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diff --git a/22397-h/22397-h.htm b/22397-h/22397-h.htm new file mode 100644 index 0000000..f081436 --- /dev/null +++ b/22397-h/22397-h.htm @@ -0,0 +1,16792 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of Shakespearean Playhouses, by Joseph Quincy Adams</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1, h2, h3, h4, h5, h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 15%; + margin-right: 15%; + } + + .pagenum {position: absolute; left: 92%; + font-size: 13px; text-indent: 0em; + border-top: solid gray 1px; border-bottom: solid gray 1px; + background-color: inherit; font-weight: normal; + font-style: normal; font-variant: normal; + text-decoration: none;} + + .blockquot{margin-left: 10%; margin-right: 10%;} + + .caption {margin-left: 10%; margin-right: 10%; font-weight: bold; text-align: center;} + + + .bbox {border: double black 1px; margin-left: 5%; margin-right: 5%;} + .bboxw {border: solid black 1px; padding: .5em;} + .border img {border: 2px solid black;} + + .center {text-align: center;} + .right {text-align: right;} + .smcap {font-variant: small-caps;} + .lgsmcap {font-variant: small-caps; font-size: 125%;} + .dropcap {float: left; padding-right: 3px; font-size: 250%; line-height: 83%;} + .small {font-size: 75%; text-align: center;} + .large {font-size: 150%; font-weight: bold; text-align: center;} + .larger {font-size: 250%; font-weight: bold; text-align: center;} + .vlarge {font-size: 300%;} + + .footnote {margin-left: 10%; margin-right: 10%;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: baseline; + position: relative; bottom: 0.4em; + font-size: .8em; + text-decoration: none;} + + .notes {background-color: #eeeeee; color: #000; padding: .5em; + margin-left: 10%; margin-right: 10%;} + + .cpoem {width: 54%; margin: 0 auto;} /* centers poem and maintains span indentation */ + .cpoeml {width: 64%; margin: 0 auto;} /* ditto for poems with longer lines */ + .cpoems {width: 40%; margin: 0 auto;} /* ditto for poems with shorter lines */ + + hr.full { width: 100%; + margin-top: 3em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + height: 4px; + border-width: 4px 0 0 0; /* remove all borders except the top one */ + border-style: solid; + border-color: #000000; + clear: both; } + pre {font-size: 75%;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, Shakespearean Playhouses, by Joseph Quincy +Adams</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Shakespearean Playhouses</p> +<p> A History of English Theatres from the Beginnings to the Restoration</p> +<p>Author: Joseph Quincy Adams</p> +<p>Release Date: August 25, 2007 [eBook #22397]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK SHAKESPEAREAN PLAYHOUSES***</p> +<p> </p> +<h3>E-text prepared by Marilynda Fraser-Cunliffe, Linda Cantoni,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net)</h3> +<p> </p> +<div class="notes"> +<p><i>Transcriber's Notes:</i> The original book cites Holland's +<i>Herωologia</i> in several places, but consistently misspells +it <i>Heroωlogia</i>. This has been corrected based on the image of +the original title page of <i>Herωologia</i> at the Library of +Congress, www.loc.gov.</p> + +<p>The original book contains a number of full-page illustrations. +In this e-book, these illustrations have been moved to the nearest +paragraph break so as not to disturb the flow of the text. The page +numbers for these illustrations have been omitted, and page references +in the text are linked to the pages on which the illustrations actually appear. +Page numbers for blank and unnumbered pages are also omitted.</p> +</div> +<p> </p> +<hr class="full" /> +<p> </p> + +<p class="center"><br /><b><a href="#CONTENTS">Contents</a></b><br /><br /></p> + +<div class="bbox"> +<h1 class="vlarge">Shakespearean<br /> +Playhouses</h1> + +<h2>A HISTORY OF ENGLISH<br /> +THEATRES <i>from the</i> BEGINNINGS<br /> +<i>to the</i> +RESTORATION</h2> + +<hr style="width: 65%;" /> + +<h2><i>By</i> JOSEPH QUINCY ADAMS</h2> + +<h3><i>Cornell University</i></h3> + +<hr style="width: 65%;" /> + +<p class="center"> +<img src="images/logo.png" width="134" height="182" alt="logo" /></p> + +<hr style="width: 65%;" /> + +<p class="center"> +Gloucester, Mass.<br /> +PETER SMITH<br /> +1960<br /> +</p> + +<hr /> + +<p class="small"> +COPYRIGHT, 1917, BY<br /> +JOSEPH QUINCY ADAMS<br /> +<br /> +REPRINTED, 1960,<br /> +BY PERMISSION OF<br /> +HOUGHTON MIFFLIN CO.<br /><br /> +</p> +</div> + + +<p class="center"><br /> +<a name="FRONTISPIECE"></a> +<img src="images/frontmap.png" width="600" height="369" alt="" /></p> + +<p class="caption">MAP OF LONDON SHOWING THE PLAYHOUSES</p> + +<p class="center">[<a href="images/frontmaplg.png">Enlarge</a>]</p> + +<p class="blockquot"><b><span class="smcap">Blackfriars, (first)</span> 1576-1584.<br /> +<span class="smcap">Blackfriars, (second)</span> 1596-1655.<br /> +<span class="smcap">Curtain</span>, 1577-after 1627.<br /> +<span class="smcap">Fortune, (first)</span> 1600-1621.<br /> +<span class="smcap">Fortune, (second)</span> 1623-1661.<br /> +<span class="smcap">Globe, (first)</span> 1599-1613.<br /> +<span class="smcap">Globe, (second)</span> 1614-1645.<br /> +<span class="smcap">Hope</span>, 1613-after 1682.<br /> +<span class="smcap">Phoenix or Cockpit</span>, 1617-after 1664.<br /> +<span class="smcap">Red Bull</span>, about 1605-after 1663.<br /> +<span class="smcap">Rose</span>, 1587-1605.<br /> +<span class="smcap">Salisbury Court</span>, 1629-1666.<br /> +<span class="smcap">Swan</span>, 1595-after 1632.<br /> +<span class="smcap">Theatre</span>, 1576-1598.<br /> +<span class="smcap">Whitefriars</span>, about 1605-1614(?).</b></p> + +<hr style="width: 65%;" /> + +<h2><span class="small">TO</span><br /> +<br /> +LANE COOPER<br /> +<br /> +<span class="small">IN GRATITUDE AND ESTEEM</span></h2> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_vii" id="Page_vii">vii</a></span></p> +<h2>PREFACE</h2> + + +<p><br /><span class="dropcap">T</span>HE method of dramatic representation in the time of Shakespeare has +long received close study. Among those who have more recently devoted +their energies to the subject may be mentioned W.J. Lawrence, T.S. +Graves, G.F. Reynolds, V.E. Albright, A.H. Thorndike, and B. +Neuendorff, each of whom has embodied the results of his +investigations in one or more noteworthy volumes. But the history of +the playhouses themselves, a topic equally important, has not hitherto +been attempted. If we omit the brief notices of the theatres in Edmond +Malone's <i>The Plays and Poems of William Shakespeare</i> (1790) and John +Payne Collier's <i>The History of English Dramatic Poetry</i> (1831), the +sole book dealing even in part with the topic is T.F. Ordish's <i>The +Early London Theatres in the Fields</i>. This book, however, though good +for its time, was written a quarter of a century ago, before most of +the documents relating to early theatrical history were discovered, +and it discusses only six playhouses. The present volume takes +advantage of all the materials made available by the industry of later +scholars, and records the history of seventeen regular, and five +temporary or projected, theatres. The book is throughout the result of +a first-hand examination of original<span class="pagenum"><a name="Page_viii" id="Page_viii">viii</a></span> sources, and represents an +independent interpretation of the historical evidences. As a +consequence of this, as well as of a comparison (now for the first +time possible) of the detailed records of the several playhouses, many +conclusions long held by scholars have been set aside. I have made no +systematic attempt to point out the cases in which I depart from +previously accepted opinions, for the scholar will discover them for +himself; but I believe I have never thus departed without being aware +of it, and without having carefully weighed the entire evidence. +Sometimes the evidence has been too voluminous or complex for detailed +presentation; in these instances I have had to content myself with +reference by footnotes to the more significant documents bearing on +the point.</p> + +<p>In a task involving so many details I cannot hope to have escaped +errors—errors due not only to oversight, but also to the limitations +of my knowledge or to mistaken interpretation. For such I can offer no +excuse, though I may request from my readers the same degree of +tolerance which I have tried to show other laborers in the field. In +reproducing old documents I have as a rule modernized the spelling and +the punctuation, for in a work of this character there seems to be no +advantage in preserving the accidents and perversities of early +scribes and printers. I have also consistently altered the dates when +the Old Style conflicted with our present usage.<span class="pagenum"><a name="Page_ix" id="Page_ix">ix</a></span></p> + +<p>I desire especially to record my indebtedness to the researches of +Professor C.W. Wallace, the extent of whose services to the study of +the Tudor-Stuart drama has not yet been generally realized, and has +sometimes been grudgingly acknowledged; and to the labors of Mr. E.K. +Chambers and Mr. W.W. Greg, who, in the <i>Collections</i> of The Malone +Society, and elsewhere, have rendered accessible a wealth of important +material dealing with the early history of the stage.</p> + +<p>Finally, I desire to express my gratitude to Mr. Hamilton Bell and the +editor of <i>The Architectural Record</i> for permission to reproduce the +illustration and description of Inigo Jones's plan of the Cockpit; to +the Governors of Dulwich College for permission to reproduce three +portraits from the Dulwich Picture Gallery, one of which, that of Joan +Alleyn, has not previously been reproduced; to Mr. C.W. Redwood, +formerly technical artist at Cornell University, for expert assistance +in making the large map of London showing the sites of the playhouses, +and for other help generously rendered; and to my colleagues, +Professor Lane Cooper and Professor Clark S. Northup, for their +kindness in reading the proofs.</p> + +<p class="right"><span class="lgsmcap">Joseph Quincy Adams</span></p> + +<p><span class="smcap">Ithaca, New York</span></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_xi" id="Page_xi">xi</a></span></p> +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> + + +<table border="0" cellpadding="4" cellspacing="0" summary="Contents"> +<tbody> +<tr><td class="right">I.</td><td><span class="smcap"><a href="#CHAPTER_I">The Inn-Yards</a></span></td><td class="right"> + <a href="#Page_1">1</a></td></tr> +<tr><td class="right">II.</td><td><span class="smcap"><a href="#CHAPTER_II">The Hostility of the City</a></span></td><td class="right"><a href="#Page_18">18</a></td></tr> +<tr><td class="right">III.</td><td><span class="smcap"><a href="#CHAPTER_III">The Theatre</a></span></td><td class="right"><a href="#Page_27">27</a></td></tr> +<tr><td class="right">IV.</td><td><span class="smcap"><a href="#CHAPTER_IV">The Curtain</a></span></td><td class="right"><a href="#Page_75">75</a></td></tr> +<tr><td class="right">V.</td><td><span class="smcap"><a href="#CHAPTER_V">The First Blackfriars</a></span></td><td class="right"><a href="#Page_91">91</a></td></tr> +<tr><td class="right">VI.</td><td><span class="smcap"><a href="#CHAPTER_VI">St. Paul's</a></span></td><td class="right"><a href="#Page_111">111</a></td></tr> +<tr><td class="right">VII.</td><td><span class="smcap"><a href="#CHAPTER_VII">The Bankside and the Bear Garden</a></span></td><td class="right"><a href="#Page_119">119</a></td></tr> +<tr><td class="right">VIII.</td><td><span class="smcap"><a href="#CHAPTER_VIII">Newington Butts</a></span></td><td class="right"><a href="#Page_134">134</a></td></tr> +<tr><td class="right">IX.</td><td><span class="smcap"><a href="#CHAPTER_IX">The Rose</a></span></td><td class="right"><a href="#Page_142">142</a></td></tr> +<tr><td class="right">X.</td><td><span class="smcap"><a href="#CHAPTER_X">The Swan</a></span></td><td class="right"><a href="#Page_161">161</a></td></tr> +<tr><td class="right">XI.</td><td><span class="smcap"><a href="#CHAPTER_XI">The Second Blackfriars</a></span></td><td class="right"><a href="#Page_182">182</a></td></tr> +<tr><td class="right">XII.</td><td><span class="smcap"><a href="#CHAPTER_XII">The Globe</a></span></td><td class="right"><a href="#Page_234">234</a></td></tr> +<tr><td class="right">XIII.</td><td><span class="smcap"><a href="#CHAPTER_XIII">The Fortune</a></span></td><td class="right"><a href="#Page_267">267</a></td></tr> +<tr><td class="right">XIV.</td><td><span class="smcap"><a href="#CHAPTER_XIV">The Red Bull</a></span></td><td class="right"><a href="#Page_294">294</a></td></tr> +<tr><td class="right">XV.</td><td><span class="smcap"><a href="#CHAPTER_XV">Whitefriars</a></span></td><td class="right"><a href="#Page_310">310</a></td></tr> +<tr><td class="right">XVI.</td><td><span class="smcap"><a href="#CHAPTER_XVI">The Hope</a></span></td><td class="right"><a href="#Page_324">324</a></td></tr> +<tr><td class="right">XVII.</td><td><span class="smcap"><a href="#CHAPTER_XVII">Rosseter's Blackfriars, or Porter's Hall</a></span></td><td class="right"><a href="#Page_342">342</a></td></tr> +<tr><td class="right">XVIII.</td><td><span class="smcap"> + <a href="#CHAPTER_XVIII">The Phœnix, or Cockpit in Drury Lane</a></span></td><td class="right"><a href="#Page_348">348</a></td></tr> +<tr><td class="right">XIX.</td><td><span class="smcap"><a href="#CHAPTER_XIX">Salisbury Court</a></span></td><td class="right"><a href="#Page_368">368</a></td></tr> +<tr><td class="right">XX.</td><td><span class="smcap"><a href="#CHAPTER_XX">The Cockpit-in-Court, or Theatre Royal at Whitehall</a></span></td><td class="right"><a href="#Page_384">384</a></td></tr> +<tr><td class="right" style="vertical-align: top">XXI.</td><td><span class="smcap"> + <a href="#CHAPTER_XXI">Miscellaneous: Wolf's Theatre in Nightingale Lane; The Projected "Amphitheatre"; Ogilby's Dublin Theatre; The French Players' Temporary Theatre in Drury Lane; Davenant's Projected Theatre in Fleet Street</a></span></td><td class="right" style="vertical-align: bottom"><a href="#Page_410">410</a></td></tr> +<tr><td class="right"> </td><td><span class="smcap"> + <a href="#BIBLIOGRAPHY">Bibliography</a></span></td><td class="right"><a href="#Page_433">433</a></td></tr> +<tr><td class="right"> </td><td><span class="smcap"> + <a href="#MAPS_AND_VIEWS_OF_LONDON">Maps and Views of London</a></span></td><td class="right"><a href="#Page_457">457</a></td></tr> +<tr><td class="right"> </td><td><span class="smcap"><a href="#INDEX">Index</a></span></td><td class="right"><a href="#Page_461">461</a></td></tr> +</tbody> +</table> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">xiii</a></span></p> +<h2>ILLUSTRATIONS</h2> + + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr><td><span class="smcap"><a href="#FRONTISPIECE">Map of London Showing the Playhouses</a></span></td><td class="right"><i>Frontispiece</i></td></tr> +<tr><td><span class="smcap"><a href="#INNYARD">An Inn-Yard</a></span></td><td class="right">4</td></tr> +<tr><td><span class="smcap"><a href="#INN_PLAYHOUSES">Map of London Showing the Inn-Playhouses</a></span></td><td class="right">9</td></tr> +<tr><td><span class="smcap"><a href="#FIRST_PLAYHOUSES_1">The Site of the First Playhouses</a></span></td><td class="right">27</td></tr> +<tr><td><span class="smcap"><a href="#FIRST_PLAYHOUSES_2">The Site of the First Playhouses</a></span></td><td class="right">31</td></tr> +<tr><td><span class="smcap"><a href="#HOLYWELL">A Plan of Burbage's Holywell Property</a></span></td><td class="right">33</td></tr> +<tr><td><span class="smcap"><a href="#CURTAIN">The Site of the Curtain Playhouse</a></span></td><td class="right">79</td></tr> +<tr><td><span class="smcap"><a href="#BLACKFRIARS">Blackfriars Monastery</a></span></td><td class="right">93</td></tr> +<tr><td><span class="smcap"><a href="#BLACKFRIARS_2">The Site of the Two Blackfriars Playhouses</a></span></td><td class="right">94</td></tr> +<tr><td><span class="smcap"><a href="#FARRANT">A Plan of Farrant's Playhouse</a></span></td><td class="right">97</td></tr> +<tr><td><span class="smcap"><a href="#BANKSIDE_1">The Bankside</a></span></td><td class="right">120</td></tr> +<tr><td><span class="smcap"><a href="#BANKSIDE_2">The Bankside</a></span></td><td class="right">121</td></tr> +<tr><td><span class="smcap"><a href="#BEARBULL">The Bear- and Bull-Baiting Rings</a></span></td><td class="right">123</td></tr> +<tr><td><span class="smcap"><a href="#BEAR">The Bear Garden</a></span></td><td class="right">127</td></tr> +<tr><td><span class="smcap"><a href="#BEAR_ROSE_1">The Bear Garden and the Rose</a></span></td><td class="right">147</td></tr> +<tr><td><span class="smcap"><a href="#BEAR_ROSE_2">The Bear Garden and the Rose</a></span></td><td class="right">149</td></tr> +<tr><td><span class="smcap"><a href="#JOAN_ALLEYN">Joan Woodward Alleyn</a></span></td><td class="right">152</td></tr> +<tr><td><span class="smcap"><a href="#MANOR">The Manor of Paris Garden and the Swan Playhouse</a></span></td><td class="right">163</td></tr> +<tr><td><span class="smcap"><a href="#SWAN">The Swan Playhouse</a></span></td><td class="right">165</td></tr> +<tr><td><span class="smcap"><a href="#SWAN_INTERIOR">The Interior of the Swan Playhouse</a></span></td><td class="right">169</td></tr> +<tr><td><span class="smcap"><a href="#SECOND_BLACKFRIARS">Plan Illustrating the Second Blackfriars Playhouse</a></span></td><td class="right">187</td></tr> +<tr><td><span class="smcap"><a href="#REMAINS">Remains of Blackfriars</a></span></td><td class="right">196</td></tr> +<tr><td><span class="smcap"><a href="#BURBAGE">Richard Burbage</a></span></td><td class="right">234</td></tr> +<tr><td><span class="smcap"><a href="#SHAKESPEARE">William Shakespeare</a></span></td><td class="right">238<span class="pagenum"><a name="Page_xiv" id="Page_xiv">xiv</a></span></td></tr> +<tr><td><span class="smcap"><a href="#GLOBE_PLAN">A Plan of the Globe Property</a></span></td><td class="right">242</td></tr> +<tr><td><span class="smcap"><a href="#BEAR_ROSE_GLOBE_1">The Bear Garden, the Rose, and the First Globe</a></span></td><td class="right">245</td></tr> +<tr><td><span class="smcap"><a href="#BEAR_ROSE_GLOBE_2">The Bear Garden, the Rose, and the First Globe</a></span></td><td class="right">246</td></tr> +<tr><td><span class="smcap"><a href="#FIRST_GLOBE_1">The First Globe</a></span></td><td class="right">248</td></tr> +<tr><td><span class="smcap"><a href="#FIRST_GLOBE_2">The First Globe</a></span></td><td class="right">253</td></tr> +<tr><td><span class="smcap"><a href="#MERIAN">Merian's View of London</a></span></td><td class="right">256</td></tr> +<tr><td><span class="smcap"><a href="#SECOND_GLOBE">The Second Globe</a></span></td><td class="right">260</td></tr> +<tr><td><span class="smcap"><a href="#TRADITIONAL">The Traditional Site of the Globe</a></span></td><td class="right">262</td></tr> +<tr><td><span class="smcap"><a href="#FORTUNE">The Site of the Fortune Playhouse</a></span></td><td class="right">270</td></tr> +<tr><td><span class="smcap"><a href="#FORTUNE_2">The Fortune Playhouse?</a></span></td><td class="right">278</td></tr> +<tr><td><span class="smcap"><a href="#EDWARD_ALLEYN">Edward Alleyn</a></span></td><td class="right">282</td></tr> +<tr><td><span class="smcap"><a href="#RED_BULL">The Site of the Red Bull Playhouse</a></span></td><td class="right">294</td></tr> +<tr><td><span class="smcap"><a href="#WHITEFRIARS">A Plan of Whitefriars</a></span></td><td class="right">312</td></tr> +<tr><td><span class="smcap"><a href="#DRAYTON">Michael Drayton</a></span></td><td class="right">314</td></tr> +<tr><td><span class="smcap"><a href="#WHITEFRIARS_2">The Sites of the Whitefriars and the Salisbury Court Playhouses</a></span></td><td class="right">318</td></tr> +<tr><td><span class="smcap"><a href="#HOPE_1">The Hope Playhouse, or Second Bear Garden</a></span></td><td class="right">326</td></tr> +<tr><td><span class="smcap"><a href="#HOPE_2">The Hope Playhouse, or Second Bear Garden</a></span></td><td class="right">331</td></tr> +<tr><td><span class="smcap"><a href="#COCKPIT_DRURY_SITE">The Site of the Cockpit in Drury Lane</a></span></td><td class="right">350</td></tr> +<tr><td><span class="smcap"><a href="#SALISBURY">A Plan of the Salisbury Court Property</a></span></td><td class="right">371</td></tr> +<tr><td><span class="smcap"><a href="#COCKPIT_WHITEHALL">The Cockpit at Whitehall</a></span></td><td class="right">390</td></tr> +<tr><td><span class="smcap"><a href="#INIGO">Inigo Jones's Plans for the Cockpit-in-Court</a></span></td><td class="right">396</td></tr> +<tr><td><span class="smcap"><a href="#FISHER">Fisher's Survey of Whitehall showing the Cockpit-in-Court</a></span></td><td class="right">398</td></tr> +<tr><td><span class="smcap"><a href="#THEATRO">The Theatro Olympico at Vicenza</a></span></td><td class="right">399</td></tr> +<tr><td><span class="smcap"><a href="#COCKPIT_IN_COURT">The Cockpit-in-Court</a></span></td><td class="right">407</td></tr> +</tbody> +</table> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_1" id="Page_1">1</a></span></p> +<h1>Shakespearean Playhouses</h1> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h2> + +<h3>THE INN-YARDS</h3> + + +<p><br /><span class="dropcap">B</span>EFORE the building of regular playhouses the itinerant troupes of +actors were accustomed, except when received into private homes, to +give their performances in any place that chance provided, such as +open street-squares, barns, town-halls, moot-courts, schoolhouses, +churches, and—most frequently of all, perhaps—the yards of inns. +These yards, especially those of carriers' inns, were admirably suited +to dramatic representations, consisting as they did of a large open +court surrounded by two or more galleries. Many examples of such +inn-yards are still to be seen in various parts of England; a <a href="#INNYARD">picture</a> +of the famous White Hart, in Southwark, is given opposite page <a href="#Page_4">4</a> by +way of illustration. In the yard a temporary platform—a few boards, +it may be, set on barrel-heads<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>—could be erected for a stage; in +the adjacent stables a dressing-room could be provided for the actors; +the rabble—always the larger and<span class="pagenum"><a name="Page_2" id="Page_2">2</a></span> more enthusiastic part of the +audience—could be accommodated with standing-room about the stage; +while the more aristocratic members of the audience could be +comfortably seated in the galleries overhead. Thus a ready-made and +very serviceable theatre was always at the command of the players; and +it seems to have been frequently made use of from the very beginning +of professionalism in acting.</p> + +<p>One of the earliest extant moralities, <i>Mankind</i>, acted by strollers +in the latter half of the fifteenth century, gives us an interesting +glimpse of an inn-yard performance. The opening speech makes distinct +reference to the two classes of the audience described above as +occupying the galleries and the yard:</p> + +<p class="center">O ye sovereigns that sit, and ye brothers that stand right +up.</p> + +<p>The "brothers," indeed, seem to have stood up so closely about the +stage that the actors had great difficulty in passing to and from +their dressing-room. Thus, Nowadays leaves the stage with the request:</p> + +<p class="center">Make space, sirs, let me go out!</p> + +<p>New Gyse enters with the threat:</p> + +<p class="center">Out of my way, sirs, for dread of a beating!</p> + +<p>While Nought, with even less respect, shouts:</p> + +<p class="center">Avaunt, knaves! Let me go by!</p> + +<p><span class="pagenum"><a name="Page_3" id="Page_3">3</a></span></p> + +<p>Language such as this would hardly be appropriate if addressed to the +"sovereigns" who sat in the galleries above; but, as addressed to the +"brothers," it probably served to create a general feeling of good +nature. And a feeling of good nature was desirable, for the actors +were facing the difficult problem of inducing the audience to pay for +its entertainment.</p> + +<p>This problem they met by taking advantage of the most thrilling moment +of the plot. The Vice and his wicked though jolly companions, having +wholly failed to overcome the hero, Mankind, decide to call to their +assistance no less a person than the great Devil himself; and +accordingly they summon him with a "Walsingham wystyle." Immediately +he roars in the dressing-room, and shouts:</p> + +<p class="center">I come, with my legs under me!</p> + +<p>There is a flash of powder, and an explosion of fireworks, while the +eager spectators crane their necks to view the entrance of this +"abhomynabull" personage. But nothing appears; and in the expectant +silence that follows the actors calmly announce a collection of money, +facetiously making the appearance of the Devil dependent on the +liberality of the audience:</p> + +<div class="cpoeml"> +<p> +<i>New Gyse.</i> Now ghostly to our purpose, worshipful sovereigns,<br /> +We intend to gather money, if it please your negligence.<br /> +<span class="pagenum"><a name="Page_4" id="Page_4">4</a></span>For a man with a head that of great omnipotence—<br /> +<br /> +<i>Nowadays</i> [<i>interrupting</i>]. Keep your tale, in goodness, I<br /> +pray you, good brother!<br /> +<br /> +[<i>Addressing the audience, and pointing towards the<br /> +dressing-room, where the Devil roars again.</i>]<br /> +<br /> +He is a worshipful man, sirs, saving your reverence.<br /> +He loveth no groats, nor pence, or two-pence;<br /> +Give us red royals, if ye will see his abominable presence.<br /> +<br /> +<i>New Gyse.</i> Not so! Ye that may not pay the one, pay the other.<br /> +</p> +</div> + +<p>And with such phrases as "God bless you, master," "Ye will not say +nay," "Let us go by," "Do them all pay," "Well mote ye fare," they +pass through the audience gathering their groats, pence, and twopence; +after which they remount the stage, fetch in the Devil, and continue +their play without further interruption.</p> + +<p style="text-align: center"><br /> +<a name="INNYARD"> +<img src="images/innyard.jpg" width="382" height="500" alt="" /></a></p> + +<p class="caption">AN INN-YARD</p> + +<p class="caption">The famous White Hart, in Southwark. The +<a href="images/innyardlg.png">ground-plan</a> shows the +arrangement of a carriers' inn with the stabling below; the guest +rooms were on the upper floors.</p> + +<p><br /> +In the smaller towns the itinerant players might, through a letter of +recommendation from their noble patron, or through the good-will of +some local dignitary, secure the use of the town-hall, of the +schoolhouse, or even of the village church. In such buildings, of +course, they could give their performances more advantageously, for +they could place money-takers at the doors, and exact adequate payment +from all who entered. In the great city of London, however, the +players were necessarily forced to make use almost entirely of public +inn-yards—an arrangement which, we may well believe, they found far +from satisfactory. Not being masters of the inns, they were merely +tolerated; they had to content themselves with has<span class="pagenum"><a name="Page_5" id="Page_5">5</a></span>tily provided and +inadequate stage facilities; and, worst of all, for their recompense +they had to trust to a hat collection, at best a poor means of +securing money. Often too, no doubt, they could not get the use of a +given inn-yard when they most needed it, as on holidays and festive +occasions; and at all times they had to leave the public in +uncertainty as to where or when plays were to be seen. Their street +parade, with the noise of trumpets and drums, might gather a motley +crowd for the yard, but in so large a place as London it was +inadequate for advertisement among the better classes. And as the +troupes of the city increased in wealth and dignity, and as the +playgoing public grew in size and importance, the old makeshift +arrangement became more and more unsatisfactory.</p> + +<p>At last the unsatisfactory situation was relieved by the specific +dedication of certain large inns to dramatic purposes; that is, the +proprietors of certain inns found it to their advantage to subordinate +their ordinary business to the urgent demands of the actors and the +playgoing public. Accordingly they erected in their yards permanent +stages adequately equipped for dramatic representations, constructed +in their galleries wooden benches to accommodate as many spectators as +possible, and were ready to let the use of their buildings to the +actors on an agreement by which the proprietor shared with the troupe +in the "tak<span class="pagenum"><a name="Page_6" id="Page_6">6</a></span>ings" at the door. Thus there came into existence a number +of inn-playhouses, where the actors, as masters of the place, could +make themselves quite at home, and where the public without special +notification could be sure of always finding dramatic entertainment.</p> + +<p>Richard Flecknoe, in his <i>Discourse of the English Stage</i> (1664), goes +so far as to dignify these reconstructed inns with the name +"theatres." At first, says he, the players acted "without any certain +theatres or set companions, till about the beginning of Queen +Elizabeth's reign they began here to assemble into companies, and set +up theatres, first in the city (as in the inn-yards of the Cross Keys +and Bull in Grace and Bishop's Gate Street at this day to be seen), +till that fanatic spirit [i.e., Puritanism], which then began with the +stage and after ended with the throne, banished them thence into the +suburbs"—that is, into Shoreditch and the Bankside, where, outside +the jurisdiction of the puritanical city fathers, they erected their +first regular playhouses.</p> + +<p>The "banishment" referred to by Flecknoe was the Order of the Common +Council issued on December 6, 1574. This famous document described +public acting as then taking place "in great inns, having chambers and +secret places adjoining to their open stages and galleries"; and it +ordered that henceforth "no inn-keeper, tavern-keeper, nor other +person whatsoever within the liberties<span class="pagenum"><a name="Page_7" id="Page_7">7</a></span> of this city shall openly +show, or play, nor cause or suffer to be openly showed or played +within the house yard or any other place within the liberties of this +city, any play," etc.</p> + +<p>How many inns were let on special occasions for dramatic purposes we +cannot say; but there were five "great inns," more famous than the +rest, which were regularly used by the best London troupes. Thus +Howes, in his continuation of Stow's <i>Annals</i> (p. 1004), in attempting +to give a list of the playhouses which had been erected "within London +and the suburbs," begins with the statement, "Five inns, or common +osteryes, turned to playhouses." These five were the Bell and the +Cross Keys, hard by each other in Gracechurch Street, the Bull, in +Bishopsgate Street, the Bell Savage, on Ludgate Hill, and the Boar's +Head, in Whitechapel Street without Aldgate.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> + +<p>Although Flecknoe referred to the Order of the Common Council as a +"banishment," it did not actually drive the players from the city. +They were able, through the intervention of the Privy Council, and on +the old excuse of rehearsing plays<span class="pagenum"><a name="Page_8" id="Page_8">8</a></span> for the Queen's entertainment, to +occupy the inns for a large part of each year.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> John Stockwood, in a +sermon preached at Paul's Cross, August 24, 1578, bitterly complains +of the "eight ordinary places" used regularly for plays, referring, it +seems, to the five inns and the three playhouses—the Theatre, +Curtain, and Blackfriars—recently opened to the public.</p> + +<p>Richard Reulidge, in <i>A Monster Lately Found Out and Discovered</i> +(1628), writes that "soon after 1580" the authorities of London +received permission from Queen Elizabeth and her Privy Council "to +thrust the players out of the city, and to pull down all playhouses +and dicing-houses within their liberties: which accordingly was +effected; and the playhouses in Gracious Street [i.e., the Bell and +the Cross Keys], Bishopsgate Street [i.e., the Bull], that nigh Paul's +[i.e., Paul's singing school?], that on Ludgate Hill [i.e., the Bell +Savage], and the Whitefriars<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> were quite put down and suppressed by +the care of these religious senators."</p> + +<p style="text-align: center"><br /> +<a name="INN_PLAYHOUSES"> +<img src="images/innplayhouses.png" width="500" height="288" alt="" /></a></p> + +<p class="caption">MAP OF LONDON SHOWING THE INN-PLAYHOUSES</p> + +<p class="caption">1. The Bell Savage; 2. The Cross Keys; 3. The Bell; 4. The +Bull; 5. The Boar's Head.</p> + +<p class="center">[<a href="images/innplayhouseslg.png">Enlarge</a>]</p> + +<p><br /> +Yet, in spite of what Reulidge says, these five inns continued to be +used by the players for many<span class="pagenum"><a name="Page_10" id="Page_10">10</a></span> years.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> No doubt they were often used +surreptitiously. In <i>Martin's Month's Mind</i> (1589), we read that a +person "for a penie may have farre better [entertainment] by oddes at +the Theatre and Curtaine, and <i>any blind playing house</i> everie +day."<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> But the more important troupes were commonly able, through +the interference of the Privy Council, to get official permission to +use the inns during a large part of each year.</p> + +<p>There is not enough material about these early inn-playhouses to +enable one to write their separate histories. Below, however, I have +recorded in chronological order the more important references to them +which have come under my observation.</p> + +<p>1557. On September 5 the Privy Council instructed the Lord Mayor of +London "that some of his officers do forthwith repair to the Boar's +Head without Aldgate, where, the Lords are informed, a lewd play +called <i>A Sackful of News</i> shall be played this day," to arrest the +players, and send their playbook to the Council.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p> + +<p>1573. During this year there were various fencing contests held at the +Bull in Bishopsgate.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p> + +<p>1577. In February the Office of the Revels made a payment of 10<i>d.</i> +"ffor the cariadge of the<span class="pagenum"><a name="Page_11" id="Page_11">11</a></span> parts of ye well counterfeit from the Bell +in gracious strete to St. Johns, to be performed for the play of +<i>Cutwell</i>."<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p> + +<p>1579. On June 23 James Burbage was arrested for the sum of £5 13<i>d.</i> +"as he came down Gracious Street towards the Cross Keys there to a +play." The name of the proprietor of this inn-playhouse is preserved +in one of the interrogatories connected with the case: "Item. Whether +did you, John Hynde, about xiii years past, in <i>anno</i> 1579, the xxiii +of June, about two of the clock in the afternoon, send the sheriff's +officer unto the Cross Keys in Gratious Street, being then the +dwelling house of Richard Ibotson, citizen and brewer of London," +etc.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> Nothing more, I believe, is known of this person.</p> + +<p>1579. Stephen Gosson, in <i>The Schoole of Abuse</i>, writes favorably of +"the two prose books played at the Bell Savage, where you shall find +never a word without wit, never a line without pith, never a letter +placed in vain; the <i>Jew</i> and <i>Ptolome</i>, shown at the Bull ... neither +with amorous gesture wounding the eye, nor with slovenly talk hurting +the ears of the chast hearers."<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> +<p><span class="pagenum"><a name="Page_12" id="Page_12">12</a></span></p> +<p>1582. On July 1 the Earl of Warwick wrote to the Lord Mayor requesting +the city authorities to "give license to my servant, John David, this +bearer, to play his profest prizes in his science and profession of +defence at the Bull in Bishopsgate, or some other convenient place to +be assigned within the liberties of London." The Lord Mayor refused to +allow David to give his fencing contest "in an inn, which was somewhat +too close for infection, and appointed him to play in an open place of +the Leaden Hall," which, it may be added, was near the Bull.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> + +<p>1583. William Rendle, in <i>The Inns of Old Southwark</i>, p. 235, states +that in this year "Tarleton, Wilson, and others note the stay of the +plague, and ask leave to play at the Bull in Bishopsgate, or the Bell +in Gracechurch Street," citing as his authority merely "City MS." The +Privy Council on November 26, 1583, addressed to the Lord Mayor a +letter requesting "that Her Majesty's Players [i.e., Tarleton, Wilson, +etc.] may be suffered to play within the liberties as heretofore they +have done."<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> And on November 28 the Lord Mayor issued to them a +license to play "at the sign of the Bull in Bishopsgate Street, and +the sign of the Bell in Gracious Street, and nowhere else within this +City."<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></p> + +<p><span class="pagenum"><a name="Page_13" id="Page_13">13</a></span></p><p>1587. "James Cranydge played his master's prize the 21 of November, +1587, at the Bellsavage without Ludgate, at iiij sundry kinds of +weapons.... There played with him nine masters."<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> + +<p>Before 1588. In <i>Tarlton's Jests</i><a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> we find a number of references +to that famous actor's pleasantries in the London inns used by the +Queen's Players. It is impossible to date these exactly, but Tarleton +became a member of the Queen's Players in 1583, and he died in 1588.</p> + +<div class="blockquot"><p>At the Bull in Bishops-gate-street, where the Queen's +Players oftentimes played, Tarleton coming on the stage, one +from the gallery threw a pippin at him.</p> + +<p>There was one Banks, in the time of Tarleton, who served the +Earl of Essex, and had a horse of strange qualities; and +being at the Cross Keys in Gracious Street getting money +with him, as he was mightily resorted to. Tarleton then, +with his fellows playing at the Bell by, came into the Cross +Keys, amongst many people, to see fashions.</p> + +<p>At the Bull at Bishops-gate was a play of Henry the Fifth.</p></div><p><span class="pagenum"><a name="Page_14" id="Page_14">14</a></span></p> + +<p>The several "jests" which follow these introductory sentences indicate +that the inn-yards differed in no essential way from the early public +playhouses.</p> + +<p>1588. "John Mathews played his master's prize the 31 day of January, +1588, at the Bell Savage without Ludgate."<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p> + +<p>1589. In November Lord Burghley directed the Lord Mayor to "give order +for the stay of all plays within the city." In reply the Lord Mayor +wrote:</p> + +<div class="blockquot"><p>According to which your Lordship's good pleasure, I +presently sent for such players as I could hear of; so as +there appeared yesterday before me the Lord Strange's +Players, to whom I specially gave in charge and required +them in Her Majesty's name to forbear playing until further +order might be given for their allowance in that respect. +Whereupon the Lord Admiral's Players very dutifully obeyed; +but the others, in very contemptuous manner departing from +me, went to the Cross Keys and played that afternoon.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p></div> + +<p>1594. On October 8, Henry, Lord Hunsdon, the Lord Chamberlain and the +patron of Shakespeare's company, wrote to the Lord Mayor:<span class="pagenum"><a name="Page_15" id="Page_15">15</a></span></p> + +<div class="blockquot"><p>After my hearty commendations. Where my now company of +players have been accustomed for the better exercise of +their quality, and for the service of Her Majesty if need so +require, to play this winter time within the city at the +Cross Keys in Gracious Street, these are to require and pray +your Lordship (the time being such as, thanks to God, there +is now no danger of the sickness) to permit and suffer them +so to do.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></p></div> + +<p>By such devices as this the players were usually able to secure +permission to act "within the city" during the disagreeable months of +the winter when the large playhouses in the suburbs were difficult of +access.</p> + +<p>1594. Anthony Bacon, the elder brother of Francis, came to lodge in +Bishopsgate Street. This fact very much disturbed his good mother, who +feared lest his servants might be corrupted by the plays to be seen at +the Bull near by.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></p> + +<p>1596. William Lambarde, in his <i>Perambulation of Kent</i>,<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> observes +that none of those who go "to Paris Garden, the Bell Savage, or +Theatre, to behold bear-baiting, interludes, or fence play, can +account of any pleasant spectacle unless they first pay one penny at +the gate, another at the entry of the scaffold, and the third for a +quiet standing."</p> +<p><span class="pagenum"><a name="Page_16" id="Page_16">16</a></span></p> +<p>1602. On March 31 the Privy Council wrote to the Lord Mayor that the +players of the Earl of Oxford and of the Earl of Worcester had been +"joined by agreement together in one company, to whom, upon notice of +Her Majesty's pleasure, at the suit of the Earl of Oxford, toleration +hath been thought meet to be granted." The letter concludes:</p> + +<div class="blockquot"><p>And as the other companies that are allowed, namely of me +the Lord Admiral, and the Lord Chamberlain, be appointed +their certain houses, and one and no more to each company, +so we do straightly require that this third company be +likewise [appointed] to one place. And because we are +informed the house called the Boar's Head is the place they +have especially used and do best like of, we do pray and +require you that the said house, namely the Boar's Head, may +be assigned unto them.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p></div> + +<p>That the strong Oxford-Worcester combination should prefer the Boar's +Head to the Curtain or the Rose Playhouse,<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> indicates that the +inn-yard was not only large, but also well-equipped for acting.</p> + +<p>1604. In a draft of a license to be issued to Queen Anne's Company, +those players are allowed to act "as well within their now usual +houses, called the Curtain and the Boar's Head, within our County of +Middlesex, as in any other playhouse not used by others."<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p> +<p><span class="pagenum"><a name="Page_17" id="Page_17">17</a></span></p> +<p>In 1608 the Boar's Head seems to have been occupied by the newly +organized Prince Charles's Company. In William Kelly's extracts from +the payments of the city of Leicester we find the entry: "Itm. Given +to the Prince's Players, of Whitechapel, London, xx <i>s.</i>"</p> + +<p>In 1664, as Flecknoe tells us, the Cross Keys and the Bull still gave +evidence of their former use as playhouses; perhaps even then they +were occasionally let for fencing and other contests. In 1666 the +great fire completely destroyed the Bell, the Cross Keys, and the Bell +Savage; the Bull, however, escaped, and enjoyed a prosperous career +for many years after. Samuel Pepys was numbered among its patrons, and +writers of the Restoration make frequent reference to it. What became +of the Boar's Head without Aldgate I am unable to learn; its memory, +however, is perpetuated to-day in Boar's Head Yard, between Middlesex +Street and Goulston Street, Whitechapel.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_18" id="Page_18">18</a></span></p> +<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h2> + +<h3>THE HOSTILITY OF THE CITY</h3> + + +<p><br /><span class="dropcap">A</span>S the actors rapidly increased in number and importance, and as +Londoners flocked in ever larger crowds to witness plays, the +animosity of two forces was aroused, Puritanism and Civic +Government,—forces which opposed the drama for different reasons, but +with almost equal fervor. And when in the course of time the Governors +of the city themselves became Puritans, the combined animosity thus +produced was sufficient to drive the players out of London into the +suburbs.</p> + +<p>The Puritans attacked the drama as contrary to Holy Writ, as +destructive of religion, and as a menace to public morality. Against +plays, players, and playgoers they waged in pulpit and pamphlet a +warfare characterized by the most intense fanaticism. The charges they +made—of ungodliness, idolatrousness, lewdness, profanity, evil +practices, enormities, and "abuses" of all kinds—are far too numerous +to be noted here; they are interesting chiefly for their +unreasonableness and for the violence with which they were urged.</p> + +<p>And, after all, however much the Puritans might rage, they were +helpless; authority to restrain acting was vested in the Lord Mayor, +his brethren<span class="pagenum"><a name="Page_19" id="Page_19">19</a></span> the Aldermen, and the Common Council. The attitude of +these city officials towards the drama was unmistakable: they had no +more love for the actors than had the Puritans. They found that "plays +and players" gave them more trouble than anything else in the entire +administration of municipal affairs. The dedication of certain "great +inns" to the use of actors and to the entertainment of the +pleasure-loving element of the city created new and serious problems +for those charged with the preservation of civic law and order. The +presence in these inns of private rooms adjoining the yard and +balconies gave opportunity for immorality, gambling, fleecing, and +various other "evil practices"—an opportunity which, if we may +believe the Common Council, was not wasted. Moreover, the proprietors +of these inns made a large share of their profits from the beer, ale, +and other drinks dispensed to the crowds before, during, and after +performances (the proprietor of the Cross Keys, it will be recalled, +was described as "citizen and brewer of London"); and the resultant +intemperance among "such as frequented the said plays, being the +ordinary place of meeting for all vagrant persons, and masterless men +that hang about the city, theeves, horse-stealers, whoremongers, +cozeners, cony-catching persons, practicers of treason, and such other +like,"<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> led<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span> to drunkenness, frays, bloodshed, and often to general +disorder. Sometimes, as we know, turbulent apprentices and other +factions met by appointment at plays for the sole purpose of starting +riots or breaking open jails. "Upon Whitsunday," writes the Recorder +to Lord Burghley, "by reason no plays were the same day, all the city +was quiet."<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p> + +<p>Trouble of an entirely different kind arose when in the hot months of +the summer the plague was threatening. The meeting together at plays +of "great multitudes of the basest sort of people" served to spread +the infection throughout the city more quickly and effectively than +could anything else. On such occasions it was exceedingly difficult +for the municipal authorities to control the actors, who were at best +a stubborn and unruly lot; and often the pestilence had secured a full +start before acting could be suppressed.</p> + +<p>These troubles, and others which cannot here be mentioned, made one of +the Lord Mayors exclaim in despair: "The Politique State and +Government of this City by no one thing is so greatly annoyed and +disquieted as by players and plays, and the disorders which follow +thereupon."<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p> + +<p>This annoyance, serious enough in itself, was aggravated by the fact +that most of the troupes<span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> were under the patronage of great noblemen, +and some were even high in favor with the Queen. As a result, the +attempts on the part of the Lord Mayor and his Aldermen to regulate +the players were often interfered with by other or higher authority. +Sometimes it was a particular nobleman, whose request was not to be +ignored, who intervened in behalf of his troupe; most often, however, +it was the Privy Council, representing the Queen and the nobility in +general, which championed the cause of the actors and countermanded +the decrees of the Lord Mayor and his brethren. One of the most +notable things in the City's <i>Remembrancia</i> is this long conflict of +authority between the Common Council and the Privy Council over actors +and acting.</p> + +<p>In 1573 the situation seems to have approached a crisis. The Lord +Mayor had become strongly puritanical, and in his efforts to suppress +"stage-plays" was placing more and more obstacles in the way of the +actors. The temper of the Mayor is revealed in two entries in the +records of the Privy Council. On July 13, 1573, the Lords of the +Council sent a letter to him requesting him "to permit liberty to +certain Italian players"; six days later they sent a second letter, +repeating the request, and "marveling that he did it not at their +first request."<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> His continued efforts to suppress the drama +finally led the troupes to appeal for re<span class="pagenum"><a name="Page_22" id="Page_22">22</a></span>lief to the Privy Council. On +March 22, 1574, the Lords of the Council dispatched "a letter to the +Lord Mayor to advertise their Lordships what causes he hath to +restrain plays." His answer has not been preserved, but that he +persisted in his hostility to the drama is indicated by the fact that +in May the Queen openly took sides with the players. To the Earl of +Leicester's troupe she issued a special royal license, authorizing +them to act "as well within our city of London and liberties of the +same, as also within the liberties and freedoms of any our cities, +towns, boroughs, etc., whatsoever"; and to the mayors and other +officers she gave strict orders not to interfere with such +performances: "Willing and commanding you, and every of you, as ye +tender our pleasure, to permit and suffer them herein without any your +lets, hindrances, or molestation during the term aforesaid, any act, +statute, proclamation, or commandment heretofore made, or hereafter to +be made, to the contrary notwithstanding."</p> + +<p>This license was a direct challenge to the authority of the Lord +Mayor. He dared not answer it as directly; but on December 6, 1574, he +secured from the Common Council the passage of an ordinance which +placed such heavy restrictions upon acting as virtually to nullify the +license issued by the Queen, and to regain for the Mayor complete +control of the drama within the city. The Preamble of this remarkable +ordinance<span class="pagenum"><a name="Page_23" id="Page_23">23</a></span> clearly reveals the puritanical character of the City +Government:</p> + +<div class="blockquot"><p>Whereas heretofore sundry great disorders and inconveniences +have been found to ensue to this city by the inordinate +haunting of great multitudes of people, specially youths, to +plays, interludes, and shews: namely, occasion of frays and +quarrels; evil practises of incontinency in great inns +having chambers and secret places adjoining to their open +stages and galleries; inveigling and alluring of maids, +specially orphans and good citizens' children under age, to +privy and unmeet contracts; the publishing of unchaste, +uncomly, and unshamefaced speeches and doings; withdrawing +of the Queen's Majesty's subjects from divine service on +Sundays and holy days, at which times such plays were +chiefly used; unthrifty waste of the money of the poor and +fond persons; sundry robberies by picking and cutting of +purses; uttering of popular, busy, and seditious matters; +and many other corruptions of youth, and other enormities; +besides that also sundry slaughters and maimings of the +Queen's subjects have happened by ruins of scaffolds, +frames, and stages, and by engines, weapons, and powder used +in plays. And whereas in time of God's visitation by the +plague such assemblies of the people in throng and press +have been very dangerous for spreading of infection.... And +for that the Lord Mayor and his brethren the Aldermen, +together with the grave and discreet citizens in the Common +Council assembled, do doubt and fear lest upon God's +merciful withdrawing his hand of sickness from us (which God +grant), the people, specially the meaner and most unruly +sort, should with sudden forgetting of His visitation, +without<span class="pagenum"><a name="Page_24" id="Page_24">24</a></span> fear of God's wrath, and without due respect of the +good and politique means that He hath ordained for the +preservation of common weals and peoples in health and good +order, return to the undue use of such enormities, to the +great offense of God....<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p></div> + +<p>The restrictions on playing imposed by the ordinance may be briefly +summarized:</p> + +<p>1. Only such plays should be acted as were free from all unchastity, +seditiousness, and "uncomely matter."</p> + +<p>2. Before being acted all plays should be "first perused and allowed +in such order and form, and by such persons as by the Lord Mayor and +Court of Aldermen for the time being shall be appointed."</p> + +<p>3. Inns or other buildings used for acting, and their proprietors, +should both be licensed by the Lord Mayor and the Aldermen.</p> + +<p>4. The proprietors of such buildings should be "bound to the +Chamberlain of London" by a sufficient bond to guarantee "the keeping +of good order, and avoiding of" the inconveniences noted in the +Preamble.</p> + +<p>5. No plays should be given during the time of sickness, or during any +inhibition ordered at any time by the city authorities.</p> + +<p>6. No plays should be given during "any usual time of divine service," +and no persons should be<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span> admitted into playing places until after +divine services were over.</p> + +<p>7. The proprietors of such places should pay towards the support of +the poor a sum to be agreed upon by the city authorities.</p> + +<p>In order, however, to avoid trouble with the Queen, or those noblemen +who were accustomed to have plays given in their homes for the private +entertainment of themselves and their guests, the Common Council +added, rather grudgingly, the following proviso:</p> + +<div class="blockquot"><p>Provided alway that this act (otherwise than touching the +publishing of unchaste, seditious, and unmeet matters) shall +not extend to any plays, interludes, comedies, tragedies, or +shews to be played or shewed in the private house, dwelling, +or lodging of any nobleman, citizen, or gentleman, which +shall or will then have the same there so played or shewed +in his presence for the festivity of any marriage, assembly +of friends, or other like cause, without public or common +collections of money of the auditory or beholders thereof.</p></div> + +<p>Such regulations if strictly enforced would prove very annoying to the +players. But, as the Common Council itself informs us, "these orders +were not then observed." The troupes continued to play in the city, +protected against any violent action on the part of the municipal +authorities by the known favor of the Queen and the frequent +interference of the Privy Council. This state of affairs was not, of +course, comfortable for the actors;<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span> but it was by no means desperate, +and for several years after the passage of the ordinance of 1574 they +continued without serious interruption to occupy their inn-playhouses.</p> + +<p>The long-continued hostility of the city authorities, however, of +which the ordinance of 1574 was an ominous expression, led more or +less directly to the construction of special buildings devoted to +plays and situated beyond the jurisdiction of the Common Council. As +the Reverend John Stockwood, in <i>A Sermon Preached at Paules Crosse, +1578</i>, indignantly puts it:</p> + +<div class="blockquot"><p>Have we not <i>houses of purpose</i>, built with great charges +for the maintenance of plays, and that <i>without the +liberties</i>, as who would say "<i>There, let them say what they +will say, we will play!</i>"</p></div> + +<p>Thus came into existence playhouses; and with them dawned a new era in +the history of the English drama.</p> + +<p style="text-align: center"><br /> +<a name="FIRST_PLAYHOUSES_1"> +<img src="images/firstplayhouses1.png" width="600" height="468" alt="" /></a></p> + +<p class="caption">THE SITE OF THE FIRST PLAYHOUSES</p> + +<p class="caption">Finsbury Field and Holywell. The man walking from the Field towards +Shoreditch is just entering Holywell Lane.</p> + +<p class="caption">(From Agas's <i>Map of London</i>, representing the city +as it was about 1560.)</p> + +<p class="center">[<a href="images/firstplayhouses1lg.png">Enlarge</a>]</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_27" id="Page_27">27</a></span></p> +<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h2> + +<h3>THE THEATRE</h3> + + +<p><br /><span class="dropcap">T</span>HE hostility of the city to the drama was unquestionably the main +cause of the erection of the first playhouse; yet combined with this +were two other important causes, usually overlooked. The first was the +need of a building specially designed to meet the requirements of the +players and of the public, a need yearly growing more urgent as plays +became more complex, acting developed into a finer art, and audiences +increased in dignity as well as in size. The second and the more +immediate cause was the appearance of a man with business insight +enough to see that such a building would pay. The first playhouse, we +should remember, was not erected by a troupe of actors, but by a +money-seeking individual.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> Although he was himself an actor, and +the manager of a troupe, he did not, it seems, take the troupe into +his confidence. In complete independence of any theatrical +organization he pro<span class="pagenum"><a name="Page_28" id="Page_28">28</a></span>ceeded with the erection of his building as a +private speculation; and, we are told, he dreamed of the "continual +great profit and commodity through plays that should be used there +every week."</p> + +<p>This man, "the first builder of playhouses,"—and, it might have been +added, the pioneer in a new field of business,—was James Burbage, +originally, as we are told by one who knew him well, "by occupation a +joiner; and reaping but a small living by the same, gave it over and +became a common player in plays."<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> As an actor he was more +successful, for as early as 1572 we find him at the head of +Leicester's excellent troupe.</p> + +<p>Having in 1575 conceived the notion of erecting a building specially +designed for dramatic entertainments, he was at once confronted with +the problem of a suitable location. Two conditions narrowed his +choice: first, the site had to be outside the jurisdiction of the +Common Council; secondly, it had to be as near as possible to the +city.</p> + +<p>No doubt he at once thought of the two suburbs that were specially +devoted to recreation, the Bankside to the south, and Finsbury Field +to the north of the city. The Bankside had for many years been +associated in the minds of Londoners with "sports and pastimes." +Thither the citizens were accustomed to go to witness bear-baiting<span class="pagenum"><a name="Page_29" id="Page_29">29</a></span> +and bull-baiting, to practice archery, and to engage in various +athletic sports. Thither, too, for many years the actors had gone to +present their plays. In 1545 King Henry VIII had issued a proclamation +against vagabonds, ruffians, idle persons, and common players,<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> in +which he referred to their "fashions commonly used at the Bank." The +Bankside, however, was associated with the lowest and most vicious +pleasures of London, for here were situated the stews, bordering the +river's edge. Since the players were at this time subject to the +bitterest attacks from the London preachers, Burbage wisely decided +not to erect the first permanent home of the drama in a locality +already a common target for puritan invective.</p> + +<p>The second locality, Finsbury Field, had nearly all the advantages, +and none of the disadvantages, of the Bankside. Since 1315 the Field +had been in the possession of the city,<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> and had been used as a +public playground, where families could hold picnics, falconers could +fly their hawks, archers could exercise their sport, and the militia +on holidays could drill with all "the pomp and circumstance of +glorious war." In short, the Field was eminently respectable, was +accessible to the city, and was definitely associated with the idea of +en<span class="pagenum"><a name="Page_30" id="Page_30">30</a></span>tertainment. The locality, therefore, was almost ideal for the +purpose Burbage had in mind.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p> + +<p>The new playhouse, of course, could not be erected in the Field +itself, which was under the control of the city; but just to the east +of the Field certain vacant land, part of the dissolved Priory of +Holywell, offered a site in every way suitable to the purpose. The +Holywell property, at the dissolution of the Priory, had passed under +the jurisdiction of the Crown, and hence the Lord Mayor and the +Aldermen could not enforce municipal ordinances there. Moreover, it +was distant from the city wall not much more than half a mile. The old +conventual church had been demolished, the Priory buildings had been +converted into residences, and the land near the Shoreditch highway +had been built up with numerous houses. The land next to the Field, +however, was for the most part undeveloped. It contained some +dilapidated tenements, a few old barns formerly belonging to the +Priory, and small garden plots, conspicuous objects in the early maps.<br /> + </p> + +<p style="text-align: center"><br /> +<a name="FIRST_PLAYHOUSES_2"> +<img src="images/firstplayhouses2.png" width="347" height="500" alt="" /></a></p> + +<p class="caption">THE SITE OF THE FIRST PLAYHOUSES</p> + +<p class="caption">Finsbury Field lies to the north (beyond Moor Field, the small +rectangular space next to the city wall), and the Holywell Property +lies to the right of Finsbury Field, between the Field and the +highway. Holywell Lane divides the garden plots; the Theatre was +erected just to the north, and the Curtain just to the south of this +lane, facing the Field. (From the <i>Map of London</i> by Braun and Hogenbergius +representing the city as it was in 1554-1558.)</p> + +<p class="center">[<a href="images/firstplayhouses2lg.png">Enlarge</a>]</p> + +<p><br /> +Burbage learned that a large portion of this land lying next to the +Field was in the possession of a well-to-do gentleman named Gyles +Alleyn,<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> and<span class="pagenum"><a name="Page_32" id="Page_32">32</a></span> that Alleyn was willing to lease a part of his +holding on the conditions of development customary in this section of +London. These conditions are clearly revealed in a chancery suit of +1591:</p> + +<div class="blockquot"><p>The ground there was for the most part converted first into +garden plots, and then leasing the same to diverse tenants +caused them to covenant or promise to build upon the same, +by occasion whereof the buildings which are there were for +the most part erected and the rents increased.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p></div> + +<p>The part of Alleyn's property on which Burbage had his eye was in sore +need of improvement. It consisted of five "paltry tenements," +described as "old, decayed, and ruinated for want of reparation, and +the best of them was but of two stories high," and a long barn "very +ruinous and decayed and ready to have fallen down," one half of which +was used as a storage-room, the other half as a slaughter-house. Three +of the tenements had small gardens extending back to the Field, and +just north of the barn was a bit of "void ground," also adjoining the +Field. It was this bit of "void ground" that Burbage had selected as a +suitable location for his proposed playhouse. The accompanying map of +the property<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> will make clear the position of this "void ground" +and of the barns and<span class="pagenum"><a name="Page_34" id="Page_34">34</a></span> tenements about it. Moreover, it will serve to +indicate the exact site of the Theatre. If one will bear in mind the +fact that in the London of to-day Curtain Road marks the eastern +boundary of Finsbury Field, and New Inn Yard cuts off the lower half +of the Great Barn, he will be able to place Burbage's structure within +a few yards.<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a><br /> + </p> + +<p style="text-align: center" class="border"><br /> +<a name="HOLYWELL"> +<img src="images/holywell.png" width="385" height="500" alt="" /></a></p> + +<p class="caption">A PLAN OF BURBAGE'S HOLYWELL PROPERTY</p> + +<p class="caption">Based on the lease, and on the miscellaneous documents +printed by Halliwell-Phillipps and by Braines. The "common sewer" is now marked +by Curtain Road, and the "ditch from the horse-pond" by New Inn Yard.</p> + +<p class="center">[<a href="images/holywelllg.png">Enlarge</a>]</p> + +<p><br /> +The property is carefully described in the lease—quoted below—which +Burbage secured from Alleyn, but the reader will need to refer to the +map in order to follow with ease the several paragraphs of +description:<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></p> + +<div class="blockquot"><p>All those two houses or tenements, with appurtenances, which +at the time of the said former demise made were in the +several tenures or occupations of Joan Harrison, widow, and +John Dragon.</p> + +<p>And also all that house or tenement with the appurtenances, +together with the garden ground lying behind part of the +same, being then likewise in the occupation of William +Gardiner; which said garden plot doth extend in breadth from +a great stone wall there which doth enclose part of the +garden then or lately being in the occupation of the said +Gyles, unto the garden there then in the occupation of Edwin +Colefox, weaver, and in length from the same<span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> house or +tenement unto a brick wall there next unto the fields +commonly called Finsbury Fields.</p> + +<p>And also all that house or tenement, with the appurtenances, +at the time of the said former demise made called or known +by the name of the Mill-house; together with the garden +ground lying behind part of the same, also at the time of +the said former demise made being in the tenure or +occupation of the aforesaid Edwin Colefox, or of his +assigns; which said garden ground doth extend in length from +the same house or tenement unto the aforesaid brick wall +next unto the aforesaid Fields.</p> + +<p>And also all those three upper rooms, with the +appurtenances, next adjoining to the aforesaid Mill-house, +also being at the time of the said former demise made in the +occupation of Thomas Dancaster, shoemaker, or of his +assigns; and also all the nether rooms, with the +appurtenances, lying under the same three upper rooms, and +next adjoining also to the aforesaid house or tenement +called the Mill-house, then also being in the several +tenures or occupations of Alice Dotridge, widow, and Richard +Brockenbury, or of their assigns; together with the garden +ground lying behind the same, extending in length from the +same nether rooms down unto the aforesaid brick wall next +unto the aforesaid Fields, and then or late being also in +the tenure or occupation of the aforesaid Alice Dotridge.</p> + +<p>And also so much of the ground and soil lying and being +afore all the tenements or houses before granted, as +extendeth in length from the outward part of the aforesaid +tenements being at the time of the making of the said former +demise in the occupation of the aforesaid Joan Harrison and +John Dragon, unto a pond there being next unto the barn or +stable then<span class="pagenum"><a name="Page_36" id="Page_36">36</a></span> in the occupation of the right honorable the +Earl of Rutland or of his assigns, and in breadth from the +aforesaid tenement or Mill-house to the midst of the well +being afore the same tenements.</p> + +<p>And also all that Great Barn, with the appurtenances, at the +time of the making of the said former demise made being in +the several occupations of Hugh Richards, innholder, and +Robert Stoughton, butcher; and also a little piece of ground +then inclosed with a pale and next adjoining to the +aforesaid barn, and then or late before that in the +occupation of the said Robert Stoughton; together also with +all the ground and soil lying and being between the said +nether rooms last before expressed, and the aforesaid Great +Barn, and the aforesaid pond; that is to say, extending in +length from the aforesaid pond unto a ditch beyond the brick +wall next the aforesaid Fields.</p> + +<p>And also the said Gyles Alleyn and Sara his wife do by these +presents demise, grant, and to farm lett unto the said James +Burbage all the right, title, and interest which the said +Gyles and Sara have or ought to have in or to all the +grounds and soil lying between the aforesaid Great Barn and +the barn being at the time of the said former demise in the +occupation of the Earl of Rutland or of his assigns, +extending in length from the aforesaid pond and from the +aforesaid stable or barn then in the occupation of the +aforesaid Earl of Rutland or of his assigns, down to the +aforesaid brick wall next the aforesaid Fields.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a><span class="pagenum"><a name="Page_37" id="Page_37">37</a></span></p> + +<p>And also the said Gyles and Sara do by these presents +demise, grant, and to farm lett to the said James all the +said void ground lying and being betwixt the aforesaid ditch +and the aforesaid brick wall, extending in length from the +aforesaid [great stone] wall<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> which encloseth part of the +aforesaid garden being at the time of the making of the said +former demise or late before that in the occupation of the +said Gyles Allen, unto the aforesaid barn then in the +occupation of the aforesaid Earl or of his assigns.</p></div> + +<p>The lease was formally signed on April 13, 1576, and Burbage entered +into the possession of his property. Since the terms of the lease are +important for an understanding of the subsequent history of the +playhouse, I shall set these forth briefly:</p> + +<p>First, the lease was to run for twenty-one years from April 13, 1576, +at an annual rental of £14.</p> + +<p>Secondly, Burbage was to spend before the expiration of ten years the +sum of £200 in rebuilding and improving the decayed tenements.</p> + +<p>Thirdly, in view of this expenditure of £200, Burbage was to have at +the end of the ten years the right to renew the lease at the same +rental of £14 a year for twenty-one years, thus making the lease good +in all for thirty-one years:</p> + +<div class="blockquot"><p>And the said Gyles Alleyn and Sara his wife did thereby +covenant with the said James Burbage that they should and +would at any time within the ten<span class="pagenum"><a name="Page_38" id="Page_38">38</a></span> years next ensuing at or +upon the lawful request or demand of the said James Burbage +make or cause to be made to the said James Burbage a new +lease or grant like to the same presents for the term of one +and twenty years more, to begin from the date of making the +same lease, yielding therefor the rent reserved in the +former indenture.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p></div> + +<p>Fourthly, it was agreed that at any time before the expiration of the +lease, Burbage might take down and carry away to his own use any +building that in the mean time he might have erected on the vacant +ground for the purpose of a playhouse:</p> + +<div class="blockquot"><p>And farther, the said Gyles Alleyn and Sara his wife did +covenant and grant to the said James Burbage that it should +and might be lawful to the said James Burbage (in +consideration of the imploying and bestowing the foresaid +two hundred pounds in forme aforesaid) at any time or times +before the end of the said term of one and twenty years, to +have, take down, and carry away to his own proper use for +ever all such buildings and other things as should be +builded, erected, or set up in or upon the gardens and void +grounds by the said James, either for a theatre or playing +place, or for any other lawful use, without any stop, claim, +let, trouble, or interruption of the said Gyles Alleyn and +Sara his wife.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p></div> + +<p>Protected by these specific terms, Burbage proceeded to the erection +of his playhouse. He must<span class="pagenum"><a name="Page_39" id="Page_39">39</a></span> have had faith and abundant courage, for he +was a poor man, quite unequal to the large expenditures called for by +his plans. A person who had known him for many years, deposed in 1592 +that "James Burbage was not at the time of the first beginning of the +building of the premises worth above one hundred marks<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> in all his +substance, for he and this deponent were familiarly acquainted long +before that time and ever since."<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> We are not surprised to learn, +therefore, that he was "constrained to borrow diverse sums of money," +and that he actually pawned the lease itself to a money-lender.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> +Even so, without assistance, we are told, he "should never be able to +build it, for it would cost five times as much as he was worth."</p> + +<p>Fortunately he had a wealthy brother-in-law, John Brayne,<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> a London +grocer, described as "worth five hundred pounds at the least, and by +common fame worth a thousand marks."<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> In some way Brayne became +interested in the new venture. Like Burbage, he believed that large +profits would flow from such a novel undertaking; and as a result he +readily agreed to share the expense of erecting and maintaining the +building.<span class="pagenum"><a name="Page_40" id="Page_40">40</a></span> Years later members of the Brayne faction asserted that +James Burbage "induced" his brother-in-law to venture upon the +enterprise by unfairly representing the great profits to ensue;<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> +but the evidence, I think, shows that Brayne eagerly sought the +partnership. Burbage himself asserted in 1588 that Brayne "practiced +to obtain some interest therein," and presumed "that he might easily +compass the same by reason that he was natural brother"; and that he +voluntarily offered to "bear and pay half the charges of the said +building then bestowed and thereafter to be bestowed" in order "that +he might have the moiety<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> of the above named Theatre."<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> As a +further inducement, so the Burbages asserted, he promised that "for +that he had no children," the moiety at his death should go to the +children of James Burbage, "whose advancement he then seemed greatly +to tender."</p> + +<p>Whatever caused Brayne to interest himself in the venture, he quickly +became fired with such hopes of great gain that he not only spent upon +the building all the money he could gather or borrow, but sold his +stock of groceries for £146, disposed of his house for £100, even +pawned his clothes, and put his all into the new structure. The spirit +in which he worked to make the venture a success, and the personal +sacrifices that he<span class="pagenum"><a name="Page_41" id="Page_41">41</a></span> and his wife made, fully deserve the quotation +here of two legal depositions bearing on the subject:</p> + +<div class="blockquot"><p>This deponent, being servant, in Bucklersbury, aforesaid, to +one Robert Kenningham, grocer, in which street the said John +Brayne dwelled also, and of the same trade, he, the said +Brayne, at the time he joined with the said James Burbage in +the aforesaid lease, was reputed among his neighbors to be +worth one thousand pounds at the least, and that after he +had joined with the said Burbage in the matter of the +building of the said Theatre, he began to slack his own +trade, and gave himself to the building thereof, and the +chief care thereof he took upon him, and hired workmen of +all sorts for that purpose, bought timber and all other +things belonging thereunto, and paid all. So as, in this +deponent's conscience, he bestowed thereupon for his owne +part the sum of one thousand marks at the least, in so much +as his affection was given so greatly to the finishing +thereof, in hope of great wealth and profit during their +lease, that at the last he was driven to sell to this +deponent's father his lease of the house wherein he dwelled +for £100, and to this deponent all such wares as he had left +and all that belonged thereunto remaining in the same, for +the sum of £146 and odd money, whereof this deponent did pay +for him to one Kymbre, an ironmonger in London, for iron +work which the said Brayne bestowed upon the said Theatre, +the sum of £40. And afterwards the said Brayne took the +matter of the said building so upon him as he was driven to +borrow money to supply the same, saying to this deponent +that his brother Burbage was not able to help the same, and +that he found<span class="pagenum"><a name="Page_42" id="Page_42">42</a></span> not towards it above the value of fifty +pounds, some part in mony and the rest in stuff.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p></div> + +<p>In reading the next deposition, one should bear in mind the fact that +the deponent, Robert Myles, was closely identified with the Brayne +faction, and was, therefore, a bitter enemy to the Burbages. Yet his +testimony, though prejudiced, gives us a vivid picture of Brayne's +activity in the building of the Theatre:</p> + +<div class="blockquot"><p>So the said John Brayne made a great sum of money of purpose +and intent to go to the building of the said playhouse, and +thereupon did provide timber and other stuff needful for the +building thereof, and hired carpenters and plasterers for +the same purpose, and paid the workmen continually. So as he +for his part laid out of his own purse and what upon credit +about the same to the sum of £600 or £700 at the least. And +in the same time, seeing the said James Burbage nothing able +either of himself or by his credit to contribute any like +sum towards the building thereof, being then to be finished +or else to be lost that had been bestowed upon it already, +the said Brayne was driven to sell his house he dwelled in +in Bucklersbury, and all his stock that was left, and give +up his trade, yea in the end to pawn and sell both his own +garments and his wife's, and to run in debt to many for +money, to finish the said playhouse, and so to employ +himself only upon that matter, and all whatsoever he could +make, to his utter undoing, for he saieth that in the latter +end of the finishing thereof, the said Brayne and his wife, +the now complainants, were driven to labor in<span class="pagenum"><a name="Page_43" id="Page_43">43</a></span> the said work +for saving of some of the charge in place of two laborers, +whereas the said James Burbage went about his own business, +and at sometimes when he did take upon him to do some thing +in the said work, he would be and was allowed a workman's +hire as other the workman there had.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p></div> + +<p>The last fling at Burbage is quite gratuitous; yet it is probably true +that the main costs of erecting the playhouse fell upon the shoulders +of Brayne. The evidence is contradictory; some persons assert that +Burbage paid half the cost of the building,<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> others that Brayne +paid nearly all,<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> and still others content themselves with saying +that Brayne paid considerably more than half. The last statement may +be accepted as true. The assertion of Gyles Alleyn in 1601, that the +Theatre was "erected at the costs and charges of one Brayne and not of +the said James Burbage, to the value of one thousand marks,"<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> is +doubtless incorrect; more correct is the assertion of Robert Myles, +executor of the Widow Brayne's will, in 1597: "The said John Brayne +did join with the said James [Burbage] in the building aforesaid, and +did expend thereupon greater sums than the said James, that is to say, +at least five or six hundred<span class="pagenum"><a name="Page_44" id="Page_44">44</a></span> pounds."<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> Since there is evidence +that the playhouse ultimately cost about £700,<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> we might hazard the +guess that of this sum Brayne furnished about £500,<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> and Burbage +about £200. To equalize the expenditure it was later agreed that "the +said Brayne should take and receive all the rents and profits of the +said Theatre to his own use until he should be answered such sums of +money which he had laid out for and upon the same Theatre more than +the said Burbage had done."<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></p> + +<p>But if Burbage at the outset was "nothing able to contribute any" +great sum of ready money towards the building of the first playhouse, +he did contribute other things equally if not more important. In the +first place, he conceived the idea, and he carried it as far towards +realization as his means allowed. In the second place, he planned the +building—its stage as well as its auditorium—to meet the special +demands of the actors and the comfort of the audience. This called for +bold originality and for ingenuity of a high order, for, it must be +remembered, he had no model to study—he was designing the first +structure of its kind in England.