XXIII. HORSE-RACING, HUNTING, SHOOTING, &C
The Queen's love of racing -- Visit to Newmarket -- Queen's plates -- Value of matches -- Race meetings -- Tregonwell Frampton -- His horse Dragon -- The Queen's love of hunting -- Sir Roger de Coverley -- Fox-hunting -- Stag-hunting -- Hare-hunting -- Coursing -- Packs of hounds -- Fishing -- Hawking -- Netting -- The Game Act -- Shooting, sitting and flying -- Match shooting -- Archery.
The horse, necessarily, in those days, when locomotion was only obtainable through its agency, was of prime importance: farriery was fairly understood, and some voluminous disquisitions on it were published, with the most curious receipts for the various ills horseflesh is heir to, and elaborate engraving of fleams, firing irons, bits (some of them very cruel), and all sorts of harness--even down to currycombs, dandy-brushes, and stable utensils. But it is not here that the hack or roadster is to be spoken of, but the horse kept for sport--the race horse--about which they had already found out the fact, 'Like Race Horses cost more in keeping them than they're worth.'[377] The Queen was fond of racing, and gave her 100_l._ gold cups to be run for, as now: nay more, she not only kept race horses, but ran them in her own name. Her six-year-old grey gelding Pepper ran for her gold cup at York (over Clifton and Rawcliffe Ings) on July 28, 1712. Over the same course, and for the same stake, on August 3, 1714, ran her grey horse Mustard, by the Taffolet Barb, which, according to the Daily Courant of May 14, 1714, was entered to run 'in Whitsun week at Guildford in Surrey for the 50_l._ plate'; and, sad to tell, her brown horse Star (afterwards called Jacob) ran at York for a plate of the value of 14_l._, and won it, on July 30, 1714, the very day on which the Queen was struck with apoplexy, expiring the next day.
[Footnote 377: Tunbridge Walks.]
She paid a visit to Newmarket in April 1705, going to Cambridge once or twice during her stay. Luttrell says: 'Aprill 26, 1705. The queen has ordered her house at Newmarket to be rebuilt, and gave 1000_l._ towards paving the town; and bought a running horse of Mr. Holloway, which cost a 1000 guineas, and gave it to the prince.' Prince George shared his august consort's love of horse-racing, and in the Gazette, June 18/21, 1705, we find: 'These are to give notice, That his Royal Highness the Prince is pleased to give a Gold Plate, value One Hundred Guineas to be run for at Black Hambleton in Yorkshire, over the four Miles old Beacon course, the last Thursday in July, by any Horse five years old last Foaling time: No Horse to be admitted to run but such as bring a Certificate from the Breeder of his Horses Age; and likewise to be judged and approved to be no older than aforesaid, by the Gentlemen whose Horses run for the said Plate; each horse to carry ten Stone weight, and start at the usual hours.
'And his Royal Highness is also pleased to give another Gold Plate, Value One Hundred Guineas, to be run for the Second Thursday in October next, one Heat, over the Heat's Course at Newmarket, ten Stone, by Horses five years old, whose Age must be certified as aforesaid, and likewise allowed by Gentlemen whose Horses run. This year no Mare will be admitted to run for either of those Plates: Although for the future his Royal Highness designs to give a Plate of the like Value, to be run for at each of the aforesaid Courses by Mares only, of the said Age.'
Indeed, in that year of 1705 the royal couple seemed mightily given to racing, for 'the queen has appointed horse races to be at Datchet after her return from Winchester to Windsor.'[378]
[Footnote 378: Luttrell, Sept. 1, 1705.]
Her gold plates, as far as can be made out from newspaper advertisements, were, in 1703, 100_l._, at Stapleton Leys, Yorkshire, September 2; one at Newmarket on April 12, 1705; at Langton Wold, near Malton, Yorkshire, July 24, 1707; in 1709 at Black Hambleton, Yorkshire, July 26; one of 50_l._ at Datchet, August 24; one of 100_l._ at Newmarket, October 6; while the Prince's Cup of 100_l._ for mares four years old was run for on October 8 the same year; in 1711, at Clifton and Rawcliffe Ings; in 1712 at Black Hambleton, on July 26; and at Clifton Ings, on July 28; in 1713 at Hambleton, August 1; Clifton, August 3; and in the same year one was run for at Ascot Heath on August 12--the first mention that I can find of racing there; in 1714, Clifton Ings, on July 28.
A few racing mems of this time will illustrate to what an extent this passion for the turf was carried. 1702: 'They write from Newmarket, That the Lord Godolphin's and Mr. Harvy's Horses ran for 3,000_l._ His Lordship won; As also the Earl of Argile, and the Duke of Devonshire's; the latter's Horse won, by which Mr. Pheasant got a considerable sum.' 1703: 'The great horse race at Newmarket, run for 1000 guineas between the lord Treasurer and the Duke of Argyle, was won by the latter.' Perhaps the earliest sporting paper is 'News from New Market: or An Account of the Horses Match'd to Run there in March, April, and May 1704, The Weight, Miles, Wages and Forfeits. Printed for John Nutt near Stationer's Hall. Price 2_d._' 1707: 'Last Monday was a horse race at Newmarket, between the lord Granby's Grantham and Mr. Young's Blundel, for 3000_l._--the latter won.' On April 10, 1708, at Newmarket, the Duke of Bedford's bay horse (9 stone) had a match with Mr. Minchall's bay colt (8-1/2 stone) for 1,000 guineas; but there is no record of which won. These were the highest stakes recorded during the reign: they were generally for 200 or 300 guineas.
Luttrell records a somewhat singular match against time: '14 April 1709. Some days since, a baker at Clerkenwell Green, laid with a Vintner there, a wager of 400 guineas against 16 Guineas, that his horse could not run from Shoreditch Church to Ware and back again (being 40 miles) in 2 hours and 36 minutes, which race was last Tuesday, and performed in 2 hours and 28 minutes, but the horse since dead.'
The first mention, in this reign, of Epsom Races, as far as I can find, is in the London Gazette April and May 26/3, 1703, when three small plates were to be run for, of 30_l._, 10_l._, and 5_l._ value. On May 25, 1704, there was only one to be competed for, and that of 20_l._ They had very early 'Epsom Spring Meetings'; for, in the Daily Courant, February 15, 1709, it says: 'On Epsom Downes in Surrey, on the first Monday after the Frost, a Plate of 20_l._ will be run for,' etc.
Races for stakes of little value were common all over the country, and were deemed of sufficient importance to be advertised in the London papers. Take a few haphazard: Nottingham, Kerfall, Boston, Winchester, Croydon, Coventry, Quainton, Horsham, Woodstock, Mansfield; nay, there was even a 'Jockey Field betwixt Bedford Row and Gray's Inn, having a full Prospect of Hampstead and Highgate.'
What a vast difference there was between those old racecourses and ours! No grand stands, no howling ring, no carriages, no ladies; not even a special dress for the jockeys. According to a nearly contemporary print, there were very few spectators even--and but a sorry booth, or so, for the sale of liquor.
The most famous sporting man of his time was Tregonwell Frampton, Esq., of Moreton, Dorsetshire, 'the Father of the Turf,' who was keeper of her Majesty's running horses at Newmarket--a post he had filled in the time of William III., and which he continued to hold under Georges I. and II. He is described as being 'the oldest, and as they say the cunningest jockey in England; one day he lost 1,000 gs., the next he won 2,000, and so alternately. He made as light of throwing away 500_l._ or 1,000_l._ at a time, as other men do of their pocket money, and was perfectly calm, cheerful and unconcerned when he lost a thousand pounds as when he won it.' This may be true, but I find no record of his running for any such large sums in any match. 'April 6, 1708. Mr. Frampton's Monkey and Mr. Cotton's Snap, 100 Guineas. Ap. 27. Sir Cecil Bishop's Quaker and Mr. Frampton's Monkey 200 guineas. Ap. 28. Mr. Minchall's Cork and Mr. Frampton's Trumpeter 500 guineas. Oct. 1, 1709. Mr. Pullen's Slouch against Mr. Frampton's White Neck 200 g's. 5 Oct. Mr. Frampton's Teller against L'd Dorchester's Colt, 200 g's.' And even his sporting bid in Sept. 1713 was not for high stakes, although he challenged dukes to compete. 'Mr. Frampton that keeps the Queen's Running Horses, has made a Sporting Proposal to three Dukes, allowing them to joyn their Stables, and Name to him any 6 Horses or Mares (the Horse called Wyndham[379] excepted) against 6 of his now in his Stables ... they are to run for 100_l._ each horse,' etc.
[Footnote 379: Belonging to the Duke of Somerset.]
Thus we see he owned many horses, but the most famous of all was one named Dragon, to whom it is alleged Frampton behaved with cruel barbarity. On Oct. 30, 1712, Dragon ran against Lord Dorchester's Wanton for three hundred guineas, and on April 22, 1713, encountered the redoubtable Wyndham for the same stakes. His alleged mutilation and death are told by Dr. John Hawkesworth in No. 37 of The Adventurer. There is no record of his death, but in an old song, called 'Newmarket Horse Race,' belonging to the early part of George the First's reign, it says--
For I'll have the brown Bay, if the blew bonnet ride, And hold a thousand Pounds of his side, Sir; Dragon would scow'r it, but Dragon Grows old; He cannot endure it, he cannot, he wonnot now run it, As lately he could: Age, age, does hinder the Speed, Sir,
which would infer that Dragon was old and worthless as a racer before his death, and the other story falls to the ground.
When young, the Queen was very fond of hunting, and, in fact, pursued it after her accession to the throne, when, from her increasing size, she no longer mounted the saddle. 'The Queen came last Thursday to Hampton Court, and having assisted in council, and dined there, returned at night to Windsor, where she takes the divertisement of hunting almost every day in an open Calash in the forest,'[380] i.e. she drove down the long rides and saw what she could of the hunt. Again,[381] three years later: 'This morning her Majestie and the prince went for Winchester to take the diversion of hunting.' Still later[382]: 'The queen was hunting the stag till four this afternoon, and she drove in her chaise, above forty miles.'
[Footnote 380: Luttrell, Aug. 15, 1702.]
[Footnote 381: Ibid., Aug. 28, 1705.]
[Footnote 382: Stella.]
The country gentry then, as now, were ardently fond of sport; but then the hunting field was a thoroughly neighbourly gathering, there were no subscription packs, and no fast trains to bring every snob that possesses, or can hire, a 'hunter.' The runs might not be so fast as now, nor were they ever recorded in any sporting paper--horrible disadvantages, doubtless, but still they brought neighbours together, engendered a kindly feeling, and gave legitimate occupation to people whose brains were not addled with too much reading. Where can there be a prettier picture of a thoroughbred old English sportsman than that which Addison draws of Sir Roger[383]: 'The Walls of his great Hall are covered with the Horns of several kinds of Deer that he has killed in the Chace, which he thinks the most valuable Furniture of his House, as they afford him frequent Topicks of Discourse, and shew that he has not been Idle. At the lower End of the Hall, is a large Otter's Skin stuffed with Hay, which his Mother ordered to be hung up in that manner, and the Knight looks upon it with great Satisfaction, because it seems he was but nine Years old when his Dog killed him. A little Room adjoining to the Hall is a kind of Arsenal filled with Guns of several Sizes and Inventions, with which the Knight has made great Havock in the Woods, and distroyed many thousands of Pheasants, Partridges, and Wood-cocks. His Stable Doors are patched with Noses that belonged to Foxes of the Knights own hunting down. Sir Roger shewed me one of them that for Distinction Sake has a Brass Nail struck through it, which cost him about fifteen Hours riding, carried him through half a dozen Counties, killed him a Brace of Geldings, and lost above half his Dogs. This the Knight looks upon as one of the greatest Exploits of his Life. The perverse Widow, whom I have given some Account of, was the Death of several Foxes; for Sir Roger has told me that in the course of his Amours he patched the Western Door of his Stable. Whenever the Widow was cruel, the Foxes were sure to pay for it. In proportion as his Passion for the Widow abated, and old Age came on, he left off Fox hunting; but a Hare is not yet Safe that Sits within ten Miles of his House.'
[Footnote 383: Spectator, 115.]
Hunting commenced both earlier in the season and in the day than now. 'It must be imagined it was near Day when we went to Bed and therefore could not be expected we should get out a Hunting at Five or Six in the Morning.'[384] From a set of nearly contemporary prints we gather that possibly little attention was paid to earth-stopping, when fox-hunting, for one part of the engraving shows a fox being dug out. In another part the hounds are breaking up the fox, which has not been denuded of his brush. Only the gentlemen are represented as being on horseback, the huntsmen having leaping poles. This was better for them than being mounted, for the country was nothing like as cultivated as now, and perfectly undrained, so that they could go straighter on foot, and with these poles leaps could be taken that no horseman would attempt.
[Footnote 384: The Quaker's Art of Courtship, 1710.]
Nor should the Fox shun the pursuing Hound Nor the Tall Stag with branching Antlers crown'd.[385]
[Footnote 385: Rural Sports, Gay, ed. 1713.]
From the engravings referred to, we find that the stag was first found, or harboured, with a bloodhound--the staghounds were coupled, and let loose when wanted by the huntsmen, who were on foot. Its death was duly celebrated by a 'Mort,' or blowing of horns, when a hunting-knife was presented to the principal man present, to cut off its head, after everyone had passed his opinion as to its age, weight, etc.: the deer was then carted home. Guns were carried wherewith to shoot the stag, if necessary, when at bay.
Budgell, in Spectator No. 117, well describes a run after a hare, and the discipline of the hounds who were close upon the hare, when the huntsman threw his pole between them--this the well-tutored dogs would not pass, and the hare was rescued. Gay, too, tells the story of a run well:--
Now at a Fault the Dogs confus'dly stray, And try t'unravel his perplexing Way; They trace his artful Doubles o'er and o'er, Smell every Shrub, and all the Plain explore, 'Till some stanch Hound summons the baffled Crew, And strikes away his wily Steps anew. Along the Fields they scow'r with jocund Voice, The frighted Hare starts at the distant Noise; New Stratagems and various Shifts he tries, Oft' he looks back, and dreads a close Surprize; Th' advancing Dogs still haunt his list'ning Ear, And ev'ry breeze augments his growing Fear: 'Till tir'd at last, he pants, and heaves for Breath; Then lays him down, and waits approaching death.[386]
[Footnote 386: Ibid.]
Or what better description could we have of coursing a hare than the following:--
The Greyhound now pursues the tim'rous Hare, And shoots along the Plain with swift Career; While the sly Game escapes beneath his Paws, He snaps deceitful Air with empty Jaws; Enrag'd, upon his Foe he quickly gains, And with wide Stretches measures o'er the Plains; Again the Cunning Creature winds around, While the fleet Dog o'ershoots, and loses Ground; Now Speed he doubles to regain the Way, And crushes in his Jaws the Screaming Prey.
Many packs of hounds were advertised for sale during Anne's reign--not such large packs as we now have, but small packs, with which a man could then show sport, and yet the keeping of which need not be costly. Two or three are given for example's sake: 'Any Gentleman that hath a mind to purchase a good pack of cloddy strong Hounds, fit for any Country, from 15 couple to 10, may be accommodated,' etc. 'There are to be dispos'd of 18 Couple of Hare Hounds, well siz'd and well mark'd, at reasonable rates.' 'There are 9 Couple of good Fox Hounds (with a Tarrier) (4 Couple being stanch finders) to be sold at a very reasonable Price. These Hounds are as proper for Deer as Fox.' 'Lost the 16th Instant from the Earl of Litchfield's Foxhounds in some Woods near Crawford in Kent, a small White Beagle, with Red Spots on her Ears, and a short Tail, (being a Tarrier),' etc.
There were cockney hunts, with deer, both at Hampstead and Muswell Hill, and live deer were bought and sold commonly; indeed there is one advertisement which has a touch of old Leadenhall Market about it. 'Any person who has Beagles, Foxes or Hares to dispose of, may hear of a Purchaser by giving Notice to the Porter at Sion Chappel near Hamsted.'
One sport then in vogue must not be omitted from the list--otter-hunting.
If you'd preserve a num'rous Finny Race, Let your fierce Dogs the Rav'nous Otter chase; Th' amphibious Creature ranges all the Shores, Shoots through the Waves, and ev'ry haunt explores: Or let the Gin his roving Steps betray, And save from hostile Jaws the Scaly Prey.
Angling was extensively practised, with almost the same appliances and tackle as now, even down to the wicker creel at the side. Will Wimble 'makes a May fly to a Miracle; and furnishes the whole country with angle rods.' Isaac Walton had not long been dead (Dec. 15, 1683), and his disciples in the 'Contemplative Man's Recreation' were many and experienced. Hear what Gay says about making a fly to suit the water:--
Oft' have I seen a skillful Angler try The various Colours of the treach'rous Fly; When he with fruitless Pain hath skim'd the Brook, And the coy Fish rejects the skipping Hook, He shakes the Boughs that on the Margin grow, Which o'er the Streams a waving Forrest throw; When if an Insect falls (his certain Guide) He gently takes him from the whirling Tide; Examines well his Form with Curious Eyes, His gaudy Colours, Wings, his Horns and Size. Then round his Hook a proper Fur he winds, And on the Back a speckled Feather binds. So just the Properties in ev'ry part, That even Nature's Hand revives in Art.
Hawking, too, was a sport not then extinct, the land not being so parcelled into fields, and fenced in, as now; so that the flight of the birds could be easily followed. The birds were startled by five or six spaniels trained to the work. Here is a description of one lost by the Earl of Abingdon: 'a small black and white Hawking Spaniel, his Hair not very long, more black than white, long Back, with a thick Head.' In brook-hawking, men used to beat the rushes with poles, and they also hawked partridges and pheasants. The latter are depicted in the engraving as being poked off their roosts with poles.
They went bat-fowling with the same nets as are now used, and they also netted partridges at night, with the aid of a lanthorn. In wild-fowl shooting they also used a horse for stalking. There were decoys for ducks, and we get an insight as to how they were managed. 'These are to give Notice, that if any Person that understands the management of a Decoy, wants a place, he may have one about 40 Miles from London provided he brings a Certificate from the last Master he served as to his ability ... he shall have as good Wages as is usually given, or a third Bird, as he shall agree when he seeth the Decoy.'
It was not every person that might shoot game: 'The first of them, says he, that has a Spaniel by his Side, is a Yeoman of about an hundred Pounds a Year, an honest Man; He is just within the Game Act and qualified to kill an Hare or a Pheasant; he knocks down a Dinner with his Gun twice or thrice a week; and by that means lives much cheaper than those who have not so good an Estate as himself. He would be a good Neighbour if he did not destroy so many Partridges; in short he is a very sensible man; shoots flying; and has been several times foreman of the Petty Jury.'[387] This Game Act, which he was just within, was the 3rd James I. cap. 14, clause 5, which says that no one not having forty pounds per annum, or 200_l._ worth of goods and chattels, may shoot game; and should they do so, 'then any person having lands, tenements or hereditaments, of the clear yearly value of one hundred pounds a year, may take from the person or possession of such malefactor or malefactors, and to his own use for ever keep, such guns, bows, cross-bows, &c. &c.' and this Act was in force till 1827, when it was repealed.
[Footnote 387: Spectator, No. 122.]
Shooting flying was not an ordinary accomplishment: it was but just coming in, and most people took 'pot shots,' and would not risk shooting at a bird on the wing.
The dreadful Sound the springing Pheasant hears Leaves his Close Haunt, and to some Tree repairs; The Dog, aloft the painted Fowl surveys, Observes his Motions, and at distance Bays. His noisie Foe the stooping Pheasant eyes, Fear binds his Feet, and useless Pinions ties, Till the sure Fowler, with a sudden Aim, From the tall Bough, precipitates the Game.
Partridges, because they flew well, and strongly, were then not shot, but snared, by means of a trained dog.
Now the warm Scent assumes the Covey near, He treads with Caution, and he points with Fear. Then lest some Sentry Fowl his Fraud descry, And bid his Fellows from the Danger fly, Close to the Ground in Expectation lies, Till in the Snare the flutt'ring Covey rise.
