be performed 
 L\ French Comedy, as soon as the rest of the actors arrive from Paris, who 
 are duly expected." They opened on the 29th of December : Boxes and 
 Pit 5s., Gallery 2s. 6(/. On the second night the prices were altered to 
 Boxes 4s., Pit 2s. 6d., Gallery Is. 6d. During some time they played four 
 nights per week ; and afterwards only two nights, till the 4th of May. In 
 the following July a Concert was advertised, in which it is styled the " New 
 French Theatre ;" and a French company performed the following winter.
 
 IIAVMARKET TllKATnE.— PERFOnMANCES. 71 
 
 performances in 1724, althouoh for a very short term ; and the 
 Iiouse was let for occasional concerts and similar enter- 
 tainments, till 1726, when Italian operas were performed 
 in it, by subscription; and, towards tlie conclusion of the 
 season, Signora Violante, an accomplished rope-dancer, with 
 a " troop of tumblers," added " extraordinary feats to the 
 attractions of the opera." In 1730 the house was again 
 occupied by English tenants, and the performances con- 
 ducted upon ii very respectable plan ; but, in 1731, gladiators 
 and back-sword-men made an arena of its stas:e, and were 
 patronised both by the Enghsh and foreign nobility ; the 
 latter of whom were, principally, in the suite of the Duke of 
 Lorrain, then on a visit to the British Court. In 1732 
 an English opera, upon the Italian model, or consisting 
 of recitative and air, was produced here by the well- 
 known Harry Carey ; and in the same year Signora Vio- 
 lante resumed her performances. The Beggar's Opera was 
 also acted ; in which the celebrated Miss Woffington per- 
 formed, on the same night, the characters of Macheath, 
 Mrs. Peachum, and Diana Trapes : so early had the pre- 
 valent custom of an individual playing several characters in 
 the same piece commenced. 
 
 In 1733 Theophilus Gibber, Harper, (the competitor of 
 Quin in Falstaff,) and others, revolted from Drury Lane, and 
 opened the Haymarket; and although an attempt was made 
 to suppress-them by Highmore, the patentee of Dmiy Lane, 
 it did not succeed ; and Harper, who had been com- 
 mitted to Bridewell at his instance, was " soon after," says 
 Davies, " triumphantly delivered by the Court of King's 
 Bench." The reason of this decision, as appears from Gibber, 
 was that Harper was not a " vagabond" within the meaning of 
 the Act of the 12th year of Queen Anne, " he being a
 
 72 HAYMARKET THEATRE. — PERFORMANCES. 
 
 housekeeper, and having a vote for the Westminster Mem- 
 bers of Parliament." 
 
 In 1734-5 Fielding, the dramatist and novelist, opened 
 this theatre with a company whom he advertised as " The 
 Great Mogul's Company of Comedians ; " for whose acting he 
 wrote a satirical piece called " Pasquin," which contained 
 very severe reflections upon the Walpole administration, 
 and was performed for more than fifty successive nights. 
 Fielding's company continued performing in 1736 and 1737. 
 
 In 1737 this theatre, together with that in Goodman's 
 Fields, was closed by authority, in consequence of the passing 
 of Sir Robert Walpole's licensing act, which, Smollet says, 
 was meant as a direct attack by the minister on the liberties 
 of the press.* 
 
 * The occasion of this act was as follows : — Giffard, the manager of Good- 
 man's Fields Theatre, received from an anonymous author a farce, called " The 
 Golden Rump," which contained such violent sarcasms on the ministry, that 
 Giffard, from fear or policy, carried it to Walpole, who brought the affair before 
 the House. The purport of the bill passed was, " to limit the numberof play- 
 houses ; to subject all dramatic writings to the inspection of the Lord Chamber- 
 lain, and to compel managers to take out a license for every piece before it 
 could appear on the stage." The bill, notwithstanding it passed, experienced a 
 violent opposition within the House, and a general one without ; yet there 
 does not appear any novelty in its enactments ; for theatres and plays had 
 been subject to the control of a licensing power, under the name of Master of 
 the Revels, or Lord Chamberlain, from before the time of Elizabeth, at least. 
 The licensing officer granted or prohibited, as he pleased, license for theatre 
 or play ; and from such plays as he licensed he expunged every passage 
 which appeared to him objectionable. His fee for a play had originally 
 been a mark ; but in 1630, when Sir Henry Herbert held the office of Master 
 of the Revels, it was 2/. It is now 2/. is. 
 
 Giffard received from Walpole 1000/., as a reward for his information, 
 and a compensation for the loss which he sustained by the closing of his 
 theatre.
 
 IIAVMARKET THEATRE. — ENTERTAINMENTS. 73 
 
 In 1738 a temporary license to open the Ilavmarket Theatre 
 was granted by the Lord Chamberlain to a French company. 
 This circumstance excited general indignation ; so averse 
 were the public to the act wliich liad expelled tlie English 
 performers from this theatre ; the consequence was, thai 
 the foreigners, on the first night of their appearance, were 
 driven from the stage with contempt and execration ; and, 
 although they aftei-wards appealed in a most humiliating 
 manner to British generosity, imploring permission to per- 
 form three nights in either of the patent theatres, to enable 
 them to pay their debts and ensure a passage tfl France, 
 their plea and petition were equally disregarded. 
 
