Fireworks were exhibited at Marybone Gardens while they were kept open for public entertainment; and about five-and-twenty years ago,[1090] Torre, a celebrated French artist, was employed there, who, in addition to the usual displayment of fire-wheels, fixed stars, figure pieces, and other curious devices, introduced pantomimical spectacles, which afforded him an opportunity of bringing forward much splendid machinery, with appropriate scenery and stage decoration, whereby he gave an astonishing effect to his performances, and excited the admiration and applause of the spectators. I particularly remember two, the Forge of Vulcan, and the Descent of Orpheus to Hell in search of his wife Eurydice. The last was particularly splendid: there were several scenes, and one of them supposed to be the Elysian fields, where the flitting backwards and forwards of the spirits was admirably represented by means of a transparent gauze artfully interposed between the actors and the spectators. Fireworks have for many years been exhibited at Ranelagh Gardens; they are now[1091] displayed occasionally at Vauxhall; and, in an inferior style, at Bermondsey Spa. In speaking upon this subject I have mentioned some of the actors formerly concerned in the pyrotechnical shows. Those said above to have been on board the city foyst, or galley, are called monstrous wilde men;[1092] others are frequently distinguished by the appellation of green men;[1093] and both of them were men whimsically attired and disguised with droll masks, having large staves or clubs, headed with cases of crackers. Annexed is [Illustration: 114. A GREEN MAN.] This engraving, representing the character equipped in his proper habit, and flourishing his firework, is from a book of fireworks written by John Bate, and published in 1635. Below is [Illustration: 115. A WODEHOUSE.] This character, which is that of a wild or savage man, was very common in the pageants of former times, and seems to have been very popular. It was in a dress like this, I suppose, that Gascoyne appeared before queen Elizabeth; see p. 253. The figure itself is taken from a ballad, in black letter, entitled "The mad, merry Pranks of Robin Good Fellow." Bishop Percy, probably with great justice, supposes it to have been one of the stage-disguisements for the representation of this facetious spirit. CHAPTER IV.