" It is satisfactory to find that in this case, at any
rate, the actor held his ground against the scene-painter. Under
another date, he refers to a representation of "The Faithful
Shepherdess" of Fletcher, "a most simple thing, and yet much thronged
after and often shown; but it is only for the scene's sake, which is
very fine." A few years later he describes a visit "to the King's
Playhouse all in dirt, they being altering of the stage, to make it
wider. But my business," he proceeds, "was to see the inside of the
stage, and all the 'tiring-rooms and machines; and, indeed, it was a
sight worth seeing. But to see their clothes, and the various sorts,
and what a mixture of things there was--here a wooden leg, there a
ruff, here a hobby-horse, there a crown, would make a man split
himself to see with laughing; and particularly Lacy's wardrobe and
Shotrell's. But then, again, to think how fine they show on the stage
by candlelight, and how poor things they are to look at too near at
hand, is not pleasant at all. The machines are fine, and," he
concludes, "the paintings very pretty.
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