In those days mistresses could rule the costume of their maids. In ours the latter dress in the same ill-taste adopted by their mistresses. But chignons, at last, have gone out, and with them the abominable smell which ‘pervaded’ the atmosphere. By 1813 the minuet, a knowledge of dancing which Mrs. Montagu thought of more importance than a knowledge of French, ceased to be known in the ball-room. It fingered on the stage. The Coburg Theatre audiences looked upon the Minuet de la Cour and Gavotte, danced by M. and Mdme. Le Clercq, with a sort of wondering delight, and Taglioni and Fanny Elsler danced it on our opera stage, forty years ago, as a lady and cavalier of the time of Louis the Fourteenth. When the waltz first attempted (with its vulgar familiarity and an intimacy which made an Oriental ambassador almost faint) to supplant the minuet, in which the gentleman scarcely touched the tips of the lady’s fingers, and seemed abashed at his own audacity, there was a general outcry of fie upon it. But young ladies soon learned to laugh at the objections of their mothers, and flung themselves on the shirt-fronts of their partners with alacrity. Fashion sanctified it, and the youthful world thought it ill-bred prudery to set its face against what fashionable people of good taste considered innocent and amusing. The actors of the first half of the century come pleasantly to the memories of some survivors, and to the knowledge of others who will be glad to become acquainted with them. Graceful Elliston, in Octavian, is said to have been superior to John Kemble. George Frederick Cooke was always fine, but never sober; ‘_often_ so drunk as not to be able to come on the stage at all, and _generally_ as not to be able to stand when on.’ We sit with Cooke’s exasperated audience, kept half an hour beyond time, when he was to play Mr. Oakley, and we join in the hissing when he does appear, and enjoy the mingled surprise and indignation that light up his countenance. ‘He, however, recollected himself, and after one violent effort, in which every feature of his speaking countenance had its peculiar expression, made a sort of half-disdainful half-respectful bow, and an exit steadier than his entrée, though hardly steady enough for dignity.’ Cooke’s Oakley, in its way, was as good as Emery’s Tyke, which, as a bit of tragi-comedy, was inexpressibly grand.