[Footnote 1: Masquerades took rank as a leading pleasure of the town under the management of John James Heidegger, son of a Zurich clergyman, who came to England in 1708, at the age of 50, as a Swiss negotiator. He entered as a private in the Guards, and attached himself to the service of the fashionable world, which called him 'the Swiss Count,' and readily accepted him as leader. In 1709 he made five hundred guineas by furnishing the spectacle for Motteux's opera of 'Tomyris, Queen of Scythia'. When these papers were written he was thriving upon the Masquerades, which he brought into fashion and made so much a rage of the town that moralists and satirists protested, and the clergy preached against them. A sermon preached against them by the Bishop of London, January 6th, 1724, led to an order that no more should take place than the six subscribed for at the beginning of the month. Nevertheless they held their ground afterwards by connivance of the government. In 1728, Heidegger was called in to nurse the Opera, which throve by his bold puffing. He died, in 1749, at the age of 90, claiming chief honour to the Swiss for ingenuity. 'I was born,' he said, 'a Swiss, and came to England without a farthing, where I have found means to gain, £5000 a-year,--and to spend it. Now I defy the ablest Englishman to go to Switzerland and either gain that income or spend it there.'] [Footnote 2: The 'History of Susanna' had been an established puppet play for more than two generations. An old copy of verses on Bartholomew Fair in the year 1665, describing the penny and twopenny puppet plays, or, as they had been called in and since Queen Elizabeth's time, 'motions,' says "Their Sights are so rich, is able to bewitch The heart of a very fine man-a; Here's 'Patient Grisel' here, and 'Fair Rosamond' there, And 'the History of Susanna.'" Pepys tells of the crowd waiting, in 1667, to see Lady Castlemaine come out from the puppet play of 'Patient Grisel.' The Powell mentioned in this essay was a deformed cripple whose Puppet-Show, called Punch's Theatre, owed its pre-eminence to his own power of satire. This he delivered chiefly through Punch, the clown of the puppets, who appeared in all plays with so little respect to dramatic rule that Steele in the Tatler (for May 17, 1709) represents a correspondent at Bath, telling how, of two ladies, Prudentia and Florimel, who would lead the fashion, Prudentia caused Eve in the Puppet-Show of 'the Creation of the World' to be 'made the most like Florimel that ever was seen,' and 'when we came to Noah's Flood in the show, Punch and his wife were introduced dancing in the ark.' Of the fanatics called French Prophets, who used to assemble in Moorfields in Queen Anne's reign, Lord Chesterfield remembered that