'But if I miss Sitting, I commonly hit 'em Flying,' says Bellair in Mrs. Centlivre's 'Love at a Venture,' which shows that it was only when the former failed, that he tried the latter plan. And, in an advertisement for a gamekeeper, it is noticed: 'Any one that is a very good Coach man, and can Shoot flying, perfectly well, may hear of a good Place.' If being a good coachman was useful to a gamekeeper, what can we say to this: 'Any Gentleman that wants a Man for Shooting, Hunting, Setting, or any Manner of Game, may hear of one well qualified. He is a good Scholar, and shaves well.'
Luttrell notes, Mar. 15, 1707: 'Yesterday the lords past the bill for the preservation of the game, in which is a clause, that if any poulterer, after the 1st of May next, sells hare, pheasant, partridge &c. shall forfeit 5_l._ for every offence, unless he has a certificate from the lord of the mannor that they were not taken by poachers.' The killing of game must have been earlier then than now, for, appended to Spectator No. 156, Aug. 29, 1711, is the following: 'ADVERTISEMENT--Mr. Spectator gives his most humble service to Mr. R. M. of Chippenham in Wilts, and hath received the Partridges.'
There were rifle matches in those days. One was shot at the artillery ground, Finsbury, on July 16, 1703, for a cup value twenty-five guineas: 'No gun to exceed 4 foot and a half in the Barrel, the distance to be 200 yards, and but one Shot a piece, the nearest the Centre to win.' On July 7, 1709, was a match for four pieces of plate: 'to stand 100 yards distance from the Target.' A deer, value 50_s._, was to be shot for more than once--and the prize once sank as low as 'a pair of breeches.' There was one very singular prize: 'A very fine brass Gun, in the form of a Walking Cane, to be us'd as a Gun or Pistol, and in it a fine Prospect Glass, and a Perpetual Almanack engrav'd about the Head, and a Sun Dial in the Head, and several other ingenious Utensils.'
Archery was still kept up, as we see by the following advertisement[388]: 'All Gentlemen who are Lovers of the Ancient and Noble Exercise of Archery, are hereby Invited by the Stewards of the Annual Feast for the Clerkenwell Archers, to Dine with them at Mrs. Mary Barton's, at the Sign of Sir John Oldcastle, upon Friday the 18th Day of July 1707 at One of the Clock, and to pay the Bearer Thomas Beaumont, Marshal to the Regiment of Archers, Two Shillings and Sixpence; and to take a Sealed Ticket, that the certain Number may be known, and Provision made accordingly.
[Footnote 388: Harl. MSS. 5961, 154.]
XXIV. SWORD-PLAY AND OTHER SPORTS. GARDEN, ETC
Challenges -- The stakes -- The combatants -- Description of fights -- General combativeness -- Boxing -- Cudgel-playing -- Pedestrianism -- Tennis -- Cricket -- Football -- Skating -- Billiards -- Country wakes -- Bowling -- Bowling greens -- Formal gardening -- Clipping trees -- Books on gardening -- Trees and flowers -- Town and country life -- Country labourers.
In those days, when everyone with any pretensions to gentility wore a sword, and duelling was rife, it is no wonder that exhibitions of skill in that weapon were favourites. Like modern prize fights, they drew together all the scum and riff-raff, as well as the gentry who were fond of so-called sport. They were disreputable affairs, and were decried by every class of contemporary. The preliminaries were swagger and bounce, as one or two out of a very large number will show[389]:--
[Footnote 389: Harl. MSS. 5931, 50.]
'At the Bear Garden in Hockley in the Hole.
A Tryal of Skill to be Performed between two Profound Masters of the Noble Science of Defence on Wednesday next, being this 13th of the instant July 1709 at Two of the Clock precisely.
'I, George Gray, born in the City of Norwich, who has Fought in most Parts of the West Indies viz. Jamaica, Barbadoes, and several other Parts of the World; in all Twenty-five times, upon a Stage, and was never yet Worsted, and now lately come to London; do invite James Harris, to meet and Exercise at these following Weapons viz.:--
Back Sword, } { Single Falchon Sword and Dagger, } { AND Sword and Buckler, } { Case of Falchons.
'I, James Harris, Master of the said Noble Science of Defence, who formerly rid in the Horse guards, and hath Fought a Hundred and Ten Prizes, and never left a Stage to any Man: will not fail (God Willing) to meet this brave and bold Inviter at the Time and Place appointed, desiring Sharp Swords, and from him no Favour.
'☞ Note. No person to be upon the Stage but the Seconds. Vivat Regina.'
* * * * *
'At the Bear Garden in Hockley in the Hole.
A Tryal of Skill to be Performed between these two following Masters of the Noble science of Defence, on Wednesday the Fifth of April, 1710, at Three of the Clock precisely.
'I, John Parkes from Coventry, Master of the Noble Science of Defence, do Invite you Thomas Hesgate, to meet me and Exercise at these following Weapons, viz.:--
Back Sword, } { Single Falchon, Sword and Dagger, } { Case of Falchons, Sword and Buckler, } { And Quarterstaff.
'I, Thomas Hesgate, a Barkshire Man, Master of the said Science, will not fail (God willing) to meet this brave and bold Inviter, at the Time and Place appointed; desiring Sharp Swords, and from him no Favour.
'☞ Note. No Person to be upon the Stage but the Seconds. Vivat Regina.'[390]
[Footnote 390: Harl. MSS. 5931, 277.]
The challenger would wager some twenty or thirty pounds, and the stakes would be deposited and delivered to the challenged: the challenger receiving the money taken at the door,[391] or, as we should term it, gate money; which, frequently, twice or thrice exceeded the value of the stakes.
[Footnote 391: De Sorbière.]
There is one remarkable exception, I have found, to this monetary arrangement, but it is the only one in my experience. For, in an advertisement of the usual character, there comes: 'Note. That John Stokes fights James Harris, and Thomas Hesgate fights John Terriwest three Bouts each at Back Sword, for Love.'
Preliminaries arranged, handbills printed and distributed, the combat duly advertised in at least one newspaper, and the day arrived: like the bull and bear, the combatants paraded the streets, preceded by a drum, having their sleeves tucked up and their swords in hand. All authorities agree that the fights were to a certain extent serious: 'The Edge of the Sword was a little blunted, and the Care of the Prize fighters was not so much to avoid wounding each other, as to avoid doing it dangerously: Nevertheless, as they were oblig'd to fight till some Blood was shed, without which no Body would give a Farthing for the Show, they were sometimes forc'd to play a little ruffly. I once saw a much deeper and longer Cut given than was intended.'[392]
[Footnote 392: Misson.]
Ward[393] gives a short description of one of these fights: 'Great Preparations at the Bear Garden all Morning, for the noble Tryal of Skill that is to be play'd in the Afternoon. Seats fill'd and crowded by Two. Drums beat, Dogs yelp, Butchers and Foot soldiers clatter their Sticks; At last the two heroes, in their fine borrow'd Holland Shirts, mount the Stage about Three; Cut large Collops out of one another, to divert the Mob and Make Work for the Surgeons: Smoking, Swearing, Drinking, Thrusting, Justling, Elbowing, Sweating, Kicking, Cuffing all the while the Company stays.'
[Footnote 393: Comical View of London and Westminster.]
Steele gives a good account of a prize fight[394]: 'The Combatants met in the Middle of the Stage, and shaking Hands, as removing all malice, they retired with much Grace to the Extremities of it; from whence they immediately faced about, and approached each other, Miller with an Heart full of Resolution, Buck with a watchful untroubled Countenance; Buck regarding principally his own Defence, Miller chiefly thoughtful of annoying his Opponent. It is not easie to describe the many Escapes and imperceptible Defences between Two Men of quick Eyes, and ready Limbs; but Miller's Heat laid him open to the Rebuke of the calm Buck, by a large Cut on the Forehead. Much Effusion of Blood covered his Eyes in a Moment, and the Huzzas of the Crowd undoubtedly quickened his Anguish. The Assembly was divided into Parties upon their different ways of Fighting: while a poor Nymph in one of the Galleries apparently suffered for Miller, and burst into a Flood of Tears. As soon as his Wound was wrapped up, he came on again in a little Rage, which still disabled him further. But what brave Man can be wounded with more Patience and Caution? The next was a warm eager Onset, which ended in a decisive Stroke on the Left Leg of Miller. The Lady in the Gallery, during the second Strife, covered her Face; and for my Part, I could not keep my thoughts from being mostly employed on the Consideration of her unhappy Circumstance that Moment, hearing the Clash of Swords, and apprehending Life or Victory concerned her Lover in every Blow, but not daring to satisfie herself on whom they fell. The Wound was exposed to the view of all who could delight in it, and sowed up on the Stage. The surly Second of Miller declared at this Time, that he would that Day Fortnight fight Mr. Buck at the Same Weapons, declaring himself the Master of the renowned German; but Buck denied him the Honour of that Courageous Disciple, and asserting that he himself had taught that Champion accepted the Challenge.'
[Footnote 394: Spectator, No. 436]
I have been, to my great regret, unable to find a contemporary print of one of these combats; the nearest approach to it being the fight between Dr. Sacheverell and Dr. Hoadley, which furnishes a graphic, though burlesque, representation of the scene.
Looking at the class from which these gladiators sprang, it is not surprising to hear that some of these prize fights were prearranged, or, to use modern slang, 'squared.' In Spectator 449 is a letter, from which the following is an extract: 'Being in a Box at an Alehouse, near that renowned Seat of Honour above mentioned,[395] I overheard two Masters of the Science agreeing to quarrel on the next Opportunity. This was to happen in the Company of a Set of the Fraternity of Basket Hilts, who were to meet that Evening. When this was settled, one asked the other, Will you give Cuts or receive? the other answered, Receive. It was replied, Are you a Passionate Man? No, provided you cut no more nor no deeper than we agree.'
[Footnote 395: Hockley in the Hole.]
The very children were bitten with the mania. 'Apprentices, and all Boys of that Degree, are never without their Cudgels, with which they fight something like the Fellows before mention'd, only that the Cudgel is nothing but a stick; and that a little Wicker Basket which covers the Handle of the Stick, like the Guard of a Spanish Sword, serves the combatants instead of defensive Arms.'[396]
[Footnote 396: Misson.]
This sword-fighting, however, was seeing its last days, and was, in the next reign, to be superseded by pugilistic encounters. At present, boxing, although extensively practised, had not been reduced to a science. Whatever was it made everybody so pugnacious? 'Anything that looks like fighting,' says Misson, 'is delicious to an Englishman. If two little Boys quarrel in the Street, the Passengers stop, make a Ring round them in a Moment, and set them against one another, that they may come to Fisticuffs. When 'tis come to a Fight, each pulls off his Neckcloth and his Waistcoat, and give them to hold to some of the Standers by; then they begin to brandish their Fists in the Air; the Blows are aimed all at the Face, they Kick one another's Shins, they tug one another by the Hair &c. He that has got the other down may give him one Blow or two before he rises, but no more; and let the Boy get up ever so often, the other is obliged to box him again as often as he requires it. During the Fight, the Ring of Bystanders encourage the Combatants with great Delight of Heart, and never part them while they fight according to the Rules. The Father and Mother of the Boys let them fight on as well as the rest, and hearten him that gives Ground or has the Worst.
'These Combats are less frequent among grown Men than Children, but they are not rare. If a Coachman has a Dispute about his Fare with a Gentleman that has hired him, and the Gentleman offers to fight him to decide the Quarrel, the Coachman consents with all his Heart: The Gentleman pulls off his Sword, lays it in some Shop, with his Cane, Gloves and Cravat, and boxes in the same Manner as I have describ'd above. If the Coachman is soundly drubb'd, which happens almost always, that goes for payment; but if he is the Beator, the Beatee must pay the Money about which they quarrell'd. I once saw the late Duke of Grafton at Fisticuffs in the open Street, with such a Fellow whom he lamb'd most horribly.'
There was cudgel-playing--for a new hat; 'he that breaks most Heads to have the Hat; he that plays puts in six-pence.' Quarterstaff was played, and there was a somewhat dangerous game--'there will be three bouts with threshing flails.' 'A Tryal of Skill is to be fought &c. between John Parkes[397] of Coventry, and John Terrewest. Note--They fight at the Ancient Weapon called the Threshing Flail.'
[Footnote 397: John Parkes or Sparkes was buried at Coventry, and on his tombstone was inscribed, inter alia, that he was a man of mild disposition, a gladiator by profession, who fought 350 battles in different parts of Europe, when he retired. He died 1733.]
Mild athleticism seems to have obtained among a few of the upper middle class: for instance, Addison speaks[398] of the dumb-bell with which he used to practise every morning, and also of a kind of Indian club exercise, 'brandishing of two short Sticks grasped in each Hand, and loaden with Plugs of Lead at either End. This opens the Chest, exercises the Limbs, and gives a Man all the Pleasure of Boxing, without the Blows.'
[Footnote 398: Spectator, No. 115.]
There were foot races, but I can find but one or two notices of them, and there is very little like professional pedestrianism, except the following very mild feat: 'A Wager of 100_l._ was laid last week, that a German of 64 years old, should walk in Hyde Park 300 miles in 6 dayes, which he did within the time, and a mile over.'[399]
[Footnote 399: Luttrell, Sept. 13, 1709.]
Tennis was a fashionable game, although I only find one public court mentioned, 'facing Oxenden Street near the Haymarket.' Ward gets quite moral on the subject of this game: 'Rightly considered, it's a good Emblem of the World. As thus: the Gamesters are the Great Men, the Rackets are the Laws, which they hold fast in their Hands, and the Balls are we little Mortals which they bandy backwards or forwards from one to t'other as their own Wills and Pleasure directs 'em.'
Cricket was played, and sufficient interest was felt in the matches: on one or two occasions they were advertised in the newspapers. In 1705: 'This is to give notice, That a Match at Cricket is to be plai'd between 11 Gentlemen of the West part of the County of Kent against as many of Chatham for 11 Guineas a man, at Mauldon in Kent on the 7th of August next.' And in 1707: 'There will be two great Matches at Cricket plaid, between London and Croydon; the first at Croydon on Tuesday July 1, and the other to be plaid in Lamb's Conduit Fields near Holborn, on the Thursday following, being the 3rd of July.'
On the approach of winter football came into vogue, and it was played in the streets.
When lo! from far I spy the furies of the Foot ball war: The 'prentice quits his Shop, to join the Crew, Increasing Crowds the flying Game pursue, Thus, as you roll the Ball o'er Snowy Ground, The gathering Globe augments with every Round. But whither shall I run? the Throng draws nigh, The Ball now skims the Street, now soars on High The dext'rous Glazier strong returns the bound, And jingling sashes on the Penthouse sound.[400]
[Footnote 400: Trivia, book 2.]
'In Winter Foot-balls is a useful and charming Exercise. It is a Leather Ball about as big as ones Head, fill'd with Wind: This is kick'd about from one to t'other in the Streets, by him that can get at it, and this is all the Art of it.'[401]
[Footnote 401: Misson.]
Skating, although practised here in the time of Fitz-Stephen, had fallen into desuetude, until it was reintroduced by the Cavaliers who had been with Charles II. in Holland. Pepys thought it was 'a very pretty art,' yet got very nervous over the Duke of York's skating. 'To the Duke, and followed him into the Parke, where, though the ice was broken and dangerous, yet he would go slide upon his scates, which I did not like, but he slides very well.' Skating was popular in London in Anne's reign, but it is doubtful whether it obtained in the remote parts of the country. Writes Swift to Stella, Jan. 31, 1711: 'The Canal and Rosamonds Pond full of the rabble sliding, and with skates, if you know what those are.'
'The Gentile, cleanly and most ingenious Game at Billiards' was a resource at home; and it was played on a table like ours--an oblong wooden table, covered with green cloth, and with pockets of netting, in precisely the same position as now, the cushions being stuffed with fine flax or cotton. The game was not played as we play it, but there were two balls, a port or archway at one end, and a king or cone at the other. The cues were not like ours, but more like maces, only much heavier. 'Your Sticks ought to be heavy, made of Brazile Lignum Vitæ, or some other weighty wood which at the broad end must be tipt with Ivory.' The game was not only played in private, but in coffee houses. 'At the Greyhound Coffee House near Monmouth Street in Soho, are to be sold two new Billiard Tables, and all other goods and conveniences fit for a Coffee House,' etc. And again: 'A very good French Billiard Table little the worse for wearing, full size, with all the Materials fit for French or English play &c. Enquire at Scot's Coffee House.' Indeed Cotton says there were few towns of note in England which had not a public billiard-table. He, however, warns people against 'those spunging Caterpillars, which swarm where any Billiard Tables are set up, who make that single room their Shop, Kitching and Bed Chamber.'
[Footnote 402: This illustration, although from the 1709 edition of Cotton's Compleat Gamester, is of older date; indeed, it is identical with the first edition of 1674. The fact of its being a text-book in Anne's reign shows that the game had not then been modified.]
The rough sports, such as cudgel-playing, foot-ball, wrestling, throwing, boxing, leaping, and running, were kept alive by the country wakes, which took place on the dedication festival of the parish church. These were sometimes supplemented by a grinning match, such as that which drew down Addison's wrath,[403] and which was afterwards abandoned, in deference to his opinion.
[Footnote 403: Spectator, No. 173.]
Near London these wakes, like Hampstead or Deptford wakes, were well kept up; and there was my Lady Butterfield in Epping Forest, of whose entertainment and calf-roasting, we have already had a description through Ward's instrumentality. Here is one of her advertisements: 'My Lady Butterfield gives a Challenge to all England, to Ride a Horse, Leap a Horse, Run on Foot or Hallow with any Woman in England Ten years younger, but not a Day older, because she would not under value herself. Gentlemen and Ladies, whilst in the Spring 'tis worth your while to come to hear the Nightingal Sing in Wanstead within a Mile of the Green Man, in Essex, at my Lady Butterfield's at Nightingal Hall. This is to give notice to all Gentlemen and Ladies, and all the best of my Friends, that on the last Wednesday of April is my feast, where is very good Entertainment for that Day, and for all the Year after from my Lady Butterfield.'
Or another:--
TO ALL GENTLEMEN AND LADIES.
If Rare Good young Beans and Pease can Tempt Ye, Pray pass not by my Hall with Bellies Empty; For Kind Good Usage every one can tell, My Lady Butterfield does al excell; At Wanstead Town, a Mile of the Green Man, Come if you dare and stay away if you can.
She had a rival later on, in 1713. 'This is to acquaint all Jolly Lads and Lasses. That on Monday the 28th Instant, there will be a Meeting of several Gentlemen and Ladies at the Opening of Mr. Tucker's new House upon Epping Forest, where the Company will be provided with good Music and Dancing, and be likewise entertain'd by Country People with the following Diversions, viz. A Beaver Hat to be Cudgell'd for, A Pair of Buckskin Breeches to be wrestled for; and a lac'd Holland Smock to be danced for, by 6 young Women. N.B. The Sport begins at 10 a Clock in the Morning; and such care is taken that the Company may not return a hungry, One Ox will then be roasted and given gratis.'
Women raced for smocks, silk stockings, or topknots; whilst one would surely have won Sir John Astley's heart. 'This is to give Notice, That there is a young Woman, born within 30 Miles of London, will run, for Fifty or a Hundred Pounds, a Mile and an half, with any other Woman that has liv'd a Year within the same Distance; upon any good Ground, as the Parties concern'd shall agree to.'
Even a woman's suspected infidelity was turned into sport. 'At Hammersmith near Kensington, to morrow, being Friday, will be rode a SKIMMINGTON TRIUMPH, according to the Manner described in Hudibras,' which the reader will find, if he be curious in the matter, in Part. II. Canto II. of Butler's immortal poem.
One harmless diversion should not be passed over. 'At Epsom Old Wells ... on Whitsun Tuesday will be Moris Dancing Set against Set, for Lac'd Hats, at 10 a Clock, with other Diversions.'
But the game, par excellence, which combined out-of-door sport with the minimum of fatigue, suitable alike to the mercurial young, and the steady middle-aged, was bowling; and the bowling greens multiplied exceedingly in this reign, especially (judging by the advertisements) after 1706. We hear of them starting up in all the suburbs: at Putney, Hoxton, Maribone, Hampstead, Stoke Newington, Ham Lane, etc.
