The following was the argument and the curious arrangement of the scenes:--Interlude I.--Rhodope, Queen of Thrace, practising art magic, makes love to Orpheus. He rejects her love. She is enraged. A serpent appears who receives Rhodope's commands, and these ended, glides off the stage. Here the comic part begins. In the Opera (as practically it was) a scene takes place between Orpheus and Eurydice. Eurydice's heel is pierced by the serpent, behind the scenes. She dies on the stage--after which the comic part is continued. Interlude II. Scene: Hell. Pluto and Orpheus enter. Orpheus prevails on Pluto to restore Eurydice to him. Ascalox tells Orpheus that Eurydice shall follow him, but that if he should look back at her before they shall have passed the bounds of Hell, she will die again. Orpheus turns back to look for Eurydice, Fiends carry her away. After this the comic part is resumed. Interlude III.--Orpheus again rejects Rhodope's solicitations. Departs. The scene draws, and discovers Orpheus slain. Several Baccants enter in a triumphant manner. They bring in the lyre and chaplet of Orpheus. Rhodope stabs herself. The piece concludes with the remainder of the comic part. "'The Scots Magazine' for March, 1740, says:--'Orpheus and Eurydice' draws the whole town to Covent Garden, whether for the Opera itself (the words of which are miserable stuff) or for the Pantomimical Interlude, with which it is intermixed, I cannot determine. The music is pretty good, and the tricks are not foolisher than usual, and some have said that they have more meaning than most that have preceded them. The performance is grand as to the scenery. What pleases everybody is a regular growth of trees, represented more like nature than what has yet been seen upon the stage, and the representation of a serpent so lively as to frighten half the ladies who see it. It is, indeed, curious in its kind, being wholly a piece of machinery, that enters, performs its exercise of head, body, and tail in a most surprising manner, and makes behind the curtain with a velocity scarcely credible. It is about a foot and a half in circumference of the thickest part, and far exceeds the former custom of stuffing a bag into such likeness. It is believed to have cost more than £200; and when the multitude of wings, springs, etc., whereof it consists, are considered, the charge will not appear extravagant. The whole Royal family have been to see this performance; and, from what can be judged, everybody else will see it before the end of the season, the house being every day full at 3 o'clock, though seldom empty till after eleven." Sam Hoole--father of the translator of Tasso and Ariosto--was Rich's chief machinist at this period, and the inventor of this famous serpent. He had, according to Cumberland, a shop where he sold mechanical toys. Having a large stock of serpent toys left on his hands he became a ruined and bankrupt man.