anges. Wardrobes are now often
hired complete from the costume and masquerade shops. The theatrical
costumier has become an independent functionary, boasting an
establishment of his own, detached from the theatre. Costume plays are
not much in vogue now, and in dramas dealing with life and society at
the present date, the actors are understood to provide their own
attire. Moreover, there is now little varying of the programme, and,
in consequence, little demand upon the stock wardrobe of the
playhouse. Still, when in theatres of any pretension, entertainments
in the nature of spectacles or pantomimes are in course of
preparation, there is much stir in the wardrobe department. There are
bales of cloth to be converted into apparel for the supernumeraries,
yards and yards of gauze and muslin for the ballet; spangles, and
beads, and copper lace in great profusion; with high piles of white
satin shoes. Numerous stitchers of both sexes are at work early and
late, while from time to time an artist supervises their labours. His
aid has been sought in the designing of the costumes, so that they may
be of graceful and novel devices in fanciful or eccentric plays, or
duly correct when an exhibition, depending at all upon the history of
the past, is about to be presented by the manager.

CHAPTER XVI.

"HER FIRST APPEARANCE."

From the south-western corner of Lincoln's Inn Fields a winding and
confined court leads to Vere Street, Clare Market. Midway or so in the
passage there formerly existed Gibbon's Tennis Court--an establishment
which after the Restoration, and for some three years, served as a
playhouse; altogether distinct, be it remembered, from the far more
famous Lincoln's Inn Fields Theatre, situate close by in Portugal
Street, at the back of the College of Surgeons. Nevertheless, the Vere
Street Theatre, as it was called, can boast something of a history; at
any rate, one event of singular dramatic importance renders it
memorable. For on Saturday, the 8th of December, 1660, as historians
of the drama relate, it was the scene of the first appearance upon the
English stage of the first English actress. The lady played Desdemona;
and a certain Mr. Thomas Jordan, an actor and the author of various
poetical pieces, provided for delivery upon the occasion a "Prologue
to introduce the first woman that came to act on the stage in the
tragedy called 'The Moor of Venice.'"

So far the story is clear enough. But was thi