r Cyrus the Great, and worn by Julius
Caesar, Bajazet, King Harry the Eighth, and Signor Valentini.

A basket-hilted sword, very convenient to carry milk in.

Roxana's night-gown.

Othello's handkerchief.

The imperial robes of Xerxes, never worn but once.

A wild boar killed by Mrs. Tofts[A] and Dioclesian.

[Footnote A: A favourite singer of the day.]

A serpent to sting Cleopatra.

A mustard-bowl to make thunder with.

Another of a bigger sort, by Mr. D----'s[A] directions, little used.

[Footnote A: John Dennis, the critic.]

Six elbow-chairs, very expert in country dances, with six flower-pots
for their partners.

The whiskers of a Turkish Pasha.

The complexion of a murderer in a band-box; consisting of a large
piece of burnt cork, and a coal-black peruke.

A suit of clothes for a ghost, viz., a bloody shirt, a doublet
curiously pinked, and a coat with three great eyelet-holes upon the
breast.

A bale of red Spanish wool.

Modern plots, commonly known by the name of trapdoors, ladders of
ropes, vizard-masques, and tables with broad carpets over them.

Three oak-cudgels, with one of crab-tree; all bought for the use of
Mr. Pinkethman.[A]

[Footnote A: The comedian.]

Materials for dancing; as masques, castanets, and a ladder of ten
rounds.

Aurengezebe's scymitar, made by Will Brown in Piccadilly.

A plume of feathers, never used but by Oedipus and the Earl of Essex.

There are also swords, halbards, sheep-hooks, cardinals' hats,
turbans, drums, gallipots, a gibbet, a cradle, a rack, a cart-wheel,
an altar, an helmet, a back-piece, a breast-plate, a bell, a tub, and
a jointed baby.

ACTORS AND AUDIENCE.

(_From Cibber's "Apology_")

Among our many necessary reformations, what not a little preserved to
us the regard of our auditors was the decency of our clear stage, from
whence we had now for many years shut out those idle gentlemen who
seemed more delighted to be pretty objects themselves than capable of
any pleasure from the play; who took their daily stands where they
might best elbow the actor, and come in for their share of the
auditor's attention. In many a laboured scene of the wannest humour
and of the most affecting passion I have seen the best actors
disconcerted, while these buzzing muscatos have been fluttering round
their eyes and ears. How was it possible an actor, so embarrassed,
should keep his impatience from entering into that different temper
which his p