I cannot better conclude this chapter than with the following strictures upon the places of amusement to which it chiefly relates, culled from a newspaper of 1788:—
‘If the objections which are made to permitting the present existing theatres or places of public amusement to continue arises from a principle of morality, which indeed is the only plea of opposition which can be alleged, it is somewhat strange that the only exception should be made in favour of Sadler’s Wells, at which _alone_, it is worthy of remark, a man may if he chooses get drunk. A pint of liquor is included in the price of admittance, but as much more may be had as any person chooses to call for. The heat of the place is a great inducement, and we believe many _females_ have from that cause drank more than has let them depart in their sober senses, the consequences of which are obvious. This is not permitted at Astley’s, the Circus, or the Royalty.’
The last-mentioned place of amusement was a Variety Theatre, in Wells Street, Goodman’s Fields, which had risen out of the New Wells, and gave entertainments similar to those of Sadler’s Wells and the Royal Circus.
Fortunes of the Royal Circus—Destruction of Astley’s Amphitheatre by Fire—Its Reconstruction—Second Conflagration—Astley in Paris—Burning of the Royal Circus—Erection of the Olympic Pavilion—Hengler, the Rope-dancer—Astley’s Horses—Dancing Horses—The Trick Horse, Billy—Abraham Saunders—John Astley and William Davis—Death of Philip Astley—Vauxhall Gardens—Andrew Ducrow—John Clarke—Barrymore’s Season at Astley’s—Hippo-dramatic Spectacles—The first Circus Camel.
For nearly forty years after the opening of Astley’s Amphitheatre, the performances did not differ, in any respect, from the usual entertainment of the smallest tenting company now travelling. The earliest bill of the collection in the library of the British Museum was issued in 1791, when the great attraction of the place appears to have been the somersault over twelve horses, called _le grand saut du Trampolin_, of James Lawrence, whose vaulting feats gained him the name (in the bills) of the Great Devil.
In 1792, the entertainments comprised a considerable musical element, and concluded with a pantomime. One of the advertisements of this year announces the performances in the arena as follows:—