ogue. "Even Sir Oliver," it is added, "appeared in a
fashionable modern drab greatcoat." In a note Leigh Hunt records his
opinion that Mr. Farren was right, and that it was "the business of
all the other performers to dress up to his costume, not for him to
_wrong_ himself into theirs," and adds, "there is one way of settling
the matter which puts an end to all questions except that of immediate
convenience and economy; and this is to do as the French do, who
rigidly adhere to the costume of the period in which the scene is
supposed to take place. Something of immediate sympathy is lost,
perhaps, by this system, for we can hardly admire a young beauty so
much in the dress of our grandmothers as in such as we see our own
charmers in; but this defect is compensated by a sense of truth and
propriety, by the very quaintness and novelty of the ancient aspect,
and even by the information it conveys to us."

The condition of the Parisian stage in regard to its improved and
splendid scenery, decorations, and accessories owed much to the
special intervention and patronage of Louis XIV. Sir Walter Scott
ascribes to Voltaire "the sole merit of introducing natural and
correct costumes. Before his time the actors, whether Romans or
Scythians, appeared in the full dress of the French court; and
Augustus himself was represented in a huge full-bottomed wig
surmounted by a crown of laurel." Marmontel, however, claims to have
had some share in this innovation, and also in the reform of the stage
method of declamation, which had previously been of a very pompous
kind. Following his counsels, Mdlle. Clairon, the famous tragic
actress, had ventured to play Roxana, in the Court Theatre at
Versailles, "dressed in the habit of a Sultana, without hoop, her arms
half naked, and in the truth of Oriental costume." With this attire
she adopted a simpler kind of elocution. Her success was most
complete. Marmontel was profuse in his congratulations. "But it will
ruin me," said the actress. "Natural declamation requires correctness
of costume. My wardrobe is from this moment useless to me; I lose
twelve hundred guineas' worth of dresses! However, the sacrifice is
made. Within a week you shall see me play Electra after nature, as I
have just played Roxana." Marmontel writes: "From that time all the
actors were obliged to abandon their fringed gloves, their voluminous
wigs, their feathered hats, and all the fantastic paraphernalia that
had so long shoc