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> For this task<span class="pagenum"><a name="Page_45" id="Page_45">45</a></span> he was well +prepared. In the first place, he was an actor of experience; in the +second place, he was the manager of one of the most important troupes +in England; and, in the third place, he was by training and early +practice a carpenter and builder. In other words, he had exact +knowledge of what was needed, and the practical skill to meet those +needs.</p> + +<p>The building that he designed and erected he named—as by virtue of +priority he had a right to do—"The Theatre."</p> + +<p>Of the Theatre, unfortunately, we have no pictorial representation, +and no formal description, so that our knowledge of its size, shape, +and general arrangement must be derived from scattered and +miscellaneous sources. That the building was large we may feel sure; +the cost of its erection indicates as much. The Fortune, one of<span class="pagenum"><a name="Page_46" id="Page_46">46</a></span> the +largest and handsomest of the later playhouses, cost only £520, and +the Hope, also very large, cost £360. The Theatre, therefore, built at +a cost of £700, could not have been small. It is commonly referred to, +even so late as 1601, as "the great house called the Theatre," and the +author of <i>Skialetheia</i> (1598) applied to it the significant adjective +"vast." Burbage, no doubt, had learned from his experience as manager +of a troupe the pecuniary advantage of having an auditorium large +enough to receive all who might come. Exactly how many people his +building could accommodate we cannot say. The Reverend John Stockwood, +in 1578, exclaims bitterly: "Will not a filthy play, with the blast of +a trumpet, sooner call thither a thousand than an hour's tolling of +the bell bring to the sermon a hundred?"<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> And Fleetwood, the City +Recorder, in describing a quarrel which took place in 1584 "at Theatre +door," states that "near a thousand people" quickly assembled when the +quarrel began.</p> + +<p>In shape the building was probably polygonal, or circular. I see no +good reason for supposing that it was square; Johannes de Witt +referred to it as an "amphitheatre," and the Curtain, erected the +following year in imitation, was probably polygonal.<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> It was built +of timber, and its exterior,<span class="pagenum"><a name="Page_47" id="Page_47">47</a></span> no doubt, was—as in the case of +subsequent playhouses—of lime and plaster. The interior consisted of +three galleries surrounding an open space called the "yard." The +German traveler, Samuel Kiechel, who visited London in the autumn of +1585, described the playhouses—i.e., the Theatre and the Curtain—as +"singular [<i>sonderbare</i>] houses, which are so constructed that they +have about three galleries, one above the other."<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> And Stephen +Gosson, in <i>Plays Confuted</i> (<i>c.</i> 1581) writes: "In the playhouses at +London, it is the fashion for youths to go first into the yard, and to +carry their eye through every gallery; then, like unto ravens, where +they spy the carrion, thither they fly, and press as near to the +fairest as they can." The "yard" was unroofed, and all persons there +had to stand during the entire performance. The galleries, however, +were protected by a roof, were divided into "rooms," and were provided +for the most part with seats. Gyles Alleyn inserted in the lease he +granted to Burbage the following condition:</p> + +<div class="blockquot"><p>And further, that it shall or may [be] lawful for the said +Gyles and for his wife and family, upon lawful request +therefor made to the said James Burbage, his executors or +assigns, to enter or come into<span class="pagenum"><a name="Page_48" id="Page_48">48</a></span> the premises, and there in +some one of the upper rooms to have such convenient place to +sit or stand to see such plays as shall be there played, +freely without anything therefor paying.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a></p></div> + +<p>The stage was a platform, projecting into the yard, with a +tiring-house at the rear, and a balcony overhead. The details of the +stage, no doubt, were subject to alteration as experience suggested, +for its materials were of wood, and histrionic and dramatic art were +both undergoing rapid development.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> The furnishings and +decorations, as in the case of modern playhouses, seem to have been +ornate. Thus T[homas] W[hite], in <i>A Sermon Preached at Pawles Crosse, +on Sunday the Thirde of November, 1577</i>, exclaims: "Behold the +sumptuous Theatre houses, a continual monument of London's +prodigality"; John Stockwood, in <i>A Sermon Preached at Paules Cross, +1578</i>, refers to it as "the gorgeous playing place erected in the +Fields"; and Gabriel Harvey could think of no more appropriate epithet +for it than "painted"—"painted theatres," "painted stage."</p> + +<p>The building was doubtless used for dramatic performances in the +autumn of 1576, although it was not completed until later; John +Grigges, one of the carpenters, deposed that Burbage and<span class="pagenum"><a name="Page_49" id="Page_49">49</a></span> Brayne +"finished the same with the help of the profits that grew by plays +used there before it was fully finished."<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> Access to the playhouse +was had chiefly by way of Finsbury Field and a passage made by Burbage +through the brick wall mentioned in the lease.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a></p> + +<p>The terms under which the owners let it to the actors were simple: the +actors retained as their share the pennies paid at the outer doors for +general admission, and the proprietors received as their share the +money paid for seats or standings in the galleries.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> Cuthbert +Burbage states in 1635: "The players that lived in those first times +had only the profits arising from the doors, but now the players +receive all the comings in at the doors to themselves, and half the +galleries."<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p> + +<p>Before the expiration of two years, or in the early summer of 1578, +Burbage and Brayne began to quarrel about the division of the money +which fell to their share. Brayne apparently thought that he should at +once be indemnified for all the money he had expended on the playhouse +in excess of Burbage; and he accused Burbage of "indirect +dealing"—there were even whispers of "a secret key" to the "common +box" in which the<span class="pagenum"><a name="Page_50" id="Page_50">50</a></span> money was kept.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> Finally they agreed to "submit +themselves to the order and arbitrament of certain persons for the +pacification thereof," and together they went to the shop of a notary +public to sign a bond agreeing to abide by the decision of the +arbitrators. There they "fell a reasoning together," in the course of +which Brayne asserted that he had disbursed in the Theatre "three +times at the least as much more as the sum then disbursed by the said +James Burbage." In the end Brayne unwisely hinted at "ill dealing" on +the part of Burbage, whereupon "Burbage did there strike him with his +fist, and so they went together by the ears, in so much," says the +notary, "that this deponent could hardly part them." After they were +parted, they signed a bond of £200 to abide by the decision of the +arbitrators. The arbitrators, John Hill and Richard Turnor, "men of +great honesty and credit," held their sessions "in the Temple church," +whither they summoned witnesses. Finally, on July 12, 1578, after +"having thoroughly heard" both sides, they awarded that the profits +from the Theatre should be used first to pay the debts upon the +building, then to pay Brayne the money he had expended in excess of +Burbage, and thereafter to be shared "in divident equally between +them."<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> These conditions,<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span> however, were not observed, and the +failure to observe them led to much subsequent discord.</p> + +<p>The arbitrators also decided that "if occasion should move them +[Burbage and Brayne] to borrow any sum of money for the payment of +their debts owing for any necessary use and thing concerning the said +Theatre, that then the said James Burbage and the said John Brayne +should <i>join</i> in pawning or mortgageing of their estate and interest +of and in the same."<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> An occasion for borrowing money soon arose. +So on September 26, 1579, the two partners mortgaged the Theatre to +John Hide for the sum of £125 8<i>s.</i> 11<i>d.</i> At the end of a year, by +non-payment, they forfeited the mortgage, and the legal title to the +property passed to Hide. It seems, however, that because of some +special clause in the mortgage Hide was unable to expel Burbage and +Brayne, or to dispose of the property to others. Hence he took no +steps to seize the Theatre; but he constantly annoyed the occupants by +arrest and otherwise. This unfortunate transference of the title to +Hide was the cause of serious quarreling between the Burbages and the +Braynes, and finally led to much litigation.</p> + +<p>In 1582 a more immediate disaster threatened the owners of the +Theatre. One Edmund Peckham laid claim to the land on which the +playhouse had been built, and brought suit against Alleyn for +recovery. More than that, Peckham tried to<span class="pagenum"><a name="Page_52" id="Page_52">52</a></span> take actual possession of +the playhouse, so that Burbage "was fain to find men at his own charge +to keep the possession thereof from the said Peckham and his +servants," and was even "once in danger of his own life by keeping +possession thereof." As a result of this state of affairs, Burbage +"was much disturbed and troubled in his possession of the Theatre, and +could not quietly and peaceably enjoy the same. And therefore the +players forsook the said Theatre, to his great loss."<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> In order to +reimburse himself in some measure for this loss Burbage retained £30 +of the rental due to Alleyn. The act led to a bitter quarrel with +Alleyn, and figured conspicuously in the subsequent litigation that +came near overwhelming the Theatre.</p> + +<p>In 1585 Burbage, having spent the stipulated £200 in repairing and +rebuilding the tenements on the premises, sought to renew the lease, +according to the original agreement, for the extended period of +twenty-one years. On November 20, 1585, he engaged three skilled +workmen to view the buildings and estimate the sum he had disbursed in +improvements. They signed a formal statement to the effect that in +their opinion at least £220 had been thus expended on the premises. +Burbage then "tendered unto the said Alleyn a new lease devised by his +counsel, ready written and engrossed, with labels and wax thereunto +affixed, agreeable to the covenant." But Alleyn<span class="pagenum"><a name="Page_53" id="Page_53">53</a></span> refused to sign the +document. He maintained that the new lease was not a verbatim copy of +the old lease, that £200 had not been expended on the buildings, and +that Burbage was a bad tenant and owed him rent. In reality, Alleyn +wanted to extort a larger rental than £14 for the property, which had +greatly increased in value.</p> + +<p>On July 18, 1586, Burbage engaged six men, all expert laborers, to +view the buildings again and estimate the cost of the improvements. +They expressed the opinion in writing that Burbage had expended at +least £240 in developing the property.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a> Still Alleyn refused to +sign an extension of the lease. His conduct must have been very +exasperating to the owner of the Theatre. Cuthbert Burbage tells us +that his father "did often in gentle manner solicit and require the +said Gyles Alleyn for making a new lease of the said premises +according to the purporte and effect of the said covenant." But +invariably Alleyn found some excuse for delay.</p> + +<p>The death of Brayne, in August, 1586, led John Hide, who by reason of +the defaulted mortgage was legally the owner of the Theatre, to +redouble his efforts to collect his debt. He "gave it out in speech +that he had set over and assigned the said lease and bonds to one +George Clough, his ... father-in-law (but in truth he did not so)," +and "the said Clough, his father-in-law, did go about<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> to put the said +defendant [Burbage] out of the Theatre, or at least did threaten to +put him out." As we have seen, there was a clause in the mortgage +which prevented Hide from ejecting Burbage;<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> yet Clough was able to +make so much trouble, "divers and sundry times" visiting the Theatre, +that at last Burbage undertook to settle the debt out of the profits +of the playhouse. As Robert Myles deposed in 1592, Burbage allowed the +widow of Brayne for "a certain time to take and receive the one-half +of the profits of the galleries of the said Theatre ... then on a +sudden he would not suffer her to receive any more of the profits +there, saying that he must take and receive all till he had paid the +debts. And then she was constrained, as his servant, to gather the +money and to deliver it unto him."<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p> + +<p>For some reason, however, the debt was not settled, and Hide continued +his futile demands. Several times Burbage offered to pay the sum in +full if the title of the Theatre were made over to his son Cuthbert +Burbage; and Brayne's widow made similar offers in an endeavor to gain +the entire property for herself. But Hide, who seems to have been an +honest man, always declared that since Burbage and Brayne "did jointly +mortgage it unto him" he was honor-bound to assign the property back +to Burbage and the widow of Brayne jointly. So matters stood for a +while.<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span></p> + +<p>At last, however, in 1589, Hide declared that "since he had forborne +his money so long, he could do it no more, so as they that came first +should have it of him." Thereupon Cuthbert Burbage came bringing not +only the money in hand, but also a letter from his master and patron, +Walter Cape, gentleman usher to the Lord High Treasurer, requesting +Hide to make over the Theatre to Cuthbert, and promising in return to +assist Hide with the Lord Treasurer when occasion arose. Under this +pressure, Hide accepted full payment of his mortgage, and made over +the title of the property to Cuthbert Burbage. Thus Brayne's widow was +legally excluded from any share in the ownership of the Theatre. Myles +deposed, in 1592, that henceforth Burbage "would not suffer her to +meddle in the premises, but thrust her out of all."</p> + +<p>This led at once to a suit, in which Robert Myles acted for the widow. +He received an order from the Court of Chancery in her favor, and +armed with this, and accompanied by two other persons, he came on +November 16, 1590, to Burbage's "dwelling house near the Theatre," +called to the door Cuthbert Burbage, and in "rude and exclamable sort" +demanded "the moiety of the said Theatre." James Burbage "being within +the house, hearing a noise at the door, went to the door, and there +found his son, the said Cuthbert, and the said Myles speaking loud +together." Words were bandied, until finally Burbage, "dared<span class="pagenum"><a name="Page_56" id="Page_56">56</a></span> by the +same Myles with great threats and words that he would do this and +could do that," lost his temper, and threatened to beat Myles off the +ground.<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a></p> + +<p>Next the widow, attended by Robert Myles and others, visited the home +of the Burbages "to require them to perform the said award" of the +court. They were met by James Burbage's wife, who "charged them to go +out of her grounds, or else she would make her son break their knaves' +heads." Aroused by this noise, "James Burbage, her husband, looking +out a window upon them, called the complainant [Widow Brayne] +murdering whore, and ... the others villaines, rascals, and knaves." +And when Mistress Brayne spoke of the order of the court, "he cryed +unto her, 'Go, go. A cart, a cart for you! I will obey no such order, +nor I care not for any such orders, and therefore it were best for you +and your companions to be packing betimes, for if my son [Cuthbert] +come he will thump you hence!'" Just then Cuthbert did "come home, and +in very hot sort bid them get thence, or else he would set them +forwards, saying 'I care for no such order. The Chancery shall not +give away what I have paid for.'" And so, after "great and horrible +oathes" by James Burbage and his son, the widow and her attendants +"went their ways."<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a></p> + +<p>Receiving thus no satisfaction from these visits<span class="pagenum"><a name="Page_57" id="Page_57">57</a></span> to the home of James +Burbage, the widow and Robert Myles came several times to the Theatre, +bearing the order of the court in their hands; but each time they were +railed upon and driven out. Finally, the widow, with her ever-faithful +adjutant Robert Myles, his son Ralph, and his business partner, +Nicholas Bishop, went "to the Theatre upon a play-day to stand at the +door that goeth up to the galleries of the said Theatre to take and +receive for the use of the said Margaret half of the money that should +be given to come up into the said gallery." In the Theatre they were +met by Richard Burbage, then about nineteen years old, and his mother, +who "fell upon the said Robert Myles and beat him with a broom staff, +calling him murdering knave." When Myles's partner, Bishop, ventured +to protest at this contemptuous treatment of the order of the court, +"the said Richard Burbage," so Bishop deposed, "scornfully and +disdainfully playing with this deponent's nose, said that if he dealt +in the matter, he would beat him also, and did challenge the field of +him at that time." One of the actors then coming in, John +Alleyn—brother of the immortal Edward Alleyn—"found the foresaid +Richard Burbage, the youngest son of the said James Burbage, there +with a broom staff in his hand; of whom when this deponent Alleyn +asked what stir was there, he answered in laughing phrase how they +came for a moiety, 'But,' quod he (holding up the said broom<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span> staff) +'I have, I think, delivered him a moiety with this, and sent them +packing.'" Alleyn thereupon warned the Burbages that Myles could bring +an action of assault and battery against them. "'Tush,' quod the +father, 'no, I warrant you; but where my son hath now beat him hence, +my sons, if they will be ruled by me, shall at their next coming +provide charged pistols, with powder and hempseed, to shoot them in +the legs.'"<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a></p> + +<p>But if the Burbages could laugh at the efforts of Myles and the widow +to secure a moiety of the Theatre from Cuthbert, they were seriously +troubled by the continued refusal of Gyles Alleyn to renew the lease. +James Burbage many times urged his landlord to fulfill the original +agreement, but in vain. At last, Alleyn, "according to his own will +and discretion, did cause a draft of a lease to be drawn, wherein were +inserted many unreasonable covenants." The new conditions imposed by +Alleyn were: (1) that Burbage should pay a rental of £24 instead of +£14 a year; (2) that he should use the Theatre as a place for acting +for only five years after the expiration of the original +twenty-one-year lease, and should then convert the building to other +uses; (3) that he should ultimately leave the building in the +possession of Alleyn.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> The first and third conditions, though +unjust, Burbage was willing to accept, but the<span class="pagenum"><a name="Page_59" id="Page_59">59</a></span> second condition—that +he should cease to use the Theatre for plays—he "utterly refused" to +consider.</p> + +<p>Finally, perceiving that it was useless to deal further with Alleyn, +he made plans to secure a new playhouse in the district of +Blackfriars, a district which, although within the city walls, was not +under the jurisdiction of the city authorities. He purchased there the +old Blackfriars refectory for £600, and then at great expense made the +refectory into a playhouse. But certain influential noblemen and +others living near by protested against this, and the Privy Council +ordered that the building should not be used as a public playhouse. +All this belongs mainly to the history of the Second Blackfriars +Playhouse, and for further details the reader is referred to the +<a href="#CHAPTER_XI">chapter</a> dealing with that theatre.</p> + +<p>Shortly after the order of the Privy Council cited above, Burbage +died, just two months before the expiration of his lease from Alleyn; +and the Theatre with all its troubles passed to his son Cuthbert. By +every means in his power Cuthbert sought to induce Alleyn to renew the +lease: "Your said subject was thereof possessed, and being so +possessed, your said servant did often require the said Alleyn and +Sara his wife to make unto him the said new lease of the premises, +according to the agreement of the said indenture." Cuthbert's +importunity in the matter is clearly set forth in<span class="pagenum"><a name="Page_60" id="Page_60">60</a></span> a deposition by +Henry Johnson, one of Alleyn's tenants. It was Alleyn's custom to come +to London at each of the four pay terms of the year, and stop at the +George Inn in Shoreditch to receive his rents; and on such occasions +Johnson often observed Cuthbert's entreaties with Alleyn. In his +deposition he says that he "knoweth that the said complainant +[Cuthbert Burbage] hath many times labored and entreated the defendant +[Gyles Alleyn] to make him a new lease of the premises in question, +for this deponent sayeth that many times when the defendant hath come +up to London to receive his rents, he, this deponent, hath been with +him paying him certain rent; and then he hath seen the plaintiff with +his landlord, paying his rent likewise; and then, finding opportunity, +the plaintiff would be intreating the defendant to make him a new +lease of the premises in question; and sayeth that it is at least +three years since [i.e., in 1597] he, this deponent, first heard the +plaintiff labor and entreat the defendant for a new lease."<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> +Cuthbert tells us that Alleyn did not positively refuse to renew the +lease, "but for some causes, which he feigned, did defer the same from +time to time, but yet gave hope to your subject, and affirmed that he +would make him such a lease."<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a></p> + +<p>Cuthbert's anxiety in this matter is explained by the fact that the +old lease gave him the right<span class="pagenum"><a name="Page_61" id="Page_61">61</a></span> to tear down the Theatre and carry away +the timber and other materials to his own use, provided he did so +before the expiration of the twenty-one years. Yet, relying on +Alleyn's promises to renew the lease, he "did forbear to pull downe +and carry away the timber and stuff employed for the said Theatre and +playing-house at the end of the said first term of one and twenty +years." A failure to renew the lease would mean, of course, the loss +of the building.</p> + +<p>Alleyn, though deferring to sign a new lease, allowed Burbage to +continue in possession of the property at "the old rent of £14." Yet +the Theatre seems not to have been used for plays after the original +lease expired.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> The Lord Chamberlain's Company, which had been +occupying the Theatre, and of which Richard Burbage was the chief +actor, had moved to the Curtain; and the author of <i>Skialetheia</i>, +printed in 1598, refers to the old playhouse as empty: "But see, +yonder, one, like the unfrequented Theatre, walks in dark silence and +vast solitude."<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a></p> + +<p>To Cuthbert Burbage such a state of affairs<span class="pagenum"><a name="Page_62" id="Page_62">62</a></span> was intolerable, and on +September 29, 1598, he made a new appeal to Alleyn. Alleyn proffered a +lease already drawn up, but Cuthbert would not "accept thereof" +because of the "very unreasonable covenants therein contained."<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a></p> + +<p>Shortly after this fruitless interview, or late in 1598, Gyles Alleyn +resolved to take advantage of the fact that Cuthbert Burbage had not +removed the Theatre before the expiration of the first twenty-one +years. He contended that since Cuthbert had "suffered the same there +to continue till the expiration of the said term ... the right and +interest of the said Theatre was both in law and conscience absolutely +vested" now in himself; accordingly he planned "to pull down the same, +and to convert the wood and timber thereof to some better use for the +benefit" of himself.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a></p> + +<p>But, unfortunately for Alleyn, Cuthbert Burbage "got intelligence" of +this purpose, and at once set himself to the task of saving his +property. He and his brother Richard, the great actor, took into their +confidence the chief members of the Lord Chamberlain's Company, then +performing at the Curtain Playhouse, namely William Shakespeare, John +Heminges, Augustine Phillips, Thomas Pope, and William Kempe. These +men agreed to form with the Burbages a syndicate to finance the +erection of a new playhouse. The two Burbages agreed to bear one-half +the expense, including the<span class="pagenum"><a name="Page_63" id="Page_63">63</a></span> timber and other materials of the old +Theatre, and the five actors promised to supply the other half. +Together they leased a suitable plot of land on the Bankside near +Henslowe's Rose, the lease dating from December 25, 1598. These +details having been arranged, it remained only for the Burbages to +save their building from the covetousness of Alleyn.</p> + +<p>On the night of December 28, 1598,<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> Alleyn being absent in the +country, Cuthbert Burbage, his brother Richard, his friend William +Smith, "of Waltham Cross, in the County of Hartford, gentleman," Peter +Street, "cheefe carpenter," and twelve others described as "laborers +such as wrought for wages," gathered at the Theatre and began to tear +down the building. We learn that the widow of James Burbage "was +there, and did see the doing thereof, and liked well of it";<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> and +we may suspect that at some time during the day Shakespeare and the +other actors were present as interested spectators.</p> + +<p>The episode is thus vividly described by the indignant Gyles Allen:</p> + +<div class="blockquot"><p>The said Cuthbert Burbage, having intelligence of your +subject's purpose herein, and unlawfully combining and +confederating himself with the said Richard Burbage and one +Peter Street, William Smith, and diverse other persons to +the number of<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span> twelve, to your subject unknown, did about +the eight and twentieth day of December, in the one and +fortieth year of your highness reign, and sithence your +highness last and general pardon, by the confederacy +aforesaid, riotously assembled themselves together, and then +and there armed themselves with diverse and many unlawful +and offensive weapons, as namely swords, daggers, bills, +axes, and such like, and so armed did then repair unto the +said Theatre, and then and there armed as aforesaid, in very +riotous, outrageous, and forceable manner, and contrary to +the laws of your highness realm, attempted to pull down the +said Theatre. Whereupon, diverse of your subjects, servants +and farmers, then going about in peaceable manner to procure +them to desist from that unlawful enterprise, they, the said +riotous persons aforesaid, notwithstanding procured then +therein with great violence, not only then and there +forcibly and riotously resisting your subjects, servants, +and farmers, but also then and there pulling, breaking, and +throwing down the said Theatre in very outrageous, violent, +and riotous sort.<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a></p></div> + +<p>The workmen, under the expert direction of Peter Street, carried the +timber and other materials of the old Theatre to the tract of land on +the Bankside recently leased by the new syndicate—as Gyles Alleyn +puts it, "did then also in most forcible and riotous manner take and +carry away from thence all the wood and timber thereof unto the +Bankside, in the Parish of St. Mary<span class="pagenum"><a name="Page_65" id="Page_65">65</a></span> Overies, and there erected a new +playhouse with the said timber and wood."</p> + +<p>The playhouse thus erected was, of course, an entirely new structure. +Nearly a quarter of a century had elapsed since James Burbage designed +the old Theatre, during which time a great development had taken place +both in histrionic art and in play writing; and, no doubt, many +improvements were possible in the stage and in the auditorium to +provide better facilities for the actors and greater comfort for the +spectators. In designing such improvements the architect had the +advice and help of the actors, including Shakespeare; and he succeeded +in producing a playhouse that was a model of excellence. The name +selected by the syndicate for their new building was "The Globe." For +further details as to its construction, and for its subsequent +history, the reader is referred to the <a href="#CHAPTER_XII">chapter</a> dealing with that +building.</p> + +<p>When Gyles Alleyn learned that the Burbages had demolished the Theatre +and removed the timber to the Bankside, he was deeply incensed, not +only at the loss of the building, but also, no doubt, at being +completely outwitted. At once he instituted suit against Cuthbert +Burbage; but he was so intemperate in his language and so reckless in +his charges that he weakened his case. The suit dragged for a few +years, was in part referred to Francis Bacon, and finally in the +summer of 1601 was dismissed. Thus the history of the first<span class="pagenum"><a name="Page_66" id="Page_66">66</a></span> London +playhouse, which is chiefly the history of quarrels and litigation, +came to a close.</p> + +<p>It is not possible now to indicate exactly the stay of the different +troupes at the Theatre; the evidence is scattered and incomplete, and +the inferences to be drawn are often uncertain.</p> + +<p>When the building was opened in 1576, it was, no doubt, occupied by +the Earl of Leicester's troupe, of which Burbage was the manager, and +for which, presumably, the structure had been designed. Yet other +troupes of players may also have been allowed to use the +building—when Leicester's Men were touring the provinces, or, +possibly, on days when Leicester's Men did not act. This arrangement +lasted about six years.</p> + +<p>In 1582 the use of the Theatre was interrupted by the interference of +Peckham. For a long time the actors "could not enjoy the premises," +and Burbage was forced to keep Peckham's servants out of the building +with an armed guard night and day. As a result of this state of +affairs, Leicester's troupe was dissolved; "many of the players," we +are told, were driven away, and the rest "forsook the said Theatre." +The last notice of these famous players is a record of their +performance at Court on February 10, 1583.</p> + +<p>Shortly after this, in March, 1583, Tilney, the Master of the Revels, +organized under royal patronage a new company called the Queen's Men. +For this purpose he selected twelve of the best<span class="pagenum"><a name="Page_67" id="Page_67">67</a></span> actors of the realm, +including some of the members of Leicester's company.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a> The two +best-known actors in the new organization were the Queen's favorite +comedian, Richard Tarleton, the immortal "Lord of Mirth," and John +Lanham, the leader and apparently the manager of the troupe. James +Burbage, who may by this time, if not before, have retired from +acting, was not included.</p> + +<p>The newly organized Queen's Men in all probability occupied the +Theatre which had been left vacant by the dissolution of Leicester's +company. Mr. Wallace denies this, mainly on the evidence of a permit +issued by the Lord Mayor, November 28, 1583, granting the Queen's Men +the privilege of acting "at the sign of the Bull [Inn] in Bishopgate +Street, and the sign of the Bell [Inn] in Gracious Street, and nowhere +else within this city." But this permit, I think, lends scant support +to Mr. Wallace's contention. The Lord Mayor had no authority to issue +a license for the Queen's Men to play at the Theatre, for that +structure was outside the jurisdiction of the city. The Privy Council +itself, no doubt, had issued such a general license when the company +was organized under royal patronage.<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> And now, ten months later, +on<span class="pagenum"><a name="Page_68" id="Page_68">68</a></span> November 26, 1583, the Council sends to the Lord Mayor a request +"that Her Majesty's players may be suffered to play ... within the +city and liberties <i>between this and shrovetide next</i>"<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a>—in other +words, during the winter season when access to the Theatre was +difficult. It was customary for troupes to seek permission to act +within the city during the winter months.<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a> Thus the Queen's Men, in +a petition written probably in the autumn of the following year, 1584, +requested the Privy Council to dispatch "favorable letters unto the +Lord Mayor of London to permit us to exercise within the city," and +the Lord Mayor refused, with the significant remark that "if in winter +... the foulness of season do hinder the passage into the fields to +play, the remedy is ill conceived to bring them into London."<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> +Obviously the Queen's Men were seeking permission to play in the city +only during the cold winter months; during the balmy spring, summer, +and autumn months—for actors the best season of the year—they +occupied their commodious playhouse in "the fields."</p> + +<p>That this playhouse for a time, at least, was the Theatre is indicated +by several bits of evi<span class="pagenum"><a name="Page_69" id="Page_69">69</a></span>dence. Thus the author of <i>Martin's Month's +Mind</i> (1589) speaks of "twittle-twattles that I had learned in +ale-houses and at the Theatre of Lanham and his fellows." Again, Nash, +in <i>Pierce Penniless</i> (1592), writes: "Tarleton at the Theatre made +jests of him"; Harrington, in <i>The Metamorphosis of Ajax</i> (1596): +"Which word was after admitted into the Theatre with great applause, +by the mouth of Master Tarleton"; and the author of <i>Tarlton's Newes +out of Purgatory</i> (<i>c.</i> 1589) represents Tarleton as connected with +the Theatre. Now, unless Lanham, Tarleton, and their "fellows" usually +or sometimes acted at the Theatre, it is hard to understand these and +other similar passages.</p> + +<p>The following episode tends to prove the same thing. On June 18, 1584, +William Fleetwood, Recorder, wrote to Lord Burghley:<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a></p> + +<div class="blockquot"><p>Right honorable and my very good lord. Upon Whitsunday there +was a very good sermon preached at the new churchyard near +Bethelem, whereat my Lord Mayor was with his brethren; and +by reason no plays were the same day, all the city was +quiet. Upon Monday I was at the Court.... That night I +returned to London and found all the wards full of watchers; +the cause thereof was for that very near the Theatre or +Curtain, at the time of the plays, there lay a prentice +sleeping upon the grass; and one Challes, at Grostock, did +turn upon the toe upon the belly of the same prentice. +Whereupon the apprentice start up.</p></div> +<p><span class="pagenum"><a name="Page_70" id="Page_70">70</a></span></p> +<p>In the altercation that followed, Challes remarked that "prentices +were but the scum of the world." This led to a general rising of +apprentices, and much disorder throughout the city. Fleetwood records +the upshot thus:</p> + +<div class="blockquot"><p>Upon Sunday my Lord [Mayor] sent two aldermen to the court +for the suppressing and pulling down of the Theatre and +Curtain. All the Lords [of the Privy Council] agreed +thereunto saving my Lord Chamberlain and Mr. +Vice-Chamberlain. But we obtained a letter to suppress them +all. Upon the same night I sent for the Queen's Players [at +the Theatre?] and my Lord Arundel's Players [at the +Curtain?] and they all willingly obeyed the Lords's letters. +The chiefest of Her Highness's Players advised me to send +for the owner of the Theatre [James Burbage<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a>], who was a +stubborn fellow, and to bind him. I did so. He sent me word +he was my Lord of Hundson's man, and that he would not come +at me; but he would in the morning ride to my lord.</p></div> + +<p>The natural inference from all this is that the Queen's Men and Lord +Arundel's Men were then playing <i>outside the city</i> where they could be +controlled only by "the Lords's Letters"; that the Queen's Men were +occupying the Theatre, and that James Burbage was (as we know) not a +mem<span class="pagenum"><a name="Page_71" id="Page_71">71</a></span>ber of that company, but merely stood to them in the relation of +"owner of the Theatre."</p> + +<p>What Burbage meant by calling himself "my Lord of Hunsdon's man" is +not clear. Mr. Wallace contends that when Leicester's Men were +dissolved, Burbage organized "around the remnants of Leicester's +Company" a troupe under the patronage of Lord Hunsdon, and that this +troupe, and not the Queen's Men, occupied the Theatre thereafter.<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a> +But we hear of Hunsdon's Men at Ludlow in July, 1582; and we find them +presenting a play at Court on December 27, 1582. Since Leicester's +troupe is recorded as acting at Court as late as February 10, 1583, it +seems unlikely that Mr. Wallace's theory as to the origin of Hunsdon's +Men is true. It may be, however, that after the dissolution of +Leicester's Men, Burbage associated himself with Hunsdon's Men, and it +may be that he allowed that relatively unimportant company to occupy +the Theatre for a short time. Hunsdon's Men seem to have been mainly a +traveling troupe; Mr. Murray states that notices of them "occur +frequently in the provinces," but we hear almost nothing of them in +London. Indeed, at the time of the trouble described by Fleetwood, +Hunsdon's Men were in Bath.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a> If Burbage was a member of the troupe, +he certainly did not accompany them on their extended tours;<span class="pagenum"><a name="Page_72" id="Page_72">72</a></span> and when +they played in London, if they used the Theatre, they must have used +it jointly with the Queen's Men.</p> + +<p>Late in 1585 the Theatre was affiliated with the adjacent Curtain. +Burbage and Brayne made an agreement with the proprietor of that +playhouse whereby the Curtain might be used "as an easore" [easer?] to +the Theatre, and "the profits of the said two playhouses might for +seven years space be in divident between them." This agreement, we +know, was carried out, but whether it led to an exchange of companies, +or what effect it had upon the players, we cannot say. Possibly to +this period of joint management may be assigned the witticism of Dick +Tarleton recorded as having been uttered "at the Curtain" where the +Queen's Men were then playing.<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> It may even be that as one result +of the affiliation of the two houses the Queen's Men were transferred +to the Curtain.</p> + +<p>In 1590, as we learn from the deposition of John Alleyn, the Theatre +was being used by the Admiral's Men.<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> This excellent company had +been formed early in 1589 by the separation of certain leading players +from Worcester's Men, and it had probably occupied the Theatre since +its organization. Its star actor, Edward Alleyn, was then at the +height of his powers, and was producing with<span class="pagenum"><a name="Page_73" id="Page_73">73</a></span> great success Marlowe's +splendid plays. We may suppose that the following passage refers to +the performance of the Admiral's Men at the Theatre:</p> + +<div class="blockquot"><p>He had a head of hair like one of my devils in <i>Dr. +Faustus</i>, when the old Theatre crackt and frightened the +audience.<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a></p></div> + +<p>Late in 1590 the Admiral's Men seem to have been on bad terms with +Burbage,<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> and when John Alleyn made his deposition, February 6, +1592, they had certainly left the Theatre. Mr. Greg, from entirely +different evidence, has concluded that they were dispersed in +1591,<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a> and this conclusion is borne out by the legal document +cited above.</p> + +<p>The next company that we can definitely associate with the Theatre was +the famous Lord Chamberlain's Men. On April 16, 1594, Lord Strange, +the Earl of Derby, died, and the chief members of his troupe—William +Shakespeare, Richard Burbage, John Heminges, William Kempe, Thomas +Pope, George Bryan, and Augustine Phillips—organized a new company +under the patronage of the Lord Chamberlain. For ten days, in June, +1594, they acted at Newington Butts under the management of Philip +Henslowe, then went, probably at once, to the Theatre, which they made +their home until the Burbage lease of the prop<span class="pagenum"><a name="Page_74" id="Page_74">74</a></span>erty expired in the +spring of 1597. Here, among other famous plays, they produced the +original <i>Hamlet</i>, thus referred to by Lodge in <i>Wit's Miserie</i>, 1596:</p> + +<div class="blockquot"><p>He looks as pale as the visard of the ghost which cries so +miserably at the Theatre, like an oyster-wife, "Hamlet, +revenge!"</p></div> + +<p>And here, too, they presented all of Shakespeare's early masterpieces.</p> + +<p>Their connection with the building ceased in 1597 at the expiration of +the Burbage lease; but their association with the proprietors of the +Theatre was permanent. Their subsequent history, as also the history +of the Burbage brothers, will be found in the chapters dealing with +the <a href="#CHAPTER_XII">Globe</a> and the <a href="#CHAPTER_XI">Second Blackfriars</a>.<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_75" id="Page_75">75</a></span></p> +<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h2> + +<h3>THE CURTAIN</h3> + + +<p><br /><span class="dropcap">A</span>LTHOUGH James Burbage was, as his son asserted, "the first builder of +playhouses," a second public playhouse followed hard on the Theatre, +probably within twelve months. It was erected a short distance to the +south of the Theatre,—that is, nearer the city,—and, like that +building, it adjoined Finsbury Field.<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a> To the two playhouses the +audiences came trooping over the meadows, in "great multidudes," the +Lord Mayor tells us; and the author of <i>Tarlton's Newes out of +Purgatory</i> (<i>c.</i> 1589) describes their return to London thus: "With +that I waked, and saw such concourse of people through the fields that +I knew the play was done."<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a></p> + +<p>The new playhouse derived its name from the Curtain estate, on which +it was erected.<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a> This estate was formerly the property of the +Priory of Holywell, and was described in 1538 as "scituata et +existentia extra portas ejusdem nuper monasterii prope pasturam dicte +nuper Priorisse, vo<span class="pagenum"><a name="Page_76" id="Page_76">76</a></span>catam <i>the Curteine</i>."<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> Why it was so called +is not clear. The name may have been derived from some previous owner +of the property; it may, as Collier thought, have come from some early +association with the walls (<i>curtains</i>) or defenses of the city; or, +it may have come, as Tomlins suggests, from the mediæval Latin +<i>cortina</i>, meaning a court, a close, a farm enclosure.<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a> Whatever +its origin—the last explanation seems the most plausible—the +interesting point is that it had no connection whatever with a stage +curtain.</p> + +<p>The building was probably opened to the London public in the summer or +autumn of 1577. The first reference to it is found in T[homas] +W[hite]'s <i>Sermon Preached at Pawles Crosse on Sunday the Thirde of +November, 1577</i>: "Behold the sumptuous theatre houses, a continual +monument of London's prodigality and folly";<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a> and a reference to +it by name appears in Northbrooke's <i>A Treatise</i>, licensed December, +1577: "Those places, also, which are made up and builded for such +plays and interludes, as the Theatre and Curtain."<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a></p> + +<p><span class="pagenum"><a name="Page_77" id="Page_77">77</a></span></p><p>Like the Theatre, the Curtain was a peculiarly shaped building, +specially designed for acting; "those playhouses that are erected and +built <i>only for such purposes</i> ... namely the Curtain and the +Theatre,"<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> writes the Privy Council; and the German traveler, +Samuel Kiechel, who visited London in 1585, describes them as +"<i>sonderbare</i>" structures. They are usually mentioned together, and in +such a way as to suggest similarity of shape as well as of purpose. We +may, I think, reasonably suppose that the Curtain was in all essential +details a copy of Burbage's Theatre.<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a> Presumably, then, it was +polygonal (or circular) in shape,<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a> was constructed of timber, and +was finished on the outside with lime and plaster. The interior, as +the evidence already cited in the <a href="#CHAPTER_III">chapter</a> on the Theatre shows, +consisted of three galleries surrounding an open yard. There was a +platform projecting into the middle of the yard, with dressing-rooms +at the rear, "heavens" overhead, and a flagpole rising above the +"heavens." That some sign was displayed in front of the door is +likely. Malone writes: "The original sign hung out at this playhouse +(as Mr. Steevens has observed) was<span class="pagenum"><a name="Page_78" id="Page_78">78</a></span> the painting of a curtain +striped."<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a> Aubrey records that Ben Jonson "acted and wrote, but +both ill, at the Green Curtain, a kind of nursery or obscure playhouse +somewhere in the suburbs, I think towards Shoreditch or +Clerkenwell."<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a> By "at the Green Curtain" Aubrey means, of course, +"at the sign of the Green Curtain"; but the evidence of Steevens and +of Aubrey is too vague and uncertain to warrant any definite +conclusions.</p> + +<p>Of the early history of the Curtain we know little, mainly because it +was not, like certain other playhouses, the subject of extensive +litigation. We do not even know who planned and built it. The first +evidence of its ownership appears fifteen years after its erection, in +some legal documents connected with the Theatre.<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> In July, 1592, +Henry Lanman, described as "of London, gentleman, of the age of 54 +years," deposed: "That true it is about 7 years now shall be this next +winter, they, the said Burbage and Brayne, having the profits of plays +made at the Theatre, and this deponent having the profits of the plays +done at the house called the Curtain near to the same, the said +Burbage and Brayne, taking the Curtain as an esore<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> to their +playhouse, did of<span class="pagenum"><a name="Page_79" id="Page_79">79</a></span> their own motion move this deponent that he would +agree that the profits of the said two playhouses might for seven +years space be in divident between them."<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a></p> + +<p style="text-align: center"><br /> +<a name="CURTAIN"> +<img src="images/curtain.png" width="480" height="500" alt="" /></a></p> + +<p class="caption">THE SITE OF THE CURTAIN PLAYHOUSE</p> + +<p class="caption">From <i>An Actual Survey of the Parish of St Leonard in Shoreditch taken +in the year 1745</i> by Peter Chasserau, Surveyor. The key to the map gives "93" +as Curtain Court, probably the site of the old playhouse, "87" as New Inn Yard, +and "94" as Holywell Court, both interesting in connection with Burbage's +Theatre. (Redrawn from the original for this volume.)</p> + +<p><br /> +From this statement it is evident that Henry<span class="pagenum"><a name="Page_80" id="Page_80">80</a></span> Lanman was the sole +proprietor of the Curtain as far back as 1585, and the presumption is +that his proprietorship was of still earlier date. This presumption is +strengthened by the fact that in a sale of the Curtain estate early in +1582, he is specifically mentioned as having a tenure of an "edifice +or building" erected in the Curtain Close, that is, that section of +the estate next to the Field, on which the playhouse was built.<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> +Since Lanman is not mentioned as having any other property on the +estate, the "edifice or building" referred to was probably the +playhouse. The document gives no indication as to how long he had held +possession of the "edifice," but the date of sale, March, 1582, +carries us back to within four years of the erection of the Curtain, +and it seems reasonable to suppose, though of course we cannot be +sure, that Lanman had been proprietor of the building from the very +beginning.<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a></p> + +<p>Certain records of the sale of the Curtain estate shortly before and +shortly after the erection of the playhouse are preserved, but these +throw very<span class="pagenum"><a name="Page_81" id="Page_81">81</a></span> little light upon the playhouse itself. We learn that on +February 20, 1567, Lord Mountjoy and his wife sold the estate to +Maurice Longe, clothworker, and his son William Longe, for the sum of +£60; and that on August 23, 1571, Maurice Longe and his wife sold it +to the then Lord Mayor, Sir William Allyn, for the sum of £200. In +both documents the property is described in the same words: "All that +house, tenement or lodge commonly called the <i>Curtain</i>, and all that +parcel of ground and close, walled and enclosed with a brick wall on +the west and north parts, called also the <i>Curtain Close</i>." The lodge +here referred to, generally known as "Curtain House," was on, or very +near, Holywell Lane;<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a> the playhouse, as already stated, was +erected in the close near the Field.<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a></p> + +<p>How long Sir William Allyn held the property, or why it reverted to +the Longe family, we do not know. But on March 18, 1582, we find +William Longe, the son of "Maurice Longe, citizen and clothworker, of +London, deceased," selling the same property, described in the same +words, to one "Thomas Harberte, citizen and girdler, of London." In +the meantime, of course, the playhouse had been erected, but no clear +or direct<span class="pagenum"><a name="Page_82" id="Page_82">82</a></span> mention of the building is made in the deed of sale. +Possibly it was included in the conventionally worded phrase: "and all +and singular other messuages, tenements, edifices, and buildings, with +all and singular their appurtenances, erected and builded upon the +said close called the Curtain."<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> Among the persons named as +holding tenures of the above-mentioned "edifices and buildings" in the +close was Henry Lanman. It seems not improbable, therefore, that the +Curtain, like the Theatre, was erected on leased ground.</p> + +<p>It is impossible to give a connected history of the Curtain. Most of +the references to it that we now possess are invectives in early +puritanical writings, or bare mention, along with other playhouses, in +letters or ordinances of the Privy Council and the Lord Mayor. Such +references as these do not much help us in determining what companies +successively occupied the building, or what varying fortunes marked +its ownership and management. Yet a few scattered facts have sifted +down to us, and these I have arranged in chronological order.</p> + +<p>On the afternoon of April 6, 1580, an earthquake, especially severe in +Holywell, shook the building during the performance of a play, and +greatly frightened the audience. Munday says merely: "at the +playhouses the people came running forth, surprised with great +astonishment";<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a><span class="pagenum"><a name="Page_83" id="Page_83">83</a></span> but Stubbes, the Puritan, who saw in the event a +"fearful judgment of God," writes with fervor: "The like judgment +almost did the Lord show unto them a little before, being assembled at +their theatres to see their bawdy interludes and other trumperies +practised, for He caused the earth mightily to shake and quaver, as +though all would have fallen down; whereat the people, sore amazed, +some leapt down from the top of the turrets, pinnacles, and towers +where they stood, to the ground, whereof some had their legs broke, +some their arms, some their backs, some hurt one where, some another, +and many score crushed and bruised."<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a></p> + +<p>The disturbance at the Theatre and the Curtain in 1584, when one +Challes "did turn upon the toe upon the belly of" an apprentice +"sleeping upon the grass" in the Field near by, has been mentioned in +the <a href="#CHAPTER_III">preceding chapter</a>. If the interpretation of the facts there given +is correct, Lord Arundel's Players were then occupying the Curtain.</p> + +<p>In the winter of 1585 Lanman entered into his seven years' agreement +with Burbage and Brayne by which the Theatre and the Curtain were +placed under one management, and the profits shared "in divident +between them." This agreement was faithfully kept by both parties, but +there is no<span class="pagenum"><a name="Page_84" id="Page_84">84</a></span> evidence that after the expiration of the seven years, in +the winter of 1592, the affiliation was continued. What effect the +arrangement had upon the companies of players occupying the two +theatres we cannot now determine. To this period, however, I would +assign the appearance of the Queen's Men at the Curtain.<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a></p> + +<p>On July 28, 1597, as a result of the performance of Thomas Nashe's +<i>The Isle of Dogs</i>, by Pembroke's Men at the Swan,<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a> the Privy +Council ordered the plucking down of "the Curtain and the +Theatre."<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a> The order, however, was not carried out, and in October +plays were allowed again as before.</p> + +<p>At this time the Lord Chamberlain's men were at the Curtain, having +recently moved thither in consequence of the difficulties Cuthbert +Burbage was having with Gyles Alleyn over the Theatre property. During +the stay of the Chamberlain's Company, which numbered among its +members William Shakespeare, Richard Burbage, William Kempe (who had +succeeded Tarleton in popular favor as a clown), John Heminges, Thomas +Pope, and Augustine Phillips, the playhouse probably attained its +greatest distinction. Both Shakespeare and Jonson wrote plays for the +troupe;<span class="pagenum"><a name="Page_85" id="Page_85">85</a></span> <i>Romeo and Juliet</i>, we are told, "won Curtain plaudities," as +no doubt did many other of Shakespeare's early masterpieces; and +Jonson's <i>Every Man in His Humour</i> created such enthusiasm here on its +first performance as to make its author famous.<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a></p> + +<p>In the summer of 1599 the Chamberlain's Men moved into their splendid +new home, the Globe, on the Bankside, and the Curtain thus abandoned +fell on hard times. Perhaps it was let occasionally to traveling +troupes; in Jeaffreson's <i>Middlesex County Records</i>, under the date of +March 11, 1600, is a notice of the arrest of one William Haukins +"charged with a purse taken at a play at the Curtain." But shortly +after, in April, 1600, when Henslowe and Alleyn began to erect their +splendid new Fortune Playhouse, they were able to give the impression +to Tilney, the Master of the Revels, and to the Privy Council, that +the Curtain was to be torn down. Thus in the Council's warrant for the +building of the Fortune, dated April 8, 1600, we read that "another +house is [to be] pulled down instead of it";<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a> and when the +Puritans later made vigorous protests against the erection of the +Fortune, the Council defended itself by stating that "their Lordships +have been informed by Edmund Tilney, Esquire, Her Ma<span class="pagenum"><a name="Page_86" id="Page_86">86</a></span>jesty's servant, +and Master of the Revels, that the house now in hand to be built by +the said Edward Alleyn is not intended to increase the number of the +playhouses, but to be instead of another, namely the Curtain, which is +either to be ruined and plucked down, or to be put to some other good +use."<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a></p> + +<p>All this talk of the Curtain's being plucked down or devoted to other +uses suggests a contemplated change in the ownership or management of +the building. We do not know when Lanman died (in 1592 he described +himself as fifty-four years of age),<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a> but we do know that at some +date prior to 1603 the Curtain had passed into the hands of a +syndicate. When this syndicate was organized, or who constituted its +members, we cannot say. Thomas Pope, in his will, dated July 22, 1603, +mentions his share "of, in, and to all that playhouse, with the +appurtenances, called the Curtain";<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a> and John Underwood, in his +will, dated October 4, 1624, mentions his "part or share ... in the +said playhouses called the Blackfriars, the Globe on the Bankside, and +the Curtain."<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a> It may be significant that both Pope and Underwood +were sharers also in the Globe. Since,<span class="pagenum"><a name="Page_87" id="Page_87">87</a></span> however, further information +is wanting, it is useless to speculate. We can only say that at some +time after the period of Lanman's sole proprietorship, the Curtain +passed into the hands of a group of sharers; and that after a +discussion in 1600 of demolishing the building or devoting it to other +uses, it entered upon a long and successful career.</p> + +<p>On May 10, 1601, "the actors at the Curtain"<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a> gave serious offense +by representing on the stage persons "of good desert and quality, that +are yet alive, under obscure manner, but yet in such sort as all the +hearers may take notice both of the matter and the persons that are +meant thereby." The Privy Council ordered the Justices of the Peace to +examine into the case and to punish the offenders.<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a></p> + +<p>Early in 1604 a draft of a royal patent for Queen Anne's Players—who +had hitherto been under the patronage of Worcester<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a>—gives those +players permission to act "within their now usual houses, called the +Curtain, and the Boar's Head."<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a> On April 9, 1604, the Privy +Council authorized the three companies of players that had been taken +under royal patronage "to exercise their plays in their several and +usual houses for that purpose,<span class="pagenum"><a name="Page_88" id="Page_88">88</a></span> and no other, viz., the Globe, +scituate in Maiden Lane on the Bankside in the County of Surrey, the +Fortune in Golding Lane, and the Curtain in Holywell."<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a> The King's +Men (the Burbage-Shakespeare troupe) occupied the Globe; Prince +Henry's Men (the Henslowe-Alleyn troupe), the Fortune; and Queen +Anne's Men, the Curtain.</p> + +<p>But the Queen's Men were probably dissatisfied with the Curtain. It +was small and antiquated, and it must have suffered by comparison with +the more splendid Globe and Fortune. So the Queen's players had built +for themselves a new and larger playhouse, called "The Red Bull." This +was probably ready for occupancy in 1605, yet it is impossible to say +exactly when the Queen's Men left the Curtain; their patent of April +15, 1609, gives them permission to act "within their now usual houses +called the Red Bull, in Clerkenwell, and the Curtain in +Holywell."<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a> It may be that they retained control of the Curtain in +order to prevent competition.</p> + +<p>What company occupied the Curtain after Queen Anne's Men finally +surrendered it is not clear. Mr. Murray is of the opinion that Prince +Charles's Men moved into the Curtain "about December, 1609, or early +in 1610."<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a></p> + +<p>In 1613 "a company of young men" acted <i>The<span class="pagenum"><a name="Page_89" id="Page_89">89</a></span> Hector of Germany</i> "at +the Red Bull and at the Curtain." Such plays, however, written and +acted by amateurs, were not uncommon, and no significance can be +attached to the event.</p> + +<p>In 1622, as we learn from the Herbert Manuscripts, the Curtain was +being occupied by Prince Charles's Servants.<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a> In the same year the +author of <i>Vox Graculi, or The Jack Daw's Prognostication for 1623</i>, +refers to it thus: "If company come current to the Bull and Curtain, +there will be more money gathered in one afternoon than will be given +to Kingsland Spittle in a whole month; also, if at this time about the +hours of four and five it wax cloudy and then rain downright, they +shall sit dryer in the galleries than those who are the understanding +men in the yard."</p> + +<p>Prince Charles's Men did not remain long at the Curtain. At some date +between June 10 and August 19, 1623, they moved to the larger and more +handsome Red Bull.<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a> After this, so far as I can discover, there is +no evidence to connect the playhouse with dramatic performances. +Malone, who presumably bases his statements on the now lost records of +Herbert, says that shortly after the accession of King Charles I it +"seems to have been used only by prize-fighters."<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a></p> + +<p>The last mention of the Curtain is found in the<span class="pagenum"><a name="Page_90" id="Page_90">90</a></span> <i>Middlesex County +Records</i> under the date February 21, 1627.<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a> It is merely a passing +reference to "the common shoare near the Curtain playhouse," yet it is +significant as indicating that the building was then still standing. +What ultimately became of it we do not know. For a time, however, its +memory survived in Curtain Court (see page <a href="#Page_79">79</a>), and to-day its fame is +perpetuated in Curtain Road.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_91" id="Page_91">91</a></span></p> +<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h2> + +<h3>THE FIRST BLACKFRIARS</h3> + + +<p><br /><span class="dropcap">T</span>HE choir boys of the Chapel Royal, of Windsor, and of Paul's were all +engaged in presenting dramatic entertainments before Queen Elizabeth. +Each organization expected to be called upon one or more times a +year—at Christmas, New Year's, and other like occasions—to furnish +recreation to Her Majesty; and in return for its efforts each received +a liberal "reward" in money. Richard Farrant, Master of the Windsor +Chapel, was especially active in devising plays for the Queen's +entertainment. But having a large family, he was poor in spite of his +regular salary and the occasional "rewards" he received for the +performances of his Boys at Court; and doubtless he often cast about +in his mind for some way in which to increase his meagre income.</p> + +<p>In the spring of 1576 James Burbage, having conceived the idea of a +building devoted solely to plays, had leased a plot of ground for the +purpose, and had begun the erection of the Theatre. By the autumn, no +doubt, the building was nearing completion, if, indeed, it was not +actually open to the public; and the experiment, we may suppose, was +exciting much interest in the dramatic circles<span class="pagenum"><a name="Page_92" id="Page_92">92</a></span> of London. It seems to +have set Farrant to thinking. The professional actors, he observed, +had one important advantage over the child actors: not only could they +present their plays before the Queen and receive the usual court +reward, but in addition they could present their plays before the +public and thus reap a second and richer harvest. Since the child +actors had, as a rule, more excellent plays than the professional +troupes, and were better equipped with properties and costumes, and +since they expended just as much energy in devising plays and in +memorizing and rehearsing their parts, Farrant saw no reason why they, +too, should not be allowed to perform before the public. This, he +thought, might be done under the guise of rehearsals for the Court. +Possibly the Queen might even wink at regular performances before the +general public when she understood that this would train the Boys to +be more skilful actors, would provide Her Majesty with more numerous +and possibly more excellent plays, and would enable the Master and his +assistants to live in greater comfort without affecting the royal +purse.</p> + +<p class="center"><br /> +<a name="BLACKFRIARS"> +<img src="images/blackfriars.png" width="458" height="500" alt="" /></a></p> + +<p class="caption">BLACKFRIARS MONASTERY</p> + +<p class="caption">A plan of the various buildings as they appeared before the +dissolution, based on the Loseley Manuscripts and other documents, surveys, and +maps. The Buttery became Farrant's, the Frater Burbage's playhouse. (Drawn by +the author.)</p> + +<p><br /> +For Farrant to build a playhouse specifically for the use of the +Children was out of the question. In the first place, it would be too +conspicuously a capitalization of the royal choristers for private +gain; and in the second place, it would be far too hazardous a +business venture for so poor<span class="pagenum"><a name="Page_93" id="Page_93">93</a></span> a man as he to undertake. The more +sensible thing for him to do was to rent somewhere a large hall which +could at small expense be converted into a place suitable for training +the Children in their plays, and for the entertainment of +select—possibly at first invited—audiences. The perfor<span class="pagenum"><a name="Page_94" id="Page_94">94</a></span>mances, of +course, were not to be heralded by a trumpet-and-drum procession +through the street, by the flying of a flag, and by such-like vulgar +advertising as of a public show; instead, they were to be quiet, +presumably "private," and were to attract only noblemen and those +citizens of the better class who were interested in the drama.<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a></p> + +<p style="text-align: center"><br /> +<a name="BLACKFRIARS_2"></a> +<img src="images/blackfriars2.png" width="340" height="500" alt="" /></p> + +<p class="caption">THE SITES OF THE TWO BLACKFRIARS PLAYHOUSES</p> + +<p class="caption">The smaller rectangle at the north represents the Buttery, later +Farrant's playhouse, the larger rectangle represents the Frater, later +Burbage's playhouse. (From Ogilby and Morgan's <i>Map of London</i>, +1677, the sites marked by the author.)</p> + +<p class="center">[<a href="images/blackfriars2lg.png">Enlarge</a>]</p> + +<p><br /> +Such was Farrant's scheme. In searching for a hall suitable for his +purpose, his mind at once turned to the precinct of Blackfriars, where +in former years the Office of the Revels had been kept, and where the +Children had often rehearsed their plays. The precinct had once, as +the name indicates, been in the possession of the Dominican or "Black" +Friars. The Priory buildings had consisted chiefly of a great church +two hundred and twenty feet long and sixty-six feet broad, with a +cloister on the south side of the church forming a square of one +hundred and ten feet, and a smaller cloister to the south of this. At +the dissolution of the religious orders, the property had passed into +the possession of the Crown; hence, though within the city walls, it +was not<span class="pagenum"><a name="Page_95" id="Page_95">95</a></span> under the jurisdiction of the city authorities. Farrant +probably did not anticipate any interference on the part of the Common +Council with the royal choristers "practicing" their plays in order +"to yield Her Majesty recreation and delight," yet the absolute +certainty of being free from the adverse legislation of the London +authorities was not to be ignored. Moreover, the precinct was now the +home of many noblemen and wealthy gentlemen, and Farrant probably +thought that, as one of the most fashionable residential districts in +London, it was suitable for "private" performances to be given by +members of Her Majesty's household.</p> + +<p>In furthering his project he sought the counsel and aid of his "very +friend" Sir Henry Neville, Lieutenant of Windsor, who, it is to be +presumed, was interested in the Windsor Boys. It happened that Neville +knew of exactly such rooms as were desired, rooms in the old monastery +of Blackfriars which he himself had once leased as a residence, and +which, he heard, were "to be let either presently, or very shortly." +These rooms were in the southwestern corner of the monastery, on the +upper floor of two adjoining buildings formerly used by the monks as a +buttery and a frater. A history of the rooms up to the time of their +use as a theatre may be briefly sketched.</p> + +<p>In 1548 the buttery and frater, with certain other buildings, were let +by King Edward to Sir<span class="pagenum"><a name="Page_96" id="Page_96">96</a></span> Thomas Cawarden, Master of the Revels; and in +1550 they were granted to him outright. In 1554 Cawarden sold the +northern section of the buttery, fifty-two feet in length, to Lord +Cobham, whose mansion it adjoined. The rest of the buttery, forty-six +feet in length, and the frater, he converted into lodgings. Since the +frater was of exceptional breadth—fifty-two feet on the outside, +forty-six feet on the inside—he ran a partition through its length, +dividing it into two parts. The section of the frater on the west of +this partition he let to Sir Richard Frith; the section on the east, +with the remainder of the buttery not sold to Lord Cobham, he let to +Sir John Cheeke. It is with the Cheeke Lodgings that we are especially +concerned.</p> + +<p>About September, 1554, Cheeke went to travel abroad, and surrendered +his rooms in the Blackfriars. Sir Thomas Cawarden thereupon made use +of them "for the Office of the Queen's Majesty's Revells"; thus for a +time the Cheeke Lodgings were intimately connected with dramatic +activities. But at the death of Cawarden, in 1559, the Queen +transferred the Office of the Revels to St. John's, and the +Blackfriars property belonging to Cawarden passed into the possession +of Sir William More.</p> + +<p style="text-align: center"><br /> +<a name="FARRANT"> +<img src="images/farrant.png" width="428" height="500" alt="" /></a></p> + +<p class="caption">A PLAN OF FARRANT'S PLAYHOUSE</p> + +<p class="caption">Frith's Lodging and the four southern rooms of Farrant's +Lodging were on the upper floor of the Frater; the two northern rooms of +Farrant's Lodging were on the upper floor of the Buttery. The playhouse was +erected in the two rooms last mentioned.</p> + +<p><br /> +In 1560 the new proprietor let the Cheeke Lodgings to Sir Henry +Neville, with the addition of "a void piece of ground" eighteen feet +wide<span class="pagenum"><a name="Page_98" id="Page_98">98</a></span> extending west to Water Lane.<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a> During his tenancy Neville +erected certain partitions, built a kitchen in the "void piece of +ground," and a large stairway leading to the rooms overhead. In 1568 +he surrendered his lease, and More let the rooms first to some "sylk +dyers," and then in 1571 to Lord Cobham. In 1576 Cobham gave up the +rooms, and More was seeking a tenant. It was at this auspicious moment +that Farrant planned a private theatre, and enlisted the aid of Sir +Henry Neville.</p> + +<p>On August 27 Farrant and Neville separately wrote letters to Sir +William More about the matter. Farrant respectfully solicited the +lease, and made the significant request that he might "pull down one +partition, and so make two rooms—one." Neville, in a friendly letter +beginning with "hearty commendations unto you and to Mrs. More," and +ending with light gossip, urged Sir William to let the rooms to +Farrant, and recommended Farrant as a desirable tenant ("I dare answer +for him"). Neither letter mentioned the purpose for which the rooms, +especially the large room referred to by Farrant, were to be used; but +More doubtless understood that the Windsor Children were to practice +their plays there, with<span class="pagenum"><a name="Page_99" id="Page_99">99</a></span> occasional private rehearsals. Largely as a +result of Neville's recommendation, More decided to let the rooms to +Farrant. The progress of the negotiations is marked by a letter from +Farrant to More, dated September 17, 1576, requesting that there be +granted him also a certain "little dark room," which he found would be +useful.</p> + +<p>The lease as finally signed describes the property thus:</p> + +<div class="blockquot"><p>Sir William More hath demised, granted, and to ferm letten, +and by these presents doth demise, grant, and to ferm let +unto the said Richard Farrant all those his six upper +chambers, lofts, lodgings, or rooms, lying together within +the precinct of the late dissolved house or priory of the +Blackfriars, otherwise called the friars preachers, in +London; which said six upper chambers, lofts, lodgings, or +rooms, were lately, amongst others, in the tenure and +occupation of the right honourable Sir William Brooke, +Knight, Lord Cobham; and do contain in length from the north +end thereof to the south end of the same one hundred fifty +and six foot and a half of assize; whereof two of the said +six upper chambers, lofts, lodgings, or rooms in the north +end of the premises, together with the breadth of the little +room under granted, do contain in length forty<a name="FNanchor_150_150" id="FNanchor_150_150"></a><a href="#Footnote_150_150" class="fnanchor">[150]</a> and six +foot and a half, and from the east to the west part thereof +in breadth twenty and five foot of assize;<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a><span class="pagenum"><a name="Page_100" id="Page_100">100</a></span> and the +four other chambers, or rooms, residue of the said six upper +chambers, do contain in length one hundred and ten foot, and +in breadth from the east to the west part thereof twenty-two +foot of assize.... And also ... the great stairs lately +erected and made by the said Sir Henry Neville upon part of +the said void ground and way.</p></div> + +<p>It was agreed that the lease should run for twenty-one years, and that +the rental should be £14 per annum. But Sir William More, being a most +careful and exacting landlord, with the interest of his adjacent +lodgings to care for, inserted in the lease the following important +proviso, which was destined to make trouble, and ultimately to wreck +the theatre:</p> + +<div class="blockquot"><p>Provided also that the said Richard Farrant, his executors +or assigns, or any of them, shall not in any wise demise, +let, grant, assign, set over, or by any ways or means put +away his or their interest or term of years, or any part of +the same years, of or in the said premises before letten, or +any part, parcel, or member thereof to any person, or +persons, at any time hereafter during this present lease and +term of twenty-one years, without the special license, +consent, and agreement of the said Sir William More, his +heirs and assigns, first had, and obtained in writing under +his and their hands and seals.</p></div> + +<p>The penalty affixed to a violation of this provision was the immediate +forfeiture of the lease.</p> + +<p>Apparently Farrant entered into possession of the rooms on September +29<a name="FNanchor_152_152" id="FNanchor_152_152"></a><a href="#Footnote_152_152" class="fnanchor">[152]</a> (although the formal<span class="pagenum"><a name="Page_101" id="Page_101">101</a></span> lease was not signed until December 20), +and we may suppose that he at once set about converting the two upper +rooms at the north end of the lodgings into a suitable theatre.<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a> +Naturally he took for his model the halls at Court in which the +Children had been accustomed to act. First, we are told, he "pulled +down partitions to make that place apt for that purpose"; next, he +"spoiled" the windows—by which is meant, no doubt, that he stopped up +the windows, for the performances were to be by candle-light. At one +end of the hall he erected a platform to serve as a stage, and in the +auditorium he placed benches or chairs. There was, presumably, no room +for a gallery; if such had been erected, the indignant More would +certainly have mentioned it in his bill of complaints.<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a> +Chandeliers over the stage, and, possibly, footlights, completed the +necessary arrangements. For these alterations Farrant, we are told, +became "greatly indebted," and he died three or four years later with +the debt still unpaid.<span class="pagenum"><a name="Page_102" id="Page_102">102</a></span> More complained that the alterations had put +the rooms into a state of "great ruin," which meant, of course, from +the point of view of a landlord desiring to let them again for +residential purposes. Just how costly or how extensive the alterations +were we cannot now determine; but we may reasonably conclude that +Farrant made the hall not only "commodious for his purpose," but also +attractive to the aristocratic audiences he intended to gather there +to see his plays.</p> + +<p>To reach the hall, playgoers had to come first into Water Lane, thence +through "a way leading from the said way called Water Lane" to "a +certain void ground" before the building. Here "upon part of the said +void ground" they found a "great stairs, which said great stairs do +serve and lead into" the upper rooms—or, as we may now say, +Blackfriars Playhouse.<a name="FNanchor_155_155" id="FNanchor_155_155"></a><a href="#Footnote_155_155" class="fnanchor">[155]</a></p> + +<p>Having thus provided a playhouse, Farrant next provided an adequate +company of boy actors. To do this, he combined the Children of Windsor +with the Children of the Chapel Royal, of which William Hunnis was +master. What arrangement he made with Hunnis we do not know, but the +Court records show that Farrant was regarded as the manager of the new +organization; he is actually referred to in the payments as "Master of +the<span class="pagenum"><a name="Page_103" id="Page_103">103</a></span> Children of Her Majesty's Chapel," and Hunnis's official +connection with the Children is ignored.</p> + +<p>Farrant may have been able to open his playhouse before the close of +the year; or he may have first begun performances there in the early +months of 1577. He would certainly be anxious to make use of the new +play he was preparing for presentation at Court on Twelfth Day, +January 6, 1577.</p> + +<p>For four years, 1576-1580, the playhouse was operated without trouble. +Sir William More, however, was not pleased at the success with which +the actors were meeting. He asserted that when he made the lease he +was given to understand that the building was to be used "only for the +teaching of the Children of the Chapel"—with, no doubt, a few +rehearsals to which certain persons would be <i>privately</i> invited. But, +now, to his grief, he discovered that Farrant had "made it a continual +house for plays." He asserted that the playhouse had become offensive +to the precinct; and doubtless some complaints had been made to him, +as landlord, by the more aristocratic inhabitants.<a name="FNanchor_156_156" id="FNanchor_156_156"></a><a href="#Footnote_156_156" class="fnanchor">[156]</a> At any rate, +he became anxious to regain possession of the building.</p> + +<p>In the autumn of 1580 he saw an opportunity to break the lease and +close the playhouse. Far<span class="pagenum"><a name="Page_104" id="Page_104">104</a></span>rant made the mistake of letting "two parcels +thereof to two severall persons" without first gaining the written +consent of More, and at once More "charged him with forfeiture of his +lease." But before More could "take remedy against him" Farrant died, +November 30, 1580. More, however, "entered upon the house, and refused +to receive any rent but conditionally."</p> + +<p>By his will, proved March 1, 1581, Farrant left the lease of the +Blackfriars to his widow, Anne Farrant. But she had no authority over +the royal choristers, nor was she qualified to manage a company of +actors, even if she had had the time to do so after caring for her +"ten little ones." What use, if any, was made of the playhouse during +the succeeding winter we do not know. The widow writes that she, +"being a sole woman, unable of herself to use the said rooms to such +purpose as her said husband late used them, nor having any need or +occasion to occupy them to such commodity as would discharge the rents +due for the said rooms in the bill alledged, nor being able to +sustain, repair, and amend the said rooms," etc.;<a name="FNanchor_157_157" id="FNanchor_157_157"></a><a href="#Footnote_157_157" class="fnanchor">[157]</a> the natural +inference from which is that for a time the playhouse stood unused. +The widow, of course, was anxious to sublet the building to some one +who could make use of it as a playhouse; and on December 25, 1580, she +addressed a letter to Sir William More asking his written permission<span class="pagenum"><a name="Page_105" id="Page_105">105</a></span> +to make such a disposal of the lease. The letter has a pathetic +interest that justifies its insertion here:</p> + +<div class="blockquot"><p><i>To the right worshipful Sir William More, Knight, at his +house near Guilford, give these with speed.