 In 1741 the theatre opened with English Operas. On 
 the 6th Feb. 1744, Macklin, from hostility to the patentees 
 of Drury Lane Theatre, brought a company here, among whom 
 was the celebrated Samuel Foote, justly styled the British 
 Aristophanes; but Macklin's scheme failed, and he returned 
 penitent and apologising to Drury Lane ; being succeeded in 
 the management of the Haymarket by Theophilus Gibber, 
 who appears to have acted without a license, and to have 
 evaded the penalty by stratagem.* 
 
 In 1747 Foote commenced here, on his own account, 
 a new species of entertainment, written and performed by 
 himself ; which consisted of satirical representations and imi- 
 tations of public and remarkable characters, as well as a 
 ludicrous exposure of the reigning follies of the day. It 
 was called " The Diversions of a Morning," and was at first 
 prohibited and suspended through the opposition of Lacey, 
 
 * His advertisement ran thus ; — 
 
 " At Gibber's Academy in the Haymarket will be a Concert ; after wliich 
 will be exhibited (gralk) a rehearsal, in form of a play, called Romeo and 
 Juliet." 
 
 L
 
 74 HAYMARKET THEATRE. — RIOT. 
 
 the patentee of Drury Lane ; but the nobility and public 
 in general so effectually espoused the cause of Foote, that 
 Lacey, fearful of the ultimate consequence of his hostility, 
 withdrew his objection, and Foote recommenced his per- 
 formance ; changing his title to " Foote's giving Tea." In 
 the following year he produced " An Auction of Pictures," 
 similar in its design and execution to the former entertain- 
 ments ; all of which were as profitable as they were popular. 
 They were performed in the morning. 
 
 On Jan. 14th, 1749, a dreadful Riot took place, and the 
 house was nearly demolished ; in consequence of a shameful 
 and ridiculous hoax which was practised here, either to decide 
 a wager, or ascertain the extent of public gullibility. The 
 exhibition advertised to take place was called " The Bottle 
 Conjurer."* In the November following, another riot was 
 occasioned by a license having been granted to a fresh com- 
 pany of foreigners ; whom, although the multitude held them 
 in utter detestation, the nobility patronised very warmly. 
 This attempt was decisive of their fate ; and after a severe 
 contention between the favourable and hostile parts of the 
 audience, during which " swords were drawn and much mis- 
 chief done;" the patrons of the players were defeated, and 
 the hopes of the latter completely destroyed. After playing 
 two or three subsequent nights to empty benches, the foreign- 
 ers were obliged to withdraw ; many of them labouring under 
 such extreme distress as to be reduced to the necessity of 
 asking public charity. 
 
 * An advertisement stated a number of unprecedented tricks which the 
 conjurer was to perform ; at the conclusion of which he was, in sight of the 
 audience, to compress himself within a quart-bottle. The house overflowed, 
 but no conjuror made his appearance ; for having secured the money at the 
 doors, he left the deluded audience to vpreak their vengeance on the interior 
 of the theatre. The author of this deception was never detected.
 
 n.\\ MAllKICT THEATHE.— PERFOnMANCES. / O 
 
 This theatre continued to be the scene of various spe- 
 cies of amusements till Aug. 21, 1755, when it was occu- 
 pied by a company under the direction of Gibber, who, in 
 1758, obtained a general license of the Lord Chamberlain ; 
 under sanction of which, in 1760, Foote, having collected a 
 company, amused the public with several dramas, his own 
 productions, which proving very advantageous to him, he 
 determined upon establishing the house as a regular summer 
 theatre : but he was prevented putting his scheme into practice 
 till 1762 ; the theatre having been, for that interval, pre- 
 viously let to a teacher of dancing dogs. Upon the secession 
 of the canine company, Foote reinstated himself, gave lec- 
 tures upon oratory, and continued giving " Tea," and triHing 
 but witty dramas, without interruption, till 1706, when, 
 (Feb. 7,) falling from his horse, while on a visit to Lord 
 Mexborough, he broke his leg ; which circumstance so 
 interested the Duke of York, (brother to his late Majesty,) 
 who was present, in his favour, that he obtained for Foote 
 a royal license, or patent, to act plays at the Haymarket 
 Theatre during his natural life ; the seasons commencing on 
 the 15th of May, and concluding on the 15th Sept. 
 
 Foote now purchased of the executors of Potter the 
 lease of the premises, and immediately began improving and 
 enlarging the theatre ; with which he incorporated a house 
 in Little Suffolk Street, removed two shops which were in 
 front, in the Haymarket, built a portico, increased the 
 number of avenues and entrance doors, and added a second 
 gallerj' to the auditory. 
 
 Having thus become proprietor of a patent establishment, 
 (which from that period has been called a Theatre Royal,) 
 Foote continued, during his regular seasons, to entertain 
 the public by the numerous and unique efforts of his truly
 
 76 HAVM ARRET THEATRE — PERFORMANCES. 
 
 original pen ; and during the remaining part of each year 
 he occasionally let the theatre for concerts, and entertain- 
 ments of various character ; including, at different periods, a 
 puppet show at noon, and an Italian Fantoccini, representing 
 petite comedies, dances, and pantomimic changes. 
 
 In 1776 he ceased to be a manager, having transferred, 
 by an agreement, signed 21st December, to the late Mr. G. 
 Colman, his interest in the remainder of his lease, and his 
 right in the patent, in consideration of a life annuity of 
 1600/. His decease, in the October following, terminated 
 this agreement, and Mr. Colman became possessed of the 
 concern for about 800/.* 
 
 In 1779 Mr. Colman obtained of the " tenants in pos- 
 session, remainder, and reversion," a new lease, for the term 
 of thirty-one years, subsequent to the expiration of the old 
 one, and the license was continued to him by royal authority. 
 Colman died in 1794, and the property devolved upon his 
 son, the present Mr. George Colman, dramatist, who has been 
 recently appointed Licenser under the Lord Chamberlain. 
 
