He was then advanced in years, and one afternoon stayed, talking with Rich about his tricks and transformations, and listening to his agreeable talk, until Rich's dinner-hour, two o'clock, had arrived. In all these colloquies with his visitors, whatever their rank, Rich never neglected his art. Upon one occasion, accident having detained the Earl's coach later than usual, he found Rich's chat so agreeable, that he was quite unconscious it was two o'clock in the afternoon; when he observed Rich spreading a cloth, then coaxing his fire into a clear cooking flame, and proceeding, with great gravity, to cook his own beef-steak on his own gridiron. The steak sent up a most inviting incense, and my Lord could not resist Rich's invitation to partake of it. A further supply was sent for; and a bottle or two of good wine from a neighbouring tavern prolonged their enjoyment to a late hour. But so delighted was the old Peer with the entertainment, that, on going away, he proposed renewing it at the same place and hour, on the Saturday following. He was punctual to his engagement, and brought with him three or four friends, "men of wit and pleasure about town," as M. Bouges would call them; and so truly festive was the meeting that it was proposed a Saturday's club should be held there, whilst the town remained full. A sumptuary law, even at this early period of the Society, restricted the bill of fare to beef-steaks, and the beverage to port-wine and punch.
However, the origin of the Society is related _with a difference_. Edwards, in his _Anecdotes of Painting_, relates that Lambert, many years principal scene-painter at Covent Garden Theatre, received, in his painting-room, persons of rank and talent; where, as he could not leave for dinner, he frequently was content with a steak, which he himself broiled upon the fire in his room. Sometimes the visitors partook of the hasty meal, and out of this practice grew the Beef-steak Society, and the assembling in the painting-room. The members were afterwards accommodated with a room in the playhouse; and when the Theatre was rebuilt, the place of meeting was changed to the Shakespeare Tavern, where was the portrait of Lambert, painted by Hudson, Sir Joshua Reynolds's master.
