On 4 January 1698, Whitehall Palace was destroyed by fire. Few of the buildings were left standing, apart from Inigo Jones’s Banqueting House (the only part of the palace to survive today). The disaster was less of a blow than it might have been, for most of the furnishings and movable objects were saved. The sprawling palace was not much loved by King William III, who preferred the more salubrious surroundings of Kensington Palace or Hampton Court. Plans to rebuild Whitehall Palace over the next few years came to nothing.
The visit of the Russian Czar, Peter the Great, between 11 January and 21 April, brought a different sort of chaos as the monarch was oblivious to the niceties of English court life. Abroad, Georg Ludwig succeeded his father as Elector of Hanover on 23 January 1698. His right of succession to the British throne was yet to be enshrined in law.
London’s theatres came under attack with the publication, in March 1698, of Jeremy Collier’s A Short View of the Immorality and Profaneness of the English Stage. The effects of his diatribe were insidious and long-lasting. However, dance was (it seems) beyond Collier’s reach. The newspapers announced the arrival of Anthony L’Abbé who was ‘lately come over and Dances at the Play-house’. L’Abbé had swapped the Paris Opéra for London’s Lincoln’s Inn Fields Theatre. He also danced before William III at Kensington Palace on 13 May 1698. His appearances marked the beginning of a long association with both the court and the theatre in England. November 1698 saw the first performance of John Dennis’s Rinaldo and Armida with music by John Eccles. Given at Lincoln’s Inn Fields, the piece was not a success although Eccles’s music was appreciated.
In 1698, Louis XIV turned sixty. He had been King of France for more than fifty-five years. This was the year that he signed the Treaty of the Hague (also called the First Partition Treaty) with William III in a vain attempt to settle the succession to the Spanish throne following the long-expected death of King Carlos II. Louis’s own son, the Grand Dauphin, had a claim through his mother who had been a Spanish Infanta. Louis set this aside, for the moment.
There was little of note at the Paris Opéra in 1698. Desmarets’s ballet Les Fêtes galantes, despite its title, bore no relation to Campra’s L’Europe galante, the great success of the previous year. Its complicated plot about the Queen of Naples and three princes all in love with her probably contributed to its failure.