Copyri Ght by P H I L I P Alan Macomber

Home , Britannia Theatre, Canterbury Music Hall, Charing Cross Theatre, Chelsea Theatre, Frank Matcham, Frank Wyatt

Copyri ght by

Philip Alan Macomber

1959 THE ICONOGRAPHY OF LONDON THEATRE

AUDITORIUM ARCHITECTURE, 1660-1900

DISSERTATION

Presented in Partial Fulfillm ent of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

P hilip Alan Macomber, B. A., n. A.

The Ohio State University

1959

Approved by:

Advi ser Department of Speech ACKNOWLEDGMENTS

At this point in any study it is customary to acknowledge the moral and material assistance given by various individuals to an author. I, of course, am most grateful to my many friends who have helped make th is work possible. However, my deepest appreciation must go to The Ohio State University Theatre Collection which pointed out the potential or this study to me and then helped provide much of the pictorial evidence necessary for the realization of this project. Through the unique organizational concept of this Collection, the doors of the major libraries all over the world were opened to me, materials heretofore unavailable except to traveling scholars were placed at my disposal. This is more than just the mere accumulation of a few items on microfilm, this Theatre Collection represents an organized approach in a field of essentially disorganized material.

The Ohio State University Theatre Collection could never have been without the understanding guidance of its Director, John H. McDowell.

To Dr. McDowell, for the foresight and stamina necessary to the creation of The Ohio State University Theatre Collection, a word of thanks from a student.

P h ilip A. Macomber

Columbus, Ohio, 1959

I I TABLE OF CONTENTS

Chapter Page

I. INTRODUCTION ...... 1

i l . THE TENNIS COURT THEATRES, 1660 TO 1672 ...... 15 Proscenium and S ta g e ...... 15 P it ...... 17 Tiers ...... 18 Typical Theatre Reconstruction ...... 19

111. FIRST PURE THEATRICAL ARCHITECTURE, 1671 TO 1700 ..... 24 Proscenium ...... 25 Pit...... 26 Tiers ...... 26 Decoration ...... 28 Typical Theatre Reconstruction ...... 29

IV. THE ROUND AND FAN SHAPED THEATRES, 1700 TO 1770 ..... 32 Proscenium ...... 32 Pit...... 34 Tiers...... 35 Typical Reconstruction ...... 37 Round Theatrical Areas at the Formal Gardens ...... 38 Typical Reconstruction ...... 39

V. THE U SHAPED THEATRES, 1770 TO 1790 ...... 47 Proscenium ...... 47 P i t ...... 50 Tiers 51 Typical Reconstruction ...... 54

VI. EQUESTRIAN AND VARIETY THEATRES, 1770 TO 1822 ...... 62 A s tle y 's Riding Academy, 1770-1780 .... 62 Sadler's Wells Theatre, 1772-1800 ...... 62 The Royal Grove, 1780-1787 ...... 64 The Royal Circus, 1782-1796 ...... 65 The Equestrian Theatre Becomes Legitimate ...... 65 S adler's Wells Theatre, 1802-1822 ...... 67 A Typical Reconstruction ...... 68

I I I I V

TABLE OF CONTENTS (contd,)

Chapter Page

V II. DESTRUCTION OF THE PIT, 1790 TO I 8 O8 ...... 74 Proscenium ...... 74 Pit ...... 77 Boxes ...... 79 Gal 1eri es ...... 81 A Typical Reconstruction ...... 82

V III. OPERA HOUSE ARCHITECTURE, 1790 TO i860 ...... 88 The Opera House, 1809 to 1840 89 The Opera House Tradition Continues,1840 to I860 . . 91 A Typical Reconstruction , ...... 93

IX. THE MAJOR THEATRES, 1809 TO 1845 ...... 99 Proscenium ...... 99 Pit ...... 102 Tier Boxes ...... 105 Galleries ...... 107 A Typical Reconstruction ...... IO8

X. THE LITTLE^ THEATRES, 1830 TO 1840 ...... 120

XI. MUSIC HALLS, TAVERNS AND EXHIBITION HALLS, 1830 TO 1865 131 Music- Halls and Taverns ...... 131 A Typical Reconstruction ...... 135 The Exhibition Hall Theatres, 1840 to 1865 ...... 136

XII. THE MINOR THEATRES, 1840 to 1865 ...... 147 Proscenium ...... 147 P it ...... 150 Tiers ...... 15 ^ A Typical Reconstruction ...... 155 XIII. XII 1. THE DOMINANT MUSIC HALL ...... l62 Proscenium ...... 163 P i t ...... 166 Tiers ...... 167 A Typical Reconstruction ...... 170

XIV. THE THEATRE AT THE END OF THE CENTURY ...... 178 Proscenium ...... 178 P it ...... 179 Tiers ...... 181 A Typical Reconstruction ...... 183 TABLE OF CONTENTS (contd.)

Chapter Page

XV. TVG HUNDRED FORTY YEARS OF DEVELOPMENT...... l89 Proscenium ...... 189 Fore-Stage ...... 193 Pit ...... 194 Tiers, o . . . . 0 . . . . . o o . . o ...... 198 V I

LIST OF PLATES

Plate Page

1. Gibbon's Tennis Court, Mere Street, 1660-1663 ...... 22 OSUTC Microfilm Number 36:9 New York Public Library Catalogue Number I

2. Theatre Royal (Drury Lane), 1663-1672 23 OSUTC Microfilm Number 1002:107 Harvard Theatre Collection Catalogue Number 1

3. Orange Theatre about 1832 ...... 23 Theatre Notebook Catalogue Number 2

4. Dorset Garden Theatre, 1671-1682 ...... 30 OUSTC Microfilm Number 1002:140 Harvard Theatre Collection Catalogue Number 3

5. Theatre Royal (Drury Lane), 1 6 / 4 ...... 31 All Soul's College, Oxford Catalogue Number 4

6. Theatre Royal (Drury Lane), 1698 31 Musical Works of John WaIsh Catalogue Number 6

7. Lincoln's Inn Fields Theatre, cl 730 ...... 4l Mander and Mitchenson Collection Catalogue Number 1

8. Covent Garden, 1732-1762 ...... 42 OSUTC Microfilm Number 66 Library of Congress Catalogue Number 3

9. Plan of Covent Garden, 1732-1762 ...... 42 OSUTC Microfilm Number 66 Library of Congress . Catalogue Number 2 VI I

10. HaymarkeL Opera House about 1763 ...... 43 OSUTC Microfilm Number 66 Library of Congress Catalogue Number 2

11. Haymarket Opera House about 1763 ...... 43 OSUTC Microfilm Number 66 Library of Congress Catalogue Number 1

12. Vauxhall Gardens, 1732-1759 ...... 44 London County Council Catalogue Number 5

13. VauxhallMusic Room, 1732-1759 ...... 44 London County Counci 1 Catalogue Number 6

14. Ranelagh Rotunda, 1742-1803 ...... 45 Besant’ s Survey of North London Catalogue Number 11

15. Vauxhall Theatre, 1837-1847 ...... 45 OSUTC Microfilm Number 1002:364 Harvard Theatre Collection Catalogue Number 29

16. Vauxhall Outdoor Theatre, 1780-1793 ...... 46 OSUTC Microfilm Number 1002:360 Harvard Theatre Collection Catalogue Number 13

17. King's Theatre, Haymarket Opera House, 1763-1782 ...... 56 Archi tectural Revi ew Catalogue Number 4

18. L ittle Theatre Haymarket, 1777-1821 ...... 57 Archi tectural Review Bodelai n Library Catalogue Number 5

19. L ittle Theatre Haymarket, 1777-1821 ...... 57 OSUTC Microfilm Number 332:108 Folger Shakespeare Library Catalogue Number 6

20. Drury Lane, 1775-1783 ...... 58 Shakespeare to Sheridan Catalogue Number 13 VIII

2K Drury Lane, 1775-1783 58 Archi tectura 1 Rev i ew B ritish Museum Catalogue Number 17

22. Haymarket Opera House about 1782 . . .■ ...... 59 OSUTC Microfilm Number 130 Library of Congress Catalogue Number 8

23. Drury Lane, 1783-1791 . 59 OSUTC Microfilm Number 1002:104 Harvard Theatre Collection Catalogue Number 22

24. Covent Garden, about 1790 ...... 60 Saunders, A Treatise on Theatres Library of Congress Catalogue Number 9

25. Royalty Theatre about 1787 ...... 61 Georgian Playhouse Enthoven Collection Catalogue Number 7

26. Royalty Theatre, 1794 ...... 61 OSUTC Microfilm Number 50:19 Library of Congress Catalogue Number 10

27 . Astley's Riding School, 1770-1780 ...... 70 01d and New London Catalogue Number 2

28. Sadler's Wells, 1772-1801 ...... 71 Theatre Notebook Finsbury Public Library Catalogue Number 14

29. Astley's Royal Grove, 178 O-1787 ...... 71 OSUTC Microfilm Number 1002:15 Harvard Theatre Collection Catalogue Number 4

30. Royal Circus, 1782-1 79 1 72 OSUTC Microfilm Number 1006:269 Harvard Theatre Collection Catalogue Number 8

31. Royal Ci reus, 1791-1796 H OSUTC Microfilm Number 1002:337 Harvard Theatre Collection Catalogue Number 7 I X

32. Royal Circus, I 8 O6-I 809 73 Microcosm of London Catalogue Number 9

33. Sadler's Wells, 1802-1822 . . . 73 OSUTC Microfilm Number 1002:303 Harvard Theatre Collection Catalogue Number 19

34. Lord Barymore's Private Theatre, cl 792 ...... 83 Archi tectural Review Harvard Theatre Collection Catalogue Number 1

35. Brandenburg House Theatre, 1793-1810 ...... 84 Theatre Notebook Hammersmith Public Library Catalogue Number 1

3b. Covent Garden, 1792-l804 ...... 84 OSUTC Microfilm Number 1002:54 Harvard Theatre Collection Catalogue Number 10

37 . Drury Lane, 1794-l804 84 The Georg i an P1ayhouse Catalogue Number 18

38. Drury Lane, 1794-1804 85 Arch i tectura1 Rev i ew Gerald Agnew Collection Catalogue Number 34

39. Drury Lane, 1794-1804 86 OSUTC Microfilm Number 46:5 Library of Congress Catalogue Number 29

40. Covent Garden, 1804-1808 ...... 86 OSUTC Microfilm Number 1006:55 Harvard Theatre Collection Catalogue Number 11

41. Drury Lane, 1805-1809 ...... 87 Architectural Review Catalogue Number 35

42. Pantheon Opera House, 1791-1792 94 S. W. Forbes Collection Catalogue Number 10 43. Haymarket Opera House, 1791-1818 ...... 95 OSUTC M icro film Number 36:4 New York Public Library Catalogue Number 15

44. English Opera House (Pantheon), 1812-1814 ...... 95 OSUTC M icro film Number 36:12 New York Public Library Catalogue Number 13

45. Her Majesty's Opera House (Haymarket Opera House),1818-1841. 96 Londoner * s Then and Now Catalogue Number 39

46. King's Theatre Haymarket (Haymarket Opera House),1818-1841 . 96 OSUTC M icro film Number 503 • H. E. Huntington Library Catalogue Number 32

47. Her M ajesty's Theatre (Haymarket Opera House), 1846-1867 . . 97 I 11ustrated London News Catalogue Number 44

48. Royal Ita lia n Opera House, Covent Garden, 184-7-1856 .... 97 I I 1ustrated London News Catalogue Number 70

4 9 . Royal Ita lia n Opera House, Lyceum, I 856 -I 858 ...... 98 I 11ustrated London News Catalogue Number 13

5 0 . Royal Ita lia n Opera House, Covent Garden, 1853 ...... 98 I 11ustrated London News Catalogue Number 90

5 1 . Covent Garden, 1809-1824 ...... 110 OSUTC M icro film Number 1002:51 Harvard Theatre Collection Catalogue Number 37

5 2 . Drury Lane, 1812-1818 I l l A rc h ite c tu ra 1 Rev i ew Catalogue Number 50

5 3 . Drury Lane, I 8 l 2 - l 8 l 8 ...... I l l A rc h ite c tu ra l Review Catalogue Number 51

5 4 . Olympic Theatre, 1813-1814 ...... 112 OSUTC M icro film Number 36:10 New York Public Library Theatre Collection Catalogue Number 3 X I

55. Sans Parie], ]8l4-l8l7 ...... 112 OSUTC Microfilm Number 36:13 New York Public Library Theatre Collection Catalogue Number 2

56. Astley's Amphitheatre, 1817-1841 ...... 113 OSUTC Microfilm Number 503 Huntington Library Catalogue Number 13

57. Drury Lane Theatre, 1818-1822 ...... 113 B ritish Theatre Mander and Mitchenson Collection Catalogue Number 63

58 . L ittle Theatre Haymarket, 1821-1843 ...... 114 OSUTC Microfilm Number 1002:195 Harvard Theatre Collection Catalogue Number 16

59. L ittle Theatre Haymarket, 1821-1843 ...... 114 OSUTC Microfilm Number 503) Henry E. Huntington Library Catalogue Number 23

60. L ittle Theatre Haymarket, 1821-1843 115 OSUTC Microfilm Number 1002:186 Harvard Theatre Collection Catalogue Number 21

61. Drury Lane, 1822-1825 ...... 116 OSUTC Microfilm Number 503 Henry E. Huntington Library Catalogue Number 66

62. Drury Lane, 1822-1825 ...... 116 09UTC Microfilm Number 503 Henry E. Huntington Library Catalogue Number 68

63. Covent Garden, 1824-1847 ...... 117 OSUTC Microfilm Number 503 Henry E. Huntington Library Catalogue Number 48

64. Covent Garden, 1824-1847 ...... I 17 OSUTC Microfilm Number 503 Henry E. Huntington Library Catalogue Number 5I X I 1

65. Plan of Drury Lane Theatre, 1825-1846 .118 OSUTC Microfilm Number 1002:45 Harvard Theatre Collection Catalogue Number 76

66. Covent Garden, 1831 118 Bri tish Theatre Mander and Mitchenson Collection Catalogue Number 57

67 . Covent Garden, 1844 119 111ustrated London News Catalogue Number 64

63. Drury Lane, 1845 ...... 119 OSUTC Micorfilm Number 1002:117 Harvard Theatre Collection Catalogue Number 82

69. Orange Theatre, 1832-1836 127 Theatre Notebook Catalogue Number 2

70 . Royal Clarence Theatre, 1832-1857 ...... 127 Connoi sseur London County Counci 1 Catalogue Number 2

71 . Albion Theatre, 1832-1836 ...... 128 Theatre Notebook Westminster Public Library Catalogue Number 1

72 . London Bridge Theatre, about 1830 ...... 128 Theatre Notebook Victoria and Albert Museum Catalogue Number 2

73 . Eagle Tavern (Grecian Saloon), I 832 -IB5I ...... 129 OSUTC Microfilm Number 1006:121 Harvard Theatre Collection Catalogue Number I

74 . Pavilion (Marylebone) Theatre, 1835-1837 ...... 129 Theatre Notebook Bishopsgate Institute . Catalogue Number 1

75. City of London Theatre, 1835-1868 ...... 130 Connoi sseur Bishopsgate Institute Catalogue Number 2 XIII

7b. Westminster Theatre, 1832-1835/36 ...... 130 Connoi sseur London County Council Catalogue Number 1

77. Exeter Hall, 1831-1880 ...... 140 Knight*s London Catalogue Number 6

78 . Surry Zoological Gardens, pre 1848 ...... 140 Survey of London London County Counci 1 Catalogue Number 3

79. Evans Hotel, 1856-1871 ...... 141 OSUTC Microfilm Number 1002:155 Harvard Theatre Collection Catalogue Number 3

80 . Surrey Zoological Gardens, 1856-1861 ...... , 141 OSUTC Microfilm Number 1006:261 Harvard Theatre Collection Catalogue Number 6

81. Oxford Music Hall, 1861-1868 ...... 142 OSUTC Microfilm Number 1002:249 Harvard Theatre Collection Catalogue Number 2

82. The Philharmonic Music Hall, 1860-1870 ...... 142 OSUTC Microfilm Number 1002:259 Harvard Theatre Collection Catalogue Number 1

83 . Highbury Barn Music Hall, 1861-1865 ...... 143 OSUTC Microfilm Number 1006:180 Harvard Theatre Collection Catalogue Number 3

84. Egyptian Hall, about 1845 143 OSUTC Microfilm Number 1002:146 Harvard Theatre Collection Catalogue Number 5

85 . Polygraphic Hall, 1855-1869 ...... 144 I 11ustrated London News Catalogue Number 1

86. Colosseum Theatre, 1848-1875 ...... 144 I 11ustrated London News Catalogue Number 7 X I V

87 . Panopticon, 1854-1858 145 01d and New London Catalogue Number 1

83. Alhambra Palace, I 858 -I 8 6 9 ...... 146 I 11ustrated London News Catalogue Number 4

89 . Alhambra Palace, 1864-1871 ...... 146 OSUTC Microfilm Number 1006:18 Harvard Theatre Collection Catalogue Number 6

9 0. Princess's Theatre, 1841-1843 ...... 157 OSUTC Microfilm Number 332:15 Folger Shakespeare Library Catalogue Number 2

91. Princess's Theatre, 1841-1843 ...... 158 I 11ustrated London News Catalogue Number 3

92. Astley's Amphitheatre, 1841-1862 ...... 159 I 11ustrated London News Catalogue Number 24

93. Princess's Theatre, 1851-1859 ...... 159 OSUTC Microfilm Number 9^7 Victoria and Albert Museum Catalogue Number 6

94. Surrey Theatre, 1848-1865 ...... 160 OSUTC Microfilm Number 1006:265 Harvard Theatre Collection Catalogue Number 21

95. Drury Lane, 1846-1866 ...... 160 111ustrated London News Catalogue Number 89

9 6. Adelphi Theatre, 1848-1858 ...... 161 I 11ustrated London News Catalogue Number 13

97 . Adelphi Theatre, 1858-1879 ...... 161 Thaler's Shakespeare to Sheri dan Catalogue Number 18 XV

98. Canterbury Theatre of Varieties, about 1863 172 OSUTC Microfilm Number 332:6 Folger Shakespeare Library Catalogue Number 3

99. Alexandra (Highbury Barn Theatre), I 8 &3-I 87 I ...... 173 Theatre Notebook Harvard Theatre Collection Catalogue Number 4.

100. Hoi born Amphitheatre, 1867-1888 ...... 173 OSUTC Microfilm Number 1006:19 Harvard Theatre Collection Catalogue Number 1

101. Queens Theatre, Long Acre, I 867 -I 8 7 8 ...... 174 OSUTC Microfilm Number 1002:264 Harvard Theatre Collection Catalogue Number 3

102. Standard Theatre, I 8 6 7 ...... 174 OSUTC Microfilm Number 332:30 Folger Shakespeare Library Catalogue Namber 3

103. South London Palace, about I 87 O ...... 175 OSUTC Microfilm Number 1006:256 Harvard Theatre Collection Catalogue Number 1

104. Vaudeville Theatre, I 87 O-I89 I ...... 175 OSUTC Microfilm Number 1002:348 Harvard Theatre Collection Catalogue Number 1

105. Canterbury Palace, about 1876 ...... 176 OSUTC Micorfilm Number 1002:76 Harvard Theatre Collection Catalogue Number 4

106. Grecian Theatre, 1876-1879 ...... 176 OSUTC Microfilm Number 1002:185 Harvard Theatre Collection Catalogue Number 2

107 . Criterion Theatre, 1874-1877 ...... 177 OSUTC Microfilm Number 332:131 Folger Shakespeare Library Catalogue Number 1 XV I

108. Princess's Theatre, 1880-1902 ...... 177 OSUTC Microfilm Number 332:165 Folger Shakespeare Library Catalogue Number 9

109. Savoy Theatre, l88l ...... 185 OSUTC Microfilm Number 332:167 Folger Shakespeare Library Catalogue Number 3

110. Novelty Theatre, 1882 ...... 186 OSUTC Microfilm Number 332:34 Folger Shakespeare Library Catalogue Number 2

111. Avenue Theatre, 1882-1905 ...... 186 OSUTC Microfilm Number 1006:143 Harvard Theatre Collection Catalogue Number 2

112. Grand Theatre, Islington, 1883-1887 ...... 187 OSUTC Microfilm Number 332:29 Folger Shakespeare Library Catalogue Number 2

113. Criterion Theatre, 1884 187 OSUTC Microfilm Number 1002:97 Harvard Theatre Collection Catalogue Number 3

114. Garrick Theatre, Charing Cross Road, 1889 ...... 188 OSUTC Microfilm Number 1006:l43 Harvard Theatre Collection Catalogue Number 2

115. Her Majesty's Theatre, 1897-1902 ...... 188 Modern Opera Houses and Theatre Catalogue Number 59 LIST OF FIGURES

Figure Page

1. Theatri ca Architectural Activity Time Relationship . . . 15

2. A Typ cal F irs t Phase Tennis Court Theatre Reconstructed 21

3. A Typ ca 1 Second Phase Tennis Court Theatre Reconstructed 21

k . A Typ cal Theatre of 1675 Reconstructed ...... 30

5o A Typ ca 1 Theatre of 1770 's Reconstructed ...... , 40

6 . A Typ cal Garden Music Room of 1760‘ s Reconstructed . . . 40

7. A Typ ca 1 Theatre of the 1790 's Reconstructed ...... 56

8. A Typ ca 1 Equestri an Theatre of I 8 OO Reconstructed . . . 70

9. A Typ ca 1 Theatre of 1805 Reconstructed ...... 83

0 . A Typ ca 1 Opera House of the 1850 ‘ s Reconstructed .... 94

1. ATypca 1Big Theatre of 1825 Reconstructed ...... 110

2, A Typ cal Music Hall of i 860 Reconstructed ...... 139

3. ATypca 1Theatre of I865 Reconstructed ...... 156

4. A Typ ca 1 Theatre of 1880 ' s Reconstructed ...... 171

5. A Typ ca 1 Theatre of 1890 's Reconstructed . , ...... 185

XV I I CHAPTER I

I NTRODUCTION

Many studies have been made pertaining to the various aspects of English theatre in the period of 1660 to 1900. The vast majority of these studies are competent works, but are generally concerned only with an individual and his relationship to theatre or they are concen trated on the inter-action of the written drama on the total theatre picture. These studies of general theatrical interest do not attempt to consider a rc h ite c tu re in any but the most s u p e rfic ia l manner and consequently, they contribute very little detailed information on the theatrical architecture of the period.

A few primarily architectural studies are well executed, but upon close examination it is discovered that the intent is not architectural delineation, but rather the social history of the buildings. Some of these studies are profusely illustrated and oc casionally they contain a wealth of detailed architectural information.

Unfortunately, however, this information is usually not related to the illu s tr a tio n s beyond mere id e n tific a tio n . Normally these studies make no attempt to relate any of this information to the overall history of theatrical architecture.

- 1 - These studies inevitably deal only with the formal or legitimate theatre architecture. They make no attempt to relate to theatre architecture the influences exerted by the non-legitimate theatrical forms. It is obvious that theatre architecture did not exist in a vacuum completely unaware of other a rc h ite c tu ra l developments. The influence of the non-legitimate architecture must be considered in any study of theatrical architectural development.

Studies in English theatre may be divided into five categories, with the criteria for division consisting in the varying degree of attention paid to architectural detail. it is interesting to note chat the use of pictorial material is directly related to the amount of architectural information contained within a study. Group one is theatrical commentary; in this type of study the primary concern is with the personalities involved in theatre. There is no intent at architectural coverage, but often these studies contain a few scattered comments which are of architectural interest. There are practically no pictures reproduced in these studies beyond the occasional picture of an actor in a particular role.

Specific studies of an individual and his theatre comprise the second group. Here, the emphasis is on one man's unique c o n trib u tio n to the total theatrical picture. There is usually some architectural

The term “ le g itim a te theatre" as used in th is study is employed in its most limited sense. This expression will always be used to identify the standard theatre architecture. This distinction is necessary in order to designate between the formally constructed standard playhouse and the architecture which encloses any informal area where any type of entertainment produces a theatrical situation. The great variety of theatrical activity outside the legitimate theatre during this period which must be considered in this discussion requires that this well- defined verbal distinction between these two areas be possible. 3

information concerning the individual's improvement of his theatre, but these comments relate only to one theatre during an extremely

limited time span. Once again the pictorial material is usually a portrait of the man under consideration and has little or no value from the architectural point of view.

The third group considers the history of individual theatres.

The major theatres of this era have received detailed historical coverage, but this is not a history of the building but rather a h is to ry of the people who have passed through th is b u ild in g . There

is some attention paid to the architecture but, here too, this is

limited and not related to other theatres of the same period. These studies offer little possibility of the architectural comparison so necessary for a comprehensive understanding of total architectural development. These studies, particularly the more recent ones, are quite pictorial but the pictures are not integrated into the written account and are merely used to give period atmosphere to the study.

All general architectural studies are in group four. These general studies are surveys of architecture at one selected time con taining detailed accounts of individual theatres. There is little attempt to compare the various theatres other than a statement of cost or seating capacity. Again there is no desire on the part of the author to relate these particular theatres into a general overall architectural trend of development. The general architectural studies are limited to the major playhouse with the minor and non-legitimate theatres receiving almost no attention. There is no consideration of the positive influence that the equestrian theatre, music halls. k

exhibition halls and other architectural forms had on legitimate

theatre architecture. The amount of pictorial material in these

studies varies from author to author, but usually the visual issub ordinated to the verbal. Although there are some excellent illustra

tions included in some of these studies, the full value of the pictorial evidence is never realized.

The fifth group contains only one very competent iconographica1 architectural study. This study is of provincial theatres (only one

London theatre is mentioned) for an eighty year period, 1720 to 1800.

It is a very valid study but too narrow and short for any overall con clusions on architectural development. The pictorial evidence found

in this study is good, but it is only of provincial theatres.

P rovincial a rc h ite c tu re follow ed the pace set by London theatres but provincial architectural forms were separated from London activity by a distinct time lag. This study cannot be directly related to the London architecture without considerable interpretation.

Each of the five types of studies is competent within the self-

implied lim its. None of these studies attempts a systematic coverage of all of the theatrical architecture in London. There is no considera

tion or interpretation of the overall development of this London theatre architecture. The vast majority makes no effort to integrate the pictorial material into the fabric of the study as evidence of the architecture of the period. These studies do not place the physical development of the theatre in the perspective necessary for a meaning ful relationship between the theatre architecture and the production of

the play. The physical aspect of the theatre has such a direct bearing on the style and forms of the theatrical end product that obviously, the architecture must be considered in a perspective which can only be gained by considering the development over an extended period of time.

For this type of consideration, the period must extend over more than one or two of the normal h is to ric a l a rc h ite c tu ra l periods. This scope is necessary so that the general architectural trends w ill not confuse the specific development of the theatrical architectural form.

Selection of ^ Period for Study

A unique opportunity for study is found in the period from I 66O to 1900. The 240 years represent a sufficient span of time to obtain the proper scope and perspective necessary in a study of overall architectural developments. This period also represents a self-con tained architectural unit which is ideal for study. The theatrical conditions which existed in 1 66O created an architectural starting point. Theatres had been legally closed for eighteen years prior to

I66O: this period of time tended to decrease the strong influence of the Elizabethan playhouse. Charles, the new English King, on returning to the throne from the European c o n tin e n t brought w ith him a French concept of theatre which, when integrated with the remaining native

Elizabethan drama and the Stuart Court theatre, combined to form a completely new dramatic genre. The end of the nineteenth century serves equally as well as a terminal point. At this time there is a change in the essential nature of the dramatic form from the presen tational drama of the past to the representational type of drama of the Twentieth Century representing the end of an era. The new dramatic

form demanded a new concept of theatre architecture.

The period from 1660 to I 9OO represents an almost perfect situa

tion for a study of theatrical architecture. It is a self-contained

unit which covers four major historical periods, the Restoration,

Georgian, Regency and Victorian. This period represents a sufficient

time span to obtain a realistic view of the overall development in

archi tectura.

Survey 2Ï. -Aval la b! e Evi de nee

A major aspect of any study of this nature is the location of

sufficient valuable material which permits detailed intensive examina

tion. As has already been noted, there exists an absolute minimum of written information pertinent to the architecture and, too, this

material on closer examination is not found reliable and the possibility of cross-checking this information is practically nonexistent. The only real quantity of material available was found in the pictures of

these theatres. Although this evidence was very scattered, when col

lected, it was the most dependable source of information. It is

possible to depend on ihe integrity of the original artist. It can be

assumed that he depicted only what he saw. This does not imply that

he included everything. The right of selection belongs to every artist,

but it does imply that he did not arbitrarily add elements which did

not exist in the original. Obviously then, the only completely success

ful approach to an architectural study of the theatres of this period

must derive from iconographical evidence. After the pictorial nature of the study had been determined,

the accumulation of iconographie evidence became the immediate task.

The obvious theatre reference sources offered very little variety in terms of valuable architectural pictures. Through The Ohio State

University Theatre Collection, it was possible to obtain from libraries

in this country and abroad, uncatalogued boxes of prints, prints in file folders under obscure titles, as well as clippings from old unidentified newspapers, magazines and books. Valuable material was found in locally available copies of periodicals, not only in theatrical journals, but also in journals and magazines in the fields of architec ture, art, building trade papers, engineering journals, daily news papers and even ladies' magazines. in addition to standard theatrical books, pictorial evidence was found in books on art, architecture, engineering, literature, music, bound volumes of plays, geographic histories of London and social and political histories.

With the assistance of The Ohio State University Theatre Collec tion, approximately 2,000 prints were assembled on microfilm from the following libraries: the Henry E. Huntington Library, Folger Shake speare Library, Houghton Library, Theatre Collection New York Public

Library, Library of Congress, the British Museum and the Victoria and

Albert Museum. Within this group of pictures were many duplications and a few items were of no value. The other sources indicated contri buted about 1500 more prints. The unusual nature of the sources of these prints greatly reduced the percentage of duplication.

From all of the sources investigated, about 3,500 pictures were

located. It is reasonable to assume that the present group of prints comprises a substantia] and representative selection of the total number of prints in existence. It is on this assumption that this group of 3,500 basic prints has served as the evidence for the study,

Identification of Pictorial Evidence

With the accumulation of the 3,500 pictures, the physical problem of handling them became s ig n ific a n t. This problem was compounded by the fact that most of the pictures carried little or no identification.

It became immediately necessary to e sta b lis h a Fact Sheet on each theatre in which each building was identified by all of its various names. At the same time, a chronology for each theatre had to be worked out indicating the date of the changes in the names as well as the dates of remodeling, redecorating or reconstruction. This information has been included in the Appendix as the Fact Sheet preceding the catalogue lis tin g fo r each th eatre.

Each print had to be identified and dated as accurately as pos sible. This was accomplished by making use of the information from within the print itself as well as the material from the Fact Sheet.

To aid in positive identification of each print, alphabetical lists of artists and engravers proved a valuable cross-reference tool. These lists have been included in the Appendix following the Catalogue.

With dependable identification of each print assured, it was possible to begin realistic grouping of these prints by theatre. The

80 per cent duplications within the total 3,500 p ictu re s became immediately apparent. With the duplicates eliminated, the original

3,500 prints were reduced to approximately 7 OO different pictures. These 700 pictures are of 190 different architectural units and are

known by 450 d iffe re n t names.

Orqani zation of P ic to ria 1 Evi dence

The next step in the organization of these prints was deter

mining the relative importance of the architecture of the various

theatrical functions. Early in the study it was apparent that all of

these prints could be divided into groups defined by logical and dis

tinct theatrical functions. These divisions were; (l) the tennis

court theatres; (2) legitimate theatres; (3) formal garden theatres;

(4) equestrian theatres; (5) concert rooms; (6) opera houses;

(7) taverns; (8) p riv a te theatres; (9) e x h ib itio n h a lls ; (10) panor

amas; (11) music h a lls , and (12) v a rie ty theatres. Each of these forms

developed as a completely separate theatrical unity because each orig

inated from specialized needs and evolved to solve different theatrical problems at a specified time in theatre history. This point is graphically illustrated in Figure 1, a time relationship chart, which

indicates these various theatrical forms in their proper chronological perspective. The architecture of every theatrical form had a direct

influence on the auditorium architecture of the formal legitimate theatre.

In order to understand the auditorium architectural development of the theatre from 1660 to 1900, it is necessary then to consider each of these subsidiary theatrical forms. These twelve forms of activity

upon close examination were found to be conducted within four basic

types of a rc h ite c tu re . These four types of a rc h ite c tu re are: (1) the

formal theatre which encompasses le g itim a te theatre, tennis court 10

theatres, p riv a te theatres and v a rie ty theatres; (2) the round

equestrian theatres and garden theatres; (3) the opera houses; and

(4) the hall type area which includes tavern-supper clubs, exhibition

h a lls , panoramas, music and concert h a lls . This combination of forms

does not represent a reduction of the individual importance of each but rather a joining of similar architectural units for a more concise consi deration.

At this point, it was possible to begin the elimination of the

less valuable prints. For each building, prints were selected which

indicated any physical change within the auditorium of that building.

Next, all of the pictures were combined in chronological order to diminish the importance of the individual building. Any pictures which

indicated architectural duplication were then eliminated and the picture bearing the earliest date was retained. In this manner every auditorium architectural modification illustrated in the total assemblage of prints was represented in this selected group of pictures.

In a manner of speaking, each picture became a typical theatre repre senting not only the changes which took place within that particular theatre, but also representing equally as well similar changes which took place in other buildings. This same process was repeated in each of the four basic architectural areas.

The selected pictures representing each of the four basic types o f th e a tric a l a rc h ite c tu re were then combined c h ro n o lo g ica lly in order

to ascertain the influence of one group on the others. Visually, this

interacting influence became immediately apparent. It was necessary

to once again separate the p rin ts into the four basic types inasmuch as these basic types of architecture offered ideal chapter divisions w ith in the body o f the study. Accompanying each chapter d iv is io n are reproduced the selected prints which are typical of the auditorium development within that area during that period of time.

The written account which accompanies the reproduced pictures has been sub-divided into the architectural elements basic to all theatrical auditoriums; (I) proscenium and fore-stage; (2) pit; and

(3) tiers. Again this approach tends to diminish importance of the individual buildings under consideration and forces the evaluation in terms of typical architectural development. At the termination of each major trend is a typical reconstruction which attempts to illus trate each architectural element as it appears at the end of that trend.

_A Statement of Contri buti ons

This study has collected and identified 3,500 prints. These prints have been identified to the fullest possible extent in a chronological Catalogue where the artist, engraver and publisher, if known, are indicated. Each Catalogue entry also includes a concise verbal identification to assist in the future identification of unknown p ri nts.

The establishm ent of a Fact Sheet on each of the I 90 theatrical architectural units in London from I 66O to I9OO is a unique, concise statement of known information relating to that particular building.

This Fact Sheet has assembled into one place, p e rtin e n t inform ation concerning the various names by which the building was known, the geographic location, the dates of construction, remodeling, redecoration. 12

the name of the architects involved, the names of the owners and managers, as well as some physical details.

The first index in the Appendix is an alphabetical list of all

the names of all the theatrical buildings mentioned in the Catalogue,

This will permit the identification of any theatre by any of its many

names. This is invaluable in the positive identification of a minor

theatre print when the indicated name has little significance. The alphabetical listing of artists and engravers provides additional aid

in the identification of unknown prints by suggesting an approximate date of execution and by positive identification of a duplication of prints already tabulated in the Catalogue. The index of architects will assist in the location of specific buildings as well as aid in the identification by style of unknown buildings. The index of owners and managers w ill perm it quick and accurate lo ca tio n of a p a rtic u la r theatre and suggest certain patterns in managerial policy at specified theatres through association. These four indices with the Catalogue and Fact Sheets are the tools of th is study and, in each case, the tool makes an important contribution to the overall value of the study.

One hundred fifteen pictures have been selected which indicate the trends in the overall development and influences found in English theatre auditorium architecture from 1660 to I 9OO. This group of 115 prints has been reproduced as visual evidence of these trends and devel opment. The discussion which accompanies these p rin ts is based on observation of the evidence presented in the pictures and crystalizes the significant trends and development found in English theatre auditorium architecture between I 66O and igOO as viewed by the pictorial evidence. The pictorial evidence indicates that all theatrical archi tecture influenced the development of the legitimate or formal theatre auditorium architecture. This evidence indicates that a direct rela tionship exists between the tennis court theatres of 1660 and the v a rie ty houses of the l890‘ s, the formal garden music h a lls of 1750 and the equestrian theatres of 1805, and this in turn to the legitimate theatres of 1870. The pictorial evidence illustrates the direct line of development in all London theatre auditorium architecture from 1660 to 1900. 1600______1700 ______^800 ______1900

60 80 20 40 60 80 20 40 60 80 ■n 70 90 10 30 50 70 90 10 30 50 70 90 o 73 Tennis Court Theatres 1660 1790 m

Legitimate Theatres 1674

IT Private Theatres U762 (P Ql Variety Theatres 1863 O Qi

Formal Gardens I870Ï O O' Equestrian Theatres n c Opera Houses

>■ n Concert Rooms 1680 < Taverns 1718 1880

Exhibi tion HaiIs 1757 1870 i :o Panoramas 1781 a> y

Mus i c Halls 1830 o 3 3" T3 CHAPTER I I

THE TENNIS COURT THEATRES, I6b0 TO 1672

The return of Charles from exile to the English throne in

1660 was the signal for theatrical activity to spring back into the open. Thomas Killigrew and Sir William Davanent immediately applied for and received warrants to open public playhouses. Thomas

Killigrew opened the firs t playhouse as early as November of I66O.

He converted Gibbon's Tennis Court on Vere Street in Lincoln's Inn

Fields into his first Theatre Royal. He considered this tennis court theatre a temporary home because almost immediately he started planning the construction of a new theatre on Bridges Street. Sir

William Davanent had converted another tennis court on Portugal

Street into his theatre by 1663. It was during this same year that

Killigrew moved into his newly built Theatre Royal on Bridges

Street. Although this was built expressly as a theatre, it belongs to the tennis court group.

P rosceni um and Stage

Practically nothing is known about the physical arrangement of these three theatres. Therefore, any consideration of these b u ild in g s must be based on conjecture supported by a very few a v a il able facts and two prints. Plates 1 and 2. From the plan in Plate 1 an important fact is gained. The tennis court building was a rectangle 16

about twice as long as it was wide. The outside dimensions of all three of these theatres substantiate this.^ Into this rectangular hall that once was a tennis court, a theatre had to be inserted. This was accomplished by breaking the hall lengthwise with insertion of a wall parallel to the end of the room. The plane of this wall separated the auditorium from the back stage area. It was this plane that formed the proscenium frame. The plane of this proscenium frame which terminates the walls of the auditorium can be seen in Plate 2.^ It is about three

Gibbon's Tennis Court, Vere Street, was approximately 62 feet long by 23 feet wide, see scale on Plan in Plate 1. For further details on this building see Appendix, page 311. Lisle's Tennis Court, Davanent's theatre, was approximately 75 feet long by 30 feet wide. For further details, see Appendix, page 209. The Theatre Royal, Bridges Street, was 112 feet long by 59 feet wide. For further details, see Appendix page 121. 2 The term proscenium frame will be used to identify the essentially two-dimensional plane which surrounds the stage opening as opposed to the three dimensional proscenium arch which has a physical depth s u ffic ie n t to accommodate other a rc h ite c tu ra l elements such as doors and boxes. ^ There is some question as to date and authenticity of this print. Although it is labeled "Drury Lane," this name was not in use until 1690. Architecturally, the print is totally incompatible with the 1690 theatre. By comparing it with later extant prints, it can be de termined that it does not represent the Drury Lane Theatre at a date later than 16/4. If it is a representation of Drury Lane, then it must be of the pre-l674 vintage. Mander and Mitcherson in The British Stage date a similar print 1697. They identify the print by the actor Joe Haines in the "Epilogue of the Unhappy Kindness." The sim ilarity between these two p rin ts is in the man seated on a bewigged donkey standing on the fore-stage. But here the similarity ends; the archi tectural elements in the background of the two pictures are quite different. The Mander and Mitcherson print can be reconciled architecturally with Wren's Drury Lane of 1674. Plate 2 cannot be related to the Wren Theatre or any later theatre. Architecturally, this print is of the tennis court tradition. It could very reasonably be the Theatre Royal, Bridges Street, between 1663 and 1673 when the theatre burned. 17

feet up-stage of the leading edge of the fore-stage. Perhaps this concept is more visually apparent in Plate 3.^ A platform was then erected piercing this plane forming the stage. The fore-stage projected beyond this plane into the auditorium, while the back-stage area receded behind the plane. Between the proscenium frame and the scenery, a permanent wall was erected which became the proscenium arch. Plate 2 shows the down-stage edge of this wall quite clearly.

It has a physical thickness of at least ten feet which accommodates a c la s s ic decorated door of two tuscan columns supporting a pediment.

There is wall space on each side of the door. Although the up-stage edge of the wall cannot be seen, the door is most probably centered i n the w a l1 area.

The fore-stage as seen in Plate 2 projects into the auditorium from four to six feet beyond the proscenium frame. There is no obvious area fo r the orchestra in P late 2. There is, however, a low wall at the front of the pit. Audience is seated in front of this wall in this particular print, but perhaps it was here musicians were placed when an orchestra was required.

P it

In the conversion of the tennis courts, the pit area presented a problem. The question was immediately raised as to how complete was this remodeling. Was the stage floor level the same as the old tennis

Plate 3 is the Orange Theatre, Queen's Street, built in 1832. Architecturally this theatre is very like the tennis court theatres. Due to the lack of authentic period pictures, this is a good compara tive theatre which can tell much about its earlier predecessors. 18

court floor? If so, this would imply that the pit floor would neces

sarily be below that or the old tennis court floor. For Killigrew, who planned to spend only a few years in his tennis court theatre,

this would appear to be an unnecessary remodeling expense. It would be much cheaper to make the tennis court floor the lowest level

inside the theatre and then build up the stage and floor of the pit.

Plate 3 shows the back of a built-up pit area with a wooden frame which is built like a giant set of steps. Very possibly this is the method used in the tennis court theatres to create a non-recessed pit.

In P late 2 the existence of a sunken p it is very lo g ic a l. In th is b u ild in g , i t was only a matter of planning the re la tio n s h ip between

the pit floor and stage level prior to construction. The floor of the p it was sloped fo r the improvement of the sight lines from the rear of the house. Based on the height of a man, the pit floor was about sixty-six inches below the stage floor and it sloped up at the back to about forty-eight inches below stage level.

Tiers

Before considering the tiers surrounding the pit in these

theatres, it is once again necessary to review the original tennis court arrangement. Up out of the way along the side walls of the tennis courts were narrow balconies for fans to watch the action of the game on the floor. It is reasonable that these balconies were

retained and converted into side tiers. Plate 3 again illustrates this quite well. The floor area under these side tiers was left open as in this plate if the pit were built up. Or this area could be enclosed by a low dividing wall creating a floor level tier as is seen in Plate 2. But this floor level tier could not exist until the pit had been recessed into the floor of the theatre because of the sight line problem. In this respect, Plate 2 with its recessed pit represents a second step development in the tennis court theatres.

In Plate 2, the Theatre Royal, there are two tiers on the side walls.

The apparent change of decoration on the back wall inside of these tiers next to the proscenium frame, might indicate the presence of the first semi-private box.

Typical Theatre Reconstruction

The tennis court theatres were small rectangular areas. A platform stage was built at one end of the room. A wall was inserted dividing the length of the room into two areas. This plane formed the proscenium frame. The sides of the stage in front of the scenery and behind the proscenium frame were enclosed by a permanent wall. In this proscenium wall was cut a door, thus forming the proscenium arch and proscenium doors. The audience was seated in front and below the stage level in an area that was to be known as the pit. On the side walls, the old tennis court balconies were converted into side tiers and perhaps a gallery was added at the back of the room.

Figure 2 is a reconstructed longitudinal sectional view of the first phase of the tennis court theatre development. The pit and stage are built above the ground floor level of the tennis court building.

There is only one side tier and no definite indication of a back tier. 2 0

Figure 3 is a corresponding view of the second phase o f tennis court type theatre development. The stage and firs t tier are at ground level. The pit is recessed below the main floor level of the theatre. The auditorium now has two side tiers as well as a back tier gallery. These figures are not attempts to reconstruct any particular theatre, but rather to illustrate graphically the typical theatres of this era......

A typical first phase tennis court theatre reconstructed FIGURE 2

FIGURE 3 A typical second phase tennis court theatre reconstructed i i « t ( H {' h k J . ^ ;L K4 ^;/ .4] C U -^ . A f AC.4 /'^1-t ii, j •MrVV-» ' r/tf >:x. /kc4.CU ' K _i%a ÜKÜLZLil.l- i A -< *^ 7 s2 SSÊ^ t àu.*~y

/ f e v . .

courtesy New York Public Library Theatre Collection

Gibbon's Tennis Court, Vere Street, 1660-1663 PLATE I p .-H -a r ' s rtfl

■

courtesy Harvard Theatre Collection

Theatre Royal (Drury Lane), 1663-lo/Z PLATE 2

PLATE 3 Orange Theatre, about 1832 courtesy Westminster Public Library

n.’WMsf' 4Î* CHAPTER I I I

FIRST PURE THEATRICAL ARCHITECTURE, 1671 TO 1700

Sir William Davanent opened the Dorset Garden Theatre in No vember, 1671.^ On March 26, 1674, Thomas K illigrew opened the new

Theatre Royal on Bridges Street.^ Both of these buildings were designed by Christopher Wren. They represent the f ir s t pure theatrical architecture of the Restoration. These two theatres are almost identical in design. They apparently differ only in decoration, and perhaps in the number of tie rs. Plate 4 is the Dorset Garden stage as represented in one of the famous Emperor of Morocco series. A l though it does not show much of the theatre, it is possible to obtain an amazing amount of architectural information from it. Plate 5^ is a section of Killigrew's new Theatre Ruyal on Bridges Street, while

Plate 6 shows the proscenium frame of the same theatre.

For further details concerning Dorset Garden Theatre see Append i x page 11$. ^ For further details concerning Theatre Royal see Appendix page 121. ^ There is some question as to whether the theatre in Plate 5 was ever built. There are no other prints of this theatre available for comparison, other than the proscenium view in Plate 6. The p rin t is labeled Drury Lane Theatre, but again, this name was not in use until 1690. Although it would be very nice to authenticate this picture, it is not really important in a study of architecture. The fact that Plate 5 was even proposed as a theatre design at this time is suf ficient to make it significant in the development of the architectural concepts of the Restoration Theatre. It is very possible that the theatre was b u ilt in some modified form related to this design.

- 24 - 25

Prosceni um

These two theatres did not contain a proscenium arch. The

auditorium was terminated by the plane of the proscenium frame. In

the Dorset Garden Theatre, there was an opening between the proscenium

frame and the auditorium w all. This opening can be seen in Plate 4 ju s t up-stage of the door by looking at the floor line. The shadows

help indicate its presence. No comparable opening is in K illigrew 's

theatre. At the Theatre Royal, the proscenium frame was connected physically with the auditorium wall. At the sides of Plate 6 can be

seen the pilasters that formed the proscenium frame. Based on the

height of a man, this proscenium frame was about th irty -s ix feet wide while the proscenium at Dorset Garden was only twenty-four feet wide.

The doors that opened on the fore-stage in the Theatre Royal were not really proscenium doors for they were not located in a pros cenium arch, but rather in the auditorium wall. Logically, then, this was also true of Dorset Garden, Plate 4. The doors which opened onto a large fore-stage were like ly a part of the auditorium wall. At the

Theatre Royal, this acting area was about eighteen feet deep, using the size of a door as a scale. The Emperor of Morocco p rin t does not

indicate the fu ll depth of Dorset Garden fore-stage, but at least six

to seven feet is visible.

The only major difference between these two theatres was in

the location of the orchestra area. it is reasonable that the orchestra was in the gallery above the proscenium frame at Dorset Garden. This gallery ran the fu ll width of the proscenium and projected out in front of the proscenium frame. It had a central opening about ten 2 6

feet wide flanked by a smaller opening on each side. The gallery was located at the third tier level in the theatre. In the Theatre

Royal Print, Plate 5, no firm indication of the orchestra is offered.

Perhaps the broken line (about thirty-six inches up-stage of the front of the fore-stage) is an indication of an enclosed orchestra pit. This suggestion is not definite.

P it

The p it at the Theatre Royal had ten rows of backless benches and it was approximately twenty feet from the front of the fore-stage to the back of the pit. The floor sloped about one inch in every six inches or forty inches in the total length of the pit. The pit was entered through the door at the front near the fore-stage from under the first tier of boxes. The section view in Plate 5 indicates a straight wall at the back of the pit. Probably the area was rectangu lar, or at least straight sided with a straight back wall.

Tiers

Two tie r s of side boxes comprising a to ta l of six boxes were on each side of the auditorium . The f i r s t t ie r had only two boxes besides the two doors, the second t ie r had four boxes, two of which were over the doorways. These boxes became p e rs p e c tiv e ly larger as they moved away from the proscenium. Respectively, they were four fe e t, fiv e fe e t and six fe e t wide. The boxes were separated by large

C orinthian capped p ila s te rs . 27

The Theatre Royal had three galleries. The firs t tier level was almost a continuation of the pit and was separated from the pit by

its tier front. This first gallery had the same slope, the same bench

spacing and was only eighteen inches higher than the pit. it contained

four rows of benches. In plan, the galleries would form a shallow U with square corners. The second tier gallery was supported by a row of small columns seated on the f i r s t row of benches in the f i r s t

gallery. The floor of the second gallery was from 7 feet, 6 inches to

eight feet above the floor of the lower gallery. The second gallery

had the same shape in plan as the first tier level. In this gallery were also four rows of benches, but the floor slope was greater. It

sloped five feet in eight feet or eight inches of rise to every one

foot of depth. The third tier was also the same shape and supported

in the same manner as the middle t ie r and was about seven feet above

the second gallery floor. Again there were four rows of benches. A man seated at the center of the last bench would be approximately

thirty-five feet from an actor standing on the front of the fore

stage, and about fifty feet from the proscenium frame.

A d e scrip tio n of the auditorium at Dorset Garden can only be

conjectural. But these conjectures can be based on the evidence in

Plate 4. The door in the auditorium wall is probably joined to a tier

of side boxes. The box above the door is one of a series of boxes on

the second tier level. The presence of a third tier orchestra gallery

suggests the possibility of a third auditorium tier. These tiers

possibly form the straight sides of a rectangular pit. The floor of

the pit is sloped. There are most likely three open galleries at the 2 8

back of the auditorium. Not all of this is indicated in Plate k , but

two theatres designed by the same man in a three year period are bound to bear many similar architectural features.

Decorat i on

Wren used clean classic revival lines in the structure and decoration of the Theatre Royal. The ceiling and tier fronts of the side boxes converged on the fore-stage, giving the sides of the auditorium strong perspective lines. The pit was plain, the auditorium side box decoration did not continue down in to the p it . But i t is not reasonable that this pit was ever designed to be floored over.

The horizontal lines involved would not permit a level floor to be

laid. The sides of the auditorium have a strong vertical feeling created by the heavy p ila s te rs . The back of the auditorium had a horizontal movement from the fronts of the galleries.

The edge of the auditorium wall of the Dorset Garden Theatre visible in Plate 4 should serve as an example of the decoration of the balance of the theatre. Grinling Gibbons was employed to decorate the

interior of this theatre. Gibbons' work was quite popular at this time. He received many commissions to do decorative elements in public buildings. His work was a high development of a simple design concept.

Its basic form was the repetition of a single simple element. This

style of decoration is not the sophistication as is found later in

the Baroque period, but rather the high point of an unsophisticated form. 29

Typ i ca] Theatre Reconstruct!on

During this period is produced the first pure theatrical

architecture of the Restoration. The size of the building has in

creased and although the number of side tiers has remained the same,

the seating capacity of the back galleries has tripled. The pit is wider and deeper. The elements of the proscenium are essentially

the same although their relationship to each other has been altered.

Figure 4 i s a typical reconstructed longitudinal section of

the theatres during this period. These theatres, strongly influenced

by the tennis court shape, are basically rectangular in plan. There

is no proscenium arch, only a frame dividing the auditorium from the back stage area. The fore-stage projects far past the proscenium frame into the pit; the doors opening onto the fore-stage are in the auditorium walls. These doors cannot be considered true proscenium doors because of their location in the auditorium.

The pit is completely separate from the balance of the auditor

ium. It is enclosed by the first tier and has its own entrance down front. There are two tiers of boxes at the sides of the auditorium,

three tiers of galleries at the back.

The auditorium is divided into three distinct sections by the decorations. One, the pit, which is quite plain. Two, the galleries with a strong horizontal feeling due to the tier fronts; and three,

the side tiers with their strong vertical pilasters. The sides of

the auditorium are the most elaborate and it is there the lines of forced perspective are used. A typical theatre of lo75 reconstructed

FIGURE k 30

PLATE 4 Dorset Garden Theatre,

courtesy Harvard Theatre Collection

m .

I * ^ I

courtesy All Soul's College, Oxford

Theatre Royal (Drury Lane), 1674 PLATE 5

a 31

PLATE 6 Theatre Royal (Drury Lane), I 698

courtesy Musical Works of John We 1sh

h e T h e a $■ CHAPTER IV

THE ROUND AND FAN SHAPED THEATRES, 1700 TO 1770

John Vanbrugh's Haymarket Opera House, b u ilt in 1705, had undergone complete in te rio r remodeling by 1712 in an attempt to make it more useful as a theatre.' John Rich had assumed control of the 2 Lincoln's Inn Fields Theatre following the death of his father. By

1730, while s till at Lincoln's Inn Fields, he was planning a new theatre to be b u ilt by Shepherd in Covent Garden.^ Plates 7, 8 and

10, which are prints of these three theatres, form the basis of architectural consideration during this period.

Prosceni um

The proscenium arch had developed as a unit architecturally independent from the balance of the theatre, but with its separation primarily due to its individual decoration. The longitudinal section of Covent Garden in Plate 8 shows a typical example of this type of proscenium. This proscenium arch with its width controlled by the decoration extended from diminutive figure to diminutive figure at the

' For further details concerning the Haymarket Opera House, see Appendix page 178. ^ For further details concerning the Lincoln's Inn Fields Theatre, see Appendix page 209. 3 For further details about the construction of Covent Garden, see Appendix page 79.

- 32 - 33

third tier level, was approximately twenty feet wide. This proscenium arch contained a door, a six foot wide box and a four and one half foot wide box on the horizontal and vertically was three tiers high. The proscenium arch in Plate 10 of the Opera House had no door although i t was about the same thickness. This arch had only two boxes in its width and was also three tiers high. Plate 7, Lincoln's Inn Fields

Theatre, shows only the stage area. The apparent distortion of the architectural elements is due perhaps to the license taken by the artist in this, a political cartoon. Here, the proscenium arch was a box and a door thick. This represented approximately 10 feet of width.

There is an interesting question raised by comparing the Covent

Garden section in P late 8 w ith its corresponding plan in P late 9. In the plan (Plate 9), the proscenium arch has no physical depth beyond the second box. The door section and it s accompanying overhead boxes are indicated on the plan by a thin line. This is the same type line used to in d ic a te f l a t wings fu rth e r up-stage. A box suspended above the door would not show in this plan view of the stage floor level.

If the door was a structural part of the proscenium arch, there would be no reason why the overhead boxes could not be supported from the stage floor by posts which would show on this plan. In other prints o f th is th e a tre (Covent Garden, Number 3, Number 4 and Number 5)^ people are shown seated in these over-the-door boxes. There is some difference between these prints and Plate 8, but the difference is slight. In spite of this slight variation, it is reasonable to assume

^ See Catalogue of Covent Garden p rin ts in Appendix, page 82. 34

that architecturally, these prints ail represent the same theatre.

All of this speculation suggests the possibility that the proscenium door and adjoining overhead boxes are not a structural part of the proscenium arch, but rather a flat wing set in when desired. If the door is one wing of the indicated two fold in the plan in Plate 9> the other fla t wing controls the width of the proscenium frame opening.

If this door is independent of the proscenium arch, then the proscenium arches of these two theatres are almost exact duplicates.

In both theatres, the proscenium frame would be the up-stage edge of the major box. In both theatres there was one major box on the fore-stage. The second proscenium box extended to the front edge of the orchestra p it.

The fore-stage in both Plate 9 and Plate 11^ extended into the auditorium about twelve feet from the up-stage edge of the major box.

Immediately in front of the fore-stage was the orchestra pit and al though slightly differently shaped in each theatre, it extended the f u ll w idth of the auditorium between boxes.

P it

In both plan views, the pits are fan shaped. The p it of the

Opera House in Plate 11 was about thirty-eight feet or forty feet wide at the front and expanded to at least fifty feet wide at the back. The

5 In comparing the plan in Plate 11 with other plans of the Haymarket Opera House, it is startling to discover that Haymarket Street is at the wrong end of the theatre. This is most likely a printing error. The effect was achieved by the complete reversing of the plate. The error has no real effect on the validity of the print. The theatre is the same, i t is only backwards. 35

Covent Garden pit was essentially the same; thirty-six feet wide at the front and f i f t y feet wide at the back. Both pits had eleven rows of backless benches but each theatre had a d ifferen t method of arranging these benches. In Covent Garden they ran parallel to the back wall of the p it. At the Opera House, the benches were arranged in a circular pattern of concentric rings with the orchestra pit bisecting the diameter. In both cases the entrance to the p it was from under the proscenium box at the end of the orchestra p it. A patron upon entering the door made a right turn and walked parallel to the side wall of the auditorium under the proscenium box to gain entrance into the seating area of the p it. In both theatres, the p it floor was sloped about th irty -s ix inches to forty inches in the fu ll length of the twenty-five foot pit.

Ti ers

The strong s im ila rity between these two theatres ended above the p it. The tiers of the two auditoriums were quite d ifferen t in every way except in plan view. In plan, they both followed the fan shape of the p it. As the tie rs receded from the proscenium, the distance between the tie r fronts across the auditorium became greater.

At Covent Garden there were three side tiers. The supporting column divided each tie r into two sections. Each section was sub divided by a low wall into two boxes. Four boxes per tier, three tiers, made a total of twelve boxes per side. The fronts of the tiers created in the auditorium strong horizontal lines in opposition to the pronounced verticals of the Corinthian columns of the proscenium. 36

At the Opera House there were four tie rs of three boxes each

on both sides of the auditorium. These boxes were divided by fu ll

height walls creating private areas or boxes. These boxes give the

side walls of the auditorium a cubical feeling in spite of the horizon

tal tier fronts.

Both theatres had three tie rs at the back of the house. The first back tier at the Opera House was the gallery. The seats ran parallel to the p it seats forming a segment of the same sem i-circle.

The second back tie r was an exact duplicate of the f ir s t . The third was the same in plan except it started two rows of benches in back of

the lower tie rs . The third tie r was also two rows of benches deeper

than the lower tie rs . The f ir s t tie r at Covent Garden was an exten sion of the pit but on a higher level. The seats ran parallel to the pit seats. But this tier was divided into five major boxes. Four of these boxes were, in turn, sub-divided into eight smaller boxes. The second back tier was a gallery. It contained twice the number of benches as the f i r s t tie r and about seven more than the corresponding gallery at the Opera House. In Covent Garden the third back tie r or second gallery was s t ill deeper than the f ir s t gallery. It had sixteen

rows of benches. All of the tie rs followed the same fan shape in plan.

The third tie r was about f i f t y feet wide at the front and about sixty feet across the back. The sixteen feet of floor slope in th irty feet of gallery depth was very great, about as steep as a stairway in a modern home.

Of the three decorative units of the theatre, the proscenium and auditorium followed the pattern set by Wren at Drury Lane in the 37

classical revival tradition. At Covent Garden, the classic motif was

somewhat tempered by the introduction of a native design element.

Here the tie r fronts had a suggestion of the Georgian panel. There was a slight indication of perspective in the horizontal lines of the tie rs . The perspective lines stopped at the proscenium arch.

The p it area was unadorned and in these two theatres could be floored over without creating any problem in terms of tie r fronts or stage

1ev e l.

Typ i ca1 Reconstruction

The theatre by 1770 had disassociated its e lf in many ways from the strong tennis court influenced theatres of the Seventeenth

Century. The basic architectural elements within the building have remained the same as they will for the next 175 years, but by 1770 the essential form and relationship of these elements was completely divorced from the past century.

A typical theatre of this period is reconstructed in Figure 5.

It has a proscenium arch two boxes wide by three tie rs high. One box is on the fore-stage while the other extends to the front edge of the orchestra p it. The proscenium door would possibly be part of a de tachable flat wing. The on-stage edge of this two fold flat wing would form the proscenium frame. The p it would be an unadorned fan shaped area about tw enty-five feet deep and the flo o r would be sloped.

The tiers would be basically horizontal areas enclosing three or four side boxes. The sides of the auditorium are three or four tiers high.

The f ir s t tie r at the back would be divided into boxes. The upper 38

tie rs would be open g a lle rie s w ith each one p rogressively deeper. In comparing Figure 4 w ith Figure 5, the most obvious change is in size.

This theatre is much larger than Wren's theatre. Figure 5 is a tier higher and the galleries are deeper. The proscenium arch has appeared as a strong element separating the proscenium frame from the auditorium walls. The fore-stage has been greatly reduced in its projection into the p i t . This p i t is e s s e n tia lly unchanged in a section view.

Round Theatrical Areas at the Formal Gardens

By 1750 two formal gardens had evolved an architectural style sufficiently significant that its influence was to be felt in theatrical architecture. Vauxhal1 Gardens^ had developed a circu lar music room.

The exterior of this music room can be seen at the left edge of Plate

12, while Plate 13 represents the interior at about the same time.

Ranelagh Gardens^ had evolved a similar room as is seen in Plate 14.

Both of these buildings were circular rotundas, large in diameter with the unobstructed circular area designed originally for concerts, balls and masquerades. These two buildings represented a highly undeveloped form of theatrical architecture. The circular ring in the center was an outgrowth of the building's natural form.

Ranelagh, Plate 14, had surrounded the ring with boxes on two levels forming a type of firs t and second t ie r , By~1751, Vauxhal1, in

^ For further details concerning Vauxhal1 Gardens, see Appendix, page 334.

^ For further details concerning Ranelagh Gardens, see Appendix, page 273. 39

Plate 13, was not as developed as Ranelagh. But 35 years later, the

Vauxhal1 Music Room had been remodeled into a theatre, as seen in

Plate 15. Architecturally there had been lit t le change in the building

between Plate 13 and Plate 15. The real change had been in concept.

Simultaneously with the indoor development, these gardens evolved the

out-door of Plate 16. Here was an enclosed stage with no architectural

audi torium.

Typical Reconstruction

At this point of development, the sim ila rity between the formal

garden music room and the equestrian theatre is perhaps a l i t t l e d i f

ficult to immediately ascertain. The similarity is one of basic

architectural shape and design. The major difference at this point is

one of function or usage with the intent of the owner-manager as the controlling factor. As soon as the financial advantages of operating an equestrian enterprise surpassed that of the existing operation, the

necessary architectural change was easily accomplished.

The typical reconstruction seen in Figure 6 is a longitudinal

section of these early round formal garden music rooms. The basic

rotunda shape determines the circular central ring area. Dome con

struction permits the central area to be unobstructed. At the present,

this ring is used for promenades and masque balls. Surrounding the

central area are two levels of boxes corresponding to the side tiers

in a theatre. The major architectural doorway interrupting the side

tiers would indicate the possible location of a future proscenium arch

and stage. A typical theatre of 1770's reconstructed FIGURE 5

FIGURE b A typical garden music room of 1760's reconstructed courtesy Mander and Mitchenson Collection

Lincoln's Inn Fields Theatre, cl730 PLATE 7

41 L.

I_J

courtesy Library of Congress

Covent Garden, 1732-1762 PLATE 8

PLATE 9 Plan of Covent Garden, 1732-1762

courtesy Library of Congress wà m i

’(/ ■y t/ g 'Y-///*!'

i a "n

. j

»1 . ^ ______j ' j ' I — — ^ Au;

courtesy Library of Congress

Haymarket Opera House about 1763 PLATE 10

PLATE 11 Haymarket Opera House about 1763

courtesy Library of Congress

In.t.'Htr. fi.n u w u t I >)./////'/ / I n.itn/'/ / •//. V y/'/ ' ./«• Xv f '. 't i f /

/ L. ///, ------

4 | l

courtesy London County Counci I

Vauxhal) Gardens, 1732-1759 PLATE 12

PLATE 13 Vauxhal) Music Room, 1732-1759 courtesy London County Counci

I G

courtesy Besant's Survey of London North

Ranelagh Rotunda, 1742-1803 PLATE 14

PLATE 15 Vauxhal1 Theatre, 1837-1847

courtesy Harvard Theatre Collection courtesy Harvard Theatre Collection

Vauxhall Outdoor Theatre, 1780-1793 PLATE 16

4 6 CHAPTER V

THE U SHAPED THEATRES, 1770 TO 1790

Prosceni um

By 1770 , The King's Theatre, Haymarket (Opera House), had been remodeled once againJ Plate 17 represents the theatre at about this time. Notice how the proscenium arch had been reduced from

Plate 10. It appears to have been almost cut in half with the up stage half having been removed. The proscenium arch was going out of fashion. There had been a door added between the two remaining columns. This can be more clearly seen in Number 6, Haymarket Opera

House. Over the door there was a single box. The columns supported the round overhead arch, completing the unit. A rtis tic a lly , this arch was completely separate from the auditorium. The side walls merely terminated at the proscenium arch. This fore-stage no longer projected as far beyond the thickness of the arch its e lf as i t had done i n Plate 10.

In terms of proscenium development, the next theatre that should be considered is the L ittle Theatre Haymarket,^ Plates 18 and

See Appendix, page 178. 2 See Catalogue, page 182, ^ See Appendix, page 193.

- 47 - 4 8

19. H isto rica lly these two prints should be dated about 1777,^ but

from a developmental point of view, this theatre was e a rlie r in con

cept than the 1775 Drury Lane of Plates 20 and 21. The proscenium

of the L ittle Theatre Haymarket is quite confusing at f i r s t glance,

it is an arch in concept but a proscenium frame in execution. By

studying the proscenium of these two plates, it is observed to be a

two-dimensional surface painted at the top to give the impression of

thickness. The proscenium door and its accompanying boxes are set

at right angles to the auditorium wall. This makes the apparent thickness

at the top impossible from a practical point of view: i t has to be

painted. There is no evidence that audience was ever seated in these over-the-door boxes. They are usually shown draped as in Plate 18.

In this theatre, the fore-stage projects the width of a side box in

front of the door. This box front is.curved out onto the fore-stage area.

The complete elim ination of the proscenium arch was the next

step. This was clearly illu stra te d in the Adam's Brothers Drury Lane of 1775»^ Plates 20 and 21. Here the arch had completely disappeared and a ll that remained was the frame. The auditorium walls and ceiling

conveniently stopped at the point of the proscenium frame by mutual

This p rin t can be identified as Colman's theatre of 1777 when he added a third side tie r. No reference can be found as to whether he remodeled the proscenium or not. It is possible that the proscenium was not appreciably changed at this time. If that is true, then It coincides chronologically with its development. On the other hand, this theatre is consistently behind the architectural times. But re gardless of its actual date, architecturally it must be considered at this point. 5 See Appendix, page 121. 4 9

agreement. Beyond this point the back stage area began. The door was once again in the auditorium wall as it had been in Wren's e a rlie r theatre. But Wren had used columns for the proscenium frame: here there was nothing. Plate 20 shows the projection of the fore-stage to the edge of the f ir s t box beyond the door. This fore-stage width had become standardized for a time.

In 1782 , Novosielski remodeled the King's Theatre (Haymarket

Opera House)^ once more. There are no pictures of th is theatre a va il able, but there does exist a plan, Plate 22. Although not extremely detailed, this plan indicated that there was no proscenium arch at this time. The auditorium wall ended in a very clean, well-defined straight line. The fore-stage projected a little farther than would be expected, about three boxes or fifte e n feet in front of the proscenium frame. The leading edge of the fore-stage was s lig h tly curved as opposed to the straight front of Drury Lane.

William Capon again remodeled the Drury Lane Theatre in 1783,^

Plate 2 3 . He made very few alterations in the Adams' Brothers proscenium frame of Plate 2i . He le ft the door in exactly the same relationship to the auditorium wall and to the fore-stage as before.

What he did do made Drury Lane typical of this era. The box on the fore-stage was given a curved fro n t which projected onto the acting area. O In 1784 or 1785 , Covent Garden was remodeled. Again only the plan, Plate 24, is available for this version of the theatre. The

^ See Appendix, page 178. ^ See Appendix, page 122. ° See Appendix, page 79. 50

plan indicates that Covent Garden was a perfect example of the U shaped theatre’ s proscenium and fore-stage. The fore-stage was one box deep and this box had a curved front. There is no indication of any proscenium arch or frame other than the one created by the end of the auditorium walls.

Pit

Although it is the pit that most graphically describes the theatres of this period, it is only the shape of the pit that has any noticeable development. The remaining elements of the p it con tinue unchanged, pretty much as they were at the middle of the

Eighteenth Century. The pit entrance was s till down front under the f ir s t auditorium side box. The flo o r had essentially the same slope; the backless benches were the same. The p it was s t i l l an undecorated area. The firs t reaction against the fan shaped pit of Plates 8 and

10 was to some extent in the form of retrogression. The L ittle

Theatre Haymarket, Plate 19, had almost a rectangular p it. The sides and back wall appear to be straight. Although this was a throw-back to the tennis court shape, i t was necessary to the final Li development.

In Plate 21, Drury Lane of 1775 had added to the straight side wall a s lig h tly curved back w all. Capon's Drury Lane, Plate 23, in

1783 shows a back p it wall with much more curve. Here the 11 form is almost perfect. The perfect U shape is found in Plate 22, Novosielski's

King's Theatre Haymarket.

There was one more step in the p it development and it repre sented a step away from the perfected U form. This is seen in John 51

Palmer's New Theatre or Royalty Theatre in Well-Close Square.^

Plate 25 Is a plan attributed to this theatre and Plate 26 is the elevation of the in te rio r. In the plan i t is seen that the U form had been compressed at the fore-stage. To some extent this can be related back to the fan shaped plans. There were several innovations here over the older fan form. The angle of spread of the side tiers was not nearly as great as at the old Opera House. Here, the back wall was not one of concentric rings but rather an example of a straight wall with rounded corners. This aspect of its shape placed

The Royalty with the U shaped pits of this era.

Tiers

The controlling concept of side tie r boxes can almost be demon strated with one picture, Plate I 9 . Here behind the tie r front can be seen the low slanted walls which formed the box division. These low walls were located with l i t t l e or no regard for the placement of the supporting post of the above tie r. All three side tiers in the

L ittle Theatre Haymarket were divided in semi-private areas. Each area or box had its own door. In the Drury Lane Theatre of 1775,

Plate 20, the same basic arrangement can be seen. The walls do appear to be a l i t t l e higher. Judging from the height of the two men standing in the fore-stage box of the f ir s t tie r, the front of the wall was about four feet high rising to about six feet at the back of the box.

This means that a person seated could not see over this dividing wall.

q For further details on the Royalty Theatre, see Appendix, page 279, 52

This would also make it practically impossible to see the stage from the rear of the box which explains the extreme shallowness of the side tie rs.

The plan of the King's Theatre Haymarket, Plate 22, indicates that there were thirty-three boxes completely surrounding the p it at the f ir s t tie r level. The large box center back was the Royal Box,

If the cubical feeling that was established in Plate 10 had been carried over to this theatre, the tier fronts must surely have looked like a honey-comb.

