1 William C. Smith, The Italian Opera and Contemporary Ballet in London, 1789–1820 (London, 1955), Daniel Nalbach, The King's Theatre, 1704–1867: London's First Italian Opera House (London, 1972), Frederick C. Petty, Italian Opera in London, 1760–1800 (Ann Arbor, 1980), and Theodore Fenner, Opera in London: Views of the Press, 1785–1830 (Carbondale, 1994), as well as the standard reference works. The Survey of London, xxix-xxx: The Parish of St James Westminster, Part I: South of Piccadilly, ed. Francis H. W. Sheppard (London, 1960), and The London Stage, 1660–1800, Part 5: 1776–1800, ed. Charles Beecher Hogan, 3 vols. (Carbondale, 1968).Google Scholar

2 Fenncr, Opera in London, xi.Google Scholar

3 See her review of William C. Holmes, Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century (Chicago, 1993), in Cambridge Opera Journal, 7 (1995), 175–9.Google Scholar

4 Robert D. Hume, ‘Handel and Opera Management in London in the 1730s’, Music and Letters, 67 (1986), 347–62, and Judith Milhous and Robert D. Hume, ‘Box Office Reports for Five Operas Mounted by Handel in London’, Harvard Library Bulletin, 26 (1978), 245–66.Google Scholar

5 Milhous, Judith, ‘New Light on Vanbrugh's Haymarket Theatre Project’, Theatre Survey, 17 (1976), 143–61, and ‘The Capacity of Vanbrugh's Theatre in the Haymarket’, Theatre History Studies, 4 (1984), 38–46.Google Scholar

6 Judith Milhous and Robert D. Hume, ‘The Charter for the Royal Academy of Music’, Music and Letters, 67 (1986), 50–8, and ‘New Light on Handel and the Royal Academy of Music in 1720’, Theatre Journal, 35 (1983), 149–67.Google Scholar

7 Curtis Price, Judith Milhous and Robert D. Hume, The Impresario's Ten Commandments: Continental Recruitment for Italian Opera in London, 1763–64. Royal Musical Association Monographs, 6 (London, 1992).Google Scholar

8 The argument is also developed in Curtis Price, ‘Unity, Originality, and the London Pasticcio’, Harvard Library Bulletin, n.s. 2/4 (1991), 17–30.Google Scholar

9 Previews of the coverage of vol. ii can be found in Curtis Price, ‘Italian Opera and Arson in Late Eighteenth-Century London’, Journal of the American Musicological Society, 42 (1989), 55–107, Curtis Price, Judith Milhous and Robert D. Hume, ‘A Plan of the Pantheon Opera House (1790–92)’, Cambridge Opera Journal, 3 (1991), 213–46, and Price, Milhous and Hume, ‘A Royal Opera House in Leicester Square (1790)’, Cambridge Opera Journal, 2 (1990), 1–28.Google Scholar