AND FOX HUNT. By the above Male and Female Equestrians. The performances at Sadler’s Wells this year included ‘a series of varied equilibres and posture-work, called _Le Tableau Chinois_, by Signor Bologna and his children,’ and ‘a capital display of agility on the tight-rope by the inimitable Mr Richer, from Petersburgh; also the pleasing exertions of _La Belle Espagnole_.’ There does not appear to have been many changes in the programme of this establishment, which in the following year presented ‘a new and picturesque exhibition, called the Pastimes of Pekin, or Kien Quang’s Family Tree; in which will be displayed, by a group of ten capital performers, under the direction of the Great Kien Quang, a variety of entertainments and active manœuvres, _a la Chinois_, with banners, garlands, and umbrellas;’ and ‘the pleasing and varied exertions of Messrs Bologna and _La Belle Espagnole_.’ Astley’s Amphitheatre was destroyed by fire in 1794, to the serious loss of the proprietor, who was not insured; but such was his indomitable energy and enterprise that it was rebuilt in time to be opened on Easter Monday, in the following year. In the mean while, in order to keep his company and stud employed, he had converted the Lyceum into a circus, in conjunction with a partner named Handy. The Royal Circus was far from prosperous. The load of debt upon it kept the lessees in a position of constant difficulty and embarrassment, and in 1795 Mrs West levied an execution on the premises. It was then opened by Jones and Cross, the latter a writer of spectacles and pantomimes for Covent Garden; and in their hands it remained until it was destroyed by fire in 1805. Handy was still Astley’s partner in 1796, when the advertisements announce ‘thirty-five new acts by Astley’s and Handy’s riders, and two surprising females,’ in addition to pony races, the performances of a clever little pony, only thirty inches in height, a performance on two ropes, and a novel act by a performer named Carr, who stood on his head in the centre of a globe, and ascended thirty feet ‘turning round in a most surprising manner, like a boy’s top.’ Later advertisements of this year describe the Amphitheatre as ‘under the patronage of the Duke of York,’ and announce the special engagement of two Catawba Indians—both chiefs, of course, as American Indians and Arabs who appear in the arena always are represented to be. These copper-coloured gentlemen gave their war dance and tomahawk exercise, and performed feats of dexterity with bows and arrows. The only mention of equestrianism at this time is, that ‘various equestrian and other exercises’ will be given ‘by pupils of both the Astleys.’