suspending all performances at Drury Lane because Powell had been
allowed to play. This is dated 3rd May, 1698. His offence was that he
had drawn his sword on Colonel Stanhope and young Davenant. The
suspension was removed the following day; but on the 19th of the same
month Powell was forbidden to be received at either Drury Lane or Dorset
Garden.]
[Footnote 19: A warrant was issued to apprehend Dogget and take him to
the Knight Marshall's Prison, on 23rd November, 1697, his offence being
desertion of the company of Drury Lane and Dorset Garden. The Records
contain no note as to the termination of the matter; but this is, beyond
doubt, the occasion referred to by Cibber.]
[Footnote 20: Horace, _Epis._, i. 6, 68.]
[Footnote 21: At Drury Lane, 14th April, 1713.]
[Footnote 22: This is a pretty way of putting what Johnson, in his Life
of Addison, afterwards stated in the well-known words: "The Whigs
applauded every line in which Liberty was mentioned, as a satire on the
Tories; and the Tories echoed every clap to show that the satire was
unfelt." In the next paragraph Johnson describes the play as "supported
by the emulation of factious praise."]
[Footnote 23: I confess I do not know Cibber's authority for this
statement.]
[Footnote 24: "The Laureat" abuses Cibber for this sentence, declaring
that he evidently considered "Sophocles" to be the name of a tragedy.
But Cibber's method of expression, though curious, does not justify this
attack.]
[Footnote 25: "Caviare to the general."--"Hamlet," act ii. sc. 2.]
[Footnote 26: Malone supposes that Skipwith acquired his shares from the
Killigrew family, but in the indenture by which he transferred his
interest to Brett, it seems as if he had acquired part of it from
Alexander Davenant, and the remainder by buying up shares of the
original Adventurers. The indenture will be found at length in Mr. Percy
Fitzgerald's "New History of the English Stage," i. 252. Skipwith is
described in the "Biog. Dram." (i. 487) as "a weak, vain, conceited
coxcomb." The proportion in which the shares were divided among the
various holders is shown by the "Opinion" of Northey and Raymond, in
1711, to have been this: Three-twentieths belonged to Charles Killigrew.
The remainder was divided into tenths, of which two-tenths belonged to
Rich; the other eight parts were owned by the Mortgagees or Adventurers.
If Cibber's supposition is correct, two of these parts belonged to
Shipwith.]
[Footnote 27: It is dated 6th October, 1707.]
[Footnote 28: As noted vol. i. p. 213, January, 1695, Old Style; that
is, January, 1696.]
[Footnote 29: Davies ("Dram. Misc.," iii. 84) says: "The heads of the
English actors were, for a long time, covered with large full-bottomed
perriwigs, a fashion introduced in the reign of Charles II., which was
not entirely disused in public till about the year 1720. Addison,
Congreve, and Steele, met at Button's coffee-house, in large, flowing,
flaxen wigs; Booth, Wilks, and Cibber, when full-dressed, wore the same.
Till within these twenty-five years, our Tamerlanes and Catos had as
much hair on their heads as our judges on the bench.... I have been
told, that he [Booth] and Wilks bestowed forty guineas each on the
exorbitant thatching of their heads."]
[Footnote 30: "The Laureat," p. 66, relates with great acrimony an
anecdote of Colonel Brett's reproving Cibber harshly for his treatment
of an author who had submitted a play to him. Cibber is said to have
opened the author's M.S., and, having read two lines only, to have
returned it to him saying, "Sir, it will not do." Going to Button's, he
related his exploit with great glee, but was rebuked in the strongest
terms by Colonel Brett, who is said to have put him to shame before the
whole company. This is related as having occurred many years after the
time Cibber now writes of; the suggestion being that Brett did not
consider Cibber as a friend.]
[Footnote 31: This was the Countess of Macclesfield, the supposed mother
of Richard Savage, who had a large fortune in her own right, of which
she was not deprived on her divorce from the Earl of Macclesfield.
Shortly after her divorce, probably about 1698, she married Brett. She
lived to be eighty, or over it, dying 11th October, 1753.]
[Footnote 32: A comedy by Mountfort the actor, originally played at the
Theatre Royal, 1691. The part of Young Reveller was then taken by the
author, and we have no record of Cibber's playing it before 1708; but
from this anecdote he must have done so ten years earlier.]
[Footnote 33: In Boswell's Life of Johnson (i. 174) there is a note by
Boswell himself:--
"Miss Mason, after having forfeited the title of Lady Macclesfield by
divorce, was married to Colonel Brett, and, it is said, was well known
in all the polite circles. Colley Cibber, I am informed, had so high an
opinion of her taste and judgement as to genteel life, and manners, that
he submitted every scene of his _Careless Husband_ to Mrs. Brett's
revisal and correction. Colonel Brett was reported to be too free in his
gallantry with his Lady's maid. Mrs. Brett came into a room one day in
her own house, and found the Colonel and her maid both fast asleep in
two chairs. She tied a white handkerchief round her husband's neck,
which was a sufficient proof that she had discovered his intrigue; but
she never at any time took notice of it to him. This incident, as I am
told, gave occasion to the well-wrought scene of Sir Charles and Lady
Easy and Edging."]
[Footnote 34: See note, vol. i. p. 301.]
[Footnote 35: 1707. See note on page 3 of this vol.]
[Footnote 36: The edict which ordered this division of plays and operas
is dated 31st December, 1707. Each theatre is ordered to confine itself
to its own sphere on pain of being silenced; and no other theatre is
permitted to be built. A copy of the edict is given by Mr. Percy
Fitzgerald ("New History," i. 258), but it is not a _verbatim_ copy of
the original in the Lord Chamberlain's Office, though it contains all
that is of importance in it.]
[Footnote 37: At the Union, 1707-8, the Lord Chamberlain took measures
to assert his supremacy. Under date 6th January, 1708, he orders that no
actors are to be engaged at Drury-Lane who are not Her Majesty's
servants, and he therefore directs the managers to send a list of all
actors to be sworn in.]
[Footnote 38: Bellchambers notes that Mrs. Tofts "sang in English, while
her associates responded in Italian."]
[Footnote 39: The whole passage regarding Nicolini is:--
"I went on _Friday_ last to the Opera, and was surprised to find a thin
House at so noble an Entertainment, till I heard that the Tumbler was
not to make his Appearance that Night. For my own Part, I was fully
satisfied with the Sight of an Actor, who, by the Grace and Propriety of
his Action and Gesture, does Honour to an human Figure, as much as the
other vilifies and degrades it. Every one will easily imagine I mean
Signior _Nicolini_, who sets off the Character he bears in an Opera by
his Action, as much as he does the Words of it by his Voice. Every Limb,
and every Finger, contributes to the Part he acts, insomuch that a deaf
Man might go along with him in the Sense of it. There is scarce a
beautiful Posture in an old Statue which he does not plant himself in,
as the different Circumstances of the Story give Occasion for it. He
performs the most ordinary Action in a Manner suitable to the Greatness
of his Character, and shows the Prince even in the giving of a Letter,
or the dispatching of a Message. Our best Actors are somewhat at a Loss
to support themselves with proper Gesture, as they move from any
considerable Distance to the Front of the Stage; but I have seen the
Person of whom I am now speaking, enter alone at the remotest Part of
it, and advance from it with such Greatness of Air and Mien, as seemed
to fill the Stage, and at the same Time commanded the Attention of the
Audience with the Majesty of his Appearance."--"Tatler," No. 115,
January 3rd, 1710.]
[Footnote 40: An excellent account of Mrs. Tofts is given by Mr. Henry
Morley in a note on page 38 of his valuable edition of the "Spectator."
She was the daughter of one of Bishop Burnet's household, and had great
natural gifts. In 1709 she was obliged to quit the stage, her mental
faculties having failed; but she afterwards recovered, and married Mr.
Joseph Smith, a noted art patron, who was appointed English Consul at
Venice. Her intellect again became disordered, and she died about the
year 1760.]
[Footnote 41: Cibber's most notorious blunder in language was made in
this sentence. In his first edition he wrote "was then _but_ an Adept in
it," completely reversing the meaning of the word "Adept." Fielding
("Champion," 22nd April, 1740) declares Cibber to be a most absolute
Master of English, "for surely he must be absolute Master of that whose
Laws he can trample under Feet, and which he can use as he pleases. This
Power he hath exerted, of which I shall give a _barbarous_ Instance in
the Case of the poor Word _Adept_.... This Word our great _Master_ hath
tortured and wrested to signify a _Tyro_ or _Novice_, being directly
contrary to the Sense in which it hath been hitherto used." It is of
course conceivable that the error was a printer's error not corrected in
reading the proof.]
[Footnote 42: Nicolini was the stage name of the Cavalier Nicolo
Grimaldi. Dr. Burney says: "This great singer, and still greater actor,
was a Neapolitan; his voice was at first a _soprano_, but afterwards
descended into a fine _contralto_." He first appeared, about 1694, in
Rome, and paid his first visit to England in 1708. Valentini Urbani was
a _castrato_, his voice was not so strong as Nicolini's, but his action
was so excellent that his vocal defects were not noticed.--"General
History of Music," 1789, iv. 207, 205.]
[Footnote 43: Colonel Brett, by an indenture dated 31st March, 1708,
made Wilks, Estcourt, and Cibber, his deputies in the management of the
theatre. Genest (ii. 405) says this was probably "31st March, 1708, Old
Style," by which I suppose he means March, 1709. But I cannot see why he
should think this. Brett entered into management in January, 1708, and
was probably out of it by March, 1709. It may be that Genest supposes
that this indenture marks the end of Brett's connection with the
theatre; whereas it was probably one of his first actions. It will be
remembered that he stated his intention of benefitting Cibber by taking
the Patent (see _ante_, p. 42). A copy of the indenture is given by Mr.
Percy Fitzgerald ("New History," ii. 443). It is dated 31st March in the
seventh year of Queen Anne's reign, that is, 1708.]
[Footnote 44: On p. 328 of vol. i. Cibber says that Rich (about 1705)
had led the Adventurers "a Chace in Chancery several years." From the
petition presented in 1709 against the order silencing Rich, we learn
that the principal Adventurers were: Lord Guilford, Lord John Harvey,
Dame Alice Brownlow, Mrs. Shadwell, Sir Edward Smith, Bart., Sir Thomas
Skipwith, Bart., George Sayer, Charles Killegrew, Christopher Rich,
Charles Davenant, John Metcalf, Thomas Goodall, Ashburnham Toll,
Ashburnham Frowd, William East, Richard Middlemore, Robert Gower, and
William Collier. It is curious that everyone who has reproduced this
list has, as far as I know, mistaken the name "Frowd," calling it
"Trowd." The earliest reproduction of the list of names which I know is
in the "Dramatic Censor," 1811, col. III.]
[Footnote 45: I do not know when Sir Thomas Skipwith died; but in 1709
the petition of the Adventurers, &c., is signed by, among others, Sir
Thomas Skipwith.]
[Footnote 46: This anecdote shows that Rich had some sort of Committee
of Shareholders to aid (or hinder) him. Subsequent experience has shown,
as witness the Drury Lane Committee at the beginning of this century,
how disastrous such form of management is.]
[Footnote 47: Dr. Doran ("Their Majesties' Servants," 1888 edition, i.
103) gives the following account of Goodman's connection with this
plot:--
"King James having saved Cardell's neck, Goodman, out of pure gratitude,
perhaps, became a Tory, and something more, when William sat in the seat
of his father-in-law. After Queen Mary's death, Scum was in the Fenwick
and Charnock plot to kill the King. When the plot was discovered, Scum
was ready to peach. As Fenwick's life was thought by his friends to be
safe if Goodman could be bought off and got out of the way, the rogue
was looked for, at the _Fleece_, in Covent Garden, famous for homicides,
and at the robbers' and the revellers' den, the _Dog_, in Drury Lane.
Fenwick's agent, O'Bryan, erst soldier and highwayman, now a Jacobite
agent, found Scum at the _Dog_, and would then and there have cut his
throat, had not Scum consented to the pleasant alternative of accepting
£500 a year, and a residence abroad.... Scum suddenly disappeared, and
Lord Manchester, our Ambassador in Paris, inquired after him in vain. It
is impossible to say whether the rogue died by an avenging hand, or
starvation."]
[Footnote 48: This anecdote is valuable as establishing the identity of
_Captain_ Griffin with the Griffin who retired (temporarily) from the
stage about 1688. See note on page 83 of vol. i.]
[Footnote 49: When Betterton and his associates left the Theatre Royal
and opened Lincoln's Inn Fields Theatre. See Chapter VI.]
