s Head right.
And the Beau, who ne'er fouls his White fingers with Brass,
May have his Sixpen' worth of--Stare in the Glass.

The Doctor, who'd always be ready to kill,
May ev'ry Day here take his Stand, if he will;
And the soldier, who'd bluster and challenge secure,
May draw boldly here, for--we'll hold him he's sure.

The Lawyer, who's always in quest of his Prey,
May find fools here to feed upon every Day;
And the sage Politician, in Coffee-Grounds known,
May point out the Fate of each Crown but--his own.

Then, Gallants, since ev'rything here you may find
That pleasures the Fancy or profits the Mind,
Come all, and take each a full Dish of Delight,
And crowd up our Coffee-House every night.

[Illustration: SONG FROM "THE COFFEE HOUSE"]

John Timbs tells us this play "met with great opposition on its
representation, owing to its being stated that the characters were
intended for a particular family (that of Mrs. Yarrow and her daughter)
who kept Dick's, the coffee-house which the artist had inadvertently
selected as the frontispiece. It appears," Timbs continues, "that the
landlady and her daughter were the reigning toast of the Templars, who
then frequented Dick's; and took the matter up so strongly that they
united to condemn the farce on the night of its production; they
succeeded, and even extended their resentment to everything suspected to
be this author's (the Rev. James Miller) for a considerable time after."

Carlo Goldoni, who has been called the Moliere of Italy, wrote _La
Bottega di Caffe_, (The Coffee House), a naturalistic comedy of
bourgeois Venice, satirizing scandal and gambling, in 1750. The scene is
a Venetian coffee house (probably Florian's), where several actions take
place simultaneously. Among several remarkable studies is one of a
prattling slanderer, Don Marzio, which ranks as one of the finest bits
of original character drawing the stage has ever seen. The play was
produced in English by the Chicago Theatre Society in 1912.
Chatfield-Taylor[353] thinks Voltaire probably imitated _La Bottega di
Caffe_ in his _Le Cafe, ou l'Ecossaise_. Goldoni was a lover of coffee,
a regular frequenter of the coffee houses of his time, from which he
drew much in the way of inspiration. Pietro Longhi, called the Venetian
Hogarth, in one of his pictures presenting life and manners in Venice
during the years of her decadence, shows Goldoni as a visitor in a cafe
of the period, with a female mendicant s