</i></p> + +<p><i>Right worshipful Sir:</i></p> + +<p>After my humble commendations, and my duty also +remembered—where it hath pleased your worship to grant unto +my husband in his life time one lease of your house within +the Blackfriars, for the term of twenty-one years, with a +proviso in the end thereof that he cannot neither let nor +set the same without your worship's consent under your hand +in writing. And now for that it hath pleased God to call my +said husband unto His mercy, having left behind him the +charge of ten small children upon my hand, and my husband +besides greatly indebted, not having the revenue of one +groat any way coming in, but by making the best I may of +such things as he hath left behind him, to relieve my little +ones. May it therefore please your worship, of your abundant +clemency and accustomed goodness, to consider a poor widow's +distressed estate, and for God's cause to comfort her with +your worship's warrant under your hand to let and set the +same to my best comodity during the term of years in the +said lease contained, not doing any waste. In all which +doing, I shall evermore most abundantly pray unto God for +the preservation of your worship's long continuance. From +Grenwich, the twenty-fifth of December,</p> + +<p><span style="margin-left: 5em">By a poor and sorrowful widow,</span></p> + +<p class="right"><span class="smcap">Anne Farrant.</span><a name="FNanchor_158_158" id="FNanchor_158_158"></a><a href="#Footnote_158_158" class="fnanchor">[158]</a></p></div> + +<p><span class="pagenum"><a name="Page_106" id="Page_106">106</a></span></p><p>Whether she secured in writing the permission she requested we do not +know. Four years later More said that she did not. Possibly, however, +she was orally given to understand that she might transfer the lease +to her husband's former partner in the enterprise, William +Hunnis.<a name="FNanchor_159_159" id="FNanchor_159_159"></a><a href="#Footnote_159_159" class="fnanchor">[159]</a> Hunnis naturally was eager to make use of the building in +preparation for the Christmas plays at Court. At some date before +September 19, he secured the use of the playhouse on a temporary +agreement with the widow; but in order to avoid any difficulty with +More, he interviewed the latter, and presented a letter of +recommendation from the Earl of Leicester. This letter has been +preserved among Sir William's papers:</p> + +<div class="blockquot"><p><i>Sir William More:</i></p> + +<p>Whereas my friend, Mr. Hunnis, this bearer, informeth me +that he hath of late bought of Farrant's widow her lease of +that house in Blackfriars which you made to her husband, +deceased, and means there to practice the Queen's Children +of the Chapel, being now in his charge, in like sort as his +predecessor did, for the better training them to do Her +Majesty's service; he is now a suitor to me to recommend him +to your good favour—which I do very heartily, as one that I +wish right well unto, and will give you thanks for any +continuance or friendship you shall show him for the +furtherance of this his honest request. And thus, with my +hearty commen<span class="pagenum"><a name="Page_107" id="Page_107">107</a></span>dations, I wish you right heartily well to +fare. From the Court, this nineteenth of September, 1581.</p> + +<p><span style="margin-left: 5em">Your very friend,</span></p> + +<p class="right"><span class="smcap">R. Leicester.</span><a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a></p></div> + +<p>The result of this interview we do not know. But on December 20 +following, the widow made a formal lease of the property to William +Hunnis and John Newman, at a rental of £20 13<i>s.</i> 4<i>d.</i> a year, an +increase of £6 13<i>s.</i> 4<i>d.</i> over the rental she had to pay More. She +required of them a bond of £100 to guarantee their performance of all +the covenants of the lease. Thereupon the theatre under Hunnis and +Newman resumed its career—if, indeed, this had ever been seriously +interrupted.</p> + +<p>In the course of time, More's anxiety to recover possession of the +hall seems to have increased. The quarterly payments were not promptly +met by the widow, and the repairs on the building were not made to his +satisfaction. Probably through fear of the increasing dissatisfaction +on the part of More, Hunnis and Newman transferred their lease, in +1583, to a young Welsh scrivener, Henry Evans, who had become +interested in dramatic affairs. This transfer of the lease without +More's written consent was a second clear breach of the original +contract, and it gave More exactly the opportunity he sought. +Accordingly, he declared the original lease to Farrant void, and made +a<span class="pagenum"><a name="Page_108" id="Page_108">108</a></span> new lease of the house "unto his own man, Thomas Smallpiece, to try +the said Evans his right." But Evans, being a lawyer, knew how to take +care of himself. He "demurred in law," and "kept the same in his hands +with long delays."</p> + +<p>The widow, alarmed at the prospect of losing her lease, brought suit, +in December, 1583, against Hunnis and Newman separately for the +forfeiture of their several bonds of £100, contending that they had +not paid promptly according to their agreement, and had not kept the +building in proper repair. Hunnis and Newman separately brought suit +in the Court of Requests for relief against the widow's suits. +Meanwhile More was demanding judgment against Evans. Hunnis, it seems, +carried his troubles to the Court and there sought help. Queen +Elizabeth could take no direct action, because Sir William More was a +good friend of hers, who had entertained her in his home. But she +might enlist the aid of one of her noblemen who were interested in the +drama. However this was, the young Earl of Oxford, himself a +playwright and the patron of a troupe of boy-actors, came to the +rescue of the theatre. He bought the lease of the building from Evans, +and undertook to reorganize its affairs. To Hunnis's twelve Children +of the Chapel he added the Children of St. Paul's Cathedral, making +thus a company of adequate size. He retained Hunnis, no doubt, as one +of the trainers of the Boys, and he<span class="pagenum"><a name="Page_109" id="Page_109">109</a></span> kept Evans as manager of the +troupe. Moreover, shortly after the purchase, probably in June, 1583, +he made a free gift of the lease to his private secretary, John Lyly, +a young man who had recently won fame with the first English novel, +<i>Euphues</i>. The object of this, like the preceding transfers of title, +it seems, was to put as many legal blocks in the path of Sir William +More as possible. More realized this, and complained specifically that +"the title was posted from one to another"; yet he had firmly made up +his mind to recover the property, and in spite of Oxford's +interference, he instructed his "learned council" to "demand +judgment."</p> + +<p>Meanwhile the dramatic organization at Blackfriars continued under the +direction of Hunnis, Evans, and Lyly, with the Earl of Oxford as +patron. Not only was Lyly the proprietor of the theatre, but he +attempted to supply it with the necessary plays. He had already shown +his power to tell in effective prose a pleasing love romance. That +power he now turned to the production of his first play, written in +haste for the Christmas festivities. The play, <i>Alexander and +Campaspe</i>, was presented before Her Majesty on January 1, 1584, and at +Blackfriars, with great applause. Lyly's second play, <i>Sapho and +Phao</i>, was produced at Court on March 3, following, and also at +Blackfriars before the general public.<span class="pagenum"><a name="Page_110" id="Page_110">110</a></span></p> + +<p>But at the Easter term, 1584, Sir William More got judgment in his +favor. The widow begged Sir Francis Walsingham to intercede in her +behalf, declaring that the loss of the lease "might be her utter +undoing."<a name="FNanchor_161_161" id="FNanchor_161_161"></a><a href="#Footnote_161_161" class="fnanchor">[161]</a> Walsingham sent the letter to More, and apparently +urged a consideration of her case. More, however, refused to yield. He +banished Lyly, Hunnis, Evans, and the Children from the "great upper +hall," and reconverted the building into tenements.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_111" id="Page_111">111</a></span></p> +<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h2> + +<h3>ST. PAUL’S</h3> + + +<p><br /><span class="dropcap">A</span>S shown in the <a href="#CHAPTER_V">preceding chapter</a>, not only were the Children of the +Chapel Royal and of Windsor called upon to entertain the Queen with +dramatic performances, but the Children of St. Paul's were also +expected to amuse their sovereign on occasion. And following the +example of the Children of the Chapel and of Windsor in giving +performances before the public in Blackfriars, the Paul's Boys soon +began to give such performances in a building near the Cathedral.<a name="FNanchor_162_162" id="FNanchor_162_162"></a><a href="#Footnote_162_162" class="fnanchor">[162]</a> +The building so employed was doubtless one of the structures owned by +the Church. Burbage and Heminges refer to it as "the said house near +St. Paul's Church."<a name="FNanchor_163_163" id="FNanchor_163_163"></a><a href="#Footnote_163_163" class="fnanchor">[163]</a> Richard Flecknoe, in <i>A Discourse of the +English Stage</i> (1664), places it "behind the Convocation-house in +Paul's";<a name="FNanchor_164_164" id="FNanchor_164_164"></a><a href="#Footnote_164_164" class="fnanchor">[164]</a> and Howes, in his continuation of Stow's <i>Annals</i> +(1631), says that it was the "singing-school" of the Cathedral.<a name="FNanchor_165_165" id="FNanchor_165_165"></a><a href="#Footnote_165_165" class="fnanchor">[165]</a> +That the auditorium was small we may<span class="pagenum"><a name="Page_112" id="Page_112">112</a></span> well believe. So was the stage. +Certain speakers in the Induction to <i>What You Will</i>, acted at Paul's +in 1600, say: "Let's place ourselves within the curtains, for, good +faith, the stage is so very little, we shall wrong the general eye +else very much." Both Fleay and Lawrence<a name="FNanchor_166_166" id="FNanchor_166_166"></a><a href="#Footnote_166_166" class="fnanchor">[166]</a> contend that the +building was "round, like the Globe," and as evidence they cite the +Prologue to Marston's <i>Antonio's Revenge</i>, acted at Paul's in 1600, in +which the phrases "within this round" and "within this ring" are +applied to the theatre. The phrases, however, may have reference +merely to the circular disposition of the benches about the stage. +That high prices of admission to the little theatre were charged we +learn from a marginal note in <i>Pappe with an Hatchet</i> (1589), which +states that if a tragedy "be showed at Paul's, it will cost you four +pence; at the Theatre two pence."<a name="FNanchor_167_167" id="FNanchor_167_167"></a><a href="#Footnote_167_167" class="fnanchor">[167]</a> The Children, indeed, catered +to a very select public. Persons who went thither were gentle by birth +and by behavior as well; and playwrights, we are told, could always +feel sure there of the "calm attention of a choice audience."<a name="FNanchor_168_168" id="FNanchor_168_168"></a><a href="#Footnote_168_168" class="fnanchor">[168]</a> +Lyly, in the Prologue to <i>Midas</i>, acted at Paul's in 1589, says: "Only +this doth encourage us, that presenting our studies before +<i>Gentlemen</i>,<span class="pagenum"><a name="Page_113" id="Page_113">113</a></span> though they receive an inward dislike, we shall not be +hissed with an open disgrace." Things were quite otherwise in the +public theatres of Shoreditch and the Bankside.</p> + +<p>Under the direction of their master, Sebastian Westcott, the Boys +acted before the public at least as early as 1578,<a name="FNanchor_169_169" id="FNanchor_169_169"></a><a href="#Footnote_169_169" class="fnanchor">[169]</a> for in +December of that year the Privy Council ordered the Lord Mayor to +permit them to "exercise plays" within the city;<a name="FNanchor_170_170" id="FNanchor_170_170"></a><a href="#Footnote_170_170" class="fnanchor">[170]</a> and Stephen +Gosson, in his <i>Plays Confuted</i>, written soon afterwards, mentions +<i>Cupid and Psyche</i> as having been recently "plaid at Paules."</p> + +<p>Westcott died in 1582, and was succeeded by Thomas Gyles. Shortly +after this we find the Children of Paul's acting publicly with the +Children of the Chapel Royal at the little theatre in Blackfriars. For +them John Lyly wrote his two earliest plays, <i>Campaspe</i> and <i>Sapho and +Phao</i>, as the title-pages clearly state. But their stay at Blackfriars +was short. When in 1584 Sir William More closed up the theatre there, +they fell back upon their singing-school as the place for their public +performances.</p> + +<p>At the same time the Queen became greatly interested in promoting +their dramatic activities. To their master, Thomas Gyles, she issued, +in<span class="pagenum"><a name="Page_114" id="Page_114">114</a></span> April, 1585, a special commission "to take up apt and meet +children" wherever he could find them. It was customary for the Queen +to issue such a commission to the masters of her two private chapels, +but never before, or afterwards, had this power to impress children +been conferred upon a person not directly connected with the royal +choristers. Its issuance to Gyles in 1585 clearly indicates the +Queen's interest in the Paul's Boys as actors, and her expectation of +being frequently entertained by them. And to promote her plans still +further, she appointed the successful playwright John Lyly as their +vice-master, with the understanding, no doubt, that he was to keep +them—and her—supplied with plays. This he did, for all his comedies, +except the two just mentioned, were written for the Cathedral +Children, and were acted by them at Court, and in their little theatre +"behind the Convocation House."</p> + +<p>Unfortunately under Lyly's leadership the Boys became involved in the +bitter Martin Marprelate controversy, for which they were suppressed +near the end of 1590. The printer of Lyly's <i>Endimion</i>, in 1591, says +to the reader: "Since the plays in Paul's were dissolved, there are +certain comedies come to my hands by chance, which were presented +before Her Majesty at several times by the Children of Paul's."</p> + +<p>Exactly how long the Children were restrained it is hard to determine. +In 1596 Thomas Nash, in <i>Have<span class="pagenum"><a name="Page_115" id="Page_115">115</a></span> With You to Saffron Walden</i>, expressed +a desire to see "the plays at Paul's up again." Mr. Wallace thinks +they may have been allowed "up again" in 1598;<a name="FNanchor_171_171" id="FNanchor_171_171"></a><a href="#Footnote_171_171" class="fnanchor">[171]</a> Fleay, in 1599 or +1600;<a name="FNanchor_172_172" id="FNanchor_172_172"></a><a href="#Footnote_172_172" class="fnanchor">[172]</a> the evidence, however, points, I think, to the spring or +early summer of 1600. The Children began, naturally, with old plays, +"musty fopperies of antiquity"; the first, or one of the first, new +plays they presented was Marston's <i>Jack Drum's Entertainment</i>, the +date of which can be determined within narrow limits. References to +Kempe's Morris, which was danced in February, 1600, as being still a +common topic of conversation, and the entry of the play in the +Stationers' Registers on September 8, 1600, point to the spring or +early summer of 1600 as the date of composition. This makes very +significant the following passage in the play referring to the Paul's +Boys as just beginning to act again after their long inhibition:</p> + +<div class="cpoeml"> +<p> +<i>Sir Ed.</i> I saw the Children of Paul's last night,<br /> +And troth they pleas'd me pretty, pretty well.<br /> +The Apes in time will do it handsomely.<br /> +<br /> +<i>Plan.</i> S'faith, I like the audience that frequenteth there<br /> +With much applause. A man shall not be choak't<br /> +With the stench of garlic, nor be pasted<br /> +To the barmy jacket of a beer-brewer.<br /> +<br /> +<i>Bra. Ju.</i> 'Tis a good, gentle audience; and I hope the Boys<br /> +Will come one day into the Court of Requests.<br /> +</p> +</div> + +<p><span class="pagenum"><a name="Page_116" id="Page_116">116</a></span></p><p>Shortly after this the Boys were indeed called "into the Court of +Requests," for on New Year's Day, 1601, they were summoned to present +a play before Her Majesty.</p> + +<p>Their master now was Edward Pierce, who had succeeded Thomas Gyles. In +1605 the experienced Edward Kirkham, driven from the management of the +Blackfriars Theatre, became an assistant to Pierce in the management +of Paul's. In this capacity we find him in 1606 receiving the payment +for the two performances of the Boys at Court that year.<a name="FNanchor_173_173" id="FNanchor_173_173"></a><a href="#Footnote_173_173" class="fnanchor">[173]</a></p> + +<p>Among the playwrights engaged by Pierce to write for Paul's were +Marston, Middleton, Chapman, Dekker, Webster, and Beaumont; and, as a +result, some of the most interesting dramas of the period were first +acted on the small stage of the singing-school. Details in the history +of the Children, however, are few. We find an occasional notice of +their appearance at Court, but our record of them is mainly secured +from the title-pages of their plays.</p> + +<p>The last notice of a performance by them is as follows: "On the 30th +of July, 1606, the youths of Paul's, commonly called the Children of +Paul's, played before the two Kings [of England and of Denmark] a play +called <i>Abuses</i>, containing both a comedy and a tragedy, at which<span class="pagenum"><a name="Page_117" id="Page_117">117</a></span> the +Kings seemed to take great delight and be much pleased."<a name="FNanchor_174_174" id="FNanchor_174_174"></a><a href="#Footnote_174_174" class="fnanchor">[174]</a></p> + +<p>The reason why the Children ceased to act is made clear in the lawsuit +of Keysar <i>v.</i> Burbage <i>et al.</i>, recently discovered and printed by +Mr. Wallace.<a name="FNanchor_175_175" id="FNanchor_175_175"></a><a href="#Footnote_175_175" class="fnanchor">[175]</a> From this we learn that when Rosseter became manager +of the Children of the Queen's Revels at the private playhouse of +Whitefriars in 1609, he undertook to increase his profits by securing +a monopoly both of child-acting and of private theatres. Blackfriars +had been deserted, and the only other private theatre then in +existence was Paul's. So Rosseter agreed to pay Pierce a dead rent of +£20 a year to keep the Paul's playhouse closed:</p> + +<div class="blockquot"><p>One Mr. Rosseter, a partner of the said complainant, dealt +for and compounded with the said Mr. Pierce to the only +benefit of him, the said Mr. Rosseter, the now complainant, +the rest of their partners and Company [at the Whitefriars] +... that thereby they might ... advance their gains and +profit to be had and made in their said house in the +Whitefriars, that there might be a cessation of playing and +plays to be acted in the said house near St. Paul's Church +aforesaid, for which the said Rosseter compounded with the +said Pierce to give him the said Pierce twenty pounds per +annum.<a name="FNanchor_176_176" id="FNanchor_176_176"></a><a href="#Footnote_176_176" class="fnanchor">[176]</a></p></div> + +<p>In this attempt to secure a monopoly in private playhouses Rosseter +was foiled by the com<span class="pagenum"><a name="Page_118" id="Page_118">118</a></span>ing of Shakespeare's troupe to the Blackfriars; +but the King's Men readily agreed to join in the payment of the dead +rent to Pierce, for it was to their advantage also to eliminate +competition.</p> + +<p>The agreement which Rosseter secured from Pierce was binding "for one +whole year"; whether it was renewed we do not know, but the Children +never again acted in "their house near St. Paul's Church."</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_119" id="Page_119">119</a></span></p> +<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h2> + +<h3>THE BANKSIDE AND THE BEAR GARDEN</h3> + + +<p><br /><span class="dropcap">F</span>ROM time out of mind the suburb of London known as "the +Bankside"—the term was loosely applied to all the region south of the +river and west of the bridge—had been identified with sports and +pastimes. On Sundays, holidays, and other festive occasions, the +citizens, their wives, and their apprentices were accustomed to seek +outdoor entertainment across the river, going thither in boats (of +which there was an incredible number, converting "the silver sliding +Thames" almost into a Venetian Grand Canal), or strolling on foot over +old London Bridge. On the Bankside the visitors could find maypoles +for dancing, butts for the practice of archery, and broad fields for +athletic games; or, if so disposed, they could visit bull-baitings, +bear-baitings, fairs, stage-plays, shows, motions, and other +amusements of a similar sort.</p> + +<p>Not all the attractions of the Bankside, however, were so innocent. +For here, in a long row bordering the river's edge, were situated the +famous stews of the city, licensed by authority of the Bishop of +Winchester; and along with the stews, of course, such places as thrive +in a district devoted to vice<span class="pagenum"><a name="Page_120" id="Page_120">120</a></span>—houses for gambling, for +coney-catching, and for evil practices of various sorts. The less said +of this feature of the Bankside the better.</p> + +<p>More needs to be said of the bull- and bear-baiting, which probably +constituted the chief amusement of the crowds from the city, and which +was later closely associated with the drama and with playhouses. This +sport, now surviving in the bull-fights of Spain and of certain +Spanish-American countries, was in former times one of the most +popular species of entertainment cultivated by the English. Even so +early as 1174, William Fitz-Stephen, in his <i>Descriptio Nobilissimæ +Ciuitatis Londoniæ</i>, under the heading <i>De Ludis</i>, records that the +London citizens diverted themselves on holiday occasions with the +baiting of beasts, when "strong horn-goring bulls, or immense bears, +contend fiercely with dogs that are pitted against them."<a name="FNanchor_177_177" id="FNanchor_177_177"></a><a href="#Footnote_177_177" class="fnanchor">[177]</a> In some +towns the law required that bulls intended for the butcher-shop should +first be baited for the amusement of the public before being led to +the slaughter-house. Erasmus speaks of the "many herds of bears" which +he saw in England "maintained for the purpose of baiting." The baiting +was accomplished by tying the bulls or bears to stakes, or when +possible releasing them in an amphitheatre, and pitting against them +bull-dogs, bred through cen<span class="pagenum"><a name="Page_121" id="Page_121">121</a></span>turies for strength and ferocity. +Occasionally other animals, as ponies and apes, were brought into the +fight, and the sport was varied in miscellaneous ways. Some of the +animals, by unusual courage or success, endeared themselves to the +heart of the sporting public. Harry Hunks, George Stone, and Sacarson +were famous bears in Shakespeare's time; and the names of many of the +"game bulls" and "mastiff dogs" became household words throughout +London.</p> + +<p style="text-align: center"><br /> +<a name="BANKSIDE_1"> +<img src="images/bankside1.png" width="500" height="318" alt="" /></a></p> + +<p class="caption">THE BANKSIDE</p> + +<p class="caption">Showing the Bear- and Bull-baiting Rings. (From the <i>Map of London</i> +by Braun and Hogenbergius, representing the city in 1554-1558.)</p> + +<p class="center">[<a href="images/bankside1lg.png">Enlarge</a>]</p> + +<p style="text-align: center"><br /> +<a name="BANKSIDE_2"> +<img src="images/bankside2.png" width="500" height="347" alt="" /></a></p> + +<p class="caption">THE BANKSIDE</p> + +<p class="caption">This was the second district of London used for public playhouses. +Notice the amphitheatres for animal-baiting. (From William Smith's MS. +of the Description of England, <i>c.</i> 1580.)</p> + +<p class="center">[<a href="images/bankside2lg.png">Enlarge</a>]</p> + +<p><br /> +The home of this popular sport was the Bankside. The earliest extant +map of Southwark,<a name="FNanchor_178_178" id="FNanchor_178_178"></a><a href="#Footnote_178_178" class="fnanchor">[178]</a> drawn about 1542, shows in the very centre of +High Street, just opposite London Bridge, a circular amphitheatre +marked "The Bull Ring"; and doubtless there were other places along +the river devoted to the same purpose. The baiting of bears was more +closely identified with the Manor of Paris Garden,<a name="FNanchor_179_179" id="FNanchor_179_179"></a><a href="#Footnote_179_179" class="fnanchor">[179]</a> that section +of the Bank lying to the west of the Clink, over towards the marshes +of Lambeth. The association of bear-baiting with this particular +section was probably due to the fact that in early days the butchers +of London used a part of the Manor of Paris Gar<span class="pagenum"><a name="Page_122" id="Page_122">122</a></span>den for the disposal +of their offal,<a name="FNanchor_180_180" id="FNanchor_180_180"></a><a href="#Footnote_180_180" class="fnanchor">[180]</a> and the entrails and other refuse from the +slaughtered beasts furnished cheap and abundant food for the bears and +dogs. The Earl of Manchester wrote to the Lord Mayor and the Common +Council, in 1664, that he had been informed by the master of His +Majesty's Game of Bears and Bulls, and others, that "the Butcher's +Company had formerly caused all their offal in Eastcheap and Newgate +Market to be conveyed by the beadle of the Company unto two barrow +houses, conveniently placed on the river side, for the provision and +feeding of the King's Game of Bears."</p> + +<p style="text-align: center" class="border"><br /> +<a name="BEARBULL"> +<img src="images/bearbull.png" width="500" height="298" alt="" /></a></p> + +<p class="caption">THE BEAR- AND BULL-BAITING RINGS</p> + +<p class="caption">These "rings" later gave place to the Bear Garden. (From Agas's <i>Map +of London</i>, representing the city as it was about 1560.)</p> + +<p><br /> +At first, apparently, the baiting of bears was held in open +places,<a name="FNanchor_181_181" id="FNanchor_181_181"></a><a href="#Footnote_181_181" class="fnanchor">[181]</a> with the bear tied to a stake and the spectators crowding +around, or at best standing on temporary scaffolds. But later, +permanent amphitheatres were provided. In Braun and Hogenberg's <i>Map +of London</i>, drawn between 1554 and 1558, and printed in 1572, we find +two well-appointed amphitheatres, with stables and kennels attached, +labeled respectively "The Bear<span class="pagenum"><a name="Page_124" id="Page_124">124</a></span> Baiting" and "The Bull Baiting." When +these amphitheatres were erected we do not know, but probably they do +not antedate by much the middle of the century.<a name="FNanchor_182_182" id="FNanchor_182_182"></a><a href="#Footnote_182_182" class="fnanchor">[182]</a></p> + +<p>It is to be noted that at this time neither "The Bull Baiting" nor +"The Bear Baiting" is in the Manor of Paris Garden, but close by in +the Liberty of the Clink. Yet the name "Paris Garden" continued to be +used of the animal-baiting place for a century and more. Possibly the +identification of bear-baiting with Paris Garden was of such long +standing that Londoners could not readily adjust themselves to the +change; they at first confused the terms "Bear Garden" and "Paris +Garden," and later extended the term "Paris Garden" to include that +section of the Clink devoted to the baiting of animals.</p> + +<p>The two amphitheatres, it seems, were used until 1583, when a serious +catastrophe put an end to one if not both of them. Stow, in his +<i>Annals</i>, gives the following account of the accident:</p> + +<div class="blockquot"><p>The same thirteenth day of January, being Sunday, about four +of the clock in the afternoon, the<span class="pagenum"><a name="Page_125" id="Page_125">125</a></span> old and underpropped +scaffolds round about the Bear Garden, commonly called Paris +Garden, on the south side of the river of Thamis over +against the city of London, overcharged with people, fell +suddenly down, whereby to the number of eight persons, men +and women, were slain, and many others sore hurt and bruised +to the shortening of their lives.<a name="FNanchor_183_183" id="FNanchor_183_183"></a><a href="#Footnote_183_183" class="fnanchor">[183]</a></p></div> + +<p>Stubbes, the Puritan, writes in his more heightened style:</p> + +<div class="blockquot"><p>Upon the 13 day of January last, being the Saboth day, +<i>Anno</i> 1583, the people, men, women, and children, both +young and old, an infinite number, flocking to those +infamous places where these wicked exercises are usually +practised (for they have their courts, gardens, and yards +for the same purpose), when they were all come together and +mounted aloft upon their scaffolds and galleries, and in the +midst of all their jolity and pastime, all the whole +building (not one stick standing) fell down with a most +wonderful and fearful confusion. So that either two or three +hundred men, women, and children (by estimation), whereof +seven were killed dead, some were wounded, some lamed, and +otherwise bruised and crushed almost to death. Some had +their brains dashed out, some their heads all to-squashed, +some their legs broken, some their arms, some their backs, +some their shoulders, some one hurt, some another.<a name="FNanchor_184_184" id="FNanchor_184_184"></a><a href="#Footnote_184_184" class="fnanchor">[184]</a></p></div> + +<p>The building, which the Reverend John Field described as "old and +rotten,"<a name="FNanchor_185_185" id="FNanchor_185_185"></a><a href="#Footnote_185_185" class="fnanchor">[185]</a> was a complete<span class="pagenum"><a name="Page_126" id="Page_126">126</a></span> ruin; "not a stick was left so high as +the bear was fastened to." The Puritan preachers loudly denounced the +unholy spectacles, pointing to the catastrophe as a clear warning from +the Almighty; and the city authorities earnestly besought the Privy +Council to put an end to such performances. Yet the owners of the +building set to work at once, and soon had erected a new house, +stronger and larger and more pretentious than before. The Lord Mayor, +in some indignation, wrote to the Privy Council on July 3, 1583, that +"the scaffolds are new builded, and the multitudes on the Saboth day +called together in most excessive number."<a name="FNanchor_186_186" id="FNanchor_186_186"></a><a href="#Footnote_186_186" class="fnanchor">[186]</a></p> + +<p>The New Bear Garden, octagonal in form, was probably modeled after the +playhouses in Shoreditch, and made in all respects superior to the old +amphitheatre which it supplanted.<a name="FNanchor_187_187" id="FNanchor_187_187"></a><a href="#Footnote_187_187" class="fnanchor">[187]</a> We find that it was reckoned +among the sights of the city, and was exhibited to distinguished +foreign visitors. For example, when Sir Walter Raleigh undertook to +entertain the French Ambassador, he carried him to view the monuments +in Westminster Abbey and to see the new Bear Garden.</p> + +<p style="text-align: center" class="border"><br /> +<a name="BEAR"></a> +<img src="images/beargarden.png" width="315" height="400" alt="" /></p> + +<p class="caption">THE BEAR GARDEN</p> + +<p class="caption">From Visscher's <i>Map of London</i>, published in 1616, +but representing the city as it was several years earlier.</p> + +<p><br /> +A picture of the building is to be seen in the Hon<span class="pagenum"><a name="Page_127" id="Page_127">127</a></span>dius <i> +<a href="#BEAR_ROSE_2">View of +London</a></i>, 1610 (see page <a href="#Page_148">149</a>), and in the small +<a href="#BEAR_ROSE_1">inset views</a> from the +title-pages of Holland's <i>Herωologia</i>, 1620, and Baker's +<i>Chronicle</i>,<span class="pagenum"><a name="Page_128" id="Page_128">128</a></span> 1643 (see page <a href="#Page_146">147</a>), all three of which probably go back +to a view of London made between 1587 and 1597, and now lost. Another +representation of the structure is to be seen in the +<a href="#BEAR_ROSE_GLOBE_2">Delaram portrait</a> +of King James, along with the Rose and the Globe (see opposite page +<a href="#Page_246">246</a>). The best representation of the building, however, is in +Visscher's <i><a href="#BEAR">View of London</a></i> (see page <a href="#Page_126">127</a>), printed in 1616, but drawn +several years earlier.<a name="FNanchor_188_188" id="FNanchor_188_188"></a><a href="#Footnote_188_188" class="fnanchor">[188]</a></p> + +<p>Although we are not directly concerned with the history of the Bear +Garden,<a name="FNanchor_189_189" id="FNanchor_189_189"></a><a href="#Footnote_189_189" class="fnanchor">[189]</a> a few descriptions of "the royal game of bears, bulls, +and dogs" drawn from contemporary sources will be of interest and of +specific value for the discussion of the Hope Playhouse—itself both a +bear garden and a theatre.</p> + +<p>Robert Laneham, in his <i>Description of the Entertainment at +Kenilworth</i> (1575), writes thus of a baiting of bears before the +Queen:</p> + +<div class="blockquot"><p>Well, syr, the Bearz wear brought foorth intoo the Coourt, +the dogs set too them.... It was a Sport very pleazaunt of +theez beastz; to see the bear with his pink nyez leering +after hiz enemiez approoch, the nimbleness & wayt of ye dog +to take his auauntage, and the fors & experiens of the bear +agayn to auoyd<span class="pagenum"><a name="Page_129" id="Page_129">129</a></span> the assauts: if he war bitten in one place, +how he woold pynch in an oother to get free: that if he wear +taken onez, then what shyft, with byting, with clawing, with +rooring, tossing, & tumbling he woold woork to wynd hym self +from them: and when he waz lose, to shake his earz tywse or +thryse, wyth the blud and the slauer aboout his fiznomy, waz +a matter of a goodly releef.</p></div> + +<p>John Houghton, in his <i>Collection for Improvement of Husbandry and +Trade</i>,<a name="FNanchor_190_190" id="FNanchor_190_190"></a><a href="#Footnote_190_190" class="fnanchor">[190]</a> gives a vivid account of the baiting of the bull. He +says:</p> + +<div class="blockquot"><p>The bull takes great care to watch his enemy, which is a +mastiff dog (commonly used to the sport) with a short nose +that his teeth may take the better hold; this dog, if right, +will creep upon his belly that he may, if possible, get the +bull by the nose; which the bull as carefully strives to +defend by laying it close to the ground, where his horns are +also ready to do what in them lies to toss the dog; and this +is the true sport. But if more dogs than one come at once, +or they are cowardly and come under his legs, he will, if he +can, stamp their guts out. I believe I have seen a dog +tossed by a bull thirty, if not forty foot high; and when +they are tossed, either higher or lower, the men above +strive to catch them on their shoulders, lest the fall might +mischief the dogs. They commonly lay sand about that if they +fall upon the ground it may be the easier. Notwithstanding +this care a great many dogs are killed, more have their +limbs broke, and some hold so fast that, by the bull's<span class="pagenum"><a name="Page_130" id="Page_130">130</a></span> +swinging them, their teeth are often broken out.... The true +courage and art is to hold the bull by the nose 'till he +roars, which a courageous bull scorns to do.... This is a +sport the English much delight in; and not only the baser +sort, but the greatest lords and ladies.</p></div> + +<p>An attendant upon the Duke of Nexara, who visited England in 1544, +wrote the following account of a bear-baiting witnessed in London:</p> + +<div class="blockquot"><p>In another part of the city we saw seven bears, some of them +of great size. They were led out every day to an enclosure, +where being tied with a long rope, large and intrepid dogs +are thrown to them, in order that they may bite and make +them furious. It is no bad sport to see them fight, and the +assaults they give each other. To each of the large bears +are matched three or four dogs, which sometimes get the +better and sometimes are worsted, for besides the fierceness +and great strength of the bears to defend themselves with +their teeth, they hug the dogs with their paws so tightly, +that, unless the masters came to assist them, they would be +strangled by such soft embraces. Into the same place they +brought a pony with an ape fastened on its back, and to see +the animal kicking amongst the dogs, with the screams of the +ape, beholding the curs hanging from the ears and neck of +the pony, is very laughable.<a name="FNanchor_191_191" id="FNanchor_191_191"></a><a href="#Footnote_191_191" class="fnanchor">[191]</a></p></div> + +<p>Orazio Busino, the chaplain of the Venetian Embassy in London, writes +in his <i>Anglipotrida</i> (1618):<span class="pagenum"><a name="Page_131" id="Page_131">131</a></span></p> + +<div class="blockquot"><p>The dogs are detached from the bear by inserting between the +teeth ... certain iron spattles with a wooden handle; whilst +they take them off the bull (keeping at a greater distance) +with certain flat iron hooks which they apply to the thighs +or even to the neck of the dog, whose tail is simultaneously +dexterously seized by another of these rufflers. The bull +can hardly get at anybody, as he wears a collar round his +neck with only fifteen feet of rope, which is fastened to a +stake deeply planted in the middle of the theatre. Other +rufflers are at hand with long poles to put under the dog so +as to break his fall after he has been tossed by the bull; +the tips of these [poles] are covered with thick leather to +prevent them from disembowelling the dogs. The most spirited +stroke is considered to be that of the dog who seizes the +bull's lip, clinging to it and pinning the animal for some +time; the second best hit is to seize the eyebrows; the +third, but far inferior, consists in seizing the bull's +ear.<a name="FNanchor_192_192" id="FNanchor_192_192"></a><a href="#Footnote_192_192" class="fnanchor">[192]</a></p></div> + +<p>Paul Hentzner, the German traveler who visited London in 1598, wrote +thus of the Bear Garden:</p> + +<div class="blockquot"><p>There is still another place, built in the form of a +theatre, which serves for the baiting of bulls and bears; +they are fastened behind, and then worried by great English +bull-dogs, but not without great risk to the dogs, from the +horns of the one, and the teeth of the other; and it +sometimes happens they are killed upon the spot; fresh ones +are immediately supplied in the places of those that are +wounded or tired. To this entertainment there often follows +that of whipping a blinded bear, which is performed by five +or six men standing circularly with whips,<span class="pagenum"><a name="Page_132" id="Page_132">132</a></span> which they +exercise upon him without any mercy, as he cannot escape +from them because of his chain; he defends himself with all +his force and skill, throwing down all who come within his +reach, and are not active enough to get out of it, and +tearing the whips out of their hands and breaking them.</p></div> + +<p>The following passage is taken from the diary of the Duke of +Wirtemberg (who visited London in 1592), "noted down daily in the most +concise manner possible, at his Highness's gracious command, by his +private secretary":<a name="FNanchor_193_193" id="FNanchor_193_193"></a><a href="#Footnote_193_193" class="fnanchor">[193]</a></p> + +<div class="blockquot"><p>On the 1st of September his Highness was shown in London the +English dogs, of which there were about 120, all kept in the +same enclosure, but each in separate kennel. In order to +gratify his Highness, and at his desire, two bears and a +bull were baited; at such times you can perceive the breed +and mettle of the dogs, for although they receive serious +injuries from the bears, and are caught by the horns of the +bull and tossed into the air so as frequently to fall down +again upon the horns, they do not give in, [but fasten on +the bull so firmly] that one is obliged to pull them back by +the tails and force open their jaws. Four dogs at once were +set on the bull; they however could not gain any advantage +over him, for he so artfully contrived to ward off their +attacks that they could not well get at him; on the +contrary, the bull served them very scurvily by striking and +beating at them.</p></div> +<p><span class="pagenum"><a name="Page_133" id="Page_133">133</a></span></p> +<p>The following is a letter from one William Faunte to Edward Alleyn, +then proprietor of the Bear Garden, regarding the sale of some game +bulls:</p> + +<div class="blockquot"><p>I understood by a man which came with two bears from the +garden, that you have a desire to buy one of my bulls. I +have three western bulls at this time, but I have had very +ill luck with them, for one of them hath lost his horn to +the quick, that I think he will never be able to fight +again; that is my old Star of the West: he was a very easy +bull. And my bull Bevis, he hath lost one of his eyes, but I +think if you had him he would do you more hurt than good, +for I protest I think he would either throw up your dogs +into the lofts, or else ding out their brains against the +grates.<a name="FNanchor_194_194" id="FNanchor_194_194"></a><a href="#Footnote_194_194" class="fnanchor">[194]</a></p></div> + +<p>Finally, among the Alleyn papers of Dulwich College is an interesting +bill, or advertisement, of an afternoon's performance at the Bear +Garden:</p> + +<div class="blockquot"><p>To-morrow being Thursday shall be seen at the Bear Garden on +the Bankside a great match played by the gamesters of Essex, +who hath challenged all comers whatsoever to play five dogs +at the single bear for five pounds, and also to weary a bull +dead at the stake; and for your better content [you] shall +have pleasant sport with the horse and ape and whipping of +the blind bear. <i>Vivat Rex!</i></p></div> + +<p>In 1613 the Bear Garden was torn down, and a new and handsomer +structure erected in its place. For the history of this building the +reader is referred to the <a href="#CHAPTER_XVI">chapter</a> on "The Hope."</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_134" id="Page_134">134</a></span></p> +<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h2> + +<h3>NEWINGTON BUTTS</h3> + + +<p><br /><span class="dropcap">T</span>HE Bankside, as the <a href="#CHAPTER_VII">preceding chapter</a> indicates, offered unusual +attractions to the actors. It had, indeed, long been associated with +the drama: in 1545 King Henry VIII, in a proclamation against +vagabonds, players,<a name="FNanchor_195_195" id="FNanchor_195_195"></a><a href="#Footnote_195_195" class="fnanchor">[195]</a> etc., noted their "fashions commonly used at +the Bank, and such like naughty places, where they much haunt"; and in +1547 the Bishop of Winchester made complaint that at a time when he +intended to have a dirge and mass for the late King, the actors in +Southwark planned to exhibit "a solemn play, to try who shall have the +most resort, they in game or I in earnest."<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a> The players, +therefore, were no strangers to "the Bank." And when later in the +century the hostility of the Common Council drove them to seek homes +in localities not under the jurisdiction of the city, the suburb +across the river offered them a suitable refuge. For, although a large +portion of Southwark was under the jurisdiction of London, certain +parts were not,<span class="pagenum"><a name="Page_135" id="Page_135">135</a></span> notably the Liberty of the Clink and the Manor of +Paris Garden, two sections bordering the river's edge, and the +district of Newington lying farther back to the southwest. In these +places the actors could erect their houses and entertain the public +without fear of the ordinances of the Corporation, and without danger +of interruption by puritanical Lord Mayors.</p> + +<p>Yet, as we have seen, the first public playhouses were erected not on +the Bankside—a "naughty" place,—but near Finsbury Field to the north +of the city; and the reasons which led to the selection of such a +quiet and respectable district have been pointed out.<a name="FNanchor_197_197" id="FNanchor_197_197"></a><a href="#Footnote_197_197" class="fnanchor">[197]</a> It was +inevitable, however, that sooner or later a playhouse should make its +appearance in the region to the south of the city. And at an early +date—how early it is impossible to say, but probably not long after +the erection of the Theatre and the Curtain—there appeared in +Southwark a building specially devoted to the use of players. Whether +it was a new structure modeled after the theatres of Shoreditch, or +merely an old building converted into a playhouse, we cannot say. It +seems to have been something more than an inn-yard fitted up for +dramatic purposes, and yet something less than the "sumptuous theatre +houses" erected "on purpose" for plays to the north of the city.</p> + +<p>Whatever the building was, it was situated at<span class="pagenum"><a name="Page_136" id="Page_136">136</a></span> Newington Butts (a +place so called from the butts for archery anciently erected there), +and, unfortunately, at a considerable distance from the river. Exactly +how far playgoers from London had to walk to reach the theatre after +crossing over the river we do not know; but the Privy Council speaks +of "the tediousness of the way" thither,<a name="FNanchor_198_198" id="FNanchor_198_198"></a><a href="#Footnote_198_198" class="fnanchor">[198]</a> and Stow notes that the +parish church of Newington was "distant one mile from London Bridge." +Further information about the building—its exact situation, its size, +its exterior shape, its interior arrangement, and such-like +details—is wholly lacking.</p> + +<p>Nor are we much better off in regard to its ownership, management, and +general history. This seems to be due to the fact that it was not +intimately associated with any of the more important London troupes; +and to the fact that after a few unsuccessful years it ceased to +exist. Below I have recorded the few and scattered references which +constitute our meagre knowledge of its history.</p> + +<p>The first passage cited may refer to the playhouse at Newington Butts. +It is an order of the Privy Council, May 13, 1580, thus summarized by +the clerk:</p> + +<div class="blockquot"><p>A letter to the Justices of Peace of the County of Surrey, +that whereas their Lordships do understand<span class="pagenum"><a name="Page_137" id="Page_137">137</a></span> that +notwithstanding their late order given to the Lord Mayor to +forbid all plays within and about the city until Michaelmas +next for avoiding of infection, nevertheless certain players +do play sundry days every week at Newington Butts in that +part of Surrey without the jurisdiction of the said Lord +Mayor, contrary to their Lordship's order; their Lordships +require the Justices not only to inquire who they be that +disobey their commandment in that behalf, and not only to +forbid them expressly for playing in any of these remote +places near unto the city until Michaelmas, but to have +regard that within the precinct of Surrey none be permitted +to play; if any do, to commit them and to advertise them, +&c.<a name="FNanchor_199_199" id="FNanchor_199_199"></a><a href="#Footnote_199_199" class="fnanchor">[199]</a></p></div> + +<p>The next passage clearly refers to "the theatre" at Newington Butts. +On May 11, 1586, the Privy Council dispatched a letter to the Lord +Mayor, which the clerk thus summarized:</p> + +<div class="blockquot"><p>A letter to the Lord Mayor: his Lordship is desired, +according to his request made to their Lordships by his +letters of the vii th of this present, to give order for the +restraining of plays and interludes within and about the +city of London, for the avoiding of infection feared to grow +and increase this time of summer by the common assemblies of +people at those places; and that their Lordships have taken +the like order for the prohibiting of the use of plays at +the theatre, and the other places about Newington, out of +his charge.<a name="FNanchor_200_200" id="FNanchor_200_200"></a><a href="#Footnote_200_200" class="fnanchor">[200]</a></p></div> + +<p>Chalmers<a name="FNanchor_201_201" id="FNanchor_201_201"></a><a href="#Footnote_201_201" class="fnanchor">[201]</a> thought the word "theatre" was used of the Newington +Playhouse, and for this<span class="pagenum"><a name="Page_138" id="Page_138">138</a></span> he was taken to task by Collier,<a name="FNanchor_202_202" id="FNanchor_202_202"></a><a href="#Footnote_202_202" class="fnanchor">[202]</a> who +says: "He confounds it with the playhouse emphatically called 'the +Theatre' in Shoreditch; and on consulting the Register, we find that +no such playhouse as the Newington Theatre is there spoken of." But +Chalmers was right; for if we consult the "Registers" we find the +following letter, dispatched to the Justices of Surrey on the very +same day that the letter just quoted was sent to the Lord Mayor:</p> + +<div class="blockquot"><p>A letter to the Justices of Surrey, that according to such +direction as hath been given by their Lordships to the Lord +Mayor to restrain and inhibit the use of plays and +interludes in public places in and about the City of London, +in respect of the heat of the year now drawing on, for the +avoiding of the infection like to grow and increase by the +ordinary assemblies of the people to those places, they are +also required in like sort to take order that the plays and +assemblies of the people at the theatre or any other places +about Newington be forthwith restrained and forborn as +aforesaid, &c.<a name="FNanchor_203_203" id="FNanchor_203_203"></a><a href="#Footnote_203_203" class="fnanchor">[203]</a></p></div> + +<p>The phrase, "the theatre or any other places about Newington," when +addressed to the "Justices of the Peace of Surrey" could refer only to +the Newington Butts Playhouse.</p> + +<p>On June 23, 1592, because of a riot in Southwark, the Privy Council +closed all the playhouses in and about London.<a name="FNanchor_204_204" id="FNanchor_204_204"></a><a href="#Footnote_204_204" class="fnanchor">[204]</a> Shortly after this +the Lord<span class="pagenum"><a name="Page_139" id="Page_139">139</a></span> Strange's Men, who were then occupying the Rose, petitioned +the Council to be allowed to resume acting in their playhouse. The +Council granted them instead permission to act three times a week at +Newington Butts; but the players, not relishing this proposal, chose +rather to travel in the provinces. Soon finding that they could not +make their expenses in the country, they returned to London, and again +appealed to the Privy Council to be allowed to perform at the +Rose.<a name="FNanchor_205_205" id="FNanchor_205_205"></a><a href="#Footnote_205_205" class="fnanchor">[205]</a> The warrant issued by the Council in reply to this second +petition tells us for the first time something definite about the +Newington Butts Theatre:</p> + +<div class="blockquot"><p>To the Justices, Bailiffs, Constables, and Others to Whom it +Shall Appertain:</p> + +<p>Whereas not long since, upon some considerations, we did +restrain the Lord Strange his servants from playing at the +Rose on the Bankside, and enjoyned them to play three days +[a week] at Newington Butts; now forasmuch as we are +satisfied that by reason of the tediousness of the way, and +that of long time plays have not there been used on working +days, and for that a number of poor watermen are thereby +relieved, you shall permit and suffer them, or any other, +there [at the Rose] to exercise themselves in such sort as +they have done heretofore, and that the Rose may be at +liberty without any restraint so long as it shall be free +from infection, any commandment from us heretofore to the +contrary notwithstanding.<a name="FNanchor_206_206" id="FNanchor_206_206"></a><a href="#Footnote_206_206" class="fnanchor">[206]</a></p></div> + +<p><span class="pagenum"><a name="Page_140" id="Page_140">140</a></span></p><p>From this warrant we learn that so early as 1592 the Newington house +was almost deserted, and that "of long time" plays had been given +there only occasionally.</p> + +<p>Two years later, on June 3, 1594, Henslowe sent the Admiral's and the +Chamberlain's Men to play temporarily at the half-deserted old +playhouse, probably in order to give opportunity for needed repairs at +the Rose.<a name="FNanchor_207_207" id="FNanchor_207_207"></a><a href="#Footnote_207_207" class="fnanchor">[207]</a> The section of his <i>Diary</i>, under the heading, "In the +name of god Amen begininge at newington my Lord Admeralle men & my +Lord Chamberlen men As followethe 1594," constitutes the fullest and +clearest—and, one may add, the most illustrious—chapter in the +history of this obscure building; for although it extends over only +ten days, it tells us that Edward Alleyn, Richard Burbage, and William +Shakespeare then trod the Newington stage, and it records the +performance there of such plays as <i>The Jew of Malta</i>, <i>Andronicus</i>, +<i>The Taming of a Shrew</i>, and <i>Hamlet</i>.</p> + +<p>We next hear of the building near the end of the century: in 1599, +says Mr. Wallace, it was "only a memory, as shown by a contemporary +record to be published later."<a name="FNanchor_208_208" id="FNanchor_208_208"></a><a href="#Footnote_208_208" class="fnanchor">[208]</a></p> + +<p>Two other references close the history. In <i>A Woman is a Weathercock</i>, +<span class="smcap">iii</span>, iii, printed in 1612,<span class="pagenum"><a name="Page_141" id="Page_141">141</a></span> but written earlier, one of the actors +exclaims of an insufferable pun: "O Newington Conceit!" The fact that +this sneer is the only reference to the Newington Playhouse found in +contemporary literature is a commentary on the low esteem in which the +building was held by the Elizabethans, and its relative unimportance +for the history of the drama.</p> + +<p>The last notice is in Howe's continuation of Stow's <i>Annals</i> +(1631).<a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a> After enumerating all the theatres built in London and +the suburbs "within the space of three-score years," he adds vaguely, +"besides one in former time at Newington Butts."</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_142" id="Page_142">142</a></span></p> +<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h2> + +<h3>THE ROSE</h3> + + +<p><br /><span class="dropcap">D</span>OUBTLESS one reason for the obscure rôle which the theatre at +Newington played in the history of the drama was "the tediousness of +the way" thither. The Rose, the second theatre to make its appearance +in Surrey, was much more conveniently situated with respect to the +city, for it was erected in the Liberty of the Clink and very near the +river's edge. As a result, it quickly attained popularity with London +playgoers, and before the end of the century had caused the centre of +dramatic activity to be shifted from Finsbury Field to the Bank.</p> + +<p>The builder of the Rose was one Philip Henslowe, then, so far as our +evidence goes, unknown to the dramatic world, but destined soon to +become the greatest theatrical proprietor and manager of the +Tudor-Stuart age. We find him living on the Bankside and in the +Liberty of the Clink at least as early as 1577. At first, so we are +told, he was "but a poor man," described as "servant ... unto one Mr. +Woodward." Upon the death of his employer, Woodward, he married the +widow, Agnes Woodward, and thus came into the possession of +considerable property. "All his wealth<span class="pagenum"><a name="Page_143" id="Page_143">143</a></span> came by her," swore the +charwoman Joan Horton. This, however, simply means that Henslowe +obtained his original capital by his marriage; for, although very +illiterate, he was shrewd in handling money, and he quickly amassed +"his wealth" through innumerable business ventures.</p> + +<p>As one of these ventures, no doubt, he leased from the Parish of St. +Mildred, on March 24, 1585, a small piece of property on the Bankside +known as "The Little Rose." "Among the early surveys, 1 Edward VI," +says Rendle, "we see that this was not merely a name—the place was a +veritable Rose Garden."<a name="FNanchor_210_210" id="FNanchor_210_210"></a><a href="#Footnote_210_210" class="fnanchor">[210]</a> At the time of the lease the property is +described as consisting of a dwelling-house called "The Rose," "two +gardens adjoining the same" consisting of "void ground," and at least +one other small building. The dwelling-house Henslowe probably leased +as a brothel—for this was the district of the stews; and the small +building mentioned above, situated at the south end of one of the +gardens, he let to a London grocer named John Cholmley, who used it +"to keep victualing in."<a name="FNanchor_211_211" id="FNanchor_211_211"></a><a href="#Footnote_211_211" class="fnanchor">[211]</a></p> + +<p>Not satisfied, however, with the income from<span class="pagenum"><a name="Page_144" id="Page_144">144</a></span> these two buildings, +Henslowe a year and a half later was planning to utilize a part of the +"void ground" for the erection of a theatre. What interested him in +the drama we do not know, but we may suppose that the same reason +which led Burbage, Brayne, Lanman, and others to build playhouses +influenced him, namely, the prospect of "great gains to ensue +therefrom."<a name="FNanchor_212_212" id="FNanchor_212_212"></a><a href="#Footnote_212_212" class="fnanchor">[212]</a></p> + +<p>For the site of his proposed playhouse he allotted a small parcel of +ground ninety-four feet square and lying in the corner formed by Rose +Alley and Maiden Lane (see page <a href="#Page_246">245</a>). Then he interested in the +enterprise his tenant Cholmley, for, it seems, he did not wish to +undertake so expensive and precarious a venture without sharing the +risk with another. On January 10, 1587, he and Cholmley signed a +formal deed of partnership, according to which the playhouse was to be +erected at once and at the sole cost of Henslowe; Cholmley, however, +was to have from the beginning a half-interest in the building, paying +for his share by installments of £25 10<i>s.</i> a quarter for a period of +eight years and three months.<a name="FNanchor_213_213" id="FNanchor_213_213"></a><a href="#Footnote_213_213" class="fnanchor">[213]</a> The total sum to be paid by +Cholmley, £816, possibly repre<span class="pagenum"><a name="Page_145" id="Page_145">145</a></span>sents the estimated cost of the +building and its full equipment, plus rental on the land.</p> + +<p>The building is referred to in the deed of January 10 as "a playhouse +now in framing and shortly to be erected and set up." Doubtless it was +ready for occupancy early in the summer. That performances were given +there before the close of the year is at least indicated by an order +of the Privy Council dated October 29, 1587:</p> + +<div class="blockquot"><p>A letter to the Justices of Surrey, that whereas the +inhabitants of Southwark had complained unto their Lordships +declaring that the order by their Lordships set down for the +restraining of plays and interludes within that county on +the Sabbath Days is not observed, and especially within the +Liberty of the Clink, and in the Parish of St. +Saviours....<a name="FNanchor_214_214" id="FNanchor_214_214"></a><a href="#Footnote_214_214" class="fnanchor">[214]</a></p></div> + +<p>The Rose was in "the Liberty of the Clink and in the Parish of St. +Saviours," and so far as we have any evidence it was the only place +there devoted to plays. Moreover, a distinct reference to it by name +appears in the Sewer Records in April, 1588, at which date the +building is described as "new."<a name="FNanchor_215_215" id="FNanchor_215_215"></a><a href="#Footnote_215_215" class="fnanchor">[215]</a></p> + +<p>In Norden's <i><a href="#BEAR_ROSE_1">Map of London</a></i> (1593), the Rose and the adjacent Bear +Garden are correctly placed with respect to each other, but are +crudely drawn (see page <a href="#Page_146">147</a>). The representation of both as +circular—the Bear Garden, we know, was polygonal—was due merely to +this crudeness; yet the Rose<span class="pagenum"><a name="Page_146" id="Page_146">146</a></span> seems to have been indeed circular in +shape, "the Bankside's round-house" referred to in <i>Tom Tell Troth's +Message</i>. The building is so pictured in the <a href="#BEAR_ROSE_2">Hondius map of 1610</a> (see +page <a href="#Page_148">149</a>), and in the <a href="#BEAR_ROSE_1">inset maps</a> on the title-pages of Holland's +<i>Herωologia</i>, 1620, and Baker's <i>Chronicle</i>, 1643 (see page +<a href="#Page_146">147</a>), all three of which apparently go back to an early map of London +now lost. The building is again pictured as circular, with the Bear +Garden at the left and the Globe at the right, in the +<a href="#BEAR_ROSE_GLOBE_2">Delaram portrait</a> +of King James (opposite page <a href="#Page_246">246</a>).<a name="FNanchor_216_216" id="FNanchor_216_216"></a><a href="#Footnote_216_216" class="fnanchor">[216]</a></p> + +<p>From Henslowe's <i>Diary</i> we learn that the playhouse was of timber, the +exterior of lath and plaster, the roof of thatch; and that it had a +yard, galleries, a stage, a tiring-house, heavens, and a flagpole. +Thus it differed in no essential way from the playhouses already +erected in Shoreditch or subsequently erected on the Bank.<a name="FNanchor_217_217" id="FNanchor_217_217"></a><a href="#Footnote_217_217" class="fnanchor">[217]</a></p> + +<p style="text-align: center" class="border"><br /> +<a name="BEAR_ROSE_1"> +<img src="images/bearrose1.png" width="500" height="301" alt="" /></a></p> + +<p style="text-align: center"><br /> +<img src="images/bearrose1a.png" width="500" height="358" alt="" /></p> + +<p class="caption">THE BEAR GARDEN AND THE ROSE</p> + +<p class="caption">The <a href="images/bearrose1lg.png">upper view</a>, from Norden's <i>Map of London</i>, 1593, shows the +relative position of the Bear Garden and Rose. The lower view, an +inset from the title-page of Baker's <i>Chronicle</i>, 1643, also shows the +relative position, and gives a more detailed picture of the two structures. The +Bear Garden is represented as polygonal, the Rose as circular.</p> + +<p><br /> +What troupes of actors used the Rose during the<span class="pagenum"><a name="Page_148" id="Page_148">148</a></span> first five years of +its existence we do not know; indeed, until 1592 we hear nothing +further of the playhouse. As a result, some scholars have wrongly +inferred that the building was not erected until the spring of +1592.<a name="FNanchor_218_218" id="FNanchor_218_218"></a><a href="#Footnote_218_218" class="fnanchor">[218]</a> It seems likely, as Mr. Greg suggests, that Henslowe and +Cholmley let the house to some company of players at a stipulated +annual rent, and so had nothing to do with the management of its +finances. This would explain the complete absence of references to the +playhouse in Henslowe's accounts.</p> + +<p>During this obscure period of five years Cholmley disappears from the +history of the Rose. It may be that he withdrew from the undertaking +at the outset;<a name="FNanchor_219_219" id="FNanchor_219_219"></a><a href="#Footnote_219_219" class="fnanchor">[219]</a> it may be that he failed to meet his payments, and +so forfeited his moiety; or it may be that, becoming dissatisfied with +his bargain, he sold out to Henslowe. Whatever the cause, his interest +in the playhouse passed over to Henslowe, who appears henceforth as +the sole proprietor.</p> + +<p style="text-align: center"><br /> +<a name="BEAR_ROSE_2"> +<img src="images/bearrose2.png" width="600" height="295" alt="" /></a></p> + +<p class="caption">THE BEAR GARDEN AND THE ROSE</p> + +<p class="caption">A small inset view of London, from the map entitled "The Kingdome of +Great Britaine and Ireland," printed in Speed's <i>Atlas</i> (1611). The +map is dated 1610, but the inset view of London was copied, like the +inset views to Baker's <i>Chronicle</i> (1643) and to Holland's <i>Herωologia</i> +(1620), from a lost map of London drawn about 1589-1599.</p> + +<p><br /> +In the spring of 1592 the building was in need of repairs, and +Henslowe spent a large sum of money in thoroughly overhauling it.<a name="FNanchor_220_220" id="FNanchor_220_220"></a><a href="#Footnote_220_220" class="fnanchor">[220]</a> +The lathing and<span class="pagenum"><a name="Page_150" id="Page_150">150</a></span> plastering of the exterior were done over, the roof +was re-thatched, new rafters were put in, and much heavy timber was +used, indicating important structural alterations. In addition, the +stage was painted, the lord's room and the tiring-house were provided +with ceilings, a new flagpole was erected, and other improvements were +introduced. Clearly an attempt was made to render the building not +only stronger, but also more attractive in appearance and more modern +in equipment.</p> + +<p>The immediate occasion for these extensive alterations and repairs was +the engagement of Lord Strange's Men to occupy the playhouse under +Henslowe's management. This excellent troupe, with Edward Alleyn at +its head, was perhaps the best company of actors then in London. It +later became the Lord Chamberlain's Company, with which Shakespeare +was identified; even at this early date, although documentary proof is +lacking, he may have been numbered among its obscure members. The +troupe opened the Rose on February 19, 1592, with a performance of +Robert Greene's <i>Friar Bacon and Friar Bungay</i>, and followed this with +many famous plays, such as <i>The Spanish Tragedy</i>, <i>The Jew of Malta</i>, +<i>Orlando Furioso</i>, and <i>Henry VI</i>.<a name="FNanchor_221_221" id="FNanchor_221_221"></a><a href="#Footnote_221_221" class="fnanchor">[221]</a></p> + +<p>The coming of Lord Strange's Men to the Rose led to a close friendship +between Henslowe and Edward Alleyn, then twenty-six years of age, and<span class="pagenum"><a name="Page_151" id="Page_151">151</a></span> +at the height of his fame as an actor, a friendship which was cemented +in the autumn by Alleyn's marriage to Henslowe's stepdaughter (and +only child) Joan Woodward. The two men, it seems, were thoroughly +congenial, and their common interests led to the formation of a +business partnership which soon became the most important single force +in the theatrical life of the time.</p> + +<p>Lord Strange's Men continued to act at the Rose from February 19 until +June 23, 1592, when the Privy Council, because of a serious riot in +Southwark, ordered the closing of all playhouses in and about London +until Michaelmas following. Strange's Men very soon petitioned the +Council to be allowed to reopen their playhouse; the Council, in +reply, compromised by granting them permission to act three days a +week at Newington Butts. This, however, did not please the actors, and +they started on a tour of the provinces. In a short time, discovering +that they could not pay their expenses on the road, they again +petitioned for permission to open the Rose, complaining that "our +company is great, and thereby our charge intolerable in traveling the +country," and calling attention to the fact that "the use of our +playhouse on the Bankside, by reason of the passage to and from the +same by water, is a great relief to the poor watermen there."<a name="FNanchor_222_222" id="FNanchor_222_222"></a><a href="#Footnote_222_222" class="fnanchor">[222]</a> The +petition was accompanied by a supporting petition from the watermen +asking the Council "for<span class="pagenum"><a name="Page_152" id="Page_152">152</a></span> God's sake and in the way of charity to +respect us your poor watermen." As a result of these petitions the +Council gave permission, probably late in August, 1592, for the +reopening of the playhouse.<a name="FNanchor_223_223" id="FNanchor_223_223"></a><a href="#Footnote_223_223" class="fnanchor">[223]</a> But before Strange's Men could take +advantage of this permission, a severe outbreak of the plague caused a +general inhibition of acting, and not until December 29, 1592, were +they able to resume their performances at the Rose. A month later the +plague broke out again with unusual severity, and on February 1, 1593, +playing was again inhibited. The year rapidly developed into one of +the worst plague-years in the history of the city; between ten and +fifteen thousand persons died of the epidemic, and most of the London +companies, including Strange's Men, went on an extended tour of the +country.</p> + +<p>Near the close of the year, and while Strange's Men were still +traveling, the plague temporarily subsided, and Sussex's Men, who were +then in London, secured the use of the Rose. They began to act there +on December 27, 1593; but on February 6, 1594, the plague having again +become threatening, acting was once more inhibited. This brief +occupation of the Rose by Sussex's Men was notable only for the first +performance of <i>Titus Andronicus</i>.<a name="FNanchor_224_224" id="FNanchor_224_224"></a><a href="#Footnote_224_224" class="fnanchor">[224]</a></p> + +<p style="text-align: center"><br /> +<a name="JOAN_ALLEYN"> +<img src="images/joanalleyn.png" width="301" height="400" alt="" /></a></p> + +<p class="caption">JOAN WOODWARD ALLEYN</p> + +<p class="caption">The stepdaughter and only child of Philip Henslowe, whose marriage to the +great actor Edward Alleyn led to the Henslowe-Alleyn theatrical enterprises. The +portrait is here reproduced for the first time. (From the Dulwich Picture +Gallery, by permission.)</p> + +<p><span class="pagenum"><a name="Page_153" id="Page_153">153</a></span><br /> +At Easter, April 1, Strange's Men being still absent, Henslowe allowed +the Rose to be used for eight days by "the Queen's Men and my Lord of +Sussex's together." This second brief chapter in the long and varied +history of the playhouse is interesting only for two performances of +the old <i>King Leir</i>.<a name="FNanchor_225_225" id="FNanchor_225_225"></a><a href="#Footnote_225_225" class="fnanchor">[225]</a></p> + +<p>As a result of the severe plague and the long continued inhibition of +acting, there was a general confusion and subsequent reorganization of +the various London troupes. The Admiral's Men, who had been dispersed +in 1591, some joining Strange's Men, some going to travel in Germany, +were brought together again; and Edward Alleyn, who had formerly been +their leader, and who even after he became one of Strange's Men +continued to describe himself as "servant to the right honorable the +Lord Admiral,"<a name="FNanchor_226_226" id="FNanchor_226_226"></a><a href="#Footnote_226_226" class="fnanchor">[226]</a> was induced to rejoin them. Alleyn thereupon +brought them to the Rose, where they began to perform on May 14, 1594. +After three days, however, they ceased, probably to allow Henslowe to +make repairs or improvements on the building.</p> + +<p>Strange's Men also had undergone reorganization. On April 16, 1594, +they lost by death their patron, the Earl of Derby. Shortly afterwards +they secured the patronage of the Lord Chamber<span class="pagenum"><a name="Page_154" id="Page_154">154</a></span>lain, and before June +3, 1594, they had arrived in London and reported to their former +manager, Henslowe.</p> + +<p>At this time, apparently, the Rose was still undergoing repairs; so +Henslowe sent both the Admiral's and the Chamberlain's Men to act at +Newington Butts, where they remained from June 3 to June 13, 1594. On +June 15 the Admiral's Men moved back to the Rose, which henceforth +they occupied alone; and the Chamberlain's Men, thus robbed of their +playhouse, went to the Theatre in Shoreditch.</p> + +<p>During the period of Lent, 1595, Henslowe took occasion to make +further repairs on his playhouse, putting in new pales, patching the +exterior with new lath and plaster, repainting the woodwork, and +otherwise furbishing up the building. The total cost of this work was +£108 10<i>s.</i> And shortly after, as a part of these improvements, no +doubt, he paid £7 2<i>s.</i> for "making the throne in the heavens."<a name="FNanchor_227_227" id="FNanchor_227_227"></a><a href="#Footnote_227_227" class="fnanchor">[227]</a></p> + +<p>Near the close of July, 1597, Pembroke's Men at the Swan acted Nashe's +satirical play, <i>The Isle of Dogs</i>, containing, it seems, a burlesque +on certain persons high in authority. As a result the Privy Council on +July 28 ordered all acting in and about London to cease until November +1, and all public playhouses to be plucked down and ruined.<a name="FNanchor_228_228" id="FNanchor_228_228"></a><a href="#Footnote_228_228" class="fnanchor">[228]</a></p> +<p><span class="pagenum"><a name="Page_155" id="Page_155">155</a></span></p> +<p>The latter part of the order, happily, was not put into effect, and on +October 11 the Rose was allowed to open again. The Privy Council, +however, punished the Swan and Pembroke's Company by ordering that +only the Admiral's Men at the Rose and the Chamberlain's Men at the +Curtain should henceforth be "allowed." As a consequence of this +trouble with the authorities the best actors of Pembroke's Company +joined the Admiral's Men under Henslowe. This explains the entry in +the <i>Diary</i>: "In the name of God, amen. The xi of October began my +Lord Admiral's and my Lord Pembroke's Men to play at my house, +1597."<a name="FNanchor_229_229" id="FNanchor_229_229"></a><a href="#Footnote_229_229" class="fnanchor">[229]</a> The two companies were very soon amalgamated, and the +strong troupe thus formed continued to act at the Rose under the name +of the Admiral's Men.</p> + +<p>The Chamberlain's Men, who in 1594 had been forced to surrender the +Rose to the Admiral's Men and move to the Theatre, and who in 1597 had +been driven from the Theatre to the Curtain, at last, in 1599, built +for themselves a permanent home, the Globe, situated on the Bankside +and close to the Rose. Henslowe's ancient structure<a name="FNanchor_230_230" id="FNanchor_230_230"></a><a href="#Footnote_230_230" class="fnanchor">[230]</a> was eclipsed +by this new and handsome building, "the glory of the Bank"; and the +Admiral's Men, no doubt, felt themselves placed at a serious +disad<span class="pagenum"><a name="Page_156" id="Page_156">156</a></span>vantage. As a result, in the spring of 1600, Henslowe and Alleyn +began the erection of a splendid new playhouse, the Fortune, designed +to surpass the Globe in magnificence, and to furnish a suitable and +permanent home for the Admiral's Men. The building was situated in the +suburb to the north of the city, far away from the Bankside and the +Globe.</p> + +<p>The erection of this handsome new playhouse led to violent outbursts +from the Puritans, and vigorous protests from the city fathers. +Accordingly the Privy Council on June 22, 1600, issued the following +order:<a name="FNanchor_231_231" id="FNanchor_231_231"></a><a href="#Footnote_231_231" class="fnanchor">[231]</a></p> + +<div class="blockquot"><p>Whereas divers complaints have heretofore been made unto the +Lords and other of Her Majesty's Privy Council of the +manifold abuses and disorders that have grown and do +continue by occasion of many houses erected and employed in +and about London for common stage-plays; and now very lately +by reason of some complaint exhibited by sundry persons +against the building of the like house [the Fortune] in or +near Golding Lane ... the Lords and the rest of Her +Majesty's Privy Council with one and full consent have +ordered in manner and form as follows. First, that there +shall be about the city two houses, and no more, allowed to +serve for the use of the common stage-plays; of the which +houses, one [the Globe] shall be in Surrey, in that place +which is commonly called the Bankside, or thereabouts; and +the other [the Fortune], in Middlesex.</p></div> + +<p>This sealed the fate of the Rose.<span class="pagenum"><a name="Page_157" id="Page_157">157</a></span></p> + +<p>In July the Admiral's Men had a reckoning with Henslowe, and prepared +to abandon the Bankside. After they had gone, but before they had +opened the Fortune, Henslowe, on October 28, 1600, let the Rose to +Pembroke's Men for two days.<a name="FNanchor_232_232" id="FNanchor_232_232"></a><a href="#Footnote_232_232" class="fnanchor">[232]</a> Possibly the troupe had secured +special permission to use the playhouse for this limited time; +possibly Henslowe thought that since the Fortune was not yet open to +the public, no objection would be made. Of course, after the Admiral's +Men opened the Fortune—in November or early in December, 1600—the +Rose, according to the order of the Privy Council just quoted, had to +stand empty.</p> + +<p>Its career, however, was not absolutely run. In the spring of 1602 +Worcester's Men and Oxford's Men were "joined by agreement together in +one company," and the Queen, "at the suit of the Earl of Oxford," +ordered that this company be "allowed." Accordingly the Privy Council +wrote to the Lord Mayor on March 31, 1602, informing him of the fact, +and adding: "And as the other companies that are allowed, namely of me +the Lord Admiral and the Lord Chamberlain, be appointed their certain +houses, and one and no more to each company, so we do straightly +require that this company be likewise [appointed] to one place. And +because we are informed the house called the Boar's Head is the place +they have especially used and do<span class="pagenum"><a name="Page_158" id="Page_158">158</a></span> best like of, we do pray and require +you that that said house, namely the Boar's Head, may be assigned unto +them."<a name="FNanchor_233_233" id="FNanchor_233_233"></a><a href="#Footnote_233_233" class="fnanchor">[233]</a> But the Lord Mayor seems to have opposed the use of the +Boar's Head, and the upshot was that the Council gave permission for +this "third company" to open the Rose. In Henslowe's <i>Diary</i>, we read: +"Lent unto my Lord of Worcester's Players as followeth, beginning the +17 day of August, 1602."</p> + +<p>This excellent company, destined to become the Queen's Company after +the accession of King James, included such important actors as William +Kempe, John Lowin, Christopher Beeston, John Duke, Robert Pallant, and +Richard Perkins; and it employed such well-known playwrights as Thomas +Heywood (the "prose Shakespeare," who was also one of the troupe), +Henry Chettle, Thomas Dekker, John Day, Wentworth Smith, Richard +Hathway, and John Webster. The company continued to act at the Rose +until March 16, 1603, when it had a reckoning with Henslowe and left +the playhouse.<a name="FNanchor_234_234" id="FNanchor_234_234"></a><a href="#Footnote_234_234" class="fnanchor">[234]</a> In May, however, after the coming of King James, +it returned to the Rose, and we find Henslowe opening a new account: +"In the name of God, amen. Beginning to play again by the King's +license, and laid out since for my Lord of<span class="pagenum"><a name="Page_159" id="Page_159">159</a></span> Worcester's Men, as +followeth, 1603, 9 of May."<a name="FNanchor_235_235" id="FNanchor_235_235"></a><a href="#Footnote_235_235" class="fnanchor">[235]</a> Since only one entry follows, it is +probable that the company did not remain long at the Rose. No doubt, +the outbreak of the plague quickly drove them into the country; and on +their return to London in the spring of 1604 they occupied the Boar's +Head and the Curtain.</p> + +<p>After this there is no evidence to connect the playhouse with dramatic +performances.</p> + +<p>Henslowe's lease of the Little Rose property, on which his playhouse +stood, expired in 1605, and the Parish of St. Mildred's demanded an +increase in rental. The following note in the <i>Diary</i> refers to a +renewal of the lease:</p> + +<div class="blockquot"><p><i>Memorandum</i>, that the 25 of June, 1603, I talked with Mr. +Pope at the scrivener's shop where he lies,<a name="FNanchor_236_236" id="FNanchor_236_236"></a><a href="#Footnote_236_236" class="fnanchor">[236]</a> concerning +the taking of the lease anew of the little Rose, and he +shewed me a writing betwixt the parish<span class="pagenum"><a name="Page_160" id="Page_160">160</a></span> and himself which +was to pay twenty pound a year rent,<a name="FNanchor_237_237" id="FNanchor_237_237"></a><a href="#Footnote_237_237" class="fnanchor">[237]</a> and to bestow a +hundred marks upon building, which I said I would rather +pull down the playhouse than I would do so, and he bad me +do, and said he gave me leave, and would bear me out, for it +was in him to do it.<a name="FNanchor_238_238" id="FNanchor_238_238"></a><a href="#Footnote_238_238" class="fnanchor">[238]</a></p></div> + +<p>Henslowe did not renew his lease of the property. On October 4, 1605, +the Commissioners of the Sewers amerced him for the Rose, but return +was made that it was then "out of his hands."<a name="FNanchor_239_239" id="FNanchor_239_239"></a><a href="#Footnote_239_239" class="fnanchor">[239]</a> From a later entry +in the Sewer Records, February 14, 1606, we learn that the new owner +of the Rose was one Edward Box, of Bread Street, London. Box, it +seems, either tore down the building, or converted it into tenements. +The last reference to it in the Sewer Records is on April 25, 1606, +when it is referred to as "the late playhouse."<a name="FNanchor_240_240" id="FNanchor_240_240"></a><a href="#Footnote_240_240" class="fnanchor">[240]</a></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_161" id="Page_161">161</a></span></p> +<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X</h2> + +<h3>THE SWAN</h3> + + +<p><br /><span class="dropcap">T</span>HE Manor of Paris Garden,<a name="FNanchor_241_241" id="FNanchor_241_241"></a><a href="#Footnote_241_241" class="fnanchor">[241]</a> situated on the Bankside just to the +west of the Liberty of the Clink and to the east of the Lambeth +marshes, had once been in the possession of the Monastery of +Bermondsey. At the dissolution of the monasteries by Henry VIII, the +property passed into the possession of the Crown; hence it was free +from the jurisdiction of the Lord Mayor and Aldermen of London, and +was on this account suitable for the erection of a playhouse. From the +Crown the property passed through several hands, until finally, in +1589, the entire "lordship and manor of Paris Garden" was sold for +£850 to Francis Langley, goldsmith and citizen of London.