The Covent Garden plan of 1784, Plate 24, shows eight side boxes with four major divisions indicated. This is not including the fore-stage box. In the 1/8? Royalty Theatre, Plate 26, three side boxes are shown and the plan, Plate 25, indicates that the dividing walls coincided with the tier front decoration.

It would appear that the standard practice was to divide the first side tier into small seating areas by the use of low walls. The practice employed in the second and third side tiers is much more d if f ic u lt to determine. In most cases the pictures are drawn from such an angle the existence of low walls would be very difficult to discern. The second and third tie rs are known to be divided in some theatres, but it is quite doubtful about others.

The tiers at the back of the auditorium present an entirely diffe re n t phase of development. The idea of dividing the f ir s t back tier into boxes starting with the Covent Garden plan in Plate 9 was continued in the L ittle Theatre Haymarket, Plate 19. It would seem that there were six back boxes across the back of Plate 19. This 53

concept illu stra te d by the above two theatres was a continuing one.

The Adams' Brothers Drury Lane, Plate 20, was a major exception.

They did not divide this first back tier, rather they made it an open gallery. When Capon remodeled Drury Lane eight years later, he did not change the firs t tier radically. Plate 23 does shown an interesting variation in that a center aisle was used as a method of entering thi s gallery area.

The Opera House Haymarket, Plate 22, and Covent Garden, Plate

24, both show in plan the back f ir s t tie r level divided into boxes.

The Royalty Theatre, Plate 26, shows the firs t tier completely sur rounding the compressed U shaped p it with a series of boxes created by low dividing walls.

The second and third back tiers have universally become gal leries. About the only change that can be noted in them is their size and location. Again the Covent Garden in Plate 8 established the trend. In the 1832 version of Covent Garden, the second tie r gallery was deeper than the f ir s t tie r, the third deeper than the second. This spacial relationship continued right through this entire period. The two Drury Lane Plates 20 and 23, as well as the Royalty,

Plate 26, all illustrate this feature of auditorium design initiated by Shepherd. It is interesting to note that the third tie r seems to recede deeper into the auditorium shell. The Royalty Theatre clearly shows this sharp division between the side tie rs and the back galleries at this level. In this theatre the third tier appears to be recessed about four or five rows behind the front of the second tie r. 5 4

The decoration of these four theatres was basically the same, only the detail work d iffe re n t. The emphasis had been placed on the

horizontal line of the tier fronts. The supporting pillars had been

reduced in size to a minimum for the material used, thus creating very weak vertical lines. The detail decor was based on the rectangular panel. The Adams Theatre was the most ornate in terms of small decora-

10 tive treatment. This was the height of the Georgian style of decor.

Typical Reconstruction

A comparison of Figure 7 with Figure 5 shows graphically the tremendous change that had taken place in the theatre during the past

20 or 25 years. Much of this visual difference can be attributed to

the complete lack of a giant proscenium arch in the later theatre.

The theatre of Figure 5 also has a looseness or open feeling to it that is not found in the compact, tig h t-k n it theatre in Figure 7.

The decoration in the 1790 theatre, Figure 7, is continuous around the theatre. This is diametrically opposite to Figure 5 where the proscenium arch, the side tie rs and the gallery tie r fronts all have

received a different decorative treatment.

A typical reconstructed longitudinal section has been repro duced in Figure 7. There is no proscenium arch: the walls of the auditorium terminate on stage forming the proscenium frame. The

All of the Adams' Brothers decoration as seen in Plate 20 was painted on a fla t surface according to Capon. See Appendix, page 122. 55

fore-stage projects into the audI tor Ium ore box width. This box has a curved front. The three tie rs begin at the proscenium frame. The firs t tier encircles the U shaped pit and is divided into semi-private boxes by low walls. The second and third tie rs terminate at the end of the side wall. They are both continued across the back by separate galleries. The pit entrance is still at the front under the first auditorium side box. The p it flo o r is sloped for the improvement of sight line. The area below the f ir s t tie r front is unadorned. From the f ir s t tie r up, the auditorium has the strong horizontal feeling with late Georgian decoration. A typical theatre of the 1790's reconstructed FIGURE 7

PLATE 17 King's Theatre, Haymarket Opera House, 1763-1782

courtesy Soane Museum

H courtesy Bodelian Library

L ittle Theatre Haymarket, 1777-1821 PLATE 18

PLATE 19 L ittle Theatre Haymarket, 1777-1821 courtesy Folger Shakespeare Library

rr'Trrrn rr 11 : ■. Tiyr. ! i

Orurf Lane, 1775-1783 PLATE 20

PLATE 21 Drury Lane, 1775-1783 courtesy British Museum

II E I I ■V

courtesy Library of Congress

Haymarket Opera House, about 1782 PLATE 22 59 PLATE 23 Drury Lane, 1783-1791

courtesy Harvard Theatre Collection courtesy Library of Congress I r/rV/yLw . 'f ' / / y z Covent Garden, about 1790 PLATE 24

60 I a

courtesy Enthoven Collection 1 Royalty Theatre about 1787 PLATE 25

PLATE 26 Royalty Theatre, 1794 courtesy Library of Congress CHAPTER VI

EQ.UESTRIAN AND VARIETY THEATRES, I77 O TO 1822

Astiey’ s Riding Academy, I 770-1 78 O

It was either 1770 or 1771 that the firs t equestrian enter tainment opened in the London area. Philip Astley b u ilt his Riding

Academy at about this time.' Plate 27 shows this early equestrian theatre a primarily outdoor theatre. A large performing ring was encircled by a covered seating area. At the right side of the ring a three tiered central building was erected with two smaller two story side buildings. This building functioned in the same manner as tiers in the auditorium of a conventional theatre. The ring was the stage and the low surrounding buildings could be considered a form of pit area. The simple rectangular panel decoration identifies this as Georgian decor.

Sadler's Wells Theatre. 1772-1800

Sadler's Wells, which had been building a reputation for the past ninety years as a Music House and also an entertainment spot, was 2 remodeled in 1772. This theatre had developed a type of performance

* For further details concerning Astley's, see Appendix, page 29. ^ For earlier details concerning Sadler's Wells, see Appendix, page 285.

- 62 - 63

which does not permit its classification as a regular theatre. It had become almost an enclosed three ring circus with a stage but no

rings. Plate 28 of Sadler's Wells from M i l to IBOI^ is sufficiently significant to receive separate consideration. At f ir s t giance it would appear as a typical theatre of the period. On more detaiied examination, several interesting architectural elements are revealed.

The stage le ft proscenium frame seems very similar to the proscenium at the L ittle Theatre Haymarket in Plate 19. The door is in the auditorium wall, and at right angles to it is a f ir s t tie r level statue and a second tie r level box. The most interesting aspect of this architecturai unit is that i t is missing on the opposite side of the stage. This is another instance of a removable architectural element used to control the size of the proscenium opening. Visually removing this wing makes this proscenium frame almost a duplicate of the conventional 1790 theatres.

The second unusual feature of this theatre is the relative height of the p it floor in relationship to the level of the stage floor. This p it does not appear to be the normal three to four feet below the stage level. Obviously, there is some height difference but nothing as great as would be expected.

The door opens in the auditorium wall onto the fore-stage.

Adjacent to the door is the f ir s t box of the f ir s t tie r. This box with its curved front faces on the fore-stage. But the f ir s t tie r ends

3 See Appendix, page 285. ^ See earlier discussion of Covent Garden, Plate 8, page 33. 6 4

with this box. The tie r does not surround the p it in the accepted tradition but rather the pit overflows into this first tier area.

This is a revolutionary modification of p it concept. This expansion of the p it into the fir s t tie r area is a battle that w ill be fought over and over during the next 120 years and w ill not be completely re solved until after the beginning of the Twentieth Century with modern theatre design.

The Royal Grove. 1780- 1787

In the early 1780’ s, Astley completely rebuilt his Riding

School and renamed i t The Royal Grove and Amphitheatre Riding School,^

(Plate 29). About this same time, Hughes and Dibdin opened the Royal

Circus and Equestrian Academy in Surrey^ (Plate 30). Both of these equestrian theatres had much in common and were directly related to the intermarriage of formal garden rotundas and the conventional theatre.

The influence of the garden rotundas can be fe lt most strongly by comparing Astley's Royal Grove in Plate 29 with Ranelagh, Plate 14.

Architecturally and decoratively, Astley’ s was much cruder than

Ranelagh, but the sim ila ritie s are outstanding. The basic round shape, the two tiers of boxes surrounding the ring, and the band stage at the right of the Ranelagh print can reasonably be related

c See Appendix, page 29. ^ For further details concerning the Royal Circus, see Appendix, page 318. 65

to Astley's stage. And yet, Astley's Royal Grove was directly related to the conventional theatre in the concept and execution of the stage and proscenium arch area.

The Royal Ci reus, 1782- 1796

The rotunda influence is not as obvious in the Royal Circus of Plate 30 as i t was with Astley's. S till, the round shape and lack of a stage makes the relationship with the garden music halls apparent.

Many architectural elements of the Royal Circus are directly taken from the conventional theatre. The architectural unit at the side of the ring in the center of the print (Plate 30) is a 1750 proscenium arch in concept. It is interesting that i t is one of the very few proscenium arches in existence without a stage. This arch had two proscenium doors, one arched, the other a conventional rectangular opening and on the same tie r level as the doors was a proscenium box.

Above the doors were conventional boxes. The p it area outside of the ring had a sloped floor with the back of the p it being the f ir s t tie r back gallery and above this gallery was a larger second gallery.

Although the elements have been rearranged to f i t the function of this particular building, the Royal Circus had all of the architectural features of a regular theatre with the exception of a stage.

The Equestrian Theatre Becomes Legi timate

After Charles Hughes became sole manager of the Royal Circus in 1791, he remodeled it into a more legitimate theatrical 66

form.^ He added a stage to the unusual theatre of Plate 30 and ob- tained the even more distinctive theatre of Plate 31. Between the architectural units at the edge of the ring considered proscenium arch in concept, a stage and proscenium arch were added. Now this complicated gigantic unit reading from le ft to right contained a door with overhead box; the arched door had been closed; a new stage level box; a rectangular proscenium door on stage; a pair of Corinthian columns forming the frame; and fin a lly , the stage its e lf. The former free standing proscenium arch was relegated to the position of side tiers. Even though the process was complicated, the addition of the stage really simplified the concept in terms of the theatre architec ture. O By l806 this theatre was completely rebuilt again. The re building eliminated much of the architectural confusion. The resulting theatre by Cabanel, Jr. as seen in Plate 32 was a very standard building in many ways. The proscenium arch and its adjoining fore-stage as well as the three side tiers, could have belonged to any standard small theatre of the times. Note the unusual placement of the four private boxes parallel to the proscenium arch. These boxes are in the auditorium but their curved front and distinctive decoration separate them from the side tiers. They are almost part of the proscenium arch yet they are not really related to it in any way.

^ For further details, see Appendix, page 318. ^ See Appendix, page 318. 67

The p it area is the most interesting because i t was different; being an equestrian theatre, the main p it was replaced by a ring.

Around the ring the remaining p it seats extended back under the second

tie r. The fir s t tie r had only one box next to the proscenium arch.

The balance of the main floor being open seating, was a direct continua

tion of the idea f ir s t seen at Sadler's Wells in 1795, Plate 28. The back of the f ir s t tie r, although only an edge of it can be seen in

this p rint, appears to be open gallery. The same seems to be true of the back of the second tie r. The placement of galleries this low in the tier arrangement of this theatre attests to the different social classes attending this theatre as compared to the opera house with only

Its private boxes.

Sadler's Wells Theatre, 1002-1822

Sadler's Wells was remodeled in l802. Plate 33, although dated 1816 represents the theatre as it appeared from at least 1804 on.

All remnants of the clean little rectangular theatre of Plate 28 were completely removed, in its place was a combination of legitimate and equestrian theatre architecture. The proscenium arch with its door and two tiers of overhead boxes, the stage and fore-stage, a ll appear very common. In this theatre there was no stage level first tier.

The p it consumed the entire main floor of the building. It extended under the second tie r at the sides as well as in the back. The second tie r had no boxes, instead a shallow open gallery behind which can be 68

seen people standing in slips^ watching the performance. The third

tie r was a major gallery which extended to the sides of the proscenium

arch. The architectural trends established in this auditorium are a

good f i f t y years ahead of time. This concept of auditorium architec

ture w ill not become popular until the third quarter of the Nineteenth

Century.

A Typical Reconstruction

Figure 8 is a typical reconstructed longitudinal section of an

equestrian theatre of 1800. The most impressive feature that makes

this equestrian theatre different from any previous typical theatre

is the openness of the p it area. By necessity, the f ir s t tie r had been eliminated to make room for the equestrian ring and adjoining pit

type seats which move back under the second tie r. This would be a

revolutionary seating concept if it were found in a legitimate theatre, but here in the equestrian playhouse, it is merely the logical growth of trends which can be traced back to the round music rooms or formal gardens.

Another interesting feature of this typical equestrian theatre

is the open seating found in the side tiers. Rather than the customary

low dividing walls creating boxes, the side tiers are open gallery

type seating. Evidently, the equestrian theatre's audience had no

need for the socially exclusive box seat.

9 Slips were designed prim arily for standees. Sometimes they con tained loose benches or chairs which could be used if desired, but they had at this time no definite seating arrangement. 6 9

The proscenium arch in this typical theatre of Figure 8 con tained a door with its overhead boxes and with the fore-stage projecting to the front edge of the arch. Thus far the equestrian theatre mirrors standard legitimate theatre architecture. But the ring replaces the p it immediately in front of the fore-stage and the p it continues behind the ring under the second tie r to the back of the main floor. The f ir s t tie r has only one box next to the proscenium arch. The balance of the f ir s t tie r is consumed by the p it. The second and third tiers have a single private box next to the proscenium arch. The balance of both side tiers are used in open seating while at the back of these tiers are two deep galleries. A typical equestrian theatre of I800 reconstructed FIGURE 8

PLATE 27 Astley's Riding School, 1770-1780 I l w I %

I n

courtesy Finsbury Public Library

Sadler's Wells, 1772-1801 PLATE 28

PLATE 29 Astley's Royal Grove, 1780-1787

courtesy Harvard Theatre Collection

M rr*i#L ' :' :

i (i!!l I I

courtesy Harvard Theatre Collection

Royal Circus, 1782-1791 PLATE 30

PLATE 31 Royal Circus, 1791-1796 courtesy Harvard Theatre Collection

i courtesy Library of Congress

Royal Circus, 8 I O6-I 809 PLATE 32

PLATE 33 Sadler's Wells, 1802-1822 courtesy Harvard Theatre Collection CHAPTER VII

DESTRUCTION OF THE PIT, 1790 TO 1808

Proscen Î urn

By 1792 the proscenium arch had returned, but its first form was very strange. Plate 34, a private theatre at Wargrave built by

Lord Barymore in 1792, is a theatre that was architecturally typical of the 1770 ' s and 80‘ s with the exception of the proscenium arch. The arch was behind the logical proscenium frame created by the termination of the side walls. This arch contained a door with a window above it. The arch unit was set sufficiently far up-stage of the proscenium frame that the possibility must be considered that this arch was essentially a set piece of scenery and not really a part of the theatre architecture. To support this contention further was the complete incongruity of the architectural decoration of the arch in relation to the balance of the theatre. Regardless of its structural nature, the fact remains that a need for the arch must have existed at this time.

In 1793 the arch, the doors, and even the fore-stage had dis appeared if Plate 35 is any indication. The Brandenburgh House con tained another small private theatre where the proscenium was framed

^ For further details concerning Lord Barymore'sTheatre, see Appendix, page 42.

- 74 - 7 5

by only a pair of Corinthian columns. From the print it appears that the plane of the proscenium completely separates the audience from the stage due to the lack of a projecting fore-stage. The very 2 smallness of this theatre could have undue influence on its design.

By 1792 there had developed in the major theatres a proscenium arch which stood as a separate architectural unit comparable to the proscenium arch of the 1750's except that the form of the new proscenium arch had changed. Covent Garden was a major theatre that did not lose its proscenium arch during the Georgian era. It was

■2 remodeled in 1792 as shown in Plate 36. This arch was completely separated from the auditorium by its structure and decoration. The arch was four to five feet thick and contained a door with two tiers of overhead boxes. The proscenium frame was created by the up-stage

Corinthian pilaster set at a right angle to the door unit. The pilaster was in a plane parallel to the fore-stage effectively re ducing the proscenium opening. The fore-stage projected the width of one side box into the auditorium.

The elimination of the proscenium doors in major theatres was an entirely new concept^ introduced by Holland in his new Drury Lane

Theatre in 1794.^ Plate 37 shows a section view of the proscenium arch. It was one box wide and four tiers high. The fore-stage

^ For further details concerning the Brandenburgh House Theatre, see Appendix, page 46. 3 For further details, see Appendix, page 79. ^ The proscenium doors have previously been omitted from opera houses (Plate 10, see page 33) and minor or private theatres (Plate 35, see page 74). 5 For further details, see Appendix, page 121. 7 6

terminated at the down-stage edge of the proscenium box. This box had a curved front which projected onto the fore-stage area, in this case the proscenium arch was separated from the tiers of the auditorium more by vertical motif than by a difference in decoration. The line and decoration of the auditorium tiers were both continued by the proscenium boxes. This unusual visual relationship between the proscenium arch and the auditorium tiers can be more clearly seen in

Plate 38.6

The proscenium arch was a tier higher by l8o4 than ever before and its decoration completely separated it from the auditorium. Com pare the remodeled Covent Garden^ in Plate 40 with the same theatre twelve years earlier in Plate 36. The proscenium arch had been radically altered; it was larger and had been redecorated. But the proscenium boxes s till coincided with the tier fronts.

Holland tried to eliminate the proscenium doors at Drury Lane in 1794 as evidenced by Plates 37 and 38. But the theatre was not yet ready to be without proscenium doors. In 1804-05, Drury Lane was o reworked and the proscenium doors were replaced. Plate 41 indicates that the door was added as a separate architectural unit rather than inserted in the existing arch. It was located at right angles to the

This print has been erroneously identified as Covent Garden in two different publications. D. B. Nicholson, in The Londoner (London, 1944) identifies it as Covent Garden 1795* The Architectural Review, Vol. 6 9, 1931, identifies it as Covent Garden 1810. By comparing it with Plate 37, the real identity as Drury Lane in 1794 becomes ob viously apparent. 7 For further details, see Appendix, page 80. ^ For further details, see Appendix, page 122. 7 7

old proscenium arch. The new unit contained a door with a second and third tie r level. These boxes faced the auditorium and would be completely impractical as a seating area. The boxes above the doors must be false.

The proscenium arch had been definitely reestablished by 1805.

Its concept had changed considerably from its last strong appearance during the middle of the Eighteenth Century. This arch now had less thickness but far greater height as it was only the width of a door wide but usually three tiers high.

Pit

The pit in the 1790's started out quite typical of the past development. The pit of Lord Barymore's Theatre in Plate 34 is an example of this fact. It was completely enclosed by the first tier, the straight sides as well as the ceiling decoration suggest that the pit was probably U shaped; it was sunken at the front and the floor sloped up to the back.

A pit that is completely divorced from the standard tradition is seen in the second private theatre at the Brandenburg House in

Plate 35. Once again the ceiling decoration is the only method available to estimate the shape of the pit area. The seats are con fined within the line of tier fronts but there was no firs t tier to enclose the pit. The area under the second tier was used as an aisle for pit access. Entrance was gained through the center back of the theatre. This was certainly a luxurious private theatre, notice the backs on the pit benches. 7 8

The first innovation in major theatre pits was the movement

of the entrance door. The entrance was no longer down front but

had moved up the side of the first tier wall and was now under the

fifth side box. Other than this single feature, the pit at the

1792 Covent Garden was quite commonplace, U shaped and completely

enclosed by the first tier.

The first real step in the destruction of the old recessed pit in the major theatres was made by Holland at Drury Lane in 1794,

Plates 37 and 38. This pit violated the firs t tier by rising at

the back to the height of the second tier front. The firs t tier was

stopped after two major divisions containing six side boxes. The entrance was made through the position normally occupied by the third first tier division. The practice of flooring over the pit for a ball or banquet would be impossible in this theatre due to unusually

steep slope of the pit floor. In Plate 39, a plan view of the

theatre, the pit shape had changed slightly. It was almost a perfect circle with the stage at a tangent to the circle, it s till had its basic U form but the compression of the ends of the U had created a

new variation in pit shapes.

There was a curious usage made of the normal orchestra pit

area in the I804 version of Covent Garden. By comparing the theatre of 1792 in Plate 36 with the 1804 theatre in Plate 40, the pit re mains essentially the same. The one major variation was in the orchestra pit. This title would normally be appropriate but in this case there is some question. About thirty men appear to be seated

around a. large long table. They have no instruments, half of the 7 9

group have their backs to the stage. This enclosed area is much

larger in this print than it was in the 1792 theatre, it would ap pear to be at least eight feet wide, a very unusual orchestra pit.

Prior to 1805 a third division of three more boxes was added on the fir s t tie r at Drury Lane. These were constructed in place of the old side entrances. Entrance was now made at the back of the side of the p it. In the extreme right hand corner of Plate 41, the p it entrance door can be seen. The audience entered at the back and walked down the sides of the p it to their row.

To describe the typical pit of I806 in the major theatres it would be necessary to consider a theatre 1 ike Covent Garden as the model. This pit was the old completely enclosed U shaped area tightly ringed by the first tier. This would be the typical concept of a theatre pit at the turn of the Nineteenth Century. But this concept was under attack. The attacks were not yet strong enough to formalize a counter-design movement. It will be forty years before another style of pit design can be called the standard.

Boxes

The two private theatres had little to offer in terms of boxes or tiers. Being very small private theatres they tended not to re quire the social diviaon that was so essential in a major theatre.

A new arrangement of tier boxes was introduced at Covent Garden theatre in 1792. As shown in Plate 36, the first three tiers were completely sub-divided into small semi-private boxes. These boxes surrounded the pit area. There were six boxes on each side of the 8 0

auditorium and fifteen boxes at the back. This plan was repeated on each of the three tiers. Actually there were very few really private boxes because in most cases the box division was made by a low wall.

The firs t box on the second tier was screened off completely. There were chairs in this box, perhaps this was the Royal box. On the third tier, the firs t three boxes had full height walls dividing them into completely private areas. In all, there were a total of eighty- one boxes including one Royal Box and six completely private boxes.

Note that there were no supporting posts along the sides of the audi torium. This means the tiers were cantilevered. Due to the construc tion materials available, these tiers had to be very shallow. Each box had its own door. In order to conserve space within the box, an ingenious bench arrangement was used in front of the doors. The benches were hinged to swing up making room for a temporary aisle.

A hinged-up bench can be seen in the second box of the first tier and third box of the second tier. After the traffic flow had stopped, the bench was dropped back down into its normal position and used as a seat.

Two innovations to the Covent Garden auditorium are discovered in Plate 36. At the center back of the firs t tier the backs of the boxes were open. This allowed standees to watch the performance from this position. At this time another area was added for standing patrons on the sides of the fourth tier called slips.

There were fewer boxes on the first tier in the 1794 Drury

Lane, Plate 37, than at Covent Garden, but the boxes were arranged in much the same manner. There were only six side or pit boxes on the first tier, but the second and third tiers were comparable to Covent

Garden with twenty-five boxes completely surrounding the pit. There were nine boxes per side on the fourth and fifth tiers. The back of the second tier offered the only interesting variation in the Covent

Garden arrangement. The boxes at the back of this tier were very shallow as can be seen in the section view. They contained two rows of chairs and one bench at the back of the box. Next was a dividing wall open at the top as at Covent Garden, but at Drury Lane, raised a half tier, was another set of large boxes. There were nine of these larger boxes, each containing seven rows of benches. There was no room for standees or slips in this theatre as every square foot was utilized for seating. The back boxes of the second tier can be seen quite plainly in the I 805 Drury Lane print, Plate 4 l . This print also shows the additional three boxes added in the firs t tier by moving the pit entrance doors to the corners.

Galleries

Both in the Covent Garden (Plate 36) and Drury Lane (Print 37) prints the galleries are much the same. The back center of the fourth tier was the firs t and largest gallery. The second gallery in both theatres was completely disassociated from the side tiers. The second gallery would be the fifth tier in Covent Garden and the sixth tier at

Drury Lane. It is possible to obtain a good idea of the galleries from the Drury Lane print, Plate 37, because of its section nature.

The firs t gallery had sixteen rows of backless benches while there were only seven rows of benches in the second gallery. 8 2

A Typical Reconstruction

The typical reconstruction of Figure 9 is interesting from three different points of view. One, the proscenium arch and door have returned to the fore-stage. Two, this typical theatre graphic ally presents the birth of the big theatres. The seating capacity of this theatre when compared with earlier buildings is by far the greatest of any theatre up to this time. The number of tiers and semi-private boxes have been greatly increased in the past twenty to twenty-five years. Three, this reconstruction illustrates another way in which the pit has changed its basic contained form. The pit shape has remained essentially the same but the pit floor has been raised in relationship to the main or ground floor line of the theatre. The raising of the pit floor level has destroyed part of the first tier of seats.

The fact that the number of tiers and semi-private boxes has greatly increased is graphically illustrated by the comparison of

Figure 7 with Figure 9. Figure 9 is not quite the same as typical theatres in the past have been because of the pit concept incorporated in the drawing which presents the exception rather than the typical.

The balance of the figure is to be considered typical. The proscenium door with its three overhead tiers of boxes; the fore-stage extending to the edge of the first side box; the three tiers of boxes around the pit; the fourth tier of side boxes; all of this represents the standard arrangement. The galleries at the back of the fourth and fifth tiers can also be considered normal for 1805. A typical theatre of I805 reconstructed FIGURE 9

PLATE 34 Lord Barymore's Private Theatre, c l792

courtesy Harvard Theatre Collection

m 1

courtesy Hammersmith Public Library

Brandenburg House Theatre, 1793-1810 PLATE 35 84

PLATE 36 Covent Garden, 1792-1804 courtesy Harvard Theatre Collection

m courtesy Southern's Georgian Playhouse

Drury Lane, 1794-1804 PLATE 37

PLATE 38 Drury Lane, 1794-1804

courtesy Gerald Agnew Collection

% \ 3

* # * * courtesy Library of Congress

Drury Lane, 1794-1804 PLATE 39

PLATE 40 Covent Garden, 1804-IBOS

courtesy Harvard Theatre Collection

i$ ? = = T ir a

E 3 M :

courtesy Archi tectural Review

Drury Lane Theatre, luü^-IÜüi PLATE ill

8/ CHAPTER VIII

OPERA HOUSE ARCHITECTURE, 1790 TO i860 CHAPTER VIII

OPERA HOUSE ARCHITECTURE, 1790 TO i860

When the Haymarket Opera House burned in 1789,^ it was neces sary to find a substitute operatic home until it could be rebuilt.

The Pantheon was converted into the English Opera House or the King's

Theatre Pantheon^ in 1791. One sketch is available of this converted concert music room, Plate 42. What can be seen of the proscenium would indicate that it was standard for opera house construction, boxes but no proscenium doors. About the only other feature of the building that can be seen in this print were the tiers around the auditorium. There were six tiers, all divided into cubical boxes.

The seventh tier was either a gallery or slips. The Royal Box was in the center of the third tier. Six boxes can be counted on each side of it. Exclusive of proscenium boxes, this would make the auditorium contain at least 78 boxes. In 1792, the Pantheon burned just after the new Haymarket Opera House had opened.^

There was, no proscenium arch, only the frame created by the termination of the auditorium walls in Novosielski's new Opera House.

Plate 43 is not too informative, although the best available. It

' For further details, see Appendix, page 178. ^ For further details, see Appendix, page 248. ^ For further details, see Appendix, page 178.

- 8 8 - 8 9

does show the auditorium to have five tiers of private boxes separ ated by full height walls. Once again the feeling of the honey comb of a bee hive is created by all of these small, completely separate boxes.

The Opera House, 1809 to 1840

During the time of the big theatre expansion, the opera houses also underwent a slight architectural change. The Pantheon was once again in 1812 converted into the English Opera House^ as can be seen in Plate 44. Although this opera house was to last only two years,^ it delineates the architectural style of opera for the first three quarters of the Nineteenth Century.

The proscenium arch was one box thick and four tiers of boxes high with no door. This was in keeping with the tradition already established by opera. The fore-stage terminated at the front edge of the proscenium arch. Again this was standard procedure. The pit which appears to be U shaped introduced a new idea of pit access^ with the use of a center aisle as well as aisles on each side. The pit was completely enclosed by the firs t tier front except for the entrance door at the center back. This one door seems to be the only’ entrance to the pit area.

^ For further details, see Appendix, page 248. ^ Ibid. ^ This is fourteen years before Plate 65, Drury Lane, 1826, which introduces the idea of central aisles in the major theatres. 9 0

The firs t four tiers were composed entirely of private boxes.

There was a total of 139 boxes in these four tiers. They were com

pletely private boxes due to the full height walls which divide the boxes. There were twenty-four more divisions on the sides of the fifth tier. These divisions could be boxes or slips. There is no evidence as to which they were. At the center back of the fifth tier was the only gallery, it was only eight boxes wide and its depth cannot be determined.

In 1818 , Nash and Repton remodeled the King’ s Theatre, Hay market Opera House. Plate 45, although dated 1841, represents the

Opera House from I 8 I 8 to 1842 when it again was remodeled.^ This plate does not show very much of the theatre. It does give a good general impression of the interior of the building when related to

the stage level plan in Plate 46. The remodeling did not change the

interior radically; this is seen by comparing Plate 45 with the original building in Plate 43. There was s till no proscenium arch.

The auditorium walls terminated on-stage forming a proscenium frame.

There had been a door added up-stage of the last box in Plate 43.

This addition made the fore-stage about four to five feet deeper than before. The plan indicates that the pit was horseshoe shaped with a center aisle with entrance made via the stairways at the back of the pit. The firs t tier, completely enclosed the pit and contained

forty-one boxes. From Plate 43 it is known that there are five tiers.

^ For further details, see Appendix, page 179. 91

It is reasonable to assume that the firs t tier was repeated four and perhaps five times. This provides a total of approximately 200 private boxes.

The typical opera house of l840 was a theatre of many private boxes with four or five tiers surrounding a U or horseshoe shaped pit which was s till completely enclosed. This is a classic staid form of architecture for a "classic" medium.

The Opera House Tradi ti on Conti nues. 1840 to 1860

g Her Majesty's Theatre of 1846 illustrated in Plate 47 was typical of the opera house tradition that had been established since the turn of the century. The proscenium door of Plate 45 had been eliminated. The proscenium frame was once more a thin architectural device for stopping the tiers of the auditorium and enclosing the back stage area. The pit was s till U shaped and completely enclosed by the firs t tier. It was divided into two areas by a center wall, the front section was referred to as pit stalls. Of the six tiers, the firs t four were composed of approximately 164 private boxes. The fifth tier had twenty-four side boxes and a small gallery at the back.

The sixth tier had side slips next to the proscenium and four boxes on each side of the back center gallery. There was a total of 196 boxes in this opera house.

0 The name of the King's Theatre or Haymarket Opera House was changed in 1837 after Victoria had assumed the throne as (iueen. For further details, see Appendix, page 179. 9 2

In 1847 when Covent Garden was redecorated and renamed the

Royal Italian Opera House, it immediately took on the honey comb characteristics of the traditional opera house. If it were not for

the proscenium arch with its four boxes, Plate 48 of Covent Garden would look almost identical to Her Majesty's Opera House.

Covent Garden burned to the ground in l856;once again it was necessary to find a temporary home for the Italian Opera while Covent

Garden was being rebuilt. A legitimate theatre, the Lyceum, was selected and remodeled for the occasion. Plate 49 is the Lyceum after the Opera House remodeling. Structurally this theatre could be compared with the Adelphi of Plate 96 because there was very little difference in the physical arrangement of these two buildings. But when the Lyceum became an Opera House, it had the opera brand imposed on it for every conceivable area was divided into small box cubicles.

In this manner, the Lyceum was made over Into the Royal Italian Opera

House.

In 1858 the new Royal Italian Opera House, Covent Garden, opened. A quick look at Plate 50 is enough to tell the story in general. The new Covent Garden differed from the old theatre in

Plate 48 in that the proscenium arch had been removed and replaced by a proscenium frame. For all other practical purposes, the two opera houses were the same. The same guiding concept designed both buildings. 9 3

A Typical Reconstruction

When Novosielski built the new Haymarket Opera House in 1791,

he established a concept of opera house architecture that was to

prevail throughout the entire Nineteenth Century. With the exception

of the lack of a proscenium door, this 1791 opera house was typical

of all theatres at that time. When it was erected as an opera house,

it was a contemporary theatre, but when the same style of architecture was repeated in 1858 with the rebuilding of the Royal Italian Opera

House at Covent Garden, it was very antiquated architecturally. The

division of the major part of the auditorium into small private boxes

is the outstanding identifying feature of the opera house architecture.

At the time that the legitimate theatre is attempting to open up as many areas as possible into gallery type seating, the over 100 private boxes on the firs t three tiers of the Royal Italian Opera House provide

a sharp visual contrast.

Figure 10 is a typical opera house. The proscenium is only a

frame. The pit is enclosed by the firs t tier. It is divided into two areas, the pit and pit stalls. There are four tiers of small private boxes. The fifth tier has side boxes and a center back gallery. The

sixth tier has side slips with a center back gallery. A typical opera house of the 1850's reconstructed FIGURE 10

PLATE 42 Pantheon Opera House, 1791-1792

courtesy S. W. Forbes Collection

r i

courtesy New York Public Library Theatre Collection

Haymarket Opera House, 1791-1818 PLATE 43

PLATE 44 English Opera House (Pantheon), 1812-1814 courtesy New York Public Library Theatre Collection

itifsn

1 1

m s m Her Majesty's Opera House (HaymarKet Opera House), 1818-1841/42 PLATE 45

PLATE 46 King's Theatre Haymarket (Haymarket Opera House), 1818-1841/42 courtesy Henry E, Huntington Library

& or a • S' » — ■ — ■ —m—Jk—ms s I

(^AwrvriADi

côuïïes^rT*nT!strâtêîrTôrKlon News Her Majesty's Theatre (Haymarket Opera House),1846-1867 PLATE 47 97 PLATE 48 Royal Italian Opera House, Covent Garden, 1847-1856 courtesy Illustrated London News

XVUf.V.V.1

4 courtesy Illustrated London News Royal Italian Opera House, Lyceum, 1856 - 1858 PLATE 49

PLATE 50 Royal Italian Opera House, Covent Garden, 1858

courtesy Illustrated London News CHAPTER IX

THE MAJOR THEATRES, 1809 TO 1845

Prosceni um

The first theatre built in this era, Covent Garden, had a proscenium arch that was for most practical purposes a mere dupli cation of the arch in the old theatre. Smirke rebuilt the Covent

Garden in I 8 O9' after the fire of 1808. This was not an excitingly new theatre which can be clearly seen in a comparison of Plate 51

(Smirke*s Theatre) to Plate 40 of the old building. The proscenium arch was three tiers high containing two boxes and a double door.

The proscenium was framed by a two-dimensional Corinthian column set at right angles to the arch and door. The proscenium boxes were divided into two semi-private areas by full height lattice screens.

The fore-stage ended at the front edge of the proscenium arch.

There was nothing new in this proscenium other than the decoration.

Another attempt to eliminate the proscenium doors was made 2 by Wyatt who served as architect at the New Drury Lane in 1812.

Wyatt was interested in evolving a new architectural form for the theatre and his theatre had many innovations. Plate 52 shows a

For further details, see Appendix, page 80. 2 For further details, see Appendix, page 122,

- 99 - 100

proscenium arch rather standard In physical concept, but lacking the customary door. The two boxes in this five tier high arch were very small and insignificant. These boxes no longer coincided with the tiers in the auditorium. The fore-stage projected about two feet beyond the proscenium arch into the auditorium. Once again Drury

Lane had tried to eliminate the proscenium doors.^

The proscenium arch in Plate 56 is of a standard design. It is the double arch concept that attracts attention. When Davis took control of Astley's Theatre in 1817, he completely remodeled it.^ This remodeling of the proscenium arch followed the pattern established at the Royal Circus in I806 (see Plate 32). Outside of the proscenium arch itself was a series of vertical boxes which extended from the stage level to the top of the proscenium arch. These boxes were not decoratively related with the proscenium. But physically they were more related to the proscenium than to the auditorium tiers on the other side. They almost formed a second proscenium arch. The fore stage terminated at the front edge of the first proscenium arch.

The proscenium arch doors had been returned to Drury Lane

Theatre in Plate 57. When El liston became manager in I 8 I8 , he remodeled the interior.5 This was the last dying gasp of the proscenium doors, the next time they disappear they will be gone forever.

^ Holland had attempted it before in 1794, see Plate 37 and page 75. L^. For further details, see Appendix, page 29. ^ For further details, see Appendix, page 122. 10]

During the process of revamping the Haymarket district, John

Nash built a new L ittle Theatre Haymarket in 1821.^ In many ways

Nash was a b rillia n t architect, but for some unknown reason, he built a thirty-year old theatre when he designed the new Haymarket. Except for the decoration, Plate 58 and 59 could represent a theatre built in 1790 . The proscenium arch of this building was defined by the palm trees. Actually, the palm trees are only appliqued to the side wall of the auditorium. The proscenium door was in the auditorium wall, not in a true proscenium arch. The boxes above the door were really a continuation of the boxes of the side tiers. The side walls of this theatre terminated on the stage forming a proscenium frame.

About 1822 or 1823 , El liston, who was s till manager at Drury

Lane, remodeled once more. Plate 61 shows the proscenium after this remodeling. The doors were gone and this time for good. There were now four boxes in the proscenium. The top three corresponded with the tiers in the auditorium, the fourth was in the base of the framing columns. In this particular plate they are labeled "0". The fore stage s till extended to the front edge of the proscenium arch. The line of the front edge of the fore-stage can be better seen in Plate

62, a plan view of the theatre.

The proscenium doors had been replaced at Covent Garden by

1824. Plate 63 shows the remodeled proscenium arch. Here, as at

Drury Lane, the proscenium doors had been replaced by a box. The

^ For further details, see Appendix, page 193 102

proscenium arch had been raised about half a tier higher. The front edge of the fore-stage as seen in Plate 64 was at the front of the prosceni um arch.

The architectural form of the major theatres had been estab lished by the end of the firs t quarter of the Nineteenth Century, and was to be stabilized through the next twenty-five or thirty years.

Covent Garden, Plate 67, and Drury Lane, Plate 68, show these two theatres in the mid l840‘ s; the proscenium arch had remained the same.

Pit

The pit was becoming larger. The major innovation in the 1809

Covent Garden pit seen in Plate 51 was the size. This pit will seat many more people although there were the same number of rows as in

Plate 40, but the rows are now wider. This pit was s till contained by the first tier front. Plate 64, a plan of the theatre, shows the pit to be the U or horseshoe shaped. There were two entrances to this pit, a side double door under the third major firs t tier division and a stairway at the back of the pit. Both of these entrances can be seen clearly in Plate 63.

Wyatt in the 1812 Drury Lane tried to develop an entirely new pit form. His pit was almost a perfect circle in plan view. Plate 53 indicates that the pit was two-thirds of the circle while the proscenium arch and fore-stage completed the circle. The longitudinal section of the theatre, Plate 52, shows that the pit sloped up at the back high enough to block the firs t tier back boxes. Entrance to the 103

pit was gained through the back of the auditorium. This pit was much smaller than the Covent Garden pit in Plate 51, it had only

fourteen rows of benches.

The first equestrian theatre to be converted to legitimate

use retained its open equestrian p it and s t i l l was open in 1813.

El liston, who had purchased the Olympic Pavilion from Astley, re modeled and renamed it the Olympic Theatre.^ Plate 44 shows only a very small part of the Olympic pit. The pit extended into the area of the firs t tier after the firs t two boxes, and most likely extended back under the second tier at the back. This pit, by replacing the old ring of Astley's theatre, had initiated a new legitimate theatre

trend.

The pit consumed the entire firs t floor of the theatre in g 1814 when the Sans Pariel was remodeled. Plate 55 is the interior of this theatre. Here the pit is by far the most interesting feature of the lit tle theatre. There was no firs t tier, the pit consumed the entire main floor of the auditorium. The tiers started at the second

tier level. This pit was a direct descendent of the Sadler's Wells and equestrian tradition, but this is the firs t example of it being built into a legitimate theatre.

it is very easy to compare Astley's Amphitheatre in Plate 5& with Plate 55 of the Olympic theatre. The Olympic suffers by the com parison for it was a far more crudely conceived building than the

7 For further d etails, see Appendix, page 233. ® For further details, see Appendix, page 3. 104

slick design representing Astley's. With the exception of the ring, these two pits bear an absolute relationship. At Astley's, Plate 56, the entire main floor was given over to the pit and ring. There was only one box in the firs t tier and this has already been discussed as part of the double proscenium arch concept that is in the process q of developing. This pit extended back under the second tier almost like a gallery.

When El liston removed the proscenium doors from Drury Lane in

1822 or 1823 , he also enlarged the pit. By comparing the plans in

Plate 53 (the 1812 theatre) to Plate 63, it is possible to understand how he was able to increase the pit size without completely remodeling the interior. The proscenium arch was merely pushed up-stage, per mitting the addition of seven rows of pit benches bringing the total to twenty-one rows. The size of the tier boxes was adjusted at this time to f i t the elongated auditorium. This addition of the extra rows of seats at the front of Wyatt's circle, changed the shape of the pit to a more standard U.

Again in 1825 the Drury Lane pit was enlarged. The plan in

Plate 65 indicates that even more rows of benches were added to the front of the pit. The exact number is d ifficu lt to determine from this plan. The addition of the two aisles through the pit was quite a new idea on pit entrances.

The pit, like the proscenium, stabilized after 1825 and re tained the same form for the next twenty years. Reference has been

q See page 100. 105

made to the practice of flooring the pit to create a ballroom or In

the case of Plate 67 , a banqueting hall. A floor was laid over the

entire pit area. This floor was immediately below the firs t tier

front connecting to the stage floor in the front of the pit and it was level over the entire area.

Ti er Boxes

There were five side tiers in the I 809 Covent Garden in Plate

51. The firs t and second tiers were divided into boxes by the low walls seen in the foreground of the print with each tier containing

twenty-six such box divisions. The third tier was divided into boxes by full height walls creating twenty-six private boxes. The fourth

tier appears to be either slips or gallery from the way the people are unarranged. The lit t le arched boxes in the fifth tier were most

likely slips. Excluding the proscenium boxes, there was a total of seventy-eight boxes in the theatre. The theatre was reputed to seat

2800 people and contain a possible 4255, counting standees.'^ This would Indicate that the fourth and fifth side tiers were slips.

A completely new set of names was used by Wyatt to identify

the box areas in the 1812 Drury Lane. In Plate 52 the boxes at stage

level, the firs t boxes above the pit, were not referred to as the firs t tier but rather as pit boxes. The firs t tier of boxes to en circle the theatre was called the Dress Circle. Hence the nominal firs t tier was in reality the third tier of boxes. Wyatt had three

^^ See Appendix, page 80. 1 0 6

tiers which extended all around the theatre, each divided into twenty-four boxes. In the fourth tier there were six very deep side boxes. This theatre was reputed to have seated 2 8 1 or ten more than Covent Garden. This is very possible, but due to the relative size, the Drury Lane consumed all of its space in seats while Covent

Garden had room for 1455 standees. Wyatt's theatre could not have accommodated nearly so many standing patrons.

The Sans Pareil boxes are of little interest with the exception of the firs t box in both tiers next tothe proscenium. Notice in Plate

55 how this box is separated from the remainder of the tier. Here is another indication of the double proscenium arch, the arch of boxes outside the regular proscenium arch.

Although the second tier at Astley's Amphitheatre was divided into boxes by low walls, in Plate 56 this tier has a feeling of sweep that belongs to a gallery. There was no sense of compartmentalizing the audience into boxes in this tier. The third and fourth side tiers at this theatre were slips. This made a total of twenty-one boxes in the entire theatre counting the four boxes on each side of the proscenium. Again, this theatre was out of step with its time by having so few boxes when all of the rest of the theatrical world was hunting places to install even more lit tle cubicles.

El liston, by reworking the Drury Lane twice,by 1822 was able to increase its capacity by 250 patrons. Of this number 130 were standees. In Plate 61, at the side of the second tier and the back

See Appendix, page 122. 107 of the third tier were new openings in the back wall of the boxes.

In the section drawing, they are marked "K". These openings were planned to accommodate standing patrons.

The number of completely private boxes was reduced in the 1824 remodeling of Covent Garden. The full height walls creating these private boxes at the side of the third tier are no longer visible in

Plate 63. The number of boxes s till remains the same. Plate 66 shows an interesting side box. At the end of the orchestra pit was a small box with an awning type canopy over the top. This box can be seen in Plate 63 if its pre-existence is known. The canopy is the decorative line over the orchestra pit and immediately below the firs t tier decor. This unusual box can also be seen in Plate 67 as it appears over the top of the floored pit. By 1844, the date of this plate, a new box had been added at the base of the proscenium arch and it also had a scalloped canopy.

Galleries

The galleries in the theatres under discussion throughout this period have remained reasonably constant. There were always two gal leries and they were referred to now as the upper and lower gallery.

The only variable in the galleries has been tier height of the first or lower gallery. In the 1809 Covent Garden, the galleries were on the fourth and fifth tiers, while at Wyatt's Drury Lane they were at the fifth and sixth tier level. Of course, Astley's Amphitheatre being much smaller, had only one gallery and it was on the third tier level. The lower gallery was normally the larger of the two. For 108

example, in Plate 61, Drury Lane, the upper gallery has only three rows of seats while the lower gallery has seven rows of benches.

A Typical Reconstruction

The typical big theatre attracted attention for three main reasons. First, this was the firs t typical theatre to appear without a proscenium arch door. By 1825 the proscenium door had disappeared from general usage. Second and most descriptive, this is the largest theatre developed, at least five and possibly six tiers high. Third, the pit has been raised in relation to the ground level of the theatre.

The front edge of the pit is almost at the main floor level, the slope of the floor is s till the same, resulting in the back of the pit breaking the firs t tier and stopping at the bottom of the second tier front.

A typical reconstructed theatre of this period would appear as illustrated in Figure 11. The proscenium arch would contain at least three tiers of boxes. The fore-stage would stop at the front edge of the proscenium arch if not a lit t le before it. The pit will be U shaped and sloped. But it will start higher in relation to the ground level of the theatre and rise to the bottom of the second tier at the back of the auditorium. The entrances to the pit will either be in the center of the side or at the back of the pit with stairs, or per haps both. The side walls will be five or six tiers high. The firs t tier does not go all around the pit but stops at the ends of the side wall. The second tier will be called the Dress Circle and be divided into semi-private boxes for the serious playgoer. The third 109

and fourth tiers will also be divided into boxes. The sides of the fifth tier will be open slips for standees and at the back of this tier is the lower and largest gallery. There will be no side sixth tier, it will exist only as a small back gallery. O

A typical big theatre of 1825 reconstructed FIGURE 11

110

PLATE 51 Covent Garden, 1809-1824 courtesy Harvard Theatre Collection I d■

d courtesy Archltectural RevIew

Drury Lane, I8I2-I818 PLATE 52

1 1 1 ’ I

PLATE 53 Drury Lane, 1812-1818 courtesy Archltectural Rev1ew Courtesy New York Public Library Theatre Coliection

Oiympic Theatre, 1813-1814 PLATE 54

1 12

PLATE 55 Sans Pariel, 1814-1817 courtesy New York Public Library Theatre Collection 0

ü courtesy Huntington Library

Astley's Amphitheatre, 1817-1841 PLATE 56

PLATE 57 Drury Lane Theatre, 1818-1822 courtesy Mander and Hitchenson Collection l.'& l I '.ill

courtesy Harvard Theatre Collection

L ittle Theatre Haymarket, 1821-1843 PLATE 58

PLATE 59 L ittle Theatre Haymarket, 1821-1843 courtesy Henry E. Huntington Library

1 U 1 courtesy Harvard Theatre Collection

L ittle Theatre Haymarket,1821 -1843

115 a

courtesy Henry E. Huntington Library

Drury Lane, 1822-1825 PLATE 61 116 PLATE 62 Drury Lane, 1822-1825 courtesy Henry E. Huntington Library

1—• ^ 1 ■I courtesy Henry E. Huntington Library

Covent Garden, 1824-1847 PLATE 63 117 PLATE 64 Covent Garden, 1824-1847 courtesy Henry E. Huntington Library

I Plan of Drury Lane Theatre, 1825-1846 PLATE 65 5^3

courtesy Harvard Theatre Coll

118

courtesy Mander and Hitchenson Col 1

Covent Garden, 1831 PLATE 66 A

courtesy Illustrated London News

Covent Garden, 1844 PLATE 67

111

PLATE 68 Drury Lane, 1845 courtesy Harvard Theatre Collection

È 3 CHAPTER X

THE LITTLE THEATRES, 1830 TO 1840

The 1830 's produced a rash of lit t le theatres, the majority of which were located in the London suburbs and all had very small auditoriums. it is doubtful if the seating capacity of any of them exceeded 1000. This trend is diametrically opposed to the situation

in the major houses which were at this time striving for their

largest seating capacities. Not only were these buildings small, but they were essentially crude in construction. Although there is lit t le evidence to support this theory, it would be safe to assume that these theatres were inserted into already existing structures.

A large rectangular hall could easily be remodeled into a small theatre. Another interesting aspect of the history of these lit t le theatres is that they were relatively short lived. Most of them dis appeared after four or five years.

in some respects the seven lit t le theatres discussed in the following pages tell much of the history of theatrical architectural development from I 66O to 1840. Plate 69 is the Orange Theatre,

Oueens Street, Pimlico (1832 to 1836).^ Here is a theatre so crudely constructed that most likely it was never more than a temporary

' For complete details, see Appendix, page 240.

- 120 1 2 ]

building. It appears to be a large rectangular tent in which a

plane has been inserted to separate the auditorium from the stage

area. This was basically the concept used in the 1660 tennis court

theatres. The opening in this plane was the proscenium frame, the

stage was behind this opening. The p it was built up above the floor

level by a rough wooden frame like a giant set of steps. Along the

side walls of the auditorium, completely disregarding the sight line problem, a tier of side boxes was supported above the floor level by post and lintel construction. As is true of most of these lit t le

theatres, there is no opportunity to view the back end of the auditorium.

Also in 1832 on Birkenhead Street, the Royal Clarence Theatre was opened (see Plate 70).^ The Royal Clarence was the largest and most elaborate of all the lit t le theatres considered. This theatre was designed in much the same style as the theatres of the 1750's.

The proscenium arch was a completely separate unit both structurally and decoratively. The arch contained a door with an overhead box.

The fore-stage did not project beyond the proscenium arch as was the practice in 1750. But the pit was a contained rectangular area com pletely separate from the rest of the auditorium. Three shallow tiers

line both side walls. These tiers were divided into box-1 ike areas by the curved construction of the tier fronts. If a dividing wall existed, it was a very low one. There Is no view of the back of the audi tori um.

^ See Chapter II, page 17. ^ For further details, see Appendix, page 67. 122

The decoration of the tier fronts merit mention: all of the tier fronts were wrought iron g rill work. The tiers were supported by small iron posts. This illustrates the effect of a new material, strong iron work, on the design of theatres. L The Royal Albion Theatre opened in December of 1832. Plate

71 represents the theatre either in 1832 as the Royal Albion or in

1833 as the New Queen*s Theatre. The fore-stage and proscenium of this theatre were very unusual. The use of apparently free standing columns in front of the architectural elements of the proscenium arch was very similar to the music hall stage of the next decade. The pillars plus the physical part of the proscenium arch almost form a permanent architectural background for the stage action. There were no boxes or doors in this proscenium arch. The pit consumed the full area of the main floor. There appears to be no slope to this small pit area. The firs t tier of side boxes was at the old second tier level on the auditorium wall. Private boxes were created by pulling drapes across on a wire perpendicular to the tier front. The second tier appears to be open gallery seating right up to the proscenium arch. This theatre lasted only four years. in 1836 it was demolished in preparation of the building of the Argyll Rooms.^

Sometime in the early thirties^ on the London Bridge Road, the

London Bridge Theatre was opened.7 Plate 72 shows almost a longitudinal

4 For further details, see Appendix, page 12. 5 For further details, see Appendix, page 27. In 1832 , the Grecian Tavern, Plate 73, was converted into a legit imate theatre. There is no interior view of this theatre available until much later and after major alteration. This theatre plays suchan inter esting role in the literature history of the theatre of this time that the reproduction of this exterior print seems worthwhile. For further details of the Grecian Saloon Theatre, see Appendix, page 172. 7 For further details, see Appendix, page 211. 123

section of this lit t le theatre. The proscenium arch was a separate

structural unit containing a door and one box. The fore-stage ended

at the front of the arch. The pit was quite shallow but appears to

be slightly sloped. The area under the firs t tier was used as an

entrance aisle to the pit. The two tiers do not seem to be divided

into boxes but rather all open gallery type seating from proscenium

to proscenium. To some extent, the back of the auditorium can be

seen in this print. There appears to be no back gallery as the tiers do not seem to deepen at all in the back. With the exception of size,

the London Bridge Theatre might be called a prototype of all the

theatres of the 1820's and 30's.

if the London Bridge Theatre can be called a prototype of the

30's, then the Pavilion Theatre on Church Street in Portmans Market,

Marylebone, was in many ways a prediction of the theatre to come in g the 40's and 50's. Plate 74 shows a theatre that had no proscenium arch at the side but there was an arch at the top, one box wide.

The fore-stage projected beyond the proscenium frame the width of

the two boxes at the firs t tier level. Visually, behind the front edge of the fore-stage, this theatre was very like Plate 21 of Drury

Lane Theatre in 1775. But from the fore-stage forward, there was no

similarity. The first tier of boxes ended at the fore-stage. The

space under the second tier on the pit floor was used as pit entrance aisles. There were three private boxes next to the proscenium on the

second tie r. The balance of the tier was open seating. There was one

Q For further details, see the Marylebone Theatre, Appendix, page 226. 124

large private box on the third tier, while the rest of the tier was gallery. The architectural form suggested in this theatre will be

repeated many times before the end of the Nineteenth Century.

In the latter half of the 30's, the City of London Theatre, Q located on Bishopgate Street in Norton Folgate, was opened, Plate

75 shows a rather architecturally refined theatre. This interior was not crude in any sense of the word. Although the proscenium arch had decorative unity with the tier fronts of the auditorium, it re tained its own individuality due to its structure. It contained three boxes but no door. This was essentially a three tiered theatre. The firs t tier was but one box deep. The pit expanded under the second tier. With the exception of the missing proscenium door, the City.of

London Theatre could easily be confused in section or plan with the

Olympic Theatre of 1813 in Plate 54. The second and third tiers at the City of London were open galleries from proscenium arch around to proscenium arch. The 50‘ s and 60‘ s are going to combine the proscenium arch in the City of London Theatre (Plate 75) with the proscenium box treatment seen in Pavilion Theatre (Plate 74) into a standard auditori um front.

The last of the minor theatres to be considered is the West minster Theatre, Plate 76, opened in 1832 and closed in 1835“36.'^

The most interesting feature of this little theatre was its proscenium frame. The proscenium had the arch treatment without the customary

9 For further details, see Appendix, page 64. For further details, see Appendix, page 343. 125

arch thickness. The proscenium arch was only a frame. There were

no proscenium boxes or tier boxes immediately outside the proscenium,

in fact, there were no boxes visible in this entire theatre. The

proscenium arch treatment was unique in itself but combined with the

lack of a normal firs t tie r, the theatre is doubly fascinating.

There was no typical lit t le theatre for there was lit t le devel opment within this decade of lit t le theatre history. These theatres were only a collection of architectural units that represented the many varied approaches to theatrical architecture that existed in the

firs t half of the Nineteenth Century. The firs t forty years of the

century had seen architectural concept ever-changing, modifying and

refining. As quickly as one form was developed, a major counter-form

had challenged it. The legitimate theatre architecture reflects

the social change that was taking place in London. The theatre was becoming a more middle class form of entertainment and this change had opened up the major seating areas into group seating. Simul

taneously with the influx of the middle class, the older theatre patrons had been forced into boxes which were completely separate from

the balance of the theatre. The dress circle at Drury Lane was created to serve this purpose.

The complete reverse of this situation was true in opera house architecture. Opera was being patronized by a group of socially exclusive people who demanded and could afford to pay for complete privacy. This explains why the opera houses were divided into as many small private areas as was possible. 126

As the architecture of some of the minor theatres of the 30*s tended to predict the future architecture of the latter half of the century, the social history trends equally predict the way the space in the future theatres will be utilized. %

courtesy Theatre Notebook

Orange Theatre, 1832-1836 PLATE 69 127 PLATE 70 Royal Clarence Theatre, 1832-1867

courtesy Connoi sseur Wa

courtesy Westminster Public Library

Albion Theatre, 1832-1836 PLATE 71

128

PLATE 72 London Bridge Theatre, about 1830 courtesy Victoria and Albert Museum 1 n 1

courtesy Harvard Theatre Collection

Eagle Tavern (Grecian Saloon), 1832-1851 PLATE 73

129

PLATE 74 Pavilion (Marylebone) Theatre, 1835-1837

courtesy Bishopsgate Library

H ^ n I Aj n « Î 1 City of London Theatre, 1835-1868 PLATE 75

courtesy Connoisseur

Westminster Theatre, 1832-35/6 PLATE 76

8 I k %

? CHAPTER X I

MUSIC HALLS, TAVERNS AND EXHIBITION HALLS, 1830 TO I865 CHAPTER XI

MUSIC HALLS, TAVERNS AND EXHIBITION HALLS, 1830 TO 1865

Music Ha 11s and Taverns

In 1831 Exeter Hall was built in the Strand.' Among its many social functions itcontained the grand concert room of Plate 77.

Although it will be years before the name Music Hall is applied to this building, Plate 77 is the earliest pictorial evidence of the music hall type of architecture. Obviously, this room is far removed from a theatre, yet in many aspects, it is directly related to theatrical architecture. Exeter Hall was a large rectangular room about seventy-seven feet wide by one hundred thirty one feet long.

At one end of the room was a raised platform (a stage without a proscenium). In front of the platform was a large open seating area covering the entire ground floor of the room. This relates physically to the theatre pit. At each side of the platform was a raised area functioning as a short tier or large private box. 2 The Surrey Zoological Gardens at some time prior to 1848 had opened the outdoor band shell of Plate 7 8 . This exterior concert hall adds another step to a closer relationship of the theatre to the

' For further details, see Appendix, page 154. ^ For further details, see Appendix, page 325.

- i31 - 132

music hall. Shown in Plate 78 is a stage with a proscenium frame.

The architectural s im ila rity between this and a theatre proscenium is very striking. Of course, this outdoor music hall has no auditorium other than the lawn in front of it . 3 In 1856 , John "Paddy" Green remodeled the old Evans' Hotel dining room. The new room was more than just a dining place, it was a music hall. Plate 79 of this dining hall reveals a remarkable similarity to theatrical architecture. At the far end of the room was the raised platform that served as a stage area. In back of the platform was an architectural facade which has the appearance of a diminutive proscenium frame. The two Ironic columns supporting this

Roman arch provided a permanent background for the musical performances.

In front of the platform was the main seating area roughly corres ponding to the p it. At the Hotel, this pit area was fille d with long dining tables set perpendicular to the stage, allowing the maximum number of patrons to see the stage while dining. Along both sides of the dining tables were areas divided into a series of side boxes.

These side areas were on two levels like the f ir s t two tie rs in a theatre. This Hotel Dining Room is a most remarkable theatrical building.

At about this same time, the Surrey Zoological Gardens built the new indoor Music Hall^ in Plate 8 0 . With the exception of the raised platform substituted for a stage, this hall could be considered

^ For further details, see Appendix, page I5 0 . ^ For further details, see Appendix, page 325. 133

true theatrical architecture. The pit covered the ground floor of the building extending back under the first tier. The first tier was

U shaped. It had open gallery type seating all the way around. The second tie r was open seating on the sides and became a true deep gallery at the end of the room. The third tier was probably a slip area for standees. There was one other major difference between this building and the theatres. Its seating capacity was about 10,000 persons, more than twice as many as any theatre of its day.

At this point, music hall architecture cannot be said to have influenced theatrical architecture. The converse of this is more true.

The music hall has developed along the architectural lines already established by the smaller theatres. It is d iffic u lt to believe that this similarity was a conscious adaptation. Rather, it would appear to have been a natural growth development. As the interest in music increased the need was created for economical methods of seating larger numbers of people. The solution to this problem is obvious in the relationship between the Surrey Music Hall, Plate 80, in 1856 to the Exeter Hall of 1831 in Plate 77. The structures were basically the same. The major difference was in the number of people accommodated.

Exeter Hall could seat only 3,000 as compared to the Surrey's 10,000 seats.

The Evans' Hotel, Plate 79, does not really belong in the pure music hall phase of development. Concurrently with the concert or music hall evolution was a separate advance of the tavern and dining hall into the musical entertainment field. The Grecian Saloon in 134

Plate 73 was an early entry into this area. The Evans' Hotel is merely an example of this phase of a complex development.^

The next major step in the evolution of the tavern music hall was taken in i860 when the Oxford Music Hall opened.^ Plate 81 shows a dining room with a recessed stage at one end of the room. From this print it is impossible to determine the nature of the scenic background on that stage. The fore-stage projected into the pit or dining area.

The pit was filled with sixty-four tables, all positioned at right angles to the stage. At the sides of the dining area was a balcony or tier for standees.

The progression from this point on is rapid. In 1861, the

Philharmonic Music Hall^ in Plate 82 had a recessed stage with a per manent architectural background. Although the form was modified there was a proscenium arch connected to this stage. The arch was two boxes wide and three tiers high. The fore-stage extended to the front edge

^ The history of the Tavern entertainment can be traced back much further than Evans' Hotel or the Grecian Saloon. About 1718 the Adam and Eve Tavern had entertainment. By 1734, Mother's Red Cap Tavern was attracting customers with musical entertainment. In 1796, the Elephant and Castle Tavern lured patrons to the bar in this manner. In 1777, the China Hall Tavern was a musical theatrical enterprise. In 1837 the Bower Saloon, in 1844 the Effingham Saloon, in 1840 the Grapes Tavern and Weston's Royal Music Hall in 1848, all of these have contributed to the development of the tavern entertainment. For further details on each of these places, see the appropriate pages in the Appendix. ^ For further details on the Oxford Music Hall, see Appendix, page 244. ^ For further details on the Philharmonic Music Hall, see Appendix, page I 7 0 . 135 of the proscenium arch. From the verbal description which is ac curate, this stage and proscenium sound very theatrical, but in reality, Plate 82 visually is a long way from the true theatrical form. O In March of 1861, Highbury Barn was remodeled as per Plate 83.

This dining room music hall in some ways was less advanced than the

Oxford Music Hall of Plate 81. The important contribution of High bury Barn was the theatrical stage and proscenium frame. The stage area was completely recessed in the end wall of the dining room. The stage was set with changeable theatrical scenery. This is a "first" in the music hall. The edge of the wall, pierced by the stage, was decorated by a pair of pilasters which formed the frame for the stage.

A TypicaI Reconstruction

Without a label on the typical reconstruction of Figure 12, it would be very difficult to distinguish this as a music hall rather than one of the small theatres discussed in the last chapter. Archi tecturally, these two types of buildings have much in common, the only major difference is one of size. Both represent a rather undevel oped theatrical architectural form.

The music hall in Figure 12 has the stage recessed in the end wall of the room with proscenium frame created by the remaining portion of the w all. There is a p it area in front of the stage which has expanded under the f ir s t tie r of seats. There are two tie rs of open gallery type side seats. The back of the f i r s t tie r is the same depth as the sides, while the back of the second tie r is a deeper con ventional gallery.

® Highbury Barn was formerly a public garden. For further details, see Appendix, page 202. 136

The Exhîbi tion Hal 1 Theatres. 1840 to 1865

In the middle of the l840's the exhibition halls, in an at tempt to continue to attract customers, began to change their approach 9 from straight exhibition to a 1ecture-demonstration type of perfor mance. One of the techniques that was immediately applied was the use of the long established p a n o ra m a .P la te 84 is the Egyptian Hall'' during one of these panorama lectures. Here was the most elemental theatrical form. A speaker was on a raised platform which in this case was enclosed on the sides. The panorama was behind the speaker.

Q The development of the exhibition rooms can be traced back to 1757 with the opening of the Wigley Rooms in Spring Gardens. In 1765 , the Society of British Artists opened an exhibition hall for the display of works of art. In 1771, the Holuphsucon, a museum; 1772 , Cox’ s Museum; 1773, Exeter Change, a wild beast exhibit; 1802 , Madam Tussaud’ s Wax Works was at Hanover Square Rooms ; 806 I , the Rotunda on Blackfriars Road was a wax work-; 1809, DuBourg opened his museum of cork models; 1812, Salmon’ s Wax Works and Egyp tian Hall were opened; 1828, The Q,ueen's Bazaar; 1848, the Scientific and Literary Institution was opened as an exhibition hall. This is a partial list of the exhibition halls that proceeded the ones to be discussed. For a more complete consideration of the halls men tioned above, see the appropriate page in the Appendix. The non-pictorial history of the panorama goes back not quite as far as that of the exhibition hall. London’ s firs t panorama was DeLoutherbourg’ s Eidophusikon on Lisle Street in the 1780’ s. This was followed in rapid succession by Baker’ s in 1789; another panorama by Baker in 1791; a third Baker’ s Panorama in West Square in 1796; Serre’ s Panorama in Wigley Rooms in I 8 O6 ; Reinagle and Baker’ s Panorama on Church Street in 1813; the Panorama in the Strand Theatre in 1820; a diorama in the Q.ueen‘s Bazaar in 1828; the Colus- seum in 1829; and the British Diorama in 1830. These names indicate the major historical development of the panorama. For more complete information of the above listed places, see the appropriate pages i n the Appendix. For further details of The Egyptian Hall, see Appendix, page 143. 137

and the audience was seated on chairs on the floor level, slightly below the level of the platform. There are no side tiers or galleries.

The only real theatrical element involved here was the relationship of the audience to the platform.

Plate 85 of Polygraphic Hall in 1855 illustrates a major advance in terms of enclosing the speaker's platform by an architec tural unit that approaches very close to the theatrical proscenium arch. If the precise nature of this building were not know, Plate

85 could quite easily be confused with the stage and proscenium of a small legitimate theatre.

12 In the early l840's, a wing was added to the Colosseum, and was referred to as the little theatre. This little theatre, shown in

Plate 86, was designed for the exhibition of the cyclorama. To equate this building in theatrical terms is quite reasonable because other than the stage area, this room was a theatre. There was no stage.

The cyclorama was seen at the back of a very deep proscenium arch-like unit. This physical separation between the audience and the cyclorama was necessary in order to maintain the proper aesthetic viewing dis tance. The entire ground floor of the theatre was consumed by the p it. This pit was unique due to the backs on the pit benches. This is the firs t indication of interest in the comfort of the pit audience.

Above the pit at the sides and back of the auditorium was the only tier. Many of the patrons in this tier appear to be standing while only a few were seated. Perhaps this was a slip-like area.

12 For further details, see Appendix, page 73. 138

The transition from exhibition hall to a theatrical function can best be observed by comparing Plate 87 of the Panoptican in 13 1854 with its remodeled version in Plate 88, the Alhambra Palace.

There had been lit t le architectural change between these two plates, but the intent and function had completely changed the character of the building. The fountain in Plate 87 had been replaced by a circus ring in Plate 88. The exhibitions displayed on the four levels of the Panoptican have been replaced by seats. Other than this, however, the Alhambra Palace was exactly the same building as the Panoptican.

True, the Alhambra Palace was not a legitimate theatre, but it was not far removed from the Astley's Amphitheatre of Plate 92. The most basic difference between these two theatrical plants is that

Astley’ s has a stage while the Alhambra does not.

In 1864, the Alhambra Palace was once again remodeled. Plate

89 indicates the major change brought about by that remodeling. At one side of the ring a stage and proscenium arch were added. The proscenium arch was without boxes or doors. With this addition, the old Panoptican Exhibition Hall of Plate 87 had made the complete transition to the legitimate theatre form. The circus type perfor mance by this time had become so popular that the presence of a ring in a theatre no longer was a factor which should disqualify the building from legitimate standing.

13 "For further details on this exhibition hall, see Alhambra Palace, Appendix, page 18. M a r1 li rilrlrld

A typical music hall of I860 reconstructed FIGURE 12

139 I

courtesy Knight's London

Exeter Hall, 1831-1880 PLATE 77

140

PLATE 78 Surrey Zoological Gardens, pre 1848

courtesy Survey of London courtesy Harvard Theatre Collection

Evans Hotel, I 856 -I 87 I PLATE 79

141

PLATE 80 Surrey Zoological Gardens, 1856-1861

courtesy Harvard Theatre Collection

./îtiU I .. ■ m f - f r w u

g #

courtesy Harvard Theatre Col I .

Oxford Music Hall, 1861-1868 PLATE 81 142 PLATE 82 The Philharmonic Music Hall, 1860-1870 courtesy Harvard Theatre Collection

ll'.'d ’ U 'ftil V

courtesy Harvard Theatre Collection

Highbury Barn Music Hall, 1861-1865 PLATE 83

143

PLATE 84 Egyptian Hall, about 1845

courtesy Harvard Theatre Col lection

S f

courtesy Illustrated London News

Polygraphic Hall, 1855-1869 PLATE 85

PLATE 86 Colosseum Theatre, 1848-1875

courtesy Illustrated London News

< M r : V. l“ 'V -5^- 4 1 •V

ÜIV' Ü

I'III:.';

I Js

courtesy Walford's 01d and New London

Panopticon, 1854-1658 PLATE 87

145 t

courtesy Illustrated London News

Alhambra Palace, 1858-1869 PLATE 88

PLATE 89 Alhambra Palace, 1864-1871

courtesy Harvard Theatre Collection

1 CHAPTER XI I

THE MINOR THEATRES, I840 TO 1865

Prosceni um

The proscenium arch increased in size with the opening of the Princess's Theatre in l8 4 lJ in Plate 90, a view of the auditor

ium from the stage, it is d if f ic u lt to te ll where the proscenium arch ends by looking at the tier fronts. It was only by viewing the ceiling decoration that it was possible to determine the width of the arch. This arch was one major box wide or about eight or nine feet thick. This major box was subdivided into two smaller boxes. Plate 91 shows ju s t the proscenium arch as viewed from the auditorium. In this print this sub-division can be more clearly seen. It was accomplished by a panel of drapes hung in the middle of the box. From Plate 91, the length of the fore-stage can be determined, it projected into the auditorium about half the width of the arch, or to about the end of the first box. The lack of d e fin itio n of the proscenium arch from the balance of the tie r fronts

is due to the use of continuous decoration around the tier including the arch.

' A former exhibition h a ll, for further details see Appendix, page 262.

- 147 - 148

2 The proscenium arch in A stley's Amphitheatre was not united with the tier fronts by the use of decoration as can be seen in

Plate 9 2 . Although i t was decorated in the same manner as the fronts of the tie rs, the strong use of the vertical p ila ste r separ ated i t from the auditorium. The arch was one box wide and four boxes high. The firs t two boxes coincided with the corresponding

tier fronts but the third and fourth did not. The fore-stage in

Plate 92 projects beyond the proscenium arch about eighteen inches.

The arch was five to six feet thick and carried its thickness over head as a terminal decoration for the ceiling.

