For some years, however, actors' benefits did not extend beyond the case of Mrs. Barry. But in 1695 the patentees of the theatres were so unfortunately situated that they could not satisfy the claims of their actors, and were compelled to pay them "half in good words and half in ready money." Under these circumstances certain of the players compounded for the arrears of salary due to them by taking the risk of benefit performances. After a season or two these benefits were found to be so advantageous to the actors that they were expressly stipulated for in their agreements with the managers. On the other hand, the managers, jealous of the advantages secured in this wise by the players, took care to charge very fully for the expenses of the house, which were of course deducted from the gross receipts of the benefit-night, and further sought to levy a percentage upon the profits obtained by the actors. In 1702 the ordinary charge for house expenses, on the occasion of a benefit at Drury Lane, was about L34. In Garrick's time the charge rose to L64, and was afterwards advanced considerably. Still the actors had special sources of profit. Their admirers and patrons were not content to pay merely the ordinary prices of admission, but bought their tickets at advanced rates, and often sent presents of money in addition. Thus Betterton--whose salary, by-the-bye, was only L4 per week--took a benefit in 1709, when he received L76 for two-thirds of the receipts upon the ordinary scale--one-third being deducted by the manager for expenses--and a further sum of L450 for the extra payments and presents of his friends. The boxes and pit were "laid together," as it was called, and half-a-guinea was charged for admission. "One lady gave him ten guineas, some two, and most one guinea. Further, he delivered tickets for more persons than the boxes, pit, and stage could hold, and it was thought that he cleared L450 at least over and above the L76." Certainly the great actor enjoyed on this occasion of his benefit what is popularly known as "a bumper."[3] [3] Macready, on the occasion of his taking a benefit, invariably refused to receive any payment in excess of the ordinary charges for admission to the theatre, and was wont, with a polite note of thanks, to return the balance to those who, as he judged, had overpaid him for their tickets.