were then observed to be decently afraid of venturing bare-faced to a new comedy, till they had been assured they might do it without the risque of an insult to their modesty; or, if their curiosity were too strong for their patience, they took care at least to save appearances, and rarely came upon the first day of acting but in masks (then daily worn, and admitted in the pit, the side-boxes, and gallery); which custom, however, had so many ill consequences attending it, that it has been abolished these many years. These immoralities of the stage had, by an avowed indulgence, been creeping into it, ever since King Charles his time. Nothing that was loose could then be too low for it. The London Cuckolds, the most rank play that 'ever succeeded, was then in the highest court favour. In this almost general corruption, Dryden, whose plays were more famed for their wit than their chastity, led the way, which he fairly confesses, and endeavours to excuse in his Epilogue to the Pilgrim,' revived in 1700 for his benefit, in his declining age and fortune."

Jeremy Collier, who reproved the licentiousness of the stage with moderation and good humour, effected a change which Prynne and all his puritanical brethren could not accomplish, though they summoned the terrors of endless perdition to their aid, and lavished it upon those who even ventured to see a play, however moral it might be.

The

The works of Sir William Davenant furnish us with the means of ascertaining the precise nature of the masques given by the Royal family in his time. The dramatis personæ of that called the Temple of Love were, the queen, a marchioness, four countesses, six ladies, and three mistresses, a duke, two earls, a viscount, two lords, and three gentlemen. The banqueting-house was selected for the exhibition of this entertainment, in which a stage six feet high was erected opposite to the throne; on one side, a figure adorned with feathers and seated on an elephant represented the Indian monarchy; on the other, an Asiatic on à camel, distinguished by his turban from a Turk, denoted the monarchy of Asia. Shields were suspended over these personages: on that appropriated to the former, a rising sun was painted, and on the other a crescent: above each were the capitals of large pilasters, which supported a frieze and cornice; on the latter reposed the river deities of the Tigris, and Meander, accompanied with characteristic emblems; a compartment in the middle was relieved by a crimson drapery, raised in part by naked boys, and flowing on the sides to the basement of the frontispiece.

The compartment was enriched with gilding, and the figures in correct colours. The first scene which appeared on the raising of a curtain was an extensive grove, with a mountain and path to the

summit in the distance, where a temple, shaded by young trees, overlooked a wood of cypress, intended for the Elysium of Poets.

A rose-coloured cloud soon after descended, and, expanding, discovered a beautiful female, clothed in sky-blue, sprinkled with golden stars; her brows were crowned with laurel, her locks flowed in curls on her breast, a spangled veil was suspended from the wreath, and near her sat a swan.

Such was the entrance of Divine Poesy. The strains she sung on her descent attracted the shades of Demodocus Foemius, Homer, Hesiod, Terpander, and Sappho, who came in various habits, but all crowned with laurel. Divine Poesy having reached the earth, the cloud closed and ascended, while she proceeded to the throne; herself and the Poets singing alternately.

The next change was to a scene of clouds and mist, through which, parts of a temple were discernible. Three magicians entered from caves, from whose converse the audience were informed, that they were enemies to Platonic love; a fourth joined them, and an incantation took place, producing fiery spirits all in flames, airy spirits clothed in feathers, watery spirits covered with scales, and having heads and fins of fish, earthy spirits with habits wrought with leafless trees and bushes, serpents, &c.; and on their heads barren pieces of rock.

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The

The fiery spirits were attended by a female, and debauched quarrelsome men; the airy by amorous pairs, ridiculously 'dressed, and alchymists; the watery by drunken Dutch schippers; and the earthy by witches, usurers, and fools, After them came a modern Devil, representing the sworn enemy of Poetry and the sister Arts, but a decided friend to every kind of discord; who was accompanied by a number of factious followers, habited in character; those were succeeded by three Indian ladies of rank, and their dancing-train; amongst whom was a young Persian.

After some observations, he retired; and a number of nimble youths, of the same country, appeared, habited in sea-green, their coats reaching nearly to their knees; they had loops and buttons before, and were cut square to their hips, with two short skirts; the sleeves were large, without seams, cut short to the bend of the arm, and hung down behind; under these were sleeves of white embroidered satin, "and the basis, answerable to the sleeve, hung down in gathering underneath the shortest part of their coats;" their turbans were silvered, and bound with white cypress, and decorated with feathers.

When they had completed a dance, the scene shifted to a calm sea, with a fore-ground of rocks, and a mountainous distance; the trees, and cottages, and animals, represented a landscape in

Asia; Orpheus, in a white robe, and mantle of carnation, crowned with laurel, appeared from the side, seated in a bark, adorned with sculpture, gilt with silver and gold, and terminating at the stern in a large bust of a sea-god.

It appears from the description, that the waves had motion, and the bark is said to roll with them. Previous to the exit of the musician, hè sung, and was answered by the priests of the Temple of Love.

A sea chariot then came on, composed of po rous rock, shells and weeds, coral and pearls, with golden wheels, the spokes without rims, and shaped like oars. Sea monsters brought it forward undulating with the waves; the seat, formed like an escallop-shell, supported Indamora, Queen of Narsinger, whose dress is not mentioned; but that of the masquers was of Isabella-colour and watchet, with bases in large panes, cut through all over, richly embroidered with silver'; and the dressing of their heads was of silver, with small falls of white feathers, tipped with watchet.

After

The chorus sung during this scene. which, the nearest portion of the sea became land, and Indamora, with her ladies, descended. Α second dance of the masquers commenced; and the Queen having taken her seat by the King on the throne, the scene changed to the Temple of Chaste Love, composed of Satyrs bearing the architrave