The proscenium arch seen in Plate 94 is in one of the last theatres in London to remodel and retain the proscenium door. When the Surrey Theatre was remodeled in 1848,^ the architect^ included a proscenium door in the new theatre. The proscenium arch was about five to six feet thick. The fore-stage projected the width of the f i r s t box beyond the proscenium arch into the auditorium.

In October of 1848, the Adelphi Theatre^ was remodeled. The proscenium arch as seen in Plate 96 is one box wide and three boxes high. The use of strong vertical pilasters as well as the overhead arch decoration tend to separate the arch from the auditorium even though the side decor was continuous.

^ Astley's at this time is owned by Batty. For further details, see Appendix, page 29. ^ Formerly the Royal Circus. For further details, see Surrey Theatre, Appendix, page 318. ^ Architect, R. W. Withal 1, see Appendix, page 318. 5 For further details, see Appendix, page 3. 149

It was ten years before the next significant step in pros

cenium design. Plate 97 of the Adelphi in 1858^ indicates that the

real proscenium has been reduced to a frame. But decoratively the

proscenium was s t i l l an arch, one major or two minor boxes wide by

four tie rs high. There was no overhead arch thickness to correspond with the side thickness. The fore-stage stopped at the front edge of the proscenium frame. The thickness of the arch extended into

the p it area. By relating Plate 97 to the earlier Adelphi proscenium of 1848 in Plate 96, i t is possible to determine what has happened.

The one box thick proscenium arch located on the stage in Plate 96 has disappeared. The two private boxes at the edge of the proscenium

in the first and second tier of Plate 96 have been redecorated and

incorporated into a new proscenium arch which was located in front of the fore-stage. The architectural element that was used as a proscenium frame was repeated at the auditorium edge of these f ir s t and second tie r boxes effective ly setting them o ff from the remainder of the audi tori um.

By i860 the proscenium had stabilized in the minor new theatres as a frame. But, united with this frame by decorative technique, was a set of boxes located in the auditorium. Visually these boxes are a part of a proscenium arch but they did not neces sarily coincide with the corresponding auditorium tiers. The fore stage terminated at the edge of the proscenium frame as the majority of the proscenium arch did not face on the fore-stage but projected

into the p it area about eight to ten feet.

^ For futther details, see Appendix, page 3. 150

P it

From the position of the people in relation to the stage,

Plate 90 of the Princess's Theatre must be an example of a floored p it. The flo o r was immediately under the front of the f ir s t tie r.

Plate 93 d is tin c tly shows the f ir s t tie r at stage level. If the pit were floored even with the stage floor, then Plate 90 is com prehensible.

It is axiomatic that if a pit can be floored over, then it must be contained by the front of the f ir s t tie r. This would mean that the p it of the new Princess's was of the old design. A p it was enclosed by the f ir s t tie r.

The p it in Astley's in l84l was not enclosed. Of course,

Astley's was still an equestrian theatre, therefore, the pit contained a ring as well as seats. The ring was surrounded on three sides by open seating which extended back under the second tie r at both the sides and the back. These p it seats were sloped for better sight lines. Plate 92 is essentially the same theatre as Plate 61 only it is 30 years and a complete redecoration later.

The p it in the Surrey Theatre in Plate 94 is a U shaped con tained area. It has p it boxes in the same position as the Drury Lane

Theatre in Plate 55. The p it at the Surrey was d e fin ite ly modeled after the Drury Lane. It violated the f ir s t tie r at the back by being sloped so high that it reached the bottom of the second tie r. There was a back center as well as side entrance. This was the pit of a theatre of the I820‘ s. 151

The Drury Lane p rin t, Plate 95. is very interesting because of the ring. The Surrey Theatre p it ju s t previously under discussion shows no evidence that the Surrey was once an equestrian theatre, it has made the complete transition to legitimacy. On the other hand,

Drury Lane Theatre which has always been considered legitimate, ap pears in 1849 with an equestrian ring. Granted the ring was not permanent but temporarily placed on the stage and fore-stage. In the p it area immediately in back of the orchestra is an unusual view of one of two things. There is either a wall separating each of the f ir s t few rows of the p it into individuai areas or the p it benches have developed backs. Plate 77 of Drury Lane around 1846 indicates a heavy dark line dividing the p it running parallel to the fore-stage.

The p it in this p rin t is too dark to d e fin ite ly identify this line,

if these are walls (perhaps serving as backs of benches at the same time but with a primary function of dividing the pit into sections), then this is the f ir s t example of p it s ta lls .

The Adelphi p it in Plate 9& consumes the entire ground floor of the theatre. It extended back under the second tie r all around the theatre after the f ir s t two boxes of the f ir s t tie r, in Plate

97 of the Adelphi, the pit is the same as in the earlier theatre only now i t is the proscenium boxes that project into the p it area rather than the remnants of the f ir s t tie r . The benches in the p it now have backs and these backs made it d if f ic u lt to see the p it sta ll d iv i sions at the fro n t of the p it. With the exception of the proscenium arch boxes the pit now has the entire main floor level of the theatre. 152

By i860 the main floor level of the theatre can be roughly divided into three areas: one, the space consumed by the proscenium arch boxes which now project into the auditorium; two, the p it stall in the front half of the general p it area; and third, the balance of the flo o r is given over to general p it seating. Almost a ll of the p it benches now have backs for patron convenience.

Tiers

The Princess's Theatre was unusual in its tie r execution and this attracted interest. From the ceiling decoration in Plate 90, i t is reasonable to assume that more than half of the auditorium can be seen in this p rin t, yet there are no galleries v is ib le . There are five tie rs , each tie r having about ten boxes other than the proscenium arch boxes, but no tie r has a gallery opening. In the various accounts of the theatre listed in the appendix, a gallery was never mentioned.^

There appears to be only one box on each side of the auditor ium other than the proscenium boxes in Astley's Amphitheatre. This box was in the f ir s t tie r. The balance of the second, third and fourth side tiers are all open seating. The fourth side tier might be slips for standees. In the back of the theatre there were three curved g alleries. The middle gallery was deeper than the lower gallery and the upper gallery is probably the shallowest although this cannot be seen in Plate 92. This upper gallery was an addition to the theatre since 1826, the publication date of Plate 61.

^ See Appendix, page 262. 153

The Surrey Theatre of Plate 73 is more restrained than either of the preceding two theatres in its tier treatment. On each side of the p it at the stage level tie r, there were four boxes which are d e fin ite ly p it boxes. The f ir s t tie r had no boxes at the back. The second tier had three privately draped boxes immediately outside of the proscenium with the balance of the tie r being a large curved gallery which was divided into two areas by a wall running parallel to the tie r front. The third tie r had the same three draped boxes. Next to them was a private gallery. A small side gallery was completely separated from the rest of the tie r. Between this small side gallery and the main center gallery was a single private box. This upper gallery was quite deep. At the fourth tier level on the side was s t i l l another area of open seating, almost another side gallery.

There were four private boxes on each side of the Adelphi auditorium in Plate 9 6 , two on the f ir s t and two on the second tie r.

The two boxes on the f ir s t tie r comprised the entire tie r. The p it made use of the balance of the space. The remainder of the second tie r was open gallery. This area was divided by a wall about three rows deep running parallel to the tie r front. Behind the wall was room for standees. The third tie r had slips extending down the sides of the auditorium a l i t t l e beyond the lower tie r boxes. The slips were separated from the major gallery at the back of the tie r by a solid wall. There is an interesting structural feature about this theatre. Notice that the supporting posts are not as outstanding as they have been in past theatres. The posts can be seen but they are set back from the fronts of the tiers making them much less conspicuous. ]54

Manby, the architect, has made use of the cantilever construction principle to give his theatre a feeling of openness that is absolutely unique for I 85 O.

The tie r structure in the 1858 Adelphi is quite different from the earlier theatre. The f ir s t conspicuous difference is that there are no boxes outside of the proscenium arch. The f ir s t tie r was divided into two areas by a low wall which ran parallel to the tier front. In front of this wall there were two or three rows of uphol stered arm chairs. In back of this wall, the area was divided into s ta lls. This is very comparable to Wyatt's Dress Circle at the 1812

Drury Lane in Plate 52. It is impossible to te ll from this p rin t about the arrangement of seats w ithin these f ir s t tie r sta lls. Probably there were three or four rows of seats. In a manner of speaking, sta lls are sim ilar to boxes. They are semi-enclosed areas of a limited number of seats. It was the usage and intent that made them different from boxes. Stalls were sold by the seat while boxes were sold in blocks of seats. Stalls are more comparable to semi-private galleries than to semi-private boxes. The second tie r was also divided by a wall parallel to the tier front. Again, in front of this wall were arm chairs while behind the wall was open slip area for standees. The third tie r was either open gallery all the way around or a back gallery with side slips.

In general, boxes in the tiers have either been completely eliminated or at least reduced to a very few. The tiers are no longer divided v e rtic a lly by the boxes but now they are divided la te ra lly by low walls. These walls now separate the various priced seats within 155

the auditorium. The tendency is to more open gallery type seating.

Long rows of seats running from proscenium arch to proscenium arch are common. The cantilever principle which excited so much interest

in the Adelphi in 1848 has become fa ir ly well established.

A Typi cal Reconstruction

Other than size, the most striking visual difference between the typical theatre of 1865 as seen in Figure 13 compared with the big theatres of the 1830's and l840's of Figure 11 is the openness of the auditorium. The side tie rs and galleries have rows of seats now running parallel to the tie r fronts three quarters of the way around the auditorium. A few private boxes s t ill remain in the proscenium arch, but these are limited to two or three at each tie r.

The p it flows out from the fore-stage back under the second tie r u tiliz in g every available inch of main flo o r space for seats.

In the typical theatre as reconstructed in Figure 13, the fore-stage ends with the proscenium frame. The proscenium boxes are located on the auditorium side of the proscenium frame. The p it is divided into p it s ta lls and general area seating but it makes use of the entire main flo o r of the theatre. ^ ^ ^ ^ ^ ,\ (\^ ^ \ 'X } ^ t gbi

A typical theatre of 1865 reconstructed FIGURE 13

156 i

"r •'l'

courtesy Folger Shakespeare Library

Princess's Theatre, 184 I - I 84] PLATE 90

157 # 5

m m

courtesy Illustrated London News

Princess's Theatre, 1841 - 1843 PLATE 91 courtesy Illustrated London News

Astley' s Amphitheatre, 1841-1862 PLATE 92

159

PLATE 93 Princess's Theatre, 1851-1859 courtesy Victoria and Albert Museum

« r i n I courtesy Harvard Theatre Collection

Surrey Theatre, 1848-1865 PLATE 94 160 PLATE 95 Drury Lane, 1846-1866 courtesy Illustrated London News

111 sfMism

rrrrT

courtesy Illustrated London News

Adel phi Theatre, 1848-1858 PLATE 96

161

PLATE 97 Adel phi Theatre, 1858-1879 courtesy Thaler's Shakespeare to Sheridan

Ulf

t CHAPTER XI I

THE DOMINANT MUSIC HALL CHAPTER XI I I

THE DOMINANT MUSIC HALL

Up to this point the development of legitimate theatre has

been kept separate from that of the music hall, taverns and dining

rooms because the legitimate theatre has maintained a constant

separate development. Prior to the beginning of the Nineteenth

Century the rotundas of the formal gardens and the pits of the

equestrian theatres had developed a unique architectural form. This

unique form was so influential that the legitimate theatres absorbed

this entire movement. By 1825 only the legitimate theatre remained,

the best of the architectural form of the others had been digested and the remainder of this form was allowed to die quietly.'

For the past twenty years an insurgent architectural form had been pressing forward to the point of challenging the legitimate

theatre architecture. In 1863 the final phase of this conflict began.

But this time the legitimate theatre was the form being consumed.

The music hall, the Palace, the Theatre of Varieties, had grown so

strong that within the next ten years they completely dominated

theatrical architecture.

' See Chapter 6, The Equestrian Theatres

- 162 - 163

In 1863 the Canterbury Theatre of Varieties opened.^ This

building had previously been a stage!ess music hall, but on looking

at Plate 98 it is impossible to distinguish now between this Theatre of Varieties and a legitimate theatre.

Prosceni um

The proscenium arch at the Canterbury Theatre of Varieties was of a dual nature. The stage was surrounded by the proscenium frame and outside of that frame was the second arch of boxes. This double proscenium arch was exactly the same in execution as seen in Plate 97 of the Adelphi Theatre five years earlier. The difference being that

the Canterbury Theatre in Plate 98 was a truer product of the Victorian age. The theatre was conceived in terms of Gothic arches and Romanesque spires. Heavy ornate decorations covered every surface. The four boxes

in the proscenium arch were divided into two sets of two boxes each.

There was no firs t tier level box because the space was utilized by a stairway. The fore-stage projected in front of the frame the width of one proscenium box. This was a little more projection than was custom ary. This Victorian Theatre of Varieties was the usurper of the

legitimate theatre acchitectural form.

Another music hall had become a theatre by 1865. Highbury Barn

Music Hali^ of Plate 83 was remodeled into the rather old fashioned

2 For further history of this music hall, see Appendix, page 56. 3 For further details on Highbury Barn, see Appendix, page 202. The theatre at Highbury Barn was called the Alexander. I have not used this name for the sake of clarity. There are severai other Alexander Theatres in operation at this time (see theatres by this name in Appen dix). Plate 99 has been mistakenly identified as the Alexandra Theatre in Camden Town when in reality it was the old Highbury Barn Music Hal 1 remodeled. 164

theatre of Plate 99. The proscenium arch in Plate 99 was one of the most conventional possible to design. The arch was one box wide by

three tiers high with the fore-stage projecting out to the auditorium

edge of the arch. This proscenium arch was not exciting architecture, but the literal conversion of a music hall to a theatre is interesting.

Variety had been established as one of the key words of this decade and a half of architectural development. As if to prove the point in 1867 there was opened in Holborn an Amphitheatre.^ Plate 100

represents an equestrian theatre of the turn of the century in the decorative garb of the mid-60's. The proscenium was only a frame with no boxes of any kind. It was a clean frame with a minimum of thick ness and the fore-stage terminated at its front edge. The orchestra pit was immediately in front of the stage.

Rebuilt in 1867, St. Martins Music Hall reopened as the Q,ueen‘s

Theatre.^ Plate 101 shows a proscenium arch with about four to six feet of physical thickness. The arch had sufficient thickness for boxes but contained no boxes. The fore-stage was curved, cutting the proscenium arch at about its center.

The Standard Theatre, after burning in 1868^ was rebuilt. It had been a legitimate theatre since 1845. The proscenium arch in

Plate 102 is a duplicate of that at the Q,ueen‘s Theatre in Plate 101

in that it had complete architectural and decorative separation from

^ For further details on the Holborn Amphitheatre, see Appendix, page 205, ^ For further details on the St. Martins Music Hall, see (iueen’ s Theatre, Appendix, page 270. ^ For a more complete history of the Standard Theatre, see Appen dix, page 312. 165

the auditorium. Also, this proscenium arch had the physical thick ness but it too contained no boxes. The fore-stage terminated at the fro n t edge o f the arch.

Plate 103 illustrates the South London Palace as rebuilt in

1870 .^ This tavern-music hall proscenium was a bare frame with com plete separation from the auditorium and containing no boxes. The fore-stage projected about two feet in front of the proscenium frame. o It was also in I87 O the new Vaudeville Theatre was opened.

The proscenium was essentially a two dimensional plane as seen in

Plate 104 in spite of its twelve inches of thickness. There were boxes immediately outside the frame. There is a temptation to call them proscenium boxes but they are not. The fore-stage projected about twelve to eighteen inches beyond the edge of the proscenium frame.

In 1876 the Canterbury Theatre of Varieties was remodeled and renamed the Canterbury Palace.^ The extensive remodeling of the proscenium is seen by comparing Plate 105 of the new theatre with

Plate 98 of the old theatre. The proscenium frame, although redecor ated, remained but the second proscenium arch of boxes was completely removed. There was one box on the fore-stage but it was so unusually placed that it belonged to neither the proscenium nor the auditorium.

The fore-stage projected about three feet in front of the proscenium frame.

^ For further details on the South London Palace, see Appendix, page 308. 8 For further details on the Vaudeville Theatre, see Appendix, page 332. 5 See footnote 2, page 163. 166

The Grecian Tavern Theatre'*^ was remodeled In 1876 also. Here was another example of a tavern music hall becoming a legitimate

theatre. The proscenium frame of this theatre as seen in Plate 106 was very standard. The proscenium had a minimum of physical thick

ness and there are no boxes associated with this frame. The fore

stage projection of 18 inches to two feet was also quite standard.

Once again the proscenium arch had disappeared. With it had gone the proscenium boxes and the double arch concept of the early 60's.

The proscenium In 1880 was a two dimensional frame surrounding the

stage opening. The fore-stage projected in front of the frame between

twelve and twenty-four inches. The orchestra pit was s till

immediately in front of the fore-stage.

Pit

For the most part, the pit is static through the entire fifteen year period. The pit of the Grecian theatre in Plate 106 is a good example of the standard. Here the front third of the pit was divided

into stalls. The back two-thirds was open seating on backed benches.

The pit flowed over the entire main floor of the building extending

under the tiers at the sides and the back. The pit entrance was in

the back of the auditorium with aisles running down the sides of the

benches permitting access to the ends of each row.

Plate 73 is the exterior of the Grecian Tavern, page 129. For further details, see Appendix, page 172. 167

Although this group of plates does not indicate any develop ment beyond this point, there are some interesting features about

these pits worthy of mention. In Plate 101, The Queen's Theatre,

notice that the seats in the pit are individual chairs. Perhaps

there are chairs only in the stall section. Enough of the pit is not visible in this plate to be certain. The division of pit stalls from the balance of the pit is very clear in Plate 102 where a heavy wall completely separates the two areas. The pit stalls in this print have a separate entrance which can be seen at the sides of the stalls coming down through the firs t tier.

The pit at the South London Palace in Plate 103 is reminiscent of the taverns and old music halls of ten to fifteen years earlier.

The group of dining tables and the bar at one side are vivid evidence of the mixed heritage of theatre architecture.

The Canterbury Palace in Plate 105 illustrates an interestingly modern pit seating plan. The main block of seats was in a center section with two side aisles creating small pit loge areas outside of the aisles. Perhaps as interesting as the seating arrangement is the fact that there was only one side loge.

Tiers

The only tier in the Highbury Barn Theatre in Plate 99 was a completely open area. It swept from proscenium to proscenium. There were no boxes in this theatre other than the ones in the proscenium arch. It is interesting to compare the decoration of the wall behind 168

the tier with the wall decoration of Highbury Barn Music Hall in

Plate 83. During the remodeling they did not bother to redecorate the walls; they did only what was necessary to the structure to make the transition to a theatre.

The Holborn Amphitheatre in Plate 100 was very similar to the old formal garden theatre (see Plate 15) at Vauxhall. The lack of private boxes on the face of the tiers is important but the possibility of private boxes at the back of the firs t tier exists. Behind the one or two rows of seats at the front of the firs t tier, there were a group of divided areas that might be boxes. These areas could also be slips but there is no definite evidence either way. The second tier was divided into three sections by walls parallel to the tier front.

The third area in the second tier was probably slips.

The circular nature of the tiers at the Queen’s Theatre in

Plate 101 was one of this theatre’ s most outstanding features. The scroll box dividing walls were novel. There were three private boxes on each tier next to the proscenium with the balance of the firs t and second tiers being open gallery seating.

The division of tiers at the Standard Theatre was quite anti quated. There was one private box on the firs t tier; two on the second; the third and fourth tiers appear to be all boxes. At the back of the auditorium, the third and fourth tiers were probably galleries. The second tier was divided by a parallel wall creating slips behind the front seats.

There were only two private boxes in the South London Palace.

These boxes were next to the proscenium on the firs t tier. The 169

balance of the firs t tier and the entire second tier were open gal

leries. Plate 103 gives the impression that the tier fronts form

almost a circle like that of the (Queen's Theatre in Plate 101.

It was not until the Vaudeville Theatre in Plate ]Qk that the private boxes formalized into an architectural concept. The design was not new; it was firs t introduced in the theatres of the 1770's and is epitomized by the Drury Lane of 1 783 in Plate 21. This design concept uses the side tiers for boxes and the back tiers for galleries as is true in Plate 104. The side box tiers in the Vaudeville

Theatre were much shorter than they were in the Drury Lane in Plate

21. These side tier boxes were separated from the back tiers by decoration as well as by physical structure. The Grecian Theatre in

Plate 106 shows a continuation of this revived Georgian concept.

Here the larger side tiers were four private boxes deep (the 1783

Drury Lane was only five side boxes deep). The Criterion Theatre''

in Plate 107 is almost a Georgian theatre in terms of the side boxes.

The firs t and second side tiers were banks of four boxes each. The side boxes were more ornately decorated in the Princess's in Plate

108 but the architectural concept was s till the same. Beginning at

the end of the private boxes, the balance of the firs t and second

tiers were open galleries. The open feeling of the Highbury Barn

Theatre was gone. The theatre was once again cut up into sections.

'' For further details on the Criterion Theatre, see Appendix, page 100. 12 For the history of the Princess's Theatre, see Appendix, page 2 6 3 . 170

^ Typical Reconstruction

By 1880 there had been an almost complete reversal of auditor

ium seating design. A comparison of Figure 13, the typical theatre of 1865 to Figure 14, the typical theatre of I 88 O, graphically illus

trates this new trend. Actually, the trend is not a new concept, but a revival of the Georgian playhouse design of 1790. Even the use of a proscenium frame without an arch is a reflection of this Georgian

renaissance. This Georgian influence makes the typical theatre have an odd combination of architectural styles for the pit and back galleries are definitely late Victorian in concept and execution.

Figure 14 is a typical reconstructed longitudinal section of

this theatre. The proscenium is a two dimensional frame surrounding

the stage opening. The fore-stage projects through this frame about eighteen inches. There is one private box on the pit floor but the

rest of the area is open seating, divided into stalls and general pit.

There are usually only two or three tiers. On the firs t and second

tiers there are three or four private boxes next to the proscenium frame creating the side tier effect. The remainder of these tiers at the back are open galleries. A typical theatre of 1880's reconstructed FIGURE 14

171 mma

courtesy Folger Shakespeare Library

Canterbury Theatre of Varieties, about 1863 PLATE 98

172 fi •

courtesy Harvard Theatre Collection

Alexandra (Highbury Barn Theatre), 1865"1871 PLATE 99

173

PLATE 100 Holborn Amphitheatre, 1867-1888

courtesy Harvard Theatre Collection i

courtesy Harvard Theatre Collection

Queens Theatre, Long Acre, 1867-1878 PLATE 101

PLATE 102 Standard Theatre, 1867

courtesy Folger Shakespeare Library i-iwk. /'■

iii?7T|Ty,rn, II

i j i

n ' l i ’ i '■ a

\ iji

courtesy Harvard theatre toi IectTon

South London Palace, about 1870 PLATE 103

175 PLATE 104 V audeville Theatre, 1070-1891

courtesy Harvard Theatre Collection

emiùütiuiitititi laiitrmta m

courtesy Harvard Theatre Collection

Canterbury Palace, about 1876 PLATE 105

176

PLATE 106 Grecian Theatre, 1876-1879

courtesy Harvard Theatre Collection courtesy Folger Shakespeare Library

C rite rio n Theatre, 1874-1877 PLATE 107 177 PLATE 108 P rincess's Theatre, 1880-1902 courtesy Folger Shakespeare L ib ra ry CHAPTER X IV

THE THEATRE AT THE END OF THE CENTURY CHAPTER XIV

THE THEATRE AT THE END OF THE CENTURY

Prosceni um

The P rin ce ss's Theatre in P la te 108 has been considered an example of the revived Georgian side tier theatre. Then it must also be considered the fore-runner of the giant proscenium that started off the 80's. Plate 109, the Savoy Theatre in 1881^ had a proscenium arch that was three boxes wide and three tiers high.

By comparing it with the Princess's Theatre in Plate 108, the only real difference is that the Savoy Theatre has a ceiling decoration in the form of an arch which connected the two side boxes. In both theatres the proscenium frame was in the same relationship to the boxes and in both theatres the fore-stage was terminated at this frame, but not connected to the boxes in any way. The Savoy was definitely a proscenium arch theatre while the Princesses Theatre has no arch, only a frame and adjoining side boxes.

The giant arch of the Savoy did not remain in favor long 2 because by 1882, the Avenue Theatre in P la te 111 had reduced the

* For fu rth e r d e ta ils on the Savoy Theatre, see Appendix, page 302. ^ For fu rth e r d e ta ils on the Avenue Theatre, see Appendix, page 36. - 178 - 179

arch to only one box in width but retained the three box height.

The tr a n s itio n to the Avenue Theatre from the Savoy is v is u a lly not as great as i t is v e rb a lly . The p r in ts show a much more gradual change than the description would suggest. The Avenue Theatre at tempted to retain some of the additional boxes by putting them back in the tiers. This separation from the proscenium architecture places them back in the auditorium.

Plate 114 of the Garrick Theatre^ in 1889 had a proscenium arch o f only one box in w idth but both auditorium t ie r s have two more boxes adjoining the arch. In all, the Garrick Theatre had a total of seven boxes on each side o f the auditorium . This is o n ly two less than the Savoy Theatre, yet the proscenium arch at the Garrick was much sm aller. if In 1897, Her Majesty's Theatre was rebuilt. Plate 115 is this proscenium arch. The arch was one box wide by three boxes high.

The fore-stage terminated at the edge of the frame and the orchestra p it extended to the auditorium side of the arch. This was the proscenium arch at the end of the Nineteenth Century.

The p it area had few innovations in basic design since the destruction of the firs t tier. The pit of the 90‘s had nothing startling to offer. The main floor of the theatre was the unchallenged

^ For further details on the Garrick Theatre on Charing Cross Road, see Appendix, page 159. 4 For fu rth e r d e ta ils on Her M ajesty's Theatre, see the Haymarket Opera House, Appendix, page 178. 180

province of the pit. About the most exciting change that was seen

in the p it of the last ten years of the Nineteenth Century was con

nected with the entrances to the p it area. The doors moved from the

back exclusively to the side wall and were found once again down

front. Plate 110 of the Novelty Theatre in 1882^ shows both the

side and down front entrances. The trend of having the pit stall entrance in the front of the p it was originated in the Standard

Theatre in 1863 as seen in P la te 102.^ The idea behind th is concept was to provide the pit stalls with a separate entrance. The doors seen

in the Novelty Theatre might be stall entrances with separate en

trances fo r the back p i t . The down fro n t doors can be p la in ly seen a t the Avenue Theatre in P late 111.

The division between the pit stalls and the balance of the pit was becoming sharper and more pronounced all the time. Plate 112 of

the Grand Theatre^ shows a strong line of demarcation between these O two areas. Plate 113 of the Criterion Theatre in 1884 indicates that the majority of the old p it area, the area surrounded by the firs t

tier, had been taken over by the pit stalls. The area behind the stalls under the first tier was allocated to general pit seats. In

the Criterion Theatre the stalls have arm chairs while the general pit s till uses backed benches. In the Grand Theatre in Plate 112 this back p it area assumed the general appearance of a gallery.

5 5 For further details on the Novelty Theatre, see Appendix, page 231. ^ See page 174, Chapter X I I I . 7 For fu rth e r d e ta ils on the Grand Theatre, Is lin g to n , see Appendix, page 170. ® For further details on the Criterion Theatre, see Appendix, page 100. 181

The door down front in Her Majesty's Theatre of Plate 115 is

in the same position as the p it entrances of a hundred years ago.

The only difference was that this door was labeled "WAY OUT." The

small section of pit that is seen in this print indicates that there

were very few rows of pit seats in front of the firs t tier front.

Although there is no visual indication of the pit-stall division

here, it undoubtedly existed, if not in actuality in the theory which

controls the prices of the various pit seats. The term orchestra

seats in the modern theatre is directly related to the pit stalls of

the Nineteenth Century.

Tiers

The tiers were open seating from side to side. The Savoy

Theatre in Plate 109 with its three box wide proscenium arch, had open seating in the firs t tier from proscenium box to proscenium box.

This t ie r was a shallow U in shape w ith continuous bench type seats

running parallel to the tier front. The second and third tiers cannot be seen in this print but probably the second tier was a dupli' cate of the firs t with the exception at the center back where it was

deeper for a gallery. The third tier was most likely side slips with a center back gallery. As the proscenium arch was reduced in

size and the boxes move from the arch to the auditorium as in Plate

111 o f the Avenue Theatre, the open seating began on the f i r s t t ie r

at the end of the boxes and continued around the theatre. Q There is a remnant of Wyatt's Dress Circle seen in the Grand

5 Drury Lane of 1812, see page 105, Chapter IX. 182

Theatre in Plate 112. The firs t tier has continuous seating from

side box to side box. There were a limited number of rows of seats parallel to the tier front. Behind these seats at the center of the

tier was the lower gallery. There appeared to be a wall dividing

the two sections. This same arrangement existed on the second t ie r .

This was very likely a general pattern that was followed in all

theatres to some extent.

This dividing w all can be seen in the C rite rio n Theatre in P late

113 on the second tier level. The indication here is that the wall divided seating from standing areas.

The front of the firs t tier was moving much closer to the stage area. Throughout this period as the tier sweeps around the theatre, the curve of the tier front was constantly becoming shallower and moving closer to the fore-stage. Plate 115 of Her Majesty's

Theatre is the best example of this shortening of distance. The curve of this tier front started at the edge of the proscenium arch and was quite shallow. It started three rows from the orchestra pit and at its deepest point was only ten rows from the orchestra.

This shallower curve was desirable from the architect's point of view in that it permitted a greater gallery depth in a restricted amount of floor space. This type of tier construction was only pos sible with the introduction of weight bearing materials having con siderable structural strength. This is post and lintel construction with the lintel being iron beams capable of carrying the weight of the enti re tier. 183

A Typical Reconstruction

The firs t impression of an actor standing on the stage of the typical theatrein Figure 15 would be of the apparent smallness of the auditorium . The fro n ts o f the f i r s t and second tie r s a t the center back would seem almost within reaching distance. The actor's reaction to the closeness of these tier fronts would be accurate but his impression about the smallness of the house would be wrong. The tiers of this theatre are much deeper than ever before, and while the seating capacity has remained approximately the same, the theatre is more condensed. The a rc h ite c t has been able to move the tie r s much closer to the stage because of new construction materials avai là)Ie to him, materials capable of bearing the great weight of the galleries over longer unsupported spans.

In the typical theatre of Figure 15, the proscenium frame is simple with the fore-stage terminating immediately beyond the frame.

The frame is set at right angles to the proscenium arch which is one box wide and three boxes high and related to the frame by decoration.

The p it is divided into two sections; one, stalls which were in front of the firs t tier and two, the general pit which is under the firs t tier. Entrances to the stalls are made through the side of the auditorium while p it entrance is at the back. There are no boxes in the theatre other than the proscenium arch boxes. The firs t tier starts at the edge of the proscenium arch with open seating and con tinues all around the theatre. There is some division between the seats at the front of the firs t tier and the gallery which is deeper 184

at the center back of the tier. This same arrangement is repeated on the second tier. There were usually only two tiers. A typical theatre of 1890's reconstructed FIGURE 15

185

PLATE 109 Savoy Theatre, 1881

courtesy Folger Shakespeare Library

m 1

□

courtesy Folger Shakespeare Library

Novelty Theatre, 1882 PLATE 110 186 PLATE 111 Avenue Theatre, 1882-1905 courtesy Harvard Theatre Collection

' , courtesy Folger Shakespeare Library

Grand Theatre, Is lin g to n , 1883-1887 PLATE " 2 187 PLAft U3 Criterion Theatre, 1884 courtesy Harvard Theatre Collection

Ï É IÏÏ i. courtesy Harvard Theatre Col lection

Garrick Theatre., Charing Cross Road, 1889 PLATE I 14 188 PLATE 115 Her M ajesty's Theatre, 1897-1902

courtesy Sachs, Modern Opera Houses and Theatres CHAPTER XV

TWO HUNDRED FORTY YEARS OF DEVELOPMENT CHAPTER XV

TWO HUNDRED FORTY YEARS OF DEVELOPMENT

Prosceni um

In a very general way, the emphasis placed on the proscenium having reached a high point of development by the middle of the

Eighteenth Century, declined through the entire Nineteenth Century.

Four basic variations of proscenium design can be found during this

240 year period. They are: ( l) the proscenium frame without an arch; (2) the giant proscenium arch with doors and/or boxes; (3) the proscenium arch one door wide; and (4) the proscenium arch one box wide. These four basic designs, although presented in chronological order, do not follow a continuous straight line of development. Each design appears in modified forms at various times throughout the period.

The f i r s t proscenium frame was created in 1660 by piercing a stage through a wall dividing the auditorium from the backstage area.

This frame was simply a plain wall with a hole in it. The edges of the hole became the proscenium frame and up-stage was located the new scenery. The actor did not associate with this new scenery, so

in order to permit him access to the acting area, a permanent wall was built in back of the frame. In this wall were cut doorways creating the f i r s t proscenium arch up-stage of the proscenium frame.

- 189 - 190

The location of the doors in this proscenium arch tunnel

created certain problems. Most of these deficiencies were eliminated

by moving the doors out into the auditorium wall. This relocation

of the doors moved the necessity of any arch. The end of the auditor

ium w alls created a natural frame. A proscenium frame was sometimes

set up-stage of the end of these walls to allow an entrance or exit

between frames. In this position, the proscenium frame served the

same function as the manteau d'arlequin or the first set of side

wings. At this time most of the actor entrances were made through

the doors in the auditorium wall directly onto the fore-stage. Above

these auditorium doors are the normal side t ie r boxes. But these

boxes cannot be considered proscenium boxes as there was no pros

cenium arch at this time.

The next logical step was to separate the part of the auditor

ium which contained the doors from the balance of the room. This

gave rise to giant proscenium arches in front of a proscenium frame.

At first, no doubt, the doors stayed deep in the auditorium within

this arch. But soon the doors were moved to the up-stage edge of

the arch, while the down-stage section of the arch was consumed by

several proscenium boxes. These arches contained six to eight boxes

plus the doors. There is a possibility that as early as the middle

of the Eighteenth Century the door part of the proscenium arch was

fabricated as a separate unit which could be attached to the pros

cenium box part of the arch as needed. At the height of this develop

ment, the width of a proscenium arch reached as much as twenty to

twenty-five feet in width. 191

In the la tte r half of the Eighteenth Century, the proscenium arch started to shrink in size. By I76 O i t had been reduced to the width of the door with accompanying over-head box. To s t i l l further

reduce its size, the door was set at rig h t angles to the auditorium w all. By 1775 , the arch had completely disappeared. The doors were back in the auditorium wall next to the frame created by the end of the auditorium walls on stage.Although the decoration of the theatres had changed, the architectural concept in 1775 was the same as i t had been one hundred years e a rlie r.

The arch rapidly made a reappearance and by 1790 i t wasagain

in use. This time it was only the width of a door wide and two tiers high. In 1794 the first attempt was made to eliminate the door com p le te ly from the proscenium arch, however, the door was quickly re turned to its normal position. Rather than expanding in width, the arch increased in height, first the door with two over-head boxes and then la te r the door with three over-head boxes. When the attempt to remove the door fa ile d and i t was returned to the proscenium arch, i t was again set at rig h t angles to the arch to reduce the amount of flo o r space consumed.

in 1812 another unsuccessful attempt was made to eliminate the proscenium door. Except for the fluctuating of the door, the pros cenium arch remained reasonably constant until 1820. The architecture had standardized the proscenium arch at the width of a door with three over-head boxes, or in other words, four tie rs high. By 1825 the proscenium door was gone. The arch was now four boxes high and one box wide. The four boxes coincide with the tiers in the auditorium, 192

but were separated from the tie rs by architectural elements and

decoration.

Once again the proscenium arch was to expand. Since additional

height was not practical, the width was increased. In 1841 the arch was two boxes wide with this concept continuing until the early i860*s.

During the I840*s and 50‘s there developed in the music halls

and taverns an interesting variation on the proscenium arch and the

stage proper. To serve th eir unique needs, the music hall evolved a

permanent architectural combination proscenium arch and stage unit which contained the proscenium boxes as well as providing a permanent

architectural background for the musical presentations.

In the last third of the Nineteenth Century, the proscenium

arch serves as a good illustration of the general confusion that

existed in the architecture of the entire theatre as well as in the

function of theatre. By 1865 the arch existed as a physical element,

but i t no longer contained any boxes. In re a lity , i t was a thick

proscenium frame. This mere frame concept was brought to fru itio n

in 1870 when the arch was completely eliminated and only the frame

remained. I t was in 1870 also that the f ir s t side tie r boxes reap

peared with a decoration connection with the proscenium frame. These

side boxes carried the same decoration as the proscenium frame and

both were d is tin c tly d iffe re n t from the balance of the auditorium. By

1880 these side boxes had reached four boxes in width, in 1881 the

arch decoration was placed over the top of the side boxes and the

proscenium arch was back to three or four boxes in width. 193

The giant proscenium arch was more a novelty than a permanent

trend. The arch had, however, returned in popularity. In the last decade of the century, the proscenium arch one box wide by three boxes high was considered the standard proscenium treatment.

Fore-Stage

A history of the fore-stage can hardly be considered in terms of development. The fore-stage reached its zenith of physical impor

tance by 1675 . From that time until the end of the Nineteenth Century

its decreasing importance is directly reflected by its diminishing size. By 1900 the fore-stage is only wide enough to contain the foot

lights and i t is never used as a major acting area.

The fore-stage was the major Elizabethan theatre element in cluded in the early Restoration theatres. Its exact relationship to the architecture of the early tennis court theatres is quite uncertain.

The scant information from the prints imply that i t was not a dominant element in these theatres. Conversely, the tradition of the Eliza bethan theatre implies that the fore-stage was the major acting area in the theatre and was therefore quite large, in 1674 the fore-stage projected beyond the proscenium frame (the frame is the logical reference point that will be used throughout this discussion in rela

tion to the length of the fore-stage) about eighteen to twenty feet.

In the early part of the Eighteenth Century, the fore-stage was

reduced to about two-thirds of the width of the large proscenium arches

in use at that time. The fore-stage projected about twelve feet in front of the proscenium frame, terminating usually at the auditorium 1 9 4

side of the major proscenium arch box. By the end of the century the fore-stage had stabilized at the width of a door plus the first box on the first stage level tier, representing a width of ten to twelve feet depending upon the individual theatre. As long as the proscenium door was in use the fore-stage had to project at least beyond the door.

In 1825 , after the door was eliminated, the fore-stage was reduced in width to correspond with the width of the proscenium arch. In the

I840's when the arch was to expand, the fore-stage remained constant.

I t became one half the depth of a two-box proscenium arch. About i860, the projection was cut down to twelve to eighteen inches beyond the proscenium frame. For the balance of the Nineteenth Century it varied a little from theatre to theatre, but it was never more than three feet in front of the proscenium frame. At the end of the century, the fore-stage was usually only the width of the fo o tlig h ts in front of the proscenium frame.

P it

The overall p it development of this period must be considered from two points of view. First, the shape of the pit as reflected in a plan view of the theatre and second, the relationship of the pit floor level to the main or ground floor level of the theatre. In general, there are fiv e basic p it shapes. These are as follows; one, rectangular; two, fan; three, U; four, horseshoe; and five, area defined by the shape of the main floor of the building. The shape of the pit has no direct bearing on the relation of the pit floor to the main or first tier floor level within a section view of the theatre. The pit 195 was located at four different levels within the theatre. One, it was b u ilt up on the ground flo o r level; two, i t was recessed below the ground or f i r s t tie r level; three, the front end of the p it was below ground level but the floor sloped up at the back above the f i r s t tie r ; and fourth, the complete elimination of the first tier with the ground floor level being consumed by the pit.

The early tennis court pits were built up on the building floor lik e a giant set of steps because these buildings were not o rig in a lly designed as theatres. The f i r s t theatres were b u ilt with the p it below the main floor level. The stage floor and the floor of the first tier usually represented the ground or main floor level. Both of these early architectural forms made use of a rectangular shaped pit. Even in the earliest theatre the pit floor was probably sloped for the best possible sight lines.

In 1675 the pit was s till a rectangular area completely enclosed by the firs t tier. The firs t indication of pit entrances were found at this time with the p it door down front under the firs t auditorium box.

The pit was not large, only about twenty to twenty-five feet deep and i t contained ten to twelve rows of backless benches.

By the middle of the Eighteenth Century the pit had assumed a fan shape. The sides were straight with the back wall containing a slight curve. The area was not much larger than before and the first tie r s t i l l completely enclosed the p it . The p it was below main floor level with the flo o r sloped up at the back. The entrances were s t ill down fro n t. 196

Before a progressive change in the p it shape was made, i t first regressed to the rectangular pit of the Seventeenth Century. This happened early in the second half of the Eighteenth Century as a pre

liminary movement to the U shaped pits of the 1770‘ s and 80's. In the

legitim ate theatres the only p it element which changed between I 78 O and

1790 was the p it's shape with a ll other elements remaining essentiallyh the same. By the 1770's the pit was U shaped and in the latter part of the 1780 ‘ s, the proscenium end of the U was compressed into almost a horseshoe shape.

The non-legitimate theatres of the 1770's started the destruc tion of the enclosed nature of the p it. The p it was raised to the main floor level of the theatre and this new height caused the destruction of the first tier. The pit then moved into the space left by this tier, by expanding to the sides and back. The use of the ring in the eques trian theatres definiteiy contributed to the destruction of the first ti e r .

In the legitimate theatres of the 1790's, the relationship of the pit to the ground level caused the elimination of part of the first tie r for s t ill another reason. The pits were increasing in size and in order to obtain sufficient slope to the floor for sight lines, it was necessary to raise the back of the p it to the bottom of the second t ie r . This p it was s t i l l contained by the tie rs , but not in quite the same manner as before. At this time the entrances were moved from down front and relocated half way up the sides of the pit. Often they were in the same relative position as the old f ir s t tie r boxes. From 1790 to 1810 the shape of the pits remained either that of a U or the compressed U horseshoe. 197

During the year 1812, the f ir s t basic change in p it shape in fo rty years was accomplished, A c irc u la r p it was tried but i t proved unsuccessful. Through various remodeling, by 1825 i t had been changed back to a horseshoe shape. In 1813 the f i r s t equestrian theatre was converted into a legitimate playhouse, and in the conversion the open main floor remained a pit. in 1814 the first legitimate minor theatre was remodeled to include a p it that expanded back under the second tier both at the sides and in the back. The shape of the pit was no longer controlled by the shape of the tier fronts. The shape of the pit was now determined by the shape of the main floor of the building.

With the opening up of the p it, the entrances were moved to the back of the mai n floor.

For the next forty years the p it remained essentially the same. Not until the introduction of stalls in the l840‘s and 50*s was there any major change in the theatre pits. The front section of the pit was divided into stalls to compensate for the decreasing number of boxes in the tie rs . Throughout the la tte r third of the Nineteenth

Century, the s ta lls became more and more prominent and consumed more of the pit area. By the i880‘s the stalls had taken over all of the original p it area. The general p it seats were pushed back under the second tier almost like a main floor gallery. By the end of the century, the stall division walls had disappeared but the concept of the divided p it remained. 198

Ti ers

The development of the tie rs is d ire c tly correlated to the size of the theatres. This correlation exists in the one-tiered theatres of

1660 as well as in the six-tiered major theatres of 1825 to 1840 when the theatres increased to their largest seating capacity, making use of fiv e side tie rs and two deep back g a lle rie s . The minor theatres during the la tte r half of the Nineteenth Century reduced the number of tie rs concurrent with the employment of a more open type of tier seating. By the end of the century, the theatres contained only two tiers composed entirely of open gallery type seating.

The side tie rs in the tennis court theatres were based on the existing balconies of the pre-theatre days. The very early theatres had probably only one side t ie r . As soon as the p it was lowered below the main floor level, then a stage level tier became practical thus permitting a second tie r , in 1674 the two side tie rs were divided into boxes by low walls perpendicular to the tier fronts. These interior walls coin cided with the tier front decoration. At the back of the pit were three galleries, the first one barely above the level of the pit; the second gallery was the back of the first tier and the third gallery the back of the second tier. The second and third galleries were the deepest.

During the first half of the Eighteenth Century, the number of side tiers increased to three or four. These side tiers followed the fan shaped p it that was prevalent where the tie rs spread apart as they receeded from the proscenium arch. These side tie rs were divided into small semi-private boxes and were completely separate from the three 199

back tiers. The firs t back tier just above the level of the p it was

sometimes divided into boxes also, while the second and third back

tiers were open galleries.

By the late 70‘s or early 80's, in conjunction with the U

shaped pit, the first tier encompassed the pit with a continuous circle

of boxes. The sides of the second and third tie rs were s t i l l divided

into boxes by low walls while at the back of these two tiers were the

inevitable deep galleries. It was about this same time that the

equestrian theatre with the ring in the pit eliminated all of the first

tier except the box next to the stage. By I 8 O6 the equestrian theatre

had established the idea of the second proscenium arch of boxes next

to the real proscenium. These were the only boxes in the entire

theatre. The balance of the three tiers were open gallery type seating.

The back center of the tiers had the greatest number of seats cor

responding to the normal g a lle rie s .

in the legitimate theatre at the beginning of the Nineteenth

Century, the most outstanding single element of evolution was the size of the theatre. The f ir s t three tie rs were comprised of boxes completely

surrounding the theatre. This usually represented a total of about

seventy-five semi-private boxes. The back center of the first tier was opened up for either slips or a half tier of large boxes. The sides of the fourth tie r were usually slips with the center back of this

tier the lower of two galleries. The fifth tier had no side areas, only a back gallery. Occasionally the first tier was interrupted by

the slope of the pit. In this case, the first tier boxes were referred

to as pit boxes and there were usually six on each side of the

audi tori um. 200

By the end of the first quarter of the Nineteenth Century, the major theatres had grown at least one tier higher. The first tier had p it boxes on both sides of the auditorium. The second tie r was known as the Dress C ircle. A few rows of select seats were at the front of

this t ie r . Behind these Seats were either other boxes or open slips.

The third and fourth tiers were entirely private or semi-private boxes.

The sides of the f i f t h tie r were slips and the center back a g allery.

The sixth tier had only a back gallery. This period represented the

legitimate theatres greatest physical expansion.

At this same time, the minor theatres were involved in raising

the pit to the main floor level of the theatre. The new floor level of the p it automatically removed the f ir s t tie r from these smaller theatres. Other than the f ir s t tie r and the size of the theatres, the minor theatre reflected the same trends as those seen in the major houses.

By the middle of the century, all boxes had been eliminated in the newer theatres except those next to the proscenium. Here were two or three private boxes on each tier. The balance of the tiers was open gallery type seating. The normal theatre at this time had three tiers at the sides with the third tier being slips.

By i860, there were few boxes to be found outside of the proscenium arch. The cantilever principle of construction was being applied as much as available materials would permit. This all tended to open up the tie rs of the auditorium as never before. Rather than creating boxes to establish divisions in the tier seats, these areas were divided by low walls running p arallel to the tie r fronts. These 201

low walls effectively allowed each tier to be divided into two seating areas. Occasionally, s ta lls or large boxes were found behind the front tie r division. This idea was d ire c tly related to the dress c irc le concept of seating employed by Wyatt in 1812.

From i 860 to I 88 O there was a revival of the Georgian architec tural concepts. The side tiers composed of private boxes made a short return to the architectural picture. The Georgian influence was more of a fad than a trend. Three or four private boxes were located on each of the three side tiers. The side tier area was separated from the rest of the auditorium both physically and decoratively . The back of these three tiers were deep galleries. The use of shorter side tiers brought the back of the tier closer to the stage. The strength of structural materials permitted the galleries to become deeper, but at the same time, the total area of the theatres was reduced. By the end of the century there were only two tie rs , both quite deep. S t ill, the most distant seat in the house was not much further from the acting area than was a man at the back of Wren's Drury Lane in 1675. There were no boxes in this theatre other than the ones in the proscenium arch. Although a ll of the seat division walls had been eliminated by the end of the century, the basic principle of separate seating areas remained in the arrangement of the seats. Copyright by

P h ilip Alan Macomber

1959 THE ICONOGRAPHY OF LONDON THEATRE

AUDITORIUM ARCHITECTURE, 1660-1900

VOLUME II

DISSERTATION

Presented in P artial Fulfillm ent of the Requirements of the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

P hilip Alan Macomber, B. A., M. A.

The Ohio State University

1959

Approved by:

Advi ser Department of Sp'eech TABLE OF CONTENTS

Page

CATALOGUE

INDEX OF THEATRES...... 351

INDEX OF ARTISTS AND ENGRAVERS...... 365

INDEX OF OWNERS AND MANAGERS...... 380

INDEX OF ARCHITECTS...... 390

BIBLIOGRAPHY ...... 395

I I PREFACE

Volume i l , the Appendix, is composed of six basic parts which

are interconnected to form a compact, concise reference guide to the

iconography of London Theatres from 1660 to 1900. Each of these six

sections serves a different function in the identification and loca

tion of the theatre pictures. Parts one and two are interlaced to

form the Catalogue. Each theatre has a separate Fact Sheet on which

pertinent information concerning that theatre's physical development

has been recorded. Immediately following the Fact Sheet is the

catalogue page on which is listed in chronological order every picture of that particular theatre building. Accompanying each catalogue entry is a short descriptive phrase which will aid in visual identifi cation of the individual pictures. A detailed explanation along with abbreviations and short titles used in the Catalogue are found on the

followi ng pages.

The Fact Sheets indicate the names by which each theatre was

known at various times in its history. In the Index of Theatres be ginning on page 351, these different names are listed alphabetically

and cross-referenced to the one name for that theatre which appears

in capital le tte rs . This is the name under which the Catalogue entries

are found for this particular building. Whenever possible the duration of use of a particular name is indicated with the index entry.

i i i IV

Whenever available, the names of the original artist and

engraver of each picture are listed in the Catalogue entry. This

information is also listed in the Index of A rtists and Engravers

beginning on page 365, but in this index the emphasis is placed on

an alphabetical listing of the names and each name in turn is referred

to one or more Catalogue entries. These indices will facilitate the

identification of a print when either the name of the theatre, artist

or engraver is available for reference.

The Index of Owners and Managers w ill assist in the id e n tific a

tion of a few of the many confusing names which are constantly being

associated with the theatres. The index of Architects listed alpha betically, with reference to the theatres designed, will aid in the

identification of various buildings through architectural style and w ill f a c ilit a t e a comprehension of the architectural form of a p articu lar building by suggesting comparisons with other buildings by

the same architect. KEY TO CATALOGUE

Exp]anation of Catalogue Entry

No...... Sequence number of print

D a t e ...... Date of theatre as depicted

Location of View .... General area pictured

Nature of View ...... Architectural elements seen within the general area

Theatre as Named .... The name of theatre as indicated on the pri nt

Identifying Description . Indication of a unique element for positive print identification

A rtis t ...... The original artist of the picture

Engraver ...... The translator of the artist's picture into a printable engraving

Location of Published P rin t ...... Author and book containing printed picture

Publisher ...... Indicated only if plate is removed from book

OSUTC # ...... Ohio State University Theatre Collection Microfilm and frame number

Location of Original . . The owner of the print is indicated when it is different from the publi sher or book

Abbreviations Used i n the Catalogue Entries

A ...... Auditorium

( a ) ...... Arti st

C ...... Collection

C ...... Center

V V I

c ...... in connection with a date 'about*

C G ...... Covent Garden

( e ) ...... Engraver

F ...... Foreground

H a y...... Haymarket

L ...... Left

L of C ...... Library of Congress

M ...... Museum

Mag...... Magazine

NYPL ...... New York Public Library

O.H...... Opera House

OSUTC #000:00 a or b . . Ohio State University Theatre Collec tion Microfilm number: frame number (a/b/c indicate more than one print per frame) o p ...... opposite

P ...... Proscenium

P ...... page p i ...... Plate

PL ...... Public Library

R ...... Right

RlOH ...... Royal Ita lia n Opera House

V £• A M ...... Victoria and Albert Museum VI I

Abbreviated Titles for Reference Entries In Catalogue

BOOKS

Ackerman, Microcosm of London Ackerman, Robert, The Microcosm of London, or London in M iniature, London, Methuen & Co., 1904, (based on e a rlie r e d itio n ), 3 volumes.

Baker Baker, Henry B., History of the London Stage. London, George Routledge & Sons Limited, 1904.

Berg Berg, Albert E ., The Drama. Pai nting. Poetry and Song, New York, P. F. C o llie r, 1884.

Besant, London Ni neteenth Century Besant, Sir Walter, London in the Nineteenth Century. London, Adams & Charles Black, 1909.

Besant, North London Besant, Sir Walter, London North of the Thames. Adam & Charles Black, London, 1911.

Besant, South London Besant, Sir Walter, London South of the Thames, London, Adam 5- Charles Black, 1912.

British Theatre Raymond Mander and Joe Mitcherson,. A Pictoral History of the Bri ti sh Theatre. London, Hulton Press, 1957.

Brook Brook, Donald, The Romance of the English Theatre . London, R ockliff, 1945.

Chancel lor Chancellor, E. B., The XVI 11th Century in London, London, B. T. Batsford, 1920.

Chetwood Chetwood, William R., A General History of the Stage. Dublin, 1749.

Clunn Clunn, Harold P., The Face of London. New York, E. P. Dutton & Co., Inc., 1937.

Cunn i ngham Cunningham, George H ., London. London, J. M. Dent & Sons Ltd., 1927. VIII

Di bdi n Dibdin, Charles Jun., History and Illustrations of the London Theatres Compri si ng An Account of the Origin and Progress of Drama in England, London, J. Moyes, 1826. (OSUTC #503, Hunti ngton)

Doran Doran, J ., Annals of the English Stage, London, John C. Nimmo, 1897.

Dumont, Paralel 1e Dumont, Gabriel P. M., Paralelle de plans des salles de spectacles d'Italie et de France. Paris, 1763- (OSUTC #66, Library of Congress)

Grant Grant, James, Penny Theatres. London, The Society for Theatre Research Pamphlet Series: No. 1, 1950-51, 1952.

Gwi 11 Gwilt, Joseph, An Encyclopaedia of A rchitecture, London, Longmans, Green & Co., 1888.

Kni ght Knight, Charles, London, London, Charles Knight & Co., Volumes 3, 4, 5 and 6, 1843.

Ni col 1 Ni coll, Allardyce, The English Theatre. A Short History. New York, Nelson & Sons, 1936.

Oui ton Oui ton, Wally C., History of the Theatres of London. London, Marti n & Bai n, 1799.

Oxford Editor: Phyllis Hartnoll, The Oxford Companion to the Theatre, New York, Oxford University Press, 1951.

Picture of London 1813 The Picture of London for 1813, London, Longman, Hurst, Rees, Orme and Brown, 1813.

Pi nks Pinks, Wm. J., History of Clerkenwell. London, Charles Herbert, 1881.

Sachs Sachs, Edwin 0 ., Modern Opera House and Theatre. London, B. T. Batsford, 1897, 3 volumes. IX

Saunders Saunders, George, A Treatise on Theatres. London, J. & J. Taylor, 1790.

Sherson Sherson, Errol 1, London's Lost Theatres of the Nineteenth Century. London, John Lane, The Bodley Head Ltd., 1925.

Survey of London Editors: Howard Roberts and Walter H„ Godfrey, Survey of London. London, London County Council, 1951» 26 volumes.

Walford Walford, Edward, Old and New London. London, Cassell Peter Galpin, 1861.

Watson Watson, E.B., A Study of the Nineteenth Century London Stage. Cambridge, Harvard University Press, 1926.

Wheatley Wheatley, Henry B., London Past and Present. London, John Murray, 1891 , 3 volumes.

Wilkinson Wilkinson, Robert, Londi na 111ustrata, London, I825 , 2 volumes. (OSUTC #3 6 , New York Public Library)

W illi ams Williams, Michael, Some London Theatres. London, Sampson Low, Marston, Searle and Rivington, 1883.

PERIODICALS

Archi tectural Revi ew Archi tectural Revi ew. London. A Nagazi ne of Archi tecture and Decoration. Volume 1, November, I 89 I, to Volume 100, December, 1946.

Belgravia Belgravia. A London Magazine. M. E. Braddon, ed ito r. Volume 1, February, 1867, to Volume 70, December, 1899.

Connoi sseur The Connoi sseur. An I 11ustrated Magaz i ne for Col lectors. London, Volume 2, 1902 to Volume 141, 1958.

Mask The Mask. A Journal of the Art of the Theatre. Italy, Volume 1, 1908-09 to” Volume 15, 1929. Harlequî n The Harlequi n. A Journal o f the Drama. London, 9 issues, 1829. (OSUTC #485, Hunti ngton)

Notebook Theatre Notebook, A QuarterI y Journa1 of Hi story and Techni que of the B ritish Theatre, London, Volume 1, 194-5 to Volume 13, Number 2, 1958.

Theatre World Theatre W orld, London, Volume 27, 1952 to Volume 55» February, 1959.

NEWSPAPERS

I. L. N. Illu s tr a te d London News, London, Volume 1, 1842 to Volume 115, 1899.

I. N. of the W. Illustrated News of the World, London. (OSUTC #332, Folger)

I . S. and D. N. I 11ustrated Sporti ng and Dramatic News, London. (OSUTC #332, Folger) ADAM AND EVE TAVERN TEA GARDEN 38 Ki ngs Road c. 1718, tea gardens organ i n Long Room Broughton's Amphitheatre for prize fights menagerie’

1824, demolished^

^Walford, Vol. 5, page 304-305. ^ Survey of London, Vol. 19, page 61 Date, Location of View Location of Published Print identifying Description No. Nature of View Publisher Location Artist Engraver ThpatTft aq Named OSUTC # of Orioinal 1 C I75 O, exterior Sign at top L of Building Walford, vo l. 4, p. 475 Adam & Eve Tavern Carriage racing through street a) W P

Adam and Eve Tavern Tea Garden 38 Kings Road ADELPHI (Sans P areil) Strand

1806 , Nov. 2 7 , Opened a new theatre as Sans Pareil Owner: John Scott Cost; L 25,000 Measurements: e x te rio r length 155* w idth 40* height 55* i n te rio r 2 tiers containing 17 boxes

1814, Dec, 2 6 , Reopened after remodeling auditorium and facade Cost: L 5,000 Total seating capacity 1320 value of house L 200 pi t 800 2s 29 boxes i n 2 tie rs 460 4s (Includes standees) Gal 1ery 560 Is Measurements: exterio r length 183* width 40* height 55* prosceni urn width 28*'

sold, remodeled and renamed Adel phi Owners: Jones and Rodwel1 Cost: L 25,000 9 Gas lights added to auditorium

1821, remodeled Owners: Terry and Yates

1835, Admission boxes 4s p it 2s gallery Is (only one) Total seating capacity I5OO-2000’

1840, remodeled, new facade added

1848, Oct. opened remodeled Architect: Charles Manby Decorator: Digby Wyatt Contractor: Sang Manager: Webster ADELPHI (Sans P a re il)— contd.

(1848, Oct.) Ceiling raised to a dome seats in dress c irc le now have backs new entrance halls^

1858 , reb u ilt Owner; Webster Manager: J, L. Toole Architect: I . H. Wyatt Total seating capacity 1400 p it with 1‘ 6" for each person 565 orchestra s ta lls with 2* for each person 74 s ta lls in upper boxes (3 rows) 135 gallery in 3 rows of seats 334 stalls in gallery (2 rows) 92 private boxes 80 each box 14* wide by 16* deep Measurements: inside main wal1s width 70 * length 107* prosceni urn height 38* width 35* ceiling above p it 53* 9" stage above pit floor 5*5

1879 , remodeled and redecorated Manager: Gatti

1887 - 88 , re b u ilt facade^

1899 , demolished

1901, Sept. 1, opened new theatre the Century Manager: Tom B. Davis

1 OSUTC #1002:325 to 328 (Harvard). 2 Baker, page 4l5. 3 Grant, page 76. ^ OSUTC #332:64 (Folger). ^ Illu strated London News, Dec. 18, 1858, page 380. 6 Baker, page 435. Survey of London, vo l. 18, page 128. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Thftatra aü Named OSUTC # of Orioinal 1 cl808*, exterior, orange girl entering theatre F C San P a re i1 #332:144 Folger

This building is marked 'Adelphi" but the print is dated 180£ . If the date is accurate then the name has to be ian Pareil. If, instead, the name is correct, then the print must be la te r than 1819.

2 1815, in te rio r 2 girls & spinning wheel c stage A 6- P WiIkinson San P arei1 (a) G. Jones (e) Springsguth #36:13 NYPL

3 1815, e x te rio r boy running from entrance to meet woman & chi 1d W IIki nson San P arei1 (a) G. Jones (e) Springsguth #36:13 NYPL

4 1826, ex te rio r woman & girl only people L F J. Taylor Adel phi (a & e) Daniel Havel 1 #1002:317 Harvard

5 1829, ex te rio r no people, very small E. P. Sanger Adel phi (?) C. P h illip s #1002:183 Harvard

ADELPHI (San P areil) S t r a n d vn Date, Location of View Location of Published Print Identifying Description Mo, Nature of View Publisher Location Artist Engraver OSUTC # of O rio in a l 6 c 1829 , exterior same sketch, different engraver The Mirror pg. 291 than #5, 4 st. lamp posts at curb Adel phi #1006:6 Harvard

7 cl835, exterior woman, man & dog in front of carriage R F Adelphi #1002:319 Harvard

8 1840, Nov. 7, exterior boy offering papers standing The Mirror, vol. 36, #1031 between street lamp posts C Adelphi #1006:9 Harvard

9 1842, Nov. 12, interior jester on bench stage R 1. L. N., vo l. 1, p. 428 P Adelphi (?) J. H. Ford

10 1842, Dec. 10, interior sign sthge R, "VAGRANTS" 1. L. N., vo l, 1, p. 493 P Adelphi (?) J. H. Ford

11 cl843, exterior man with sign on each side of Knight's London, vol. 5, p. 287 theatre Adelphi (a) B. Sly (e) Borrows

ADELPHI S tra n d

ON Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Thpsfrp. Named OSUTC # of Orioinal 12 cl840, exterior carriage leaving L, many people entering theatre Adel phi #1006:7 Harvard

13 1848, Oct. 7, interior view from stage, man & woman C 1. L. N., vol. 13, p. 224 P & A stage Adelphi (?) Smyth

14 1858, Dec. 18, plan areas identified 1. L. N., vol. 33, p. 580 dress ci role level Adelphi

15 1858 , Dec., interior empty house, 1 chair extreme R, A & P 1n detai1 Adelphi #332:143 Folgers

16 1858 , Dec. 16, interior house empty except for woman i n I. L. N., vol. 33, p. 579 A & P chair extreme R & 2 men in pit Adelphi (?) F W

17 C I8 5 8 , Dec., interior house 25% fu ll, temple on stage A & P curtai n Adelphi (?) G. F. Barcent #1006:16 Harvard

ADELPHI S t r a n d Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC U of Orioinal IS 1858 , Dec. 2 5 , interior 3 people on stage, house empty Thaler*s Shakespeare to Sheridan A & P op.p.146 Adelphi

19 1859, Jan. 1, interior rocking horses & drums on each A & P side of stage Adelphi #529:2 Huntington

20 cl860, exterior crowd in front of door, man in street handing out papers Adelphi #46:41 L of C

21 cl860, exterior very small, large crowd, 1 lamp post lines up with R corner of Adelphi theatre #1002:3 Harvard

ADELPHI S t r a n d oo ROYAL ALBERT HALL OF ARTS AND SCIENCES Hyde Park, Kensington Gore

1871 , March 29, opened by Q,ueen Victoria and Prince Albert for the Exhibition of 1871 Architects: Capt. Fowke & Capt. Scott Cost: L 200,000> Total seating capacity 12000 Pit 1000 3 tiers of boxes each 1000 1st tier gallery 1800 2nd tier gallery 2000, s tal1s 1366/ Auditorium a gigantic ellipse Stage room for orchestra of 200 for choi r 1000 Exterior dimensions width 200' length I 6 0 ' height l40'^

1 Besant, Survey of North London, p. 9 8 . ^Wheatley, vol. 1, p. 16-17. 3 Walford, vol. 5, pp. Ill to 115. Date, Location of View Location of Published Print 1 Identifying Description No. Nature of View Publisher Location Artist Engraver Thfiafrfi Name.rl OSUTC # of Orioinal 1 1871, exterior L C of picture is Hall, h poplar Walford's Old & New London, trees divide the building vol.5, p. 114 Albert Hall

2 1871, interior giant organ C, empty but for 12 A peop1e Albert Hall #1002:7 Harvard

3 1871, interior audit, fu ll, 7 people standing on Walford's Old & New London, A each side of orch. area vol.5, p. 115 Albert Hal 1

ROYAL ALBERT HALL OF ARTS AND SCIENCES Hyde Park, Kensington Gore ALBERT SALOON Shepherdess Walk, Hoxton (now City Road)

1844, 2 stages at right angles with only one open air auditorium

1857, closed’

This might be located in conjunction with the "Old Milestone" tea gardens which received a very passing mention by Walford, Old & New London, vol. 2, pp. 227-8.

ROYAL ALBERT PALACE Exhibition Hal I Battersea Park Prince of Wales Road between Victoria Road and Forfar Road

1885, opened as an exhibition house and a popular resort

1888, closed^

’ Sherson, pp. 326-7. ^ Besant, Survey of London South, p. 156. 12

ROYAL ALBION (Cooke's Equestrian Circus, Theatre of Arts, New Queens) Windmill St. W., Haymarket

1832, Dec. 26; Royal Albion'

1833 end of year: New Queens

1834, Nov.: Theatre of Arts, Exhibition Hall

1835 , Feb.: New Queens^

1835 , June: Royal Albion^

1836 , demolished for the construction of the Argyle Rooms^

' Sherson, p. 320. ^ Baker, p. 347. ^ Notebook, vol. 12, p. 19. ^ Sherson, p. 320. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O ria in a l 1 c l8 3 2 or 1835, interior man seated at back of pit L F, 2 Theatre Notebook, vol. 12, p. 20 A & P women with shawls seated C pf pit pi. 2 Albion Westmi nster Pub lie Li brary

ROYAL ALBION (New Q.ueens, Theatre of Arts, Cook's Equestrian Theatre) Windmill Street, Haymarket 1 4

ALEXANDRA PALACE Muswel1 Hill

1873 , May 24, opened as Alexandra Palace an exhibi tion hall built from the materials of exhibition hall of the Exhibition of 1862 exterior dimensions width 400* length 900* contai ned concert room a theatre seating capacity of 2000 a stage as large as Drury Lane

1873 , June 10, burned after being open only 14 days^

1875 , May, rebuilt and reopened as the Alexandra Palace also an exhibition hall contai ned; Grand Hall with seating capacity of 12,000 orchestra capacity of 200 Concert Room with seating capacity of 3500 Theatre with seating capacity of 3000^

' Walford, vol. 5, p. 435.

^ Sachs, vol. 3, appendix, p. 9 8 . ^ Walford, vol. 5, P. 436. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 1876 , exterior railroad tracks F C to building, 1. S. & D. N. (4/17/1875), p.53 3 people waiting on platform C Alexandra Palace (?) G, T. James #1006:17 Harvard

2 1876 , exterior palace on the hill across the Walford, Old & New London, river, 2 women & 1 chair this side vol. 5, p. 433 Alexandra Palace of river (a) A.P. Leitsh (e) J. Q.

ALEXANDRA PALACE Muswel1 Hill vn 16

ALEXANDRA THEATRE (Royal Alexandra, Park Theatre) Park St. Regents Park, N.W. in Camden Town

1871 , opened as Park Theatre Owner: Thorpe Pede' Architect: J. T. Robinson Cost: L 20,000%

1873 , May 3 1 , changed name to Alexandra^

1879 , changed name back to Park^

1881, Sept. 10, burned^

' OSUTC #1002:8, Harvard. ^ Sherson, p. 291. ^ Baker, p. 381. ^ Sherson, p. 293. 5 Sachs, Vol. 3, appendix, p. 103. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named . OSUTC # of Oriainal 1 1871, interior 1 person seated in C of 1st row of A & P pit Alexandra #1002:8 Harvard

ALEXANDRA THEATRE (Royal Alexander, Park Theatre) Park Street, Regent Park, N. W. 18

ALHAMBRA THEATRE (Panoptican of Science and Arts, Alhambra Variety Theatre, American Circus) Charing Cross Road, Leicester Square

1854 , Panoptican of Science and Arts Architects: Finden £• T. Hayter Lewis^ Cost: L 100,000

1858, Changed name to Alhambra Palace and American Circus Manager: E. T. Smith Added ring for horse riding, athletics, etc. Panoramas

1864, Dec., Building remodeled and stage added Owner: F. Strange Architect: W. M. Brutton^ Became a Music Hall

1871 , Building remodeled, converted from Music Hall to theatre^

1882 , Dec. 7, Burned^

1883 , Dec., New Alhambra Variety Theatre opened Architects: John Perry and F. H. Reed Seating capacity 1800 to 4000 (counting standees) Proscenium opening: width 39' 3" height 40' Measurements: curtain line to front of fir s t tier 63' 9" curtain line to furthest seat 101' 9" insi de main wal1s width 62' 3" length l4 l‘5

' Wheatley, vol. 1, p. 30. ^ Besants, London in the 19th Century, p. 195. ^ Baker, p. 343. ^ Sachs, Vol. 3, appendix p. 105. 5 Sachs, Vol. 1, pp. 41, 42 and 43. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of O ria in a l 1 1854, interior exhibition hall, 2 tiers around Walford. Old & New London, nave fountain, water shoots to ceiling vol. 3, p. 169 Panopticon of Science (?) F. W. and Art

2 1858 , Apr.24, interior man doing acrobatics on sheet held 1. L. N., vol. 3 2 , p. 421 A & Ring by 6 men Alhambra Palace and American Circus

3 1858 , June 12, interior horse with foot on post on top of 1. L. N., vol. 3 2 , p. 592 A & Ring barrel C Alhambra Palace (?) E. Landells

4 1858 , Nov. 13, interior donkey pulling carriage, donkey 1. L . N., vo l. 33, p. 454 A & Ring walking behind with feet on Alhambra Palace carriage (?) E. Landells

5 cl864, Dec., exterior 2 horse carriages entering L, woman crossing street C J. Akerman Alhambra (?) M. d. #1002:12 Harvard

6 C1864-71, interior p it floored for ball, orch. on "The Registered Letter" A & P stage C Alhambra #1006:18 Harvard

ALHAMBRA THEATRE (Panoptican of Science and A rts, Alhambra Variety Theatre, American Circus) Charing Cross Road, Leicester Square VD Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O ria in a l 7 1882, Dec. 7j exterior before fire , as seen across the square, building labeled Alhambra (?) F. W. #1002:11 Harvard

8 1883, Nov. 3, interior as seen from a balcony entrance, 1. S. & D. N., p. 184 A & P 2 men seated in chairs in aisle Alhambra Theatre (?) F. Watkins #332:158 Folger

9 1883, exterior photo from square, name obscured Sachs, vol. 1, p. 42 half by a tree Alhambra Variety

10 1883, interior curtain down on stage, classic Sachs, vol. 1, p. 43 P & A set, small group in L F Photo Alhambra Variety

11 1883, interior heavy drape & empty chair L F Sachs, vol. 1, p. 43 Promenade Photo Alhambra Variety

12 1883, exterior archi tects 1i ne drawi ng Sachs, vol. 1, p i.54 Li ne elevation Alhambra Variety

ALHAMBRA THEATRE Charing Cross Road, Leicester Square Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named _ OSUTC # of Oriainal

13 1883, interior section showing Prose, and tier Sachs, vo l. 3, fig 430 Section at Prose. arrangement, line drawing Alhambra Variety

14 1883, interior,transverse complete theatre section, line Sachs, vol. 1, p i. 54 Section of Audi t. drawi ng Alhambra Variety

15 1883, interior complete theatre, line drawing Sachs, vol. 1, p i. 55 Longitudinal section Alhambra Variety

16 1883, plan areas identified at R, line Sachs, vol. 1, p i. 54 Stage level drawi ng Alhambra Variety

ALHAMBRA THEATRE Charing Cross Road, Leicester Square 22

ALMACK'S (Willis Rooms) King Street

1765 , Opened Owner: Almack Architect: Robert Mylne bal 1 room ICC x 40* meeting place dramatic readings concerts balls 2 dining and danci ng

I813 , Owner: Mr. Willis^

1844, Charles Kemble reads Shakespeare^

1863, Closed^

^ Wheatley, vol. 1, p. 37. ^ Walford, vol. 4, pp. 196-7. 3 ibid. , p. 198 . ^ Ibid.. p. 200. 5 Wheatley, vol. 1, p. 38. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of O rin in a l 1 pre 1813, exterior woman wi th basket on head R F, Walford, Old and New London, 4 barrels in street vo l. 4, p. 193 W illis Rooms (a) W. H. P. (e) Flening

2 c l821, i nterior 5 people in center of large empty Walford, Old and New London, room, band stand at far end vo l. 4, p. 199 W illis Bal1 room (e) Swain

ALMACK»s ROOMS (W illis Rooms) Kings Street N) VO 2 4

APOLLO GARDENS Westminster Bridge Road on site of St. Thomas Church

1788 , opened as a poor imitation of Vauxhall Manager: Mr. Crispus Claggett^ Orchestra with wooden boxes for audience^ A Great Room^

1793 , closed^

ANERLEY GARDENS Norwood

1841, opened Manager: Mr. Coulson dancing fi re-works' tea garden

I 860 , Manager: Archibald Hinton Tavern Ballroom?

