is sinking, the whole House is darken'd, and a shower of Fire falls upon 'em. This is accompanied with Lightning, and several Claps of Thunder, to the end of the Storm. This multiplication of effects at the very outset of the play served as a shock and foretaste of what the audience would find farther along. Dorset Garden specials The technical capacities of Dorset Garden were little used for Restoration comedy. While most heroic drama included some scenes that showed off the perspective stage or used some of the simpler machines, spectacle on this limited scale could be just as well staged at competing theatres. The plays for which Dorset Garden was built were a category to themselves, separated from typical drama by their emphasis on mythology and scale, and their great expense. Due to the resources required, only five "machine plays", Davenant's version of Macbeth (1672–73), Settle's Empress of Morocco (probably 1673), Shadwell/Dryden/Davenant's Tempest (1673–74), Thomas Shadwell's long-awaited Psyche (1674–75), and Charles Davenant's Circe (1676–77), were produced during the 1670s; though they were hugely important for the finances of the Duke's Company. Psyche had not one, but two, elaborate sets for each of five acts, such as the setting for the beginning of Act 3: The Scene is the Palace of Cupid, compos'd of wreath'd Columns of the Corinthian Order; the Wreathing is adorn'd with Roses, and the Columns have several little Cupids flying about 'em, and a single Cupid standing upon every Capital. At a good distance are seen three Arches, which divide the first Court from the other part of the building: The middle Arch is noble and high, beautified with Cupids and Festoons, and supported with Columns of the foresaid Order. Through these Arches is seen another Court, that leads to the main Building, which is at a mighty distance. All the Cupids, Capitals and Enrichments of the whole Palace are of Gold. Here the Cyclops are at work at a forge, forging great Vases of Silver. The Musick strikes up, they dance, hammering the Vases upon Anvils. After the Dance, Enter Vulcan. The use of perspective scenery and many arches is evident here, creating an illusion of the first court being "at a good distance" and the next "at a mighty distance". This illusion of depth was a favorite device of Shadwell's, repeated when the scene changed halfway through the act: The scene changes to