1781

 

 

Feb 15

For the Benefit of the City of London Lying-in Hospital, in the City Road. / ON Thursday the 15th Instant will be performed at Free-masons Hall, Great Queen Street, the Oratorio of / PROVIDENCE. / Composed by Dr. FISHER. / The principal Vocal Parts by Mr. Vernon, Mr. Reinhold, Mrs. Kennedy, and a young Lady. / End of Part the First, a Concerto on the Hautboy by Mr. Sharpe. / End of Part the Second, a Concerto on the Violin by Dr. Fisher. / To begin at Twelve o’Clock at Noon precisely. / Tickets, at Half a Guinea each, to be had at the Hospital, and the following Places, viz. Batson’s Coffee-house, Cornhill; London Coffee-house, Ludgate-street; George’s Coffee-house, Temple-bar; the Cannon Coffee-house, Charing-cross; the Bedford, Covent Garden; Mount Coffee-house, Mount-street, Grosvenor-square; and such Ladies and Gentlemen who not Time to send for Tickets will be admitted on paying 10s. 6d. at the Door. / Care will be taken to have the Rooms and Hall properly warmed. / Books of the Oratorio to be had at the Place of Performance.[1]

 

 

 

Mar 1

[Mary Delany to Mrs Port, 1 March 1781]

 

                  Mr. Snow has given us an hour and ¾ this morning, and the overture of Amadis into ye bargain.[2]

 

 

 

Mar 2

By Command of Their MAJESTIES. / AT the Theatre-Royal in Drury-Lane, this present FRIDAY, March the 2d, will be performed / ALEXANDER’s FEAST. / To which will be added, / DRYDEN’s ODE, for ST. CECILIA’s DAY. / The principal Characters by / Miss LINLEY, / Miss DRAPER, and Miss PRUDOM. / Mr. NORRIS, and Mr. REINHOLD. / First Violin by Mr. RICHARDS. / End of the First Part, a Concerto on the Organ, / By Mr. STANLEY. / End of Second Part, a Concerto on the Violin, / By Mr. CRAMER. / Tickets to be had, and Places for the Boxes to be taken of Mr. Fosbrook, at the Stage-Door of the Theatre, at Half a Guinea each. / Pit 5s.  First Gall. 3s. 6d.  Second Gallery 2s. / The doors to be opened at half past Five, and to begin at half past Six. / Vivant Rex & Regina.[3]

 

 

 

Drury-Lane Theatre. / This Evening will be performed, by Command of Their Majesties, Alexander’s Feast; To which will be added Dryden’s Ode for St. Cecilia’s Day.[4]

 

 

 

Last night their Majesties were at Drury-Lane Theatre, at the performance of Alexander’s Feast, [sic] they were attended by the Duke of Montague, the Earl of Hertford, Ailesbury and Waldegrave, and Lady Egremont.[5]

 

 

 

The Commencement of the Oratorios, under Mess. Stanley and Linley, at Drury-Lane Theatre last night, was uncommonly brilliant.  Their Majesties commanded Alexander’s Feast, and Dryden’s Ode to St. Cecilia, which received their whole Force from every Assistance of vocal and instrumental Harmony.  The greatest Praise is due to the elegant Simplicity that characterizes Miss Linley’s Stile of Singing, and which is so absolutely requisite to give the true Effect to Handel’s Music.  Miss Prudom’s Voice appeared to great Advantage, and she sung so as to charm the Audience.  Miss Draper’s Manner is much improved.  Indeed the utmost Attention has evidently been bestowed to maintain this sublime Stile of musical Composition in its deserved Pre-eminence: And a most excellent Band was judiciously conducted by Mr. Richards.  Mr. Stanley’s and Mr. Cramer’s Solo Pieces were received with the greatest Applause; and the whole Entertainment met with every Mark of deserved Approbation.[6]

 

 

 

Drury-Lane,

Last night Dryden’s Alexander’s Feast was performed.  Their Majesty’s [sic] were present, but none of the family besides.  There was a pretty good house, though the boxes were not very full.  We never remember to have heard Mr. Morris sing better than he did last night.  Miss Linley sung with a peculiarity of taste, adapted to Handle’s music.  The sweetness of Miss Prudom’s voice and manner, engaged more than usual the attention and applause of the audience.  Miss Draper acquitted herself with credit and approbation.  The Concerto’s between the parts gave great satisfaction, except that they may be thought by some to be rather too long.