 In 1790 Italian operas were perfonned here by the com- 
 pany belonging to the King's Theatre, in consequence of 
 that edifice having been burnt down in 1789 ; and in the 
 winter of 1793 it was opened under the Dniry Lane patent, 
 till the new Drury Lane Theatre was finished in the following 
 March. 
 
 * Foote also made over to Colman all his right and property in every 
 dramatic piece he had produced ; and bound himself to give him the refusal 
 of every drama which he might subsequently write ; as well as to perform at 
 no other theatre than tlie Haymarket. He was afterwards attacked by 
 a paralytic fit, while performing, from which he recovered, and retired 
 to Brighton. Being advised to reside in France, he proceeded to Dover, 
 intending to cross to Calais the next morning (20 Oct. 1777), but having 
 been seized with a shivering fit, he expired ere he could embark .
 
 IIAVMAnKF.T TIIEATnE— nElUlI.T. 77 
 
 In 1795* Mr. Colman obtained an extension of liis lease 
 for seventeen years, at a rental of 400/. per annum, and 
 a further extension in 1805, when he sold a moiety of the 
 theatre to Messrs. Morris, Winston, and Tahourdin, for (I 
 believe) 8000/. ;t but the latter gentleman soon after trans- 
 ferred his share (an eighth) to Mr. Morris. 
 
 In 1810 the duration of the acting season under the 
 patent was extended first to five, and then to seven months 
 in each year ; but from a later aiTangement, between the 
 respective proprietoi-s of the patent theatres, to which the 
 Lord Chamberlain was a party, the Haymarket now opens 
 on the I5th of June and closes on the 15th of October. 
 
 Previously to the year 1820 Mr. Colman transferred his 
 moiety of the theatre to Mr. Morris, who, in consequence, 
 became possessed of seven-eighths of the property ; Mi. Win- 
 ston retaining his original one-eighth ; and these gentlemen, 
 at the conclusion of the season in that year, pulled down 
 the old theatre, and, at the distance of a few feet southward 
 from its former site, erected a new one, at the cost (as 
 reported) of 18,000/. ; which was opened on July 4, I82I. 
 
 * On February 3, 1794, a dreadful accident occurred here, through llie 
 loyal solicitude of tlie public to see dieir late Majesties George III. and 
 Queen Charlotte, who on that night visited the theatre. 
 
 The entrance to the pit was by a descent of several steps, and, such was 
 the rush of the crowd, that many persons were forced forward so impetuously 
 that they fell over each other, and were immediately overwhelmed by numbers 
 falling upon them. On this calamitous occasion, fifteen persons were cither 
 suffocated or trampled to death, while many who survived the awful predi- 
 cament were seriously injured. 
 
 t Mr. Morris (Mr. Colman 's brother-in-law) held a lucrative situa- 
 tion in the War Office; Mr. Winston was proprietor of a provincial 
 theatre, and is now connected in an official capacity with Drury Lane 
 Theatre ; Mr. Tahourdin was an attorney.
 
 78 HAYMARKET THEATRE. — DESCRIBED. 
 
 Description of the Tiieatke. 
 
 The Haymarket Theatre* (which was erected from the 
 designs of John Nash, Esq., Architect) is partly of stone 
 and partly of brick ; the form is rectangular, as shewn in the 
 ground plan, in the accompanying print; on which also the 
 general measurements are marked, and references given to 
 the various parts of the building. The entrance, or western 
 front, is distinguished by a handsome portico of the Co- 
 rinthian order : the entablature and pediment are supported 
 by six columns, and the members of the former are continued 
 to the extremities of the side walls. Under the portico 
 are five doorways, (within partial inclosures of iron rail-work,) 
 surmounted by semicircular fan-lights; above which are 
 five oblong windows, giving light to the saloon. 
 
 The three middle doors lead to the boxes ; the outer, on 
 the right, to the box-office, and that on the left to the pit. 
 In the intermediate spaces are four large lamps or lanterns 
 for gas. The gallery entrances are on each side, without 
 the portico ; and above them, at the height of about ten 
 
 * This Theatre appears to have been a regular school or nursery of 
 performers for the winter houses. From a number of popular actors 
 and actresses, who have made their debut in a patent theatre in London 
 at the " Summer house," the following are selected as names of im- 
 portance: Messrs. Foote, J. Palmer, Edwin, J. Bannister, Henderson, 
 Mattliews, Elliston, Listen, Young, Terry, &c. ; Miss Fenton, (after- 
 wards Dutchess of Bolton,) the original Polly in the Beggar's Opera 
 Mrs. Abingdon; Miss Farren, (now Countess of Derby,) Mrs. Wells 
 Miss George, (now Lady Oldmixon) ; Miss Logan, (now Mrs. Gibbs) 
 Mrs. Powell, (now Mrs. Renaud) ; and Miss Wilkinson, (now Mrs. 
 Mountain).
 
 iiavmahket theatre. — described. 79 
 
 feet, are circular windows : two other windows, of similar 
 form and dimensions, arc inserted over the cornice of the 
 entablature. In the central space, between the pediment 
 and the upper cornice, is a recessed panel, or fVanic. forming 
 a long parallelogram, and containing nine circular rosette 
 windows, which open, upon pivots, to the upper gallery: 
 all the spandrils of the panels are filled by architectural enrich- 
 ments. A plain parapet terminates the whole. The entrance 
 to the stage is in the eastern front, in Suffolk Street. The 
 exterior width of the theatre is 61 feet; its height to the 
 top of the parapet 47 feet 9 inches; and its length 134 feet 
 6 inches.* 
 
 The Auditor 1/ differs from those of the other theatres in 
 form ; the sides being straight, and the centre a small segment 
 of a large circle ; but the fronts of the side boxes project semi- 
 circularly. 
 
