[ [11] Paulson (HGW, I, 148) describes these two doctors, "well known for their quack cures for venereal disease." Dr. Rock's name was added by Hogarth in a later state of the print.]
[ [12] Cibber's piece may have opened as early as 12 March 1733 in the pantomime house at Sadler's Wells, which had been reconstructed from a seventeenth century Music Room (see LS, 3, I, xxxix). Cibber's The Harlot's Progress had a successful run at Drury Lane in the spring of 1733, from 31 March until 28 May, when the actor-manager dispute led to a closing of the playhouse (see LS, 3, I, 304). It played as an afterpiece to such works as Cato and The Provok'd Husband, and on 26 April a playbill announced the "Royal Family expected to attend" (LS, 3, I, 293). Thereafter it had a career at the fairs, beginning with the Lee-Harper-Petit Booth on Tottenham Court on 30 August 1733 (LS, 3, I, 310), moving on 23 August to Bartholomew Fair and on 28 September to Mile End Green, where the harlot's name is listed as "Moll Hackabout" (LS, 3, I, 321). On 27 October 1733 it had a command performance at Drury Lane (LS, 3, I, 330). It played frequently during that winter and in the spring, on 26 April, the seceding actors returned to Drury Lane to perform in The Conscious Lovers and The Harlot's Progress. The cast list is the same as that in the text reprinted here (LS, 3, I, 390). The successful run continued through October 1734; after that it was only played a couple of times before the 1736 season (LS, 3, I, passim). Scouten observes: "a remarkable feature" is that this piece "places a Jewish merchant in a favorable light, treating him not with sympathy but with respect as a pillar of trade" (LS, 3, I, xcvi).
[ [13] "A Letter from Theo. Cibber, Comedian, To John Highmore, Esq." (London 1733).
[ [14] Hogarth reversed Laguerre's print, adding the banner "We eat," the label "Pistol's alive" under Theophilus Cibber's feet and the phrase "Quiet and Snug" under Colley Cibber. For descriptions of the rebellion, see John Genest, Some Account of the English Stage from the Restoration in 1660 to 1830, III, Bath: 1832, pp. 415-416, Richard H. Barker, Mr. Cibber of Drury Lane (New York: Columbia University Press, 1939), pp. 168-171, and Arthur Scouten, LS, 3, I, lxxxix-xciii.
[ [15] For exposition of the eight prints of "A Rake's Progress" (1735) see Paulson's HGW, I, 158-170. The subscription was announced in late 1733, but the paintings were not completed until mid-1734.
[ [16] Esther K. Sheldon, Thomas Sheridan of Smock-Alley (Princeton, N.J.: Princeton University Press, 1967), pp. 284-285, and Raymond C. Rhodes, Harlequin Sheridan: The Man and the Legend (Oxford: B. Blackwell, 1933), p. 79.
[ [17] Sheldon, p. 301.
[ [18] I am indebted to Prof. Edgar V. Roberts for pointing out this source to me, and for his help in identifying many of the tunes.]