defraud his audience, he was among the first to successfully market his act to fashionable society outside the fairs. Fawkes eschewed the stereotypical voluminous cloak and hat of the traditional fair conjurer and instead presented himself in gentrified dress with a powdered wig and smart suit. His act was squarely presented as entertainment; he emphasised his skills of dexterity and if he did mention the dark forces it was only to mock those of his contemporaries that claimed a connection with the supernatural. The anonymous author of Round About Our Coal Fire or, Christmas Entertainments identified the key to Fawkes' success: Not everybody was convinced of his honesty though; in his Portraits, memoirs, and characters, of remarkable persons of 1819 the author and publisher James Caulfield sketched Fawkes as a fraudster: Fawkes was a regular at the Southwark and Bartholomew fairs, where he gave up to six shows a day, but his rising popularity allowed him to establish himself in London outside the fair season. Early in 1723 he was working from the Long Room at the French Theatre next to the Opera House, Haymarket, where he gave a performance to the Prince and his retinue and was "handsomely rewarded". By April 1723 he had moved to premises in Upper Moorfields, where he held performances from a large booth three times a day (at three, five and seven o'clock). After the fair season he had a booth at Tower Hill and by December he had moved back to the Haymarket under the same roof as John James Heidegger's masquerades and Handel's operas. He allowed the operas to take precedence and did not perform on Tuesdays and Saturdays, but by setting up alongside the masquerades he had established himself at the hub of the fashionable London entertainments. He was not embarrassed by his success; late in 1723 a newspaper advertisement appeared boasting of his fame and wealth: He challenged any of his competitors to prove that they could deposit a similar amount. Fawkes made extravagant use of this sort of self-promotion through newspapers, journals, broadsheets and playbills; he kept the public informed not only of his forthcoming shows but also of his performances for the rich and famous, his successes, and his developing career. He also employed a flexible pricing structure for his entertainments: the entrance fees for his shows varied between sixpence and two shillings depending on the audience and