After the performance was over, Betterton scolded old Downes, the prompter, for "sending a child to him instead of a man advanced in years." This anecdote seems to show that the art of "make-up" had not reached perfection in those times, for a few well-put strokes of the pencil should have destroyed the juvenile aspect of Seyton.

It must not be supposed, nevertheless, that the decoration of the face was unknown, and an entry in Pepys' delightful diary proves that "make-up" of a certain kind flourished at the Restoration.

"To the King's house," says Pepys, "and there going in met with Knipp, and she took us up into the tireing-rooms;[A] and to the women's shift, where Nell (Gwyne) was dressing herself, and was all unready, and is very pretty, prettier than I thought.

(Imagine the gloating eyes of the old hypocrite.) And into the scene-room, and there sat down, and she gave us fruit: and here I read the questions to Knipp, while she answered me, through all her part of 'Flora's Figarys,' which was acted to-day.
But, Lord! to see how they were both painted, would make a man mad, and did make me loath them: and what base company of men comes among them; and how loudly they talk! And how poor the men are in clothes, and yet what a show they make on the stage by candle-light, is very observable.

But to see how Nell cursed, for having so few people in the pit, was strange," _et cetera_.[B] [Footnote A: Mrs.Knipp was an actress belonging to the King's Company and Mr.Pepys had for her a timid admiration.] [Footnote B: In his notes to Cibber's "Apology," Lowe suggests the plausible theory that young actors playing "juveniles" did not use any "make-up" or paint, but went on the stage with their natural complexion.