                  There was a negligence and indecency in the singers not taking their places in the Orchestra, till their Majesty’s [sic] were seated.  The House testified their disapprobation, and indeed we think it decent that the Performers should be prepared for their Majesty’s [sic]; and that they should not wait till their Majesty’s [sic] are prepared for them.[7]

 

 

 

Mar 3

AT the Theatre-Royal in Drury-Lane, on WEDNESDAY next, March 7, will be performed / JUDAS MACCABEAS [sic] / The principal Characters by / Miss LINLEY, / Miss DRAPER, and Miss PRUDOM. / Mr. NORRIS, and Mr. REINHOLD. / First Violin by Mr. RICHARDS. / End of the First Part, a Concerto on the Organ, / By Mr. STANLEY. / End of Part II, a Concerto on the Hautboy, / By Mr. PARKE. / Tickets to be had, and Places for the Boxes to be taken of Mr. Fosbrook, at the Stage-Door of the Theatre, at Half a Guinea each. / Pit 5s.  First Gall. 3s. 6d.  Second Gallery 2s. / The doors to be opened at half past Five, and to begin at half past Six. / Vivant Rex & Regina.[8]

 

 

 

Drury-Lane Theatre. / [...] On Wednesday the Oratorio of Judas Maccabaeus[.][9]

 

 

 

Drury-Lane Theatre. / [...] To-morrow the Oratorio of Judas Maccabaeus[.][10]

 

 

 

Mar 7

Drury-Lane Theatre. / This Evening will be performed the Oratorio of Judas Maccabaeus.[11]

 

 

 

An Admirer of Oratorio Music, who was present at the Representation of Judas Maccabaeus last Night at Drury-lane Theatre, wishes to express his unfeigned Approbation of so perfect an Entertainment in Terms that may not be misinterpreted into the trite Praise of News-Paper Flattery.———To those who were present, it will be needless to declare the Sincerity of entirely applauding the Skill and Taste so ably manifested throughout the whole Representation.  Indeed nothing can more clearly evince the Merit of the Conductors, than attracting the public Attention at a Time when every frivolous Amusement is artfully combined to dissipate and divert it.  But there is a native Strength and Solidity in English Taste that will ultimately triumph over the little fashionable Prejudices of the Day as certainly as the mere Gratifications of Sight must yield to the finer Powers of Imagination.[12]

 

 

 

Mar 8

Drury-Lane Theatre. / [...] To-morrow (by Command of their Majesties) the Oratorio of Deborah.[13]

 

 

 

Mar 9

Drury-Lane Theatre. / This Evening (by Command of their Majesties) the Oratorio of Deborah.[14]

 

 

 

Mar 12

Drury-Lane Theatre. / [...] / On Wednesday Acis and Galatea, to which will be added Bonduca, by the late Mr. Henry Purcell.[15]

 

 

 

Mar 13

Drury-Lane Theatre. / [...] / To-morrow Acis and Galatea, with Bonduca, by the late late [sic] Mr. Henry Purcell.[16]

 

 

 

Mar 14

Drury-Lane Theatre. / This Evening Acis and Galatea, with Bonduca, by the late late [sic] Mr. Henry Purcell.[17]

 

 

 

Mar 15

Drury-Lane Theatre. / [...] / And To-morrow (by Command of their Majesties) Acis and Galatea, with Bonduca, by the late Mr. Henry Purcell.[18]

 

 

 

Mar 16

Drury-Lane Theatre. / [...] / This Evening, by Command of their Majesties, Acis and Galatea; with Bonduca, by the late Mr. Henry Purcell.[19]

 

 

 

Mar 18

[Mary Delany to Mrs Dewes, 19 March 1781]

 

                  I had ye pleasure yesterday of seeing y[ou]r b[rothe]r, Mr. T. De la Bere.  He looks very well, and says he is so, and [12] does me the favour to dine w[i]th me to-morrow w[i]th Mr. Dewes and Master Sandford, and they go afterwards to the Oratoria [sic].[20]

 

 

 

Mar 19

Drury-Lane Theatre. / [...] / On Wednesday L’Allegro il Penseroso il Moderato.[21]

 

 

 

Mar 19

On Friday next the Poem of Elfrida will be performed after the Manner of an Oratorio, with the original Music, as composed by the late Dr. Arne.  After which will be recited Collins’s Ode on the Passions, accompanied with new Airs and Chorus, by Dr. Arnold, under whose Direction the whole Music will be conducted.  First Violin (with a Concerto) by Mr. Solomon, being his first public Appearance in this Kingdom.[22]