1868, closed®

^ Wheatley, vol. I, p. 54. ^ Walford, vol. 6, p. 343. 3 Survey of London, vol. 23, p. 70. 4 Mask, vol. 12, p. 102. 5 Cunningham, p. 4l6. ® Walford, vol. 6, p. 314. ? Sherson, p. 29O. ® Cunningham, p. 4l6. 25

APOLLO ROOMS Adjoining the Old Devils Tavern Fleet Street, Strand

1624, in existence prior to this date'

1752 , concerts performed

1774 , Shakespeare lectures^

1775 , musical entertainments

1776 , meeting rooms of Pandemonium Club

1787 , demolished by Childs for the erection of bank^

' Cunningham, p. 233. ^ Walford, vol. 1, pp. 41-42. ^ Wheatley, vol. 1, p. 501. 2 6

ROYAL AQUARIUM AND WINTER GARDEN Adjoining this building was a theatre The Aquarium (Imperial & Afternoon Theatre) Broad Sanctuary, Tothill Fields, Westminster

1876 , Jan. 22, opened entire building and The Royal Aquarium An exhibition and entertainment house Owner: W. W. Robertson' Architect: A. Bedborough Cost: L 200,000% outside dimensions: width 600‘ depth 160‘ Winter Garden auditorium: width 400" depth 66' seating capacity 2500^ This is the main building The adjoining theatre

1876 , Jan., opened as the Aquarium Owner: W. W. Robertson Architect: A. Bedborough

1879 , changed name to Imperial Managers: Volks family^ Known as The Afternoon T h e a tre ^

1900, rebuilt as Greek temple s till called the Imperial Manager: Mrs. Langtry

1906, land sold and theatre moved^

' Clunn, p. 217 . ^ Wheatley, vol. 3, p. 181. 2 Clunn, p. 217 . ^ Baker, p. 532. 5 Sherson, p. 296. ^ Clunn, p. 217 . 7 Sherson, p. 304. 27

ARGYLE ROOMS Corner of Argyle and Regent Streets

1811, opened^

1816, Owner: Joseph Welch Architect: John Nash^

1818, rebuilt Architect: John Nash

1819, French plays by subscription Morning concerts^

1830, the Arrphitheatre burned^

^ Walford, vol. 4, p. 243. ^ Wheatley, vol. 3, p. 158. 3 Walford, vol. 4, p. 244. ^ Baker, p. 346. 5 Walford, vol. 4, p. 244. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver - - Theatre as Named__ OSUTC # of O ria in a l 1 1825, exterior domed entrance at corner of Concert Room & Orchestra Anec building, man & woman about to dotes of Music, Tho. Busey Argyle enter Clement & Co, (?) W. Rou (d or 1) #46:39 L of C

ARGYLE ROOMS Corner of Argyle and Regent Streets N5 CO 2 9

ASTLEY'S 225 Westminster Road, George's Fields, Southwark

1770 , Astley's Circus or Astley's Riding School Owner: Phi 1 ip Astley Tent with ring, 60' in diameter Riding school'

1780 , The Royal Grove Remodeled Admission charged to pit was Is boxes 2s 6d gallery 6d^

1787 , burned

1788 , Astley's Amphitheatre of Arts Admission charged to pit was 2s boxes 4s gallery Is’

1794 , Aug. 16, burned

1795 , Royal Amphitheatre

18 03 , Sept. 1, burned^

1804, Easter Monday, Royal Amphitheatre Bridge Street, Lambeth Measurement: Auditorium length 140‘ width 6 5 ' Stage widbh 130* behind curtain line/ Auditorium elliptical shaped, gas lit 1 tier of boxes above the center of auditorium, gallery 1/2 tier of upper boxes on each side

Ring: 44' in diameter 4' high retaining wall Proscenium was removable

1813, admissions charged: Pit 3s Boxes 4s Gallery 2s7

181 7, Davis Amphitheatre Sold to Davis for L 20,000

1826, Brayley describes auditorium as elongated lyre 1 tier of boxes 2 half tiers of boxes with gallery slips at center? 30

ASTLEY* S-“Contd.

1830, Manager at Astley's Duc row10

1835, total seating capacity 2000-2500 Admi ssion: boxes 4s pit 2s gailery 1 s''

I84l, June 8, burned!%

184), Batty's Amphitheatre Completely rebuiltl3

1862, remodeled & renamed Theatre Royal Westminster Manager: Dion Boueicault

1864, Astley's Amphitheatre Manager: E. T. Smith

1872 , remodeled'^

1878 , Sanger's Amphitheatre

1895 , closed

1 Watson, p. 71 . ^ Diibdin, p. 89 (OSUTC #503, Huntington). 3 Ibid., p. 9 0 . ^ Sachs, vol. 3, appendix, p. 8 7 . 5 Wilkinson, Microcosm of London, vol. 1, p. 19. ^ Dlibdin, p. 93 (OSUTC #503, Huntington). 7 Picture of London 1813. p. 300. ® Baker, p. 386. 9 Brayley's Historical and Descriptive Account of London Theatres. 1826, as quoted in Survey of London, vol. 23, pp. 71-72. 10 Walford, vol. 6, p. 406. 11 Grant, p. 79. 12 Sachs, vol. 3, appendix, p. 90. 13 Walford, vol. 6, p. 407. 1^ Survey of London, vol. 23, p. 71. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver T heatre aq Named OSUTC # of O ria in a l 1 cl777, exterior facade name over arched door Wal ford's Old 5- New London, vo l. 6, p. 397 Riding School (a) Wm. Capon (e) C. J. Smith Smith's Historical & Literary Curiosities

2 cl777f interior ringside man standing horse back L F, 3 Walford's Old & New London, A & Ring tiered auditorium C vol. 6, p. 397 Riding School (a) Wm. Capon (e) C. J. Smith Smith's Historical & Literary Curiosities

3 c1780, exterior tent wi th arched wooden facade coming to point at 2 doors, ‘ Pit & RoyaI G rove Box' #1006:22b Harvard

k c1780, interior foliage decor at top of tent, with A & Ring skyli ght Royal Grove #1002:15 Harvard

5 c l788, exterior sign L of C, "Artist Benefit," pennant at top of tent shaped Packard Gavit 6- Co. Amphitheatre building #1006:21a Harvard

6 cl795, exterior 3 arched doors under portico, name on building front Amphitheatre of Arts #1002:33 Harvard

ASTLEY'S (Astley's Circus, Astley's Riding School, Astley's Amphitheatre of Arts, Royal Amphitheatre, Theatre Royal, Davis Amphitheatre, Batty's Amphitheatre, Theatre Royal Westminster, Sanger's Amphitheatre), Westminster Bridge Road, George's Fields, Southwark Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named. OSUTC # of . Oriainal 7 1803, Sept., exterior 3 men with hoses fighting fire Nature's Museum, Book 3 J. Bellamy Amphi theatre (e) J. Bellamy #1006:22a Harvard

8 1808, June, interior man standing on 2 horses with Repository of Arts A, P, & Ring tambourine, clown in C of ring R. Ackerman Royal Amphitheatre (a) Hill (e) Pugin £- Rowlandson Sherson's British frontispiece Museum

9 1815, interior man on horse back holding 2 British Londina Illustrate A, P, & Ring flags, 2 men on stage Robert Wi1ki nson Royal Amphitheatre (a) Geo. Jones (e) Wise #36:l4a NVPL

10 cl8l5, interior woman on horse back with 2 flags, "Plate 111" A, P & Ri ng clown on retaining ring Amphi theatre #1002:32 Harvard

11 c1815, interior 3 race horses on ramp out through A, P & Race Track stage Amphi theatre #1002:31 Harvard

12 1815, exterior soldier, woman & girl under Londi na 111ustrata portico Robert Wi1ki nson Amphi theatre (a) Geo. Jones (e) Wise #36:l4b NVPL

ASTLEY'S

Westminster Bridge Road, George's Fields, Southwark Va ) N> Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orininal 13 cl824, interior line elevation, 3 openings in row A, P & Ri ng in ceiling J. Taylor Amphitheatre (a) H. Anstad (e) R. Roffe #503:pl.l Huntington following p. 86

14 1826, exterior man looking in window R of theatre, woman entering same building J. Taylor Amphi theatre (a & e) Daniel Havel 1 #1002:20 Harvard

15 cl826, exterior carriage L of C, girl standing Walford's Old & New London, in front of horses vol. 6, p. 402 Amphitheatre (?) W. E. P.

16 1829, exterior no people, name in roof line triangle E. P. Sanger Astley's (?) C. Phillips #1002:183 Harvard

17 cl830, exterior sign on L corner portico post labeled 'Astley' Amphi theatre #1002:19 Harvard

18 cl835. exterior name on front of portico, dog R F, Survey of London,vol.23, p i.46 7 teams of horses J. Shury Royal Amphitheatre (a) W.H.Miller (e) J. Shury LOG

ASTLEY'S Westminster Bridge Road, George's Fields, Southwark VJ Vj O Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O ria in a l 19 cl835, exterior very small, couple entering C door

Astley's #1002:2 Harvard

20 cl840, exterior name between rows of windows, ornate fence at top of portico Theatre Royal #1002:35 Harvard

21 1841, June 8, exterior horse standing in arch door C Penny Mechanic, vol. 7, No. 28 Fi re Amphi theatre (?) C. D. CAing #1006:23 Harvard

22 1841, interior fire , 3 horses & 2 men in F C A & Ring Avery Star #25 Astley's (a) J. W. Guntorp #1002:34 Harvard

23 1843, Mar. 1, exterior ornate carriage & 4 horses at 1. L. N., vol. 2, p. 222 main C door New Amphitheatre

24 1843, Mar. 1, interior Roman chariot & 2 horses C of 1. L, N., vo l. 2, p. 222 A, P & Ri ng ring Amphitheatre

ASTLEY'S Westminster Bridge Road, George's Fields, Southwark VU 4T- Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre a«; Named. OSUTC # of O rin in a l

25 1843, Aug. 12, interior woman on horse back, 3 men 1. L. N., vol. 3, p. 109 Ri ng watching L Batty's

26 1846, Apr. 4, Royal Box 3 adults, 2 children in box, royal 1. L. N., vo l• 8, p. 217 crest Astley's (?) Linton

27 1858 , Nov. 20, detail of painting, elevation of circular 1. L. N., vo l. 33, p. 490 ceiling ceiling Amphitheatre

28 c1863, interior audit, in strong silhouette outline Theatre Notebook, vol. 4, p. 60 A & P of tier edges £• prose. fig . 1 Westminster Astley's (a) A. B « Harvard

29 cl862 - 3 , interior almost section view, harlequin A & P on stage Westmi nster #1002:367 Harvard

30 CI8 7 0 , interior audit, in strong silhouette, tier Theatre Notebook, vol. 4, p.60 A £■ P line & Prose. fig . 2 Astiey's (a) A. B. Harvard

ASTLEY*s Westminster Bridge Road, George's Fields, Southwark VJ \ j i 36

AVENUE THEATRE Northumberland Ave., Charing Cross

1882, March 11, opened Architect; Sefton Parry 2 1905, demolished and rebuilt

^ Baker, p. 516. 2 Oxford, p. 621. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publi sher Location Artist Engraver OSUrr # nf nrininal

1 1882, Mar. 2 5 , exterior directly below name is entrance to 1 . S. & D. N. Avenue boxes & stalls, 2 lamp posts on corner #332:60 Folger f?) F. W.

2 1882, Mar. 25, interior 9 people in house, 2 in 2nd tie r L, 1. S. & D. N. A & P 2 in 1st tie r R Avenue (?) F. W. (?) C. H. #332:59 Folger

AVENUE THEATRE Northumberland Avenue, Charing Cross 38

BAGNIGGE WELLS Battle Bridge, Islington

1759: opened as a popular pleasure garden A mi nor VauxhalI Owner: Hughes has a long room for performance* and exhibitions

1841 or 1842, closed^

' Survey of London, vol. 24, pp. 66-67. ^ Wheatley, vol. 1, p. 89. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of O ria in a l 1 1780 , exterior 2 women & chi Id at corner of Walford, Old & New London, from street building C moving to door vol. 2, p. 294 Bagnigge Wei 1s (?) W. H. Proi r

2 ci 780 , exterior no people, circular medal ion on from street end of building, arched gate L Bagni gge Wei 1s #332:12 Folger

3 c l780 , exterior "Dumpling" & family in F, name on Survey of London, vol. 24, outside gate gate pi . 60 Bagni gge Wei 1s Grace C.

4 CI8 IO-2 5 , exterior man playing ten pins F, picnic Pink's History of Clerkenwell, inside Wei is walls tables bare p. 567 Bagnigge Wei Is

5 CI8 IO-2 5 , exterior architecturally same as #4, people Survey of London, vol. 24, inside Wei Is walls different, the pins are there, p i. 61 a Bagni gge Wei 1s no one i s playing Grace G.

BAGNIGGE WELLS Battle Bridge, Islington VO 40

BARKER'S PANORAMA Behind Nos. 11 & 12, Leicester Square or West Square, St. George's Fields

1789 , #28 Haymarket, Robert Barker's Panorama A view of Edinburgh'

17911 Barker's Panorama #28 Castle Street

1793 , Exhibited in Leicester Square building^

1799, moved to West Square and built new hall

I8 O6 , Barker died, widow and son Henry continued the panorama^

1813 , Barker's Panorama Leicester Square Admission: Is^

' Cunningham, p. 331. ^ Wheatley, vol. 1, p. 304. ^ Mask, vol. 12, p. 5 7 . ^ Survev of London, vol. 25, p. 64. 5 Picture of London. 1813, p. 314. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC M of Orioinal

1 1827, exterior round type building, 9 sides visibly Survey of London, vol. 25, behind wood slat fence p i. 44b Panorama (a) J. Buckler Qui dhal1 Lib.

BARKER'S PANORAMA West Square, St. George's Field 42

LORD BARYMORE*S THEATRE (Variétés Amusantes) Savllle Street, Wargrave

1792 , Also known as Variétés Amusantes'

' Mask, vol. 13, p . 5 5 . Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver .... Theatre as Named_ OSUTC # of Orioinal 1 1792, Apr.I, interior motto above stage "Spect' Mur Architectural Review, vol. 37, A & P Agendo" p. 33 Lord Barymore (a) Gabriel Cox (e) Barlow Bellamy and Bodelian Roberts

LORD BARYMORE'S THEATRE (Variétés Amusantes) Seville Street, Wargrave a 4 4

BATTY'S HIPPODROME (Batty*s Grand National Hippodrome) Opposite Kensington Gardens, between Palace Gate and Victoria Road Kensi ngton

1850 -51 , Batty lasted only as long as the crowds were attracted to the Exhibition of I 851 '

1851 - 52 , became a riding school^

^ Walford, vol. 5> P. 122. ^ Wheatley, vol. 1, p. 131. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orininal

1 1851 , June 7, exterior 4 people in balloon taking off 1. L, N., vo l. 18, p. 503 from the center of an amphi theatre Batty*s Hippodrome

BATTY'S HIPPODROME (Batty's Grand National Hippodrome) Opposite Kensington Gardens, between Palace Gate and Victoria Road, Kensington 46

BEAUFORD BUILDINGS (Dibdln's Little Theatre) Savoy Court pre 1793 , Dubdin operated a lit t le theatre behind his Music Shop until he built the Sans Souci in Leicester Square'

ROYAL BOROUGH THEATRE Tooley Street, S. E. (formerly Short Southwark Street)

1834 , opened

1836 , closed^

BOWER SALOON (Royal Stangate Theatre, New Stangate Theatre) At Upper Marsh and Stangate Street, Lambeth, next to Dukes Tavern

1837 , built attached to Dukes Tavern Owner: Phil Phillips^ contained theatre and Music room

1875 , closed Stangate Theatre^

1876 , opened New Stangate Theatre^

I879 , closed^

' Cunningham, p. 674. 2 Sherson, p. 48. 3 Ibid. , p. 314. ^ Walford, vol. 6, p. 417. ^ Sherson, p. 317. ^ Ibid. 7 B a k e r, p . 399. 47

BRANDENBURGH HOUSE Fulham Road, Hammersmith c1650, house built Cost: L 23,000 Owner: Sir Nicholes Crisp

1792 , house sold to Margrave of Brandenburgh-Anspach Completely remodeled by his wife, the Margravine Built a small theatre in the Garden a private theatre for her amateur friends

1812 , house sold to Queen Caroline, wife of George IV

1822 , after her death, the house was demolished^

* Walford, Vol. 6, pp. 542-544. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of O rio in a l

1 1793-1810, interior theatre i tier only, 4 boxes Theatre Notebook, vol. 2, p. 71 A deep, 3 rows of benches in pit BrandenburghHouse Hammersmi th P. L.

BRANDENBURGHHOUSE THEATRE Fulham Road, Hammersmith 4 9

THE BRITANNIA THEATRE (The Great Theatre Hoxton, Britannia Sal loon) High Street, Hoxton

1841, Easter Monday, opened as Britannia Theatre Owner: Sam and Sara Lane Reserved seats were 6d Gallery seats 1 s'

1850 , remodeled

1858 , June 24, closed for rebuilding

1858 , Nov. 8, opened new theatre Architects: Finch, Hill and Parai re Owners: The Lanes Seating Capacity: 3000

1890 , The Great Theatre Hoxton Owner: Mrs. Lane

' Baker, p. 379. ^ Illustrated News of the World. Dec. 25, I 858 , p. 405. Date, Location of View , Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver . _ _ Theatre, as Named OSUTC # of O rio in a l

1 1858 , Dec. 25, exterior 2nd door L, women exiting, name L. N. of W., p. 405 above C door Bri tanni a #332:129 Folger

2 1858 , Dec. 25 , interior view from stage, man R protecting L. N. of W., p. 405 A woman with sword from caped man L Bri tanni a #332:129 Folger

3 CI858 , interior empty except for 2 men on side of A & P pit in C Bri tanni a (e) Hoodkin #1006:33 Harvard

4 c l865 - 7 0 , interior tier fronts & prose, in strong Theatre Notebook, vol. 4, p. 60 A & P re lie f, keyhole shaped door on Britannia, The stage Harvard Great Theatre (a) A. B.

THE BRITANNIA THEATRE (The Great Theatre Hoxton, Britannia Sal loon) High Street, Hoxton 51

BURFORD'S PANORAMA Northeast corner of Leicester Square Part of the site of the San Souci Theatre

1793 , the building contained: Circular room 90' in diameter 40' high

1806 , Robert Barker's Panorama Henry Barker Panorama John Burford Panorama Robert Burford Panorama

1861, demolished*

BURLINGTON ARCADE Between Piccadilly and Burlington Gardens 2 1819, Bazaar

^ Wheatley, vol. 1, p. 304. ^ Walford, vol. 4, p. 272. Date, Location of View Location of Published Print Identifying Description Mo, Nature of View Publisher Location Artist Engraver OSUTC # of O rio in a l 1 cl828, exterior boy sweeping street in front of C Temple of Muses of three arches, see sign R F Jones & Co. Burlington Arcade (a) Tho.H.Shepherd #1006:40b Harvard (e) Wm. Torubleson

2 cl828, exterior 5 people In front of C arch, 2 men L F Burlington Arcade #1006:38 Harvard

BURLINGTON ARCADE Between Piccadilly and Burlington Gardens 53

ROYAL CAMBRIDGE MUSIC HALL 136 Commercial Street

1869, opened Much like the Canterbury Music Mali Very wide

1898 , Jan. 28, burned'

1898 , the theatre was rebuilt Manager: H. Percival^

' Sachs, vol. 3, appendix, p. 118. ^ Survey of London, vol. 27, p. 263. Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 1898 - 9 , exterior Mooresque towers at each end of Survey of London, vol. 27, facade, 8 arched entrances, square p1. 49b Cambridge Music Hall entrance under balcony C The Architect, photo 1899

CAMBRIDGE MUSIC HALL 136 Commercial Street 55

CAMPDEN HOUSE Kensington Place, Campden H ill, Kensington

1612, built by Sir Baptist Hicks Used by royalty and others of the upper class cl 775, became a school for young girls' cl 860, Owner: Woo ley Equipped with complete lit t le theatre used by amateurs of rank used by professionals for benefits^

1862, March 23, burned^ Rebuilt and known as L ittle Campden House rebuilt as a replica of the original but smaller^

' Wheatley, vol. 1, pp. 320-321. ^ Sherson, pp. 339"3^0. ^ Besants, North London, p. 122. ^ Cunningham, p. 96. 56

THE CANTERBURY ARMS MUSIC HALL (Canterbury Theatre of Varieties, Canterbury Palace) Westminster Bridge Road

1848, Concert Hall, Canterbury Music Hall Owner: Charles Morton Seating capacity: 1500-2000 Auditorium horseshoe shaped No stage,gOnly platform A balcony

1863, remodeled, Canterbury Theatre of Varieties Owner: William Holland Stage added

1876 , remodeled, Canterbury Palace Owner: R. E. Vi 11iers Architect: Albert Bridgman Cost: L 40,000 Measurements: auditorium 100* x 70 * stage 30* x 70 * proscenium 40* x 40* ceiling above pit floor 60*3

1 Survey of London, vol. 23, p. 78. ^ Walford, vol. 6, p. 416. 3 OSUTC #1002:76, (Harvard). Date, Location of View Location of Published Print 1 Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O rio in a l 1 1852 , exterior name in arch over door, 1 door Survey of London, vol. 23, remains of entrance shutter about to fall pi. 47a Canterbury Music Hall (a) F. A. Evans LCC

2 I852 , interior pilasters on each side of doorway, Survey of London, vol. 23, remains of main hall arched overhead, man up steps pi. 47b door (a) F. A. Evans LCC Canterbury Music Hail

3 cl863, interior on apron, woman bowing to man The Dai 1 y Graphic A & P Canterbury Theatre #332:6 Folger of Varieties

4 CI876 , interior benches on L side of pit under A & P balcony but none on R, woman & man Canterbury Palace C stage #1002:76 Harvard

THE CANTERBURY ARMS MUSIC HALL (Canterbury Theatre of Varieties, Canterbury Palace) Westminster Bridge Road 58

CATHERINE STREET THEATRE (Minor Theatre, Royal Pantheon Theatre, Jessop‘ s Hall) Catherine Street, near the site of the Gaiety Theatre At the corner of Catherine Street and Strand

A small, minor, most likely a private, theatre for amateurs

1813, in use as of this date Listed in the entertainments of the day in the Picture of London, m i o Called the Minor Theatre

1829 , July 11, s till in use as the Minor Theatre^

1869 , referred to as a private theatre^

' Sherson, p. 320. ^•Picture of London. 1813, p. 303. ^ The Harlequi n. July 11, 1829; OSUTC #485 (Huntington). ^ Belgravia, vol. 9, Oct. 1869, p. 466. 59

CHARING CROSS THEATRE (Polygraphic Hall, Folly, Toole's) King Williams Street

Before 1855 known as the Polygraphic Hall

1869 , remodeled and changed name to Charing Cross Theatre'

1876 , changed name to Folly Theatre ^ Manager; Alexandre Henderson

1882 , Mar. 4, remodeled and changed name to Toole's Theatre Manager: Too 1e^

1892 , remodeled and rebuilt Toole's Theatre Manager: J. L. Toole^

1895 , Feb. closed and demolished in I 896 for the Charing Cross Hospital^

' Wheatley, vol. 1, p. 359. 2 Baker, p. 336. 3 OSUTC #332:126 (Folger); I . D. S- S. N., p. 599. ^ Baker, p. 337. 5 Ibid. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 1 1856, Feb. g, interior speaker with hand on table R, 1. L. N., vo l. 28, p. 157 P empty chai r L Polygraphic Hall (e) Smyth

2 1882, Mar. 4, interior man & woman looking over 1st tier 1 . S. g. Do N., 3/4/1882, p. 600 A & P R, 3 men 2nd tier R Toole* s (?) F. Watkins #332:125 Folger

3 1882, Mar. 4, exterior awning type door cover, "Toole-* s" 1. S. & D. N., 3/4/1882, p. 600 Toole's on side, "Paul Pry" on front (?) F. Watkins #332:125 Folger

CHARING CROSS THEATRE (Polygraphîc Hall, Folly, Toole*s) Ki ng Will!ams Street o 61

NEW CHELSEA (Belgravia, Royal Court, New Court) Sloane Square, Chelsea

1870 , April 16, opened new theatre the New Chelsea Managers: Morgan and Oliver'

1870 , changed name to Belgravia

1871 , Jan., changed the name to Royal Court Manager: Marie Litton Remodeled and redecorated

1887 , demolished

1888, rebuilt and opened the New Court Managers: Mrs. John Wood and Arthur Chudleigh^

' Sherson, p. ig8. ^ Walford, vol. 5, p. 95. ^ Baker, p. 504. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 1 ' c!871-7, interior winged lions on each side of prose, A & P man R F in 2nd tie r, 3 men in L F Royal Court (?) F. W. #1002:286 Harvard

NEW CHELSEA (Belgravia, Royal Court, New Court) (7 n Sloane Square, Che1 sea ro 63

CHINA HALL THEATRE (China Hall Tavern) Rotherhithe, S. E,

1777 , opened as theatre-music hall AdmIssion: boxes 3s pit 2s gal 1ery Is

1778 , burned^

CHINESE GALLERY PANORAMA Hyde Park corner cl849, opened as a Panorama Owner: Phil Phillips^

' Walford, vol. 6, p. 136. ^ Sherson, p. 328. 3 Ibid.. p. 314. 6 4

CITY OF LONDON (City Music Hall) Bishopsgate Street, Norton Folgate

1835 , opened, City of London Owner: Cockerton Architect: Beazley

1844, Oct. 7, redecorated Owner: Wilsone

1858 , Sept. 20, redecorated^

1868, part of theatre (the stage) was demolished for a railway

1868, a Music Hal 1

1883 , the auditorium. Central Hall, was sold to the East Central Temperance Association^

' Sherson, p. 37. 2 Williams, p. 70. ^ The Connoisseur, vol. 9 8 , p. 93. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of O rio in a l 1 1837, exterior woman .in C of theatre, trash cart Connoisseur, vol. 98, p. 93 R, push cart L City of London (a) J. Findlay Charles W.F. Goss C

2 1837, interior couples dancing on stage, woman R Connoisseur, vol. 9 8 , p. 92 A & P standing to see stage action City of London (a) J. Logan Bi shopsgate 1nsti tute

3 1864, interior grotto scepe on stage, water back Theatre Notebook, vol. 4, p. 60 A & P drop, 3 boxes in prose., 5 more in City of London tiers Harvard (a) A. B.

4 1914, exterior "Central Rubber Cycle Aces' Co." Connoisseur, vol. 98, p. 93 warehouse on facade, Manders & Silver at top City of London photo Bi shopsgate 1nsti tute

CITY OF LONDON BÎ shopsgate, Norton Folgate U 1 66

CITY THEATRE (City Pantheon) Milton Street (formerly Grub Street), Cripplegate

1830, opened as the City Theatre Converted to a theatre from a chapel constructed by Mr. Bedford

1835 - 6 , became Mechanics Institute and on Sundays, a Dissenting Chapel

' Baker, p. 404. ^ Williams, p. 47. ^ Grant, p. 88. 67

CLARENCE (Royal Clarence, Panharmonium, New Lyceum, Regent, Argyle, Kings Cross, Cabinet) Birkenhead Street (formerly Liverpool Street), between Euston and Argyle Streets pre 1832, built as a Drama or Dancing School as a part of the Panharmonium project Owner: Gesualdo Lanza Architect: (?) Stephen Geary

1832, May, converted to Royal Clarence Theatre Managers: John B, Buckstone & Mrs. Fitzwilliams Interior decorated as a Chinese pavilion

1838, changed name to New Lyceum^ changed name to Regent changed name to Argyle changed name to Kings Cross

1852 , changed name to Cabinet

1867 , closed

1870 , an attempt made to reopen, but closed immediately Auditorium area: 52' long by 22'6" wide^ Became restaurant

' Survey of London, vol. 24, p. 110 ^ Baker, p. 381. ^ Sherson, p. 317. ^ The Connoisseur, vol. 9 8 , pp. 94-95. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver .. __ Theatre as N am ed _ OSUTC U o f Orioinal 1 1832, exterior 3rd building from L, 3 lamps Survey of London, vol. 24, hanging out, woman & boy L F pl. 78 b Clarence LCC

2 1832, interior tent, negro with dog & captain on Survey of London, vol. 24, S & A stage, woman L F looking at man pl. 78 a Royal Clarence not on stage LCC

3 CI852 , exterior name on facade, woman selling Connoisseur, vol. 9 8 , p. 95 from basket to the R Cabi net LCC

CLARENCE (Royal Clarence, Panharmonium, New Lyceum, Regent, Argyle, Kings Cross, Cabinet) Birkenhead Street (formerly Liverpool Street) between Euston and Argyle Streets ON 00 6 9

COBURG (Cobourg, Victoria, The Old Vic, Royal Victoria Hall, Victoria Palace, Royal Victoria Coffee Music Hall) Waterloo Road (Waterloo Bridge Road), Surrey

1818 , May 11, opened. The Coburg Started Oct. 1817 Owner: Jones Architect: Cabanelle, Rudolph Cost: L 12, 000'

1822, installed the looking glass front curtain 36* high by 32* wide Had to be removed because of weight on roof

1833 , July 1, changed name to Royal Victoria Palace Very soon became known as Old Vic^ . The largest pit in the city, 2000 seating capacity

1835 , admission: Boxes 3 & 2s Pit Is One gallery 6d ^ Total seating capacity, 2000-2500

1871 . Dec., remodeled and changed name to Vic Audi torium width 50' seating capacity 23-28,000 pit 560 stalls 117 12 private boxes 1 S t gallery 119 2nd gallery 8 OO-85 O Proscenium: width 38* 6" height 34' Stage: 3849 square feet"

1880 , remodeled and changed name to Royal Victoria Coffee Music Hall Architect: Elijah Hoole Cost: L 3,000? O 1889 , back of theatre walled off for formation of Morley College

' Walford, vol. 6, p. 397. ^ Survey of London, vol. 23, p. 37. 3 Wheatley, vol. 3, p. 435. 4 Grant, p. 86. 5 Ibid.. p. 83 ° Walford, vol. 6, p. 393. 7 Survey of London, vol. 23, p. 38. 8 Ibid. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 1 1818, May 11, exterior men working on large blocks R F, Londina Illustrate sign against corner of theatre Robert Wilkinson Coburg Theatre (a) Schnebbilie (e) Stow #36:17 NYPL

2 I8l8, May 11, i nterior woman seated C looking out from Londina Illustrate A & P stage Robert Wilkinson Coburg Theatre (a) Schnebbilie (e) Stow #36:17 NYPL

3 1822, interior mirror used as curtain on stage, Survey of London, vol . 23, pl.2Q A man seated C stage G. Humphrey Coburg Theatre LCC

4 cl822, exterior name on building, 3 billboard signs lean against front Coburg Theatre #46:36c L of C

5 cl822, exterior donkey with saddle basket R F, 2 men F C Coburg #1002:80 Harvard

6 1826, exterior top R window on facade has both Survey of London, vol . 23,p i . 19 shutters open J. Taylor Cobourg Theatre (a & e) Daniel Havel 1 LCC

COBURG (Cobourg, Victoria, The Old Vic, Royal Victoria Hall, Victoria Palace, Royal Victoria Coffee Music Hall) Waterloo Road (Waterloo Bridge Road), Surrey o Date, Location of View Location of Pub 1{shed Print Identifying Description No. Nature of View Pubii sher Location Artist Engraver Thfiatrp. AS Named OSUTC # of Orioinal 7 cl825 - 3 0 , exterior side of theatre as seen from under portico across the street, man and Coburg dog looking #1006:41c Harvard

8 1829, exterior name on facade, between 2 rows of windows, Royal Coburg, no people E. P. Sanger Cobourg Theatre (e) C. Phillips #1002:183 Harvard

9 c l830 , exterior statue C roof, no people, 3 front doors open Royal Coburg #1006:4lb Harvard

10 cl835, exterior straight front view, 3 doors open, 2 signs between doors Victoria Theatre #1002:365 Harvard

11 cl835i exterior flag C roof, straight front view, couple entering C door Victoria Theatre # 1 0 0 2 : 2 Harvard

12 CI835 - 5O, exterior Royal Victoria on front, 3/4 view from L, statue C roof Victoria Theatre #50:1 L of C

COBURG Waterloo Road (Waterloo Bridge Road), Surrey Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver ThfiatPR as Named OSUTC # of Orioinal 13 cl835"50, exterior 3/4 left view, boy entering C door, no statue Vi ctori a #1006:289 Harvard

14 c l820 - 5 0 , exterior 2 prints identical except for name Royal Coburg and on facade, man in front of portico, #1006:42a Royal Victoria woman L of portico #1006:2906 Harvard

15 1833 - 7 1 > interior man speaking, 3 men each side A seated at speaker's platform Victoria #1002:366 Harvard

16 CI833 - 7 I, interior man with basket of fru it C stage, Grant, Penny Theatre, p. 63 P man with knife L stage Vi ctori a (?) Phiz

17 c l860 , exterior name at very top facade, man wi th Walford, Old & New London, wheelbarrow in front of C arched vo l. 6 , p. 409 Vi ctori a door (a) J. P. (e) T. R.

18 CI86 O-5 , interior bottom of 2nd tie r rail crenated, Theatre Notebook, vol. 4, p. 60, A & P 11 prose, boxes fig . 15 Vi ctori a (a) A. B• Harvard

COBURG Waterloo Road (Waterloo Bridge Road), Surrey N) 73

COLD BATH FIELDS Bagnigge Wells cl 789 , a minor Vauxhall'

THE COLISSEUM Regent's Park Theatre entrance on Albany Street

The Colisseum was designed as a Panorama Exhibition Hall cl824-26, constructed Owner: Hornor 2 Architect: Decimus Burton

1829, opened to public

l84l, Colisseum Theatre On Albany Street only open a few months^ The Thomas Shepherd print (Coliseum#!) note the similar and unusual spelling of the names. It would appear that these two buildings were one and the same.

1848, Dec. 3 0 , New Theatre for the Exhibition of the Cyclorama Architect: W. Bradwell^

1875 , demolished

' Mask, vol. 12, p. 53. ^ Survey of London, vol. 19, p. 123. 2 Baker, p. 348. ^ 111ustrated London News, vol. 13, p. 428. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC U of Orioinal

1 1827 , April 21, exterior seen from R, 4 horse carriage in C, 2 girls R F Jones & Co. Coli seum (a) Tho.H. Shepherd (e) H. Walhs #1002:87 Harvard

2 C I8 2 7 , exterior seen from L, girl & soldier extreme Col 1i seum L F, horseman R Jones & Co. (a) Tho.H. Shepherd (e) R. Aeon #l006:45a Harvard

3 1829 , exterior seen from L, man & woman on horse The Mirror, vol. 13, #354 back C F led by dog Colosseum #1006:45b Harvard

k I840, exterior from R, girl leading toy dog R, 2 women in carriage C Colosseum (a) Roberts (e) Wells #1006:46a Harvard

5 cl840, exterior seen from R, woman & boy pointing to rearing horse L F Colosseum #1002:4 Harvard

6 cl840, exterior front view, small, a person standing between facade pillars Colosseum #1002:2 Harvard

THE COLISSEUM Regent's Park Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre.AS Named._ _ OSUTC # of Orininal 7 1848, Dec, 30, interior 3 lions lying facing stage at 1. L. N., vo l. 13, p. 428 A & P orch. 1i ne Colosseum (e) Geo. Measom

8 1875, exterior being demolished, view through top Survey of London, vo l. 19, p l. 103a Colosseum photo Manckiewicz C

THE COLISSEUM Regent*s Park vn 76

COLLINS MUSIC HALL (Lansdowne Arm) Upper Street, Islington

1863, In operation

COMEDY THEATRE Panton Street, Haymarket

1881, Oct. 15, opened, built new, The Comddy Manager: Alexander Henderson Architect: Thomas Verity Total seating capacity 1200

* Graphic. Dec. 17, 1881, p. 611 Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named. OSUTC # of Orioinal

1 ]88l, Oct. 15, exterior slated double door R, 5 single The Graphic doors on L, man under lamp post C The Comedy Theatre #332:162 Folger

2 1881, Oct. 15, interior woman with fan in 1st visible row The Graphic, p. 617 P of pit L, 4 other people in that The Comedy Theatre row #332:161 Folger (?) S. Dorand

COMEDY THEATRE Panton Street, Haymarket 78

CONSORT OF MUSIC Villers Street

1680 to 1753 , a concert room^

1712 , Richard Steele operated a concert room at the lower end on the west side of Villers Street ( it is not known if these are the same) Concert Room „ seating capacity 200

^ Survey of London, vol. 18, p. 61 ^ ibid. , p. 62. 7 9

COVENT GARDEN (Royal Italian Opera House) Bow, Hart and Russel Streets

1732 , Dec. 7, opened Covent Garden Theatre Manager: John Rich Architect-BuiIder: Shepherd Decorator: Amiconi Cost: L 5,600 Value of total seating capacity L 200 Seats: on stage 10s 6d boxes 5s pit 3s 6d galleries 2s and 1s Dimensions: stage to back of pit 51' 21" between seats^

1762 , partially rebuilt Architect: Holland^

1763 , "only one entrance on each side of the stage"^

1777 ; redecorated "Ornamented and embellifhed this feafon"

1784, rebuilt the auditorium Widen the auditorium within the old walls^ Manager: Richards Dimensions: stage to furthest seat 86' pit to ceiling 31' 6" auditorium width 5 6 ' depth of boxes 18' depth of 1st tier 30' 6" depth of 2nd tier 21' 6" Total seating capacity 2170 pit 357 boxes 729 1st tie r 700 , 2nd tier 384

1785 , Oct. 22, auditorium redecorated^

1792 , Sept. 17 , opened a remodeled theatre with new auditorium Manager: Harris Cost: L 25,000 "Velute in speculum" motto above proscenium Dimensions: pit 40' wide by 38' deep 20 rows of seats seating 632 3 tiers of boxes seating 1200 1st gallery 55' wide by 40' deep 12 rows of seats seating 820 8 0

COVENT GARDEN (Royal Italian Opera House)--contd.

( 1792 , Sept. 17 ) (Dimensions) 2nd gallery 55‘ wide by 25‘ deep 7 rows of seats seating 361„ Total seating 2993

1808 , Sept. 20, destroyed by fire^

1809 , Sept. 18, opened new theatre Architect: Smirke Cost: L 150,000 Dimensions: exterior width 178' furthest pit seat from stage 5 2 ' 9" 3 tiers of 26 boxes each 1st gallery 55' wide by 40' deep 2nd gallery 55' wide by 2 5 ' deep auditorium width 5 1 ' 2" proscenium 38' 8" wide by 36' 9" high 3' thick apron 12' 3" deep stage 82' 6" wide by 5 6 ' deep Total seating capacity: 28 OO (possible 4255) pit 750 at 4s boxes 1200 at 7s 1 S t gallery 500 2nd gallery 350 26 private boxes, 13 on each side

1846, the national emblems have been on the fronts of the boxes for 37 years ( I809 ). They are the Rose, the Shamrock and the Thistle.'^

1847, March, redecorated theatre Royal Italian Opera House, Covent Garden Architect: Albano Cost: L 40,000 Auditorium: 6 tiers 8 proscenium boxes 30 pit boxes 34 boxes on grand tier 34 boxes on 1st tier 28 boxes on 2nd, 3rd and 4th tiers 128 stalls on 2nd and 3rd tiers 280 pi t stal1s 400 pi t seats over 3000 total audience Dimensions; stage to front box 80' proscenium width 5 0 ' auditorium width 62' 4" pit to ceiling height 66' 6" cei 1 i ng 62'- by 70'

1 856 , March 5, destroyed by fire 81

COVENT GARDEN (Royal Italian Opera House)— contd.

1858 , May 15, opened new theatre, Royal Italian Opera House, Covent Garden Architect: E. M. Barry Contractor: Lucas Cost: L 70,000 Auditorium: 3 tiers 36 boxes on each side 9* 6" high auditorium width 65* x 75* long, 80* high stage width 90' x 88* deep pit is 4*6" below stage level pit rise is 1" in 18" proscenium width 50* outside width 122* by 240* long, 100* high outside walls are 24* thick^^

' Baker, p. 208. 2 Wilkinson, Wandering Patentee. ^ Dibdin, p. 26. ^ Oui ton, vol. 1, p. 6 9. 5 Saunders, p. 84. ^ Ibid. , p. 8 1 . 7 Oui ton, vol. 1, p. 145. ^ Microcosm of London, vol. 1, pp. 212-214. 5 Sachs, vol. 3, appendix, p. 87. 10 Dibdin, pp. 27-31. 11 Illustrated London News, vol. 9, P« 372. ibid. , vol. 10, p. 234. Illustrated News of the World. May 15, I 858 , p. 238. (OSUTC #332:113) Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O rio in a l 1 1732, Dec. 18, exterior Rich carried into C. G. arcade in Poston's, Social Caricature, Rich's Glory cart pulled by Harlequins Pl. 61 Only corner of build. (a) & (e) W. Hogarth Covent Garden

2 1732, plan architect drawing; parts identified Mask, vol. 8, p. 10 i n French Covent Garden (a) Dumont (e) Poulean Dumont's Paralleie

3 1732 , longitudinal section architects drawing: identification Georgian Playhouse, Southern in French fig . 2, p. 23 Covent Garden (a) Dumont (e) Poulean Dumont's Paral1 ele

4 1747 , interior men fencing, one man being British Theatre, pl. 92 P protected by woman at L, curtain Covent Garden closes stage

5 1763 , Feb. 24, interior 4 men climbing out of orch. on Poston's, Social Caricature, A & P stage for riot, man with club C E. Sampter P l. 68 Covent Garden (?) L. Boi tard "Pi tz-giggo Riot"

6 1763 , Feb. 24, interior same as #5 except people, 2 men on Harlequin, 6/20/1829, p. 41 A & P stage R & L with swords Covent Garden #485:41 Huntington

COVENT GARDEN (R o y a l Ita lia n Opera House) Bow, Hart and Russel Streets oo ro Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver .. . Theatre as Named ------OSUTC # of Orioinal 7 cl 763, interior one man on stage, hat in hand, British Theatre, p l. 119 A & P talking to rioters, 4 circular Covent Garden 1ights

8 cl770, interior Harlequin leads woman off L while Covent Garden Journal, op.p.160 P servant trips man R stage Covent Garden A.M. Bradley C

9 1790 , (2) plans architects plans marked fig . 2 & 3 Saunders, A Treatise on Theatres 1st balcony level Box front level #130 L of C Covent Garden PL X

10 c l792 , interior audit, empty, 4th panel, 2nd box, A & 5 1st tier is open door C. Chappel (10/14/1807) Covent Garden (a) T. Winston (e) Storer #1002:54 Harvard

11 CI792 , interior concert on stage, organ C stage, A & P motto over prose. Covent Garden (a) Van Assen #1006:54b Harvard

12 1804, interior Queen's box, 2nd tie r L, has round Lawrence, Old Theatre Days and A & S canopy, man with child fighting Ways, p. 118 Covent Garden soldiers Harvard (a) Pugh

COVENT GARDEN Bow, Hart and Russel Streets e s Date, Location of View Location of Publ shed Pri nt Identifying Description No. Nature of View Pubiisher Location Artist Engraver Thpstre s'; Named OSUTC # of Orioinal 13 1804, Aug. 11, interior same as #12 except Queen's box has A & P triangular canopy Ri chard Phillips Covent Garden (a) E. Pugh (e) J. F ittle r #1006:55b Harvard

14 1808, July 1, Interior concert, 5 bass viols in back of Repository of Art A & S mixed chorus R. Ackermann Covent Garden (a) J. Bluck (e) Pugin & #1002:52 Harvard Rowlandson

15 1808, Sept. 27, exterior ruins after fire , firemen s till spraying building next door Covent Garden #1 00 6:54c Harvard

16 1808, Dec. 31, exterior laying cornerstone L F, large 1. L. N., vol. 3 1 , p. 103 crowd Covent Garden

17 1809, interior Kemble in k ilt talking to 0. P. British Theatre, pl . 177 P rioters Covent Garden

18 c l809 , exterior view from northeast absolutely Arch. Review, vol. 4 7 , 1817, bare around building p. 103 Covent Garden Soane M

COVENT GARDEN

Bow, Hart and Russel Streets 00 Date, Location of View Location of Publ i shed Print Identifying Description No, Nature of View Publi sher Location Artist Engraver Theatre as Named OSUTC # of Orioinal

19 1809, Oct. 1, exterior view from southeast, carriage with Ackermann, Repository of Arts footman on back C Covent Garden #1002:57 Harvard

20 1809 , Oct. 1, exterior northeast view, man pointing & European Mag. carriage extreme L L. Asperne Covent Garden (à S- e) S. Rawle #46:30

21 c l809 , exterior 2 men 6- a woman in front of C Angleteree, p. 149 East view portico Covent Garden #46:27 L of C

22 cl809, exterior iron fence opening L exposes 1st Southeast view of 3 arched portals Covent Garden (e) J. Chapman #46:20 L of C

23 cl809, exterior same as #22 except fence has 2 Southeast view openings exposing 1st & 3rd Covent Garden portals # 1006:57a Harvard

24 c l809 , plan 11 parts identified below, audit, shaped like short horseshoe Covent Garden #1006:57b Harvard

COVENT GARDEN Bow, Hart and Russel Streets Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver T heatre a<; Named OSUTC # of Orininal 25 cl809, exterior man carrying sign board under East view statue R Covent Garden (a) T. H. Shepherd (e) W. Lane #46:32 L of C

26 cl809, exterior woman wi th parasol north (R) of Dubech, Historié, vol.5, p.301 Northeast view building, woman with parasol L F Covent Garden (a & e) G. Hawki ns Arsenal Rondel C

27 1809, exterior iron fence exposes C portal of L Arch. Review, vol. 47, 1917, Southeast view of portico, man In line with 2nd p. 103 Covent Garden L lamp post Batsford C (e) Wm.Daniel 1

28 1809 , exterior different engraver from # 2 7 , man Southeast view in street is to left of 2nd lamp Covent Garden post #lQ06:52a Harvard

29 cl8lO, exterior small print, no people, iron Southeast view fence has no openings Covent Garden #46:36b L of C

30 cl8l0, exterior woman standing N E corner of Doran, The Eigl i sh Stage, op. Northeast view building, 3 women in front of p. 384. Covent Garden fence C

COVENT GARDEN Bow, Hart and Russel Streets 00 Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named_ OSUTC # of Orininal 31 ciSlO, exterior iron fence exposes C portal L of Southeast view portico, no people Abrams Covent Garden #1002:69 Harvard

32 1810, Jan. 1, exterior carriage L F, 2 women going up Beauties of England & Wales, East steps C Varner, Hood & Sharp Covent Garden (a) MacKenzie (e) J. LeKieir #46:24 L of C

33 1810, Jan. 1, interior stage empty, 4 columnades in A & P silhouette up stage Covent Garden (a) J. Bluck #1002:48 Harvard (e) Pugin & Rowlandson

34 cl8l0, interior 2 men sword fighting on stage, Nicholson's The Londoner, p.38 A 6- P fight in auditorium R F Covent Garden (a) Edward Dayes Gerald AgnewC

35 1810, exterior carriage going west at north end Hughson's Description of London Northeast view of theatre, driver whipping 4 Robi ns S- Co. Covent Garden horses #46:25 L of C (a) Schnebbilie (e) F. Hay

36 1810, Feb. 1, interior man & woman entering door L, Repository of Arts, Ackermann's Saloon woman & child seated R Covent Garden #1006:65 Harvard

COVENT GARDEN Bow, Hart and Russel Streets 00 Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Arti St Engraver Theatre as Named. . OSUTC # of O rio in a l

37 1810, Feb. 1, i nterior man in tent on stage, line drawing, A & P 1st tie r has only benches J. Bell Covent Garden (a) G. Argenzio (e) Heideldorf #1002:51 Harvard

38 iBlO, Mar. 1, interior 4 columns & 4 hanging lamps from Grand stairway R to C, steps L down to C J. J. Stockdale Covent Garden (e) Neele #1002:65 Harvard

39 1810, Mar. 5, exterior woman wi th dog i n L fence C Covent Garden Journal, vol. 2, Southeast view opening, man on bicycle R front? spi ece Covent Garden (e) Neele J. J. Stockdale

40 1810, Mar. 5, interior same auditorium & stage view as #33 Covent Garden Journal, vol. 2, A & P except no people, 4 columns in fronti spiece Covent Garden silhouette on stage J. J. Stockdale (e) Neele

41 1810, Mar. 31, interior no people, 3 statues each side, Saloon bust at end of room J. J. Stockdale Covent Garden (e) Neele #1006:64b Harvard

42 1810, exterior 2 short posts R F, man £■ 2 dogs Allen's New History of London, Northeast view L F, 2 women at N E corner fronti spiece Covent Garden #46:28 L of C

COVENT GARDEN 00 Bow, Hart and Russel Streets 00 Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Thaatrm as Named OSUTC # of Orininal 43 clBlG, exterior no people, straight facade view, Lady's Magazine East view solid iron fence Covent Garden #46:23 L of C

# 1817, exterior small print, part of map lettering Northeast from below projects into 2nd from W. Amke Covent Garden R column in portico #46:29 L of C

45 1824, May, exterior architects elevation of facade, Edifices of London East line drawing with scale below J. Taylor Covent Garden (a) G. Wightwick (e) H. Winkles #503, p l. 4 Huntington

46 1824, May, interior section longitudinal and trans Edifices of London Saloon 6 stairway verse through the 2 areas, with J. Taylor Covent Garden scale #503, p l. 4 Huntington (a) G.Wightwick (e) H. Winkles

47 1824, May, interior transverse section entire building Edifices of London Enti re bulldi ng through auditorium, scale J. Taylor Covent Garden (a) G.Wightwick (e) J. Roffe #503, p l. 2 Huntington

48 1824, May, interior longitudinal section through entire Edifices of London building cutting auditorium S-stage J. Taylor Covent Garden (a) G.Wightwick (e) J. Le Keux #503, p l. 3 Huntington

COVENT GARDEN Bow, Hart and Russel Streets Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # mf Orininpl

49 cl809“24, in te rio r less finished longitudinal section marked "from Smirke's drawings" Covent Garden R F #1006:53a Harvard

50 1824, May, in te rio r architectural drawing, coffered Edifices of London Stairway ceiling moves perspectively up J. Taylor Covent Garden • f rom C #5 0 3 , pl. 5 Huntington (a) G.Wightwick (e) J. Le Keux

51 1824, May, Plan plan view, Hart Street at top, Edifices of London areas to 'W* id e n tifie d at bottom J. Taylor Covent Garden (a) G.Wightwick (e) J. Le Keux #5 0 3 , pl. 11 Huntington

52 1825, Jan., in te rio r architectural drawing of auditorium Edifices of London A & P £- prose, from the stage, house J. Taylor Covent Garden empty #5 0 3 , pl. 6 Huntington (a) S. Rayner (e) J. Catter

53 1826, exterio r 2 men crossing street R F, ‘Bow Street* on R corner of theatre J. Taylor Covent Garden (a & e) Daniel Havel 1 #1002:55 Harvard

54 1826, plan Hart Street at top, area to 'U* Stage level id e n tifie d at bottom J. Taylor Covent Garden #1002:45a Harvard

COVENT GARDEN VO Bow, Hart and Russel Streets o Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 55 1828, Jan. 12, exterior carriage stopped in front of Southeast view portico, boy L F waving cloth or Jones & Co. Covent Garden paper #46:22 L of C (a) Tho. H. Shepherd (e) John Rolph

56 1829, exterior small print, no people, solid iron Southeast view fence, post along walk, edge of E. P. Sanger Covent Garden road #1002:183 Harvard (e) C. Phillips

57 1831, i nterior throne scene on stage, woman & British Theatre, pi. 231 A & P king C stage, many people on stage Covent Garden

58 cl830-40, exterior road curves at L edge of building, Dugdale's Eng lane and Wales Southeast view pump in front of 1st portal from L Deli neated Covent Garden #332:62 Folger

59 cl830-40, exterior carriage letting woman out by back Knight's London, vol. 5 , p. 288 Southeast view door by pump i n L F Covent Garden (a) Shepherd (e) Whiting

60 cl840-47, exterior man L carrying sign "Map Crane Southeast view Court Street," no pump Covent Garden #46:31 L of C

COVENT GARDEN Bow, Hart and Russel Streets U5 Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre Named OSUTC # of Orininal 61 cl840, exterior very small print, 2 carriages in Southeast view front of portico moving in opposite Covent Garden di rections #1002:3 Harvard

62 cl840, exterior carriage stopped in front of Southeast view portico, people entering fence at Covent Garden gate L #46:34 L of C

63 1843, July 22, interior piano and singer on stage, Q,ueen*s 1. L. N., vol. 3, p. 5 6 . A box R, in 1st tier, the 2nd box Covent Garden

64 1844, March 16, interior O'Connell banquet, his name 1. L. N., vol. 4, p. 161. A & P ‘Justice* & 'Ireland* on curtain Covent Garden on stage

65 c l844, interior operatic man & woman on stage, 7 A & P people at 1st tier rail in F Roya1 Italian Opera (?) A. Ashley #1006:74 Harvard House

66 1845, Dec. 6, interior Jullien's Promenade, people 1. L. N., vol. 7, p. 361. A standing around in pit with Covent Garden orchestra behind them (?) C H COVENT GARDEN VO Bow, H a r t & Russel Streets ro Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orininal 67 1846, July 11, interior Jullien's band concert, 2 bands on 1. L. N., vol. 9 , p. 2 8 9 . P stage in ramped stand Covent Garden

68 cl840*s, exterior sign L advertises Jullien's Southeast view Promenade, sign further R, Covent Garden 'Promenade & concerts' #46:33 L of C

69 1846, Dec. 12, interior being repaired and remodeled, man 1. L. N., vol. 9, p. 3 7 2 . A C stage watching Covent Garden (e) Smyth

70 1847, March 10, interior 3 women on stage, prompter in box, 1. L. N., vol. 10, p. 2 2 5 . A 6- P conductor immediately over box Royal Italian Opera (e) Smyth House

71 1847, May 11, interior Jullien's Concert, stage fille d A 6- P wi th bands Howard Royal Italian Opera (e) J. Howard 1006:67 Harvard House

72 1847, Apr. 10, interior view up Grand stairway, 11 people 1. L. N., vol. 10, p. 233. at foot between lamps & columns Royal Italian Opera House COVENT GARDEN Bow, Hart and Russel Streets Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

73 1847, Apr. 10, interior program on tier front in F, 1. L. N., vol. 10, p. 233. A & P "Semi rami d" with opera glasses Royal Italian Opera (e) Smyth House

74 1848, June 6, interior box draped in shape of crown, 4 1. L. N., vol . .13, p. 5 6 . Roya1 Box guards in costume stand on stage Royal Italian Opera House

75 1851 , July 19, interior King & Q,ueen C receiving candle 1. L. N., vol. 17 , p. 4 7 . Retiring Room sticks from one of many men R Royal Italian Opera House

76 1855 , Apr. 28, interior box draped again in shape of crown, 1. L. N., vol. 26, pp. 420-21. Royal Box 2 guards in costume stand in front Royal Italian Opera (e) Wm. Thomas House

77 CI855 , interior 3 crowned people on stage, 2 1. L. N., vol. 2 9, p. 5 6 3 . A & P women walking out R F (12/6/1856) Royal Italian Opera House

78 1856, March 5, interior on fire , masqueraders running and 1. L, N., vo l. 2 8 , p. 3 0 0 . P crowding to get down stairs L (3/22/1856) Royal Italian Opera House

COVENT GARDEN Bow, Hart and Russel Streets VO Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # nf nrîoînal 79 1856, March 5, exterior theatre burning on R but firemen 1. L. N., vol. 28, p. 2 7 6 . Northeast view are spraying water on buildings (3/ 15/ 1856 ) Royal Italian Opera on L House

80 1856 , March 5, exterior sign in R F, ‘Professor Anderson's East view Grand Ball Masque,' fireman Royal Italian Opera attaching hose to pipe C #1006:71 Harvard House

81 1856 , March 15, interior view from back of stage after fire , 1 . L. N., vol. 28, p. 277 . A & P 6 people on stage Royal Italian Opera (?) R. Pelnch House

82 1856 , March, interior view after fire from Queen's box, A 6 P honeycomb structure under pit Royal Italian Opera #1006:70 Harvard House

83 1858 , May 15, exterior 2 wheeled carriage R F, statue on 1. N. of the W., p. 237 . East view peak of portico roof has R arm Royal Italian Opera rai sed #332:112 Folger House

84 c l858 , exterior statue on peak of portico has L Southeast view arm raised, 2 men in street next to Royal Italian Opera curb C #1006:76 Harvard House (?) Alexandre (?) AHME

COVENT GARDEN VO Bow, Hart and Russel Streets \_ n Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Arti St Engraver . -- Theatre as Named ------OSUTC # of Original 85 1858 , May 15, exterior statue on peak of portico has both 1. L. N., vol. 3 2 , p. 484. East view / arms down, statue on each side of Royal Italian Opera portico roof House (e) Smyth

86 CI 858 , exterior no statues on top, 2 horse carriage Berg's Drama, p. 168. Southeast view in front of driveway at L of Royal Italian Opera building House

87 CI858 , exterior statue has L arm raised, carriage Southeast view L driving under portico Royal Italian Opera (?) AB (in penci1) #1002:91 Harvard House

88 1858 , June 12, interior 2 men at round table R playing 1. L. N., vol. 3 2 , p. 5 8 9 . Crush Room cards Royal 1tali an Opera House

89 1858 , interior 2 men & woman on stage with castle 1. N. of the W. A & P backdrop Royal Italian Opera #332:121 Folger House

90 1858 , July 10, interior man & ballerina on stage, dis i . L. N ., vo l. 33, p. 33. A £■ P torted tree R side of stage Royal Italian Opera (?) A W House

COVENT GARDEN Bow, Hart and Russel Streets Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

91 c 18 58, interior circular detail of ceiling Ceiling decoration Royal Italian Opera #332:123 Folger House

92 c 18 58, interior ceiling detail and view of top Introduction to Victorian Cei1ing gal 1ery Architecture, p. 8 7 . Royal Italian Opera National House Building Record

93 1858 , interior on stage, large dragon being killed A & P by Wagnerian knight standing on its Royal Italian Opera tail, same building as #86 #1006:73 Harvard House

94 1882 , interior water and boat scene on front cur 1 . S. & D. N. A 5- P tain, a few standees in p it, house Royal Italian Opera empty #332:145 Folger House (?) F. Watki ns

95 CI89 O, i nterior view of stagehands at work from Sachs, vol. 2, fig . 1 . S auditorium, man leaning against Royal Italian Opera prose. R, photo House

96 CI9 3 3, exterior 4 large signs on R corner of Sale Bill Photo Northeast view building, street sign on lamp post, Royal Opera House photo #1006:75 Harvard

COVENT GARDEN Bow, Hart and Russel Streets VO 98

CREMORNE GARDENS West of Battersea Bridge, Chelsea cl830 , opened a minor, more public Vauxhall Contai ned: gardens miscellaneous pagodas and arcades dining hall concert room theatre

2 1877 , closed

* Walford, vol. 5, pp. 84-85. ^ Wheatley, vol. 1, pp. 473-74. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 cI830-50, exterior woman seated & man standing at Banqueti ng Hall table L, 6 women, 2 men & 2 chil Cremorne Gardens dren C #1006:48 Harvard (a & e) J. Shury

2 cl830 - 5 0 , exterior night dancing on wooden deck with orchestra in pavilion at center Cremorne Gardens (?) H. Car tern #1002:95 Harvard

3 CI83 O-5O, exterior large display in lights R, "All the Orchestra Nations of the World are Welcome at Cremorne Gardens Cremorne Gardens" #1002:96 Harvard

6REM0RNE GARDENS West of Battersea Bridge, Chelsea 100

CRITERION (English Palais Royal) Piccadi1ly Ci reus

1874 , opened, The Criterion Owners: Spiers and Pond completely below the ground level in connection with a restaurant

1877 , changed name to English Palais Royal Manager: Alexander Henderson

1883 , closed for repairs

1884, April, opened newly rebuilt Criterion Manager: Wyndham Architect: T. Verity Used electrici ty Total seat value of L 220 Seating capacity 800^

' Baker, p. 507. ^ Illustrated Sporting and Dramatic News. April 19, 1884. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O rio in ai 1 1874 , June, interior 6 people in F at rail of 1st tier, A 6- P man 6- woman standing C stage, man Cri terion up stage at fireplace #332:131 Folger

2 1884, April 19, interior almost empty house, man with back 1. S. & D. N. A & P to stage talks to seated woman in Cri terion 1st tier #332:133 Folger (?) Fred Watki ns

3 cl884, interior man stands talking to woman seated A & P in C of p it, 10 others in house Cri terion (?) Fred Watki ns #1002:97 Harvard

4 cl884, interior photo of 1st 6- 2nd tier, taken from Sachs, vol. 3, fig . 354. A opposite side 2nd tier Cri terion

5 cl884, plans 3 plans, stage, 1st tier & 2nd Sachs, vol. 3, figs. 150-52. tier levels, architectural type Cri terion drawi ngs

...... CRITERION THEATRE (English Palais Royal) Pi ccadi11 y Ci reus 102

CRYSTAL PALACE Originally at Hyde Park Later moved to Sydenham

1851 , built in Hyde Park for the Exhibition of I 8 5 I Architect: Joseph Paxton Contractor supervisor: Mathew Digby Wyatt* Cost: more than L 1,000,000 Exterior dimensions width 1851* length 456* height I 08 ' covered 753,984 square feet

1852 , closed and sold*

1854 , June 10, moved and rebuilt as the Crystal Palace in Sydenham Architect: Joseph Paxton Contained among many other features: a theatre a Concert Room the Handel Orchestra Concert Room

* Wheatley, vol. 2, p. 253. ^ Walford, vol. 5, p. 34. ^ Ibid. . vol. 6, pp. 309- 13. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named. _ OSUTC a nf Orininal I 1851 , interior Persia display on R, India display Walford's Old & New London, Nave on L vol. 5, p. 36. Hyde Park Crystal Palace

2 1851, exterior 2 horses racing at turn in cross Hyde Park roads F C, many people standing Crystal Palace around #1006:78 Harvard

3 1854 , exterior 5 major fountains, woman with Walford's Old & New London, Sydenham umbrel1 a C vo l. 6, p. 3 1 2 . Crystal Palace (e) C. J. Broniley

CRYSTAL PALACE o Originally at Hyde Park, Later moved to Sydenham \_AJ 104

DALY'S THEATRE Cranbourn Street, Leicester Square

1893 , March 12, opened new theatre Owner: John Augustine Daly Manager: George Edwards Architect: Spencer Chadwick Cost: L 40,000 Dimensions: stage to furthest seat 68' 6" stage to front of 1st tier 35' pit to ceiling 5 6 ' proscenium width 31' by 31' height stage width 60 ' by 42' 6" deep grid height 63''

^ Sachs, vol. 1, p. 39. Date, Location of View Location of Publi shed Print Identifying Description No. Nature of View Publi sher Location Artist Engraver T heatre a«; Named OSUTC # of O rio in a l 1 cl893, exterior 5 carriages lined up from R in front of theatre, one carriage L F Daly's moving, not stopping #1006:77 Harvard

2 c l893 , map stylized map with Trafalgar Square as C origination point Daly's #1006:78 Harvard

3 I893 , exterior architect's perspective view, 3 Sachs, vol. 1, p. 39. recessed Roman archs in 1 large Daly's arch at R corner (e) C H

4 1893 , interior close view of 1st £• 0nd tier Sachs, vol. 1, pi. 5 0 . A & P prose, boxes £• smal 1 part of Daly's audit., no people, photo

5 1893 , interior architect's elevation of Sachs, vol. 3, fig. 4 2 9. P proscenium detail Daly's

6 1893 , section architect's longitudinal section Sachs, vo l. I , pi. 5 1 . cutting auditorium & stage Daly's

DALY*s THEATRE o Cranbourn Street, Leicester Square Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 7 1893, section architect's transverse section Sachs, vo l. 1, p i. 5 1 . cutting auditorium Daly's

8 1893 , plans stage £■ 1st tier levels, Sachs, vo l. 1, p i. 5 0 . identifying all parts of the Daly's building

9 1893 , exterior architect's elevation of facade Sachs, vol. 1, p i. 5 0 .

Daly's

10 Modern, exterior photo of facade, marquee ‘ No Sleep for the Wicked' Daly's #1002:100 Harvard

DALY'S THEATRE o Cranbourn Street, Leicester Square cr> 107

DEACON'S MUSIC HALL Islington, near Sadler's Wells

1861, Dec. 14, opened Manager: J. Deacon

1890 's, vanished'

DEBOURG'S EXHIBITION OF CORK MODELS (Du Bourg's Museum) 68 Grosvenor Street

1809 , opened^

1818 , A Museum of cork models of Ancient Tempies^

' Oxford, p. 554. ^ Publication date of print number 1 ^ Walford, vol. 4, p. 342. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 1 cl809, interior models oh assorted tables line Museum Hal 1 walls of room, group in C looking #1006:120 Harvard Du Bourg's into large round model (a £• e) D.

68 Grosvenor Street o 00 109

DELAVAL*S LITTLE THEATRE Downing Street

1762 , a neat little theatre'

DE LOUTHERBOURG THEATRE (Eldophusikon) 4 Lisle Street

1781 , April 3, opened^ Stage wide 6* deep 8* 2 Used cut-outs in perspective

1786 , moved to old Exeter Change^

* Mask, vol. 12, p. 102. ^ Mask, vol. 12, p. 5 8 . ^ Knight, vol. 6 , p. 286. ^ Mask, vol. 12, p. 5 6 . 110

DEPTFORD (Theatre Royal Deptford, Carlton, Greenwich) Deptford

built as a theatre

1864, rebuilt and renamed the Carlton^ Owner: Sefton Parry

1866, known as the Greenwich Owner: Sefton Parry^

1897, in disuse

DEVONSHIRE HOUSE THEATRE cl850, operating Small private amateur theatre

' Oxford, p. 155. ^ Baker, p. 400. ^ Illustrated London News, vol. 18, p. 439. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre Named OSUTC # of Orifiinal 1 cl851, interior royal box L of C, stage at extreme 1. L. N., vol. 18, p. 439. A & S R only half visible, pit individual Devonshi re House chai rs

DEVONSHIRE HOUSE THEATRE 112

DIBDIN'S SMALL THEATRE (Essex House Theatre)

1788 , opened Manager: Dibdin ^ ^ A small theatre or Music Room

DIORAMA Lathi an Road

A diorama and Cosmorama^

' Cunningham, p. 215. ^ Walford, vol. 3, p. 6 9. ^ Catalogue print number 1. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver T heatre as Named.... OSUTC # of Orioinal 1 exterior 2 carriages in front of building with sign "DIORAMA” Diorama #1006:79 Harvard

DIORAMA Lathian Road 114

DIORAMA 18 Park Square East, Regent Park

1823, Oct. 6, opened Architects: James Morgan & Augustus Pugin 2 rooms, each with separate dioramas Circular auditoriums pivoting seats Pictures 40* high by 80* long Rotunda 40* diameter

1851 , closed, equipment sold

1855 , building converted into Baptist Chapel

^ Walford, vol. 5, p. 269. ^ Knight, vol. 6, p. 283. ^ Wheatley, vol. 1, p. 506. 115

DORSET GARDENS (Duke's Theatre, Queens) Dorset Gardens, Whitefriars, Salisbury Court

1671 , Nov. 9j opened a new theatre Manager: D'Avenant Architect: Wren Decorator: Grinling Gibbons Cost: L 9,000l

1682 , closed as the two companies joined at Drury Lane

1689 , Queens Theatre For the presentation of operas but did not last

1690's, home for fighters and wild beast shows

1706 , ceases as a theatre

' OSUTC #1002:136, 137 and 138 (Harvard). ^ Oxford, p. 192. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orîainal 1 cl671, exterior crowd entering C door, boat at Ri verfront step, landing at R of theatre Duke's #332:83 Folger

2 1673, exterior 2 men L of C door, 2 women R of C Empress of Morocco door followed by boy Elkannah Settle Duke's #1004:10 Rondel C

3 1673, interior man and woman C stage, woman L of Empress of Morocco P man, Act 1, Scene 1. Elkannah Settle Duke* s (e) W. Dolle #1002:140 Harvard

4 1673 , interior 4 men on rack on stage, spikes on Empress of Morocco P floor. Act 5 Elkannah Settle Worcester Col Duke's Li brary, Oxford Restoration Theatre,op.p.206,

5 1673, interior man on stage in Turkish head dress Empress of Morocco P Elkannah Settle Mander & Duke's Mi tcherson C British Stage, pi. 143.

6 1682 , exterior Elizabethan shaped theatre with Arch. Review, vol.46, 1919,p.ll4 On map flag up Morden & Lea Duke's

DORSET GARDENS (Duke's Theatre, Q.ueens) Dorset Gardens, W hitefriars, Salisbury Court ON Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Oriainal

7 1720 , exterior very small facade view on map, 5 Mask, vol. 12, p. 115. On map boats landing Strype Duke* s

8 1720 , exterior steps on L of building, man in River front row boat at R edge of building #332:83 Folger Duke* s

9 c l720 , exterior 2 men standing in front of re River front taining wall, woman on steps Duke* s leading up to theatre #1006:114 Harvard

DORSET GARDENS Dorset Gardens, Whitefriars, Salisbury Court 118

D'OYLY CARTE'S OPERA HOUSE (English Opera House) Shaftesbury Avenue, Cambridge Circus, Greek Street and Church Street

1891 , opened new D'Oyly Carte's Opera House Owner: D'Oyly Carte Architects: T. E. Collcutt and G. H. Holloway Dimensions: audi tori urn curtain line to front of 1st tier 40' curtain Vine to front of 3rd tie r 52* 6" curtain line to furthest seat 88* 6" auditorium height 5 0 * 9" auditorium width 6 7 * 3" total seating capacity prosceni urn height 34' width 34' stage depth 46' grid height 67* 3"^

^ Sachs, vol. 1, p. 37 . Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O ria in a l 1 1891 , exterior man with cane walking out of F R Sachs, vol. 1, frontispiece.