<a name="FNanchor_242_242" id="FNanchor_242_242"></a><a href="#Footnote_242_242" class="fnanchor">[242]</a></p> + +<p>Langley had purchased the Manor as an investment, and was ready to +make thereon such improvements as seemed to offer profitable returns. +Burbage and Henslowe were reputed to be growing wealthy from their +playhouses, and Langley was tempted to erect a similar building on his +newly acquired property. Accordingly at some date before November, +1594, he secured a license to erect a<span class="pagenum"><a name="Page_162" id="Page_162">162</a></span> theatre in Paris Garden. The +license was promptly opposed by the Lord Mayor of London, who +addressed to the Lord High Treasurer on November 3, 1594, the +following letter:</p> + +<div class="blockquot"><p>I understand that one Francis Langley ... intendeth to erect +a new stage or theatre (as they call it) for the exercising +of plays upon the Bankside. And forasmuch as we find by +daily experience the great inconvenience that groweth to +this city and the government thereof by the said plays, I +have emboldened myself to be an humble suitor to your good +Lordship to be a means for us rather to suppress all such +places built for that kind of exercise, than to erect any +more of the same sort.<a name="FNanchor_243_243" id="FNanchor_243_243"></a><a href="#Footnote_243_243" class="fnanchor">[243]</a></p></div> + +<p>The protest of the Lord Mayor, however, went unheeded, and Langley +proceeded with the erection of his building. Presumably it was +finished and ready for the actors in the earlier half of 1595.</p> + +<p style="text-align: center"><br /> +<a name="MANOR"><img src="images/manor.png" width="500" height="397" alt="" /></a></p> + +<p class="caption">THE MANOR OF PARIS GARDEN AND THE SWAN</p> + +<p class="caption">A survey executed in 1627 by royal command.</p> + +<p class="caption">(Printed from Rendle's <i>The Bankside</i>.)</p> + +<p class="center">[<a href="images/manorlg.png">Enlarge</a>]</p> + +<p><br /> +The name given to the new playhouse was "The Swan." What caused +Langley to adopt this name we do not know;<a name="FNanchor_244_244" id="FNanchor_244_244"></a><a href="#Footnote_244_244" class="fnanchor">[244]</a> but we may suppose +that it was suggested to him by the large number of swans which +beautified the Thames. Foreigners on their first visit to London were +usually very much impressed by the number and the beauty of these +birds. Hentzner, in 1598, stated that the river "abounds in swans, +swimming in flocks; the sight<span class="pagenum"><a name="Page_164" id="Page_164">164</a></span> of them and their noise is vastly +agreeable to the boats that meet them in their course"; and the +Italian Francesco Ferretti observed that the "broad river of Thames" +was "most charming, and quite full of swans white as the very +snow."<a name="FNanchor_245_245" id="FNanchor_245_245"></a><a href="#Footnote_245_245" class="fnanchor">[245]</a></p> + +<p>From a <a href="#MANOR">map of the Manor of Paris Garden</a> carefully surveyed by order of +the King in 1627<a name="FNanchor_246_246" id="FNanchor_246_246"></a><a href="#Footnote_246_246" class="fnanchor">[246]</a> (see page <a href="#Page_162">163</a>), we learn the exact situation of +the building. It was set twenty-six poles, or four hundred and +twenty-six feet, from the bank of the river, in that corner of the +estate nearest London Bridge. Most of the playgoers from London, +however, came not over the Bridge, but by water, landing at the Paris +Garden Stairs, or at the near-by Falcon Stairs, and then walking the +short distance to the theatre.</p> + +<p style="text-align: center" class="border"><br /> +<a name="SWAN"><img src="images/swan.png" width="324" height="400" alt="" /></a></p> + +<p class="caption">THE SWAN PLAYHOUSE</p> + +<p class="caption">(From Visscher's <i>View of London</i>, 1616).</p> + +<p><br /> +An excellent picture of the exterior of the Swan is furnished by +Visscher's <i><a href="#SWAN">View of London</a></i>, 1616, (see page <a href="#Page_164">165</a>). From this, as well +as from the survey of 1627 just mentioned, we discover that the +building was duodecahedral—at least on the outside, for the interior +probably was circular. At the time of its erection it was, so we are +told, "the largest and the most magnificent playhouse" in London. It +contained three galleries surrounding an open pit, with a stage +projecting into the pit; and probably it differed in no essential +respect from the<span class="pagenum"><a name="Page_165" id="Page_165">165</a></span> playhouses already built. In one point, however, it +may have differed—although of this I cannot feel sure: it may have +been provided with a stage that could be removed so as to allow the +building to be used on occasions for animal-baiting. The De Witt<span class="pagenum"><a name="Page_166" id="Page_166">166</a></span> +drawing shows such a stage; and possibly Stow in his <i>Survey</i> (1598) +gives evidence that the Swan was in early times employed for +bear-baiting:</p> + +<div class="blockquot"><p>And to begin at the west bank as afore, thus it followeth. +On this bank is the bear gardens, in number twain; to wit, +the old bear garden [i.e., the one built in 1583?] and the +new [i.e., the Swan?], places wherein be kept bears, bulls, +and other beasts, to be baited at stakes for pleasure; also +mastiffs to bait them in several kennels are there +nourished.<a name="FNanchor_247_247" id="FNanchor_247_247"></a><a href="#Footnote_247_247" class="fnanchor">[247]</a></p></div> + +<p>Moreover, in 1613 Henslowe used the Swan as the model for the Hope, a +building designed for both acting and animal-baiting. It should be +noted, however, that in all documents the Swan is invariably referred +to as a <i>playhouse</i>, and there is no evidence—beyond that cited +above—to indicate that the building was ever employed for the baiting +of bears and bulls.</p> + +<p>In the summer of 1596 a Dutch traveler named Johannes de Witt, a +priest of St. Mary's in Utrecht, visited London, and saw, as one of +the most interesting sights of the city, a dramatic performance at the +Swan. Later he communicated a description of the building to his +friend Arend van Buchell,<a name="FNanchor_248_248" id="FNanchor_248_248"></a><a href="#Footnote_248_248" class="fnanchor">[248]</a> who recorded the description in his +commonplace-book,<span class="pagenum"><a name="Page_167" id="Page_167">167</a></span> along with a crude and inexact +<a href="#SWAN_INTERIOR">drawing</a> of the +interior (see page <a href="#Page_168">169</a>), showing the stage, the three galleries, and +the pit.<a name="FNanchor_249_249" id="FNanchor_249_249"></a><a href="#Footnote_249_249" class="fnanchor">[249]</a> The description is headed: "Ex Observationibus +Londinensibus Johannis de Witt." After a brief notice of St. Paul's, +and a briefer reference to Westminster Cathedral, the traveler begins +to describe what obviously interested him far more. I give below a +translation of that portion relating to the playhouses:</p> + +<div class="blockquot"><p>There are four amphitheatres in London [the Theatre, +Curtain, Rose, and Swan] of notable beauty, which from their +diverse signs bear diverse names. In each of them a +different play is daily exhibited to the populace. The two +more magnificent of these are situated to the southward +beyond the Thames, and from the signs suspended before them +are called the Rose and the Swan. The two others are outside +the city towards the north on the highway which issues +through the Episcopal Gate, called in the vernacular +Bishopgate.<a name="FNanchor_250_250" id="FNanchor_250_250"></a><a href="#Footnote_250_250" class="fnanchor">[250]</a> There is also a fifth [the Bear Garden], +but of dissimilar structure, devoted to the baiting of +beasts, where are maintained in separate cages and +enclosures many bears and dogs of stupendous size, which are +kept for fighting, furnishing thereby a most delightful +spectacle to men. Of all the theatres,<a name="FNanchor_251_251" id="FNanchor_251_251"></a><a href="#Footnote_251_251" class="fnanchor">[251]</a> however, the +largest and the most magnificent is that one of which the +sign is a swan, called in the vernacular the Swan<span class="pagenum"><a name="Page_168" id="Page_168">168</a></span> +Theatre;<a name="FNanchor_252_252" id="FNanchor_252_252"></a><a href="#Footnote_252_252" class="fnanchor">[252]</a> for it accommodates in its seats three +thousand persons, and is built of a mass of flint stones (of +which there is a prodigious supply in Britain),<a name="FNanchor_253_253" id="FNanchor_253_253"></a><a href="#Footnote_253_253" class="fnanchor">[253]</a> and +supported by wooden columns painted in such excellent +imitation of marble that it is able to deceive even the most +cunning. Since its form resembles that of a Roman work, I +have made a sketch of it above.</p></div> + +<p>Exactly when the Swan was opened to the public, or what troupes of +actors first made use of it, we do not know. The visit of Johannes de +Witt, however, shows that the playhouse was occupied in 1596; and this +fact is confirmed by a statement in the lawsuit of Shaw <i>v.</i> +Langley.<a name="FNanchor_254_254" id="FNanchor_254_254"></a><a href="#Footnote_254_254" class="fnanchor">[254]</a> We may reasonably suppose that not only in 1596, but +also in 1595 the building was used by the players.</p> + +<p style="text-align: center" class="border"><br /> +<a name="SWAN_INTERIOR"> +<img src="images/swan2.png" width="345" height="500" alt="" /></a></p> + +<p class="caption">THE INTERIOR OF THE SWAN PLAYHOUSE</p> + +<p class="caption">Sketched by Johannes de Witt in 1596.</p> + +<p class="center">[<a href="images/swan2lg.png">Enlarge</a>]</p> + +<p><br /> +Our definite history of the Swan, however, begins with 1597. In +February of that year eight distinguished actors, among whom were +Robert Shaw, Richard Jones, Gabriel Spencer, William<span class="pagenum"><a name="Page_170" id="Page_170">170</a></span> Bird, and +Thomas Downton, "servants to the right honorable the Earl of +Pembroke," entered into negotiations with Langley, or, as the legal +document puts it, "fell into conference with the said Langley for and +about the hireing and taking a playhouse of the said Langley, situate +in the old Paris Garden, in the Parish of St. Saviours, in the County +of Surrey, commonly called and known by the name of the sign of the +Swan." The result of this conference was that the members of +Pembroke's Company<a name="FNanchor_255_255" id="FNanchor_255_255"></a><a href="#Footnote_255_255" class="fnanchor">[255]</a> became each severally bound for the sum of +£100 to play at the Swan for one year, beginning on February 21, 1597.</p> + +<p>This troupe contained some of the best actors in London; and Langley, +in anticipation of a successful year, "disbursed and laid out for +making of the said house ready, and providing of apparel fit and +necessary for their playing, the sum of £300 and upwards." Since he +was at very little cost in making the Swan ready, "for the said house +was then lately afore used to have plays in it," most of this sum went +for the purchase of "sundry sort of rich attire and apparel for them +to play withall."</p> + +<p>Everything seems to have gone well until near the end of July, when +the company presented <i>The Isle of Dogs</i>, a satirical play written in +part by the<span class="pagenum"><a name="Page_171" id="Page_171">171</a></span> "young Juvenal" of the age, Thomas Nashe, and in part by +certain "inferior players," chief of whom seems to have been Ben +Jonson.<a name="FNanchor_256_256" id="FNanchor_256_256"></a><a href="#Footnote_256_256" class="fnanchor">[256]</a> The play apparently attacked under a thin disguise some +persons high in authority. The exact nature of the offense cannot now +be determined, but Nashe himself informs us that "the troublesome stir +which happened about it is a general rumour that hath filled all +England,"<a name="FNanchor_257_257" id="FNanchor_257_257"></a><a href="#Footnote_257_257" class="fnanchor">[257]</a> and the Queen herself seems to have been greatly +angered. On July 28, 1597, the Privy Council sent a letter to the +Justices of Middlesex and of Surrey informing them that Her Majesty +"hath given direction that not only no plays shall be used within +London or about the city or in any public place during this time of +summer, but that also those playhouses that are erected and built only +for such purposes shall be plucked down." Accordingly the Council +ordered the Justices to see to it that "there be no more plays used in +any public place within three miles of the city until Allhallows +[i.e., November 1] next"; and, furthermore, to send for the owners of +the various playhouses "and enjoin them by vertue hereof forthwith to +pluck down quite the stages, galleries, and rooms that are made for +people to stand in, and so to deface the<span class="pagenum"><a name="Page_172" id="Page_172">172</a></span> same as they may not be +employed again to such use."<a name="FNanchor_258_258" id="FNanchor_258_258"></a><a href="#Footnote_258_258" class="fnanchor">[258]</a></p> + +<p>The Council, however, did not stop with this. It ordered the arrest of +the authors of the play and also of the chief actors who took part in +its performance. Nashe saved himself by precipitate flight, but his +lodgings were searched and his private papers were turned over to the +authorities. Robert Shaw and Gabriel Spencer, as leaders of the +troupe, and Ben Jonson, as one of the "inferior players" who had a +part in writing the play,<a name="FNanchor_259_259" id="FNanchor_259_259"></a><a href="#Footnote_259_259" class="fnanchor">[259]</a> were thrown into prison. The rest of +the company hurried into the country, their speed being indicated by +the fact that we find them acting in Bristol before the end of July.</p> + +<p>Some of these events are referred to in the following letter, +addressed by the Privy Council "to Richard Topclyfe, Thomas Fowler, +and Richard Skevington, esquires, Doctor Fletcher, and Mr. +Wilbraham":<span class="pagenum"><a name="Page_173" id="Page_173">173</a></span></p> + +<div class="blockquot"><p>Upon information given us of a lewd play that was played in +one of the playhouses on the Bankside, containing very +seditious and slanderous matter, we caused some of the +players [Robert Shaw, Gabriel Spencer, and Ben Jonson<a name="FNanchor_260_260" id="FNanchor_260_260"></a><a href="#Footnote_260_260" class="fnanchor">[260]</a>] +to be apprehended and committed to prison, whereof one of +them [Ben Jonson] was not only an actor but a maker of part +of the said play. Forasmuch as it is thought meet that the +rest of the players or actors in that matter shall be +apprehended to receive such punishment as their lewd and +mutinous behaviour doth deserve, these shall be therefore to +require you to examine those of the players that are +committed (whose names are known to you, Mr. Topclyfe), what +is become of the rest of their fellows that either had their +parts in the devising of that seditious matter, or that were +actors or players in the same, what copies they have given +forth<a name="FNanchor_261_261" id="FNanchor_261_261"></a><a href="#Footnote_261_261" class="fnanchor">[261]</a> of the said play, and to whom, and such other +points as you shall think meet to be demanded of them, +wherein you shall require them to deal truly, as they will +look to receive any favour. We pray you also to peruse such +papers as were found in Nashe his lodgings, which Ferrys, a +messenger of the Chamber, shall deliver unto you, and to +certify us the examinations you take.<a name="FNanchor_262_262" id="FNanchor_262_262"></a><a href="#Footnote_262_262" class="fnanchor">[262]</a></p></div> + +<p><span class="pagenum"><a name="Page_174" id="Page_174">174</a></span></p><p>This unfortunate occurrence destroyed Langley's dream of a successful +year. It also destroyed the splendid Pembroke organization, for +several of its chief members, even before the inhibition was raised, +joined the Admiral's Men. On August 6 Richard Jones went to Henslowe +and bound himself to play for two years at the Rose, and at the same +time he bound his friend Robert Shaw, who was still in prison; on +August 10 William Bird came and made a similar agreement; on October 6 +Thomas Downton did likewise. Their leader, Gabriel Spencer, also +probably had an understanding with Henslowe, although he signed no +bond; and upon his release from the Marshalsea he joined his friends +at the Rose.<a name="FNanchor_263_263" id="FNanchor_263_263"></a><a href="#Footnote_263_263" class="fnanchor">[263]</a></p> + +<p>In the meantime the Queen's anger was abating, and the trouble was +blowing over. The order to pluck down all the public playhouses was +not taken seriously by the officers of the law, and Henslowe actually +secured permission to reopen the Rose on October 11. The inhibition +itself expired on November 1, but the Swan was singled out for further +punishment. The Privy Council ordered that henceforth license should +be granted to two companies only: namely, the Admiral's at the Rose, +and the Chamberlain's at the Curtain. This meant, of course, the +closing of the Swan.<span class="pagenum"><a name="Page_175" id="Page_175">175</a></span></p> + +<p>In spite of this order, however, the members of Pembroke's Company +remaining after the chief actors had joined Henslowe, taking on +recruits and organizing themselves into a company, began to act at the +Swan without a license. For some time they continued unmolested, but +at last the two licensed companies called the attention of the Privy +Council to the fact, and on February 19, 1598, the Council issued the +following order to the Master of the Revels and the Justices of both +Middlesex and Surrey:</p> + +<div class="blockquot"><p>Whereas license hath been granted unto two companies of +stage players retayned unto us, the Lord Admiral and Lord +Chamberlain ... and whereas there is also a third company +who of late (as we are informed) have by way of intrusion +used likewise to play ... we have therefore thought good to +require you upon receipt hereof to take order that the +aforesaid third company may be suppressed, and none suffered +hereafter to play but those two formerly named, belonging to +us, the Lord Admiral and Lord Chamberlain.<a name="FNanchor_264_264" id="FNanchor_264_264"></a><a href="#Footnote_264_264" class="fnanchor">[264]</a></p></div> + +<p>Thus, after February 19, 1598, the Swan stood empty, so far as plays +were concerned, and we hear very little of it during the next few +years. Indeed, it never again assumed an important part in the history +of the drama.</p> + +<p>In the summer of 1598<a name="FNanchor_265_265" id="FNanchor_265_265"></a><a href="#Footnote_265_265" class="fnanchor">[265]</a> it was used by Robert<span class="pagenum"><a name="Page_176" id="Page_176">176</a></span> Wilson for a contest +in extempore versification. Francis Meres, in his <i>Palladis Tamia</i>, +writes: "And so is now our witty Wilson, who for learning and +extemporall wit in this faculty is without compare or compeere, as, to +his great and eternal commendations, he manifested in his challenge at +the Swan on the Bankside."</p> + +<p>On May 15, 1600, Peter Bromvill was licensed to use the Swan "to show +his feats of activity at convenient times in that place without let or +interruption."<a name="FNanchor_266_266" id="FNanchor_266_266"></a><a href="#Footnote_266_266" class="fnanchor">[266]</a> The Privy Council in issuing the license observed +that Bromvill "hath been recommended unto Her Majesty from her good +brother the French King, and hath shewed some feats of great activity +before Her Highness."</p> + +<p>On June 22, 1600, the Privy Council "with one and full consent" +ordered "that there shall be about the city two houses, and no more, +allowed to serve for the use of the common stage plays; of the which +houses, one [the Globe] shall be in Surrey ... and the other [the +Fortune] in Middlesex."<a name="FNanchor_267_267" id="FNanchor_267_267"></a><a href="#Footnote_267_267" class="fnanchor">[267]</a> This order in effect merely confirmed the +order of 1598 which limited the companies to two, the Admiral's and +the Chamberlain's.</p> + +<p>Early in 1601 Langley died; and in January, 1602, his widow, as +administratrix, sold the Manor of Paris Garden, including the Swan +Playhouse, to Hugh Browker, a prothonotary of the Court of<span class="pagenum"><a name="Page_177" id="Page_177">177</a></span> Common +Pleas. The property remained in the possession of the Browker family +until 1655.<a name="FNanchor_268_268" id="FNanchor_268_268"></a><a href="#Footnote_268_268" class="fnanchor">[268]</a></p> + +<p>On November 6, 1602, the building was the scene of the famous hoax +known as <i>England's Joy</i>, perpetrated upon the patriotic citizens of +London by one Richard Vennar.<a name="FNanchor_269_269" id="FNanchor_269_269"></a><a href="#Footnote_269_269" class="fnanchor">[269]</a> Vennar scattered hand-bills over +the city announcing that at the Swan Playhouse, on Saturday, November +6, a company of "gentlemen and gentlewomen of account" would present +with unusual magnificence a play entitled <i>England's Joy</i>, celebrating +Queen Elizabeth. It was proposed to show the coronation of Elizabeth, +the victory of the Armada, and various other events in the life of +"England's Joy," with the following conclusion: "And so with music, +both with voice and instruments, she is taken up into heaven; when +presently appears a throne of blessed souls; and beneath, under the +stage, set forth with strange fire-works, diverse black and damned +souls, wonderfully described in their several torments."<a name="FNanchor_270_270" id="FNanchor_270_270"></a><a href="#Footnote_270_270" class="fnanchor">[270]</a> The +price of admission to the performance was to<span class="pagenum"><a name="Page_178" id="Page_178">178</a></span> be "two shillings, or +eighteen pence at least." In spite of this unusually high price, an +enormous audience, including a "great store of good company and many +noblemen," passed into the building. Whereupon Vennar seized the money +paid for admission, and showed his victims "a fair pair of heels." The +members of the audience, when they found themselves thus duped, +"revenged themselves upon the hangings, curtains, chairs, stools, +walls, and whatsoever came in their way, very outrageously, and made +great spoil."<a name="FNanchor_271_271" id="FNanchor_271_271"></a><a href="#Footnote_271_271" class="fnanchor">[271]</a></p> + +<p>On February 8, 1603, John Manningham recorded in his <i>Diary</i>: "Turner +and Dun, two famous fencers, playd their prizes this day at the +Bankside, but Turner at last run Dun so far in the brain at the eye, +that he fell down presently stone dead; a goodly sport in a Christian +state, to see one man kill another!" The place where the contest was +held is not specifically mentioned, but in all probability it was the +Swan.<a name="FNanchor_272_272" id="FNanchor_272_272"></a><a href="#Footnote_272_272" class="fnanchor">[272]</a></p> + +<p>For the next eight years all is silence, but we may suppose that the +building was occasionally let for special entertainments such as those +just enumerated.<span class="pagenum"><a name="Page_179" id="Page_179">179</a></span></p> + +<p>In 1611 Henslowe undertook to manage the Lady Elizabeth's Men, +promising among other things to furnish them with a suitable +playhouse. Having disposed of the Rose in 1605, he rented the Swan and +established his company there. In 1613, however, he built the Hope, +and transferred the Lady Elizabeth's Men thither.</p> + +<p>The Swan seems thereafter to have been occupied for a time by Prince +Charles's Men. But the history of this company and its intimate +connection with the Lady Elizabeth's Company is too vague to admit of +definite conclusions. So far as we can judge, the Prince's Men +continued at the Swan until 1615, when Henslowe transferred them to +the Hope.<a name="FNanchor_273_273" id="FNanchor_273_273"></a><a href="#Footnote_273_273" class="fnanchor">[273]</a></p> + +<p>After 1615 the Swan was deserted for five years so far as any records +show. But in 1621 the old playhouse seems to have been again used by +the actors. The Overseers of the Poor in the Liberty of Paris Garden +record in their Account Book: "Monday, April the 9th, 1621, received +of the players £5 3<i>s.</i> 6<i>d.</i>"<a name="FNanchor_274_274" id="FNanchor_274_274"></a><a href="#Footnote_274_274" class="fnanchor">[274]</a> From this it is evident that in +the spring of 1621 some company of players, the name of which has not +yet been discovered, was occupy<span class="pagenum"><a name="Page_180" id="Page_180">180</a></span>ing the Swan. Apparently, however, the +company did not remain there long, for the Account Book records no +payment the following year; nor, although it extends to the year 1671, +does it again record any payments from actors at the Swan. There is, +indeed, no evidence to connect the playhouse with dramatic +performances after 1621.<a name="FNanchor_275_275" id="FNanchor_275_275"></a><a href="#Footnote_275_275" class="fnanchor">[275]</a> In the map of 1627 it is represented as +still standing, but is labeled "the <i>old</i> playhouse," and is not even +named.</p> + +<p>Five years later it is referred to in Nicolas Goodman's <i>Holland's +Leaguer</i> (1632), a pamphlet celebrating one of the most notorious +houses of ill fame on the Bankside.<a name="FNanchor_276_276" id="FNanchor_276_276"></a><a href="#Footnote_276_276" class="fnanchor">[276]</a> Dona Britannica Hollandia, +the proprietress of this house, is represented as having been much +pleased with its situation:</p> + +<div class="blockquot"><p>Especially, and above all the rest, she was most taken with +the report of three famous amphitheatres, which stood so +near situated that her eye might take view of them from the +lowest turret. One was the <i>Continent of the World</i> [i.e., +the Globe], because half the year a world of beauties and +brave spirits resorted unto it; the other was a building of +excellent <i>Hope</i>, and though wild beasts and gladiators did +most possess it, yet the gallants that came to behold<span class="pagenum"><a name="Page_181" id="Page_181">181</a></span> those +combats, though they were of a mixt society, yet were many +noble worthies amongst them; the last which stood, and, as +it were, shak'd hands with this fortress, being in times +past as famous as any of the other, was now fallen to decay, +and like a dying <i>Swanne</i>, hanging down her head, seemed to +sing her own dirge.</p></div> + +<p>This is the last that we hear of the playhouse, that was "in times +past as famous as any of the other." What finally became of the +building we do not know. It is not shown in Hollar's <i>View of London</i>, +in 1647, and probably it had ceased to exist before the outbreak of +the Civil War.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_182" id="Page_182">182</a></span></p> +<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI</h2> + +<h3>THE SECOND BLACKFRIARS</h3> + + +<p><br /><span class="dropcap">I</span>N 1596 Burbage's lease of the plot of ground on which he had erected +the Theatre was drawing to a close, and all his efforts at a renewal +had failed. The owner of the land, Gyles Alleyn, having, in spite of +the terms of the original contract, refused to extend the lease until +1606, was craftily plotting for a substantial increase in the rental; +moreover, having become puritanical in his attitude towards the drama, +he was insisting that if the lease were renewed, the Theatre should be +used as a playhouse for five years only, and then should either be +torn down, or be converted into tenements. Burbage tentatively agreed +to pay the increased rental, but, of course, he could not possibly +agree to the second demand; and when all negotiations on this point +proved futile, he realized that he must do something at once to meet +the awkward situation.</p> + +<p>In the twenty years that had elapsed since the erection of the Theatre +and the Curtain in Holywell, the Bankside had been developed as a +theatrical district, and the Rose and the Swan, not to mention the +Bear Garden, had made the south side of the river the popular place +for entertainments.<span class="pagenum"><a name="Page_183" id="Page_183">183</a></span> Naturally, therefore, any one contemplating the +erection of a playhouse would immediately think of this locality. +Burbage, however, was a man of ideas. He believed that he could +improve on the Bankside as a site for his theatre. He remembered how, +at the outset of his career as a theatrical manager, he had had to +face competition with Richard Farrant who had opened a small "private" +playhouse in Blackfriars. Although that building had not been used as +a "public" playhouse, and had been closed up after a few years of sore +tribulation, it had revealed to Burbage the possibilities of the +Blackfriars precinct for theatrical purposes. In the first place, the +precinct was not under the jurisdiction of the city, so that actors +would not there be subject to the interference of the Lord Mayor and +his Aldermen. As Stevens writes in his <i>History of Ancient Abbeys, +Monasteries, etc.</i>: "All the inhabitants within it were subject to +none but the King ... neither the Mayor, nor the sheriffs, nor any +other officers of the City of London had the least jurisdiction or +authority therein." Blackfriars, therefore, in this fundamental +respect, was just as desirable a location for theatres as was Holywell +to the north of the city, or the Bankside to the south. In the second +place, Blackfriars had a decided advantage over those two suburban +localities in that it was "scituated in the bosome of the +Cittie,"<a name="FNanchor_277_277" id="FNanchor_277_277"></a><a href="#Footnote_277_277" class="fnanchor">[277]</a><span class="pagenum"><a name="Page_184" id="Page_184">184</a></span> near St. Paul's Cathedral, the centre of London life, +and hence was readily accessible to playgoers, even during the +disagreeable winter season. In the third place, the locality was +distinctly fashionable. To give some notion of the character of its +inhabitants, I record below the names of a few of those who lived in +or near the conventual buildings at various times after the +dissolution: George Brooke, Lord Cobham; William Brooke, Lord Cobham, +Lord Chamberlain of the Queen's Household; Henry Brooke, Lord Cobham, +Lord Warden of the Cinque Ports; Sir Thomas Cheney, Treasurer of the +Queen's Household, and Lord Warden of the Cinque Ports; Henry Carey, +Lord Hunsdon, Lord Chamberlain of the Queen's Household; George Carey, +Lord Hunsdon, who as Lord Chamberlain was the patron of Shakespeare's +troupe; Sir Thomas Cawarden, Master of the Revels; Sir Henry +Jerningham, Fee Chamberlain to the Queen's Highness; Sir Willam More, +Chamberlain of the Exchequer; Lord Zanche; Sir John Portynary; Sir +William Kingston; Sir Francis Bryan; Sir John Cheeke; Sir George +Harper; Sir Philip Hoby, Lady Anne Gray; Sir Robert Kyrkham; Lady +Perrin; Sir Christopher More; Sir Henry Neville; Sir Thomas Saunders; +Sir Jerome Bowes; and Lady Jane Guildford.<a name="FNanchor_278_278" id="FNanchor_278_278"></a><a href="#Footnote_278_278" class="fnanchor">[278]</a><span class="pagenum"><a name="Page_185" id="Page_185">185</a></span> Obviously the +locality was free from the odium which the public always associated +with Shoreditch and the Bankside, the recognized homes of the London +stews.<a name="FNanchor_279_279" id="FNanchor_279_279"></a><a href="#Footnote_279_279" class="fnanchor">[279]</a></p> + +<p>Thus, a playhouse erected in the precinct of Blackfriars would escape +all the grave disadvantages of situation which attached to the +existing playhouses in the suburbs, and, on the other hand, would gain +several very important advantages.</p> + +<p>Burbage's originality, however, did not stop with the choice of +Blackfriars as the site of his new theatre; he determined to improve +on the form of building as well. The open-air structure which he had +designed in 1576, and which had since been copied in all public +theatres, had serious disadvantages in that it offered no protection +from the weather. Burbage now resolved to provide a large "public" +playhouse, fully roofed in, with the entire audience and the actors +protected against the inclemency of the sky and the cold of winter. In +short, his dream was of a theatre centrally located, comfortably +heated, and, for its age, luxuriously appointed.</p> + +<p>With characteristic energy and courage he at<span class="pagenum"><a name="Page_186" id="Page_186">186</a></span> once set about the task +of realizing this dream. He found in the Blackfriars precinct a large +building which, he thought, would admirably serve his purpose. This +building was none other than the old Frater of the Monastery, a +structure one hundred and ten feet long and fifty-two feet wide, with +stone walls three feet thick, and a flat roof covered with lead. From +the Loseley documents, which M. Feuillerat has placed at the disposal +of scholars,<a name="FNanchor_280_280" id="FNanchor_280_280"></a><a href="#Footnote_280_280" class="fnanchor">[280]</a> we are now able to reconstruct the old Frater +building, and to point out exactly that portion which was made into a +playhouse.<a name="FNanchor_281_281" id="FNanchor_281_281"></a><a href="#Footnote_281_281" class="fnanchor">[281]</a></p> + +<p>At the time of the dissolution, the top story consisted of a single +large room known as the "Upper Frater," and also as the "Parliament +Chamber" from the fact that the English Parliament met here on several +occasions; here, also, was held the trial before Cardinals Campeggio +and Wolsey for the divorce of the unhappy Queen Catherine and Henry +VIII—a scene destined to be reënacted in the same building by +Shakespeare and his fellows many years later. In 1550 the room was +granted, with various other properties in Blackfriars, to Sir Thomas +Cawarden.<a name="FNanchor_282_282" id="FNanchor_282_282"></a><a href="#Footnote_282_282" class="fnanchor">[282]</a></p> + +<p><span class="pagenum"><a name="Page_187" id="Page_187">187</a></span></p> + +<p style="text-align: center"><br /> +<a name="SECOND_BLACKFRIARS" id="SECOND_BLACKFRIARS"> +<img src="images/2dblackfriars.png" width="416" height="500" alt="" /></a></p> + +<p class="caption">PLAN ILLUSTRATING THE SECOND BLACKFRIARS PLAYHOUSE</p> + +<p class="caption">The Playhouse was made by combining the Hall and the Parlor.</p> + +<p><br /> +The space below the Parliament Chamber was divided into three units. +At the northern end was a "Hall" extending the width of the building. +It is mentioned in the Survey<a name="FNanchor_283_283" id="FNanchor_283_283"></a><a href="#Footnote_283_283" class="fnanchor">[283]</a> of 1548 as "a Hall ...<span class="pagenum"><a name="Page_188" id="Page_188">188</a></span> under the +said Frater"; and again in the side-note: "Memorandum, my Lorde Warden +claimeth the said Hall." Just to the south of the Hall was a "Parlor," +or dining-chamber, "where commonly the friars did use to break their +fast." It is described in the Survey as being "under the said Frater, +of the same length and breadth." The room could not have been of the +"same length and breadth" as the great Parliament Chamber, for not +only would such dimensions be absurd for an informal dining-room, but, +as we are clearly told, the "Infirmary" was also under the Parliament +Chamber, and was approximately one-third the size of the latter.<a name="FNanchor_284_284" id="FNanchor_284_284"></a><a href="#Footnote_284_284" class="fnanchor">[284]</a> +Accordingly I have interpreted the phrase, "of the same length and +breadth," to mean that the Parlor was square. When the room was sold +to Burbage it was said to be fifty-two feet in length from north to +south, which is exactly the breadth of the building from east to west. +The Parlor, as well as the Hall, was claimed by the Lord Warden; and +both were granted to Sir Thomas Cawarden in 1550.</p> + +<p>South of the Parlor was the Infirmary, described as being "at the +western corner of the Inner Cloister" (of which the Frater building +constituted the western side), as being under the Parliament Chamber, +and as being approximately one-third the size of the Parliament +Chamber. The Infirmary seems to have been structurally distinct from<span class="pagenum"><a name="Page_189" id="Page_189">189</a></span> +the Hall and Parlor.<a name="FNanchor_285_285" id="FNanchor_285_285"></a><a href="#Footnote_285_285" class="fnanchor">[285]</a> It was three stories high, consisting of a +"room beneath the Fermary," the Infirmary itself, a "room above the +same";<a name="FNanchor_286_286" id="FNanchor_286_286"></a><a href="#Footnote_286_286" class="fnanchor">[286]</a> while the Parliament Chamber, extending itself "over the +room above the Fermary," constituted a fourth story. Furthermore, not +only was the Infirmary a structural unit distinct from the Hall and +the Parlor at the north, but it never belonged to Cawarden or More, +and hence was not included in the sale to Burbage. It was granted in +1545 to Lady Mary Kingston,<a name="FNanchor_287_287" id="FNanchor_287_287"></a><a href="#Footnote_287_287" class="fnanchor">[287]</a> from whom it passed to her son, Sir +Henry Jerningham, then to Anthony Kempe, who later sold it to Lord +Hunsdon;<a name="FNanchor_288_288" id="FNanchor_288_288"></a><a href="#Footnote_288_288" class="fnanchor">[288]</a> and at the time the playhouse was built, the Infirmary +was still in the occupation of Hunsdon.</p> + +<p>At the northern end of the Frater building, and extending westward, +was a narrow structure fifty feet in length, sixteen feet in breadth, +and three stories in height, regarded as a "part of the frater +parcel." The middle story, which was on the same level with the +Parliament Chamber, was known as the "Duchy Chamber," possibly because +of its use in connection with the sittings of Parliament, or with the +meetings of the<span class="pagenum"><a name="Page_190" id="Page_190">190</a></span> Privy Council there. The building was granted to +Cawarden in 1550.<a name="FNanchor_289_289" id="FNanchor_289_289"></a><a href="#Footnote_289_289" class="fnanchor">[289]</a></p> + +<p>Upon the death of Cawarden all his Blackfriars holdings passed into +the possession of Sir William More. From More, in 1596, James Burbage +purchased those sections of the Frater building which had originally +been granted to Cawarden<a name="FNanchor_290_290" id="FNanchor_290_290"></a><a href="#Footnote_290_290" class="fnanchor">[290]</a>—that is, all the Frater building except +the Infirmary—for the sum of £600, in modern valuation about +$25,000.<a name="FNanchor_291_291" id="FNanchor_291_291"></a><a href="#Footnote_291_291" class="fnanchor">[291]</a> Evidently he had profited by Farrant's experience with +More and by his own experience with Gyles Alleyn, and had determined +to risk no more leases, but in the future to be his own landlord, cost +what it might.</p> + +<p>The properties which he thus secured were:</p> + +<p>(1) The Parliament Chamber, extending over the Hall, Parlor, and +Infirmary. This great chamber, it will be recalled, had previously +been divided by Cawarden into the Frith and Cheeke Lodgings;<a name="FNanchor_292_292" id="FNanchor_292_292"></a><a href="#Footnote_292_292" class="fnanchor">[292]</a> but +now it was arranged as a single tenement of seven rooms, and was +occupied by the eminent physician William de Lawne:<a name="FNanchor_293_293" id="FNanchor_293_293"></a><a href="#Footnote_293_293" class="fnanchor">[293]</a> "All those +seven<span class="pagenum"><a name="Page_191" id="Page_191">191</a></span> great upper rooms as they are now divided, being all upon one +floor, and sometime being one great and entire room, with the roof +over the same, covered with lead." Up into this tenement led a special +pair of stairs which made it wholly independent of the rest of the +building.</p> + +<p>(2) The friar's "Parlor," now made into a tenement occupied by Thomas +Bruskett, and called "the Middle Rooms, or Middle Stories"—possibly +from the fact that it was the middle of three tenements, possibly from +the fact that having two cellars under its northern end it was the +middle of three stories. It is described as being fifty-two feet in +length north and south, and thirty-seven feet in width. Why a strip of +nine feet should have been detached on the eastern side is not clear; +but that this strip was also included in the sale to Burbage is shown +by later documents.</p> + +<p>(3) The ancient "Hall" adjoining the "Parlor" on the north, and now +made into two rooms. These rooms were combined with the ground floor +of the Duchy Chamber building to constitute a tenement occupied by +Peter Johnson: "All those two lower rooms now in the occupation of the +said Peter Johnson, lying directly under part of the said seven great +upper rooms." The dimensions are not<span class="pagenum"><a name="Page_192" id="Page_192">192</a></span> given, but doubtless the two +rooms together extended the entire width of the building and were +approximately as broad as the Duchy Chamber building, with which they +were united.</p> + +<p>(4) The Duchy Chamber building "at the north end of the said seven +great upper rooms, and at the west side thereof." At the time of the +sale the ground floor of this building was occupied by Peter Johnson, +who had also the Hall adjoining it on the west; the middle story was +occupied by Charles Bradshaw; and the top story by Edward Merry.<a name="FNanchor_294_294" id="FNanchor_294_294"></a><a href="#Footnote_294_294" class="fnanchor">[294]</a></p> + +<p>Out of this heterogeneous property Burbage was confronted with the +problem of making a playhouse. Apparently he regarded the Parliament +Chamber as too low, or too inaccessible for the purposes of a theatre; +this part of his property, therefore, he kept as a lodging, and for +many years it served as a dormitory for the child-actors. The Duchy +Chamber building, being small and detached from the Frater building, +he reserved also as a lodging.<a name="FNanchor_295_295" id="FNanchor_295_295"></a><a href="#Footnote_295_295" class="fnanchor">[295]</a> In the Hall and the Parlor, +however,<span class="pagenum"><a name="Page_193" id="Page_193">193</a></span> he saw the possibility of a satisfactory auditorium. Let us +therefore examine this section of the Frater building more in detail, +and trace its history up to the time of the purchase.</p> + +<p>The Parlor was described as "a great room, paved," and was said to +have been "used and occupied by the friars themselves to their own +proper use as a parlor to dine and sup in."<a name="FNanchor_296_296" id="FNanchor_296_296"></a><a href="#Footnote_296_296" class="fnanchor">[296]</a> Sir John Portynary, +whose house adjoined the Duchy Chamber, tells us that in 1550, when +King Edward granted the Blackfriars property to Cawarden, "Sir Thomas +Cawarden, knight, entered into the same house in the name of all that +which the King had given him within the said friars, and made his +lodging there; and about that time did invite this examinant and his +wife to supper there, together with diverse other gentlemen; and they +all supped together with the said Sir Thomas Cawarden, in the same +room [the Parlor] where the said school of fence is now kept, and did +there see a play."<a name="FNanchor_297_297" id="FNanchor_297_297"></a><a href="#Footnote_297_297" class="fnanchor">[297]</a></p> + +<p>Later Cawarden leased the Parlor to a keeper of an ordinary: "One +Woodman did hold the said house where the said school of fence is +kept, and another house thereby of Sir Thomas Cawarden, and in the +other room kept an ordinary table, and had his way to the same through +the said house where the said school of fence is kept."<a name="FNanchor_298_298" id="FNanchor_298_298"></a><a href="#Footnote_298_298" class="fnanchor">[298]</a></p> +<p><span class="pagenum"><a name="Page_194" id="Page_194">194</a></span></p> +<p>In 1563 William Joyner established in the rooms the school of fence +mentioned above, which was still flourishing in 1576.<a name="FNanchor_299_299" id="FNanchor_299_299"></a><a href="#Footnote_299_299" class="fnanchor">[299]</a></p> + +<p>When in 1583 John Lyly became interested in the First Blackfriars +Playhouse, he obtained a lease of the rooms, but it is not clear for +what purpose. Later he sold the lease to Rocho Bonetti, the Italian +fencing-master, who established there his famous school of fence.<a name="FNanchor_300_300" id="FNanchor_300_300"></a><a href="#Footnote_300_300" class="fnanchor">[300]</a> +In George Silver's <i>Paradoxes of Defence</i>, 1599, is a description of +Bonetti's school, which will, I think, help us to reconstruct in our +imagination the "great room, paved" which was destined to become +Shakespeare's playhouse:</p> + +<div class="blockquot"><p>He caused to be fairely drawne and set round about the +schoole all the Noblemen's and Gentlemen's Armes that were +his schollers, and, hanging right under their Armes, their +Rapiers, Daggers, Gloves of Male, and Gantlets. Also he had +benches and stooles, the roome being verie large, for +Gentlemen to sit about his schoole to behold his teaching.</p> + +<p>He taught none commonly under twentie, fortie, fifty, or an +hundred pounds. And because all things should be verie +necessary for the Noblemen and Gentlemen, he had in his +schoole a large square table, with a green carpet, done +round with a verie brode rich fringe of gold; alwaies +standing upon it a verie faire standish covered with crimson +velvet, with inke, pens, pen-dust, and sealing-waxe, and +quiers of verie excellent fine paper, gilded, readie for the +Noblemen and Gentlemen (upon occasion) to write their +letters, being then desirous to follow<span class="pagenum"><a name="Page_195" id="Page_195">195</a></span> their fight, to send +their men to dispatch their businesse.</p> + +<p>And to know how the time passed, he had in one corner of his +Schoole, a Clocke, with a verie faire large diall; he had +within that Schoole a roome the which he called his privie +schoole, with manie weapons therein, where he did teach his +schollers his secret fight, after he had perfectly taught +them their rules. He was verie much loved in the Court.</p></div> + +<p>We are further told by Silver that Bonetti took it upon himself "to +hit anie Englishman with a thrust upon anie button." It is no wonder +that Shakespeare ridiculed him in <i>Romeo and Juliet</i> as "the very +butcher of a silk button," and laughed at his school and his fantastic +fencing-terms:</p> + +<div class="blockquot"><p><i>Mercutio.</i> Ah! the immortal "passado"! the "punto reverso"! +the "hay"!</p> + +<p><i>Benvolio.</i> The what?</p> + +<p><i>Mercutio.</i> The pox of such antick, lisping, affecting +fantasticoes! These new tuners of accents!—"By Jesu, a very +good blade!"</p></div> + +<p>At the date of the sale to Burbage, February 4, 1596, the fencing +school of Bonetti, had become "those rooms and lodgings, with the +kitchen thereunto adjoining, called the Middle Rooms or Middle +Stories, late being in the tenure or occupation of Rocco Bonetti, and +now being in the tenure or occupation of Thomas Bruskett, gentleman."</p> + +<p>To make his playhouse Burbage removed all the partitions in the Middle +Rooms, and restored the Parlor to its original form—a great room +covering the entire breadth of the building, and extending<span class="pagenum"><a name="Page_196" id="Page_196">196</a></span> fifty-two +feet in length from north to south. To this he added the Hall at the +north, which then existed as two rooms in the occupation of Peter +Johnson. The Hall and Parlor when combined made an auditorium +described as "per estimacionem in longitudine ab australe ad borealem +partem eiusdem sexaginta et sex pedes assissæ sit plus sive minus, et +in latitudine ab occidentale ad orientalem partem eiusdem quadraginto +et sex pedes assissæ sit plus sive minus."<a name="FNanchor_301_301" id="FNanchor_301_301"></a><a href="#Footnote_301_301" class="fnanchor">[301]</a> The forty-six feet of +width corresponds to the interior width of the Frater building, for +although it was fifty-two feet wide in outside measurement, the stone +walls were three feet thick. The sixty-six feet of length probably +represents the fifty-two feet of the Parlor plus the breadth of the +Hall.</p> + +<p>The ceiling of these two rooms must have been of unusual height. The +Infirmary, which was below the Parliament Chamber at the south, was +three stories high; and the windows of the Parlor, if we may believe +Pierce the Ploughman, were "wrought as a chirche":</p> + +<div class="cpoem"> +<p> +An halle for an heygh kinge · an household to holden,<br /> +With brode bordes abouten · y-benched well clene,<br /> +With windowes of glas · wrought as a chirche.<br /> +</p> +</div> + +<p style="text-align: center"><br /> +<a name="REMAINS"> +<img src="images/remains.png" width="500" height="266" alt="" /></a></p> + +<p class="caption">REMAINS OF BLACKFRIARS</p> + +<p class="caption">This remnant of the old monastery was discovered in 1872 on the +rebuilding of the offices of <i>The Times</i>. It illustrates the +substantial character of the Blackfriars buildings, and may even be a +part of the old Frater, for <i>The Times</i> occupies that portion of the +monastery. The windows of the Frater, according to Pierce the Ploughman, were +"wrought as a chirche." (From a painting in the Guildhall Museum.)</p> + +<p><br /> +As a result Burbage was able to construct within the auditorium at +least two galleries,<a name="FNanchor_302_302" id="FNanchor_302_302"></a><a href="#Footnote_302_302" class="fnanchor">[302]</a> after the<span class="pagenum"><a name="Page_197" id="Page_197">197</a></span> manner of the public theatres. +The Parliament Chamber above was kept, as I have stated, for +residential purposes. This is why the various legal documents almost +invariably refer to the playhouse as "that great hall or room, with +the rooms over the same."<a name="FNanchor_303_303" id="FNanchor_303_303"></a><a href="#Footnote_303_303" class="fnanchor">[303]</a></p> + +<p>The main entrance to the playhouse was at the north, over the "great +yard" which extended from the Pipe Office to Water Lane.<a name="FNanchor_304_304" id="FNanchor_304_304"></a><a href="#Footnote_304_304" class="fnanchor">[304]</a> The +stage was opposite this entrance, or at the southern end of the hall, +as is shown by one of the documents printed by Mr. Wallace.<a name="FNanchor_305_305" id="FNanchor_305_305"></a><a href="#Footnote_305_305" class="fnanchor">[305]</a> Since +the building was not, like the other playhouses of London, open to the +sky, the illumination was supplied by candles, hung in branches over +the stage; as Gerschow noted, after visiting Blackfriars, "alle bey +Lichte agiret, welches ein gross Ansehen macht."<a name="FNanchor_306_306" id="FNanchor_306_306"></a><a href="#Footnote_306_306" class="fnanchor">[306]</a> The obvious +advantage of artificial light for producing beautiful stage effects +must have added not a little to the popularity of the Blackfriars +Playhouse.</p> + +<p><span class="pagenum"><a name="Page_198" id="Page_198">198</a></span></p><p>The cost of all the alterations and the equipment could hardly have +been less than £300, so that the total cost of the property was at +least £900, or in modern valuation approximately $35,000. Burbage's +sons, in referring to the building years later, declared that their +father had "made it into a playhouse with great charge."</p> + +<p>"And," they added significantly, "with great trouble." The +aristocratic inhabitants of the Blackfriars precinct did not welcome +the appearance in their midst of a "public," or, as some more +scornfully designated it, a "common," playhouse; and when they +discovered the intentions of Burbage, they wrote a strong petition to +the Privy Council against the undertaking. This petition, presented to +the Council in November, 1596, I quote below in part:</p> + +<div class="blockquot"><p>To the right honorable the Lords and others of Her Majesty's +most honorable Privy Council.—Humbly shewing and beseeching +your honors, the inhabitants of the precinct of the +Blackfriars, London, that whereas one Burbage hath lately +bought certain rooms in the same precinct near adjoining +unto the dwelling houses of the right honorable the Lord +Chamberlaine [Lord Cobham] and the Lord of Hunsdon, which +rooms the said Burbage is now altering, and meaneth very +shortly to convert and turn the same into a common +playhouse, which will grow to be a very great annoyance and +trouble, not only to all the noblemen and gentlemen +thereabout inhabiting, but also a general inconvenience to +all the inhabitants of the same precinct, both by rea<span class="pagenum"><a name="Page_199" id="Page_199">199</a></span>son of +the great resort and gathering together of all manner of +vagrant and lewd persons ... as also for that there hath not +at any time heretofore been used any common playhouse within +the same precinct, but that now all players being banished +by the Lord Mayor from playing within the city ... they now +think to plant themselves in liberties, etc.<a name="FNanchor_307_307" id="FNanchor_307_307"></a><a href="#Footnote_307_307" class="fnanchor">[307]</a></p></div> + +<p>The first person to sign the petition was the Dowager Lady Elizabeth +Russell; the second was none other than George Cary, Lord Hunsdon, at +the time the patron of Burbage's company of actors.<a name="FNanchor_308_308" id="FNanchor_308_308"></a><a href="#Footnote_308_308" class="fnanchor">[308]</a> It is not +surprising, therefore, that as a result of this petition the Lords of +the Privy Council (of which Lord Cobham was a conspicuous member) +issued an order in which they "forbad the use of the said house for +plays."<a name="FNanchor_309_309" id="FNanchor_309_309"></a><a href="#Footnote_309_309" class="fnanchor">[309]</a> This order wrecked the plans of Burbage quite as +effectively as did the stubbornness of Gyles Alleyn.</p> + +<p>Possibly the mental distress Burbage suffered at the hands of the +Privy Council and of Gyles Alleyn affected his health; at least he did +not long survive this last sling of fortune. In February, 1597, just +before the expiration of the Alleyn lease, he died, leaving the +Theatre to his son Cuthbert, the bookseller, Blackfriars to his +actor-son, Richard, the star of Shakespeare's troupe, and his troubles +to<span class="pagenum"><a name="Page_200" id="Page_200">200</a></span> both. With good reason Cuthbert declared many years later that the +ultimate success of London theatres had "been purchased by the +infinite cost and pains of the family of Burbages."</p> + +<p>When later in 1597 the Lord Chamberlain's Players were forced to leave +Cuthbert's Theatre, Richard Burbage was not able to establish them in +his comfortable Blackfriars house; instead, they first went to the old +Curtain in Shoreditch, and then, under the leadership of the Burbage +sons, erected for themselves a brand-new home on the Bankside, called +"The Globe."</p> + +<p>The order of the Privy Council had summarily forbidden the use of +Blackfriars as a "public" playhouse. Its proprietor, however, Richard +Burbage, might take advantage of the precedent established in the days +of Farrant, and let the building for use as a "private" theatre.<a name="FNanchor_310_310" id="FNanchor_310_310"></a><a href="#Footnote_310_310" class="fnanchor">[310]</a> +Exactly when he was first able to lease the building as a "private" +house we do not know, for the history of the building between 1597 +(when it was completed) and 1600 (when it was certainly occupied by +the Children of the Chapel) is very indistinct. We have no definite +evidence to connect the Chapel Children, or, indeed, any specific +troupe, with Blackfriars during these years. Yet prior to 1600 the +building seems to have been used for acting. Richard Bur<span class="pagenum"><a name="Page_201" id="Page_201">201</a></span>bage himself +seems to say so. In leasing the building to Evans, in 1600, he says +that he considered "with himself that" Evans could not pay the rent +"except the said Evans could erect and keep a company of playing-boys +or others to play plays and interludes in the said playhouse in such +sort <i>as before time had been there used</i>."<a name="FNanchor_311_311" id="FNanchor_311_311"></a><a href="#Footnote_311_311" class="fnanchor">[311]</a> Now, unless this +refers to Farrant's management of the Chapel Boys in +Blackfriars—nearly a quarter of a century earlier—it means that +before 1600 some actors, presumably "playing-boys," had used Burbage's +theatre. Moreover, there seems to be evidence to show that the troupe +thus vaguely referred to was under the management of Evans; for, in +referring to his lease of Blackfriars in 1600, Evans describes the +playhouse as "then or late in the tenure or occupation of your said +oratour."<a name="FNanchor_312_312" id="FNanchor_312_312"></a><a href="#Footnote_312_312" class="fnanchor">[312]</a> What these vague references mean we cannot now with our +limited knowledge determine. But there is not sufficient evidence to +warrant the usual assumption that Evans and Giles had opened the +Blackfriars with the Children of the Chapel in 1597.<a name="FNanchor_313_313" id="FNanchor_313_313"></a><a href="#Footnote_313_313" class="fnanchor">[313]</a></p> + +<p>The known history of Blackfriars as a regular theatre may be said to +begin in the autumn of 1600. On September 2 of that year, Henry Evans +signed a lease of the playhouse for a period of twenty-one years, at +an annual rental of £40. This interesting<span class="pagenum"><a name="Page_202" id="Page_202">202</a></span> step on the part of Evans +calls for a word of explanation as to his plans.</p> + +<p>The Children of the Chapel Royal, who had attained such glory at +Blackfriars during the Farrant-Hunnis-Evans-Oxford-Lyly régime, had +thereafter sunk into dramatic insignificance. Since 1584, when Lyly +was forced to give up his playhouse, they had not presented a play at +Court. Probably they did not entirely cease to act, for they can be +vaguely traced in the provinces during a part of this period; but +their dramatic glory was almost wholly eclipsed. Evans, who had +managed the Boys under Hunnis, Oxford, and Lyly, hoped now to +reëstablish the Children of the Chapel at Blackfriars as they had been +in his younger days. Like James Burbage, he was a man of ideas. His +plan was to interest in his undertaking the Master of the Chapel, +Nathaniel Giles, who had succeeded to the office at the death of +Hunnis in 1597, and then to make practical use of the patent granted +to the Masters of the Children to take up boys for Her Majesty's +service. Such a patent, in the normal course of events, had been +granted to Giles, as it had been to his predecessors. It read in part +as follows:</p> + +<div class="blockquot"><p>Elizabeth, by the grace of God, &c., to all mayors, +sheriffs, bailiffs, constables, and all other our officers, +greeting. For that it is meet that our Chapel Royal should +be furnished with well-singing children from time to time, +we have, and by these pres<span class="pagenum"><a name="Page_203" id="Page_203">203</a></span>ents do authorize our +well-beloved servant, Nathaniel Giles, Master of our +Children of our said Chapel, or his deputy, being by his +bill subscribed and sealed, so authorized, and having this +our present commission with him, to take such and so many +children as he, or his sufficient deputy, shall think meet, +in all cathedral, collegiate, parish churches, chapels, or +any other place or places, as well within liberty as +without, within this our realm of England, whatsoever they +be.<a name="FNanchor_314_314" id="FNanchor_314_314"></a><a href="#Footnote_314_314" class="fnanchor">[314]</a></p></div> + +<p>In such a commission Evans saw wonderful possibilities. He reasoned +that since the Queen had forced upon the Chapel Children the twofold +service of singing at royal worship and of acting plays for royal +entertainment, this twofold service should be met by a twofold +organization, the one part designed mainly to furnish sacred music, +the other designed mainly to furnish plays. Such a dual organization, +it seemed to him, was now more or less necessary, since the number of +boy choristers in the Chapel Royal was limited to twelve, whereas the +acting of plays demanded at least twice as many. Once the principle +that the Chapel Royal should supply the Queen with plays was granted, +the commission could be used to furnish the necessary actors; and the +old fiction, established by Farrant and Hunnis, of using a "private" +playhouse as a means of exercising or training the boys for Court +service, would enable the promoters to give public<span class="pagenum"><a name="Page_204" id="Page_204">204</a></span> performances and +thus handsomely reimburse themselves for their trouble.</p> + +<p>Such was Evans's scheme, based upon his former experience with the +Children at Farrant's Blackfriars, and suggested, perhaps, by the +existence of Burbage's Blackfriars now forbidden to the "common" +players. He presented his scheme to Giles, the Master of the Children; +and Giles, no doubt, presented it at Court; for he would hardly dare +thus abuse the Queen's commission, or thus make a public spectacle of +the royal choristers, without in some way first consulting Her +Majesty, and securing at least her tacit consent. That Giles and Evans +did secure royal permission to put their scheme into operation is +certain, although the exact nature of this permission is not clear. +Later, for misdemeanors on the part of the management, the Star +Chamber ordered "that all assurances made to the said Evans concerning +the said house, or plays, or interludes, should be utterly void, and +to be delivered up to be cancelled."<a name="FNanchor_315_315" id="FNanchor_315_315"></a><a href="#Footnote_315_315" class="fnanchor">[315]</a></p> + +<p>Armed with these written "assurances," and with the royal commission +to take up children, Evans and Giles began to form their company. This +explains the language used by Heminges and Burbage: "let the said +playhouse unto Henry Evans ... who intended then presently to erect or +set up a company of boys."<a name="FNanchor_316_316" id="FNanchor_316_316"></a><a href="#Footnote_316_316" class="fnanchor">[316]</a> Their method of<span class="pagenum"><a name="Page_205" id="Page_205">205</a></span> recruiting players +may best be told by Henry Clifton, in his complaint to the Queen:</p> + +<div class="blockquot"><p>But so it is, most excellent Sovereign, that the said +Nathaniel Giles, confederating himself with one James +Robinson, Henry Evans, and others,<a name="FNanchor_317_317" id="FNanchor_317_317"></a><a href="#Footnote_317_317" class="fnanchor">[317]</a> yet unto Your +Majesty's said subject unknown how [many], by color of Your +Majesty's said letters patents, and the trust by Your +Highness thereby to him, the said Nathaniel Giles, +committed, endeavoring, conspiring, and complotting how to +oppress diverse of Your Majesty's humble and faithful +subjects, and thereby to make unto themselves an unlawful +gain and benefit, they, the said confederates, devised, +conspired, and concluded, for their own corrupt gain and +lucre, to erect, set up, furnish, and maintain a playhouse, +or place in the Blackfriars, within Your Majesty's city of +London; and to the end they might the better furnish their +said plays and interludes with children, whom they thought +most fittest to act and furnish the said plays, they, the +said confederates, abusing the authority and trust by Your +Highness to him, the said Nathaniel Giles, and his deputy or +deputies, by Your Highness's said letters patents given and +reposed, hath, sithence Your Majesty's last free and general +pardon, most wrongfully, unduly, and unjustly taken diverse +and several children from diverse and sundry schools of +learning and other places, and apprentices to men of trade +from their masters, no way fitting for Your Majesty's +service in or for your Chapel Royal, but the children have +so taken and employed in acting and furnishing of the said +plays and interludes, so by them complotted and<span class="pagenum"><a name="Page_206" id="Page_206">206</a></span> agreed to +be erected, furnished, and maintained, against the wills of +the said children, their parents, tutors, masters, and +governors, and to the no small grief and oppressions [of] +Your Majesty's true and faithful subjects. Amongst which +numbers, so by the persons aforesaid and their agents so +unjustly taken, used and employed, they have unduly taken +and so employed one John Chappell, a grammar school scholar +of one Mr. Spykes School near Cripplegate, London; John +Motteram, a grammar scholar in the free school at +Westminster; Nathaniel Field, a scholar of a grammar school +in London kept by one Mr. Monkaster;<a name="FNanchor_318_318" id="FNanchor_318_318"></a><a href="#Footnote_318_318" class="fnanchor">[318]</a> Alvery Trussell, +an apprentice to one Thomas Gyles; one Phillipp Pykman and +[one] Thomas Grymes, apprentices to Richard and George +Chambers; Salmon Pavy,<a name="FNanchor_319_319" id="FNanchor_319_319"></a><a href="#Footnote_319_319" class="fnanchor">[319]</a> apprentice to one Peerce; being +children no way able or fit for singing, nor by any the said +confederates endeavoured to be taught to sing, but by them, +the said confederates, abusively employed, as aforesaid, +only in plays and interludes.<a name="FNanchor_320_320" id="FNanchor_320_320"></a><a href="#Footnote_320_320" class="fnanchor">[320]</a></p></div> + +<p>In spite of the obvious animosity inspiring Clifton's words, we get +from his complaint a clear notion of how Evans and Giles supplemented +the Children of the Chapel proper with actors. In a short time they +brought together at Blackfriars a remarkable troupe of boy-players, +who, with Jonson and Chapman as their poets, began to astonish London. +For, in spite of certain limitations, "the<span class="pagenum"><a name="Page_207" id="Page_207">207</a></span> children" could act with a +charm and a grace that often made them more attractive than their +grown-up rivals. Middleton advises the London gallant "to call in at +the Blackfriars, where he should see a nest of boys able to ravish a +man."<a name="FNanchor_321_321" id="FNanchor_321_321"></a><a href="#Footnote_321_321" class="fnanchor">[321]</a> Jonson gives eloquent testimony to the power of little +Salathiel Pavy to portray the character of old age:</p> + +<div class="cpoems"> +<p> +Years he numbered scarce thirteen<br /> +<span style="margin-left: 1em;">When Fates turned cruel,</span><br /> +Yet three filled zodiacs had he been<br /> +<span style="margin-left: 1em;">The stage's jewel;</span><br /> +And did act, what now we moan,<br /> +<span style="margin-left: 1em;">Old men so duly,</span><br /> +As, sooth, the Parcae thought him one,<br /> +<span style="margin-left: 1em;">He played so truly.<a name="FNanchor_322_322" id="FNanchor_322_322"></a><a href="#Footnote_322_322" class="fnanchor">[322]</a></span><br /> +</p> +</div> + +<p>And Samuel Pepys records the effectiveness of a child-actor in the +rôle of women: "One Kinaston, a boy, acted the Duke's sister, but made +the loveliest lady that ever I saw in my life."<a name="FNanchor_323_323" id="FNanchor_323_323"></a><a href="#Footnote_323_323" class="fnanchor">[323]</a></p> + +<p>Moreover, to expert acting these Boys of the Chapel Royal added the +charms of vocal and instrumental music, for which many of them had +been specially trained. The Duke of Stettin-Pomerania, who upon his +grand tour of the European countries in 1602 attended a play at +Blackfriars, bears eloquent testimony to the musical powers of the +children: "For a whole hour before the play<span class="pagenum"><a name="Page_208" id="Page_208">208</a></span> begins, one listens to +charming [<i>köstliche</i>] instrumental music played on organs, lutes, +pandorins, mandolins, violins, and flutes; as, indeed, on this +occasion, a boy sang <i>cum voce tremula</i> to the accompaniment of a +bass-viol, so delightfully [<i>lieblich</i>] that, if the Nuns at Milan did +not excel him, we had not heard his equal in our travels."<a name="FNanchor_324_324" id="FNanchor_324_324"></a><a href="#Footnote_324_324" class="fnanchor">[324]</a> In +addition, the Children were provided with splendid apparel—though not +at the cost of the Queen, as Mr. Wallace contends.<a name="FNanchor_325_325" id="FNanchor_325_325"></a><a href="#Footnote_325_325" class="fnanchor">[325]</a> Naturally they +became popular. On January 6, 1601, they were summoned to Court to +entertain Her Majesty—the first recorded performance of the Children +of the Chapel at Court since the year 1584, when Sir William More +closed the first Blackfriars.</p> + +<p>Perhaps the most interesting testimony to the success of the Chapel +Children in their new playhouse is that uttered by Shakespeare in +<i>Hamlet</i> (1601), in which he speaks of the performances by the "little +eyases" as a "late innovation." The success of the "innovation" had +driven Shake<span class="pagenum"><a name="Page_209" id="Page_209">209</a></span>speare and his troupe of grown-up actors to close the +Globe and travel in the country, even though they had <i>Hamlet</i> as an +attraction. The good-natured way in which Shakespeare treats the +situation is worthy of special observation:</p> + +<div class="blockquot"><p><i>Ham.</i> What players are they?</p> + +<p><i>Ros.</i> Even those you were wont to take delight in, the +tragedians of the city.<a name="FNanchor_326_326" id="FNanchor_326_326"></a><a href="#Footnote_326_326" class="fnanchor">[326]</a></p> + +<p><i>Ham.</i> How chances it they travel? their residence, both in +reputation and profit, was better both ways.<a name="FNanchor_327_327" id="FNanchor_327_327"></a><a href="#Footnote_327_327" class="fnanchor">[327]</a></p> + +<p><i>Ros.</i> I think their inhibition comes by means of the late +innovation.</p> + +<p><i>Ham.</i> Do they hold the same estimation they did when I was +in the city? are they so followed?</p> + +<p><i>Ros.</i> No, indeed, they are not!</p> + +<p><i>Ham.</i> How comes it? do they grow rusty?</p> + +<p><i>Ros.</i> Nay, their endeavour keeps in the wonted pace; but +there is, sir, an aerie of children,<a name="FNanchor_328_328" id="FNanchor_328_328"></a><a href="#Footnote_328_328" class="fnanchor">[328]</a> little eyases, +that cry out on the top of question, and are most +tyrannically clapped for 't. These are now the fashion, and +so berattle the "common stages"—so they call them—that +many wearing rapiers [i.e., gallants] are afraid of +goose-quills, and dare scarce come thither.</p> + +<p><i>Ham.</i> What! are they children? who maintains 'em? how are +they escoted? Will they pursue the quality no longer than +they can sing?</p></div> + +<p>The passage ends with the question from Hamlet: "Do the boys carry it +away?" which gives Rosencrantz an opportunity to pun on the sign of<span class="pagenum"><a name="Page_210" id="Page_210">210</a></span> +the Globe Playhouse: "Ay, that they do, my lord; Hercules and his +load, too."</p> + +<p>Shortly after the great dramatist had penned these words, the +management of Blackfriars met with disaster. The cause, however, went +back to December 13, 1600, when Giles and Evans were gathering their +players. In their overweening confidence they made a stupid blunder in +"taking up" for their troupe the only son and heir of Henry Clifton, a +well-to-do gentleman of Norfolk, who had come to London for the +purpose of educating the boy. Clifton says in his complaint that +Giles, Evans, and their confederates, "well knowing that your +subject's said son had no manner of sight in song, nor skill in +music," on the 13th day of December, 1600, did "waylay the said Thomas +Clifton" as he was "walking quietly from your subject's said house +towards the said school," and "with great force and violence did seize +and surprise, and him with like force and violence did, to the great +terror and hurt of him, the said Thomas Clifton, haul, pull, drag, and +carry away to the said playhouse." As soon as the father learned of +this, he hurried to the playhouse and "made request to have his said +son released." But Giles and Evans "utterly and scornfully refused to +do" this. Whereupon Clifton threatened to complain to the Privy +Council. But Evans and Giles "in very scornful manner willed your said +subject to complain to whom he would." Clifton suggested that "it was +not fit that a gentle<span class="pagenum"><a name="Page_211" id="Page_211">211</a></span>man of his sort should have his son and heir +(and that his only son) to be so basely used." Giles and Evans "most +arrogantly then and there answered that they had authority sufficient +so to take any nobleman's son in this land"; and further to irritate +the father, they immediately put into young Thomas's hand "a scroll of +paper, containing part of one of their said plays or interludes, and +him, the said Thomas Clifton, commanded to learn the same by heart," +with the admonition that "if he did not obey the said Evans, he should +be surely whipped."<a name="FNanchor_329_329" id="FNanchor_329_329"></a><a href="#Footnote_329_329" class="fnanchor">[329]</a></p> + +<p>Clifton at once appealed to his friend, Sir John Fortescue, a member +of the Privy Council, at whose order young Thomas was released and +sent back to his studies. Apparently this ended the episode. But +Clifton, nourishing his animosity, began to investigate the management +of Blackfriars, and to collect evidence of similar abuses of the +Queen's commission, with the object of making complaint to the Star +Chamber. In October, 1601, Evans, it seems, learned of Clifton's +purpose, for on the 21st of that month he deeded all his property to +his son-in-law, Alexander Hawkins.<a name="FNanchor_330_330" id="FNanchor_330_330"></a><a href="#Footnote_330_330" class="fnanchor">[330]</a> Clifton finally presented his +complaint to the Star Chamber on December 15, 1601,<a name="FNanchor_331_331" id="FNanchor_331_331"></a><a href="#Footnote_331_331" class="fnanchor">[331]</a> but his +complaint was probably not acted on until early in 1602, for during +the<span class="pagenum"><a name="Page_212" id="Page_212">212</a></span> Christmas holidays the Children were summoned as usual to present +their play before the Queen.<a name="FNanchor_332_332" id="FNanchor_332_332"></a><a href="#Footnote_332_332" class="fnanchor">[332]</a></p> + +<p>Shortly after this, however, the Star Chamber passed on Clifton's +complaint. The decree itself is lost, but the following reference to +it is made in a subsequent lawsuit: "The said Evans ... was censured +by the right honorable Court of Star Chamber for his unorderly +carriage and behaviour in taking up of gentlemen's children against +their wills and to employ them for players, and for other misdemeanors +in the said Decree contained; and further that all assurances made to +the said Evans concerning the said house or plays or interludes<span class="pagenum"><a name="Page_213" id="Page_213">213</a></span> +should be utterly void, and to be delivered up to be canceled."<a name="FNanchor_333_333" id="FNanchor_333_333"></a><a href="#Footnote_333_333" class="fnanchor">[333]</a> +Doubtless the decree fell with equal force upon Giles and the others +connected with the enterprise, for after the Star Chamber decree Giles +and Robinson disappear from the management of the playhouse. Evans was +forbidden to have any connection with plays there; and for a time, no +doubt, the building was closed.</p> + +<p>Evans, however, still held the lease, and was under the necessity of +paying the rent as before. Then came forward Edward Kirkham, who, in +his official capacity as Yeoman of the Revels, had become acquainted +with the dramatic activities of the Children of the Chapel. He saw an +opportunity to take over the Blackfriars venture now that Evans and +probably Giles had been forbidden by the Star Chamber to have any +connection with plays in that building. Having associated with him +William Rastell, a merchant, and Thomas Kendall,<a name="FNanchor_334_334" id="FNanchor_334_334"></a><a href="#Footnote_334_334" class="fnanchor">[334]</a> a haberdasher, +he made overtures to Evans, the owner of the lease. Evans, however, +was determined to retain a half-interest in the playhouse, and to +evade the order of the Star Chamber by using his son-in-law, Alexander +Hawkins, as his agent. Accordingly, on April 20, 1602, "Articles of +Agreement" were signed between Evans and Hawkins on the one part, and +Kirkham, Rastell, and<span class="pagenum"><a name="Page_214" id="Page_214">214</a></span> Kendall on the other part, whereby the latter +were admitted to a half-interest in the playhouse and in the troupe of +child-actors. Kirkham, Rastell, and Kendall agreed to pay one-half of +the annual rent of £40,<a name="FNanchor_335_335" id="FNanchor_335_335"></a><a href="#Footnote_335_335" class="fnanchor">[335]</a> to pay one-half of the repairs on the +building, and in addition to spend £400 on apparel and furnishings for +the troupe. Under this reorganization—with Evans as a secret +partner—the Children continued to act with their customary success.</p> + +<p>About a month later, however, Lord Hunsdon, the Lord Chamberlain, +whose house adjoined Blackfriars, seems to have inquired into the +affairs of the new organization.<a name="FNanchor_336_336" id="FNanchor_336_336"></a><a href="#Footnote_336_336" class="fnanchor">[336]</a> What Kirkham told him led him to +order Evans off the premises. Evans informs us that he was "commanded +by his Lordship to avoid and leave the same; for fear of whose +displeasure, the complainant [Evans] was forced to leave the +country."<a name="FNanchor_337_337" id="FNanchor_337_337"></a><a href="#Footnote_337_337" class="fnanchor">[337]</a> He felt it prudent to remain away from London "for a +long space and time"; yet he "lost nothing," for "he left the said +Alexander Hawkins to deal for him and to take such benefit of the said +house as should belong unto him in his absence."<a name="FNanchor_338_338" id="FNanchor_338_338"></a><a href="#Footnote_338_338" class="fnanchor">[338]</a></p> + +<p>If we may judge from the enthusiastic account given by the Duke of +Stettin-Pomerania, who vis<span class="pagenum"><a name="Page_215" id="Page_215">215</a></span>ited Blackfriars in the September +following, the Children were just as effective under Kirkham's +management as they had been under the management of Giles and Evans. +It is to be noted, however, that Elizabeth did not again invite the +Blackfriars troupe to the Court.</p> + +<p>The death of the Queen in 1603 led to the closing of all playhouses. +This was followed by a long attack of the plague, so that for many +months Blackfriars was closed, and "by reason thereof no such profit +and commodity was raised and made of and by the said playhouse as was +hoped for."<a name="FNanchor_339_339" id="FNanchor_339_339"></a><a href="#Footnote_339_339" class="fnanchor">[339]</a> Evans actually "treated" with Richard Burbage "about +the surrendering and giving up the said lease," but Burbage declined +to consider the matter.</p> + +<p>Shortly after this the plague ceased, and acting, stimulated by King +James's patronage, was resumed with fervor. The Blackfriars Company +was reorganized under Edward Kirkham, Alexander Hawkins (acting for +Evans), Thomas Kendall, and Robert Payne: and on February 4, 1604, it +secured a royal patent to play under the title "The Children of the +Queen's Revels."<a name="FNanchor_340_340" id="FNanchor_340_340"></a><a href="#Footnote_340_340" class="fnanchor">[340]</a> According to this<span class="pagenum"><a name="Page_216" id="Page_216">216</a></span> patent, the poet Samuel +Daniel was specially appointed to license their plays: "Provided +always that no such plays or shows shall be presented before the said +Queen our wife by the said Children, or by them anywhere publicly +acted, but by the approbation and allowance of Samuel Daniel, whom her +pleasure is to appoint for that purpose." At this time, too, or not +long after, John Marston was allowed a share in the organization, and +thus was retained as one of its regular playwrights.</p> + +<p>The success of the new company is indicated by the fact that it was +summoned to present a play at Court in February, 1604, and again two +plays in January, 1605. Evans's activity in the management of the +troupe in spite of the order of the Star Chamber is evident from the +fact that the payment for the last two court performances was made +directly to him.</p> + +<p>In the spring of 1604 the company gave serious offense by acting +Samuel Daniel's <i>Philotas</i>, which was supposed to relate to the +unfortunate Earl of Essex; but the blame must have fallen largely on +Daniel, who not only wrote the play, but also licensed its +performance. He was summoned before the Privy Council to explain, and +seems to have fully proved his innocence. Shortly after this he +published the play with an apology affixed.<a name="FNanchor_341_341" id="FNanchor_341_341"></a><a href="#Footnote_341_341" class="fnanchor">[341]</a></p> + +<p>The following year the Children gave much more<span class="pagenum"><a name="Page_217" id="Page_217">217</a></span> serious offense by +acting <i>Eastward Hoe</i>, a comedy in which Marston, Chapman, and Jonson +collaborated. Not only did the play ridicule the Scots in general, and +King James's creation of innumerable knights in particular, but one of +the little actors was actually made, it seems, to mimic the royal +brogue: "I ken the man weel; he is one of my thirty pound Knights." +Marston escaped by timely flight, but Jonson and Chapman were arrested +and lodged in jail, and were for a time in some danger of having their +nostrils slit and their ears cropped. Both Chapman and Jonson asserted +that they were wholly innocent, and Chapman openly put the blame of +the offensive passages on Marston.<a name="FNanchor_342_342" id="FNanchor_342_342"></a><a href="#Footnote_342_342" class="fnanchor">[342]</a> Marston, however, was beyond +the reach of the King's wrath, so His Majesty punished instead the men +in control of Blackfriars. It was discovered that the manager, +Kirkham, had presented the play without securing the Lord +Chamberlain's allowance. As a result, he and the others in charge of +the Children were prohibited from any further connection with the +playhouse. This doubtless explains the fact that Kirkham shortly after +appears as one of the managers of Paul's Boys.<a name="FNanchor_343_343" id="FNanchor_343_343"></a><a href="#Footnote_343_343" class="fnanchor">[343]</a> It explains, also, +the following statement made by Evans in the course of one of the +later legal documents: "After the King's most excellent Majesty, upon +some mis<span class="pagenum"><a name="Page_218" id="Page_218">218</a></span>demeanors committed in or about the plays there, <i>and +specially upon the defendant's</i> [Kirkham's] <i>acts and doings there</i>, +had prohibited that no plays should be more used there," etc.<a name="FNanchor_344_344" id="FNanchor_344_344"></a><a href="#Footnote_344_344" class="fnanchor">[344]</a> Not +only was Kirkham driven from the management of the troupe and the +playhouse closed for a time, but the Children were denied the Queen's +patronage. No longer were they allowed to use the high-sounding title +"The Children of the Queen's Majesty's Revels"; instead, we find them +described merely as "The Children of the Revels," or as "The Children +of Blackfriars."<a name="FNanchor_345_345" id="FNanchor_345_345"></a><a href="#Footnote_345_345" class="fnanchor">[345]</a></p> + +<p>For a time, no doubt, affairs at the playhouse were at a standstill. +Evans again sought to surrender his lease to Burbage, but without +success.