[30] The date of production is uncertain.
[31] The autograph in my possession.—W. H. C.
[32] Cliefden House, originally erected for George Villiers, second Duke of Buckingham, was built of red brick with stone dressings, having at each end a square wing connected with the main building by a colonnade, and fronted by a magnificent terrace four hundred and forty feet long. The Duke expended large sums on the house and grounds; for the latter, consisting of about one hundred and thirty-six acres, he procured, regardless of cost, the choicest specimens of trees, shrubs and flowers, native and foreign, and so enhanced the natural beauties of the site that it was reputed to surpass all other estates in England. At the death of the Duke, Cliefden was purchased by Lord George Hamilton, afterwards Earl of Orkney; he died without male issue, and the property and title passed to his daughter. She leased the estate to the Prince of Wales, who regularly resided there until his death in 1751. The splendid mansion was destroyed by fire on the 20th of May, 1795, owing to the carelessness of a maidservant, who, whilst reading in bed, was startled by the curtains bursting into flame. With the exception of the wings, the building was entirely burnt, together with valuable furniture, tapestry and paintings. Sir George Warrender bought the estate and rebuilt the house in 1830. At his death it was sold to the Duke of Sutherland, and on the 15th of March, 1849, fire again destroyed the building, which was afterwards rebuilt from designs by Barry.
[33] A mistake; the “Judgement of Paris” was written by Congreve.
[34] Arquebusade water was a concoction of spirits and herbs commonly applied to gunshot wounds.
[35] Dr. Burney observes, “Lowe had the finest tenor voice I ever heard in my life.”
[36] “This day was rehears’d at Drury-Lane Theatre a Masque entitled ‘Alfred,’ in order to be represented before the Prince and Princess, at Cliefden House on the first of August.”—(Gent. Mag., July 28th, 1740.)
[37] When “Alfred” was performed at Drury Lane Theatre, in 1751, the part for the Hermit was deleted and the drama concluded with the Ode, which was cut down to four verses. The solos were sung alternately by Alfred and Eltruda (Mr. Beard and Signora Frasi).
[38] Commentary on the practice of securing seats at Drury Lane Theatre is to be found in the “Private correspondence” addressed to David Garrick: “Sir.—The many proofs you have given the town of your desire to oblige them, encourage me to propose to you a scheme no less advantageous than useful to the public, especially the polite part of it. The alterations lately made in your theatre for the convenience of the spectators, naturally suggested to me an inconvenience arising from the servants who are sent to keep places. I have, with concern, seen a lady finely dressed forced to sit down by a servant whose clothes and feet have been very dirty, and behaviour extremely offensive; it has happened, to my knowledge, that some servants, in order to follow their own pleasures, have hired common porters of the street to keep their places, whose company better suited a prison than a place of polite entertainment.”
Signed T. B. Nov. 25, 1762.