The diary or account-book of Philip Henslowe, the manager, supplies much information concerning the usual appointments of a theatre prior to the year 1600. In his inventory of dresses and properties, bearing date 1598, is included a record of "six head tiers," or attires. An early and entertaining account of the contents of a theatrical "tiring-room" is to be found in Richard Brome's comedy, "The Antipodes," first published in 1640. Byeplay says of Peregrine, the leading comic character: He has got into our tiring-house amongst us, And ta'en a strict survey of all our properties, Our statues and our images of gods, Our planets and our constellations, Our giants, monsters, furies, beasts, and bugbears, Our helmets, shields, and vizors, hairs and beards. With the Restoration wigs came into general wear, and gradually the beards and moustaches, which had literally flourished so remarkably from the time of Elizabeth, were yielded to the razor. At this period theatrical costume was simply regulated by the prevailing fashions, and made no pretensions to historical truth or antiquarian correctness. The actors appeared upon all occasions in the enormous perukes that were introduced in the reign of Charles II., and continued in vogue until 1720. The flowing flaxen wigs assumed by Booth, Wilks, Cibber, and others, were said to cost some forty guineas each. "Till within these twenty-five years," writes Tom Davies in 1784, "our Tamberlanes and Catos had as much hair on their heads as our judges on the bench." Cibber narrates how he sold a superb fair full-bottomed periwig he had worn in 1695 in his first play, "The Fool in Fashion," to Colonel Brett, so that the officer might appear to advantage in his wooing of the Countess of Macclesfield, the lady whom, upon unsatisfactory evidence, the poet Savage persistently claimed as his mother.