Those who are curious in the matter of playbills in all languages will perhaps accept the annexed as a compromise, and as the nearest thing in a general way we can manage in the space at command. Those also who are good at riddles may like to try their skill on it : SA NOTICE. Aturday 30 and on Sunday 31 of the corrent, in the Royal Theatre of St. Charles will be represented by the Italian Company the famous Holy Drama intitled IL TRIONFO DI GIUDITTA O SIA LA MORTE D' OLOFERN E. In the interval of the first to the second act it shall have a new and pompous Ball of the composition of John Baptista Gianini, who has by title: IL SACRIFICIO D' ABRAMO in which will enter all the excellent corp of Ball, who dance at present in the said Royal Theatre; the spetacle will be finished with the second act and Ball analog to the same Drama, all with the nessessary decoration. This is who is offered to the Respectable Publick of whom is waited all the proctetion and concurrence: It will begin at 8 o'clek. Na officina de Simão Thaddeo Ferreira. 1811. Com licenca. We next append a bill of the far-famed Richardson's Theatre under date 1825 - one of those distributed during the Bartlemy Fair of that year. Hone describes the theatre thus: "The outside of this show was in height upwards of thirty feet, and occupied one hundred feet in width. The platform on the outside was very elevated; the back of it was lined with green baize, and festooned with deeply-fringed crimson curtains, except at two places, where the money-takers sat, which were wide and roomy projections, fitted up like Gothic shrine-work, with columns and pinnacles. There were fifteen hundred variegated illumination-lamps disposed over various parts of the platform, some of them depending from the top in the shape of chandeliers and lustres, and others in wreaths and fes toons. A band of ten performers in scarlet dresses, similar to those worn by beefeaters, continually played on clarionets, violins, trombones, and the long drum; while the performers paraded in their gayest 'properties' before the gazing multitude. Audiences rapidly ascended on each performance being over, and paying their money to the receivers in their Gothic seats, had tickets in return; which being taken at the doors, admitted them to descend into the 'theatre."" The bill is as follows: : Change of Performance each Day. RICHARDSON'S THEATRE. This Day will be performed, an entire New Melo-Drama, called the The Piece concludes with the DEATH of ORSINA, and the Appearance of the ACCUSING SPIRIT. The Entertainments to conclude with a New Comic Harlequinade, with New Scenery, Tricks, Dresses, and Decorations, called HARLEQUIN OR, THE DEVIL WILL HAVE HIS OWN. Dæmon Amozor, afterwards Pantaloon, Mr. WILKINSON.-Dæmon Ziokos, afterwards Clown, Mr. HAYWARD.-Violoncello Player, Mr. HARTEM.-Baker, Mr. THOMPSON.-Landlord, Mr. WILKINSFisherman, Mr. RAE.-Dr. Faustus, afterwards Harlequin, Mr. SALTER. Adelada, afterwards Columbine, Attendant Dæmons, Sprites, Fairies, Ballad Singers, Flower A The Pantomime will finish with SPLENDID PANORAMA Painted by the First Artists. BOXES, 25. PIT, IS. GALLERY, 6ď. Of show advertisements of a different kind, we have preserved one or two notable specimens. The first is of the time of William and Mary, and gives itself in two languages, though, unlike the opera bill given a page or so back, it keeps them separate : A Raritie in Nature. Surpassing all Prodigies and strange Births that ever were seen, more admired by the Learned than any sort of Creature that ever was brought to England, whose Body is of different Colours, part white, part brown and smooth, part Hairy like a Satyr, with admirable unusual growings out, that no reason can be given for. This Maid is about 16 years of age, of a comely Countenance, proportionable Body, hath an excellent head of Hair, speaketh good English, is Ingenious and Modest. Any particular Company may see her at any hour of the day in Bell Savage Yard on Ludgate Hill, London. God save the KING. Vne Raretée en la Nature, viz. Une Fille tres Admirable, elle est belle, agée de seize ans, son visage, Col, mameles, Bras & Mains, sont de Coleur Blanche, merques de beaucoup