The Sun.
London, England, 1856-03-06 00:00:00

HART STREET.

No. 49. Mrs. S. Brown, private house, front scorched
—not insured.

No. 50. W. Hunt, licensed victualler, front severely
scorched, glass broken, and damaged by water—con-
tentsinsured in the Royal Exchange—building unknown.
No. 51. Unoccupied. Front scorched—insurance un•
known.

No. 52. S. Garcia, private house, front scorched—
insurance unknown.

COVENT GARDEN PIAZZA.

Bedford Hotel, A. Warnir proprietor, slightly damaged
by water—contents insured in the Globe, building in
the Sun.

Piazza Hotel, Harrison and Co. proprietors, slightly
damaged by fire and water—contents insured in Globe
and Westminster, and building in the Sun.
Tavistock Hotel, Harrison and Co. proprietors, back
front scorched and windows broken—contents insured
iu Globe and Westminister, and building in the Sun.
No. 10, Piazza, E. Robins, auctioneer, skylight
scorched and ghvs broken—contents insured in the
Phcenix, and buildinu in the Sun and Westminster.

The New Opera. Hotel, which is slightly damaged
from the effects of water, was insured in the North of
England Fire-office.

Covent-Garden Theatre was destroyed by fire on the
morning of Sept. 20, 1808, when a great many lives were
lost, including seven firemen, who were crushed by the
falling of a stack of chimneys, rendered insecure by the
action of the flames. Handel's organ and the valuable
stock of wine belonging to the Beefsteak Club shared in
the general ruin on that occasion. The first stone of the
new theatre (that whose destruction we now record) was
laid by the Prince of Wales on the 31st of December in
the Fame year, and the theatre was opened on the 18th
of December, 1809. The architect was Sir R. Stnirke,
R.A., and the statues of Tragedy and Comedy, and the
two bas reliefs on the Bow-street front, were by Flax-
man. The stage wns 55 ft. in length and SS in width,
and the depth from the curtain to the back of the pit was
66 ft , and the theatre had a saloon, the dimensions of
which were 56 ft. by 19 ft. Atter being leased by va-
rious managers for many years, M. JoOlen hired this
theatre for hie promenade concerts in 1343-5. It was
subsequently hired by the Anti-Corn•Law League as a
lecture hall. But in 1346 the building was entirely re-
modelled by Mr. Albane, and converted into an Opera-
heuse. It was opened on the 6th of April, 18-;7, but
with such au extravagant expenditure that in 1848 there
was a loss of 34,756/., and in 1849 of 25 4551. In one
year the vocal department cost 33,3491., the ballet
8,1051., and the orchestra 10,0481.

The theatre has never lost any of its reputation, and
from these items, therefore, the public may he able to
appreciate what is now lost to them, at any rate for a
lengthened period.

The original theatre in Covent-garden, or, more cor-
rectly, Convent-garden, the ground having belonged to
the Abbot and Convent of Westminster, was built by
Mr. John Rich (of harlequinade notoriety), and opened
on the 7th of December, 1732, with Congreve's " Way
of the World," in which Quin played Feinall. Various
alterations and improvement were made in this edifice
in 1782, and in 1792 it was rebuilt from the designs of
Henry Helfand, architect, at nn expense of 25,0001 , of
which 15,0001. was advanced by the Duke of Bedford,
whose successor, the present duke, is the ground land-
lord. On the night of the 20Ai Sept., ]SOS, the theatre
was burnt to the ground by an accidental fire, which
is supposed to have arisen from the ignited wadding
of the roldiers' muskets (which bed been fired oil
in the play of "Pizarro" the previous evening) lodg-
ing among some of the infletninable decorations of the
scenery, Boaden, in his life of .Tohn P. Kemb'e, has
recorded the following as a real professional soliloquy of
that etoiuent actor :—" In the morning after the fire,"
says the writer, "I hastened to Great Russell-street,
and went into Mr. Keinble'e dressing-room. He was
standing before the glass, totally absorbed, and yet at
intervals endeavouring to shave himself. His brother
Charles, wrapped up just as he came from the fire, was
sitting attentive upon the end of the sofa. I took a
chair and sat observing the manner and the look of
Kemble. His mind was rather raisedtban dejected, and
his imagination distended with the pictured detail of ell
the treasure that had perished in the confiae"ration. At
length he broke out in exclamation which I have pre-
served as characteristic of his turn of mind—' Yes, it
has perished—that magnificent theatre which for all the
purposes of exhibition or comfort was the first in Europe.
It is gone, with all its treasures of every description,and
some of which can never be replaced,—that library
which contained all the immortal productions of our
countrymen, prepared for the purposes of representa-
tion,—that vast collectioe of music composed by the
greatest geniuses in that science, by Handel, Arne,
an i others, most of it manuscript in the original score.
—that wardrobe, stored with the costumes of all
nations and ages, accumulated by unwearied research
and at an incredible expense,—ecenery ! the triumph
of the art, unrivalled for its accuracy, and so
exquisitely finished that it might be the ornament of
your drawing-roome, were they only large enough to
contain it. Of all this vast treasure nothing now re-
mains but the arms of Englani over the entrance of the
theatre, and the Roman Eagle standing solitary in the
market place."'
The magnificent theatre the destruction of which we
this day record, was commenced in the same year (18@8),
and ou the 31st of December his Royal Highness the
Prince of Wales, who was then Grand Master of the
Freemasons, accompanied by the Duke of Sussex and
several distinguished noblemen, with a large body of the
masonic order, laid the foundation stone, his royal high-
ness having previously deposited under the same a brass
boa containing two medals, one of bronze, on which was
a portrait of himself, and on the reverse the following
incription .