That the bowls were the same as are now played with we see by the following advertisement: 'Lost out of the Bowl House belonging to Pemlico Green in Hogsdon near Shoreditch two pair of Lignum Vitæ Bowls and one pair of a reddish Wood.' It was not an expensive recreation. 'The New Green over against Bunhill fields will be open'd on Saturday next, and the Old Green to be Bowled on for Six Pence and One Penny for taking up.' Sometimes there were prizes bowled for, as 'At the Black Gray hound Dog at Bristow Causey, will be a Silver Tobacco Box Bouled for, value 30_s._'
It was essentially a sober cit's amusement. 'I wonder how so many Fat Gentlemen can endure the Green all Day, tho' tis pleasant enough to look out o' the window and observe em--To see a Tun o' Grease, with a broad fiery Face, and a little black cap, waddle after a Bowl, rub, rub, rub, rub, rub, and lose more Fat in getting a Shilling--Than wou'd yield him a Crown at the Tallow Chandler's.'[404] 'A Bowling Green is a Place where there are three Things thrown away besides Bowls, viz. Time, Money, and Curses; the last ten for one. The best Sport in it, is a sight of the Gamesters, and the looker on enjoys it more than him that Plays. It is the School of Wrangling, nay worse than the Schools, for Men will cavil here for a Hair's bredth, and make a Dispute, where a Straw might end the Controversie. No Antick screws his Body into such strange Postures; and you would think 'em mad, to hear 'em make Supplication to their Bowls, and exercise their Rhetorick to intreat a good Cast.'[405] A great nuisance in these public bowling-grounds were the people who betted on the players' skill. 'Cuff. Let's be sure to bet all we can. I have known a great Bowler whose Better's place was worth about 200_l._ a year, without venturing a farthing for himself.'[406]
[Footnote 404: Tunbridge Walks.]
[Footnote 405: Hickelty Pickelty.]
[Footnote 406: Epsom Wells.]
'A Bowling Green is one of the most agreeable Compartments of a Garden, and, when 'tis rightly placed, nothing is more pleasant to the Eye. It's hollow Figure covered with a beautiful Carpet of Turf very Smooth, and of a lively green, most commonly encompassed with a Row of tall Trees with Flower bearing Shrubs, make a delightful composition; besides the Pleasure it affords us, of lying along upon its sloping Banks, in the Shade, during the hottest weather.'[407] It must have delighted a gardener's heart, in those days, to have had something which must, almost of necessity, be ornamented in a somewhat formal manner. There were no landscape gardeners then, they were all fettered by the precision style of elaborate parterres, terraces, cut trees, statuary; and although a more educated mind pined for a better state of things, as is evidenced throughout the Spectator whenever mention is made of a garden, the tyranny of custom and the gardeners prevailed. 'Our trees rise in Cones, Globes, and Pyramids. We see the Marks of the Scissors upon every Plant and Bush. I do not know whether I am singular in my Opinion, but, for my own part, I would rather look upon a Tree in all its Luxuriancy and Diffusion of Boughs and Branches, than when it is thus cut and trimmed into a Mathematical Figure; and cannot but fancy that an Orchard in flower looks infinitely more delightful than all the little Labyrinths of the most finished Parterre.'[408] These parterres were made in as elaborate devices as some of our specimens of leaf-gardening, and looked very formal.
[Footnote 407: The Theory and Practice of Gardening, by J. James, 1712.]
[Footnote 408: Spectator, No. 414.]
In the Guardian (No. 173) this practice of clipping trees is ridiculed most unmercifully. 'I know an eminent cook, who beautified his Country seat with a Coronation dinner in greens; where you see the Champion flourishing on horseback at one end of the table, and the queen in perpetual youth at the other. For the benefit of all my loving Countrymen of this Curious taste, I shall here publish a Catalogue of greens to be disposed of by an eminent town gardener ... Adam and Eve in Yew; Adam a little Shattered by the fall of the Tree of Knowledge in the great Storm; Eve and the Serpent very flourishing.
'St. George in box; his arm scarce long enough, but will be in a Condition to Stick the dragon by next April.
'A Green dragon of the same with a tail of ground Ivy for the present.--N.B. These two not to be sold separately.
'A pair of Giants stunted, to be sold Cheap.
'A quickset hedge, shot up into a porcupine, by its being forgot a week in rainy weather,' etc.
There were many works on gardening published in this reign, notably that by James, which was a translation from the French. It is enriched with beautiful designs for parterres, etc., and is undoubtedly the handsomest work on the subject. Van Oosten's 'Dutch Gardener' is another translation, as is 'the Retir'd Gard'ner' of London and Wise. The latter is a book of about 800 pages, with several woodcuts and copperplate engravings, and consists of two parts--one a translation of 'Le Jardinier Solitaire,' and the other from the work of the Sieur Louis Ligers. This was edited by George London and Henry Wise, who are more than once mentioned in the Spectator. They were practical gardeners, and their nurseries far surpassed all others in England. London was chief gardener to William and Mary, and afterwards to Anne. During her reign the nurseries were let to a man named Swinburne, but the name of the original firm was still kept up.
There is, however, an excellent book in English called 'the Clergy Man's Recreation,' by John Laurence, A.M., 1714, but it is all about the cultivation of fruit trees.
Plants would even grow out of doors in the City then, and we find the fore courts of houses planted, or at all events the walls covered with jasmines, vines, etc. Whilst the newspapers advertise for sale, 'Yews, Hollys and all sorts of Fillbrea Laurell &c. with all sorts of Fine Flowering Trees as Honi suckles, Cittisus, Roses, Sævays both Headed and Pyramid, Orange Trees, and Spanish Jesemins, Gilded Hollys Pyramid and Headed, Filleroys, Lawrel Tines, and Arbour Vitæ,' and amongst the flowers were 'Double Emonies, Ranckilos, Tulips, Aurickelouses, Double Anemonies, Double Ranunculos and Double Junquils.' Ranunculus seems to have been a puzzling word, for once again we find it spelt 'Renunculices.'
Town and country were eminently antagonistic. The want of means of communication kept country people in a state of stagnation, compared to their brethren of the town, whose more fastidious taste could not brook the boorish behaviour, and coarse pleasures, of the countryman.
'Woodcock. No Londiner shall either ruin my Daughter, or waste my Estate--If he be a Gamester 'tis rattl'd away in two Nights--If a lewd fellow, 'tis divided into Settlements--If a nice Fop, then my Cherry trees are cut down to make Terras-Walks, my Ancient Mannor House, that's noted for good Eating, demolish'd to Build up a Modem Kickshaw, like my Lord Courtair's Seat about a Mile off, with Sashes, Pictures and China; but never any Victuals drest in the House, for fear the Smoke of the Chimney should Sully the New Furniture.
'Reynard. So that instead of providing her a Gentleman, you'd Sacrifice her to a Brute; who has neither Manners enough to be thought Rational, Education enough for a Justice of the Peace, nor wit enough to distinguish fine Conversation from the Yelping of Dogs; Hunts all the Morning, topes all the Afternoon, and then goes lovingly Drunk to Bed to his Wife.
'Woodcock. And pray, what are your Town Diversions? To hear a parcel of Italian Eunuchs, like so many Cats, squawll out somewhat you don't understand. The Song of my Lady's Birthday, by an honest Farmer, and a Merry Jig by a Country Wench that has Humour in her Buttocks, is worth Forty on't; Your Plays, your Park, and all your Town Diversions together, don't afford half so substantial a Joy as going home thoroughly wet and dirty after a fatiguing Fox Chace, and Shifting one's self by a good Fire. Neither are we Country Gentlemen such Ninnies as you make us; we have good Estates, therefore want not the Knavery and Cunning of the Town; but we are Loyal Subjects, true Friends, and never scruple to take our Bottle, because we are guilty of nothing which we are afraid of discovering in our Cups.'[409] A very pretty quarrel as it stood, and one on which, as Sir Roger remarked, 'much might be said on both sides,' for Addison[410] rather grumbles at the old-fashioned courtesy of the well-bred squire as opposed to the greater ease of manners then in vogue: 'If, after this, we look on the People of Mode in the Country, we find in them the Manners of the last Age. They have no sooner fetched themselves up to the Fashion of the polite World, but the town has dropped them, and are nearer to the first State of Nature than to those refinements which formerly reign'd in the Court and still prevail in the Country. One may now know a Man that never conversed in the World, by his Excess of Good Breeding. A polite Country Squire shall make you as many Bows in half an hour, as would serve a Courtier for a Week. There is infinitely more to do about Place and Precedency in a meeting of Justices Wives, than in an Assembly of Dutchesses.'
[Footnote 409: Tunbridge Walks.]
[Footnote 410: Spectator, No. 119.]
But if the country aristocracy were so behindhand, in what state were the labourers? Their lot was hard work and scant wage, only relieved by a village wake or a country fair; no education, no hope of any better position, of the earth, earthy; a man rose at early morning, worked hard all day, came home to sleep, and so on without intermission. Gay thus describes him and his labours:--
If in the Soil you guide the crooked Share, Your early Breakfast is my Constant Care. And when with even Hand you strow the Grain, I fright the thievish Rooks from off the Plain. In misling Days when I my Threasher heard, With Nappy Beer I to the Barn repair'd; Lost in the Musick of the whirling Flail, To gaze on thee I left the smoaking Pail; In Harvest, when the Sun was mounted high, My Leather Bottle did thy Drought supply; When e'er you mow'd I followed with the Rake, And have full oft been Sun burnt for thy Sake; When in the Welkin gath'ring Show'rs were seen, I lagg'd the last with Colin on the Green; And when at Eve returning with thy Carr, Awaiting heard the gingling Bells from far; Strait on the Fire the sooty Pot I plac't, To warm thy Broth I burnt my Hands for Haste. When hungry thou stood'st staring, like an Oaf, I slic'd the Luncheon from the Barly Loaf, With crumbled Bread I thicken'd well thy Mess, Ah, love me more, or love thy Pottage less![411]
[Footnote 411: The Shepherd's Week--The Ditty, ed. 1714.]
The dress of the labourer at this time was a broad-brimmed flap felt hat, a jerkin, or short coat, knee breeches and stockings; whilst the women wore their dresses very plainly made--necessarily without furbelows and hoops, and, for headgear, had a very sensible broad-brimmed straw hat, or, on holidays, the high-crowned felt hat.
XXV. THE DRAMA
The theatres -- Dorset Gardens -- Its demolition -- Performances -- Lincoln's Inn Fields -- Theatre Royal, Drury Lane -- Its company -- Mrs. Tofts -- The Queen's Theatre, Haymarket -- Its foundation stone -- Its operas -- Pinkethman's theatre at Greenwich -- The Queen and the Stage -- Her reforms -- Strolling players -- Behaviour at the theatre -- Orange wenches -- Stage properties -- Actors -- Betterton -- Verbruggen -- Cave Underhill -- Estcourt -- Dogget -- Colley Cibber -- Wilks -- Booth -- Pinkethman -- Minor actors -- Actresses -- Mrs. Barry -- Mrs. Bracegirdle -- Mrs. Oldfield -- Mrs. Verbruggen -- The ballet.
The drama was fairly supported in Queen Anne's time, although there were never more than three theatres open at once, and generally only two. It was not an age for either striking actors or immortal plays; but, as to the former, they were hard-working, and some of them have left a name behind them renowned in the history of the stage; and, for the latter, they were, although somewhat coarse in humour, not so licentious as the plays of the three preceding reigns. It is impossible, within the limits of this book, to do more than generalise on the drama of that day--its history has materials in it for a book to itself.
There were four theatres: Dorset Gardens, Lincoln's Inn Fields, Drury Lane, and the Queen's Theatre, Haymarket.
Dorset Gardens Theatre was in Salisbury Court, in Salisbury Square, Fleet Street, and was built, it is said, from designs by Sir Christopher Wren, and to have been decorated by Grinling Gibbons. It fronted the river one way, was consequently easy of access by 'the silent highway,' and its façade was very pretty, although not elaborately ornamented. It was opened on Nov. 9, 1671, by the Duke of York's Company, when they left the playhouse in Little Lincoln's Inn Fields. It gradually got disreputable, and in 1698 was used for the drawing of a penny lottery. Ward thus describes its condition in his time. 'By this time we were come to our propos'd landing Place, when a Stately Edifice (the Front supported by Lofty Columns) presented to our View. I enquired of my Friend what Magnanimous Don Cressus Resided in this Noble and Delightful Mansion? Who told me, No Body as he knew on, except Rats and Mice; and perhaps an old superannuated Jack Pudding, to look after it, and to take Care that no Decay'd Lover of the Drama should get in and steal away the Poet's Pictures, and sell 'em to some Upholsterers for Roman Emperours; I suppose there being little else to lose, except Scenes, Machines, or some such Jim Cracks. For this, says he, is one of the Theatres, but now wholly abandon'd by the Players; and 'tis thought, will in a little time be pull'd down.'[412] The neighbourhood around about he describes as something awful in its character, and he was not particular to a shade.
[Footnote 412: London Spy.]
The following advertisement[413] will show the style of amusement it afforded its patrons:--
[Footnote 413: Daily Courant, April 30, 1703.]
'Being the last time of Acting till after May Fair.
At the Theatre in Dorset Gardens, this day being Friday the 30th of April will be presented A Farce call'd, The Cheats of Scapin. And a Comedy of two Acts only, call'd, The Comical Rivals, or the School Boy. With several Italian Sonatas by Signior Gasperini and others. And the Devonshire Girl, being now upon her Return to the City of Exeter, will perform three several Dances, particularly her last new Entry in imitation of Mademoiselle Subligni, and the Whip of Dunboyne by Mr. Claxton her Master, being the last time of their Performance till Winter. And at the desire of several Persons of Quality (hearing that Mr. Pinkeman hath hired the two famous French Girls lately arriv'd from the Emperor's Court) They will perform several Dances on the Rope upon the Stage, being improv'd to that Degree, far exceeding all others in that Art. And their Father presents you with the Newest Humours of Harlequin as performed by him before the Grand Signior at Constantinople. Also the Famous Mr. Evans lately arriv'd from Vienna, will shew you Wonders of another kind, Vaulting on the Manag'd Horse, being the greatest Master of that Kind in the World. To begin at Five so that all may be done by Nine a Clock.'
In the Daily Courant May 13, 1703, there was an attempt to revive it, but it was unsuccessful. 'The Queen's Theatre in Dorset Garden is now fitting up for a new Opera; and the great Preparations that are made to forward it and bring it upon the Stage by the beginning of June, adds to every body's Expectation, who promise themselves mighty Satisfaction from so well order'd and regular an Undertaking as this is said to be, both in the Beauties of the Scenes, and Varieties of Entertainments in the Musick and Dances.'
It opened spasmodically, now and then: on July 9, 1706, with an opera called 'Arsinoe, Queen of Cyprus.' Mrs. Tofts as Arsinoe; a prologue spoken by Cibber, and an epilogue by Estcourt; and on Aug. 1 there was an opera called 'Camilla' played. And we hear the last of it in the autumn of this year.'[414] 'By the deserted Company of Comedians of the Theatre Royal. At the Queen's Theatre in Dorset Gardens, on Thursday next being the 24th of October, will be Acted a Comedy, call'd The RECRUITING OFFICER.[415] In which they Pray there may be Singing by Mrs. Tofts in English and Italian. And some Dancing.' On the 30th they played 'Master Fido, or the Faithful Shepherd,' 'acted all by women'--a not absolute novelty, but which showed how hard up they were for something new to draw. And there were five more performances that year.
[Footnote 414: Daily Courant, Oct. 22, 1706.]
[Footnote 415: By George Farquhar.]
But all attempts to galvanise it into life failed, and in the Daily Courant of June 1, 1709, we read, 'The Play House at Dorset Stairs is now pulling down, where there is to be sold old Timber fit for Building or Repairs, Old Boards, Bricks, Glass'd Pantiles and Plain Tiles, also Fire Wood, at very reasonable rates.'
Lincoln's Inn Fields was another theatre which had very varying fortunes during this reign. In 1705, when the company left for their new home in the Haymarket, it was to let. Betterton took it for a night for his benefit on March 3 of that year, and Cave Underhill for his on March 31. It was not re-opened till Sept. 12, 1706, and was played in only six nights that year. It was rebuilt by Rich, but was not again acted in during Queen Anne's reign.
One advertisement of its performances may be given as exemplifying their variety.[416] 'At the Desire of several Persons of Quality. For the Benefit of Mrs. Prince. At the Theatre in Little Lincoln's Inn Fields, the present Tuesday being the 8th of June, will be presented the last New Tragedy call'd, The Fair Penitent.[417] With four Entertainments of Singing (entirely New) by the Famous Signiora Francisca Margarita de l'Epine; to which will be added the Nightingale Song[418]; it being the last time of her Singing whilst she stays in England. The Instrumental Musick composed by Signior Jacomo Greber. With a Country Wedding Dance by Monsieur Labbé, Mrs. Elford, and others. Also a new Entertainment of Dancing between Mazetin a Clown, and two Chairmen. With the Dance of Blouzabella by Mr. Prince, and Mrs. Elford. By reason of the Entertainments the Play will be shortened. Boxes 6_s._ Pit 4_s._ Gallery 2_s._ 6_d._' These seem to have been the benefit prices at this theatre, the normal ones being 5_s._, 3_s._, and 2_s._
[Footnote 416: Daily Courant, June 8, 1703.]
[Footnote 417: By N. Rowe.]
[Footnote 418: Can this be an early work of Carey's? See Appendix.]
Dorset Gardens and Lincoln's Inn Fields theatres were the dramatic failures; the 'Theatre Royal in Drury Lane,' as it was called, was an exception, and stood its ground fairly during the Queen's reign. It was built by Killigrew, at a cost of £1,500, on the site of a plot of ground called the 'Riding Yard,' which was obtained on lease from the Duke of Bedford, and opened in 1663. The actors there were called Her Majesty's servants, and had the right to dress in scarlet, the royal livery.
In the summer time, when the quality was dispersed at the various Spas, the dramatic company followed them to their fashionable resorts, as also did Powell and Clinch. This, at all events, was the case in the early days of Anne's rule. 'Her Majesty's Servants of the Theatre Royal being return'd from the Bath, do intend, to morrow being Wednesday the Sixth of this instant October to act a Comedy call'd Love makes a Man, or, the Fop's Fortune.[419] With Singing and Dancing. And whereas the Audiences have been incommoded by the Plays usually beginning too late, the Company of the said Theatre do therefore give Notice that they will constantly begin at Five a Clock without fail, and continue the same Hour all the Winter.'[420]
[Footnote 419: By Colley Cibber.]
[Footnote 420: Daily Courant, Oct. 5, 1703.]
Later in this reign they stopped in London, but did not play every day. 'Not Acted these 15 years. By Her Majesty's Company of Comedians. At the Theatre Royal in Drury Lane, on Tuesday next, being the 1st of July, will be Reviv'd the 2nd Part of the Destruction of Jerusalem,[421] by Titus Vespasian. The Parts of Titus by Mr. Booth, Phraartes Mr. Mills, Tiberius Mr. Keen. John, Mr. Powell. Berenice Mrs. Rogers, Clarona Mrs. Bradshaw. N.B. The Company will continue to Act on every Tuesday and Friday during the Summer Season. By Her Majesty's Command[422] no Persons are to be admitted behind the Scenes.'[423] At one time, as Cibber narrates, it was even closed altogether.
[Footnote 421: By J. Crowne, 1677.]
[Footnote 422: See p. 255.]
[Footnote 423: Daily Courant, June 28, 1712.]
The theatre was used occasionally for other than dramatic performances. Here is one: 'At the Theatre Royal in Drury Lane, this present Tuesday being the 14th of December will be perform'd, The Subscription Musick. Wherein Mrs. Tofts Sings several Songs in Italian and English. With a new piece of Vocal and Instrumental Musick never perform'd before, composed by Mr. Leveridge. And several new Entries and Entertainments of Dancing by Monsieur l'Abbé, Monsieur Du Ruell, Monsieur Charrier, Mrs. Campion, Mrs. Elford, the Devonshire Girl, and others. No Person to be admitted into the Pit or Boxes but by the Subscribers Tickets, which are deliver'd at Mr. White's Chocolate house. The Boxes on the Stage and the Galleries are for the Benefit of the Actors. The Stage Boxes 7_s._ 6_d._ the first Gallery 2_s._ 6_d._ the Upper Gallery 1_s._ 6_d._ To begin about Five a Clock. No Person to stand on the Stage.'[424]
[Footnote 424: Ibid., Dec. 14, 1703.]
