Phelps, at Sadler's Wells, in 1847, and by Mr. Charles Kean, at the
Princess's Theatre, some five years later. The costumes were of the
eleventh century on each of these occasions, Mr. Phelps's version of
the play being so strictly textual, that the musical embellishments,
usually attributed to Locke, but in truth supplied by Leveridge, were
discarded for the first time for very many years. Lady Macduff was
restored to the list of _dramatis personae_, from which she had so long
been banished, and the old stage direction in the last scene--"enter
Macduff with Macbeth's head upon a pole," was implicitly followed. But
these revivals were a consequence of earlier reproductions of
Shakespeare, with rigid regard to accuracy of costume, and general
completeness of decoration. John Kemble had taken certain important
steps in this direction, and his example had been bettered by his
brother Charles, under whose management of Covent Garden, "King John"
was produced, the costumes being supervised by Mr. Planche, and every
detail of the representation receiving most attentive study.
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