Georgina
Princepe \Valliaruni
Theatri.
Reis Instaurandi
In Aortic Benedictinis
Londoni
Fundayaeuta
Sna Mann Locavit
DCCC.VIII.

On the other medal, which was of copper, was the fol•
lowing inscription :
Under the Auspices of
His Moat Sacred Majesty George 3,
King of the United Kingdom of Great Britain and Ireland
The Foundation Stone of the Theatre
Covent Garden
Was laid by his Royal Highness
George Prince of Wales.

11.DCCC.TIII.
Such great celerity was exercised in carrying on the
work that the theatre was completely finished in less than
a year from the time of tke fire, and the performances
were recommenced on the ISth of September, 1809,
with " Macbeth" and " The Quaker." The expenses
of erecting it are raid to hare amounted to
150,0001., of which 44,550/. was received from the in-
surance offices, and 50,0001. raised by subscription shares
of 500/. each. At the opening of the theatre that most
memorable event in our histrionic annals called " The
O.F. Row," or " Riot," was commenced, and it con-
tinned with almost unabated vehemence during 50 nights.
It resulted in a compromise, the details of which are
known to the public.
The Temple of Minerva, called also the Parthenon,
nnd, from its dimensions, the Hecatompedon, in the
Acropolis, at Athens, was the model adopted by the
architect in designed the principal front of the building
now laid in ruins. It was a noble specimen of the pure
Grecian Doric, and was one of the most classical eleva-
tions in the metropolis, although of a character far too
solemn for a theatre. The front, which was in Bow-street,
presented a grand portico, elevated upon a flight of steps,
the pediment of which was supported by four large
fluted columns without bases. On the nppper part of the
walls, at the sides of the portico, were two long panels
containing basso-relievo representations of the ancient and
modern drams, by Flaxtrian and Rossi. In the centre
of that towards the north sat three Greek poets—
namely, 216ioliylu, the father of tragedy (his face to-
-1 wards the Hart-street corner), and Aristophanes and
Menander, the fathers of ancient and modern comedy.
Thalia, with her crook and mask, stood before the comic
poets as the ol.ject of their imitation. She was followed
by Polyhymnia and Terpsichore, the muse of action or
tpantomime. Three nymphs, crowned with the leaves of
the fir-pine, accompanying Pegasus, concluded that por-
tion of the coropertment. Zscbylue held $ :4(211 on la

knee, and appe;,red to he listniingto the injunctions of
Minerva, who sat opposite to him. Between them %Yu
Bacchus leaning on his fawn—typical of tragedy origi-
nating in honour of the rosy god. Behind Minerva
stood Melpomene, or tragedy, holding a sword
and mask. The succeeding figures were two
Furies, with snakes and torches pursuing Ores-
tes, represented stretching out his Lauds

supplication to Apollo, R he, borne in the quadriga,
or four horsed chariot of the Sun, terminated the scut)).
tura. In the centre of the compartment, at ihe. south
of the portico, was William Shakspeare, sitting ; at Lis
feet the tragic acid comic masks were grouped with the -
lyre. With his right hand upraised he was summoning
the bright creations of his imagination before him. The
dainty Ariel appeared, paying on a lyre in midway air
—Caliban laden with wood—Ferdinand sheathing hie
sword—and Miranda supplicating Prospero—Macbeth
turning in horror from the corpse of Duncan, Lady Mac'.
heal with the daggers, and Hecate in her car drawn by
oxen, terminated by this division. Next to Sbakspear•
was Milton, seated, and contemplating Urania in the
clouds ; at his feet lay Samson Agonistes iu chains. The -
remaining figures represented the Brothers driving
Cotnus and his attendant Bacchanals before them, whilst
their sister appeared transfixed in the enchanted chair.
Two of COI-F.178'3 devotees, transformed to tigers, com•
pleted the subject.
The principal entrance to the boxes was under the por-
tico, and opened to the vestibule. To the left and centre
of the vestibule was the grand staircase, which WAS
flanked by two rows of porphyry columns, of the Thai°
order. This noble pile led to the ante-room, where was
a large statue of Shakspeare in yellow marble by Rossi.
The form ut the auditory was that of a horse-shoe, the
width at the extremity being 51 ft. 2 in., and the depth
from the foot-lighte to the boxes was 52 ft. 9 in. The ap•
pearance of the interior was very impressive.