That the ordinary prices, which they never advertised, were much lower than these, is shown by an advertisement in the following year. 'And by reason of the extraordinary Charge in the Decoration of it, the Prices will be rais'd. Boxes 5_s._ Pit 3_s._ First Gallery 2_s._ Upper Gallery 1_s._'
Before quitting this short notice of Drury Lane Theatre reference must be made to an incident in which Mrs. Tofts the singer was interested. 'ANN Barwick having occasioned a Disturbance at the Theatre Royal in Drury Lane on Saturday Night last the 5th of February, and being thereupon taken into Custody, Mrs. Tofts, in Vindication of her own Innocency, sent a Letter to Mr. Rich, Master of the said Theatre, which is as followeth.
SIR, I was very much surpriz'd when I was inform'd, that Ann Barwick, who was lately my Servant, had committed a Rudeness last night at the Play-house, by throwing of Oranges, and hissing when Mrs. l'Epine the Italian Gentlewoman Sung. I hope no one can think that it was in the least with my Privity, as I assure you it was not. I abhor such Practises, and I hope that you will cause her to be prosecuted, that she may be punish'd as she deserves.
I am, Sir, Your humble Servant, KATHARINE TOFTS.
To Christopher Rich Esq.; at the Theatre Royal. Feb. 6. 1703.'[425]
[Footnote 425: Ibid. Feb. 8, 1703.]
Misson gives a description of its interior, which, from his invariable truthfulness, can be relied on. 'The Pit is an Amphitheater, fill'd with Benches without Back boards, and adorn'd and cover'd with green Cloth. Men of Quality, particularly the younger Sort, some Ladies of Reputation and Vertue, and abundance of Damsels that hunt for Prey, Sit all together in this place, Higgledy piggledy, chatter, toy, play, hear, hear not. Farther up, against the Wall, under the first Gallery, and just opposite to the Stage, rises another Amphitheater, which is taken up by Persons of the best Quality, among whom are generally very few Men. The Galleries, whereof there are only two rows, are filled with none but ordinary People, particularly the Upper One.'
Italian opera was coming mightily into vogue, but a new theatre was needed for its performance, so a company was formed, capital 3,000_l._ in 100_l._ shares, which covered a subscription for life; and Sir John Vanbrugh was entrusted with its building. The members of the Kitcat Club were large subscribers; and Cibber says, 'Of this Theatre I saw the first Stone laid, on which was inscrib'd The little Whig,[426] in Honour to a Lady of extraordinary Beauty, then the celebrated Toast and Pride of that Party.' But this seems an inaccuracy, for in a newspaper-cutting of March 19, 1825, it says, 'Removing that portion of the walls of the Italian Opera House, immediately adjoining the cellar of Mr. Wright, on Saturday last, the workmen discovered the first stone of the old building, laid in 1704. The stone was in a perfect state, and in the cavity formed for the purpose of receiving them were found several coins of the reign of Queen Anne; a brass plate which covered the cavity bore the following inscription: "April 18, 1704. In the third year of the happy reign of our Sovereign Lady Queen Anne, this corner stone of the Queen's Theatre was laid, by his Grace Charles Duke of Somerset, Master of the Horse to her most sacred Majesty."'
[Footnote 426: Lady Sunderland, second daughter of the Duke of Marlborough. See p. 22.]
The outside was imposing: an arcade, as now, ran along the front of the building, the length of which was relieved by a dome in the centre, and on the balustraded parapet were eight statues on pedestals. But, if Cibber is to be trusted, the inside was so badly constructed acoustically that 'scarce one Word in ten could be distinctly heard in it,' and the consequence was that the roof had to be remodelled and made flat.
Vanbrugh and Congreve opened this theatre on Easter Monday, April 9, 1705, and Mrs. Bracegirdle spoke a prologue, written by Dr. Garth, in which are the lines, alluding to the Haymarket:--
Your own magnificence you here Survey, Majestick Columns stand where Dunghills lay, And Cars triumphal rise from Carts of Hay.
The play on this occasion was, according to Cibber, 'a translated Opera, to Italian Musick, called the Triumph of Love.' This, he says, only ran three days, and then Sir John Vanbrugh produced his comedy called 'The Confederacy.' Downes[427] says, 'It (i.e. the Italian Opera) lasted but 5 Days, and they being lik'd but indifferently by the Gentry; they in a little time marcht back to their own Country. The first play Acted there was The Gamester.'
[Footnote 427: Roscius Anglicanus, 1712.]
It is singular that neither of these authorities are correct, and luckily we have the advertisements left to guide us. It is, however, somewhat strange that there should have been no public announcement in the newspapers of its opening; but the first advertisement published is in the Daily Courant, April 14, 1705: 'At the Queen's Theatre in the Haymarket, this present Saturday being the 14th of April, will be reviv'd, The Indian Emperor, or the Conquest of Mexico by the Spaniards. The Part of Cortez to be perform'd by Mr. Powel; with Entertainments of Dancing, as also Singing by the new Italian Boy. By Her Majesty's Sworn Servants.'
The next play was 'The Merry Wives of Windsor,' on April 23; on the 27th 'The Gamester'; and Downes says 'The Confederacy' was playing long after.
This theatre was, undoubtedly, the most fashionable; and its prices, at times, were far above its rivals. Take, for example[428]: 'At the Desire of several Persons of Quality. At the Queen's Theatre in the Hay Market, on Saturday next, being the 7th of February, will be presented an Opera call'd Camilla. The Part of Metius (to which are added several new Select Songs) to be perform'd by the famous Signior Gioseppe Cassani, lately arrived from Italy. With several new Entertainments of Dancing by Monsieur Cherrier, Monsieur Debargues, Mrs. Santlow, Mrs. Evans, and others. The Boxes to be open'd to the Pit, and no Person to be admitted but by Tickets, which will be deliver'd out on Friday and Saturday Morning at White's Chocolate House, at a Guinea each Ticket. The number of Tickets not to exceed 450.' On the 6th same month the performance was lowered to half a guinea. Stage boxes, half a guinea; first gallery, 5_s._; upper gallery, 2_s._; and on Feb. 10 admission was still further lowered.
[Footnote 428: Daily Courant, Feb. 4, 1708.]
Congreve soon gave up his share, and Sir John Vanbrugh was also glad to get rid of this 'bad egg': so after Jan. 10, 1708, it was transferred to Owen MacSwiney for operatic performances, one of which we have just mentioned.
Pinkethman, the indefatigable, had a theatre at Greenwich, which he worked during the summer months, though the exact time is unknown. In an advertisement of his moving picture (Daily Courant, May 9, 1709) he says it may be seen 'next Door to his New Play House, where variety of Plays are Acted every Day as in London.' He could not long have started, as in the Tatler (No. 4, April 18, 1709) it says, 'We hear Mr. Penkethman has removed his ingenious Company of Strollers to Greenwich. But other letters from Deptford say, the company is only making thither, and not yet settled; but that several Heathen Gods and Goddesses, which are to descend in machines, landed at the King's Head Stairs last Saturday. Venus and Cupid went on foot from thence to Greenwich; Mars got drunk in the town, and broke his Landlord's head, for which he sat in the Stocks the whole Evening; but Mr. Penkethman giving Security that he should do nothing this ensuing Summer, he was set at liberty. The most melancholy part of all was, that Diana was taken, and committed by Justice Wrathful; which has, it seems, put a stop to the Diversions of the Theatre at Blackheath. But there goes down another Diana and a Patient Grissel next tide from Billingsgate.'
Queen Anne was not a patron of the drama. She never went to the theatre, and, as far as I can learn, seldom had dramatic performances at court. 'On Sunday, being the Queen's Birth Day, her Majesty receiv'd the usual Compliments on that occasion, and yesterday there was an extraordinary appearance of the Nobility and Gentry of both Sexes at St. James's upon the same account. The Play call'd, All for Love,[429] was Acted in the presence of the Court.'[430] And this was such an extraordinary event that even another newspaper informed its readers of the astounding fact. Downes remarks on this: 'Note From Candlemas 1704 to the 22d of April 1706. There were 4 Plays commanded to be Acted at Court at St. James', by the Actors of both Houses viz. First All for Love. The Second was Sir Solomon or the Cautious Coxcomb.[431] The next was The Merry Wives of Windsor, Acted the 23rd of April, the Queen's Coronation Day. The last was The Anatomist or Sham Doctor;[432] it was perform'd on Shrove Tuesday, the Queen's Birthday.'
[Footnote 429: All for Love, or the World well Lost, by Dryden.]
[Footnote 430: Postman, Feb. 5/8, 1704.]
[Footnote 431: A translation from the Ecole des Femmes of Molière, and attributed to John Caryll.]
[Footnote 432: By Edward Ravenscroft, 1697.]
But though she would not go to the theatres, she heartily took their reformation in hand, as the following proclamation shows:--
'ANNE R.
'WHEREAS. We have already given Orders to the Master of Our Revels, and also to Both the Companies of Comedians, Acting in Drury Lane, and Lincolns Inn Fields, to take Special Care, that Nothing be Acted in either of the Theatres contrary to Religion or Good Manners, upon Pain of our High Displeasure, and of being Silenc'd from further Acting; And being further desirous to Reform all other Indecencies, and Abuses of the Stage, which have Occasion'd great Disorders, and Justly give Offence; Our Will and Pleasure therefore is, and We do hereby strictly Command, That no Person of what Quality soever, Presume to go Behind the Scenes, or come upon the Stage, either before, or during the Acting of any Play. That no Woman be Allow'd or Presume to wear a Vizard Mask in either of the Theatres. And that no Person come into either House without Paying the Prices Establish'd for their Respective Places.
'All which Orders We strictly Command all Managers, Sharers, and Actors of the said Companies, to see exactly Observ'd, and Obey'd. And We Require and Command all Our Constables, and others appointed to Attend the Theatres, to be Aiding and Assisting to them therein. And if any Persons whatsoever shall disobey this Our Known Pleasure and Command, We shall Proceed against them as Contemners of Our Royal Authority, and Disturbers of the Publick Peace.
'Given at our Court at St. James's the 17th Day of January.
'In the Second Year of our Reign.'
Luttrell, writing on January 20, 1704, says: 'This day, the lords ordered thanks to the Queen for restraining the play houses from immorality.'
This proclamation, however, did not have the desired effect, for another appeared in March the same year: 'WHEREAS great Complaints have been made to Her Majesty, of many indecent, prophane and immoral Expressions that are usually spoken by Players and Mountebanks contrary to Religion and Good Manners. And thereupon Her Majesty has lately given Order to Charles Killigrew, Esqre.; Her Majesty's Master of the Revels, to take especial care to correct all such Abuses. The said Master of the Revels does therefore hereby require all Stage Players, Mountebanks, and all other Persons, mounting Stages, or otherwise, to bring their Several Plays, Drolls, Farces, Interludes, Dialogues, Prologues, and other Entertainments, fairly written, to him at his Office in Somerset House, to be by him perused, corrected and allow'd under his hand, pursuant to Her Majesty's Commands, upon pain of being proceeded against for contempt of Her Majesty's said Order,'[433] etc. Another proclamation appeared in the Gazette, Nov. 13/15, 1711, forbidding anybody to stand upon the stage or go behind the scenes.
[Footnote 433: Daily Courant, March 9, 1704.]
That these proclamations were not strictly attended to is evidenced by the notices scattered over the newspaper advertisements, till 1712, that no Persons were allowed on the stage, or behind the scenes, by her Majesty's command; but, after this last proclamation, the practice seems to have been stopped.
Anne was determined that her orders should be carried out, and looked after the small fry as well as the big fish. 'Whereas the Master of the Revels has received Information, That several Companies of Strolling Actors pretend to have Licenses from Noblemen, and presume under that pretence to avoid the Master of the Revels, his Correcting their Plays, Drolls, Farces, and Interludes: which being against Her Majesty's Intentions and Directions to the said Master: These are to signifie. That such Licenses are not of any Force or authority. There are likewise several Mountebanks Acting upon Stages, and Mountebanks on Horseback, Persons that keep Poppets, and others that make Shew of Monsters, and strange Sights of living Creatures, who presume to Travel without the said Master of the Revels' Licence,'[434] etc., and goes on to say that their exhibitions must be licensed by him, under penalty.
[Footnote 434: London Gazette, Feb. 1/5, 1705.]
These strolling actors seem to have been poor enough, and might fairly come under the category of 'vagabonds by Act of Parliament' if the account Steele[435] gives of them be in any way correct: 'We have now at this Place a Company of Strolers, who are very far from offending in the impertinent Splendour of the Drama. They are so far from falling into these false Gallantries, that the Stage is here in its Original Situation of a Cart. Alexander the Great was acted by a Fellow in a Paper Cravat; The next Day the Earl of Essex seemed to have no Distress but his Poverty: and my Lord Foppington the same Morning wanted any better means to shew himself a Fop Man by wearing Stockings of different Colours. In a Word tho' they have had a full Barn for many Days together, our Itinerants are still so wretchedly poor, that without you can prevail to send us the Furniture you forbid at the Play House, the Heroes appear only like sturdy Beggars, and the Heroines Gipsies.'
[Footnote 435: Spectator, No. 48.]
'No person to be admitted to keep Places in the Pit' seems a singular order, were it not explicable by the fact that people used to send their footmen to keep places for them until their arrival, and that the manners of these gentry gave great offence to the habitués of the pit. The proper place for the footmen was the upper gallery, which was allowed to them free, supposing they were in attendance on their masters. We have seen Pinkethman's power over them, but their behaviour generally was rough and noisy. In the Female Tatler, Dec. 9, 1709, is this notice: 'Dropt near the Play house, in the Haymarket, a bundle of Horsewhips, designed to belabour the Footmen in the Upper Gallery, who almost every Night this Winter, have made such an intolerable Disturbance, that the Players could not be heard, and their Masters were obliged to hiss them into silence. Whoever has taken up the said Whips, is desired to leave 'em with my Lord Rake's Porter, several Noblemen resolving to exercise 'em on their Backs, the next Frosty Morning.'
The bad behaviour was not wholly confined to the lackeys, for Addison[436] alludes to that of some ladies whilst at the Theatre: 'A little before the rising of the Curtain, she broke out into a loud Soliloquy, When will the Dear Witches enter? and immediately upon their first Appearance, asked a Lady that sat three Boxes from her, on her Right Hand, if those Witches were not charming Creatures. A little after, as Betterton was in one of the finest Speeches of the Play, she shook her Fan at another Lady, who sat as far on the Left Hand, and told her with a Whisper that might be heard all over the Pit, We must not expect to see Ballon to-night. Not long after, calling out to a young Baronet by his Name, who sat three seats before me, she asked him whether Macbeth's wife was still alive: and before he could give an Answer, fell a talking of the Ghost of Banquo.'
[Footnote 436: Ibid. No. 45.]
Steele,[437] too, tells of the bad conduct of a beau, which curiously illustrates the necessity of Anne's proclamations: 'This was a very lusty Fellow, but withal a sort of Beau, who getting into one of the Side boxes on the Stage before the Curtain drew, was disposed to show the whole Audience his Activity by leaping over the Spikes; he pass'd from thence to one of the Entering Doors, where he took Snuff with a tolerable good Grace, display'd his fine Cloaths, made two or three feint Passes at the Curtain with his Cane, then faced about and appear'd at t'other Door: Here he affected to survey the whole House, bow'd and smil'd at random, and then shew'd his Teeth, which were some of them indeed very white: After this he retired behind the Curtain, and obliged us with several Views of his Person from every Opening.'
[Footnote 437: Spectator, No. 240.]
And, again, take this short sketch: 'And our rakely young Fellows live as much by their Wits as ever; and to avoid the clinking Dun of a Boxkeeper, at the End of one Act, they sneak to the opposite Side 'till the End of another; then call the Boxkeeper saucy Rascal, ridicule the Poet, laugh at the Actors, march to the Opera, and spunge away the rest of the Evening. The Women of the Town take their Places in the Pit with their wonted Assurance. The middle Gallery is fill'd with the middle Part of the City: and your high exalted Galleries are grac'd with handsome Footmen, that wear their Master's Linen.'[438]
[Footnote 438: Humours of the Army, Chas. Shadwell, 1713.]
Such then was the appearance in front of the stage; and, to thoroughly realise the scene, we must remember, en passant, that necessary individual the 'Candle Snuffer,' and those bold young women, whose class Nell Gwynne made famous, the 'Orange Wenches.'
Four or five hours in such theatres were almost insupportable without some slight refreshment, and this was supplied by these girls, who continually circulated throughout the audience. Their class is sufficiently alluded to in a passage in the Spectator, No. 141: 'A Poet sacrifices the best Part of his Audience to the Worst; and as one would think neglects the Boxes, to write to the Orange Wenches.' They seem to have fulfilled other duties besides supplying refreshment:--
Now turn, and see where loaden with her Freight, A Damsel Stands, and Orange-wench is hight; See! how her Charge hangs dangling by the Rim, See! how the Balls blush o'er the Basket-brim; But little those she minds, the cunning Belle Has other Fish to Fry, and other Fruit to sell; See! how she whispers yonder youthful Peer, See! how he smiles, and lends a greedy Ear. At length 'tis done, the Note o'er Orange wrapt Has reach'd the Box, and lays in Lady's Lap.[439]
[Footnote 439: The Stage, N. Rowe.]
Bad weather occasionally militated against the poor players. 'Her Majesty's Servants at the Theatre Royal (the weather being chang'd) intend to act on Wednesdays and Fridays till Bartholomew Fair.'[440] This and bad trade made them look out for novelties, such as acting a play the characters in which were sustained entirely by women, or having amateurs on the stage. 'At the Theatre Royal in Drury Lane, to morrow being Friday the 7th of July, will be reviv'd a Play call'd, The Orphan, or, the Unhappy Marriage.[441] All the Men's parts to be perform'd by young Gentlemen for their Diversion.'[442] Or they would try the effect of 'a New Prologue by a Child of 4 years of Age,' or 'a New Epilogue by Mrs. Pack in a Riding Habit, upon a Pad-Nagg representing a Town Miss Travelling to Tunbridge.'
[Footnote 440: Daily Courant, July 26, 1704.]
[Footnote 441: By Thos. Otway.]
[Footnote 442: Daily Courant, July 6, 1704.]
The properties of a theatre have always been a fair whetstone for men to sharpen their humour on, and the writers of the time of Queen Anne were not behindhand in this respect. When Drury Lane was closed by order, in 1709, the Tatler (No. 42) made very merry over the miscellaneous effects:--
'Three Bottles and a half of lightning.
'One Shower of Snow in the whitest French Paper.
'Two Showers of a browner sort.
'A Sea, consisting of a dozen large waves; the tenth bigger than ordinary, and a little damaged.
'A dozen and a half of Clouds, trimmed with black, and well conditioned.
'A Mustard bowl to make Thunder with.
'The Complexion of a Murderer in a Bandbox; consisting of a large piece of burnt Cork, and a Coal black Peruke,' etc.
At the death of Peer, the property man at this theatre, the Guardian extracted much fun from a catalogue of articles under his care.
Rowe goes into poetry on the same subject--thus:--
Hung on the selfsame Peg, in Union rest Young Tarquin's Trowsers, and Lucretia's Vest, Whilst without pulling Quoives Roxana lays Close by Statira's Petticoat her Stays ........................................ Near these sets up a Dragon drawn Calash, There a Ghost's Doublet delicately slash'd, Bleeds from the mangled Breast, and gapes a frightful Gash. In Crimson wrought the sanguine Floods abound, And seem to gutter from the streaming Wound. Here Iris bends her various painted Arch, There artificial Clouds in sullen Order march, Here stands a Crown upon a Rack, and there A Witch's Broomstick by great Hector's Spear; Here stands a Throne, and there the Cynick's Tub, Here Bullock's Cudgel, there Alcida's Club: Beads, Plumes, and Spangles, in Confusion rise, Whilst Rocks of Cornish Diamonds reach the Skies. Crests, Corslets, all the Pomp of Battle join, In one Effulgence, one promiscuous shine.