taches naturelles, les jambs, & pieds toutes de mesmes, le rest du Corps est de divers Coleurs, avec des Excrescenes fort estranges on n'a jamais veue une telle. L'on la voit en toutes heures du jour dans Bell-savageyard on Ludgate Hill, London. VIVAT REX. It is noticeable that the showman uses the common Latin form of "Vivat Rex" under his French, and adopts an English equivalent in his other column. About twenty years. ago a similar creature was shown in London, and those who had her in charge vamped up most marvellous stories to account for the lusus naturæ, both decency and probability being outraged in the attempt to excite a "sensation." The next bill is, though of the show series, of a totally dif ferent character, and refers to one of the exhibitions of the famous Figg, the swordsman and pugilist. It is now the fashion to decry such adventures as that advertised; but it is hard to believe that both Figg and Sutton were not far more respectable characters than many who practise the licensed and misnamed sport of modern times. For ourselves, we could have looked at such free agents as the rapier and backsword men, or even the more degraded pugilists, doing their best and their worst on each other, rather than sit out an aristocratic pigeon match, assist at a battue, or be party to the coursing of trapped hares and rabbits. G. R. At Mr. FIGG's New Amphitheatre. Joyning to his House, the Sign of the City of Oxford, in Oxford Road, Marybone Fields, on Wednesday next, being the 8th of June, 1726. Will be Perform'd a Tryal of Skill by the following Masters. Whereas I EDWARD SUTTON, Pipemaker from Gravesend, and Kentish Professor of the Noble Science of Defence, having, under a Sleeveless Pretence been deny'd a Combat by and with the Extoll'd Mr. FIGG; which I take to be occasioned through fear of his having that Glory Eclipsed by me, wherewith the Eyes of all Spectators have been so much dazzled: Therefore, to make appear, that the Great Applause which has so much puff'd up this Hero, has proceeded only from his Foyling such who are not worthy the name of Swordsmen, as also that he may be without any farther Excuse; I do hereby dare the said Mr. FIGG to meet as above, and dispute with me the Superiority of Judgment in the Sword (which will best appear by Cuts, &c.) at all the Weapons he is or shall be then Capable of Performing on the Stage. JAMES FIGG, Oxonian Professor of the said Science, will not fail giving this daring Kentish Champion an Opportunity to make good his Allegations; when, it is to be hop'd, if he finds himself Foyl'd he will then change his Tone, and not think himself one of the Number who are not worthy the Name of Swordsmen, as he is pleased to signifie by his Expression: However, as the most significant Way of deciding these Controversies is by Action, I shall defer what I have farther to Act till the Time above specified; when I shall take care not to deviate from my usual Custom, in making all such Bravadoes sensible of their Error, as also in giving all Spectators intire Satisfac tion. N.B. The Doors will be open'd at Four, and the Masters mount between Sutton does not seem to have made much but hard knocks by his desire to uphold the honour of pipemakers and Kentish men, for Figg is generally characterised as retiring undefeated, and Captain Godfrey, the great amateur of his day, makes reference to the defeat of Sutton in his "Treatise upon the Useful Science of Defence" (1747). Speaking of the Oxford professor, he says: "Fig was the atlas of the sword, and may he remain the gladiating statue ! In him, strength, resolution, and unparalleled judgment conspired to form a matchless master. There was a majesty shone in his countenance, and blazed in all his actions, beyond all I ever saw. His right leg bold and firm, and his left, which could hardly ever be disturbed, gave him the surprising advantage already proved, and struck his adversary with despair and panic. He had that peculiar way of stepping in I spoke of in a parry; he knew his arm and its just time of moving, put a firm faith in that, and never let his adversary escape his parry. He was just as much a greater master than any other I ever saw, as he was a |