[Footnote 50: Indulto--In Spain, a duty, tax, or custom, paid to the
King for all goods imported.]
[Footnote 51: In the "Answer to Steele's State of the Case," 1720
(Nichols's ed. p. 527), it is said: "After Mr. Rich was again restored
to the management of the Play-house, he made an order to stop a certain
proportion of the clear profits of every Benefit-play without exception;
which being done, and reaching the chief Players as well as the
underlings, zealous application was made to the Lord Chamberlain, to
oblige Mr. Rich to return the money stopped to each particular. The
dispute lasted some time, and Mr. Rich, not giving full satisfaction
upon that head, was silenced; during the time of which silence, the
chief Players, either by a new License, or by some former (which I
cannot absolutely determine, my Memoirs being not at this time by me)
set up for themselves, and got into the possession of the Play-house in
Drury-lane."]
[Footnote 52: See _ante_, vol. i. p. 161.]
[Footnote 53: This warning is dated 30th April, 1709, and is a very
peremptory document. Rich's treasurer is ordered to pay the actors the
full receipts of their benefits, under deduction only of £40 for the
charges of the house. See the Order for Silence quoted _post_, page 73.]
[Footnote 54: Mrs. Bracegirdle retired in February, 1707. Mrs. Barry
played up to the end of the season, 1708, that is, up to June, 1708. She
does not seem to have been engaged in 1708-9, but she was a member of
the Haymarket Company in 1709-10.]
[Footnote 55: From Chapter XVI. it will be seen that Wilks's unfair
partiality for John Mills, whom he forced into prominence at Booth's
expense, was the leading reason for Booth's remaining with Rich.]
[Footnote 56: The Order for Silence has never, I believe, been quoted. I
therefore give it in full. The theatre closed on the 4th of June, 1709,
which was Saturday, and did not open again under Rich's management, the
Order for Silence being issued on the next Monday.
"_Play House in Covent Garden silenc'd._ Whereas by an Order dated the
30^{th} day of Apr^{ll} last upon the peti{c~o}n of sev^{ll} Players &c:
I did then direct and require you to pay to the respective Comedians who
had benfit plays last winter the full receip^{ts} of such plays
deducting only from each the sume of 40l. for the Charges of the House
pursuant to the Articles made w^{th} y^m at y^e theatre in the
Haymarkett and w^{ch} were promis^d to be made good upon their removall
to the Theatre in Covent Garden.
"And whereas I am inform^d y^t in Contempt of the said Ord^r y^u still
refuse to pay and detain from the s^d Comedians y^e profits of y^e s^d
benefit plays I do therefore for the s^d Contempt hereby silence you
from further acting & require you not to perform any Plays or other
Theatricall entertainm^{ts} till further Ord^r; And all her Maj^{ts}
Sworn Comedians are hereby forbid to act any Plays at y^e Theatre in
Covent Gard^n or else where w^{th}out my leave as they shall answer the
contrary at their perill And &c: Given &c: this 6^{th} day of June 1709
in the Eighth Year of her Majesty's Reign.
"(Signed) KENT.
"To the Manager or Manag^{rs} }
of her Maj^{ts} Company of Comedi^{ns} }
for their Patentees." }
I have copied this from the Lord Chamberlain's Records.]
[Footnote 57:
"_Honoured Sir_,
_July_ 1. 1710.
"Finding by divers of your late Papers, that you are a Friend to the
Profession of which I was many Years an unworthy Member, I the rather
make bold to crave your Advice, touching a Proposal that has been lately
made me of coming into Business, and the Sub-Administration of Stage
Affairs. I have, from my Youth, been bred up behind the Curtain, and
been a Prompter from the Time of the Restoration. I have seen many
Changes, as well of Scenes as of Actors, and have known Men within my
Remembrance arrive to the highest Dignities of the Theatre, who made
their Entrance in the Quality of Mutes, Joynt-stools, Flower-pots, and
Tapestry Hangings. It cannot be unknown to the Nobility and Gentry, That
a Gentleman of the Inns of Court, and a deep Intriguer, had some Time
since worked himself into the sole Management and Direction of the
Theatre. Nor is it less notorious, That his restless Ambition, and
subtle Machinations, did manifestly tend to the Extirpation of the good
old _British_ Actors, and the Introduction of foreign Pretenders; such
as Harlequins, _French_ Dancers, and _Roman_ Singers; which, tho' they
impoverish'd the Proprietors, and imposed on the Audience, were for some
Time tolerated, by Reason of his dextrous Insinuations, which prevailed
upon a few deluded Women, especially the Vizard Masks, to believe, that
the Stage was in Danger. But his Schemes were soon exposed, and the
Great Ones that supported him withdrawing their Favour, he made his
_Exit_, and remained for a Season in Obscurity. During this Retreat the
Machiavilian was not idle, but secretly fomented Divisions, and wrought
over to his Side some of the inferior Actors, reserving a Trap Door to
himself, to which only he had a Key. This Entrance secured, this cunning
Person, to compleat his Company, bethought himself of calling in the
most eminent of Strollers from all Parts of the Kingdom. I have seen
them all ranged together behind the Scenes; but they are many of them
Persons that never trod the Stage before, and so very aukward and
ungainly, that it is impossible to believe the Audience will bear them.
He was looking over his Catalogue of Plays, and indeed picked up a good
tolerable Set of grave Faces for Counsellors, to appear in the famous
Scene of _Venice Preserved_, when the Danger is over; but they being but
meer Outsides, and the Actors having a great Mind to play the _Tempest_,
there is not a Man of them when he is to perform any Thing above Dumb
Show is capable of acting with a good Grace so much as the Part of
_Trincalo_. However, the Master persists in his Design, and is fitting
up the old Storm; but I am afraid he will not be able to procure able
Sailors or experienced Officers for Love or Money.
"Besides all this, when he comes to cast the Parts there is so great a
Confusion amongst them for Want of proper Actors, that for my Part I am
wholly discouraged. The Play with which they design to open is, _The
Duke and no Duke_; and they are so put to it, That the master himself is
to act the Conjurer, and they have no one for the General but honest
_George Powell_.
"Now, Sir, they being so much at a Loss for the _Dramatis Personæ_,
_viz._ the Persons to enact, and the whole Frame of the House being
designed to be altered, I desire your Opinion, whether you think it
advisable for me to undertake to prompt 'em: For tho' I can clash Swords
when they represent a Battel, and have yet Lungs enough to huzza their
Victories, I question, if I should prompt 'em right, whether they would
act accordingly.--I am
Your Honour's most humble Servant,
"J. DOWNES.
"_P.S._ Sir, Since I writ this, I am credibly informed, That they design
a New House in _Lincoln's-Inn-fields_, near the Popish Chapel, to be
ready by _Michaelmas_ next; which indeed is but repairing an Old one
that has already failed. You know the honest Man who kept the Office is
gone already."]
[Footnote 58: The chief actor who remained with Rich was Booth. Among
the others were Powell, Bickerstaffe, Pack, Keene, Francis Leigh,
Norris, Mrs. Bignell, Mrs. Moor, Mrs. Bradshaw, and Mrs. Knight.]
[Footnote 59: An interesting advertisement was published on Rich's
behalf in July, 1709, which gives curious particulars regarding the
actors' salaries. I quote it from "Edwin's Eccentricities," i. 219-224,
without altering the figures, which, as regards the pence, are rather
eccentric:--
"ADVERTISEMENT CONCERNING THE POOR ACTORS, WHO, UNDER PRETENCE OF HARD
USAGE FROM THE PATENTEES, ARE ABOUT TO DESERT THEIR SERVICE.
"Some persons having industriously spread about amongst the Quality and
others, what small allowances the chief Actors have had this last Winter
from the Patentees of Drury Lane Play-house, as if they had received no
more than so many poor palatines; it was thought necessary to print the
following Account.
"The whole company began to act on the 12th of October, 1708, and left
off on the 26th of the same month, by reason of Prince George's illness
and death; and began again the 14th of December following, and left off
upon the Lord Chamberlain's order, on the 4th of June last, 1709. So
acted, during that time, in all 135 days, which is 22 weeks and three
days, accounting six acting days to a week.
In that time £ s. d.
To Mr. Wilkes, by salary, for acting, and taking
care of the rehearsals; paid 168 6 8
By his Benefit play; 90 14 9
Total 259 1 5
-------------
To Mr. Betterton by salary, for acting, 4_l._ a week
for himself, and 1_l._ week for his wife, although
she does not act; paid 112 10 0
By a benefit play at common prices, besides what
he got by high prices, and Guineas; paid 76 4 5
-------------
188 14 5
-------------
To Mr. Eastcourt, at 5_l._ a week salary; paid 112 10 0
By a benefit play; paid 51 8 6
-------------
163 18 6
-------------
To Mr. Cibber, at 5_l._ a week salary; paid 111 10 0
By a benefit play; paid 51 0 10
-------------
162 10 10
-------------
To Mr. Mills, at 4_l._ a week for himself, and 1_l._
a week for his wife, for little or nothing 112 10 0
By a benefit play paid to him (not including therein
what she got by a benefit play) 58 1 4
-------------
170 11 4
-------------
To Mrs. Oldfield, at 4_l._ a week salary, which for 14
weeks and one day; she leaving off acting presently
after her benefit (viz.) on the 17th of March last,
1708, though the benefit was intended for her whole
nine months acting, and she refused to assist others
in their benefits; her salary for these 14 weeks and
one day came to, and she was paid, 56 13 4
In January she required, and was paid ten guineas, to
wear on the stage in some plays, during the whole
season, a mantua petticoat that was given her for
the stage, and though she left off three months
before she should, yet she hath not returned any
part of the ten guineas 10 15 0
And she had for wearing in some plays a suit of
boys cloaths on the stage; paid 2 10 9
By a benefit play; paid 62 7 8
-------------
132 6 7
-------------
Certainties in all 1077 3 8
-------------
"Besides which certain sums above-mentioned, the same actors got by their
benefit plays, as follows:
£ s. d.
Note, that Mr. Betterton having had 76_l._ 4_s._ 5_d._
as above mentioned, for two-thirds of the profits by
a benefit play, reckoning his tickets for the boxes
at 5_s._ a piece, the pit at 3_s._ the first gallery
at 2_s._ and the upper gallery at 1_s._----But the
boxes, pit, and stage, laid together on his day, and
no person admitted but by his tickets, the lowest
at half a guinea a ticket; nay he had much more, for
one lady gave him ten guineas, some five guineas,
some two guineas, and most one guinea, supposing that
he designed not to act any more, and he delivered
tickets out for more persons, than the boxes, pit,
and stage could hold; it is thought he cleared at
least 450_l._ over and besides the 76_l._ 4_s._ 5_d._ 450 0 0
'Tis thought Mr. Estcourt cleared 200_l._ besides the
said 51_l._ 8_s._ 6_d._ 200 0 0
That Mr. Wilkes cleared by Guineas, as it is thought,
about 40_l._ besides the said 90_l._ 14_s._ 9_d._ 40 0 0
That Mr. Cibber got by Guineas, as it is thought,
about 50_l._ besides the said 51_l._ 0_s._ 10_d._ 50 0 0
That Mr. Mills got by guineas about 20_l._ as it is
thought, besides the said 58_l._ 1_s._ 4_d._ 20 0 0
That Mrs. Oldfield, it is thought, got 120_l._ by
guineas over and above the said 62_l._ 7_s._ 8_d._ 120 0 0
-------------
In all 880 0 0
-------------
"So that these six comedians, who are the unsatisfied people, have
between the 12th of October and the 4th of June last, cleared in all the
following sums:
£ s. d.
Acted 100 times, Mr. Wilkes certain 259 1 5
and more by computation 40 0 0
-------------
Both 299 1 5
-------------
Acted 16 times, Mr. Betterton certain 188 14 5
and more by computation 450 0 0
-------------
638 14 5
-------------
Acted 52 times, Mr. Estcourt certain 163 18 6
and more by computation 200 0 0
-------------
363 18 6
-------------
Acted 71 times, Mr. Cibber certain 162 10 10
and more by computation 50 0 0
-------------
212 10 10
-------------
Acted -- times, Mr. Mills certain 170 11 4
and more by computation 20 0 0
-------------
190 11 4
-------------
Acted 39 times, Mrs. Oldfield certain 132 6 7
and more by computation 120 0 3
-------------
252 6 7
-------------
In all 1957 3 2
-------------
"Had not acting been forbid seven weeks on the occasion of Prince George's
death, and my Lord Chamberlain forbad acting about five weeks before the
tenth of July instant; each of these actors would have had twelve weeks
salary more than is above-mentioned.