<a name="FNanchor_346_346" id="FNanchor_346_346"></a><a href="#Footnote_346_346" class="fnanchor">[346]</a> Marston, having escaped the wrath of the King by flight, +decided to end his career as a playwright and turn country parson. It +was shortly after this, in all probability, that he sold his share in +the Blackfriars organization to one Robert Keysar, a goldsmith of +London, for the sum of £100.<a name="FNanchor_347_347" id="FNanchor_347_347"></a><a href="#Footnote_347_347" class="fnanchor">[347]</a></p> + +<p>Keysar, it seems, undertook to reopen the playhouse, and to continue +the Children there at his own expense.<a name="FNanchor_348_348" id="FNanchor_348_348"></a><a href="#Footnote_348_348" class="fnanchor">[348]</a> From the proprietors he +rented the playhouse, the stock of apparel, the furnishings,<span class="pagenum"><a name="Page_219" id="Page_219">219</a></span> and +playbooks. This, I take it, explains the puzzling statement made by +Kirkham some years later:</p> + +<div class="blockquot"><p>This repliant [Kirkham] and his said partners [Rastell and +Kendall] have had and received the sum of one hundred pounds +per annum for their part and moiety in the premises without +any manner of charges whatsoever [i.e., during Kirkham's +management of the troupe prior to 1605].<a name="FNanchor_349_349" id="FNanchor_349_349"></a><a href="#Footnote_349_349" class="fnanchor">[349]</a> And after that +this replyant and his said partners had received the +foresaid profits [i.e., after Kirkham and his partners had +to give up the management of the Children in 1605], the said +Children, which the said Evans in his answer affirmeth to be +the Queen's Children [i.e., they are no longer the Queen's +Children, for after 1605 they had been deprived of the +Queen's patronage; but Kirkham was in error, for Evans with +legal precision had referred to the company as 'The Queen's +Majesty's Children of the Revels (for so it was often +called)'] were masters themselves [i.e., their own +managers], and this complainant and his said partners +received of them, and of one Keysar who was interest with +them, above the sum of one hundred and fifty pounds per +annum only for the use of the said great hall, without all +manner of charges, as this replyant will make it manifest to +this honorable court.<a name="FNanchor_350_350" id="FNanchor_350_350"></a><a href="#Footnote_350_350" class="fnanchor">[350]</a></p></div> + +<p>Under Keysar's management the Blackfriars troupe continued to act as +the Children of the<span class="pagenum"><a name="Page_220" id="Page_220">220</a></span> Revels. But, unfortunately, they had not learned +wisdom from their recent experience, and in the very following year we +find them again in serious trouble. John Day's <i>Isle of Guls</i>, acted +in February, 1606, gave great offense to the Court. Sir Edward Hoby, +in a letter to Sir Thomas Edwards,<a name="FNanchor_351_351" id="FNanchor_351_351"></a><a href="#Footnote_351_351" class="fnanchor">[351]</a> writes: "At this time was much +speech of a play in the Blackfriars, where, in the <i>Isle of Guls</i>, +from the highest to the lowest, all men's parts were acted of two +diverse nations. As I understand, sundry were committed to +Bridewell."<a name="FNanchor_352_352" id="FNanchor_352_352"></a><a href="#Footnote_352_352" class="fnanchor">[352]</a></p> + +<p>The Children, however, were soon allowed to resume playing, and they +continued for a time without mishap. But in the early spring of 1608 +they committed the most serious offense of all by acting Chapman's +<i>Conspiracy and Tragedy of Charles, Duke of Byron</i>. The French +Ambassador took umbrage at the uncomplimentary representation of the +contemporary French Court, and had an order made forbidding them to +act the play. But the Children, "voyant toute la Cour dehors, ne +laisserent de la faire, et non seulement cela, mais y introduiserent +la Reine et Madame de Ver<span class="pagenum"><a name="Page_221" id="Page_221">221</a></span>neuil, traitant celle-ci fort mal de +paroles, et lui donnant un soufflet." Whereupon the French Ambassador +made special complaint to Salisbury, who ordered the arrest of the +author and the actors. "Toutefois il ne s'en trouva que trois, qui +aussi-tôt furent menés à la prison où ils sont encore; mais le +principal, qui est le compositeur, échapa."<a name="FNanchor_353_353" id="FNanchor_353_353"></a><a href="#Footnote_353_353" class="fnanchor">[353]</a> The Ambassador +observes also that a few days before the Children of the Revels had +given offense by a play on King James: "Un jour ou deux avant, ils +avoient dépêché leur Roi, sa mine d'Ecosse, et tous ses Favoris d'une +étrange sorte; car aprés lui avoir fait dépiter le Ciel sur le vol +d'un oisseau, et fait battre un Gentilhomme pour avoir rompu ses +chiens, ils le dépeignoient ivre pour le moins une fois le jour."<a name="FNanchor_354_354" id="FNanchor_354_354"></a><a href="#Footnote_354_354" class="fnanchor">[354]</a> +As a result of these two offenses, coming as a climax to a long series +of such offenses, the King was "extrêmement irrité contre ces<span class="pagenum"><a name="Page_222" id="Page_222">222</a></span> +marauds-là," and gave order for their immediate suppression. This +marked the end of the child-actors at Blackfriars.</p> + +<p>Naturally Kirkham, Rastell, and Kendall, since there was "no profit +made of the said house, but a continual rent of forty pounds to be +paid for the same," became sick of their bargain with Evans. An +additional reason for their wishing to withdraw finally from the +enterprise was the rapid increase of the plague, which about July 25 +closed all playhouses. So Kirkham, "at or about the 26 of July, 1608, +caused the apparrels, properties, and goods belonging to the +copartners, sharers, and masters" to be divided. Kirkham and his +associates took away their portions, and "quit the place," the +one-time manager using to Evans some unkind words: "said he would deal +no more with it, 'for,' quod he, 'it is a base thing,' or used words +to such or very like effect."<a name="FNanchor_355_355" id="FNanchor_355_355"></a><a href="#Footnote_355_355" class="fnanchor">[355]</a> Evans, thus deserted by Kirkham, +Rastell, and Kendall, regarded the organization of the Blackfriars as +dissolved; he "delivered up their commission which he had under the +Great Seal authorizing them to play, and discharged diverse of the +partners and poets."</p> + +<p>Robert Keysar, however, the old manager, laid plans to keep the +Children together, and continue them as a troupe after the cessation +of the plague. For a while, we are told, he maintained them at his own +expense, "in hope to have enjoyed his said<span class="pagenum"><a name="Page_223" id="Page_223">223</a></span> bargain ... upon the +ceasing of the general sickness."<a name="FNanchor_356_356" id="FNanchor_356_356"></a><a href="#Footnote_356_356" class="fnanchor">[356]</a> And he expected, by virtue of +the share he had purchased from John Marston, to be able to use the +Blackfriars Playhouse for his purpose.</p> + +<p>In the meanwhile Evans began negotiations with Burbage for the +surrender of the lease: "By reason the said premises lay then and had +long lyen void and without use for plays, whereby the same became not +only burthensome and unprofitable unto the said Evans, but also ran +far into decay for want of reparations ... the said Evans began to +treat with the said Richard Burbage about a surrender of the said +Evans his said lease."<a name="FNanchor_357_357" id="FNanchor_357_357"></a><a href="#Footnote_357_357" class="fnanchor">[357]</a> This time Burbage listened to the +proposal, for he and his fellow-actors at the Globe "considered that +the house would be fit for themselves." So in August, 1608, he agreed +to take over the building for the use of the King's Men.</p> + +<p>Even after Evans's surrender of the lease, Keysar, it seems, made an +effort to keep the Children together. On the following Christmas, +1608-09, we find a record of payment to him for performances at Court, +by "The Children of Blackfriars." But soon after this the troupe must +have been disbanded. Keysar says that they were "enforced to be +dispersed and turned away to the abundant hurt of the said young +men";<a name="FNanchor_358_358" id="FNanchor_358_358"></a><a href="#Footnote_358_358" class="fnanchor">[358]</a> and the Burbages and Heminges declare that the children +"were dis<span class="pagenum"><a name="Page_224" id="Page_224">224</a></span>persed and driven each of them to provide for himself by +reason that the plays ceasing in the City of London, either through +sickness, or for some other cause, he, the said complainant [Keysar], +was no longer able to maintain them together."<a name="FNanchor_359_359" id="FNanchor_359_359"></a><a href="#Footnote_359_359" class="fnanchor">[359]</a> In the autumn of +1609, however, Keysar assembled the Children again, reorganized them +with the assistance of Philip Rosseter, and placed them in Whitefriars +Playhouse, recently left vacant by the disruption of the Children of +His Majesty's Revels. Their subsequent history will be found related +in the <a href="#CHAPTER_XV">chapter</a> dealing with that theatre.</p> + +<p>When in August, 1608, Richard Burbage secured from Evans the surrender +of the Blackfriars lease, he at once proceeded to organize from the +Globe Company a syndicate to operate the building as a playhouse. He +admitted to partnership in the new enterprise all of the then sharers +in the Globe except Witter and Nichols, outsiders who had secured +their interest through marriage with the heirs of Pope and Phillips, +and who, therefore, were not entitled to any consideration. In +addition, he admitted Henry Evans, doubtless in fulfillment of a +condition in the surrender of the lease. The syndicate thus formed was +made up of seven equal sharers, as follows: Richard Burbage, Cuthbert +Burbage, Henry Evans, William Shakespeare, John Heminges, Henry +Condell, and William Slye. These sharers leased the building from +Richard<span class="pagenum"><a name="Page_225" id="Page_225">225</a></span> Burbage for a period of twenty-one years,<a name="FNanchor_360_360" id="FNanchor_360_360"></a><a href="#Footnote_360_360" class="fnanchor">[360]</a> at the old +rental of £40 per annum, each binding himself to pay annually the sum +of £5 14<i>s.</i> 4<i>d.</i><a name="FNanchor_361_361" id="FNanchor_361_361"></a><a href="#Footnote_361_361" class="fnanchor">[361]</a> The method of distributing the profits between +the sharers (known as "housekeepers") and the actors (known as the +"company") was to be the same as that practiced at the Globe.<a name="FNanchor_362_362" id="FNanchor_362_362"></a><a href="#Footnote_362_362" class="fnanchor">[362]</a></p> + +<p>Soon after this organization was completed, the King's Men moved from +the Globe to the Blackfriars. They did not, of course, intend to +abandon the Globe. Their plan was to use the Blackfriars as a "winter +home," and the Globe as a "summer house."<a name="FNanchor_363_363" id="FNanchor_363_363"></a><a href="#Footnote_363_363" class="fnanchor">[363]</a> Malone observed from +the Herbert Manuscript that "the King's Company usually began to play +at the Globe in the month of May";<a name="FNanchor_364_364" id="FNanchor_364_364"></a><a href="#Footnote_364_364" class="fnanchor">[364]</a> although he failed to state at +what time in the autumn they usually moved to the Blackfriars, the +evidence points to the first of November.</p> + +<p>Such a plan had many advantages. For one thing, it would prevent the +pecuniary losses often<span class="pagenum"><a name="Page_226" id="Page_226">226</a></span> caused by a severe winter. In the <i>Poetaster</i> +(1601), Jonson makes Histrio, representing the Globe Players, say: "O, +it will get us a huge deal of money, and we have need on't, for this +winter has made us all poorer than so many starved snakes; nobody +comes at us."<a name="FNanchor_365_365" id="FNanchor_365_365"></a><a href="#Footnote_365_365" class="fnanchor">[365]</a> This could not be said of the King's Men after they +moved to the Blackfriars. Edward Kirkham, a man experienced in +theatrical finances, offered to prove to the court in 1612 that the +King's Men "got, and as yet doth, more in one winter in the said great +hall by a thousand pounds than they were used to get on the +Bankside."<a name="FNanchor_366_366" id="FNanchor_366_366"></a><a href="#Footnote_366_366" class="fnanchor">[366]</a></p> + +<p>Kirkham's testimony as to the popularity of the King's Men in their +winter home is borne out by a petition to the city authorities made by +"the constables and other officers and inhabitants of Blackfriars" in +January, 1619. They declared that to the playhouse "there is daily +such resort of people, and such multitudes of coaches (whereof many +are hackney-coaches, bringing people of all sorts), that sometimes all +our streets cannot contain them, but that they clog up Ludgate also, +in such sort that both they endanger the one the other, break down +stalls, throw down men's goods from their shops, and the inhabitants +there cannot come to their houses, nor bring in their necessary +provisions of<span class="pagenum"><a name="Page_227" id="Page_227">227</a></span> beer, wood, coal, or hay, nor the tradesmen or +shopkeepers utter their wares, nor the passenger go to the common +water stairs without danger of their lives and limbs." "These +inconveniences" were said to last "every day in the winter time from +one or two of the clock till six at night."<a name="FNanchor_367_367" id="FNanchor_367_367"></a><a href="#Footnote_367_367" class="fnanchor">[367]</a></p> + +<p>As a result of this petition the London Common Council ordered, +January 21, 1619, that "the said playhouses be suppressed, and that +the players shall from thenceforth forbear and desist from playing in +that house."<a name="FNanchor_368_368" id="FNanchor_368_368"></a><a href="#Footnote_368_368" class="fnanchor">[368]</a> But the players had at Court many influential +friends, and these apparently came to their rescue. The order of the +Common Council was not put into effect; and so far as we know the only +result of this agitation was that King James on March 27 issued to his +actors a new patent specifically giving them—described as his +"well-beloved servants"—the right henceforth to play unmolested in +Blackfriars. The new clause in the patent runs: "as well within their +two their now usual houses called the Globe, within our County of +Surrey, and their private house situate in the precinct of the +Blackfriars, within our city of London."<a name="FNanchor_369_369" id="FNanchor_369_369"></a><a href="#Footnote_369_369" class="fnanchor">[369]</a> At the accession of King +Charles I, the patent was renewed, June 24, 1625, with the same clause +regarding the use of Blackfriars.<a name="FNanchor_370_370" id="FNanchor_370_370"></a><a href="#Footnote_370_370" class="fnanchor">[370]</a></p> + +<p>In 1631, however, the agitation was renewed,<span class="pagenum"><a name="Page_228" id="Page_228">228</a></span> this time in the form of +a petition from the churchwardens and constables of the precinct of +Blackfriars to William Laud, then Bishop of London. The document gives +such eloquent testimony to the popularity of the playhouse that I have +inserted it below in full:</p> + +<div class="blockquot"><p>To the Right Honorable and Right Reverend Father in God, +William, Lord Bishop of London, one of His Majesty's +Honorable Privy Council. The humble petition of the +churchwardens and constables of Blackfriars, on the behalf +of the whole Parish, showing that by reason of a playhouse, +exceedingly frequented, in the precinct of the said +Blackfriars, the inhabitants there suffer many grievances +upon the inconveniences hereunto annexed, and many other.</p> + +<p>May it therefore please your Lordship to take the said +grievances into your honorable consideration for the +redressing thereof. And for the reviving the order, which +hath been heretofore made by the Lords of the Council, and +the Lord Mayor and the Court of Aldermen, for the removal of +them. And they shall, according to their duties, ever pray +for your Lordship.</p> + +<p>Reasons and Inconveniences Inducing the Inhabitants of +Blackfriars, London, to Become Humble Suitors to Your +Lordship for Removing the Playhouse in the Said Blackfriars:</p> + +<p>1. The shopkeepers in divers places suffer much, being +hindered by the great recourse to the plays (especially of +coaches) from selling their commodities, and having their +wares many times broken and beaten off their stalls.</p> + +<p>2. The recourse of coaches is many times so great that the +inhabitants cannot in an afternoon take in<span class="pagenum"><a name="Page_229" id="Page_229">229</a></span> any provision of +beer, coals, wood, or hay, the streets being known to be so +exceeding straight and narrow.</p> + +<p>3. The passage through Ludgate to the water [i.e., Water +Lane] is many times stopped up, people in their ordinary +going much endangered, quarrels and bloodshed many times +occasioned, and many disorderly people towards night +gathered thither, under pretense of attending and waiting +for those at the plays.</p> + +<p>4. If there should happen any misfortune of fire, there is +not likely any present order could possibly be taken, for +the disorder and number of the coaches, since there could be +no speedy passage made for quenching the fire, to the +endangering of the parish and city.</p> + +<p>5. Christenings and burials, which usually are in the +afternoon, are many times disturbed, and persons endangered +in that part, which is the greatest part of the parish.</p> + +<p>6. Persons of honor and quality that dwell in the parish are +restrained by the number of coaches from going out, or +coming home in seasonable time, to the prejudice of their +occasions. And some persons of honor have left, and others +have refused houses for this very inconvenience, to the +prejudice and loss of the parish.</p> + +<p>7. The Lords of the Council in former times have by order +directed that there shall be but two playhouses tolerated, +and those <i>without the city</i>, the one at the Bankside, the +other near Golding Lane (which these players still have and +use all summer), which the Lords did signify by their +letters to the Lord Mayor; and in performance thereof the +Lord Mayor and the Court of Aldermen did give order that +they should forbear to play any longer there, which the +players<span class="pagenum"><a name="Page_230" id="Page_230">230</a></span> promised to the Lord Chief Justice of the Common +Pleas (while he was Recorder of London) to observe, +entreating only a little time to provide themselves +elsewhere.<a name="FNanchor_371_371" id="FNanchor_371_371"></a><a href="#Footnote_371_371" class="fnanchor">[371]</a></p></div> + +<p>Bishop Laud endorsed the petition with his own hand "To the Coun. +Table," and in all probability he submitted it to the consideration of +the Privy Council. If so, the Council took no action.</p> + +<p>But in 1633, as a result of further complaints about the crowding of +coaches, the Privy Council appointed a committee to estimate the value +of the Blackfriars Theatre and "the buildings thereunto belonging," +with the idea of removing the playhouse and paying the owners +therefor. The committee reported that "the players demanded £21,000. +The commissioners [Sir Henry Spiller, Sir William Beecher, and +Laurence Whitaker] valued it at near £3000. The Parishioners offered +towards the removing of them £100."<a name="FNanchor_372_372" id="FNanchor_372_372"></a><a href="#Footnote_372_372" class="fnanchor">[372]</a> Obviously the plan of removal +was not feasible, if indeed the Privy Council seriously contemplated +such action. The only result of this second agitation was the<span class="pagenum"><a name="Page_231" id="Page_231">231</a></span> +issuance on November 20 of special instructions to coachmen: "If any +persons, men or women, of what condition soever, repair to the +aforesaid playhouse in coach, as soon as they are gone out of their +coaches, the coachmen shall depart thence and not return till the end +of the play."<a name="FNanchor_373_373" id="FNanchor_373_373"></a><a href="#Footnote_373_373" class="fnanchor">[373]</a> Garrard, in a letter to the Lord Deputy dated +January 9, 1633, says: "Here hath been an order of the Lords of the +Council hung up in a table near Paul's and the Blackfriars to command +all that resort to the playhouse there to send away their coaches, and +to disperse abroad in Paul's Churchyard, Carter Lane, the Conduit in +Fleet Street, and other places, and not to return to fetch their +company, but they must trot afoot to find their coaches. 'Twas kept +very strictly for two or three weeks, but now I think it is disordered +again."<a name="FNanchor_374_374" id="FNanchor_374_374"></a><a href="#Footnote_374_374" class="fnanchor">[374]</a> The truth is that certain distinguished patrons of the +theatre did not care "to trot afoot to find their coaches," and so +made complaint at Court. As a result it was ordered, at a sitting of +the Council, December 29, 1633 (the King being present): "Upon +information this day given to the Board of the discommodity that +diverse persons of great quality, especially Ladies and Gentlewomen, +did receive in going to the playhouse of Blackfriars by reason that no +coaches may stand ... the Board ... think fit to explain the said +order in such manner that as many<span class="pagenum"><a name="Page_232" id="Page_232">232</a></span> coaches as may stand within the +Blackfriars Gate may enter and stay there."<a name="FNanchor_375_375" id="FNanchor_375_375"></a><a href="#Footnote_375_375" class="fnanchor">[375]</a></p> + +<p>All this agitation about coaches implies a fashionable and wealthy +patronage of the Blackfriars. An interesting glimpse of high society +at the theatre is given in a letter written by Garrard, January 25, +1636: "A little pique happened betwixt the Duke of Lenox and the Lord +Chamberlain about a box at a new play in the Blackfriars, of which the +Duke had got the key, which, if it had come to be debated betwixt +them, as it was once intended, some heat or perhaps other +inconvenience might have happened."<a name="FNanchor_376_376" id="FNanchor_376_376"></a><a href="#Footnote_376_376" class="fnanchor">[376]</a> The Queen herself also +sometimes went thither. Herbert records, without any comment, her +presence there on the 13 of May, 1634.<a name="FNanchor_377_377" id="FNanchor_377_377"></a><a href="#Footnote_377_377" class="fnanchor">[377]</a> It has been generally +assumed that she attended a regular afternoon performance; but this, I +am sure, was not the case. The Queen engaged the entire building for +the private entertainment of herself and her specially invited guests, +and the performance was at night. In a bill presented by the King's +Men for plays acted before the members of the royal family during the +year 1636 occurs the entry: "The 5th of May, at the Blackfryers, for +the Queene and the Prince Elector ... <i>Alfonso</i>." Again, in a similar +bill for the year 1638 (see the <a href="#FACSIMILE">bill</a> on page <a href="#Page_403">404</a>) is the entry: "At +the Blackfryers, the 23 of Aprill,<span class="pagenum"><a name="Page_233" id="Page_233">233</a></span> for the Queene ... <i>The +Unfortunate Lovers</i>." The fact that the actors did not record the loss +of their "day" at their house, and made their charge accordingly, +shows that the plays were given at night and did not interfere with +the usual afternoon performances before the public.</p> + +<p>The King's Men continued to occupy the Blackfriars as their winter +home until the closing of the theatres in 1642. Thereafter the +building must have stood empty for a number of years. In 1653 Sir +Aston Cokaine, in a poem prefixed to Richard Brome's <i>Plays</i>, looked +forward prophetically to the happy day when</p> + +<p class="center">Black, and White Friars too, shall flourish again.</p> + +<p>But the prophecy was not to be fulfilled; for although Whitefriars +(i.e., Salisbury Court) did flourish as a Restoration playhouse, the +more famous Blackfriars had ceased to exist before acting was allowed +again. The manuscript note in the Phillipps copy of Stow's <i>Annals</i> +(1631) informs us that "the Blackfriars players' playhouse in +Blackfriars, London, which had stood many years, was pulled down to +the ground on Monday the 6 day of August, 1655, and tenements built in +the room."<a name="FNanchor_378_378" id="FNanchor_378_378"></a><a href="#Footnote_378_378" class="fnanchor">[378]</a></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_234" id="Page_234">234</a></span></p> +<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII</h2> + +<h3>THE GLOBE</h3> + + +<p><br /><span class="dropcap">A</span>S related more fully in the <a href="#CHAPTER_III">chapter</a> on "The Theatre," when Cuthbert +and Richard Burbage discovered that Gyles Alleyn not only refused to +renew the lease for the land on which their playhouse stood, but was +actually planning to seize the building and devote it to his private +uses, they took immediate steps to thwart him. And in doing so they +evolved a new and admirable scheme of theatrical management. They +planned to bring together into a syndicate or stock-company some of +the best actors of the day, and allow these actors to share in the +ownership of the building. Hitherto playhouses had been erected merely +as pecuniary investments by profit-seeking business +men,—Burbage,<a name="FNanchor_379_379" id="FNanchor_379_379"></a><a href="#Footnote_379_379" class="fnanchor">[379]</a> Brayne, Lanman, Henslowe, Cholmley, Langley,—and +had been conducted in the interests of the proprietors rather than of +the actors.<a name="FNanchor_380_380" id="FNanchor_380_380"></a><a href="#Footnote_380_380" class="fnanchor">[380]</a> As a result, these proprietors had long reaped an +unduly rich harvest from the efforts of the players,<span class="pagenum"><a name="Page_235" id="Page_235">235</a></span> taking all or a +large share of the income from the galleries. The new scheme was +designed to remedy these faults.</p> + +<p style="text-align: center"><br /> +<a name="BURBAGE"> +<img src="images/burbage.png" width="338" height="400" alt="" /></a></p> + +<p class="caption">RICHARD BURBAGE</p> + +<p class="caption">(Reproduced by permission from a painting in the Dulwich +Picture Gallery; photograph by Emery Walker, Ltd.)</p> + +<p><br /> +For participation in this scheme the Burbages selected the following +men: William Shakespeare, not only a successful actor, but a poet who +had already made his reputation as a writer of plays, and who gave +promise of greater attainments; John Heminges, a good actor and an +exceptionally shrewd man of business, who until his death managed the +pecuniary affairs of the company with distinguished success; Augustine +Phillips and Thomas Pope, both ranked with the best actors of the +day;<a name="FNanchor_381_381" id="FNanchor_381_381"></a><a href="#Footnote_381_381" class="fnanchor">[381]</a> and William Kempe, the greatest comedian since Tarleton, +described in 1600 as "a player in interludes, and partly the Queen's +Majesty's jester." When to this group we add Richard Burbage himself, +the Roscius of his age, we have an organization of business, +histrionic, and poetic ability that could not be surpassed. It was +carefully planned, and it deserved the remarkable success which it +attained. The superiority of the Globe Company over all others was +acknowledged in the days of James and Charles, and to-day stands out +as one of the most impressive facts in the history of the early drama.</p> +<p><span class="pagenum"><a name="Page_236" id="Page_236">236</a></span></p> +<p>According to the original plan there were to be ten shares in the new +enterprise, the Burbage brothers holding between them one-half the +stock, or two and a half shares each, and the five actors holding the +other half, or one share each. All the expenses of leasing a site, +erecting a building, and subsequently operating the building as a +playhouse, and likewise all the profits to accrue therefrom, were to +be divided among the sharers according to their several holdings.</p> + +<p>This organization, it should be understood, merely concerned the +ownership of the building. Its members stood in the relation of +landlords to the players, and were known by the technical name of +"housekeepers." Wholly distinct was the organization of the players, +known as the "company." The company, too, was divided into shares for +the purpose of distributing its profits. The "housekeepers," in return +for providing the building, received one-half of the income from the +galleries; the company, for entertaining the public, received the +other half of the income from the galleries, plus the takings at the +doors. Those actors who were also "housekeepers" shared twice in the +profits of the playhouse; and it was a part of the plan of the +"housekeepers" to admit actors to be sharers in the building as soon +as they attained eminence, or otherwise made their permanent +connection with the playhouse desirable. Thus the two organizations, +though entirely distinct, were interlocking.<span class="pagenum"><a name="Page_237" id="Page_237">237</a></span></p> + +<p>Such a scheme had many advantages. In the first place, it prevented +the company from shifting from one playhouse to another, as was +frequently the case with other troupes. In the second place, it +guaranteed both the excellence and the permanency of the company. Too +often good companies were dissolved by the desertion of a few +important members; as every student of the drama knows, the constant +reorganization of troupes is one of the most exasperating features of +Elizabethan theatrical history. In the third place, the plan, like all +profit-sharing schemes, tended to elicit from each member of the +organization his best powers. The opportunity offered to a young actor +ultimately to be admitted as a sharer in the ownership of the building +was a constant source of inspiration,<a name="FNanchor_382_382" id="FNanchor_382_382"></a><a href="#Footnote_382_382" class="fnanchor">[382]</a> and the power to admit at +any time a new sharer enabled the company to recruit from other +troupes brilliant actors when such appeared; as, for example, William +Osteler and Nathaniel Field, who had attained fame with the Children +at Blackfriars and elsewhere. Finally, the plan brought the actors +together in a close bond of friendship that lasted for life. Heminges +was loved and trusted by them all. Shakespeare was admired and +revered; three<span class="pagenum"><a name="Page_238" id="Page_238">238</a></span> members of the troupe seem to have named their sons +for him. Indeed, there is nothing more inspiring in a close study of +all the documents relating to the Globe than the mutual loyalty and +devotion of the original sharers. The publication of Shakespeare's +plays by Heminges and Condell is merely one out of many expressions of +this splendid comradeship.</p> + +<p>The plan of organization having been evolved, and the original members +having been selected, the first question presenting itself was, Where +should the new playhouse be erected? Burbage, Heminges, and the +rest—including Shakespeare—probably gave the question much thought. +Their experience in Holywell had not been pleasant; the precinct of +Blackfriars, they now well realized, was out of the question; so they +turned their eyes to the Bankside. That section had recently become +the theatrical centre of London. There were situated the Rose, the +Swan, and the Bear Garden, and thither each day thousands of persons +flocked in search of entertainment. Clearly the Bankside was best +suited to their purpose. Near the fine old church of St. Mary Overies, +and not far from the Rose and the Bear Garden, they found a plot of +land that met their approval. Its owner, Sir Nicholas Brend, was +willing to lease it for a long term of years, and at a very reasonable +rate. They made a verbal contract with Brend, according to which the +lease was to begin on December 25, 1598.</p> + +<p style="text-align: center"><br /> +<a name="SHAKESPEARE"> +<img src="images/shakespeare.png" width="355" height="400" alt="" /></a></p> + +<p class="caption">WILLIAM SHAKESPEARE</p> + +<p class="caption">Shakespeare seems to have been equally with Burbage a leader +in erecting the Globe. In 1599 the building is officially described as "vna domo +de novo edificata ... in occupacione Willielmi Shakespeare et aliorum."</p> + +<p><span class="pagenum"><a name="Page_239" id="Page_239">239</a></span></p> + +<p><br /> +Three days later, on December 28, Richard and Cuthbert Burbage, having +secured the services of the carpenter, Peter Street, and his workmen, +tore down the old Theatre and transported the timber and other +materials to this new site across the river; and shortly after the +Globe began to lift itself above the houses of the Bankside—a +handsome theatre surpassing anything then known to London playgoers.</p> + +<p>In the meantime the lawyers had drawn up the lease, and this was +formally signed on February 21, 1599. The company had arranged a +"tripartite lease," the three parties being Sir Nicholas Brend, the +Burbage brothers, and the five actors.<a name="FNanchor_383_383" id="FNanchor_383_383"></a><a href="#Footnote_383_383" class="fnanchor">[383]</a> To the Burbages Sir +Nicholas leased one-half of the property at a yearly rental of £7 +5<i>s.</i>; and to the five actors, he leased the other half, at the same +rate. Thus the total rent paid for the land was £14 10<i>s.</i> The lease +was to run for a period of thirty-one years.</p> + +<p>The five actors, not satisfied with tying up the property in the +"tripartite lease," proceeded at once to arrange their holdings in the +form of a "joint tenancy." This they accomplished by the following +device:</p> + +<div class="blockquot"><p>William Shakespeare, Augustine Phillips, Thomas Pope, John +Heminges, and William Kempe did<span class="pagenum"><a name="Page_240" id="Page_240">240</a></span> shortly after grant and +assign all the said moiety of and in the said gardens and +grounds unto William Levison and Thomas Savage, who +regranted and reassigned to every one of them severally a +fifth part of the said moiety of the said gardens and +grounds.<a name="FNanchor_384_384" id="FNanchor_384_384"></a><a href="#Footnote_384_384" class="fnanchor">[384]</a></p></div> + +<p>The object of the "joint tenancy" was to prevent any member of the +organization from disposing of his share to an outsider. Legally at +the death of a member his share passed into the possession of the +other members, so that the last survivor would receive the whole. In +reality, however, the members used the "joint tenancy" merely to +control the disposition of the shares, and they always allowed the +heirs-at-law to receive the share of a deceased member.</p> + +<p>The wisdom of this arrangement was quickly shown, for "about the time +of the building of said playhouse and galleries, or shortly after," +William Kempe decided to withdraw from the enterprise. He had to +dispose of his share to the other parties in the "joint tenancy," +Shakespeare, Heminges, Phillips, and Pope, who at once divided it +equally among themselves, and again went through the process necessary +to place that share in "joint tenancy." After the retirement of Kempe, +the organization, it will be observed, consisted of six men, and the +shares were eight in number, owned<span class="pagenum"><a name="Page_241" id="Page_241">241</a></span> as follows: Richard Burbage and +Cuthbert Burbage, each two shares, Shakespeare, Heminges, Phillips, +and Pope, each one share.</p> + +<p style="text-align: center" class="border"><br /> +<a name="GLOBE_PLAN"> +<img src="images/globeplan.png" width="500" height="442" alt="" /></a></p> + +<p class="caption">A PLAN OF THE GLOBE PROPERTY</p> + +<p class="caption">Based on the lease and on other documents and references to +the property.</p> + +<p class="center">[<a href="images/globeplanlg.png">Enlarge</a>]</p> + +<p><br /> +The tract of land on which the new playhouse was to be erected is +minutely described in the lease<a name="FNanchor_385_385" id="FNanchor_385_385"></a><a href="#Footnote_385_385" class="fnanchor">[385]</a> as follows:</p> + +<div class="blockquot"><p>All that parcel of ground just recently before enclosed and +made into four separate garden plots, recently in the tenure +and occupation of Thomas Burt and Isbrand Morris, diers, and +Lactantius Roper, salter, citizen of London, containing in +length from east to west two hundred and twenty feet in +assize or thereabouts, lying and adjoining upon a way or +lane there on one [the south] side, and abutting upon a +piece of land called The Park<a name="FNanchor_386_386" id="FNanchor_386_386"></a><a href="#Footnote_386_386" class="fnanchor">[386]</a> upon the north, and upon +a garden then or recently in the tenure or occupation of one +John Cornishe toward the west, and upon another garden plot +then or recently in the tenure or occupation of one John +Knowles toward the east, with all the houses, buildings, +structures, ways, easements, commodities, and appurtenances +thereunto belonging.... And also all that parcel of land +just recently before enclosed and made into three sep<span class="pagenum"><a name="Page_242" id="Page_242">242</a></span>arate +garden plots, whereof two of the same [were] recently in the +tenure or occupation of John Roberts, carpenter, and another +recently in the occupation of one Thomas Ditcher, citizen +and merchant tailor of London ... containing in length from +east to west by estimation one hundred fifty and six feet of +assize or thereabouts, and in breadth from the north to the +south one hundred feet of assize by estimation or +thereabouts, lying and adjoining upon the other side of the +way or lane aforesaid, and abutting upon a garden plot there +then or recently just before in the occupation of William +Sellers toward the east, and<span class="pagenum"><a name="Page_243" id="Page_243">243</a></span> upon one other garden plot +there, then or recently just before, in the tenure of John +Burgram, sadler, toward the west, and upon a lane there +called Maiden Lane towards the south, with all the +houses....</p></div> + +<p>This document clearly states that the Globe property was situated to +the north of Maiden Lane, and consequently near the river. Virtually +all the contemporary maps of London show the Globe as so situated. Mr. +Wallace has produced some very specific evidence to support the +document cited above, and he claims to have additional evidence as yet +unpublished. On the other hand, there is at least some evidence to +indicate that the Globe was situated to the south of Maiden Lane.<a name="FNanchor_387_387" id="FNanchor_387_387"></a><a href="#Footnote_387_387" class="fnanchor">[387]</a></p> + +<p>For the purposes of this book it is sufficient to know that the Globe +was "situate in Maiden Lane"; whether on the north side or the south +side is of less importance. More important is the nature of the site. +Strype, in his edition of Stow's <i>Survey</i>, gives this description: +"Maiden Lane, a long straggling place, with ditches on each side, the +passage to the houses being over little bridges, with little garden +plots before them, especially on the north side, which is best both +for houses and inhabitants." In Maiden Lane, near one of these ditches +or "sewers," the Globe was erected; and like the other houses there +situated, it was approached over a bridge.<a name="FNanchor_388_388" id="FNanchor_388_388"></a><a href="#Footnote_388_388" class="fnanchor">[388]</a> In February, 1606, +the<span class="pagenum"><a name="Page_244" id="Page_244">244</a></span> Sewer Commission ordered that "the owners of the playhouse called +the Globe, in Maid Lane, shall before the 20 day of April next pull up +and take clean out of the sewer the props or posts which stand under +their bridge on the north side of Maid Lane."<a name="FNanchor_389_389" id="FNanchor_389_389"></a><a href="#Footnote_389_389" class="fnanchor">[389]</a> The ground on which +the building was erected was marshy, and the foundations were made by +driving piles deep into the soil. Ben Jonson tersely writes:<a name="FNanchor_390_390" id="FNanchor_390_390"></a><a href="#Footnote_390_390" class="fnanchor">[390]</a></p> + +<div class="blockquot"><p>The Globe, the glory of the Bank.... Flanked with a ditch, +and forced out of a marish.</p></div> + +<p>Into the construction of the new playhouse went the timber and other +materials secured from the old Theatre; but much new material, of +course, had to be added. It is a mistake to believe that the Globe was +merely the old "Theatre" newly set up on the Bankside, and perhaps +strengthened here and there. When it was completed, it was regarded as +the last word in theatrical architecture. Dekker seems to have had the +Globe in mind in the following passage: "How wonderfully is the world +altered! and no marvel, for it has lyein sick almost five thousand +years: so that it is no more like the old <i>Theater du munde</i>, than old +Paris Garden is like the King's garden at Paris. What an excellent +workman therefore were he, that could cast the <i>Globe</i> of it into a +new mould."<a name="FNanchor_391_391" id="FNanchor_391_391"></a><a href="#Footnote_391_391" class="fnanchor">[391]</a> In 1600 Henslowe<span class="pagenum"><a name="Page_246" id="Page_246">246</a></span> and Alleyn used the Globe as +the model of their new and splendid Fortune. They sought, indeed, to +show some originality by making their playhouse square instead of +round; but this, the one instance in which they departed from the +Globe, was a mistake; and when the Fortune was rebuilt in 1623 it was +made circular in shape.</p> + +<p style="text-align: center"><br /> +<a name="BEAR_ROSE_GLOBE_1"> +<img src="images/bearroseglobe1.png" width="500" height="267" alt="" /></a></p> + +<p class="caption">THE SITES OF THE BEAR GARDEN, THE ROSE, AND THE GLOBE</p> + +<p class="caption">Marked by the author on a plan of the Bankside printed in Strype's +<i>Survey of London</i>, 1720.</p> + +<p class="center">[<a href="images/bearroseglobe1lg.png">Enlarge</a>]</p> + +<p style="text-align: center"><br /> +<br /> +<a name="BEAR_ROSE_GLOBE_2"> +<img src="images/bearroseglobe2.png" width="500" height="318" alt="" /></a></p> + +<p class="caption">THE BEAR GARDEN, THE ROSE, AND THE FIRST GLOBE</p> + +<p class="caption">Compare this view of the Bankside with the +<a href="#BEAR_ROSE_GLOBE_1">preceding map</a>. +(From an equestrian portrait of King James I, by Delaram. The city is +represented as it was when James came to the throne in 1603.)</p> + +<p><br /> +A few quotations from the Fortune contract will throw some light upon +the Globe:</p> + +<div class="blockquot"><p>With such-like stairs, conveyances, and divisions [to the +galleries], without and within, as are made and contrived in +and to the late-erected playhouse ... called the Globe.</p> + +<p>And the said stage to be in all other proportions contrived +and fashioned like unto the stage of the said playhouse +called the Globe.</p> + +<p>And the said house, and other things before mentioned to be +made and done, to be in all other contrivations, +conveyances, fashions, thing, and things, effected, finished +and done according to the manner and fashion of the said +house called the Globe, saving only that all the principal +and main posts ... shall be square and wrought pilasterwise, +with carved proportions called satyrs to be placed and set +on the top of every of the said posts.</p></div> + +<p>What kind of columns were used in the Globe and how they were +ornamented, we do not know, but presumably they were round. Jonson, in +<i>Every Man Out of His Humour</i>, presented on the occasion of, or +shortly after, the opening of the Globe in 1599, says of one of his +characters: "A<span class="pagenum"><a name="Page_247" id="Page_247">247</a></span> well-timbered fellow! he would have made a good column +an he had been thought on when the house was abuilding."<a name="FNanchor_392_392" id="FNanchor_392_392"></a><a href="#Footnote_392_392" class="fnanchor">[392]</a> That +Jonson thought well of the new playhouse is revealed in several +places; he speaks with some enthusiasm of "this fair-fitted +Globe,"<a name="FNanchor_393_393" id="FNanchor_393_393"></a><a href="#Footnote_393_393" class="fnanchor">[393]</a> and in the passage already quoted he calls it "the glory +of the Bank."</p> + +<p>In shape the building was unquestionably polygonal or circular, most +probably polygonal on the outside and circular within. Mr. E.K. +Chambers thinks it possible that it was square;<a name="FNanchor_394_394" id="FNanchor_394_394"></a><a href="#Footnote_394_394" class="fnanchor">[394]</a> but there is +abundant evidence to show that it was not. The very name, Globe, would +hardly be suitable to a square building; Jonson describes the interior +as a "round";<a name="FNanchor_395_395" id="FNanchor_395_395"></a><a href="#Footnote_395_395" class="fnanchor">[395]</a> the ballad on the burning of the house refers to +the roof as being "round as a tailor's clew"; and the New Globe, which +certainly was not square, was erected on the old foundation.<a name="FNanchor_396_396" id="FNanchor_396_396"></a><a href="#Footnote_396_396" class="fnanchor">[396]</a> The +frame, we know, was of timber, and the roof<span class="pagenum"><a name="Page_248" id="Page_248">248</a></span> of thatch. In front of +the main door was suspended a sign of Hercules bearing the globe upon +his shoulders,<a name="FNanchor_397_397" id="FNanchor_397_397"></a><a href="#Footnote_397_397" class="fnanchor">[397]</a> under which was written, says Malone, the old +motto, <i>Totus mundus agit histrionem</i>.<a name="FNanchor_398_398" id="FNanchor_398_398"></a><a href="#Footnote_398_398" class="fnanchor">[398]</a></p> + +<p>The earliest representation of the building is probably to be found in +the Delaram <i><a href="#BEAR_ROSE_GLOBE_2">View of London</a></i> (opposite page <a href="#Page_246">246</a>), set in the +background of an engraving of King James on horseback. This view, +which presents the city as it was in 1603 when James came to the +throne, shows the Bear Garden at the left, polygonal in shape, the +Rose in the centre, circular in shape, and the Globe at the right, +polygonal in shape. It is again represented in Visscher's magnificent +<i><a href="#FIRST_GLOBE_2">View of London</a></i>, which, though printed in 1616, presents the city as +it was several years earlier (see page <a href="#Page_253">253</a>). The +<a href="#MERIAN">Merian <i>View</i> of 1638</a> +(opposite page <a href="#Page_256">256</a>) is copied from Visscher, and the <i>View</i> in +Howell's <i>Londinopolis</i> (1657) is merely a slavish copy of Merian; +these two views, therefore, so far as the Globe is concerned, have no +special value.<a name="FNanchor_399_399" id="FNanchor_399_399"></a><a href="#Footnote_399_399" class="fnanchor">[399]</a></p> + +<p style="text-align: center"><br /> +<a name="FIRST_GLOBE_1"> +<img src="images/firstglobe1.png" width="347" height="500" alt="" /></a></p> + +<p class="caption">THE FIRST GLOBE</p> + +<p class="caption">From an old drawing in an extra-illustrated copy of Pennant's <i>London</i> now +in the British Museum. Apparently the drawing is based on Visscher's <i>View</i>.</p> + +<p><br /> +The cost of the finished building is not exactly known. Mr. Wallace +observes that it was erected<span class="pagenum"><a name="Page_249" id="Page_249">249</a></span> "at an original cost, according to a +later statement, of £600, but upon better evidence approximately +£400."<a name="FNanchor_400_400" id="FNanchor_400_400"></a><a href="#Footnote_400_400" class="fnanchor">[400]</a> I am not aware of the "better evidence" to which Mr. +Wallace refers,<a name="FNanchor_401_401" id="FNanchor_401_401"></a><a href="#Footnote_401_401" class="fnanchor">[401]</a> nor do I know whether the estimate of £400 +includes the timber and materials of the old Theatre furnished by the +Burbages. If the Theatre of 1576 cost nearly £700, and the second +Globe cost £1400, the sum of £400 seems too small.</p> + +<p>Nor do we know exactly when the Globe was finished and opened to the +public. On May 16, 1599, a post-mortem inquisition of the estate of +Sir Thomas Brend, father of Sir Nicholas, was taken. Among his other +properties in Southwark was listed the Globe playhouse, described as +"vna domo de novo edificata ... in occupacione Willielmi Shakespeare +et aliorum."<a name="FNanchor_402_402" id="FNanchor_402_402"></a><a href="#Footnote_402_402" class="fnanchor">[402]</a> From this statement Mr. Wallace infers that the +Globe was finished and opened before May 16, 1599. Though this is +possible, the words used seem hardly to warrant the conclusion. +However, we may feel sure that the actors, the Lord Chamberlain's Men, +had moved into the building before the end of the summer.</p> + +<p>Almost at once they rose to the position of leadership in the drama, +for both Shakespeare and Burbage were now at the height of their +powers. It is true that in 1601 the popularity of the Chil<span class="pagenum"><a name="Page_250" id="Page_250">250</a></span>dren at +Blackfriars, and the subsequent "War of the Theatres" interfered +somewhat with their success; but the interference was temporary, and +from this time on until the closing of the playhouses in 1642, the +supremacy of the Globe players was never really challenged. When James +came to the throne, he recognized this supremacy by taking them under +his royal patronage. On May 19, 1603, he issued to them a patent to +play as the King's Men<a name="FNanchor_403_403" id="FNanchor_403_403"></a><a href="#Footnote_403_403" class="fnanchor">[403]</a>—an honor that was as well deserved as it +was signal.</p> + +<p>In the autumn of 1608 the proprietors of the Globe acquired the +Blackfriars Theatre for the use of their company during the severe +winter months. This splendid building, situated in the very heart of +the city, was entirely roofed in, and could be comfortably heated in +cold weather. Henceforth the open-air Globe was used only during the +pleasant season of the year; that is, according to the evidence of the +Herbert Manuscript, from about the first of May until the first of +November.</p> + +<p>On June 29, 1613, the Globe caught fire during the performance of a +play, and was burned to the ground—the first disaster of the sort +recorded in English theatrical history. The event aroused great +interest in London, and as a result we have numerous accounts of the +catastrophe supplying us with full details. We learn that on a warm +"sunne-shine" afternoon the large building was "filled<span class="pagenum"><a name="Page_251" id="Page_251">251</a></span> with +people"—among whom were Ben Jonson, John Taylor (the Water-Poet), and +Sir Henry Wotton—to witness a new play by William Shakespeare and +John Fletcher, called <i>All is True</i>, or, as we now know it, <i>Henry +VIII</i>, produced with unusual magnificence. Upon the entrance of the +King in the fourth scene of the first act, two cannon were discharged +in a royal salute. One of the cannon hurled a bit of its wadding upon +the roof and set fire to the thatch; but persons in the audience were +so interested in the play that for a time they paid no attention to +the fire overhead. As a result they were soon fleeing for their lives; +and within "one short hour" nothing was left of the "stately" Globe.</p> + +<p>I quote below some of the more interesting contemporary accounts of +this notable event. Howes, the chronicler, thus records the fact in +his continuation of Stow's <i>Annals</i>:</p> + +<div class="blockquot"><p>Upon St. Peter's Day last, the playhouse or theatre called +the Globe, upon the Bankside, near London, by negligent +discharge of a peal of ordnance, close to the south side +thereof, the thatch took fire, and the wind suddenly +dispersed the flames round about, and in a very short space +the whole building was quite consumed; and no man hurt: the +house being filled with people to behold the play, <i>viz.</i> of +Henry the Eight.<a name="FNanchor_404_404" id="FNanchor_404_404"></a><a href="#Footnote_404_404" class="fnanchor">[404]</a></p></div> + +<p>Sir Henry Wotton, in a letter to a friend, gives the following gossipy +account:<span class="pagenum"><a name="Page_252" id="Page_252">252</a></span></p> + +<div class="blockquot"><p>Now to let matters of state sleep. I will entertain you at +the present with what happened this week at the Bankside. +The King's Players had a new play, called <i>All is True</i>, +representing some principal pieces of the reign of Henry the +Eighth, which was set forth with many extraordinary +circumstances of pomp and majesty, even to the matting of +the stage; the Knights of the Order with their Georges and +Garter, the guards with their embroidered coats, and the +like—sufficient in truth within awhile to make greatness +very familiar, if not ridiculous. Now King Henry, making a +masque at the Cardinal Wolsey's house, and certain cannons +being shot off at his entry, some of the paper or other +stuff wherewith one of them was stopped, did light on the +thatch, where being thought at first but an idle smoke, and +their eyes more attentive to the show, it kindled inwardly, +and ran round like a train, consuming within less than an +hour the whole house to the very ground. This was the fatal +period of that virtuous fabrick; wherein yet nothing did +perish but wood and straw, and a few forsaken cloaks; only +one man had his breeches set on fire, that would perhaps +have broiled him, if he had not, by the benefit of a +provident wit, put it out with bottle ale.<a name="FNanchor_405_405" id="FNanchor_405_405"></a><a href="#Footnote_405_405" class="fnanchor">[405]</a></p></div> + +<p>John Chamberlain, writing to Sir Ralph Winwood, July 8, 1613, refers +to the accident thus:</p> + +<div class="blockquot"><p>The burning of the Globe or playhouse on the Bankside on St. +Peter's Day cannot escape you; which fell out by a peal of +chambers (that I know not upon what occasion were to be used +in the play), the tampin or stopple of one of them lighting +in the thatch that cover'd the house, burn'd it down to the<span class="pagenum"><a name="Page_253" id="Page_253">253</a></span> +ground in less than two hours, with a dwelling house +adjoining; and it was a great marvel and fair grace of God +that the people had so little harm, having but two narrow +doors to get out.<a name="FNanchor_406_406" id="FNanchor_406_406"></a><a href="#Footnote_406_406" class="fnanchor">[406]</a></p></div> + +<p style="text-align: center" class="border"><br /> +<a name="FIRST_GLOBE_2"> +<img src="images/firstglobe2.png" width="326" height="400" alt="" /></a></p> + +<p class="caption">THE FIRST GLOBE</p> + +<p class="caption">From Visscher's <i>View of London</i>, published in +1616, but representing the city as it was several years earlier.</p> + +<p><br /> +<span class="pagenum"><a name="Page_254" id="Page_254">254</a></span>The Reverend Thomas Lorkin writes from London to Sir Thomas Puckering +under the date of June 30, 1613:</p> + +<div class="blockquot"><p>No longer since than yesterday, while Burbage's company were +acting at the Globe the play of <i>Henry VIII</i>, and there +shooting off certain chambers in way of triumph, the fire +catched and fastened upon the thatch of the house, and there +burned so furiously, as it consumed the whole house, all in +less than two hours, the people having enough to do to save +themselves.<a name="FNanchor_407_407" id="FNanchor_407_407"></a><a href="#Footnote_407_407" class="fnanchor">[407]</a></p></div> + +<p>A contemporary ballad<a name="FNanchor_408_408" id="FNanchor_408_408"></a><a href="#Footnote_408_408" class="fnanchor">[408]</a> gives a vivid and amusing account of the +disaster:</p> + +<div class="cpoem"> +<p class="center"> +<i>A Sonnet upon the Pitiful Burning of the Globe<br /> +Playhouse in London</i></p> + +<p>Now sit thee down, Melpomene,<br /> +Wrapt in a sea-coal robe,<br /> +And tell the dolefull tragedy<br /> +That late was played at Globe;<br /> +For no man that can sing and say<br /> +Was scared on St. Peter's day.<br /> +<span style="margin-left: 1em;"><i>Oh sorrow, pitiful sorrow, and yet all this is true.</i><a name="FNanchor_409_409" id="FNanchor_409_409"></a><a href="#Footnote_409_409" class="fnanchor">[409]</a></span><br /> +<br /> +All you that please to understand,<br /> +Come listen to my story;<br /> +To see Death with his raking brand<br /> +<span class="pagenum"><a name="Page_255" id="Page_255">255</a></span>Mongst such an auditory;<br /> +Regarding neither Cardinall's might,<br /> +Nor yet the rugged face of Henry the eight.<br /> +<span style="margin-left: 1em;"><i>Oh sorrow</i>, etc.</span><br /> +<br /> +This fearful fire began above,<br /> +A wonder strange and <i>true</i>,<br /> +And to the stage-house did remove,<br /> +As round as taylor's clew,<br /> +And burnt down both beam and snagg,<br /> +And did not spare the silken flagg.<br /> +<span style="margin-left: 1em;"><i>Oh sorrow</i>, etc.</span><br /> +<br /> +Out run the Knights, out run the lords,<br /> +And there was great ado;<br /> +Some lost their hats, and some their swords;<br /> +Then out run Burbage, too.<br /> +The reprobates, though drunk on Monday,<br /> +Prayd for the fool and Henry Condy.<br /> +<span style="margin-left: 1em;"><i>Oh sorrow</i>, etc.</span><br /> +<br /> +The periwigs and drum-heads fry<br /> +Like to a butter firkin;<br /> +A woeful burning did betide<br /> +To many a good buff jerkin.<br /> +Then with swolen eyes, like drunken Flemminges<br /> +Distressed stood old stuttering Heminges.<br /> +<span style="margin-left: 1em;"><i>Oh sorrow</i>, etc.</span><br /> +</p> +</div> + +<p>Ben Jonson, who saw the disaster, left us the following brief account:</p> + +<div class="cpoem"> +<p> +<span style="margin-left: 6em;">The Globe, the glory of the Bank,</span><br /> +Which, though it were the fort of the whole parish,<br /> +Flanked with a ditch, and forced out of a marish,<br /> +I saw with two poor chambers taken in,<br /> +And razed ere thought could urge this might have been!<br /> +See the world's ruins! nothing but the piles<br /> +Left—and wit since to cover it with tiles.<a name="FNanchor_410_410" id="FNanchor_410_410"></a><a href="#Footnote_410_410" class="fnanchor">[410]</a><br /> +</p> +</div> + +<p><span class="pagenum"><a name="Page_256" id="Page_256">256</a></span></p> + +<p>The players were not seriously inconvenienced, for they could shift to +their other house, the Blackfriars, in the city. The owners of the +building, however, suffered a not inconsiderable pecuniary loss. For a +time they hesitated about rebuilding, one cause of their hesitation +being the short term that their lease of the ground had to run. +Possibly a second cause was a doubt as to the ownership of the ground, +arising from certain transactions recorded below. In October, 1600, +Sir Nicholas Brend had been forced to transfer the Globe estate, with +other adjacent property, to Sir Matthew Brown and John Collett as +security for a debt of £2500; and a few days after he died. Since the +son and heir, Matthew Brend, was a child less than two years old, an +uncle, Sir John Bodley, was appointed trustee. In 1608 Bodley, by +unfair means, it seems, purchased from Collett the Globe property, and +thus became the landlord of the actors. But young Matthew Brend was +still under age, and Bodley's title to the property was not regarded +as above suspicion.<a name="FNanchor_411_411" id="FNanchor_411_411"></a><a href="#Footnote_411_411" class="fnanchor">[411]</a></p> + +<p style="text-align: center"><br /> +<a name="MERIAN"> +<img src="images/merian.png" width="600" height="337" alt="" /></a></p> + +<p class="caption">MERIAN'S VIEW OF LONDON</p> + +<p class="caption">A section from Merian's <i>View</i>, showing the Bankside playhouses. This +<i>View</i>, printed in Ludvig Gottfried's <i>Neuwe Archontologia Cosmica</i> +(Frankfurt am Mayn, 1638), represents London as it was about the year +1612, and was mainly based on Visscher's <i>View</i>, with some additions +from other sources.</p> + +<p><br /> +Four months after the burning of the Globe, on October 26, 1613, Sir +John Bodley granted the proprietors of the building a renewal of the +lease with an extension of the term until December 25, 1635.<a name="FNanchor_412_412" id="FNanchor_412_412"></a><a href="#Footnote_412_412" class="fnanchor">[412]</a> But +a lease from Bodley alone, in view of<span class="pagenum"><a name="Page_257" id="Page_257">257</a></span> the facts just indicated, was +not deemed sufficient; so on February 14, 1614, Heminges, the two +Burbages, and Condell visited the country-seat of the Brends, and +secured the signature of the young Matthew Brend, and of his mother as +guardian, to a lease of the Globe site with a term ending on December +25, 1644.</p> + +<p>Protected by these two leases, the Globe sharers felt secure; and they +went forward apace with the erection of their new playhouse. They made +an assessment of "£50 or £60" upon each share.<a name="FNanchor_413_413" id="FNanchor_413_413"></a><a href="#Footnote_413_413" class="fnanchor">[413]</a> Since at this time +there were fourteen shares, the amount thus raised was £700 or £840. +This would probably be enough to erect a building as large and as well +equipped as the old Globe. But the proprietors determined upon a +larger and a very much handsomer building. As Howes, the continuer of +Stow's <i>Annals</i>, writes, "it was new builded in far fairer manner than +before"; or as John Taylor, the Water-Poet, puts it:</p> + +<div class="cpoem"> +<p> +As gold is better that's in fire tried,<br /> +So is the Bankside <i>Globe</i> that late was burn'd.<a name="FNanchor_414_414" id="FNanchor_414_414"></a><a href="#Footnote_414_414" class="fnanchor">[414]</a><br /> +</p> +</div> + +<p>Naturally the cost of rebuilding exceeded the original estimate. +Heminges tells us that on one share, or one-fourteenth, he was +required to pay for "the re-edifying about the sum of £120."<a name="FNanchor_415_415" id="FNanchor_415_415"></a><a href="#Footnote_415_415" class="fnanchor">[415]</a><span class="pagenum"><a name="Page_258" id="Page_258">258</a></span> +This would indicate a total cost of "about" £1680. Heminges should +know, for he was the business manager of the organization; and his +truthfulness cannot be questioned. Since, however, the adjective +"about," especially when multiplied by fourteen, leaves a generous +margin of uncertainty, it is gratifying to have a specific statement +from one of the sharers in 1635 that the owners had "been at the +charge of £1400 in building of the said house upon the burning down of +the former."<a name="FNanchor_416_416" id="FNanchor_416_416"></a><a href="#Footnote_416_416" class="fnanchor">[416]</a> Heminges tells us that "he found that the +re-edifying of the said playhouse would be a very great charge," and +that he so "doubted what benefit would arise thereby" that he actually +gave away half of one share "to Henry Condell, <i>gratis</i>."<a name="FNanchor_417_417" id="FNanchor_417_417"></a><a href="#Footnote_417_417" class="fnanchor">[417]</a> But his +fears were unfounded. We learn from Witter that after the rebuilding +of the Globe the "yearly value" of a share was greater "by much" than +it had been before.<a name="FNanchor_418_418" id="FNanchor_418_418"></a><a href="#Footnote_418_418" class="fnanchor">[418]</a></p> + +<p><span class="pagenum"><a name="Page_259" id="Page_259">259</a></span></p><p>The New Globe, like its predecessor, was built of timber,<a name="FNanchor_419_419" id="FNanchor_419_419"></a><a href="#Footnote_419_419" class="fnanchor">[419]</a> and on +the same site—indeed the carpenters made use of the old foundation, +which seems not to have been seriously injured. In a "return" of 1634, +preserved at St. Saviour's, we read: "The Globe playhouse, near Maid +Lane, built by the company of players, with a dwelling house thereto +adjoining, built with timber, about 20 years past, upon an old +foundation."<a name="FNanchor_420_420" id="FNanchor_420_420"></a><a href="#Footnote_420_420" class="fnanchor">[420]</a> In spite of the use made of the old foundation, the +new structure was unquestionably larger than the First Globe; Marmion, +in the Prologue to <i>Holland's Leaguer</i>, acted at Salisbury Court in +1634, speaks of "the vastness of the Globe," and Shirley, in the +Prologue to <i>Rosania</i>, applies the adjective "vast" to the building. +Moreover, the builders had "the wit," as Jonson tells us, "to cover it +with tiles." John Taylor, the Water-Poet, writes:</p> + +<div class="cpoems"> +<p> +For where before it had a thatched hide,<br /> +Now to a stately theatre is turn'd.<br /> +</p> +</div> + +<p>The Second Globe is represented, but unsatisfactorily, in Hollar's +<i><a href="#SECOND_GLOBE">View of London</a></i>, dated 1647 (opposite page <a href="#Page_260">260</a>). It should be noted +that the artist was in banishment from 1643 (at which<span class="pagenum"><a name="Page_260" id="Page_260">260</a></span> time the Globe +was still standing) until 1652, and hence, in drawing certain +buildings, especially those not reproduced in earlier views of London, +he may have had to rely upon his memory. This would explain the +general vagueness of his representation of the Globe.</p> + +<p>The construction was not hurried, for the players had Blackfriars as a +home. Under normal conditions they did not move from the city to the +Bankside until some time in May; and shortly after that date, in the +early summer of 1614, the New Globe was ready for them. John +Chamberlain writes to Mrs. Alice Carleton on June 30, 1614:</p> + +<div class="blockquot"><p>I have not seen your sister Williams since I came to town, +though I have been there twice. The first time she was at a +neighbor's house at cards, and the next she was gone to the +New Globe to a play. Indeed, I hear much speech of this new +playhouse, which is said to be the fairest that ever was in +England.<a name="FNanchor_421_421" id="FNanchor_421_421"></a><a href="#Footnote_421_421" class="fnanchor">[421]</a></p></div> + +<p style="text-align: center"><br /> +<a name="SECOND_GLOBE"> +<img src="images/secondglobe.png" width="355" height="500" alt="" /></a></p> + +<p class="caption">THE SECOND GLOBE</p> + +<p class="caption">From Hollar's <i>View of London</i> (1647).</p> + +<p><br /> +With this New Globe Shakespeare had little to do, for his career as a +playwright had been run, and probably he had already retired from +acting. Time, indeed, was beginning to thin out the little band of +friends who had initiated and made famous the Globe organization. +Thomas Pope had died in 1603, Augustine Phillips in 1605, William Slye +in 1608, and, just a few months after the opening of the new +playhouse, William Osteler, who had been<span class="pagenum"><a name="Page_261" id="Page_261">261</a></span> admitted to the +partnership in 1611. He had begun his career as a child-actor at +Blackfriars, had later joined the King's Men, and had married +Heminges's daughter Thomasine.</p> + +<p>A more serious blow to the company, however, fell in April, 1616, when +Shakespeare himself died. To the world he had been "the applause, +delight, the wonder" of the stage; but to the members of the Globe +Company he had been for many years a "friend and fellow." Only Burbage +and Heminges (described in 1614 as "old Heminges"), now remained of +the original venturers. And Burbage passed away on March 13, 1619:</p> + +<div class="cpoem"> +<p> +He's gone! and with him what a world are dead<br /> +Which he reviv'd—to be revived so<br /> +No more. Young Hamlet, old Hieronimo,<br /> +Kind Lear, the grieved Moor, and more beside<br /> +That lived in him have now for ever died!<a name="FNanchor_422_422" id="FNanchor_422_422"></a><a href="#Footnote_422_422" class="fnanchor">[422]</a><br /> +</p> +</div> + +<p>Many elegies in a similar vein were written celebrating his wonderful +powers as an actor; yet the tribute that perhaps affects us most deals +with him merely as a man. The Earl of Pembroke, writing to the +Ambassador to Germany, gives the court news about the mighty ones of +the kingdom: "My Lord of Lenox made a great supper to the French +Ambassador this night here, and even now all the company are at a +play; which I, being tender-<span class="pagenum"><a name="Page_262" id="Page_262">262</a></span>hearted, could not endure to see so soon +after the loss of my old acquaintance Burbage."<a name="FNanchor_423_423" id="FNanchor_423_423"></a><a href="#Footnote_423_423" class="fnanchor">[423]</a></p> + +<p style="text-align: center"><br /> +<a name="TRADITIONAL"> +<img src="images/traditional.png" width="500" height="383" alt="" /></a></p> + +<p class="caption">THE TRADITIONAL SITE OF THE GLOBE</p> + +<p class="caption">From Wilkinson's <i>Theatrum Illustrata</i> (1825). This site is still +advocated by some scholars. Compare page <a href="#Page_246">245</a>.</p> + +<p><br /> +In 1623 Heminges and Condell, with great "care and paine," collected +and published the plays of Shakespeare, "onely to keep the memory of +so worthy a Friend and Fellow alive"; and shortly after, they too +died, Condell in 1627 and Heminges in 1630.</p> + +<p>After the passing of this group of men, whose names are so familiar to +us, the history of the playhouse seems less important, and may be +chronicled briefly.</p> + +<p>When young Matthew Brend came of age he recovered possession of the +Globe property by a decree of the Court of Wards. Apparently he +accepted the lease executed by his uncle and guardian, Bodley, by +which the actors were to remain in possession of the Globe until +December 25, 1635; but in 1633 he sought to cancel the lease he +himself had executed as a minor, by which the actors were to remain in +possession until 1644. His purpose in<span class="pagenum"><a name="Page_263" id="Page_263">263</a></span> thus seeking to gain possession +of the Globe was to lease it to other actors at a material increase in +his profits.<a name="FNanchor_424_424" id="FNanchor_424_424"></a><a href="#Footnote_424_424" class="fnanchor">[424]</a> Naturally the owners of the Globe were alarmed, and +they brought suit in the Court of Requests. In 1635, one of the +sharers, John Shanks, declares that he "is without any hope to renew" +the lease; and he refers thus to the suit against Brend: "When your +suppliant purchased his parts [in 1634] he had no certainty thereof +more than for one year in the Globe, and there was a chargeable suit +then pending in the Court of Requests between Sir Mathew Brend, +Knight, and the lessees of the Globe and their assigns, for the adding +of nine years to their lease in consideration that their predecessors +had formerly been at the charge of £1400 in building of the said +house."<a name="FNanchor_425_425" id="FNanchor_425_425"></a><a href="#Footnote_425_425" class="fnanchor">[425]</a> The lessees ultimately won their contention, and thus +secured the right to occupy the Globe until December 25, 1644—a term +which, as it happened, was quite long enough, for the Puritans closed +all playhouses in 1642.</p> + +<p>What disposition, if any, the sharers made of the Globe between 1642 +and 1644 we do not know. But before the lease expired, it seems, Brend +demolished the playhouse and erected tenements on<span class="pagenum"><a name="Page_264" id="Page_264">264</a></span> its site. In the +manuscript notes to the Phillipps copy of Stow's <i>Annals</i>, we find the +statement that the Globe was "pulled down to the ground by Sir Mathew +Brend, on Monday the 15 of April, 1644, to make tenements in the room +of it";<a name="FNanchor_426_426" id="FNanchor_426_426"></a><a href="#Footnote_426_426" class="fnanchor">[426]</a> and the statement is verified by a mortgage, executed in +1706, between Elizabeth, the surviving daughter and heir of Thomas +Brend, and one William James, citizen of London. The mortgage concerns +"all those messuages or tenements ... most of which ... were erected +and built where the late playhouse called the Globe stood, and upon +the ground thereunto belonging."<a name="FNanchor_427_427" id="FNanchor_427_427"></a><a href="#Footnote_427_427" class="fnanchor">[427]</a></p> + +<p>After this the history of the property becomes obscure. Mrs. Thrale +(later Mrs. Piozzi), the friend of Samuel Johnson, whose residence was +near by in Deadman's Place, thought that she saw certain "remains of +the Globe" discovered by workmen in the employ of her husband:<a name="FNanchor_428_428" id="FNanchor_428_428"></a><a href="#Footnote_428_428" class="fnanchor">[428]</a> +"For a long time, then,—or I thought it such,—my fate was bound up +with the old Globe Theatre, upon the Bankside, Southwark; the alley it +had occupied having been purchased and [the tenements] thrown down by +Mr. Thrale to make an opening before the windows of our +dwelling-house. When it lay desolate in a black heap of rubbish, my +mother one day in a<span class="pagenum"><a name="Page_265" id="Page_265">265</a></span> joke called it the Ruins of Palmyra; and after +that they had laid it down in a grass-plot Palmyra was the name it +went by.... But there were really curious remains of the old Globe +Playhouse, which though hexagonal in form without, was round within." +In spite of serious difficulties in this narrative it is possible that +the workmen, in digging the ground preparatory to laying out the +garden, uncovered the foundation of the Globe, which, it will be +recalled, was formed of piles driven deep into the soil, and so well +made that it resisted the fire of 1613.<a name="FNanchor_429_429" id="FNanchor_429_429"></a><a href="#Footnote_429_429" class="fnanchor">[429]</a></p> + +<p>At the present time the site of the Globe is covered by the extensive +brewery of Messrs. Barclay, Perkins, and Company. Upon one of the +walls of the brewery, on the south side of Park Street, which was +formerly Maiden Lane, has been placed a bronze memorial tablet<a name="FNanchor_430_430" id="FNanchor_430_430"></a><a href="#Footnote_430_430" class="fnanchor">[430]</a> +showing in relief the Bankside, with what is intended to be the Globe +Playhouse conspicuously displayed in the foreground. This is a +circular building designed after the circular playhouse in the +Speed-Hondius <i>View of London</i>, and represents, as I have tried to +show, not the Globe, but the Rose. At the left side of<span class="pagenum"><a name="Page_266" id="Page_266">266</a></span> the tablet is +a bust of the poet modeled after the Droeshout portrait. At the right +is the simple inscription:</p> + +<p class="center">HERE STOOD THE GLOBE PLAYHOUSE OF<br /> +SHAKESPEARE</p> + +<p>Yet it is very doubtful whether the Globe really stood there. Mr. +Wallace has produced good evidence to show that the building was on +the north side of Park Street near the river; and in the course of the +present study I have found that site generally confirmed.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_267" id="Page_267">267</a></span></p> +<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII</h2> + +<h3>THE FORTUNE</h3> + + +<p><br /><span class="dropcap">T</span>HE erection of the Globe on the Bankside within a few hundred yards +of the Rose was hardly gratifying to the Admiral's Men. Not only did +it put them in close competition with the excellent +Burbage-Shakespeare organization, but it caused their playhouse (now +nearly a quarter of a century old, and said to be in a state of +"dangerous decay") to suffer in comparison with the new and far +handsomer Globe, "the glory of the Bank." Accordingly, before the +Globe had been in operation much more than half a year, Henslowe and +Alleyn decided to move to another section of London, and to erect +there a playhouse that should surpass the Globe both in size and in +magnificence. To the authorities, however, they gave as reasons for +abandoning the Rose, first, "the dangerous decay" of the building, and +secondly, "for that the same standeth very noisome for resort of +people in the winter time."</p> + +<p>The new playhouse was undertaken by Henslowe and Alleyn jointly, +although the exact arrangement between them is not now clear. Alleyn +seems to have advanced the money and to have held the titles of +ownership; but on April 4, 1601, he leased<span class="pagenum"><a name="Page_268" id="Page_268">268</a></span> to Henslowe a moiety (or +one-half interest) in the playhouse and other properties connected +with it for a period of twenty-four years at an annual rental of £8—a +sum far below the real value of the moiety.<a name="FNanchor_431_431" id="FNanchor_431_431"></a><a href="#Footnote_431_431" class="fnanchor">[431]</a></p> + +<p>Whatever the details of the arrangement between the two partners, the +main outlines of their procedure are clear. On December 22, 1599, +Alleyn purchased for £240 a thirty-three-year lease<a name="FNanchor_432_432" id="FNanchor_432_432"></a><a href="#Footnote_432_432" class="fnanchor">[432]</a> of a plot of +ground situated to the north of the city, in the Parish of St. Giles +without Cripplegate. This plot of ground, we are told, stood "very +tolerable, near unto the Fields, and so far distant and remote from +any person or place of account as that none can be annoyed +thereby";<a name="FNanchor_433_433" id="FNanchor_433_433"></a><a href="#Footnote_433_433" class="fnanchor">[433]</a> and yet, as the Earl of Nottingham wrote, it was "very +convenient for the ease of people."<a name="FNanchor_434_434" id="FNanchor_434_434"></a><a href="#Footnote_434_434" class="fnanchor">[434]</a></p> + +<p>The property thus acquired lay between Golding Lane and Whitecross +Street, two parallel thoroughfares running north and south. There were +tenements on the edge of the property facing<span class="pagenum"><a name="Page_269" id="Page_269">269</a></span> Whitecross Street, +tenements on the edge facing Golding Lane, and an open space between. +Alleyn and Henslowe planned to erect their new playhouse in this open +space "between Whitecross Street and Golding Lane," and to make "a way +leading to it" from Golding Lane. The ground set aside for the +playhouse is described as "containing in length from east to west one +hundred twenty and seven feet and a half, a little more or less, and +in breadth, from north to south, one hundred twenty and nine feet, a +little more or less."<a name="FNanchor_435_435" id="FNanchor_435_435"></a><a href="#Footnote_435_435" class="fnanchor">[435]</a></p> + +<p>The lease of this property having been consummated on December 22, +1599, on January 8, 1600, Henslowe and Alleyn signed a contract with +the carpenter, Peter Street (who had recently gained valuable +experience in building the Globe), to erect the new playhouse. The +contract called for the completion of the building by July 25, 1600, +provided, however, the workmen were "not by any authority restrained."</p> + +<p>The latter clause may indicate that Peter Street anticipated +difficulties. If so, he was not mistaken, for when early in January +his workmen began to assemble material for the erection of the +building, the authorities, especially those of the Parish of St. +Giles, promptly interfered. Alleyn thereupon appealed to the patron of +the troupe, the Earl of<span class="pagenum"><a name="Page_270" id="Page_270">270</a></span> Nottingham, the Lord Admiral. On January 12, +1600, Nottingham issued a warrant to the officers of the county "to +permit and suffer my said servant [Edward Alleyn] to proceed in the +effecting and furnishing of the said new house, without any your let +or molestation toward him or any of his workmen."<a name="FNanchor_436_436" id="FNanchor_436_436"></a><a href="#Footnote_436_436" class="fnanchor">[436]</a> This warrant, +however, seems not to have prevented the authorities of St. Giles from +continuing their restraint. Alleyn was then forced to play his trump +card—through his great patron to secure from the Privy Council itself +a warrant for the construction of the building. First, however, by +offering "to give a very liberal portion of money weekly" towards the +relief of "the poor in the parish of St. Giles," he persuaded many of +the inhabitants to sign a document addressed to the Privy Council, in +which they not only gave their full consent to the erection of the +playhouse, but actually urged "that the same might proceed."<a name="FNanchor_437_437" id="FNanchor_437_437"></a><a href="#Footnote_437_437" class="fnanchor">[437]</a> This +document he placed in the hands of Nottingham to use in influencing +the Council. The effort was successful. On April 8 the Council issued +a warrant "to the Justices of the Peace of the County of Middlesex, +especially of St. Giles without Cripplegate, and to all others whom it +shall concern," that they should permit Henslowe and Alleyn "to +proceed in the effecting and finishing of the same new house."<a name="FNanchor_438_438" id="FNanchor_438_438"></a><a href="#Footnote_438_438" class="fnanchor">[438]</a></p> + +<p style="text-align: center"><br /> +<a name="FORTUNE"> +<img src="images/fortune.png" width="352" height="500" alt="" /></a></p> + +<p class="caption">THE SITE OF THE FORTUNE PLAYHOUSE</p> + +<p class="caption">The site of the Fortune is marked by Playhouse Yard, connecting Golden +Lane and Whitecross Street. (From Ogilby and Morgan's <i>Map of London</i>, +1677.)</p> + +<p class="center">[<a href="images/fortunelg.png">Enlarge</a>]</p> + +<p><br /><span class="pagenum"><a name="Page_271" id="Page_271">271</a></span> +This warrant, of course, put an end to all interference by local +authorities. But as the playhouse reared itself high above the walls +of the city to the north, the Puritans were aroused to action. They +made this the occasion for a most violent attack on actors and +theatres in general, and on the Fortune in particular. With this +attack the city authorities, for reasons of their own, heartily +sympathized, but they had no jurisdiction over the Parish of St. +Giles, or over the other localities in which playhouses were situated. +Since the Privy Council had specially authorized the erection of the +Fortune, the Lord Mayor shifted the attack to that body, and himself +dispatched an urgent request to the Lords for reformation. In response +to all this agitation the Lords of the Privy Council on June 22, 1600, +issued the following order:</p> + +<div class="blockquot"><p>Whereas divers complaints have heretofore been made unto the +Lords and other of Her Majesty's Privy Council of the +manifold abuses and disorders that have grown and do +continue by occasion of many houses erected and employed in +and about London for common stage-plays; and now very lately +by reason of some complaint exhibited by sundry persons +against the building of the like house in or near Golding +Lane ... the Lords and the rest of Her Majesty's Privy +Council with one and full consent have ordered in manner and +form as follows. First, that there shall be about the city +two houses, and no more, allowed to serve for the use of the +common stage-plays; of the which houses, one [the Globe] +shall be in Surrey, in that place which is commonly called +the Bankside or<span class="pagenum"><a name="Page_272" id="Page_272">272</a></span> thereabouts, and the other [the Fortune] in +Middlesex. Secondly, ... it is likewise ordered that the two +several companies of players assigned unto the two houses +allowed may play each of them in their several houses twice +a week and no oftener; and especially that they shall +refrain to play on the Sabbath day ... and that they shall +forbear altogether in the time of Lent.