During the Southwark Fair of the following year, there was a giant exhibited at the Catherine Wheel Inn, a famous hostelry down to our own time. Printers had not yet corrected the irregular spelling of the preceding century, as appears from the following announcement:--"The Gyant, or the Miracle of Nature, being that so much admired young man, aged nineteen years last June, 1684. Born in Ireland, of such a prodigious height and bigness, and every way proportionable, the like hath not been seen since the memory of man. He hath been several times shown at Court, and his Majesty was pleased to walk under his arm, and he is grown very much since; he now reaches ten foot and a half, fathomes near eight foot, spans fifteen inches; And is believed to be as big as one of the Gyants in Guild-Hall. He is to be seen at the Sign of the Catherine Wheel in Southwark Fair. _Vivat Rex._" There was probably also to be seen at this fair the Dutch woman of whom an author quoted by Strutt says that, "when she first danced and vaulted on the rope in London, the spectators beheld her with pleasure mixed with pain, as she seemed every moment in danger of breaking her neck." About this time, there was introduced at the London fairs, an entertainment resembling that now given in the music-halls, in which vocal and instrumental music was alternated with rope-dancing and tumbling. The shows in which these performances were given were called music-booths, though the musical element was far from predominating. The musical portion of the entertainment was not of the highest order, if we may trust the judgment of Ward, the author of the _London Spy_, who says that he "had rather have heard an old barber ring Whittington's bells upon the cittern than all the music these houses afforded." Such dramatic performances as were given in the booths at this time seem to have been, in a great measure, confined to the puppet-plays so often mentioned in the memoirs and diaries of the period. Granger mentions one Philips, who, in the reign of James II., "was some time fiddler to a puppet-show; in which capacity, he held many a dialogue with Punch, in much the same strain as he did afterwards with the mountebank doctor, his master, upon the stage. This Zany, being regularly educated, had the advantage of his brethren." Besides the serio-comic drama of Punch and Judy, many popular stories were represented by the puppets of those days, which set forth the fortunes of Dick Whittington and the sorrows of Griselda, the vagaries of Merry Andrew and the humours of Bartholomew Fair, as delineated by the pen of Ben Jonson. It is a noteworthy circumstance, as showing the estimation in which the Smithfield Fair was held by the upper and middle classes at this period, and for more than half a century afterwards, that the summer season of the patent theatres, which closed at that time, always concluded with a representation of Jonson's now forgotten comedy.