January 27, 1772, was rendered remarkable in the annals of Amusement by the opening of the Pantheon in Oxford-street, which had been erected at a vast expence from the designs of Wyatt, the celebrated architect. Near two thousand persons of the highest rank and fashion assembled on this occasion to admire the splendid structure, which contained fourteen rooms, exclusive of the rotunda: the latter had double colonnades or recesses for the reception of company, ornamented with the reliefs peculiar to the Grecian style of building; and the dome contained others equally rich. In order to support the propriety of the name given to this superb place of fashionable resort, the architect introduced niches round the base of the dome with statues of the Heathen Deities; and to _complete_ the circle, added _Britannia and their present Majesties_. Such were the ideas of classic taste exhibited by the proprietors; the Gods worshiped in the _real Pantheon_, were compelled to witness a modern Pantheon _dedicated to pleasures_ and amusements of which even Jupiter himself was ignorant when in the Court of Olympus. One of the first steps of the conductors was an order to exclude all loose women: an order which deserves honourable mention, but one impossible to be executed. The Masquerades given at the Pantheon would have been thin of company indeed, had not improper persons formed part of the silly groupe. The nature of those masked entertainments is so confined, that when one is seen or described, novelty is at an end. I shall therefore pass them over, and merely mention, that part of the commemoration of Handel, noticed at large in the first volume of "Londinium Redivivum," was celebrated at the Pantheon; after which caprice or some other cause converted it into an Opera-house, and very soon after an _accidental fire_ consumed it. The Pantheon has been rebuilt, but on a miserable plan indeed compared with the original: it now serves for Masquerades at different periods; and Garnerin and Lunardi have exhibited their balloons there. It is by no means creditable to the memory of Mr. Garrick, that he acted the Beggar's Opera for two seasons in opposition to the entreaties of Sir John Fielding and his brethren the Magistrates, and after they had informed him that the representation invariably produced fresh victims to offended Justice. The latter season alluded to, 1773, produced a long and serious contention between persons who never before saw or had received the least injury from each other, through the turbulent and daring effrontery of the late veteran Macklin. This actor, offended at the conduct of a player named Reddish, and that of Sparks, the son of another, presumed to make the publick parties in the affair, by thus addressing the audience at Covent-garden Theatre on the night of October 30.