"As to the certainties expressed in this paper, to be paid to the six
Actors, the same are positively true: and as to the sums they got over
and above such certainties, I believe the same to be true, according to
the best of my computation.
"Witness my hand, who am Receiver and Treasurer at the Theatre Royal,
Drury Lane,
"July 8th, 1709.
"ZACHARY BAGGS."]
[Footnote 60: It was opened 18th December, 1714.]
[Footnote 61: The Lord Chamberlain's Records enable an exact account to
be given of the transactions which led to the formation of this
Haymarket Company. After Rich was silenced, his actors petitioned the
Lord Chamberlain on three separate occasions, namely, 10th June, 20th
June, and 5th July, 1709, and in answer to their petitions, the
Haymarket, which was then devoted solely to Opera, was permitted to be
used for Plays also. In an Answer to the actors' petitions, the Lord
Chamberlain permits the manager of the Haymarket to engage such of them
as he wished, and to act Plays four times a week, the other days being
devoted to Operas. This License is dated 8th July, 1709. This is, of
course, only a formal sanction of the private arrangement mentioned by
Cibber _ante_ p. 69; and was resented by Booth and others who were in
Rich's favour. They therefore petitioned the Queen direct, in despite of
the Lord Chamberlain (see "Dramatic Censor," 1811, col. 112; Genest, ii.
426; Mr. Fitzgerald's "New History," i. 273), but no result followed,
until Collier's advent, as is related further on.]
[Footnote 62: The description of the shape of the stage which follows is
interesting and valuable. In early times the stage was a platform
surrounded by the audience, not, as now, a picture framed by the
proscenium. This is evident, not only from descriptive allusions, but
from the two drawings which have come down to us of the interior of
pre-Restoration theatres--De Witt's drawing of the Swan Theatre in 1596,
reproduced in Herr Gaedertz's "Zur Kenntniss der altenglischen Bühne"
(Bremen, 1888), and the well-known print of the Red Bull Theatre during
the Commonwealth, which forms the frontispiece to Kirkman's "The Wits,
or Sport upon Sport" (1672). In both of them the pit entirely surrounds
the stage on three sides, while the fourth side also contains spectators
in boxes placed above the entrance-doors. By gradual modifications the
shape of the stage has changed, till now the audience is confined to one
side. The doors used for entrances and exits, to which Cibber alludes,
have disappeared comparatively recently. They may be seen, for instance,
in Cruikshank's plates to Dickens's "Grimaldi."]
[Footnote 63: The Haymarket opened on 15th September, 1709, and there
was no rival theatre till 23rd November, when Drury Lane opened; but
from this latter date till the end of the season both theatres were
open.]
[Footnote 64: Bellchambers has here the following note:--"The monarch
alluded to, I suppose, was Victor Amadeus, King of Sardinia. Carlo
Broschi, better known by the name of Farinelli, was born in the dukedom
of Modena, in 1705, and suffered emasculation, from an accident, when
young. The Spanish king Ferdinand created him a knight of Calatrava,
honoured him with his friendship, and added to his fortune. He returned
to Italy on his patron's death, and died in 1782."]
[Footnote 65: Francesca Cuzzoni and Faustina Bordoni Hasse, whose famous
rivalry in 1726 and 1727 is here referred to, were singers of remarkable
powers. Cuzzoni's voice was a _soprano_, her rival's a _mezzo-soprano_,
and while the latter excelled in brilliant execution, the former was
supreme in pathetic expression. Dr. Burney ("History of Music," iv. 319)
quotes from M. Quantz the statement that so keen was their supporters'
party spirit, that when one party began to applaud their favourite, the
other party hissed!]
[Footnote 66: Horace, _Epod._ xvi. 2.]
[Footnote 67: See note on page 87.]
[Footnote 68: The trial opened on 27th February, 1710, and lasted for
more than three weeks. The political excitement it caused must have
done great harm to theatricals. Shadwell, in the Preface to "The Fair
Quaker of Deal," mentioned _post_, page 95, says it was a success,
"Notwithstanding the trial in Westminster-Hall, and the rehearsal of
the new opera."]
[Footnote 69: In the British Museum will be found a copy of the report
by the Attorney-General and Solicitor-General, who were ordered by Queen
Anne to inquire into this business. Rich declared that Collier broke
into the theatre with an armed mob of soldiers, &c., but Collier denied
the soldiers, though he admitted the breaking in. He gave as his
authority for taking possession a letter signed by Sir James Stanley,
dated 19th November, 1709, by which the Queen gave him authority to act,
and required him not to allow Rich to have any concern in the theatre.
His authority was appointed to run from 23rd November, 1709.]
[Footnote 70: "Tatler," No. 99, 26th November, 1709: "_Divito_ [Rich]
was too modest to know when to resign it, till he had the Opinion and
Sentence of the Law for his Removal.... The lawful Ruler [of Drury Lane]
sets up an Attorney to expel an Attorney, and chose a Name dreadful to
the Stage [that is Collier], who only seemed able to beat _Divito_ out
of his Intrenchments.
"On the 22d Instant, a Night of public Rejoycing, the Enemies of
_Divito_ made a Largess to the People of Faggots, Tubs, and other
combustible Matter, which was erected into a Bonfire before the Palace.
Plentiful Cans were at the same time distributed among the Dependences
of that Principality; and the artful Rival of _Divito_ observing them
prepared for Enterprize, presented the lawful Owner of the neighbouring
Edifice, and showed his Deputation under him. War immediately ensued
upon the peaceful Empire of Wit and the Muses; _The Goths_ and _Vandals_
sacking _Rome_ did not threaten a more barbarous Devastation of Arts and
Sciences. But when they had forced their Entrance, the experienced
_Divito_ had detached all his Subjects, and evacuated all his Stores.
The neighbouring Inhabitants report, That the Refuse of _Divito_'s
Followers marched off the Night before disguised in Magnificence;
Door-Keepers came out clad like Cardinals, and Scene-Drawers like
Heathen Gods. _Divito_ himself was wrapped up in one of his black
Clouds, and left to the Enemy nothing but an empty Stage, full of
Trap-Doors, known only to himself and his Adherents."]
[Footnote 71: Barton Booth, Theophilus Keen, Norris, John Bickerstaffe,
George Powell, Francis Leigh, George Pack, Mrs. Knight, Mrs. Bradshaw,
and Mrs. Moore were Collier's chief performers. As most of them had
signed the petition in Rich's favour which I mentioned in a note on page
79, it is not wonderful that disturbances soon arose. Collier appointed
Aaron Hill to manage the company, and his post seems to have been a
somewhat lively one. On 14th June, 1710, the Lord Chamberlain's Records
contain an entry which proves how rebellious the company were. Powell,
Booth, Bickerstaffe, Keen, and Leigh, are stated to have defied and
beaten Aaron Hill, to have broken open the doors of the theatre, and
made a riot generally. For this Powell is discharged, and the others
suspended. Mr. Fitzgerald ("New History," i. 308 _et seq._) quotes a
letter from Hill, in which some account of this matter is given.]
[Footnote 72: Charles Shadwell's "Fair Quaker of Deal" was produced at
Drury Lane on 25th February, 1710. In the Preface the author says, "This
play was written about three years since, and put into the hands of a
famous Comedian belonging to the Haymarket Playhouse, who took care to
beat down the value of it so much, as to offer the author to alter it
fit to appear on the stage, on condition he might have half the profits
of the third day, and the dedication entire; that is as much as to say,
that it may pass for one of his, according to custom. The author not
agreeing to this reasonable proposal, it lay in his hands till the
beginning of this winter, when Mr. Booth read it, and liked it, and
persuaded the author, that, with a little alteration, it would please
the town" (Bell's edition). If, as is likely, Cibber is the actor
referred to, his abuse of the play and the actors is not
unintelligible.]
[Footnote 73: Hester Santlow, the "Santlow, fam'd for dance" of Gay,
married Barton Booth. She appears to have retired from the stage about
1733. Genest (iii. 375) says, "she seems to have been a pleasing actress
with no great powers." Her reputation was none of the best before her
marriage, for she was said to have been the mistress of the Duke of
Marlborough and of Secretary Craggs. See memoir of Booth.]
[Footnote 74: Genest (ii. 430) has the following outspoken character of
Rich: "He seems in his public capacity of Patentee and Manager to have
been a despicable character--without spirit to bring the power of the
Lord Chamberlain to a legal test--without honesty to account to the
other proprietors for the receipts of the theatre--without any feeling
for his actors--and without the least judgment as to players and
plays."]
[Footnote 75: Rich's Patent was revived, as Cibber states (p. 78), in
1714, when it was the property of his son, John Rich.]
[Footnote 76: There is no more curious transaction in theatrical history
than the acquisition of the entire right in the Patent by Rich and his
son. Christopher Rich's share (see note on p. 32) was seventeen
one-hundredths, or about one-sixth; yet, by obstinate dishonesty, he
succeeded in annexing the remainder.]
[Footnote 77: In March, 1705.]
[Footnote 78: There has been some doubt as to the locality of the
theatre in Little Lincoln's Inn Fields, in which Betterton acted, one
authority at least holding that he played in Gibbons' Tennis Court in
Vere Street, Clare Market. But Cibber distinctly states that Rich rented
the building which Betterton left in 1705, and old maps of London show
clearly that Rich's theatre was in Portugal Street, just opposite the
end of the then unnamed street, now called Carey Street. In "A New and
Exact Plan of the Cities of London and Westminster," published 30th
August, 1738, by George Foster, "The New Play House" is given as the
name of this building, and it is worthy of notice that Cibber, a few
lines above, writes of "the New Theatre in Lincoln's Inn Fields." See
also vol. i. p. 192, note 1, where I quote Downes, who calls Betterton's
theatre the New Theatre in Lincoln's Inn Fields. About 1756 this house
was made a barrack; it was afterwards an auction room; then the China
Repository of Messrs. Spode and Copeland, and was ultimately pulled down
about 1848 to make room for the extension of the Museum of the Royal
College of Surgeons.]
[Footnote 79: The Licence to Swiney, Wilks, Cibber, and Dogget, for
Drury Lane, is dated 6th November, 1710. In it Swiney's name is spelled
"Swyny," and Cibber's "Cybber."]
[Footnote 80: Westminster Bridge was authorized to be built in the face
of virulent opposition from the Corporation of London, who feared that
its existence would damage the trade of the City. Dr. Potter, Archbishop
of Canterbury, and others interested, applied for an Act of Parliament
in 1736; the bridge was begun in 1738, and not finished till 1750, the
opening ceremony being held on 17th November of that year. Until this time
the only bridge was London Bridge. See "Old and New London," iii. 297.]
[Footnote 81: I presume the Noble Commissioner is the Earl of Pembroke,
who laid the first stone of the bridge on 29th January, 1739.]
[Footnote 82: Collier seems to have relied on Aaron Hill in all his
theatrical enterprises, for, as previously noted, Hill had been manager
for him at Drury Lane.]
[Footnote 83: At the end of the season 1708-9. See _ante_, p. 69.]
[Footnote 84: Collier's treatment of Swiney was so discreditable, that
when he in his turn was evicted from Drury Lane (1714) we cannot help
feeling gratified at his downfall.]
[Footnote 85: Swiney's Licence for the Opera is dated 17th April, 1712.]
[Footnote 86: For a further account of Steele's being given a share of
the Patent, which he got through Marlborough's influence, see the
beginning of Chapter XV.]
[Footnote 87: See vol. i. 284-285.]
[Footnote 88: That is, he had been the chief of Collier's Company at
Drury Lane at his opening in November, 1709. See _ante_, p. 94.]
[Footnote 89: Martial, x. 23, 7.]
[Footnote 90: This is a blunder, which, by the way, Bellchambers does
not correct. "Cato" was produced at Drury Lane on 14th April, 1713. The
cast was:--
CATO Mr. Booth.
LUCIUS Mr. Keen.
SEMPRONIUS Mr. Mills.
JUBA Mr. Wilks.
SYPHAX Mr. Cibber.
PORTIUS Mr. Powell.
MARCUS Mr. Ryan.
DECIUS Mr. Bowman.
MARCIA Mrs. Oldfield.
LUCIA Mrs. Porter.]
[Footnote 91: "The Laureat" says these Irish actors were Elrington and
Griffith, but I venture to think that Evans's name should be substituted
for that of Griffith. All three came from Ireland to Drury Lane in 1714;
but, while Elrington and Evans played many important characters,
Griffith did very little. Again, I can find no record of the latter's
benefit, but the others had benefits in the best part of the season. The
fact that they had _separate_ benefits makes my theory contradict Cibber
on this one point; but what he says may have occurred in connection with
one of the two benefits. Cibber's memory is not infallible.]
