1. Geoffrey Ashton, Pictures in the Garrick Club: A Catalogue of the Paintings, Drawings, Watercolours and Sculpture (London, 1997).
2. Burrows, Handel, 201.
3. Only five non-Handelian arias surfaced in the roughly 130 ballad farces surveyed for Table 1; of these, only ‘T'amo tanto’ (from Artaserse by Attilio Ariosti) was reused.
4. ‘Miss Raftor had a facetious Turn of Humour, and infinite Spirits.’ Chetwood, A General History of the Stage, 127. Describing her acting technique, John Hill praised above all her ‘volubility of tongue’ which, when combined with physical gesture, eye movements and declamatory nuances, generated a variety of extra-authorial meanings. John Hill, The Actor: A Treatise … with Theatrical Anecdotes (London, 1750), 150, 269. From 1750, burlesque performances, particularly the ‘taking off’ or mimicry of prime donne, became a fixture of her line.
5. 15% from Molière, 45% from Shakespeare, and 40% from Miller’. Powell Stewart, ‘An Eighteenth-Century Adaptation of Shakespeare;Texas University Studies in English,1932