 

 

 

Mar 20

Drury-Lane Theatre. / [...] / T[-]morrow L’Allegro il Penseroso il Moderato.[23]

 

 

 

Mar 21

Drury-Lane Theatre. / This Evening L’Allegro il Penseroso il Moderato.[24]

 

 

 

Mar 22

Drury-Lane Theatre. / [...] / To-morrow, by Command of their Majesties, L’Allegro il Penseroso ed Moderato.[25]

 

 

 

Mar 23

At the Theatre Royal in Covent Garden, / This Day the Poem of / ELFRIDA / will be performed after the Manner of / An ORATORIO. / With the original Music, as composed by the late / Dr. ARNE. / After which will be recited Collins’s Ode on the Passions, accompanied with new Airs and Chorus by Dr. Arnold, under whose Direction the whole Music will be conducted. / End of the First Part, a Concerto on the Hautboy by Mr. Le Brun. / End of the Second Part, a Concerto on the Violin by Mr. Solomon, (being his 1st public Performance in this Kingdom.[)] / To begin precisely at Seven o’Clock. / Boxes and Places for the Boxes to be had of Mr. Brandon, at the Theatre. / Boxes 7s. 6d.  Pit 4s.  First Gallery 3s.  Second Gallery 2s.[26]

 

 

 

Drury-Lane Theatre. / This Evening, by Command of their Majesties, L’Allegro il Penseroso ed Moderato.[27]

 

 

 

For the Public Advertiser. / ORATORIO INTELLIGENCE. / LAST Night at Covent Garden Theatre Mr. Mason’s Dramatic Poem of ELFRIDA was postponed [?performed] for the first Time as an Oratorio: This Poem is, when represented as a Play, by far too dull and unentertaining for the Generality of Audiences; but when bereft of the Scenery, Dresses, &c. it becomes quite tiresome, which was the Case last Night.  The Performers, however, did the Piece all Manner of Justice; and the Chorusses were sung with great Taste and Judgment. / At the End of the First Part Mr. Le Brun performed a most admired Solo on the Hautboy; as did Mr. Salomon. / At the End of the Second Part, a Concerto on the Violin, which was received with the warmest Applause. / After the Oratorio Mr. Henderson recited Mr. Collins’s Ode to the Passions, with accompanyments by Dr. Arnold, which was very much admired, and well received. / The Writer of this Article has always thought, that if Mr. Henderson would condescend to take Instructions from Shakespeare, he would greatly amend his Performance of almost every Part.  The Instruction he alludes to is what the Poet makes Hamlet say to the Player King, “Not to saw the Air with his Hands,” &c. / The House was remarkably thin, not one half sufficient to defray the bare Expences.[28]

 

 

 

We have heretofore found it somewhere suggested, by way of Improvement in the Force of Oratorio Effect, to give them in some sort of Stage Manner; but never till Yesterday’s Performance of Elfrida, did we think it would be the Practice to break down a dramatic Piece into an Oratorio.[29]

 

 

 

Mar 24

Drury-Lane Theatre. /[...] / On Wednesday next Alexander’s Feast, after which will be recited the Monody to the Memory of Mr. Garrick, written by Richard Brindley Sheridan.  the Music by Mr. Linley.

Covent-Garden Theatre. / The Poem of Elfrida, which was performed last Night after the Manner of an Oratorio, and Collin’s Ode on the Passions, were both received throughout with universal Applause, and will be repeated on Wednesday next.[30]

 

 

 

Mar 26

Drury-Lane Theatre. / On Wednesday Alexander’s Feast, after which will be recited a Monody on the Death of Mr. Garrick, with Airs and Chorusses.[31]

 

 

 

Mar 27

Miss Harpur’s Engagement at the Covent-Garden Oratorios, for the remaining Nights, is said to be an Hundred Guineas.

[...]