[Footnote 92: Genest's record gives Wilks about one hundred and fifty
different characters, Dogget only about sixty.]
[Footnote 93: Horace, _Ars Poetica_, 121.]
[Footnote 94: See note on page 120.]
[Footnote 95: Johnson (Life of Addison) terms this "the despicable cant
of literary modesty."]
[Footnote 96: 14th April, 1713. See note on page 120.]
[Footnote 97: Mrs. Oldfield, Powell, Mills, Booth, Pinkethman, and Mrs.
Porter, had their benefits before "Cato" was produced. "Cato" was then
acted twenty times--April 14th to May 9th--that is, every evening except
Monday in each week, as Cibber states. On Monday nights the benefits
continued--being one night in the week instead of three. Johnson, Keen,
and Mrs. Bicknell had their benefits during the run of "Cato," and on
May 11th the regular benefit performances recommenced, Mrs. Rogers
taking her benefit on that night.]
[Footnote 98: The Duke of Marlborough is the person pointed at.]
[Footnote 99: Theo. Cibber ("Life of Booth," p. 6) says that Booth in
his early days as an actor became intimate with Lord Bolingbroke, and
that this "was of eminent advantage to Mr. _Booth_,--when, on his great
Success in the Part of CATO (of which he was the original Actor) my
Lord's Interest (then Secretary of State) established him as a Manager
of the Theatre."]
[Footnote 100: There are five Prologues by Dryden spoken at Oxford; one
in 1674, and the others probably about 1681.]
[Footnote 101: James II.]
[Footnote 102: Obadiah Walker, born 1616, died 1699, is famous only for
the change of religion to which Cibber's anecdote refers. Macaulay
("History," 1858, ii. 85-86) relates the story of his perversion, and in
the same volume, page 283, refers to the incident here told by Cibber.]
[Footnote 103: 1713. The performance on 23rd June, 1713, was announced
as the last that season, as the company were obliged to go immediately
to Oxford.]
[Footnote 104: Dryden writes, in one of his Prologues (about 1681), to
the University of Oxford:--
"When our fop gallants, or our city folly,
Clap over-loud, it makes us melancholy:
We doubt that scene which does their wonder raise,
And, for their ignorance, contemn their praise.
Judge, then, if we who act, and they who write,
Should not be proud of giving you delight.
London likes grossly; but this nicer pit
Examines, fathoms, all the depths of wit;
The ready finger lays on every blot;
Knows what should justly please, and what should not."]
[Footnote 105: In a Prologue by Dryden, spoken by Hart in 1674, at
Oxford, the poet says:--
"None of our living poets dare appear;
For Muses so severe are worshipped here,
That, conscious of their faults, they shun the eye,
And, as profane, from sacred places fly,
Rather than see the offended God, and die."
Malone (Dryden's Prose Works, vol. i. part ii. p. 13) gives a letter
from Dryden to Lord Rochester, in which he says: "Your Lordship will
judge [from the success of these Prologues, &c.] how easy 'tis to pass
anything upon an University, and how gross flattery the learned will
endure."]
[Footnote 106: Theo. Cibber ("Life of Booth," p. 7) says that Colley
Cibber and Booth "used frequently to set out, after Play (in the Month
of _May_) to _Windsor_, where the _Court_ then was, to push their
different Interests." Chetwood ("History," p. 93) states that the other
Patentees "to prevent his solliciting his Patrons at Court, then at
_Windsor_, gave out Plays every Night, where Mr. _Booth_ had a principal
Part. Notwithstanding this Step, he had a Chariot and Six of a
Nobleman's waiting for him at the End of every Play, that whipt him the
twenty Miles in three Hours, and brought him back to the Business of the
Theatre the next Night."]
[Footnote 107: The new Licence was dated 11th November, 1713. Dogget's
name was of course included as well as Booth's.]
[Footnote 108: This must have been in November, 1713.]
[Footnote 109: The Right Hon. Thomas Coke.]
[Footnote 110: The dates regarding this quarrel with Dogget are very
difficult to fix satisfactorily. In the collection of Mr. Francis Harvey
of St. James's Street are some valuable letters by Dogget in connection
with this matter. From these, and from Mr. Percy Fitzgerald's "New
History" (i. 352-358), I have made up a list of dates, which, however, I
give with all reserve. We know from "The Laureat" that Dogget had some
funds of the theatre in his hands when he ceased acting, and this fact
makes a Petition by Cibber and Wilks, that he should account with them
for money, intelligible. This is dated 16th January, 1714--it cannot be
1713, as Mr. Fitzgerald says, for Booth was not admitted then, and the
quarrel had not arisen. Then follows a Petition from Cibber, Booth, and
Wilks, dated 5th February, 1714, praying the Chamberlain to settle the
dispute. Petitions by Dogget bear date 17th April, 1714; and, I think,
14th June, 1714. Mr. Fitzgerald gives this latter date as 14th January,
1714, and certainly the date on the document itself is more like "Jan"
than "June;" but in the course of the Petition Dogget says that the
season will end in a few days, which seems to fix June as the correct
month. The season 1713-14 ended 18th June, 1714. Next comes a Petition
that Dogget should be compelled to act if he was to draw his share of
the profits, which is dated 3rd November, 1714. In this case we are on
sure ground, for the Petition is preserved among the Lord Chamberlain's
Papers. Another Petition by Dogget, in which he talks of his being
forced into Westminster Hall to obtain his rights, is dated "Jan. ye 6
1714," that is, 1715. After this, legal action was no doubt commenced,
as related by Cibber.]
[Footnote 111: So full an account of Dogget is given by Cibber and by
Aston, that I need only add, that he first appeared about 1691; and that
he died in 1721.]
[Footnote 112: See memoir of Mrs. Porter at the end of this volume.]
[Footnote 113: On March 18th, 1717. Cibber is wrong in stating that this
was Dogget's last appearance; for a week after he played Ben in "Love
for Love" (March 25th, 1717), and made his last appearance, after the
lapse of another week (April 1st, 1717), when he acted Hob in "The
Country Wake."]
[Footnote 114: Downes ("Rosc. Ang.," p. 52) gives a quaint description
of Dogget: "Mr. _Dogget_, On the Stage, he's very Aspectabund, wearing a
Farce in his Face; his Thoughts deliberately framing his Utterance
Congruous to his Looks: He is the only Comick Original now Extant:
Witness, _Ben. Solon_, _Nikin_, The _Jew_ of _Venice_, &c."]
[Footnote 115: "The Laureat," p. 83: "Thy Partiality is so notorious,
with Relation to _Wilks_, that every one sees you never praise him, but
to rail at him; and only oil your Hone, to whet your Razor."]
[Footnote 116: 1714.]
[Footnote 117: In the Dedication to Steele of "Ximena" (1719) Cibber
warmly acknowledges the great service Steele had done to the theatre,
not only in improving the tone of its performances, but also in the mere
attracting of public attention to it. "How many a time," he says, "have
we known the most elegant Audiences drawn together at a Day's Warning,
by the Influence or Warrant of a single _Tatler_, when our best
Endeavours without it, could not defray the Charge of the Performance."
In the same Dedication Cibber's gratitude overstepped his judgment, in
applying to Steele's generous acknowledgment of his indebtedness to
Addison's help in his "Spectator," &c., Dryden's lines:--
"Fool that I was! upon my Eagle's Wings
I bore this Wren, 'till I was tir'd with soaring,
And now, he mounts above me----"
The following Epigram is quoted in "The Laureat," p. 76. It originally
appeared in "Mist's Journal," 31st October, 1719:--
"_Thus_ Colley Cibber _to his Partner_ Steele,
_See here, Sir Knight, how I've outdone_ Corneille;
_See here, how I, my Patron to inveigle,
Make_ Addison _a_ Wren, _and you an_ Eagle.
_Safe to the silent Shades, we bid Defiance;
For living Dogs are better than dead Lions_."
In one of his Odes, at which Johnson laughed (Boswell, i. 402) Cibber
had the couplet:--
"Perch'd on the eagle's soaring wing,
The lowly linnet loves to sing."
"Ximena; or, the Heroic Daughter," produced on 28th November, 1712, was
an adaptation of Corneille's "Cid." We do not know the cast of 1712, but
that of 1718 (Drury Lane, 1st November) was the following:--
DON FERDINAND Mr. Mills.
DON ALVAREZ Mr. Cibber.
DON GORMAZ Mr. Booth.
DON CARLOS Mr. Wilks.
DON SANCHEZ Mr. Elrington.
DON ALONZO Mr. Thurmond.
DON GARCIA Mr. Boman.
XIMENA Mrs. Oldfield.
BELZARA Mrs. Porter.]
[Footnote 118: A Royal Licence was granted on 18th October, 1714, to
Steele, Wilks, Cibber, Dogget, and Booth. The theatre opened before the
Licence was granted. The first bill given by Genest is for 21st
September, 1714.]
[Footnote 119: Christopher Rich died before the theatre was opened, and
it was under the management of John Rich, his son, that Lincoln's Inn
Fields opened on 18th December, 1714, with "The Recruiting Officer." The
company was announced as playing under Letters Patent granted by King
Charles the Second.]
[Footnote 120: This refers to a riot raised by the supporters of Mrs.
Rogers, on Mrs. Oldfield's being cast for the character of Andromache in
Philips's tragedy of "The Distressed Mother," produced at Drury Lane on
17th March, 1712.]
[Footnote 121: Cibber on one occasion manifested temper to a rather
unexpected degree. In 1720, when Dennis published his attacks on Steele,
in connection with his being deprived of the Patent, he accused Cibber
of impiety and various other crimes and misdemeanours; and Cibber is
said in the "Answer to the Character of Sir John Edgar" to have inserted
the following advertisement in the "Daily Post": "Ten Pounds will be
paid by Mr. CIBBER, of the Theatre Royal, to any person who shall (by a
legal proof) discover the Author of a Pamphlet, intituled, 'The
Characters and Conduct of Sir JOHN EDGAR, &c.'" (Nichols, p. 401.)]
[Footnote 122: Cibber refers to his remarks (see vol. i. p. 191) on the
conduct of the Patentees which caused Betterton's secession in 1694-5.]
[Footnote 123: In addition to Keen, Bullock (William), Pack, and Leigh,
whom Cibber mentions a few lines after, Spiller and Christopher Bullock
were among the deserters; and probably Cory and Knap. Mrs. Rogers, Mrs.
Knight, and Mrs. Kent also deserted.]
[Footnote 124: George Pack is an actor of whom Chetwood ("History," p.
210) gives some account. He first came on the stage as a singer,
performing the female parts in duets with Leveridge. His first
appearance chronicled by Genest was at Lincoln's Inn Fields in 1700, as
Westmoreland in the first part of "Henry IV." Chetwood says he was
excellent as Marplot in "The Busy Body," Beau Maiden in "Tunbridge
Walks," Beau Mizen in "The Fair Quaker of Deal," &c.: "_indeed Nature
seem'd to mean him for those Sort of Characters_." On 10th March, 1722,
he announced his last appearance on any stage; but he returned on 21st
April and 7th May, 1724, on which latter date he had a benefit. Chetwood
says that on his retirement he opened the Globe Tavern, near
Charing-Cross, over against the Hay-Market. When Chetwood wrote (1749)
Pack was no longer alive.]
[Footnote 125: Francis Leigh. There were several actors of the name of
Leigh, and it is sometimes difficult to distinguish them. This
particular actor died about 1719.]
[Footnote 126: In the "Weekly Packet," 18th December, 1714, the
following appears:--
"This Day the New Play-House in Lincolns-Inn Fields, is to be open'd and
a Comedy acted there, call'd, The Recruiting Officer, by the Company
that act under the Patent; tho' it is said, that some of the Gentlemen
who have left the House in Drury-Lane for that Service, are order'd to
return to their Colours, upon Pain of not exercising their Lungs
elsewhere; which may in Time prove of ill Service to the Patentee, that
has been at vast Expence to make his Theatre as convenient for the
Reception of an Audience as any one can possibly be."
Genest remarks that this seems to show that the Lord Chamberlain
threatened to interfere in the interests of Drury Lane. He adds:
"Cibber's silence proves nothing to the contrary, as in more than one
instance he does not tell the whole truth" (ii. 565). In defence of
Cibber I may say that the Chamberlain's Records contain no hint that he
threatened to interfere with the Lincoln's Inn Fields Theatre or its
actors.]
[Footnote 127: In both the first and second editions Cibber writes 1718,
but this is so obviously a misprint that I correct the text. Steele was
elected for Boroughbridge in the first Parliament of George I., which
met 15th March, 1715.]
