_ Haut-gout, a relish or savoury.

+Act I: Scene ii+

p. 26 _a Piece of Eight._ A piastre, a coin of varying values in
different countries. The Spanish piastre is now synonymous with a
dollar and so worth about four shillings. The old Italian piastre
was equivalent to 3_s._ 7_d._

+Act II: Scene i+

p. 30 _Balcony... each side of the Door._ With regard to the
proscenium doors and balconies of a Restoration theatre, our
knowledge of these points has been rendered much more exact since
the valuable discovery by that well-known authority in stage
matters, Mr. W. J. Lawrence, of Sir Christopher Wren's designs for
the second Theatre Royal, Drury Lane, 1674. Beyond the proscenium on
the apron there are four doors each with its balcony above. The
height of these balconies from the stage is considerable,
surprisingly so indeed in view of the fact that characters
frequently have to climb up into or descend from one of these
'windows', e.g., Shadwell's _The Miser_ (1672), Act. iv, when the
drunken bullies 'bounce at the Doors', we have 'Squeeze at the
Window in his Cap, and undressed,' who cries: 'I must venture to
escape at this Window'; 'he leaps down', and yells, as he falls,
'Death! I have broke my Bones; oh! oh!' whilst the scowrers run up,
exclaiming: 'Somebody leaped out of a Window', and he is promptly
seized. In Ravenscroft's _The London Cuckolds_ (1682), Act. v:
'Enter Ramble above in the Balcony'. This gallant, escaping from the
house hurriedly, decides 'which way shall I get down? I must venture
to hang by my hands and then drop from the Balcony'. Next: 'As
Ramble is getting down Doodle enters to look for his glove, Ramble
drops upon him and beats him down.' This could hardly have been an
easy bit of stage business, although Smith, who acted Ramble, was an
athletic, tall young fellow.

Normally no doubt only two of the doors (those nearest the
proscenium opening on opposite sides) with their balconies were in
constant use by the actors as the exigencies of the play might
demand, but if required, all four balconies, and more frequently,
all four doors could be and were employed. It is noticeable in
Wren's design that the balconies are not stage balconies, but side
boxes, a permanent part of the general architectural scheme, and
there can be no doubt that, save in exceptional circumstances, the
two outermost were occupied by spectators. If