</p></div> + +<p>The first part of this order, limiting the playhouses and companies to +two, was merely a repetition of the order of 1598.<a name="FNanchor_439_439" id="FNanchor_439_439"></a><a href="#Footnote_439_439" class="fnanchor">[439]</a> It meant that +the Lords of the Privy Council formally licensed the Admiral's and the +Lord Chamberlain's Companies to play in London (of course the Lords +might, when they saw fit, license other companies for specific +periods). The second part of the order, limiting the number of +performances, was more serious, for no troupe could afford to act only +twice a week. The order if carried out would mean the ruin of the +Fortune and the Globe Companies. But it was not carried out. The +actors, as we learn from Henslowe's <i>Diary</i>, did not restrict +themselves to two plays a week. Why, then, did the Lords issue this +order, and why was it not put into effect? A study of the clever way +in which Alleyn, Nottingham, and the Privy Council overcame the +opposition of the puritanical officers of St. Giles who were +interfering with the erection of the Fortune will suggest the +explanation. The Lords were making a shrewd move to quiet the noisy +enemies of the drama. They did<span class="pagenum"><a name="Page_273" id="Page_273">273</a></span> not intend that the Admiral's and the +Chamberlain's Men should be driven out of existence; they were merely +meeting fanaticism with craft.</p> + +<p>Alleyn and Henslowe must have understood this,—possibly they learned +it directly from their patron Nottingham,—for they proceeded with the +erection of their expensive building. The work, however, had been so +seriously delayed by the restraints of the local authorities that the +foundations were not completed until May 8.<a name="FNanchor_440_440" id="FNanchor_440_440"></a><a href="#Footnote_440_440" class="fnanchor">[440]</a> On that day +carpenters were brought from Windsor, and set to the task of erecting +the frame. Since the materials had been accumulating on the site since +January 17, the work of erection must have proceeded rapidly. The +daily progress of this work is marked in Henslowe's <i>Diary</i> by the +dinners of Henslowe with the contractor, Peter Street. On August 8, +these dinners ceased, so that on that date, or shortly after, we may +assume, the building proper was finished.<a name="FNanchor_441_441" id="FNanchor_441_441"></a><a href="#Footnote_441_441" class="fnanchor">[441]</a></p> + +<p>For erecting the building Street received £440. But this did not +include the painting of the woodwork (which, if we may judge from De +Witt's description of the Swan, must have been costly), or the +equipment of the stage. We learn from Alleyn's memoranda that the +final cost of the playhouse was £520.<a name="FNanchor_442_442" id="FNanchor_442_442"></a><a href="#Footnote_442_442" class="fnanchor">[442]</a> Hence, after Street's work +of<span class="pagenum"><a name="Page_274" id="Page_274">274</a></span> erection was finished in August, the entire building had to be +painted, and the stage properly equipped with curtains, hangings, +machines, etc. This must have occupied at least two months. From +Henslowe's <i>Diary</i> it appears that the playhouse was first used about +the end of November or the early part of December, 1600.<a name="FNanchor_443_443" id="FNanchor_443_443"></a><a href="#Footnote_443_443" class="fnanchor">[443]</a></p> + +<p>The original contract of Henslowe and Alleyn with Peter Street for the +erection of the Fortune, preserved among the papers at Dulwich +College, supplies us with some very exact details of the size and +shape of the building. Although the document is long, and is couched +in the legal verbiage of the day, it will repay careful study. For the +convenience of the reader I quote below its main specifications:<a name="FNanchor_444_444" id="FNanchor_444_444"></a><a href="#Footnote_444_444" class="fnanchor">[444]</a></p> + +<div class="blockquot"><p><i>Foundation.</i> A good, sure, and strong foundation, of piles, +brick, lime, and sand, both without and within, to be +wrought one foot of assize at the least above the ground.</p> + +<p><i>Frame.</i> The frame of the said house to be set square, and +to contain fourscore foot of lawful assize every way square +without, and fifty-five foot of like assize square every way +within.</p> + +<p><i>Materials.</i> And shall also make all the said frame in every +point for scantlings larger and bigger in assize than the +scantlings of the said new-erected house called the Globe.</p> + +<p><i>Exterior.</i> To be sufficiently enclosed without with lath, +lime, and hair.<span class="pagenum"><a name="Page_275" id="Page_275">275</a></span></p> + +<p><i>Stairs.</i> With such like stairs, conveyances, and divisions, +without and within, as are made and contrived in and to the +late erected playhouse ... called the Globe.... And the +staircases thereof to be sufficiently enclosed without with +lath, lime, and hair.</p> + +<p><i>Height of galleries.</i> And the said frame to contain three +stories in height; the first, or lower story to contain +twelve foot of lawful assize in height; the second story +eleven foot of lawful assize in height; and the third, or +upper story, to contain nine foot of lawful assize in +height.</p> + +<p><i>Breadth of galleries.</i> All which stories shall contain +twelve foot of lawful assize in breadth throughout. Besides +a jutty forward in either of the said two upper stories of +ten inches of lawful assize.</p> + +<p><i>Protection of lowest gallery.</i> The lower story of the said +frame withinside ... [to be] paled in below with good, +strong, and sufficient new oaken boards.... And the said +lower story to be also laid over and fenced with strong iron +pikes.</p> + +<p><i>Divisions of galleries.</i> With four convenient divisions for +gentlemen's rooms, and other sufficient and convenient +divisions for two-penny rooms.... And the gentlemen's rooms +and two-penny rooms to be ceiled with lath, lime, and hair.</p> + +<p><i>Seats.</i> With necessary seats to be placed and set, as well +in those rooms as throughout all the rest of the galleries.</p> + +<p><i>Stage.</i> With a stage and tiring-house to be made, erected, +and set up within the said frame; with a shadow or cover +over the said stage. Which stage shall be placed and set (as +also the staircases of the said frame) in such sort as is +prefigured in a plot thereof drawn. [The plot has been +lost.] And which stage shall contain in length forty and +three foot of<span class="pagenum"><a name="Page_276" id="Page_276">276</a></span> lawful assize, and in breadth to extend to +the middle of the yard of the said house. The same stage to +be paled in below with good, strong, and sufficient new +oaken boards.... And the said stage to be in all other +proportions contrived and fashioned like unto the stage of +the said playhouse called the Globe.... And the said ... +stage ... to be covered with tile, and to have a sufficient +gutter of lead to carry and convey the water from the +covering of the said stage to fall backwards.</p> + +<p><i>Tiring-house.</i> With convenient windows and lights, glazed, +to the said tiring-house.</p> + +<p><i>Flooring.</i> And all the floors of the said galleries, +stories, and stage to be boarded with good and sufficient +new deal boards, of the whole thickness where need shall be.</p> + +<p><i>Columns.</i> All the principal and main posts of the said +frame and stage forward shall be square, and wrought +pilaster-wise, with carved proportions called satyrs to be +placed and set on the top of every of the said posts.</p> + +<p><i>Roof.</i> And the said frame, stage, and staircases to be +covered with tile.</p> + +<p><i>Miscellaneous.</i> To be in all other contrivations, +conveyances, fashions, thing and things, effected, finished, +and done, according to the manner and fashion of the said +house called the Globe.</p></div> + +<p>It is rather unfortunate for us that the building was to be in so many +respects a copy of the Globe, for that deprives us of further detailed +specifications; and it is unfortunate, too, that the plan or drawing +showing the arrangement of the stage was not preserved with the rest +of the document. Yet we are able to derive much exact information +from<span class="pagenum"><a name="Page_277" id="Page_277">277</a></span> the contract; and with this information, at least two modern +architects have made reconstructions of the building.<a name="FNanchor_445_445" id="FNanchor_445_445"></a><a href="#Footnote_445_445" class="fnanchor">[445]</a></p> + +<p>No representation of the exterior of the Fortune has come down to us. +In the so-called Ryther <i><a href="#FORTUNE_2">Map of London</a></i>, there is, to be sure, what +seems to be a crude representation of the playhouse (see page <a href="#Page_278">278</a>); +but if this is really intended for the Fortune, it does little more +than mark the location. Yet one can readily picture in his imagination +the playhouse—a plastered structure, eighty feet square and +approximately forty feet high,<a name="FNanchor_446_446" id="FNanchor_446_446"></a><a href="#Footnote_446_446" class="fnanchor">[446]</a> with small windows marking the +galleries, a turret and flagpole surmounting the red-tiled roof, and +over the main entrance a sign representing Dame Fortune:</p> + +<div class="cpoems"> +<p> +I'le rather stand here,<br /> +Like a statue in the fore-front of your house,<br /> +For ever, like the picture of Dame Fortune<br /> +Before the Fortune Playhouse.<a name="FNanchor_447_447" id="FNanchor_447_447"></a><a href="#Footnote_447_447" class="fnanchor">[447]</a><br /> +</p> +</div> + +<p><span class="pagenum"><a name="Page_278" id="Page_278">278</a></span></p> + +<p style="text-align: center"><br /> +<a name="FORTUNE_2"> +<img src="images/fortune2.png" width="338" height="400" alt="" /></a></p> + +<p class="caption">THE FORTUNE PLAYHOUSE (?)</p> + +<p class="caption">The curious structure with the flag may be intended to mark the site +of the Fortune. (From the so-called Ryther <i>Map of London</i>, drawn about +1630-40.)</p> + +<p><br /> +Nor is there any pictorial representation of the interior of the +playhouse. In the absence of such, I offer the reader a verbal picture +of the interior as seen from the stage during the performance of a +play. In Middleton and Dekker's <i>The Roaring Girl</i>, acted at the +Fortune, Sir Alexander shows to his friends his magnificent house. +Advancing to the middle of the stage, and pointing out over the +building, he asks them how they like it:<span class="pagenum"><a name="Page_279" id="Page_279">279</a></span></p> + +<div class="cpoeml"> +<p> +<i>Goshawk.</i> I like the prospect best.<br /> +<br /> +<i>Laxton.</i><span style="margin-left: 10em">See how 't is furnished!</span><br /> +<br /> +<i>Sir Davy.</i> A very fair sweet room.<br /> +<br /> +<i>Sir Alex.</i><span style="margin-left: 10em">Sir Davy Dapper,</span><br /> +The furniture that doth adorn this room<br /> +Cost many a fair grey groat ere it came here;<br /> +But good things are most cheap when they're most dear.<br /> +Nay, when you look into my galleries,<br /> +How bravely they're trimm'd up, you all shall swear<br /> +You're highly pleas'd to see what's set down there:<br /> +Stories of men and women, mix'd together,<br /> +Fair ones with foul, like sunshine in wet weather;<br /> +Within one square a thousand heads are laid,<br /> +So close that all of heads the room seems made;<br /> +As many faces there, fill'd with blithe looks<br /> +Shew like the promising titles of new books<br /> +Writ merrily, the readers being their own eyes,<br /> +Which seem to move and to give plaudities;<br /> +And here and there, whilst with obsequious ears<br /> +Throng'd heaps do listen, a cut-purse thrusts and leers<br /> +With hawk's eyes for his prey; I need not shew him;<br /> +By a hanging, villainous look yourselves may know him,<br /> +The face is drawn so rarely: then, sir, below,<br /> +The very floor, as 't were, waves to and fro,<br /> +And, like a floating island, seems to move<br /> +Upon a sea bound in with shores above.<br /> +<br /> +<i>All.</i> These sights are excellent!<a name="FNanchor_448_448" id="FNanchor_448_448"></a><a href="#Footnote_448_448" class="fnanchor">[448]</a><br /> +</p> +</div> + +<p>A closer view of this audience—"men and women, mix'd together, fair +ones with foul"—is furnished by one of the letters of Orazio +Busino,<a name="FNanchor_449_449" id="FNanchor_449_449"></a><a href="#Footnote_449_449" class="fnanchor">[449]</a><span class="pagenum"><a name="Page_280" id="Page_280">280</a></span> the chaplain of the Venetian Embassy, who visited the +Fortune playhouse shortly after his arrival in London in 1617:</p> + +<div class="blockquot"><p>The other day, therefore, they determined on taking me to +one of the many theatres where plays are performed, and we +saw a tragedy, which diverted me very little, especially as +I cannot understand a word of English, though some little +amusement may be derived from gazing at the very costly +dresses of the actors, and from the various interludes of +instrumental music and dancing and singing; but the best +treat was to see such a crowd of nobility so very well +arrayed that they looked like so many princes, listening as +silently and soberly as possible. These theatres are +frequented by a number of respectable and handsome ladies, +who come freely and seat themselves among the men without +the slightest hesitation. On the evening in question his +Excellency [the Venetian Ambassador] and the Secretary were +pleased to play me a trick by placing me amongst a bevy of +young women. Scarcely was I seated ere a very elegant dame, +but in a mask, came and placed herself beside me.... She +asked me for my address, both in French and English; and on +my turning a deaf ear, she determined to honour me by +showing me some fine diamonds on her fingers, repeatedly +taking off no fewer than three gloves, which were worn one +over the other.... This lady's bodice was of yellow satin +richly embroidered, her petticoat of gold tissue with +stripes, her robe of red velvet with a raised pile, lined +with yellow muslin, with broad stripes of pure gold. She +wore an apron<span class="pagenum"><a name="Page_281" id="Page_281">281</a></span> of point lace of various patterns; her +head-tire was highly perfumed, and the collar of white satin +beneath the delicately-wrought ruff struck me as extremely +pretty.</p></div> + +<p>That the players were prepared to entertain distinguished visitors +both during the performance and after is shown by a letter from John +Chamberlain, July 21, 1621, to Sir Dudley Carleton. "The Spanish +Ambassador," he writes, "is grown so affable and familiar, that on +Monday, with his whole train, he went to a common play at the Fortune +in Golding Lane; and the players (not to be overcome with courtesy) +made him a banquet, when the play was done, in the garden +adjoining."<a name="FNanchor_450_450" id="FNanchor_450_450"></a><a href="#Footnote_450_450" class="fnanchor">[450]</a></p> + +<p>Upon its completion the new building was occupied by the Admiral's +Men, for whom it had been erected. This troupe of players, long famous +under the leadership of Edward Alleyn, was now one of the two +companies authorized by the Privy Council, and the chief rival of the +Chamberlain's Men at the Globe. Henslowe was managing their affairs, +and numerous poets were writing plays for them. They continued to act +at the Fortune under the name, "The Admiral's Men," until May 5, 1603, +when, as Henslowe put it, they "left off play now at the King's +coming."<a name="FNanchor_451_451" id="FNanchor_451_451"></a><a href="#Footnote_451_451" class="fnanchor">[451]</a></p> + +<p>After a short interruption on account of the plague, during a part of +which time they traveled<span class="pagenum"><a name="Page_282" id="Page_282">282</a></span> in the provinces, the Admiral's Men were +taken under the patronage of the youthful Henry, Prince of Wales, and +in the early spring of 1604 they resumed playing at the Fortune under +their new name, "The Prince's Servants."</p> + +<p style="text-align: center"><br /> +<a name="EDWARD_ALLEYN"> +<img src="images/edwardalleyn.png" width="217" height="400" alt="" /></a></p> + +<p class="caption">EDWARD ALLEYN</p> + +<p class="caption">(Reproduced by permission from a painting in the Dulwich +Picture Gallery; photograph by Emery Walker, Ltd.)</p> + +<p><br /> +For a time all went well. But from July, 1607, until December, 1609, +the plague was severe in London, and acting was seriously interrupted. +During this long period of hardship for the players, Henslowe and +Alleyn seem to have made an attempt to hold the troupe together by +admitting its chief members to a partnership in the building, just as +the Burbages had formerly admitted their chief players to a +partnership in the Globe. At this time there were in the troupe eight +sharers, or chief actors.<a name="FNanchor_452_452" id="FNanchor_452_452"></a><a href="#Footnote_452_452" class="fnanchor">[452]</a> Henslowe and Alleyn, it seems, proposed +to allot to these eight actors one-fourth of the Fortune property. In +other words, according to this scheme, there were to be thirty-two +sharers in the new Fortune organization, Alleyn and Henslowe together +holding three-fourths of the stock, or twelve shares each, and the +eight actors together holding one-fourth of the stock, or one share +each. A document was actually drawn up by Henslowe and Alleyn, with +the name of the leader of the Fortune troupe, Thomas Downton, +inserted;<a name="FNanchor_453_453" id="FNanchor_453_453"></a><a href="#Footnote_453_453" class="fnanchor">[453]</a> but since the document was not executed, the scheme,<span class="pagenum"><a name="Page_283" id="Page_283">283</a></span> +it is to be presumed, was unsuccessful—at least, we hear nothing +further about it.<a name="FNanchor_454_454" id="FNanchor_454_454"></a><a href="#Footnote_454_454" class="fnanchor">[454]</a></p> + +<p>On November 6, 1612, the death of the young Prince of Wales left the +company without a "service." On January 4, 1613, however, a new patent +was issued to the players, placing them under the protection of the +Palsgrave, or Elector Palatine, after which date they are known as +"The Palsgrave's Men."</p> + +<p>On January 9, 1616, Henslowe, so long associated with the company and +the Fortune, died; and a year later his widow, Agnes, followed him. As +a result the entire Fortune property passed into the hands of Alleyn. +But Alleyn, apparently, did not care to be worried with the management +of the playhouse; so on October 31, 1618, he leased it to the +Palsgrave's Men for a period of thirty-one years, at an annual rental +of £200 and two rundlets of wine at Christmas.<a name="FNanchor_455_455" id="FNanchor_455_455"></a><a href="#Footnote_455_455" class="fnanchor">[455]</a></p> + +<p>On April 24, 1620, Alleyn executed a deed of grant of lands by which +he transferred the Fortune, along with various other properties, to +Dulwich College.<a name="FNanchor_456_456" id="FNanchor_456_456"></a><a href="#Footnote_456_456" class="fnanchor">[456]</a> But he retained during his lifetime the whole of +the revenues therefrom, and he specifically reserved to himself the +right to grant leases for<span class="pagenum"><a name="Page_284" id="Page_284">284</a></span> any length of years. The transference of +the title, therefore, in no way affected the playhouse, and Alleyn +continued to manage the property as he had been accustomed to do in +the past.</p> + +<p>His services in this capacity were soon needed, for on December 9, +1621, the Fortune was burned to the ground. Alleyn records the event +in his <i>Diary</i> thus: "<i>Memorandum.</i> This night at 12 of the clock the +Fortune was burnt." In a less laconic fashion John Chamberlain writes +to Sir Dudley Carleton: "On Sunday night here was a great fire at the +Fortune in Golding-Lane, the fairest playhouse in this town. It was +quite burnt down in two hours, and all their apparel and playbooks +lost, whereby those poor companions are quite undone."<a name="FNanchor_457_457" id="FNanchor_457_457"></a><a href="#Footnote_457_457" class="fnanchor">[457]</a></p> + +<p>The "poor companions" thus referred to were, of course, the players, +who lost not only their stock of apparel, playbooks, and stage +furniture, but also their lease, which assured them of a home. Alleyn, +however, was quite able and ready to reconstruct the building for +them; and we find him on May 20, 1621, already organizing a syndicate +to finance "a new playhouse" which "there is intended to be erected +and set up." The stock of the new enterprise he divided into twelve +equal shares, which he disposed of, as the custom was, in the form of +whole<span class="pagenum"><a name="Page_285" id="Page_285">285</a></span> and half shares, reserving for himself only one share.<a name="FNanchor_458_458" id="FNanchor_458_458"></a><a href="#Footnote_458_458" class="fnanchor">[458]</a> The +plot of ground on which the old playhouse stood he leased to the +several sharers for a period of fifty-one years at an annual rental of +£10 13<i>s.</i> 10<i>d.</i> a share, with the express condition that the +building to be erected thereon should never be used for any purpose +other than the acting of stage-plays. The sharers then proceeded to +the task of constructing their playhouse. It was proposed to make the +new building larger<a name="FNanchor_459_459" id="FNanchor_459_459"></a><a href="#Footnote_459_459" class="fnanchor">[459]</a> and handsomer than the old one, and to build +it of brick<a name="FNanchor_460_460" id="FNanchor_460_460"></a><a href="#Footnote_460_460" class="fnanchor">[460]</a> with a tiled roof—possibly an attempt at fireproof +construction. It was decided, also, to abandon the square shape in +favor of the older and more logical circular shape. Wright, in his +<i>Historia Histrionica</i>, describes the New Fortune as "a large, round, +brick building,"<a name="FNanchor_461_461" id="FNanchor_461_461"></a><a href="#Footnote_461_461" class="fnanchor">[461]</a> and Howes assures us that it was "farre fairer" +than the old playhouse.<a name="FNanchor_462_462" id="FNanchor_462_462"></a><a href="#Footnote_462_462" class="fnanchor">[462]</a> We do not know how much the building +cost. At the outset each<span class="pagenum"><a name="Page_286" id="Page_286">286</a></span> sharer was assessed £83 6<i>s.</i> 8<i>d.</i> towards +the cost of construction,<a name="FNanchor_463_463" id="FNanchor_463_463"></a><a href="#Footnote_463_463" class="fnanchor">[463]</a> which would produce exactly £1000; but +the first assessment was not necessarily all that the sharers were +called upon to pay. For example, when the Globe was rebuilt each +sharer was at first assessed "£50 or £60," but before the building was +finished each had paid more than £100. So the Fortune may well have +cost more than the original estimate of £1000. In 1656 two expert +assessors appointed by the authorities of Dulwich College to examine +the playhouse declared that "the said building did in our opinions +cost building about two thousand pound."<a name="FNanchor_464_464" id="FNanchor_464_464"></a><a href="#Footnote_464_464" class="fnanchor">[464]</a> This estimate is +probably not far wrong. The playhouse was completed in June or July of +1623, and was again occupied by the Palsgrave's Men.<a name="FNanchor_465_465" id="FNanchor_465_465"></a><a href="#Footnote_465_465" class="fnanchor">[465]</a></p> + +<p>On November 25, 1626, Edward Alleyn died, and the Fortune property +came into the full possession of Dulwich College. This, however, did +not in any way affect the syndicate of the Fortune housekeepers, who +held from Alleyn a lease of the property until 1672. According to the +terms of this lease each of the twelve sharers had to pay a yearly<span class="pagenum"><a name="Page_287" id="Page_287">287</a></span> +rental of £10 13<i>s.</i> 10<i>d.</i>; this rental now merely went to the +College instead of to Alleyn.</p> + +<p>In 1631 the Palsgrave's Men seem to have fallen on hard times; at any +rate, they had to give up the Fortune, and the playhouse was taken +over, about December, by the King's Revels, who had been playing at +the small private playhouse of Salisbury Court.<a name="FNanchor_466_466" id="FNanchor_466_466"></a><a href="#Footnote_466_466" class="fnanchor">[466]</a> The Palsgrave's +Men were reorganized, taken under the patronage of the infant Prince +Charles, and placed in the Salisbury Court Playhouse just vacated by +the King's Revels.</p> + +<p>In 1635 there was a general shifting of houses on the part of the +London companies. The King's Revels left the Fortune and returned to +their old quarters at Salisbury Court; the Prince Charles's Men, who +had been at Salisbury Court, moved to the Red Bull; and the Red Bull +Company transferred itself to the Fortune.</p> + +<p>The stay of the Red Bull Company at the Fortune was not happy. Towards +the end of 1635 the plague was seriously interfering with their +performance of plays;<a name="FNanchor_467_467" id="FNanchor_467_467"></a><a href="#Footnote_467_467" class="fnanchor">[467]</a> and on May 10, 1636, the Privy Council +closed all theatres, and kept them closed, except for a few days, +until October 2, 1637.<a name="FNanchor_468_468" id="FNanchor_468_468"></a><a href="#Footnote_468_468" class="fnanchor">[468]</a> This long inhibition not only impoverished +the actors and drove them into the country, but came<span class="pagenum"><a name="Page_288" id="Page_288">288</a></span> near ruining the +lessees of the Fortune, who, having no revenue from the playhouse, +could not make their quarterly payments to the College. On September +4, 1637, the Court of Assistants at Dulwich noted that the lessees +were behind in their rent to the extent of £132 12<i>s.</i> 11<i>d.</i>; "and," +the court adds, "there will be a quarter's rent more at Michaelmas +next [i.e., in twenty-five days], which is doubted will be also +unpaid, amounting to £33 1<i>s.</i> 4<i>d.</i>"<a name="FNanchor_469_469" id="FNanchor_469_469"></a><a href="#Footnote_469_469" class="fnanchor">[469]</a> The excuse of the lessees +for their failure to pay was the "restraint from playing."<a name="FNanchor_470_470" id="FNanchor_470_470"></a><a href="#Footnote_470_470" class="fnanchor">[470]</a></p> + +<p>This "restraint" was removed on October 2, 1637, and the players +resumed their performances at the Fortune. But in the early summer of +1639 they fell victims to another bit of ill luck even more serious +than their long inhibition. In a letter of Edmond Rossingham, dated +May 8, 1639, we read: "Thursday last the players of the Fortune were +fined £1000 for setting up an altar, a bason, and two candlesticks, +and bowing down before it upon the stage; and although they allege it +was an old play revived, and an altar to the heathen gods, yet it was +apparent that this play was revived on purpose in contempt of the +ceremonies of the Church."<a name="FNanchor_471_471" id="FNanchor_471_471"></a><a href="#Footnote_471_471" class="fnanchor">[471]</a></p> +<p><span class="pagenum"><a name="Page_289" id="Page_289">289</a></span></p> +<p>During the Easter period, 1640, the players returned to their old +quarters at the Red Bull. After their unhappy experiences at the +Fortune they were apparently glad to occupy again their former home. +The event is celebrated in a Prologue entitled <i>Upon the Removing of +the Late Fortune Players to the Bull</i>, written by John Tatham, and +printed in <i>Fancies Theatre</i> (1640):<a name="FNanchor_472_472" id="FNanchor_472_472"></a><a href="#Footnote_472_472" class="fnanchor">[472]</a></p> + +<div class="cpoems"> +<p> +Here, gentlemen, our anchor's fixt; and we<br /> +Disdaining <i>Fortune's</i> mutability,<br /> +Expect your kind acceptance.<br /> +</p> +</div> + +<p>The writer then hurls some uncomplimentary remarks at the Fortune, +observing complacently: "We have ne'er an actor here has mouth enough +to tear language by the ears." It is true that during these later +years the Fortune had fallen into ill repute with persons of good +taste. But so had the Red Bull, and the actors there had no right to +throw stones. Apparently the large numbers that could be accommodated +in the great public theatres, and the quality of the audience +attracted by the low price of admission, made noise and rant +inevitable.<a name="FNanchor_473_473" id="FNanchor_473_473"></a><a href="#Footnote_473_473" class="fnanchor">[473]</a> As chief sinners in this respect the Fortune and the +Red Bull are usually mentioned together.</p> + +<p>Upon the departure of the Red Bull Company, the Prince Charles's Men +(originally the Admiral's,<span class="pagenum"><a name="Page_290" id="Page_290">290</a></span> and later the Palsgrave's Men), who had +been occupying the Red Bull, came to the Fortune.<a name="FNanchor_474_474" id="FNanchor_474_474"></a><a href="#Footnote_474_474" class="fnanchor">[474]</a> Thus after an +absence of nearly nine years, the old company (though sadly altered in +personnel), for which the Fortune had been built, returned to its home +to remain there until the end.</p> + +<p>On September 2, 1642, the Long Parliament passed an ordinance +suppressing all stage-plays; but for a time the actors at the Fortune +seem to have continued their performances. In the fifth number of <i>The +Weekly Account</i>, September 27-October 4, 1643, we find among other +entries: "The players' misfortune at the Fortune in Golding Lane, +their players' clothes being seized upon in the time of a play by +authority from the Parliament."<a name="FNanchor_475_475" id="FNanchor_475_475"></a><a href="#Footnote_475_475" class="fnanchor">[475]</a> This, doubtless, led to the +closing of the playhouse.</p> + +<p>After the Fortune was thus closed, the lessees were in a predicament. +By a specific clause in their lease they were prevented from using the +building for any purpose other than the acting of stage-plays, and now +Parliament by a specific ordinance had forbidden the acting of +stage-plays. Hence the lessees, some of whom were poor persons, being +unable to make any profit from the building, refused to pay any rent. +The College entered suit against them, and exhausted all legal means +to make them pay, but without success.<a name="FNanchor_476_476" id="FNanchor_476_476"></a><a href="#Footnote_476_476" class="fnanchor">[476]</a></p> +<p><span class="pagenum"><a name="Page_291" id="Page_291">291</a></span></p> +<p>When the ordinance prohibiting plays expired in January, 1648, the +actors promptly reopened the Fortune, and we learn from <i>The Kingdom's +Weekly Intelligencer</i> that on January 27 no fewer than one hundred and +twenty coaches were crowded about the building. But on February 9 +Parliament passed a new and even more stringent ordinance against +dramatic performances, placing penalties not only upon the players, +but also upon the spectators. This for ever put an end to acting at +the Fortune.</p> + +<p>In 1649 the arrears of the lessees having reached the sum of £974 +5<i>s.</i> 8<i>d.</i>, the authorities of the College took formal possession of +the playhouse.</p> + +<p>From certain manuscript notes<a name="FNanchor_477_477" id="FNanchor_477_477"></a><a href="#Footnote_477_477" class="fnanchor">[477]</a> entered in the Phillipps copy of +Stow's <i>Annals</i> (1631), we learn that "a company of soldiers, set on +by the sectaries of these sad times, on Saturday, the 24 day of March, +1649," sacked the Salisbury Court Playhouse, the Phœnix, and the +Fortune. The note states that the Fortune was "pulled down on the +inside by the soldiers"; that is, the stage and the seats were +dismantled<a name="FNanchor_478_478" id="FNanchor_478_478"></a><a href="#Footnote_478_478" class="fnanchor">[478]</a> so as to render the building unusable for dramatic +purposes.</p> + +<p>In the following year, 1650, the inhabitants of the Parish of St. +Giles "represent that they are poor, and unable to build a place of +worship for themselves, but think it would be convenient if that large +building commonly known by the name<span class="pagenum"><a name="Page_292" id="Page_292">292</a></span> of the Fortune Playhouse might be +allotted and set apart for that purpose." The request was not +granted.<a name="FNanchor_479_479" id="FNanchor_479_479"></a><a href="#Footnote_479_479" class="fnanchor">[479]</a></p> + +<p>By July, 1656, the condition of the old playhouse was such that the +Masters and Wardens of the College appointed two experts to view the +building and make recommendations. They reported "that by reason the +lead hath been taken from the said building, the tiling not secured, +and the foundation of the said playhouse not kept in good repair, +great part of the said playhouse is fallen to the ground, the timber +thereof much decayed and rotten, and the brick walls so rent and torn +that the whole structure is in no condition capable of repair, but in +great danger of falling, to the hazard of passengers' lives"; and they +add: "The charge for demolishing the same will be chargeable and +dangerous. Upon these considerations our opinion is that the said +materials may not be more worth than eighty pound."<a name="FNanchor_480_480" id="FNanchor_480_480"></a><a href="#Footnote_480_480" class="fnanchor">[480]</a></p> + +<p>The authorities of Dulwich took no action on this report. However, on +March 5, 1660, they ordered that the property be leased, making a +casual reference to the playhouse as "at present so ruinous that part +thereof is already fallen down, and the rest will suddenly follow." +Accordingly, they inserted in the <i>Mercurius Politicus</i> of February +14-21, 1661, the following advertisement: "The For<span class="pagenum"><a name="Page_293" id="Page_293">293</a></span>tune Playhouse, +situate between Whitecross Street and Golding Lane, in the parish of +St. Giles, Cripplegate, with the ground thereto belonging, is to be +let to be built upon."<a name="FNanchor_481_481" id="FNanchor_481_481"></a><a href="#Footnote_481_481" class="fnanchor">[481]</a></p> + +<p>No one seems to have cared to lease the property; so on March 16, +following, the materials of the building were sold to one William +Beaven for the sum of £75;<a name="FNanchor_482_482" id="FNanchor_482_482"></a><a href="#Footnote_482_482" class="fnanchor">[482]</a> and in the records of the College, +March 4, 1662, we read that "the said playhouse ... is since totally +demolished."<a name="FNanchor_483_483" id="FNanchor_483_483"></a><a href="#Footnote_483_483" class="fnanchor">[483]</a></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_294" id="Page_294">294</a></span></p> +<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV</h2> + +<h3>THE RED BULL</h3> + + +<p><br /><span class="dropcap">T</span>HE builder of the Red Bull Playhouse<a name="FNanchor_484_484" id="FNanchor_484_484"></a><a href="#Footnote_484_484" class="fnanchor">[484]</a> was "one Aaron Holland, +yeoman," of whom we know little more than that he "was utterly +unlearned and illiterate, not being able to read."<a name="FNanchor_485_485" id="FNanchor_485_485"></a><a href="#Footnote_485_485" class="fnanchor">[485]</a> He had leased +"for many years" from Anne Beddingfield, "wife and administratrix of +the goods and chattles of Christopher Beddingfield, deceased," a small +plot of land, known by the name of "The Red Bull." This plot of land, +which contained one house, was situated "at the upper end of St. +John's Street" in the Parish of St. James, Clerkenwell, the exact +location being marked by "Red Bull Yard" in Ogilby and Morgan's <i>Map +of London</i>, printed in 1677. The property was not much more distant +from the heart of the city than the Fortune property, and since it +could be easily reached through St. John's Gate, it was quite as well +situated for dramatic purposes as was the Fortune.</p> + +<p style="text-align: center"><br /> +<a name="RED_BULL"> +<img src="images/redbull.png" width="346" height="500" alt="" /></a></p> + +<p class="caption">THE SITE OF THE RED BULL PLAYHOUSE</p> + +<p class="caption">The site is indicated by Red Bull Yard. (From Ogilby and Morgan's <i>Map +of London</i>, 1677.)</p> + +<p class="center">[<a href="images/redbulllg.png">Enlarge</a>]</p> + +<p><br /> +In or before 1605<a name="FNanchor_486_486" id="FNanchor_486_486"></a><a href="#Footnote_486_486" class="fnanchor">[486]</a> Holland erected on this plot<span class="pagenum"><a name="Page_295" id="Page_295">295</a></span> of ground "a +playhouse for acting and setting forth plays, comedies, and +tragedies." We may suspect that he did this at the instigation of the +Earl of Worcester's Men, who had just been taken under the patronage +of the Queen, and had been selected by the Privy Council as one of +three companies to be "allowed." The warrant of the Privy Council, +April 9, 1604, orders the Lord Mayor to "permit and suffer the three +companies of players to the King, Queen, and Prince publickly to +exercise their plays in their several and usual houses for that +purpose, and no other, viz. the Globe, situate in Maiden Lane on the +Bankside in the county of Surrey, the Fortune in Golding Lane, and the +Curtain, in Holywell."<a name="FNanchor_487_487" id="FNanchor_487_487"></a><a href="#Footnote_487_487" class="fnanchor">[487]</a> Among these three companies, as Dekker +tells us, there was much rivalry.<a name="FNanchor_488_488" id="FNanchor_488_488"></a><a href="#Footnote_488_488" class="fnanchor">[488]</a> No doubt the Queen's Men, +forced to occupy the old Curtain Playhouse, suffered by comparison +with the King's Men at the handsome Globe, and the Prince's Men at the +new and magnificent Fortune; and this, I suspect, furnished the +immediate cause for the erection of the Red Bull. In a draft of a +license to the Queen's Men, made late in 1603 or early in 1604, the +fact is disclosed that the actors, of whom<span class="pagenum"><a name="Page_296" id="Page_296">296</a></span> Thomas Greene was the +leader, were contemplating a new playhouse. The company was licensed +to use any "playhouse not used by others, by the said Thomas Greene +elected, <i>or by him hereafter to be built</i>."<a name="FNanchor_489_489" id="FNanchor_489_489"></a><a href="#Footnote_489_489" class="fnanchor">[489]</a> Whether or no Greene +and his fellows had some understanding with Holland, we cannot say. +But in 1605 we find Holland disposing of one share in the new +playhouse to Thomas Swynnerton, a member of Queen Anne's Troupe; and +he may at the same time have disposed of other shares to other +members, for his transaction with Swynnerton comes to our notice only +through a subsequent lawsuit. The words used in the documents +connected with the suit clearly suggest that the playhouse was +completed at the time of the purchase. From the fact that Holland +granted "a seventh part of the said playhouse and galleries, with a +gatherer's place thereto belonging or appertaining, unto the said +Thomas Swynnerton for diverse years,"<a name="FNanchor_490_490" id="FNanchor_490_490"></a><a href="#Footnote_490_490" class="fnanchor">[490]</a> it appears that the +ownership of the playhouse had been divided into seven shares, some of +which, according to custom, may have been subdivided into half-shares.</p> + +<p>The name of the playhouse, as in the case of the Rose and the Curtain, +was taken from the name of the estate on which it was erected. Of the +building we have no pictorial representation; the picture in Kirkman's +<i>The Wits</i> (1672), so often reproduced by<span class="pagenum"><a name="Page_297" id="Page_297">297</a></span> scholars as "The Interior +of the Red Bull," has nothing whatever to do with that building. The +Kirkman picture shows a small enclosed room, with a narrow stage +illuminated by chandeliers and footlights; the Red Bull, on the +contrary, was a large, open-air building, with its stage illuminated +by the sun. It is thus described in Wright's <i>Historia Histrionica</i> +(1699): "The Globe, Fortune, and Bull were large houses, and lay +partly open to the weather."<a name="FNanchor_491_491" id="FNanchor_491_491"></a><a href="#Footnote_491_491" class="fnanchor">[491]</a> Before its door was displayed a sign +on which was painted a red bull; hence the playhouse is sometimes +referred to simply as "at the sign of the Red Bull."</p> + +<p>The building, as I have indicated, seems to have been completed in or +before 1605; but exactly when the Queen's Men moved thither from the +Curtain is not clear. The patent issued to the company on April 15, +1609, gives them license to play "within their now usual houses, +called the Red Bull in Clerkenwell, and the Curtain in Holywell."<a name="FNanchor_492_492" id="FNanchor_492_492"></a><a href="#Footnote_492_492" class="fnanchor">[492]</a> +Since they would hardly make use of two big public playhouses at the +same time, we might suspect that they were then arranging for the +transfer. Moreover, Heath, in his <i>Epigrams</i>, printed in 1610 but +probably written a year or two earlier, refers to the three important +public playhouses of the day as the Globe, the Fortune, and the +Curtain. Yet, that the<span class="pagenum"><a name="Page_298" id="Page_298">298</a></span> Queen's Men were playing regularly at the Red +Bull in 1609 is clear from Dekker's <i>Raven's Almanack</i>,<a name="FNanchor_493_493" id="FNanchor_493_493"></a><a href="#Footnote_493_493" class="fnanchor">[493]</a> and they +may have been playing there at intervals after 1605.</p> + +<p>Dekker, in the pamphlet just mentioned, predicted "a deadly war" +between the Globe, the Fortune, and the Red Bull. And he had good +reasons for believing that the Queen's Men could successfully compete +with the two other companies, for it numbered among its players some +of the best actors of the day. The leader of the troupe was Thomas +Greene, now chiefly known for the amusing comedy named, after him, +<i>Greene's Tu Quoque</i>, but then known to all Londoners as the cleverest +comedian since Tarleton and Kempe:</p> + +<div class="blockquot"><p><i>Scat.</i> Yes, faith, brother, if it please you; let's go see +a play at the Globe.</p> + +<p><i>But.</i> I care not; any whither, so the clown have a part; +for, i' faith, I am nobody without a fool.</p> + +<p><i>Gera.</i> Why, then, we'll go to the Red Bull; they say +Green's a good clown.<a name="FNanchor_494_494" id="FNanchor_494_494"></a><a href="#Footnote_494_494" class="fnanchor">[494]</a></p></div> + +<p>The chief playwright for the troupe was the learned and industrious +Thomas Heywood, who, like Shakespeare, was also an actor and full +sharer in his<span class="pagenum"><a name="Page_299" id="Page_299">299</a></span> company. Charles Lamb, who was an ardent admirer of +Heywood's plays, enthusiastically styled him "a prose Shakespeare"; +and Wordsworth, with hardly less enthusiasm, declared him to have been +"a great man."</p> + +<p>In 1612 Thomas Greene died, and the leadership of the troupe was taken +over by Christopher Beeston, a man well known in the theatrical life +of the time. Late in February, 1617, Beeston transferred the Queen's +Men to his new playhouse in Drury Lane, the Cockpit; in little more +than a week the sacking of the Cockpit drove them back to their old +quarters, where they remained until the following June. But even after +this they seem not to have abandoned the Red Bull entirely.</p> + +<p>Edward Alleyn, in his <i>Account Book</i>, writes: "Oct. 1, 1617, I came to +London in the coach and went to the Red Bull"; and again under the +date of October 3: "I went to the Red Bull, and received for <i>The +Younger Brother</i> but £3 6<i>s.</i> 4<i>d.</i>"<a name="FNanchor_495_495" id="FNanchor_495_495"></a><a href="#Footnote_495_495" class="fnanchor">[495]</a> What these two passages mean +it is hard to say, for they constitute the only references to the Red +Bull in all the Alleyn papers; but they do not necessarily imply, as +some have thought, that Alleyn was part owner of the playhouse; +possibly he was merely selling to the Red Bull Company the manuscript +of an old play.<a name="FNanchor_496_496" id="FNanchor_496_496"></a><a href="#Footnote_496_496" class="fnanchor">[496]</a></p> + +<p><span class="pagenum"><a name="Page_300" id="Page_300">300</a></span></p><p>At the death of Queen Anne, March 2, 1619, the company was deprived of +its "service," and after attending her funeral on May 13, was +dissolved. Christopher Beeston joined Prince Charles's Men, and +established that troupe at the Cockpit;<a name="FNanchor_497_497" id="FNanchor_497_497"></a><a href="#Footnote_497_497" class="fnanchor">[497]</a> the other leading members +of Queen Anne's Men seem to have continued at the Red Bull under the +simple title "The Red Bull Company."</p> + +<p>In April, 1622, a feltmaker's apprentice named John Gill,<a name="FNanchor_498_498" id="FNanchor_498_498"></a><a href="#Footnote_498_498" class="fnanchor">[498]</a> while +seated on the Red Bull stage, was accidentally injured by a sword in +the hands of one of the actors, Richard Baxter. A few days later Gill +called upon his fellow-apprentices to help him secure damages. In the +forenoon he sent the following letter, now somewhat defaced by time, +to Baxter:</p> + +<div class="blockquot"><p>Mr. Blackster [<i>sic</i>]. So it is that upon Monday last it ... +to be upon your stage, intending no hurt to any one, where I +was grievously wounded in the head, as may appear; and in +the surgeon's hands, who is to have x<i>s.</i> for the cure; and +in the meantime my Master to give me maintenance ... [to my] +great loss and hindrance; and therefore in kindness I desire +you to give me satisfaction, seeing I was wounded by your +own hand ... weapon. If you refuse, then look to yourself +and avoid the danger which shall this day ensue upon your +company and house. For ... as you can, for I am a +feltmaker's prentice, and have made it known to at least one +hundred and forty of our ... who are all here present, ready +to take revenge upon<span class="pagenum"><a name="Page_301" id="Page_301">301</a></span> you unless willingly you will give +present satisfaction. Consider there ... think fitting. And +as you have a care for your own safeties, so let me have +answer forthwith.<a name="FNanchor_499_499" id="FNanchor_499_499"></a><a href="#Footnote_499_499" class="fnanchor">[499]</a></p></div> + +<p>Baxter turned the letter over to the authorities of Middlesex (hence +its preservation), who took steps to guard the playhouse and actors. +The only result was that prentices "to the number of one hundred +persons on the said day riotously assembled at Clerkenwell, to the +terror and disquiet of persons dwelling there."</p> + +<p>On July 8, 1622, the Red Bull Company secured a license "to bring up +children in the quality and exercise of playing comedies, histories, +interludes, morals, pastorals, stage-plays and such like ... to be +called by the name of the Children of the Revels."<a name="FNanchor_500_500" id="FNanchor_500_500"></a><a href="#Footnote_500_500" class="fnanchor">[500]</a> The Children +of the Revels occupied the Red Bull until the summer of the following +year, 1623, when they were dissolved. The last reference to them is in +the Herbert Manuscript under the date of May 10, 1623.<a name="FNanchor_501_501" id="FNanchor_501_501"></a><a href="#Footnote_501_501" class="fnanchor">[501]</a></p> + +<p>In August, 1623, we find the Red Bull occupied by Prince Charles's +Men,<a name="FNanchor_502_502" id="FNanchor_502_502"></a><a href="#Footnote_502_502" class="fnanchor">[502]</a> who, after the dissolution of the Revels Company, had moved +thither from the less desirable Curtain.</p> + +<p>Two years later, in 1625, Prince Charles became King, and took under +his patronage his father's<span class="pagenum"><a name="Page_302" id="Page_302">302</a></span> troupe, the King's Men. Some of the +members of the Prince Charles Troupe were transferred to the King's +Men, and the rest constituted a nucleus about which a new company was +organized, known simply as "The Red Bull Company."</p> + +<p>About this time, it seems, the playhouse was rebuilt and enlarged. The +Fortune had been destroyed by fire in 1621, and had just been rebuilt +in a larger and handsomer form. In 1625 one W.C., in <i>London's +Lamentation for her Sins</i>, writes: "Yet even then, Oh Lord, were the +theatres magnified and enlarged."<a name="FNanchor_503_503" id="FNanchor_503_503"></a><a href="#Footnote_503_503" class="fnanchor">[503]</a> This doubtless refers to the +rebuilding of the Fortune and the Red Bull. Prynne specifically states +in his <i>Histriomastix</i> (1633) that the Fortune and Red Bull had been +"lately reedified [and] enlarged." But nothing further is known of the +"re-edification and enlargement" of the Red Bull.</p> + +<p>After its enlargement the playhouse seems to have acquired a +reputation for noise and vulgarity. Carew, in 1630, speaks of it as a +place where "noise prevails" and a "drowth of wit," and yet as always +crowded with people while the better playhouses stood empty. In <i>The +Careless Shepherdess</i>, acted at Salisbury Court, we read:</p> + +<div class="cpoems"> +<p> +And I will hasten to the money-box,<br /> +And take my shilling out again;<br /> +I'll go to the Bull, or Fortune, and there see<br /> +A play for two-pence, and a jig to boot.<a name="FNanchor_504_504" id="FNanchor_504_504"></a><a href="#Footnote_504_504" class="fnanchor">[504]</a><br /> +</p> +</div> + +<p><span class="pagenum"><a name="Page_303" id="Page_303">303</a></span></p> + +<p>In 1638, a writer of verses prefixed to Randolph's <i>Poems</i> speaks of +the "base plots" acted with great applause at the Red Bull.<a name="FNanchor_505_505" id="FNanchor_505_505"></a><a href="#Footnote_505_505" class="fnanchor">[505]</a> James +Wright informs us, in his <i>Historia Histrionica</i>, that the Red Bull +and the Fortune were "mostly frequented by citizens and the meaner +sort of people."<a name="FNanchor_506_506" id="FNanchor_506_506"></a><a href="#Footnote_506_506" class="fnanchor">[506]</a> And Edmund Gayton, in his <i>Pleasant Notes</i>, +wittily remarks: "I have heard that the poets of the Fortune and Red +Bull had always a mouth-measure for their actors (who were terrible +tear-throats) and made their lines proportionable to their compass, +which were sesquipedales, a foot and a half."<a name="FNanchor_507_507" id="FNanchor_507_507"></a><a href="#Footnote_507_507" class="fnanchor">[507]</a> Probably the ill +repute of the large public playhouses at this time was chiefly due to +the rise of private playhouses in the city.</p> + +<p>In 1635 the Red Bull Company moved to the Fortune, and Prince +Charles's Men occupied the Red Bull.</p> + +<p>Five years later, at Easter, 1640, Prince Charles's Men moved back to +the Fortune, and the Red Bull Company returned to its old home. In a +prologue written to celebrate the event,<a name="FNanchor_508_508" id="FNanchor_508_508"></a><a href="#Footnote_508_508" class="fnanchor">[508]</a> the members of the +company declared:</p> + +<p class="center">Here, gentlemen, our anchor's fix't.</p> + +<p>This proved true, for the company remained at the<span class="pagenum"><a name="Page_304" id="Page_304">304</a></span> Red Bull until +Parliament passed the ordinance of 1642 closing the playhouses and +forbidding all dramatic performances. The ordinance, which was to hold +good during the continuance of the civil war, was renewed in 1647, +with January 1, 1648, set as the date of its expiration. Through some +oversight a new ordinance was not immediately passed, and the actors +were prompt to take advantage of the fact. They threw open the +playhouses, and the Londoners flocked in great crowds to hear plays +again. At the Red Bull, so we learn from the newspaper called <i>Perfect +Occurrences</i>, was given a performance of Beaumont and Fletcher's <i>Wit +Without Money</i>.</p> + +<p>But on February 9, 1648, Parliament made up for its oversight by +passing an exceptionally severe ordinance against dramatic +exhibitions, directing that actors be publicly flogged, and that each +spectator be fined the sum of five shillings.</p> + +<p>During the dark years that followed, the Red Bull, in spite of this +ordinance, was occasionally used by venturous actors. James Wright, in +his <i>Historia Histrionica</i>, tells us that upon the outbreak of the war +the various London actors had gone "into the King's army, and, like +good men and true, served their old master, though in a different, yet +more honourable capacity. Robinson was killed at the taking of a place +(I think Basing House) by Harrison.... Mohun was a captain.... Hart +was cornet of the same troop, and Shatterel<span class="pagenum"><a name="Page_305" id="Page_305">305</a></span> quartermaster. Allen, of +the Cockpit, was a major.... The rest either lost or exposed their +lives for their king."<a name="FNanchor_509_509" id="FNanchor_509_509"></a><a href="#Footnote_509_509" class="fnanchor">[509]</a> He concludes the narrative by saying that +when the wars were over, those actors who were left alive gathered to +London, "and for a subsistence endeavoured to revive their old trade +privately." They organized themselves into a company in 1648 and +attempted "to act some plays with as much caution and privacy as could +be at the Cockpit"; but after three or four days they were stopped by +soldiers. Thereafter, on special occasions "they used to bribe the +officer who commanded the guard at Whitehall, and were thereupon +connived at to act for a few days at the Red Bull, but were sometimes, +notwithstanding, disturbed by soldiers."<a name="FNanchor_510_510" id="FNanchor_510_510"></a><a href="#Footnote_510_510" class="fnanchor">[510]</a> To such clandestine +performances Kirkman refers in his Preface to <i>The Wits, or Sport upon +Sport</i> (1672): "I have seen the Red Bull Playhouse, which was a large +one, so full that as many went back for want of room as had entered; +and as meanly as you may now think of these drolls, they were then +acted by the best comedians then and now in being." Not, however, +without occasional trouble. In Whitelocke's <i>Memorials</i>, p. 435, we +read: "20 Dec., 1649. Some stage-players in St. John's Street were +apprehended by troopers, their clothes taken away, and themselves +carried to prison"; again, in <i>The Perfect Account</i>, December +27-January 3, 1654-1655: "Dec.<span class="pagenum"><a name="Page_306" id="Page_306">306</a></span> 30, 1654.—This day the players at the +Red Bull, being gotten into all their borrowed gallantry and ready to +act, were by some of the soldiery despoiled of all their bravery; but +the soldiery carried themselves very civilly towards the +audience."<a name="FNanchor_511_511" id="FNanchor_511_511"></a><a href="#Footnote_511_511" class="fnanchor">[511]</a> In the <i>Weekly Intelligencer</i>, September 11-18, 1655, +we find recorded still another sad experience for the actors: "Friday, +September 11, 1655.—This day proved tragicall to the players at the +Red Bull; their acting being against the Act of Parliament, the +soldiers secured the persons of some of them who were upon the stage, +and in the tiring-house they seized also upon their clothes in which +they acted, a great part whereof was very rich."<a name="FNanchor_512_512" id="FNanchor_512_512"></a><a href="#Footnote_512_512" class="fnanchor">[512]</a></p> + +<p>On this occasion, however, the soldiers, instead of carrying +themselves "very civilly" towards the audience, undertook to exact +from each of the spectators the fine of five shillings. The ordinance +of Parliament, passed February 9, 1648, read: "And it is hereby +further ordered and ordained, that every person or persons which shall +be present and a spectator at such stage-play or interlude, hereby +prohibited, shall for every time he shall be present, forfeit and pay +the sum of five shillings to the use of the poor of the parish."<a name="FNanchor_513_513" id="FNanchor_513_513"></a><a href="#Footnote_513_513" class="fnanchor">[513]</a> +But the spectators did not submit to this fine without a struggle. +Jeremiah Banks wrote to Williamson on September 16,<span class="pagenum"><a name="Page_307" id="Page_307">307</a></span> 1655: "At the +playhouse this week many were put to rout by the soldiers and had +broken crowns; the corporal would have been entrapped had he not been +vigilant."<a name="FNanchor_514_514" id="FNanchor_514_514"></a><a href="#Footnote_514_514" class="fnanchor">[514]</a> And in the <i>Weekly Intelligencer</i>, September 11-18, we +read: "It never fared worse with the spectators than at this present, +for those who had monies paid their five shillings apiece; those who +had none, to satisfy their forfeits, did leave their cloaks behind +them. The Tragedy of the spectators was the Comedy of the soldiers. +There was abundance of the female sex, who, not able to pay five +shillings, did leave some gage or other behind them, insomuch that +although the next day after the Fair was expected to be a new fair of +hoods, of aprons, and of scarfs; all which, their poverty being made +known, and after some check for their trespass, were civilly again +restored to the owners."<a name="FNanchor_515_515" id="FNanchor_515_515"></a><a href="#Footnote_515_515" class="fnanchor">[515]</a></p> + +<p>At the period of the Restoration the Red Bull was among the first +playhouses to reopen. John Downes, in his <i>Roscius Anglicanus</i>, +writes: "The scattered remnant of several of these houses, upon King +Charles' Restoration, framed a company, who acted again at the +Bull."<a name="FNanchor_516_516" id="FNanchor_516_516"></a><a href="#Footnote_516_516" class="fnanchor">[516]</a> Apparently the company<span class="pagenum"><a name="Page_308" id="Page_308">308</a></span> was brought together by the famous +old Elizabethan actor, Anthony Turner. From the <i>Middlesex County +Records</i> (<span class="smcap">iii</span>, 279) we learn that at first the players were +interrupted by the authorities:</p> + +<div class="blockquot"><p>12 May, 1659.—Recognizances, taken before Ra: Hall, esq. +J.P., of William Wintershall and Henry Eaton, both of +Clerkenwell, gentlemen, in the sum of fifty pounds each; +"Upon condition that Antony Turner shall personally appear +at the next Quarter Sessions of the Peace to be holden at +Hicks Hall for the said County of Middlesex; for the +unlawful maintaining of stage-plays and interludes at the +Red Bull in St. John's Street, which house he affirms that +they hire of the parishioners of Clerkenwell at the rate of +twenty shillings a day over and above what they have agreed +to pay towards the relief of their poor and repairing their +highways, and in the meantime to be of good behaviour and +not to depart the Court without license.—Ra: Hall." Also +similar Recognizances, taken on the same day, before the +same J.P., of the same William Wintershall and Henry Eaton, +gentlemen, in the same sum of fifty pounds each; for the +appearance of Edward Shatterall at the next. Q.S.P. for +Middlesex at Hicks Hall, "to answer for the unlawful +maintaining of stage-plays and interludes at the Red Bull in +St. John's Street &c." S.P.R., 17, May, 1659.</p></div> + +<p>Later, it seems, they secured a license from the authorities, and +thenceforth acted without interruption. Samuel Pepys made plans "to go +to the Red Bull Playhouse" with Mrs. Pierce and her husband on August +3, 1660, but was prevented by<span class="pagenum"><a name="Page_309" id="Page_309">309</a></span> business. An account of his visit there +on March 23, 1661, is thus given in his <i>Diary</i>:</p> + +<div class="blockquot"><p>All the morning at home putting papers in order; dined at +home, and then out to the Red Bull (where I had not been +since plays came up again), but coming too soon I went out +again and walked up and down the Charterhouse Yard and +Aldersgate Street. At last came back again and went in, +where I was led by a seaman that knew me, but is here as a +servant, up to the tiring-room, where strange the confusion +and disorder that there is among them in fitting themselves, +especially here, where the clothes are very poor and the +actors but common fellows. At last into the pit, where I +think there was not above ten more than myself, and not one +hundred in the whole house. And the play, which is called +<i>All's Lost by Lust</i>, poorly done; and with so much +disorder, among others, that in the musique-room, the boy +that was to sing a song not singing it right, his master +fell about his ears and beat him so, that it put the whole +house in an uproar.</p></div> + +<p>The actors, however, did not remain long at the Red Bull. They built +for themselves a new theatre in Drury Lane, whither they moved on +April 8, 1663;<a name="FNanchor_517_517" id="FNanchor_517_517"></a><a href="#Footnote_517_517" class="fnanchor">[517]</a> and after this the old playhouse was deserted. In +Davenant's <i>The Play-House to Be Let</i> (1663), <span class="smcap">i</span>, i, we read:</p> + +<div class="cpoem"> +<p> +Tell 'em the Red Bull stands empty for fencers:<a name="FNanchor_518_518" id="FNanchor_518_518"></a><a href="#Footnote_518_518" class="fnanchor">[518]</a><br /> +There are no tenants in it but old spiders.<br /> +</p> +</div> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_310" id="Page_310">310</a></span></p> +<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV</h2> + +<h3>WHITEFRIARS</h3> + + +<p><br /><span class="dropcap">T</span>HE district of Whitefriars, lying just outside the city wall to the +west, and extending from Fleet Street to the Thames, was once in the +possession of the order of White Friars, and the site of an important +monastery; but in Elizabeth's time the church had disappeared, most of +the ancient buildings had been dismantled, and in their place, as Stow +tells us, were "many fair houses builded, lodgings for noblemen and +others." Since at the dissolution of the monasteries the property had +come into the possession of the Crown, it was not under the +jurisdiction of the London Common Council—a fact which made +Whitefriars, like Blackfriars, a desirable refuge for players seeking +to escape the hostility of the city authorities.<a name="FNanchor_519_519" id="FNanchor_519_519"></a><a href="#Footnote_519_519" class="fnanchor">[519]</a> One might +naturally expect the appearance of playing here at an early date, but +the evidence is slight.<a name="FNanchor_520_520" id="FNanchor_520_520"></a><a href="#Footnote_520_520" class="fnanchor">[520]</a></p> + +<p><span class="pagenum"><a name="Page_311" id="Page_311">311</a></span></p><p>The first appearance of a regular playhouse in Whitefriars dates from +the early years of King James's reign. With our present knowledge we +cannot fix the date exactly, yet we can feel reasonably certain that +it was not long before 1607—probably about 1605.</p> + +<p>The chief spirit in the organization of the new playhouse seems to +have been the poet Michael Drayton, who had secured a patent from King +James to "erect" a company of child actors, to be known as "The +Children of His Majesty's Revels."<a name="FNanchor_521_521" id="FNanchor_521_521"></a><a href="#Footnote_521_521" class="fnanchor">[521]</a> Obviously his hope was to make +the Children of His Majesty's Revels at Whitefriars rival the +successful Children of Her Majesty's Revels at Blackfriars. In this +ambitious enterprise he associated with himself a wealthy London +merchant, Thomas Woodford, whom we know as having been interested in +various theatrical investments.<a name="FNanchor_522_522" id="FNanchor_522_522"></a><a href="#Footnote_522_522" class="fnanchor">[522]</a> These two men leased from Lord +Buckhurst for a<span class="pagenum"><a name="Page_312" id="Page_312">312</a></span> short period of time a building described as a +"mansion house" formerly a part of the Whitefriars monastery: "the +rooms of which are thirteen in number, three below, and ten above; +that is to say, the great hall, the kitchen by the yard, and a cellar, +with all the rooms from the Master of the Revells' office as the same +are now severed and divided."<a name="FNanchor_523_523" id="FNanchor_523_523"></a><a href="#Footnote_523_523" class="fnanchor">[523]</a> The "great hall" here mentioned, +once the refectory of the monks, was made into the playhouse. Its +"great" size may be inferred from the fact that there were ten rooms +"above"; and its general excellence may be inferred from the fact that +it was leased at £50 per annum, whereas Blackfriars, in a more +desirable location and fully equipped as a theatre, was rented for +only £40.</p> + +<p>From an early seventeenth-century <a href="#WHITEFRIARS">survey of the Whitefriars property</a> +(see the <a href="#Page_313">opposite page</a>), we are able to place the building very +exactly. The part of the monastery used as a playhouse—the +Frater—was the southern cloister, marked in the plan, "My Lords +Cloyster." The "kitchen by the yard" mentioned in the document just +quoted is clearly represented in the survey by the "Scullere." The +size of the playhouse is hard to ascertain, but it was approximately +thirty-five feet in width and eighty-five feet in length.<a name="FNanchor_524_524" id="FNanchor_524_524"></a><a href="#Footnote_524_524" class="fnanchor">[524]</a> In the +London of to-<span class="pagenum"><a name="Page_313" id="Page_313">313</a></span>day it extended roughly from Bouverie Street to +Ashen-tree Court, and lay just north of George Yard.</p> + +<p style="text-align: center" class="border"><br /> +<a name="WHITEFRIARS"> +<img src="images/whitefriars.png" width="500" height="417" alt="" /></a></p> + +<p class="caption">A PLAN OF WHITEFRIARS</p> + +<p class="caption">A portion of an early seventeenth-century survey of the Whitefriars +property. The playhouse adjoined the "Scullere" on the south. (This +survey was discovered in the Print Room of the British Museum by Mr. +A.W. Clapham, and reproduced in <i>The Journal of the British +Archæological Association</i>, 1910.)</p> + +<p class="center">[<a href="images/whitefriarslg.png">Enlarge</a>]</p> + +<p><br /> +Of the career of the Children under the joint management of Drayton +and Woodford we know almost nothing. But in March, 1608, a new +management assumed charge of the troupe, and from this point on the +history of the playhouse is reasonably clear.</p> + +<p>The original lease of the building, it seems, expired on March 5, +1608. But before the expiration—in the latter part of 1607 or in the +early part of 1608—Drayton and Woodford secured a new lease on the +property for six years, eight months, and twenty days, or until +December 25 (one of the four regular feasts of the year), 1614. In +February, 1608, after having secured this renewal of the lease, Thomas +Woodford suddenly determined to retire from the enterprise; and he +sold his moiety to one David Lording Barry,<a name="FNanchor_525_525" id="FNanchor_525_525"></a><a href="#Footnote_525_525" class="fnanchor">[525]</a> author of the play +<i>Ram Alley</i>. Barry and Drayton at once made plans to divide the +property into six shares, so as to distribute the expenses and the +risks as well as the hoped-for profits. Barry induced his friend, +George<span class="pagenum"><a name="Page_314" id="Page_314">314</a></span> Androwes, to purchase one share, and hence the lawsuit from +which we derive most of our knowledge of the playhouse. From this suit +I quote below the more significant part relating to the new +organization:</p> + +<div class="blockquot"><p>Humbly complaining, sheweth unto your honorable lordship, +your daily orator, George Androwes, of London, silkweaver, +that whereas one Lordinge Barry, about February which was in +the year of our Lord 1607 [i.e., 1608], pretending himself +to be lawfully possessed of one moiety of a messuage or +mansion house, parcel of the late dissolved monastery called +the Whitefriars, in Fleet Street, in the suburbs of London, +by and under a lease made thereof, about March then next +following, from the right honorable Robert, Lord Buckhurst, +unto one Michael Drayton and Thomas Woodford, for the term +of six years, eight months, and twenty days then following, +for and under the yearly rent of fifty pounds reserved +thereupon; the moiety of which said lease and premisses, by +mean assignment from the said Thomas Woodford, was lawfully +settled in the said Lordinge Barry, as he did pretend, +together with the moiety of diverse play-books, apparel, and +other furnitures and necessaries used and employed in and +about the said messuage and the Children of the Revels,<a name="FNanchor_526_526" id="FNanchor_526_526"></a><a href="#Footnote_526_526" class="fnanchor">[526]</a> +there being, in making and setting forth plays, shows, and +interludes, and such like. And the said Lordinge Barry ... +being desirous to join others with him in the interest of +the same, who might be contributory to such future charges +as should arise in setting forth of plays and shows there, +did thereupon ... solicit<span class="pagenum"><a name="Page_315" id="Page_315">315</a></span> and persuade your orator to +take from the said Barry an assignment of a sixth part of +the messuage, premisses, and profits aforesaid.</p></div> + +<p style="text-align: center"><br /> +<a name="DRAYTON"> +<img src="images/drayton.png" width="311" height="400" alt="" /></a></p> + +<p class="caption">MICHAEL DRAYTON</p> + +<p class="caption">(From a painting in the National Portrait Gallery, London: +photograph copyrighted by Emery Walker, Ltd.)</p> + +<p><br /> +This passage gives us an interesting glimpse of Drayton and Barry in +their efforts to organize a syndicate for exploiting the Children of +His Majesty's Revels. They induced several other persons to buy +half-shares; and then they engaged, as manager of the Children, Martin +Slaiter,<a name="FNanchor_527_527" id="FNanchor_527_527"></a><a href="#Footnote_527_527" class="fnanchor">[527]</a> a well-known and thoroughly experienced actor. For his +services as manager, Slaiter was to receive one whole share in the +organization, and lodgings for himself and his family of ten in the +building. The syndicate thus formed was made up of four whole-sharers, +Michael Drayton, Lordinge Barry, George Androwes, and Martin Slaiter, +and four half-sharers, William Trevell, William Cooke, Edward +Sibthorpe, and John Mason.<a name="FNanchor_528_528" id="FNanchor_528_528"></a><a href="#Footnote_528_528" class="fnanchor">[528]</a></p> + +<p>The "great hall" had, of course, already been fitted up for the acting +of plays, and the new lessees did not at first contemplate any +expenditure on the building. Later, however,—if we can believe +Androwes,—they spent a not inconsiderable sum for improvements. The +Children already had certain plays, and to these were added some new +ones. Among the plays in their repertoire were Day's <i>Humour Out of +Breath</i>, Middleton's <i>Family of Love</i>,<span class="pagenum"><a name="Page_316" id="Page_316">316</a></span> Armin's <i>The Two Maids of +Moreclacke</i>, Sharpham's <i>Cupid's Whirligig</i>, Markham and Machin's <i>The +Dumb Knight</i>, Barry's <i>Ram Alley</i>, and Mason's <i>The Turk</i>. The last +two writers were sharers, and it seems likely that Drayton, also a +sharer and experienced as a dramatist, contributed some plays towards +the stock of the company.</p> + +<p>The new organization, with bright prospects for success, was launched +in March, 1608. Almost at once, however, it began to suffer from ill +luck. In April the Children at Blackfriars, by their performance of +<i>Byron</i>, caused King James to close all playhouses in London. How long +he kept them closed we do not know, but we find the lessees of +Whitefriars joining with the three other London companies in seeking +to have the inhibition raised. As the French Ambassador informed his +Government: "Pour lever cette défense, quatres autres compagnies, qui +y sont encore, offrent déjà cent mille francs, lesquels pourront bien +leur en ordonner la permission."<a name="FNanchor_529_529" id="FNanchor_529_529"></a><a href="#Footnote_529_529" class="fnanchor">[529]</a></p> + +<p>Even if this inhibition was shortly raised, the Whitefriars +organization was not much better off, for in July the plague set in +with unusual violence, and acting was seriously if not wholly +interrupted for the next twelve months and more. As a result, the +profits from the theatre did not come up to the<span class="pagenum"><a name="Page_317" id="Page_317">317</a></span> "fair and false +flattering speeches" which at the outset Barry had made to prospective +investors, and this led to bad feeling among the sharers.</p> + +<p>The company at Blackfriars, of course, was suffering in a similar way. +On August 8, 1608, their playhouse was surrendered to the owner, +Richard Burbage, and the Children being thus left without a home were +dispersed. Early in 1609, probably in February, Robert Keysar (the +manager of the Blackfriars troupe), Philip Rosseter, and others +secured the lease of the Whitefriars Playhouse from Drayton and the +rest of the discontented sharers, and reassembled there the Children +of Blackfriars. What became of the Whitefriars troupe we do not know; +but it is highly likely that the new organization took over the better +actors from Drayton's company. At any rate, we do not hear again of +the Children of His Majesty's Revels.</p> + +<p>When Keysar and this new troupe of child-actors moved into +Whitefriars, Slaiter and his family of ten were expelled from the +building. This led to a lawsuit, and explains much in the legal +documents printed by Greenstreet. Slaiter complained with no little +feeling that he had been "riotously, willfully, violently, and +unlawfully, contrary to the said articles and pretended agreement [by +which he had been not only engaged as a manager, but also guaranteed a +home for the period of "all the term of years in the lease"], put and +kept out of his said rooms of habitation for him, this defendant, and<span class="pagenum"><a name="Page_318" id="Page_318">318</a></span> +his family, and all other his means of livelihood, thereby leaving +this defendant and his whole family, being ten in number, to the world +to seek for bread and other means to live by."<a name="FNanchor_530_530" id="FNanchor_530_530"></a><a href="#Footnote_530_530" class="fnanchor">[530]</a></p> + +<p>The new Whitefriars troupe acted five plays at Court during the winter +of 1609-10. Payments therefor were made to Robert Keysar, and the +company was referred to merely as "The Children of the Whitefriars." +But on January 4, 1610, the company secured a royal patent authorizing +the use of the title "The Children of the Queen's Revels."<a name="FNanchor_531_531" id="FNanchor_531_531"></a><a href="#Footnote_531_531" class="fnanchor">[531]</a> The +patent was granted to Robert Daborne, Philip Rosseter, John Tarbock, +Richard Jones, and Robert Browne; but Keysar, though not named in the +grant, was still one of the important sharers.<a name="FNanchor_532_532" id="FNanchor_532_532"></a><a href="#Footnote_532_532" class="fnanchor">[532]</a></p> + +<p>The troupe well deserved the patronage of the Queen. Keysar described +the Blackfriars Children whom he had reorganized as "a company of the +most expert and skillful actors within the realm of England, to the +number of eighteen or twenty persons, all or most of them, trained up +in that service in the reign of the late Queen Elizabeth for ten years +together."<a name="FNanchor_533_533" id="FNanchor_533_533"></a><a href="#Footnote_533_533" class="fnanchor">[533]</a> And to these, as I have pointed out, it seems likely +that the best members of the bankrupt Children of His Majesty's Revels +had<span class="pagenum"><a name="Page_319" id="Page_319">319</a></span> been added. The chief actor of the new organization was +Nathaniel Field, whose histrionic ability placed him beside Edward +Alleyn and Richard Burbage. One of the first plays he was called upon +to act in his new theatre was Jonson's brilliant comedy, <i>Epicœne</i>, +in which he took the leading rôle.</p> + +<p style="text-align: center"><br /> +<a name="WHITEFRIARS_2"> +<img src="images/whitefriars2.png" width="500" height="497" alt="" /></a></p> + +<p class="caption">THE SITES OF THE WHITEFRIARS AND THE SALISBURY COURT +PLAYHOUSES</p> + +<p class="caption">The Whitefriars Playhouse was just north of "K. 46"; the Salisbury +Court Playhouse was just south of the court of that name. (From Ogilby +and Morgan's <i>Map of London</i>, 1677.)</p> + +<p class="center">[<a href="images/whitefriars2lg.png">Enlarge</a>]</p> + +<p><br /> +The idea then occurred to Rosseter to secure a monopoly on +child-acting and on private playhouses. The Children of His Majesty's +Revels had ceased to exist. The Blackfriars Playhouse had been closed +by royal command, and its lease had been surrendered to its owner, +Richard Burbage. The only rival to the Children at Whitefriars was the +troupe of Paul's Boys acting in their singing-school behind the +Cathedral. How Rosseter attempted to buy them off is thus recorded by +Richard Burbage and John Heminges:</p> + +<div class="blockquot"><p>There being, as these defendants verily think, but only +three private playhouses in the city of London, the one of +which being in the Blackfriars and in the hands of these +defendants or of their assigns, one other being in the +Whitefriars in the hands or occupation of the said +complainant himself [Keysar], his partners [Rosseter, <i>et +al.</i>], or assigns, and the third near St. Paul's Church, +then being in the hands of one Mr. Pierce, but then unused +for a playhouse. One Mr. Rosseter, a partner of the said +complainant [Keysar] dealt for and compounded with the said +Mr. Pierce [Master of the Paul's Boys] to the only benefit +of him, the said Rosseter, the now complainant [Keysar], the +rest of their partners and company, and without the privity, +knowledge, or consent of<span class="pagenum"><a name="Page_320" id="Page_320">320</a></span> these defendants [the King's +Company], or any of them, and that thereby they, the said +complainant [Keysar] and the said Rosseter and their +partners and company might advance their gains and profit to +be had and made in their said house in Whitefriars, that +there might be a cessation of playing and plays to be acted +in the said house near St. Paul's Church aforesaid, for +which the said Rosseter compounded with the said Pierce to +give him, the said Pierce, twenty pounds per annum.<a name="FNanchor_534_534" id="FNanchor_534_534"></a><a href="#Footnote_534_534" class="fnanchor">[534]</a></p></div> + +<p>By this means Rosseter disposed of the competition of the Paul's Boys. +But, although he secured a monopoly on child-acting, he failed to +secure a monopoly on private playhouses, for shortly after he had +sealed this bargain with Pierce, the powerful King's Men opened up at +Blackfriars. Rosseter promptly requested them to pay half the "dead +rent" to Pierce, which they good-naturedly agreed to do.</p> + +<p>In 1613 Whitefriars was rented by certain London apprentices for the +performance "at night" of Robert Taylor's <i>The Hog Hath Lost His +Pearl</i>. The episode is narrated by Sir Henry Wotton in a letter to Sir +Edmund Bacon:</p> + +<div class="blockquot"><p>On Sunday last, at night, and no longer, some sixteen +apprentices (of what sort you shall guess by the rest of the +story) having secretly learnt a new play without book,<a name="FNanchor_535_535" id="FNanchor_535_535"></a><a href="#Footnote_535_535" class="fnanchor">[535]</a> +entitled <i>The Hog Hath Lost His Pearl</i>,<span class="pagenum"><a name="Page_321" id="Page_321">321</a></span> took up the +Whitefriars for their theatre, and having invited thither +(as it should seem) rather their mistresses than their +masters, who were all to enter <i>per buletini</i> for a note of +distinction from ordinary comedians. Towards the end of the +play the sheriffs (who by chance had heard of it) came in +(as they say) and carried some six or seven of them to +perform the last act at Bridewell. The rest are fled. Now it +is strange to hear how sharp-witted the city is, for they +will needs have Sir John Swinerton, the Lord Mayor, be meant +by the Hog, and the late Lord Treasurer by the Pearl.<a name="FNanchor_536_536" id="FNanchor_536_536"></a><a href="#Footnote_536_536" class="fnanchor">[536]</a></p></div> + +<p>Apparently the Children of the Queen's Revels continued successfully +at Whitefriars until March, 1613. On that date Rosseter agreed with +Henslowe to join the Revels with the Lady Elizabeth's Men then acting +at the Swan. The new organization, following the example of the King's +Men, used Whitefriars as a winter, and the Swan as a summer, house. +Thus for a time at least Whitefriars came under the management of +Henslowe.</p> + +<p>Rosseter's lease of the building was to expire in the following year. +He seems to have made plans—possibly with the assistance of +Henslowe—to erect in Whitefriars a more suitable playhouse for the +newly organized company; at least that is a plausible interpretation +of the following curious entry in Sir George Buc's Office Book: "July +13,<span class="pagenum"><a name="Page_322" id="Page_322">322</a></span> 1613, for a license to erect a new playhouse in Whitefriars, &c. +£20."<a name="FNanchor_537_537" id="FNanchor_537_537"></a><a href="#Footnote_537_537" class="fnanchor">[537]</a> But the new playhouse thus projected never was built, +doubtless because of strong local opposition. Instead, Henslowe +erected for the company a public playhouse on the Bankside, known as +"The Hope."</p> + +<p>In March, 1614, at the expiration of one year, Rosseter withdrew from +his partnership with Henslowe. On December 25, 1614, his lease of the +Whitefriars expired, and he was apparently unable to renew it. +Thereupon he attempted to fit up a private playhouse in the district +of Blackfriars, and on June 3, 1615, he actually secured a royal +license to do so. But in this effort, too, he was foiled.<a name="FNanchor_538_538" id="FNanchor_538_538"></a><a href="#Footnote_538_538" class="fnanchor">[538]</a></p> + +<p>After this we hear little or nothing of the Whitefriars Playhouse. Yet +the building may occasionally have been used for dramatic purposes. +Cunningham says: "The case of Trevill <i>v.</i> Woodford, in the Court of +Requests, informs us that plays were performed at the Whitefriars +Theatre as late as 1621; Sir Anthony Ashley, the then landlord of the +house, entering the theatre in that year, and turning the players out +of doors, on pretense that half a year's rent was yet unpaid to +him."<a name="FNanchor_539_539" id="FNanchor_539_539"></a><a href="#Footnote_539_539" class="fnanchor">[539]</a> I have not<span class="pagenum"><a name="Page_323" id="Page_323">323</a></span> been able to examine this document. Neither +Fleay nor Murray has found any trace of a company at Whitefriars after +Rosseter's departure; hence for all practical purposes we may regard +the Whitefriars Playhouse as having come to the end of its career in +1614.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_324" id="Page_324">324</a></span></p> +<h2><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI</h2> + +<h3>THE HOPE</h3> + + +<p><br /><span class="dropcap">O</span>N August 29, 1611, Henslowe became manager of the Lady Elizabeth's +Men. Having agreed among other things to furnish them with a +playhouse,<a name="FNanchor_540_540" id="FNanchor_540_540"></a><a href="#Footnote_540_540" class="fnanchor">[540]</a> and no longer being in possession of the Rose, he +rented the old Swan and maintained them there throughout the year +1612.