[Footnote 128: "The very night I received it, I participated the power
and use of it, with relation to the profits that should arise from it,
between the gentlemen who invited me into the Licence."--Steele, in "The
Theatre," No. 8 [Nichols, p. 64].]
[Footnote 129: The managers also expended money on the decoration of the
theatre before the beginning of the next season after the Patent was
granted. In the "Daily Courant," 6th October, 1715, they advertise: "His
Majesty's Company of Comedians give Notice, That the Middle of next Week
they will begin to act Plays, every day, as usual; they being oblig'd to
lye still so long, to finish the New Decorations of the House."]
[Footnote 130: This revival was on 2nd December, 1718. Dennis, whose
"Invader of his Country" was, as he considered, unfairly postponed on
account of this production, wrote to Steele:--
"Well, Sir, when the winter came on, what was done by your Deputies?
Why, instead of keeping their word with me, they spent above two months
of the season in getting up "All for Love, or, the World well Lost," a
Play which has indeed a noble first act, an act which ends with a scene
becoming of the dignity of the Tragic Stage. But if HORACE had been now
alive, and been either a reader or spectator of that entertainment, he
would have passed his old sentence upon the Author.
"'_Infelix operis summâ, quia ponere totum
Nesciet._'" [_Ars Poetica, 34._]
Nichols' "Theatre," p. 544.]
[Footnote 131: Cibber here skips a few years, for the report by Sir
Thomas Hewitt is dated some years after the granting of the Patent. The
text of it will be found in Nichols's "Theatre," p. 470:--
"MY LORD, _Scotland-yard, Jan. 21, 1721_.
"In obedience to his Majesty's commands signified to me by
your Grace the 18th instant, I have surveyed the Play-house
in Drury-lane; and took with me Mr. RIPLEY, Commissioner
of his Majesty's Board of Works, the Master Bricklayer,
and Carpenter: We examined all its parts with the greatest
exactness we could; and found the Walls, Roofing, Stage, Pit,
Boxes, Galleries, Machinery, Scenes, &c. sound, and almost as
good as when first built; neither decayed, nor in the least
danger of falling; and when some small repairs are made, and
an useless Stack of Chimnies (built by the late Mr. RICH)
taken down, the Building may continue for a long time, being
firm, the Materials and Joints good, and no part giving way;
and capable to bear much greater weight than is put on them.
"MY LORD DUKE,
"Your GRACE's Most humble and obedient servant,
"THOMAS HEWETT.
"N.B. The Stack of Chimnies mentioned in this Report (which
were placed over the Stone Passage leading to the Boxes) are
actually taken down."]
[Footnote 132: See _ante_, vol. i. p. 234.]
[Footnote 133: Cibber, vol. i. p. 94, relates how, when the King's
Company proved too strong for their rivals, Davenant, "to make head
against their Success, was forced to add Spectacle and Music to
Action."]
[Footnote 134: In the season 1718-19, Rich at Lincoln's Inn Fields
frequently produced French pieces and operas. He must have had a company
of French players engaged.]
[Footnote 135: This is, no doubt, John Weaver's dramatic entertainment
called "The Loves of Mars and Venus," which was published, as acted at
Drury Lane, in 1717.]
[Footnote 136: The following lines ("Dunciad," iii. verses 229-244) are
descriptive of such pantomimes as Cibber refers to:--
"He look'd, and saw a sable Sorc'rer rise,
Swift to whose hand a winged volume flies:
All sudden, Gorgons hiss, and dragons glare,
And ten-horn'd fiends and giants rush to war.
Hell rises, Heav'n descends, and dance on Earth,
Gods, imps, and monsters, music, rage, and mirth,
A fire, a jig, a battle, and a ball,
Till one wide conflagration swallows all.
Thence a new world, to nature's laws unknown,
Breaks out refulgent, with a heav'n its own:
Another Cynthia her new journey runs,
And other planets circle other suns:
The forests dance, the rivers upward rise,
Whales sport in woods, and dolphins in the skies,
And last, to give the whole creation grace,
Lo! one vast Egg produces human race."
The allusion in the last line is to "Harlequin Sorcerer," in which
Harlequin is hatched from a large egg on the stage. See Jackson's
"History of the Scottish Stage," pages 367-368, for description of John
Rich's excellence in this scene.]
[Footnote 137: In the "Dunciad" (book iii. verses 261-264) Pope writes:--
"But lo! to dark encounter in mid air
New wizards rise: here Booth, and Cibber there:
Booth in his cloudy tabernacle shrin'd,
On grinning Dragons Cibber mounts the wind."
On these lines Cibber remarks, in his "Letter to Mr. Pope," 1742 (page
37): "If you, figuratively, mean by this, that I was an Encourager of
those Fooleries, you are mistaken; for it is not true: If you intend it
literally, that I was Dunce enough to mount a Machine, there is as
little Truth in that too."]
[Footnote 138: Henry of Navarre, of whom it has been said that he
regarded religion mainly as a diplomatic instrument.]
[Footnote 139: It is hardly necessary to note that this was the Scottish
Rebellion of 1715; yet Bellchambers indicates the period as 1718.]
[Footnote 140: Cibber's most notorious play, "The Nonjuror," was
produced at Drury Lane on 6th December, 1717. The cast was:--
SIR JOHN WOODVIL Mr. Mills.
COLONEL WOODVIL Mr. Booth.
MR. HEARTLY Mr. Wilks.
DOCTOR WOLF Mr. Cibber.
CHARLES Mr. Walker.
LADY WOODVIL Mrs. Porter.
MARIA Mrs. Oldfield.]
[Footnote 141: Genest (ii. 615) quotes the Epilogue to Sewell's "Sir
Walter Raleigh," produced at Lincoln's Inn Fields 16th January, 1719:--
"Yet to write plays is easy, faith, enough,
As you have seen by--Cibber--in Tartuffe.
With how much wit he did your hearts engage!
He only stole the _play_;--he writ the _title-page_."]
[Footnote 142: Genest says it was acted twenty-three times.]
[Footnote 143: Genest remarks (ii. 616) that "Cibber deserved all the
abuse and enmity that he met with--the Stage and the Pulpit ought NEVER
to dabble in politics."
Theo. Cibber, in a Petition to the King, given in his "Dissertations"
(Letter to Garrick, p. 29), says that his father's "Writings, and public
Professions of Loyalty, created him many Enemies, among the
Disaffected."]
[Footnote 144: "Mist's Weekly Journal" was an anti-Hanoverian sheet,
which was prominent in opposition to the Protestant Succession.
Nathaniel Mist, the proprietor, and, I suppose, editor, suffered sundry
pains and penalties for his Jacobitism. In his Preface to the second
volume of "Letters" selected from his paper, he relates how he had,
among other things, suffered imprisonment and stood in the pillory.]
[Footnote 145: There can be little doubt that the "Nonjuror" was one of
the causes of Pope's enmity to Cibber. Pope's father was a Nonjuror. See
"Epistle to Dr. Arbuthnot," where the poet says of his father:--
"No courts he saw, no suits would ever try,
Nor dar'd an oath, nor hazarded a lie."]
[Footnote 146: Produced 10th January, 1728. See vol. i. p. 311, for list
of characters, &c.]
[Footnote 147: Meaning, no doubt, that the post of Poet Laureate was
given to him as a reward for his services to the Government.]
[Footnote 148: 1733.]
[Footnote 149: In leaping from 1717 to 1728, as Cibber does here, he
omits to notice much that is of the greatest interest in stage history.
Steele's connection with the theatre was of a chequered complexion, and
it is curious as well as regrettable that an interested observer like
Cibber should have simply ignored the great points which were at issue
while Steele was a sharer in the Patent. In order to bridge over the
chasm I give a bare record of Steele's transactions in connection with
the Patent.
His first authority was a Licence granted to him and his partners,
Wilks, Cibber, Dogget, and Booth, and dated October 18th, 1714. This was
followed by a Patent, in Steele's name alone, for the term of his life,
and three years after his death, which bore date January 19th, 1715.
Cibber (p. 174) relates that Steele assigned to Wilks, Booth, and
himself, equal shares in this Patent. All went smoothly for more than
two years, until the appointment of the Duke of Newcastle (April 13th,
1717) as Lord Chamberlain. He seems soon to have begun to interfere in
the affairs of the theatre. Steele, in the eighth number of "The
Theatre," states that shortly after his appointment the Duke demanded
that he should resign his Patent and accept a Licence in its place. This
Steele naturally and rightly declined to do, and here the matter rested
for many months. With reference to this it is interesting to note that
among the Lord Chamberlain's Papers is the record of a consultation of
the Attorney-General whether Steele's Patent made him independent of the
Lord Chamberlain's authority. Unfortunately it is impossible to decide,
from the terms of the queries put to the Attorney-General, whether these
were caused by aggressive action on Steele's part, or merely by his
defence of his rights.
The next molestation was an order, dated December 19th, 1719, addressed
to Steele, Wilks, and Booth, ordering them to dismiss Cibber; which they
did. His suspension, for it was nothing more, lasted till January 28th,
1720. Steele, in the seventh number of "The Theatre," January 23rd,
1720, alludes to his suspension as then existing, and in No. 12 talks of
Cibber's being just restored to the "Begging Bridge," that is, the
theatre. The allusion is to an Apologue by Steele ("Reader," No. II.)
which Cibber quotes, and applies to Steele, in his Dedication of
"Ximena" to him. A peasant had succeeded in barricading, with his whole
belongings, a bridge over which an enemy attempted to invade his native
country. He kept them back till his countrymen were roused; but when the
forces of his friends attacked the enemy, the peasant's property was
destroyed in the fray and he was left destitute. He received no
compensation, but it was enacted that he and his descendants were alone
to have the privilege of _begging_ on this bridge. Cibber applies this
fable to the treatment of Steele by the Lord Chamberlain, and there can
be no doubt that this Dedication must have caused great offence to that
official, and contributed materially to Cibber's suspension, though
Steele declared that the attack upon his partner was merely intended as
an oblique attack on himself. The author of the "Answer to the Case of
Sir Richard Steele," 1720 (Nichols's ed., p. 532), says that Cibber had
offended the Duke by an attack on the King and the Ministry in the
Dedication of his "Ximena" to Steele. He also says that when the
Chamberlain wanted a certain actor to play a part which belonged to one
of the managers, Cibber flatly refused to allow him, and was thereupon
silenced. (The actor is said to have been Elrington, and the part
Torrismond; but I doubt if Elrington was at Drury Lane in 1719-20.) A
recent stage historian curiously says that the play which gave offence
was "The Nonjuror," which is about as likely as that a man should be
accused of high treason because he sang "God Save the Queen!"
Steele then, being made to understand that the attack on Cibber was the
beginning of evil directed against himself, wrote to two great Ministers
of State, and presented a Petition to the King on January 22nd, 1720,
praying to be protected from molestation by the Lord Chamberlain. The
result of this action was a revocation of Steele's Licence (_not_ his
Patent specially, which is curious) dated January 23rd, 1720; and on the
next Monday, the 25th, an Order for Silence was sent to the managers and
actors at Drury Lane. The theatre accordingly remained closed Monday,
Tuesday, and Wednesday, January 25th to 27th, 1720, and on the 28th
re-opened, Wilks, Cibber, and Booth having made their submission and
received a Licence dated the previous day.
On the 4th of March following the actors of Drury Lane were sworn at
the Lord Chamberlain's office, "pursuant to an Order occasioned by
their acting in obedience to his Majesty's Licence, lately granted,
exclusive of a Patent formerly obtained by Sir Richard Steele, Knight."
The tenor of the Oath was, that as his Majesty's Servants they should
act subservient to the Lord Chamberlain, Vice-Chamberlain, and
Gentleman-Usher in Waiting. Whether Steele took any steps to test the
legality of this treatment is doubtful; but, on the accession of his
friend Walpole to office, he was restored to his position at the head of
the theatre. On May 2nd, 1721, Cibber and his partners were ordered to
account with Steele for his past and present share of the profits of the
theatre, as if all the regulations from which his name had been excluded
had never been made. This edict is signed by the Duke of Newcastle, and
must, I fancy, have been rather a bitter pill for that nobleman. How
Steele subsequently conducted himself, and how much interest he took in
the theatre, Cibber very fully relates in the next few pages. After
Steele's death a new Patent was granted to Cibber, Wilks, and Booth, as
will be related further on. It may be noted here, however, that the date
of the new Patent proves conclusively that Steele's grant was never
superseded. The new power was dated July 3rd, 1731, but it did not take
effect till September 1st, 1732, exactly three years after Steele's
death, according to the terms of his original Patent.]
