then fixed, with a result that large audiences have never failed to find resplendent and beautiful. These are some, but, of course, a few only, of the methods and mysteries of the scene-painter's art. CHAPTER XV. THE TIRING-ROOM. The information that has come down to us in relation to the wardrobe department of the Elizabethan theatre, and the kind of costumes worn by our early actors, is mainly derived from the diaries of Philip Henslowe and his partner, Edward Alleyn, the founder of Dulwich College. Henslowe became a theatrical manager some time before 1592, trading also as a pawnbroker, and dealing rather usuriously with the players and playwrights about him. Alleyn married the step-daughter of Henslowe, and thereupon entered into partnership with him. Malone has made liberal extracts from Henslowe's inventories, which bear date 1598-99, and were once safely possessed by Dulwich College, but have now, for the most part, disappeared. Among the articles of dress enumerated appear "Longshanks' suit;" "Tamberlane's breeches of crimson velvet," and the same hero's "coat with coper lace;" "Harye the Fifth's velvet gown and satin doublet, laid with gold lace;" Dido's robe and Juno's frock; Robin Hood's hat and green coat; and Merlin's gown and cape. Then there are gowns and caps for senators, suits for torchbearers and janissaries, shepherds' coats, yellow leather doublets for clowns, robes of rich taffety and damask, suits of russet and of frieze, fools' caps and bells, cloth of gold, French hose, surplices, shirts, farthingales, jerkins, and white cotton stockings. From another document, the cost of theatrical apparel may be fairly estimated. A list headed: "Note of all such goods as I have bought for the company of my Lord Admiral's men, since the 3rd April, 1598," has the sum paid for each article plainly stated, and contains such items as: "Bought a damask cassock, garded with velvet, eighteen shillings;" "bought a payer of paned rownd hose of cloth, whiped with silk, drawn out with taffety, and one payer of long black woollen stockens, eight shillings;" "bought a robe for to go invisibell and a gown for Nembia, three pounds ten shillings" (Malone conjecturing that the mysterious "robe for to go invisibell" pertained to some drama in which the wearer of the garment specified was supposed to be unseen by the rest of the performers); "bought a doublet of white satten layd thick with gold lace, and a pair of rowne paned hose of cloth of silver, the panes layd with gold lace, seven pounds ten shillings," and so on.