The Italian Opera — An uproar — Catalani and her terms — Vauxhall — Musical prodigy — Painters, Sculptors, Art exhibitions — Literature and writers — Bibliomaniacs — George Bidder, the Calculating boy — Musicians — Medical men — The Clergy — Roman Catholic emancipation — Joanna Southcott.

The Italian Opera flourished. Madame Catalani, undeterred by her reception by the public, at the time of the O. P. Riots, was prima donna; for Mrs. Billington retired from the stage in May, 1811.

There was a pretty little riot on 2nd of May, 1813, at the Opera at the King's Theatre.

"We are indebted to a correspondent for the following particulars of what, we are told, for we were not present, was, in its progress, one of the most disgraceful scenes that the walls of that, or any other Theatre, ever witnessed.

"Much disapprobation had prevailed throughout the performance of the Opera on Saturday night, and, at its conclusion, cries for the Manager, and Catalani, resounded throughout the house. The Ballet was, however, suffered to commence, but had not proceeded many minutes, when, from behind the scenes—'a band of fierce barbarians rushed upon the stage; the dancers flying for safety and for succour.' The drop-scene in vain descended, for an irruption was made through the body of it, and, on its being drawn up, there was discovered a motley group of men and women, the latter shrieking and the former shouting, and most destructively active in the demolition of all that came within reach of their canes.

"Mr. Masterson, Secretary to the Theatre, made his appearance, to the interruption of the pleasing interchange of shouts, which alternately rang out from the audience before the stage, and the company of new performers upon it. The Secretary bowed, and silence ensued—when a gentleman, from the front of the pit, and not long from Ireland, made a speech on the occasion demanding the Manager. The Secretary expressed himself ready to convey their pleasure to Mr. Taylor, but said he, himself, was unauthorised to answer any questions. Catalani's name was immediately vociferated in one quarter, that of Angiolini in another; and, in a third, a rise of salary was demanded for them as well as Tramezzani; but the sums were so large, being £10,000 for one, £5,000 for another, that, whether intended, or not, it had the effect of changing the tone of this clamour, and the Secretary was not honoured with any further commands. "The audience appeared now to be satisfied; no further noise was heard, and the multitude on the stage were beginning to disperse, when, unfortunately, an order for the soldiers to clear the stage as usual, produced a most alarming scene. Three or four soldiers, and a sergeant, were most manfully assailed, and disarmed by the disappointed lovers of music and Catalani. The firelocks were brought as trophies to the front of the stage, and precipitated into the Orchestra. The pit, which contained the sober and orderly part, only, of its former contents, gave strong signs of disgust, which were received and returned by one of the disarming heroes in a manner only to be described as the utmost stretch of blackguardism. Our Correspondent says that he dares not describe the impudent species of insult which he offered to the spectators.

"The officer of the guard, the moment that he saw the unbecoming attack made on his small party, hurried to the spot, with the avowed intention of drawing them off; but the moment he appeared, he also was hustled, his sword violently seized, and his person insulted, until Major Mellish came forward, and assured the house that his friend Lieutenant White, had only presented himself to call off his party from the scene. The vengeance of the whole house was now directed against the man who had acted in so brutal a manner in face of the Ladies assembled in the Boxes. He was collared, dragged to the front of the stage, tweaked by the nose, and called on, after many other ingenious indignities, to make an apology to the house. But he was most stubborn, and fought about him; till, at last, it was discovered that he was too inebriated for utterance. This was satisfactorily explained to the audience by a gentleman near him.

Peace would have been now restored, but Mr. Coates—the at all Mr. Coates—made his appearance, and insisted on making a speech. He was almost equally impetuous, but he also was manoeuvred off the stage. Much mischief was done, both to the musical instruments in the Orchestra, and to the scenery. It was most providential that a scene of bloodshed had not been the result; for the detachment of Guards in the street, hearing that their comrades had been assailed, and their officer insulted, rushed into the Theatre, and it was by a miracle that they were stopped from making their way to the stage. In fact, the practice of employing soldiers to clear the stage is most unbecoming. It puts the troops in a most embarrassing position, and is sure to raise the indignation of the spectators. It was intimated, we hear, that, in consequence of the dreadful scene of Saturday night, the Lord Chamberlain has issued an order, that no person shall be admitted behind the scenes, under the penalty of withdrawing the License from the Theatre."