[Footnote 150: This is one of Cibber's bad blunders. The Case was heard
in 1728. Genest (iii. 208) refers to the _St. James's Evening Post's_
mention of the hearing; and, in the Burney MSS. in the British Museum, a
copy of the paragraph is given. It is not, however, a cutting, but a
manuscript copy. "Saty. Feb. 17. There was an hearing in the Rolls
Chapel in a Cause between Sir Richard Steele, Mr. Cibber, Mr. Wilks, and
others belonging to Drury-Lane Theatre, which held five hours--one of
which was taken up by a speech of Mr. Wilks, which had so good an
effect, that the Cause went against Sir Richard Steele."--St. James's
Evening Post, Feb. 17 to Feb. 20, 1728. In its next issue, Feb. 20 to
Feb. 22, it corrects the blunder which it had made in attributing
Cibber's speech to Wilks.]
[Footnote 151: This was in the Dedication to "Ximena." The passage will
be found quoted by me in a note on page 163 of this volume.]
[Footnote 152: Cibber himself, of course.]
[Footnote 153: This Coronation was tacked to the play of "Henry VIII.,"
which was revived at Drury Lane on 26th October, 1727. Special interest
attached to it on account of the recent Coronation of George II.]
[Footnote 154: This was in 1718. On 24th September, 1718, the bills
announce "the same Entertainments that were performed yesterday before
his Majesty at Hampton Court."]
[Footnote 155: In Whitelocke's "Memorials" there is an account of a
Masque played in 1633, before Charles I. and his Queen, by the gentlemen
of the Temple, which cost £21,000.]
[Footnote 156: The Earl of Burlington.]
[Footnote 157: "Calisto" was published in 1675. Genest (i. 181) says:
"Cibber, with his usual accuracy as to dates, supposes that Crowne was
selected to write a mask for the Court in preference to Dryden, through
the influence of the Duke of Buckingham, who was offended at what Dryden
had said of him in Absalom and Achitophel--Dryden's poem was not written
till 1681--Lord Rochester was the person who recommended Crowne." I may
add that Dryden furnished an Epilogue to "Calisto," which was not
spoken.]
[Footnote 158: Boman, or Bowman, was born about 1651, and lived till
23rd March, 1739. He made his first appearance about 1673, and acted to
within a few months of his death, having thus been on the stage for the
extraordinary period of sixty-five years. He was very sensitive on the
subject of his age, and, if asked how old he was, only replied, that he
was very well. Davies speaks highly of Boman's acting in his extreme old
age ("Dram. Misc.," i. 286 and ii. 100). Mrs. Boman was the adopted
daughter of Betterton.]
[Footnote 159: Bishop Burnet.]
[Footnote 160: First edition, vol. i.]
[Footnote 161: Davies ("Dram. Misc.," i. 365) says: "Wolsey's filching
from his royal master the honour of bestowing grace and pardon on the
subject, appeared so gross and impudent a prevarication, that, when this
play was acted before George I. at Hampton-Court, about the year 1717,
the courtiers laughed so loudly at this ministerial craft, that his
majesty, who was unacquainted with the English language, asked the
lord-chamberlain the meaning of their mirth; upon being informed of it,
the king joined in a laugh of approbation." Davies adds that this scene
"was not unsuitably represented by Colley Cibber;" but, in scenes
requiring dignity or passion, he expresses an unfavourable opinion of
Cibber's playing.]
[Footnote 162: From the Lord Chamberlain's Records it is clear that £10
was the fee for a play at Whitehall during the time of Charles I. If the
performance was at Hampton Court, or if it took place at such a time of
day as to prevent the ordinary playing at the theatre, £20 was allowed.]
[Footnote 163: The warrant for the payment of these performances is
dated 15th November, 1718. The expenses incurred by the actors amounted
to £374 1_s._ 8_d._, and the present given by the King, as Cibber
states, was £200; the total payment being thus £574 1_s._ 8_d._]
[Footnote 164: M. Perrin, the late manager of the Theatre Français, was
virulently attacked for giving _la jeune troupe_ no opportunities, and
so doing nothing to provide successors to the great actors of his time.]
[Footnote 165: After the death of Wilks and Booth, and the retirement of
Cibber, the stage experienced a period of dulness, which was the natural
result of the want of good young talent in the lifetime of the old
actors. Such periods seem to recur at stated intervals in the history of
the stage.]
[Footnote 166: "Venice Preserved" was acted at the Haymarket on 22nd
February, 1707, but Dr. Burney's MSS. do not give the cast. On 15th
November, 1707, Pierre was played by Mills.]
[Footnote 167: For an account of this matter, see _ante_, page 70.]
[Footnote 168: Davies ("Dram. Misc.," iii. 255) has the following
interesting statement regarding Cibber and Wilks, which he gives on
Victor's authority:--
"However Colley may complain, in his Apology, of Wilks's fire and
impetuosity, he in general was Cibber's great admirer; he supported him
on all occasions, where his own passion or interest did not interpose;
nay, he deprived the inoffensive Harry Carey of the liberty of the
scenes, because he had, in common with others, made merry with Cibber in
a song, on his being appointed poet laureat; saying at the same time, he
was surprised at his impertinence, in behaving so improperly _to a man
of such great merit_."]
[Footnote 169: John Dennis, in an advertisement to the "Invader of his
Country," remarks on this foible. He says:--
"I am perfectly satisfied that any Author who brings a Play to
_Drury-Lane_, must, if 'tis a good one, be sacrificed to the Jealousie
of this fine Writer, unless he has either a powerful Cabal, or unless he
will flatter Mr. _Robert Wilks_, and make him believe that he is an
excellent Tragedian." The "fine Writer" is, of course, Cibber.]
[Footnote 170: "In the trajedy of _Mackbeth_, where _Wilks_ acts the
Part of a Man whose Family has been murder'd in his Absence, the
Wildness of his Passion, which is run over in a Torrent of calamitous
Circumstances, does but raise my Spirits and give me the Alarm; but when
he skilfully seems to be out of Breath, and is brought too low to say
more; and upon a second Reflection, cry, only wiping his Eyes, What,
both my Children! Both, both my Children gone--There is no resisting a
Sorrow which seems to have cast about for all the Reasons possible for
its Consolation, but has no Recource. There is not one left, but both,
both are murdered! Such sudden Starts from the Thread of the Discourse,
and a plain Sentiment express'd in an artless Way, are the irresistible
Strokes of Eloquence and Poetry."--"Tatler," No. 68, September 15th,
1709.
The extraordinary language of Macduff is quoted from Davenant's
mutilation of Shakespeare's play. Obviously it is not Shakespeare's
language.]
[Footnote 171: Charles Williams was a young actor of great promise, who
died in 1731. On the production of Thomson's "Sophonisba" at Drury Lane,
on February 28th, 1730, Cibber played Scipio, but was so hissed by a
public that would not suffer him in tragic parts, that he resigned the
character to Williams. (See Footnote 201, vol. i. anchored on page 179.)
This would seem to indicate that Williams was an actor of some position,
for Scipio is a good part.]
[Footnote 172: "In the strong expression of horror on the murder of the
King, and the loud exclamations of surprize and terror, Booth might have
exceeded the utmost efforts of Wilks. But, in the touches of domestic
woe, which require the feelings of the tender father and the
affectionate husband, Wilks had no equal. His skill, in exhibiting the
emotions of the overflowing heart with corresponding look and action,
was universally admired and felt. His rising, after the suppression of
his anguish, into ardent and manly resentment, was highly expressive of
noble and generous anger."--"Dram. Misc.," ii. 183.]
[Footnote 173: This revival took place 11th January, 1726. The play was
acted eleven times.]
[Footnote 174: Jeremy Collier specially attacked Vanbrugh and his
comedies for their immorality and profanity, and for their abuse of the
clergy. Even less strict critics than Collier considered Vanbrugh's
pieces as more indecent than the average play. Thus the author of
"Faction Display'd," 1704, writes:--
"_Van_'s Baudy, Plotless Plays were once our boast,
But now the Poet's in the Builder lost."]
[Footnote 175: Davies ("Dram. Misc.," iii. 455) says that he supposes
Cibber prevailed upon Vanbrugh to alter the disguise which Sir John
Brute assumes from a clergyman's habit to that of a woman of fashion.]
[Footnote 176: Sir John Brute.]
[Footnote 177: Cibber's meaning is not very clear, but if he intends to
convey the idea that it was for this revival that Vanbrugh made these
alterations, he is probably wrong, for when the play was revived at the
Haymarket, on 19th January, 1706, it was announced as "with
alterations."]
[Footnote 178: Mrs. Oldfield played Lady Brute, whose lover Constant
is.]
[Footnote 179: Wilks played Constant; Booth, Heartfree; and Cibber, Sir
John Brute.]
[Footnote 180: Cibber begins the seventh chapter of this work with an
account of Betterton's troubles as a manager. See vol. i. p. 227. See
also vol. i. p. 315.]
[Footnote 181:
"Ye Gods, what Havock does Ambition make
Among your Works!"--"Cato," act i. sc. 1.]
[Footnote 182:
"And, in despair their empty pit to fill,
Set up some Foreign monster in a bill.
Thus they jog on, still tricking, never thriving,
And murdering plays, which they miscall reviving."
"Address to Granville, on his Tragedy, _Heroic Love_."]
[Footnote 183: "During Booth's inability to act, ... Wilks was called
upon to play two of his parts--Jaffier, and Lord Hastings in Jane Shore.
Booth was, at times, in all other respects except his power to go on the
stage, in good health, and went among the players for his amusement His
curiosity drew him to the playhouse on the nights when Wilks acted these
characters, in which himself had appeared with uncommon lustre. All the
world admired Wilks, except his brother-manager: amidst the repeated
bursts of applause which he extorted, Booth alone continued
silent."--Davies ("Dram. Misc.," iii. 256).]
[Footnote 184: Aaron Hill, quoted by Victor in his "Life of Barton
Booth," page 32, says: "The Passions which he found in Comedy were not
strong enough to excite his Fire; and what seem'd Want of Qualification,
was only Absence of Impression."]
[Footnote 185: Wilks can have seen Mountfort only in his early career,
for he did not leave Ireland till, at least, 1692; and in that year
Mountfort was killed.]
[Footnote 186: Wilks first played Othello in this country on June 22nd,
1710, for Cibber's benefit. Steele draws attention to the event in
"Tatler," No. 187, and in No. 188 states his intention of stealing out
to see it, "out of Curiosity to observe how _Wilks_ and _Cibber_ touch
those Places where _Betterton_ and _Sandford_ so very highly excelled."
Cibber was the Iago on this occasion. Steele probably found little to
praise in either.]
[Footnote 187: The Earl of Essex, in Banks's "Unhappy Favourite," was
one of Wilks's good parts, in which Steele ("Tatler," No. 14) specially
praises him. Booth acted the part at Drury Lane on November 25th, 1709.]
[Footnote 188: See Cibber on Betterton's Hamlet and on Wilks's mistakes
in the part, vol. i. page 100.]
[Footnote 189: In the Theatre Français a similar arrangement holds to
this day, Tuesday being now the fashionable night. M. Perrin, the late
manager, was accused of a too great attention to his _Abonnés du Mardi_,
to the detriment of the theatre and of the general public.]
[Footnote 190: See _ante,_ vol. i. page 234.]
[Footnote 191: Arcangelo Corelli, a famous Italian musician, born 1653,
died 1713, who has been called the father of modern instrumental music.]
[Footnote 192: Jeanne Catherine Gaussin, a very celebrated actress of
the Comédie Française, was the original representative of Zaïre, in
Voltaire's tragedy, to which Cibber refers. She made her first Parisian
appearance in 1731; she retired in 1763, and died on 9th June, 1767.
Voltaire's "Zaïre" owed much of its success to her extraordinary
ability.]
[Footnote 193: Cibber has been strongly censured for his treatment of
authors. "The Laureat" gives the following account of an author's
experiences: "_The Court sitting, Chancellor Cibber_ (for the other two,
like M----rs in _Chancery_, sat only for Form sake, and did not presume
to judge) nodded to the Author to open his Manuscript. The Author begins
to read, in which if he failed to please the _Corrector_, he wou'd
condescend sometimes to read it for him: When, if the play strook him
very warmly, as it wou'd if he found any Thing new in it, in which he
conceived he cou'd particularly shine as an Actor, he would lay down his
Pipe, (for the _Chancellor_ always smoaked when he made a Decree) and
cry, _By G--d there is something in this: I do not know but it may do;
but I will play such a Part_. Well, when the Reading was finished, he
made his proper Corrections and sometimes without any Propriety; nay,
frequently he very much and very hastily maimed what he pretended to
mend" (p. 95). The author also accuses Cibber of delighting in repulsing
dramatic writers, which he called "Choaking of Singing birds." However,
in Cibber's defence, Genest's opinion may be quoted (iii. 346): "After
all that has been said against Chancellor Cibber, it does not appear
that he often made a wrong decree: most of the good plays came out at
Drury Lane--nor am I aware that Cibber is much to be blamed for
rejecting any play, except the Siege of Damascus in the first
instance."]
