Indeed, the desire for correctness of dress upon the stage is of modern origin.

Still, now and then may be found, even in very early days, some inclination towards carefulness in this respect; as when, in 1595, Thomas Nevile, Vice-Chancellor of the University of Cambridge, applied to Lord Treasurer Burghley for the loan of the royal robes in the Tower, in order to perform, "for the exercise of young gentlemen and scholars in our college," certain comedies and one tragedy, in which "sondry personages of greatest estate were to be represented in ancient princely attire, which is nowhere to be had but within the office of the roabes of the Tower." This request, it seems, had been granted before, and probably was again complied with on this occasion.

Indeed, at a much later date there was borrowing from the stores of the Tower for the decoration of the stage; as Pope writes: Back fly the scenes and enter foot and horse: Pageant on pageants in long order drawn, Peers, heralds, bishops, ermine, gold, and lawn; The champion, too! And to complete the jest, Old Edward's armour beams on Cibber's breast.
By way of reflecting the glories of the coronation of George II., "Henry VIII.," with a grand spectacle of a coronation, had been presented at the theatres, the armour of one of the kings of England having been brought from the Tower for the due accoutrement of the champion.

And here we may note a curious gravitation of royal finery towards the theatre.

Downes, in his "Roscius Anglicanus," describes Sir William Davenant's play of "Love and Honour," produced in 1662, as "richly cloathed, the king giving Mr.Betterton his coronation suit, in which he acted the part of Prince Alvaro; the Duke of York giving Mr.Harris his, who did Prince Prospero; and my lord of Oxford gave Mr.Joseph Price his, who did Lionel, the Duke of Parma's son." Presently we find the famous Mrs.Barry acting Queen Elizabeth in the coronation robes of James II.'s queen, who had before presented the actress with her wedding suit.