The actors of this reign, with a few exceptions, were not people of much genius. After these few, some were respectable, the rest bad; but, although the play was the proper place of amusement to go to, and there were seldom more than two theatres open at once, yet we find it comparatively languishing, the companies frequently playing only twice a week, or the theatre closed altogether. Doubtless the tragedy was stilted, and the comedy was akin to buffoonery. As witness to the latter let Addison[443] testify: 'It would be an Endless Task to consider Comedy in the same Light, and to mention the innumerable Shifts that small Wits put in practice to raise a Laugh. Bullock in a short Coat, and Norris in a long one, seldom fail of this Effect. In ordinary Comedies, a broad and a narrow Brim'd Hat are different characters. Sometimes the Wit of the Scene lies in a Shoulder belt, and sometimes in a Pair of whiskers.'
[Footnote 443: Spectator, No. 44.]
The 'Phœnix of the Stage,' as Anthony, or Tony, Aston calls Betterton, stands pre-eminent among the actors. Born in 1635, he was an old man when Queen Anne came to the throne; and he died on April 28, 1710, from the effects of gout, which he aggravated by acting when the fit was on. His last performance was on April 13, 1710, and it is thus described in the Daily Courant of that date: 'At the Desire of several Persons of Quality. For the Benefit of Mr. Betterton. At the Queen's Theatre in the Hay market this present Thursday being the 13th April will be Reviv'd, The Maid's Tragedy.[444] The part of Melantius by Mr. Betterton, Amintor by Mr. Wilks, Calianax by Mr. Pinkethman, Evadne by Mrs. Barry, and all the other parts to the best Advantage. To which will be added Three Designs, Representing the Three Principal Actions of the Play, in Imitation of so many great Pieces of History Painting, where all the real Persons concern'd in those Actions will be Plac'd at proper distances, in different Postures peculiar to the Passion of each Character.'
[Footnote 444: By Beaumont and Fletcher.]
Totally unfit, from illness, to act, he had resort to violent remedies to enable him to go through his part, which he did, with his gouty foot in a slipper, but the exertion killed him. A great favourite of Charles II., that king not only sent him to Paris, to see and report on the French theatres, but appointed him to teach the nobility for court theatricals, whilst his wife tutored the future queens Mary and Anne--in fact, the latter settled a pension of 100_l._ per annum upon her, after her husband's death. Pepys describes him as 'the best actor in the world,' and so he undoubtedly was--in his age. Aston[445] describes him thus: 'He had little Eyes, and a broad Face, a little Pock fretten, a Corpulent Body, and thick Legs, with large Feet.... His Voice was low and grumbling; yet he could Tune it by an artful Climax, which enforc'd universal Attention, even from the Fops and Orange Girls. He was incapable of dancing even in a Country Dance.'
[Footnote 445: Supplement to Cibber.]
Room must be found for one little anecdote which Aston tells of him. 'Mr. Betterton had a small Farm near Reading, in the County of Berks; and a Countryman came, in the Time of Bartholomew Fair, to pay his Rent. Mr. Betterton took him to the Fair, and going to one Crawley's Puppet Shew, offer'd Two Shillings for himself and Roger, his Tenant.--No, no, Sir, said Crawley; we never take Money of one Another. This affronted Mr. Betterton, who threw down the Money, and they entered.'
Among the actors of the time he was looked up to as a king. Downes[446] says: 'I must not Omit Praises due to Mr. Betterton. The first and now only remains of the old Stock, of the Company of Sir William Davenant in Lincolns Inn Fields; he like an old Stately Spreading Oak now stands Fixt, Environ'd round with brave Young Growing Flourishing Plants.... Mr. Dryden a little before his Death in a Prologue, rendring him this Praise:--
[Footnote 446: Roscius Anglicanus, 1708.]
He like the Setting Sun, still shows a Glimmery Ray Like Antient ROME Majestick in decay.'
He was buried in Westminster Abbey on May 2, 1710, and Steele[447] wrote a long panegyric upon him, saying he 'ought to be recorded with the same respect as Roscius among the Romans.'
[Footnote 447: Tatler, 167.]
He died, not in want, but in comparatively poor circumstances, and he must have been a man of some culture, as the following advertisement, soon after his death, shows:[448] 'This Day will be Continued the Sale by Auction of the Prints, and Books of Prints and Drawings, of Mr. Tho. Betterton, deceased, &c.'
[Footnote 448: Harl. MSS. 5996, 100.]
Verbruggen, although he died in 1708, played in Queen Anne's reign. But little is known of him, except that he was a tragedian, and was the original Oronooko. A contemporary character of him is 'A fellow with a crackt voice, he clangs his words, as if he spoke out of a broken drum.'[449] Downes says, 'his Person being tall, well built and clean, only he was a little In Kneed, which gave him a shambling Gate;' and he adds, 'Verbruggen was Nature without Extravagance--Freedom without Licentiousness--and vociferous without bellowing.'
[Footnote 449: Comparison between the two Stages.]
Cave Underhill was another veteran, of whom Steele writes[450] when making an appeal to the public to support him: 'he has been a comic for three generations; my father admired him extremely when he was a boy.' He took a benefit at Drury Lane on June 3, 1709, when 'Hamlet' was played, and he took his favourite part of the gravedigger.
[Footnote 450: Tatter, 22.]
Leigh was another old actor who died in this reign.
Estcourt deserves notice. He was born in 1668, and, at the age of 15, ran away from his father's house, and joined a company of strollers at Worcester. He was recovered, and apprenticed to an apothecary in London; again ran away, and led a wandering life for some years, till we find him engaged at Drury Lane. Downes describes him as 'Histrio Natus; he has the Honour (Nature enduing him with an easy, free, unaffected Mode of Elocution) in Comedy always to Lœtificate his Audience, especially Quality.' He was a pet of the Duke of Marlborough, and was Providore of the famous Beefsteak Club, where he wore a small gold gridiron suspended from his neck by a green ribbon. He retired from the stage some time before his death, and took the 'Bumper' in St. James Street, where he Lœtificated his customers in another manner. Steele puffed him in the Spectator, and wept over his decease in the same periodical.[451]
[Footnote 451: No. 468.]
The name of Dogget is, perhaps, as well known to us as any actor of the time. An Irishman by birth, he came to England and joined a travelling troupe; afterwards being good enough to play at both Drury Lane and Lincoln's Inn Fields. In fact, he was joint manager of the former with Wilks and Cibber, but gave it up in 1713, because Booth was forced on him as a co-partner; and he never returned to the theatre, either as a regular actor or as manager. It must have been a blow to him, for he was fond of money, and was then reputed to have been worth £1,000 per annum. He was not particular: he put his pride in his pocket, and had a booth at Bartholomew Fair, the same as Pinkethman or Mills. He died at Eltham, in Kent, Sept. 22, 1721, and left in his will the memorable Coat and Badge to be raced for, annually, on the anniversary of the accession of George the First, to show his attachment to the Whig party and the House of Brunswick. Downes says of him, 'On the Stage, he's very Aspectabund, wearing Farce in his Face; his Thoughts deliberately framing his Utterance Congruous to his Looks; He is the only Comick Original now extant.' Tony Aston says 'he was a little, lively spract Man.... a Man of very good Sense, but illiterate; for he wrote me Word thus--Sir, I will give you a hole, instead of (whole) Share. He dress'd neat, and something fine, in a plain Cloth Coat, and a Brocaded Waistcoat.'
Colley Cibber was born in London Nov. 6, 1671, and is known as much, or more, as a playwright, or poet as an actor. In his boyhood he tried for a scholarship at Winchester, but failed; afterwards he meditated going to the University, but the Revolution of 1688 broke out, and he was for a short time in the army as his father's substitute. He saw no service, and soon became an actor, i.e. in 1690, and did not quit the stage till 1730, in which year he was made Poet Laureate to George II. He died Dec. 12, 1757. Downes tells us he was 'A Gentleman of his time who has Arriv'd to an exceeding Perfection, in hitting justly the Humour of a starcht Beau or Fop; as the Lord Fopington; Sir Fopling and Sir Courtly, equalling in the last the late eminent Mr. Mountfort, not much Inferior in Tragedy, had Nature given him Lungs, Strenuous to his finisht Judgment.' Gildon,[452] however, falls foul of him; but then, the only good words he had were for Betterton and Barry.
[Footnote 452: Comparison between the two Stages.]
Ramble. But prithee look on this side; there's Cibber, a poet and fine Actor.
Critick. And one that's always repining at the success of others, and upon the stage makes all his fellow actors uneasy.
Wilks, the best tragedian of the age, came of a good Worcestershire family, and, from his association with actors, drifted into the profession. He was remarkable for the carefulness of his acting, and for the ease and good breeding he displayed upon the stage. He died in 1732 at the age of 76. What do his contemporaries say of him? Downes says, 'Proper and Comely in Person, of Graceful Port, Mein and Air; void of Affectation; his Elevations and Cadences just, Congruent to Elocution.' The author of 'The Comparison between the two Stages' can say nothing ill-natured of him, and Steele[453] speaks highly of him.
[Footnote 453: Spectator, 370.]
Ramble. Ay, but Powell----
Critick. Is an idle fellow, that neither minds his business, nor lives quietly in any community--
is a fair criticism on that actor, who, had he been but as steady or painstaking, might have rivalled Wilks; but he was a drunken, dissipated dog, a careless study, with a bad memory; pursued by bailiffs, he sometimes walked with his sword drawn--once making an unfortunate 'officer' retreat to the other side of the road, where he called out, 'We don't want you now, Mr. Powel.' Died Dec. 14, 1715.
Booth was the Aristo of the profession. He was not only nearly related to the Earl of Warrington, but in 1704 he married a daughter of Sir William Barkham, Bart., of Norfolk. A scholar of the great and terrible Dr. Busby, he shone in acting in the Latin plays at Westminster. He was intended for the Church, but he caught stage fever, ran away from school at the age of 17, and joined the theatre at Dublin. When he came to London he became a pupil of Betterton's, and profited by his master's instructions. He was joint patentee in Drury Lane, but he left the stage at the early age of 46. Died 1733.
Of the minor actors Pinkethman stands first. He was low comedy, and his great ambition was to please the gods. We have heard a good deal about him in this book in his various characters as caterer for the amusement of the public. Gildon, of course, can say nothing good of him.
Sullen. But Penkethman the flower of----
Critick. Bartholomew Fair, and the idol of the rabble; a fellow that over does everything, and spoils many a part with his own stuff.
Be this as it may, he is very honourably mentioned throughout the Spectator, although Steele[454] gives him a good-humoured rap over the knuckles. 'Mr. William Bullock and Mr. William Penkethman are of the same Age, Profession, and Sex. They both distinguish themselves in a very particular Manner under the discipline of the Crab-tree, with this only difference, that Mr. Bullock has the more agreeable Squall, and Mr. Penkethman the more graceful Shrug. Penkethman devours a cold Chick with great Applause; Bullock's talent lies chiefly in Asparagus. Penkethman is very dexterous at conveying himself under a Table; Bullock is no less active in jumping over a Stick. Penkethman has a great deal of money; but Mr. Bullock is the taller man.'
[Footnote 454: Tatler, 188.]
The mention of Crab-tree seems to suggest that Pinkethman had been thrashed at some period of his career, as does a passage in another Tatler (No. 42), describing the theatrical properties at Drury Lane: 'Three oak Cudgels, with one of Crab-tree; all bought for the Use of Mr. Pinkethman.'
That he must have been a fair actor is testified by the fact that he played in two out of the four performances at St. James's.
As far as I can find out, he seems first to have acted at the Theatre Royal in 1692, in the play of 'Volunteers, or the Stock Jobbers,'[455] when he played the part of Taylor (six lines only). He rose gradually, and was a painstaking actor, ever on the alert to court popular favour. He became rich. Downes says of him, 'He's the darling of Fortunatus, he has gain'd more in Theatres and Fairs in Twelve Years than those that have Tugg'd at the Oar of Acting these 50.' To realise this fortune he probably was saving in his habits, and not so lavish as some of his compeers--a fact which is exaggerated into a charge of meanness: see an Elegy on his Merry Andrew, John Edwards.[456]
[Footnote 455: By Thos. Shadwell.]
[Footnote 456: Harl. MSS. 5931, 251.]
Dull sneaking Pinkeman this loss bewail, And sing his Dirge o're half a pint of Ale, For if thou more didst spend at once, your Note You'd Change, and for your Charges cut your throat.
He seems to have retired from the stage after his benefit on May 23, 1724, and he died in 1740.
The other actors, Bullock,[457] Mills, Norris, alias Jubilee Dickey, Pack Johnson, etc., are unworthy any notice except to chronicle their names as actors of the time.
[Footnote 457: 'For the Benefit of Will. Bullock.
'At the Theatre Royal in Drury Lane, on Whitson Monday, being the 5th of June, will be reviv'd a Diverting Comedy call'd the Miser [Thomas Shadwell]. Written by the Author of the Squire of Alsatia; the part of Timothy Squeez the Scriveners foolish Son to be acted by Will. Bullock. With Entertainments of Dancing by Monsieur du Ruell. And Mr. Clinch of Barnet will perform these several Performances, first an Organ with three Voices, then the Double Curtel, the Flute, the Bells, the Huntsman, the Horn, and Pack of Dogs, all with his Mouth; and an old Woman of Fourscore Years of Age nursing her Grand Child; all of which he does open on the Stage. Next a Gentleman will perform several Mimick Entertainments on the Ladder, first he stands on the top round with a Bottle in one hand and a Glass in the other, and drinks a Health; then plays several Tunes on the Violin, with fifteen other surprizing Performances which no man but himself can do. And Will Pinkeman will dance the Miller's Dance and speak a comical joking Epilogue on an Ass. Beginning exactly at five a Clock by reason of the length of the Entertainments. At Common Prices.'--Daily Courant, June 2, 1704.]
It is singular that the ladies of the stage of this period stand out so prominently for their talents. It must have been by natural genius, for they could have had little enough tradition to guide them, it being only forty or fifty years since the first woman ever trod the boards. Who she was seems to be somewhat obscure, but it probably was Mrs. Coleman, who played Ianthe in the first part of the 'Siege of Rhodes' in 1656, but she did not speak. We know Kynaston, who kept Charles II. waiting whilst he was being shaved to play his part; he of whom Pepys writes[458] thus: 'Kynaston, the boy, had the good turn to appear in three shapes; first as a poor woman in ordinary clothes to please Morose; then in fine clothes, as a gallant; and in them was the prettiest woman in the whole house; and lastly, as a man; and then likewise did appear the handsomest man in the house.' Of him Betterton writes,[459] 'that it has been disputed among the Judicious, whether any Woman could have more sensibly touched the Passions.' He seems to have been the last of the male actors who took female parts, although in 1661 a woman actor was still a novelty. 'There saw the "Scornfull Lady,"[460] now done by a woman, which makes the play much better than ever it did to me.'[461] A Mrs. Sanderson is traditionally said to have been the first woman actress, and she played Desdemona at the theatre in Clare Market on Dec. 8, 1660. Betterton says the mother of Norris, or Jubilee Dickey, 'was the first Woman who ever appeared on the Stage as an Actress.'
[Footnote 458: Diary, Jan. 7, 1661.]
[Footnote 459: The History of the English Stage.]
[Footnote 460: By Beaumont and Fletcher.]
[Footnote 461: Pepys, Feb. 12, 1661.]
Anyhow, never was there a period that could show four such actresses as Mrs. Barry, Mrs. Bracegirdle, Mrs. Oldfield, and Mrs. Verbruggen.
Elizabeth Barry, the daughter of a barrister of good birth, was born 1658; so that she was not in her first youth at the accession of Anne. Her father so encumbered his estate that it became necessary for his children to seek their fortunes as best they might. She chose the stage, and Sir Wm. Davenant took her in hand, but gave her up as hopeless. The Earl of Rochester, however, having wagered that by proper instruction she should be the finest actress on the stage in less than six months, she took such pains that when, in 1677, she played the Hungarian Queen in the tragedy of 'Mustapha,'[462] before Charles the Second and the Duke and Duchess of York, she created an absolute furore: so much so that the Duchess took lessons from her, and not only gave her her wedding suit, but her coronation robes when she became queen. She died on November 7, 1713, and was buried at Acton, where her daughter, by the Earl of Rochester, was already interred. Aston, speaking of her personal appearance, says: 'And yet this fine creature was not handsome, her Mouth op'ning most on the Right Side, which she strove to draw t'other way, and, at Times, composing her Face, as if sitting to have her Picture drawn. Mrs. Barry was middle siz'd, and had darkish Hair, light Eyes, dark Eye-brows, and was indifferently plump: Her Face somewhat preceded her Action, as the latter did her Words; her Face ever expressing the Passions; not like the Actresses of late Times, who are afraid of putting their Faces out of the Form of Non-meaning, lest they should crack the Cerum, White-Wash, or other Cosmetic, trowel'd on.'
[Footnote 462: By the Earl of Orrery.]
Betterton says Mrs. Bracegirdle was the daughter of Justinian Bracegirdle of Northamptonshire, Esq., whilst Aston, who calls her 'the Diana of the Stage,' says 'The most received Opinion is, that she was the Daughter of a Coach Man, Coach maker, or Letter out of Coaches in the Town of Northampton, but I am inclinable to my Father's Opinion, (who had a great Value for her reported Virtue) that she was a distant Relation, and came out of Staffordshire from about Wallsal or Wolverhampton.' She is believed to have been born about the year 1674, and somehow came to be placed, when an infant, under the care of Betterton and his Wife, who naturally brought her up to the stage. So young did she enter her future profession that she acted as a page in 'The Orphan,'[463] at the Dorset Garden Theatre in 1680, when only six years old. She was not only remarkable for her magnificent acting, but for the exceeding purity of her life, which no breath of scandal could sully; although it could not be said it was from want of temptation. Congreve writes of her:--
[Footnote 463: By Thos. Otway.]
Pious Celinda goes to Pray'rs, Whene'er I ask the Favour; Yet, the tender Fool's in Tears, When she believes I'll leave her.
Wou'd I were free from this Restraint, Or else had Power to win her! Wou'd she cou'd make of me a Saint, Or I of her a Sinner!
And D'Urfey, in his 'Don Quixote,' sings of her:--
Since that our Fate intends Our Amity shall be no dearer, Still let us kiss and be Friends, And sigh we can never come nearer.
She was wonderfully charitable, and would go daily about the slums of Clare Market relieving the necessitous; and woe be to anyone who should have dared to molest her--his fate would have been speedy. She retired from the stage in 1707, but did not die till 1748. Her personal description is: 'She was of a lovely Height, with dark-brown Hair and Eye brows, black sparkling Eyes, and a fresh blushy Complexion; and, whenever she exerted herself, had an involuntary Flushing in her Breast, Neck and Face, having continually a chearful Aspect, and a fine Set of even White Teeth; never making an Exit, but that she left the Audience in an Imitation of her pleasant Countenance. Genteel Comedy was her chief Essay, and that too when in Men's Cloaths, in which she far surmounted all the Actresses of that Age' (Aston).
Her great rival was Mrs. Anne Oldfield, who was born in Pall Mall in 1683. Her father was in the Horse Guards, and on his death left his wife and daughter in very straitened circumstances. Tradition says that she was living with her aunt, who kept the Mitre Tavern in St. James's Market, when Sir John Vanbrugh heard her read some plays: certain it is, he introduced her to Rich in 1699, when she played Candiope, in 'Secret Love, or The Maiden Queen.'[464] Mrs. Oldfield was far from being as immaculate in character as her rival. Her last performance was on April 28, 1730; she died October 23, 1730, and was buried in Westminster Abbey. Allusion has been made to her mode of burial at the commencement of this book (p. 38).
[Footnote 464: By Dryden.]
Steele[465] gives her portrait thus: 'FLAVIA is ever well dressed, and always the genteelest woman you meet; but the make of her mind very much contributes to the ornament of her body. She has the greatest simplicity of manners of any of her sex. This makes everything look native about her, and her clothes are so exactly fitted, that they appear, as it were, part of her person,' etc.
[Footnote 465: Tatler, 212.]
Ramble. There's Mrs. Rogers, Mrs. Oldfield, Mrs. Verbruggen----
Critick. The last is a miracle, but the others mere rubbish, that ought to be swept off the stage with the filth and dust.