 The arch of the proscenium, and that part of the auditory 
 where the side and front boxes connect, are supported by 
 richly gilt palm-trees, instead of pillars, which produce a 
 novel and imposing effect, through their dissimilitude to 
 customary embellishments. 
 
 The fronts of the boxes are decorated with raised chec- 
 quered or net-work ornaments of gold, on a reddish purple 
 ground. The seats and curtains are crimson, and the insides 
 of the boxes morone. The ceiling is neat and fanciful, 
 but it has not the usual characteristic of a modern theatre, 
 a pendant central lustre and gas-lights. Indeed, this is 
 the only patent theatre in which gas is not used, it being 
 wholly lighted with oil, and spermaceti candles ; the latter 
 exhibited in a very handsome circle of cut-glass chandeliers, 
 
 * The ground rent of tliis theatre is about five guineas per foot in front, 
 and tliree guineas for the Inick part of the premises.
 
 80 HAYMARKET THEATRE. — PRICES, Ice. 
 
 holding some five,and others six hghts. There are two circles 
 ~>r tiers of boxes, besides half-tiers, parallel with the lower 
 gallery. In the first circle are five private boxes, and on 
 the second tier, eight. The Saloon, which fronts Charles 
 Street, is elegantly fitted up, and contains conveniences for 
 refreshments. 
 
 The dramas peculiar to this theatre are light comedy, ' 
 comic opera, and broad farce ; tragedy, at present, being 
 very rarely, if ever performed.* The stage manager, in 
 1823, was Mr. T. Dibdin. The house holds upwards of 
 300/.t 
 
 * The prices of admission are, boxes 5s. pit 3.s. gallery 2s. upper gal- 
 lery Is. Half-price is not taken. The doors open at six, and the perform- 
 ance commences at seven o'clock. 
 
 t The company engaged at this theatre, (which is discriminatively 
 termed the " Summer House,") is composed of the best provincial performers 
 that can be collected ; with the addition of three or four of tlie most popular 
 actors from the winter houses, who join the Haymarket when their respective 
 theatres close. But in the season 1823, this theatre possessed Mr. Liston 
 exclusively, at a weekly salary offfty pounds ; and, in consequence of his 
 attraction, he was engaged for the next season, 1824, at siity pounds! 
 Such was the singularly felicitous talent of this performer, that a crowded 
 house was the invariable consequence of his every appearance. The 
 policy of giving such large salaries has been doubted ; but, as all merit 
 is valuable in proportion to the interest it excites, it is difficult to ascer- 
 tain with what prudence a maximum can be established in such cases ; 
 for, in whatever light the public may view the drama, the speculator in 
 theatrical property will only survey it as a matter of profit and loss ; and, 
 consequently, proportion his expenditure to his expectations. But allowing it 
 to be an impolicy, it is one that cannot be often committed, as it will only be 
 practised in cases of rare merit, and I know not a mote scarce commodity. 
 
 END OF THE ACCOUNT OF THE THEATRE.
 
 AN ACCOUNT 
 
 OF THE 
 
 THEATRE ROYAL ENGLISH OPERA HOUSE. 
 
 By C. DIBDIN. 
 
 This Theatre, which is situated in the Strand, opposite 
 to Wellington Street, derived its origin from a Society of 
 Artists, who, previously to the existence of the Royal Aca- 
 demy, built a large room, on the site of the present theatre, 
 for the purpose of publicly exhibiting their productions, and 
 named it the Li/ceum. When the Royal Academy was 
 established, Garrick bought the lease solely for the purpose 
 of re-selling it, with a proviso that it should not be appro- 
 priated to any species of theatrical exhibition. 
 
 It afterwards came into the possession of a Mr. Lingham, 
 a breeches-maker in the Strand, together with some adjoining 
 premises : on which he erected a building, which was called 
 a Theatre, and opened some time about 1790, for " music, 
 dancing, and such like entertainments," under a license of 
 the magistracy, agreeably to an Act of the 25th Geo. II. The 
 first entertainments consisted of recitation and songs, under 
 the title of " Mirth's Museum ;" written by the kite Mr. Cross 
 (the dramatist) : the music was composed by Mr. Reeve, a 
 gentleman to whom the public are indebted for many popular 
 melodies. The original " Great Room," (still witliiii the 
 premises,) was at" that time occupied by Mr. R. K. Porter, 
 for the exhibition of his panoramic pictures, the Siege of 
 Seringapatam, and other battle pieces. 
 
 AI
 
 82 ENGLISH OPERA HOUSE.— ORIGIN. 
 
 About 1794 or 95, Lingham granted a lease of the Lyceum 
 to the late Dr. Arnold, who partly built a new theatre on the 
 ground adjoining the Lyceum; with the intention of open- 
 ing it, under a license from the magistracy, as a winter 
 minor theatre. The proprietors of the patent theatres, 
 however, taking alarm at the respectability which was likely 
 to attach to perfoiTnances so conducted in their immediate 
 neighbourhood, succeeded in suppressing the license ; and 
 Lingham received back his lease, with the advantage of a 
 new theatre, nearly completed, upon his premises ; which he 
 afterwards used or let for a variety of exhibitions within 
 the pale of the law, till he obtained another license, and 
 then a Mr. Handy joined in partnership with him, and 
 exhibitions of music, dancing, and horsemanship, took place. 
 About 1800, or 1801, the late Mr. Lonsdale, a dramatist and 
 ingenious mechanist, produced here a novel species of enter- 
 tainment, called the " Egyptiana." It consisted of panoramic 
 paintings, mechanical transformations, and recitation; and 
 was illustrative of eveiy thing connected with the histoiy of 
 Egypt, natural and philosophical ; its inhabitants, animals, 
 customs, and localities ; but, from its possessing a character 
 too chastely classical to become popular, it entirely failed of 
 success. Soon after this a foreigner astonished and attracted 
 tout le monde, by .the introduction of the first " Phantasma- 
 goria" ever seen in England ; and, from exhibiting it, together 
 witli some curious mechanical subjects, in two or three 
 seasons he realised a handsome fortune. In the year 1808 
 S. A. Arnold, Esq., son of Dr. Arnold, and present proprietor 
 of the Lyceum, submitted to the late Earl of Dartmouth, then 
 Lord Chamberlain, a plan for the establishment of an English 
 Opera, and, having obtained from him, with the sanction 
 of his late Majesty, the promise of a license, he entered into 
 a negotiation for the purchase of Lingham's interest in the
 