[Footnote 194: In the preface to "The Lunatick" (1705) the actors are
roundly abused; but the most amusing attack on actors is in the
following title-page: "The Sham Lawyer: or the Lucky Extravagant. As it
was _Damnably_ Acted at the Theatre-Royal in Drury Lane." This play, by
Drake, was played in 1697, and among the cast were Cibber, Bullock,
Johnson, Haines, and Pinkethman.
Bellchambers notes: "Such was the case in Dennis's 'Comic Gallant,'
where one of the actors, whom I believe to be Bullock, is most severely
handled." I think he is wrong in imagining Bullock to be the actor
criticised. Dennis says that Falstaffe was the character that was badly
sustained, and I cannot believe Bullock's position would entitle him to
play that part in 1702. Genest (ii. 250) suggests Powell as the
delinquent.]
[Footnote 195: Cibber's account of Booth is so complete that there is
little to be added to it. Booth was born in 1681, and was of a good
English family. He first appeared in Dublin in 1698, under Ashbury, but
returned to England in 1700, and joined the Lincoln's Inn Fields
Company. He followed the fortunes of Betterton until, as related by
Cibber in Chapter XII., the secession of 1709 occurred. From that point
to his retirement the only event demanding special notice is his
marriage with Hester Santlow (see p. 96 of this volume). This took place
in 1719, and was the cause of much criticism and slander, some of which
Bellchambers reproduces with evident gusto. I do not repeat his
statements, because I consider them wildly extravagant. They are fully
refuted by Booth's will, from the terms of which it is clear that his
marriage was a happy one, and that he esteemed his wife as well as loved
her. Booth's illness, to which Cibber refers above, seized him early in
the season of 1726-27, and though after it he was able to play
occasionally, he was never restored to health. His last appearance was
on 9th January, 1728, but he lived till 10th May, 1733.]
[Footnote 196: See memoir of Mrs. Oldfield at end of volume.]
[Footnote 197: Mrs. Porter met with the accident referred to in the
summer of 1731. See Davies, "Dram. Misc.," iii. 495. She returned to the
stage in January, 1733.]
[Footnote 198: Wilks died 27th September, 1732. He was of English
parentage, and was born near Dublin, whither his father had removed,
about 1665. He was in a Government office, but about 1691 he gave this
up, and went on the stage. After a short probation in Dublin he came
over to London, and was engaged by Rich, with whom he remained till
about 1695. He returned to Dublin, and became so great a favourite
there, that it is said that the Lord Lieutenant issued a warrant to
prevent his leaving again for London. However, he came to Drury Lane
about 1698, and from that time his fortunes are closely interwoven with
Cibber's, and are fully related by him.]
[Footnote 199: "The Laureat," p. 96: "As to the Occasion of your parting
with your Share of the Patent, I cannot think you give us the true
Reason; for I have been very well inform'd, it was the Intention, not
only of you, but of your Brother Menagers, as soon as you could get the
great Seal to your Patent, (which stuck for some Time, the then Lord
_Chancellor_ not being satisfied in the Legality of the Grant) to
dispose it to the best Bidder. This was at first kept as a Secret among
you; but as soon as the Grant was compleated, you sold to the first who
wou'd come up to your Price."]
[Footnote 200: Among the Lord Chamberlain's Papers is a copy of a
warrant to prepare this Patent. It is dated 15th May, 1731, and the
Patent itself is dated 3rd July, 1731, though it did not take effect
till 1st September, 1732. The reason for this is noted on page 196.]
[Footnote 201: "The Grub-Street Journal," 7th June, 1733, says: "One
little Creature, only the Deputy and Representative of his Father, was
turbulent enough to balk their Measures, and counterbalance all the
Civility and Decency in the other scale.... To remedy this, the
Gentleman who bought into the Patent first, purchased his Father's
Share, and set him down in the same obscure Place from whence he rose."]
[Footnote 202: In "The Case of John Mills, James Quin," &c., given in
Theo. Cibber's "Dissertations" (Appendix, p. 48), it is stated that
"such has been the Inveteracy of some of the late Patentees to the
Actors, that when Mrs. _Booth_, Executrix of her late Husband, _Barton
Booth_, Esq; sold her sixth part of the Patent to Mr. _Giffard_, she
made him covenant, not to sell or assign it to Actors."]
[Footnote 203: "I must own, I was heartily disgusted with the Conduct
of the Family of the _Cibbers_ on this Occasion, and had frequent and
violent Disputes with Father and Son, whenever we met! It appeared to
me something shocking that the Son should immediately render void, and
worthless, what the Father had just received Thirty-one Hundred and Fifty
Pounds for, as a valuable Consideration."--Victor's "History," i. 14.]
[Footnote 204: Cibber, in Chapter VIII. (vol. i. p. 283), alludes to
this trial, and gives the first of these two suppositions as the reason
of Harper's acquittal, but Victor ("History," i. 24) says that he has
been informed that this is an error.]
[Footnote 205: "He was a Man of Humanity and strict Honour; many
Instances fatally proved, that his Word, when solemnly given, (which was
his Custom) was sufficient for the Performance, though ever so injurious
to himself."--Victor's "History," i. 25.]
[Footnote 206: See _ante_, Chapter IX. (vol. i. Footnote 367 anchored on
page 330)]
[Footnote 207: "The clamour against the author, whose presumption was
highly censured for daring to alter Shakspeare, increased to such a
height, that Colley, who had smarted more than once for dabbling in
tragedy, went to the playhouse, and, without saying a word to any body,
took the play from the prompter's desk, and marched off with it in his
pocket."--"Dram. Misc.," i. 5.]
[Footnote 208: Produced at the Haymarket, 1737.]
[Footnote 209:
"Enter Ground-Ivy.
_Ground._ What are you doing here?
_Apollo._ I am casting the Parts in the Tragedy of King _John_.
_Ground._ Then you are casting the Parts in a Tragedy that won't do.
_Apollo._ How, Sir! Was it not written by _Shakespear_, and was
not _Shakespear_ one of the greatest Genius's that ever lived?
_Ground._ No, Sir, _Shakespear_ was a pretty Fellow, and said some
things that only want a little of my licking to do well enough; King
_John_, as now writ, will not do----But a Word in your Ear, I will make
him do.
_Apollo._ How?
_Ground._ By Alteration, Sir; it was a Maxim of mine when I was at the
Head of Theatrical Affairs, that no Play, tho' ever so good, would do
without Alteration."--"Historical Register," act iii. sc. 1.]
[Footnote 210: These appearances took place on January 12th, 13th, and
14th, 1741.]
[Footnote 211: Fondlewife's pet name for his wife Lætitia.]
[Footnote 212: Lætitia's pet name for Fondlewife. See vol. i. page 206.]
[Footnote 213: An allusion to his own phrase in the Preface to "The
Provoked Husband." See vol. i. page 51.]
[Footnote 214: The name "Susannah Maria" naturally suggests Susanna
Maria Arne, the wife of Theo. Cibber; but the anecdote cannot refer
to her, because she was married in 1734, some years before Cibber
began his "Apology."]
[Footnote 215: Davies ("Dram. Misc.," iii. 501) says: "Mr. Garrick asked
him [Cibber] if he had not in his possession, a comedy or two of his own
writing.--'What then?' said Cibber.--'I should be glad to have the
honour of bringing it into the world.'--'Who have you to act it?'--'Why,
there are (said Garrick) Clive and Pritchard, myself, and some others,'
whom he named.--'No! (said the old man, taking a pinch of snuff, with
great nonchalance) it won't do.'" Davies (iii. 502) relates how Garrick
drew on himself a rebuke from Cibber. Discussing in company the old
school, "Garrick observed that the old style of acting was banishing the
stage, and would not go down. 'How do you know? (said Cibber); you never
tried it.'"]
[Footnote 216: "Papal Tyranny in the Reign of King John."
KING JOHN Mr. Quin.
ARTHUR, his Nephew Miss J. Cibber.
SALISBURY Mr. Ridout.
PEMBROKE Mr. Rosco.
ARUNDEL Mr. Anderson.
FALCONBRIDGE Mr. Ryan.
HUBERT Mr. Bridgewater.
KING PHILIP } { Mr. Hale.
LEWIS the Dauphin } of France { Mr. Cibber, Jun.
MELUN, a Nobleman } { Mr. Cashell.
PANDULPH, Legate from Pope Innocent Mr. Cibber, Sen.
ABBOT } of Angiers { Mr. Gibson.
GOVERNOR } { Mr. Carr.
LADY CONSTANCE Mrs. Pritchard.
BLANCH, Niece to King John Mrs. Bellamy.]
[Footnote 217: "_On_ CIBBER'S _Declaration that he will have the last
Word with Mr. POPE._
QUOTH _Cibber_ to _Pope_, tho' in Verse you foreclose,
I'll have the last Word, for by G--d I'll write Prose.
Poor _Colley_, thy reas'ning is none of the strongest,
For know, the last Word is the Word that lasts longest."
"The Summer Miscellany," 1742.]
[Footnote 218: This play was produced at Drury Lane, 16th January, 1717;
and the performance of "The Rehearsal" referred to took place on the 7th
February.]
[Footnote 219: The Earl of Warwick was the young nobleman, and it is
said in Dillworth's "Life of Pope" that "the late Commissioner Vaughan"
was the other gentleman.]
[Footnote 220: "But Pope's irascibility prevailed, and he resolved to
tell the whole English world that he was at war with Cibber; and, to
show that he thought him no common adversary, he prepared no common
vengeance; he published a new edition of the 'Dunciad,' in which he
degraded Theobald from his painful pre-eminence, and enthroned Cibber in
his stead."--Johnson's "Life of Pope."]
[Footnote 221: "Unhappily the two heroes were of opposite characters,
and Pope was unwilling to lose what he had already written; he has
therefore depraved his poem by giving to Cibber the old books, the old
pedantry, and the sluggish pertinacity of Theobald."--Johnson's "Life of
Pope."]
[Footnote 222: See _ante_, p. 272.]
[Footnote 223: It has been generally stated that Cibber died on 12th
December, 1757, but "The Public Advertiser" of Monday, 12th December,
announces his death as having occurred "Yesterday morning." The
"Gentleman's Magazine" and the "London Magazine," in their issues for
December, 1757, give the 11th as the date.]
[Footnote 224: Mr. Laurence Hutton, in his "Literary Landmarks of
London" (p. 54), gives the following interesting particulars regarding
Cibber's last resting-place: "Cibber was buried by the side of his
father and mother, in a vault under the Danish Church, situated in
Wellclose Square, Ratcliff Highway (since named St. George Street). This
church, according to an inscription placed over the doorway, was built
in 1696 by Caius Gabriel Cibber himself, by order of the King of
Denmark, for the use of such of his Majesty's subjects as might visit
the port of London. The church was taken down some years ago (1868-70),
and St. Paul's Schools were erected on its foundation, which was left
intact. Rev. Dan. Greatorex, Vicar of the Parish of St. Paul, Dock
Street, in a private note written in the summer of 1883, says:--
"'Colley Cibber and his father and mother were buried in the vault of
the old Danish Church. When the church was removed, the coffins were all
removed carefully into the crypt under the apse, and then bricked up. So
the bodies are still there. The Danish Consul was with me when I moved
the bodies. The coffins had perished except the bottoms. I carefully
removed them myself personally, and laid them side by side at the back
of the crypt, and covered them with earth.'"]
[Footnote 225: Shakespeare's "Richard III." was produced at the Lyceum
Theatre on 29th January, 1877. It was announced as "strictly the
original text, without interpolations, but simply with such omissions
and transpositions as have been found essential for dramatic
representation." In Richard Mr. Irving's great powers are seen to
special advantage.
The cast of Cibber's play in 1700 was--
KING HENRY VI., _designed for_ Mr. Wilks.
EDWARD, PRINCE OF WALES Mrs. Allison.
RICHARD, DUKE OF YORK Miss Chock.
RICHARD, DUKE OF GLOUCESTER Mr. Cibber.
DUKE OF BUCKINGHAM Mr. Powel.
