1. See Christopher Baugh, Garrick and Loutherbourg (Cambridge: Chadwyck-Healey, 1990).
2. For a discussion of the Eidophusikon and its theatrical significance, see Christopher Baugh, ‘Philippe de Loutherbourg: Technology-driven entertainment and spectacle in the late eighteenth century’, Huntington Library Quarterly vol. 70, no. 2 (2007), pp. 1–16.
3. See especially Edward Braun, Meyerhold: A Revolution in Theatre, 2nd edn (London: Methuen, 1995), pp. 27–44.
4. The Bibiena family members were probably the most influential theatre designers of the eighteenth century and included Ferdinando (1657–1743), Francesco (1659–1739), Giuseppe (1696–1757), Antonio (1700–74) and Carlo (1728–87). The Florentine painter Giovanni Battista Cipriani worked at Covent Garden Theatre in 1755, and Jean-Nicholas Servandoni (1695–1766), who spent most of his working life at the Paris Opéra, worked in London on several occasions. For a general account of the employment of Italian artists on the London stage, see Sybil Rosenfeld, Georgian Scene Painters and Scene Painting (Cambridge: Cambridge University Press, 1981).
5. See Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (London: University of Chicago Press, 1980), pp. 131–2.