The young Gentleman whose Voice is so much admired by the Conoscenti, is to perform at Drury Lane in the Oratorio To-morrow Evening.[32]

 

 

 

Drury-Lane Theatre. / To-morrow Alexander’s Feast, after which will be recited a Monody to the Death of Mr. Garrick, with Airs and Chorusses, set to Music by Mr. Linley.[33]

 

 

 

Mar 28

At the Theatre Royal in Drury Lane, / This Day will be performed / ALEXANDER’s FEAST. / After which will be recited / The MONODY to the Memory of Mr. GARRICK, / The Airs and Chorusses set to Music by Mr. LINLEY. / The Recitation by Miss Farren. / The principal Vocal Parts by / Miss LINLEY, / Miss DRAPER, and Miss PRUDOM. / Mr. NORRIS, / And Mr. REINHOLD. / First Violin, Mr. Richards. / In the Course of the Performance, the Song of “Verdi Prati,” by a YOUNG GENTLEMAN, (being his first Appearance in Public) / End of the First Part, a Concerto on the Organ by Mr. Stanley. / End of the Second Part, a Concerto on the Hautboy by Mr. Parke. / Tickets to be had and Places for the Boxes to be taken of Mr. Fosbrook, at the Stage Door of the Theatre at Half a Guinea each. / Pit 5s.  First Gallery 3s. 6d.  Second Gallery 2s. / The Doors to be opened at Half past Five, and begin at Half past Six o’Clock. / Vivant Rex & Regina.[34]

 

 

 

Drury-Lane Theatre. / This Evening Alexander’s Feast, after which will be recited a Monody to the Death of Mr. Garrick, with Airs and Chorusses, set to Music by Mr. Linley; the Recitation by Miss Farren.[35]

 

 

 

Mar 29

For the Public Advertiser.

ORATORIO INTELLIGENCE.

LAST Night was performed, at Drury-Lane Theatre, the admired Oratorio of Alexander’s Feast; in the Course of which a Boy, seemingly about fourteen Years of Age, sung in a most surprising Manner the Song of Verdi Prati.  The Powers of this Youth are astonishing; his Voice is harmonious, and he possesses great Command of it; he was encored.  Mr. Stanley’s Concerto on the Organ was, as usual, excellent; and Mr. Parke, in his Concerto on the Hautboy, was very great.

After the Oratorio Mr. Sheridan’s MONODY to the Memory of Mr. Garrick was recited by Miss Farren, accompanied with Airs and Chorusses set to Musioc by Mr. Linley.  Notwithstanding Miss Farren appeared under great Disadvantage after Mrs. Yates, in reciting the Ode, yet she acquitted herself much to the Satisfaction of the Audience; she seemed rather too sensible of the great Applause her Predecessor had acquired, with the natural Diffidence that must accompany a first Attempt of a young Performer in so capital a Part, occasioned a Timidity which, tho’ it in a great Measure lessened the Elegance of the Entertainment, yet created a pleasing and simpathetic [sic] Feeling in the Audience, and procured the Lady that Applause so great a Desire to please at all Times merit.—The Airs and Chorusses sung by the different Performers in the Oratorio were very much admired and applauded by a polite tho’ not crowded Audience.[36]

 

 

 

Last Night Lord Deerhurst, for the first Time since he lost his Eye-sight, was present at the Oratorio at Drury-Lane; he looked exceedingly well; wore a black Patch on one Eye only, and was very merry.  His Lordship sat in the King’s Box, accompanied by his Sister-in-law, Lady Bridget Tollemache, who paid him the greatest Attention.[37]

 

 

 

Mar 29

Drury-Lane Theatre. / [...] / To-morrow, By Command of their Majesties, Acis and Galatea.[38]

 

 

 

Mar 30

Drury-Lane Theatre. / This Evening, by Command of their Majesties, Acis and Galatea: To which will be added several Select Pieces.[39]

 

 

 

 

[Martha Dangerfield Bland to Frances Bland Tucker, Philadelphia, 30 March 1781]

 

[...] we had an oratorio at the Minister’s last Tuesday, it was very clever — he gives a Ball one week, a concert the next — the characters in the oratorio were Minerva, the Genius of france, of America and the high Priest of Minerva by Miss Bond — a little snub nosed Girl about four foot high sings very smartly for a Philadelphian — & with Great Boldness — the Genius of france a Mr. Brown who sings delightfully[,] the Genius of America by Mr. Dick Peters of the board of War, the high Priest a Mr. Bache son-in-law to Dr. Franklin as big and as fat as docr. Hall but not so high, the Minister sacrifices his time to the policy of the french Court — he dislikes Music, never dances — and is a domestick Man yet he has a Ball or a Concert every week and his house full to dinner every day [...][40]

 

 

 

Mar 31

Yesterday [...] in the Evening their Majesties and the Prince of Wales went to the Oratorio.[41]

 

 

 

Drury-Lane Theatre. / On Wednesday next the Sacred Oratorio of Messiah.[42]

 

 

 

[March]