 ENGLISH OPERA HOUSE— ORIGIN. 83 
 
 premises ; which treaty was not concluded wlieii Drury Lane 
 Tlieatre was destroyed by fire in Feb. 1809. This event, and 
 Mr. Sheridan becoming a bidder for the pmijerty, iiuhiced 
 Lin<'-hain to advance his price so exorbitantly that, at Icnoth, 
 Mr. Arnold became a purchaser at more than double the 
 sum ori<;inally demanded. He immediately laid out several 
 thousand pounds in completing and decorating the theatre ; 
 having first afforded an asylum to the Drury Lane Com- 
 pany on tiicir own terms; which, to their credit be it spoken, 
 were exactly double those originally required by Mr. Arnold. 
 The Company acted here the three following seasons, under 
 a special license granted by the Lord Chamberlain to 
 Mr. Arnold, Mr. T. Sheridan, and the Trustees of the 
 New Renters of Drury Lane Tlieatre ; the summer seasons 
 being occupied by the performances of the English Operas 
 under the direction of Mr. Arnold, but, on account of the 
 season of the year, on a small scale. 
 
 On the opening of the new Drury Lane Theatre in 
 October 1812, the Lyceum continued closed during the winter 
 seasons, in consequence of the appointment of Mr. Arnold 
 to the management of the new Theatre ; but, on the death 
 of Mr. Whitbread, Druiy Lane falling under the direction 
 of a different Committee, the proprietor lost no time in 
 redeeming the pledge he is said to have given to the Lord 
 Chamberlain, of erecting a handsome theatre for the fur- 
 therance of his plan, by pulling down the old house, and 
 rebuilding, under a new lease for ninety-nine years, from the 
 Marquess of Exeter, and on a much enlarged site, the present 
 English Opeka House; the ground rent of which is 
 stated to be 800/. per annum, and tlie sum altogether ex- 
 pended upon the building, furnishing, and decorating, (exclu- 
 sive of the original purchase money,) amounting to little 
 less than 80,000/.
 
 84 ENGLISH OPERA HOUSE. — PERFORMANCES. 
 
 Mr. Arnold announced his intention of opening his new 
 theatre on a considerably extended scale, and for a much 
 longer season, his license from the Lord Chamberlain having 
 no restriction as to duration of performance ; but the patentees 
 of Drury Lane and Covent Garden theatres, and the pro- 
 prietors of the Haymarket theatre and Italian Opera, again 
 taking- alarm, such interest was made as succeeded in render- 
 ing Mr. Arnold's license harmless to the winter houses, by 
 restricting his performances to four summer months in the 
 year ; in consequence of which, although the theatre has 
 continued to open every summer since the year 1816, with 
 considerable success, the proprietor has never been enabled, 
 in so short a season, to realise the intention with which he 
 embarked in so hazardous an undertaking. 
 
 The result of the foregoing circumstances has been, that 
 the performances have been generally confined to light comic 
 pieces, similar to the French Vaudevilles ; and the opposition 
 which Mr. Arnold is said to have uniformly experienced has 
 induced him to abandon, in despair, the greater national 
 object he had rationally contemplated. 
 
 It may not be amiss to add, that the winter and spring 
 entertainments of Mr. Matthews, the Lent astronomical 
 lectures of Mr. Bartley, and some other minor entertain- 
 ments, have been carried on under a magistrate's license, and 
 their success has enabled Mr. Arnold to overcome the diffi- 
 culties with which his opponents are said to have obstructed 
 him. During the last and present season' (1823 and 24) 
 the theatre has been perpetually crowded to overflow, by 
 the attraction of two of those morally-equivocal produc- 
 tions of the German school, the one called " Presumption" 
 and the other " Der Freisc/iiitz."
 
 ENGLISH OPERA HOUSE. — DESCniHED. 
 
 Description of the The atrf.. 
 
 The front of the Theatre is on a line witli the houses 
 on tlie north side of the Strand. It has a stone portico, 
 supported by eight Ionic columns, between which are 
 suspended large gas lanterns. The columns are connected 
 by an inclosure of fancy iron-work, and support a stone 
 balcony, with rounded balustrades; on the centre of wiiich is 
 a large square tablet, in which is engraven the word " Ly- 
 ceum." Above this are three tiers of windows (three in 
 a tier) surmounted by a neat pediment ; and the second and 
 third tiers are divided by bands,^ on the upper of which 
 appears " Theatre Royal," and on the lower " Lyceum 
 Tavern." The lower part of the building, under the por- 
 tico, contains two admission doors to the boxes and pit, 
 and one window. The entrances to the two galleries, and 
 another to the pit, are in a court communicating with 
 the Strand and with Exeter Street ; and in the latter street 
 is the stage door. A long passage and a staircase lead 
 to the boxes, whence there is an entrance to a long room, 
 called " The Shrubbery," from a large quantity of green 
 and flowering shrubs being placed in the centre and corners 
 of the room, rising pyramidically to the ceiling. The 
 walls are decorated with landscapes and figures, and there 
 is at one extremity a commodious recess for the sale of 
 refreshments. There is likewise a handsome oblong saloon, 
 the walls of which are masked by plate glass, divided into 
 irregular compartments by the intervention of branches of 
 spreading trees, &c. 
 