The managers of Theatres used to make large sums by allowing people behind the scenes, and it was said that the Lord Chamberlain's prohibition meant a loss of £3,000 a year to the Opera. I cannot, exactly, trace the cause of this riot. I know that Catalani broke her engagement, and can only suppose that it was something about Money, for she was as greedy as a certain modern Prima Donna. She had already received £1,275 for ten weeks, and would be paid at the same rate for the remaining twenty weeks of her engagement. Take a newspaper paragraph, 25th of March, 1814: "Madam Catalani has been offered two thousand guineas, and a free benefit, for thirty nights' performance at the Opera, which offer she has declined, asking three thousand." So she did not sing that year.

Here is another little story. May 23, 1814: "Dr. Busby intends giving two Concerts at the Opera House. The Doctor consulted Mr. Braham in the first instance, requesting his advice what vocal performers he should engage. Mr. Braham immediately recommended Catalani, Dickons, Salmon, &c., &c. The Doctor, in consequence, waited on Monsieur Vallabrique, and begged to know Madame Catalani's terms. The answer was, 500 guineas each day; or half the gross receipts; and Monsieur said, if the Doctor would agree to the latter proposal, that he, himself, would engage the singers at a great expense, and pay them liberally out of his own portion. 'Well,' says the Doctor, 'what would you offer them?' 'Why,' says Monsieur, 'my wife 500 guineas each morning; Mrs. Dickons ten guineas each morning; Mrs. Salmon ditto, and Mr. Braham'—— 'Stop!' says the Doctor, 'I have already engaged that gentleman. He is to have thirty guineas each morning; or if——' 'Ha! ha!' interrupted the astonished Frenchman, with a long tragic groan. 'Thirty guineas every morning? He is a Jew!!!' On which the Doctor made his bow and engaged Grassini."

People were very fond of music, and there were plenty of good Concerts, and singers, with oratorios for the more seriously disposed. Did you object to the heat of a Concert room, you could have a very good vocal music, with an excellent band, al fresco, at Vauxhall, with the very best of company to rub shoulders against. Take, for instance, only one day—and from my notes I could give many—July 12, 1819: "Vauxhall. A more brilliant scene has scarcely ever presented itself than that which these gardens exhibited on Friday evening last. The walks were thronged with company of the first description, among whom we noticed the Duke of Argyle, the Duchess of Richmond, Bedford, and Rutland; the Marquess of Worcester, the Marquess and Marchioness of Tavistock; their Excellencies the French and Spanish Ambassadors, Viscount and Lady Castlereagh; Lords George Cavendish, Petersham, Foley, Clare, Grantham, Harrington, Forbes, Clifford, and Kier; Ladies Brownlow, Warburton, and Otway; Sir Harry Hotham, Sir William Elliot, and Mr. Holme Sumner, M.P." Of course there was the usual musical prodigy, no age could do without that, and here it is, 10th of September, 1814: "The Plymouth Chronicle of Tuesday last (September 6th) contains the following singular statement, respecting a boy, living in Plymouth, only eleven years and a half old. Of Master Whitcomb, for such is the name of this prodigy, it is asserted that 'unassisted in musical composition, this child has produced to the musical world several pieces in score, dedicated, by permission, to the inimitable Catalani'; but what we chiefly allude to, is, a challenge he received a few days since, viz., to compose a full orchestra, musical parts to accord in harmony with a given bass!! Thus taken by surprise, he accepted the challenge, and was locked up in a room, with only pen, ink, and paper, the given bass was produced, and, without any assistance, this child of nature produced, in about an hour, a complete musical score, viz., two violin parts, two flute parts, two horn parts, a tenor part, and oboe part!"

From Music to Art is but a short, and legitimate transition, and that period was no mean one in the history of Art, which could produce such a list of names as the following, which does not pretend to be exhaustive: Sir George Beaumont, Sir William Beechey, R.A., Henry Bone, R.A., the celebrated enameller, A. W. Callcott, R.A., A. W. Chalon, R.A., R. Cosway, R.A., I. Constable, P. de Wint, W. Etty, W. Finden, the engraver, Henry Fuseli, R.A., G. Hayter, W. Hilton, R.A., E. Landseer, Sir Thomas Lawrence, R.A., C. R. Leslie, J. Linnell, P. I. de Loutherbourg, R.A., W. Mulready, R.A., P. Nasmyth, J. Northcote, R.A., H. W. Pickersgill, W. H. Pyne, P. Reinagle, R.A., H. Raeburn, R.A., R. R. Ramsay, A.R.A., M. A. Shee, R.A., H. Sass, T. Stothard, R.A., J. M. W. Turner, R.A., W. Varley, C. H. Weigall, B. West, R.A., D. Wilkie, R.A. and W. Wyon the medallist.