Opera House (a) C. E. Mallowe

2 1891 , exterior front elevation, line drawing Sachs, vo l. 1, p i. 4 7 . Elevation Opera House

3 1891 , interior 4 people facing stage Sachs, vol. 1, p. 37. A & P Opera House

4 1891 , interior 3 rectangles vertically on Sachs, vo l. 1, p. 35. A & P proscenium, auditorium empty, photo Opera House

5 1891 , interior longitudinal and transverse section Sachs, vol. 1, figs. 49 and 5 0 . Section of the stage area, architect's Opera House scale draw!ngs

6. 1891 , interior longitudinal section of entire Sachs, vol. 1, p i. 48. Secti on theatre, architect's scale Opera House drawlng

D'OYLY CARTE'S OPERA HOUSE (E nglish Opera House)

Shaftesbury Avenue, Cambridge Circus, Greek Street and Church Street VÛ Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O rio in a l

7 1891 , plan plan of entire theatre at stage Sachs, vol. 1, p i. 4 7 . level, architect's scale drawing Opera House

8 1891 , plan plan of entire theatre at 1st tier Sachs, vol. 1, p i. 4 7 . level, architect's scale drawing Opera House

D'OYLY CARTE'S OPERA HOUSE Shaftesbury Avenue, Cambridge Circus, Greek Street and Church Street OISJ 121

DRURY LANE (The Theatre Royal) Bridges Street

1663, May 7, opened new Theatre Royal Manager: Kill I grew Cost: L 1,500 Dimensions: outside, 112' east and west 59' north and south

1672 , Jan., burned

1674 , March 26, new theatre opened Manager: Killigrew Architect: Christopher Wren Cost: L 4,000^

I69O, The Theatre Royal became known as Drury Lane^

1762 , remodeled Manager: Garrick , Increased auditorium capacity to 2000 seats of about L 335

1776 , rebuilt inside Manager: Sheridan Architect: The Adams Brothers Enlarged theatre to include the Rose Tavern next door^

1783 , Dec. 5, "The houfe was futher embeliifhed this feafon" Manager: Thomas Greenwood Architect: William Capon

1791 , May 18, theatre closed and demolished

1794 , March 13, opened new Drury Lane Theatre Manager: Sheridan Architect: Henry Holland Cost: L 200,000 Auditorium: Semi-circle plan, total seating 3611 pit at 3s 800 124 boxes at 6s 1828 8 private 29 on sides of 1st tier 11 at back front on 1st tier 29 on sides of 2nd tier 11, 6 seats deep on back of 2nd tier 10 on each side of 3rd tier 9 on each side in cove 1st tier gallery at 2s 675 2nd tier gallery at Is 308 Total money value of house L 826 6s'“ 122

DRURY LANE (The Theatre Royal)--contd.

(1794, March 13)

Dimensions: outside 320* width by 155* length pit 55* in diameter or approximately 55* wide by 46* long pit to ceiling 56* 6" stage 85* deep by 9 2 * wide with 110* grid proscenium 43* wide by 38* high^

"The part of the stage which is contained between the curtain and the orchestra is fitted up with boxes but without any stage door, or the usual additionof large columns.")^

1809, Feb. 24, burned^^

1812, Oct. 10, opened new theatre Drury Lane Manager: Whitbread Architect: B. Wyatt Cost: L 340,000 Auditorium; three-quarters of a circle in plan view width, box to box 58* length 53* 9 "’^ Proscenium: golden tripod lamps on each side without doors two Corinthian columns on each side ^

1813, further description of 1812 theatre Manager: Mr. Arnold Auditorium: total seating capacity 2810 pit 850 at 3s 6d 72 boxes 1200 at 7s 3 tiers of 24 boxes lower gal 1ery 480 at 2s upper gallery 280 at Is Proscenium: width 19* 6" Stage: width 33*

1818, remodeled auditorium Manager: El Ii ston Added doors in the proscenium ^

1822 - 23, remodeled and rebuilt theatre facade on Bridges Street Manager: El liston Architect: Beazley Cost: L 21,000 Portico added on Bridges Street 123

DRURY LANE (The Theatre Royal)—contd.

( 1822 - 23)

Auditorium: horseshoe plan, total seating 3060 Pit 800 84 boxes 750 20 private boxes, 8 seats each 26 dress circle boxes, 9 each 14 lower gallery boxes, 14 each 16 family boxes, 6 each 8 proscenium boxes, 8 each slips 130 lower gallery 550 upper gallery 350 Dimensions: auditorium width at proscenium 46* 6" at widest point 51 * 6" length 48* pit to ceiling 48* Proscenoum: 46* 6" wide by 43* high Stage: 96* 3" deep by 77* 5" wide Apron depth 12* 9" Outside: 237* wide by 131* long^^

1824-25, auditorium redecorated'^

1846, auditorium remodeled'^

1866, rebuilt within old building shell

1901, redecorated and remodeled stage Cost: L 15,000 Outside dimensions: 237* wide by 131* long

'Baker, p. 46. 2 Ibid. , p. 4 9. Summers, p. I 5 . Baker, p. 76. ^ Architectural Review, vol. 37, p. 32. 6 Oui ton, vol. 1, p. 125. 7 Di'bdin, p. 49. ® Oui ton, vol. 2, pp. 135- 3 7 . ^ Ibid., vol. 2, p. 151. '0 Watson, p. 90, The Times. March 13, 1794. " Sachs, vol. 3, appendix, p. 87 . '2 Dl:bdin, p. 5 8 . *3 Watson, p. 9 0 . Picture of London. 1813, p. 296. *5 Diibdin, p. 5 5 . 16 j ^ . , pp. 55- 6 9. 7 p . 55. 1° Illustrated London News, Dec. 12, 1846. 19 Baker, p. 91• ^0 Ibid., p. 106. Date, Location of View Location of Published Print Identifying Description .0, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Oriainal 1 1663- 1672 , interior man riding a donkey on stage L of A & P C, proscenium door L of him Drury Lane #1002:107 Harvard

2 I663-I 672 , interior man wi th one foot on bucket A & S talking to woman on stage, R of Drury Lane stage in auditorium man faces us #1006:96 Harvard

3 1674 , interior section section attributed to Wren pre Summers, The Restoration sumed to be D L section through Theatre, op. p. 94. Drury Lane auditorium and stage A11 Souls' Coll. Oxford

4 1674 , interior another engraving of Wren's Southern's, The Georgian Play Section section, cleaner and neater than house, pi. 24. Drury Lane #3

5 1697, interior man seated on donkey, 2 large British Theatre, pi. 33. A & P auditorium wall arches in back Drury Lane ground

6 1698 , interior ‘ The Theatre Royal 1‘ at top of Musical Works of John Welsh, P proscenium, crest C, at back of frontispi ece Drury Lane arch in set ‘ Viuitur Ingenio'

DRURY LANE (The Theatre Royal)

Bridges Street 4 ir Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 7 1762 - 75 » exterior sedan chair R F, dog chasing horse Barton's Garrick, op. p. 289 . man C F, man leaning over wheel Drury Lane barrow L F (e) P. Begbie

8 1762 - 75 , exterior facade elevation, no people, one half of C door standing open Drury Lane #507:22 Huntington

9 1762 - 7 5 , exterior 2 horse carriage stopped in front Doran, The English Stage, op. of theatre R, group of 9 standing p. 272 . Drury Lane in line at L door

10 1762 - 75 , exterior same as #9 but WHP has added a Walford, vol. 3, p. 216. man C looking at carriage Drury Lane (?) WHP

II CI762 - 75 » interior Garrick on stage & King George III A & P in Royal Box at proscenium, line Drury Lane drawing #332:11 Folger

12 1771 , interior a fight at top of pit tunnel, British Theatre, pi. 129. Pi t tunnel many taker at R, men falling down Drury Lane steps

DRURY LANE N5 Bridges Street V J 1 Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 13 cl775, interior Adams* redecoration of D L, man and Shakespeare to Sheridan, Thaler, A 2 women stand on stage looking out op. p. 35 Drury Lane to audit., 2 workmen in Royal box R The Works of Architecture of the Adams Bros.

14 cl775, interior Adam's detail of ceiling decor Arch. Review, vol. 37, 1915, p. 3 2 , p i. 4. Drury Lane Soane

15 cl775, interior Adam's detail of half of proscenium Arch. Review, vol. 37, 1915, decor p. 3 4 . Drury Lane Soane

16 1775-83, interior pen and wash original of #17, one Arch. Review, vol. 37, 1915, A & P is a turned over print from the p. 3 2 . Drury Lane other Bodleian L.

17 1775 - 8 3 , interior screen scene from "School for Arch. Review, vol. 37, 1915, A & P Scandal", 3 men, woman and fallen p. 3 2 , p i . 3. Drury Lane screen on stage (dated 1778) British Museum

18 1775 , interior bamboo-like curtain closes off British Theatre, pi. 134. P frame stage, behind 6 people and a dog Drury Lane

DRURY LANE ho ON Bridges Street Date, Location of View Location of Published Print Identifying Description No, Nature of View Publi sher Location Artist Engraver OSUTC U nf Oriainal 19 1775 - 8 3 , exterior facade elevation, same as except for minor details, rose emblem N. Smith Drury Lane added C of facade, doors closed #512:3 Hunti ngton

20 1775 - 8 3 , exterior facade elevation, fat man standing Harlequin, 6/6/1829, p. 2 5 . in front of C door, 2 men R F Drury Lane (e) Sears #484:25 Huntington

21 1775 - 83 , exterior facade elevation, woman balancing 2 Casson's Victorian Architecture, buckets on shoulder, hose C F p. 57 Drury Lane

22 1784-91, interior empty theatre, L proscenium door A & P open, iron scroll work between Drury Lane foots £• boxes on apron (incorrectly #1002:104 Harvard dated 1792) (e) Hewlett

23 CI79 I, interior the theatre is collapsing, people Paston's Social Car i cature, A and parts are falling through the S. W. Fores pl. 75 Drury Lane air (a) Rowlandson

24 1793 , exterior Holland's D L with tower on top, has flag pole Drury Lane (a) F. Francia (e) W. Thomas #512:2 Hunti ngton

DRURY LANE Bridges Street N3 Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre a<; Named OSUTC # o f O rioinal 25 1794 , exterior colonnade in place, statue on tower, no people Drury Lane (a & e) T. Prattent #46:17 L of C

26 1794 , exterior same view as #25 but man & woman Thespian Mag. in L F, man on horse L F, flags Drury Lane missing from R front corner #46:18 L of C

27 1805 , March 12, interior group of sightseers in stall 5 of Robert Wilkinson (1820) A & P 2nd tier, balance of house empty Drury Lane (a) John Winston (e) Dale #1006:193 Harvard

28 1794 , interior longitudinal section through Southern's Georgian Playhouse, auditorium, basic auditorium in pl. 5 Drury Lane 3 arches Soane

29 1794 , plan plan view at stage le v e l,'p it entrance is 41' in diameter' Drury Lane #46:5 L of C

30 1795 , Jan., interior on L stage, woman standing on New Pocket Mag. A bridge, 2 men standing R F and 6 Dury Lane L F #1002:106 Harvard (a) Van Assen (e) Coldar DRURY LANE ro Bridges Street oo Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 31 cl795, interior ballet dancer in colonnaded set, 2 Arch, Review, vol. 37, 1915, A 6- P men L and 1 R pointing to stage p. 34 Drury Lane (a) after Van Assen Bodleian

32 1794 , interior no proscenium door visible, it Arch, Review, vol. 69, 1931, A & P should be, it is labeled C G in p. 169. Drury Lane error, fight in pit R F, fight on Gerald Agnew G (a) E. Dayes stage

33 cl804, interior auditorium seen from stage, full Walford, vol. 3, p. 222. A & P house, man in 1st row of pit at L Drury Lane stand i ng

34 I804, Aug., interior auditorium seen from stage, full A & P house, woman leaning on back side Richard Phillips Drury Lane of proscenium #1006:99 Harvard (a) Pugh (e) Thom Taylor

35 1805 , interior line drawing, empty house, "from Arch. Review, vol. 37, 1915, A & P actual measurements, 1805" sighed p. 35. Drury Lane (a) William Capon Soane

36 1808 , interior on stage, women kneeling before Microcosm of London, vol. 1, A £- S King standing on platform p. 228. Drury Lane (a) J.Bluck (e) Pugin £■ Rowlandson

DRURY LANE Bridges Street Date, Location of View Location of Published Print j .Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # nf Oriainal

37 clSOS, interior R proscenium at 2nd tier level has Simonson*s Art of Scenic Design, A & P 2 large circular areas, 1 light, p. 100. Drury Lane the other dark Metropoli tan Museum of Art

38 CI795 -O9 , interior satirical ‘ Tom and Bob* cartoon, A 6- P group of Roman soldiers on stage Jones & Co. (1821) Drury Lane #332:9 Folger

39 cl809, plan stage level, only one different with #2 9, back stage has only 1 Robert Wilkinson (I8 il) Drury Lane sta i rway #1006:90b Harvard (a) W. Capon (e) W, Wise

40 CI8 09 , exterior facade is down the street to the Northeast view L, man & woman at table in L F Robert Wilkinson (1811) Drury Lane (a) W, Capon (e) W. Wise #1006:90a Harvard

41 cl809 , exterior end of building, wood fence around Beauties of Eng. & Wales, Northwest end open lot, pit entrance through Varner, Hood & Sharpe (1811) Drury Lane covered passage from R #1006:86 Harvard (a) J. Capon (e) J. White

42 cl809, exterior wood fence visible but not p it Hughson‘ s Description of London, Northwest entrance, woman wi th basket R F J. Stratford Drury Lane (a) Schnebbilie (e) Ellis #46:16 L of C

DRURY LANE Bridges Street o Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre Named OSUTC # of Criminal 43 1809 , Feb. 24, exterior on fire , firemen working at pit entrance over wood fence J. Pitts Drury Lane MacQueen-Pope, Theatre Royal Drury Lane,p. 55

44 1809 , Feb. 24, exterior fire as seen from Westminster Bridge, boats in water in F Drury Lane (a) Whichelo (e) Wise #1006:101 Harvard

45 1809 , exterior after fire , wood fence s till West view standing, also pit entrance, woman Robert Wilkinson Drury Lane selling at corner of fence Mac

46 1812 , exterior Wyatt's 0 L, woman with 2 baskets European Mag. C F, 2 men in front of C door J. Asperne Drury Lane (a) Hedyland (e) Lacey #46:11 L of C

47 1812, Oct., exterior facade elevation, no peopie Gentlemens Mag., p. 312.

Drury Lane #46:8 L of C

48 cl8l2, exterior same facade elevation as f^46 but Bitjeman's Vintage London, carriage L, wagon R, 2 dogs, horse op. p. 9 . Drury Lane man L (a) Isaac Cruickshank DRURY LANE Bridges Street Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal

49 1812, Nov., exterior couple standing on walk at L corner, Ackermann’ s Repository of Arts woman, boy & dog on R F corner Drury Lane MacQueen-Pope, Theatre Royal, Drury Lane

50 1812, section longitudinal section through Nicoll’ s The English Theatre, audi tori urn & stage op. p. 142. Drury Lane

51 1812, plan plan of stage level, circular Arch. Review, vol. 71, 1932., auditor i urn p. 288. Drury Lane

52 1812, interior architect’ s elevation of proscenium Watson’ s Sheridan to Robertson, P op. p. 2 5 4 . Drury Lane

53 c 1812, exterior 2 men standing C at corner of street Beauties of England & Wales, pointing to facade, boy in front of Varner, Hood & Sharpe Drury Lane L step base #1002:126 Harvard (a) Wichelo (e) Busby

54 cl8l2, exterior back or south side of theatre, Arch. Review, vol. 15, 1904, long fence divides picture, 2 men p. 134. Drury Lane in L C (a) Muirhead Bone

DRURY LANE VJ Bridges Street ro Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Original

55 1812, exterior old man with cane L F, 3 people in R corner Drury Lane (a) G. Shepherd (E) T. Lister #46:3 L of C

56 1814, exterior 2 women, boy & dog crossing street L, man & boy on steps C facade Robert Wilkinson Drury Lane (a) Wichelo (e) Howlett #1006:103 Harvard

57 cl8l2-22, exterior architect's perspective sketch, Edifices of London each individual block shows in J. Taylor Drury Lane facade #503:p1.2 following (a) I . Wvatt (el J. Le Keux p. 68 Huntinaton

58 cl8l2-22, exterior group of men standing at L corner of facade, woman in front of R door J. Taylor Drury Lane #1002:128 Harvard

59 1812-22, exterior very small, no people, 5 posts visible in front of facade Drury Lane #46;l4c L of C

60 1812-22, exterior high top-front view, carriage in #1006:104 Harvard front of C door, very small print Drury Lane ci rcular

V/J DRURY LANE Vj O Bridges Street Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 61 1812-22, exterior view of east end of theatre, only L 2 pilasters of facade are seen Drury Lane #1006:98 Harvard

62 1812-22, exterior man posting b ills at R corner on other building, has 2 up, street Drury Lane sign "LF" #46:9 L of C (a) L. Franicia (e) S. Rawle

63 cl8l8-l822, interior Kean on stage in front of P door, British Theatre, pl . 196. A E- P royal box at R Drury Lane

64 1823, exterior Beaziey's portico has been added, A11 en* s Hi story of London 3 people at L corner of facade George Vikers Drury Lane #46:10 L of C

65 1823 - 5 , interior empty house viewed from stage, 12 Edifices of London A & P chandeliers at 1st tier level J. Taylor Drury Lane (a) T. Wyatt (e) J. Le Keux #1002:124 Harvard

66 1823 - 5 , interior longitudinal section through Edifices of London Section auditorium & stage, scale at bottom J. Taylor Drury Lane (a) T. Wyatt (e) J. Le Keux #503: pl. 4 Hunti ngton

DRURY LANE Bridges Street f- Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 67 1823-5, interior transverse section of auditorium at Edifices of London Section proscenium & rotunda, scaled J. Taylor Drury Lane (a) T. Wyatt (e) J. Le Keux #503: pl. 5 Huntington

68 1823-5, plan plan at stage level, parts lettered Edifices of London but not identified J. Taylor Drury Lane (a) T. Wyatt (e) J. Le Keux #503: pl. 2 Huntington

69 cl823, interior 2 couples moving on the steps L C, Edifices of London Rotunda 'Saloon* over door C J, Taylor Drury Lane (a) G.B. Moore (e) I. Kearnam #1002:129 Harvard

70 c l 823 , exterior small print, no people, 3 posts L of portiCO, 2 R Drury Lane #46:13a L of C

71 c l823 , exterior very small, 1 carriage R and one L of portico, 2 women carrying signs Drury Lane L side of theatre #1002:3 Harvard

72 cl823 , exterior lamp post on heavy base at edge of steps under portico is very Drury Lane promi nent #46:37b L of C

DRURY LANE Bridges Street VI Date, Location of View Location of Pub 1ished Pri nt Identifying Description No, Nature of View Publi sher Location Artist Engraver Theatre as Named OSUTC # of Original 73 cl823, exterior sales tables set up at both R & L corners, barrel on side R F Drury Lane #46:12 L of C

74 cl825, exterior man selling from basket at waist at corner of building, carriage L F Drury Lane (a) Tho. H. Shepherd (e) Tho. Dale #1006:87 Harvard

75 1829 , exterior small print, no people, portico column bases are in street E. P. Sanger Drury Lane (e) C. Phillips #1002:183 Harvard

76 1825 , plan plan of stage level, items labeled and identified J. Taylor Drury Lane #1002:45b Harvard

77 1842, Oct., interior King John Is dying on stage, crest [. L• N., vol . 1, p. 3 9 2. P of curtain overhead Drury Lane

78 1842, Nov., interior angle R stopping man from running 1. L. N., vol . 1, p. 461. P to woman also R on stage Drury Lane (?) J S (?) J A

w DRURY LANE ON Bridges Street Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 79 1842, Dec., interior scene on stage, woman kneeling 1. L. N., vol. 1, p. 512. P before another woman seated C Drury Lane

80 1843, June, interior pipe legs support false front on 1. L. N., vo l. 2, p. 422. Royal Box box, 2 guards stand on stage Drury Lane

81 1843, June, interior Queen on way to box, 2 men backing 1. L. N., vol. 2, p. 422. Ha 11 way in front of her carrying candles Drury Lane

82 1845, interior castle backdrop, fight ring laid A & P out on stage, 2 men fighting J. Wood Drury Lane (a) T.H. Shepherd (e) T.H. E llis #1002:117 Harvard

83 c 1845, interior view shows 3 sets of boxes R of A & P proscenium boxes but on proscenium "#208" Drury Lane boxes on L, orch. leader in silhouette #332:4 Folger (a) J. Howard

84 1847, interior Jullien's concert and Promenade 1. L. N., vo l. 11, p. 253. A Drury Lane (?) A. J. Meason

DRURY LANE Bridges Street Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre aq Named OSUTC U of O rin in a l

85 1847, Oct., interior stage and auditorium being dis Ladies Mag. A mantled for alterations Drury Lane #332:54 Folger

86 1848, Mar., interior woman riding upright on horse 1. L. N., vol. 12, p. 186. Ri ng back, 2 men with flower rings on R Drury Lane (?) A. J. Meason

87 1849, Jan., interior 2 men flipping over back of horse 1. L. N., vo l. 14, p. 13. Ri ng from springboard on floor Drury Lane

88 1851, Oct., interior stage converted into speakers 1. L. N., vol. 18, p. 3 7 5 . A S- P platform and for audience, speaker Drury Lane is shaking fis t at crowd

89 1851 , interior man does flips on sheet while 2 P & Ring horses run under it Drury Lane #1006:106 Harvard

90 1853 , April, interior on stage, man walking on the under 1. L. N., vol. 22, p. 2 5 3 . P neath side of a board Drury Lane

V a J 00 DRURY LANE Bridges Street Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Oriainal

91 1857 , March, interior box draped so it is impossible to 1. L. N., vol. 3 0 , p. 246. Royal Box see into it from the theatre Drury Lane

92 1882, Dec., interior backstage during rehearsal, castle Backstage set C L Drury Lane (a) Forestier (e) R. Taylor #332:52, Folger

•

DRURY LANE w Bridges Street VÛ 1 40

EAGLE TEA GARDEN AND SALOON (Paragon Music Hall) Whitechaple Road (Mile End Road) pre 1832, tea garden and music saloon^ Owner: A. Ward

1878 , burned^

■3 cl879 , rebuilt as the Paragon Music Hall

' Sherson, p. 47. ^ Oxford, p. 554. ^ S a c h s , vol. 3, p. 98. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 pre 1832, exterior tree C F, 5 arch 2 story facade L, flag hanging out from facade J. Howard Eagle Gardens (a & e) J. Shury #1006:121b Harvard

2 cl879, section longitudinal section of entire Sachs, vol. 3, fig . 135. theatre, through auditorium and Paragon stage, to published scale

3 cl879, plan 2 plans of entire theatre, at Sachs, vol. 3, figs. 136 & 137» stage level and 1st tier level, Paragon parts not identified, scaled

EAGLE TEA GARDEN AND SALOON (Paragon Music H a ll) W hitechaple Road (M ile End Road) 142

EAST LONDON THEATRE (Effingham Saloon, Wonderland) 235 Whitechaple Road

1844, opened as the Effingham Saloon Music halI * 2 1867, converted to the East London Theatre

1879 , March 16, burned^ cl880, rebuilt and reopened as Wonderland Home of Yiddish theatre^

* Sherson, p. 47. ^ Baker, p. 409. ^ Sachs, vol. 3, appendix, p. 101. ^ Sherson, p. 47. 143

EGYPTIAN HALL (Bullock's Museum, London Museum) 22 PiccadiI I y

1812 , built and opened as Bullock's Museum, Egyptian Hall Owner: William Bullock Architect: P. F. Robinson Cost: L I6,00q1

18 13 , Bullock's Museum Admission: 2s 6d

1819 , sold, remodeled and changed name to Egyptian Hall Owner: George Lackington Architect: J. B. Papworth large hall 6 0 ' long and 40' high a second large room which became a theatre _ used for panoramas and other entertainments

This should not be confused with the Egyptian Hall in the Mansion House. Mansion House hall was a large banqueting room capable of seating 400 people at tables. It was at one time used for an art display but should not be considered theatrical in any way.

^ Walford, vol. 4, pp. 257-58. ^ Picture of London, 1813, p. 305. ^ Wheatley, vol. 2, pp. 7-8. Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver Theafrft as Named . OSUTC # n f Orioinal

1 1815 , exterior labeled "Museum" at top of facade, Repository of Arts Egyptian Hall above door "London Museum" R. Ackermann Bullock's Museum Egyptianesque architecture #1002:37 Harvard

2 1815 , interior stuffed animals displayed in C of Repository of Arts Egyptian Hal 1 room, armour on back wall L R. Ackermann Bullock's Museum #1002:38 Harvard

3 cl8l5, exterior very small print, no people, "Museum" at top of facade Egyptian Hall #46:14a L of C

4 1828, exterior museum is no longer at top, over door C is "Exhibition," carriage Jones & Co. Egyptian Hal 1 R C #1006:122a Harvard (a) Tho. H. Shepherd (e) McClatshy

5 cl845, interior lecture with accompanying panorama by Albert Smith on flower decked Egyptian Hall stage #1002:146 Harvard

EGYPTIAN HALL (Bullock's Museum, London Museum) 22 Piccadi1ly g 145

ELEPHANT AND CASTLE At the intersection of Walworth, New Kent and London Roads, Newington Butts

1796 , a tavern and coach house

1818, rebuilt* 2 1872 , became a theatre

1878 , March 26, burned^

1897 - 8 , rebuilt

Note: This may be the location of the Elizabethian theatre at which the Globe company sometimes used in Newington Butts.

* Survey of London, vol. 25, pp. 46-7. ^ Baker, p. 400. ^ Sachs, vol. 3i appendix, p. 101, ^ Mask, vol. 12, p. 103. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # nf Orioinal

1 pre 1818, exterior sign post in C, man driving cattle Besant's Survey of London, L F, tavern up L South, p. 119. Elephant and Castle (a) Richardson S.Kensington M.

2 1826, exterior sign post L C, tavern labeled C, 4 Survey of London, vol. 25, horse carriage racing from R to L frontispiece Elephant and Castle (a) James Pollard (e) T. Fielding J.H. MacDonnel1 C

3 cl860, exterior tavern R, 3 globe lamp post in road Survey of London, vol. 25, L, man carrying sign L F pl. 51b Elephant and Castle L C C

ELEPHANT AND CASTLE ■P- At the intersection of Walworth, New Kent and London Roads, Newington Butts ON 147

EMPIRE VARIETY THEATRE (Alcazar, Empire Theatre of Variety) Leicester Square, on site of old Seville House

1865 , as a music hall burned

1882, built new Empire Theatre of Variety Architects: Thomas and Frank T. Verity stage area below the street level Dimensions: audi tori urn width 6 7 * length 64* 6" three tiers prosceni urn width 32* height 35* stage depth 6 2 * width approx. 65* grid height 47*. ceiling above pit 54*

1883 , name changed from Alcazar to Empire Theatre of Variety

1887 , Dec. 21, became a Music Hall once again Manager: Niçois^

* Sachs, vol. 2, p. 39. ^ Baker, p. 344. Date, Location of View Location of Publi shed Print I Identifying Description No, Nature of View Publi sher Location Artist Engraver Theatre a«; Named OSUTC # of O riginal 1 1882, exterior architect's facade elevation, Sachs, vol. 2, pl. 67. scaled Empire Variety Theatr<

2 1882, interior longitudinal section through Sachs, vo l. 2, pl. 68. Section auditorium and stage, architectur Empire Variety Theatr* a lly scaled

3 1882, plan plan of entire theatre at stage Sachs, vol. 2, p l. 68. level, area labeled and identified Empire Variety Theatre

k 1882, interior crenated drapes at boxes in 1st Sachs, vol. 2, p. 39. A & P tie r, photo Empire Variety Theatre

5 cl882, interior house almost empty, 2 men in A & P silhouette at 1st tier gallery Empire Variety Theatn looking at stage #1002:148 Harvard (?) F W

6 cl882, exterior name at top of facade, 1 horse cab stopping in front, 3 people Empi re to L of C door #1002:148 Harvard (?) F W EMPIRE VARIETY THEATRE (Alcazar, Empire Theatre of Variety) Leicester Square, on site of old Seville House Date, Location of View Identifying Description Location of Published Print I n o . Nature of View Publisher Location A rtist Engraver Theatre as Named OSUTC # of Drîaînal

7 modern, exterior photo of facade from park, "Lady be Good" on marquee Empi re #1006:124 Harvard

EMPIRE VARIETY THEATRE Leicester Square, on site of old Seville House & 150

THE EQUESTRIAN THEATRE I si i ngton Fi el ds

1853 , July, burned*

EVAN'S HOTEL Kings Street, Covent Garden

1774 , a hotel Manager: David Low

1790 , Evans Hotel and Evans Supper Rooms Manager: W. C. Evans

1844, Paddy Green becomes manager^

1856 , rebuilt Evans Hotel as a music hall Manager: John Green "Paddy Green"^ Architect: Finch Hill Cost: L 5,000 Grand Hal 1 width 33' length 72' height 33'

1879 , closed

* Sachs, vol. 3, appendix, p. 92. ^ Cunningham, pp. 383-4. ^ Wheatley, vol. 2, p. 21. ^ Walford, vol. 3, p. 254. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # nf Orininal 1 pre 1856 , interior walls covered with framed pictures, Walford, vol. 3, p. 252. Grand Hai1 2 men standing C, one seated L Evans Hotel (e) Swain

2 1856 , interior piano and male singer at far end 1. L. N., vo l. 2 8 , p. 93. Grand poom of hall in front of draped arch Evans Hotel on platform

3 CI856 , interior mens chorus on platform, "Evan's" Grand Room name is in arch i n back Evans Hotel (e) Field & luer #1002:155 Harvard

EVAN'S HOTEL Kings Street, Covent Garden 152

EXETER CHANGE (Royal Menagerie) No. (356?) Strand

1676 - 1700 , building built, second floor rooms rented out pre 1773 , Pidcock's Exhibition of Wild Beasts^

1773 , second floor. Royal Menagerie Manager: Edw. Cross 1812, Pelito's Royal Menagerie

1829 - 3 0 , building demolished^

^ Walford, vol. 3, p. 116. ^ Picture of London. 1813. p. 307. ^ Cunningham, p. 686. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Thpfltrf» A«; Named OSUTC # of Orioinal 1 ci800-l0, exterior llyceum theatre at R F, carriage in RoyaJ Menagerie front of it, 2 dogs fighting in Exeter Change street ë 1002:158 Harvard (e) George Cooke

2 18)2, interior lion in cage R, elephant at end of Repository of Arts Royal Menagerie room, window and bird cages L R. Ackermann Exeter Change #1002:159 Harvard

3 1828, exterior name at top of facade, in middle is Royal Menagerie ‘ Edw. Cross' then picture of Jones & Co. Exeter Change animals, woman selling from table R #1006: 133b Harvard (a) Tho.H. Shepherd (e) T. Burber

EXETER CHANGE (Royal Menagerie) No. (356?) Strand 154

EXETER HALL North side of the Strand

1831 , built Exeter Hall Manager: G. Deering Architect: J. T. Deering-Gandy A concert and meeting hall^ width 77* length 131* seating capacity 3000 2 orchestra area for 700-750

1880, sold to YMCA Rebui1t^

1887, burned^

' Survey of London, vol. 23, p. 126. ^ Walford, vol. 3, p. 118. ^ Besant, Nineteenth Century, p. 184. ^ Sherson, p. 173. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # nf Orioinal

1 cl831-80, exterior metal b illia rd table maker R of Knight's London, vol. 5, p. 241. hall sign on each column, 3 men R Exeter Hal 1 wi th signs (a) Shepherd (e) Q.uick

2 cl831-80, exterior man wearing sign board L of entrance, sign against column base Exeter Hall ' No Popery* #50:51 L of C

3 cl83l“80, exterior 3 women entering hall, very small print, child looking in window at Exeter Hal 1 R #1002:2 Harvard

4 1834, Nov., interior large orchestra on platform, men The Mirror, vol. 24, #692. A with light adjustment sticks at Exeter Hall L and R F #1006:132 Harvard

5 1841, interior man speaking just L of C, man A standing applauding L F, clock J. Mead Exeter Hal 1 over door R #1006:135 Harvard (a) T. H. Shepherd (e) H. Melville

6 cl84l, interior flutist standing C of platform, Knight's London, vol 5, p .265. A aisle ways R and L are visible, Exeter Hal 1 big organ C (a) Shepherd (e) Sears EXETER HALL un North side of the Strand Un Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named_ OSUTC # of Oriainal 7 cl84l, interior L side of auditorium, crest on Roya1 Box front, II in royal party Exeter Hal 1 #1006:136 Harvard

EXETER HALL VI North side of the Strand 157

GAIETY THEATRE (Strand Music Hall) Catherine Street, Strand, on site of old Exeter Change about half way between Catherine and Wellington Streets

1863, opened as the Strand Music Hall Architect: F. B. Keeling

1868, Dec. 21, remodeled and changed name to the Gaiety Theatre Manager: John Hollingshead Architect: C. J. Phillips stage door on Wellington Street royal entrance on Exeter Street total seating capacity 2000 Dimensions: stage area below 20' grid above 50 *^ curtain line to back of pit 50' pit floor to ceiling 54' proscenium 29* by 30' stage depth 41'

1902, burned

* Besant, London 19th Century, p. 189. 2 Walford, vol. 3, pp. 112-3. ^ Wheatley, vol. 2, p. 84. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre Named OSUTC U of Orioinal

1 1869, interior house almost empty, 6 people in pit 1. L. N., vol. p. 20. A & P 6 also in 1st tie r, bridge scene on Gaiety front curtain in proscenium (a) F W

2 cl869, interior view from front balcony of 1st Theatre Notebook, vo l. 4, p.60, A & P tier, tie r fronts and proscenium in fig . 6. Gaiety silhouette, drapery on prose. & boxes crenated (a) A.B,

3 c l890 , exterior American flag over b illiards sign Besant's 19th Century London, middle of 3 buildings p. 213. Gaiety (?) T. W. Tyrrell

GAIETY THEATRE (Strand Music Hall) vn Catherine Street, Strand, on site of old Exeter Change about half way between Catherine and 00 Wellington Streets 159

GARRICK THEATRE Charing Cross Road

1889, April 24, opened new Garrick Theatre Owner: John Hare' Architect: Walter Emden Dimensions: audi toriurn curtain line to front of 1st tier 34* curtain line to front of 3rd tier 37* curtain line to furthest seat 50* width within inside walls 50* pit to ceiling 44* prosceni urn height 32* 9" width 31* stage grid height 45*. depth 40*

' Brooks, p. 143. ^ Sachs, vol. 2, p. 39. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre Named OSUTC # of Orioinal 1 c l8 8 9 , exterior L corner of 4 pictures in one The Theatre print, 3 people under marquee, Garrick carriage in front of it #1006:143 Harvard (a) F. W.

2 cl889, interior Upper R corner of same as #1, 7 The Theatre A 6 P people at rail of 1st tie r, none Garrick looking at stage #1006:143 Harvard (a) F. W.

3 cl889 , exterior 10 signs in row on facade, each Sachs, vol. 2, p. 3 8 . one on a block column, no people, Garrick photo

4 cl889 , exterior architect's front elevation, line Sachs, vol. 2, p. 66. drawing, scaled Garrick

5 cl88 9 , section longitudinal section of entire Sachs, vol. 2, p l. 66. theatre cutting through auditorium Garrick and stage, scaled but not identi fied

6 cl889 , plans 2 plans of entire theatre, 1 at Sachs, vol. 2, p l. 66. stage level, other at 1st tier Garrick level, scaled and parts identified

GARRICK THEATRE C h arin g Cross Road 161

GARRICK THEATRE Leman Street, Whitechaple (Goodman Fields)

1830, opened Admission: pit 6s boxes Is gallery 6d

1835 , total seating capacity 600-700 Admission: box 2s pit Is gallery 6d cl845-6, burned^

1845-6, rebuilt , For penny shows

1859 , became a Music Hall^

1873-4, became the Royal Albert^ Manager: J. B. Howe

' Watson, p. 4 3 0 . ^ Grant, p. 88. ^ Sachs, vol. 3, appendix, p. 91. ^ Baker, p. 406. 5 Sherson, p. 38. ^ Baker, p. 406. 162

GATT I S MUSIC HALL 216 Westminster Bridge Road

1865, opened as a music hall'

GLOBE THEATRE (Holuphusicon, Leverian Museum, Surrey Institution, Rotunda) Biackfriars Road, S.E., at Albion Street 2 1771 , Hoiuphusicon

1790 , Leverian Museum^

1806 , Surrey Institution A penny waxworks^

1833, Sept., Globe Theatre^

1838, a concert hall^

1853 , fight ring^ Q 1855 , action and sale room

^ Survey of London, vol. 23, p. 70. ^ Sherson, p. 321. ^ Walford, vol. 6, p. 382. ^ Picture of London, .1813. p. 239. 5 Baker, p. 400. ^ Sherson, p. 322. 7 Ibid.. p. 321. ^ Walford, vol. 6, p. 382. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 1 1808, interior all elements of a theatre rotunda Microcosm of London, vol. 3, A 6- S except speaker is on platform Ackermann p. 158. Surrey Institution (a) J. Bulck (e) Pugin & Rowlandsxi

GLOBE THEATRE (Holuphusicon, Leverian Museum, Surrey institution, Rotunda) ON Biackfriars Road, S.E., at Albion Street V j O 164

GREAT GLOBE (Oriental Muséum) In Garden area on Leicester Square

I8 5 I, opened as Great Globe Panorama Manager: Wyld Rotunda: 65* in diameter Galleries around at different heights

I859 , becomes Oriental Museum

1861 , demolished'

' Walford, vol. 3, pp. 170-71. 165

NEW GLOBE THEATRE New Castle Street, Strand, on the site of the old Lyon inn

1868, Dec., opened New Globe Theatre Manager: Sefton Parry' Seating capacity of approximately 1000, total value of L 210 Pit floor many feet below the level of the street Gallery and royal box entrance on Wych Street Ordinary boxes and stall entrances on New Castle Street^

1902, March 22, closed^

' Sherson, p. 237. ^ Walford, vol. 3, p. 34. ^ Baker, p. 333. Date, Location of View Identifying Description Location of Published Print No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal

1 cl868, interior 2 men in L F in relie f at edge of A & P 1st tie r rail looking at stage, 15 Globe other people in house #1002:179 Harvard

2 cl868, interior shows proscenium and stage level A & P box and 2 boxes on 1st tie r, 3 Wpite & Co. Globe seats in the rest of 1st tie r only, #1006:150 Harvard empty house

NEW GLOBE THEATRE New Castle Street, Strand, on the site of the old Lyon Inn 167

GOODMAN*S FIELDS NEW WELLS THEATRE West side of Leman Street "In the passage by the Ship Tavern, between Prescot Street and Chambers Street"^ 2 1703 , in existence as a variety house

^ Tutchin in The Observer. 1703 (from Cunningham). ^ Wheatley, vol. 2, p. 128. 168

GOODMAN*S FIELD THEATRE (Goodman*s Theatre, A rliffe Street Theatre) Great A rliffe Street (now Commercial Road), Goodman’ s Fields' (Also known as Great Alie Street)

1729 , converted a throwster’ s shop Into a theatre Owner: Thomas Odell^

1733 , remodeled and opened the New A rliffe Street Theatre Owner: Henry Gifford Architect: Shepherd Dimensions: length 88* width 48’ 6" pit width 30’ orchestra depth 15’

1737 , theatre closed by authorities

1738 , building for sale^

1741 , reopened as theatre Owner: Henry Gifford ^ Garrick appears at this time

1742 , closed again

1746 , building pulled down^ cl747 - 5 0 , theatre rebuilt^

1751 , tries to reopen as theatre Owner: Odel1 becomes a variety house o I802 , burned, had been used as a warehouse

' Chetwood’ s, Hi story of the Stage 2 Cunningham, p. 276 . 3 Goodman’ s Field Picture #4 (OSUTC #36:7, NYPL). ^ London Daily Post and General Advertiser, Sept. 14, 1738. 3 Walford, vol. 2, p. 146. ^ Cunningham, p. 276 . 7 Wheatley, vol. 2, p. 128. 8 Sachs, vol. 3, appendix, p. 8 7 . Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Thpatrp. as Named OSUTC U of Orioinal

1 c1737 , exterior 4 barrels being moved by man, 2 London illustrate women walking C Robert WiIkinson Arliffe Street (a) William Capon (e) Wise #36:6 NYPL

2 c l737, map large area up L marker "Tenter London Illustrate Ground" Robert Wilkinson Arliffe Street #36:6b NYPL

3 c l746, map section of Rocque map "Tenter Theatre Notebook, vol. 3, p.72, Ground" is in center of map fig . 2. Arliffe Street

s 4 cl737, detail of ceiling marked "Shakespear" bottom, top London Illustrate "Betterton", L "Dryden," R "Con- Robert Wilkinson Arliffe Street grave" # 3 6 : 7 NYPL (a) Capon (e) 1. Stow

GOODMAN'S FIELD THEATRE (Goodman's Theatre, A rliffe Street Theatre) Great A rliffe Street (now Commercial Road), Goodman's Fields S’ 170

GRAND THEATRE (Philharmonie Music Hall, Philharmonie Theatre) High Street, Islington (Upper Street) i860 , opened as the Philharmonie Music Hall'

1870 , changed name to Philharmonic Theatre Managers: Head and Morton

1882, Sept. 6, burned^

1883, Aug. 18, opened the Grand Theatre Architect: Frank Matcham

1887 , burned

1888, Dec., opened new Grand Theatre Manager: Charles Willmot

1900, burned again

' Sachs, vol. 3, appendix, p. 104. ^ Baker, p. 382, ^ Sachs, vol. 3, appendix, p. 104. ^ Playgoer. OSUTC #332:29, Folger. 5 Sherson, p . I 96. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 1 el860-70, interior 3 singers and 2 pianos on stage, S & P audience seated at tables Philharmonic Music #1002:259 Harvard Hal 1

2 cl883”7, interior view from stage, 2 men and woman A taking bow to full house Grand #332:29 Folger

3 cl887, plan plan of entire theatre at 1st Sachs, vo l. 1, p i. 53. tie r level, scaled, parts Grand 1 dent if led

4 c l887, section longitudinal section of entire Sachs, vol. 1, p i. 53. theatre, cutting auditorium and Grand stage, scaled but not identified

GRAND THEATRE (Philharmonie Music Hall, Philharmonie Theatre) High Street, Islington (Upper Street) 172

GRECIAN THEATRE (Grecian Saloon, Eagle Saloon, Olympic Saloon, The Bird, the City Road Saloon) City Road, Shepherdess Walk on site of Shepherdess Tavern & Tea Garden

1832 , built adjoining the Eagle Saloon, the Grecian Saloon Owner: Thomas "Brayvo" Rouse'

1835 -6 , remodeled the Grecian Saloon

1841, changed name to Olympic Saloon About 700 seats^

1851 , rebuilt as the Grecian Owner: Conquest A pit, two tiers of boxes plus a gallery Total seating capacity, 340q3

C I8 7 6 -8 , rebuilt as the New Grecian Theatre Owner: Conquest Architect: J. T. Robinson Cost: L 8 -9 ,0 0 0 Seating capacity of about 5,000 1600 seats in pit , 1600 seats in gallery

1879 , sold to Mr. Clark for L 21,000

1881 , sold to Salvation Army for L 9,0005

' Sherson, p. II. ^ Ibid. , p. 21. 3 Baker, p. 377. ^ OSUTC #1002:185, Newspaper clipping (Harvard). 3 Wheatley, vol. 2, p. 148. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 1 cl832, exterior 2 eagles perched on top of building L F is sign 'Baths' J. Howard #148 Eagle Tavern (e) J. Shury #1006:121a Harvard

2 cl870, exterior entrance through gate posts wi th eagles on top, theatre is very Grecian Theatre Greek #1002:185 Harvard

3 CI876 - 8 , interior p it only half fu ll, 3 people in A £. P R F, 3 in L F, cottage on stage #1002:2 Harvard Grecian Theatre

4 cl88l, interior being used as a Salvation Army A & P meeting auditorium, 2 inset Grec i an pictures of S. Army people #1002:184 Harvard (?) J. R. Brown

GRECIAN THEATRE (Grecian Saloon, Eagle Saloon, Olympic Saloon, The Bird, the City Road Saloon) City Road, Shepherdess Walk on site of Shepherdess Tavern & Tea Garden 174

Halfway House (Mothers Red Cap, Mothers Black Cap) Kentish Town Road

1734 , opened as garden and tavern^

1751 , became tea garden and provided entertainment^

1820 , s till in operation^

' Survey of London, vol. 19, p. 28. ^ Walford, vol. 5, p. 310. 3Catalogue Number 4, dated 1820, Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # nf Orioinal 1 1740, exterior building in far distance, cart on Survey of London, vol. 19, road F C pi . 7a Mother's Red Cap

2 1764, exterior man watering 2 horses in F, sign Walford, vol. 5, p. 312. pose C with picture and grapes Mother's Red Cap

3 1817, exterior sketch with woman caning chair in foreground, house labeled Halfway House #1006:42 Harvard

4 1820, exterior 2 men on horse back, 3rd standing Survey of London, vol. 19, in front of tavern pi. 7b Mother's Red Cap

5 cl820, exterior extreme R side of print, tavern Survey of London, vol. 19, and garden pi. 109 Mother's Red Cap (a) L. F. King St.Paneras PI.

HALFWAY HOUSE (Mothers Red Cap, Mothers Black Cap) Kentish Town Road Ul 176

HANOVER S(iUARE CONCERT ROOMS (Concert of Ancient Music, Philharmonic Concerts, Royal Academy of Music, Hanover Club) Hanover Square

1760 , opened Architect: John Gal II ni

1774 , assembly rooms Music rooms « Masked bal1s

1805 , concert of Ancient Music or Kings Concert Meetings of these groups held here until 1848^

1833, used by the Philharmonic Concerts

1861, remodeled Royal Academy of Music

1874 , closed

1875 , remodeled and opened as the Hanover Club^

^ Mask, vol. 12, p. 5 5 . ^ Walford, vol. 4, p. 317. ^ Picture of London, 1813. p. 292. 4 Walford, vol. 4, pp. 318-20. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 1863, interior raised platform stage with singer 1. L. N., vo l. h i, p. 617. A S- P at center, audience in semi Hanover Square circle in front

HANOVER SQUARE CONCERT ROOMS (Concert of Ancient Music, Philharmonic Concerts, Royal Academy of Music, Hanover Square Hanover Club) 178

HAYMARKET OPERA HOUSE (Q,ueens Theatre, Kings, Her Majesty's, Royal Italian Opera House) Corner of Haymarket and Pall Mall

1705 , April 9, opened as the Queens Theatre Owner and Architect: John Vanbrugh Manager: Congreve Ceiling was semi-oval arch, 15' higher than cornice Curtain line to furthest seat 66'

1712 , remodeled^ cl 714-20, renamed Kings Theatre in honor of the accession of George I in 17143

1763 - 8 2 , sometime in this period the theatre was remodeled.

1782 , remodeled Architect: Novosielski Auditorium: oblong form with rounded corners, had to work within old walls Stage line to front of first tier 5 8 ' apron depth 23' pit to ceiling height 44' width between boxes 43' 3 tiers 34 boxes each 116 boxes in all each box 5' or 6* wide 6' deep 7' or 7'6" high^

1789 , June 17 , burned^ The theatreîatre that tha burned, the facade was 35' wide the architect: Blenheim'Îm6

1790 , April 3, started to rebuild the new theatre

1791 , March 26, opened as the Kings Theatre Architect: Michael Novosielski Cost: L 73,000 Proscenium: 34' high by 37' wide' O distance from curtain line to furthest seat 70'

1813, description of auditorium 5 tiers Boxes hold 900 each box contains 6 depth 7' width 4' 179

(HAYMARKET OPERA HOUSE)—contd.

(1813) Gallery 800 17 benches width 62* depth 42* Stage depth 6 0 * width 8 0 * ium wi dth 46* depth 66* Pit wi dth 65* depth 66* 21 benches9

1818, rebui1t Owner: Mr. Waters (purchased in 1816 for L 70,150) Architects: Nash and Repton Cost: L 50,000 Exterior dimension 283* long by 64* high Auditorium: horse-shoe shaped, total seating capacity, 3380 pit 65* wide, 21 rows, 1100 seats at 1/2 guinea 197 boxes, 4* wide by 7* deep,1180 seats at 1/2 guinea 5 tiers gallery in 5th tier, 17 rows 1100 seats at 5s 56* wide by 40* deep curtain line to front of 1st tier 80* to back of boxes 102* auditorium width at curtain line 40* at back 75* pit to ceiling height 56* proscenium width 40* stage, width 80* depth 36*jo apron, depth 24*-

1829 , May 23, Waters sold to Chambers for L 80,OOo'^ Capital investment loss of L 40,000

1837 , name changed to Her Majesty*s Manager: Laporte^^

cl841-2, redecorated 13 1846, redeco ra ted 180

(HAYMARKET OPERA HOUSE)—contd.

1858, auditorium 6 tiers, 43 boxes to each tier Curtain line to front of 1st tier 88^ Pit to ceiling, height 51’ Width between fronts of boxes 59’ Proscenium width 37il3~l4

1862, Bijou Theatre An amateur theatre attached to Her Majesty's Opera House used for amateurs of rank, (13) and concerts.

1867 , Dec. 6, burned. Her Majesty’ s Opera House and the Bijou 16

1869 , March, rebuilt Owner: Lord Dudley Architect: Charles Lee Cost: L 50,000 auditorium, 5 tiers, total seating capacity I8 OO for opera 2500 for drama gallery in center back of 5th tier stage larger than before^^

1892 , demolished

1897, April, open new Her Majesty's Mahager: Beerbohm Tree Architect: C. J. Phipps Cost: L 60,000 Auditorium: total seating capacity, 15-1700 width 6 9’ 6" curtain line to furthest seat 79’ curtain line to front of 1st tier 34' to front of 2nd tier 40' Prosceni urn width 35’ height 29' 6" Stage width 6 9’ 6" depth 5 0 ’ Grid height 54' Exterior width 332' depth 86' ° 181

(haymarket OPERA HOUSE)—contd.

20 1902, name changed to His Majesty's Theatre

' Baker, p. 163. ^ Mask, vol. 12, p. 110. ^ Whistler, Lawrence, Si r John Vanbrugh. Architect and Dramatist. Cobden-Sanderson, London, 1938, p. 146. ^ Saunders, p. 80 (OSUTC #130, Library of Congress). 5 OSUTC #1002:218 (Harvard) ^ Baker, p. 174. ^ Haymarket, 0 H #9. ^ Watson, p. 64. ^ Picture of London. 1813, p. 294. OSUTC #1002:210-212 (Harvard). Harleoui n #1. p. 16 (OSUTC #485:29, Huntington). Berg, p. 173. Illustrated London News. March 7, 1846 (OSUTC #332:66-67-68, Folger) Ibid.. July 10, 1858 , p. 34. ’5 Gwilt, p. 1068. '6 Sherson, p. 324. Sachs, vol. 3, appendix, p. 9 6 . 18 Berg, p. 174. '5 Sachs, vol. 2, pp. 35-6. Z^Baker, p. 535. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 1763 , plan plan of entire theatre, parts Dumont's Paralelle, pi. 21. identified, scaled Haymarket Opera House (a) Dumont (e) Poulean #66 L of C

2 1763 , section longitudinal section of entire Dumont's Paralelle, pi. 21. theatre, cutting auditorium and Haymarket Opera House stage, scaled #66 L of C (a) Dumont (e) Poulean

3 1782 , plan plan of entire theatre at stage Whistler's Sir John Vanbrugh, legel, no scale or identification p. 110. Haymarket Opera House

4 pre 1782 , interior man and woman almost dancing L Arch. Review, vol. 37, 1915, A & P stage, 3 people in up R 3rd tier p. 3 2 . Italian Opera House (a) Van Assen Soane

5 pre 1782 , interior man on stage in front of trees, A £• P stage and house empty, 5 figures Ki ngs Theatre in cloud above prose, arch #1006: 171c Harvard (a) Neale (e) Pretent

6 pre 1782 , interior view through column supported arch, A 4 tiers, 3 putti figures above Harri son Kings Theatre prose, arch #1002:225 Harvard (a) Van Assen (e) Storer

HAYMARKET OPERA HOUSE (Q.ueens Theatre, Kings, Her Majesty* s. Royal Italian Opera House) 00 Corner of Haymarket and Pall Mall ro Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # nf Original 7 1783 , exterior "Ridauts* Fencing Academy” over C Dubech's, Histoire Generale, of 3 arches, signs at top between vol. 4, p. 2 6 9. Haymarket Opera House arches Rondel C (a) Wm. Capon

8 cl 782 , plan plan of entire theatre, no Saunders, A Treatise on identification or scale, at stage Theatres, pi. X Haymarket Opera House 1 evel #130 L of C

9 1790 , exterior proposed facade, never executed, C dome wi th 5 statues on each Kings Theatre si de #332:86b Folger

10 CI79 O, exterior straight facade view, finished Mask, vol. 12, p i. 10. part R end, no people, sky lights Haymarket Opera House look like patches on roof British M. (a) C. Tompkins

11 CI79 O, section transverse section of entire Edifices of London theatre, auditorium and saloon, J. Taylor Kings Theatre identified and scaled #503 , p i. 2 Huntington (a) A. Pugin (e) J. Le Keux

12 1807 , exterior man and woman at 2nd door R, 2 men 4th door from L C. Chappel Kings Theatre (a) T. Winston (e) Storer #332:107 Folger

HAYMARKET OPERA HOUSE 00 Corner of Haymarket and Rail Mail VJ Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver T hea tre as Named OSUTC # of Original

13 1809, interior on stage, 12 ballerinas, castle on Microcosm of London, vol. 2, A back drop p. 213. Haymarket Opera House (a) J. Bluck (e) Pugin & Rowlandson

14 1815> exterior shows only the finished portion, 2 Londina lllustrata men standing in front of R arch Robert Wilki nson Haymarket Opera House (a) G. Jones (e) H. Cook #36:4b NYPL

15 1815> interior 2 women dancing C stage, 5 people Londi na 111ustrata A R watching them Robert Wi1ki nson Haymarket Opera House (a) G. Jones (e) H. Cook #36:4a NYPL

16 1817, May, exterior R man and woman standing in street European Mag., vol . 72, in front of facade at corner, not F. Asperne fronti spiece Haymarket Opera House complete at this date (a) S, Rande

17 cl818, exterior line drawing, soldier and boy C F, facade is inaccurately drawn Haymarket Opera House (e) Neele £■ Son #1006:1723 Harvard

18 1820, Sept., exterior finished theatre facade, man and Londina lllustrata woman sitting on curb R F Robert Wi1ki nson Kings Theatre (a) Schnebbelie (e) B. Hewlett #36:5 NYPL

HAYMARKET OPERA HOUSE Corner of Haymarket and Pal 1 Mail f Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named. . OSUTC # of O r io in a l

19 cl820, exterior very small print, flag on top C of theatre Haymarket Opera House #1002:3 Harvard

20 cl820, exterior no people, center and le ft end of facade visible, very small print Haymarket Opera House #46:36a L of C

21 cl820, exterior top front view, circular print, 3 carriages in street in front of Haymarket Opera House theatre #1006:171a Harvard

22 cl820, exterior man on horse back talking to standing man in C of facade, 5 Haymarket Opera House people and dog crossing street in #50:31 L of C R F

23 cl820, exterior 2 men each on horse back in front The Drama, or Theatrical of center part of facade Pocket Mag., vol. 6, Haymarket Opera House #50:37 L of C

24 cl820, exterior 7 carriages in a row in front of Dugdale's England & Wales, theatre, woman and dog L F Deli neated Haymarket Opera House #50:33 L of C

HAYMARKET OPERA HOUSE 5? Corner of Haymarket and Rail Mail Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC U of Orioinal

25 cl820, exterior 3 women entering R main door, 2 mer on horse back in front of C facade J. Robins & Co, Haymarket Opera House (a) R.B. Schnebbi 1 ie (e) J. Shury #50:36 L of C

26 cl820, exterior carriage with 4 men on driver's seat R F, woman and man crossing Italian Opera House behind it #50:34 L of C (a & e) A, H, Payne

27 cl820, exterior wagon with load of hay C, man on corner R F under lamp post Italian Opera House #50:38 L of C

28 1821, exterior view down Charles Street, 0. H, facade seen on end at R, street sgn Jones & Co. Haymarket Opera House at L "Regent Street" #50:43 L of C (a) Tho, H. Shepherd (e) Wm.Willis

29 1821, exter i or corner at O.H. facade at R, Hay market theatre at end of street J. Taylor Haymarket Opera House (a & e) Daniel Havel 1 #1002:193 Harvard

30 1822, exterior view down Charles Street, O.H. facade at R, 2 dogs C F in street R. Ackermann Haymarket Opera House #1006:157 Harvard

HAYMARKET OPERA HOUSE 00 Corner of Haymarket and Fall Mail Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # nf Orioinal

31 1822, exterior colonnade is full of people, 2 Repository of Arts horsemen L F, man and 2 dogs C of R. Ackermann Italian Opera House street C #332:8 Folger

32 1825 , exterior architect frontal elevation, Edifices of London scaled J. Taylor Ki ngs Theatre (a) A. Pugin (e) J. Roffe #5 0 3 , pi. 1 Huntington

33 1825 , plan plan of entire theatre at stage Edifices of London level, scaled and parts identified J. Taylor Kings Theatre (a) A. Pugin (e) J. Roffe #5 0 3, pi. 1 Huntington

34 1826 , exterior 2 men and woman crossing street C, cariage at R end of facade J. Taylor Haymarket Opera House (a 5- e) Daniel Havel 1 #1002:219 Harvard

35 1826 , plan plan of entire theatre at stage level, identified and scaled J. Taylor Haymarket Opera House #1002:186 Harvard

36 1827, Nov., interior masque ball in theatre, no parts of theatre recognizable, perhaps this Tho. Keig Kings Theatre i s the Grand Room #1006: 169b Harvard

HAYMARKET OPERA HOUSE 00 Corner of Haymarket and Fall Mall Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal

37 1828, Feb., exterior 3 carriages in front C, wagon load of hay(?) R C, horseman R F Jones & Co. Italian Opera House (a) Tho.H.Shepherd (e) M. Fox #332:18 Folger

38 1829, exterior small picture, no people, view up Charles Street from in front of E. P. Sanger Italian Opera House Haymarket Theatre #1002:183 Harvard (e) C. Phillips

39 1841, i nter i or oval shaped print showing 4 boxes Salaman's Londoner's Then and A & P in 1st and 2nd tier on L plus pit . Now, p. 132. Her Majesty's (a) Eugene L. Lami V & A ko 1844, June, interior view from stage, single ballerina 1. L. N., vol. 4, p. 3 8 9 . A C stage runni ng R Her Majesty's

41 1842, July, interior girl chorus line on each side of 1. L. N., vol. 1, p. 10 9 . P stage, man and 2 women C stage Her Majesty's

42 1846, March, interior classic Greek, formal architecture, 1. L. N., vol. 8, p. 15 3 . P painted drop closes prose., Greek Her Majesty's girls dancing C of drop

HAYMARKET OPERA HOUSE Corner of Haymarket and Pall Mal] Date, Location of View Locati on of Publi shed Pri nt Identifying Description No. Nature of View Publi sher Locati on Artist Engraver Theatre as Named. .. OSUTC U of Ori cii na 1

43 1846, March, interior desk and chair R, view from stage, A man and 2 women C stage Her Majesty's (?) Ashley #1006:176 Harvard

44 1846, March, interior view from stage, house empty, large A gallery in 5th tier Her Majesty's #332:68 Folger

45 1847, June, interior 2 guards on stage, arch over box 1. L. N., vo l. 10, p. 393. Royal Box with crown at top Her Majesty's

46 cl847, exterior carriages meeting at R angles in C, wagon load of hay(?) R, woman and J. Howard Italian Opera House boy crossing street R F #50:35 L of C (e) J. Shury

47 1850 , Oct., interior concert band on stage, many people 1. L. N., vol. 17 , p. 333. A stand i ng in pit area Her Majesty's (a) H. Anelay (e) Smyth

48 pre 1867 , exterior man and 2 dogs C F, 2 horsemen L, woman with parasol on sidewalk R F Her Majesty's #1002:222 Harvard

HAYMARKET OPERA HOUSE Corner of Haymarket and Fall Mall Date, Location of View Location of Published Print Identifying Description Mo, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal

49 1867, Dec. 6, exterior on fire , 3 streams of water going up C, l i t lamp post L F Her Majesty's #1002:4 Harvard

50 ciSyO, interior house almost empty, 10 people in A & P p it, 2 in 2nd box of 2nd tier L, Her Majesty's painted drop on stage #1002:223 Harvard

51 1897» exterior gas street lamp C divides the Clunn, The Face of London, facade, no people, projecting op. p. 144. Her Majesty's marquee R C

52 1897, exterior 2 women, man and 2 children C F, Sachs, vol. 1, frontispiece carriage R F, people entering at Her Majesty's corner of building (a) C U E

53 1897 , exterior architectural front elevation, Sachs, vol. 1, p i. 62, 1i ne drawi ng Her Majesty's

54 I897 , exterior architects side elevation, line Sachs, vo l. 2, p. 36. drawi ng Her Majesty's

HAYMARKET OPERA HOUSE Corner of Haymarket and Pall Mail o Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Ortninal 55 1897 , exterior architectural side elevation, line Sachs, vol. 2, p i. 62. drawing, scaled Her Majesty's

56 1897 , section longitudinal section of entire Sachs, vol. 2, pi. 63. theatre, through auditorium and Her Majesty's stage, identified and scaled

57 1897 , plans 2 plans of entire theatre, one at Sachs, vol. 2, p i. 63. stage level, other 1st tier level Her Majesty's

58 1897 , interior view of box office, photo Sachs, vol. 3, fig . 504.

Her Majesty's

59 1897 , interior man sitting at end of 1st tier Sachs, vol. 2, p. 35. A 6- P wi th back to wal1 C Her Majesty's photo

60 1897 , interior view showing main drape with Sachs, vol. 3, fig . 413. P decor and proscenium frame, Her Majesty's orchestra pit at bottom photo HAYMARKET OPERA HOUSE VÛ Corner of Haymarket and Pall Mall Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriotnal 61 1897 , interior side view looking up back stage, Sachs, vol. 3, supplement S proscenium opening R, 3 men fronti spiece Her Majesty's standing in it photo

LO HAYMARKET OPERA HOUSE N> Corner of Haymarket and Rail Malï 193

HAYMARKET THEATRE (L ittle Theatre Haymarket, Theatre Royal Haymarket, King's Head) Opposite Charles Street, Haymarket, on site of old Kings Head Tavern

1720 , building started Dec. 29, opened Kings Head Theatre Owner: John Potter Cost: L 1,5 00' Total value of seating L 290 boxes at 5s, pit at 3s, gallery at 2s Exterior dimensions: width 48'p length 136'

1730 , changed name to Haymarket Owner: John Potter

1737 , closed by Licensing Act

1754 , sold Owner: John Whitehead

1766 , remodeled interior and exterior, changed name to Theatre Royal, Haymarket Manager: Foote Added a second gallery Added 2 shops , Added a portico on Haymarket Street

1777 , remodeled and decorated auditorium Manager: Colman, Sr. Added a third tier^

"May 18, 1778. (This is the same as the above entry.) This lit t le theatre was now further improved, and neatly fitted up. The ^ flips were converted into boxes, and the ceiling raifed, . . ."

1813 , admission Pit 3s 3 tiers of boxes 5s 1st gallery 2s 2nd gallery 1s

1821, July 4, opened New Haymarket Theatre Manager: Morris, David Edward Architect: John Nash Cost: L 20,000 \sk

(HAYMARKET THEATRE)

(1821, July 4) Total seating capacity I5OO Value of seating capacity L 300 o boxes, 5s; pit, 3s; 1st tier. Is; 2nd tier, 6d 2 tiers of boxes plus half tiers 5 private boxes on 1st tier 8 private boxes on 2nd tier Outside dimensions: 61* wide by 131* 6" long by 47* 9" height Auditorium rectangular form Palm trees on the proscenium arch The only patent theatre not lighted by gas

1843, April 28 , remodeled Stalls installed in the pit Gas lighting added I ^

880 , complete remodeling ofof int interior Managers: The Bancrofts Removed pi t

Berg, p. 175. ^ OSUTC #1002:187 (Harvard). ^ Survey of London, vol. 20, p. 99. ^ Dibdin, p. 7 5 . 5 Watson, p. 6 3 . 6 Oui ton, vol. 1, p. 71 . ^ Picture of London. 1813, p. 299. ^ Grant, p. 63. ^ Dibdin, pp. 76 - 8 O. 10 Watson, p. 8 7 . Oxford, p. 359. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Grinina] 1 1735-6, interior 3 men L corner with music scores in Pearce's Polly Peachum, op.p.72. P front of them, 2 ring chandeliers Haymarket over stage A.M.Broadley C (a & e) T. Smi th

2 cI 766, exterior snow on portico roof, 2 carriages Walford, vol. 4, p. 222. wait L corner, people exiting Haymarket

3 cl777, exterior sketch with notes, bench in street Survey of London, vol. 20, in front of theatre p i. 85a Haymarket (a) W. Capon L C C

4 CI766 - 70 , exterior no people, heavy square post on MacQ.ueen-Pope, Haymarket portico, ‘Pit* on R end of portico fronti spiece Haymarket

5 1795 , Nov., interior 2 men fencing on stage, doors on Arch. Review, vol. 37, 1915, A & P set labeled ‘ Daffodil* ‘ Hydra* and Harri son & Co. p. 33. Haymarket ‘ Moon* Bodelai n (a) Van Assen

6 1807 , Oct., interior empty theatre, door into 2nd box, A & P 1 St tier is open C. Chappel Haymarket (a) T. Winston (e) Greig #332:108 Folger

HAYMARKET THEATRE (L ittle Theatre Haymarket, Theatre Royal Haymarket, King's Head) VD \jn Opposite Charles Street, Haymarket, on site of old Kings Head Tavern Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver JD_SUTC # of Orialnal 7 1815, interior man on stage with walking crock, A & P pointing, 2 animals R of him Robert Wi1ki nson Haymarket (a) Geo. Jones (e) J. Stow #36:1t NYPL

8 1815 , exterior soldier in street walking away from portico, woman and boy C of portico Robert Wi1kinson Haymarket (a) Geo. Jones (e) J. Stow #36:1b NYPL

9 1821, exterior 1st door R under portico, labeled Gentleman Mag. * p it,' 2nd door 'boxes' 3rd 'Up Old Haymarket Gal' #50:46b L of C (a & e) Dixon

10 1821 , exterior no people, straight frontal Gentleman Mag. perspective view, C window centered New Haymarket between coiumns 3 and 4 #5 0 :46b L of C (a & e) Dixon

11 cl821, exterior much same as #10 only more archi tectural and less perspective, each New Haymarket window is centered between 2 #46:13b L of C columns

12 1821 , exterior old theatre being demolished, signs The Drama or Theatrical Pocket Old and new across top of old theatre Mag., vol. 4, frontis Haymarket (a) J. Findley (e) H. Allard piece #50:48 L of C

HAYMARKET THEATRE

Opposite Charles Street, Haymarket, on site of old Kings Head Tavern VO ON Date, Location of View Location of Publ ished Print Identifying Description No, Nature of View Publi sher Location Artist Engraver . Theatre as Named . OSUTC # of 0 r i a i na1 13 1821, exterior much the same as #12 only no signs Londina Illustrate Old and new on old facade, no carriages Robert Wi1ki nson Haymarket (a) Schnebbilie (e) Dale #36:3 NYPL

14 1821, July 4, interior large cast on fore stage as if for Lond i na 111ustrata A & P mass curtain calls, view from back Robert Wi1kinson Haymarket (a) Schnebbilie (e) J. Stow #36:2a NYPL

15 1821, July 4, plan small stage level plan, auditorium Londina Illustrate areas identified Robert Wi1ki nson Haymarket (a) Schnebbilie (e) J. Stow #36:2b NYPL

16 c l821, i nterior labeled in script "British Stage, A & P Aug. 1821" at top, man C stage Haymarket waving to woman R of him #1002:195 Harvard

17 cl821, interior same view as #14 except house empty A & P but for 3 people in p it, 2 in 2nd Haymarket tier, same stage set, no actors #332:28 Folger

18 1821, exterior people crowding to get in all of the front doors, 2 women standing J. Taylor Haymarket in O.H. arcade watching #1002:189 Harvard (a & e) Daniel Havel 1

HAYMARKET THEATRE VO Opposite Charles Street, Haymarket, on site of old Kings Head Tavern Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O riainal 19 1821, exterior view down Charles Street, 2 horse carriage parallel to theatre facade Jones & Co. Haymarket (a) Tho. H.Shepherd (e) Wm. W illis #50:43 L of C

20 1822, exterior street is full of carts and carri Madde's Haymarket Theatre, ages, woman on balcony R watching fronti spiece Haymarket (a) Geo. Shepherd (e) Wallace Harvard

21 1822, exterior view down Charles Street past Haymarket Opera House, 2 dogs in C R. Ackermann Haymarket street F #1006:157 Harvard

22 1823, exterior architects facade elevation, with Edifices of London scale J. Taylor Haymarket (a) A. Pugin (e) G. Gladwin #1006:161 Harvard

23 1825, interior architectural type line drawing, Edifices of London A & P house empty J. Taylor Haymarket (a) A. Pugin (e) G. Gladwin #5 0 3 , pi. 2 Huntington

24 1826, plan stage level plan of entire theatre, parts labeled and identified,scale J. Taylor Haymarket #1002:186 Harvard

HAYMARKET THEATRE kO Opposite Charles Street, Haymarket, on site of old Kings Head Tavern 00 Date, Location of View Location of Published Pri nt Identifying Description No. Nature of View Publi sher Location Artist Engraver OSUTC # of 0 r i o i naI 25 cl822, exterior 2 men standing L F, pencil sketch qua!Ity to print Haymarket #1002:198 Harvard

26 c 18 2 2 , exterior same as #11 except no surrounding buildings and street texture is Haymarket d i fferent #50:44 L of C

27 c 18 2 2 , exterior very small print, many people entering theatre, new building Haymarket at L #1002:3 Harvard

28 cl822, exterior view from across in Charles Street, 2 carts of bundles in front of Haymarket 0. H. #50:45 L of C

29 c l822, exterior small print, 3 signs on L side of facade between columns, people Haymarket standing about #1002:5 Harvard

30 1829, exterior small print, facade elevation, 1st door L under portico has no E. P. Sanger Haymarket arch (e) C.Phi11ips #1002:183 Harvard

HAYMARKET THEATRE Opposite Charles Street, Haymarket, on site of old Kings Head Tavern VO VO Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver Thfiafrft As Namp.H OSUTC U nf Orininal 31 cl830, exterior ‘ Theatre Royal Haymarket* on front of portico, 2 wheel cab in C of Haymarket facade #1002:210 Harvard (a) A or G. Shephard

32 1842, Nov., interior on stage, man at table L, woman C 1. L. N., vol. 1, p. 445. P between 2 other men, woman wi thcpera Haymarket glasses in L prose, box (a) Accon (e) J.A.N.R....