 The AucUtori/ forms a portion of an ellipsis, whose 
 transverse diameter is 35 feet : the distance from the front 
 boxes to the orchestra is only 30 feet. It contains two
 
 86 ENGLISH OPERA HOUSE. — DESCHIBED. 
 
 circles or tiers of boxes, with two galleries, and slips on 
 each side over the upper boxes ; a range of private boxes 
 behind the dress circle, and five on each side, above the 
 level of the pit. The latter possesses a great advantage over 
 those of the other theatres, (which is an important pre- 
 ventive against accidents on crowded nights,) in being 
 raised, by a very vinusual elevation, on an inclined plane, 
 so that, from the front seat to the entrance door, where the 
 money is taken, there is no step, either upwards or down- 
 wards. The auditory is richly decorated with composition 
 ornaments and scrolls, in burnished and oiled gold. The 
 prevailing colour is salmon, and the interior and backs of 
 the boxes are lined with crimson moreen ; the seats, cushions, 
 &c. are dark green. The centre lustre contains forty gas 
 burners ; the glass chandeliers, which are elegant and twelve 
 in number, are lighted by wax. 
 
 The Architect was Samuel Beazley, Esq. who has since 
 erected the Dublin, Birmingham, and new Druiy Lane 
 Theatres. The Treasurer of this Theatre is R. B. Peake, 
 Esq. who has written and produced here, and elsewhere, 
 successfully, several very humorous farces. 
 
 END OF THE ACCOUNT OF THE ENGLISH OPERA HOUSE.
 
 
 S I 
 
 s: 1
 
 AN ACCOUNT 
 
 OP 
 
 THE ROYAL AMPHITHEATRE, WESTMINSTER BRIDGE. 
 By C. DIBDIN. 
 
 There are in London eight public places of amuse- 
 ment called MiNoit Theatres, viz. the Royal Amphi- 
 theatre, near Westminster Bridge; the Surrey The- 
 atre, or Royal Circxjs, in St. George's Fields; the 
 Royal Cobourg, Surrey side of Waterloo Bridge ; 
 Sadler's Wells, Islington; the East London, or 
 Royalty Theatre, near Wellclose Square; the West 
 London Theatre, in Tottenham Street; the Adelphi 
 Theatre, in the Strand; and the Olympic Theatre, 
 in Wych Street. The two latter are opened, under a 
 license from the Lord Chamberlain, during the six winter 
 months, and the six former under licenses granted by the 
 magistrates of their respective counties, (according to an 
 Act of the 25th Geo. IL) which are in force the year 
 round ; of which privilege some avail themselves. Easter 
 Monday is the grand epoch when all arc opened for the 
 summer season, which terminates about October or No- 
 vember; but some of them re-open about Christmas, and 
 continue their winter season till Passion-week. They all 
 commence the entertainments at half-past six or seven o'clock 
 in the evening, and conclude about eleven. The prices 
 of admission are the same in all : boxes 4s., pit 2s., gal- 
 lery Is., except the Cobourg, which has an additional tier
 
 88 ROYAL AMPHITHEATRE.— MEMOIR OF MR. ASTLEY. 
 
 of boxes at 3s.; and most of them take half-price. The 
 Lord Chamberlain's license authorises entertainments more 
 nearly approaching the regular drama than that given by 
 the magistrates. The performances of all are, nevertheless, 
 similar. 
 
 This Theatre was built by the late Philip Astley, Esq., 
 an uneducated but enterprising man, with a strong mind and 
 acute understanding, remarkable for eccentric habits, and 
 peculiarity of manner, who built at difi'erent periods, at his 
 own cost, and for his own purposes, nineteen theatres. 
 As the history of the Amphitheatre is almost identified with 
 that of his life, a short memoir of him will not be inap- 
 plicable ; especially as it will exhibit an example of industry 
 and perseverance profitable for imitation. 
 
 He was a man of strong muscular powers, above six feet 
 in height, of an imposing appearance, but in the latter part 
 of his life he grew extremely corpulent. His voice was 
 perfectly stentorian. He was born at Newcastle-under-Line 
 in 1742, and came to London with his father, who was a 
 cabinet-maker, in 1753 or 4, and worked at his father's 
 business till 17.59, when he enlisted in the 15th, or Eliott's 
 own light horse. By his scrupulous attention to discipline, 
 and his undaunted bravery, he became a great favourite in 
 the regiment, and was particularly noticed by General Eliott 
 (afterwards Lord Heathfield). He served seven years during 
 the German war, with high military reputation, and obtained 
 the rank of serjeant-major; but on the return of the army 
 from the Continent he solicited and obtained his discharge, 
 with a most honourable certificate of service.* Having wit- 
 
 * He was always a remarkably expert horseman, and in consequence 
 of the skill he acquired in the equestrian menage, was speedily made one of 
 the rough riders, teacher and breaker to the regiment. His regiment.
 
