g so strictly textual, that the musical embellishments,
usually attributed to Locke, but in truth supplied by Leveridge, were
discarded for the first time for very many years. Lady Macduff was
restored to the list of _dramatis personae_, from which she had so long
been banished, and the old stage direction in the last scene--"enter
Macduff with Macbeth's head upon a pole," was implicitly followed. But
these revivals were a consequence of earlier reproductions of
Shakespeare, with rigid regard to accuracy of costume, and general
completeness of decoration. John Kemble had taken certain important
steps in this direction, and his example had been bettered by his
brother Charles, under whose management of Covent Garden, "King John"
was produced, the costumes being supervised by Mr. Planche, and every
detail of the representation receiving most attentive study. Great
success attended this experiment, although, in the first instance,
there had prevailed a strong inclination to deride as "stewpans" the
flat-topped helmets worn by King John and his barons. After this,
accuracy of costume, especially in relation to the plays of
Shakespeare, became the favourite pursuit of managers. Mr. Macready
ventured upon various revivals, archaic and decorative, at Covent
Garden and Drury Lane; Mr. Phelps followed suit at Sadler's Wells, and
Mr. Charles Kean at the Princess's, until it seemed that correctness
of attire, and splendour of scenery and appointments, could no further
be carried; indeed, alarm arose lest the drama should perish
altogether under the weight of upholstery and wardrobe it was doomed
to bear. Already the art of acting, in its more heroic aspects, had
undergone decline; there was danger of the player sinking to the level
of a mere dummy or lay-figure for the exhibition of costly raiment.

Still, these luxurious illustrated editions of Shakespeare were
attractive and popular, although it is probable that the audience
esteemed them less for their archaeological merits than on account of
their charms as spectacles. Indeed, few in the theatre could really be
supposed to prize the cut of a tunic, or the shape of a headdress, or
to possess such minute information as enabled them to appraise the
worth, in that respect, of the entertainment set before them. However,
pages from the history of costume were displayed, indisputable in
their correctness, and those who listed might certainly gather
instruction. Here was to be seen Ki