</p> + +<p>In March of the following year, 1613, he entered into a partnership +with Philip Rosseter (the manager of the private playhouse of +Whitefriars), and "joined" the Lady Elizabeth's Men with Rosseter's +excellent troupe of the Queen's Revels. Apparently the intention of +Henslowe and Rosseter was to form a company strong enough to compete +on equal terms with the King's Men. In imitation of the King's Men, +who used the Globe as a summer and the Blackfriars as a winter home, +the newly amalgamated company was to use the Swan and the +Whitefriars.<a name="FNanchor_541_541" id="FNanchor_541_541"></a><a href="#Footnote_541_541" class="fnanchor">[541]</a> And the chief actor of the<span class="pagenum"><a name="Page_325" id="Page_325">325</a></span> troupe, corresponding to +Richard Burbage of the King's Men, was to be Nathaniel Field, then at +the height of his powers:</p> + +<div class="blockquot"><p><i>Cokes.</i> Which is your Burbage now?</p> + +<p><i>Leatherhead.</i> What mean you by that, sir?</p> + +<p><i>Cokes.</i> Your best actor, your Field.</p> + +<p><i>Littlewit.</i> Good, i' faith! you are even with me, sir.<a name="FNanchor_542_542" id="FNanchor_542_542"></a><a href="#Footnote_542_542" class="fnanchor">[542]</a></p></div> + +<p>Among their playwrights were Ben Jonson, Philip Massinger, John +Fletcher, and Robert Daborne, not to mention Field, who in addition to +acting wrote excellent plays.</p> + +<p>If it was the purpose of Henslowe and Rosseter to compete with the +Globe Company in a winter as well as in a summer house, that purpose +was endangered by the fact that Rosseter's lease of his private +theatre expired within a year and a half, and could not be renewed. +Rosseter and Henslowe, as pointed out in the <a href="#CHAPTER_XV">preceding chapter</a>, seem +to have attempted to erect in Whitefriars a winter home for their +troupe; so, at least, I have interpreted the curious entry in Sir +George Buc's Office Book: "July 13, 1613, for a license to erect a new +playhouse in the Whitefriars, &c. £20."<a name="FNanchor_543_543" id="FNanchor_543_543"></a><a href="#Footnote_543_543" class="fnanchor">[543]</a> The attempt, however, was +foiled, probably by the strong opposition of the inhabitants of the +district.</p> +<p><span class="pagenum"><a name="Page_326" id="Page_326">326</a></span></p> +<p>Shortly after this, Henslowe made plans to provide the company with a +new and better public playhouse on the Bankside, more conveniently +situated than the Swan. The old Bear Garden was beginning to show +signs of decay, and, doubtless, would soon have to be rebuilt. This +suggested to Henslowe the idea of tearing down that ancient structure +and erecting in its place a larger and handsomer building to serve +both for the performance of plays and for the baiting of animals. To +this plan Jacob Meade, Henslowe's partner in the ownership of the Bear +Garden, agreed.</p> + +<p style="text-align: center"><br /> +<a name="HOPE_1"> +<img src="images/hope1.png" width="372" height="500" alt="" /></a></p> + +<p class="caption">THE HOPE PLAYHOUSE, OR SECOND BEAR GARDEN</p> + +<p class="caption">From Hollar's <i>View of London</i> (1647).</p> + +<p class="center">[<a href="images/hope1lg.png">Enlarge</a>]</p> + +<p><br /> +Accordingly, on August 29, 1613, Henslowe and Meade signed a contract +with a carpenter named Katherens to pull down the Bear Garden and +erect in its place a new structure. The original contract, preserved +among the Henslowe Papers, is one of the most valuable documents we +have relating to the early theatres. It is too long and verbose for +insertion here, but I give below a summary of its contents.<a name="FNanchor_544_544" id="FNanchor_544_544"></a><a href="#Footnote_544_544" class="fnanchor">[544]</a> +Katherens agreed:</p> + +<div class="blockquot"><p>1. To "pull down" the Bear Garden and "the stable wherein +the bulls and horses" had been kept; and "near or upon the +said place where the said game-place did heretofore stand," +to "newly erect, build, and set up" a "playhouse, fit and +convenient in all things both for players to play in, and +for the game of bears and bulls to be baited in."<span class="pagenum"><a name="Page_327" id="Page_327">327</a></span></p> + +<p>2. "To build the same of such large compass, form, wideness, +and height as the playhouse called the Swan."</p> + +<p>3. To provide for the building "a good sure, and sufficient +foundation of bricks ... thirteen inches at the least above +the ground."</p> + +<p>4. To make three galleries: "the inner principal posts of +the first story to be twelve feet in height, and ten inches +square; in the middle story ... eight inches square; in the +upper story ... seven inches square."<a name="FNanchor_545_545" id="FNanchor_545_545"></a><a href="#Footnote_545_545" class="fnanchor">[545]</a></p> + +<p>5. To "make two boxes in the lowermost story, fit and decent +for gentlemen to sit in," and in the rest of the galleries +"partitions between the rooms as they are in the said +playhouse called the Swan."</p> + +<p>6. To construct "a stage, to be carried and taken away, and +to stand upon tressels, good, substantial, and sufficient +for the carrying and bearing of such a stage."</p> + +<p>7. To "build the heavens all over the said stage, to be +borne or carried without any posts or supporters to be fixed +or set upon the said stage."</p> + +<p>8. To equip the stage with "a fit and convenient +tyre-house."</p> + +<p>9. To "build two staircases without and adjoining to the +said playhouse ... of such largeness and<span class="pagenum"><a name="Page_328" id="Page_328">328</a></span> height as the +staircases of the said playhouse called the Swan."</p> + +<p>10. "To new build, erect, and set up the said bull-house and +stable ... of that largeness and fitness as shall be +sufficient to keep and hold six bulls and three horses."</p> + +<p>11. "To new tyle with English tyles all the upper roof of +the said playhouse ... and stable."</p> + +<p>12. To have the playhouse finished "upon or before the last +day of November," 1613.</p></div> + +<p>For all this Katherens was to receive the sum of £360; but since +Henslowe and Meade supplied a large share of the lumber and other +materials, the total cost of the building may be estimated as not less +than £600.</p> + +<p>When completed, the new playhouse was appropriately christened "The +Hope."</p> + +<p>It has been generally assumed that a picture of the Hope is given in +Visscher's <i>View of London</i>, published in 1616; but this, I think, is +exceedingly doubtful. In drawing the Bankside, Visscher rather +slavishly copied the Agas map of 1560, inserting a few new +buildings,—notably the playhouses,—and it is virtually certain that +he represented the "Bear Garden" (so he distinctly calls it) and the +Globe as they were before their reconstruction.<a name="FNanchor_546_546" id="FNanchor_546_546"></a><a href="#Footnote_546_546" class="fnanchor">[546]</a><span class="pagenum"><a name="Page_329" id="Page_329">329</a></span> The first +representation of the Hope is to be found in Hollar's splendid <i> +<a href="#HOPE_1">View +of London</a></i> published in 1647 (see page <a href="#Page_326">326</a>). At this time the +building, which had for many years been devoted wholly to the royal +sports of bull- and bear-baiting, was still standing. It is hard to +believe that an artist who so carefully represented the famous +edifices of the city should have greatly erred in drawing the "Bear +Baiting House,"—a structure more curious than they, and quite as +famous.</p> + +<p>Hollar represents the Hope as circular. According to the contract +Katherens was "to build the same of such large compass, form, +wideness, and height as the playhouse called the Swan." Whether the +word "form" was intended to apply to the exterior of the building we +do not know. The Swan was decahedral; Visscher represents the "Bear +Garden" as octagonal (which is correct for the Bear Garden that +preceded the Hope). But since the exterior was of lime and plaster, +and a decahedral form had no advantage, Katherens may well have +constructed a circular building as Hollar indicates. Perhaps it is +significant in this connection that John Taylor, the Water-Poet, in +his <i>Bull, Bear, and Horse</i>, refers to the Hope as a "sweet, +<i>rotuntious</i> college." Significant also, perhaps, is the<span class="pagenum"><a name="Page_330" id="Page_330">330</a></span> clause in +the contract by which Katherens was required to "build the heavens all +over the stage," for this exactly describes the heavens as drawn by +Hollar. I see no reason to doubt that in the <i>View</i> of 1647 we have a +reasonably faithful representation of the Hope.</p> + +<p style="text-align: center"><br /> +<a name="HOPE_2"> +<img src="images/hope2.png" width="380" height="500" alt="" /></a></p> + +<p class="caption">THE HOPE PLAYHOUSE, OR SECOND BEAR GARDEN</p> + +<p class="caption">The upper view is from Hollar's Post-conflagration map in the +Crace Collection of the British Museum; the lower view is from Faithorne's Map +of London (1658).</p> + +<p><br /> +The Hope was probably opened shortly after November 30, 1613, the date +at which Katherens had bound himself to have the building "fully +finished," and it was occupied, of course, by the Henslowe and +Rosseter troupe of actors. The arrangement of the movable stage +enabled Henslowe and Meade to use the building also for +animal-baiting. According to the contract with the actors, the latter +were to "lie still one day in fourteen" for the baiting.<a name="FNanchor_547_547" id="FNanchor_547_547"></a><a href="#Footnote_547_547" class="fnanchor">[547]</a> This may +not have been a serious interruption for the players; but the presence +of the stable, the bear dens, and the kennels for the dogs must have +rendered the playhouse far from pleasant to the audiences. Ben Jonson, +in the Induction to his <i>Bartholomew Fair</i>, acted at the Hope in +October, 1614, remarks: "And though the Fair be not kept in the same +region that some here perhaps would have it, yet think that therein +the author hath observed a special decorum, the<span class="pagenum"><a name="Page_332" id="Page_332">332</a></span> place being as dirty +as Smithfield, and as stinking every whit."<a name="FNanchor_548_548" id="FNanchor_548_548"></a><a href="#Footnote_548_548" class="fnanchor">[548]</a></p> + +<p>In March, 1614,—that is, at the completion of one full year under the +joint management of Henslowe and Rosseter,—the amalgamated company +was "broken," and Rosseter withdrew, selling his interest in the +company's apparel to Henslowe and Meade for £63. The latter at once +reorganized the actors under the patent of the Lady Elizabeth's Men, +and continued them at the Hope.<a name="FNanchor_549_549" id="FNanchor_549_549"></a><a href="#Footnote_549_549" class="fnanchor">[549]</a> The general excellence of the +troupe thus formed is referred to by John Taylor, the Water-Poet, in +the lines:</p> + +<div class="cpoem"> +<p> +And such a company (I'll boldly say)<br /> +That better (nor the like) e'er play'd a play.<a name="FNanchor_550_550" id="FNanchor_550_550"></a><a href="#Footnote_550_550" class="fnanchor">[550]</a><br /> +</p> +</div> + +<p>But this encomium may have been in large measure due to gratitude, for +the company had just saved the Water-Poet from a very embarrassing +situation. The amusing episode which gave occasion to this deserves to +be chronicled in some detail.</p> + +<p>With "a thousand bills posted over the city" Taylor had advertised to +the public that at the Hope Playhouse on October 7, 1614, he would +engage in a contest of wit with one William Fennor, who proudly styled +himself "The King's Majesty's<span class="pagenum"><a name="Page_333" id="Page_333">333</a></span> Riming Poet."<a name="FNanchor_551_551" id="FNanchor_551_551"></a><a href="#Footnote_551_551" class="fnanchor">[551]</a> On the appointed day +the house was "fill'd with a great audience" that had paid extra money +to hear the contest between two such well-known extemporal wits. But +Fennor did not appear. The result may best be told by Taylor himself:</p> + +<div class="cpoem"> +<p> +I then stept out, their angers to appease;<br /> +But they all raging, like tempestuous seas,<br /> +Cry'd out, their expectations were defeated,<br /> +And how they all were cony-catch'd and cheated.<br /> +Some laught, some swore, some star'd and stamp'd and curst,<br /> +And in confusèd humors all out burst.<br /> +I (as I could) did stand the desp'rate shock,<br /> +And bid the brunt of many dang'rous knock.<br /> +For now the stinkards, in their ireful wraths,<br /> +Bepelted me with lome, with stones, with laths.<br /> +One madly sits like bottle-ale and hisses;<br /> +Another throws a stone, and 'cause he misses,<br /> +He yawnes and bawles, ...<br /> +Some run to th' door to get again their coin ...<br /> +One valiantly stepped upon the stage,<br /> +And would tear down the hangings in his rage ...<br /> +What I endur'd upon that earthly hell<br /> +My tongue or pen cannot describe it well.<a name="FNanchor_552_552" id="FNanchor_552_552"></a><a href="#Footnote_552_552" class="fnanchor">[552]</a><br /> +</p> +</div> + +<p>At this point the actors came to his rescue and presented a play that +mollified the audience. Taylor had to content himself with a printed +justification. The bitter invective of Taylor against Fen<span class="pagenum"><a name="Page_334" id="Page_334">334</a></span>nor, +Fennor's reply, and Taylor's several answers are to be found in the +folio edition of the Water-Poet's works. The episode doubtless +furnished much amusement to the city.</p> + +<p>Some three weeks after this event, on October 31, 1614, the Lady +Elizabeth's Men produced with great success Jonson's <i>Bartholomew +Fair</i>; and on November 1 they were called upon to give the play at +Court. But the career of the company was in the main unhappy. Henslowe +managed their affairs on the theory that "should these fellows come +out of my debt, I should have no rule with them."<a name="FNanchor_553_553" id="FNanchor_553_553"></a><a href="#Footnote_553_553" class="fnanchor">[553]</a> Accordingly in +three years he "broke" and again reorganized them no fewer than five +times.</p> + +<p>At last, in February, 1615, he not only "broke" the company, but +severed his connection with them for ever. He turned the hired men +over to other troupes, and sold the stock of apparel "to strangers" +for £400. The indignant actors, in June, 1615, drew up "Articles of +Grievance" in which they charged Henslowe with having extorted from +the company by unjust means the sum of £567; and also "Articles of +Oppression" in which they accused him of various dishonorable +practices in his dealings with them.<a name="FNanchor_554_554" id="FNanchor_554_554"></a><a href="#Footnote_554_554" class="fnanchor">[554]</a></p> + +<p>Shortly after severing his connection with the Lady Elizabeth's Men, +Henslowe, in March, 1615, seems to have taken over Prince Charles's +Men, who, it appears, had been acting at the Swan. To<span class="pagenum"><a name="Page_335" id="Page_335">335</a></span> this new +company—the "strangers" referred to, I think—he had already +transferred some of the hirelings, and had sold the Hope stock of +apparel for £400.</p> + +<p>Henslowe died early in January of the following year, 1616, and his +interest in the theatre passed to Edward Alleyn. On March 20, 1616, +Alleyn and Meade engaged Prince Charles's Men to continue at the Hope +"according to the former articles of agreement had and made with the +said Philip [Henslowe] and Jacob [Meade]."<a name="FNanchor_555_555" id="FNanchor_555_555"></a><a href="#Footnote_555_555" class="fnanchor">[555]</a> The actors +acknowledged themselves indebted to Henslowe "for a stock of apparel +used for playing apparel, to the value of £400, heretofore delivered +unto them by the said Philip,"<a name="FNanchor_556_556" id="FNanchor_556_556"></a><a href="#Footnote_556_556" class="fnanchor">[556]</a>—the stock formerly used by the +Lady Elizabeth's Men; and Alleyn and Meade agreed to accept £200 in +full discharge of that debt.<a name="FNanchor_557_557" id="FNanchor_557_557"></a><a href="#Footnote_557_557" class="fnanchor">[557]</a></p> + +<p>In the winter of 1616-17, Prince Charles's Men quarreled with Meade, +who had appropriated an extra day for his bear-baiting. Rosseter had +just completed a new private theatre in Porter's Hall,<span class="pagenum"><a name="Page_336" id="Page_336">336</a></span> Blackfriars, +and that stood invitingly open. So about February they abandoned the +Hope, and wrote a letter of explanation to Edward Alleyn: "I hope you +mistake not our removal from the Bankside. We stood the intemperate +weather, 'till more intemperate Mr. Meade thrust us over, taking the +day from us which by course was ours."<a name="FNanchor_558_558" id="FNanchor_558_558"></a><a href="#Footnote_558_558" class="fnanchor">[558]</a></p> + +<p>After the company quarreled with Meade and deserted the Hope, there is +no evidence that the building was again used for plays. It became +associated almost entirely with animal-baiting, fencing, feats of +activity, and such-like performances; and gradually the very name +"Hope," which was identified with acting, gave way to the earlier +designation "Bear Garden." In 1632 the author of <i>Holland's Leaguer</i> +remarks that "wild beasts and gladiators did most possess it"; and +such must have been the chief use of the building down to 1642, when +animal-baiting was prohibited by Parliament.<a name="FNanchor_559_559" id="FNanchor_559_559"></a><a href="#Footnote_559_559" class="fnanchor">[559]</a></p> + +<p>On January 14, 1647, at the disposition of the Church lands, the Hope +was sold for £1783 15<i>s.</i><a name="FNanchor_560_560" id="FNanchor_560_560"></a><a href="#Footnote_560_560" class="fnanchor">[560]</a></p> + +<p>In certain manuscript notes entered in the Phillipps copy of Stow's +<i>Annals</i> (1631), we read:</p> + +<div class="blockquot"><p>The Hope, on the Bankside, in Southwarke, commonly called +the Bear Garden, a playhouse for stage-<span class="pagenum"><a name="Page_337" id="Page_337">337</a></span>plays on Mondays, +Wednesdays, Fridays, and Saturdays, and for the baiting of +Bears on Tuesdays and Thursdays, the stage being made to +take up and down when they please. It was built in the year +1610, and now pulled down to make tenements, by Thomas +Walker, a petticoat-maker in Cannon Street, on Tuesday, the +25 day of March, 1656. Seven of Mr. Godfrey's bears, by the +command of Thomas Pride, then high sheriff of Surrey, were +then shot to death on Saturday the 9 day of February, 1655 +[i.e. 1656], by a company of soldiers.<a name="FNanchor_561_561" id="FNanchor_561_561"></a><a href="#Footnote_561_561" class="fnanchor">[561]</a></p></div> + +<p>The mistakes in the earlier part of this note are obvious, yet the +latter part is so circumstantial that we cannot well doubt its general +accuracy. The building, however, was not pulled down "to the ground," +though its interior may have been converted into tenements.</p> + +<p>At the Restoration, when the royal sport of bear-baiting was revived, +the Hope was again fitted up as an amphitheatre and opened to the +public. The Earl of Manchester, on September 29, 1664, wrote to the +city authorities, requesting that the butchers be required, as of old, +to provide food for the dogs and bears:</p> + +<div class="blockquot"><p>He had been informed by the Master of His Majesty's Game of +Bears and Bulls, and others, that the Butchers' Company had +formerly caused all their offal in Eastcheap and Newgate +Market to be conveyed by the beadle of that Company unto +two<span class="pagenum"><a name="Page_338" id="Page_338">338</a></span> barrow houses, conveniently placed on the river side, +for the provision and feeding of the King's Game of Bears, +which custom had been interrupted in the late troubles when +the bears were killed. His Majesty's game being now removed +to the usual place on the Bankside, by Order of the Council, +he recommended the Court of Aldermen to direct the Master +and Wardens of the Butchers' Company to have their offal +conveyed as formerly for the feeding of the bears, &c.<a name="FNanchor_562_562" id="FNanchor_562_562"></a><a href="#Footnote_562_562" class="fnanchor">[562]</a></p></div> + +<p>For some years the Bear Garden flourished as it had in the days of +Elizabeth and James. It was frequently visited by Samuel Pepys, who +has left vivid accounts of several performances there. In his <i>Diary</i>, +August 14, 1666, he writes:</p> + +<div class="blockquot"><p>After dinner with my wife and Mercer to the Bear-garden; +where I have not been, I think, of many years, and saw some +good sport of the bull's tossing of the dogs: one into the +very boxes. But it is a very rude and nasty pleasure. We had +a great many hectors in the same box with us (and one, very +fine, went into the pit, and played his dog for a wager, +which was a strange sport for a gentleman), where they drank +wine, and drank Mercer's health first; which I pledged with +my hat off.</p></div> + +<p>John Evelyn, likewise, in his <i>Diary</i>, June 16, 1670, records a visit +to the Bear Garden:</p> + +<div class="blockquot"><p>I went with some friends to the Bear Garden, where was +cock-fighting, dog-fighting, bear- and bull-baiting, it +being a famous day for all these butcherly sports, or rather +barbarous cruelties. The bulls did exceeding<span class="pagenum"><a name="Page_339" id="Page_339">339</a></span> well; but the +Irish wolf-dog exceeded, which was a tall greyhound, a +stately creature indeed, who beat a cruel mastiff. One of +the bulls tossed a dog full into a lady's lap as she sat in +one of the boxes at a considerable height from the arena. +Two poor dogs were killed; and so all ended with the ape on +horseback, and I most heartily weary of the rude and dirty +pastime, which I had not seen, I think, in twenty years +before.</p></div> + +<p>On January 7, 1676, the Spanish Ambassador was entertained at the Bear +Garden, as we learn from a warrant, dated March 28, 1676, for the +payment of £10 "to James Davies, Esq., Master of His Majesty's Bears, +Bulls, and Dogs, for making ready the rooms at the Bear Garden, and +baiting of the bears before the Spanish Ambassador, the 7 January +last, 1675 [6]."<a name="FNanchor_563_563" id="FNanchor_563_563"></a><a href="#Footnote_563_563" class="fnanchor">[563]</a></p> + +<p>Rendle<a name="FNanchor_564_564" id="FNanchor_564_564"></a><a href="#Footnote_564_564" class="fnanchor">[564]</a> quotes from <i>The Loyal Protestant</i> an advertisement of an +entertainment to be given so late as 1682 "at the Hope on the +Bankside, being His Majesty's Bear Garden." And Malcolm writes the +following account of the baiting of a horse there in April of the same +year:</p> + +<div class="blockquot"><p>Notice was given in the papers that on the twelfth of April +a horse, of uncommon strength, and between 18 and 19 hands +high, would be <i>baited to death at his Majesty's +Bear-Garden</i> at the Hope on the Bankside, for the amusement +of the Morocco ambassador, many of the nobility who knew the +horse, and any others who would pay the price of admission. +It seems this<span class="pagenum"><a name="Page_340" id="Page_340">340</a></span> animal originally belonged to the Earl of +Rochester, and being of a ferocious disposition, had killed +several of his brethren; for which misdeed he was sold to +the Earl of Dorchester; in whose service, committing several +similar offenses, he was transferred to the worse than +savages who kept the Bear-Garden. On the day appointed +several dogs were set upon the vindictive steed, which he +destroyed or drove from the arena; at this instant his +owners determined to preserve him for a future day's sport, +and directed a person to lead him away; but before the horse +had reached London Bridge the spectators demanded the +fulfilment of the promise of baiting him to death, and began +to destroy the building: to conclude, the poor beast was +brought back, and other dogs set upon him, without effect, +when he was stabbed to death with a sword.<a name="FNanchor_565_565" id="FNanchor_565_565"></a><a href="#Footnote_565_565" class="fnanchor">[565]</a></p></div> + +<p>This is the last reference to the Hope that I have been able to +discover. Soon after this date the "royal sport of bulls, bears, and +dogs" was moved to Hockley-in-the-hole, Clerkenwell, where, as the +advertisements inform us, at "His Majesty's Bear Garden" the baiting +of animals was to be frequently seen.<a name="FNanchor_566_566" id="FNanchor_566_566"></a><a href="#Footnote_566_566" class="fnanchor">[566]</a> Strype, in his <i>Survey of +London</i>, thus describes Bear Garden Alley on the Bankside:<span class="pagenum"><a name="Page_341" id="Page_341">341</a></span></p> + +<div class="blockquot"><p>Bear Alley runs into Maiden Lane. Here is a Glass House; and +about the middle is a new-built Court, well inhabited, +called Bear Garden Square, so called as built in the place +where the <i>Bear Garden</i> formerly stood, until removed to the +other side of the water: which is more convenient for the +butchers, and such like who are taken with such rustic +sports as the baiting of bears and bulls.<a name="FNanchor_567_567" id="FNanchor_567_567"></a><a href="#Footnote_567_567" class="fnanchor">[567]</a></p></div> + +<p>In the <a href="#BEAR_ROSE_GLOBE_1">map</a> which he gives of this region (reproduced on page <a href="#Page_246">245</a>) the +position of the Hope is clearly marked by the square near the middle +of Bear Alley.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_342" id="Page_342">342</a></span></p> +<h2><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII</h2> + +<h3>ROSSETER’S BLACKFRIARS, OR PORTER’S HALL</h3> + + +<p><br /><span class="dropcap">P</span>HILIP ROSSETER, the poet and musician, first appears as a theatrical +manager in 1610, when he secured a royal patent for the Children of +the Queen's Revels to act at Whitefriars. This company performed there +successfully under his management until March, 1613, when, for some +unknown reason, he formed a partnership with Philip Henslowe, who was +managing the Lady Elizabeth's Men at the Swan. The two companies were +combined, and the new organization, under the name of "The Lady +Elizabeth's Men," made use of both playhouses, the Swan as a summer +and the Whitefriars as a winter home.</p> + +<p>As already explained in the preceding chapters, Rosseter's lease on +the Whitefriars Playhouse was to expire in 1614, and apparently he was +unable to renew the lease.<a name="FNanchor_568_568" id="FNanchor_568_568"></a><a href="#Footnote_568_568" class="fnanchor">[568]</a> Naturally he and his partner Henslowe +were anxious to secure a private play<span class="pagenum"><a name="Page_343" id="Page_343">343</a></span>house in the city to serve as a +winter home for their troupe, especially since the Swan was poorly +situated for winter patronage. This may explain the following entry in +Sir George Buc's Office-Book: "July 13, 1613, for a license to erect a +new playhouse in Whitefriars &c. £20."<a name="FNanchor_569_569" id="FNanchor_569_569"></a><a href="#Footnote_569_569" class="fnanchor">[569]</a> The new playhouse, +however, was not built. Probably the opposition of the inhabitants of +the district led to its prohibition.</p> + +<p>At the expiration of one year, in March, 1614, Rosseter withdrew from +his partnership with Henslowe, and on the old patent of the Children +of the Queen's Revels (which he had retained) organized a new company +to travel in the country.</p> + +<p>In the following year, 1615, he and certain others, Philip Kingman, +Robert Jones, and Ralph Reeve, secured a lease of "diverse buildings, +cellars, sollars, chambers, and yards for the building of a playhouse +thereupon for the better practising and exercise of the said Children +of the Revels; all which premises are situate and being within the +precinct of the Blackfriars, near Puddlewharf, in the suburbs of +London, called by the name of the Lady Saunders's House, or otherwise +Porter's Hall."<a name="FNanchor_570_570" id="FNanchor_570_570"></a><a href="#Footnote_570_570" class="fnanchor">[570]</a> It was their purpose to convert this hall into a +playhouse to rival the near-by Blackfriars; and in accordance with +this purpose, on June 3,<span class="pagenum"><a name="Page_344" id="Page_344">344</a></span> 1615, Rosseter secured a royal license under +the Great Seal of England "to erect, build, and set up in and upon the +said premises before mentioned one convenient playhouse for the said +Children of the Revels, the same playhouse to be used by the Children +of the Revels for the time being of the Queene's Majesty, and for the +Prince's Players, and for the Lady Elizabeth's Players."<a name="FNanchor_571_571" id="FNanchor_571_571"></a><a href="#Footnote_571_571" class="fnanchor">[571]</a></p> + +<p>The work of converting Porter's Hall into a playhouse seems to have +begun at once. On September 26, 1615, the Privy Council records "that +one Rosseter, and others, having obtained license under the Great Seal +of England for the building of a playhouse, have pulled down [i.e., +stripped the interior of] a great messuage in Puddlewharf, which was +sometimes the house of the Lady Saunders, within the precinct of the +Blackfriars, and are now erecting a new playhouse in that place."<a name="FNanchor_572_572" id="FNanchor_572_572"></a><a href="#Footnote_572_572" class="fnanchor">[572]</a></p> + +<p>The city authorities, always hostile to the actors and jealous of any +new theatres, made so vigorous a complaint to the Privy Council that +the Lords of the Council "thought fit to send for Rosseter." He came, +bringing his royal license. This document was carefully "perused by +the Lord Chief Justice of England," who succeeded in discovering in +the wording of one of its clauses a trivial flaw that would enable the +Privy Council, on a technicality, to prohibit the building: "The Lord +Chief Justice did deliver to their Lordships that the license<span class="pagenum"><a name="Page_345" id="Page_345">345</a></span> granted +to the said Rosseter did extend to the building of a playhouse without +the liberties of London, and not within the city."<a name="FNanchor_573_573" id="FNanchor_573_573"></a><a href="#Footnote_573_573" class="fnanchor">[573]</a> Now, in 1608 +the liberty of Blackfriars had by a special royal grant been placed +within the jurisdiction of the city. Rosseter's license unluckily had +described the Lady Saunders's house as being "in the suburbs," though, +of course, the description was otherwise specific enough: "all which +premises are situate and being within the precinct of the Blackfriars, +near Puddlewharf, in the suburbs of London, called by the name of the +Lady Saunders's House, or otherwise Porter's Hall."</p> + +<p>Since "the inconveniences urged by the Lord Mayor and Aldermen were +many," the Lords of the Privy Council decided to take advantage of the +flaw discovered by the Lord Chief Justice, and prohibit the erection +of the playhouse. Their order, issued September 26, 1615, reads as +follows:</p> + +<div class="blockquot"><p>It was this day ordered by their Lordships that there shall +be no playhouse erected in that place, and that the Lord +Mayor of London shall straightly prohibit the said Rosseter +and the rest of the patentees, and their workmen to proceed +in the making and converting the said building into a +playhouse. And if any of the patentees or their workmen +shall proceed in their intended building contrary to this +their Lordships' inhibition, that then the Lord Mayor shall +commit him or them so offending unto prison and certify +their Lordships of their contempt in that behalf.<a name="FNanchor_574_574" id="FNanchor_574_574"></a><a href="#Footnote_574_574" class="fnanchor">[574]</a></p></div> +<p><span class="pagenum"><a name="Page_346" id="Page_346">346</a></span></p> +<p>This order, for the time being, halted work on the new playhouse. The +Children of the Revels were forced to spend the next year traveling in +the provinces; and the Lady Elizabeth's Men and Prince Charles's Men +had to remain on the Bankside and endure the oppressions of Henslowe +and later of Meade. Possibly their sufferings at the hands of Meade +led them to urge Rosseter to complete at once the much desired house +in the city. At any rate, in the winter of 1616, Rosseter, believing +himself strongly enough entrenched behind his royal patent, resumed +work on converting Porter's Hall into a theatre. The city authorities +issued "diverse commandments and prohibitions," but he paid no +attention to these, and pushed the work to completion. The building +seems to have been ready for the actors about the first of January, +1617. Thereupon the company which had been occupying the Hope deserted +that playhouse and "came over" to Rosseter's Blackfriars.<a name="FNanchor_575_575" id="FNanchor_575_575"></a><a href="#Footnote_575_575" class="fnanchor">[575]</a> In the +new playhouse they presented Nathaniel Field's comedy, <i>Amends for +Ladies</i>, which was printed the following year "as it was acted at the +Blackfriars both by the Prince's Servants and the Lady Elizabeth's."</p> + +<p>The actors, however, were not allowed to enjoy their new home very +long. On January 27, 1617, the Privy Council dispatched the following +letter to the Lord Mayor:<span class="pagenum"><a name="Page_347" id="Page_347">347</a></span></p> + +<div class="blockquot"><p>Whereas His Majesty is informed that notwithstanding diverse +commandments and prohibitions to the contrary, there be +certain persons that go about to set up a playhouse in the +Blackfriars near unto His Majesty's Wardrobe, and for that +purpose have lately erected and made fit a building, which +is almost if not fully finished. You shall understand that +His Majesty hath this day expressly signified his pleasure +that the same shall be pulled down, so as it be made unfit +for any such use; whereof we require your Lordship to take +notice and to cause it to be performed accordingly, with all +speed, and thereupon to certify us of your proceeding.</p></div> + +<p>There can be no doubt that an order so peremptory, carrying the +authority both of the Privy Council and of the King, and requiring an +immediate report, was performed "with all speed." After this we hear +nothing more of the playhouse in Puddlewharf.<a name="FNanchor_576_576" id="FNanchor_576_576"></a><a href="#Footnote_576_576" class="fnanchor">[576]</a></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_348" id="Page_348">348</a></span></p> +<h2><a name="CHAPTER_XVIII" id="CHAPTER_XVIII"></a>CHAPTER XVIII</h2> + +<h3>THE PHŒNIX, OR COCKPIT IN DRURY LANE</h3> + + +<p><br /><span class="dropcap">T</span>HE private playhouse opened in Drury Lane<a name="FNanchor_577_577" id="FNanchor_577_577"></a><a href="#Footnote_577_577" class="fnanchor">[577]</a> in 1617 seems to have +been officially named "The Phœnix"; but to the players and the +public alike it was more commonly known as "The Cockpit." This implies +some earlier connection of the site or of the building with +cock-fighting, from time out of mind a favorite sport in England. +Stowe writes in his <i>Survey</i>: "Cocks of the game are yet cherished by +diverse men for their pleasures, much money being laid on their heads, +when they fight in pits, whereof some be costly made for that +purpose." These pits, it seems, were circular in shape, and if large +enough might well be used for dramatic purposes. Shakespeare, in +<i>Henry V</i> (1599), likens his playhouse to a cockpit:<span class="pagenum"><a name="Page_349" id="Page_349">349</a></span></p> + +<div class="cpoems"> +<p> +<span style="margin-left: 8em;">Can this cockpit hold</span><br /> +The vasty fields of France? or may we cram<br /> +Within this wooden O the very casques<br /> +That did affright the air at Agincourt?<br /> +</p> +</div> + +<p>It is possible, then, that the building was an old cockpit made into a +playhouse. Howes,<a name="FNanchor_578_578" id="FNanchor_578_578"></a><a href="#Footnote_578_578" class="fnanchor">[578]</a> in enumerating the London theatres, says: "Five +inns or common hostelries turned into playhouses, one cockpit, St. +Paul's singing-school," etc. And Thomas Randolph, in verses prefixed +to James Shirley's <i>Grateful Servant</i> (printed in 1630 as it was acted +"in the private house in Drury Lane"), suggests the same +metamorphosis:</p> + +<div class="cpoem"> +<p> +When thy intelligence on the Cockpit stage<br /> +Gives it a soul from her immortal rage,<br /> +I hear the Muse's birds with full delight<br /> +Sing where the birds of Mars were wont to fight.<br /> +</p> +</div> + +<p>But in this fantastic conceit Randolph may have been thinking simply +of the name of the theatre; possibly he knew nothing of its early +history. On the whole it seems more likely that the playhouse was +newly erected in 1617 upon the site of an old cockpit. The name +"Phœnix" suggests that possibly the old cockpit had been destroyed +by fire, and that from its ashes had arisen a new building.<a name="FNanchor_579_579" id="FNanchor_579_579"></a><a href="#Footnote_579_579" class="fnanchor">[579]</a><span class="pagenum"><a name="Page_350" id="Page_350">350</a></span> +Howes describes the Phœnix as being in 1617 "a new playhouse,"<a name="FNanchor_580_580" id="FNanchor_580_580"></a><a href="#Footnote_580_580" class="fnanchor">[580]</a> +and Camden, who is usually accurate in such matters, refers to it in +the same year as "nuper erectum."<a name="FNanchor_581_581" id="FNanchor_581_581"></a><a href="#Footnote_581_581" class="fnanchor">[581]</a></p> + +<p>Of its size and shape all our information comes from James Wright, who +in his <i>Historia Histrionica</i><a name="FNanchor_582_582" id="FNanchor_582_582"></a><a href="#Footnote_582_582" class="fnanchor">[582]</a> tells us that the Cockpit differed +in no essential feature from Blackfriars and Salisbury Court, "for +they were all three built almost exactly alike for form and bigness." +Since we know that Blackfriars and Salisbury Court were small +rectangular theatres, the former constructed in a hall forty-six feet +broad and sixty-six feet long, the latter erected on a plot of ground +forty-two feet broad and one hundred and forty feet long, we are not +left entirely ignorant of the shape and the approximate size of the +Cockpit.<a name="FNanchor_583_583" id="FNanchor_583_583"></a><a href="#Footnote_583_583" class="fnanchor">[583]</a> And from Middleton's <i>Inner Temple Masque</i> (1618) we +learn that it was constructed of brick. Its sign, presumably, was that +of a phœnix rising out of flames.</p> + +<p style="text-align: center"><br /> +<a name="COCKPIT_DRURY_SITE"> +<img src="images/cockpitdrury.png" width="500" height="326" alt="" /></a></p> + +<p class="caption">THE SITE OF THE COCKPIT IN DRURY LANE</p> + +<p class="caption">The site is marked by Cockpit Court. (From Rocque's <i>Map of London</i>, +1746.)</p> + +<p class="center">[<a href="images/cockpitdrurylg.png">Enlarged Segment</a>]</p> + +<p><br /> +The playhouse was erected and managed by Christopher Beeston,<a name="FNanchor_584_584" id="FNanchor_584_584"></a><a href="#Footnote_584_584" class="fnanchor">[584]</a> one +of the most important<span class="pagenum"><a name="Page_351" id="Page_351">351</a></span> actors and theatrical managers of the +Elizabethan period. We first hear of him as a member of Shakespeare's +troupe. In 1602 he joined Worcester's Company. In 1612 he became the +manager of Queen Anne's Company at the Red Bull. He is described at +that time as "a thriving man, and one that was of ability and +means."<a name="FNanchor_585_585" id="FNanchor_585_585"></a><a href="#Footnote_585_585" class="fnanchor">[585]</a> He continued as manager of the Queen Anne's Men at the +Red Bull until 1617, when he transferred them to his new playhouse in +Drury Lane.</p> + +<p>The playhouse seems to have been ready to receive the players about +the end of February, 1617. We know that they were still performing at +the Red Bull as late as February 23;<a name="FNanchor_586_586" id="FNanchor_586_586"></a><a href="#Footnote_586_586" class="fnanchor">[586]</a> but by March 4 they had +certainly moved to the Cockpit.</p> + +<p>On the latter date, during the performance of a play, the Cockpit was +entered by a mob of disorderly persons, who proceeded to demolish the +interior. The occasion for the wrecking of the new playhouse was the +Shrove Tuesday saturnalia of<span class="pagenum"><a name="Page_352" id="Page_352">352</a></span> the London apprentices, who from time +immemorial had employed this holiday to pull down houses of ill-fame +in the suburbs. That the Cockpit was situated in the neighborhood of +such houses cannot be doubted. We may suppose that the mob, fresh from +sacking buildings, had crowded into the playhouse in the afternoon, +and before the play was over had wrecked that building too.</p> + +<p>The event created a great stir at the time. William Camden, in his +<i>Annals</i>, wrote under the date of March 4, 1617:</p> + +<div class="blockquot"><p>Theatrum ludiorum, nuper erectum in Drury Lane, a furente +multitudine diruitur, et apparatus dilaceratur.</p></div> + +<p>Howes, in his continuation of Stow's <i>Annals</i>, writes:</p> + +<div class="blockquot"><p>Shrove-Tuesday, the fourth of March, many disordered persons +of sundry kinds, amongst whom were very many young boys and +lads, that assembled themselves in Lincolnes Inn Field, +Finsbury Field, in Ratcliffe, and Stepney Field, where in +riotous manner they did beat down the walls and windows of +many victualing houses and of all other houses which they +suspected to be bawdy houses. And that afternoon they +spoiled a new playhouse, and did likewise more hurt in +diverse other places.<a name="FNanchor_587_587" id="FNanchor_587_587"></a><a href="#Footnote_587_587" class="fnanchor">[587]</a></p></div> + +<p>That several persons were killed, and many injured, is disclosed by a +letter from the Privy Council to the Lord Mayor, dated March 5, 1617:<span class="pagenum"><a name="Page_353" id="Page_353">353</a></span></p> + +<div class="blockquot"><p>It is not unknown unto you what tumultuous outrages were +yesterday committed near unto the city of London in diverse +places by a rowt of lewd and loose persons, apprentices and +others, especially in Lincolns Inn Fields and Drury Lane, +where in attempting to pull down a playhouse belonging to +the Queen's Majesty's Servants, there were diverse persons +slain, and others hurt and wounded, the multitude there +assembled being to the number of many thousands, as we are +credibly informed.<a name="FNanchor_588_588" id="FNanchor_588_588"></a><a href="#Footnote_588_588" class="fnanchor">[588]</a></p></div> + +<p>The Queen's Men returned to the Red Bull and acted there until their +ruined playhouse could be repaired. Three months later, on June 3, +they again occupied the Cockpit,<a name="FNanchor_589_589" id="FNanchor_589_589"></a><a href="#Footnote_589_589" class="fnanchor">[589]</a> and continued there until the +death of Queen Anne on March 2, 1619.<a name="FNanchor_590_590" id="FNanchor_590_590"></a><a href="#Footnote_590_590" class="fnanchor">[590]</a></p> + +<p>This event led to the dissolution of the company.<span class="pagenum"><a name="Page_354" id="Page_354">354</a></span> For a year or more +its members had been "falling at variance and strife amongst +themselves," and when the death of the Queen deprived them of a +"service," they "separated and divided themselves into other +companies."<a name="FNanchor_591_591" id="FNanchor_591_591"></a><a href="#Footnote_591_591" class="fnanchor">[591]</a> As a result of the quarrels certain members of the +company made charges against their former manager, Beeston: "The said +Beeston having from the beginning a greater care for his own private +gain, and not respecting the good of these defendants and the rest of +his fellows and companions, hath in the place and trust aforesaid much +enriched himself, and hath of late given over his coat and +condition,<a name="FNanchor_592_592" id="FNanchor_592_592"></a><a href="#Footnote_592_592" class="fnanchor">[592]</a> and separated and divided himself from these +defendants, carrying away not only all the furniture and apparel," +etc.<a name="FNanchor_593_593" id="FNanchor_593_593"></a><a href="#Footnote_593_593" class="fnanchor">[593]</a> The charges against Beeston's honesty may be dismissed; but +it seems clear that he had withdrawn from his former companions, and +was preparing to entertain a new troupe of actors at his playhouse. +And Beeston himself tells us, on November 23, 1619, that "after Her +Majesty's decease, he entered into the service of the most noble +Prince Charles."<a name="FNanchor_594_594" id="FNanchor_594_594"></a><a href="#Footnote_594_594" class="fnanchor">[594]</a> Thus Prince Charles's Men, after their +unfortunate<span class="pagenum"><a name="Page_355" id="Page_355">355</a></span> experiences at the Hope and at Rosseter's Blackfriars, +came to Beeston's playhouse, where they remained until 1622. In the +spring of that year, however, they moved to the Curtain, and the +Princess Elizabeth's Men occupied the Cockpit.<a name="FNanchor_595_595" id="FNanchor_595_595"></a><a href="#Footnote_595_595" class="fnanchor">[595]</a> Under their +tenancy, the playhouse seems to have attained an enviable reputation. +Heminges and Condell, in the epistle to the readers, prefixed to the +Folio of Shakespeare (1623), bear testimony to this in the following +terms: "And though you be a Magistrate of Wit, and sit on the stage at +Blackfriars, or the Cockpit, to arraign plays daily." A further +indication of their prosperity is to be found in the records of St. +Giles's Church; for when in 1623 the parish undertook the erection of +a new church building, "the players of the Cockpit," we are informed, +contributed the large sum of £20, and the proprietors, represented by +Christopher Beeston, gave £19 1<i>s.</i> 5<i>d.</i><a name="FNanchor_596_596" id="FNanchor_596_596"></a><a href="#Footnote_596_596" class="fnanchor">[596]</a></p> + +<p>The Princess Elizabeth's Men continued to act at the Cockpit until +May, 1625, when all theatres were closed on account of the plague. +Beeston made this the occasion to organize a new company called "Queen +Henrietta's Men"; and when the theatres were allowed to reopen, about +December,<span class="pagenum"><a name="Page_356" id="Page_356">356</a></span> 1625,<a name="FNanchor_597_597" id="FNanchor_597_597"></a><a href="#Footnote_597_597" class="fnanchor">[597]</a> this new company was in possession of the +Cockpit. But the reputation of the playhouse seems not to have been +enhanced by the performances of this troupe. In 1629, Lenton, in <i>The +Young Gallant's Whirligig</i>, writes sneeringly:</p> + +<div class="cpoems"> +<p> +The Cockpit heretofore would serve his wit,<br /> +But now upon the Friars' Stage he'll sit.<br /> +</p> +</div> + +<p>And in the following year, 1630, Thomas Carew in verses prefixed to +Davenport's <i>Just Italian</i>, attacks the Red Bull and the Cockpit as +"adulterate" stages where "noise prevails," and "not a tongue of th' +untun'd kennel can a line repeat of serious sense." Queen Henrietta's +Men probably continued to occupy the building until May 12, 1636, when +the theatres were again closed on account of a serious outbreak of the +plague. The plague continued for nearly a year and a half, and during +this time the company was dissolved.<a name="FNanchor_598_598" id="FNanchor_598_598"></a><a href="#Footnote_598_598" class="fnanchor">[598]</a></p> + +<p>Before the plague had ceased, early in 1637,<span class="pagenum"><a name="Page_357" id="Page_357">357</a></span> "Mr. Beeston was +commanded to make a company of boys."<a name="FNanchor_599_599" id="FNanchor_599_599"></a><a href="#Footnote_599_599" class="fnanchor">[599]</a> In the Office-Book of the +Lord Chamberlain we find, under the date of February 21, 1637: +"Warrant to swear Mr. Christopher Beeston His Majesty's Servant in the +place of Governor of the new company of The King's and Queen's +Boys."<a name="FNanchor_600_600" id="FNanchor_600_600"></a><a href="#Footnote_600_600" class="fnanchor">[600]</a> The first recorded performance by this new company was at +Court on February 7, 1637.<a name="FNanchor_601_601" id="FNanchor_601_601"></a><a href="#Footnote_601_601" class="fnanchor">[601]</a> On February 23, the number of deaths +from the plague having diminished, acting was again permitted; but at +the expiration of one week, on March 2, the number of deaths having +increased, all playhouses were again closed. During this single week +the King's and Queen's Boys, we may suppose, acted at the +Cockpit.<a name="FNanchor_602_602" id="FNanchor_602_602"></a><a href="#Footnote_602_602" class="fnanchor">[602]</a></p> + +<p>On May 12, Beeston was arrested and brought before the Privy Council +for having allowed his Boys to act a play at the Cockpit during the +inhibition.<a name="FNanchor_603_603" id="FNanchor_603_603"></a><a href="#Footnote_603_603" class="fnanchor">[603]</a> In his apology he explains this as follows: +"Petitioner being commanded to erect and prepare a company of young +actors for Their Majesties's service, and being desirous to know how +they profited by his instructions, invited some<span class="pagenum"><a name="Page_358" id="Page_358">358</a></span> noblemen and +gentlemen to see them act at his house, the Cockpit. For which, since +he perceives it is imputed as a fault, he is very sorry, and craves +pardon."<a name="FNanchor_604_604" id="FNanchor_604_604"></a><a href="#Footnote_604_604" class="fnanchor">[604]</a></p> + +<p>On September 17, 1637, "Christopher Beeston, His Majesty's servant, by +petition to the Board, showed that he hath many young actors lying +unpractised by reason of the restraint occasioned by infection of the +plague, whereby they are much disabled to perform their service, and +besought that they might have leave to practise. It was ordered that +Beeston should be at liberty to practise his actors at Michaelmas next +[September 29], if there be no considerable increase of the sickness, +nor that there die more than died last week."<a name="FNanchor_605_605" id="FNanchor_605_605"></a><a href="#Footnote_605_605" class="fnanchor">[605]</a></p> + +<p>On October 2, 1637, the plague having abated, all playhouses were +opened, and the King's and Queen's Boys, Herbert tells us, began to +play at the Cockpit "the same day."<a name="FNanchor_606_606" id="FNanchor_606_606"></a><a href="#Footnote_606_606" class="fnanchor">[606]</a> Here, under the popular name +of "Beeston's Boys," they enjoyed a long and successful career, which +ended only with the prohibition of acting in 1642.</p> + +<p>In 1639 Christopher Beeston died, and the position of Governor of the +Boys was conferred upon his son, William Beeston, who had long been +associated in the management of the company,<a name="FNanchor_607_607" id="FNanchor_607_607"></a><a href="#Footnote_607_607" class="fnanchor">[607]</a> and who, if we may +believe Francis Kirkman, was ad<span class="pagenum"><a name="Page_359" id="Page_359">359</a></span>mirably qualified for the position. In +dedicating to him <i>The Loves and Adventures of Clerico and Lozia</i>, +Kirkman says:</p> + +<div class="blockquot"><p>Divers times in my hearing, to the admiration of the whole +company, you have most judiciously discoursed of Poesie: +which is the cause I presume to choose you for my patron and +protector, who are the happiest interpreter and judge of our +English stage-plays this nation ever produced; which the +poets and actors of these times cannot (without ingratitude) +deny; for I have heard the chief and most ingenious +acknowledge their fames and profits essentially sprung from +your instruction, judgment, and fancy.</p></div> + +<p>But in spite of all this, William Beeston's career as Governor was of +short duration. About the first of May, 1640, he allowed the Boys to +act without license a play that gave great offense to the King. +Herbert, the Master of the Revels, writes of this play that it "had +relation to the passages of the King's journey into the north, and was +complained of by His Majesty to me, with command to punish the +offenders."<a name="FNanchor_608_608" id="FNanchor_608_608"></a><a href="#Footnote_608_608" class="fnanchor">[608]</a> In the Office-Book of the Lord Chamberlain, under the +date of May 3, 1640, we read:</p> + +<div class="blockquot"><p>Whereas William Beeston and the company of the players of +the Cockpit, in Drury Lane, have lately acted a new play +without any license from the Master of His Majesty's Revels, +and being commanded to forbear playing or acting of the same +play by the said Master of the Revels, and commanded +likewise to forbear all manner of playing, have +notwithstanding,<span class="pagenum"><a name="Page_360" id="Page_360">360</a></span> in contempt of the authority of the said +Master of the Revels, and the power granted unto him under +the Great Seal of England, acted the said play, and others, +to the prejudice of His Majesty's service, and in contempt +of the Office of the Revels, [whereby] he and they and all +other companies ever have been and ought to be governed and +regulated: These are therefore in His Majesty's name, and +signification of his royal pleasure, to command the said +William Beeston and the rest of that company of the Cockpit +players from henceforth and upon sight hereof, to forbear to +act any plays whatsoever until they shall be restored by the +said Master of the Revels unto their former liberty. Whereof +all parties concernable are to take notice, and conform +accordingly, as they and every one of them will answer it at +their peril.<a name="FNanchor_609_609" id="FNanchor_609_609"></a><a href="#Footnote_609_609" class="fnanchor">[609]</a></p></div> + +<p>Herbert records in his Office-Book:</p> + +<div class="blockquot"><p>On Monday the 4 May, 1640, William Beeston was taken by a +messenger and committed to the Marshalsea by my Lord +Chamberlain's warrant, for playing a play without license. +The same day the company at the Cockpit was commanded by my +Lord Chamberlain's warrant to forbear playing, for playing +when they were forbidden by me, and for other disobedience, +and lay still Monday, Tuesday, and Wednesday. On Thursday, +at my Lord Chamberlain's entreaty, I gave them their +liberty, and upon their petition of submission subscribed by +the players, I restored them to their liberty on +Thursday.<a name="FNanchor_610_610" id="FNanchor_610_610"></a><a href="#Footnote_610_610" class="fnanchor">[610]</a></p></div> +<p><span class="pagenum"><a name="Page_361" id="Page_361">361</a></span></p> +<p>To this period of Beeston's imprisonment I should refer the puzzling +Epilogue of Brome's <i>The Court Beggar</i>:</p> + +<div class="blockquot"><p>There's wit in that now. But this small Poet vents none but +his own, and his by whose care and directions this Stage is +govern'd, who has for many years, both in his father's days, +and since, directed Poets to write and Players to speak, +till he trained up these youths here to what they are now. +Aye, some of 'em from before they were able to say a grace +of two lines long to have more parts in their pates than +would fill so many Dry-vats. And to be serious with you, if +after all this, by the venomous practice of some, who study +nothing more than his destruction, he should fail us, both +Poets and Players would be at loss in reputation.</p></div> + +<p>His "destruction" was wrought, nevertheless, for as a result of his +indiscretion he was deposed from his position as Governor of the +King's and Queen's Company, and William Davenant was appointed in his +place. In the Office-Book of the Lord Chamberlain under the date of +June 27, 1640,<a name="FNanchor_611_611" id="FNanchor_611_611"></a><a href="#Footnote_611_611" class="fnanchor">[611]</a> appears the following entry with the heading, "Mr. +Davenant Governor of the Cockpit Players":</p> + +<div class="blockquot"><p>Whereas in the playhouse or theatre commonly called the +Cockpit, in Drury Lane, there are a company of players +authorized by me (as Lord Chamberlain to His Majesty) to +play or act under the title of The King's and Queen's +Servants, and that by reason of some disorders lately +amongst them committed<span class="pagenum"><a name="Page_362" id="Page_362">362</a></span> they are disabled in their service +and quality: These are therefore to signify that by the same +authority I do authorize and appoint William Davenant, +Gent., one of Her Majesty's servants, for me and in my name +to take into his government and care the said company of +players, to govern, order, and dispose of them for action +and presentments, and all their affairs in the said house, +as in his discretion shall seem best to conduce to His +Majesty's service in that quality. And I do hereby enjoin +and command them, all and every of them, that are so +authorized to play in the said house under the privilege of +His or Her Majesty's Servants, and every one belonging as +prentices or servants to those actors to play under the same +privilege, that they obey the said Mr. Davenant and follow +his orders and directions, as they will answer the contrary; +which power and privilege he is to continue and enjoy during +that lease which Mrs. Elizabeth Beeston, <i>alias</i> Hucheson, +hath or doth hold in the said playhouse, provided he be +still accountable to me for his care and well ordering the +said company.<a name="FNanchor_612_612" id="FNanchor_612_612"></a><a href="#Footnote_612_612" class="fnanchor">[612]</a></p></div> + +<p>Under the direction of Davenant the company acted at the Cockpit until +the closing of the theatres two years later.</p> + +<p>The history of the playhouse during the troubled years that followed +is varied. In the churchwarden's account of St. Giles's Parish is +found the entry: "1646. Paid and given to the teacher at the Cockpit +of the children, 6<i>d.</i>"<a name="FNanchor_613_613" id="FNanchor_613_613"></a><a href="#Footnote_613_613" class="fnanchor">[613]</a> Apparently the old playhouse was then +being temporarily used as a school.</p> +<p><span class="pagenum"><a name="Page_363" id="Page_363">363</a></span></p> +<p>Wright, in his <i>Historia Histrionica</i>, tells us that at the outbreak +of the civil war most of the actors had joined the royal army and +served His Majesty, "though in a different, yet more honorable +capacity." Some were killed, many won distinction; and "when the wars +were over, and the royalists totally subdued, most of 'em who were +left alive gathered to London, and for a subsistence endeavored to +revive their old trade privately. They made up one company out of all +the scattered members of several, and in the winter before the King's +murder, 1648, they ventured to act some plays, with as much caution +and privacy as could be, at the Cockpit." John Evelyn records in his +<i>Diary</i>, under the date of February 5, 1648: "Saw a tragicomedy acted +in the Cockpit after there had been none of these diversions for many +years during the war." Trouble, however, was brewing for these daring +actors. As Wright records: "They continued undisturbed for three or +four days, but at last, as they were presenting the tragedy of <i>The +Bloody Brother</i> (in which Lowin acted Aubery; Taylor, Rollo; Pollard, +the Cook; Burt, Latorch; and, I think, Hart, Otto), a party of +foot-soldiers beset the house, surprised 'em about the middle of the +play, and carried 'em away in their habits, not admitting them to +shift, to Hatton House, then a prison, where, having detained them +some time, they plundered them of their clothes, and let 'em loose +again."<a name="FNanchor_614_614" id="FNanchor_614_614"></a><a href="#Footnote_614_614" class="fnanchor">[614]</a></p> +<p><span class="pagenum"><a name="Page_364" id="Page_364">364</a></span></p> +<p>In 1649 the interior of the building was sacked, if we may trust the +manuscript note entered in the Phillipps copy of Stow's <i>Annals</i> +(1631): "The playhouse in Salisbury Court, in Fleet Street, was pulled +down by a company of soldiers set on by the sectaries of these sad +times, on Saturday the 24 day of March, 1649. The Phœnix, in Drury +Lane, was pulled down also this day, being Saturday the 24 day of +March, 1649, by the same soldiers."<a name="FNanchor_615_615" id="FNanchor_615_615"></a><a href="#Footnote_615_615" class="fnanchor">[615]</a> In the passage quoted, +"pulled-down" merely means that the stage and its equipment, and +possibly a part of the galleries and the seats, were wrecked, not that +the walls of the building itself were thrown down.</p> + +<p>In 1656 Sir William Davenant undertook to create a form of dramatic +entertainment which would be tolerated by the authorities. The Lord +Protector was known to be a lover of music. Sir William, therefore, +applied for permission to give operatic entertainments, "after the +manner of the antients," the "story sung in recitative music," and the +representation made "by the art of perspective in scenes." To such +entertainments, he thought, no one could object. He was wise enough to +give his first performances at Rutland House; but in 1658 he moved to +the Cockpit, where, says Aubrey, "were acted very well, <i>stylo +recitativo</i>, <i>Sir Francis Drake</i> and <i>The Siege of Rhodes</i> (1st and 2d +parts).<span class="pagenum"><a name="Page_365" id="Page_365">365</a></span> It did affect the eye and ear extremely. This first brought +scenes in fashion in England; before at plays was only a hanging." +Thus the Cockpit had the distinction of being the first English +playhouse in which scenery was employed, and, one should add, the +first English home of the opera.<a name="FNanchor_616_616" id="FNanchor_616_616"></a><a href="#Footnote_616_616" class="fnanchor">[616]</a></p> + +<p>Later in the same year, 1658, Davenant exhibited at the Cockpit <i>The +Cruelty of the Spaniards in Peru</i>; but this performance excited the +suspicion of the authorities, who on December 23 sent for "the poet +and the actors" to explain "by what authority the same is exposed to +public view."<a name="FNanchor_617_617" id="FNanchor_617_617"></a><a href="#Footnote_617_617" class="fnanchor">[617]</a></p> + +<p>"In the year 1659," writes John Downes in his <i>Roscius Anglicanus</i>, +"General Monk marching then his army out of Scotland to London, Mr. +Rhodes, a bookseller, being wardrobe-keeper formerly (as I am +informed) to King Charles the First's company of commedians in +Blackfriars, getting a license from the then governing state,<a name="FNanchor_618_618" id="FNanchor_618_618"></a><a href="#Footnote_618_618" class="fnanchor">[618]</a> +fitted up a house then for acting, called the <i>Cockpit</i>, in Drury +Lane, and in a short time completed his company." If this statement is +correct, the time must have been early in the year 1659-60, and the +company must have attempted at first to play without a proper license. +From the <i>Middlesex<span class="pagenum"><a name="Page_366" id="Page_366">366</a></span> County Records</i> (<span class="smcap">iii</span>, 282), we learn that one of +their important actors, Thomas Lilleston, was held under bond for +having performed "a public stage-play this present 4th of February +[1659-60] in the Cockpit in Drury Lane in the parish of St. +Giles-in-the-Fields, contrary to the law in that case made"; and in +the Parish Book<a name="FNanchor_619_619" id="FNanchor_619_619"></a><a href="#Footnote_619_619" class="fnanchor">[619]</a> of St. Giles we find the entry: "1659. Received +of Isack Smith, which he received at the Cockpit playhouse of several +offenders, by order of the justices, £3 8<i>s.</i> 6<i>d.</i>" Shortly after +this, it is to be presumed, the company under Rhodes's management +secured the "license of the then governing state" mentioned by Downes, +and continued thereafter without interruption. The star of this +company was Betterton, whose splendid acting at once captivated +London. Pepys went often to the theatre, and has left us some +interesting notes of his experiences there. On August 18, 1660, he +writes:</p> + +<div class="blockquot"><p>Captain Ferrers, my Lord's Cornet, comes to us, who after +dinner took me and Creed to the Cockpit play, the first that +I have had time to see since my coming from sea, <i>The Loyall +Subject</i>, where one Kinaston, a boy, acted the Duke's +sister, but made the loveliest lady that ever I saw in my +life, only her voice not very good.</p></div> + +<p>Again on October 11, 1660, he writes:</p> + +<div class="blockquot"><p>Here in the Park we met with Mr. Salisbury, who took Mr. +Creed and me to the Cockpit to see <i>The<span class="pagenum"><a name="Page_367" id="Page_367">367</a></span> Moor of Venice</i>, +which was well done. Burt acted the Moor, by the same token +a very pretty lady that sat by me called out to see +Desdemona smothered.</p></div> + +<p>The subsequent history of the Cockpit falls outside the scope of the +present treatise. The reader who desires to trace the part the +building played in the Restoration would do well to consult the +numerous documents printed by Malone from the Herbert Manuscript.<a name="FNanchor_620_620" id="FNanchor_620_620"></a><a href="#Footnote_620_620" class="fnanchor">[620]</a></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_368" id="Page_368">368</a></span></p> +<h2><a name="CHAPTER_XIX" id="CHAPTER_XIX"></a>CHAPTER XIX</h2> + +<h3>SALISBURY COURT</h3> + + +<p><br /><span class="dropcap">T</span>HE Salisbury Court Playhouse<a name="FNanchor_621_621" id="FNanchor_621_621"></a><a href="#Footnote_621_621" class="fnanchor">[621]</a> was projected and built by two men +whose very names are unfamiliar to most students of the drama—Richard +Gunnell and William Blagrove. Yet Gunnell was a distinguished actor, +and was associated with the ownership and management of at least two +theatres. Even so early as 1613 his reputation as a player was +sufficient to warrant his inclusion as a full sharer in the +Palsgrave's Company, then acting at the Fortune. When the Fortune was +rebuilt after its destruction by fire in 1621, he purchased one of the +twelve shares in the new building, and rose to be manager of the +company.<a name="FNanchor_622_622" id="FNanchor_622_622"></a><a href="#Footnote_622_622" class="fnanchor">[622]</a> In addition to managing the company he also, as we learn +from the Herbert Manuscript, supplied the actors with plays. In 1623 +he composed <i>The Hungarian Lion</i>, obviously a comedy, and in the +following year <i>The Way to Content all<span class="pagenum"><a name="Page_369" id="Page_369">369</a></span> Women, or How a Man May Please +his Wife</i>.<a name="FNanchor_623_623" id="FNanchor_623_623"></a><a href="#Footnote_623_623" class="fnanchor">[623]</a> Of William Blagrove I can learn little more than that +he was Deputy to the Master of the Revels. In this capacity he signed +the license for Glapthorne's <i>Lady Mother</i>, October 15, 1635; and his +name appears several times in the Herbert Manuscript in connection +with the payments of various companies.<a name="FNanchor_624_624" id="FNanchor_624_624"></a><a href="#Footnote_624_624" class="fnanchor">[624]</a> Possibly he was related +to Thomas Blagrove who during the reign of Elizabeth was an important +member of the Revels Office, and who for a time served as Master of +the Revels.</p> + +<p>What threw these two men together in a theatrical partnership we do +not know. But in the summer of 1629 they decided to build a private +playhouse to compete with the successful Blackfriars and Cockpit; and +for this purpose they leased from the Earl of Dorset a plot of ground +situated to the east of the precinct of Whitefriars. The ground thus +leased opened on Salisbury Court; hence the name, "The Salisbury Court +Playhouse." In the words of the legal document, the Earl of Dorset "in +consideration that Richard Gunnell and William<span class="pagenum"><a name="Page_370" id="Page_370">370</a></span> Blagrove should at +their costs and charges erect a playhouse and other buildings at the +lower end of Salisbury Court, in the parish of St. Bridges, in the +ward of Farringdon Without, did demise to the said Gunnell and +Blagrove a piece of ground at the same lower end of Salisbury Court, +containing one hundred and forty foot in length and forty-two in +breadth ... for forty-one years and a half." The lease was signed on +July 6, 1629. Nine days later, on July 15, the Earl of Dorset, "in +consideration of nine hundred and fifty pounds paid to the said late +Earl by John Herne, of Lincoln's Inn, Esquire, did demise to hire the +said piece of ground and [the] building [i.e., the playhouse] +thereupon to be erected, and the rent reserved upon the said lease +made to Gunnell and Blagrove." Herne's lease was for a term of +sixty-one years. The effect of this second lease was merely to make +Herne, instead of the Earl of Dorset, the landlord of the players.</p> + +<p style="text-align: center"><br /> +<a name="SALISBURY"> +<img src="images/salisbury.png" width="500" height="432" alt="" /></a></p> + +<p class="caption">A PLAN OF THE SALISBURY COURT PROPERTY</p> + +<p class="caption">To illustrate the lease. (Drawn by the author.)</p> + +<p><br /> +The plot of ground selected for the playhouse is described with +exactness in the lease printed below. The letters inserted in brackets +refer to the <a href="#SALISBURY">accompanying diagram</a> (see page <a href="#Page_370">371</a>):</p> + +<div class="blockquot"><p>All that soil and ground whereupon the Barn [A], at the +lower end of the great back court, or yard of Salisbury +Court, now stands; and so much of the soil whereupon the +whole south end of the great stable in the said court or +yard stands, or contains, from that end of that stable +towards the north end thereof sixteen foot of assize, and +the whole breadth of the said stable [B]; and all the ground +and soil on the east and<span class="pagenum"><a name="Page_371" id="Page_371">371</a></span> west side of that stable lying +directly against the said sixteen foot of ground at the +south end thereof between the wall of the great garden +belonging to the mansion called Dorset House and the wall +that severs the said Court from the lane called Water Lane + [C and D]; and all the ground and soil being between the +said walls on the east and west part thereof, and the said +barn, stable, and ground on both side the same on the south +and north parts thereof [E]. Which said several parcells of +soil and ground ... contain, in the whole length ... one +hundred and forty foot of assize, and in breadth ... forty +and two foot of<span class="pagenum"><a name="Page_372" id="Page_372">372</a></span> assize, and lies together at the lower end +of the said Court.</p></div> + +<p>This plot, one hundred and forty feet in length by forty-two in +breadth, was small for its purpose, and the playhouse must have +covered all the breadth and most of the length of the leased +ground;<a name="FNanchor_625_625" id="FNanchor_625_625"></a><a href="#Footnote_625_625" class="fnanchor">[625]</a> there was no actual need of leaving any part of the plot +vacant, for the theatre adjoined the Court, and "free ingress, egress, +and regress" to the building were stipulated in the lease "by, +through, and on any part of the Court called Salisbury Court."</p> + +<p>At once Gunnell and Blagrove set about the erection of their +playhouse. They may have utilized in some way the "great barn" which +occupied most of their property; one of the legal documents printed by +Cunningham contains the phrase: "and the great barn, which was +afterwards the playhouse."<a name="FNanchor_626_626" id="FNanchor_626_626"></a><a href="#Footnote_626_626" class="fnanchor">[626]</a> If this be true—I think it very +doubtful—the reconstruction must have been thorough, for Howes, in +his continuation of Stow's <i>Annals</i> (1631), speaks of Salisbury Court +as "a new, fair playhouse";<a name="FNanchor_627_627" id="FNanchor_627_627"></a><a href="#Footnote_627_627" class="fnanchor">[627]</a> and in all respects it seems to have +ranked with the best.</p> + +<p><span class="pagenum"><a name="Page_373" id="Page_373">373</a></span></p><p>We know very little of the building. But Wright, in his <i>Historia +Histrionica</i>, informs us that it was "almost exactly like" the two +other private houses, the Blackfriars and the Cockpit:</p> + +<div class="blockquot"><p><i>True.</i> The Blackfriars, Cockpit, and Salisbury Court were +called private houses, and were very small to what we see +now. The Cockpit was standing since the Restoration, and +Rhodes' company acted there for some time.</p> + +<p><i>Love.</i> I have seen that.</p> + +<p><i>True.</i> Then you have seen the other two in effect, for they +were all three built almost exactly alike for form and +bigness.<a name="FNanchor_628_628" id="FNanchor_628_628"></a><a href="#Footnote_628_628" class="fnanchor">[628]</a></p></div> + +<p>In spite of what Wright says, however, there is some reason for +believing that Salisbury Court was smaller than the other two private +houses. The Epilogue to <i>Totenham Court</i> refers to it as "my little +house"; and the Epistle affixed to the second edition of <i>Sir Giles +Goosecappe</i> is said to convey the same impression of smallness.<a name="FNanchor_629_629" id="FNanchor_629_629"></a><a href="#Footnote_629_629" class="fnanchor">[629]</a></p> + +<p>According to Malone, Sir Henry Herbert, the Master of the Revels, was +"one of the proprietors" of the house, and held a "ninth share" in the +profits.<a name="FNanchor_630_630" id="FNanchor_630_630"></a><a href="#Footnote_630_630" class="fnanchor">[630]</a> This, however, is not strictly accurate. Sir Henry, by +virtue of his power to license playhouses, demanded from each +organization of players an<span class="pagenum"><a name="Page_374" id="Page_374">374</a></span> annual fee. The King's Men gave him two +benefit performances a year; Christopher Beeston, on behalf of the +Cockpit in Drury Lane, paid him £60 a year; as for the rest, Herbert +tells us that he had "a share paid by the Fortune Players, and a share +by the Bull Players, and a share by the Salisbury Court Players."<a name="FNanchor_631_631" id="FNanchor_631_631"></a><a href="#Footnote_631_631" class="fnanchor">[631]</a> +It seems, therefore, that the Salisbury Court organization was divided +into eight shares, and that of the profits an extra, or ninth, share +was set aside as a fee for the Master of the Revels.</p> + +<p>The playhouse was ready for use in all probability in the autumn of +1629; and to occupy it a new company of actors was organized, known as +"The King's Revels." The chief members of this company were George +Stutville, John Young, William Cartwright, William Wilbraham, and +Christopher Goad; Gunnell and Blagrove probably acted as managers. In +the books of the Lord Chamberlain we find a warrant for the payment of +£30 to William Blagrove "and the rest of his company" for three plays +acted by the Children of the Revels, at Whitehall, 1631.<a name="FNanchor_632_632" id="FNanchor_632_632"></a><a href="#Footnote_632_632" class="fnanchor">[632]</a> The +Children continued at Salisbury Court until about December, 1631, when +they abandoned the playhouse in favor of the<span class="pagenum"><a name="Page_375" id="Page_375">375</a></span> much larger Fortune, +surrendered by the Palsgrave's Men.</p> + +<p>The Palsgrave's Men, who for many years had occupied the Fortune, seem +to have fallen on bad times and to have disbanded. They were +reorganized, however, possibly by their old manager, Richard Gunnell, +and established in Salisbury Court. The Earl of Dorset, who took a +special interest in Salisbury Court, obtained for the troupe a patent +to play under the name of the infant Prince Charles, then little more +than a year old.<a name="FNanchor_633_633" id="FNanchor_633_633"></a><a href="#Footnote_633_633" class="fnanchor">[633]</a> The patent bears the date of December 7, 1631; +and "The Servants of the High and Mighty Prince Charles" opened at +Salisbury Court very soon after<a name="FNanchor_634_634" id="FNanchor_634_634"></a><a href="#Footnote_634_634" class="fnanchor">[634]</a> with a play by Marmion entitled +<i>Holland's Leaguer</i>. The Prologue refers to the going of the King's +Revels to the Fortune, and the coming of the new troupe to Salisbury +Court:</p> + +<div class="cpoem"> +<p> +Gentle spectators, that with graceful eye<br /> +Come to behold the Muses' colony<br /> +New planted in this soil, forsook of late<br /> +By the inhabitants, since made <i>Fortunate</i>.<br /> +</p> +</div> + +<p>The Prologue closes thus:</p> + +<div class="cpoem"> +<p> +That on our branches now new poets sing;<br /> +And when with joy he shall see this resort<br /> +Phœbus shall not disdain to styl't his <i>Court</i>.<br /> +</p> +</div> + +<p>But the audiences at Salisbury Court were not large. For six +performances of the play, says<span class="pagenum"><a name="Page_376" id="Page_376">376</a></span> Malone, Sir Henry Herbert received +"but one pound nineteen shillings, in virtue of the ninth share which +he possessed as one of the proprietors of the house."<a name="FNanchor_635_635" id="FNanchor_635_635"></a><a href="#Footnote_635_635" class="fnanchor">[635]</a></p> + +<p>Of the "new poets" referred to by the Prologue, one, of course, was +Marmion himself. Another, I venture to say, was James Shirley, who, as +I think, had been engaged to write the company's second play. This was +<i>The Changes</i>, brought out at Salisbury Court on January 10. The +Prologue is full of allusions to the company, its recent misfortunes, +and its present attempt to establish itself in its new quarters:</p> + +<div class="cpoem"> +<p> +That Muse, whose song within another sphere<a name="FNanchor_636_636" id="FNanchor_636_636"></a><a href="#Footnote_636_636" class="fnanchor">[636]</a><br /> +Hath pleased some, and of the best, whose ear<br /> +Is able to distinguish strains that are<br /> +Clear and Phœbean from the popular<br /> +And sinful dregs of the adulterate brain,<br /> +By me salutes your candour once again;<br /> +And begs this noble favour, that this place,<br /> +And weak performances, may not disgrace<br /> +His fresh Thalia.<a name="FNanchor_637_637" id="FNanchor_637_637"></a><a href="#Footnote_637_637" class="fnanchor">[637]</a> 'Las, our poet knows<br /> +We have no name; a torrent overflows<br /> +Our little island;<a name="FNanchor_638_638" id="FNanchor_638_638"></a><a href="#Footnote_638_638" class="fnanchor">[638]</a> miserable we<br /> +Do every day play our own Tragedy.<br /> +But 't is more noble to create than kill,<br /> +He says; and if but with his flame, your will<br /> +Would join, we may obtain some warmth, and prove<br /> +<span class="pagenum"><a name="Page_377" id="Page_377">377</a></span>Next them that now do surfeit with your love.<br /> +Encourage our beginning. Nothing grew<br /> +Famous at first. And, gentlemen, if you<br /> +Smile on this barren mountain, soon it will<br /> +Become both fruitful and the Muses hill.<br /> +</p> +</div> + +<p>The similarity of this to the Prologue of <i>Holland's Leaguer</i> is +striking; and the Epilogue is written in the same vein:</p> + +<div class="cpoem"> +<p> +<span style="margin-left: 11.5em;">Opinion</span><br /> +Comes hither but on crutches yet; the sun<br /> +Hath lent no beam to warm us. If this play<br /> +Proceed more fortunate, we shall bless the day<br /> +And love that brought you hither. 'T is in you<br /> +To make a little sprig of laurel grow,<br /> +And spread into a grove.<br /> +</p> +</div> + +<p>All scholars who have written on the subject—Collier, Fleay, Greg, +Murray, etc.—have contended that the King's Revels Company did not +leave Salisbury Court until after January 10, 1632, because Herbert +licensed Shirley's <i>The Changes</i> on that date,<a name="FNanchor_639_639" id="FNanchor_639_639"></a><a href="#Footnote_639_639" class="fnanchor">[639]</a> and the title-page +of the only edition of <i>The Changes</i> states that it was acted at +Salisbury Court by His Majesty's Revels. But Herbert records payments +for six representations of Marmion's <i>Leaguer</i> by Prince Charles's Men +at Salisbury Court "in December, 1631."<a name="FNanchor_640_640" id="FNanchor_640_640"></a><a href="#Footnote_640_640" class="fnanchor">[640]</a> This latter date must be +correct, for on January 26 <i>Holland's Leaguer</i> was entered on the +Stationers' Register "as it hath been lately and often acted with +great applause ... at the private house in Salisbury<span class="pagenum"><a name="Page_378" id="Page_378">378</a></span> Court." +According to the generally accepted theory, however, the King's Men +were still at Salisbury Court, and actually bringing out a new play +there so late as January 10. This error has led to much confusion, and +to no little difficulty for historians of the stage; for example, Mr. +Murray is forced to suppose that two royal patents were granted to +Prince Charles's Company.<a name="FNanchor_641_641" id="FNanchor_641_641"></a><a href="#Footnote_641_641" class="fnanchor">[641]</a> It seems to me likely that the +title-page of <i>The Changes</i> is incorrect in stating that the play was +acted by the King's Revels. The play must have been acted by the new +and as yet unpopular Prince Charles's Men, who had occupied Salisbury +Court as early as December, and, as Herbert tells us, with poor +success. The various dates cited clearly indicate this; and the +Prologue and the Epilogue are both wholly unsuited for utterance by +the successful Revels Company which had just been "made Fortunate," +but are quite in keeping with the condition of the newly organized and +struggling Prince Charles's Men, who might naturally ask the public to +"encourage our beginning."</p> + +<p>Whether Prince Charles's Men ultimately succeeded in winning the favor +of the public we do not know. Presumably they did, for at some date +before 1635 they moved to the large Red Bull Playhouse. Richard Heton +wrote: "And whereas my Lord of Dorset had gotten for a former company +at Salisbury Court the Prince's service, they, being<span class="pagenum"><a name="Page_379" id="Page_379">379</a></span> left at liberty, +took their opportunity of another house, and left the house in +Salisbury Court destitute both of a service and company."<a name="FNanchor_642_642" id="FNanchor_642_642"></a><a href="#Footnote_642_642" class="fnanchor">[642]</a></p> + +<p>This person, Richard Heton, who describes himself as "one of the +Sewers of Her Majesty's Chamber Extraordinary," had now obtained +control of Salisbury Court, and had become manager of its +affairs.<a name="FNanchor_643_643" id="FNanchor_643_643"></a><a href="#Footnote_643_643" class="fnanchor">[643]</a> He apparently induced the Company of His Majesty's +Revels to leave the Fortune and return to Salisbury Court, for in 1635 +they acted there Richard Brome's <i>The Sparagus Garden</i>. But their +career at Salisbury Court was short; on May 12 of the following year +all playhouses were closed by the plague, and acting was not allowed +again for nearly a year and a half. During this long period of +inactivity, the Company of His Majesty's Revels was largely dispersed.</p> + +<p>When at last, on October 2, 1637, the playhouses were allowed to open, +Heton found himself with a crippled troupe of actors. Again the Earl +of Dorset interested himself in the theatre. Queen Henrietta's +Company, which had been at the Cockpit since 1625, having "disperst +themselves," Dorset took "care to make up a new company for the<span class="pagenum"><a name="Page_380" id="Page_380">380</a></span> +Queen";<a name="FNanchor_644_644" id="FNanchor_644_644"></a><a href="#Footnote_644_644" class="fnanchor">[644]</a> and he placed this new company under Heton at Salisbury +Court. Heton writes: "How much I have done for the upbuilding of this +Company, I gave you some particulars of in a petition to my Lord of +Dorset." This reorganization of the Queen's Men explains, perhaps, the +puzzling entry in Herbert's Office-Book, October 2, 1637: "I disposed +of Perkins, Sumner, Sherlock, and Turner, to Salisbury Court, and +joyned them with the best of that company."