[7.] In The History of the Mimes and Pantomimes (1728).
[8.] Some account of Fleetwood may be found in R. W. Buss, Charles Fleetwood, Holder of the Drury Lane Theatre Patent (privately printed, 1915). There are hostile contemporary accounts of Fleetwood in Henry Carey’s epistle Of Stage Tyrants [(1735) reprinted in The Poems of Henry Carey, ed. F. T. Wood (1930)], in Charlotte Charke’s The Art of Management (1735), and in A Narrative of the Life of Mrs. Charlotte Charke, Youngest Daughter of Colley Cibber, Written by Herself (1735).
[9.] Julius Caesar, on 28 April 1738. Rich offered Hamlet on 10 April 1739.
[10.] A lady once asked Foote, “Pray, Sir, are your puppets to be as large as life?” “Oh dear, Madam, no: not much above the size of Garrick.” See William Cooke, Memoirs of Samuel Foote (1805), II, 58.
[11.] Theobald never published his long promised translation of Aeschylus; but, by bracketing it with Cooke’s musical farce from Terence, The Eunuch, which was performed (Drury Lane, 17 May 1737), “Scriblerus” seems to imply that he did complete it.
[12.] The immediate target of this shaft was the waxwork show kept by Mrs. Salmon near St. Dunstan’s Church in Fleet Street, but the original “Merlin’s Cave” built for Queen Caroline in 1735 remained a standing jest into the 1740’s.
[13.] “Consedere duces et vulgi stante corona surgit ad hos clipei dominus septemplicis” (Met., XIII, 1-2). Dryden translates:
The Chiefs were set; the Soldiers crown’d the Field:
To these the Master of the seven-fold Shield
Upstarted fierce.