The establishment of the Royal Italian Opera wad
mainly due to the well-known amateur and critic, Mr.
C. L. Gruneisen. So early as the year 1345, agent"
applied to that gentleman on the part of Linari, the
well-known impresario, as to the chances of success of a
second Italian Opera. The intention was abandoned,
not so much from the opinions expressed against the
speculation, as from the impossibility of finding a
theatre sufficiently large for the purpose. Signor Galetti,
of Rome, having heard in Paris of Linari's project, took
it up, and persuaded Persiani, the composer, that a for.
tune was to be realised by such an undertaking. His
plan was confined to an opera buffo, on the smallest
Seale, to be given either at the St. James's or Drury.
lane Theatre. The assurances which were given that
unlimited capital was forthcoming for a second
Italian theatre eventually induced Mr, Gruneisen
to draw up a plan of management, to extend the exist-
ing Italian repertoire, and to widen the domain of art
by the production of this masterpieces by the French and
German masters—in short, to create an establishment
which should combine the essential attributes of the
Italian theatres, the Grand Opera and Opera Comique in
Paris, and the classic German opera houses. Persiani
and Galetti entered folly into these views, and offered
the post of musical director to Mr. Costa., who agreed
to accept it, provided Grisi and Mario should be induced
to accept engagements. This condition having been
accomplished, the organisation of the gigantic under-
taking was actively pursued, and on the 21st of August,
1846, the day after the curtain had fallen on the season
at her Majesty's Theatre, appeared the following start-
ling announcement in one of the morning journals :7

" We are authorised to announce to our readers that
the capitalists who have resolved to form an Italian COM,
pany for Covent-garden Theatre, for the years 1847,
1848, and 1849, have engaged Mr. Costa as musical
director and conductor of the orchestra for that period,
and for three years more, in all six years, at his own
choice. Mr. Costa, baring received full powers to select
the band and chorus, has engaged every leading instru-
mentalist, native and foreivr, now in this country, the
great majority having transferred their services from the
late orchestra of her Majesty's Theatre, as also the prin-
cipal choraliets. The Covent-garden band and chorus
will be the largest ever collected within the walls of any
theatre in this country, and the resident chorus singers
are to be considerably reinforced by experienced
Continental artistes. The house is to be decorated and
fitted up on a scale of unprecedented splendour, with
every comfort and luxury. First-rate artists have been
secured for the embellishments. The principal vocalieti
already engaged may be divided into three classes—first,
artistes of European fame now in this country ; secondly,
artistes of European fame who have visited this country;
but are no longer here ; thirdly, artistes of European
fame, who have never appeared in this country at all.
The subordinate parts in operas are to be filled by
thoroughly competent artistes. The lase en scene will be
carefully attended to in every department. Original
operas, composed expressly for this country, are to b.
produced. The standard repertoire will he principally,
used for debuts, but many works of Continental pope.-
larity, never introduned here as yet, will be performed.
The main principle of this undertaking is to elevate lyri-l•
cal art, and to place the Italian Opera on a basis of elf&
ciency in every branch never before attained, not only
in England but in Europe,"
On the 16th of Sept., 184t3, were published the names
of the company, and on the 15th of Oct. following ap-
peared a third announcement, as follows :
" We are authorised to announce that the capitalists
who have taken Covent-garden Theatre, for the forma-
tion of an Italian lyrical company, have appointed Mr.
Beale, of the firm of Cramer, Beale, and Co., the well-
known music publishers, acting manager and chief dim.
tor of the new undertaking. Mr. Beale having accepted
the post, has already conmienceil its responsible duties.
It will be scarcely possible to over-rate the value of such
an acquisition as the services of Mr. Beale ; bin activity,
intelligence, and great integrity, and his popularity
with the continental artietes, as well as with the musical
professare of this country, are guarantees for his future
efficiency."
Mr. Beale's appointment was suggested by Mr. Gran-
eisen, who strongly urged the importance of having
an English director, whose name would be acceptable
to the musical pu'elic, Mr. Mitchell having declined
the position (which, by the way, was again offered to
him in 1848), Mr. 13eale was nominateil. During the,
season of 1848 Mr. Frederik Gye became the acting
manager ; and in April, 1849, Mr. Beale, acting dureng
Mr. Delafield's absence, for the second time wa a in,
office, until the month of July, after which the ar ,;istea
governed under a commonwealth, which was renewed
for the season of 1850. In 1851 Mr. Gye h Jgae, as
lessee and director, nod now continues in a' ethority.
Such is the rapid summary of Mr. Gruueisen' s connec-
tion with the Royal Italian Opera, as " pr:.me mover
and originator." His plan, to depart from t,be ancient
regime, and to produce works by the greatest composers,
without distinction of country, was the salvation of the
undertaking. At three different epochs of crisis the
Royal Italian Opera was prevented from closing—
namely, by the production of Meyerheer's " Huguenots
and Prophete," and by Auber's " Masaniello."