 nOYAL AMPHlTHEAXnE.— PHILIP ASTl.EV. 89 
 
 nessed, while in tlie army, the performances of an itinerant 
 equestrian named Johnson, he practised tiuit species of riding 
 during his service, and, when discliarged, made it his pro- 
 fession. General Elliot gave him a charger, as a testi- 
 mony of the high opinion he entertained of him ; and with 
 this horse and another which he purchased in Smithfield 
 market he commenced his equestrian performances in an 
 open field, near the Halfpenny Hatcii, Laiuheth, for the gi'a- 
 tuitous, but trifling contributions of those who were attracted 
 to the spot by his hand-bills. To defray the expense of his 
 exhibitions, he worked at the cabinet business during the 
 time unemployed in his new professional pursuits, and also 
 broke in horses. In process of time he engaged part of a 
 large timber-yard, (upon the site of which the present Amphi- 
 theatre stands,) inclosed it circularly with boarding, erected 
 seats for an audience, with a pent-house roof, sufficient to pro- 
 
 duniig llie German war, being ordered for foreign service, wliile the cavalry 
 horses were being landed at Hamburgh, from flat-bottomed boats, one of the 
 animals from fright sprang into the sea, and Aslley, who observed it, seeing 
 that the tide was carrying it rapidly away, plunged in, and catching the 
 bridle, swam back with the horse, and reached the shore with it in 
 safety before the boat from which the horse had leaped. He was made 
 Serjeant, as a reward for this act of intrepidity. Again, at the disem- 
 barkation of the troops at the mouth of the Weser, he was the principal 
 means of preserving several men and horses from imminent danger, from 
 tlie accidental oversetting of a boat. At the battle of Emsdorfl' he took 
 a royal standard of France, though his horse was shot under him ; but 
 being remounted, he brought off his prize, in despite of an escort of the 
 enemy's infantry, at least ten in number, by whom he was wounded. At 
 the battle of Friedburg, when in the advanced guard, which he had the 
 honour of commanding, he personally assisted, under a very heavy fire, ni 
 bringing ofl' the hereditary Prince of Brunswick, when his Highness was 
 wounded within the enemy's lines. — These circumstances are extracted from 
 the cerlijkute of service given to him witli his discharge. 
 
 N
 
 90 ROVAL AMr'HITHEATRE. — PHILIP ASTLEV. 
 
 tect them from the rain, while he performed in a rope ring, 
 under no roof but the canopy of heaven. Here he performed 
 during the mornings; in the evenings he exhibited a Learned 
 Horse, Ombres C/iiiioises, sleight of hand, &c. Stc, in a large 
 room. No. 22, Piccadilly; and his profits, through rigid eco- 
 nomy, eventually enabled him to lend his landlord, the timber 
 merchant, 200/., the whole of the yard, and the timber in 
 it, being mortgaged to him as a security. The borrower left 
 England upon receiving the money, and was never more 
 heard of. Astley, in due course of time, becoming pos- 
 sessed of the property by legal investiture, sold the timber, 
 and, with money thus raised, increased by 60/., the produce 
 of a laro-e diamond rinsr which he found at the foot of West- 
 minster Bridge, and which was never advertised by the loser, 
 he erected (1780) a roofed building, with a commodious audi- 
 tory, which he advertised tb be opened as the Amphitheatre 
 Riding House ; that building he enlarged at different periods,, 
 as his profits enabled him, till he covered the whole extent 
 of the ground in his possession. The prices of admission 
 were, boxes 2.<:. 6(1., pit Is., galleiy 6d. The performances 
 were at night. Astley having been informed that the Royal 
 Circus, which was then building, would be opened with 
 musical pieces and dancing, as well as horsemanship, to 
 keep pace with his new rival, he added a stage and scenery 
 to his riding circle, and opened on the subsequent Easter 
 Monday with similar entertainments ; but not being licensed 
 pursuant to the Act 25th Geo. II., he was imprisoned : he" 
 obtained, however, both his release and a license, through the 
 late Lord Thurlow, to whose daughters he taught riding. He 
 then enlarged his theatre, and called it the Royal Grove, 
 from the auditory being painted to resemble a grove ; and, 
 upon a future alteration of the edifice, he again changed the 
 name to the Amphitheatre of Arts : the admission prices
 
 ItOVAL AMPHITHEATRE. — DESTROYED. 91 
 
 were now, for boxes 4s., pit 2s., and gallery Is. That build- 
 ing, on the 16th August, 1794, was, during Astley's abode on 
 the Continent, as a volunteer with the army,* burnt to the 
 ground. Unappalled by the calamity, although iiis property 
 was scarcely, if at all, insured, he obtained leave of ab- 
 sence, came over to lingland, rebuilt his Amphitheatre, and 
 opened it on the succeeding Easter Monday, 1795, under 
 the designation of the Royal Ampuitheatue ; his present 
 Majesty, then Prince of Wales, and the Duke of York, 
 patronising it. On Sept. 2, 1803, this l)uilding (very little 
 secured by insurance,) was also totally destroyed by fire, 
 while Astley was in Paris. i" With his accustomed fortitude, 
 perseverance, and celerity, he erected a new Am])hitheatre, 
 time enough to open on Easter Monday, 1804. He had 
 
 * Astley always kept up his military character. During one hard winter 
 he laid out a considerable sum of money in providing every soldier in 
 his own troop, while upon continental service, one flannel jacket, with a 
 s/ii/lhig sewed in one of the pockets, needles, ^n-ead, worsted balls, bits of 
 woollen clotli, and many other trifling articles essential to a common soldier, 
 but not to be easily obtained on foreign service. At the siege of \'alenciennes 
 he took a piece of ordnance, drawn by four horses, with which the French. 
 who had captured it, were bringing it away. The Duke of York, as a 
 reward for his gallantry, gave him the horses, which he sold by auction on 
 the field, and expended the produce in providing comforts for the soldiers ot 
 his favourite troop, and others. 
 
 t He had an Amphitheatre in Paris, another in Peter Street, Dublin, for 
 which he had a patent from the Irish Parliament. Astley built nineteen 
 theatres at different periods, the last of which was the Olympic Pavilion (now 
 theatre) in Wycli Street, in 1806, which he afterwards sold to R. W. Ellis- 
 ton, Esq., the present lessee of the Theatre Royal, Drury Lane. The patent 
 of his Irish Theatre expired several years ago, and the properly went from hini. 
 His Paris Theatre was, during the Revolution, seized and made barracks of, 
 but tlie property was restored to him during the consulate of Buonaparte ; and 
 it is sa^d that a rental was paid for all the time it had been kept from him.
 
