XIX.—GIANTS AND OTHER PUPPET CHARACTERS.
The subjects of the puppet-dramas were formerly taken from some well known and popular stories, with the introduction of knights and giants; hence the following speech in the Humorous Lovers, a comedy, printed in 1617: "They had like to have frighted me with a man dressed up like a gyant in a puppet-show." In my memory, these shows consisted of a wretched display of wooden figures, barbarously formed and decorated, without the least degree of taste or propriety; the wires that communicated the motion to them appeared at the tops of their heads, and the manner in which they were made to move, evinced the ignorance and inattention of the managers; the dialogues were mere jumbles of absurdity and nonsense, intermixed with low immoral discourses passing between Punch and the fiddler, for the orchestra rarely admitted of more than one minstrel; and these flashes of merriment were made offensive to decency by the actions of the puppet. In the reign of James II. there was a noted merry-andrew named Philips; "This man," says Granger, "was some time fiddler to a puppet-show; in which capacity he held many a dialogue with Punch, in much the same strain as he did afterwards with the mountebank doctor, his master upon the stage. This zany, being regularly educated, had confessedly the advantage of his brethren." [572]
XX.—PUPPET-PLAYS SUPPRESSED BY PANTOMIMES.
The introduction, or rather the revival of pantomimes, which indeed have long disgraced the superior theatres, proved the utter undoing of the puppet-show men; in fact, all the absurdities of the puppet-show, except the discourses, are retained in the pantomimes, the difference consisting principally in the substitution of living puppets for wooden ones; but it must be confessed, though nothing be added to the rationality of the performances, great pains is taken to supply the defect, by fascinating the eyes and the ears; and certainly the brilliancy of the dresses and scenery, the skilful management of the machinery, and the excellence of the music, in the pantomimes, are great improvements upon the humble attempts of the vagrant motion-master.
XXI.—THE MODERN PUPPET-SHOW MAN.
In the present day, the puppet-show man travels about the streets when the weather will permit, and carries his motions, with the theatre itself, upon his back! The exhibition takes place in the open air; and the precarious income of the miserable itinerant depends entirely on the voluntary contributions of the spectators, which, as far as one may judge from the square appearance he usually makes, is very trifling.
A few years back, [573] a puppet-show was exhibited at the court end of the town, with the Italian title Fantoccini, which greatly attracted the notice of the public, and was spoken of as an extraordinary performance: it was, however, no more than a puppet-show, with the motions constructed upon better principles, dressed with more elegance, and managed with greater art, than they had formerly been.
XXII.—MOVING PICTURES.
Another species of scenic exhibition with moving figures, bearing some distant analogy to the puppets, appeared at the commencement of the last century. Such a show is thus described in the reign of queen Anne, by the manager of a show exhibited at the great house in the Strand, over against the Globe Tavern, near Hungerford Market; the best places at one shilling, and the others at sixpence each: "To be seen, the greatest Piece of Curiosity that ever arrived in England, being made by a famous engineer from the camp before Lisle, who, with great labour and industry, has collected into a moving picture the following figures: first, it doth represent the confederate camp, and the army lying intrenched before the town; secondly, the convoys and the mules with prince Eugene's baggage; thirdly, the English forces commanded by the duke of Marlborough; likewise, several vessels, laden with provisions for the army, which are so artificially done as to seem to drive the water before them. The city and the citadel are very fine, with all its outworks, ravelins, hornworks, counter-scarps, half-moons, and palisados; the French horse marching out at one gate, and the confederate army marching in at the other; the prince's travelling coach with two generals in it, one saluting the company as it passes by; then a trumpeter sounds a call as he rides, at the noise whereof a sleeping centinel starts, and lifts up his head, but, not being espied, lies down to sleep again; besides abundance more admirable curiosities too tedious to be inserted here." He then modestly adds, "In short the whole piece is so contrived by art, that it seems to be life and nature." These figures, I presume, were flat painted images moving upon a flat surface, like those frequently seen upon the tops of clocks, where a carpenter's shop, or a stone-mason's yard, are by no means unusually represented. A juggler named Flockton, some few years back, had an exhibition of this kind, which he called a grand piece of clock-work. In this machine the combination of many different motions, and tolerably well contrived, were at one time presented to the eye.
Pinkethman's Pantheon mentioned in the Spectator, was, I presume, an exhibition something similar to that above described, and probably the heathen deities were manufactured from pasteboard, and seated in rows one above the other upon clouds of the same material; at least I have seen them so fabricated, and so represented, about 1760, at a show in the country, which was contrived in such a manner, that the whole group descended and ascended with a slow motion to the sound of music.