It being very warm weather, in his last scene of the play, as he waited to go on, he inadvertently wiped his face, that, when he enter'd, he had the appearance of a chimney-sweeper (his own words).

At his entrance he was surprised at the variety of noises he heard in the audience (for he knew not what he had done), that a little confounded him, till he received an extraordinary clap of applause, which settled his mind.

The play was desir'd for the next night of acting, when an actress fitted a crape to his face, with an opening proper for the mouth, and shap'd in form for the nose; but, in the first scene, one part of the crape slip'd off.

'And zounds!' said he (he was a little apt to swear), 'I look'd like a magpie.

When I came off, they lamp-black'd me for the rest of the night, that I was flayed before it could be got off again.'"[B] [Footnote A: Joseph Ashbury, Master of the Revels, in Ireland, actor, and manager of the theatre in Dublin.] [Footnote B: Chetwood adds in a footnote: "The composition for blackening the face are ivory-black and pomatum, which is, with some pains, clean'd with fresh butter." "Oroonoko" was what we would now call a "black face" part.] But Booth was too much in earnest to be daunted by anything so trifling as the misplacing of a mask.