the stage, either before or during the acting of any play; and that no
person should come into either house without paying the price
established for their respective places. And the disobedient were
publicly warned that they would be proceeded against, as "contemners
of our royal authority and disturbers of the public peace."

These royal commands were not very implicitly obeyed. Vizard-masks may
have been discarded promptly, but there was much crowding, behind the
scenes and upon the stage, of persons of quality for many years after.
Garrick, in 1762, once and for ever, succeeded in clearing the boards
of the unruly mob of spectators, and secured room to move upon the
scene for himself and his company. But it was only by enlarging his
theatre, and in such wise increasing the number of seats available for
spectators in the auditory of the house, that he was enabled to effect
this reform. From that date the playgoers of the past grew more and
more like the playgoers of the present, until the flight of time
rendered distinction between them no longer possible, and merged
yesterday in to-day. There must have been a very important change in
the aspect of the house, however, when hair powder went out of fashion
in 1795; when swords ceased to be worn--for, of course, then there
could be no more rising of the pit to slash the curtain and scenery,
to prick the performers, and to lunge at the mirrors and decorations;
when gold and silver lace vanished from coats and waistcoats, silks
and velvets gave place to broadcloth and pantaloons; and when,
afterwards, trousers covered those nether limbs which had before, and
for so long a period, been exhibited in silk stockings. Yet these
alterations were accomplished gradually, no doubt. All was not done in
a single night. Fashion makes first one convert, and then another, and
so on, until all are numbered among her followers and wear the livery
she has prescribed. Garrick's opinion of those playgoers of his time,