Camilla. The Part of Metius (to which are added several new Select Songs) to be perform'd by the famous Signior Gioseppe Cassani, lately arrived from Italy. With several new Entertainments of Dancing by Monsieur Cherrier, Monsieur Debargues, Mrs. Santlow, Mrs. Evans, and others. The Boxes to be open'd to the Pit, and no Person to be admitted but by Tickets, which will be deliver'd out' on Friday and Saturday Morning at White's Chocolate House, at a Guinea each Ticket. The Number of Tickets not to exceed 450.' On the 6th same month the performance was lowered to half a guinea. Stage boxes, half a guinea; first gallery, 5s. ; upper gallery, 2s.; and on Feb. 10 admission was still further lowered.

Congreve soon gave up his share, and Sir John Vanbrugh was also glad to get rid of this 'bad egg'; so after Jan. 10, 1708, it was transferred to Owen Mac Swiney for operatic performances, one of which we have just mentioned.

Pinkethman, the indefatigable, had a theatre at Greenwich, which he worked during the summer months, though the exact time is unknown. In an advertisement of his moving picture (Daily Courant, May 9, 1709) he says it may be seen 'next Door to his New Play House, where variety of Plays are Acted every Day as in London.' He could not long have started, as in the Tatler (No. 4, April 18, 1709) it says, 'We hear Mr. Penkethman has removed his ingenious Company of Strollers to Greenwich. But other letters from Deptford say, the company is only making thither, and not yet settled; but that several Heathen Gods and Goddesses, which are to descend in machines, landed at the King's Head Stairs last Saturday. Venus and Cupid went on foot from thence to Greenwich; Mars got drunk in the town, and broke his Landlord's head, for which he sat in the Stocks the whole Evening; but Mr. Penkethman giving Security that he should do nothing this ensuing Summer, he was set at liberty. The most melancholy part of all was, that Diana was taken, and committed by Justice Wrathful; which has, it seems, put a stop to the Diversions of the Theatre at Blackheath. But there goes down another Diana and a Patient Grissel next tide from Billingsgate.'

Queen Anne was not a patron of the drama. She never went to the theatre, and, as far as I can learn, seldom had dramatic performances at court. 'On Sunday, being the Queen's Birth Day, her Majesty receiv'd the usual Compliments on that occasion, and yesterday there was an extraordinary appearance of the Nobility and Gentry of both Sexes at St. James's upon the same account. The Play call'd, All for Love,' was Acted in the presence of the Court.'? And this was such an extraordinary event that even another newspaper informed its readers of the astounding fact. Downes remarks on this: 'Note From Candlemas 1704 to the 22d of April 1706. There were 4 Plays commanded to be Acted at Court at St. James', by the Actors of both Houses viz. First All for Love. The Second was Sir Solomon or the Cautious Coxcomb.3 The next was The Merry Wives of Windsor, Acted the 23rd of April, the Queen's Coronation Day. The last was The Anatomist or Sham Doctor; it was perform'd on Shrove Tuesday, the Queen's Birthday.'

But though she would not go to the theatres, she heartily took their reformation in hand, as the following proclamation shows:

'ANNE R.

'WHEREAS. We have already given Orders to the Master of Our Revels, and also to Both the Companies of Comedians, Acting in Drury Lane, and Lincolns Inn Fields, to take Special Care, that Nothing be Acted in either of the Theatres contrary to Religion or Good Manners, upon Pain of our High Displeasure, and of being Silenc'd from further Acting; And being further desirous to Reform all other Indecencies, and Abuses of the Stage, which have Occasion'd great Disorders, and Justly give Offence; Our Will and Pleasure therefore is, and We do hereby strictly Command, That no Person of what Quality soever, Presume to go Behind the Scenes, or come upon the Stage, either before, or during the Acting of any Play. That no Woman be Allow'd All for Love, or the World Well Lost, by Dryden.

2 Postman, Feb. 5/8, 1704.,

A translation from the Ecole des Femmes of Molière, and attributed to John Caryll. 4 By Edward Ravenscroft, 169..

or Presume to wear a Vizard Mask in either of the Theatres. And that no Person come into either House without Paying the Prices Establish'd for their Respective Places.

All which Orders We strictly Command all Managers, Sharers, and Actors of the said Companies, to see exactly Observ'd, and Obey'd. And We Require and Command all Our Constables, and others appointed to Attend the Theatres, to be Aiding and Assisting to them therein. And if any Persons whatsoever shall disobey this Our Known Pleasure and Command, We shall Proceed against them as Contemners of Our Royal Authority, and Disturbers of the Publick Peace.

'Given at our Court at St. James's the 17th Day of January.

In the Second Year of our Reign.'

Luttrell, writing on January 20, 1704, says: This day, the lords ordered thanks to the Queen for restraining the play houses from immorality.'