Hers was a romantic history. Her maiden name was Percival, and she married Mountford the actor, who was killed by Lord Mohun for protecting Mrs. Bracegirdle. Betterton says, 'Her Father Mr. Percival had the Misfortune to be drawn into the Assassination Plot against King William; for this he lay under Sentence of Death, which he received on the same Night that Lord Mohun killed her husband, Mr. Mountfort. Under this, almost insuperable Affliction, she was introduced to the good Queen Mary, who being, as she was pleased to say, Struck to the Heart upon receiving Mrs. Mountfort's Petition, immediately granted all that was in her Power, a Remission of her Father's Execution for that of Transportation. But Fate had so ordered it that poor Mrs. Mountfort was to lose both Father and Husband. For as Mr. Percival was going abroad, he was so weakened by his Imprisonment, that he was taken Sick on the Road, and died at Portsmouth.' She afterwards married Jack Verbruggen, and their married life is thus described by Aston: 'She was the best Conversation possible; never Captious, or displeas'd at any Thing but what was gross or indecent; for she was cautious lest fiery Jack shou'd so resent it as to breed a Quarrel; for he would often say Dammee! tho' I don't much value my Wife yet no Body shall affront her, by G--d; and his Sword was drawn on the least occasion, which was much the fashion in the latter End of King William's Reign.' She is described as being 'a fine fair Woman, plump, full featured, her Face of a fine smooth Oval.'
The theatre never solely depended upon the drama for its attractions, and there was generally a ballet of some description; not, of course, such elaborate affairs as we have now, but performances by one or two artists, such as M. L'Abbé and Mrs. Elford. The dances were such as chacones, minuets, allmands, corantos, jigs, sarabands, etc., and we have already seen the pains taken with this art, and the elaborate instructions of its professors.
XXVI. OPERA, CONCERTS, MUSIC
Introduction of Italian opera -- Its rapid popularity -- Mixture of languages -- Handel -- His operas, and visit here -- Singers -- Abel -- Hughs -- Leveridge -- Lawrence -- Ramondon -- Mrs. Tofts -- Her madness -- Foreign singers -- Margherita de l'Epine -- Nicolino Grimaldi -- Isabella Girardeau -- Composers -- Dr. Blow -- Jeremiah Clarke -- Dean Aldrich -- Tom D'Urfey -- Henry Carey -- Britton, the small coal man -- His concerts -- His death -- Concerts and concert rooms -- Gasparini, the violinist -- Musical instruments -- Musical scores.
'1673.4. 5 Jan. I saw an Italian opera in Music, the first that had been in England of this Kind,' writes Evelyn; but Pepys mentions it even earlier: '1667.8. Jan. 12. With my Lord Brouncker to his house, there to hear some Italian musique, and here we met Tom Killigrew, Sir Robert Murray, and the Italian, Signor Baptista,[466] who hath prepared a play in Italian for the Opera, which Sir T. Killigrew do intend to have up; and here he did sing one of the Acts.' There is, however, no record of either of these being acted. The first opera of which we have any record is a translation of 'Arsinoë,' an Italian opera written by Stanzani of Bologna, for the theatre of that town, in 1677, and here is the premier advertisement of opera in England.
[Footnote 466: Battista Draghi.]
'At the Theatre Royal in Drury Lane, this present Tuesday being the 16th of January, will be presented a New Opera never perform'd before, call'd Arsinoe Queen of Cyprus, After the Italian manner, All Sung, being set to Musick by Mr. Clayton. With several Entertainments of Dancing by Monsieur l'Abbee, Monsieur du Ruel, Monsieur Cherrier, Mrs. Elford, Mrs. du Ruel, Mrs. Moss and others. And the famous Signiora Francisca Margaretta de l'Epine will, before the Beginning and after the Ending of the Opera, perform several Entertainments of singing in Italian and English. No person to be admitted into the Boxes or Pitt but by the Subscribers Tickets, to be delivered at Mrs. White's Chocolate House. The Boxes on the Stage and the Galleries are for the benefit of the Actors.'[467] The singers were all English; and here we have the commencement of the subscription opera.
[Footnote 467: Daily Courant, Jan. 16, 1705.]
In the next two years there were but very few operas, although Addison wrote one called 'Rosamond.' During this period, too, the Queen's Theatre in the Haymarket was opened for Opera, with what success we have seen.
The thin edge of the wedge, as regards Italian singing, was introduced in 1707, when Valentini Urbani, a Castrato, and a female singer called 'The Baroness,' came over here. They made their first appearance 'At the Theatre Royal in Drury Lane, this present Saturday, being the 6th of December, will be presented an Opera called "Camilla." All to be sung after the Italian manner. The Parts of Latinus by Mr. Turner, Prenesto by Signiora Margarita, part in Italian, Turnus by Signior Valentino, in Italian, Metius by Mr. Ramondon, Linco by Mr. Leveridge, Camilla by Mrs. Tofts, Lavinia by the Baroness, most in Italian, Tullia by Mrs. Lindsey.'[468]
[Footnote 468: Ibid. Dec. 6, 1707.]
What a curious mixture it must have been, some singing in Italian and some in English! but it was not the sole example, for when Italian opera was introduced into Germany the recitative was given in German and the airs sung in Italian.
Of course an innovation, and coming from a foreign source, roused the insular prejudices of John Bull. It was un-English. As Dennis, the critic, wrote[469]: 'And yet tho' the Reformation and Liberty and the Drama were establish'd among us together, and have flourish'd among us together, and have still been like to have fall'n together, notwithstanding all this, at this present Juncture, when Liberty and the Reformation are in the utmost Danger, we are going very bravely to oppress the Drama, in order to establish the luxurious Diversions of those very Nations, from whose Attempts and Designs, both Liberty and the Reformation are in the utmost Danger.'
[Footnote 469: An Essay on the Operas after the Italian manner, 1706.]
With far greater sense and show of reason he says: 'If that is truly the most Gothick, which is the most oppos'd to Antick, nothing can be more Gothick than an Opera, since nothing can be more oppos'd to the ancient Tragedy, than the modern Tragedy in Musick, because the one is reasonable, the other ridiculous; the one is artful, the other absurd; the one beneficial, the other pernicious; in short, the one natural, and the other monstrous. And the modern Tragedy in Musick, is as much oppos'd to the Chorus, which is the Musical part of the Ancient Tragedy, as it is in the Episodique; because, in the Chorus, the Musick is always great and solemn, in the Opera 'tis often most trifling and most effeminate; in the Chorus the Music is only for the sake of the Sense, in the Opera the Sense is most apparently for the sake of the Music.'
This mongrel style of performance, half Italian, half English, lasted till 1710. 'Pyrrhus and Demetrius' (a translation of 'Pirro e Demetrio' of Adriano Morselli) was the last opera thus played. On Jan. 3, 1709, the prices of admission were considerably reduced: stage boxes from 15_s._ to 8_s._, first gallery from 5_s._ to 2_s._ 6_d._, and upper gallery from 2_s._ to 1_s._ 6_d._, and the pit was 5_s._
Steele laughingly criticises[470] the performance of 'Pyrrhus and Demetrius.' 'That the understanding has no part in the pleasure is evident, from what these letters very positively assert, to wit, that a great part of the performance was done in Italian; and a great Critic fell into fits in the Gallery, at seeing not only Time and Place, but Languages and Nations confused in the most incorrigible manner.'
The opera of 'Almahide' (composer unknown, supposed to be Buononcini) was brought out at the Hay market on Jan. 10, 1710, and was the first opera ever played entirely in Italian and by Italian singers. These were Nicolini, Valentini, Cassani, Margarita, and Isabella Girardeau. Still John Bull must assert himself, and between the acts intermezzi were sung in English by Dogget, Mrs. Lindsey, and Mrs. Cross.
Another opera was that of 'Hydaspes' (by Francesco Mancini), which Addison[471] made terrible fun of, especially of a fight that took place between Nicolini and a lion. He had previously[472] unmercifully ridiculed 'Nicolini exposed to a Tempest in Robes of Ermine, and sailing in an Open Boat upon a Sea of Pasteboard,' 'the painted Dragons Spitting Wildfire, enchanted Chariots drawn by Flanders Mares, and real Cascades in artificial Landskips;' but then he might have been sore at the fate of his own opera, 'Rosamond,' which was not a success.
[Footnote 470: Tatler, No. 4.]
[Footnote 471: Spectator, 13.]
[Footnote 472: Ibid. 5.]
Towards the end of 1710 Handel, who was then twenty-seven years of age, came over to England upon the invitation of several noblemen, whose acquaintance he had made at the Court of Hanover; and here he wrote, for Aaron Hill, who then managed the Haymarket Theatre, his opera of 'Rinaldo,' the first advertisement of which contains a silly blunder as to dates. 'By Subscription. At the Queen's Theatre in the Hay Market, this present Saturday being the 24th day of February, will be perform'd a new Opera, call'd Rinaldo. Tickets and Books will be delivered out at Mr. White's Chocolate House in St. James's Street, to Morrow and Saturday next.'[473] In 1712 appeared another of Handel's operas, 'Il Pastor Fido,' which was only performed four times.
[Footnote 473: Daily Courant, Feb, 24, 1711.]
On Jan. 21, 1713, was performed his opera of 'Theseus,' about which performance, however, there seems to have been some hitch, for we read[474]: 'Advertisement from the Queen's Theatre in the Hay Market.--This present Saturday the 24th of January, the Opera of Theseus composed by Mr. Hendel will be represented in its Perfection, that is to say with all the Scenes, Decorations, Flights and Machines. The Performers are much concerned that they did not give the Nobility and Gentry all the Satisfaction they could have wished, when they represented it on Wednesday last, having been hindered by some unforeseen Accidents, at that time insurmountable. The Boxes on the Stage Half a Guinea, the other Boxes 8_s._ The Pit 5_s._, the first Gallery 2_s._ 6_d._' On Handel's first visit, in 1710, the Queen gave him a most flattering reception, and would fain have him remain here, offering him a pension; but he excused himself, as being already engaged to the Elector George of Hanover.
[Footnote 474: Ibid. Jan. 24, 1713.]
A few short notes about the singers will be interesting. Very early in Anne's reign mention is made of a singer of whom the only record I can find, is in the following advertisement, and some few others: 'To all the Nobility and Gentry, Whereas Mr. Abel, having been Honoured with the Commands of the Nobility and Gentry, to sing in Drury Lane 4 times; this is to give notice that the said Mr. Abel has not engaged to sing in any other Consort, till that Noble Performance be ended.'[475]
[Footnote 475: Postman, May 9/12, 1702.]
Hughes was a favourite concert singer, with a good countertenor voice; and, when opera first came in, he always played the best parts, until Valentini came over, after which he either died, or left the stage, for no more is heard of him.
Richard Leveridge had a fine and powerful bass voice, and stuck to the stage till he was more than eighty years old, singing in the pantomime at Covent Garden. He was not only an actor and singer, but a composer, having taken part in the composition of an English opera, called the 'Island Princess,' in 1699, and he also wrote and composed many Bacchanalian songs. Died 1758, aged 88.
Of Lawrence little is known, except that when the opera of 'Hydaspes' was brought out on May 23, 1710, he was able to take a part in it, although an inferior one, and sing it in Italian. He had a tenor voice, and continued in Italian opera till 1717, when trace is lost of him.
Ramondon seems to have come upon the stage in 1705, and to have had a bass voice, as he took Leveridge's part in 'Arsinoë.' He seems to have left the stage with the opera of 'Pyrrhus and Demetrius,' but he published some songs in 1716, and set the song tunes in 'Camilla' for the harpsichord or spinet.
Mrs. Tofts was our English prima donna, and she too possessed the then rare accomplishment of being able to sing in Italian. She was the daughter of a person in the family of Bishop Burnet, and when she appeared on the stage, she won all hearts by her voice, figure, and performance. Her voice was more soprano than contralto.
We have seen her disclaimer when her servant insulted Madame de l'Epine; and doubtless it was sincere, as she was an equal, if not a greater, favourite with the public. She retired from the stage, with a competence amassed by her exertions, in 1709. If we may believe the Tatler (No. 20), she had sad cause for leaving the stage, having lost her reason. 'The great revolutions of this nature bring to my mind the distresses of the unfortunate CAMILLA, who has had the ill luck to break before her voice, and to disappear at a time when her beauty was in the height of its bloom. This lady entered so thoroughly into the great characters she acted, that when she had finished her part she could not think of retrenching her equipage, but would appear in her own lodgings with the same magnificence that she did upon the stage. This greatness of soul had reduced that unhappy princess to an involuntary retirement, where she now passes her time among the Woods and Forests, thinking on the Crowns and sceptres she has lost, and often humming over in her solitude,
I was born of royal race, Yet must wander in disgrace.[476]
etc. But for fear of being over heard, and her quality known, she usually sings it in Italian,
Nacqui al regno, nacqui al trono E per sono I ventura pastorella.'[477]
A sad, very sad picture, if a true one.
[Footnote 476: From the opera of 'Camilla.']
[Footnote 477: Sic in orig., but it should read--
'E pur sono Sventurata pastorella.']
At all events she must have got better, for she married a rich gentleman named Joseph Smith, a virtuoso, and patron of art; and when he went to Venice, as English consul, she accompanied him.
In Spectator 443 is a letter, supposed to be written by her, from Venice.
Her mental malady, however, again seized her, and she lived in retirement, in a remote part of her own house, occasionally roaming about her garden, singing. She is supposed to have died about 1760.
She and her rival are thus celebrated in a song by Hughes (author of the 'Siege of Damascus'), called 'Tofts and Margaretta.'
Music has learn'd the discords of the State, And concerts jar with Whig and Tory Hate. Here Somerset and Devonshire attend The British Tofts, and every note commend; To native merit just, and pleas'd to see We've Roman arts, from Roman bondage free: There fam'd l'Epine does equal skill employ, Whilst listening peers crow'd to th' ecstatic joy: Bedford, to hear her song, his dice forsakes, And Nottingham is raptur'd when she shakes: Lull'd statesmen melt away their drowsy cares Of England's safety, in Italian Airs. Who would not send each year blank passes o'er, Rather than keep such strangers from our shore?
Francesca Margherita de l'Epine came over here with a German musician named Greber, and was sometimes irreverently called 'Greber's Peg.' There is no doubt but that she sang very beautifully, and was without a rival on the stage, or in the concert room, after the retirement of Mrs. Tofts. She herself retired in 1718, and married Dr. Pepusch, the celebrated musician, who gave her another nickname, that of 'Hecate,' because of her swarthy complexion and unprepossessing countenance. However, she came well dowered, for she brought him a fortune of £10,000, a very large sum in those days. Swift, who evidently had a John Bull's dislike for everything foreign, writes from Windsor to Stella,[478] 'We have a music meeting in our town to-night. I went to a rehearsal of it, and there was Margarita, and her sister, with another drab, and a parcel of fiddlers; I was weary, and would not go to the meeting, which I am sorry for, because I heard it was a great assembly.' She died about the year 1740.
[Footnote 478: Journal, Aug. 6, 1711.]
The Cavaliere Nicolino Grimaldi,[479] commonly called Nicolini, was a Neapolitan, and came over to England in 1708, entirely on his own responsibility, hearing we were passionately fond of foreign operas. He had achieved a high reputation in Italy, and sustained it here, although foreigners were only tolerated, not liked. He first played in 'Pyrrhus and Demetrius,' and he left England June 14, 1712. His departure is thus chronicled by Addison[480]: 'I am very sorry to find, by the Opera Bills for this Day, that we are likely to lose the greatest Performer in Dramatick Musick that is now living, or that perhaps ever appeared upon a Stage. I need not acquaint my Reader, that I am speaking of Signior Nicolini.'
[Footnote 479: Cavaliere di San Marco.]
[Footnote 480: Spectator, 405.]
Of Isabella Girardeau we know little, save that her maiden name was Calliari, that she married a Frenchman, and sang from 1700 to 1720.
Of the musical composers living in Anne's reign, perhaps the oldest was Dr. Blow, who died in 1708. Then there was Tudway, who composed an anthem[481] on the occasion of Queen Anne visiting the University of Cambridge, in 1705, which gained him his doctor's degree, and he was afterwards made public Professor of Music to that university, where he was longer remembered for his punning proclivities than for his musical talents.
[Footnote 481: 'Thou, O God, hast heard my vows.']
Jeremiah Clarke, who was coadjutor with Dr. Blow as organist at the King's Chapel, composed the beautiful anthem 'Praise the Lord, O Jerusalem.' He shot himself in 1707 when about forty years of age. There is a curious story told about his suicidal mania. Some weeks before he finally committed the rash act, he was riding to town, accompanied by a servant, returning from a visit to a friend in the country, when the fit seized him, and, dismounting by a field in which was a pond surrounded by trees, he tossed up whether he should hang or drown. The coin fell on its edge in the clay, and saved his life for that time.
Dean Aldrich was then alive (he did not die till 1710), and he will be long remembered, not only for his 'Artis Logicæ Rudimenta,' but for his skill as a musical composer[482]; whilst no one at all conversant with Church music will forget the names of Drs. Crofts and Greene.
[Footnote 482: See Christ Church Bells, Appendix.]
Among the secular composers was Tom D'Urfey, whose 'Pills to purge Melancholy' is a storehouse of song; but, with the exception of Henry Carey, whose 'Sally in our Alley' and 'Black-Eyed Susan' are immortal, the opera and ballad composers of Anne's reign were of no great mark.
A most curious outcome of musical brotherhood was Thomas Britton, the small-coal man, already casually mentioned. He must not be passed over under any circumstances, as it is perhaps the only instance of fraternity, absolute and equal, recorded in this reign, between the upper and lower ranks of society. It was of him that Prior wrote:--
Though doom'd to small coal, yet to arts allied; Rich without wealth, and famous without pride, Music's best patron, judge of books and men; Belov'd and honour'd by Apollo's train. In Greece or Rome sure never did appear, So bright a genius, in so dark a sphere! More of the man had probably been sav'd Had Kneller painted, and had Virtue grav'd.
This singular man had a small coal shop in Aylesbury Street, Clerkenwell; and his room, which was over his coal stores, could only be reached by a breakneck ladder, as Ward remarks--
Upon Thursdays repair To my palace, and there Hobble up stair by stair; But I pray ye take Care That you break not your shins by a Stumble.
Somehow, he had a soul above his vocation. He was a fair chemist, and a collector (with some knowledge) of old books and manuscripts. But the most curious part of all his surroundings was the fact that he was able to gather round him in his dirty little den, not only all the musical talent available, but titled dilettanti, and even elegant ladies came to his réunions. It was quite the proper place to go to. Hear what old Thoresby says,[483] 'In our way home called at Mr. Britton's, the noted small coal man, where we heard a noble concert of music, vocal and instrumental, the best in town, which for many years past he has had weekly for his own entertainment, and of the gentry &c. gratis, to which most foreigners and many persons of distinction, for the fancy of it, occasionally resort.' And no wonder, when the learned musical Dr. Pepusch might be present, or Handel played the harpsichord, whilst Banister would take first violin. Still, it was a peculiar place to meet in, and only shows what inconveniences people will suffer for fashion's sake.
[Footnote 483: June 5, 1712.]
His death was almost as remarkable as his life. One of his performers was injudicious enough to introduce to him a friend of his who was a ventriloquist, who, without seeming to speak, bade him, as from a far-off, sepulchral voice, fall down on his knees at once and say the Lord's Prayer, for that he should die within a few hours. Poor Britton did as he was bid--then went home, took to his bed, and died in a few days of sheer fright, a victim to practical joking.
There was a vast amount of musical taste at that time, but of course it was not so highly developed as now. We have seen that a dramatic performance was generally accompanied by a musical one, and the concerts, or consorts, as they were then called, were numerous.
Owing probably to the mourning consequent on the decease of William III., the first announcement of a concert in Anne's reign that I can find is one postponed from April 30, 1702, to May 7, and this was to take place at Stationers' Hall, a very usual place for such entertainments. In the same newspaper is a notice that 'The Queen's Coronation Song, compos'd and Sung by Mr. Abell is to be perform'd at Stationers Hall near Ludgate, to Morrow, being the First of May 1702 at 8 of the Clock at Night precisely, with other Songs in Several Languages, and accompanied by the greatest Masters of Instrumental Musick; Each Ticket 5_s._'
York Buildings was another favourite concert room, as was also Hickford's Dancing Room. This latter place, being at the extreme West End of London, bid for aristocratic patrons, and the prices were high; indeed, the tickets for the following concert were the highest priced of any I have ever met with: '1707 To Morrow being Wednesday the 2nd of April, Signior Fr. Conti will cause to be perform'd at Mr. Hickford's Dancing Room in James Street, in the Hay Market over against the Tennis Court, the Consort of Musick compos'd by him for her Majesty, and which he had the Honour to have perform'd at Court the Day after the Act for the Union[484] pass'd. Signiora Margarita, the Baroness, and Signior Valentino will sing in it accompanied with several Instruments, and the Signior Conti will play upon his great Theorbo, and on the Mandoline, an instrument not known yet. The Consort will begin at 7 a Clock at Night. Tickets to be had only at White's Chocolate House, and at the Smyrna Coffee House at a Guinea a ticket.' A high price--but consider the attractions. All the available talent, together with a Monstre Instrument, and an entirely novel one!