Sermons on several Occasions, preached before the University of Cambridge.  To which is prefixed, A Dissertation on that Species of Composition.  By J. Mainwaring , B.D. Fellow of St. John’s College.  8vo.[43]

 

 

 

Mar 28, Apr 2

Drury-Lane Theatre. / The young Gentleman who was so well received on Wednesday last will make his 2d Appearance in Public on Wednesday next, when the Sacred Oratorio of the Messiah will be performed, being the last but one this Season.[44]

 

 

 

Apr 5

Drury-Lane Theatre. / [...] / To-morrow the Sacred Oratorio of Messiah, in which the young Gentleman, who has been so favourably received, will make his third Appearance in Public, being the last Oratorio this Season.[45]

 

 

 

Lent

The [Theatre Royal in Bristol] was reopened in October, 1779 […] Six oratorios were produced during Lent, 1780, a guinea being charged for admission to the series.  Two oratorios were also given in 1781 and 1782.[46]

 

 

 

Jul 16

[Fanny Burney to Susanna Elizabeth Burney and Charlotte Ann Burney, 16 July 1781]

 

[...] I begged him [i.e. Sacchini] to sing Dov’e s’affretti per me la morta [from Handel’s Poro],—he could hardly recollect it, & what he recollected he could hardly sing; it required more exertion than he can now use without pain & fatigue.[47]

 

 

 

[July]

“Biographical Account of Mr. ST. ANDRE” [surgeon and the most well-known Swiss in London after Heidegger]

[…] His face was muscular and fierce.  One of his eyes, to external appearance, seemed to be a mass of obscurity (as he expressed it of Handel’s, when he became stark-blind), at least it had not the uncommon vivacity of the other.[48]

 

 

 

Nov 15

[Mary Delany to Georgina Mary Anne Port, 18 November 1781]

 

[Thursday evening] When we were all seated (for the Queen is so gracious she always makes me sit down) the D[uche]ss of Portland sat next to the Queen, I sat next to the Princess Royal; on the other side of me was a chair, and his Majesty did me the honour to sit by me; he went backwards and forwards between that [i.e. drawing room] and the musick room, and he was so good as to have a good deal of conversation with me, particularly about Handel’s musick, and ordered those peaces [sic] to be play’d which he found I had a preference for.[49]

 

 

 

Dec 14

[Charles Burney to Thomas Twining, 14 December 1781]

 

                  The history of your Musical Studies and attachments is fair & curious.  Mine, if I had time to recollect & write it, would shew the same flexibility & openness to conviction.  Handel, Geminiani & Corelli were the sole Divinities of my Youth; but I was drawn off from their exclusive worship before I was 20, by keeping company with travelled & heterodox gentlemen, who were partial to the Music of more modern composers whom they had heard in Italy.

 

                  As to Harpsichord music besides the study of Handel’s Lessons, which in that elaborate style are admirable, I was early a great admirer of the original Fancy, boldness, delicacy, & Fire of Domenico Scarlatti, so different from all lessons before & since![50]

 

 

 

“On Composition; and the too frequent Use of Epithets.”

 

[…] What might have been the consequence, had not some men of correct taste and judgment checked their career [of those writers using florid and flatulent language], it is not easy to determine: perhaps the energy and strength of our language might soon have been frittered down into a motley jargon of unmeaning sounds, in like manner as the strong powers of harmony, awakened by Handel and Correlli, appear now to be exchanging for the effeminate tweedling of modern Italian composition.[51]

 

 

 

[To Miss Delaunois]

 

This London is a place that seems to unite every-thing in itself, and appears to be exhaustless.  I pass the morning in seeing every-thing which is to be seen in a morning and in the evening I have recourse to the Theatres, the Opera, or some public assembly.  I have attended Mr. Garrick whenever [257] has acted: he is wonderful, as you told me I should find him, but particularly when he represents the characters of Shakespear.  I have heard several of Handel’s oratorio’s [sic] with a pleasure not to be expressed.  The Italian opera does not please me;[52]

 

 



[1] The Public Advertiser, Wednesday 14 February 1781, [1].

[2] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, edited by Lady Llanover, second series, 3 vols. (London: Richard Bentley, 1862), 3:8.

[3] The Aurora, and Universal Advertiser, Friday 2 March 1781, [1].

[4] The Public Advertiser, Friday 2 March 1781, [4]; also in The Aurora, and Universal Advertiser, Friday 2 March 1781, [4].