Then among Sculptors were some glorious names—W. Behnes, F. Chantrey, R.A., J. Flaxman, R.A., J. Nollekens, R.A., W. Theed, P. Turnerelli, and R. Westmacott, R.A.

There were, besides the Exhibition of Pictures of the Royal Academy, which was held at Somerset House, or Somerset Place, as it was then called, two Water Colour Exhibitions—"The Society of Painters in Water Colours," and the "Associated Painters in Water Colours." And, occasionally, there were, as now, collections of the works of some one artist to be seen, as, for instance, in March, 1811, West's pictures were shown; in May, 1812, Wilkie's pictures were exhibited; and in May, 1813, a collection of Sir Joshua Reynolds' works was made, and there was a supplementary exhibition for the sale of pictures, called "the European Museum."

There was a craze for large Panoramas, and they generally followed the progress of the war: thus in 1811 we find them of Malta, of Cadiz, the Siege of Flushing, and a Panorama of Messina. In 1812 we have one of Lisbon, and in 1815 we are treated to a view of Elba.

Miss Linwood ought to rank as an artist, and her exhibition of Needlework was most popular, as may be judged by the fact that it was on show at Saville House, Leicester Square, from 1800 till 1844, when she died. It then filled up the place in public amusement now occupied by Madame Tussaud's Exhibition. (By the way, Mrs. Salmon was the wax-work woman of those days.)

Miss Linwood's work, although done with coloured wools, was as like that awful Berlin wool-work of our day, as a picture by the President of the Royal Academy would resemble a coloured wall-poster. They were large and most faithful copies of some of the finest specimens of art, both British and foreign. The South Kensington Museum possesses some of them, notably a portrait of Napoleon. For one of her pictures, the Salvator Mundi, after Carlo Dolci, she refused three thousand guineas, and at her death left it as a legacy to the Queen; but, when her collection was sold, it fetched very little, somewhere about £1,000.

There was very little done in public statuary at this time, but the monument to the memory of Nelson, in the Guildhall, was uncovered on April 27, 1811 (Sheridan composed the inscription); and on March 27, 1813, that to Pitt, in the same building, was inaugurated, Canning being responsible for the inscription.

In literature we have a strong list of names, but in the one I give I do not pretend that it includes every one laying claim to literary merit, but it is merely a representative catalogue:—Joanna Baillie, Mrs. Barbauld, Robert Bloomfield, Lord Byron, Thomas Campbell, Thomas Carlyle, G. Chalmers, S. T. Coleridge, George Crabbe, Alan Cunningham, Madame D'Arblay, Isaac D'Israeli, Sir Philip Francis, William Godwin, George Grote, Henry Hallam, William Hazlitt, Mrs. Hemans, James Hogg, Thomas Hood, Theodore Hooke, Leigh Hunt, Mrs. Inchbald, Mrs. Jameson, J. Keats, Charles Lamb, W. S. Landor, J. LempriÈre, M. G. (or Monk) Lewis, Lord Lytton, Edward Malone, Miss Mitford, James Montgomery, Hannah Moore, Thomas Moore, Lady Morgan, Lindley Murray, Mrs. Norton, Mrs. Opie, Jane Porter, Anne Radcliffe, Samuel Rogers, Sir Walter Scott, R. B. Sheridan, Percy Bysshe Shelley, John and Horace Smith, Robert Southey, J. Horne Tooke, Henry Kirke White, William Wordsworth.

Death claimed, during these nine years, some of the older littÉrateurs, as the Right Rev. Thomas Percy, D.D., Bishop of Dromore, whose "Reliques of Antient English Poetry" is well known. He died Sept. 30, 1811. On March 18, 1812, died John Horne Tooke, who will always be remembered by "The Diversions of Purley." John Philpot Curran, the celebrated Irish lawyer and orator, died at Brompton, October 14, 1817; and Samuel Lysons, the eminent Antiquary, who was Keeper of the Records when they were in the Tower of London, whose "Environs of London" is still a standard book of reference, expired June 29, 1819. On August 25th of the same year, died James Watt, whose name is so well known in connection with the steam engine.