[Footnote 484: The Royal Assent to this Act was given March 6, 1707.]
Nowadays we should hardly expect concerts to be given at Chelsea Hospital, but it was different then, and 'Ladies of Quality' probably had as much influence then as they have now, and could get pretty well what they liked: '1702 In Honour of the Queens Coronation; The Ladies Consort of Musick; by Subscription of several Ladies of Quality (by permission) at the Royal College of Chelsea, on Monday the 25th of the present May, is to be performed once, a new Consort of Musick, by Mr. Abel and other voices; with Instrumental Musick of all sorts; To be placed in two several Quires on each side of the Hall; a manner never yet performed in England. The Hall to be well illuminated; the said Consort to begin exactly at five a Clock, and to hold 3 full hours. Each Ticket 5_s._ Notice that the Moon will shine, the Tide serve, and a Guard placed from the College to St. James's Park, for the safe return of the Ladies.'
The moon and tide were important factors then, as we find in a notice of 'a Consort of Musick' at Richmond Wells, Aug. 12, 1703: 'This Consort to be perform'd but once, because of the Queen's going to the Bath. Note. The Tide serves at 11 o'clock in the Morning and Light Nights.' So that the visitors were evidently expected to spend the whole day there.
Another suburban Spa (Hampstead) was famous for its concerts, and continued in favour during the whole of the reign.
'1705 On Saturday August 4th In the great Room at the Ship Tavern Greenwich will be an extraordinary Consort of Vocal and Instrumental Musick, viz., Several Songs set by the best Masters; Particularly a Song of two parts by Mr. Henry Purcel, never performed but once before in Publick,' etc.
Towards the latter end of the reign the character of some of these concerts seems to be altering. Take one at Stationers' Hall, Feb. 22, 1713, for instance: 'Among other choice Compositions, a celebrated Song of Mr. Hendel's by a Gentlewoman from Abroad, who hath never before exposed her Voice publickly in this kingdom. To which will be added an uncommon piece of Musick by Bassoons only. Country Dances when the Consort is over; and such a Decorum kept that the most innocent may be present without the danger of an Affront.'
Concerts, as we see, were both vocal and instrumental. Of the vocal performers much has already been said; of the instrumental, none are worth notice, except Gasparini, an Italian, who was an excellent violinist. The last and perhaps the least of them was: 'A Boy of about Eight Years of Age will perform an Italian Sonata on the Trumpet, who never yet perform'd in publick.' This musical treat took place at York Buildings, Feb. 24, 1703.
The instruments in domestic use were the chamber or house organ, many of which were frequently advertised for sale, the spinet, and harpsichord, or harpsicalls, which we know so well, thanks to the South Kensington Museum. Here, however, is a rare one: 'To be disposed of, a most excellent Harpsicord made by the famous Sign. Gieronimo Senti, at Pesaro in Italy, having 2 Extraordinary fine Keys of Ivory, several Stops and Alterations besides the 2 Principals, and one Octave, or the Spinet, which may by plaid seperately or together, imitating most exactly the Theorbo, and most curiously the Arch Lute.' The flute was played, as were also the lute, and the theorbo, a lute-like instrument. The other stringed instruments were the bass viol and the violin, Cremonas being then, as now, highly prized.
It was essentially an age for chamber music, with nice little social gatherings, at which were played duets on the flute, etc., or catches, rounds, and three-part songs were sung. What we should call good music was thoroughly appreciated, and Corelli, perhaps, was then the favourite composer. The following advertisement will show the class of music then in vogue (1706): 'To all Lovers of Musick. This day are published, and to be sold at Isaac Vaillant's Book and Map-seller in the Strand near Catherine Street, Per.[485] Opera 2 da, Sonata di Camera for 2 Flutes and Bass, Marini Opera 6 ta, 12 Sonatas for 2 Violins, a Viol and double Basses, 6 Sonatas and Solos transposed for the Flute, pr 5_s._ Mr Novel's 12 Sonatas for 2 Violins and double Basses, pr 6_s._, Six new Sonatas for 2 Flutes and a Bass by Mr. Keller. Albicestilo, Opera Nona, 12 Solos for the Violin, a new Book for the Harpsichord by Mr. Anglebert, with several Overtures, Minuets, Jigs, &c. of Mr. Lully transposed for that instrument. These books are printed by Steph Roger, most of them on Royal Paper. At the abovesaid Vaillant's may be had the new Edition of Corelli printed on Imperial Paper pr 32_s._ 6_d._'
[Footnote 485: ? Perti, who lived to the age of nearly 100, and was alive in 1744.]
But all music was not as dear as this--for instance: 'The Monthly Mask of Vocal Musick: the newest Songs, made for the Theatres and other occasions Compos'd by Mr. John Welden and Mr. Dan Purcel. Publish'd for November, which collections will be continued monthly for the year 1703 pr. 6_d._ Also a Set of Lessons for the Harpsicord or Spinnet. Composed by Mr. John Eccles, Master of Her Majesties Musick pr 6_d._'
Music was printed either from engraved copper plates, as in the case of 'The Nightingale,' which was engraved by Thomas Cross, who worked in the very early part of the century, or by movable types, as is the case with all music taken from 'The Dancing Master.' But the Dutch hit upon a cheaper plan, and made use of pewter plates, which they stamped, and so were able to undersell the engraved music. It is said they got 1,500_l._ by printing the opera of 'Rinaldo.' One Richard Mears also engraved music, but he, finding his trade interfered with by the Dutchmen, took to stamping. At his death in 1743 almost the whole of the music-printing in the country was done by the son of the following advertiser:[486] 'Twenty four New Country Dances for the year 1710, with proper Tunes, and New Figures, or direction to each Dance, composed by Mr. Kynaston, all fairly Engraven, price 6_d._ NOTE The New Country Dancing Master is published, containing the Country dances for the three last years. Printed for John Walsh. Servant in Ordinary to her Majesty.'
[Footnote 486: Tatler, 88.]
XXVII. PAINTERS AND ARCHITECTS
Wollaston -- Murray -- Hugh Howard -- Lewis Crosse -- Luke Cradock -- Charles Jervas -- Richardson -- Sir James Thornhill -- Sir Godfrey Kneller -- Closterman -- Pelegrini -- Sebastian Ricci -- Vander Vaart -- Laguerre -- Dahl -- Boit -- Class of pictures in vogue -- Water colours -- Drawings -- Engravings -- Sculpture -- Grinling Gibbons -- Architects -- Sir C. Wren -- Vanbrugh.
The sister art of painting was not well represented in this reign--by native talent, at all events, except by Thornhill. There was Wollaston, a portrait painter, who could only command five guineas for a three-quarters canvas: he was one of Britton's amateurs, and played both violin and flute. He died at an old age in the Charter House. Thomas Murray was another portrait painter.
There was Hugh Howard, to whom Prior indited an ode commencing,
Dear Howard, from the soft assaults of love, Poets and painters never are secure; Can I untouch'd the fair one's passions move, Or thou draw beauty, and not feel its power?
He was lucky, for through his acquaintances of high rank he obtained the situation of Keeper of the State Papers, and Paymaster of His Majesty's Palaces, when he still followed the pursuit of art, by collecting prints and medals.
Lewis Crosse was a painter in water colours, and executed miniatures. He also collected them, and his very valuable collection was sold in 1722, two years before his death. Luke Cradock, who was but a house painter, rose by his own exertions to be an excellent painter of birds, and, like H. S. Marks, Esq., R.A., his works were highly prized for house decorations. According to Vertue, his pictures, soon after his death, fetched three or four times the prices paid for them.
Charles Jervas, who lived in this reign, and had been a pupil of Kneller, was a very good painter. He taught Pope to draw and paint, and Pope wrote an 'Epistle to Mr. Jervas,' in which he belauded him, as did also Steele[487] when he called him 'the last great painter Italy has sent us, Mr. Jervas'--alluding to his return from studying in Italy. He married a widow worth 20,000_l._, and the praise he received with the affluence of his circumstances rendered him inordinately vain, as the two following anecdotes will show. He made a good copy of a Titian, and he thought he had actually outdone that master; for, looking from one to the other, he complacently observed, 'Poor little Tit! how he would stare!' The Duchess of Bridgewater sat to him for her portrait, that picture of which Pope says--
With Zeuxis' Helen thy Bridgewater vie
--and he remarked that she had not a handsome ear. Her ladyship asked him his opinion of what was a handsome ear, to which his answer was--showing her one of his own.
[Footnote 487: Tatler, No. 4.]
Jonathan Richardson was, perhaps, the best English portrait painter of his time; and, after the deaths of Kneller and Dahl, stood prominent in that branch of his profession. Aikman and Alexander were also contemporary artists.
But perhaps the English artist of that time best known to us is Sir James Thornhill; not only by his painting in the dome of St. Paul's, but by his masterpiece in the Hall of Greenwich Hospital. Indeed he was a worthy rival both of Verrio and Laguerre. Forty shillings per square yard was all he got for painting St. Paul's, and probably no more for Greenwich. For his decorations at Blenheim he only received twenty-five shillings per square yard; and the Directors of the South Sea Company would pay him no more for the work he did on their staircase and hall. There are a few other English painters, but they were of no note.
Of foreign artists in England, doubtless the greatest was Kneller, who was born at Lubeck in 1648. He came over here in 1674, without the least intention of stopping; but, having painted Charles II. and established a reputation, he made this country his home. Knighted by William, petted by Anne, baroneted by George I., he could scarcely expect greater honours. His principal works in Anne's reign were a bad portrait of the King of Spain, who paid a visit to the Queen, and was kept some time longer than he expected, by stress of weather; seven portraits of admirals at Hampton Court, and the portraits of the Kit Cat Club, which have already been noticed. He was as vain as Jervas, if not more so. Pope tried to see to what extent his vanity would go. 'Sir Godfrey, I believe if God Almighty had had your assistance, the world would have been formed more perfect.' ''Fore Gad, Sir, I believe so too,' was the self-satisfied reply. He, however, was not devoid of wit, as his little encounter with Dr. Ratcliffe proves. They lived next to each other, and there was a door between the two gardens. Through this door Ratcliffe's servants used to come and pick Kneller's flowers; so the painter sent word that he would have the door shut. A message came from the doctor that 'he might do anything with it but paint it,' to which the artist replied that 'he would take anything from him but his physic.' Kneller was painting the portrait of James II., which was to be a present to Pepys, when the King received the news of the landing of the Prince of Orange. He ordered the painter to proceed with his work, so that 'his good friend Pepys should not be disappointed.'
When Sir Godfrey moved from his house in Covent Garden, he had a sale of pictures, probably of little artistic value, or only copies.[488] 'At the late Dwelling House of Sir Godfrey Kneller, in the Piazza's, Covent Garden, will be sold a Collection of Original Paintings, fit for Stair Cases, Chimneys, Doors or Closets. Some of the Masters they were done by are as follows: viz. Holben, Ruben, Van Dyke, Sr. Peter Lely, Antonio de Cortona, Solveta, Rosa, Snider, Vander Velde, Rostraten, Bombodes, Verelst and several other great Masters.' This auction was a failure: 'This is to give notice, That the Collection, &c., will be Sold out of hand at very reasonable Rates at the above-mentioned place, beginning this present Monday being the 27th of March, the badness and uncertainty of the Weather having put a stop to the Auction.[489]
[Footnote 488: Postman, March 11/14, 1704.]
[Footnote 489: Daily Courant, March 27, 1704.]
John Closterman was the artist who painted the whole-length portrait of Queen Anne, now in the Guildhall. We get several notices of him from the newspapers: 'Mr. Closterman being obliged at Christmas next to go to Hanover, and afterwards to several Courts of Germany; so that it is uncertain whether he will ever return to England. Such Persons of Quality and others, as have lately sate to him, are desired to take notice, that their Pictures will be finished out of hand, and deliver'd as they shall best please to order them.'[490]
[Footnote 490: Ibid., Aug. 6, 1705.]
In April of the next year he advertised that 'being oblig'd to leave England very suddenly, will sell all his pictures by Auction.' Another sale of pictures took place on Feb. 28, 1711, which was probably after his death, the date of which is somewhat uncertain. He had married a worthless girl, who robbed him of all he possessed, and then ran away: this sent him mad, and he soon afterwards died.
Antonio Pelegrini made several designs for painting the dome of St. Paul's, and was paid for them. He painted staircases, etc., for the Dukes of Manchester and Portland, and for other noblemen. He died abroad.
His master, Sebastian Ricci, came over here, and painted the altarpiece in the chapel of Chelsea College; but he, too, did not stop. Not so James Bogdani, a native of Hungary, who lived here between forty and fifty years. He painted fruit, flowers, and birds, and our royal palaces still possess examples of this master, which were purchased by Queen Anne.
John Vander Vaart,[491] of Haarlem, lived for over fifty years in Covent Garden, and died there. His forte was game. He painted a piece of still life--a violin--on a door at Devonshire House, Piccadilly, that deceived everybody. This is now at Chatsworth.
[Footnote 491: In the Postman, Feb. 3/6, 1711, is an advertisement of his, saying he intended retiring from business, and will sell his collection of pictures.]
Pope's line, 'Where sprawl the Saints of Verrio and Laguerre,' naturally makes us think of these two masters, and many were the ceilings which the latter painted in England. He enjoyed royal patronage under both William and Anne, designing for the latter some tapestry, illustrative of the union between England and Scotland, in which were portraits of the Queen and her ministers. He did the drawings, but the tapestry was not made. His end was sudden: he died of apoplexy in Drury Lane Theatre, whither he had gone to attend the benefit of his son, who sang there in 'The Island Princess.'[492]
[Footnote 492: By P. A. Motteux.]
Michael Dahl was a Swede, and a mighty portrait painter. He was Kneller's rival, and yet they must have been friends, for Sir Godfrey painted his portrait. He was a great pet of Prince George of Denmark, and was also patronised by the Queen.
Any account of the artists of this reign would be sadly incomplete without mention of Boit, the enameller, who was certainly the best, up to that time, after Petitot or Zincke. He got large sums for his miniatures. Several now exist, and one, especially good, of Queen Anne sitting, and Prince George standing beside her, is at Kensington Palace. The most important work on which he was engaged during his stay in England was a large plate, about 24 in. by 18, for which Laguerre painted the design in oil. It represented the Queen, Prince George, and the principal members of the Court, with Victory introducing the Duke of Marlborough and Prince Eugene; France and Bavaria were prostrate, and there were the usual military accompaniment of standards and trophies of arms. He got an advance of £1,000, and spent £700 or £800 of it in erecting furnaces able to fire so large a plate; and, when he began to lay on colour, he got another advance of £700. Then came the memorable disgrace of Marlborough, and he was ordered to change Marlborough into Ormonde, and Victory into Peace. Prince Eugene would not sit, and no further progress was ever made with the picture. Boit ran away, on the Queen's death, much in debt, and got to France, where they were only too glad to receive him. There he died in 1726.
Those were not, as now, golden days for artists, who never dreamed of living in luxuriously furnished mansions of their own building. There were no exhibitions of art, nor did the middle class indulge much in oil paintings, which were principally confined to originals, or copies, of the Italian or Dutch and Flemish schools. Of course every gentleman who made the 'grand tour' brought some home with him, if only to show his taste in such matters; and, through the fluctuations of fortune, there was generally a good supply of them in the market. The following extract from Swift's Journal to Stella will give some idea of the price of a copy, for it is scarcely likely to have been an original. '6 Mar. 1713. I was to day at an auction of pictures with Pratt, and laid out two pounds five Shillings for a picture of Titian, and if it were a Titian it would be worth twice as many pounds. If I am cheated, I'll part with it to Lord Masham; if it be a bargain, I'll keep it to myself. That's my conscience.'
To give an idea of the range of art which these pictures occupied, let us take the names of the masters, with their spellings, as they appear in the advertisements. Italian. Giorgione-da Castle Franco, Titian, Palma, Tintoret, Bassan, Cavalieri, Gioseppi d'Arpino, Paulo Faranati, Camillo Procacino, Spaniolette, Bartolemeo, Pordenone, Andrea del Sarto, Leonardo da Vinci, Paulo Veronese, Gaspar Poussin, Julio Romano, Pollydore, Parmigiano, Baptista Franca, Corregio, Primaticcio, Schiavone, Claud Lorain, Fran, Bolognese, Mola, the Borgognon, Luca Jordano, Bourdon, Perosini, Scacciati, Daudini, Tempesto, and Guido Guavini.
Among the Dutch and Flemish Masters were: Van Dyke, Quentin Messias, Ostervelt, Vander Werff, Van de Velde, Cornelius Johnson, Vander Meer, Brayuinx, Griffiere, Backhuysen, De Wit, Brawer, Wyck, Ostade, Hondecoeter, Saftleven, Boc, Percellus, Ryzeberg, Blœmœrt, Youngfranc, Bramer, Varelst, Palamedus, Levintz, Ruysdail, Hemskirk, Breughel, Holben, Rubens, Berchem, and Teniers.
And we have one advertisement where 'Among them are Portraits a half length of the Queen of England[493] by Ryly: Sir Tho More; Lord Cicil in Queen Elizabeth's time, and the Lord Francis Bacon.'
[Footnote 493: Either Mary of Modena, Consort of James II., or Queen Mary.]
People who could not afford oil paintings might buy water colours, and the following gives us the names of two famous artists: 'A choice collection of Limnings, by Mr. Cooper and old Mr. Hoskins now in the possession of his Son John Hoskins of Chelsea, will be sold by Auction. Likewise several Boxes of Limning Colours,' etc. These were, in all probability, miniatures.
Drawings, both in crayon and black lead, line engravings, and etchings were within the compass of most people's purses, and here is an advertisement which would create some interest even now at Christie's. 'At the Eagle and Child in Bedford Street, Covent Garden, &c. will be continued the Sale by Auction of a collection of Paintings, Drawings, and Prints, by the most famous Italian, and other great Masters. The Drawings are of the most celebrated Masters of the several Schools of Italy. A great number of them in Frames and Glasses. The Prints are in great perfection, a great many Etcht by the Masters themselves, others graved by the most eminent Gravers. There are a great many extraordinary rare Wood Cuts, they have been collecting these 30 Years with great industry and expense, most out of the chiefest Auctions in England, and others bought in Holland and France, by Mr. William Gibson,[494] Limner.'
[Footnote 494: A miniature painter, pupil of Sir Peter Lely, and nephew of Gibson, the dwarf painter.]
We know the engravings of that time were very good: they were also very cheap, and of good subjects. 'You may have the Right Originals after the greatest Masters, as Raphael, Michael Angelo, Ruben, Julij Romana, all well graven, and 30 sorts of Altarpieces and Prints ready framed;' or one might buy 'A complea. Sett of the Prints of the Royal Palaces and Noblemen's Seats in England, neatly bound up together, or sold Singly for 1_s._ apiece; and likewise a curious Collection of Italian and French prints, particularly the Original Battles of Alexander; the Galleries of Luxemburgh; Poussin's Landskips, and many others.' Good English Engravers were then very scarce: nearly all the illustrations to books were engraved by foreigners, and very frequently in Holland.
Take the following for example--engraved in England, but by a foreigner: The Seven Cartons of Raphael d'Urbin drawn and engraved from the Originals in the Gallery at Hampton Court by S. Gribelin, are sold by C. Mather near Temple Bar in Fleet Street &c.--price 15_s._' There was another set of these engraved in 1711 and 1712, by Michael Dorigny, who offered eight plates 19 in. by 25 to 30 for four guineas. Steele gives this venture a kindly puff in Spectator 226.
