The characteristics of the "tiring-room" have always presented themselves in a ludicrous light to the ordinary observer. There is always a jumble of incongruous articles, and a striking contrast between the ambitious pretensions of things and their real meanness--between the facts and fictions of theatrical life. Mr. Collier quotes from Brome's comedy, "The Antipodes," 1640, a curious account of the contents of the "tiring-house" of that time. Byeplay, an actor, one of the characters, is speaking of the hero Peregrine, who is in some sort a reflection of Don Quixote: He has got into our tiring-house amongst us, And ta'en a strict survey of all our properties. * * * * * Whether he thought 'twas some enchanted castle, Or temple hung and piled with monuments Of uncouth and of varied aspects, I dive not to his thoughts.... But on a sudden, with thrice knightly force, And thrice thrice puissant arm, he snatched down The sword and shield that I played Bevis with; Rusheth among the foresaid properties, Kills monster after monster, takes the puppets Prisoners, knocks down the Cyclops, tumbles all Our jigambobs and trinkets to the wall. Spying at last the crown and royal robes I' the upper wardrobe, next to which by chance, The devils vizors hung and their flame-painted Skin-coats, these he removed with greater fury, And (having cut the infernal ugly faces All into mammocks), with a reverend hand He takes the imperial diadem, and crowns Himself King of the Antipodes and believes He has justly gained the kingdom by his conquest. A later dealing with the same subject may be quoted from Dr. Reynardson's poem of "The Stage," dedicated to Addison, and first published in 1713: