he prompter, for
"sending a child to him instead of a man advanced in years."

This anecdote seems to show that the art of "make-up" had not reached
perfection in those times, for a few well-put strokes of the pencil
should have destroyed the juvenile aspect of Seyton. It must not be
supposed, nevertheless, that the decoration of the face was unknown,
and an entry in Pepys' delightful diary proves that "make-up" of a
certain kind flourished at the Restoration. "To the King's house,"
says Pepys, "and there going in met with Knipp, and she took us up
into the tireing-rooms;[A] and to the women's shift, where Nell
(Gwyne) was dressing herself, and was all unready, and is very pretty,
prettier than I thought. (Imagine the gloating eyes of the old
hypocrite.) And into the scene-room, and there sat down, and she gave
us fruit: and here I read the questions to Knipp, while she answered
me, through all her part of 'Flora's Figarys,' which was acted to-day.
But, Lord! to see how they were both painted, would make a man mad,
and did make me loath them: and what base company of men comes among
them; and how loudly they talk! And how poor the men are in clothes,
and yet what a show they make on the stage by candle-light, is very
observable. But to see how Nell cursed, for having so few people in
the pit, was strange," _et cetera_.[B]

[Footnote A: Mrs. Knipp was an actress belonging to the King's Company
and Mr. Pepys had for her a timid admiration.]

[Footnote B: In his notes to Cibber's "Apology," Lowe suggests the
plausible theory that young actors playing "juveniles" did not use
any "make-up" or paint, but went on the stage with their natural
complexion. He instances this paragraph from Cibber: "The first thing
that enters into the head of a young actor is that of being a heroe:
In this ambition I was soon snubb'd by the insufficiency of my voice;
to which might be added an uniform'd meagre person (tho' then not
ill-made) with a dismal pale complexion."]

To leave the merry days of Charles II, and wander back to those of
Queen Anne, it may be said that Ryan made his first success as the
Marcus in the original production of "Cato." It was a success rather
added to than otherwise by an adventure of which this actor was the
unfortunate victim. "In the run of that celebrated tragedy," writes
Chetwood, "he was accidently brought into a fray with some of our
Tritons on the Thames; and, in the scuffle, a blow on the nose was
give