Sculpture was not at a premium, there being but one sculptor at all worthy of the name (of course except Gibbons), and he was Francis Bud, to whom, among other works, we owe the statue of Queen Anne in St. Paul's Churchyard, and the Conversion of St. Paul in the pediment of the cathedral.
The virtuosi got their statuary from Italy, and of course these classical gentlemen would be satisfied with nothing less than 'right Antiques.' 'Four Marble Figures lately come from Italy, with 2 half bodies. The Figures are Jupiter and Venus, Bacchus and his Mistress.'
There was a demand for plaster and leaden casts for garden ornamentation, and this was met by one Van Nost, who lived in 'Hide Park Road, near the Queen's Mead House,' who had a fine collection, which was sold after his death, in 1712. His widow also sold, at a great reduction in price, 'the fine Marble Figures and Bustos, curious inlaid Marble Tables, Brass and Leaden Figures and very rich Vauses.'
Grinling Gibbons, of course, bears the palm in the matter of carving in this age, and we must not forget that he carved in stone and marble as well as in wood. The statue of Charles II. in the old Royal Exchange, the base of Charles the First's statue at Charing Cross, and the marble pedestal of the equestrian statue of Charles II. at Windsor, together with the magnificent tomb of Baptist Noel, Viscount Camden, in the church of Exton, Rutlandshire, all testify to his ability when dealing with the more obdurate materials. As to his wood carvings, they are most numerous and widely spread. In the choir of St. Paul's, at Chatsworth, at Burleigh, at Petworth, etc., are triumphs of his skill.
From sculpture to architecture is but a step; and a reign that can boast of two such architects as Wren and Vanbrugh must of necessity rank high as favouring this art. If Wren had built nothing else but St. Paul's, his fame would have been immortal, and the other buildings with which he beautified London, thanks to the great fire, cannot add lustre to his name. In the architecture of his churches he was very uneven; but it must not be forgotten that he had at that time so much work on hand, that thorough originality could not be expected in every case, and also, in very many instances he was hampered as to the expense. Not that he was an extravagant architect. The man who could build (even taking money at its different value then and now) St. Mary Aldermary for a little over 5,000_l._, or St. Mary-le-Bow for 8,000_l._--exclusive of the steeple, which cost nearly 1,400_l._ more--could not be accused of extravagance. We owe to him the Monument, Greenwich and Chelsea Hospitals, the Theatre and Ashmolean Museum at Oxford, and the library of Trinity College, Cambridge, besides a large number of churches, all still existing, and the Royal Exchange and Temple Bar, destroyed. In this reign he was thoroughly appreciated and honoured; was knighted by Anne, was President of the Royal Society, and sat twice in Parliament; and it was reserved to the Whigs in George the First's reign to deprive him of his places, and leave him uncared for in his old age.
The versatile Vanbrugh, who could be playwright or architect, poet, theatrical manager, or king-at-arms, adds much to the lustre of Anne's reign.
We have seen how Swift lampooned him on the building of his own house at Whitehall (p. 47), and we all know Dr. Evans' epitaph upon him:--
Lie heavy on him, earth, for he Laid many a heavy load on thee.
That he was as great an architect as Wren, cannot be for a moment entertained; but that he was not without good taste and scientific knowledge, his two best works, Blenheim and Castle Howard, testify.
XXVIII. SCIENCE, ETC
Its infancy -- Virtuosi -- Gresham College -- Visit to the Royal Society's Museum -- Their curiosities -- Their new house -- Geology -- Experimental philosophy -- Courses of chemistry -- Mathematics -- List of patents -- Hydraulic machinery -- Savery's steam engine -- Description.
Exact science, as we understand the term, hardly existed. Sir Isaac Newton was just lighting the spark which has been fanned by succeeding generations into such a mighty flame. The Royal Society was an absolute laughing-stock, and men called virtuosi pottered about, looking (and doubtless thinking they were) mighty wise.
Any man who investigated nature after his lights, and with the imperfect materials which were at his command, was looked upon as a fool.
'The Will of a VIRTUOSO.[495]
[Footnote 495: Tatler, No. 216.]
'I Nicholas Gimcrack being in sound health of mind, but in great weakness of body, do by this my last Will and Testament bestow my worldly Goods and Chattels in manner following.
'Imprimis. To my dear wife, One box of butterflies, One drawer of Shells, A female Skeleton, A dried Cockatrice.
'Item. To my Daughter Elizabeth. My Receipt for preserving dead Caterpillars. Also my preparations of winter May dew, and Embryo-Pickle.
'Item. To my little daughter Fanny, Three Crocodile's Eggs. And upon the birth of her first Child if she marries with her mother's consent, the Nest of a Humming Bird.
'Item. To my eldest Brother, as an acknowledgment for the Lands he has vested in my Son Charles, I bequeath my last Year's Collection of Grasshoppers.
'Item. To his Daughter Susanna, being his only Child, I bequeath my English Weeds pasted on Royal paper, with my large Folio of Indian Cabbage.
'Having fully provided for my nephew Isaac by making over to him, some years since, a Horned Scarabæus, the Skin of a Rattle snake, and the Mummy of an Egyptian King, I make no further Provision for him in this my Will.
'My eldest Son John having spoken disrespectfully of his little Sister, whom I keep by me in Spirits of Wine, and in many other instances behaved himself undutifully towards me, I do disinherit, and wholly Cut off from any part of this my personal estate, by giving him a single Cockle shell.
'To my second Son Charles, I give and bequeath all my Flowers, Plants, Minerals, Mosses, Shells, Pebbles, Fossils, Beetles, Butterflies, Caterpillars, Grasshoppers, and Vermin, not above specified; as also my Monsters, both wet and dry; making the said Charles whole and sole Executor of this my last Will and Testament; He paying or causing to be paid, the aforesaid Legacies within the space of six Months after my Decease. And I do hereby revoke all other Wills whatsoever by me formerly made.'
Clarinda. A Sot, that has spent £2000 in Microscopes, to find out the Nature of Eals in Vinegar, Mites in a Cheese, and the blue of Plums which he has subtilly found out to be living Creatures.
Miranda. One who has broken his brains about the nature of Magots, who has studied these twenty years to find out the several sorts of Spiders, and never cares for understanding Mankind.[496]
[Footnote 496: The Virtuoso, by Shadwell.]
It is needless to say that Gresham College, then the home of the Royal Society, affords a wealth of merriment to Ward. It is 'Wise Acres Hall,' or 'Maggot Mongers' Hall'; but his description,[497] although whimsical, is truthful, and shows the puerility (as we might term it) of science in those days. 'My Friend conducted me up a pair of Stairs, to the Elaboratory-Keeper's Apartment and desir'd him to oblige us with a Sight of his Rarities; who very curteously granted us the Liberty; opening his Warehouse of Egyptian Mummies, old musty Skeletons, and other antiquated Trumpery: The first thing he thought most worthy of our Notice, was the Magnet, with which he show'd some notable Experiments, it made a Paper of Steel Filings Prick up themselves one upon the back of another, that they stood pointing like the Bristles of a Hedge Hog; and gave such Life and Merriment to a parcel of Needles, they danced the Hay, by the motion of the Stone, as if the Devil were in 'em; the next things he presented to our view, were a parcel of Shell Flies almost as big as Lobsters, arm'd with Beaks as big as Jack-Daws: then he commended to our observation that Wonderful Curiosity, the Unicorn's Horn; made, I suppose, by an Ingenious Turner, of the Tusks of an Elephant; it is of an excellent Virtue; and, by report of those that know nothing of the matter, will expel Poison beyond the Mountebanks Orvieton; Then he carry'd us to another part of the Room, where there was an Aviary of Dead Birds, Collected from the extream parts of Europe, Asia, Africa, and America; amongst which were an East India Owl, a West India Bat, and a Bird of Paradise, the last being Beautified with variety of Colours, having no discernable Body, but all Feathers, Feeding, when alive, upon nothing but Air, and tho' 'tis as big as a Parrot, 'tis as light as a Cobweb. Then he usher'd us among sundry sorts of Serpents, as the Noy, Pelongy, Rattle Snake, Aligator, Crocodile &c. That looking round me, I thought myself hem'd in amongst a legion of Devils; When we had taken a survey of these pin-cushion Monsters, we turn'd towards the Skeletons of Men, Women, and Monkeys, Birds, Beasts and Fishes; Abortives put up in Pickle, and abundance of other Memorandums of Mortality; that they look'd as Ghostly as the Picture of Michael Angelo's Resurrection; as if they had Collected their Scatter'd Bones into their Original Order, and were about to March in search after the rest of the Appurtenances.'
[Footnote 497: London Spy.]
That this account is not exaggerated is shown by an extract or two of Dr. Green's catalogue of these curiosities.
'Tortoises, when turned on their backs, will sometimes fetch deep sighs and shed abundance of tears.
'A bone, said to be taken out of a Mermaid's head.
'A stag-beetle, whose horns, worn in a ring, are good against Cramp, &c.'
The Royal Society, however, under Newton's presidency, woke up wonderfully in Anne's reign, although they still pottered after such things as dissecting dolphins,[498] etc. In 1705 the Mercers' Company gave them notice to quit Gresham College, and they petitioned the Queen for a grant of land near Westminster, but the petition was refused. Then they applied to the trustees of the Cotton Library for permission to meet at Cotton House, Westminster, but could not obtain it. And so they tried for six years to get their own premises, and at last succeeded in buying the house (really two houses) of Dr. Brown, in Crane Court, Fleet Street, which house, but little altered, is now standing, and is in the occupation of the Scottish Corporation. This cost them 1,450_l._, 550_l._ of which they paid out of their own funds, and borrowed the remainder at six per cent.; but it also required 1,800_l._ to fit these houses for the requirements of the Society: yet somehow they managed to hold their first meeting there on Nov. 8, 1710.
[Footnote 498: Thoresby.]
Addison, in the Tatler,[499] cannot resist the temptation of making fun of this Society: 'When I married this Gentleman he had a very handsome estate, but upon buying a set of Microscopes he was chosen a Fellow of the Royal Society, from which time I do not remember ever to have heard him speak as other people did, or talk in a manner that any of his family could understand.' Steele,[500] too, must needs give a little stab: 'When I meet with a young fellow that is an humble admirer of these Sciences, but more dull than the rest of the Company, I conclude him to be a Fellow of the Royal Society.'
[Footnote 499: No. 221.]
[Footnote 500: Tatler, 236.]
The science of geology was very little known, although Dr. Woodward, in his 'Natural History of the Earth,' notes its division into strata, but in that, as in all other sciences, they were but in a very elementary stage. They had only got as far as this: 'An Account of the Origin and Formation of Fossil-Shells, &c., wherein is proposed a Way to reconcile the two different Opinions, of those who affirm them to be the Exuviæ of real Animals, and those who fancy them to be Lusus Naturæ.'
But science was making such steps that men were willing to be taught, and consequently teachers were found. The stage physical science had reached in 1706 is shown by the following advertisement: 'For the Advancement of Experimental Philosophy, and for the Benefit of all such Gentlemen as are willing to lay the best and surest Foundation for all useful Knowledge: There are provided Engines for rarefying and condensing Air, with all the Appurtenances thereunto belonging; also Barometers, Thermometers, and such other Instruments as are Necessary for a Course of Experiments, in order to prove the Weight and Spring of the Air, its usefulness in the propagation of Sounds and Conversation of Life, &c., with several new and surprising Experiments concerning the production of Light in Vacuo: Likewise Utensils proper for making the Hydrostatical Experiments to determine the Laws of Fluids Gravitating upon each other. By J. Hodgson and F. Hawksbee, Fellows of the Royal Society. This Course will begin &c.... at which times Lectures will be Read for the better understanding the Experiments, and for the drawing of such Conclusions and Uses as flow from them. Those Gentlemen that are desirous to be present must pay 2 Guineas, one at the time of Subscription, and the other on the 3rd Night after the Course begins.' Hawksbee continued these lectures till his death, about 1710 or 1711.
Courses of chemistry had existed ever since the commencement of the reign: vide 'A Course of Chimistry, commencing the 27th of April, 1702, containing above 100 Operations, will be performed by George Willson at his Elaboratory in Well Yard, by St. Bartholomew's Hospital in Smithfield.' His fee was two and a half guineas.
What was meant by this course we cannot tell, but there is another advertisement in 1712 which may throw some light upon it: 'A Compleat Course of Chymistry containing about 100 Operations, illustrated with the proper Scholia, has been perform'd at the Laboratory of Mr. Edward Bright, Chymist, in White Friars near Fleet Street, to the entire Satisfaction of the Gentlemen that attended it, &c.... In these Courses Endeavours are used to demonstrate the Constituent Parts of each Medicine, their Virtues and Doses; to which will be added many useful Observations applicable to the Practice of Physick.
The higher branches of mathematics were also publicly taught in 1705: 'On Tuesday next being the 2nd Day of October, at the Marine Coffee house in Birchin Lane, Mr. Harris will go on with the Public Mathematic Lecture; beginning them with Geometry anew; and he will explain largely the Uses of all the Propositions as he goes along: with a particular regard to the principles of true Mechanick Philosophy.' This latter was highly necessary, for mechanics were in an exceedingly elementary state: even such a common thing as a wind dial was new, and wonderful, in 1706. 'The WIND DIAL, lately set up at Grigsby's Coffee and Chocolate House, behind the Royal Exchange, being the first and only one in any publick House in England, and having given great Satisfaction to all that have seen it, and being of Constant use to those that are in any wise Concerned in Navigation: We think it may not be improper to describe it to the Publick, viz. The Dial Board is fixed to the Ceiling of the Publick Ground room, upon which are all the points of the Compass in Gold Letters, and a Hand Points to each of them, continually as the Wind varies. The Hand is directed by an Iron work, which is turned by a Fan placed 90 foot high, to prevent the effects of Eddy Winds.'
Condensing sea water, in order to make it potable, is, if an old invention, quite a modern practice; yet we see it in use in 1705. 'Mr. Walcot's Engines for making Sea Water Fresh and Wholesome, are sold by him at his Warehouse in Woolpack Alley in Houndsditch at reasonable rates being of great use and advantage for all Ships, especially such as go long voyages.'
Perhaps the best method of gauging the mechanical genius of the age is to examine the patents granted, and, as they are very few in this reign, a short list of them will fulfil this condition, and yet not be wearisome.
Jan. 1, 1703. A grant to George Sorocold, gent., of a new invention by him contrived and found out, for cutting and sawing all kinds of boards, timber, and stone, and twisting all kinds of ropes, cords, and cables, by the strength of horses or water.
April 8, 1704. A grant to Benjamin Jackson, gent., of the sole use and exercise of a new invention for ordinary coaches, calashes, shazes, waggons, and other carriages and machines of that nature, that though the wheels or carriages may be overset, yet the bodies of them shall remain upright.
May 1, 1704. A grant to Nicholas Fain, gent., Peter Defaubre, and Jacob Defaubre, watchmakers, for making use of precious or more common stones, crystal or glass, as an internal and useful part of watches and other engines.
July 29, 1704. A grant unto Richard Cole, gent., of his invention of forming glasses into conical figures, and lamps for the better dispersing and casting of light.
April 12, 1706. A grant unto Henry Mill, gent., of his new invention of a mathematical instrument, consisting of several new sorts of springs for the ease of persons riding in coaches, chariots, calashes, and chaises.
June 6, 1706. A grant unto Robert Aldersey of his new invention in contriving a floating dam to carry lighters and other vessels over the greatest flats and shallows in any navigable river.
1706. A grant unto Thomas Savery, Esq., of his new invention for making double hand-bellows, which by the power of springs and screws will produce a continual blast.
July 26, 1709. A grant unto Jeremiah Wieschamer of his new invention of a mill or engine for the more easy grinding or pressing of sugar-canes with a less number of oxen, horses, or cattle than by those mills formerly used.
April 3, 1712. A grant unto Israel Pownoll of his new invented engine or machine for taking up ballast, sullage, sand, etc., of very great use in cleansing rivers, harbours, etc.
June 17, 1712. A grant unto Nicholas Lewis Mandell, Esq., and John Grey, carpenters, of their two new invented engines; the one of a small size for the weighing and raising up any weight far beyond what can be performed by any crane or capstone; and the other for raising water in a new and surprising manner, of great use in extinguishing fire.
April 2, 1714. A grant unto John Wilks of his new invented engine or mill for grinding all sorts of wood dry for the use of dying.
May 27, 1714. A grant unto John Coster, gent., and John Coster, jun., gent., of their new invented engine for drawing water out of deep mines.
These are all the mechanical patents worthy of notice during Anne's reign. Hydraulic machinery was particularly useful, and attention was specially paid to its perfection. Here is the record[501] of a draining feat happily completed: 'The Lands in Havering and Dagenham Levels in Essex, having lain these 6 Years under Water, were, after a great deal of Industry and Expence happily recovered on the 29th Day of October past, being the same Day 6 years that that Breach happened. The Gentlemen concerned in that Undertaking have given to the Artificers and Labourers an Ox and a Sheep to be Roasted whole, and a Hog to be barbicui'd, with large Puddings in their Bellies, on the 13th of this present Instant, on the said Works.'
[Footnote 501: Daily Courant, Nov. 11, 1713.]
But few people remember that the steam engine was a living and working fact, and a commercial commodity, in Queen Anne's time, and this owed its being to the general utility of hydraulic machinery. Salamon de Caus and the Marquis of Worcester are rivals as to the invention of a working steam engine, and Papin came very near to being successful, even going so far as to propel a ship with revolving oars or paddles, which could in speed beat the king's barge manned by sixteen rowers. But it was reserved to Savery to make it commercially valuable. In 1698 he took out a patent. 'A grant to Thomas Savery gentl, of the sole exercise of a new invenc̃on by him invented, for raising of water, and occasioning moc̃on to all sorts of Mill Works, by the impellent force of fire, which will be of great use for draining mines, serving towns w{th} water, and for the working of all sorts of Mills where they have not the benefit of water nor Constant winds, to hold for 14 years; with usual clauses. Testibus apud Westm̃ 25{o} die Julij anno supradc̃o.'
He could not have wasted much time in perfecting his invention and putting it on a sound commercial basis, for we find an advertisement in the Postman, March 28/31, 1702: 'Captain Savery's Engines which raise Water by the force of Fire in any reasonable quantities and to any height, being now brought to perfection, and ready for publick use; These are to give notice to all Proprietors of Mines and Collieries which are encumbered with Water, that they may be furnished with Engines to drain the same at his Work house in Salisbury Court, London, against the Old Play house, where it may be seen working on Wednesdays and Saturdays in every week from 3 to 6 in the afternoon; where they may be satisfied of the performance thereof, with less expence than any other force of Horse or Hands, and less subject to repair.'
He must, even then, have had some at work, for he says in the preface to his little work,[502] dated Sept. 22, 1701: 'That the attending and working the Engine is so far from being so,[503] that it is familiar and easie to be learned by those of the meanest Capacity, in a very little time; insomuch, that I have Boys of 13 or 14 years of Age, who now attend and work it to perfection, and were taught to do it in a few days; and I have known some learn to work the Engine in half-an-hour.'
[Footnote 502: The Miner's Friend, or, an Engine to raise Water by Fire described, &c. by Thomas Savery, Gent. London. 1702.]
[Footnote 503: I.e. intricate and difficult to work.]
He had visions of its future power, and knew somewhat of its vast capabilities: 'Whereas this Engine may be made large enough to do the work required in employing eight, ten, fifteen, or twenty horses to be constantly maintained and kept for doing such a work; it will be improper to stint or confine its Uses and Operation in respect of Water Mills.' He then suggests that it would pump water to the top of a house, for domestic supply, for fountains, and in case of fire--or supply towns with water, draining fens, mines, and coal pits, nay, he even suggests their use through the furnace and shaft, as ventilators. More than all, he says, 'I believe it may be made very useful to Ships, but I dare not meddle with that matter; and leave it to the Judgement of those who are the best Judges of Maritain Affairs.'
His engine was as ingenious as it was simple. Two boilers with furnaces supplied the steam. This was admitted alternately, by means of a handle worked by a man or boy, into one of two elliptical receivers, where it condensed, formed a vacuum, and the water rushed in and filled its place--the same principle which is the foundation of that invaluable feed-pump, Giffard's injector. When full, the application of steam ejected it from the receiver, and forced it up the pipe, and so de novo. His idea was to utilise the water thus raised to turn a water-wheel, and thus get effective power for working machinery in mills.