By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans

To be accomplished in 12 volumes, this huge paintings right here starts off publica­tion with the 1st volumes—Abaco to Bertie and Bertin to Byzard. while accomplished, it truly is anticipated that the bio­graphical dictionary will contain informa­tion on greater than 8,500 individuals. Hundreds of revealed assets were hunted for this undertaking, and dozens of repositories combed, and the names of group of workers indexed were filtered via parish registers at any time when attainable. From released and unpublished resources, from wills, data societies and guilds, from documents of schools, uni­versities, and golf equipment, and from the contri­butions of selfless students, the authors have right here assembled fabric which il­luminates theatrical and musical job in London within the 1660–1800 period. The info the following collected will without doubt be augmented by means of different spe­cialists in recovery and eighteenth-century theatre and drama, however it isn't really most probably that the variety of folks referred to now definitely or conjectured ultimately to were hooked up with theatrical en­terprise during this interval will ever be in­creased significantly. definitely, the contributions made the following upload immeasurably to present wisdom, and in a couple of circumstances right regular histories or reference works. The accompanying illustrations, esti­mated to be a few 1,400 likenesses—at least one photo of every topic for whom a portrait exists—may end up to be a use­ful function of the paintings. The authors have long past past embellishment of the textual content, and feature tried to checklist all origi­nal photographs any wisdom of that is now recoverable, and feature attempted to ascer­tain the current situation of pictures in each medium.

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Separating an actor from his legends is, after all, a delicate and painful operation not only because some excellent stories may be true but because most are at least illustrative of traits of character and thus possess some inner truthfulness. Fortunately or not, this matter has Page ix usually been decided for us by our policy of writing entries as brief as has seemed compatible with thorough treatment. The authors have combed every source that ingenuity could suggest. We have canvassed the many repositories cited in the expressions of gratitude near the end of these remarks.

An administration of his property dated 25 September 1787 gave an unspecified sum to his brother Ernst Heinrich Abel for the benefit of a nephew, Ernst Heinrich Abel of Hamburg. Abel was a large man of dignified mien and port, so pompous in bearing as to lend himself easily to caricature. There is in the British Museum collection an anonymous 1773 engraving of "Seignor Catgutaneo," a man playing a humanoid viola da gamba the upper part of which is a carved head resembling Abel's rubicund face. In 1787 J.

Barker provided us with extensive and invaluable information about London actors in Bristol. Professor Hubert Heffner gave us valuable data on early American actors. Professor George Tuttle opened to us his files on the Royal Circus. Professor George Kahrl turned over to us, long before publication of his edition of the Garrick letters, the manuscript of that work. This project has enjoyed large financial support. Without the generous contributions of the following foundations and institutions, our bark would have foundered early in the voyage: We express our deep gratitude to the Trustees of the John Simon Guggenheim Foundation and to its successive Directors, Mr Henry Allen Moe and Mr Gordon N.

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