LORD STANLEY Mr. Mills.
DUKE OF NORFOLK Mr. Simpson.
RATCLIFF Mr. Kent.
CATESBY Mr. Thomas.
HENRY, EARL OF RICHMOND Mr. Evans.
OXFORD Mr. Fairbank.
QUEEN ELIZABETH Mrs. Knight.
LADY ANN Mrs. Rogers.
CICELY Mrs. Powel.]
[Footnote 226: A beautiful Portfolio of Sketches of Mr. Daly's Company
has been published, in which is a portrait of Miss Rehan as Hypolita,
with a critical note by Mr. Brander Matthews.]
[Footnote 227: This is a specimen of that commonest of blunders, the
confusing of the dates of the first month or two of the year. The edict
was issued February, 1647-8, that is, 1648. What Bellchambers calls the
"subsequent" October was therefore the preceding October. (L.)]
[Footnote 228: See "Historia Histrionica."]
[Footnote 229: Nell Gwyn made her first appearance not later than 1665.
Pepys, on the 3rd of April, 1665, mentions "Pretty, witty Nell, at the
King's House." (L.)]
[Footnote 230: Should be for the remainder of his life. (L.)]
[Footnote 231: Vide Davies's "Dramatic Miscellanies," vol. iii. p. 264.
Another anecdote of the same kind is found in a "Life of the late famous
comedian, J. Haynes," 8vo. 1701, which, as it preserves a characteristic
trait of this valuable actor, is worth repeating.
"About this time [1673] there happened a small pick between Mr. Hart and
Jo, upon the account of his late negotiation in France,{A} and there
spending so much money to so little purpose, or, as I may more properly
say, to no purpose at all.
{A} Soon after the theatre in Drury-lane was burnt down, Jan.
1671-2, Haynes had been sent to Paris by Mr. Hart and Mr.
Killegrew, to examine the machinery employed in the French
Operas.--_Malone._
"There happened to be one night a play acted, called 'Cataline's
Conspiracy,' wherein there was wanting a great number of senators. Now
Mr. Hart being chief of the house, would oblige Jo to dress for one of
these senators, although his salary, being 50_s._ per week, freed him
from any such obligation. But Mr. Hart, as I said before, being sole
governor of the playhouse, and at a small variance with Jo, commands it,
and the other must obey.
"Jo being vexed at the slight Mr. Hart had put upon him, found out this
method of being revenged on him. He gets a Scaramouch dress, a large
full ruff, makes himself whiskers from ear to ear, puts on his head a
long Merry-Andrew's cap, a short pipe in his mouth, a little
three-legged stool in his hand; and in this manner follows Mr. Hart on
the stage, sets himself down behind him, and begins to smoke his pipe,
laugh, and point at him, which comical figure put all the house in an
uproar, some laughing, some clapping, and some hollaing. Now Mr. Hart,
as those who knew him can aver, was a man of that exactness and grandeur
on the stage, that let what would happen, he'd never discompose himself,
or mind any thing but what he then represented; and had a scene fallen
behind him, he would not at that time look back, to have seen what was
the matter; which Jo knowing, remained still smoking. The audience
continued laughing, Mr. Hart acting, and wondering at this unusual
occasion of their mirth; sometimes thinking it some disturbance in the
house, again that it might be something amiss in his dress: at last
turning himself toward the scenes, he discovered Jo in the aforesaid
posture; whereupon he immediately goes off the stage, swearing he would
never set foot on it again, unless Jo was immediately turned out of
doors, which was no sooner spoke, but put in practice."]
[Footnote 232: Bellamente is not a female, but a male character. By
referring to the mention of this matter in the "Historia Histrionica,"
it will at once be seen how Bellchambers's blunder was caused. (L.)]
[Footnote 233: "My old friends Hart and Mohun, the one by his natural
and proper force, the other _by his great skill and art_, never
failed to send me home full of such ideas as affected my behaviour,
and made me insensibly more courteous and human to my friends and
acquaintance."--"Tatler," No. 99.]
[Footnote 234: The following extract from a pamphlet, called "A
Comparison between the Two Stages," will amply evince the popular
estimation in which Hart and Mohun were held:--
"The late Duke of Monmouth was a good judge of dancing, and a good
dancer himself; when he returned from France, he brought with him St
André, then the best master in France. The duke presented him to the
stage, the stage to gratify the duke admitted him, and the duke himself
thought he would prove a mighty advantage to them, though he had nobody
else of his opinion. A day was published in the bills for him to dance,
but not one more, besides the duke and his friends came to see him; the
reason was, the plays were then so good, and Hart and Mohun acted them
so well, that the audience would not be interrupted, for so short a
time, though 'twas to see the best master in Europe."
I suspect that Mohun was born about the year 1625, from the circumstance
of his acting _Bellamente_, the heroine of Shirley's "Love's Cruelty,"
in 1640, when he had probably reached, and could hardly have exceeded,
the age of fifteen years. (B.)
As has been before pointed out, Bellamente is not a female character. He
is the husband of Clariana, and could scarcely be played by a boy. If
Mohun represented the character in 1640, he must have been considerably
older than Bellchambers imagines. (L.)]
[Footnote 235: This account, though generally rejected, appears to me
more deserving of credit than Chetwood's notoriously neglectful habits,
in gleaning intelligence, or making assertion.]
[Footnote 236: "I have lately been told by a Gentleman who has
frequently seen Mr. _Betterton_ perform this Part of _Hamlet_, that he
has observ'd his Countenance (which was naturally ruddy and sanguin) in
this Scene of the fourth Act where his Father's Ghost appears, thro' the
violent and sudden Emotions of Amazement and Horror, turn instantly on
the Sight of his Father's Spirit, as pale as his Neckcloath, when every
Article of his Body seem'd to be affected with a Tremor inexpressible;
so that, had his Father's Ghost actually risen before him; he could not
have been seized with more real Agonies; and this was felt so strongly
by the Audience, that the Blood seemed to shudder in their Veins
likewise, and they in some Measure partook of the Astonishment and
Horror, with which they saw this excellent Actor affected."--"Laureat,"
1740, p. 31.
----"I have seen a pamphlet, written above forty years ago, by an
intelligent man, who greatly extols the performance of Betterton in this
last scene, commonly called the closet scene."--Davies's "Dramatic
Miscellanies," vol. iii. p. 112, ed. 1784.]
[Footnote 237: In Gildon's "Life," &c., 1710, there is a copy of Rowe's
"Epilogue," stated to have been spoken by Mrs. Barry "at the Theatre
Royal, in Drury-lane, April the 7th," and this mistaken date has been
perpetuated by the "Biographia Dramatica." [In spite of this
contradiction of Gildon and the "Biographia Dramatica," they are right,
and Bellchambers is wrong. The date was 7th April, 1709.]]
[Footnote 238: This lady, who was remarkably handsome, married Boman,
the actor.]
[Footnote 239: This curiosity, I believe, is still preserved in the Earl
of Mansfield's mansion, at Caen-wood.]
[Footnote 240: Pope, in the postscript of a letter to Cromwell, writes
thus:--
"----This letter of death puts me in mind of poor Betterton's, over whom
I would have this sentence of Tully for an epitaph, which will serve for
his moral as well as his theatrical capacity:
'_Vitæ bene actæ jucundissima est recordatio._'"
In another part of his correspondence, he intimates that Betterton's
"remains" had been taken care of, alluding, I suppose, to this
post-humous forgery.]
[Footnote 241: Mrs. Brown swore she went herself, but appears to have
been mistaken.]
[Footnote 242: Bellchambers seems to have had a craze on the subject of
Mrs. Bracegirdle's character, which he vilifies on every possible
opportunity. His opinion here appears to me very questionable.]
[Footnote 243: Sandford played Worm in "The Cutter of Coleman Street" as
early as 1661. (L.)]
[Footnote 244: Cibber says that Nokes, Mountfort, and Leigh, "died about
the same year," _viz._ 1692.]
[Footnote 245: "Roscius Anglicanus."]
[Footnote 246: I find, on looking over the "Roscius Anglicanus,"
that _Trinculo_ is termed _Duke Trinculo_, in a short reference
to the "Tempest."]
[Footnote 247: "Dramatic Miscellanies," vol. ii. p. 323.]
[Footnote 248: "That Verbruggen and Cibber did not accord, is plainly
insinuated by the author of the Laureat. It was known that the former
would resent an injury, and that the latter's valour was entirely
passive. The temper of Verbruggen may be known, from a story which I
have often been told by the old comedians as a certain fact, and which
found its way into some temporary publication.
"Verbruggen, in a dispute with one of King Charles's illegitimate sons,
was so far transported by sudden anger, as to strike him, and call him a
son of a whore. The affront was given, it seems, behind the scenes of
Drury-lane. Complaint was made of this daring insult on a nobleman, and
Verbruggen was told, he must either not act in London, or submit
publicly to ask the nobleman's pardon. During the time of his being
interdicted acting, he had engaged himself to Betterton's theatre. He
consented to ask pardon, on liberty granted to express his submission in
his own terms. He came on the stage dressed for the part of _Oroonoko_,
and, after the usual preface, owned that he had called the Duke of St.
A. a son of a whore. 'It is true,' said Verbruggen, 'and I am sorry for
it.' On saying this, he invited the company present to see him act the
part of _Oroonoko_, at the theatre in Lincoln's-inn-fields."--"Dramatic
Miscellanies," vol. iii. p. 447.]
[Footnote 249: "A fellow with a crackt voice: he clangs his words as if
he spoke out of a broken drum."--"Comparison, &c.," 1702.]
[Footnote 250: "History of the Stage," p. 136.]
[Footnote 251: There was also a David Williams; perhaps the person who
played the _2d Grave-digger_, in "Hamlet." (B.) [Genest gives this part
to Joseph Williams.]]
[Footnote 252: "Dramatic Miscellanies," vol. iii. p. 209.]
[Footnote 253: "Life of Betterton," p. 16.]
[Footnote 254: Downes expressly mentions her as Mrs. Betterton for
_Camilla_ [should be _Portia_], in the "Adventures of Five Hours," 1663;
and she also acted by that name, a few months after, in the "Slighted
Maid." This error originated with the "Biographia Britannica," but Mr.
Jones, the late slovenly editor of the book alluded to, had ample means
to correct it. (B.)]
[Footnote 255: "You'll have Pinkethman and Bullock helping out Beaumont
and Fletcher."--Tatler, No. 89.]
[Footnote 256: "Tatler," No. 201.]
[Footnote 257: "Dramatic Miscellanies," vol. ii. p. 133.]
[Footnote 258: "Dramatic Miscellanies," vol. iii. p. 465.]
[Footnote 259: It is supposed that she was engaged in a tender
intercourse with Farquhar, and was the "Penelope" of his amatory
correspondence. She lived successively with Arthur Mainwaring, one of
the most accomplished characters of his age, and General Churchill; by
each of whom she had a son.]
[Footnote 260: This fact is firmly denied in Cibber's "Lives of
the Poets," and with a pointed reference to Johnson's admission of
it.--Vol. v. p. 33.]
[Footnote 261: Savage, however, was _not_ silent; though he abstained
from putting his name to the poem, he indisputably wrote upon Mrs.
Oldfield's death. It is preserved in Chetwood's "History."]
[Footnote 262: What can be more ridiculous than the following anecdote?
Mrs. Oldfield happened to be in some danger in a Gravesend boat, and
when the rest of the passengers lamented their imagined approaching
fate, she, with a conscious dignity, told them their deaths would be
only a private loss;--"But I am a public concern."--"Dramatic
Miscellanies," vol. i. p. 227.]
[Footnote 263: The bitterness of Pope's muse subsided upon no occasion,
where the name of Mrs. Oldfield might be aptly introduced. Thus in the
"Sober Advice from Horace," one of his inedited poems:
Engaging Oldfield! who, with grace and ease,
Could join the arts to ruin and to please.]
* * * * * *
Transcription note:
The original spelling and grammar have been retained. Footnotes have been
moved to the end of this work. Minor adjustments to hyphenation and other
punctuation have been made without annotation.
Typographical Changes to this volume:
pg 44 Sir Thomas Shipwith[Skipwith], had trusted
pg 103 of so grave and stanch[staunch] a Senator
pg 113 have been in our Power so throughly[thoroughly] to
pg 159 he expresly[expressly] wrote for him
pg 241 upon the Model of Monfort[Mountfort not corrected]
pg 349 The "famous Mr. Antony[Anthony] Leigh,"
pg 370 nor can their[there] be a doubt
pg 289 Added heading [Bibliography of Colley Cibber]
fn 26 two of these parts belonged to Skipwith[Shipwith]