" In historical plays one would think the objection to
anachronism much more obvious; for there distinct events and
personages and settled dates were dealt with. But there was an
understanding that stage costume was purely a conventional matter--and
so came to be tolerated most heterogeneous dressing: the mixing
together of the clothes of almost all centuries and all countries, in
a haphazard way, just as they might be discovered heaped up in a
theatrical wardrobe. It was not a case of simple anachronism; it was
compound and conflicting. Still, little objection was offered.
And even a critic above quoted, writing in 1759, and proposing greater
accuracy in the costumes of historical plays, refrains from suggesting
that comedy should be as strictly treated. He even advances the
opinion that the system of dress in vogue at the date of the play's
production should be disregarded according to "the fluctuations of
fashion." "What should we think," he demanded, "of a Lord Foppington
now dressed with a large full-bottomed wig, laced cravat, buttons as
large as apples, or a Millament with a headdress four storeys high?"
And there is something to be said for this view.
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