The success of the experiment was signal.

Follet, in a closely-fitting suit of dark-gray stuff, made in the shape of armour, faintly visible through the sheet of gauze, flitted across the stage like a shadow, amidst the breathless silence of the house, to be followed presently, on the falling of the curtain, by peal after peal of excited applause.
A humorous story of a stage ghost is told in Raymond's "Life of Elliston," aided by an illustration from the etching-needle of George Cruikshank, executed in quite his happiest manner.

Dowton the actor, performing a ghost part--to judge from the illustration, it must have been the ghost in "Hamlet," but the teller of the story does not say formally that such was the fact--had, of course, to be lowered in the old-fashioned way through a trap-door in the stage, his face being turned towards the audience.

Elliston and De Camp, concealed beneath the stage, had provided themselves with small ratan canes, and as their brother-actor slowly and solemnly descended, they applied their sticks sharply and rapidly to the calves of his legs, unprotected by the plate armour that graced his shins.

Poor Dowton with difficulty preserved his gravity of countenance, or refrained from the utterance of a yell of agony while in the presence of the audience.