It was a dilletante age for books. It was the first wake up after a long, long sleep. Men were only just beginning to understand the value of the treasures they possessed, and the mysteries of first editions, tall copies, &c., were just coming to light. Old libraries were searched, and their secrets were exposed. I think they over-valued their old books; as a proof, they do not fetch so much now. For instance, take the "Valdarfer Boccaccio," printed in 1471. This book was in the library of the Duke of Roxburghe, and at the sale thereof fetched, on June 17, 1812, the enormous sum of £2,260. It was purchased by the Marquis of Blandford. He afterwards sold it, on June 16, 1819, to Messrs. Longman and Co., at the reduced price of £875, and on December 7, 1881, Mr. Quaritch bought it for £585. At the same sale the Duke of Devonshire bought a Caxton, "The Recuyell of the historyes of Troye," for £1,060. People other than those infatuated called it bibliomania, and so I think it was. The foundation of the celebrated Roxburghe Club took place on that dies mirabilis, the 17th of June, when the number was limited to twenty-four, and they dined annually afterwards, the great toast of the evening being always, "The memory of the immortal Valdarfer."

Here is a curious Advertisement, May 11, 1814: "A Shabby Old Manuscript, to be seen at No. 15, Noel Street, Berwick Street, Soho, is, perhaps, one of the greatest Curiosities now existing; not so much for its Antiquity, though conjectured to be of the 13th or 14th Century, for it has no date, or any striking peculiarity either in the Character or spelling, as on account of the subject, and the extraordinary nature of its contents. The Proprietor of this singularly curious and interesting document, a gentleman of high literary attainments, would, under certain limitations and restrictions, dispose of a Correct Copy for 200 guineas. Mere curiosity may, however, be gratified with a sight of the original, and of the heads of its principal contents, for a One Pound Bank of England Note, or twenty shillings good and current money."

In Science great strides were being made; they were emerging from the slough of ignorance, and treading the right path at last; and, although they cannot boast either of the scientists, or the discoveries, of the Victorian era, yet an age that could produce a Humphrey Davy and a David Brewster brought forth two famous men. About this time there was a wonderful boy, who, since, developed into a good Civil Engineer. The earliest notice I can find of him is in a Newspaper of March 4, 1814. "There is now at Moretonhamstead, Devonshire, a boy only seven and a half years old, of a most astonishing genius; indeed, as a Calculator, quite a prodigy. A gentleman asked him how many eyes and toes six score of bullocks had, and how many minutes in a year, each of which questions he answered with the same ease and quickness. Another person put many difficult questions to him in arithmetic, to the whole of which he immediately replied correctly. The boy cannot account how he does it, and, till within a few weeks, did not know a figure. His name is Bidder, and his father is a mason at the above place."

We hear of him again in October, 1819. "A singular phenomenon appeared in the metropolis this month, a boy of the name of George Bidder, solved the most difficult questions in arithmetic by mental calculation, in less time than could be accomplished by the most skilful by the ordinary operation; and what was more remarkable he did not work by common arithmetical rules, but by a process entirely his own."

Among the musical composers who were then living may be named Sir Henry R. Bishop, Dr. Calcott, Muzio Clementi, Dr. Crotch, Charles Dibdin, Thomas Greatorex, Thomas Kelly, Vincent Novello, John Parry, Cipriani Potter, and Samuel Wesley. Medical Science had emerged from the empiricism in which it had so long been shrouded: and to this era belong some great names, both in Medicine and Surgery. Still, the Pharmacopoeia was a great deal too redundant, and the family doctor was pompous, and not too learned. Doctors and Clergymen still stuck to their wigs—Barristers and Judges still do to theirs—and he could not be worth his salt as a physician, unless he carried a gold-headed cane, often with a round ball a-top, which was a relic of the time when it contained some aromatic mixture, which he smelt, in order to guard himself against contagion.

Among eminent medical men and surgeons of those days, first in alphabetical order is that clever old bear, John Abernethy, whose brusque sayings have been so often quoted. Joseph Constantine Carpue, who distinguished himself by making false flesh noses, which he covered with skin let down from the forehead. Sir Richard Croft, who attended the Princess Charlotte in her confinement, and whose death so preyed upon his mind that, about three months afterwards, he committed suicide by shooting himself. Sir Henry Halford, who was physician in ordinary to George IV., and whom we have seen, in conjunction with that illustrious monarch, examining the bodies of Henry VIII. and Charles I.; and Dr. Jenner, whose connection with Vaccination every one knows.

A PHYSICIAN.