The theatre itself became a central rendezvous for immoral characters, and the place where assignations were most conveniently fixed. Lively wenches, under the pretense of selling oranges to the spectators, frequented the pit, and took their places in the front row, with their backs to the stage. It was well understood that they were as ready to sell favors as fruit, and, in fact, that they had come from the neighboring brothels for that express purpose. Deep drinking was another characteristic feature of the times, and bacchanalian orgies were freely indulged in by all classes, from the king to the beggar, differing little in the extremes to which they were pushed. Conversation, even in what was called the best society, was disfigured by the grossest obscenity and blasphemy, and _bon ton_ consisted in the extravagance to which this vicious conduct was extended. Even the peasantry endeavored to imitate the costumes and carriage of the courtiers, and country women were to be seen in flaunting dresses cut so as to expose as much as possible of the person. Up to this period no female had ever appeared upon the English stage; where women were introduced, their parts had been filled by boys. Neither was it customary for a monarch to show himself at a public representation of a play; but, when they were enacted for his amusement, the performance took place in some apartment of the royal palace. In Charles's reign, women for the first time appeared on the stage, and performed the parts allotted to the heroines of the drama. The king and queen became regular frequenters of the theatre, and encouraged by their presence the _double entendre_ and broad indecencies of the pieces in vogue. We may remark, parenthetically, that unmarried actresses usually adopted the title Mistress before their names, the word Miss, as then applied, signifying that she who bore it was a concubine. In modern days it is the habit to reverse this practice, as the marriage state is considered to divest the actress of half her attractions. There were but two theatres in London at this period: the King's Theatre, where the celebrated Nell Gwynne and Mrs. Rebecca Marshall were the chief actresses, and the Duke's, where another company performed. One day the reigning favorites at the King's Theatre had a violent quarrel, and Mrs. Marshall called Nell "Lord Buckhurst's mistress." Nell contented herself with rejoining that she was but one man's mistress, though brought up in a brothel, while Mrs. Marshall bore the same relation to three or four, notwithstanding she was the daughter of a Presbyterian. Their own accounts of each other leave no doubt as to their morality.