[5] The Aurora, and Universal Advertiser, Saturday 3 March 1781, [2].

[6] The Public Advertiser, Saturday 3 March 1781, [4].

[7] The Aurora, and Universal Advertiser, Saturday 3 March 1781, [4].

[8] The Aurora, and Universal Advertiser, Saturday 3 March 1781, [1].

[9] The Public Advertiser, Monday 5 March 1781, [3].

[10] The Public Advertiser, Tuesday 6 March 1781, [4].

[11] The Public Advertiser, Wednesday 7 March 1781, [3].

[12] The Public Advertiser, Thursday 8 March 1781, [3].

[13] The Public Advertiser, Thursday 8 March 1781, [3].

[14] The Public Advertiser, Friday 9 March 1781, [4].

[15] The Public Advertiser, Monday 12 March 1781, [4].

[16] The Public Advertiser, Tuesday 13 March 1781, [3].

[17] The Public Advertiser, Wednesday 14 March 1781, [4].

[18] The Public Advertiser, Thursday 15 March 1781, [3].

[19] The Public Advertiser, Friday 16 March 1781, [3].

[20] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, edited by Lady Llanover, second series, 3 vols. (London: Richard Bentley, 1862), 3:11–12.

[21] The Public Advertiser, Monday 19 March 1781, [3].

[22] The Public Advertiser, Monday 19 March 1781, [3]; reprinted, Tuesday 20 March 1781, [4]; Wednesday 21 March 1781, [3]; Thursday 22 March 1781, [4]; and Friday 23 March 1781, [4].

[23] The Public Advertiser, Tuesday 20 March 1781, [4].

[24] The Public Advertiser, Wednesday 21 March 1781, [3].

[25] The Public Advertiser, Thursday 22 March 1781, [4].

[26] The Public Advertiser, Friday 23 March 1781, [1].

[27] The Public Advertiser, Friday 23 March 1781, [4].

[28] The Public Advertiser, Saturday 24 March 1781, [2].

[29] The Public Advertiser, Saturday 24 March 1781, [3].

[30] The Public Advertiser, Saturday 24 March 1781, [4].

[31] The Public Advertiser, Monday 26 March 1781, [4].

[32] The Public Advertiser, Tuesday 27 March 1781, [3].

[33] The Public Advertiser, Tuesday 27 March 1781, [4].

[34] The Public Advertiser, Wednesday 28 March 1781, [1].

[35] The Public Advertiser, Wednesday 28 March 1781, [3].

[36] The Public Advertiser, Thursday 29 March 1781, [2].

[37] The Public Advertiser, Thursday 29 March 1781, [3].

[38] The Public Advertiser, Thursday 29 March 1781, [4].

[39] The Public Advertiser, Friday 30 March 1781, [4].

[40] “Randolph and Tucker Letters,” The Virginia Magazine of History and Biography 43 (1935): 41–46 (44).

[41] The Public Advertiser, Saturday 31 March 1781, [3].

[42] The Public Advertiser, Saturday 31 March 1781, [4].

Author of the justly-admired “Life of Handel, 1760;” of which see an account in our volume for that year, pp. 159 and 213.

[43] The Gentleman’s Magazine 51 (1781): 130.

[44] The Public Advertiser, Monday 2 April 1781, [4]; reprinted, Wednesday 4 April 1781, [4]; Wednesday 4 April 1781, [3].

[45] The Public Advertiser, Thursday 5 April 1781, [3]; reprinted, Friday 6 April 1781, [3].

[46] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: the author, 1893; reprinted, Bath: Kingsmead Reprints, 1970), 439.

[47] The Early Journals and Letters of Fanny Burney.  Volume IV: The Streatham Years.  Part II: 1780-1781, edited by Betty Rizzo (Montreal & Kingston, London, and Ithaca: McGill-Queen’s University Press, 2003), 413.

[48] The Gentleman’s Magazine 51 (1781): 321.

[49] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, edited by Lady Llanover, second series, 3 vols. (London: Richard Bentley, 1862), 3:70.

[50] The Letters of Dr Charles Burney.  Volume I: 1751-1784, edited by Alvaro Ribeiro, SJ (Oxford: Clarendon Press, 1991), 328, 330.

[51] Edmund Rack, Essays, Letters, and Poems (Bath: R. Cruttwell for the author, 1781), 30.

[52] [William Combe], Letters between Two Lovers and Their Friends, 3 vols. (Dublin: Brett Smith, 1781), 3:256–57.