Thus the masque of "Love's Mistress, or the Queen's Masque," by Thomas Heywood, 1640, was "three times presented before their Majesties at the Phoenix in Drury Lane;" Heywood expressly acknowledging his obligation to Inigo Jones, who "changed the stage to every act, and almost to every scene." It must not be supposed, however, that the introduction of scenery was hailed unanimously as a vast improvement upon the former condition of the stage.

There was, no doubt, abundance of applause; a sufficient number of spectators were well pleased to find that now their eyes were to be addressed not less than their ears and their minds, and were satisfied that exhibitions of the theatre would be presently much more intelligible to them than had hitherto been the case.

Still the sages shook their heads, distrusting the change, and prophesying evil of it.

Even Mr.Payne Collier has been moved by his conservative regard for the Elizabethan stage and the early drama to date from the introduction of scenery the beginning of the decline of our dramatic poetry.

He holds it a fortunate circumstance for the poetry of our old plays, that "painted movable scenery" had not then been introduced.
"The imagination only of the auditor was appealed to, and we owe to the absence of painted canvas many of the finest descriptive passages in Shakespeare, his contemporaries, and immediate followers." Further, he states his opinion that our old dramatists "luxuriated in passages descriptive of natural or artificial scenery, because they knew their auditors would have nothing before their eyes to contradict the poetry; the hangings of the stage made little pretensions to anything but coverings for the walls, and the notion of the place represented was taken from what was said by the poet, and not from what was attempted by the painter." It need hardly be stated that the absence of scenes and scene-shifting had by no means confined the British drama to a classical form, although regard for "unity of place," at any rate, might seem to be almost logically involved in the immovable condition of the stage-fittings.