33 1847, May, interior L corner, 2 seated women and A & P standing man watching stage from J. Howard #609 Haymarket 1st tier #332:5 Folger

34 ci843-79, interior proscenium and tie r fronts in strong Theatre Notebook, vol. 4, A & P silhouette, 4 globe lamps hanging p. 60, fig . 7. Haymarket from bottom of 2nd tier Harvard (a) A. B.

35 cl879, interior auditorium in state of being re Bancroft’ s, The Bancrofts, A & P paired, broken chairs in pit op. p. 242. Haymarket

36 1880, interior full house, on stage garden scene, Bancroft’ s, The Bancrofts, A & P group L seated, man C and 3 other op. p. 248. Haymarket R standi ng Mander & Mitch- enson C. HAYMARKET THEATRE ro o Opposite Charles Street, Haymarket, on site of old Kings Head Tavern o Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 37 clSBO, exterior group of people between columns Pearson's Actor-Manager back- 3 and 4, 1 man between columns 1 cover Haymarket and 2 from R Mander 6- Ml tch- enson C

38 CI89 O, plan plan of 1st tie r level of entire Sachs, vol. 3, fig . 119. theatre, parts not identified, Haymarket scale

39 CI8 9 7 , exterior side view of portico a block away L C, carriage in front of theatre Haymarket #1006:1716 Harvard

40 1929, interior old theatre in ruins showing Georgian wall decor Haymarket photo #1002:202 Harvard

41 modern, exterior ‘ Design for Living' on side of Survey of London, vol. 20, portico p i. 86b Haymarket photo L C C

ro HAYMARKET THEATRE o Opposite Charles Street, Haymarket, on site of old Kings Head Tavern 202

HICKFORDS GREAT ROOMS South side of Panton Street

1696, opened Owner: Thomas Hickford actions and entertainment

1730 , closed'

HIGHBURY BARN GARDENS (Alexandra Theatre) Opposite the place where Highbury Place and Highbury Grove meet, 1 sii ngton pre 1792 , an area for picnicking and dancing

1792 , The Highbury Assembly House Under the direction of Mr. Willoughby

1841, open air concerts and fireworks^ 4 1855 , Scenic panorama

1861 , March, music hali constructed Manager: Giovannelli Exterior dimensions: 105' long by 5 6 ' wide by 35' height Stage will hold 50-60 orchestra members^

1865 , converted to Theatre Alexandra

1865 , May 20, opened Manager : Giovanel1i ° Seats 2000' g 1871 , theatre demolished

Survey of London, vol. 20, p. 120. ^ Williams, p. 39. 3 Ibid. , p. 41. ^ Ibid.. p. 42. 5 OSUTC #1006:180 (Harvard). ^ Baker, p. 381. 7 Besant, North London, p. 538. ^ Sherson, p. 290. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC ■# of Orioinal

1 cl820, exterior arcade across picture to door L, Clunn's, Face of London, Gardens and building 3 rows of potted flowers L F op. p. 3 0 2 . Highbury Gardens

2 cl8 5 0 , exterior waiter with tray followed by dog Sherson*s London's Lost Concert shel1 L F Theatres, p. 290. Highbury Gardens

3 1864, interior 1 woman standing on bare stage C Music Hal 1 Newspaper Highbury Barn (e) J. Gooding #1006:180 Harvard

4 1865 , interior 1 tie r, strong arched panels at Theatre Notebook, vol. 4, p.60, A & P back of tie r, 3 proscenium boxes f ig .3. Alexandra Theatre each side Harvard Highbury Barn (a) A B

5 c l8 6 5 , exterior 3 larger than life paintings of Besant, Survey of London North, Concert shell & dancing girls R C, 13 globe lamp C p. 538. promenade Highbury Gardens

HIGHBURY BARN GARDENS ( A le x a n d r a T h e a t r e ) K) o Opposite the place where Highbury Place and Highbury Grove meet, Islington Va> 204

HOLBORN THEATRE Brownlow Street, Holborn

1866, Oct., built new as the Holborn Owner: Sefton Parry*

1875, changed name to The Mirror Manager: Horace Wigans

1879 » changed name to The Duke's Managers: Charles Willmot and Clarence Holt Known as the Curtain

1880 , June 4, burned^

* Walford, vol. 4, p. 552. ^ Baker, p. 327. ^ Sherson, p. 194. ^ Ibid.

^ Baker, p. 327. 205

THEATRE ROYAL HOLBORN (The Royal Amphitheatre, National, Alcazar, Connaught, New Royal Holborn) Kingsgate Street, Holborn, between Dean and Red Lion Streets

1862, built as a horse and carriage house*

1867 , May, became The Royal Amphitheatre ^ Produced Circus, Equestrian and musical entertainments Changed name to National^

1874 , rebuilt and changed name to Connaught Manager: John Hollingshead

Changed name to Theatre Royal Holborn or New Royal Holborn^

1888 , closed^ Became the Stadium^ box i ng

0 Known as Central Hall

1 Walford, vol. 4, p. 549. 2 Ibid. 3 Sherson, p. 189 . 4 Baker, p . 3 2 7 . 5 Sherson, p. 189 . 6 Baker, p. 328. 7 Sherson, p. 189 . 8 Baker, p . 328. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named ----- OSUTC # nf Orioinal

1 C I8 6 7 , interior 5 men standing in center of ring A & P & Ring watching woman standing on backs Theatre Royal Holborn of 2 horses #1006:19 Harvard

N> THEATRE ROYAL HOLBORN (T h e R o yal A m p h it h e a t r e , N a t i o n a l , A l c a z a r , C o n n a u g h t, New R oyal H o lb o r n ) o Kingsgate Street, Holborn, between Dean and Red Lion Streets 207

HUNGERFORD HALL New Hungerford Market

, French Church

, Charity school

, Tavern^

1851 , opened Lectures Shows Panoramas

1854 , Apri1, closed^

1862, market demolished

KENT THEATRE (Royal Kent Theatre, Royal Subscription Theatre, The Kensi ngton) High Street, Kensington

1831 , opened as Royal Subscription Theatre

1832 , became a riding school^

1834 , remodeled and opened as Royal Kent Theatre Gas introduced as lighting Seating capacity of 250

1839-40, closed^

1841, reopened

1845-50, in disuse some time during this period

1851 , demolished^

^ Walford, vol. 3, p. 131. ^ Survey of London, vol. 18, p. 45. ^ Theatre World, Feb. 1958, p. 31. 4 Baker, p. 347. 5 Sherson, p. 320. ^ Theatre World, Feb. 1958, pp. 42-43. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC a of Orioinal 1 cl834-4l, interior watercolor, lines very soft, 3 Theatre World, Feb. 1958, p. 31. A & P people on small stage, 2 tiers, Kent house fu l1 Kensi ngton (a)?Wm. D. Kennedy P.L.

2 c l834-41, exterior (print not available) Kensi ngton Kent P.L.

KENT THEATRE (Royal Kent Theatre, Royal Subscription Theatre, The Kensington) ro High Street, Kensington s 209

LINCOLN'S INN FIELD THEATRE (Lisle's Tennis Court, Dukes Theatre, Portugal Street Theatre, D'Avenant's Theatre) Portugal Street, Lincoln's Inn Field pre 1660, Lisle's Tennis Court

1660, D'Avenant converted into a threatre for the Duke's Men^ 75' long by 30' wide

1671 , Duke's Company closed theatre and moved to new theatre in Dorset Gardens

16 7 1-2 , tennis court again

1672 -4 , Killigrew opened as a theatre Stayed until new theatre in Drury Lane was completed^

1674 - 5 , tennis court

1695, April 30, Betterton's Company opened here Remodeled the old tennis court^

1705 , theatre closed, Betterton's company moved to the Opera House

1714 , old building demolished, new theatre built by Rich

1714, Dec. 8, opened^

1731 - 2 , theatre closed. Rich moved to Covent Garden

1733 -4 , Italian Opera company reopened theatre Became a concert hall and ballroom^

1742 - 3 , Gifford, reopened as theatre for a short time^ Not used as a theatre again

1848, demolished for the enlargement of the College of Surgeons Museum^

(see College of Surgeons Museum)

^ Downe's Ros. Ang. ed. 1708, p. 20, (from Cunningham) ^ Aubrey's Lives. vol. 2, p. 309, (from Cunningham). ^ Downe's, og_. c i t .. p. 58, (from Cunningham). ^ Baker, p. 294. ^ Cunningham, p. 543. ^ Wheatley, vol. 2, p. 398. 7 Cunningham, p. 543. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 1 1730, interior political cartoon, 2 comedy British Theatre, pi. 74. P characters on stage Lincoln Inn Field

2 c l714-1848, exterior cart in front of C arch door, crane 1. L. N., yOl. 13, p. 132. projecting out doorway, woman with Lincoln's Inn Fields basket on arm L F

3 c l714-1848, exterior man rolling barrel out 2nd door R, Hunts, The Town, p. 17. man with barrel and cart in front Lincoln's Inn Fields of C arched door

k cl7l4-l848, exterior empty cart tied up in front of C door, man entering 2nd door R Robert Wi1ki nson Lincoln's Inn Fields #1006:184 Harvard

L(NCOLN*S INN FIELD THEATRE (Lisle's Tennis Court, Dukes Theatre, Portugal Street Theatre, D*Avenant'“S N> Portugal Street, Lincoln's inn Field Theatre) O 211

LONDON BRIDGE THEATRE London Bridge Road a t the south end o f the bridge cl830 , in operation Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 1 cl830‘s, exterior 3 children playing L F, ^Theatre* Theatre Notebook, vol. 12, p.92, * Boxes & P it' on facade, 2 hanging pl. 9 London Bridge lamps on front V & A M (a) ? Wm. D. Kennedy

2 cl830*s, interior only 1 person seated on side of 1st Theatre Notebook, vol. 12, p.92, A & P tie r, 2 men in orchestra pit, bored, p l . 8 London Bridge (a) ? Wm. D. Kennedy V & A M

LONDON BRIDGE THEATRE London Bridge Road at the south end of the bridge 213

LONDON CRYSTAL PALACE Northeast corner of Regent Circus

1858 , b u ilt’

1866, Dec. 30, North wing burned^

LONDON INSTITUTION #8 Old Jewry Street

1805 , Clayton House

1805 / 7 , remodeled and renamed Finsbury Circus, London Institution Library reading room Lecture, Theatre

1813, in operation . Admission 2s

1822 , in operation^

’ Besant, London North, p. 358. ^ Besant, 19th Century London, p. 391 3 Walford, vol. 2, p. 208. ^ Picture of London. 1813. p. 239. 3 Catalogue #2, published 1822. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of O rioinal 1 cl8l0, interior almost arena type production, actor A & S on platform in room London Institution #1006:186 Harvard

2 1822 , exterior man leading horse in front of portico of 4 columns Jones & Co. London Institution (a) Tho.H. Shepherd (e) W.T.Deeble #1006:185 Harvard

3 cl822, exterior very small print, people entering R & L front doors London Institution #46:40b L of C

4 cl822, exterior 2 men with cart in front of portico on L London Institution #1002:4 Harvard

LONDON CRYSTAL PALACE N> Northeast corner of Regent Circus 215

LUSBY'S MUSIC HALL

1884, Jan. 20, burned*

Sachs, vol. 3, appendix, p. 106. 2 16

LYCEUM (English Opera House, Society of British Artists, Royal Italian Opera House, American Amphitheatre) Wellington Street, Strand

1765 , opened the new building as The Society of British Artists Owner-architect: James Payne An exhibi tion h a l1 '

1785 , a waxworks

1794 , rebuilt into a theatre, named Lyceum Owner: Dr. Arnold 2 Promised but fa ile d to receive license

1805 , the f i r s t pantomime performed

1806 , amateur drama

1810 , received license for drama, changed name toEnglish Opera House Owner: S. J. Arnold (Dr. Arnold*s son)^

1816 , June 15, opened new building Owner: Arnold Cost: L 80,000 Architect: Samuel Beazley Gas lights Auditorium: elliptical form, value of seats L 350 35* transverse distance , 30* orchestra to front of f i r s t box

1830, Feb. 16, burned^

1834 , July 14, opened new theatre as the EnglishOpera House Architect: Samuel Beazley ^ forget stairs to the gallery and they had to be added 1800 seating capacity

1840, orchestra s ta lls were added to p it area at 7s^ 8 1842, Sept., changed name to American Amphitheatre

1843, changed back to Lyceum

1856 , redecorated Proscenium 32* wide° Royal Ita lia n Opera a t Lyceum during rebuilding of Covent Garden

1863, redecorated Manager: Charles Flechter

1878 , Dec. 30, redecorated Manager: Irving*' 217

(LYCEUM)— contd,

1884, re b u ilt Reconstructed facade ^ Enlarged dress c irc le

1891 , remodeled and redecorated Manager: Daly

1902, July 19, Lyceum closed'^

^ Belqravia. v o l. 10, Feb. I 87 O, by W. Thornburg, p. 111. ^ Watson, p. 72 . ^ Baker, p. 275 . ^ Dibdi n, p. 84. 5 Sachs, v o l. 3, appendix, p. 89 . ^ Baker, p. 285. 7 Watson, p. 88. 8 Oxford, p. 486. 9 Illustrated London News, vol. 48, p. 408. Sherson, p. 149. 11 Williams, p. 204. Baker, p. 302. Ib id .. pp. 304 and 308. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSLJTC # of Oriainnl 1 cl800-10, exterior this is Exeter Change #1, Lyceum in extreme R, carriage stopped in front Lyceum opp, theatre is Wellington Street #1002:158 Harvard (e) George Cooke

2 1817 , Mar., interior drop curtain of animals in c irc le Londi na 111ustrata A & P around star burst Robert Wi 1ki nson Engli sh Opera House (a) E. Burney (e) J. Stow # 3 6 :19a NYPL

3 1817 , Mar., interior view from stage of empty auditorium, Londina lllu s tr a ta A lyre in star in ceiling dome Robert Wilkinson English Opera House (a) E. Burney (e) J. Stow # 3 6 :19b NYPL

4 1825 , in te rio r view from stage at empty auditorium, Edifices of London A & P arch, type line drawing, 2 bass J. Taylor Engli sh Opera House viols R side of pit #503:p l. 1 Hunti ngton (a) S. Rayner (e) Winkles

5 1826, e x te rio r man and woman walking under series Box entrance of arches C, L girl selling from J. Taylor English Opera House basket #1002:154 Harvard (a & e) Dani el Havel 1

6 1829 , exterio r very small p rin t, no people,Theatre Royal at top, Lyceum on portico E. P. Sanger English Opera House (e) Phillips #1002:183 Harvard

LYCEUM (English Opera House, Society of B ritis h A rtis ts , Royal Ita lia n Opera House, American Amphl- Wellington Street, Strand theatre) 0 0 Date, Location of View Identifying Description Location of Published Print No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Drioinal 7 1834-84, exterior d etail very soft, man and woman standing between columns 3 & 4, English Opera House group standing in street in front #1006:129 Harvard Lyceum of facade

8 1834-84, exterior man and woman looking in shop windo V R, crowd under portico, street English Opera House emp ty #50:39 L of C Lyceum

9 1834-84, exterior very small p rin t, carriage racing by front of facade, crowd on English Opera House s i dewa1k #1002:3 Harvard Lyceum

10 1834-84, exterior pencil sketch, woman in full skirt Pearson's Actor-Manager, front crossing street to theatre cover English Opera House Mander & Mitchersor Lyceum

11 T847, O ct., in te rio r 2 baskets of f r u i t L, man S- woman 1. Lo N ., v o l. 11, p. 2 68 . A & P C stage, view from stage Lyceum (e) Smyth

12 pre 1856 , in te rio r 4 men on each side of stage, 1 man A & P C, view from stage, prompter in Lyceum box #1002:153 Harvard

Ni LYCEUM VD Wellington Street, Strand Date, Location of View Location of Published Print Identifying Description No, Nature of View Pub 1i sher Locati on Arti S t Engraver Theatre as Named OSUTC # of Orioi nal 13 1856 , April, interior 2 women R and man L of prompter in 1. L. N., vol. 28, p. 4o8. A & P box, fu ll house, view from stage Lyceum, Royal Ita lia n (?) G R 0 Opera House

14 c 1 8 7 8 , in te rio r empty house, low q u ality photo, 1rvi ng's. Henry Irving, op, p, A view of half of auditorium from 288. Lyceum stage

15 1834-84, exterior 2 carriages passing each other in fro n t of portico, man and woman in Lyceum street in front of L column #1006:129; Harvard

16 l884, exterior store windows at each side of McClure's Mag., v o l. 30, 1907, facade are now doors, man getting #2, p. 365. Lyceum shoe shine L F photo

17 c l891 , exterio r Daly's theatre, within scroll mon tage,columns dark up to 1st story Lyceum 1 i ne #1006:130 Harvard (?) W MAG ILL

18 1884, in te rio r photo of empty half of house,light McClure's Mag., v o l. 30, 1907, A & P on in gallery of 2nd tier #2, p. 364. Lyceum

LYCEUM Wellington Street, Strand Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 19 1884* e x te rio r end view of portico, carriage moving down the street C Lyceum #1006: 129d Harvard

LYCEUM N> N> Wellington Street, Strand 222

LYRIC THEATRE (Hammersmith Theatre of V a rie tie s , Hammersmith Opera House) Kings Street, Hammersmith

1890 , Nov. 17 , opened new theatre Manager: Cordingly'

LYRIC THEATRE Shaftesbury Avenue near P iccad illy Circus

1888 , Dec. 17 , opened new A rchitect: C. J. Phipps Cost: L 43,000 Auditorium: total seating capacity 1600 curtain line to front of 1st tier 38* curtain line to front of 3rd tier 47* 6" curtain line to furthest seat 75* auditorium width 70* proscenium width 30* height 28* grid above stage floor 50*

^ Besant, London North, p. 12. ^ Sachs, vol. 2, pp. 37-8. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Criminal 1 1888, Dec., e x te rio r signs between arched doorways, man Sachs, v o l. 2, p. 37. R F, 4 street lamps in perspective Lyric photo

2 1888, Dec., e x te rio r architects facade elevation, line Sachs, v o l. 2, p i. 64. drawing, scaled Lyric

3 1888, Dec., section longitudinal section of entire Sachs, v o l. 2, p i. 6 5 . theatre, not identified Lyric

4 1888, Dec., plans 2 plans of entire theatre, 1 at Sachs, v o l. 2, p i. 64. stage level, the other at 1st tier Lyri c level, parts identified, scaled

5 1889 , Jan., exterior arched canopies at entrances to 1. S. & D. N., 1/12/1889, p. 4 9 4. street, 2 carriages in front Lyric

6 1889 , Jan., interior 1st tie r at back is g allery with 1. S. & D. N., 1/12/1889, p. 4 9 4. A & P individual seats, 13 people in Lyri c area, drop on stage has painted columns

LYRIC THEATRE N 3 Shaftesbury Avenue near Piccadilly Circus rs3 I l k

MARIONETTE THEATRE (Adelaide Gallery of Practical Science) Adelaide Street, Strand

1830, opened as Adelaide Gallery of Practical Science Owner: Jacob Perkins j A science lecture and demonstration hall

, becomes a dance h a l1 2 1852 , remodeled as Marionette Theatre

, G a tti's Refreshment Rooms^

^ Wheatley, vol. 1, p. 4. ^ Walford, vol. 3, p. 133. 3 Ibid.. p. 134. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Driainal 1 1852 , in te rio r 5 musicians' heads in foreground, S & P cast in curtain call position on Marionette stage #1006:190 Harvard

MARIONETTE THEATRE (Adelaide Gallery of Practical Science) N> Adelaide Street, Strand 2 2 6

MARYLEBONE GARDENS High Street, Marylebone

1668, Pepys mentions i t as a garden pre 1737 , a garden with bowling greens entered through the Rose of Normandy tavern on High Street

1738 - 9 , gardens enlarged and orchestra shell b u ilt For the f i r s t time admission was charged Is per couple'

"The gardens contained a theatre which housed b a lls , concerts, scenic displays, the music was under the directio n of Dr. Arne, while the fireworks were directed by Signor Torre.

There was also an amphitheatre used for fights

1741 , Manager: Clerken

1753 , new gardens Lights on paths "Red fire" fireworks

1758 , ballroom Admission 5s

1764 to 1768 , Manager: Lowe

1775, "The Modern Magic Lantern" show By Mr, R. Baddeley, comedian^

1778 , gardens closed because of the danger caused to neighbors by the f I reworks^

1890 ‘ s, eith er the Music Hall in the gardens or the Rose of Normandy Tavern was converted into a music hall which lasted until the 1890 ‘ s

* Walford, vol. 4, p. 434. ^ Cunningham, p. I 89 . ^ Walford, vol. 4, pp. 434-36. ^ Wheatley, vol. 2, p. 512. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 1 1746, map section from Rocque map, *Marybone Gardens* on ‘ St. Mary Le Bone* road J. Tinney Marylebone Gardens (e) J, Pine #1006:191 Harvard

2 c 1 7 5 5 " 6 0 , garden large building L, rotunda type building R, perspective trees C Marylebone (a) J. Donowel1 (e) A. Carse #50:41 L of C

3 cl 780 , gardens same architecture as #2, different Walford*s, vol. 4, p. 427. people and trees, lone woman C Marylebone

MARYLEBONE GARDENS NJ High S treet, Marylebone ho 228

MARYLEBONE THEATRE (Portman Theatre, Royal Sussex, Pavilion, Royal Pavillon, Marylebone, Royal Marylebone, Western Home for East End Melodrama, Royal A lfred, West London) Church Street and Edware Road (Portman's Market), Marylebone pre 1831 , Portman Theatre*

1831 , b u ilt the New Royal Sussex ^ On the site of the old Portman Theatre Admission: p it Is; boxes 2s; 1st tie r 6d^

1835, remodeled and changed name to Royal Pavilion Theatre Manager: Leve ridge**

1837 , changed name to Marylebone Theatre^

1842, Dec. 12, remodeled and changed name to Royal Marylebone Theatre Manager: Douglass , Total seating capacity; 2300

1847, May 30, redecorated, opened in October Manager: Mary Warner'

1854 , remodeled^ Manager: Loveridge "The stage was celebrated for its great depth, said to be the deepest in a ll London."9 Stage depth: 115

1864, remodeled, known as Western Home of East End Melodrama** Total seating capacity: 2000

1868 , Oct. 10, redecorated and opened as the Royal Alfred Manager: H. R. Lacey*^

1874 , changed name back to Royal Marylebone Manager: Joseph A. Cave ^ 1893 , changed name to West London Theatre*5

* Sherson, p. 279. 2 Baker, p. 438. 3 W illi ams, p. 8 0 . 4 Ibid.. p. 82. 5 Baker, p. 438. ° Williams, p. 83. 7 Sherson, p. 280. 8 Besant, North London, p. 343. 9 Sherson, p. 283. 10 Williams, p. 103. 1* Sherson, p. 283. *2 Baker, p. 438. *3 Sherson, p. 286. *^ Ib id .. p. 287. *5 Nicol, Engli sh Drama, p. 222. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orininal

1 cl835, i nterior cartwheel design on ceiling, 2 men Theatre Notebook, vo l. 12, p i. 7 A & P on stage, 1 holding head Pavi1i on (a) ? Wm. D. Kennedy Bishopsgate 1.

2 cl847, interior view from stage, man, woman & clown A & P on stage, cartwheel ceiling pat Howa rd Marylebone tern #1002:236 Harvard (a) Fenoulhet (e) J. Howard

3 cl865, interior tie r fronts and proscenium in Theatre Notebook, vol. k, p.60, A & P strong relief, Egyptian pyramids fig . 8. Marylebone on stage Harvard (a) A B

Marylebone Theatre (Portman Theatre, Royal Sussex, P avilion, Royal P avilion, Marylebone, Royal to Marylebone, Western Home of East End Melodrama, Royal A lfred, West London) VO Church Street and Edware Road (Portman's Market), Marylebone 2 3 0

METROPOLITAN MUSIC HALL (White Lion) Edgware Road

1862, opened adjoining or in conjunction with the White Lion Tavern'

MIDDLESEX MUSIC HALL (Great Mogol, Old Mo, Winter Garden) Drury Lane

1872, re b u ilt into music hall

1875, enlarged

1878 , enlarged 2 1920, became the Winter Garden

' Walford, vol. 5, p. 259. ^ Oxford, p. 555. 231

NOVELTY THEATRE (Folies Dramatiques, Jodrell, Great Q.ueen Street Theatre, Kingsway) North side of Great Queen Street, Lincoln's Inn Fields, long frontage with gallery entrance and pit exit on Parker Street

1882, Dec. 9, opened new. The Novelty Theatre Architect: Thomas Verity Decorator: E. W. Bradwell Contractors: Kirk and Randel 1 Cost: L 18,000 Total seating capacity; 14-1500 p it 500 sta lls 90 1st tier, private boxes 150 2nd tie r , private boxes 150 2nd tier gallery 600 Proscenium width 26' 6" Stage depth 27' j Great Queen Street Entrance width 56'

1883, changed name to FoliesDramatiques 2 1888, changed name to Jodrell

1894 , remodeled and changed name to Great Queen Street Theatre Manager: Penley

1907 , remodeled and changed name to Kingsway

' Illustrated Sporting and Dramatic News. Oct. 7, 1882, p. 77 (OSUTC #332:36, Folger). ^ Baker, p. 519. ^ Baker states that this took place in 1894 but MacQueen Pope in the Oxford Companion to the Theatre dates thi s change as I 90O. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location A rtis t Engraver Theatre as Named OSUTC # of Original 1 1882, Oct. 7» exterio r name of facade, man standing in L 1. S. & D. N., 10/7/1882, p.77. entrance, carriage moving by Novelty (a) J G (e) F W #332:36 Folger

2 1882, Dec., in te rio r 3 people in pit talking, woman in 1. S. S- D. N., 12/9/82. A & P 3rd box of 1st tier seated, rest Novelty of house empty #332:34 Folger

HOVELTY THEATRE (Folies Dramatiques, Jodrell, Great Q.ueen Street Theatre, Kingsway) ro North Side of Great Q,ueen Street, Lincoln’s Inn Fields VjO 233

OLYMPIC THEATRE (Olympic Pavilion, Olympic Saloon, A stley's Middlesex Amphitheatre, Little Drury Lane) Wych Street, (now Aldwych) Drury Lane, Strand On the s ite of the Bohemia and Craven Houses

I 8 O6 , Sept. 18-28, opened new theatre, Olympic Saloon or A stley's, i n the form of a tent Owner and buiider: Philip Astley Cost: L 800 1 tie r of boxes P it around the equestrian ring Stage in front of ring Pit and gallery in back of the ring pre I 8 I 3 , remodeled by Astley Rebuilt auditorium and stage in a more normal manner The gallery was now above the boxes The roof was raised A new stage and ring Colonnade added on two exterior sides^

I8 i3 , changed name to L it t le Drury Lane Owner: El listen , Astley sold for L 2,800 to 3,000

1813 , Dec. 27 , Changed name to Olympic Owner: Still Elliston^

1814, remodeled auditorium Owner: El liston Total value of new house 1501 boxes 4s p it 2Sg gallery Is

1815 , gas lights added to the stage and auditorium^

1818 , re b u ilt Owner: El liston Cost: L 2 , 500*

1824, sold Owner: John Scott Cost: L 4 ,8 6 0 Q included everything, building, scenery and wardrobe"

1830 - 3 1 , sold and redecorated Owner: Madam Vestris Decorator: Crace^® 234

(OLYMPIC THEATRE)— contd.

1836 , a description Total capacity of the house 1000-1200 1 tie r of boxes 2 or 3 boxes on either side of the gallery Boxes 4s P it 2s Gallery Is'^

1837) remodeled Owner: Madame Vestris the gallery was converted to boxes boxes 4s p it 2s'Z

1849, March 29, burned

1849, Dec. 26, second Olympic Theatre opened Owner: Walter Watts Architect: Fred K. Bush!II Decorator: Agllo Stage machinery: R. J. Strachan Cost: L .10,000 Auditorium: horse shoe shaped Total seating capacity I8 -I 9OO s ta lls 38 seats p it 800-850 boxes 200 . r gallery 700-750 >

1 Cunningham, p. 13. 2 Baker, p. 253. 3 OSUTC #1002:248 (Harvard). ^ Dibdin, p. 91. 5 OSUTC #1002:248 (Harvard). 6 OSUTC #1002:233 (Harvard). 7 Baker, p. 276. 8 Belgravia, vol. 8, p. 402. 5 Baker, p. 257. Sherson, p. 84. '1 Grant, p i. 2, p. 72. Ï2 Baker, p. 265. Sachs, vol. 3, appendix, p. 91. 14 Wheatley, vol. 2, p. 6 I 5 . 15 111ustrated London News, vol. 16, p. 29. 235

(Olympic Theatre— contd.)

1850 , March, closed Walter Watts went to prison for embezzlement

1890 , closed and demolished

1891 , Jan., opened third Olympic Theatre Owner: Wilson Barrett Total seating capacity 3,000 Stage in ferio r only to Drury Lane ' 8 1899 , closed and demolished for the Aldwych and Kingsway expansion

Baker, p. 268. *7 Ib id .. pp. 272 - 3 . Cunningham, p. 13. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location A rtis t Engraver Theatre as Named OSUTC # of Oriainal 1 cI806*, exterior tent shaped corner entrance C, marked p it, man entering door.* This J. Taylor 01ymp i c was publshed 15 yrs. a fte r building #1002:247 Harvard was demolished (a&e) Daniel Havel 1

2 1815 , exterio r man and woman entering g allery Londina lllu s tra ta door, man L of them reading b ill Robert Wi1ki nson 01ymp i c on fence # 3 6 :10b NYPL (a) Schnebbilie (e) H. Cook

3 1815 , in te rio r view from box L side 2nd tier, can Londi na 111ustrata A & P see through tree painted wings on Robert Wi1ki nson 01ymp i c stage # 3 6 :10a NYPL (a) Schnebbilie (e) H. Cook

k 1829 , exterio r small p rin t, no people, straig h t facade view, 3 facade hanging E. P. Sanger 61ymp i c 1 amps #1002:183 Harvard (e) C.Phi1 lips

5 1831 , Feb., exterior crowd waiting to enter, woman R Temple of Muses sellin g from basket Jones & Co. 01ymp1c (a) Tho.H. Shepherd (e) J.Hinchiiff #1002:245 Harvard

6 cl831, exterior 3 women entering, 2 men R on side walk talkin g , very small p rin t 01ymp i c (a) T.H. Shepherd (e) W. Lane #46:37d L of C

N) OLYMPIC THEATRE (Olympic Pavilion, Olympic Saloon, Astley's Middlesex Amphitheatre, L ittle Drury Lane) Vj O Wych S t r e e t (now Aldwych) D ru ry Lane, S trand ON Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location A rtis t Engraver Theatre as Named OSUTC # of Original

7 1836, in te rio r view of stage & proscenium only, Rowell, Victorian Theatre, op. P man in front of open door, woman p. 131. 01ympIc running to him from R Mander & Mitcherson C.

8 1849, March 29, exterio r on fire, fireman with hose L, man 1 . L. N ., v o l. 14, p. 216. in C carrying something 01ymp1c

9 1850, Jan. 29, in te rio r undecorated curtain closes prose., 1. L. N., v o l. 16, p. 2 9. A & P man C with back to stage, elbow 01ymp i c over rail into empty orchestra p it

10 1850 , in te rio r empty house, proscenium drop A & P painted, classic arch with 3 01ymp i c people on R #1002:244 Harvard (a) R. Hind (e) Laincin

11 CI85 O, exterior woman in 2nd L arch, man in C Sherson, London's Lost arch, boy in 2nd R arch, sign L Theatres, op. p. 84. 01ymp i c (a) I . Hosmer Shepherd

12 c l850 , exterio r very small p rin t, 3 couples in front, 1 at R corner, 1 at 2nd R 01ymp1c arch, 1 at 4th arch from R #1002:2 Harvard

OLYMPIC THEATRE N> Wych Street (now Aldwych) Drury Lane, Strand V jJ Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Thpafrf» a<; Named OSUTC # of Oriainal 13 cl865, interior proscenium and tie r fronts in Theatre Notebook, vol. 4, p .60, A & P strong relief, street scene with fig . 9. 01ympIc steps on stage Harvard (a) A B

14 cl888, plan plan of entire theatre, C area is Moynet, Trues et Decors, p .315» marked "Canal" f i g . 85. 01ymp i c

OLYMPIC THEATRE PO Wych Street (now Aldwych) Drury Lane, Strand 00 239

OPERA COMIQUE Strand, backs on the Globe Theatre, site of Lyons Inn

1870 , opened new j Manager: Kingston Frontage was no more than an entrance on the Strand

1899 , Apr,, closed and demolished^

' Sherson, p. 198. ^ Walford, vol. 3, p. 35. 3 Baker, p. 334. 2kO

ORANGE THEATRE

"This theatre stood in Q.ueen Street, now Pimlico Road, p a rtly on the site of what is now St. Barnabas School. The watercolors are dated 1832."’

On the site of the St. Barnabas Church built in 1846-1849, Church Street, Pimlico^

On the site of the Strombello or Strumbello Tea-gardens and Con cert grounds, to the le ft of the present St. Barnabas Church on Chelsea Road was a small playhouse of the lowest description called the Orange Theatre. The place was called Quean Street in 1794.3

Near the spot of St. Barnabas Church, Pimlico, now the Kings Road, Chelsea, soon after 1830, was the more or less private playhouse called the Orange Theatre.

1831 - 1832 , was the Orange Theatre In Chelsea^

1836 , Orange Theatre, Queens Street, Chelsea^

’ Westminster Public Libraries, attached to sheet containing the pictures of this theatre, (see Theatre Notebook, vol. 12, p. 20, pi. 1). ^ Wheatley, vol. 1, p. IO 8 . 3 Ib id . . vol. 3, p. 329. ^ Sherson, p. 322. 5 Watson, p. 430. ^ Theatre Notebook, vol. 12, p. 20. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver OSUTC # of Oriainal 1 cl832, exterior flat roofed exterior, man on Theatre Notebook, vo l. 2, p .20, ladder L fixing sign on next p i . 1. Orange buiIding Westmi nster P L

2 cl832, interior tent appearance wi th peaked roof, Theatre Notebook, vo l. 12, p .20, A & P raised framed p it floor;,! view p i . 1 . Orange from back of auditorium Westmi nster P L

3 c l832, map Q,ueen Street passes the facade of Theatre Notebook, vo l. 12, p .20, theatre p i . 1. Orange Westmi nster P L

ORANGE THEATRE Pimlico Road, or Church Street, or Cheisea Road, or Kings Road 2 4 2

ORIENTAL THEATRE (Albion, Q,ueens l^lace of Varieties) Poplar, East pre 1867 , a music hall

1867 , remodeled and changed name to Oriental Theatre'

, changed name to Albion Theatre 2 1877 , changed name to (Queens Palace of V arieties, a music hall

' B aker, p . 4 0 9 . 2 Sherson, p. 48. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver Theatre as Named OSUTC U of Oriainal 1 1877, Feb., in te rio r boxes on L are fu ll of Chinese, 1.5. & D.N., 2/24/77, p. 532. A & P 4 character insets in each corner Queens #332:162 Folger

ORIENTAL THEATRE (Albion, Queens Palaoe of V arieties) Poplar, East g 244

OXFORD MUSIC HALL (Oxford Theatre, New Oxford Theatre, Oxford Theatre of London, Theatre of Varieties) Corner of Oxford Street and Tottenham Court Road Site of former Boar and Castle Inn

1861, Mar. 1, opened as music hall Owner: Charles Morton Main room: 94' long, 4 P high

1868, Feb. 11, burned^

1869, Aug. 9, re b u ilt and opened _ Managers: Syers and Taylor

1872 , Nov. 1, burned^

1873 , Mar. 17 , re b u ilt and opened, much enlarged^

1893 , Jan. 31 , rebuilt and enlarged. Theatre of Varieties Architects: Oswald Wylson and Charles Long Audi tori urn: curtain line to front of 1st tier 46' 6" curtain line to front of 2nd tier 50' 6" curtain line to furthest seat 62' 6" fieight of ceiling above pit 44' 3" auditorium width 56' Prosceni urn: width 29' 6" height 24' 6" Stage: depth 4i' ^ grid height above stage 37' 6"

^ Oxford, p. 5 55 . ^ Besant, 19th Century London, p. 391- ^ Sach's, vol. 2, p. 41. ^ Besant, I9th Century London, p. 391. 5 Oxford, p. 595» Sachs, vol. 2, p. 41. Date, Location of View ■ ...... Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal 1 , exterio r upper L corner of program cover, 2 men standing L F, woman in front Oxford Music Hall of entrance #1002:249 Harvard

2 , interior C of program, p it fu ll of tables, Grand Room, S a few people in L 1st tie r,s ta g e Oxford Music Hail at far end of room #1002:249 Harvard

3 1893, exterio r 2 entrances, one at each end of Sachs, v o l. 2, p i. 4 l. building, canopy at each, 'Oxford' Theatre of Varieties horse and cab at L entrance

k 1893 , exterio r architects facade elevation, line Sachs, v o l. 2, p i . 6 9. E1 eva tk) n drawi ng Theatre of Varieties

5 1893 , plan plan of entire theatre at stage Sachs, vo l. 2, p i . 6 9 . level, parts identified at R Theatre of Varieties

6 I 893 , section longitudinal section of entire Sachs, vol. 2, pi. 70. theatre Theatre of Varieties

OXFORD MUSIC HALL (Oxford Theatre, New Oxford Theatre, Oxford Theatre of Varieties, Theatre of Corner of Oxford Street and Tottenham Court Road V arieties) Site of former Boer and Castle Inn Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location A rtis t Engraver OSUTC a of Oriainal 7 1893 , proscenium eleva- architect elevation of proscenium Sachs, vol. 3, fig . 424. ti on detail, with tier sections at side Theatre of Varieties

OXFORD MUSIC HALL Corner of Oxford Street and Tottenham Court Road Site of former Boer and Castle Inn 247

PALACE THEATRE (Palace Theatre of V arieties, English Opera House) Cambridge Circus, bounded by Shaftesbury Avenue, Greek Street, and Church Street

1891 , Feb., opened new English Opera House Owner: 0 ‘Oyley Carte Architect: T. E. Collcutt

CI892 - 3 , changed name to Palace Theatre of Varieties Manager: Charles Morton^

PALIS ROYAL (hengler's Cirque, Pailadiu, Corinthian Bazaar) Corner of A rgyl1 and Regent Street

, Corinthian Bazaar 4 , Pali s Royal

1865 , Hengler's Cirque^ Rebui1t

1910, Palladium^

' Wheatley, vol. 3, p. 237. 2 Baker, p. 345. ^ Besant, 19th Century London, p. I 8 9 . ^ Sherson, p. I 8 5 . 5 Walford, vol. 4, 243. Sherson gives this date as I 872 . ^ Sherson, p. I 8 5 . 248

PANTHEON (English Opera House) 359 Oxford Street, South Side

1772 , Jan., opened as a winter Ranelagh Architect: James Wyatt Cost: L 6 0 ,0 0 0 ' Seating capacity I 6OO

1791 , Feb. 17, remodeled into opera house for company from the opera house

1792 , Jan. 14, burned^

1795 , rebuilt on old plan Architect: James Wyatt Grand room: 84' wide by 125* long by 54* high^

1796 - 9 8 , Miss Linwood's Needlework Exhibition^

1811 , demolished in te rio r

1812 , rebuilt on the plan of La Scala at Milan Owner: Gundy and G reville^ Aud i tori um; 171 boxes plus regular slip boxes 4 tie rs pit 1200 seats width 60* depth 6 0 ' g allery 500 seats stage width 5 6 * depth 9 0 ' saloon off pi t width 21*, depth 4 9*^ Admi ssion: p it 3s boxes 5s^ g allery 2s7

' Baker, p. 173. ^ Wheatley, vol. 3, p. 25. ^ Sherson, p. I 9 8 . ^ Walford, vol. 4, p. 245. 5 Baker, p. 174. ^ Walford, vol. 4, p. 425. ^ OSUTC #1002:253 (Harvard). 249

(PANTHEON)— contd.

I8l4, became office building®

1834, remodeled into picture g allery and bazaar Architect: Sidney Smirke (the Oxford Street portico remained to form Wyatt's building) Cost: L 30,0009

1867 , warehouse for wine merchant

* Wheatley, vol. 2, p. 25. 9 Chancellor, The 18th Century London, p. 116. Wheatley, vol. 2, p. 25. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal

1 c l772 , e xterio r 2 women L of portico, dog in front Milne, Age of Adams, op. p. 11. of 3 men coming out under portico Pantheon Milne C

2 c l772 , in te rio r royal box prepared by James Wyatt, Summerson, Georgian London, Royal Box crown shaped canopy in arched cove p i. 40. Pantheon (a) J. Dixon (e) Angus J. Sewell Grace C European Mag.

3 c l772 , in te rio r a long cylinder passes through the Grand Room picture, 3 men are working on it, it Pantheon file s #1006:209 Harvard (a) M.A. Rooker (e) J. Basire

k c 1 7 7 2 , in te rio r 3 women and 1 man in C of room, Grand Room room is barren Pantheon #1006:204 Harvard

5 c 1 7 7 2 “9 1 , in te rio r 12 people in F, a few more under Summerson, Architecture in Grand Room colonnades, wide angle view Britain, pi. 159b. Pantheon (a) Wm. Hodges

6 1772 , Aug., interior view of room from under colonnade, Paston's Social Caricature Grand Room 2 women seated at base of C column Robert Sayer Pantheon (a) Chas. Brandoin (e)Richard Erlom Robert Sayer C

h o PANTHEON (English Opera House) vn o 359 Oxford Street, South Side Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location A rtis t Engraver OSUTC # of Orioinal 7 1772 , in te rio r same view as #6, 1 woman L and Grand Room couple R Pantheon #1006:202 Harvard

8 CI772 , plan plan of grand room and 2 card rooms Summerson, Architecture in with their connecting gallery, in Britain, p. 282, Pantheon scale fig . 39. Soane M.

9 1773 , in te rio r masque b a ll, dog on leash C F, Paston‘ s Social Caricature, Grand Room harlequi n L F p i. 4 3 . Pantheon (a) & (e) Charles White

10 1791 , in te rio r view from stage, man and woman "The Prospect Before Us" A & P dancing, holding bowers of flowers S. W. Forbes Pantheon (a) Rowlandson

11 1795 , in te rio r masquerade, harlequin and woman Microcosm of London, vo l. 2, Grand Room dancing C F Ackermann p. 215. Pantheon (a) J. Bluck (e) Pugin & Rowland son

12 cl790*s, exterior R and C doors half open, L closed, L window half raised, R closed Alexander Pantheon #50:29 L of C

PANTHEON ro 359 Oxford Street, South Side vn Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Arti S t Engraver Theatre Named OSUTC # of Oriainal

13 1813, in te rio r view from stage of empty house, C Londi na 11lustrata A & P a is le to door C back p it Robert Wi1ki nson Panthéon (a) G. Jones (e) Wise # 3 6 :12a NYPL

14 cl8l3, interior 1 man on stage talking to 1 man in Walford, vol. 4, p. 241. A & P house in p it, view from stage Panthéon

15 1813, in te rio r man standing, woman kneeling C Londina 11lustrata P stage Robert Wi1ki nson Pantheon (a) G. Jones (e) Wise # 3 6 :12b NYPL

16 1825 , exterio r circular print, man on horse back R of portico C. Taylor Pantheon #1006:205 Harvard

17 1826, exterio r straight facade view, woman seated on stool R of portico J. Taylor Pantheon (a & e) Daniel Havel 1 #1002:250 Harvard

18 cl820-30, exterior theatre on L, horseman in front of portico, 3 carriages R Pantheon (a) Tho.H. Shepherd (e)J.Hinchliff #50:27 L of C

PANTHEON M \ n 359 Oxford Street, South Side to Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 19 cl820-30, exterior very small p rin t, man on L carrying sign board Pantheon (a) T. H. Shepherd (e) W. Lane #46:37a L of C

20 1834 , in te rio r view from end of balcony, 3 women ; Saloon and girl at end rail looking down Pantheon (a & e) Ted Kearnan # i 006:206 Harvard

21 1834 , in te rio r view from inside of end of balcony Saloon the ra il not seen, people a ll Pantheon around balcony #1002:252 Harvard (a) J. Blore

ro \ n PANTHEON UJ 359 Oxford Street, South Side 254

PAVILION THEATRE 85 Whitechaple Road, Mile End, New Town

1829 , opened j Managers: Wyatt and Farrell

1835, total seating capacity 1200 Admission: boxes 2s p it Is gallery 6d^

1856 , Feb. 13, burned^

1858 , Sept. 9, re b u ilt and reopened Owner: Morris Abrahams Architect: Simmonds Exterior: length 310' width 123* Audi tori um: width 40' curtain line to front of 1st tier 50' three tiers total seating capacity 3500 pi t capaci ty 2000 Stage: width 70 '. depth 58 *

* Baker, p. 406. ^ Grant, p. 87 . 3 Sachs, vol. 3, appendix, p. 93. ^ Illustrated London News, vol. 33, Nov. 6, I 858 , p. 4 3 0 . Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver Theatre as Named OSUTC # of Oriainal

1 0 1 8 2 9 -5 6 , e x te rio r man seated on curb in front of C 1. L. N., vo l. 28, p. 2 0 5 . arched door outside of fence P avi1 ion

2 1856, Feb., exterior water, fire, policeman standing C watching men clean up Pavi 1 ion #1006:211 Harvard

3 C I8 5 8 , exterio r crowd on edge of sidewalk as i f waiting to cross street Pavi i ion #332:10a Folger

4 1858, Nov., interior view from stage, 5 actors L, 1 R, 1 . L. N ., vol. 33, p. 4 3 0 . A & P all insilhouette Pavi1i on

PAVILION THEATRE VI 85 Whitechaple Road, M ile End, New Town vn 256

PAVILION MUSIC HALL (London Pavilion Music Hall) Piccadi1ly Ci reus

A much used building modified many times to suit many needs, opened as a cafe originally but served other functions as well

1886, b u ilt and opened as the London Pavilion Music Hall Manager: E. V iilie r s Architect: J. E. Saunders

' Besant, North London, p. 131. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Thf»atr

2 cl885, exterior at top of programme, palm leaves at each side of building, crowd at Pavi1 ion corner door #1002:234 Harvard

3 CI885 , in te rio r viewcf stage from 2nd tier back, A & P 9 people at tier rail, tables in Pavi1i on pi t #1002:234 Harvard (a) F W

4 CI9 IO, exterior large sign across facade, ‘ S.B. Besant, Survey of North London, Spaten Beer R...* in 11ghts p. 297 . Restaurant photo

N PAVILION MUSIC HALL (London Pavilion Music H all) VJl P iccadi1ly Ci reus 258

PECKHAM THEATRE High Street, Peckham

1822, opened' ^ Perhaps a f a ir theatre

1827, closed^

POLYTECHNIC HALL (Royal Polytechnic) 30.9 Regent Street

1838, opened as Polytechnic In s titu te fo r the Advancement of Arts and Practical Sciences Architect: James Thomson . Great H all, 120' x 40' wide by 38' high

1848, remodeled, a south wing added enclosing a lecture hall Architect: James Thomson Seating capacity: 1200^ Lectures Dioramic illu s tra tio n Optical i 1lusions "Ghost" illu sio n

1879, Mar. 8, fir e in the theatre wing^ l8 8 l, Sept. 3, closed

1881, reopened as the Polytechnic School of Art and Young Men's Christian In s titu te and Day School®

' Baker, p. 399. ^ Sherson, p. 322. 3 Ib id .. p. 323. ^ Wheatley, vol. 3, p. 101. 5 Ibid.. p. 102. ^ Walford, vol. 4, p. 454. 7 Sachs, vol. 3, appendix, p. 101 ^ Besant, North London, p. 358. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 1 1838-48, exterior 6 windows wide on 2nd story, statue at C of building on roof, Polytechnic •Constantople* on L end of facade #50:26 L of C

2 1838-48, interior machinery display, sail boats on Great Hal 1 counter R C. 0. Cox Polytechnic #1006:213 Harvard

3 1848, exterio r crowd at entrance, clock over door 2 windows wide, 1 story addition Polytechnic on L of building from #1. #1006:214 Harvard

4 cl860, interior spectre drama on stage, auditorium 1. L. N., vol. 42, p. 481. S is very dark, "Ghost" L side of Polytechnic stage

NJ vn POLYTECHNIC HALL (Royal Polytechnic) VD 309 Regent Street 260

PRINCE'S (Prince's of Wales) Coventry Street, Haymarket

1884, Jan. 18, opened as The Prince's Theatre Manager; Edgar Bruce'

1891 , changed name to The Prince of Wales^

' Baker, p. 519. ^ Oxford, p. 632. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Thaatrft as Named OSUTC # of Oriainal 1 ci884-9i, exterior main entrance only, curved around corner, 3 arches and 3 arched Pri nces windows, man R under lamp post #1002:260 Harvard (a) F W

2 cl884-9l, interior a view showing only 2 boxes of the Princes box auditorium, 2 people seated in R Pri nces box #1002:260 Harvard (a) F W

3 cl900, plan plan of entire theatre at 1st tier Sachs, v o l. 3, fig . 112. level, parts not identified, Pri nces scaled

ro PRINCE'S (Princess of Wales) ON Coventry Street, Haymarket 262

Princess's Theatre (Royal Bazar, British Diorama Exhibition of Works of Art, Queens Court) Oxford Street, Strand

1828 , opened as part of the Queens Bazar Included a diorama,lo concert rooms, and exhibition rooms^

1829, May 28, burned^

1830, rebuilt and opened by Ranagie R. A. as a panorama show^

1833, Robert's"Physiorama"^

1834, renamed the Queens^

1836, renamed the Court Still an exhibition and music hall

1840, Oct. 5, remodeled into a theatre and renamed the Princess's (opened in 1841) Manager: Hamlet ^ Architect: I. M. Nelson

1843, sold and remodeled Manager: Maddox?

185 0, Sept. 18 g Managers: Kean and Kieley

1851 , Kean sole manager^ . Proscenium width 26'

1859 , Kean has spent L 10,000 remodeling during his directorship of this theatre"

' Sherson, p. 121. 2 Harlequin. A Journal of the Drama, vol. 3, May 31, 1829, p. 24, OSUTC #485. 3 Sherson, p. 121. 4 Wolford, vol. 4, p. 461. 5 Ib id .. p. 122. ^ Wheatley, vol. 3, p. 122. ? Baker, p. 475. 8 Ib id . 9 Ib id . 10 OSUTC #332:142 (Folger). " Sherson, p. 137. 263

(PRINCESS'S THEATRE)— contd.

I860, remodeled Manager: Augustus Harris

1880, Nov. 13, opened new Princess's Theatre Owner: Walter Gooch Architect: Charles J. Phipps Cost: 47,000 Audi torium: Pit seating capacity 750 to 1000 Prosceni um: width 30' height 36' Depth below the stage level 20' Pompeian style in Gold and Crimson

1902, closed

*2 Ib id . Illu s tra te d Dramatic and Sporting News. Nov. 13, 1880, p. 199, OSUTC #332:166 (Folger). Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Oriainal 1 cl84l-80, exterior store on street level front of Sherson, London's Lost Theatres, theatre, man leaning against lamp p. 112 Pri ncess's post L, canopy over entrance Mander & Mitcher- son C

2 1841, Jan., in te rio r view from stage, audience seated The Mirror of Literature, A on level with stage Amusement £• Instruction, No. 1 (&2 Pri ncess's #332:15 Folger

3 1843, Aug., in te rio r woman on couch R, man over her, 1. L. N ., v o l. 3, p. 124. P man on L side of stage Pri ncess's

4 1844, Feb., in te rio r midget on stage, footlights in F, 1. L. N ., v o l. 4, p. 124. P box R man with opera glasses in Pri ncess's box

5 1847, May, in te rio r monolithic set on stage, man and A £- P woman on L have hands raised, man J. Howard, #610 Pri ncess's R on knees #1006:217 Harvard

6 1851 - 5 9, in te rio r program cover of W inter's Tale, A £■ P main drape has printing on it plus J. Meyer & Co. Pri ncess's c irc le and emblem #947:1 V & A M

PRINCESS'S THEATRE (Royal Bazar, B ritis h Diorama Exhibition of Works of A rt, Q,ueens, Court) N> Oxford Street, Strand Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver OSUTC # of Oriainal 7 1851 - 5 9. in te rio r program cover of Richard 2nd, A & P shows crested curtain, full house J. Meyer & Co. Pri ncess's #948:1 V & A M

8 CI86 O-6 5 , in te rio r proscenium and tie r fronts in Theatre Notebook, vol. 4, p. 60, A & P sharp r e lie f, table and chair on f i g . 10 Pri ncess's stage in front of window Harvard (a) A B

9 1880 , Nov., interior view from 1st t ie r ra il R side, 3 1. S. & D. N., 11/13/80, p.200. A & P people standing at rail R F Pri ncess's (a) F. Watkins #332:165 Folger

M PRINCESS'S THEATRE o> Oxford Street, Strand vn 266

PRINCE'S HALL Piccadilly below St. James Church Yard

1881, built for the Art Galleries Company Architect: E. R. Robson Cost: L 50,000 Three galleries for the exhibition of artists work Large hall let for concerts and entertainments The lower part is rented to shops

' Wheatley, vol. 3, p. 121. ^ Besant, 19th Century, p. 184. 267

PRINCE OF WALE’S THEATRE (Concert Hall, Concerts of Ancient Music, The Kings Concert Rooms, Hyde’ s Rooms for Concerts, Amphitheatre, King’ s Ancient Concert Rooms, Regency, Theatre of Variety, Royal West London Theatre, West London, The Queen’ s English Opera House, Fitzroy, Dust Hole) 21 Tottenham Street, Tottenham Court Road

1772 , opened new as concert hall Owner: Francis Pasqul1 Architect: Michael Novosielski

1786 , changed name to Concerts of Ancient Music Leasor: Lord Sandwich

1790 , enlarged and remodeled, renamed The Kings Concert Rooms Architect: James Wyatt added royal box^

1800 , reopened under the name of Hyde’ s Rooms for Concerts Manager: John Hyde^

1802 , Mar. 15, Colonel G reville and his Pic-Nic Society^

1808 , became the equestrian theatre. The Amphitheatre Manager: Saunders

1810 , April 23, in te rio r and exterio r remodeled, changed name to The Kings Ancient Concert Rooms Manager: S. Paul Cost: L 4,000' c l81 5, renamed The Regency Manager: Cobham®

, renamed The Theatre of Variety Manager: Brierly^

1825 , renamed the Royal West London Theatre Manager: Brunton Total seating capacity 130 p it 2s boxes 4s. g allery Is Proscenium width 21’ Stage: width 21’ depth 36’

1826, renamed The Regency ^ g Manager: William Roxby Beverley 268

f RINCE OF WALE'S THEATRE)— contd.

1829 , renamed The West London Theatre Manager: Brunton a g a in ^

1830 , renamed The Q,ueen's, also redecorated Managers: Chapman and Melrose^^

1831 , renamed English Opera House Manager: George M a c fa rre n 5

1833 , Dec., renamed The Fitzroy Theatre Managers: The Mayhew family^"

1834 , renamed The Queen's Theatre Manager: Mrs. L. C. Nisbett

1839, known as the Dust Hole Manager: C. J. James

1865 , April 11, remodeled, renamed The Prince of Wales Managers: Marie Wilton and H. J. Byron and later Squire Bancroft Cost: L 850)9

1883 , closed, sold to Salvation Army^^

1902, demolished

1904, LaScala b u ilt on this s ite Architect; Francis T. Verity

) Survey of London, vol. 21, p. 38. 2 Baker, p. 311. 3 Mask, v o l. 12, p. 56. 4 OSUTC #1002:280 (Harvard). 5 Baker, p. 311. 6 Ibid. 7 Survey of London, vol. 21, p. 39. ® Wheatley, vol. 3, p. 122. 9 Survey of London, v o l. 21, p. 39. 10 Watson, p. 77. 11 Baker, p. 312-13. 12 OSUTC #1002:281 (Harvard). 13 Baker, p. 314. 14 Survey of London, vol. 21, p. 39. 15 Ibid. 1^ Baker, p. 315. 17 Survey of London, v o l. 21, p. 39. 18 Baker, p. 317. 19 Mask, vol. 12, p. 5 6 . 20 Survey of London, vol. 21, p. 39. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of O riainal 1 1817, exterio r man posting bill on L side of Londi na 11lustrata portico, 3 men on R side watching Robert Wi1ki nson Regency (a) Schnebbilie (e) Cook # 3 6 :15b NYPL

2 1817, in te rio r view from left hand corner of pit, Londi na 11lustrata A & P 3 men standing L and R, black face Robert Wi1ki nson Regency man on stage # 3 6 :15a NYPL (a) Schnebbilie (e) Cook

3 1826, exterio r theatre in L corner, bill on L side of portico post, 2 men R of portico J. Taylor Regency talking #1002:279 Harvard (a & e) Daniel Havel 1

4 l82g, exterior small print, no people, portico L pit entrance at R end of sketch E. P. Sanger West London (e) C. Phillips #1002:183 Harvard

5 1830, exterio r 4 people standing in street in Walford, vol. 4, p. 469. front of portico, many people Queens enteri ng

S3 PRINCE OF WALE*S THEATRE (fo r other theatre names, see top of page 267) & 21 Tottenham Street, Tottenham Court Road 2 7 0 dUEEN‘ S THEATRE (St. M artin's Music Hall) 89 Long Acre, Strand

1849-50, b u ilt St. M artin's Music Hall Architect: R. Westmacott Owner: John Hull ah' Total seating capacity 3000 i 860 , Aug. 2 6, burned

1862 , rebuilt and opened again as St. Martin's Hall^

1867 , Oct., completely rebuilt interior of music hall converting it into a theatre, the Q,ueen's Owner: Alfred Wigans Architect: C. J. Phipps^ , Decorators: Albert Moore and Teblin Total seating capacity 1984 s ta lls 110 dress c irc le 230 18 private boxes 64 upper boxes 230 amphi theatre front 2 rows of 2nd tier 100 p i t 640 gallery 610 standing room 236 Dimensions: distance from curtain line to front of 1st tie r 44'6" distance from curtain line to front of upper boxes 47'6" distance from curtain line to front of gallery 50' width between boxes on the 1st tie r 38' width between boxes on the 2nd tie r 43' width between boxes on the gallery tie r 48' proscenium: width 30' height 29' 6" depth 7‘ stage: width 55‘c depth 5 0 '5

1878 , sold to c le ric a l company Remodeled into a store

1 Cunningham, p. 426. 2 Walford, vol. 3, p. 270. 3 Wheatley, vol. 2, p. 438. ^ Sherson, p. 201. 5 OSUTC #1002:263-65, (Harvard), cut from newspaper. ^ Illu s tra te d Sporting and Dramatic News. Sept. 20, 1879, p. 8, OSUTC #332:139 (Folgers). Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver Theatre as Named OSUTC U of Original 1 1850 , Feb., interior large orchestra at end on ramped 1. L. N ., v o l. 16, p. 116. A platform, conductor seated on stool, St. Martin's Hall 2 men and women standing L F

2 CI85 O, interior hall almost empty, 6 people in C F, Walford, vol. 3, p. 265. A 3 standing on orchestra platform St. Martin's Hall (a) A W (e) Swain

3 cl867, interior 1 man on stage edge, 2 men in A & P orchestra pit, 3 on 1st tier, rest Queen's of house empty #1002:264 Harvard

4 cl867, interior house empty, man and woman painted A £■ P on drape which closes proscenium Whiteman Bros. Queen's (1i th.) E. Winbridge #1006:218 Harvard

5 cl867, interior house empty except for 4 people in A & P pit, 1 in 1st and 2nd tiers L, Queen's c irc u la r painting on proscenium #1002:266 Harvard drape

6 pre 1879» interior very small p rin t, same proscenium 1. S. & D. N., p. 5 . A & P drape as seen in #4 but people Queen's d iffe r , 4 people at 1st tie r ra il #332:139 Folger (a) F. Watkins

QUEEN'S THEATRE (St. M artin's Music Hall) N> 89 Long Acre, Strand Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Original

7 1879, ex te rio r 'Universities Cooperative Associa 1. S. & D. N., p. 5. tio n ' over the 3 arches that form Queen's facade, 2 carriages in street #332:139 Folger (a) F. Watki ns

8 1879 , Sept., interior 7 views of the store the theatre 1. S. & D. N ., p. 5 . was converted to Co-op Store (a) F. Watkins #332:139 Folger

9 CI89 O, exterior 'Printers, Odhans Press, Publis..' Mask, v o l. 13, p i . 6. over 3 arches, only C arch is now Theatre/Store door photo

N3 QUEEN*s THEATRE ■VI ro 89 Long Acre, Strand 273

RANELAGH GARDENS Che 1 sea

1742 , A p ril, opened for concerts, promenades, masquerades and balls A winter vauxhali Rotunda: Architect: Wiiliam Jones Cost: L i6,000 (inciuding iandscaping grounds) Exterior diameter I 8 5 * in te rio r diameter 150‘ ^ Capacity over 4000 Other buildings on the grounds Architect: Capon*

1803 , closed

1805 , demolished for hospitai

' Walford, vol. 5, p. 77. ^ Besant, North London, p. 83. 3 Walford, vol. 5, p. 78. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver Theatre as Named OSUTC U of Orioinal 1 1749, A p ril, exterio r masqued b a ll, punch L F, harlequin, Salmans, Londoners Then & Now, Rotunda & gardens Perrio & Scharmouch L of C p. 62. Ranelagh (a) Boi tard (e) Parr Bri ti sh M

2 1750 , exterio r 2 couples in perspective path R F, Universal Magazine Rotunda & gardens servant C, man L of C, 2 women L F J. Hinton Ranelagh #1006:219 Harvard

3 c l750 , exterio r rotunda C, rows of trees on both Chamberlain, History of London Rotunda sides, house R, clouds in sky have & Westminster, op. p. 617. Ranelagh 1i ne texture

4 CI75 O, exterior same view as #3, clouds clear, rest Rotunda of sky in horizontal lines Ranelagh (a) S. Wale (e) I . Simpson #50:22 L of C

5 CI75 O, exterior same as #2 except sky uses broken Rotunda 1 i nes Ranelagh (a) S. Wale (e) B. Green #50:23 L of C

6 C I75 O, exterior view from across the riv e r, 9 Rotunda boats in river, rotunda is at R Ranelagh #1006:220c Harvard

RANELAGH GARDENS N> C h e l s e a Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Oriainal

7 1751, exterio r band shell is in middle of lake, Rotunda & Band Shel1 boat at R F edge of lake, man and Ranelagh 2 women 1n boat #1006:220a Harvard

8 cl751, exterior masque, harlequin with club h ittin g Rotunda & Band Shel1 fa lle n clown in path on L Ranelagh (a) George Cruikshank #1006:221a Harvard

9 cl75i, interior masked man and woman dancing C, Rotunda orchestra raised R C, harlequin R F Ranelagh (a) George Cruikshank #1002:277 Harvard

10 1760 , exterio r clergyman with paper in hand "Stern in Ranelagh Garden" Gardens showi ng i t to man L F Paston, Social Caricature in Ranelagh the 18th Century, pi. 92.

11 1760 - 1800 , in te rio r band stand at R edge, arch center Besant, Survey of London North, Rotunda island, many people Robert Sayer p. 85. Ranelagh

12 c l790 - 9 5, in te rio r many women w ith ta ll unique head Pocket Magazine Rotunda dress, all dressed the same Harrison & Co. Ranelagh (a) Van Assen (e) Rothrwell #50:25 L of C

RANELAGH GARDENS N3 C h e l s e a % 276

REGENT NEW MUSIC HALL Vincent Square, Westminster cl864, in operation'

’ OSUTC #1002:283 (Harvard). Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC U of O riainal 1 1864, May, interior 7 people standing in C of haïi, a Hall few men around the sides under the Regent New Music Hall balcony, looking at platform #1002:283 Harvard (e) M W

REGENT NEW MUSIC HALL N) Vincent Square, Westminster 278

THE RETREAT West side of Kentish Town Road

1863, June, opened as New Music Hall Manager: Edward Weston

1866, closed and sold^

ROYAL INSTITUTION OF ART AND MANUFACTURY Albermarle Street

1800, 5 private houses combined with new facade Architect: L. Vulliamy Lecture theatre^ semicircle seated 700 gallery 200^

^ Survey of London, v o l. 19, p. 57. ^ Walford, vol. 4, p. 296. 3 P ictu re of London. 1813, p. 235. 279

ROYALTY (New Theatre, East London, Brunswick, Royallty) Wells Street, Well-close Square E., Goodman Fields

1787 , June & July, opened new Royallty Theatre Owner: John Palmer Builder: John Wilmot Auditorium; parabolic shaped width 28* pit: width 35' depth 26* 3 tiers of boxes 2 galleries ^ proscenium doors with boxes above them 2 1810 , changed name to The East London Theatre

1815 , redecorated

1826 , April 11, burned^

1828, Feb. 25, opened new Brunswick Theatre on same site Architect: T. S. Whitwell

1828 , Feb. 28, iron roof of theatre collapsed Theatre not rebuilt^

' Sherson, p. 44. ^ Baker, p. 404. 3 Sachs, vol. 3, appendix, p. 89. ^ Wheatley, vol. 1, p. 288. Date, Location of View Location of Pub 1 i shed Print Identifying Description Mo, Nature of View Publi sher Locati on Artist Engraver Theatre as Named OSUTC # of Original 1 1787 , June, exterior very plain facade, no people, almost architectural, from R to L, C. Brady Royalty arch, 2 rectangular doors, 3 arches #1006:231a Harvard 2 rectangular arches

2 1787 , June, map section map. White Chapel top. New Road R, R atcliff at bottom C. Brady Royalty #1006:23 lb Harvard

3 1787 , exterior same as #1 except portico over Ladys Mag. 2 rectangular openings at R Rob insen Saler Roya1ty #50:18 L of C

4 1787 , exterior same as #3 except uses bricks on New London Mag. facade rather than 1i nes as #3 Royalty (e) Eastgate #1006:230b Harvard

5 1787 , July, interior storm scene on stage, ship on A & P rocks, woman at L, empty house Bel 1amy Roya1ty (a) Mai ton (e) Sinlbor? #1002:288 Harvard

6 CI7 87 , plan basement plan attributed to Southern, Georgian Playhouse, Royallty foundation layout, with pi. 10 Royalty floor boards Enthoven

ROYALTY (New Theatre, East London, Brunswick, Royallty) W e lls S t r e e t , W e l l - c l o s e Square E . , Goodman F ie ld s fs5 00 o Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of O riainal 7 cl 787 , plan plan entire theatre at stage level Southern, Georgian Playhouse, attributed to Royality, rather pi. 11 Roya1ty crude drawing Enthoven

8 CI787 , section longitudinal section of entire Southern, Georgian Playhouse, theatre attributed to Royality, pi. 12 Roya1ty areas not identified Enthoven

9 c l787 , section longitudinal section of entire Southern, Georgian Playhouse, theatre attributed to Royality pi. 13. Royalty Enthoven

10 1794 , July, interior view from L proscenium on stage, Thespian Mag, A & P see R proscenium to C back of Royalty house, empty #50:19 L of C

11 1815 , interior empty, house, 10 candle chandeliers Londi na 111ustrata A & P around 1st tier Robert Wi1ki nson Royalty (a) C. Westmacott (e) B. Howlett #36:8a NYPL

12 I8 I5 , interior cottage on back drop, "Conabimue" Londi na 11lustrata P above proscenium Robert Wi1ki nson Royalty (a) C. Westmacott (e) B. Howlett #36:8b NYPL

ROYALTY Wei]s Street, Well-close Square E., Goodman Fields ro 00 Date, Location of View Location of Pub 1ished Pri nt Identifying Description No, Nature of View Publi sher Locati on Artist Engraver Theatre a«; Named OSUTC # of Orininal 13 1826, exterior 2 women in front of main door under portico,' man reading b ill to R J. Taylor East London (a £■ e) Daniel Havel 1 #1002:143 Harvard

14 cl826, exterior this is Havell's print #13, but with new engraver East London (e) M #332:10a Folger

15 1828, exterior 6 people in R F, woman with basket on head, large basket on road Brunswi ck (e) W. Cam #46:35 L of C

16 1828, March, exterior 2 horse carriage L F, old woman The M irror of Li terature, crossing street R F Amusement and Instruction, #302, Brunswi ck 3/8/28 #1006:36 Harvard

17 1828 , exterior straight facade elevation, no people, sidewalk looks like Brunswick graphi te penci1 #1006:34 Harvard

ROYALTY to 00 W e lls S t r e e t , W e l l - c l o s e Square E . , Goodman F ie ld s to 283

ROYALTY THEATRE (Miss Kelly's Theatre, Theatre Royal Dean Street, English Opera House, National Opera House, New Royalty) Dean Street, Soho

I840, Mar. 25, opened new Royallty Theatre, also known as Miss Kelly's Theatre as well as Theatre Royal, Dean Street Owner: Miss Kelly Cost: L 7,000 Machinery by Stephenson which shook the theatre when operated

1840, fa ll, closed Reopened by Miss Kelly as a school and theatre for amateurs^

1850 , reopened as English Opera House or National Opera House^

1861, Nov. 12, rebuilt and reopened as The New Royallty^ Owner: Mrs. Selby

1883 , reconstructed Manager: Kate Santley^

^ Baker, p. 452. ^ Walford, vol. 3, p. 195. ^ Sherson, p. 26. ^ Baker, p. 453. 5 ibid.. p. 454. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theafre as Named OSUTC # of Orioinal I cl840-50, plan a seating plan for dress circle, indicating seats and boxes, section Royallty, Soho showing rake to tier floors #1006:182 Harvard

2 1861, interior stage full of balerinas, couple in A & P C of pit walking to seats C Royallty, Soho #1006:234 Harvard

3 clS65, interior proscenium and tie r fronts in sharp Theatre Notebook, vol. 4, p.60, A 6 P relief, informal garden on stage, fig. 11. Royallty, Soho steps L Harvard (a) A B

4 cl885, exterior large fla t angled roof over Romance of London Theatres,#58. entrance, up 3 steps run entire Royality, Soho facade, 2 women in front on walk #1006:230 Harvard (?) Hutton

to ROYALTY THEATRE (Miss Kelly's Theatre, Theatre Royal Dean Street, English Opera House, National Opera House, New Royality. Royality) Dean Street, Soho 285

SADLER'S WELLS ("Musick House," Miles Music House) Between New River Head and St. John Street Road, Islington

1683 , "Musick House" in connection with a medicinal well Owners: Sadler and Forcer^

1699, Miles Music House Owner: Miles^

1765 , rebuilt wood with stone building, becomes Music Hall Owner: Rosoman Cost; L 4225 Admission: 3s, 2s6d, Is'^

1770 to 1800 , a summer only house

1772 , rebuilt auditorium and stage Owner; Tom King

1790 , admission 3s6d, 2s, ls>

1801-2, remodeled and redecorated Owners: Dibdin Brothers^

I804, water tank under the stage floor 9 0 ' X 24' X 5‘ deep Owners: Dibdin Brothers, T & C'

1813 , admission „ 4s, 2s, Is

1819 , dimensions Audi tori urn: width from wall to wall 5 0 ' width from box to box 33' Pit: depth 4 7 ' Orchestra: depth 6' width 36' Proscenium height 23' Stage depth 74'°

1822, added track for pony races'*^

1836, seating capacity I500 Admission: 2s, Is, 6d 12 1838, remodeled and redecorated 286

(SADLER'S WELLS)— contd.

