Restoration theatre followed in the footsteps of continental scenic practice.

In his Treatise of the English Stage of 1658, Richard Flecknoe (1600-1678), maintains that
English theatre of his day lags behind that of France and Italy in the area of 'spectacles'.

Of lighting he writes: "In particular we do not yet know where to locate the lighting, such that
we can achieve efficiency and intensity in lighting the stage".

Flecknoe was particularly mindful of lighting on the stage and on May 12, 1669 after a visit to
the Lincoln's Inn Field Theatre, where he apparently sat in the second gallery, he complained
that the candlelight in the performance nearly ruined his eyesight as the smoke rising from the
cheap tallow candles was extremely irritating!

In Paris of the 17th century, theatrical performances were given both in public theatres and at
Court. The Palais Royale theatre, where Moliere's plays were presented, was illuminated by

six grand chandeliers and by rows of candles at the front of the stage. The scenery was lit
from the sides by candles.

In a painting at the Comedie Francaise Museum, Moliere the actor plays on a stage lit by
six chandeliers, each with twelve candles, and thirty-four candles at the front of the stage -
a total of a hundred and six candles in the painting alone.

Large chandeliers similar to those on stage were hung in the auditorium. In addition to lighting
the auditorium, these chandeliers enhanced the lighting of the downstage area. A row of
footlights was placed at the edge of the stage, adding more light to the faces of the actors.

Inventory lists of theatres of this period provide us with detailed information about the types
and quantity of candles, indicating that more candles were used in the auditorium than on the
stage itself.