ledge of "the original of puppet-shows; and the several changes and revolutions that have happened in them since Thespis." A subsequent number (115) is curious, as it shews that such was the rivalship of Punch in point of attractiveness, particularly with the ladies, that the Opera and the celebrated singer Nicolini were almost deserted in his favour. Nicolini and the Opera were ridiculed, as we find from other sources, by the squeakings of a pig, well instructed for the purpose, and who had been also taught to dance. From the "Tatler" we learn, that then, as now, Punchinello (for he is so designated and dignified) had a "scolding wife," and that he was attended, besides, by a number of courtiers and nobles.
Powell's show was set up in Covent Garden, opposite to St. Paul's Church; and the "Spectator" (No. 14[1]) contains the letter of the sexton, who complained that the performances of Punch thinned the congregation in the church, and that, as Powell exhibited during the time of prayers, the tolling of the bell was taken, by all who heard it, for notice of the intended commencement of the exhibition. The writer of the paper then proceeds, in another epistle, to establish that the puppet-show was much superior to the opera of "Rinaldo and Armida," represented at the Haymarket, and to observe that "too much encouragement could not be given to Mr. Powell's skill in motions." A regular parallel is drawn between the two, which ends most decidedly in favour of Powell in every respect but the inferior point of the moral.[2]
But the most curious and particular information regarding Powell and his performance, is contained in a small work published in London in 1715, professing to give an account of his life: it is entitled "A Second Tale of a Tub; or the History of Robert Powell, the Puppet--- ↑ Attributed to Steele, who had the good taste to be delighted with Mr. Punch.
- ↑ Penkethman, an actor, and the head of a strolling company, often praised for his low humour, in the reign of Anne, seems also at one time to have been master of a puppet-show of some kind; but as so remarkable a personage as Punch is not mentioned, it is supposed that it was confined to an exhibition of the "heathen gods," as noticed in No. 31 of the Spectator.