1846, July, remodeled auditorium and facade Owner: Phelps Increased size of pit Added a 1st tier dress circle ^

1862, seating capacity Pit 1000 Boxes 150 Gallery 8 OO-IOOO Dress circle 102 , Stage width 3 2 *9 "'^

1878 , closed for the lack of repairs

1879 , rebuilt Owner: Mrs. Batman Architect: C. J. Phipps'^

^ Wheatley, vol. 13, p. 199. ^ Besant, North London, p. 504. 3 Pinks, p. 4 1 9. ^ Baker, p. 360. 5 Wheatley, vol. 3, p. 200. ^ Besant, North London, p. 504. 7 Watson, p. 68. ^ Picture of London. 1813, p. 299. 9 OSUTC #1002:311 (Harvard). 10 Walford, vol. 2, p. 293. Grant, p. 87. Besant, North London, p. 504. Illustrated Dramatic and Sporting News. July 25, 1846, OSUTC #332:98 (Folgers). Pinks, p. 436. Wheatley, vol. 3, p. 201. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver - - - Theatre as Naraed_ OSUTC 4 of Orioinal 1 1665, exterior C of print, small house, water and fence i n F Sadler* s Wei 1s (a & e) W. Hoi 1ar #1006:242b Harvard

2 1720 , exterior couple L F walking to SW in C, man C with stick walking away from SW Sadler's Wei 1s (a) George Cruikshank #508:4 Hunti ngton

3 CI73 O, exterior no people, tree L, weather vane on top of SW, clock on gable end Sadler's Wells #1006:243 Harvard

4 c l731-45, exterior greyhound dog chasing man in F R

Sadler's Wei 1s #1002:296 Harvard

5 CI730 , exterior man pointing with stick at dog F L Pi nks. Hi story of Clerkenwel1, p. 416. Sadler's Wells (?) Byfield

6 1730 , exterior hedge row R F to SW in center of print, 8 people in path by hedge Sadler's Wells (a) B. Lane (e) A. Carse #1006:2423 Harvard

N? SADLER'S WELLS ("Musick House," Miles Music House) 00 Between New River Head and St. John Street Road, Islington Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver . Theatre as Named OSUTC # of Oriainal 7 cl 730-45, exterior dog chasing man and woman F C

Sadler's Wei Is #1002:298 Harvard

8 c l746-64, exterior fence forms Y in F C, 2 swans on Londina 11lustrata river Wi1ki nson Sadler's Wei 1s (e) Wise #36:11 NYPL

9 1756 , exterior 2 women talking to man in front of market gate "S W," R, woman in Sadler's Wei 1s fence gate L C #1006:244 Harvard (?) A N W

10 cl779, exterior tree F L bent almost doublt to C 1. S. & D. N., 10/18/1879

Sadler's Wei 1s (?) M J #332:51 Folger

11 CI78 O, exterior sign on top of building "Licensed Pursuant..." very prominent L C Sadler's Wei 1s #332:12 Folger

12 CI792 , exterior 2 boys fishing and 1 swan in R F Londi na 111ustrata corner Wi1ki nson Sadler's Wells (a) R. C. Andrews (e) Wise #36:11 NYPL

SADLER'S WELLS NJ Between New River Head and St. John Street Road, Islington §§ Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC U of Orioinal 13 1796 , exterior F C 5 men fishi ng Allen & West Sadler's Wei 1s (a) Woodward (e) Cruikshank #1002:299 Harvard

14 1795 , interior C woman on tight rope Theatre Notebook, vol. 6, p. 12, A & P pl. 1 Sadler's Wei 1s (a) Van Assen Fi nsbury PL

15 1804, exterior landscape view, small S W LG

Sadler's Wei 1s (a) Sam Prout (e) J. J. Carig #50:14 L of G

16 1806 , exterior race course, 3 horses C

Sadler's Wei 1s #1002:301 Harvard

17 1809 , interior 2 horses and chariot in water on Sal amen's Londoner's Then & Now, A & P stage R. Ackermann p. 102. Sadler's Wells (a) J. Bluck Malcolm C (e) Pugin £• Rowlandson Sal aman G

18 cI8l2, exterior man leaning against fence R C Temple of Muses Jones & Go. Sadler's Weiis (a) .Tho.H.Shepherd (e) J. Garner #50:16 L of G

SADLER'S WELLS ro Between New River Head and St. John Street Road, Islington & Date, Location of View Location of Publi shed Pri nt Identifying Description No, Nature of View Publi sher Location Artist Engraver OSUTC # of Oriciinal 19 1816, interior man standing on head on stage R F A & P Sadler's Wells #1002:303 Harvard

20 1813, exterior 2 boys, 1 pole, fishing L F, car riage crossing river R Sadler's Wei 1s #50:17 L of C

21 1819 , May 1, exterior dog looking across river L F R. Ackermann Sadler' s Wells #50:15 L of C

22 1826, exterior woman selling from table extreme L F J. Taylor Sadler's Wei 1s (a & e) Daniel Havel 1 #1002:291 Harvard

23 cl828, interior man i n grave trap C Stage Sadler's Wells (a) George Cruikshank #502:7 Huntington

24 cl828, interior monkey jumping out over pit C Stage & P Sad 1er's Wells (a) George Cruikshank #502:3 Hunti ngton

SADLER'S WELLS ro Between New River Head and St. John Street Road, Islington VO o Date, Location of View Location of Publi shed Print Identifying Description No. Nature of View Publi sher Location Artist Engraver OSUTC # of Ori 0 i na 1

25 cl8 2 8 , interior Grimaldi on chair on stage C S & P Sadler* s Wei 1s (a) George Cruikshank #502:14 Hunti ngton

26 1829 , exterior no people, 2 trees and river E. P. Sanger Sadler*s Wei 1s (?) C. Phillips #1002:183 Harvard

27 1830, exterior "Box & Pit" on arcade, man-woman- man all C Sadler's Wei 1s #1002:309 Harvard

28 1846, July 25, exterior woman and girl followed by 5 women 1. S. & D. N. entering gate C Sadler's Wei 1s #332:98 Folger

29 1853 , exterior 2 carriages C R, 6 people entering side door C, 2 men standing L F Sadler's Wei 1s #1006:240a Harvard

30 1854 , May 20, interior temperence meeting on stage 1. L. N., VO 1. 2 4 , p. 465. A & P Sadler*s Wei 1s (?) G C K

SADLER'S WELLS Between New River Head and St. John Street Road, Islington & Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orininfll 31 cl860, exterior 2 horses and coaches and 1 man William's, Old Vic Saga, p. 9. fishing in extreme R F corner Sad 1er*s Wei 1s

32 c1860-79, exterior very small print, woman in white at corner of building C Sadler's Wells #1002:2 Harvard

33 cl860-79, exterior small print, no people (30 cm X 20 cm approximately) Sadler's Wei 1s #1002:5 Harvard

34 cl860 's, interior view from 2nd tier, no inside tier Theatre Notebook, vol. 4, f i g.60. A & P detai1 Sadler's Wei 1s (?) A. B. Harvard

35 cl879, exterior woman C in full dress on this Pink's, History of Clerkenwell, side of fence p. 434. Sad 1er's Wells

36 1879. Oct. 18, exterior large crowd obscuring most of 1 . S. & D. N. building, 2 lamp posts C Sadler's Wei 1s (?) M. J. #332:15 Folger

SADLER'S WELLS Between New River Head and St. John Street Road, Islington 2 9 3

ST. JAMES'MUSIC HALL Regent Street and Piccadilly

1858 , April, opened new as St. James' Music Hall Owner: Beale Architect: Owen Jones Cost: L 50- 6 0 ,000’ Grand Hall: 134' long, 60' wide, 60' high Two smal1er hal Is: 1— 6 0 ' long, 40' wide 2— 6 0 ' long, 48' wide New Philharmonic Society DIcken's "Readi ngs" panorama^

1875 , restaurant added to plan on ground floor^

* Wheatley, vol. 2, p. 283. ^ OSUTC #1002:313 (Harvard). ^ Wolford, vol. 4, p. 254. ^ Clunn, p. 174 . Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver _ Theatre as Named_._ OSUTC # of Oriainal 1 cl860, exterior 10 people entering main door, sign to R of door leaning against wall St. James' Hall #1002:314 Harvard

2 cl860, exterior view of facade with many people entering between 2 carriages in F St. James' Hall #1006:237 Harvard

3 cl860, interior view from back of 1st tier opposite Grand Hal 1 platform, man standing R, woman L St. James* Hall (e) Smyth #1002:316 Harvard

4 c 1858, interior hall empty except 3 women and child Grand Hal 1 in C F, and couple up by platform St. James' Hall (e) A W #1002:315 Harvard

ST. JAMES' MUSIC HALL -p- Regent Street and Piccadilly 2 9 5

ST. JAMES' THEATRE (Prince's) Kings Street, Strand (on site of Nerot's Hotel)

1835, Dec. 14, opened new as St. James' Theatre Owner: John Braham Architect: Samuel Beazley Cost: 26-30,000 L Audi tori um: two tiersof boxes 5s pit 3s gallery Is total seating capacity 1200

1840, April 27, changed name to Prince's Theatre Owner: Bunn^

1842, changed name back to St. James' Theatre Owner : Mitchel1

1879 » interior completely remodeled^

1900, auditorium remodeled

* Grant, p. 6 9. ^ Baker, p. 461. ^ Ibid., p. 462. ^ Wheatley, vol. 2, p. 305. Date, Location of View Location of Pub 1i shed Pri nt Identifying Description No, Nature of View Pub 1i sher Location Artist Engraver Theatre as Named OSUTC # of n r i n i ns1 1 cl835“50, exterior very small print, 11 people in front of facade, 3 under portico St. James Theatre #1002:3 Harvard

2 c l850 , exterior man going under portico from Besant, London in the igth street, woman coming out, man and Century, p.190. St. James Theatre boy is street L Grace (a) T. Homer Shepherd

3 CI85 O, exterior couple in street in front of Walford, vol. 4, p. 192. portico, many people under portico St. James Theatre entering theatre (a) W H P (e) W H

4 c l850 , exterior no people, view from street that ends at facade, lamp post on St. James Theatre corner #1006:238 Harvard

5 c 1890 , exterior sign R 'Polly and my Partner Joe' in back of man on knees at curb St. James Theatre #1002:312 Harvard

6 cigOO, exterior man standing between 3rd & 4th Pearson, The Last Actor-Manager, column from R, signs on all 4 Front Cover St. James Theatre columns Mander & Mitch- erson ST. JAMES' THEATRE ( P r i n c e 's ) Kings Street, Strand (on site of Nerot's Hotel) ON Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinfll

7 1900, interior empty house, polka dot wall Rowell, Victorian Theatre, A & P pattern surrounding proscenium op. p. 19. St. James Theatre

N ST. JAMES' THEATRE ( P r i n c e 's ) VO Kings Street, Strand (on site of Nerot's Hotel) 298

Salmon's Wax Wordx (Wax Works) 17 Fleet Street, opposite Chancery Lane cl795, in operation^ 2 1812, sold out, figures moved away

' Catalogue No. I, dated by engraver, Prattent at about 1795. ^ Walford, vol. I, pp. 45-46. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioina)

1 cl795, exterior next to meat and fish shop, fish on European Mag. facade of building, no people The Waxworks (e) Prattent #1006:291 Harvard

2 cl795, exterior man and woman facing stage in C of building, boy and girl at their L Mrs. Salmon's Wax #1006:292 Harvard Works

3 c 1795 j exterior sedan chai r at R F, woman 1n C Walford. Old & New London, doorway inside vol. 1, p. 48. (a) Kemp le

hO SALMON'S WAX WORKS (Wax Works) KD VO 17 Fleet Street, opposite Chancery Lane 300

SANS SOUCI THEATRE Leicester Place, Leicester Square (at the corner of Blue Cross Street (now Orange Street) and St. Martin's Street, on the former site of The Feathers Public House)

1793 , Feb. 16, opened as the Sans Souci Owner: Charles Dibdin^ A very small theatre designed to f i l l only specialized needs such as Dibdin's "Table Entertainments"

1805 , sold by Dibdin

I 832 , became a subscription theatre for vaudevilles^

1834, occupied by a French company

closed

remodeled into the "Hotel de Paris et de l'Europe"^

' Cunningham, p. 404. ^ Baker, p. 346. ^ Sherson, p. 324. ^ Wheatley, vol. 3, p. 209, Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Namerl OSUTC # of Orioinal

1 cl793, interior canopy tab curtains on proscenium, Theatre Notebook, vol. 4, p. 36. A & P Venetian blinds on proscenium Sans Souci boxes Gerald ForsythC (a) Van Assen (e) Rothnel1

SANS SOUCI THEATRE o Leicester Place, Leicester Square 302

THE SAVOY THEATRE Between the Strand and Victorian Embankment

188), Oct. 10, opened new, The Savoy Theatre Owner : D'Oyly Carte Architect: C. J. Phipps Seating capacity 1300 Electric lights in the auditorium on opening night Electric lights added to the stage the next week^

’ The Graphic. Dec. 17, 1881, OSUTC #332:162, (Folger). ^ illustrated Sporting and Dramatic News. Oct. 29, 1881, p. 161, OSUTC #332:167 (Folger). Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal 1 1881, Oct. 2 9, exterior horse and carriage parked in front 1. S. 8r D. N. of 3 arches F C Savoy (?) F. Watki ns #332:167 Folger

2 1881, exterior man and woman walking centered in Graph i c center arch Savoy (e) Panson #332:162 Folger

3 1881 , interior 9 proscenium boxes per side, 2 1. S. & D. N. A 6- P people in F C facing stage Savoy (?) F. Watkins #332:167 Folger

h 1881, interior half of auditorium, 1 empty seat, Graphic A & P 1 St row of 1 St tie r F R Savoy (?) R. Brown #332:161 Folger

THE SAVOY THEATRE Between the Strand and Victorian Embankment s 304

SCIENTIFIC AND LITERARY INSTITUTION (Albert Rooms) Whitefield Street, opposite Scale Street

1848, in operation

Davenport Brothers, illusionists, appeared here

becomes Albert Rooms, Dancing Academy^

' Survey of London, vol. 21, pp. 32-33. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Original

1 l848-cl920, exterior 2 automobiles park back bumper to Survey of London, vol. 21, back bumper in front of building pi. 10a. Scientific Institution

SCIENTIFIC AND LITERARY INSTITUTION (Albert Rooms) o Whitefield Street, opposite Scale Street vn 306

SHAFTESBURY THEATRE Shaftesbury Avenue near Cambridge Circus

1888, opened new as The Shaftesbury Theatre Manager: Miss Wallis* Architect: C. J. Phipps and W. G. R. Sprague Audi tori um: width 50' length 70' Total seating capacity 1200 plus 260 standees Value of full house L 270 2 tiers dress circle, 8 rows 295 family circle, 5 rows 114 180 stalls Exterior measurements: width 150' length 180' covers an area of 25,000 square feet^

* Baker, p. 522. ^ Wheatley, vol. 3, p. 237. 3 OSUTC #1006:255 (Harvard). Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 1 1888, plan 1st tie r level of entire theatre, Sachs, vol. 3j fig. 118. scale, but parts not identified Shaftesbury

2 cl888, exterior main entrances at corners of block, carriage in front of L entrance Shaftesbury #1006:255 Harvard

SHAFTESBURY THEATRE o Shaftesbury Avenue near Cambridge Circus 308

SHAKESPEARE'S GALLERY (The British Institution) 52 Pall Mall

1805 to 1866 , NOT a theatre or concert hall, but rather a painting exhibi tion hall

SOCIETY FOR ARTS, MANUFACTURE AND COMMERCE John Street, Adelphi

1768 , opened Decoration by: James Barry A room 47' wide 42' long 40' high^

SOUTH LONDON 1 London

1860, opened^

1869, burned^ 1 1870, rebui1f

' Walford, vol. 3, p. 107. ^ Picture of London. 1813. p. 233. ^ Survey of London, vol. 25, p. 72. ^ Sherson, p. 20. ^ Catalogue #1, dated 1870. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 1 cl870, Interior 20 tables In p it, bar at R of A & P stage, L F man standing at 1st South London Palace tie r rail #1006:256 Harvard

SOUTH LONDON PALACE (Music Hall) London Road 310

ROYAL STANDARD CONCERT ROOMS Victoria Street, Westminster cl852-4, built new at the time of the new Victoria Street was cut through Westminster Manager: J. Moy

^ Illustrated London News, vol. 25, p. 504 (see Royal Standard Concert Rooms Picture 1 ). Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal i 1854 , Nov. 18, exterior sign in L F, 4 carriages in F C 1. L. N., vol. 2 5 , p. 5 04.

Royal Standard

ROYAL STANDARD CONCERT ROOMS Victoria Street, Westminster 312

STANDARD THEATRE (Royal Standard, New Standard) 204 Shoreditch, Holywell Street (now High Street), Shoreditch

1835, Sept., opened new the Standard Theatre*

1837, changed name to The Royal Standard Theatre

1845, May, remodeled Architect: John Gibson Owners: Johnson and Lee Auditorium: horseshoe shaped 10 private boxes 14 public boxes total seating capacity of pit and gallery 2200 Prosceni um: width 30* height 30* proscenium boxes are movable, they recede Stage: stage floor removable, forms circus ring 39* in diameter

1866, Oct. 21, burned^

1867 - 8 , rebuilt and opened New Standard Theatre Manager: Herr Dassie becomes a circus total seating capacity 4500^

* Baker, p. 4o8. ^ illustrated London News, vol. 6, p. 320. ^ Sachs, vol. 3, appendix, p. 95. ^ Williams, p. 77. 5 Wheatley, vol. 3, p. 301. Date, Location of View Location of Published Print Identifying Description Ho. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # nf O rio in a l

1 cl835, interior 2 women facing stage F C, man Theatre Notebook, vol. 12, p.92, A & P lying on bench F L, man standing p i. 6. Standard on bench F R Bi shopgate (a) ? Kennedy Foundation

2 1845, May 17, interior on stage, woman on jumping horse 1. L, N., vol. 6, p. 320. A & P is chased by horseman New Standard

3 cl868, interior man speaking, on stage, large A & P window C stage, smal1er door SR Standard #332:30 Folger

STANDARD THEATRE (Royal Standard, New Standard) UJ 204 Shoreditch, Holywell Street (now High Street), Shoreditch Kjô 314

STRAND MUSIC HALL Site of old Exeter Change

1871, opened 315

STRAND THEATRE (Royal Strand, New Strand, Rayner's Subscription, Punches Playhouse,) East Strand

1820, panorama dramas by Reinagle^

1828, becomes Rayner's New Subscription Theatre Panoramas Admi ssion: pit 2s boxes 3 and 4s no tiers

1834, opened remodeled as The New Strand Manager: Mrs. Waylett^ Added gallery Total seating capacity 800 pit Is 6d boxes 3s . tier Is 500

1850 , becomes Punches Playhouse Manager: Wm. Copland^

1853 , Strand Theatre^

1882, condemned^

1882 , Nov., reopened new Strand Theatre 8 1904, demolished

' Sherson, p. 121. ^ Baker, p. 339. ^ Belgravia, vol. 10, Feb. I 87 O, p. 112. ^ Grant, p. 77. 4 Mask, vol. 12, p. 57. ^ Baker, p. 444. 7 Oxford, p. 773 . ^ Baker, p. 449. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Thftatrp. AS Named OSLiTr. # of Original 1 pre 1833, exterior sign centered between lamp posts, 2 women at L of facade Strand (?) T R #1006:258 Harvard

to STRAND THEATRE (Royal Strand, New Strand, Rayner’ s Subscription, Punches Playhouse) CTv East Strand 317

SURGEONS NEW THEATRE (Surgeons Theatre, Royal College of Surgeons) Old Bailey, later on the south side of the square in Lincoln's Inn Fields

1751 , the Royal College of Surgeons moved into their new building in Old Bailey, The theatre mentioned in connection with this and their later building was used as an amphitheatre for the obser vation of operations and disections of the human body.'

1800 , lost legal ownership of Old Bailey building

1806 , built The Surgeon's New Theatre in Lincoln's inn Field Architects: George Dance, jun. and James Lewis Cost: L 38,000%

1836 , large addition to main building Architect: Charles Barry Cost: L 40,000^

This is not nor ever was a theatre in the theatrical sense.

* Wheatley, vol. 3, p. 334. % Walford, vol. 2, p. 470.

^ I b i d . , VO I . 3, p. 29. 318

THE SURREY (Surry, British Horse Academy, Royal Circus and Equestrian Philharmonic Academy, The Royal Circus) Blackfriars Road, near Obelisk

1771 - 2 , opened British Horse Academy Owner: Charles Hughes A riding school In opposition to Astley's'

1773 , closed by magistrates

1782 , Nov. 7> opened new amphitheatre, the Royal Circus and Equestrian Philharmonic Academy Owners: Charles Hughes and Charles Dibdin no pit rather a circus ring^ auditorium 80* long^ Cost: L 15,0004 boxes 4s pit 2s gallery 1s?

1791 , Nov. 12 to 1793 , Easter Monday, closed Reopened Manager: Hughes Admi ssion: boxes 3s P'î, ^=6 gallery Is

1796 , interior remodeled Manager: James Jones'

1799 , interior rebuilt^ cl800 , lecture theatre Total seating capacity 500 Has second gallery^

1805 , Aug. 12, burned'^

1806, rebuilt and opened as the Royal Circus Architect: Rudolphe Cabanel Jr. Cost:L 14,500^2

1809 , interior reworked Manager: El liston Removed ring, added the stage Building became a theatre^^

1810, changed name to The Surry j. Managers: El liston and T. Dibdin 319

(THE SURREY)— contd.

I8l4, interior reworked Pit changed back to circus ring ^

18)6, July 1, interior remodeled Manager: T. Dibdin Pit back in place of ring'7 Admission: boxes 4s pit 2s gallery Is

1848, Dec. 26, redecorated Architect: R. W. Withal) ^ Auditorium: square Seating capacity pit 900 gallery 1000 Proscenium: two columns surrounding a box and doors on each S id ,20

1865 , Jan. 3 0 , burned^*

1865 , Dec. 26, reopened new Surry Theatre Architect: J. Ellis Cost: L 25,000 to 38,000^^'^j

1 OSUTC #1002:343 (Harvard). 2 Watson, p. 6 9. 3 Belgravia, vol. 9> Oct. 1869, p. 468. 4 Ackerman, Microcosm of London, vol. 3, p. 15. 5 OSUTC #1002:343 (Harvard). 6 Ibid. 7 Ibid. 8 Mask, vol. 12, p. 102. 9 Walford, vol. 6, p. 370. 10 Sach and Baker and others agree on this date but Survey of London. vol. 2 5 , p. 57, gives the date as I 803 , this must be incorrect. 11 Mask, vol. 12, p. 102. 12 OSUTC #1002:345 (Harvard). '3 Baker, p. 392. OSUTC #1002:345, (Harvard). 15 Watson, p. 70. 16 Baker, p. 392. 17 Watson, p. 70 . OSUTC #1002:345 (Harvard). 19 Illustrated London News, vol. 14, p. 29. 20 Walford, vol. 6, p. 371. ' Wheatley, vol. 3, p. 338. Ibid. 23 Walford, vol. 6, p. 371. Date, Location of View Location of Published Print Identifying Description No, Nature of View Pubiisher Location Artist Engraver OSUTC # of Oriainal 1 1782 , exterior man with stick and woman walking to theatre L F Royal Ci reus #1006:268a Harvard

2 i782-i 805 , exterior man on horse chased by dog; 6 groups of people walking Royal Ci reus #50:21 L of C

3 1782 - 1805 , exterior same as #2 but there i s no dog

Royal Circus #50:20 L of C

4 1782 , Sept. 3 0 , exterior carriage moving away from theatre, Westminster Mag. 3 cows F L J. Waiker Royal Circus (e) Jn. Todge #1002:336 Harvard

5 1782 - 1805 , exterior horsemen F C riding out of picture, Harlequin, 6/13/1829, # 5 , lamp post R Royal Ci reus (?) Keare #485 Huntington

6 1782 - 1805 , exterior front view, name on architrave of portico Royal Ci reus #1006:270 Harvard

\ j J THE SURREY (Surry, British Horse Academy, Royal Circus and Equestrian Philharmonic Academy, The Royal M O Blackfriars Road, near Obelisk Circus) Date, Location of View Location of PubI shed Print Identifying Description No. Nature of View Pubii sher Location Artist Engraver .. Theatre__as_ Named ----- OSUTC U of Orioinal 7 1794 , Oct., interior horse race on and off stage to ring, Ladys Mag. A £■ P hoses L Harrison & Co. Royal Circus (a) Van Assen (e) Rothwel1 #1002:337 Harvard

8 cl 790 's, interior 3 men pyramided on 2 horses A, P and Ring Royal Circus #1006:269 Harvard

9 1809, May 1, interior Harlequin on stage in front of 10' Microcosm of London, vol. 3, A, P and Ring high cup p. 13. Royal Ci reus (a) J.BIuck (e) Pugin & Rowland son

10 1812, exterior man driving cow and 7 sheep F C Survey of London, vol. 25 , p i.30 Laurie & Whi ttle Surrey Theatre L C C

11 c l8 l 0 , exterior theatre C L, boy with hoop F L, boy with wheelbarrow F C Surrey Theatre #1006:272 Harvard

12 1814 , May 1, exterior man and 2 women standing in iron grill C door portico Robert Wi1ki nson Surrey Theatre (a) Tho.H. Shepherd (e) Wise #36:18 NYPL (Map at bottom) THE SURREY VJ i s i Blackfriars Road, near Obelisk Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC U of Orininal 13 cl8l5, exterior theatre doors ( 3 ) have canopies to walk, man with wheelbarrow C F J. Smith Surrey Theatre #1006:271 Harvard

14 cl8 l5 “2 0, exterior canopies over 2 side doors, iron Survey of London, vo l. 2 5 , p i.32a. grill portico C, 2 women seated on J. Taylor Surrey Theatre curb C Bray ley ' s London (a & e) Daniel Havel 1 Theatres

15 1825 , Feb. 18, exterior solid portico, carriage in front of box entrance Jones & Co. Surrey Theatre (a) Tho.H. Shepherd (e) That. Dale #3 3 2 :62b Folger

16 1829 , exterior small, no people, iron fence in front of portico E. P. Sanger Surrey Theatre (e) C. Phillips #1002:183 Harvard

17 c l830 , exterior straight facade view, iron fence completely across the front Surrey Theatre #1006:273 b Harvard

18 CI83 O, exterior man wi th cow and sheep L F, horse and cart of barrels F R Surrey Theatre #50:13 L of C

THE SURREY VJ NJ Blackfriars Road, near Obelisk ro Date, Location of View Location of Pub 1i shed Print Identifying Description No. Nature of View Pubii sher Location Artist Engraver Theatre as Named _ . OSUTC U of Orioinal 19 CI830 - 50 , exterior very small, 3 couples C, R and L on facade, lion crest on portico, Surrey Theatre statue on top of facade #1002:3 Harvard

20 CI830 - 5 0 , exterior woman with parasol and dog on leash C, man leaning in C door Surrey Theatre #50:12 L of C

21 1849, Jan. 13, interior Christmas pantomime on stage, 5 1. L. N., vol. 14, p. 2 9. A & P men and 2 children in relief F Surry

22 cl864, interior waterfall scene on stage, two 5-ball Theatre Notebook,vol.4, p. 6 0 , ' A £- P chandeli ers f i g . 13. Surrey Theatre (a) A B Harvard

23 1865 , Jan. 20, exterior on fire , dancers and costumes Back coming out windows Surrey Theatre (?) E H #1002:340 Harvard

24 1864, exterior name at top of building Royal S. Walford's London Old S- New, Theatre, cut by interior insert #25 vol. 6, p.372 . Surrey (?) H. Prior

VJ THE SURREY PO Blackfriars Road, near Obelisk VJ Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named . OSUTC # of Orininal

25 1865, interior circular print, man standing in 1st Walford's Old & New London, A & P stall, 3 women on stage seated vo l.6, p.372. Surrey (?) W. H. Prior

26 cl866, interior 5 people on fore stage, man with A & P cane pointing, almost empty Surrey audi tori urn #1006:274 Harvard (?) M J

27 cl866, interior foliage wings on stage, strong Theatre Notebook, vol. 6, p.60, A S- P silhouette of tier fronts fig. 14. Surrey (a) A B Harvard

THE SURREY V» Blackfriars Road, near Obelisk 325

SURREY ZOOLOGICAL GARDENS (Surry, Royal Surry Zoological Gardens, Surrey Gardens Music Hall) Manor Place, Walworth Road and Penton Place, Kensington Road

1831 , opened new as a menagerie showpiece and zoological gardens under the name of Royal Surrey Zoological Gardens Owner: Edward Cross (from Exeter Change). Architect and Landscaper: Henry Phillips 15 acres of gardens and 3 acres of lake Conservatory (show place of menagerie) 300' in circumference; 6OOO sq. f t. of glass^ Used as a zoo, zoological gardens, presented concerts, fireworks and panoramas^ pre 1845, a lakeside band shell (see picture #2)

1856 , built the Surrey Music Hall Architect: Horace Jones Cost: L 18,000^ Total seating capacity 10,000^ 20* longer and 30* wider than the Great Room at Exeter Hall Dimensions: 172* long, 100* wide, ceiling height 77* height to top of towers 9 6 * 3 galleries^

1861, June 11, burned^

1862 , rebuilt and opened under same name

1862 , used as a temporary St. Thomas Hospital^

1872 , closed and sold**^

demolislied and the grounds were built on

' Survey of London, vol. 25, p. 8 7 . ^ Walford, vol. 6, p. 265. ^ Survey of London, vol. 25, p. 8 7 . ^ Wheatley, vol. 3, p. 338. 5 Ibid. ^ Walford, vol. 6, p. 267. 7 OSUTC #1006:260 (Harvard), newspaper. O Sachs, vol. 3, appendix, p. 94. 9 Walford, vol. 6, p. 268. ^^ Survey of London, yol. 25, p. 88. Date, Location of View Locati on of Published Print Identifying Description No, Nature of View Pubi i sher Location Artist Engraver OSUTC # of Orioinal

i 1832 , gate entrance eagles on top of posts at each side Survey of London, vol. 2 5 , of gate, woman at i ron fence C pi . 58 t Surrey Zoo (a) R.B. Schnebbilie LOG

2 cl845, exterior lake F, man coming down inside shell Survey of London, vo l. 2 5 , Band shel1 p i. 58 b. Surrey Zoo LOG

3 cl848, exterior man conductingorchestra facing away Band shei1 from the musicians C Surrey Zoo (e) Smyth #lQQ6:26lb Harvard

4 CI856 , interior man L F watching through opera #1006:262 Harvard Music Hall glasses Surrey Zoo (e) Smyth

5 CI856 - 7 , interior man talking to little girl F L, in Music Hall front of 3 women Surrey Zoo (a) C.F. Sargent (e) J. Gildar # 1006:260 Harvard

6 1856 , interior Rev. Spurgeon speaking from Music Hal 1 orchestra to congregation Surrey Zoo (?) J.Buckley (?) J. C. Boise #1006:261 Harvard

SURREY ZOOLOGICAL GARDENS (Surry, Royal Surrey Zoological Gardens, Surrey Gardens Music Hall) ho Manor Place, Walworth Road and Penton Place, Kensington Road Date, Location of View Location of Published Print Identifying Description No, Nature of View Pubi i sher Locati on Artist Engraver Thsarre as Named OSUTC # of 0 r i 0 i na]

7 CI856 - 6 I, exterior trees form L frame, 2 white swans Walford's. Old & New London, Music Hal 1 L F, boat C vol .6 ,p.265 Surrey Zoo (?) W P

8 CI 856 - 6 I, exterior lake F, 1 white swan C, man and Music Hal 1 woman standing at boat dock R F Surrey Zoo #50:10 L of C

9 cl856 - 6 1 , exterior 3 small potted trees L F, woman Kiosk and Terrace standing by them Surrey Zoo #1006:264 Harvard

10 1861 , June 11, exterior on fire , fire engine C, 3 fire Music Hal 1 hoses i n use Surrey Zoo #1006:263 Harvard

, Sjo SURREY ZOOLOGICAL GARDENS ho Manor Place, Walworth Road and Penton Place, Kensington Road 328

TAVISTOCK HOUSE THEATRE East side of Garden Square

1854 , private children's theatre

private theatre of Charles Dickens cl865 , closed^

TENNIS COURT THEATRE (Orange Street Theatre) Orange Street

1735 , used as a theatre 3 1800 , tennis court again

' Walford, vol. 4, pp. 513-14. ^ Survey of London, vol. 20, p. 110. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC U of Oriainal 1 cl800, exterior 2 men under lamp over door, Survey of London, vol. 20, Tennis Court BILLIARDS at top of bull ding,court pl. 97a. Orange Street 11 panels long L C C (a) T. H. Shepherd

2 cl800, exterior man with shovel and othermam under Walford, vol. 4, p. 229. Tennis Court lamp post across street Grange Street (a) W. P.

TENNIS COURT THEATRE (O range S t r e e t T h e a tre ) Orange Street 330

TERRY'S THEATRE (Occidental Tavern, Coal Hole) Fountain Court, Strand

, Coal Hole tavern^

, Occidental Tavern A place of entertainment^

1887 , Oct., rebuilt as Terry's Theatre Architect: Walter Emden^

TRAFALGAR SQUARE THEATRE (Duke of York) St. Martin Lane, near Trafalgar Square

1892 , Sept. 10, opened as The Trafalgar Square Theatre Owner: Violet Mel not te Architect: Walter Emden Cost : L 21,000 Audi tori urn: total seating capaci ty 1300 curtai n 1 i ne to front of 1st tier 32'9" curtai n 1 i ne to front of 3rd tier 36' curtai n 1 i ne to furthest seat 54' cei1i ng above pi t 43'3” wi dth 42'6" li urn: wi dth 26'3" height 29 >6” Stage: depth 36' grid hei ght 58'3"

1895 , changed name to Duke of York Theatre Manager: Frank Wyatt^

' Cunningham, p. 633. ^ Sherson, p. 196. ^ Wheatley, vol. 3, p. 361. ^ Sachs, vol. 3, p. 18. 5 Baker, p. 529. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver ThAAtrm as Named OSUTC # of Orioinal

1 1892 , facade, elevation architects line drawing Sachs, vol. 1, p l. 5 2 .

Trafalgar

2 I892 , plan areas identified Sachs, vol. 1, pl. 5 2 . Stage level Trafalgar

3 1892 , plans all areas identified Sachs, vol. 1, p l. 5 2 . 1 St & 2nd tie r 1evel Trafalgar

TRAFALGAR SQ.UARE THEATRE (Duke of York) St, Martin Lane, near Trafalgar Square 332

VARIETY THEATRE Hoxton, near the Britannia

I 87 I, opened as a theatre and music hall'

VAUDEVILLE kQ k Strand

1870 , April 16, opened new under the name Vaudeville^ Managers: Thorne and James Architect: C. J. Phillips Total seating capacity 1000^

1891 , remodeled and redecorated^

' Baker, p. 381. ^ Graphic. May 14, I870 , p. 568, ^ Walford, vol. 3, p. 119. ^ Baker, p. 501. Date, Location of View Location of Published Print Identifying Description No. Nature of View Publisher Location Artist Engraver OSUTC # of Orininal 1 0 )870 , interior bullfight on stage L C A & P Vaudeville (?) E Q. #1002:348 Harvard

VAUDEVILLE uo 404 Strand 334

VAUXHALL (Vauxhall Gardens, New Spring Gardens, Faux Hall, Foxhall, Royal Gardens, Manor House Theatre, Royal Manor House, Royal Bath Gardens) Kings Road, Chelsea

cl66l, opened as the New Spring Gardens as tea garden and picnic grounds'

1681, built concert room in the Manor House^

1732 , June 7, reopened, remodeled Owner: Jonathan Tyers Presented an entertainment^

1745 , presented vocal concerts

1785 , known as Vauxhall 38 buildings on the 11 acres of land open ai r theatre stage enclosed with no auditorium theatre in rotunda4 boxes, pit and gallery conventional stage pit convertible into an arena for horse riding^

1792 , remodeled and redecorated^

1798 , pyrotechnics added^

1813 , panorama, scenic display in action, 10 to 15 minutes long Rotunda, 70' diameter®

1822 , May 11, opened under name of Royal Gardens Still popularly called Vauxhall^

1829 , contained ballet theatre and open air theatre'^

I837 , open Manor House Theatre'' cl845, theatre closed'^

1859 , July 2 5 , closed'^

, demolished, land developed

' Wheatley, vol. 3, p. 426. ^ Walford, vol. 6, p. 448. 2 Mask, vol. 12, p. 103. Survey of London, vol. 23, p. 146. ^ Walford, vol. 6, p. 459. ^ Ibid.. p. 4 5 2 . ^ Wheatley, vol. 3, p. 428. ^ Picture of London, 1813. p. 301. ^ Basant, London South, p. 110. ]0 Harlequin, A Journal of the Drama. No. IV, June 6,1829, p.26 (OSUTC #485). Sherson, p. 325. ibid. 13 Wheatley, vol. 3, p. 429. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # nf Orininal ) cl710, elevation plan sedan chair extreme C F Buildings Vauxhal1 Gardens #1002:358 Harvard

2 pre 1750 , plan gardens bordered by Kensington Survey of London, vo l.23, pl.l24 Lane on north, Tyers & Co. land on Vauxhall Gardens east Duchy of Corn- wa 11

3 pre 1750 , plan buildings numbered with legend, Besant's Survey of South London, Orch. #14 p. 108 . Vauxhall Gardens

4 1750 , view of Gardens man and woman at picnic table in Universal Mag. front of orchestra L F 1. Hi nton Vauxhal1 #50:2 L of C

5 1751 , elevation plan 3 people looking out double front Survey of London, vol.23,p l . 127. Bui 1di ngs door, L F John Bendor Vauxhal1 Garden (a) S. Wale (e) Muller L C C

6 1751 , interior couple seated between arch, panels I8th Century London, p. 8 9 . Music Room L F Vauxhal1 (a) S. Wale (e) Roberts L C C

VAUXHALL (Vauxhall Gardens, New Spring Gardens, Faux H all, Foxhall, Royal Gardens, Manor House VjO VjO Theatre, Royal Manor House, Royal Bath Gardens) vn Kings Road, Chelsea Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver ... ------Theatre as Named __ OSUTC # of Orioinal 7 cl750, Grand Walk orchestra and rotunda R C with row Survey of London, vol. 23, of perspective trees dividing p l . 126a Vauxhal1 p i cture L C C (a) Canaletto (e) Rooker

8 cl750, exterior view down perspective path inside main gate, orchestra R C Vauxhal1 (a) S. Wale (e) I . Simpson #50:8 L of C

9 c l750 , exterio r perspective view of Grand Walk and Survey of London, vol. 23, p l. orchestra at R 125. Vauxhal1 (a) B. Muller after Wale L C C (e) T.Muller after Cana et to

10 cl751, Grand Walk man in front of orchestra leaning against tree Vauxhal1 #1006:280 Harvard

11 cl 760, Grand Walk lovers at picnic table with others Orchestra in front of orchestra Vauxhall Gardens (a) George Cruikshank #50:5 L of C

12 1778 , Orchestra man bowing to lady L F Vocal Mag. J. Row Vauxhal1 Gardens #1006:284 Harvard

VAUXHALL Va ) Kings Road, Chelsea o\ Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location Artist Engraver ... Theatre as Named. ---- OSUTC # of Orioinal

'3 1780 - 1793 , orchestra night scene, 6 people facing audience from orchestra Harri son & Co. Vauxhall Gardens (a) Van Assen #1002:360 Harvard

14 1780 , entrance arched portico with 2 lamps, sign Walford, Old £- New London, this side of entrance v o l.6, p . 4 5 5 . Vauxhall Gardens (a) Findlay

15 1784, orchestra cartoon characters, woman adjusting man's tie Harri son & Co. Vauxhall Gardens (a) Ceilings (e) Smith #1006:202 Harvard

16 1790 , orchestra woman singing holding book in C of orchestra Harrison £- Co. Vauxhal1 Gardens (a) Van Assen (e) F ...... #1002:361 Harvard

17 CI79 O, orchestra large crowd in front of orchestra, man standing back to us C Vauxhall Gardens #1002:351 Harvard

18 1795 , orchestra 2 men and 2 women at table L F Poston's Social Caricature, R. Pol lard p i . 34. Vauxhal1 Gardens (a) F. Jukes (e) Rowlandson

VAUXHALL Kings Road, Chelsea Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 19 1796 , in te rio r diner speaking to w aiter with fist raised A1lens Vauxhall Gardens (a) G. Cruikshank #1002:359 Harvard

20 c l800 , fireworks castle under attack L, c irc u la r p avi1 ion R Vauxhall Gardens #1002:354 Harvard

21 clSOO, orchestra man standing in center of orches tra and d i recti ng Vauxhall Gardens #1002:2 Harvard

22 cl800, orchestra man leaning against lamp post L F

Vauxhal1 Gardens #50:4 L of C

23 l804, orchestra arch, this is same as #22, people arranged differently,2 men leaning Vauxhall Gardens agai nst 1 amp post Richard Phillips Harvard (a) Pugh (e) Rhodes #1006:283

24 1809 , orchestra a soldier on each side of second Repository of Arts tier of orchestra R. Ackerman Vauxhal1 Gardens (a) J. Bluck #1002:353 Harvard (e) Pugin & Rowlandson

VAUXHALL VJ Kings Road, Chelsea VJ 00 Date, Location of View Location of Published Print identifying Description No. Nature of View Publisher Location Artist Engraver Theatre as Named OSUTC # of Orioinal 25 cl825, exterior fountain at L, outdoor stage R of C, large crowd watching stage show Vauxhal1 (a) C. Marshall (e) C. Mottram #50:3 L of C

26 1825 , street entrance man with whip driving 4 horse team W alford's Old 6 New London, C v o l.6, p. 456 Vauxhal1 Gardens (?) W F P

27 1846, fireworks man riding dragon in a ir C 1. L. N., vol. 8, p. 3 9 2.

Vauxhal1 Gardens

' 28 1847, in te rio r, rotunda man rolling ball over ramp while 1. L. N., vol.11, p. 128 . Ring & A stand i ng on i t Vauxhall Gardens

29 cl847, interior, rotunda woman standing on horse while man A, P & Ri ng drives i t around ring Vauxhall Gardens #1002:364 Harvard

30 CI85 O, orchestra 2 women statues on each side of Wal fo rd 's Old £■ New London, main orchestra, 4 chairs R F vol. 6, p. 4 5 1. Vauxhall Gardens (e) W B

VAUXHALL VJ Kings Road, Chelsea VJ VO Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver Thfiatra as Named OSUTC # of Orioinal

31 CI85 O, Chinese p avilion 3 men eating in 1st room to R of Wal fo rd 's Old S- New London, mai n arch vol.6, p.462. Vauxhal1 Gardens

32 c l8 5 0 , Chinese pavilion 3 pavilions, C, R & L, man and Besant's, London North, p. 112. woman exiting from one L Vauxhal1 Gardens

VAUXHALL Vjo f- Kings Road, Chelsea o 341

VERE STREET THEATRE (Gibbon's Tennis Court) Lincoln inn Fields, in Clare-market

1634, tennis court Bui 11 by Gibbon's

1660, Nov. 8, Killigrew with the Kings Company convert the court to a theatre^

1663, A p ril, company moved to new Drury Lane theatre^ Abandoned as theatre

1809 , burned

^ Cunningham, p. 146. ^ Mask, vol. 12, p. 58 . Date, Location of View Location of Published Print identifying Description No, Nature of View Publisher Location A rti St Engraver OSUTC # of Oriainal

1 1809, Sept., exterio r a fte r f ir e , ruins boarded up at Lond i na 111ustrata Tennis Court end, boy baiting cow L F Robert W i1ki nson Vere Street #36:9a NYPL

2 1809 , Sept., plan plan of 1st and 2nd floors, outline Londi na 111ustrata Tennis Court plan only, scaled Robert Wi1ki nson Vere Street #36;9b NYPL

VERE STREET THEATRE (Gibbon's Tennis Court) Lincoln Inn Fields, in Clare-market rs> 343

VICTORIA PALACE MUSIC HALL (Royal Standard Music Hall) Pimlico

1863, opened as Royal Standard Music H all'

WEEKS MUSEUM Top of the Haymarket, St. James

1813, in operation G ra nd room loi' long 30' high^ An exhibi tion hall

WESTMINSTER THEATRE Tothi11 Street, Westminster

1832, June, opened new building as The Westminster Theatre Owner: Gale^ Manager: T. D. Davenport^

1835 - 6 , closed^

' Oxford, p. 557 . 2 Picture of London. 1813. p. 315. ^ Walford, vol. 4, p. 221. ^ Baker, p. 347. 5 The Connoisseur, vol. 9 8 , p. 9 6 . ^ Sherson, p. 319. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver ... Theatre.as Named OSUTC # of Orioinal 1 1832, June, in te rio r large group on stage, man R holding The Connoisseur, vol. 9 8 , p. 9 6 . A & P hat in hand overhead, only 3 Westmi nster people in 1st tier L LOG

2 1832 , July, exterior 3 men standing in doorway, signs on The Connoisseur, vol.98, p. 95. each side of door "Theatre Open." Westmi nster L C C

WESTMINSTER THEATRE Tothi11 Street, Westminster 345

WESTON'S ROYAL MUSIC HALL, HOLBORN (Weston's Grand Music H ail, Holborn Empi re) West End

1850 's, opened as music hall Manager: Edward Weston

1900's, changed name to Holborn Empire

' Survey of London, vol. 19, p.' 57. ^ Clunn, p. 125. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 C I8 5 0 -6 O , in te rio r manpointing at bonneted woman in A & P L F, pit full of tables, 2 pianos Weston's Grand on stage #1002:309 Harvard

\J 0 -1^ O'WESTON'S ROYAL MUSIC HALL, HOLBORN O'WESTON'S West End 347

WIGLEY ROOMS (Cox's Museum, Serre's Panorama, M aillard et's Figures, Peristrophic. Royal Promenade Rooms) 10-12-14 Spring Garden

1757 , opened for concerts and exhibitions Manager: Daniel Cock

1772 - 75 , Cox's Museum Toy exhibi tion

1780 , exhibition hall, Wigley's Manager: Charles Wigley Great Room: width 5 2 ' length 62'

1806 , Serre's Panorama of Boulogne

Maillardet's Automatic Figures

Marshall's "Peristrophic" Panorama Battle of Waterloo ^ The chairs turned in the auditorium

18 13, Roya1 P romenade Rooms Panoramic views Admi ssion: 2s 6d^ c l825 , demolished^

' Survey of London, vol. 20, p. 67. ^ Walford, vol. 4, p. 82. ^ Picture of London, 1813. p. 315. ^ Survey of London, vol. 20, p. 68. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location Artist Engraver OSUTC # of Orioinal

1 c 1 7 8 0 , e xterio r sign at top of building over Survey of London, v o l. 20, columned door, glass showcase L of p i . 49b. Wigley's Rooms door LOG

WIGLEY ROOMS (Cox's Museum, Serre's Panorama, M a illa rd e t's Figures, P eristrophic. Royal Promenade Rooms) 10-12-14 Spring Garden CO 3 4 9

WINCHESTER MUSIC HALL (The Grapes, The Surry) Corner of Great Suffock Street and Southwark Bridge Road

attached to a public house called the Grapes

concert room, an ordinary music hall*

1840*s, became the Surry Music Hall

1878 , when demolished known as the Winchester Music Hall^

WYNDHAM THEATRE Charing Cross Road

1879, opened under the name of Wyndham's Theatre Manager: Charles Wyndham

Walford, vol. 6, p. 64. ^ Oxford, p. 556. Date, Location of View Location of Published Print Identifying Description No, Nature of View Publisher Location A rtis t Engraver Theatre Named OSUTC # of Orioinal 1 1879, exterio r 3 women and 1 man entering central door of theatre Wyndham* s #1002:372 Harvard

2 1879, exterio r policeman and 2 street lights in • si 1houette i n L F Wyndham's photo #1002:370 Harvard

oo U1 WYNDHAM THEATRE o Charing Cross Road INDEX OF THEATRES

ADAM AND EVE TAVERN, 1718-1860, page 1. Adelaide Gallery of Practical Science, 1830-1852, See Marionette Theatre, page 22k.

ADELPHI THEATRE, 1819-1901, page 3. Afternoon Theatre, See Aquarium Theatre, page 26. Albert Hall, See Albert Hall of Arts and Science, page 9.

ALBERT HALL OF ARTS AND SCIENCE, 1871, page 9.

ALBERT PALACE, 1885-1888, page 11. Albert Rooms Dancing Academy, See S c ie n tific and L iterary In s titu te , page 304.

ALBERT SALOON, 1844-1857, page 11. Albion Theatre, Poplar Street, See OrientalTheatre, page 242.

ALBION THEATRE, 1832-1836, page 12. Alcazar, 1882, See Empire Variety Theatre, page 147.

ALEXANDRA THEATRE, 1871,1881, page 16.

ALEXANDRA PALACE (Muswel1 H ill) , 1873-1879, page 14. Alexandra Theatre, Highbury Barn, I 865 -I 8 7 I, See Highbury Barn, page 202.

ALHAMBRA THEATRE, 1854, page I 8 . Alhambra Variety Theatre, 1883, See Alhambra Theatre, page 18.

ALMACK'S, 1765-1863, page 22. American Amphitheatre, 1842-1843, See Lyceum, page 216. American Circus, I858 , see Alhambra Theatre, page 18. Amphitheatre, see Astley’ s, page 29. Amphitheatre of Arts, 1788-1795, see Astley's, page 2 9 . Amphitheatre, I 808 -I 8 IO, See Prince's of Wales Theatre, page 267.

ANERLEY GARDENS, 1841-1868, page 24.

APOLLO GARDENS, 1788-1793, page 24,

APOLLO ROOMS, page 25.

AOUARIUM THEATRE AND WINTER GARDEN, 1876 -1906, page 26.

- 351 - 352

Argyle Theatre, See Clarence Theatre, page 6 7 .

ARGYLE ROOMS, 1816-1834, page 27. A rliffe Street Theatre, 1733-1802, See Goodman's Fields Theatre, page 168. Assembly Rooms, 1774-1805, See Hanover Square Concert Rooms, page 176.

ASTLEY'S THEATRE, 1770, page 29. Astley's Circus, 1770-1780, see Astley's, page 29. Astley's Middlesex Amphitheatre, I 8 O6-I 8 I 3 , See Olympic, page 233. Astley's Riding School, See Astley's, page 29.

AVENUE THEATRE, I 882 -I 9 0 5, page 36.

BAGNIGGE WELLS GARDENS, 1759-1841, page 38.

BARKER'S PANORAMA, 1789-cl8l3, page 40. Barker's Panorama, 28 Castle Street, See Barker's Panorama, page 40. Barker's Panorama, Haymarket, 1789, See Barker's Panorama, page 40 . Barker's Panorama, West Square, See Barker's Panorama, page 40.

LORD BARYMORE'S THEATRE, c l792, page 42. Batty's Amphitheatre, cl840-l845. See Astley's, page 29.

BATTY'S HIPPODROME, c l850, page 44. Batty's Grand National Hippodrome, See B atty's Hippodrome, page 44.

BEAUFORD BUILDINGS, pre 1793, page 46. Belgravia Theatre, I 870 -I 8 7 I, See New Chelsea Theatre, page 61. Bijou Theatre, 1862-1867, see Haymarket Opera House, page 178. "The B ird," See Grecian Theatre, page 172.

BOROUGH THEATRE, 1834-1836, page 46.

BOWER SALOON, 1837-1879, page 46.

BRANDENBURG HOUSE THEATRE, cl793-l805, page 46. Britannia Saloon, l84l. See Britannia Theatre, page 49.

BRITANNIA THEATRE, l8 4 l, page 49. B ritis h Diorama, 1830-1834, See Princess's Theatre, page 262. British Horse Academy, 1771-1773, See Surrey Theatre, page 318. British Institution, I805 -I 866 , See Shakespeare's Gallery, page 308. Broughton's Amphitheatre, See Adam and Eve Tavern, page 1. Brunswick Theatre, 1828, See Royality, page 279- Bullock's Museum, See Egyptian H all, page 143.

BURFORD'S PANORAMA, 1793-1861, page 51. Burford's Panorama, Leicester Square, See Barker's Panorama, page 40. 353

BURLINGTON ARCADE, )819, page 51.

Cabinet Theatre, 1852-1867, See Clarence Theatre, page 67.

CAMBRIDGE MUSIC HALL, 1869-1898, page 53.

CAMPDEN HOUSE THEATRE, 1860-1862, page 55.

CANTERBURY ARMS MUSIC HALL, 1848, page 56 . Canterbury Palace, 1876, See Canterbury Arms Music H all, page 5 6 . Canterbury Theatre of Varieties, 1863“1876, See Canterbury Arms Music Hal 1, page 5 6 . Carlton Theatre, 1864-1897, See Theatre Royal Deptford, page 110.

CATHERINE STREET THEATRE, c l8l3-cl8 69, page 5 8 . Century Theatre, I 9OI, See Adelphi, page 3.

CHARING CROSS THEATRE, 1855“ 1895, page 59-

CHELSEA THEATRE, 1870, page 61.

CHINESE GALLERY PANORAMA, CI85O, page 6 3 . China Hall Tavern, See China Hall Theatre, page 63.

CHINA HALL THEATRE, 1777“ 1778, page 63.

CITY OF LONDON, 1835“ 1883, page 64. City Music H all, c l863, See City of London, page 64. City Pantheon, See City Theatre, page 66. City Road Saloon, See Grecian Theatre, page 172.

CITY THEATRE, 1830-1836, page 66.

CLARENCE THEATRE, 1832-1870, page 67. Clayton House, pre I 8 O5 , See London In s titu tio n , page 213. Coal Hole Tavern, See Terry's Theatre, page 330. Cobourg Theatre, See Coburg Theatre, page 6 9 .

COBURG THEATRE, 1819, page 6 9.

COLD BATH FIELDS, cl 789 , page 73.

COLISSEUM, 1841-1875, page 73.

COLLINS MUSIC HALL, c l863, page 76.

COMEDY THEATRE, 1881, page 76. Concerts of Ancient Music, 1786-1790, See Prince's of Wales Theatre, page 267. 354

Concerts of Ancient Music, 1805-1874, See Hanover Square Concert Rooms, page 176 . Concert Hail, 1772-1786, See Prince of Wales Theatre, page 267.

CONSORT OF MUSIC, 1680-1753, page 78. Connaught Theatre, l874-cl880. See Theatre Royal Holborn, page 205. Cook's Equestrian Circus, See Albion Theatre, page 12. Corinthian Bazaar, See Palis Royal, page 247. Court Music Hall, 1836-1840, See Princess's Theatre, page 262.

COVENT GARDEN, 1732, page 79. Cox Museum, 1772-1775, See Wigley Rooms, page 347.

CREMORN GARDENS, 1830-1877, page 9 8 .

CRITERION THEATRE, 1874, page 100.

CRYSTAL PALACE, 185 1, page 102. Curtain Theatre, See Holborn Theatre, page 204.

DALY'S THEATRE, 1893, page 104. D'Avenant's Theatre, See Lincoln's Inn Fields Theatre, page 209. Davis Amphitheatre, I8l7-cl825, See Astley's, page 29.

DEACON'S MUSIC HALL, I 8 6 I-I 89 O, page 107.

DEBOURG'S EXHIBITION OF CORK MODELS, I 809 -I 8 I 8 , page I 07 .

DELAVALS THEATRE, cl 762, page 109.

DE LOUTHERBQURG'S THEATRE, page 109

DEPTFORD THEATRE, page 110.

DEVONSHIRE HOUSE THEATRE, cl850, page 110.

DIBDIN'S SMALL THEATRE, I 788 , page 112. Dibdin's Little Theatre, pre 1793, See Beauford Buildings, page 46.

DIORAMA, Lathi an Road, page 112.

DIORAMA, Regent Park Square, 1823-1848, page 114.

DORSET GARDENS, I 67 I-I 706 , page I I 5 .

D'OYLY CARTE'S OPERA HOUSE, I 89 I, page 118.

DRURY LANE THEATRE, page 121. DuBourg's Museum, See Debourg's Exhibition of Cork Models, page 107. Duke of York Theatre, I 895 , See Trafalgar Square Theatre, page 330. 355

Dukes Tavern, 1837, See Bower Saloon, page 46. Dukes Theatre, I 6 7 I-I 706 , See Dorset Gardens, page 115. Dukes Theatre, 1660-1671, See Lincoln's Inn Fields Theatre, page 209, Dukes Theatre, I 879 -I 88 O, see Holborn Theatre, page 204. "Dust Hole," cl839, See Prince of Wales Theatre, page 267.

EAGLE TEA GARDEN AND SALOON, 1832-1878, page 140. Eagle Saloon, 1832-1841, See Grecian Theatre, page 172.

EAST LONDON THEATRE, 1844, page 142. East London Theatre, 1810-1826, See Royality, page 279. Effingham Saloon, 1844-1867, See East London Theatre, page 142.

EGYPTIAN HALL, 1812, page 143. Eidophusikon, cl780, See De Loutherbourg*s Theatre, page IO 9 .

ELEPHANT AND CASTLE, 1/96, page 145. Empire Music H ail, pre 1865, See Empire Variety Theatre, page 142. Empire Theatre of Varieties, I 865 , See Empire Variety Theatre, page 142.

EMPIRE VARIETY THEATRE, 1882-1 887 , page 142, English Opera House, 1791-1814, See Pantheon Theatre, page 248. English Opera House, 1810-1842, See Lyceum Theatre, page 216. English Opera House, 1831"1833, See Princeof Wales Theatre, page 267. English Opera House, I 85 O-I8 6 I, See Royalty, Soho, page 283. English Opera House, 1891-1892, See PalaceTheatre, page 247. English Opera House, I 89 I, See D'Oyly Carte's Opera House, page 118. English Palais Royal, 1877"I883, See Criterion Theatre, page 100.

EQUESTRIAN THEATRE, pre 1853, page I 5 0 . Essex House, cl788. See Dibdin's Small Theatre, page 112.

EVANS HOTEL, 1774-1879, page I 5 0 .

EXETER CHANGE, 1773-1830, page 152.

EXETER HALL, 1831-1887, page 154. Exhibition of I 8 5 I, See Crystal Palace, page 102. Exhibition of Works of Art, See Princess's Theatre, page 262.

Faux H all, See Vauxhall, page 334. Finsbury Circus, cl805. See London Institution, page 213. Fitzroy Theatre, 1833-1834, See Prince of Wales Theatre, page 267. Folies Dramatiques, 1883-1888, See Novelty, page 231. Folly Theatre, 1872-1882, See Charing Cross Theatre, page 59. Fox Hall, see Vauxhall, page 334. 356

GAIETY THEATRE, 1863-1902, page 157. Garrick Music Hall, Goodman’ s Fields, 1859-1873,

GARRICK THEATRE, Charing Cross, 1889, page 159.

GARRICK THEATRE, Goodman's Fields, 1830, page 161.

GATTIS MUSIC HALL, 1865, page 162. G a tti's Refreshment Rooms, See Marionette Theatre, page 224. Gibbon’ s Tennis Court, 1634-1660, See Vere Street Theatre, page 341. Giffords Theatre, See Goodman’ s Field Theatre, page 168. Globe Concert Rooms, 1838-1855, See Globe Theatre, page 162.

GLOBE THEATRE, 1771-1855, page 162.

GREAT GLOBE, I 8 5 I-I 8 6 I, page 164.

NEW GLOBE, 1868-1902, page I 6 5 . Goldsmith's Arms Music Hall, See Sutton Arm Music Hall.

GOODMAN'S FIELDS NEW WELLS THEATRE, Leman Street, cl703, page I 6 7 .

GOODMAN'S FIELDS THEATRE, 1729-1802, page 168.

GRAND THEATRE, I 86 O-I9 OO, page I 70 . Grapes, The, pre 1840, See Winchester Music H all, page 349. Great Mogul Music H all, See Middlesex Music H all, page 230. Great Q,ueen's Street Theatre, 1894-1907, See Novelty Theatre, page 231 Great Theatre Hoxton, I 89 O, See Britannia Theatre, page 49. Grecian Saloon, 1832-1841, See Grecian Theatre, page 172.

GRECIAN THEATRE, 1832-1881, page 172. Greenwich Theatre, cl866. See Deptford Theatre, page 110.

HALF WAY HOUSE, 1734-1850, page 174. Hammersmith Opera House, See Lyric Theatre Hammersmith, page 222. Hammersmith Theatre of V arieties, See Lyric Theatre, Hammersmith, page 222. Hanover Club, 1875, See Hanover Square Concert Rooms, page 176.

HANOVER SQUARE CONCERT ROOMS, 1760-1874, page 176.

HAYMARKET OPERA HOUSE, 1705, page 178.

HAYMARKET THEATRE, 1720, page 193. Hengler's Circus, after I 865 , See Palis Royal, page 247. Her Majesty's Opera House, See Haymarket Opera House, page 178. Her Majesty's Theatre, See Haymarket Opera House, page 178.

HICKFORDS GREAT ROOMS, 1696-1730, page 202. 337

HIGHBURY BARN GARDENS, 1792-1871, page 202. His Majesty's Theatre, 1902, See Haymarket Opera House, page 178. Holborn Empire Music H all, 1900‘ s, See Weston's Royal Music H all, page 345.

HOLBORN THEATRE, 1866-1880, page 204.

THEATRE ROYAL HOLBORN, 1852-1888, page 205, Hoiuphusicon, 1771-1790, See Globe Theatre, page 162.

HÜNGERF0RDS HALL, 1851-1854, page 207. Hyde's Rooms fo r Concerts, I8 OO-I8 O8 , See Prince of Wales Theatre, page 267.

Imperial Theatre, 1879-1906, See Royal Aquarium and Winter Garden, page 26. Institution of Art and Manufactory, See Royal Institution of Art and Manufactory, page 278. Italian Opera House, 1733-1734, Lincoln's Inn Fields Theatre, page 209.

Jessop's Hall, See Catherine Street Theatre, page 5 8 . Jodrell Theatre, See Novelty Theatre, page 231.

Kensington Theatre, See Kent Theatre, page 207.

KENT THEATRE, I 83 I-I 8 5 I, page 207. Kings Ancient Concert Rooms, I 8 IO-I8 I 5 , See Prince of Wales Theatre, page 267. Kings Concert Rooms, 1790-1800, See Prince of Wales Theatre, page 267. Kings Concert Rooms, 1805-1848, See Hanover Square Concert Rooms, page 1 76 . Kings Cross Theatre, See Clarence Theatre, page 67. Kings Head Theatre, See Haymarket Theatre, page 193. Kings Theatre, 1714, See Haymarket Opera House, page 178. Kingsway Theatre, 1907, See Novelty, page 231.

Lansdowne Arms, cl863. See Collins Music H all, page 76. Leverian Museum, 1790-1806, See Globe Theatre, page 162.

LINCOLN'S INN FIELDS THEATRE, 1660-1743, page 209. L it t le Drury Lane Theatre, 1813, See Olympic Theatre, page 233. L it t le Theatre Haymarket, See Haymarket Theatre, page 193. Lisle's Tennis Court, pre 1660, 1671-1672, 1674-1675, See Lincoln's Inn Fields Theatre, page 209. 358

LONDON BRIDGE THEATRE, I830's, page 211.

LONDON CRYSTAL PALACE, 1858-1866, page 213.

LONDON INSTITUTION, pre 1805, page 213. London Museum, See Egyptian H all, page 143. London Pavilion Music H all, 1886, See Pavilion Music H all, page 256. Loutherbourg's Theatre, See De Loutherbourg*s Theatre, page 109.

LUSBY MUSIC HALL, pre 1884, page 215.

LYCEUM THEATRE, 1765-1902, page 216. Lyceum Theatre, 1838, See Clarence Theatre, page 6?.

LYRIC THEATRE, Hammersmith, I 89 O, page 222.

LYRIC THEATRE, Shaftesbury Ave., 1888, page 222.

Maillardet's Figures, I 8 O6 , See Wigley Rooms, page 347. Manor House Theatre, See Vauxhall Gardens, page 334.

MARIONETTE THEATRE, 1852, page 224. M arshall's Panorama, See Wigley's Rooms, page 347.

MARYLEBONE GARDENS, 1668-1778, page 226. Marylebone Gardens Music H all, l890's. See Marylebone Gardens, page 226. Marylebone Music H all, l890's. See Marylebone Gardens, page 226.

MARYLEBONE THEATRE, 1831-1900, page 228.

METROPOLITAN MUSIC HALL, 1862, page 230.

MIDDLESEX MUSIC HALL, cl870, page 230. Miles Music House, 1699, See Sadler's Wells, page 285 . Minor Theatre, See Catherine Street Theatre, page 58. M irror, The, 1875-1879, See Holborn Theatre, page 204. Miss Kelly's Theatre, 1840-1850, See Royalty, Soho, page 283. Mogul Music H all, See Middlesex Music H all, page 230. Mother's Black Cap Tavern, See Halfway House, page 174. Mother's Red Cap Tavern, 1734-1850's. See Halfway House, page 174. Musick House, 1683, See Sadler's Wells, page 285.

National Opera House, I 85 O-I86 I, See Royalty, Soho, page 283. National Theatre, cl870-l874. See Theatre Royal Holborn, page 205. New Chelsea Theatre, I 870 , See Chelsea Theatre, page 61. New Court Theatre, 1888, See Chelsea Theatre, page 61. New Grand Theatre, I 888 -I 9OO, See Grand Theatre, page 170. 359

New Globe Theatre, 1868-1902, See Globe (New) Theatre, page I 6 5 . New Grecian Theatre, 1876-1881, See Grecian Theatre, page 172. New Haymarket Theatre, See Haymarket Theatre, page 193. New Lyceum Theatre, 1838, See Clarence Theatre, page 67* New Oxford Theatre, 1893, See Oxford Music Hall, page 244. New Queens Theatre, 1833-1834, 1835, See Albion Theatre, page 12, New Royal Holborn, See Theatre Royal Holborn, page 205. New Royalty, 1861, See Royalty, Soho, page 283. New Spring Gardens, See Vauxhall Gardens, page 334. New Standard Theatre, 1867, See Standard Theatre, page 310. New Stangate Theatre, See Bower Saloon, page 46. New Strand Theatre, See Strand Theatre, page 315. Jleyi Theatre, See Royalty, page 279. ------

NOVELTY THEATRE, 1882, page 231.

Occidental Tavern, pre 1887, See Terry's Theatre, page 330. Old Milestone Tavern, See Albert Saloon, page 11. Old Mo Music H all, See Middlesex Music H all, page 230. Old Strand Theatre, 1820-1830, See Strand Theatre, page 315. Old Vic Theatre, cl835. See Coburg Theatre, page 6 9.

OLYMPIC THEATRE, 1806-1899, page 233. Olympic Pavilion Theatre, 1806-1813, See Olympic Theatre, page 233. Olympic Saloon, 1806-1813, See Olympic Theatre, page 233. Olympic Saloon, 1841-1851, See Grecian Theatre, page 172.

OPERA COMIQUE, 1870-1899, page 239. Opera House, 1705-1712, See Haymarket Opera House, page 178. Orange Street Theatre, 1735-1800, See Tennis Court Theatre, page 328.

ORANGE THEATRE, 1832-1836, page 240. Oriental Museum, 1859-1861, See Great Globe, page 164.

ORIENTAL THEATRE, 1867, page 242.

OXFORD MUSIC HALL, I 86 I, page 244. Oxford Theatre, 1893, See Oxford Music H all, page 244. Oxford Theatre of London V arieties, See Oxford Music H all, page 244. Oxford Theatre of V arieties, 1893, See Oxford Music H all, page 244.

PALACE THEATRE, I 8 9 I , page 24?. Palace Theatre of Varieties, 1892, See Palace Theatre, page 24/. Palladium, 1910, See Palis Royal, page 247.

PALIS ROYAL, pre 1865, page 247. Pandemonium Club, 1776-1787, See Apollo Rooms, page 25. Panharmonium, pre 1832, See Clarence Theatre, page 67. 360

Panoptican of Science and Arts, i854-l858, see Alhambra Theatre, page 18.

PANTHEON, 1772-1867, page 248. Pantheon Theatre, See Catherine Street Theatre, page 5 8 . Paragon Music H all, cl879, See Eagle Tea Garden, page 140.

Partheon Variety Theatre, page 256. Park Theatre, 1871-1873, 1879-1881, See Alexandra Theatre, page 16.

PAVILION MUSIC HALL, I 886 , page 256.

PAVILION THEATRE, 1829, page 254. Pavilion Theatre, 1835, See Marylebone Theatre, page 228.

PECKHAM THEATRE, pre 1822, page 258 . Pell to's Royal Menagerie, c l8 l2 . See Exeter Change, page 152. "Peristrophic" Panorama, See Wigley Rooms, page 347. Philharmonic Academy, See Surrey Theatre, page 318. Philharmonic Concerts, 1833-1874, See Hanover Square Concert Rooms, page I 76 . Philharmonic Music H all, I860 -I 870 , See Grand Theatre, page 170. Philharmonic Theatre, 1872-1882, See Grand Theatre, page I 70 . Pidcock's Exhibition of Wild Beasts, pre 1773, See Exeter Change, page 152. Polygraphic Hall, 1855-1869, See Charing Cross Theatre, page 59. Polytechnic Institute for the Advancement of Arts and Practical Sciences, See Polytechnic Hall, page 258 .

POLYTECHNIC HALL, 1838-1881, page 258 . Portman Theatre, 1831, See Marylebone Theatre, page 228. Portugal Street Theatre, See Lincoln's Inn Fields Theatre, page 209. Prince's, 1840-1842,■ See St. James Theatre, page 295.

PRINCE'S THEATRE, 1884, page 260.

PRINCE'S HALL, I 8 8 I, page 266.

PRINCESS'S THEATRE, 1828-1902, page 262.

PRINCE OF WALES, 1772-1902, page 267. Prince of Wales, I 89 I, See Prince's Theatre, page 260. Prince of Wales, Haymarket, I 8 9 I , See Princess's Theatre, page 262. Punch's Playhouse, I85 O-I882 , See Strand Theatre, page 315.

(Jueen's Bazaar, 1834-1836, See Princess's Theatre, page 262. Q.ueen's Concert Rooms, See Hanover Square Concert Rooms, page 176. Queen's Palace of Varieties, See Oriental Theatre, page 242. Queen Street Theatre, 1894-1908, See Novelty, page 231. 361

Q.ueen*s Theatre, 1830-1831, 1834-1835, See Prince of Wales Theatre, page 267.

dUEEN'S THEATRE, 1847-1878, page 270.

RANELAGH GARDENS, 1742-1803, page 273. Ranelagh Rotunda, See Ranelagh Gardens, page 273. Rayner*s New Subscription Theatre, 1830-1832, See Strand Theatre, page 315. Regency Theatre, 1815, cl820. See Prince of Wales Theatre, page 267. Regent Theatre, See Clarence Theatre, page 67.

REGENT NEW MUSIC HALL, 1864, page 276.

