On the first stone that was laid in this theatre, were inscribed the words LITTLE WHIG, as a compliment to a lady of extraordinary beauty, then the celebrated toast, and pride of that party. In the year 1706 when this house was finished, Mr. Betterton and his copartners put themselves under the direction of Sir John Vanbrugh and Mr. Congreve; imagining that the conduct of two such eminent authors would restore their ruined affairs; but they found their expectations were too sanguine, for though Sir John was an expeditious writer, yet Mr. Congreve was too judicious to let any thing come unfinished out of his hands; besides, every proper convenience of a good theatre had been sacrificed to shew the audience a vast triumphal piece of architecture, in which plays, by means of the spaciousness of the dome, could not be successfully represented, because the actors could not be distinctly heard. Not long before this time the Italian Opera began to steal into England, but in as rude a disguise, and as unlike itself as possible; notwithstanding which the new monster pleaded, though it had neither grace, melody, nor action to recommend it. To strike in therefore with the prevailing fashion, Vanbrugh and Congreve opened their New Theatre in the Hay-market, with a translated Opera, set to Italian music, called The Triumph of Love, but it met with a cold reception, being performed only three days, to thin houses. Immediately upon the failure of the Opera, Vanbrugh produced his comedy called The Confederacy, greatly improved from the Bourgois a la mode of Dancour. The success of this play was not equal to its merit; for it is written in, an uncommon vein of humour, and abounds with the most lively strokes of raillery. The prospects of gain from this theatre were so very unpromising, that Congreve, in a few months, gave up his share and interest in the government wholly to Sir John Vanbrugh; who being now sole proprietor of the house, was under a necessity to exert himself in its support. As he had a happier talent for throwing the English spirit into his translations of French plays, than any former author who had borrowed from them, he, in the same season, gave the public three more of that kind, viz. 1. The Cuckold in Conceit, from the Cocu imaginaire of Moliere. 2. Squire Treelooby, from his Monsieur de Pourceaugnac. 3. The Mistake, from the Depit Amoureux of the same Author[A]. However well executed these pieces were, yet they came to the ear in the same undistinguished utterance, by which almost all their plays had equally suffered; for as few could plainly hear, it was not likely a great many would applaud. In this situation it appears, that nothing but the union of the two companies could restore the stage to its former reputation.