[10]: The complete title is "_The Judgment of Paris. A Dramatic Entertainment In Dancing and Singing, After the Manner of the Ancient Greeks and Romans. As it is Perform'd at the Theatre-Royal in Drury Lane_," with words by Congreve, music by Seedo and "Compos'd by J. Weaver, Dancing-Master." This work had its Drury Lane debut 6 February 1733, and _The London Stage_ entry for 31 March 1733 reads: "John Banks's _The Albion Queens_ ... Also _The Harlot's Progress; or, the Triumph of Beauty_" (_LS_, 3, I, 283). Many actors and actresses doubled (e.g., Mrs. Raftor is one of the "Graces" in the masque). No doubt the concluding "Masque" of _The Harlot's Progress_ is Weaver's piece (p. 12). [11]: Paulson (_HGW_, I, 148) describes these two doctors, "well known for their quack cures for venereal disease." Dr. Rock's name was added by Hogarth in a later state of the print. [12]: Cibber's piece may have opened as early as 12 March 1733 in the pantomime house at Sadler's Wells, which had been reconstructed from a seventeenth century Music Room (see _LS_, 3, I, xxxix). Cibber's _The Harlot's Progress_ had a successful run at Drury Lane in the spring of 1733, from 31 March until 28 May, when the actor-manager dispute led to a closing of the playhouse (see _LS_, 3, I, 304). It played as an afterpiece to such works as _Cato_ and _The Provok'd Husband_, and on 26 April a playbill announced the "Royal Family expected to attend" (_LS_, 3, I, 293). Thereafter it had a career at the fairs, beginning with the Lee-Harper-Petit Booth on Tottenham Court on 30 August 1733 (_LS_, 3, I, 310), moving on 23 August to Bartholomew Fair and on 28 September to Mile End Green, where the harlot's name is listed as "Moll Hackabout" (_LS_, 3, I, 321). On 27 October 1733 it had a command performance at Drury Lane (_LS_, 3, I, 330). It played frequently during that winter and in the spring, on 26 April, the seceding actors returned to Drury Lane to perform in _The Conscious Lovers_ and _The Harlot's Progress_. The cast list is the same as that in the text reprinted here (_LS_, 3, I, 390). The successful run continued through October 1734; after that it was only played a couple of times before the 1736 season (_LS_, 3, I, _passim_). Scouten observes: "a remarkable feature" is that this piece "places a Jewish merchant in a favorable light, treating him not with sympathy but with respect as a pillar of trade" (_LS_, 3, I, xcvi). [13]: "A Letter from Theo. Cibber, Comedian, To John Highmore, Esq." (London 1733).