RETREAT MUSIC HALL, 1863-1866, page 278. Rose of Normandy Tavern, see Marylebone Gardens, page 226. Rose Tavern, cl 770, See Drury Lane Theatre, page 121. Rotunda Concert Rooms, 1835-1855, See Globe Theatre, page 162. Royal Academy of Music, c l840-1874, See Hanover Square Concert Rooms, page 176. Royal Albert Theatre, 1873-1874, See Garrick Theatre, Goodman's Fields, page 161. Royal Albert Hall of Arts and Sciences, page 9. Royal Albert Palace, 1885-1888, See Albert Palace, page II. Royal Albion Theatre, 1832-1836, See Albion Theatre, page 12. Royal Alexandre, See Alexandra Theatre, page 16. Royal A lfred, 1868-1873, See Marylebone Theatre, page 228. Royal Amphitheatre, 1795-1817, See Astley's Theatre, page 29. Royal Amphitheatre, I 867 -CI87 O, See Theatre Royal Holborn, page 205. Royal Aquarium and Winter Garden, See Aquarium and Winter Garden, page 26. Royal Bath Gardens, see Vauxhall, page 334. Royal Bazaar, 1828-1829, See Princess's Theatre, page 262. Royal Borough Theatre, 1834-1836, See Borough Theatre, page 46. Royal Cambridge Music H all, 1869-1898, See Cambridge Music H all, page 53. Royal Circus, 1806-1810, See Surrey Theatre, page 318. Royal Circus and Equestrian Philharmonic Academy, 1782-1806, See Surrey Theatre, page 318. Royal Clarence, 1832-1838, See Clarence Theatre, page 6 7 . Royal College of Surgeons, See Surgeon's New Theatre, page 317. Royal Court Theatre, 1871-1887, See Chelsea Theatre, page 61. Royal Gardens, See Vauxhall Gardens, page 334. Royal Grove, 1780-1788, See A stley's Theatre, page 2 9.

ROYAL INSTITUTION OF ART AND MANUFACTORY, I 8 OO, page 278. Roya Ita lia n Opera House, See Haymarket Opera House, page 178. Roya Ita lia n Opera House, 1848, See Covent Garden, page 79. Roya Ita lia n Opera House, See Lyceum, page 216. Roya ity Theatre, Well Street, See Royalty, page 279. Roya ity Theatre, Soho, See Royalty, page 283. Roya Kent Theatre, See Kent Theatre, page 207. 362

Roya Manor House Theatre, See Vauxhal1 Gardens, page 334. Roya Marylebone Theatre, See Marylebone Theatre, page 228. Roya Menagerie, See Exeter Change, page 152. Roya Pantheon Theatre, See Catherine Street Theatre, page 58. Roya Pavilion Theatre, 1835-1837, see Marylebone Theatre, page 228. Roya Pavilion Theatre, See Pavilion Theatre, page 254. Roya Polytechnic, See Polytechnic Hall, page 258. Roya Promenade Rooms, 1813, See Wigley Rooms, page 347. Roya Standard Concert Rooms, cl852-l854. See Standard Concert Rooms, page 310. Roya Standard Music H all, 1863, See V icto ria Palace Music H all, page 343. Roya Standard Theatre, 1837-1867, See Standard Theatre, page 312. Roya Stangate Theatre, See Bower Saloon, page 46. Roya Strand Theatre, See Strand Theatre, page 315. Roya Subscription Theatre, 1831-1832, See Kent Theatre, page 207. Roya Surrey Zoological Gardens, See Surrey Zoological Gardens, page 325. Roya Sussex-, 1831-1835, See Marylebone Theatre, page 228.

ROYALTY THEATRE, 1787-1828, page 279.

ROYALTY THEATRE, Soho, 1840, page 283. Royal V icto ria Coffee Music H all, 1871, See Coburg Theatre , page 69. Royal V icto ria H all, 1871, See Coburg Theatre, page 69. Royal West London Theatre, 1825-1826, See Prince of Wales Theatre, page 267.

SADLER'S WELLS, 1863, page 285.

ST. JAMES MUSIC HALL, I8 58 , page 293.

ST. JAMES THEATRE, 1835, page 295. St. M artin's Music H all, 1847-1867, see Q.ueen's Theatre, page 270. Sanger's Amphitheatre, See Astley's Theatre, page 29.

SALMON'S WAX WORKS, pre I8 l2 , page 298 . Sans Pareil, I 8 O6-I 8 I9 , See Adelphi Theatre, page 3.

SANS SOUCI THEATRE, 1793-cl835, page 300.

SAVOY THEATRE, I 8 8 I, page 302. Scala, La, 1904, See Prince of Wales Theatre, page 267.

SCIENTIFIC AND LITERARY INSTITUTION, 1848, page 304. Serre's Panorama, See Wigley's Rooms, page 347.

SHAFTESBURY THEATRE, 1888, page 306.

SHAKESPEARE'S GALLERY, I 8 O5-I 866 , page 308.

SOCIETY FOR ARTS, MANUFACTURES, AND COMMERCE, 1768, page 308. 363

Society of British Authors, 1765-1785, See Lyceum Theatre, page 216. South London Music H all, See South London Palace, page 308.

SOUTH LONDON PALACE, i860, page 308. South London Palace of V arieties, See South London Palace, page 308. Stadiugi, See Theatre Royal Holborn, page 205.

(Royal) STANDARD CONCERT ROOMS, c l852-1854, page 310.

STANDARD THEATRE, 1835, page 312. Stangate Theatre, See Bower Saloon, page 46. Strand Music Hall, 1863-1868, See Gaiety Theatre, page 157-

STRAND MUSIC HALL, 1871, page 314.

STRAND THEATRE, 1820-1905, page 315. Subscription Theatre for Vaudeville, 1832-1834, See San Souci Theatre, page 300. Surgeon's Museum, 1848, See Lincoln's Inn Fields Theatre, page 209.

SURGEON'S NEW THEATRE, 1751, page 317-

SURREY THEATRE, 1771, page 318. Surrey Gardens Music H all, 1856-1872, See Surrey Zoological Gardens, page 325. Surrey In s titu tio n , 1806-1820, See Globe Theatre, page 162. Surrey Music Hall, l840's. See Winchester Music Hall,page 349.

SURREY ZOOLOGICAL GARDENS, 1831-1872, page 325. Surry Theatre, See Surrey Theatre, page 318. Surry Zoological Gardens, See Surrey Zoological Gardens,page 325.

TAVISTOCK HOUSE THEATRE, 1854-1865, page 328.

TENNIS COURT THEATRE, Orange Street, 1735-1800, page 328.

TERRY'S THEATRE, 1887, page 330. Theatre of Arts, 1834, See Albion Theatre, page 12. Theatre of V arieties, 1893, See Oxford Music H all, page 244. Theatre of Variety, See Empire Variety Theatre, page 142. Theatre of Variety, cl820-l825. See Prince of Wales Theatre, page 267. Theatre Royal Deptford, See Deptford, page 110. Theatre Royal, See Drury Lane, page 121. Theatre Royal, 1840, See Royalty, Soho, page 283. Theatre Royal Haymarket, See Haymarket Theatre, page 193. Toole's Theatre, 1882-1895• See Charing CrossTheatre, page 59.

TRAFALGAR SQUARE THEATRE, 1892, page 330. 364

Variétés Amusantes, See Lord Barymore's Theatre, page 42. Variety House, See Grand Theatre, page 170.

VARIETY THEATRE, 1871,

VAUDEVILLE THEATRE, 1870, page 332.

VAUXHALL, 1661-1859, page 334.

VERE STREET THEATRE, 1634-1663, page 341. V icto ria Theatre, 1833, See Coburg Theatre, page 69. V icto ria Palace, 1833, See Coburg Theatre, page 69.

VICTORIA PALACE MUSIC HALL, 1863, page 343.

Waxworks, 1806, See Globe Theatre, page 162. Waxworks, 1795-1812, See Salmon's Wax Works, page 298 .

WEEK'S MUSEUM, c l813, page 343.

WESTMINSTER THEATRE, 1832-1836, page 343. Westminster Theatre Royal, 1862-1864, See Astley's Theatre, page 29. West London Theatre, 1829-1830, See Prince of Wales Theatre, page 267. West London Theatre, 1893, See Marylebone Theatre, page 228. Western Home of East End Melodrama, 1864, See Marylebone Theatre, page 228. Weston's Grand Music H all, see Weston's Royal Music H all, page 345.

WESTON'S ROYAL MUSIC HALL, I 85 O, page 345. White Lyon Tavern, 1862, See Metropolitan Music H all, page 230.

WIGLEY'S ROOMS, 1757-1825, page 347. Wigley's Royal Promenade Rooms, I 78 O-I8 25 , see Wigley's Rooms, page 347. W illis Rooms, See Almacks, page 22.

WINCHESTER MUSIC HALL, 1840-1878, page 349. Winter Garden Music H all, See Middlesex Music H all, page 230. Wonderland Theatre, I 88 O, See East London Theatre, page 140.

WYNDHAM THEATRE, 1879, page 349. INDEX OF ARTISTS AND ENGRAVERS INDEX OF ARTISTS AND ENGRAVERS

J. A. a/e Drury Lane, #78 , 1842

Accon a Haymarket Theatre, #32, 1842

Aeon, R. e Coliseum,#2, cl827

Adams a Drury Lane, #13, 14, 15, cl775

AHME a/e Covent Garden, #84, cl858

Alexandre a/e Covent Garden, #84, c l 858

A llard, H. e Haymarket Theatre, #12, 1821

Andrews, R. C, a Sadler's Wells, #12, cl792

Anelay, H. a Haymarket Opera House, #47, I 85 O

Angus e Pantheon, #2, cl772

Anstad, H. a Astley's, #13, 1824

Argenzio, G. a Covent Garden, #37, 1810

Ashley, A. a/e Covent Garden, # 65, c l844 Haymarket Opera House, #43, 1846

Assen, Van a Covent Garden, #11, c l792 Drury Lane, #30, 1795 Drury Lane, #31, c l795 Haymarket Theatre, #5, ’ 795 Haymarket Opera House, #4, 1782 Haymarket Opera House, #6, 1782 Ranelagh, #12, 1790-95 Sans Souci, #1, cl793 Surrey, #7, 1794 Sadler's Wells, #14, 1795 Vauxhall, #13, 1780-93 Vauxhall, #16, 1790

A. B. Astley's, #28, cl863 Astley's, #30, clSyO Britannia, #4, cl865-70 City of London, #3, 1864 Covent Garden, #87, c l858

- 365 366

A. B. (contd.) Coburg, #18, cl860-65 Gaiety, #2, cl869 Haymarket Theatre, #34, cl843“79 Highbury Barn, #4, 1865 Marylebone, #3, c l865 Olympic, #13, cl865 Princess's, #8, cl860 Royalty, #3, cl865 Surrey, #22, 1865 Surrey, #27, 1866 Sadler's Wells, #34, cl860

W. B. e Vauxhall, #30, 1850

Barcent, G. F. a/e Adelphi, #17, 1858

Barlow e Lord Barymore's, #1, 1792

Basire, J. e Pantheon, #3, c l772

Begbie e Drury Lane, #7, 1762-75

Bel 1amy e Astley's, #7, 1804

Blore, J. a Pantheon, #21, 1834

Bluck, J. a Covent Garden, #14, 1808 Covent Garden, #33, 1810 Globe, #1, 1808 Haymarket Opera House, #13, 1809 Pantheon, #11, 1795 Surrey, #9, 1809 Sadler's Wells, #17, 1809 Vauxhall, #24, 1809

Bone, Mui rhead a Drury Lane, #54, cl8l2

Boise, J. C. a/e Surrey Zoological Gardens, #6, 1856

Bo!tard, L. a/e Covent Garden, #5, 1763 Ranelagh, #1, 1749

Brandoin, Chas. a Pantheon, #6, 1772

Broniley, C.J. e Crystal Palace, #3, 1854

Brown, J. R. a/e Grecian, #4, cl88l Savoy, #4, 1881

Buckler, J. a Barker*s Panorama, #11, 1827 Surrey Zoological Garden, #6, 1856 367

Burber, T. e Exeter Change, #3, 1828

Burney, E. a Lyceum, #2, 1817 Lyceum, #3, 1817

Burrows e Adelphi, #11, 1843

Busby e Drury Lane, #53, c l8l2

Byfield a/e Sadler's Wells, #5, cl730

Caing, C. D. a/e Astley's, #2 1 , 1841

Cam, W. e Royalty, #15, 1828

Canaletto a VauxhalI, #7, 1750

Capon, J. a Drury Lane, #41, 1811

Capon, William a Astley's, #1, 1777 (I 8 l 8 ) Astley's, #2, 1777 (I 8 l 8 ) Drury Lane, #35, 1805 Drury Lane, #39, I8 l 1 Drury Lane, #40, 1811 Goodman's Fields, #1, 1820 Goodman's Fields, #4, 1820 Haymarket Theatre, #3, 1777 Haymarket Opera House, #7, 1783 earner, J. e Sadler's Wells, #18, 1812

Cartem, H. a/e Cremorne Gardens, #2, 1830-35

Carse, A. e Sadler's Wells, # 6 , 1730 Marylebone Gardens, #2, I 755

Catter, J. e Covent Garden, #52, I 825

Cel 1i ngs a VauxhalI, #15, 1784

Chapman, J. e Covent Garden, #22, cl809

Coldar e Drury Lane, #30, 1795

Cook e Prince of Wales, #1, I 8 I 7 Prince of Wales, #2 , I 8 I 7

Cook, H. e Haymarket Opera House, #14, 1815 Haymarket Opera House, #15, 1815 Olympic, #2, 8 I I5 Olympic, #3, 1815 368

Cooke, George Exeter Change, #1, 1800-10 Lyceum, #1, cl800-10

Cox Coliseum, #4, 1840

Cox, Gabriel Lord Barymore's, #1, 1/92

Craig, J. Sadler's Wells, #15, 1804

Crukshank, George Ranelagh, #8, 1751 Ranelagh, #9, 1751 Sadler's Wells, #2, 1720 Sadler's Wells, #13, 1796 Sadler's Wells, #23, cl828 Sadler's Wells, #24, cl828 Sadler's Wells, #25, cl828 Vauxhal1, #11, 176 O Vauxhal1, #19, 1796

Cruickshank, Isaac Drury Lane, #48, cl8l2

Dale, Tho. Coburg, #1, I8 I 8 Drury Lane, #27, I 794 (1820) Druoy Lane, #74, c l825 Haymarket Theatre, #13, 1821 Surrey, #15, 1825

Daniel!, Wm. Covent Garden, #27, 1809

Dayes, Edward Covent Garden, #34, I 8 IO Drury Lane, #32, cl795

Deebie, W. T. London Institution, #2, 8 I IO

Dixon a/e Haymarket Theatre, #9, 1821 Haymarket Theatre, #10, 1821

Dixon, J. a Pantheon, #2, cl772

Donowell, J. a Marylebone Gardens, #2, 1755-60

Dorand, S. a/e Comedy, #2, 1881

Dumont Covent Garden, #2, 1732 Covent Garden, #3, 1732 Haymarket Opera House, #1, 1763 Haymarket Opera House, #2, 1763

C W E Haymarket Opera House, #52, 1897

Eastgate Royalty, #4, 1787 369

Ell is e Drury Lane, #42, c l809

E llis , T. H. e Drury Lane, #82, 1845

Erlom, Richard e Pantheon, # 6 , 1772

Evans, F. A. a Canterbury Arms, #1, 1852 Canterbury Arms, #2, 1852

F. e Vauxhal1, #16, 1790

Fenoulhet a Marylebone, #2, 1847

Flemi ng e A1mack’ s, #1, c l813

Field & Iver e Evan's Hotel, #3, cl856

Fielding, T. e Elephant & Castle, #2, 1826

Findlay, J. a City of London, #1, i837 Vauxhall, #14, 1780

Findley, J. a Haymarket Theatre, #12, 1821

F ittle r , J. e Covent Garden, #13, 1804

Ford, J. H. a/e Adelphi, #9, 1842 Adelphi, #10, 1842

Fox, M. e Haymarket Opera House, #37, 1828

Franicia, F. a Drury Lane, #24, 1793

Franicia, L. a Drury Lane, #62, 1812-22

J. G. a Novelty, #1, 1882

Gildar, J. e Surrey Zoological Gardens, #5, I 856

Gladwin, G. e Haymarket Theatre, #22, I 823 Haymarket Theatre, #23, I 825

Good i ng, J , e Highbury Barn, #3, 1864

Green, B. e Ranelagh, #5, cl750

Grei g e Haymarket Theatre, # 6 , I807

Guntorp, J. W. a Astley's, #22, 1841 370

C. H. e Avenue, #2, 1882 Covent Garden, # 6 6 , 1845 Daly's, #3, 1893

E. H. a/e Surrey, #24, 1865

W. H. e St. James, #3, c l850

Havell, Daniel a/e Adelphi, #4, 1826 Astley's, #14, 1826 Covent Garden, #53, 1826 Coburg, #6 , 1826 Haymarket Theatre, #18, 1821 Haymarket Opera House, # 2 9, 1821 Haymarket Opera House, #34, 1826 Lyceum, #5, 1826 Olympic, #1, cl806 (1826) Pantheon, #17, 1826 Prince of Wales, #3, 1826 Royalty, #14, 1826 Surrey, #14, cl8l5"20 Sadler's Wells, #22, 1826

Hawkins, G. a/e Covent Garden, #26, c l809

Hay, F. e Covent Garden, $35, 1810

Hedyi and a Drury Lane, #46, 1812

Hei deldorf e Covent Garden, #37, 1810

H ill, a Astley's, #8 , 1808

Hinchliff, J. e Olympic, #5, 1831 Pantheon, #18, 1820-30

Hind, R. a Olympic, #10, 85 I O

Hodges, Wm. a Pantheon, #5, c l772

Hogarth, Wm. a/e Covent Garden, #1, 1732

Hollar, W. a/e Sadler's Wells, #1, 1665

Hoodkin, W. E. e Britannia, #3, CI858

Howard, J. a Covent Garden, #71, 1847 Drury Lane, #83, cl845 Marylebone, #2, c l847 371

Howl e tt, B. e Drury Lane, #22, 1784-91 Drury Lane, #56, 1814 Haymarket Opera House, #18, 1820 Royalty, #11, 1815 Royalty, #12, 1815

Hutton a/e Royalty, #4, cl885

M. J. a/e Surrey, #26, 1866 Sadler's Wells, #10, cl779 Sadler's Wells, #31, 1879

J A N R e Haymarket Theatre, #32, 1842

James, G. T. a/e Alexandra Palace, #1, 1876

Jones, Geo. a Adelphi, #2, 1815 Adelphi, #3, 1815 Astley's, #9, 1815 Astleyhs, #12, 1815 Haymarket Theatre, #7, 1815 Haymarket Theatre, #8, 1815 Haymarket Opera House, #14, 1815 Haymarket Opera House, #15, I8l5 Pantheon, #13, 1813 Pantheon, #15, 1813

Jukes, F. a Vauxhal1, #18, 1795

G. C. K. a/e Sadler's Wells, #30, 1854

N K e Oriental, #1, 18/7

Keare, a/e Surrey, #5, 1782-1805

Kearnam, Ted e Drury Lane, #69, 1826 Pantheon, #20, 1834

Kemp1e a/e Salmon's Waxworks, #3, c l795

Kennedy, Wm. D. a Kent, #1, c l834 London Bridge, #1, ci830 Marylebone, #1, cl835 Standard, #1, cl835

Ki el r e Covent Garden, #32, 1810

King, J. F. a Halfway House, #5, cl820

Lacy e Drury Lane, #46, 1812

Lai ne!n e Olympic, #10, 1850 372

Lami, Eugene L. a Haymarket Opera House, #39, l84l

Landells, E. a/e Alhambra, #3, I858 Alhambra, #4, I858

Lane, B. a Sadler’s Wells, #6, 1730

Lane, W. e Covent Garden, #25, cl809 Olympic, #6, cl831 Pantheon, #19, 1820-30

LeFtch, A. P. a Alexandra Palace, #2, 1876

Le Keux, J. e Covent Garden, #48, 1824 Covent Garden, #50, 1824 Covent Garden, #51, 1824 Drury Lane, #57, 1824 Drury Lane, #6 5 , 1825 Drury Lane, #66, 1825 Drury Lane, #67 , I 825 Drury Lane, #68, 1825 Haymarket Opera House, #11, 1790

LInton a/e Astley's, #26, 1846

Lister, T. e Drury Lane, #55, 1812

Logan, J. a City of London, #2, 1837

M e Royalty, #14, cl826

Mackenzie, a Covent Garden, #32, 1810

Ma11 owe, C. E. a D'Oyly Cartes, #1, 1891

Mai ton a Royalty, #5, 1787

McClatsky e Egyptian Hall, #4, 1828

Measom, Geo. e Coliseum, #7, 1848 Drury Lane, #84, 1847 Drury Lane, #86, 1848

Melville, H. e Exeter Hall, #5, 1841

Miller, W. H. a Astley's, #18, cl835

Moore, G. B. a Drury Lane, #69, 1826

M uller, B. e Vauxhal1, #5, 1751 Vauxhal1, #9, cl750 373

Neel e e Covent Garden, #38, 1810 Covent Garden, #39, 1810 Covent Garden, #40, 1810 Covent Garden, # 4 l, 1810 Haymarket Opera House, #5, 1782

Neele & Son e Haymarket Opera House, #17, I 8 l 8

G. R. 0. a/e Lyceum, #13, 1856

J P a Coburg, #17, i860

Pal lard, James a Elephant & Castle, #2 , 1826

Panson e Savoy, #2, 1881

Park e Ranelagh, #1, 1749

Payne, A. H. a/e Haymarket Opera House, #26, cl820

Pelnch, R. a/e Covent Garden, #81, I 856

Phillips, C. e Adelphi, #5, I 829 Astley's, #16, 1829 Covent Garden, # 5 6 , 1829 Coburg, #8 , 1829 Drury Lane, #75, 1829 Lyceum, #6, 1829 Haymarket Theatre, #30, 1829 Haymarket Opera House, #38, 1829 Olympic, #4, 1829 Prince of Wales, #4, 1829 Surrey, #16, 1829 Sadler's Wells, #26, I829

Phiz a/e Coburg, #16, 1833-71

Pine, J. e Marylebone Gardens, #1, 1746

Poulean e Covent Garden, #2, 1732 Covent Garden, #3, 1732 Haymarket Opera House, #1, 1/63 Haymarket Opera House, #2, 1/63

Prattent, T. e Drury Lane, #25, 1794 Haymarket Opera House, #5, I 782 Salmon's Waxworks, #1, c l795

W P e Adam & Eve, #1, c l750 Tennis Court, #2, cl800 Surrey Zoological Gardens, #7, I 856 3 7 4

WHP e Almack'Ç, #\, cl8l3 Astley's, #15, cl826 Drury Lane, #10, 1762-75 St. James, #3, cl850 Vauxhall, #26, 1825

Proir, W. H. e Bagnigge Wells, #1, 1780 (1890) Surrey, #23, 1864 Surrey, #25, 1865

Prout, Sam a Sadler's Wells, $15, 1804

Pugh, E. a Covent Garden, #12, 1804 Covent Garden, #13, 1804 Drury Lane, #31, 1804 Vauxhall, #23, 1804

Pugin, A. e Astley's, #8, 1808 Covent Garden, #14, I808 Covent Garden, #33, 1810 Globe, #1, 1810 Haymarket Theatre, #22, 1823 Haymarket Theatre, #23, 1825 Haymarket Opera House, #11, c l790 Haymarket Opera House, #13, 1809 Haymarket Opera House, #33, 1825 Pantheon, #11, 1795 Surrey, #3, 1809 Sadler's Wells, #17, 1809 Vauxhall, #24, 1809

E. a. a/e Vaudeville, #1, 1870

J. Q. e Alexandra Palace, #2, 1876

M. Q. a/e Alhambra, #5, 1864

(iui ck e Exeter Hall, #1, cl831-80

T R e Coburg, #17, i860 Strand, #1, cl833

Rande, S. a Haymarket Opera House, #16, 1817

Rayner, S. a Covent Garden, #52, 1825 Lyceum, #4, 1825

Rawle, S. a & e Covent Garden, #20, 1809 Drury Lane, #62, 1812-22

Rhodes Vauxhall, #23, 1804 375

Ri chardson a Elephant & Castle, #1, cl8l8

Roberts a Coliseum, #4, 1840

Roberts e VauxhalI, #6, I751

Roffe, R. e Astley's, #13, 1824 Covent Garden, #47, 1824

Rolph, John e Covent Garden, #55, 1828 Haymarket Opéra House, #32, 1825 Haymarket Opera House, #33, 1825

Rooker, M. A. a Pantheon, #3, c l772 Vauxhall, #7, 1750

Rothrwel1 e Ranelagh, #12, 1790-95 Sans Souci, #1, cl793 Surrey, #7, 1794

Roud or Roui, W. a/e Argyle Rooms, #1, 1825

Rowlandson e Astley's, #8, 1808 Covent Garden, #14, I808 Covent Garden, #30, 1810 Drury Lane, #23, cl79l Globe, #1, 1810 Haymarket Opera House, #13, 1809 Pantheon, #10, 1791 Pantheon, #11, 1795 Surrey, #9, 1809 Sadler's Wells, #17, 1809 Vauxhal1, #18, 1796 Vauxhall, #24, 1809

J S a/e Drury Lane, #78, 1842

Sargent, C. F. a Surrey Zoological Gardens, #5, cl856-57

Sayer, Richard e Dorset Gardens, #3, cl673

Schnebbiiie, R. B. a Coburg, #1, 1818 Coburg, #2, I8 l8 Covent Garden, #35, 1810 Drury Lane, #42, 1809 Haymarket Theatre, #13, 1821 Haymarket Theatre, #14, 1821 Haymarket Theatre, #15, 1821 Haymarket Opera House, #18, 1820 Haymarket Opera House, #25, c l820 Olympic, #2, 1815 Olympic, #3, 1815 376

Schnebbi1ie,R .B .(contd.) Prince of Wales, #1, 18I7 Prince of Wales, #2, 1817 Surrey Zoological Gardens, #1, 1832

Sears Drury Lane, #20, 1775-83 Exeter Hall, #6, cl841

Shepherd Covent Garden, #59, 1830-40 Exeter H all, #1, 1831-80 Exeter Hall, #6, cl84l

Shepherd, G. Drury Lane, #55, 1812 Haymarket Theatre, #20, 1822 Haymarket Theatre, #31, cl830

Shepherd, Tho. Homser Burlington, #1, cl828 Coli seum, #1, 1827 Coliseum, #2, 1827 Covent Garden, #25, cl809 Covent Garden, #55, 1828 Drury Lane, #74, c l825 Drury Lane, #82, 1845 Exeter Change, #3, 1828 Egyptian Hall, #4, 1828 Exeter Hall, #5, I84l Haymarket Theatre, #19, 1821 Haymarket Opera House, #28, 1821 Haymarket Opera House, #37, 1827 London In s titu tio n , #2, 1822 01ymp i c , #5, 1831 Olympic, #6, cl831 Olympic, #11, cl850 Pantheon, #18, cl820-30 Pantheon, #19, cl820-30 St. James, #2, c l850 Surrey, #12, I8l4 Surrey, #15, 1825 Sadler's Wells, #18, 1812 Tennis Court, #1, cl8)0

Shury, J. Astley's, #18, cl835 Cremorne Gardens, #1, cl830-50 Eagle Tea Garden, #1, cl832 Grecian, #1, 1832 Haymarket Opera House, #25, c l820 Haymarket Opera House, #46, c l847

Simpson, T. e Ranelagh, #4, cl750

Si nlbor(?) e Royalty, #5, 1787

Sly, B. a Adelphi, #11, 1843 377

Smi th e Vauxhall, #15, 1784

Smith, C. J. e A stley’ s, #1, 1818 Astley's, #2, I8l8

Smith, T. a/e Haymarket Theatre, #1, 1735

Smyth e Adelphi, #13, 1848 Charing Cross, #1, 1856 Covent Garden, #69, 1846 Covent Garden, #70, 1847 Covent Garden, #73, 1847 Covent Garden, #85, 1858 Haymarket Opera House, #47, 1850 Lyceum, #11, 1847 St. James, #2, i860 Surrey Zoological Gardens, #3, c l848 Surrey Zoological Gardens, #4, cl856

Springsguth, S. e Adelphi, #2, 1815 Adelphi, #3, 1815

Storer e Covent Garden, #10, c l792 Haymarket Opera House, #6, 1782 Haymarket Opera House, #12, 1807

Stow, J. e Coburg, #2, I8l8 Goodman's Fields, #4, 1820 Haymarket Theatre, #7, 1815 Haymarket Theatre, #8, 1815 Haymarket Theatre, #14, 1821 Haymarket Theatre, #15, 1821 Lyceum, #2, 1817 Lyceum, #3, 1817

Swai n e Almack's, #2, cl821 Evan's Hotel, #1, cl856 dueen's, #2, cl850

Taylor, Thom. e Drury Lane, #34, 1804

Thomas, Wm. e Covent Garden, #76, 1855 Drury Lane, #24, 1793

Todge, Jn. e Surrey, #4, 1782

Tompkins, C. a Haymarket Opera House, #10, 1790

Torubleson, Wm. e Burlington Arcade, #1, cl828

T y rre ll, T. W. a/e Gaiety, #3, I 89 O 378

AW a/e Covent Garden, #90, I 858 Queen's, #2, CI85 O St. James, #3, I858

A N W a/e Sadler's Wells, #9, 1756

MW e Regent Music H all, #1, 1864

Wale, S. a Ranelagh, #4, cl750 Ranelagh, #5 , cl750 Vauxhal1, #5, 1751 Vauxhal1, #6 , 1751 Vauxhal1, #8 , 1751 Vauxhal1, #9, cl750

Wallace a HaymarketTheatre, #20, 1822

Wallis (Walhs) H. e Coliseum, #1, 1827

F W a/e Adelphi, #16, I 858 Alhambra, #1, 1854 Avenue, #1, 1882 Avenue, #2, 1882 Chelsea, # 1, 18/1-77 Empire Variety, #5, 1882 Empire Variety, # 6 , 1882 Gai e ty , #1, 1869 Novelty, #1, 1882 Prince's, #1, ci884 Pri nce's, #2, cl884 Pavi1 ion, #1, c l885 Pavi1ion, #3, cl885

Watkins, Fred a/e Alhambra, #8 , 1883 Charing Cross, #2, 1882 Charing Cross, #3, 1882 Covent Garden, #94, 1882 Cri ter ion, #2, 1884 Cri terion, #3, 1884 Princess's, #9, 88 I O Queen's, #7, 18/9 Queen's, # 8 , 1879 Savoy, #1, 1881 Savoy, #3, 1881

Wyatt, I . a Drury Lane, #57, 1824 Drury Lane, #65, 1825 Drury Lane, #6 6 , I 825 Drury Lane, #67, I 825 Drury Lane, #6 8 , I 825

Westmacott, C. a Royalty, #11, 1815 Royalty, #12, 8 I I 5 379

White, Charles a £• e Pantheon, #9, 1773

White, J. e Drury Lane, #4I, I8 l1

Whiting e Covent Garden, #59, 1830-40

Wichelo a Drury Lane, #44, I809 Drury Lane, #53, 1812 Drury Lane, #56, I8 l4

Wightwick, G. Covent Garden, #4 5 , 1824 Covent Garden, #46, 1824 Covent Garden, #4 7 , 1824 Covent Garden, #48, 1824 Covent Garden, #5 0 , 1824 Covent Garden, #5 1 , 1824

Wimbridge, E. i th. Q.ueen’ s, #4, c l867

Winston, John Drury Lane, #27 , I 794

Winston, T. Covent Garden, #10, cl 792 Haymarket Theatre, #6, I 807 Haymarket Opera House, #12, I 807

Wise, W. Astley's, #9 , I 8 I 5 Astley's, #12, 8 I I5 Drury Lane, #39, 1809 Drury Lane, #40, I809 Drury Lane, #44, I809 Goodman's Fields, #1, 1820 Pantheon, #13, 1810 Pantheon, #15, I8 IO Surrey, #12, I8l4 Sadler's Wells, #8, cl746 Sadler's Wells, #12, cl792

W illis, Wm. Haymarket Theatre, #19, 1821 Haymarket Opera House, #28, 1821

Winkies, H. Covent Garden, #45, 1824 Covent Garden, #46, 1824 Lyceum, # 4 , cl825

Wmag11 a/e Lyceum, #17, cl891

Woodward a Sadler's Wells, #13. 1796

Wren a Drury Lane, #3, 1674 Drury Lane, #4, 16?4 INDEX OF OWNERS AND MANAGERS

Abrahams, Morris Owner Pavilion Theatre, 1858

A1 mack Owner • Almack's Rooms, 1765

Arnold, Dr. Owner Lyceum, 1794

Arnold, S, J. Owner Lyceum, 1810

Arnold Manager Drury Lane, 1813

Astley, Philip Owner A stley's, 1770 Owner Olympic, I 8 O6

D*Avenant Owner Lincoln's inn Field, I 66O Owner Dorset Gardens, 1671

Bancroft, Squire Manager Prince of Wales, I 865

Bancroft Family Manager Haymarket Theatre, I 88 O

Barker, Robert Owner Barker's Panorama, 1789

Barker, Henry Manager Burford's Panorama,

Barker, Robert Manager Burford's Panorama

B arrett, Wilson Owner Olympic, 1891

Batman, Mrs. Owner Sadler's Wei Is, 1879

Batty Owner Astley's, l84l (1845) Owner Batty's Hippodrome, I85 O-5 I

Beale Owner St. James Music H all, I858

Betterton Manager Lincoln's Inn Field, 1695

Beverley, Wm. Roxby Manager Prince of Wales, 1826

Boueicault, Dion Manager A stley's, 1862-64

Braham, John Owner St. James Theatre, 1835

B rierly Manager Price of Wales, c l820

- 380 - 381

Bruce, Edgar Manager Prince's Theatre, 1884

Brunton Manager Prince of Wales, 1825 and 1829

Buckstone, John B. Manager Clarence, 1832

Bullock, William Owner Egyptian H all, 1812-1819

Bunn Owner St. James Theatre, 1840

Burford Owner Burford's Panorama, 1806

Burford, John Manager Burford's Panorama

Burford, Robert Manager Burford's Panorama

Byron, H. J. Manager Prince of Wales, 1865

Carte, D'Oyly Owner Savoy, 1881 Owner D'Oyly Carte's Opera House,1891 Owner Palace Theatre, 1891

Cave, Joseph A. Manager Marylebone Theatre, 1873

Chambers Owner Haymarket Opera House, 1829

Chapman Manager Prince of Wales, 1830

Chudleigh, Arthur Manager Chelsea, 1888

Claggett, Crispus Manager Apollo Gardens, 1788

Clerken Manager Marylebone Gardens, 1741

Cobham Manager Prince of Wales, 1815

Cock', Daniel Manager Wig ley Rooms, 1757

Cockerton Owner City of London, 1835

Col man, SR. Manager Haymarket Theatre, 1777

Congreve Manager Haymarket Opera House, 1705

Conquest, Charles Owner Grecian Saloon, I 85 I-I 878

Copland, Wm. Manager Strand Theatre, I 85 O

Cordi ngly Manager Lyric Theatre, I 89 O

Coulson Manager Anerley Gardens, l84l 382

Cox Manager Wig ley Rooms, 1772

Crispe, Nicholes Owner Brandenburg House, cl650

Cross, Ed. Manager Exeter Change, 1773 Owner Surrey Zoological Gardens,183

Cundy Owner Pantheon, 1812

Daly Manager Lyceum, 1891

Daly, John August!ne Owner Daly's Theatre, 1893

Dassle, Herr Manager Standard Theatre, 1867

Davenport, T. D. Manager Westminster, 1832

Davi s Owner Astley's, 1817 (c20's)

Davi s, Tom B. Manager Adelphi, 1901

Deacon, J. Manager Deacon Music H all, 1861

Debourg Manager Debourg's Exhibition of Cork Models, 1809

Deering, G. Manager Exeter Hal 1, 1831

Del aval Owner Delaval's Little Theatre, 176

De Loutherbourg Manager De Loutherbourg Theatre, 1781

Dibdin Manager Dibdin's Small Theatre, 1788 Owner Dibdin's Little Theatre,pre I

Dibdin, Charles Owner Surrey, 1782 Owner Sans Souci, 1793

Dibdin Bros. Owner Sadler's Wells, 1801-02

Dibdin, I . Manager Surrey, 1810-1816

Dickens, Charles Manager Travistock House Theatre

Douglass Manager Marylebone Theatre, 1842

Duerow Manager Astley's, I830‘s

Dudley Owner Haymarket Opera House, 1869 383

Edwards, George Manager Daly's Theatre, 1893

El 1i ston Manager Surrey, 1809-10 Owner Olympic, 1813-24 Manager Drury Lane, 1818-23

Evans, W. C. Manager-Owner Evans Hotel, 1790

Parrel 1 Manager Pavilion Theatre, 1829

Fitzw illiam s, Mrs. Manager Clarence, 1832

Flechter, Charles Manager Lyceum, 1863

Foote, Manager Haymarket Theatre, 1766

Forcer Owner Sadler's Wei 1s, 1683

Gale Owner Westminster, 1832

Garrick Manager Drury Lane, 1762

Gatti s Manager Marionette Theatre Manager Adelphi, 1879

Gibbon Owner Vere Street Theatre, 1634

G ifford, Henry Owner Goodman's Field Theatre,1733-42 Owner Lincoln's Inn Field, 1742-43

Giovannelli, Edward Manager Highbury Barn, 1861-65

Gooch, Walter Owner Princess's Theatre, 1880

Green, John "Paddy" Manager Evan's Hotel, 1844-56

Greenwood, Thomas Manager Drury Lane, 1783

Grevi1 le, Colonel Manager Prince of Wales, 1802 Owner Pantheon, 1812

Hamlet Manager Princess's Theatre, 1840

Hare, John Owner Garrick Theatre, I 889

Harri s. Manager Covent Garden, 1792

Harris, Augustus Manager Princess's Theatre, i860 384

Head Manager Grand Theatre, I 87 O

Henderson, Alexandre Manager Charing Cross Theatre, 1876 Manager Criterion, 1877 Manager Comedy, 1881

Hickford, Thomas Owner Hickford's Great Rooms, 1696

Hi ngston Manager Opera Comique, I 87 O

Hinton, Archibald Manager Anerley Gardens, i860

Holland, William Owner Canterbury Theatre of Varieties, 1863

Hoi 1ingshead, John Manager Gaiety Theatre, 1868 Manager Holborn Theatre Roya1, 1874

Holt, Clarence Manager Hoi born Theatre, 1879

Hornor Owner Colisseum, c l824-26

House, Thom. "Brayvo” Owner Grecian Theatre, 1832

Howe, J. B. Manager Garrick Theatre, Leman Street 1873-74

Hughes Owner Bagnigge Wei Is, 1759

Hughes, Charles Owner Surrey, 1771-91

Hullah, John Owner Queen's Theatre, 1849

Hyde, John Manager Pri nee of Wales, 1800

Irving Manager Lyceum, I 878

James, C. J. Manager Pri nee of Wales, 1839

James Manager Vaudevi1 le, 1870

Johnson Owner Standard Theatre , 1845

Jones, James Manager Surrey, 1796

Jones Owner Coburg, I 8 I 8

Jones Bwner Adelphi, 1819 385

Kean Manager Princess's Theatre, I 85 O

Kelly, Miss Owner Royalty Theatre, Dean S t.,1840

Kieiey Manager Princess's Theatre, I 85 O

Kill!grew Owner Vere Street Theatre, I 66O Manager Drury Lane, 1663-74 Owner Lincoln's Inn Fields, 1672

King, Tom Owner Sadler's Wells, 1772

Lacey, H. R. Manager Marylebone Theatre, I 868

Lackington, George Owner Egyptian Hal 1, 1819

Lane, Sam and Sara Owners Britannia Theatre, l84l

Langtry, Mrs. Manager Royal Aquarium, I9OO

Lanza, Gesualdo Owner Clarence, pre 1832

Laporte Manager Haymarket Opera House, 1837

Lee Owner Standard Theatre, 1845

Leport Owner Haymarket Opera House, 1837

Leveridge Manager Marylebone Theatre, 1835 and 1854

Litton, Marie Manager New Chelsea, 1871

Low, David Manager Evan's Hotel, 1774

Lowe Manager Marylebone Garden, 1764-68

Macfarren, George Manager Prince of Wales, 1831

Maddox Manager Princess's, 1843

M aillardet Manager Wig ley Rooms, I806

Marshal 1 Manager Wig ley Rooms, I8 OO

Mayhew Family Manager Prince of Wales, 1833

Melnotte, Violet Owner Trafalgar, 1892

Melrose Manager Prince of Wales, I 83 O 386

Mi les Owner Sadler's Wells, 1699

Mi tc h e l1 Owner St. James Theatre, 1842

Morgan Manager Chelsea, I 87 O

Morris, David E. Manager Haymarket Theatre, 1821

Morton, Charles Owner Canterbury Arms Music Hall Owner Oxford Music Hall, I8 6 I Manager Grand Theatre, 1870 Manager Palace Theatre, I 892

Moy, J. Manager Royal Standard Concert Roo cl 852

Ni cols Manager Empire Variety Theatre, 18

Nisbett, L. C.,Mrs. Manager Prince of Wales, 1834

Odell, Thomas Owner Goodman's Field Theatre, 1

01 i ver Manager Chelsea, I 87 O

Palmer, John Owner Royalty, 1787

Parry, Sefton Owner Deptford Theatre, 1864-66 Owner Holborn Theatre, 1866 Manager New Globe Theatre, 1868

Posqui1i , Franci s Owner Prince of Wales, 1772

Paul, S. Manager Prince of Wales, I 8 IO

Payne, James Owner Lyceum, 1765

Pede, Thorpe Owner Alexandra Theatre, 1871

Peli to Manager Exeter, Change, 1812

Penley Manager Novelty Theatre, 1894

Percival, H. Manager Cambridge Music H all, I 898

Perkins, Jacob Owner Marionette Theatre, I 83 O

Phelps Owner Sadler's Wells, 1846

Phillips, Phil Owner Bower Saloon, 1837 387

Phillips, Phil Owner Chinese Gallery Panorama,

Pi dcock Manager Exeter Change, pre 1773

Pond Owner Criterion, 1874

Potter, John Owner Haymarket Theatre, 1720-30

Rei nag le Manager Strand, 1820

Ri ch Manager Lincoln's Inn Field, 1714-]

Rich, John Manager Covent Garden, 1732

Ri chards Manager Covent Garden, 1784

Robertson, W. W. Owner Royal Aquarium and Winter Garden, 1876

Rodwel1 Owner Adelphi, 1819

Rosoman Owner Sadler's Wei Is, 17^5

Rouse, Thomas "Brayvo" Manager Grecian Saloon, 1832

Sadler Owner Sadler's Wells, 1683

Sanger Owner Astley's, I878 (c95)

Santley, Kate Manager Royalty, Dean Street, 1883

Saunders Manager Prince of Wales, I 808

Scott, John Owner Adelphi, I 8 O6 Owner 01ymp i c, 1824

Selby, Mrs. Owner Royalty, Dean Street, 1861

Serre Manager Wig ley Rooms, I 8 O6

Sheridan Manager Drury Lane, 1776-1794

Smi th, E. T. Manager Alhambra, I 858 Manager A stley's, 1864-72

Spiers Owner Criterion, 1874

Steele, Richard Manager Consort of Music, 1712

Strange, F. Owner Alhambra Theatre, 1864

Syers Manager Oxford Music H all, I869 388

Terry Owner A d e lp h i, 1821

Thorne Manager Vaudeville, 1870

Toole, J. L. Manager Adelphi, I 858 Manager Charing Cross Theatre, 1882

Tree, Beerbohn Manager Haymarket Opera House, 1897

Tyers, Jonathan Owner Vauxhall, 1732

Vanbrugh, John Owner Haymarket Opera House, 1705

Vestrls, Madame Owner Olympic, 1830-49

Villiers, E. Manager Pavilion Music H all, 1886

Villiers, R. E. Owner Canterbury Palace, I 876

Volks Fami1 y Manager Aquarium Theatre, 1879

W allis, Miss Manager Shaftesbury Theatre, I 888

Ward, A. Owner Eagle Tea Garden, pre 1832

Warner, Mary Manager Marylebone Theatre, 1847

Waters Owner Haymarket Opera House, I 8 I 8

Watts, Walter Owner Olympic, 1849

Waylett, Mrs. Manager Strand Theatre, 1834

Webster Manager Adelphi, 1848 Owner Adelphi, I 858

Welch, Joseph Owner Argyle Rooms, 1816

Weston, Edward Manager Weston's Royal Music Hal 1,1850 Manager Retreat Music H all, 1863

Whi thread Manager Drury Lane, 1812

Whitehead, John Owner Haymarket Theatre, 1754

Wigans, Alfred Owner Queen's Theatre, I 867

Wigans, Horace Manager Holborn Theatre, 1875

Wigley, Charles Manager Wigley Rooms, I 78 O 389

Willis, Mr. Owner Almack's Rooms, 1813

Willmot, Charles Manager Holborn Theatre, 1879 Manager Grand Theatre, 1888

Wi 1loughby Manager Highbury Barn, 1792

Wi1sone Owner City of London, 1844

Wi1 ton, Marie Manager Prince of Wales, 1865

Wood, Mrs. John Manager Chelsea, 1888

Wooley Owner Campden House, c l860

Wyatt Manager Pavilion Theatre, 1829

Wyatt, Frank Manager Trafalgar, 1895

Wyld Manager Great Globe, 1851

Wyndham, Charles Manager Wyndham Theatre, 1879

Wyndham Manager Cri terion, 1884

Yates Owner Adelphi, 1821 INDEX OF ARCHITECTS INDEX OF ARCHITECTS

Adams Brothers Archi tect Drury Lane, 1776

Agi lo Decorator Olympic Theatre, 1849

A1bano Archi tect Covent Garden, 1847

Ami coni Decorator Covent Garden, 1732

Barry, E. M. Archi tect Covent Garden, I 858

Barry, James Decorator Society for Arts, Manufacture and Commerce, I 768

Beazley, Samuel Archi tect Lyceum Theatre, 1816 and 1834

Beazley Archi tect Drury Lane, 1822

Beazley, S. Archi tect City of London, 1835

Beazley, Samuel Archi tect St. James Theatre, 1835

Bedborough, A, Archi tect Royal Aquarium, I876

Bedford, Mr. Contractor Ci ty Theatre

Blenheim Architect Haymarket Opera House, I 789

Bradwell, W. Archi tect Colisseum, 1848

Bridgman, Albert Archi tect Canterbury Palace, I 876

Brutton, W. M. Archi tect Alhambra Theatre, 1864

Burton, Decimus Archi tect Colisseum, cl824-26

Bushi11, Fred K. Archi tect Olympic Theatre, 1849

Cabanel, Rudolphe, Jr. Architect Surrey, I 8 O6

Cabanelle, Rudolph Architect Coburg, 1818

Capon, William Archi tect Ranelagh, 1742 Archi tect Drury Lane, 1783

- 390 - 391

Chadwick, Spencer Architect Daly's Theatre, 1893

ColIcutt, T. E, Architect D'Oyly Carte Opera House, I 8 9 I Architect Palace Theatre, 1891

Crace Decorator Olympic, 1830

Deer Ing-Gandy, J.T. Archi tect Exeter Hall, 1831

E llis , J. Architect Surrey, 1865

Emden, Walter Architect Terry's Theatre, 1887 Architect Garrick Theatre, I 889 Architect Trafalgar, 1892

Fi nch Architect Britannia Theatre, I 858

Fi nden Architect Alhambra, 18S4

Fowke, Capt. Architect Albert Hall of Arts & Sciences, 1871

Gal Ii n i, John A rchitect Hanover Square Concert Rooms, I 76 O

Geary, Stephen Architect Clarence, pre 1832

Gibson, John Architect Standard Theatre, 1845

Geary, Stephen Architect Clarence

H iii Architect Britannia Theatre, I 858

H ill, Fi nch Architect Evan's Hotel, I 856

Hoi i and A rchitect Covent Garden, 1762

Holland, Henry Architect Drury Lane, 1794

Hoi ie, El ijah Architect Coburg, I 88 O

Holloway, G. H. Architect D'Oyly Carte Opera House, I 8 9 I

Jones, Horace Architect Surrey Zoological Gardens, I 856

Jones, Owen Architect St. James Music H all, I858

Jones, Wm. A rchitect Ranelahg, 1742 392

Keeling, F. B. Archi tect Gaiety Theatre, 1863

Lee, Charles Archi tect Haymarket Opera House, 1869

Lewis, T. Haytu r Archi tect Alhambra, 1854

Long, Charles Archi tect Oxford Music H all, 1893

Lucas Contractor Covent Garden, 1858

Mamby, Charles Archi tect Adel phi, 1848

Matcham, Frank Archi tect Grand Theatre, 1883

Moore, Albert Decorator Queen's Theatre, 1867

Morgan, James Archi tect Diorama, 1823

Mylne, Robert Archi tect A1 mack's Rooms, 1765

Nash, John Archi tect Argyle Rooms, 1816 and 18I8

Nash Archi tect Haymarket Opera House, I8l8

Nash, John Archi tect Haymarket Theatre, 1821

Nelson, T. M. Archi tect Princess's Theatre, 1840

Novosielski, Michael Archi tect Prince of Wales, 1772 Archi tect Haymarket Opera House, 1782 Archi tect Haymarket Opera House, 1791

Papworth, J. B. Archi tect Egyptian H all, 1819

Parai re. Archi tect Britannia Theatre, 1858

Parry, Sefton Archi tect Avenue Theatre, 1882

Paxton, Joseph Archi tect Crystal Palace, 1851 and 18;

Payne, James Archi tect Lyceum, 1765

Perry, John Archi tect Alhambra, 1883

P h illip s , C. J. Archi tect Gaiety Theatre, 1868 Archi tect Vaudeville, 1870

Phi 11ips, Henry Archi tect Surrey Zoological Gardens, 393

Phipps, Charles J. Archi tect Queen's Theatre, 1867 Archi tect Sadler's Wells, 1879 Archi tect Princess's Theatre, 1880 Archi tect Savoy, 1881 Archi tect Lyric Theatre, Shaftesbury, 1888 Archi tect Shaftesbury Theatre, 1888 Archi tect Haymarket Opera House, 1897

Pugin, Augustus Archi tect Diorama, 1823

Reed, F. H. Archi tect Alhambra, 1883

Repton Archi tect Haymarket Opera House, I8l8

Robinson, J. T. Archi tect Alexandra, 1871 Archi tect Grecian Theatre, 1876

Robinson, P. F, Archi tect Egyptian Hall, 1812

Robson, E, R. Archi tect Prince's Hall, l88l

Sang Contractor Adel phi, 1848

Saunders, J. E. A rchitect Pavilion Music H all, 1886

Scott, Capt. Architect Albert Hall of Arts and Sciences 1871

Shepherd Archi tect Goodman's Field Theatre, 1733

Shepherd, Edward Archi tect Covent Garden, 1732

Simmonds Archi tect Pavilion Theatre, 1858

Smi rke Archi tect Covent Garden, I 809

Smirke, Sidney Archi tect Pantheon, 1834

Sprague, W. G. R. Archi tect Shaftesbury Theatre, I 888

Teblin Decorator Queen's Theatre, 1867

Thomson, James Archtect Polytechnic Hall, 1838 and 1848

Verity, Francis I. Archi tect Prince of Wales (La Sea la ), 1904

V erity, Frank I . Archi tect Empire Variety Theatre, 1882 3 9 4

V erity, Thomas Archi tect Empire Variety Theatre, Archi tect Comedy Theatre, 1881 Architect Novelty Theatre, 1882

V erity, I . Archi tect Criterion, 1884

Vulliamy, L. Archi tect In s titu te of Arts and M 1800

Westmacott, R. Archi tect Q,ueen's Theatre, 1849

Whitwell, T. S. Archi tect Royalty, 1828

Wilmot, John Contractor Royalty Theatre, 1787

WIthall, R. W. Archi tect Surrey, 1848

Wren, Christopher Archi tect Dorset Gardens, 1671 Archi tect Drury Lane, 1674

Wyatt, B. Archi tect Drury Lane, 1812

Wyatt, Digby Decorator Adel phi, 1848

Wyatt, Mathew Digby Contractor Crystal Palace, 1851

Wyatt, James Archi tect Pantheon, 1772 and 1795 Archi tect Prince of Wales, 1790

Wyatt, T. H. Archi tect Adelphi, 1858

Wylson, Oswald Archi tect Oxford Music H all, 1893 BIBLIOGRAPHY BIBLIOGRAPHY

A. BOOKS

Ackermann, Robert, Editor, The Microcosm of London or London in M iniature. 3 volumes. London: Methuen & Co., 1904.

Baker, Henry Barton, History of the London Stage and its Famous PIayers. London: George Routledge and Sons, Limited, 1904. 557 pp.

Bancroft, Marie and Bancroft, Squire, The Bancrofts, Recollections of Sixty Years. London: John Murray, 1909. 462 pp.

Barton, Margaret, Garrick. London: Faber & Faber, 1948. 299 pp.

Baylis, Lilian and Cicely, Hamilton, The Old Vic. New York: Doran Co., 1926. 285 pp.

Berg, Albert E ., The Drama. P ainting, Poetry and Song. New York: P. F. Col 11er, 1884. 718 pp.

Betjeman, Johp, Vintage London. Williams Collins, 1942. 24 pp.

Besant, Walter, London in the Nineteenth Century. London: Adam and Charles Black, I9 09. 421 pp.

______, London, North of the Thames. London: Adam and Charles Black, 1911. 682 pp.

_, London, South of the Thames. London: Adam and Charles Black, 1912. 372 pp.

Boswell, Eleanore, The Restoration Court Stage. Cambridge, Massa chusetts: Harvard University Press, 1932. 370 pp.

Bray ley, Ed. Wed lake. Historical and Descriptive Accounts of the Theatres of London. London: Vernor and Hoof, 1826. 641 pp.

Brayley, Edward W. and John B r itto ff, The Beauties of England and Wales or Deli neations. Topographical, Historical and Descriptive of Each Country. 18 volumes. Vernor and Hood.

Brook, Donald, The Romance of the English Theatre. London: Rockliff, 1945. 222 pp.

- 3 9 5 - 3 9 6

Casson, Hugh, An Introduction to Victorian Architecture. London: Art and Technics, 1948. S6 pp.

Chamberlain, Henry, History and Survey of the Cities of London and Westminster. London: J. Cooke, 1770. 692 pp.

Chancellor, E. B., The X V IIIth Century in London. London: B. T. Batsford, 1920. 269 pp.

Cheney, Seldom, The New World A rchitecture. New York: Tudor Co., 1936. 404 pp.

Chetwood, William R., A General History of the Stage. Dublin: 1749. 259 pp.

Cleaver, James, The Theatre through the Ages. London: G. G. Harrap & Co., 1848. 145 pp.

Clunn, Harold P., The Face of London. New York: E. P. Dutton & Co., Inc., 1937. 566 pp.

Clinton-Braddeley, V. C., All Right on the Night. London: Putman, 1954. 243 pp. ■

Contant, Clement and Joseph de Filippi, Parallèle des Principaux Theatres Modernes. Paris: A. Levy F ils , I860. (OSUTC #120, Columbia U niversity).

Covent Garden Journal. 2 volumes. London: J. J. Stockd^,!, 1810.

Cross, J. C ., " Sir Francis Drake" at The Royal Circus. London: 1809, (OSUTC #520, Hunt!ngton).

Cruikshank, 6. J., The Life of Joseph Grimaldi. London: 1838. (OSUTC #502, Huntington).

Cunningham, George H ., London. London: J. M. Dent & Sons Ltd., 1927. 887 pp.

Dark, Sidney, London■ London: Macmillan & Co., 1924. 176 pp.

Dickens, Charles (Charles Whitehead), editor, "Boz", Memoi rs of Joseph Grim aldi. London: Richard Bentley, 1846. (OSUTC #508, Huntington).

Dibdin, Jun., Charles, History and Illustrations of the London Theatres comp rising an Account of the Oriqin and Progress of Drama i n England. London: J. Moyes, 1826. (OSUTC #503, Hunti ngtonT.

Doran, J ., Annals of the English Stage. London: 2 volumes, John C. Nirmo, l‘888. 3 9 7

Dubech, Lucien, Histoire générale illustrée du Theatre. Volumes 4 and 5. Paris: Librairie de France, 1934.

Dumont, Gabriel P., Paralelle de plans des salle de spectacles d'Italie et de France. Paris: 1763. %ÔSUTC # 6 6 , Library of Congress)!

Garrick in THE SHADES or £ Peep i nto Elysi urn. 1779. (OSUTC #507, Hunti ngton).

Genest, John, Some Accounts of the English Stage. 10 volumes. Bath, England: H. E. Carrington, 1832.

G illila n d , Thomas, The Dramatic M irro r. 2 volumes. London: C. Chappie, 1808 .

Glasgow, A lice, Sheridan of Drury Lane. New York: Frederick H. Stokes Co., 1940. 310 pp.

Gosset, Alphonse, Traite de la Construction des Theatres. Paris: L ibraire Polytechnique Baudry et Co., 1886. Columbia University Library. (O.S.U. Library, Film 5-13).

Grant, James, Penny Theatres. London: Society for Theatre Research, 1952. 35 pp.

G u ilt, Joseph, An Encyclopedia of A rchitecture. London: Longmans Green and Co., 1888. 1159 PP.

Hartnoll, Phyllis, editor. The Oxford Companion to the Theatre. New York: Oxford University Press, 1951. 888 pp.

History and Survey of London. 1769-70. (OSUTC #524, Huntington).

Hunt, Leigh, The Town, its Memorable Characters and Events. London: Smith Elder & Co., 1889. 449 pp.

Irving, Lawrence, Henry Irv in g . New York: Macmillan Co., 1952. 734 pp.

Kean, Charles and Ellen, Emigrant in Motley. .Edited, J. M. D. Hardwick. London: R ockliff, 1954. 260 pp.

Knight, Charles, London. Volumes 3, 4, 5, 6 . London: Charles Knight & Co., 1843.

Lawrence, W. J ., Old Theatre Days and Ways. George G. Harrap & Co., Ltd., 1935. 255 pp.

Lees-Milne, James, The Age of Adam. London: B. T. Batsford, Ltd., 1947. 184 pp. 398

Lewis, Original Design in A rchitecture. 1797. (OSUTC #511, Hunting ton) .

Loewenberg, Alfred, compiler, The Theatres of the British Isles, Ex- cluding London. A Bibliography. Published by The Theatre Notebook for members only, 1950. 75 pp.

Loukomski, G. K ., Les Theatre Ancient and Modern. Paris: Firmin- Didot, 193^. 139 pp.

Macqueen-Pope, W. J ., Theatre Royal Drury Lane. London: W. H. Allen Co., 1945. 350 pp.

_, Haymarket Theatre of Perfection. London: W. H. Allen Co., 1948. 394 pp.

, Carriages at Eleven. London: Hutchinson, 1948. 232 pp.

Mander, Raymond and Joe Mitchenson, A Picture History of the British Theatre. London: Hulton Press, 1957. I 60 pp.

Maude, C y ril, The Haymarket Theatre. London: Grant Richards, 1903, 239 pp.

Nicoll, A. 0., A History of Early Eighteenth Century Drama 1700-1750. Cambridge, England: University Press, 1925. 431 pp.

_, A History of Early Ni neteenth Century Drama 1800-1850. 2 volumes. Cambridge, England: University Press, 1930.

Nicoll, Allardyce, The English Theatre. A Short History. New York: Nelson & Sons, 1936. 252 pp.

_, The Development of the Theatre. New York: Harcourt, Brace and Co., 1946. 318 pp.

, A History of English Drama 1660-1900. 4 volumes. Cambridge, England: University Press, 1952.

Noverre, Observations sur 1 a Construction d*une nouvel 1e Sal 1 e de 1 * Opera. 1781. (O.S.U. Library, Film 10-18).

Oui ton, Walley C ., History of the Theatres of London. 2 volumes. London: Martin & Bain, 1799.

Pearce, Charles E ., Polly Peachum. London: Stanley Paul & Co., 1913. 382 pp.

Pearson, Hesketh, The Last Actor-Managers. London: Methmen £■ Co., L td ., 1950. 83 pp. 3 9 9

Pennant, Some Accounts of London. 2 volumes. 1805. (OSUTC #512, Hunti ngton).

Pichel, Irving, Modern Theatres. New York: Harcourt, Brace & Co., 1925. 102 pp.

Pinks, Wm. J., History of Clerkenwell. London: Charles Herbert, 1881 . 800 pp.

Priestley, J, R., editor. The Works in Architecture of Robert and James Adams. London: Priestley & Weale, 1822.

Richardson, Albert E ., Introduction to Georgian A rchitecture. London: Art & Techies, 1949. 256 pp.

Roberts, Howard, edito r. Survey of London. 28 volumes. Waltar H. Godfrey, London County Council 1951.

Robins, Edward J ., Echoes of the Playhouse. New York and London: G. P. Putnam^s Sons, 1895. 331 pp.

Roubo, A. J., Traite de la construire de theatres et des mach theatre. 1777 . (0. S. U. Library, Film 10-18).

Rowell, George, The Victorian Theatre (A Survey). London: Oxford University Press, 1956. 203 pp.

Sachs, Edwin 0 ., Modern Opera House and Theatres. 3 volumes. London: ' B. T. Batsford, 1897. '

Salaman, Malcolm C ., Londoners, Then and Now. Geoffrey Holme, editor, London: The Studio Ltd., 1920. 167 pp.

Saunders, George, A Treatise on Theatres. Holborn; I. & J. Taylor, 1790 . (OSUTC #130, Library of Congress).

Sherson, Errol 1, London's Lost Theatres of the Nineteenth Century. John Lane, The Bod ley Head L td., 1825. 392 pp.

Simonson, Lee, The Art of Scenic Design. New York: Harper & Bros., 1950. 174 pp.

Smith, W illiam C ., A Bibliography of the Musical Works Published by John Walsh. London: The Bibliographical Society, 1948. 215 pp.

Southern, Richard, The Georgian Playhouse. London: Pelades Books Ltd., 1948. 72 pp.

Stow, Johçi, A Survey of London. 2 volumes. C. L. Kingsford, editor, Oxford: Clarendon Press, I 9 08 . 4 0 0

Summers, Montague, The Restoration Theatre. London: Kegan, Paul, French, Trubner & Co., 1934. 352 pp.

Summerson, John, Architecture in Britain 1530 to 1830. Baltimore, Maryland: Penguin Book, 1954. 355 pp.

______, Georgian London. London; Pleiades Books, 1945. 301 pp.

Symonds, Emily M. (pseudonym George Poston), Social Caricature in the l8th Century. London: Methmen 6 Co., Ltd., 1906. 143 pp.

Thaler, Alwin, Shakespeare to Sheridan. Cambridge: Harvard University Press, 1922. 339 pp.

The Theatrical House that Jack B u ilt. I 8 I 9 . (OSUTC #527, Huntington).

Tributes to the Memory of Barney Williams. I 876 . (OSUTC #529, Huntington).

V ictor, Benjamin, History of the Theatres of London and Dublin from the Year 1730 to the Present Time. 3 volumes. London: T. Davies, 1771 .

Walford, Edward, editor. Old and New London. 6 volumes. London: Cassell Fetter Galpi n, 1861.

Watson, Ernest B., Sheridan to Robertson. A Study of the 19th Century London Stage. Cambridge: Harvard University Press, 1926. 485 pp.

Wheatley, Henry B., London. Past and Present. 3 volumes. London: John Murray, I8 9 I.

Whistler, Laurence, Sir John Vanbrugh Architect and Dramatist 1664-1726. London: Cobden-Sanderson, 1938. 315 pp.

Wilkinson, Tate, Mémoires of His Own L ife . 4 volumes. New York: Wilson, Spence and Mowman, 1790.

W illiams, Harcourt, Old Vic Saga. London: Winchester Publications Ltd., 1949. 240 pp.

Williams, Michael, Some London Theatres, Past and Present. London: Sampson Low, Marston, Searle and Rivington, 1883. 215 PP.

Williamson, Audrey, Old Vic Drama. New York: Macmillan & Co., 1949. 228 pp.

Wolf, Martin L., Dictionary of the Arts. New York Philosophical Library, 1951. 797 pp.

Wyatt, Benjamin, Observation on Design for the Theatre Drury Lane. 1830. (O.S.U. Library, Film 9-38). 401

B. MICROFILM

Ohio State University Theatre Collection, Film Number

36. Wilkinson, Robert, publisher: Londina Illustrate, 2 volumes (1825). Plates 185-201. New York Public Library-

46. English Theatres, Library of Congress-

50. English Theatres, Library of Congress-

51. Foreign Theatres, Library of Congress-

5 2 . British Provincial Theatres, Library of Congress-

53. Paris Theatres and others, Library of Congress -

66. Dumont, Gabriel P. M., Paralelle de plans des salles de spectacles d'Italie et de France. Paris, 1763- Library of Congress-

120. Contant, Clement, and Joseph de F ilip p i, P araile le des Principaux Theatres Modernes. Paris, A Levy F ils , I860. Columbia University Library.

130. Saunders, George, A Treatise on Theatres. London, J . Taylor, 1790. Library of Congress.

332. Loose pictures of European Theatres, Folger Shakespeare Library.

4 8 5 . The Harlequi n. A Journal of the Drama, Henry Huntington Library.

■ 502. Cruikshanks, G. J ., The L ife of Joseph Grim aldi. 1838, Henry E. Huntington Library.

503. Dibdin, Charles, Jun., History and Illustrations of the London Theatres compri si ng an Account of the Origin and Progress of Drama in England. London: J. Moyes, 1826. Henry E. Huntington Library.

507 . Garrick in the Shades or a Peep into Elysium, 1779, Henry E. Huntington Library.

508 . Dickens, Charles, (pseudonym Charles Whitehead), The Memo!rs of Joseph Grim aldi. London: Richard Bentley, 1846. Henry E. Huntington Library. 4 0 2

511. Lewis, Original Designs in Architecture, 1797. Henry E. Huntington Library.

512. Pennant, Some Accounts of London. 2 volumes, I 805 . Henry E Huntington Library.

520. Cross, J. C ., Sir Francis Drake at the Royal Circus. 809 I , Henry E. Huntington Library.

524. History and Survey of London. 17&9-1770, Henry E. Huntington Library.

526. Sharps London Magazine. I 856 . Henry E. Huntington Library.

527 . The Theatrical House that Jack B uild. 1819, Henry E. Huntington Library.

5 29. Tributes to the Memory of Barney Williams, I 8 76 . Henry E. Huntington Library,

9 4 7 . Souvenir Program of Wi nters Tale. Victoria and Albert Museum.

948. Souvenir Program of Richard I I . Victoria and Albert Museum.

1002. Loose European and American Theatre Pictures. Harvard Theatre Collection.

1006. Loose English Theatre pictures. Harvard Theatre Collection.

Ohio State University Library, Film Number

5-18. Gosset, Alphonse, Traite de la Construction des Theatres. Paris, Libraire Polytechnique Baudry et Co., 1886. Columbia University Library.

9- 3 8 , Wyatt, Benj., Observation of Design for the Theatre Drury Lane. 1830.

C. PERIODICALS

Architectural Review. London. A Magazi ne of Archi tecture and Decora tio n . Volume 15, 1904, page 134 37, 1915, page 32, 33, 34 and 35 46, 1916; page 114 4 7 , 1917 , page 103 6 9 , 1931, page 169 7 1 , 1932, page 288 k03

Magazi ne of A rt, London, Cassell and Co. Volume 1, 1878 - 15, 1895, page 385

The Art Journal. London, Virtue and Co. Volume 3, 1857, page 358

Belqravla. ^ London Magazine Volume 8, 1868, page 402 9, 1869 , pages 466 and 468 10, 1870 , pages I I I and 112

The Connolsseur. An 111 ustrated Magazine for Col Iectors. London. Volume 9 8 , 1937, pages 92, 93, 94, 95 and 96

European Magazine and London Review. London, J. Fielding Volume 17 , 1795 5 6 , 1809 62, 1812 72 , 1817

Gentlemen's Magazine (Universal Magazine, Volumes 55 to 65), London, F. Jefferies. Volume 19, 1750 72 , 1812 8 ), 1821

The Mask. A JournaI of the Art of the Theatre Volume 8, 1916, page 10 12, 1926, pages 53, 55, 56, 57, 58, 102, 103, 110 and 115 13, 1927 , page 55

McClure's Magazine Volume 3 0 , Dec. I 907 , pages 364 and 365

Picture of London. 1813. London, Longman, Hurst, Rees, Orme and Brown. Volume 1813 , pages 233 to 239 and 292 to 315.

Theatre Notebook, A Quarterly Journal of History and Technlgue of the Brltish Theatre. Volume 2, 1946, page 71 3, 1947 , page 72 4, 1948 , pages 36 and 60 6, 1950, pages 12 and 60 1 2 , 1956, pages I9 , 2 0 and 92

Theatre World, London. Volume 4 3 , 1956, page 9 44, 1956, page 35 46, 1956, page 39 5 1 , 1958 , pages 31 and 42 4 0 4

D. NEWSPAPERS

The Daily Graphic, an Illu s tra te d Evening Newspaper (OSUTC #1002, Harvard). Volume I , May 14, 1870, page 568 11, Dec. 17, 1881, pages 611 and 617

The 111ustrated London News Vo 1ume I , 1842, pages 109, 392, 428, 445, 461, 493 and 512 2. 1843, pages 217, 222 and 422 3, 1843, pages 5 6 , 109 and 124 4, 1844, pages 124, 161 and 389 6, 1845, page 320 7. 1845, page 361 8. 1846, pages 66, 153, 217, 321 and 392 9, 1846, pages 289 and 372 10, 1847, pages 233, 234 and 393 n . 1847, pages 128, 253 and 268 12, 1848, page 185 13, 1848, pages 56, 132, 224 and 428 14, 1849. pages 13, 29 and 216 16, 1850, pages 29 and 116 17, 1850, page 47 18, 1851 , pages 375, 439 and 503 22, 1853, page 253 24, 1854, page 465 25, 1854, page 504 26, 1855 , pages 420 and 421 28, 1856, pages 93, 157, 205, 276, HI, 300 and 408 ■ 29, 1856, page 563 3 0 , 1857, page 246 31, 1857, page 103 32, 1858, pages 31, 421, 484, 589 and 592 33, 1858 , pages 33, 430, 490, 579 and 580 34, 1859 , page 380 42, 1!&63, pages 481 and 617 48, 1866, page 408 54, 1869, page 20

Illu s tra te d News of the World, London. (OSUTC #332, Folger Shakespeare L ib ra ry ). May 15, I858 , pages 237 and 238 Dec. 25, 1858 , page 405

Illustrated Sporting and Dramatic News (OSUTC #332, Folger Shakespeare L ib ra ry ). July 25, 1846 A p ri1 17 , 1875 , page 53 ■■ ■ . . < 1877 , page 532 Sept. 20, 1879 , pages 5 and 8 Oct. 18, 1879 4 0 5

111ustrated Sporting and Dramatic News (centInued) Nov. 13, 1880, pages 199 and 200 Oct. 10, 1881, page 161 March 4, 1882, page 600 Oct. 7, 1882, page 77 Nov. 3, 1883, page 184 April 19, 1884 Jan. 12, 1839, page 494 AUTOBIOGRAPHY

1, P h ilip Alan Macomber, was born in LInworth, Ohio, July I I ,

1929. I received my secondary education in the public schools of

Ohio and Pennsylvania. My undergraduate training was at Otterbein

College which granted me the Bachelor of Arts degree in 1950. 1

received the Master of Arts degree from The Ohio State University in

1952. After two years of teaching theatre and speech at Mississippi

Southern College in Hattiesburg, Mississippi, 1 returned to Ohio

State University, for further study. While completing the requirements for the Doctor of Philosophy degree, I was an assistant to Dr. John H.

McDowell in the Ohio State University Theatre Collection. Since 1956,

I have held the position of Director of Scenic and Graphic Arts at

WOSU Television.

- 4o6 - ,i\ N_l 1 I , \ K k

A typical theatre of 1805 reconstructed FIGURE 9

PLATE 34 Lord Barymore's Private Theatre, cl792

courtesy Harvard Theatre Collection