This proclamation, however, did not have the desired. effect, for another appeared in March the same year: 'WHEREAS great Complaints have been made to Her Majesty, of many indecent, prophane and immoral Expressions that are usually spoken by Players and Mountebanks contrary to Religion and Good Manners. And thereupon Her Majesty has lately given Order to Charles Killigrew, Esqre.; Her Majesty's Master of the Revels, to take especial care to correct all such Abuses. The said Master of the Revels does therefore hereby require all Stage Players, Mountebanks, and all other Persons, mounting Stages, or otherwise, to bring their Several Plays, Drolls, Farces, Interludes, Dialogues, Prologues, and other Entertainments, fairly written, to him at his Office in Somerset House, to be by him perused, corrected and allow'd under his hand, pursuant to Her Majesty's Commands, upon pain of being proceeded against for contempt of Her Majesty's said Order,'1 etc. Another proclamation appeared in the Gazette,

1 Daily Courant, March 9, 1704.

Nov. 13/15, 1711, forbidding anybody to stand upon the stage or go behind the scenes.

That these proclamations were not strictly attended to is evidenced by the notices scattered over the newspaper advertisements, till 1712, that no persons were allowed on the stage, or behind the scenes, by her Majesty's command; but, after this last proclamation, the practice seems to have been stopped.

Anne was determined that her orders should be carried out, and looked after the small fry as well as the big fish. 'Whereas the Master of the Revels has received Information, That several Companies of Strolling Actors pretend to have Licenses from Noblemen, and presume under that pretence to avoid the Master of the Revels, his Correcting their Plays, Drolls, Farces, and Interludes; which being against Her Majesty's Intentions and Directions to the said Master: These are to signifie. That such Licenses are not of any Force or authority. There are likewise several Mountebanks Acting upon Stages, and Mountebanks on Horseback, Persons that keep Poppets, and others that make Shew of Monsters, and strange Sights of living Creatures, who presume to Travel without the said Master of the Revels' Licence,'1 etc., and goes on to say that their exhibitions must be licensed by him, under penalty.

These strolling actors seem to have been poor enough, and might fairly come under the category of 'vagabonds by Act of Parliament' if the account Steele gives of them be in any way correct: We have now at this Place a Company of Strolers, who are very far from offending in the impertinent Splendour of the Drama. They are so far from falling into these false Gallantries, that the Stage is here in its Original Situation of a Cart. Alexander the Great was acted by a Fellow in a Paper Cravat; The next Day the Earl of Essex seemed to have no Distress but his Poverty and my Lord Foppington the same Morning wanted any better means to shew himself a Fop Man by wearing Stockings of different Colours. In a Word tho' they have had a full Barn for many Days together, our Itinerants are still so wretchedly London Gazette, Feb. 1/5, 1705. Spectator, No. 48.

2

poor, that without you can prevail to send us the Furniture you forbid at the Play House, the Heroes appear only like sturdy Beggars, and the Heroines Gipsies.

'No person to be admitted to keep Places in the Pit' seems a singular order, were it not explicable by the fact that people used to send their footmen to keep places for them until their arrival, and that the manners of these gentry gave great offence to the habitués of the pit. The proper place for the footmen was the upper gallery, which was allowed to them free, supposing they were in attendance on their masters. We have seen Pinkethman's power over them, but their behaviour generally was rough and noisy. In the Female Tatler, Dec. 9, 1709, is this notice: 'Dropt near the Play house, in the Haymarket, a bundle of Horsewhips, designed to belabour the Footmen in the Upper Gallery, who almost every Night this Winter, have made such an intolerable Disturbance, that the Players could not be heard, and their Masters were obliged to hiss them into silence. Whoever has taken up the said Whips, is desired to leave 'em with my Lord Rake's Porter, several Noblemen resolving to exercise 'em on their Backs, the next Frosty Morning.'

The bad behaviour was not wholly confined to the lackeys, for Addison alludes to that of some ladies whilst at the Theatre: 'A little before the rising of the Curtain, she broke out into a loud Soliloquy, When will the Dear Witches enter? and immediately upon their first Appearance, asked a Lady that sat three Boxes from her, on her Right Hand, if those Witches were not charming Creatures. A little after, as Betterton was in one of the finest Speeches of the Play, she shook her Fan at another Lady, who sat as far on the Left Hand, and told her with a Whisper that might be heard all over the Pit, We must not expect to see Ballon to-night. Not long after, calling out to a young Baronet by his Name, who sat three seats before me, she asked him whether Macbeth's wife was still alive; and before he could give an Answer, fell a talking of the Ghost of Banquo.'

Steele, too, tells of the bad curiously illustrates the necessity Spectator, No. 45.

conduct of a beau, which of Anne's proclamations:

2 Ibid. No. 240.