It is noticeable that this magnificent affair began at seven o’clock, an arrangement calculated to admit the _Hoi polloi_, and augment the managerial receipts, and also that the programme reveals little Hallet to have been possessed either of a large amount of modesty or perspicuity, for out of the fifteen or more items there announced only two were appropriated by himself. It must be remembered that although such masters as Handel, Buononcini, Arne, etc., had their numerous admirers among the more cultured musical amateurs, still, much of the British public were just as pleased with the Jew’s harp, marrow bones, and salt-box as with an oratorio of Handel’s or an aria of Arne’s. Benjamin probably realised the preference generally felt for these instruments, and for this reason put himself and the graver violoncello in the background at his concert, allowing the Jew’s harp and other grotesqueries the place of honour. A most amusing satire--among others--on the general taste for these caricatures of musical instruments, was written by Bonnell Thornton, whose wit would have been supreme, but for his contemporary, Kit Smart. With excellent humour he burlesqued the use of what he termed those “Ancient British instruments,” in an amusing lampoon entitled “Ode on St Cecilia’s Day, adapted to the Ancient British Musick: the Salt Box, the Jew’s Harp, the Marrow Bones, and Cleavers, the Hum Strum or Hurdy Gurdy” (London, 1762). No one appreciated this sally more than Dr Johnson, who, it is said, delighted in repeating extracts from it by heart. A number of Bonnell Thornton’s quaint conceits appeared in his magazine _Have at you all_, or _The Drury Lane Journal_, which emulated Fielding’s _Covent Garden Journal_, but was neither so long lived nor so successful. Under the pseudonym of “Mrs Roxana Termagant,” Bonnell Thornton pursued his editorial labours, and introduced into its pages many a burlesque skirmish with his contemporaries’ magazines, _The Midwife_ and _The Covent Garden Journal_, and in the year 1752 a witty account of a visit made by “Mrs Mary Midnight” to “Madam Roxana Termagant” appeared. Little Hallet was evidently a favoured _protégé_ of all the wits of the day from his connection with one of the most popular entertainments then in vogue, and there is little doubt that he proved an attraction, as his name appears among the performers during the whole of the first season and again in the following season. On the 10th April 1753 _The Public Advertiser_ announces a concert: For the Benefit of Master BENJAMIN HALLET and Sig. GAPATUNS At the New Theatre in the Hay-market. This Day will be exhibited Mrs MARY MIDNIGHT’S CONCERT