The tattered and reduced regiment of foreign performers are evidently not prospering on their street perambulating campaign, since, judging from the surroundings, they are reduced to solicit the patronage of the denizens of the most squalid neighbourhoods. Their graces are displayed outside the premises of one Michael Nincompoop, who, according to his notice-board, is engaged in a somewhat miscellaneous line of trading, 'purveying, brickmaking, breeches, brandy-balls, and all other kinds of sweetmeats.' The circumstances of the Italian Opera are more distinctly alluded to in a poster stuck on the wall, announcing: 'A new Fantoccini this evening, called "Humbugallo in the Dumps." A dance called "The Battle of the Brickbats;" to conclude with a grand crush by all the performers.'
THE PROSPECT BEFORE US. NO. 2.
January 13, 1791. [The Prospect before us]. No. 2. Respectfully dedicated to those Singers, Dancers, and Musical Professors who are fortunately engaged with the Proprietor of the King's Theatre, at the Pantheon. Published by S. W. Fores.—Dismissing the less fortunate artists whose services were not retained for the new enterprise, we return to the subject of the opening of the Pantheon. In anticipation of the success of this new Opera House, Rowlandson issued a large cartoon representing a coup d'œil of the interior of the theatre, as seen from the stage during the performance of a ballet. The Royal box, in the centre, is tenanted by the King and Queen, and the boxes around are occupied by the nobility and leaders of fashion. On the stage are Didelot and Madame Theodore, dancing in the ballet of Amphion and Thalia. O'Reilly, in the orchestra, is presiding over the band. The dancers, at this period, were the highest paid performers in the company; with the leading artistes of the ballet were engaged the vocalists Mara, Pacchierotti, Lazzarini, &c., for the performance of operas.
The Gentleman's Magazine thus notices the privileged rehearsal which preceded the regular season:—
'Thursday, February 10, 1791.—This evening the Opera at the Pantheon was opened to the subscribers, and a very elegant audience attended at the rehearsal of the performance of Armida. Though none of the Royal Family were present, a crowd of fashionable visitors exhibited patronage adequate to the support of any undertaking.'
European Magazine:—'February 17, 1791.—The new Opera House in the Pantheon was opened with Armida, in which Pacchierotti, Mara, Lazzarini, &c., distinguished themselves. Afterwards the ballet of Amphion and Thalia was performed, with applause, by Didelot, Theodore, &c.'
Another paragraph from the Gentleman's Magazine briefly relates the end of this prosperous undertaking a year later:—
'Saturday, January 14, 1792.—This morning, between one and two o'clock, the painter's room in one of the new buildings which had been added to the Pantheon, to enlarge it sufficiently for the performance of operas, was discovered to be on fire. Before any engines were brought to the spot the fire had got to such a height that all attempts to save the building were in vain. The fire kept burning with great fury for about ten hours, by which time, the roof and part of the walls having fallen in, it was so much subdued that all fears for the safety of the surrounding houses were quieted.