 92 ROYAL AMPHITHEATRE — DESCRIPTION. 
 
 previously leased the property to his son, the late Mr. John 
 Astley, who in his youth was esteemed the first equestrian in 
 Europe. He granted also a lease of the new Amphitheatre to 
 his son, who continued lessee during the remainder of his 
 father's life. Mr. A., senior, went to Paris to dispose of 
 the Amphitheatre he had built there, and died Oct. '20, 
 1814, aged 72, and was buried in the cemetery called 
 Pere la Chaise* On the 19th of Oct., 1821, his son, who 
 went to Paris for his health, died in the same house, 
 chamber, and bed, where his father breathed his last. After 
 Mr. John Astley 's death, Mr. William Davis,t who had long 
 been joint lessee with him, conducted the concern, for him- 
 self, the widow of Mr. Astley, jun., and her late husband's 
 creditors, till the end of the season in the present year 1824, 
 when the lease expired, and the premises reverted to the 
 persons to whom Mr. Astley, sen., bequeathed it. The 
 ground lease will expire in thirteen years, and then it devolves 
 to the ground landlord. The rental of the last lease was 
 1000/. per annum. 
 
 Description.- — The front, which is plain and of brick, 
 stands laterally with the houses in Bridge Road, Lambeth, 
 a short distance from Westminster Bridge, the access to the 
 back part of the premises being in Stangate Street. There 
 is a plain wooden portico, the depth of which corresponds 
 
 * Astley for many years had been in the habit of retiring to bed before six 
 o'clock and rising at five, in all seasons. He left a respectable, but en- 
 cumbered fortune, devised by will among various branches of his family. 
 
 f This gentleman, who has by industry and economy realised a hand- 
 some competency, exclusively of establishing in the world a numerous, 
 respectable, and amiable family, is allowed to be the most scientific master of 
 the manege in the kingdom.
 
 nOVAL AMPHITHEATRE.— DESCRIPTION. i)[i 
 
 with tlie widtli ot'tlie pavement, and is liijlited by large gas 
 lanterns. This leads to the boxes and pit ; the gallery 
 entrance is lower down the street, and separated from the 
 I'miit by several houses. 
 
 The boxes are ajjproached by a plain staircase, at the head 
 of which is the lobby, which is 11 feet 9 inches in dcjjth, 
 and al)out 60 feet wide, with passages behind the side boxes, 
 from which are staircases leading to the upper boxes : at 
 the back of the lobby is a fruit room. There are long 
 seats attached to the wall of the lob!)y, all round, and in the 
 centre is a large and handsome patent stove. The backs 
 of the boxes, from about 5 feet above the floor, are entirely 
 open to the lobby, which is customary at most of the minor 
 theatres. The form of the auditory is elliptical, and it is lit 
 by a very large cut-glass lustre, and chandeliers with bell 
 lamps : gas is the medium of illumination used all over the 
 premises. 
 
 There is one continued row or tier of boxes round the 
 Auditory, above the central part of which is the gallery, and 
 there is a half tier of upper boxes on each side, with slips 
 over them. There are three private boxes on each side adjoin- 
 ing the proscenium ; one attached to each extremity of the 
 gallery, and one at each end of the orchestra. The floor of 
 the ride, within the auditory, is earth and saw-dust, where a 
 ring or circle, 44 feet in diameter, is bounded by a boarded 
 niclosure, about 4 feet in height; the curve of which, next 
 the stage, forms the outline of the orchestra, and the re- 
 mainder that of the pit. hcliind which is an extensive lobby 
 and a bar for refreshments. 
 
 The Proscenium is large and moveable, for the con\e- 
 nience of wideninu- and heightening the stage, which is. 
 perhaps, the largest and most convenient in London, and 
 is terminated by innnense platforms or floors, rising above 
 
 o
 
 94 ROVAL AMPHITHEATRE.— CONCLUSION. 
 
 each other, and extending the whole width of the stage. 
 These are exceedingly massive and strong. The horsemen 
 gallop and skirmish over them, and they will admit a car- 
 riage, equal in size and weight to a mail coach, to be driven 
 across them. They are, notwithstanding, so constructed as 
 (o be placed, and removed, in a short space of time, by 
 manual labour and mechanism. When exhibited they are 
 masked with scenery, representing battlements, heights, 
 bridges, mountains. Sic. There are several very considerable 
 inlets and outlets to and from the stage and the stables, 
 which communicate with each other. 
 
 The Stables, which range over a very extensive space of 
 ground on one side of the stage, to the right from the 
 auditory, are very capacious; and when they are wholly occu- 
 pied by the numbers of beautiful horses attached to the 
 establishment, constitute a most gratifying exhibition. The 
 horses are kept in the highest order, and attended by several 
 experienced grooms. 
 
 THE END. 
 
 LOKDO> : 
 fRINTED BY J, MOVES, BOt'VERlE STREET
 
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