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Acknowledgments
I owe thanks to many people for arousing my interest in scenography and its history, not least all the set designers, the results of whose work I have noticed in the theatre over the years, but five people have had a special influence on this study.
Many years ago, Raymond Ingram’s designs for several productions, but especially for Lord Arthur Saville’s Crime, made me appreciate how important an appropriate setting was for any play and how much it affected the interpretation of style and genre.
Christopher Baugh’s lectures on de Loutherberg opened another door onto the techniques of set design, and his kindly comments on a draft of this study were immensely helpful.
Timothy Keenan and I have shared many ideas about Restoration stagecraft, and I am most grateful for his detailed criticisms of an early draft of this study.
William Crow’s study of Inigo Jones made me look at the masque stage and its sources more closely.