<a name="FNanchor_645_645" id="FNanchor_645_645"></a><a href="#Footnote_645_645" class="fnanchor">[645]</a> Doubtless Herbert, +like Dorset, was anxious for the Queen to have a good troupe of +players. This new organization of the Queen's Men continued at +Salisbury Court without interruption, it seems, until the closing of +the playhouses in 1642.<a name="FNanchor_646_646" id="FNanchor_646_646"></a><a href="#Footnote_646_646" class="fnanchor">[646]</a></p> + +<p>In 1649 John Herne, son of the John Herne who in 1629 had secured a +lease on the property for sixty-one years, made out a deed of sale of +the playhouse to William Beeston,<a name="FNanchor_647_647" id="FNanchor_647_647"></a><a href="#Footnote_647_647" class="fnanchor">[647]</a> for the sum of £600. But the +document was not signed. The reason for this is probably revealed in +the following passage: "The playhouse in Salisbury Court, in<span class="pagenum"><a name="Page_381" id="Page_381">381</a></span> Fleet +Street, was pulled down<a name="FNanchor_648_648" id="FNanchor_648_648"></a><a href="#Footnote_648_648" class="fnanchor">[648]</a> by a company of soldiers set on by the +sectaries of these sad times, on Saturday, the 24 day of March, +1649."<a name="FNanchor_649_649" id="FNanchor_649_649"></a><a href="#Footnote_649_649" class="fnanchor">[649]</a></p> + +<p>Three years later, however, Beeston, through his agent Theophilus +Bird, secured the property from Herne at the reduced price of £408: +"John Herne, by indenture dated the five and twentieth day of May, +1652, for £408, to him paid by Theophilus Bird, did assign the +premises and all his estate therein in trust for the said William +Beeston."<a name="FNanchor_650_650" id="FNanchor_650_650"></a><a href="#Footnote_650_650" class="fnanchor">[650]</a></p> + +<p>Early in 1660 Beeston, anticipating the return of King Charles, and +the reëstablishment of the drama, decided to put his building back +into condition to serve as a playhouse; and he secured from Herbert, +the Master of the Revels, a license to do so.<a name="FNanchor_651_651" id="FNanchor_651_651"></a><a href="#Footnote_651_651" class="fnanchor">[651]</a> On April 5, 1660, +he contracted with two carpenters, Fisher and Silver, "for the +rebuilding the premises"; and to secure them he mortgaged the +property. The carpenters later swore that they "expended in the same +work £329 9<i>s.</i> 4<i>d.</i>"<a name="FNanchor_652_652" id="FNanchor_652_652"></a><a href="#Footnote_652_652" class="fnanchor">[652]</a></p> + +<p>The reconstructed playhouse was opened in 1660, probably as early as +June, with a performance<span class="pagenum"><a name="Page_382" id="Page_382">382</a></span> of <i>The Rump</i>, by Tatham. It was engaged by +Sir William Davenant for his company of actors until his "new theatre +with scenes" could be erected in Lincoln's Inn Fields.<a name="FNanchor_653_653" id="FNanchor_653_653"></a><a href="#Footnote_653_653" class="fnanchor">[653]</a> The +ubiquitous Pepys often went thither, and in his <i>Diary</i> gives us some +interesting accounts of the performances he saw there. On March 2, +1661, he witnessed a revival of Thomas Heywood's <i>Love's Mistress, or +The Queen's Masque</i> before a large audience:</p> + +<div class="blockquot"><p>After dinner I went to the Theatre [i.e., Killigrew's +playhouse] where I found so few people (which is strange, +and the reason I did not know) that I went out again; and so +to Salisbury Court, where the house as full as could be; and +it seems it was a new play, <i>The Queen's Masque</i>, wherein +are some good humours: among others a good jeer to the old +story of the Siege of Troy, making it to be a common country +tale. But above all it was strange to see so little a boy as +that was to act Cupid, which is one of the greatest parts in +it.</p></div> + +<p>Again, on March 26, he found Salisbury Court crowded:</p> + +<div class="blockquot"><p>After dinner Mrs. Pierce and her husband, and I and my wife, +to Salisbury Court, where coming late, he and she light of +Col. Boone, that made room for them; and I and my wife sat +in the pit, and there met with Mr. Lewes and Tom Whitton, +and saw <i>The</i> <i>Bondman</i><a name="FNanchor_654_654" id="FNanchor_654_654"></a><a href="#Footnote_654_654" class="fnanchor">[654]</a> done to admiration.</p></div> +<p><span class="pagenum"><a name="Page_383" id="Page_383">383</a></span></p> +<p>The history of the playhouse during these years falls outside the +scope of this volume. Suffice it to say that before Beeston finished +paying the carpenters for their work of reconstruction, the great fire +of 1666 swept the building out of existence; as Fisher and Silver +declared: "The mortgaged premises by the late dreadful fire in London +were totally burned down and consumed."<a name="FNanchor_655_655" id="FNanchor_655_655"></a><a href="#Footnote_655_655" class="fnanchor">[655]</a></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_384" id="Page_384">384</a></span></p> +<h2><a name="CHAPTER_XX" id="CHAPTER_XX"></a>CHAPTER XX</h2> + +<h3>THE COCKPIT-IN-COURT, OR THEATRE ROYAL AT WHITEHALL</h3> + + +<p><br /><span class="dropcap">O</span>N birthdays, holidays, and festive occasions in general the +sovereigns of England and the members of the royal family were wont to +summon the professional actors to present plays at Court. For the +accommodation of the players and of the audience, the larger halls at +Hampton, Windsor, Greenwich, St. James, Whitehall, or wherever the +sovereign happened to be at the time, were specially fitted up, often +at great expense. At one end of the hall was erected a temporary stage +equipped with a "music-room," "players' houses of canvas," painted +properties, and such other things as were necessary to the actors. In +the centre of the hall, on an elevated dais, were provided seats for +the royal family, and around and behind the dais, stools for the more +distinguished guests; a large part of the audience was allowed to +stand on platforms raised in tiers at the rear of the room. Since the +plays were almost invariably given at night, the stage was illuminated +by special "branches" hung on wires overhead, and carrying many +lights. In the accounts of the Office of the Revels one may find +interesting records of plays presented in this<span class="pagenum"><a name="Page_385" id="Page_385">385</a></span> manner, with the +miscellaneous items of expense for making the halls ready.</p> + +<p>Usually the Court performances, like the masques, were important, +almost official occasions, and many guests, including the members of +the diplomatic corps, were invited. To provide accommodation for so +numerous an audience, a large room was needed. Hampton Court possessed +a splendid room for the purpose in the Great Banqueting Hall, one +hundred and six feet in length and forty feet in breadth. But the +palace at Whitehall for many years had no room of a similar character. +For the performance of a masque there in 1559 the Queen erected a +temporary "Banqueting House." Again, in 1572, to entertain the Duke of +Montmorency, Ambassador from France, she had a large "Banketting House +made at Whitehall," covered with canvas and decorated with ivy and +flowers gathered fresh from the fields. An account of the structure +may be found in the records of the Office of the Revels. Perhaps, +however, the most elaborate and substantial of these "banqueting +houses" was that erected in 1581, to entertain the ambassadors from +France who came to treat of a marriage between Elizabeth and the Duc +d'Anjou. The structure is thus described by Holinshed in his +<i>Chronicle</i>:<a name="FNanchor_656_656" id="FNanchor_656_656"></a><a href="#Footnote_656_656" class="fnanchor">[656]</a></p> + +<div class="blockquot"><p>This year (against the coming of certain commissioners out +of France into England), by Her Majes<span class="pagenum"><a name="Page_386" id="Page_386">386</a></span>ty's appointment, on +the sixth and twentieth day of March, in the morning (being +Easter Day), a Banqueting House was begun at Westminster, on +the south-west side of Her Majesty's palace of Whitehall, +made in manner and form of a long square, three hundred +thirty and two foot in measure about; thirty principals made +of great masts, being forty foot in length apiece, standing +upright; between every one of these masts ten foot asunder +and more. The walls of this house were closed with canvas, +and painted all the outsides of the same most artificially, +with a work called rustic, much like stone. This house had +two hundred ninety and two lights of glass. The sides within +the same house was made with ten heights of degrees for +people to stand upon; and in the top of this house was +wrought most cunningly upon canvas works of ivy and holly, +with pendants made of wicker rods, garnished with bay, rue, +and all manner of strange flowers garnished with spangles of +gold; as also beautified with hanging toseans made of holly +and ivy, with all manner of strange fruits, as pomegranates, +oranges, pompions, cucumbers, grapes, carrots, with such +other like, spangled with gold, and most richly hanged. +Betwixt these works of bays and ivy were great spaces of +canvas, which was most cunningly painted, the clouds with +stars, the sun and sun-beams, with diverse other coats of +sundry sorts belonging to the Queen's Majesty, most richly +garnished with gold. There were of all manner of persons +working on this house to the number of three hundred seventy +and five: two men had mischances, the one broke his leg, and +so did the other. This house was made in three weeks and +three days, and was ended the eighteenth day of April, and +cost one thousand seven hundred forty and four pounds, +nineteen shil<span class="pagenum"><a name="Page_387" id="Page_387">387</a></span>lings, and od mony, as I was credibly informed +by the worshipful master Thomas Grave, surveyor unto Her +Majesty's works, who served and gave order for the same.</p></div> + +<p>Although built in such a short time, and of such flimsy material, this +expensive Banqueting House seems to have been allowed to stand, and to +have been used thereafter for masques and plays. Thus, when King James +came to the throne, he ordered plays to be given there in November, +1604. We find the following entry in the Treasurer's accounts:</p> + +<div class="blockquot"><p>For making ready the Banqueting House at Whitehall for the +King's Majesty against the plays, by the space of four days +... 78<i>s.</i> 7<i>d.</i></p></div> + +<p>And the accounts of the Revels' Office inform us:</p> + +<div class="blockquot"><p>Hallomas Day, being the first of November, a play in the +Banqueting House at Whitehall, called <i>The Moor of Venice</i>.</p></div> + +<p>Apparently, however, the King was not pleased with the Banqueting +House as a place for dramatic performances, for he promptly ordered +the Great Hall of the palace—a room approximately ninety feet in +length and forty feet in breadth<a name="FNanchor_657_657" id="FNanchor_657_657"></a><a href="#Footnote_657_657" class="fnanchor">[657]</a>—to be made ready for the next +play:</p> + +<div class="blockquot"><p>For making ready the Great Chamber at Whitehall for the +King's Majesty to see the play, by the space of two days ... +39<i>s.</i> 4<i>d.</i></p></div> +<p><span class="pagenum"><a name="Page_388" id="Page_388">388</a></span></p> +<p>The work was completed with dispatch, for on the Sunday following the +performance of <i>Othello</i> in the Banqueting House, <i>The Merry Wives of +Windsor</i> was acted in the Great Hall. The next play to be given at +Court was also presented in the same room:</p> + +<div class="blockquot"><p>On St. Stephen's Night, in the Hall, a play called <i>Measure +for Measure</i>.</p></div> + +<p>And from this time on the Great Hall was the usual place for Court +performances. The abandonment of the Banqueting House was probably due +to the facts that the Hall was smaller in size, could be more easily +heated in the winter, and was in general better adapted to dramatic +performances. Possibly the change was due also to the decayed +condition of the old structure and to preparations for its removal. +Stow, in his <i>Annals</i> under the date of 1607, writes:</p> + +<div class="blockquot"><p>The last year the King pulled down the old, rotten, +slight-builded Banqueting House at Whitehall, and +new-builded the same this year very strong and stately, +being every way larger than the first.<a name="FNanchor_658_658" id="FNanchor_658_658"></a><a href="#Footnote_658_658" class="fnanchor">[658]</a></p></div> + +<p>This new Banqueting House was completed in the early part of 1608. +John Chamberlain writes to Sir Dudley Carleton on January 5, 1608: +"The masque goes forward at Court for Twelfth Day, tho' I doubt the +New Room will be scant ready."<a name="FNanchor_659_659" id="FNanchor_659_659"></a><a href="#Footnote_659_659" class="fnanchor">[659]</a> Thereafter the Banqueting House, +"every way<span class="pagenum"><a name="Page_389" id="Page_389">389</a></span> larger than the first," was regularly used for the +presentation of masques. But it was rarely if ever used for plays. +Throughout the reign of James, the ordinary place for dramatic +performances, as has been observed, was the Great Hall.</p> + +<p>On January 12, 1619, as a result of negligence during the preparations +for a masque, the Banqueting House caught fire and was burned to the +ground. The Reverend Thomas Lorkin writes to Sir Thomas Puckering on +January 19, 1619:</p> + +<div class="blockquot"><p>The unhappy accident that chanced at Whitehall last week by +fire you cannot but have heard of; but haply not the manner +how, which was this. A joiner was appointed to mend some +things that were out of order in the device of the masque, +which the King meant to have repeated at Shrovetide, who, +having kindled a fire upon a false hearth to heat his +glue-pot, the force thereof pierced soon, it seems, the +single brick, and in a short time that he absented himself +upon some occasion, fastened upon the basis, which was of +dry deal board, underneath; which suddenly conceiving flame, +gave fire to the device of the masque, all of oiled paper, +and dry fir, etc. And so, in a moment, disposed itself among +the rest of that combustible matter that it was past any +man's approach before it was almost discovered. Two hours +begun and ended that woful sight.</p></div> + +<p style="text-align: center" class="border"><br /> +<a name="COCKPIT_WHITEHALL"> +<img src="images/cockpitwhitehall.png" width="439" height="500" alt="" /></a></p> + +<p class="caption">THE COCKPIT</p> + +<p class="caption">Probably as built by Henry VIII. (From Faithorne's <i>Map of London</i>, +1658. The Whitehall district is represented as it was many years +earlier, compare Agas's <i>Map</i>, 1560).</p> + +<p class="center">[<a href="images/cockpitwhitehalllg.png">Enlarge</a>]</p> + +<p><br /> +Inigo Jones, who had dreamed of a magnificent palace at Whitehall, and +who had drawn elaborate plans for a royal residence which should +surpass anything in Europe, now took charge of building a new +Banqueting House as a first step in the realiza<span class="pagenum"><a name="Page_390" id="Page_390">390</a></span>tion of his scheme. +The noble structure which he erected is to-day one of his chief +monuments, and the sole relic of the once famous royal palace. It was +completed in the spring of 1622; but, as in the case of its +predecessor, it was not commonly used<span class="pagenum"><a name="Page_391" id="Page_391">391</a></span> for dramatic entertainments. +Though masques might be given there, the regular place for plays +continued to be the Great Hall.</p> + +<p>In the meanwhile, however, there had been developed at Court the +custom of having small private performances in the Cockpit, in +addition to the more elaborate performances in the Great Hall. Since +this ultimately led to the establishment of a theatre royal, known as +"The Cockpit-in-Court," it will be necessary to trace in some detail +the history of that structure.</p> + +<p>The palace of Whitehall, anciently called York House, and the home of +thirty successive Archbishops of York, was seized by King Henry VIII +at the fall of Wolsey and converted into a royal residence.<a name="FNanchor_660_660" id="FNanchor_660_660"></a><a href="#Footnote_660_660" class="fnanchor">[660]</a> The +new proprietor at once made improvements after his own taste, among +which were tennis-courts, bowling-alleys, and an amphitheatre for the +"royal sport" of cock-fighting. In Stow's description of the palace we +read:</p> + +<div class="blockquot"><p>On the right hand be diverse fair tennis courts, bowling +alleys, and a Cockpit, all built by King Henry the Eight.</p></div> + +<p>Strype, in his edition of Stow's <i>Survey</i> (1720), adds the information +that the Cockpit was made "out<span class="pagenum"><a name="Page_392" id="Page_392">392</a></span> of certain old tenements."<a name="FNanchor_661_661" id="FNanchor_661_661"></a><a href="#Footnote_661_661" class="fnanchor">[661]</a> It is +pictured in Agas's <i>Map of London</i> (1570), and more clearly in +<a href="#COCKPIT_WHITEHALL">Faithorne's <i>Map</i></a> (see page <a href="#Page_389">390</a>), printed in 1658, but apparently +representing the city at an earlier date.</p> + +<p>During the reign of Elizabeth the Cockpit, so far as I can ascertain, +was never used for plays. In the voluminous documents relating to the +Office of the Revels there is only one reference to the building: in +1572 flowers were temporarily stored there that were to be used for +decking the "Banketting House."</p> + +<p>It was during the reign of King James that the Cockpit began to be +used for dramatic representations. John Chamberlain writes from London +to Sir Ralph Winwood, December 18, 1604: "Here is great provision for +Cockpit to entertain him [the King] at home, and of masques and revels +against the marriage of Sir Herbert and Lady Susan Vere."<a name="FNanchor_662_662" id="FNanchor_662_662"></a><a href="#Footnote_662_662" class="fnanchor">[662]</a> Since, +however, King James was very fond of cock-fighting, it may be that +Chamberlain was referring to that royal entertainment rather than to +plays. The small Cockpit was certainly a very unusual place for the +formal presentation of plays before His Majesty and the Court.</p> + +<p>But the young Prince Henry, whose official residence was in St. +James's Palace, often had private or semi-private performances of +plays in the Cock<span class="pagenum"><a name="Page_393" id="Page_393">393</a></span>pit. In the rolls of the expenses of the Prince we +find the following records:<a name="FNanchor_663_663" id="FNanchor_663_663"></a><a href="#Footnote_663_663" class="fnanchor">[663]</a></p> + +<div class="blockquot"><p>For making ready the Cockpit four several times for plays, +by the space of four days, in the month of December, 1610, +£2 10<i>s.</i> 8<i>d.</i></p> + +<p>For making ready the Cockpit for plays two several times, by +the space of four days, in the months of January and +February, 1611, 70<i>s.</i> 8<i>d.</i></p> + +<p>For making ready the Cockpit for a play, by the space of two +days, in the month of December, 1611, 30<i>s.</i> 4<i>d.</i></p></div> + +<p>The building obviously, was devoted for the most part to other +purposes, and had to be "made ready" for plays at a considerable +expense. Nor was the Prince the only one who took advantage of its +small amphitheatre. John Chamberlain, in a letter to Sir Dudley +Carleton on September 22, 1612, describing the reception accorded to +the Count Palatine by the Lady Elizabeth, writes: "On Tuesday she sent +to invite him as he sat at supper to a play of her own servants in the +Cockpit."<a name="FNanchor_664_664" id="FNanchor_664_664"></a><a href="#Footnote_664_664" class="fnanchor">[664]</a></p> + +<p>It is clear, then, that at times throughout the reign of James +dramatic performances were given in the Cockpit; but the auditorium +was small, and the performances must have been of a semi-private +nature. The important Court performances, to which many guests were +invited, were held in the Great Hall.<span class="pagenum"><a name="Page_394" id="Page_394">394</a></span></p> + +<p>In the reign of the next sovereign, however, a change came about. In +the year 1632 or 1633, as well as I am able to judge with the evidence +at command, King Charles reconstructed the old Cockpit into a "new +theatre at Whitehall," which from henceforth was almost exclusively +used for Court performances. The opening of this "new theatre royal" +is celebrated by a <i>Speech</i> from the pen of Thomas Heywood:</p> + +<p class="center"><i>A Speech Spoken to Their Two Excellent Majesties at<br /> +the First Play Play'd by the Queen's Servants in<br /> +the New Theatre at Whitehall.</i></p> + +<div class="cpoem"> +<p> +When Greece, the chief priority might claim<br /> +For arts and arms, and held the eminent name<br /> +Of Monarchy, they erected divers places,<br /> +Some to the Muses, others to the Graces,<br /> +Where actors strove, and poets did devise,<br /> +With tongue and pen to please the ears and eyes<br /> +Of Princely auditors. The time was, when<br /> +To hear the rapture of one poet's pen<br /> +A Theatre hath been built.<br /> +<br /> +By the Fates' doom,<br /> +When th' Empire was removed from thence to Rome,<br /> +The Potent Cæsars had their <i>circi</i>, and<br /> +Large amphitheatres, in which might stand<br /> +And sit full fourscore thousand, all in view<br /> +And touch of voice. This great Augustus knew,<br /> +Nay Rome its wealth and potency enjoyed,<br /> +Till by the barbarous Goths these were destroy'd.<br /> +<br /> +But may this structure last, and you be seen<br /> +Here a spectator, with your princely Queen,<br /> +In your old age, as in your flourishing prime,<br /> +To outstrip Augustus both in fame and time.<br /> +<span class="pagenum"><a name="Page_395" id="Page_395">395</a></span></p> +</div> + +<p>The exact date of this <i>Speech</i> is not given, but it was printed<a name="FNanchor_665_665" id="FNanchor_665_665"></a><a href="#Footnote_665_665" class="fnanchor">[665]</a> +in 1637 along with "The Prologue to the Famous Tragedy of <i>The Rich +Jew of Malta</i>, as it Was Played Before the King and Queen in His +Majesty's Theatre at Whitehall"; and this Prologue Heywood had already +published with the play itself in 1633. He dedicated the play to Mr. +Thomas Hammon, saying, "I had no better a New-Year's gift to present +you with." Apparently, then, the play had been acted at Court shortly +before New Year's, 1633; and this sets a forward date to Heywood's +<i>Speech</i>. Other evidence combines with this to show that "His +Majesty's Theatre at Whitehall" was "new" at the Christmas season of +1632-33.</p> + +<p>In erecting this, the first "theatre royal," King Charles would +naturally call for the aid of the great Court architect Inigo +Jones,<a name="FNanchor_666_666" id="FNanchor_666_666"></a><a href="#Footnote_666_666" class="fnanchor">[666]</a> and by good luck we have preserved for us +<a href="#INIGO">Jones's original +sketches</a> for the little playhouse (see page <a href="#Page_396">396</a>). These were +discovered a few years ago by Mr. Hamilton Bell in the Library of +Worcester College (where many valuable relics of the great architect +are stored), and printed in <i>The Architectural Record</i> of New York, +March, 1913. Mr. Bell accompanied the plans with<span class="pagenum"><a name="Page_396" id="Page_396">396</a></span> a valuable +discussion, but he was unable to discover their purpose. He writes:</p> + +<div class="blockquot"><p>We have still no clue as to what purpose this curiously +anomalous and most interesting structure was to +serve—whether the plan was ever carried out, or whether it +remained part of a lordly pleasure-house which its prolific +designer planned for the delectation of his own soul.</p></div> + +<p>That the plan actually was carried out, at least in part, is shown by +a <a href="#FISHER">sketch of the Whitehall buildings</a> made by John Fisher at some date +before 1670, and engraved by Vertue in 1747, (see page <a href="#Page_396">398</a>).<a name="FNanchor_667_667" id="FNanchor_667_667"></a><a href="#Footnote_667_667" class="fnanchor">[667]</a> +Here, in the northeast corner of the palace, we find a little theatre, +labeled "The Cockpit." Its identity with the building sketched by +Inigo Jones is obvious at a glance; even the exterior measurements, +which are ascertainable from the scales of feet given on the two +plans, are the same.</p> + +<p style="text-align: center"><br /> +<a name="INIGO"> +<img src="images/inigojones.png" width="500" height="358" alt="" /></a></p> + +<p class="caption">INIGO JONES'S PLANS FOR THE COCKPIT-IN-COURT</p> + +<p class="caption">Now preserved in the Worcester College Library at Oxford; discovered +by Mr. Hamilton Bell, and reproduced in <i>The Architectural Record</i>, of New +York, 1913.</p> + +<p style="text-align: center"><br /> +<a name="FISHER"> +<img src="images/fisher.png" width="500" height="361" alt="" /></a></p> + +<p class="caption"> +FISHER'S SURVEY OF WHITEHALL SHOWING THE +COCKPIT-IN-COURT</p> + +<p class="caption">A section from Vertue's engraving, 1747, of a survey of +Whitehall made by John Fisher, 1660-1670. Compare "The Cockpit" with Inigo +Jones's plans.</p> + +<p class="center">[<a href="images/fisherlg.png">Enlarge</a>]</p> + +<p style="text-align: center"><br /> +<a name="THEATRO"> +<img src="images/theatro.png" width="400" height="299" alt="" /></a></p> + +<p class="caption">THE THEATRO OLYMPICO AT VICENZA</p> + +<p class="caption">Which probably inspired Inigo Jones's plans for the +Cockpit-in-Court.</p> + +<p><br /> +Mr. Bell describes the plan he discovered as follows:<a name="FNanchor_668_668" id="FNanchor_668_668"></a><a href="#Footnote_668_668" class="fnanchor">[668]</a></p> + +<div class="blockquot"><p>It represents within a square building, windowed on three +sides and on one seemingly attached to another building, an +auditorium occupying five sides of an octagon, on the floor +of which are shown the benches of a pit, or the steps, five +in number, on which they could be set. These are curiously +arranged at an angle of forty-five degrees on either side of +a central<span class="pagenum"><a name="Page_397" id="Page_397">397</a></span> aisle, so that the spectators occupying them +could never have directly faced the stage. Surrounding this +pit on five sides is a balcony ten feet deep, with, it would +seem, two rows of benches on four of its sides; the fifth +side in the centre, directly opposite the stage, being +partitioned off into a room or box, in the middle of which +is indicated a platform about five feet by seven, presumably +for the Royal State. Three steps descend from this box to +the centre aisle of the pit. To the left of and behind this +royal box appears another enclosure or box, partitioned off +from the rest of the balcony.</p> + +<p>The staircases of access to this auditorium are clearly +indicated; one small door at the rear of the <i>salle</i> with +its own private stairway, communicating with the adjoining +building, opens directly into the royal box; as in the Royal +Opera House in Berlin to-day.</p> + +<p>There is another door, with a triangular lobby, into the +rear of the left-hand balcony. Two windows are shown on each +side of the house, opening directly into the theatre from +the outer air.</p> + +<p>The stage runs clear across the width of the pit, about +thirty-five feet, projecting in an "apron" or <i>avant scène</i> +five feet beyond the proscenium wall, and is surrounded on +the three outward sides by a low railing of classic design +about eighteen inches in height, just as in many Elizabethan +playhouses.</p> + +<p>If one may trust an elevation of the stage, drawn on the +same sheet to twice the scale of the general plan, the stage +was four feet six inches above the floor of the pit. This +elevation exhibits the surprising feature of a classic +façade, Palladian in treatment, on the stage of what so far +we have regarded as a late modification of a playhouse of +Shakespeare's day. Evidently Inigo Jones contemplated the +erection of a<span class="pagenum"><a name="Page_398" id="Page_398">398</a></span> permanent architectural <i>proscenium</i>, as the +ancients called it, of the type, though far more modest, +both in scale and ornamentation, of Palladio's Theatro +Olimpico at Vicenza, which we know he visited in about 1600, +some twenty years after its erection. This <i>proscenium</i>, +given in plan and elevation, shows a semi-circular structure +with a radius of fifteen feet, two stories in height, of the +Corinthian or Composite order. In the lower story are five +doorways, the centre of which is a large archway flanked by +pedestals, on which are inscribed in Greek characters, +Melpomene—Thalia; over these and over the smaller doors are +tablets.</p> + +<p>The second story contains between its lighter engaged +columns, over the four side doors, niches with corbels +below, destined to carry statues as their inscribed bases +indicate. So far as these inscriptions are legible,—the +clearest reading "phocles," probably Sophocles,—these were +to represent Greek dramatists, most likely Æschylus, +Euripides, Sophocles and Aristophanes.</p> + +<p>The curved pediment of the central archway runs up into this +story and is broken in the middle by a tablet bearing the +inscription "Prodesse et Delectare," which is flanked by two +reclining genii holding garlands.</p> + +<p>Above these are two busts on brackets, Thespis and Epicurus, +or possibly Epicharmus. The space directly above this +pediment is occupied by a window-like opening five by four +feet, the traditional Elizabethan music-room, in all +probability, which, Mr. W.J. Lawrence has shown us, occupied +this position both in Shakespeare's day and for some time +after the Restoration; an arrangement which was revived by +Mr. Steele Mackaye in the Madison Square Theatre,<span class="pagenum"><a name="Page_399" id="Page_399">399</a></span> and +originally in the first little Lyceum, New York, both now +pulled down. The pyramidal pediment above this opening +projects above the upper cornice into a coved ceiling, which +would appear from the rendering of the drawing to form an +apse above the semi-circular stage. Behind the <i>proscenium</i> +is a large space with staircases of approach, two windows at +the rear, and apparently a fireplace for the comfort of the +waiting players. Communication with the front of the house +is provided by a door in the proscenium wall opening into +the stage door lobby, whence the outside of the building may +be reached.</p> + +<p>There is no indication of galleries, unless some marks on +the angles of the front wall of the balcony may be +interpreted without too much license into the footings of +piers or posts to carry one; the total interior height shown +in the elevation from what I have assumed to be the floor of +the pit to the ceiling being only twenty-eight feet, there +would hardly have been room for more than one. The only +staircases which could have served it are at the rear of the +building in the corners behind the stage wall....</p> + +<p>The general dimensions would appear to be:</p></div> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr><td>Total width of the auditorium</td><td> </td><td>58 ft.</td></tr> +<tr><td>Total width of the pit</td><td> </td><td>36 ft.</td></tr> +<tr><td>Total width of the front stage or "apron"</td><td> </td><td>35 ft.</td></tr> +<tr><td>Total depth of the stage from the railing to the centre of the <i>proscenium</i></td><td> </td><td>16 ft.</td></tr> +<tr><td colspan="3" class="center">The entire building is 58 feet square inside, cut to an octagon of 28 feet each side. </td></tr> +<tr><td>Height from floor to ceiling</td><td> </td><td>28 ft.</td></tr> +<tr><td>Height from stage to ceiling</td><td>about</td><td>23 ft. 6 in.</td></tr> +<tr><td>The lower order of the <i>proscenium</i></td><td> </td><td>10 ft. 6 in.</td></tr> +<tr><td>The upper order of the <i>proscenium</i></td><td> </td><td>  9 ft. 6 in.</td></tr> +</tbody> +</table> + +<div class="blockquot"><p>The scale on the drawing may not be absolutely correct, as +measured by it the side doors of the <i>pro<span class="pagenum"><a name="Page_400" id="Page_400">400</a></span>scenium</i> are only +five feet high and two feet nine inches wide: this, however, +may be an error in the drawing, since we have it on very +good authority that Inigo Jones designed without the use of +a scale, proportioning his various members by his +exquisitely critical eye alone, subsequently adding the +dimensions in writing.</p></div> + +<p>I record below some of the references to the Cockpit which I have +gathered from the Herbert Manuscript and the Office-Books of the Lord +Chamberlain. The earliest payment for plays there, it will be +observed, is dated March 16, 1633. Abundant evidence shows that the +actors gave their performance in the Cockpit at night without +interfering with their regular afternoon performance at their +playhouses, and for their pains received the sum of £10. If, however, +for any reason they "lost their day" at their house they were paid +£20.</p> + +<div class="blockquot"><p>1633. March 16. Warrant to pay £270 to John Lowen, Joseph +Taylor, and Eilliard Swanston, His Majesty's Comedians, for +plays by them acted before His Majesty, viz.—£20 for the +rehearsal of one at the Cockpit, by which means they lost +their afternoon at their house....<a name="FNanchor_669_669" id="FNanchor_669_669"></a><a href="#Footnote_669_669" class="fnanchor">[669]</a></p> + +<p>1634. <i>Bussy d'Amboise</i> was played by the King's Players on +Easter-Monday night, at the Cockpit-in-Court.<a name="FNanchor_670_670" id="FNanchor_670_670"></a><a href="#Footnote_670_670" class="fnanchor">[670]</a><span class="pagenum"><a name="Page_401" id="Page_401">401</a></span></p> + +<p>1634. The <i>Pastorall</i> was played by the King's Players on +Easter-Tuesday night, at the Cockpit-in-Court.<a name="FNanchor_671_671" id="FNanchor_671_671"></a><a href="#Footnote_671_671" class="fnanchor">[671]</a></p> + +<p>1635. 10 May. A warrant for £30 unto Mons. Josias Floridor, +for himself and the rest of the French players for three +plays acted by them at the Cockpit.<a name="FNanchor_672_672" id="FNanchor_672_672"></a><a href="#Footnote_672_672" class="fnanchor">[672]</a></p> + +<p>1635. 10 Decem<sup>r</sup>.—A warrant for £100 to the Prince's +Comedians,—viz. £60 for three plays acted at Hampton Court, +at £20 for each play, in September and October, 1634. And +£40 for four plays at Whitehall and [<i>query</i> "at"] the +Cockpit in January, February, and May following, at £10 for +each play.<a name="FNanchor_673_673" id="FNanchor_673_673"></a><a href="#Footnote_673_673" class="fnanchor">[673]</a></p> + +<p>1636. The first and second part of <i>Arviragus and Philicia</i> +were acted at the Cockpit before the King and Queen, the +Prince, and Prince Elector, the 18 and 19 April, 1636, being +Monday and Tuesday in Easter week.<a name="FNanchor_674_674" id="FNanchor_674_674"></a><a href="#Footnote_674_674" class="fnanchor">[674]</a></p></div> + +<p>Other similar allusions to performance in the Cockpit might be cited +from the Court records. One more will suffice—the most interesting of +all, since it shows how frequently the little theatre was employed for +the entertainment of the royal family. It is a bill presented by the +Blackfriars Company, the King's Men, for Court performances during the +year 1637. This bill was discovered and reproduced in facsimile by +George R. Wright, F.S.A., in<span class="pagenum"><a name="Page_402" id="Page_402">402</a></span> <i>The Journal of the British +Archæological Association</i> for 1860; but it was wholly misunderstood +by its discoverer, who regarded it as drawn up by the company of +players that "performed at the Cockpit in Drury Lane." He was indeed +somewhat puzzled by the reference to the Blackfriars Playhouse, but +met the difficulty by saying: "There can be little doubt that the +last-named theatre was lent for the occasion to the Cockpit Company," +although he suggests no reason for this strange borrowing of a theatre +by a troupe that possessed a house of its own, and much nearer the +Court, too. It did not even occur to him, it seems, to inquire how the +Cockpit Company secured the plays which we know belonged to +Shakespeare's old company. Because of these obvious difficulties +scholars have looked upon the document with suspicion, and apparently +have treated it as a forgery.<a name="FNanchor_675_675" id="FNanchor_675_675"></a><a href="#Footnote_675_675" class="fnanchor">[675]</a> But that it is genuine is indicated +by the history of "The Cockpit-in-Court" as sketched above, and is +proved beyond any question by the fact that the Office-Book of the +Lord Chamberlain shows that the bill was paid:</p> + +<div class="blockquot"><p>12th March 1638 [9].—Forasmuch as His Majesty's Servants, +the company at the Blackfriars, have by special command, at +divers times within the space of this present year 1638, +acted 24 plays before His Majesty, six whereof have been +performed at Hampton-court and Richmond, by means whereof<span class="pagenum"><a name="Page_403" id="Page_403">403</a></span> +they were not only at the loss of their day at home, but at +extraordinary charges by traveling and carriage of their +goods, in consideration whereof they are to have £20 apiece +for those plays, and £10 apiece for the other 18 acted at +Whitehall, which in the whole amounted to the sum of +£300.—These are therefore to pray and require you out of +His Majesty's treasure in your charge to pay....<a name="FNanchor_676_676" id="FNanchor_676_676"></a><a href="#Footnote_676_676" class="fnanchor">[676]</a></p></div> + +<p>A photographic facsimile of this interesting document may be seen in +<i>The Journal of the British Archæological Association</i>, already +referred to; but for the convenience of those who do not read +Elizabethan script with ease, I have reproduced it in type <a href="#FACSIMILE">facsimile</a> +on page 404.</p> + +<p style="text-align: center" class="border"><br /> +<a name="FACSIMILE"> +<img src="images/facsimile.png" width="511" height="800" alt="facsimile" /></a><br /><br /></p> + +<p class="notes"><i>Transcriber's Note:</i> The text of the above facsimile is given +in the box below.</p> + +<p> </p> + +<div class="bboxw"> +<p class="center"> +before the king & queene this<br /> +yeare of our lord 1638</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr><td>At the Cocpit the 26th of march</td><td> </td><td>The lost ladie</td></tr> +<tr><td>At the Cocpit the 27th of march</td><td> </td><td>Damboyes</td></tr> +<tr><td>At the Cocpit the 3d of Aprill</td><td> </td><td>Aglaura</td></tr> +<tr><td>At the blackfryers the 23 of Aprill for the queene</td><td> </td><td>the vnfortunate lou[ers]</td></tr> +<tr><td>At the Cocpit the 29th of may the princes berthnight</td><td> </td><td>ould Castel</td></tr> +<tr><td>At the Cocpit the last of may agayne the</td><td> </td><td>vnfortunate louers</td></tr> +<tr><td>At Sumerset-house the 10th of July & our day</td><td> </td><td> </td></tr> +<tr><td colspan="3">— lost at our house mr Carlels play the first part of the pasionate louers</td></tr> +<tr><td>— At Hamton Court the 30th of September</td><td> </td><td>The vnfortunate louer[s]</td></tr> +<tr><td>— At Richmount the 6th of november for the ladie<br /> +<span style="margin-left: 1.5em">maries berthnight & the day lost at our house</span></td><td><span class="larger">}</span></td><td>The mery divell + of Edmonto[n]</td></tr> +<tr><td>At the Cocpit the 8th of november</td><td> </td><td>The fox</td></tr> +<tr><td>At the Cocpit the 13th of november</td><td> </td><td>Ceaser</td></tr> +<tr><td>At the Cocpit the 15th of november</td><td> </td><td>The mery wifes of winser</td></tr> +<tr><td>At the Cocpit the 20th of november</td><td> </td><td>The fayre favorett</td></tr> +<tr><td>At the Cocpit the 22th of november</td><td> </td><td>Chances</td></tr> +<tr><td>At the Cocpit the 27th of november</td><td> </td><td>The Costome of the C[ountry]</td></tr> +<tr><td>At the Cocpit the 29th of november</td><td> </td><td>The northen las</td></tr> +<tr><td>At the Cocpit the 6th of desember</td><td> </td><td>The spanish Curatt</td></tr> +<tr><td>At the Cocpit the 11th of desember agayne</td><td> </td><td>The fayre favorett</td></tr> +<tr><td>At the Cocpit the 18th of desember m Carlels<br /> + play agayne the first part of</td><td> </td><td style="vertical-align: bottom">The pasionate louers</td></tr> +<tr><td>At the Cocpit the 20th of desember the 2d part of</td><td> </td><td>The pasionate louers</td></tr> +<tr><td colspan="3">At the Cocpit the 27 of desember the 2d part agayne of the pasionate louers</td></tr> +<tr><td>—At Richmount the 28 of desember the ladie<br /> +<span style="margin-left: 1.5em">Elsabeths berthnight & our day lost at our house</span></td><td><span class="larger">}</span></td><td> The northen las</td></tr> +<tr><td>— At Richmount on newyeares day<br /> +<span style="margin-left: 1.5em">and our day lost at our house</span></td><td><span class="larger">}</span></td><td>beggers bush</td></tr> +<tr><td>— At Richmount the 7th of Janeuarye<br /> +<span style="margin-left: 1.5em">and our day lost at our house</span></td><td><span class="larger">}</span></td><td>The spanish Cura[tt]</td></tr> +</tbody> +</table> +</div> + +<p><br />The check-marks at the left were probably made by the clerk in the +Chamberlain's office to ascertain how many times the players "lost +their day" at their house, and hence were entitled to £20 in payment. +For the play given "at the blackfriars the 23 of Aprill for the +queene" (presumably the general public was excluded) only the usual +£10 was allowed.</p> + +<p>With the approach of the civil war, the Cockpit, like the public +theatres, suffered an eclipse. Sir Henry Herbert writes: "On Twelfth +Night, 1642, the Prince had a play called <i>The Scornful Lady</i> at the +Cockpit; but the King and Queen were not there, and it was the only +play acted at court in the whole Christmas."<a name="FNanchor_677_677" id="FNanchor_677_677"></a><a href="#Footnote_677_677" class="fnanchor">[677]</a> During the dark days +that followed we hear nothing of plays in the Cockpit.<span class="pagenum"><a name="Page_405" id="Page_405">405</a></span> Later +Cromwell himself occupied this section of the palace, and naturally +saw to it that no dramatic exhibitions were held there. But at the +Restoration "the Prince," now become the King, could have his plays +again; and he did not wait long. On November 20, 1660, Edward Gower +wrote to Sir Richard Leveson: "Yesternight the King, Queen, Princess, +etc., supped at the Duke d'Albemarle's, where they had <i>The Silent +Woman</i> acted in the Cockpit."<a name="FNanchor_678_678" id="FNanchor_678_678"></a><a href="#Footnote_678_678" class="fnanchor">[678]</a> From this time on the theatre royal +was in constant use for the entertainment of the Court.</p> + +<p>Samuel Pepys, as he rose in the world, became a frequent visitor +there.<a name="FNanchor_679_679" id="FNanchor_679_679"></a><a href="#Footnote_679_679" class="fnanchor">[679]</a> In the absence of other descriptions of the building, I +subjoin a few of the entries from his <i>Diary</i>. Under the date of +October 2, 1662, he writes:</p> + +<div class="blockquot"><p>At night by coach towards Whitehall, took up Mr. Moore and +set him at my Lord's, and myself, hearing that there was a +play at the Cockpit (and my Lord Sandwich, who came to town +last night, at it), I do go thither, and by very great +fortune did follow four or five gentlemen who were carried +to a little private door in a wall, and so crept through a +narrow place and come into one of the boxes next the King's, +but so as I could not see the King or Queen, but many of the +fine ladies, who yet are really not so handsome<span class="pagenum"><a name="Page_406" id="Page_406">406</a></span> generally +as I used to take them to be, but that they are finely +dressed. Here we saw <i>The Cardinal</i>,<a name="FNanchor_680_680" id="FNanchor_680_680"></a><a href="#Footnote_680_680" class="fnanchor">[680]</a> a tragedy I had +never seen before, nor is there any great matter in it. The +company that came in with me into the box were all Frenchmen +that could speak no English, but Lord! what sport they made +to ask a pretty lady that they got among them that +understood both French and English to make her tell them +what the actors said.</p></div> + +<p>The next time he went to the Cockpit, on November 17, 1662, he did not +have to creep in by stealth. He writes:</p> + +<div class="blockquot"><p>At Whitehall by appointment, Mr. Crew carried my wife and I +to the Cockpit, and we had excellent places, and saw the +King, Queen, Duke of Monmouth, his son, and my Lady +Castlemaine, and all the fine ladies; and <i>The Scornful +Lady</i>, well performed. They had done by eleven o'clock.</p></div> + +<p>The fine ladies, as usual, made a deep impression on him, as did the +"greatness and gallantry" of the audience. On December 1, 1662, he +writes:</p> + +<div class="blockquot"><p>This done we broke up, and I to the Cockpit, with much +crowding and waiting, where I saw <i>The Valiant Cid</i><a name="FNanchor_681_681" id="FNanchor_681_681"></a><a href="#Footnote_681_681" class="fnanchor">[681]</a> +acted, a play I have read with great delight, but is a most +dull thing acted, which I never understood before, there +being no pleasure in it, though done by Betterton and by +Ianthe,<a name="FNanchor_682_682" id="FNanchor_682_682"></a><a href="#Footnote_682_682" class="fnanchor">[682]</a> and another fine wench that is come in the room +of Roxalana; nor did the King or Queen once smile all the +whole play, nor any of the company seem to take any pleasure +but what was in the greatness and gallantry of the company.<span class="pagenum"><a name="Page_407" id="Page_407">407</a></span> +Thence ... home, and got thither by 12 o'clock, knocked up +my boy, and put myself to bed.</p></div> + +<p style="text-align: center" class="border"><br /> +<a name="COCKPIT_IN_COURT"> +<img src="images/cockpitincourt.png" width="403" height="277" alt="" /></a></p> + +<p class="caption">THE COCKPIT-IN-COURT</p> + +<p class="caption">From an engraving by Mazell in Pennant's <i>London</i>. Mr. W.L. Spiers, +who reproduces this engraving in the <i>London Topographical Record</i> (1903), +says that it is "undated, but probably copied from a contemporary drawing of the +seventeenth century."</p> + +<p><br /> +Two entries, from an entirely different source, must suffice for this +history of the Cockpit. In the Paper-Office Chalmers discovered a +record of the following payments, made in 1667:</p> + +<div class="blockquot"><p>To the Keeper of the theatre at Whitehall, £30. To the same +for Keeping clean that place, <i>p. ann.</i> £6.<a name="FNanchor_683_683" id="FNanchor_683_683"></a><a href="#Footnote_683_683" class="fnanchor">[683]</a></p></div> +<p><span class="pagenum"><a name="Page_408" id="Page_408">408</a></span></p> +<p>And in the Lord Chamberlain's Accounts is preserved the following +warrant:</p> + +<div class="blockquot"><p>1674, March 27. Warrant to deliver to Monsieur Grabu, or to +such as he shall appoint, such of the scenes remaining in +the theatre at Whitehall as shall be useful for the French +Opera at the theatre in Bridges Street, and the said +Monsieur to return them again safely after 14 days' time to +the theatre at Whitehall.<a name="FNanchor_684_684" id="FNanchor_684_684"></a><a href="#Footnote_684_684" class="fnanchor">[684]</a></p></div> + +<p>What became of the theatre at Whitehall I have not been able to +ascertain.<a name="FNanchor_685_685" id="FNanchor_685_685"></a><a href="#Footnote_685_685" class="fnanchor">[685]</a> Presumably, after the<span class="pagenum"><a name="Page_409" id="Page_409">409</a></span> fire of January, 1698, which +destroyed the greater part of the palace and drove the royal family to +seek quarters elsewhere, the building along with the rest of the +Cockpit section was made over into the Privy Council offices.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_410" id="Page_410">410</a></span></p> +<h2><a name="CHAPTER_XXI" id="CHAPTER_XXI"></a>CHAPTER XXI</h2> + +<h3>MISCELLANEOUS</h3> + + +<h3><br />I</h3> + +<h3><span class="smcap">Wolf’s Theatre in Nightingale Lane, near East Smithfield</span></h3> + +<p><span class="dropcap">I</span>N Jeaffreson's <i>Middlesex County Records</i> (<span class="smcap">i</span>, 260), we find the +following entry, dated April 1, 1600:</p> + +<div class="blockquot"><p>1 April, 42 Elizabeth.—Recognizance, taken before Sir John +Peyton knt., Lieutenant of the Tower of London, and Thomas +Fowler, Tobias Woode, Edward Vaghan and Henry Thoresby +esqs., Justices of the Peace, of John Wolf, of +Eastsmithfield, co. Midd., stationer, in the sum of forty +pounds; The condition of the recognizance being "that, +whereas the above-bounden John Wolf hath begun to erect and +build a playhouse in Nightingale Lane near East Smithfield +aforesaid, contrary to Her Majesty's proclamation and orders +set down in Her Highness's Court of Starchamber. If +therefore the said John Wolf do not proceed any further in +building or erecting of the same playhouse, unless he shall +procure sufficient warrant from the Rt. Honourable the Lords +of Her Majesty's most honourable Privy Council for further +... then this recognizance to be void, or else to remain in +full force."</p></div> + +<p>The only stationer in London named John Wolf was the printer and +publisher who at this time had<span class="pagenum"><a name="Page_411" id="Page_411">411</a></span> his shop in Pope's Head Alley, Lombard +Street. For several reasons he is well known to bibliographers; and +his strong personality and tireless energy might easily have led him +into the field of the theatre. For many years he was a member of the +Fishmongers' Company, to which also, in all probability, his father +had belonged. After a ten years' apprenticeship with the eminent +printer, John Day, he spent several years abroad "gadding from country +to country," but learning the printing trade from the best +establishments on the Continent. His longest stay was in Italy, where +he was connected with the printing-office of the Giunti, and also, it +seems, of Gabriel Giolito. In 1576 he printed two <i>Rappresentazioni</i>, +"ad instanzia di Giovanni Vuolfio, Inglese." About the year 1579 he +established himself in London (where he was dubbed by his fellows +"Machiavel"), and began an energetic warfare on the monopolies secured +by certain favored printers. The fact that he was for a time +"committed to the Clink" failed to deter him. We are told that he +"affirmed openly in the Stationers' Hall that it was lawful for all +men to print all lawful books, what commandment soever Her Majesty +gave to the contrary." And being "admonished that he, being but one, +so mean a man, should not presume to contrary Her Highness' +government: 'Tush,' said he, 'Luther was but one man, and reformed all +the world for religion, and I am <i>that one man</i> that must and will +reform the government in this trade.'" The<span class="pagenum"><a name="Page_412" id="Page_412">412</a></span> courage and energy here +revealed characterized his entire life. In 1583 he was admitted a +freeman of the Company of Stationers. In 1593 he was elected Printer +to the City. In the spring of 1600 he was in serious difficulties with +the authorities over the printing of John Hayward's <i>Life and Raigne +of King Henrie IV</i>, and was forced to spend two weeks in jail. He died +in 1601.<a name="FNanchor_686_686" id="FNanchor_686_686"></a><a href="#Footnote_686_686" class="fnanchor">[686]</a></p> + +<p>If this "John Wolf, stationer," be the man who started to erect a +playhouse in East Smithfield, it is to be regretted that we do not +know more about the causes which led him into the undertaking.</p> + + +<h3>II</h3> + +<h3><span class="smcap">The Projected “Amphitheatre”</span></h3> + +<p>In 1620 John Cotton, John Williams, and Thomas Dixon<a name="FNanchor_687_687" id="FNanchor_687_687"></a><a href="#Footnote_687_687" class="fnanchor">[687]</a> secured from +King James a license to build<span class="pagenum"><a name="Page_413" id="Page_413">413</a></span> an amphitheatre<a name="FNanchor_688_688" id="FNanchor_688_688"></a><a href="#Footnote_688_688" class="fnanchor">[688]</a> "intended +principally for martiall exercises, and extraordinary shows and +solemnities for ambassadors, and persons of honor and quality," with +the power granted to the owners to order "a cessation from other shows +and sports, for one day in a month only, upon fourteen days' warning."</p> + +<p>But for some reason the King suddenly changed his mind, and on +September 29, 1620, he addressed a letter to the Privy Council +directing them to cancel the license:<a name="FNanchor_689_689" id="FNanchor_689_689"></a><a href="#Footnote_689_689" class="fnanchor">[689]</a></p> + +<div class="blockquot"><p>Right trusty and right well-beloved Cousins and Councellors, +and right trusty and well-beloved Councellors, we greet you +well. Whereas at the humble suit of our servants John +Cotton, John Williams, and Thomas Dixon, and in recompence +of their services, we have been pleased to license them to +build an Amphitheatre, which hath passed our Signet and is +stayed at our Privy Seal; and finding therein contained some +such words and clauses, as may, in some constructions, seem +to give them greater liberty both in point of building and +using of exercises than is any way to be permitted, or was +ever by us intended, we have thought fit to command and give +authority unto you, or any four of you, to cause that +already passed to be cancelled, and to give order unto our +Solicitor General for the drawing up of a new warrant for +our signature to the same parties, according to<span class="pagenum"><a name="Page_414" id="Page_414">414</a></span> such +directions and reservations as herewith we send you. Wherein +we are more particular, both in the affirmative and the +negative, to the end that, as on one side we would have +nothing pass us to remain upon record which either for the +form might not become us or for the substance might cross +our many proclamations (pursued with good success) for +buildings, or, on the other side, might give them cause to +importune us after they had been at charges; to which end we +wish that you call them before you and let them know our +pleasure and resolution therein.</p></div> + +<p>Accordingly the license was canceled, and no new license was issued.</p> + +<p>In 1626, however, John Williams and Thomas Dixon (what had become of +John Cotton we do not know) made an attempt to secure a license from +King Charles, then newly come to the throne, to erect an amphitheatre +in Lincoln's Inn Fields. Apparently they so worded the proposed grant +as to authorize them to present in their amphitheatre not only +spectacles, but dramatic performances and animal-baitings as well, +with the power to restrain all other places of amusement for one day +in each week, on giving two days' warning.</p> + +<p>A "bill" to this effect was drawn up and submitted to Thomas Coventry, +the Lord Keeper, who examined it hastily, and dispatched it to Lord +Conway with the following letter:<a name="FNanchor_690_690" id="FNanchor_690_690"></a><a href="#Footnote_690_690" class="fnanchor">[690]</a></p> + +<div class="blockquot"><p><i>My very good Lord</i>,—I have perused this Bill, and do call +to mind that about three or four years past<span class="pagenum"><a name="Page_415" id="Page_415">415</a></span> when I was +Attorney General, a patent for an Amphitheatre was in hand +to have passed; but upon this sudden, without search of my +papers, I cannot give your lordship any account of the true +cause wherefore it did not pass, nor whether that and this +do vary in substance: neither am I apt upon a sudden to take +impertinent exceptions to anything that is to pass, much +less to a thing that is recommended by so good a friend. But +if upon perusal of my papers which I had while I was +Attorney, or upon more serious thoughts, I shall observe +anything worthy to be represented to His Majesty, or to the +Council, I shall then acquaint your lordship; and in the +meantime I would be loath to be the author of a motion to +His Majesty to stay it: but if you find His Majesty at +fitting leisure, to move him that he will give leave to +think of it in this sort as I have written, it may do well; +and I assure your lordship, unless I find matter of more +consequence than I observe on this sudden, it is not like to +be stayed. And so I rest your lordship's very assured to do +you service,</p> + +<p class="right"><span class="smcap">Tho. Coventrye, Ch.</span></p> + +<p><span class="smcap">Canbury</span>, 12 <i>August</i>, 1626.</p></div> + +<p>Apparently some very influential person was urging the passage of the +bill. But the scheme soon evoked the bitter opposition of the various +troupes of players, and of the owners of the various theatres and +other places of amusement. An echo of the quarrel is found in +Marmion's <i>Holland's Leaguer</i>, <span class="smcap">ii</span>, iii:</p> + +<div class="cpoem"> +<p> +Twill dead all my device in making matches,<br /> +My plots of architecture, and erecting<br /> +<span class="pagenum"><a name="Page_416" id="Page_416">416</a></span>New amphitheatres to draw custom<br /> +From playhouses once a week, and so pull<br /> +A curse upon my head from the poor scoundrels.<a name="FNanchor_691_691" id="FNanchor_691_691"></a><a href="#Footnote_691_691" class="fnanchor">[691]</a><br /> +</p> +</div> + +<p>The "poor scoundrels"—i.e., the players—seem to have caused the +authorities to examine the bill more closely; and on September 28, +1626, the Lord Keeper sent to Lord Conway a second letter in which he +condemned the measure in strong terms:<a name="FNanchor_692_692" id="FNanchor_692_692"></a><a href="#Footnote_692_692" class="fnanchor">[692]</a></p> + +<div class="blockquot"><p><i>My Lord</i>,—According to His Majesty's good pleasure, which +I received from your lordship, I have considered of the +grant desired by John Williams and Thomas Dixon for building +an Amphitheatre in Lincoln's Inn Fields; and comparing it +with that which was propounded in King James his time, do +find much difference between them: for that former was +intended principally for martiall exercises, and +extraordinary shows, and solemnities for ambassadors and +persons of honor and quality, with a cessation from other +shows and sports for one day in a month only, upon 14 days' +warning: whereas by this new grant I see little probability +of anything to be used but common plays, or ordinary sports +now used or showed at the Bear Garden or the common +playhouses about London, for all sorts of beholders, with a +restraint to all other plays and shows for one day in the +week upon two days' warning: with liberty to erect their +buildings in Lincoln's Inn Fields, where there are too<span class="pagenum"><a name="Page_417" id="Page_417">417</a></span> many +buildings already; and which place in the late King's time +upon a petition exhibited by the Prince's comedians for +setting up a playhouse there, was certified by eleven +Justices of Peace under their hands to be very inconvenient. +And therefore, not holding this new grant fit to pass, as +being no other in effect but to translate the playhouses and +Bear Garden from the Bankside to a place much more unfit, I +thought fit to give your lordship these reasons for it; +wherewithal you may please to acquaint His Majesty, if there +shall be cause. And so remain your lordship's very assured +friend to do you service,</p> + +<p class="right"><span class="smcap">Tho. Coventrye.</span></p> + +<p> +<span class="smcap">Canbury</span>, 28 <i>Sept.</i>, 1626.<br /> +<span style="margin-left: 1em;"><span class="smcap">Lo. Conway.</span></span><br /> +</p> +</div> + +<p>On the letter Lord Conway has written the indorsement: "That it is +unfit the grant for the Amphitheatre should passe." And such, no +doubt, was the ultimate decision of the Privy Council, for we hear +nothing more of the project.</p> + + +<h3>III</h3> + +<h3><span class="smcap">Ogilby’s Dublin Theatre</span></h3> + +<p>In 1635 a playhouse was opened in Dublin by John +Ogilby,—dancing-master, theatrical manager, playwright, scholar, +translator, poet,—now best known, perhaps, for the ridicule he +inspired in Dryden's <i>MacFlecknoe</i> and Pope's <i>Dunciad</i>. At the +beginning of his versatile career he was a successful London +dancing-master, popular with "the nobility and gentry." When Thomas +Earl of Straf<span class="pagenum"><a name="Page_418" id="Page_418">418</a></span>ford was appointed Lord Lieutenant of Ireland, he took +Ogilby with him to Dublin, to teach his wife and children the art of +dancing, and also to help with the secretarial duties. Under +Strafford's patronage, Ogilby was appointed to the post of Master of +the Revels for Ireland; and in this capacity he built a small +playhouse in Dublin and began to cultivate dramatic representations +after the manner of London. Anthony à Wood in <i>Athenæ Oxonienses</i>, +says:</p> + +<div class="blockquot"><p>He built a little theatre to act plays in, in St. Warburg's +street in Dublin, and was then and there valued by all +ingenious men for his great industry in promoting morality +and ingenuity.<a name="FNanchor_693_693" id="FNanchor_693_693"></a><a href="#Footnote_693_693" class="fnanchor">[693]</a></p></div> + +<p>Aubrey writes:</p> + +<div class="blockquot"><p>He had a warrant from the Lord Lieutenant to be Master of +the Ceremonies for that kingdom; and built a pretty<a name="FNanchor_694_694" id="FNanchor_694_694"></a><a href="#Footnote_694_694" class="fnanchor">[694]</a> +little theatre in St. Warburgh Street in Dublin.</p></div> + +<p>The history of this "little theatre" is not known in detail. For its +actors Ogilby himself wrote at least one play, entitled <i>The Merchant +of Dublin</i>,<a name="FNanchor_695_695" id="FNanchor_695_695"></a><a href="#Footnote_695_695" class="fnanchor">[695]</a> and Henry Burnell a tragi-comedy entitled +<i>Landgartha</i>, printed in 1641 "as it was presented in the<span class="pagenum"><a name="Page_419" id="Page_419">419</a></span> new theatre +in Dublin with good applause." But its chief playwright was James +Shirley, who came to Dublin in 1636 under the patronage of the Earl of +Kildare. For the Irish stage he wrote <i>The Royal Master</i>, published in +1638 as "acted in the new theatre in Dublin"; <i>Rosania, or Love's +Victory</i>, now known as <i>The Doubtful Heir</i>, under which title it was +later printed; <i>St. Patrick for Ireland</i>;<a name="FNanchor_696_696" id="FNanchor_696_696"></a><a href="#Footnote_696_696" class="fnanchor">[696]</a> and in all probability +<i>The Constant Maid</i>.<a name="FNanchor_697_697" id="FNanchor_697_697"></a><a href="#Footnote_697_697" class="fnanchor">[697]</a> The actors, however, had little need to buy +original plays, for they were free, no doubt, to take any of the +numerous London successes. From Shirley's <i>Poems</i> we learn that they +were presenting Jonson's <i>Alchemist</i>, Middleton's <i>No Wit</i>, two of +Fletcher's plays, unnamed, and two anonymous plays entitled <i>The Toy</i> +and <i>The General</i>; and we may fairly assume that they honored several +of Shirley's early plays in the same way.</p> + +<p>The theatre came to a sudden end with the outbreak of the rebellion in +1641. In October the Lords Justices prohibited playing there; and +shortly after, we are told, the building was "ruined and spoiled, and +a cow-house made of the stage."<a name="FNanchor_698_698" id="FNanchor_698_698"></a><a href="#Footnote_698_698" class="fnanchor">[698]</a></p> +<p><span class="pagenum"><a name="Page_420" id="Page_420">420</a></span></p> + +<h3>IV</h3> + +<h3><span class="smcap">The French Players’ Temporary Theatre in Drury Lane</span></h3> + +<p>In February, 1635, a company of French players, under the leadership +of the eminent actor, Josias de Soulas, better known by his stage-name +of Floridor,<a name="FNanchor_699_699" id="FNanchor_699_699"></a><a href="#Footnote_699_699" class="fnanchor">[699]</a> appeared in London, and won such favor at Court that +they were ultimately allowed to fit up a house in Drury Lane for a +temporary theatre. The history of these players is mainly found in the +records of the Master of the Revels and of the Lord Chamberlain. From +the former, Malone has preserved the following entries by Herbert:</p> + +<div class="blockquot"><p>On Tuesday night the 17 of February, 1634 [i.e., 1635], a +French company of players, being approved of by the Queen at +her house two nights before, and commended by Her Majesty to +the King, were admitted to the Cockpitt in Whitehall, and +there presented the King and Queen with a French comedy +called <i>Melise</i>,<a name="FNanchor_700_700" id="FNanchor_700_700"></a><a href="#Footnote_700_700" class="fnanchor">[700]</a> with good approbation: for which play +the King gave them ten pounds.</p> + +<p>This day being Friday, and the 20 of the same month, the +King told me his pleasure, and commanded me to give order +that this French company<span class="pagenum"><a name="Page_421" id="Page_421">421</a></span> should play the two sermon days in +the week during their time of playing in Lent [i.e., +Wednesdays and Fridays, on which days during Lent the +English companies were not allowed to play], and in the +house of Drury Lane [i.e., the Cockpit Playhouse], where the +Queen's Players usually play. The King's pleasure I +signified to Mr. Beeston [the manager of the Cockpit] the +same day, who obeyed readily. The housekeepers are to give +them by promise the benefit of their interest<a name="FNanchor_701_701" id="FNanchor_701_701"></a><a href="#Footnote_701_701" class="fnanchor">[701]</a> for the +two days of the first week. They had the benefit of playing +on the sermon days, and got two hundred pounds at least; +besides many rich clothes were given them. They had freely +to themselves the whole week before the week before +Easter,<a name="FNanchor_702_702" id="FNanchor_702_702"></a><a href="#Footnote_702_702" class="fnanchor">[702]</a> which I obtained of the King for them.</p></div> + +<p>The use of the Cockpit in Drury Lane came to an end at Easter, for the +Queen's own troupe, under Beeston's management, regularly occupied +that building. But the King summoned the French players to act at +Court on several occasions. Thus Herbert records:</p> + +<div class="blockquot"><p>The 4 April, on Easter Monday,<a name="FNanchor_703_703" id="FNanchor_703_703"></a><a href="#Footnote_703_703" class="fnanchor">[703]</a> they played the +<i>Trompeur Puny</i><a name="FNanchor_704_704" id="FNanchor_704_704"></a><a href="#Footnote_704_704" class="fnanchor">[704]</a> with better approbation than the +other.<span class="pagenum"><a name="Page_422" id="Page_422">422</a></span></p> + +<p>On Wednesday night, the 16 April,<a name="FNanchor_705_705" id="FNanchor_705_705"></a><a href="#Footnote_705_705" class="fnanchor">[705]</a> 1635, the French +played <i>Alcimedor</i><a name="FNanchor_706_706" id="FNanchor_706_706"></a><a href="#Footnote_706_706" class="fnanchor">[706]</a> with good approbation.<a name="FNanchor_707_707" id="FNanchor_707_707"></a><a href="#Footnote_707_707" class="fnanchor">[707]</a></p></div> + +<p>Clearly these actors were in high favor at Court. Sir Henry, who did +not as a rule show any hesitancy in accepting fees, notes in the +margin of his book: "The French offered me a present of £10; but I +refused it, and did them many other courtesies gratis to render the +Queen my mistress an acceptable service." In view of this royal favor, +it is not surprising to find that, after they were driven from the +Cockpit, they received permission to fit up a temporary playhouse in +the manage, or riding-school, of one M. Le Febure, in Drury Lane. The +Lord Chamberlain's Office-Book contains the following entry on the +subject:</p> + +<div class="blockquot"><p>18 April, 1635: His Majesty hath commanded me to signify his +royal pleasure that the French comedians (having agreed with +Mons. le Febure) may erect a stage, scaffolds, and seats, +and all other accommodations which shall be convenient, and +act and present interludes and stage plays at his house [and +manage<a name="FNanchor_708_708" id="FNanchor_708_708"></a><a href="#Footnote_708_708" class="fnanchor">[708]</a>] in Drury Lane, during His Majesty's pleasure, +without any disturbance, hindrance, or interruption. And +this shall be to them, and Mr. le Febure, and to all others, +a sufficient discharge, &c.<a name="FNanchor_709_709" id="FNanchor_709_709"></a><a href="#Footnote_709_709" class="fnanchor">[709]</a></p></div> + +<p><span class="pagenum"><a name="Page_423" id="Page_423">423</a></span></p><p>Apparently the players lost little time in fitting up the building, +for we read in Herbert's Office-Book:</p> + +<div class="blockquot"><p>A warrant granted to Josias D'Aunay,<a name="FNanchor_710_710" id="FNanchor_710_710"></a><a href="#Footnote_710_710" class="fnanchor">[710]</a> Hurfries de Lau, +and others, for to act plays at a new house in Drury Lane, +during pleasure, the 5 May, 1635.</p> + +<p>The King was pleased to command my Lord Chamberlain to +direct his warrant to Monsieur Le Fevure, to give him a +power to contract with the Frenchmen for to build a +playhouse in the manage-house, which was done accordingly by +my advice and allowance.<a name="FNanchor_711_711" id="FNanchor_711_711"></a><a href="#Footnote_711_711" class="fnanchor">[711]</a></p></div> + +<p>In Glapthorne's <i>The Ladies' Priviledge</i> is a good-natured allusion to +the French Company and their vivacious style of acting:<a name="FNanchor_712_712" id="FNanchor_712_712"></a><a href="#Footnote_712_712" class="fnanchor">[712]</a></p> + +<div class="cpoem"> +<p> +<i>La.</i> But, Adorni,<br /> +What think you of the French?<br /> +<br /> +<i>Ador.</i> Very airy people, who participate<br /> +More fire than earth; yet generally good,<br /> +And nobly disposition'd, something inclining<br /> +To over-weening fancy. This lady<br /> +Tells my remembrance of a comic scene<br /> +I once saw in their Theatre.<br /> +<br /> +<i>Bon.</i> Add it to<br /> +Your former courtesies, and express it.<br /> +</p> +</div> + +<p>Whereupon, according to the stage direction, Adorni "acts furiously."</p> + +<p>In the margin of his Office-Book Sir Henry Herbert writes +complacently: "These Frenchmen were<span class="pagenum"><a name="Page_424" id="Page_424">424</a></span> commended unto me by the Queen, +and have passed through my hands gratis." This was indeed a rare favor +from Herbert; but they did not so easily escape his deputy, William +Blagrove, who accepted from them the sum of "three pounds for his +pains."</p> + +<p>How long the French actors occupied their temporary playhouse in Drury +Lane is not clear. In the Lord Chamberlain's book we find an entry +showing that they presented a play at Court in December, 1635: +"Warrant to pay £10 to Josias Floridor for himself and the rest of the +French players for a tragedy by them played before His Majesty Dec. +last."<a name="FNanchor_713_713" id="FNanchor_713_713"></a><a href="#Footnote_713_713" class="fnanchor">[713]</a> The entry is dated January 8, 1636, and, so far as I can +discover, this is the last reference to the French players in London. +We may suppose that shortly after this they returned to Paris.</p> + + +<h3>V</h3> + +<h3><span class="smcap">Davenant’s Projected Theatre in Fleet Street</span></h3> + +<p>On March 26, 1639, William Davenant, who had succeeded Ben Jonson as +Poet Laureate, secured from King Charles a royal patent under the +Great Seal of England to erect a playhouse in Fleet Street, to be used +not only for regular plays, but also for "musical entertainments" and +"scenic representations." Davenant, as we know, was especially +inter<span class="pagenum"><a name="Page_425" id="Page_425">425</a></span>ested in "the art of perspective in scenes," and also in the +Italian <i>opera musicale</i>. The royal patent—unusually verbose even for +a patent—is printed in full in Rymer's <i>Fœdera</i>, <span class="smcap">xx</span>, 377; I cite +below all the essential passages:</p> + +<div class="blockquot"><p>[<i>The Building.</i>] Know ye, that we, of our especial grace, +certain knowledge, and meere motion, and upon the humble +petition of our servant William Davenant, gentleman, have +given and granted, and by these presents, for us, our heirs, +and successors, do give and grant unto the said William +Davenant, his heirs, executors, administrators, and assigns, +full power, license, and authority ... to frame, new-build, +and set up ... a Theatre or Playhouse, with necessary tiring +and retiring rooms, and other places convenient, containing +in the whole forty yards square at the most,<a name="FNanchor_714_714" id="FNanchor_714_714"></a><a href="#Footnote_714_714" class="fnanchor">[714]</a> wherein +plays, musical entertainments, scenes, or other like +presentments may be presented ... so as the outwalls of the +said Theatre or Playhouse, tiring or retiring rooms, be made +or built of brick or stone, according to the tenor of our +proclamations in that behalf.</p> + +<p>[<i>Its Location.</i>] Upon a parcel of ground lying near unto or +behind the Three Kings Ordinary in Fleet Street, in the +parishes of Saint Dunstan's in the West, London, or in Saint +Bride's, London, or in either of them; or in any other +ground in or about that place, or in the whole street +aforesaid, already allotted to him for that use, or in any +other place that is or hereafter shall be assigned or +allotted out to the said<span class="pagenum"><a name="Page_426" id="Page_426">426</a></span> William Davenant by our right +trusty and right well-beloved cousin and counsellor Thomas, +Earl of Arundel and Surrey, Earl Marshall of England, or any +other of our commissioners for building for that time being +in that behalf.</p> + +<p>[<i>Its Uses.</i>] And we do hereby, for us, our heirs, and +successors, grant to the said William Davenant, his heirs, +executors, administrators, and assigns, that it shall and +may be lawful to and for him, the said William Davenant, his +heirs, executors, administrators, and assigns, from time to +time to gather together, entertain, govern, privilege, and +keep, such and so many players and persons, to exercise +action, musical presentments, scenes, dancing, and the like, +as he, the said William Davenant, his heirs, executors, +administrators, and assigns shall think fit and approve for +the said house; and such persons to permit and continue at +and during the pleasure of the said William Davenant, his +heirs, executors, administrators, and assigns, from time to +time to act plays in such house so to be by him or them +erected; and exercise music, musical presentments, scenes, +dancing, or other the like, at the same, or other, hours, or +times, or after plays are ended,<a name="FNanchor_715_715" id="FNanchor_715_715"></a><a href="#Footnote_715_715" class="fnanchor">[715]</a> peaceably and quietly, +without the impeachment or impediment of any person or +persons whatsoever, for the honest recreation of such as +shall desire to see the same. And that it shall and may be +lawful to and for the said William Davenant, his heirs, +executors, administrators, and assigns, to take and receive +of such our subjects as shall resort to see or hear any such +plays, scenes, and entertainments whatsoever, such sum or +sums of<span class="pagenum"><a name="Page_427" id="Page_427">427</a></span> money as is, are, or hereafter from time to time +shall be accustomed to be given or taken in other playhouses +and places for the like plays, scenes, presentments, and +entertainments.</p></div> + +<p>The novelty of the scheme and the great size of the proposed building +must have alarmed the owners of playhouses. That the established +theatrical proprietors were hostile is clearly indicated by the +attitude of Richard Heton, one of the Sewers of the Chamber to Queen +Henrietta, and at the time manager of the Salisbury Court Playhouse. +In September, 1639, he wrote out a document entitled "Instructions for +my Patent," in which he advanced reasons why he should receive the +sole power to elect the members of the Queen's Company of Players. He +observes that under the existing arrangement the company was free to +leave the Salisbury Court Playhouse at their pleasure, "as in one year +and a half of their being here they have many times threatened"; and +he concludes by adding: "and one now of the chief fellows [i.e., +sharers of the company], an agent for one [William Davenant] that hath +got a grant from the King for the building of a new playhouse which +was intended to be in Fleet Street, which no man can judge that a +fellow of our Company, and a well-wisher to those that own the house, +would ever be an actor in."<a name="FNanchor_716_716" id="FNanchor_716_716"></a><a href="#Footnote_716_716" class="fnanchor">[716]</a> Doubtless the owners of other houses<span class="pagenum"><a name="Page_428" id="Page_428">428</a></span> +had the same sentiments, and exercised what influence they possessed +against the scheme. But the most serious opposition in all probability +came from the citizens and merchants living in the neighborhood. We +know how bitterly they complained about the coaches that brought +playgoers to the small Blackfriars Theatre, and how strenuously from +year to year they sought the expulsion of the King's Men from the +precinct.<a name="FNanchor_717_717" id="FNanchor_717_717"></a><a href="#Footnote_717_717" class="fnanchor">[717]</a> They certainly would not have regarded with complacency +the erection in their midst of a still larger theatre.</p> + +<p>Whatever the opposition, it was so powerful that on October 2 Davenant +was compelled to make an indenture by which he virtually +renounced<a name="FNanchor_718_718" id="FNanchor_718_718"></a><a href="#Footnote_718_718" class="fnanchor">[718]</a> for himself and his heirs for ever the right to build a +theatre in Fleet Street, or in any other place "in or near the cities, +or suburbs of the cities, of London or Westminster," without further +and special permission granted. This document, first printed by +Chalmers in his <i>Supplemental Apology</i>, is as follows:</p> + +<div class="blockquot"><p>This indenture made the second day of October, in the +fifteenth year of the reign of our Sovereign Lord Charles, +by the grace of God, of England, Scotland, France, and +Ireland King, Defender of the Faith, &c. <i>Anno Domini</i> 1639. +Between the said King's most excellent Majesty of the first +part, and William Davenant of London, Gent., of the other<span class="pagenum"><a name="Page_429" id="Page_429">429</a></span> +part. Whereas the said King's most excellent Majesty, by His +Highness's letters patents under the Great Seal of England +bearing date the six and twentieth day of March last past +before the date of these presents, did give and grant unto +the said William Davenant, his heirs, executors, +administrators, and assigns full power, license, and +authority that he, they, and every of them, by him and +themselves and by all and every such person or persons as he +or they shall depute or appoint, and his and their laborers, +servants, and workmen, shall and may lawfully, quietly, and +peaceably frame, erect, new build, and set up upon a parcel +of ground lying near unto or behind the Three Kings Ordinary +in Fleet Street in the Parish of St. Dunstan's in the West, +London, or in St. Bride's London, or in either of them, or +in any other ground in or about that place, or in the whole +street aforesaid, already allotted to him for that use, or +in any other place that is or hereafter shall be assigned +and allotted out to the said William Davenant by the Right +Honorable Thomas, Earl of Arundel and Surrey, Earl Marshall +of England, or any other His Majesty's Commissioners for +Building, for the time being in that behalf, a theatre or +playhouse with necessary tiring and retiring rooms and other +places convenient, containing in the whole forty yards +square at the most, wherein plays, musical entertainments, +scenes, or other the like presentments may be presented by +and under certain provisors or conditions in the same +contained, as in and by the said letters patents, whereunto +relation being had more fully and at large, it doth and may +appear.</p> + +<p>Now this indenture witnesseth, and the said William Davenant +doth by these presents declare, His Majesty's intent, +meaning at and upon the granting of the said license was and +is that he, the said William<span class="pagenum"><a name="Page_430" id="Page_430">430</a></span> Davenant, his heirs, +executors, administrators nor assigns should not frame, +build, or set up the said theatre or playhouse in any place +inconvenient, and that the said parcel of ground lying near +unto or behind the Three Kings Ordinary in Fleet Street in +the said Parish of St. Dunstan's in the West, London, or in +St. Bride's, London, or in either of them, or in any other +ground in or about that place, or in the whole street +aforesaid, and is sithence found inconvenient and unfit for +that purpose, therefore the said William Davenant doth for +himself his heirs, executors, administrators, and assigns, +and every of them, covenant, promise, and agree to and with +our said Sovereign Lord the King, his heirs and successors, +that he, the said William Davenant, his heirs, executors, +administrators, nor assigns shall not, nor will not, by +virtue of the said license and authority to him granted as +aforesaid, frame, erect, new build, or set up upon the said +parcel of ground in Fleet Street aforesaid, or in any other +part of Fleet Street, a theatre or playhouse, nor will not +frame, erect, new build, or set up upon any other parcel of +ground lying in or near the cities, or suburbs of the +cities, of London or Westminster any theatre or playhouse, +unless the said place shall be first approved and allowed by +warrant under His Majesty's sign manual, or by writing under +the hand and seal of the said Right Honorable Thomas, Earl +of Arundel and Surrey. In witness whereof to the one part of +this indenture the said William Davenant hath set his hand +and seal the day and year first above written.</p> + +<p class="right"><span class="smcap">William Davenant. L.S.</span></p> + +<p> +Signed sealed and delivered<br /> +<span style="margin-left: 1em">in the presence of</span><br /> +<span style="margin-left: 1em">Edw. Penruddoks.</span><br /> +<span style="margin-left: 1em">Michael Baker.</span><br /> +</p> +</div> + +<p><span class="pagenum"><a name="Page_431" id="Page_431">431</a></span></p> + +<p>Possibly as a recompense for this surrender of his rights, Davenant +was made Governor of the King's and Queen's Servants at the Cockpit in +June of the following year; and from this time until the suppression +of acting in 1642, he expended his energies in managing the affairs of +this important playhouse.</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_433" id="Page_433">433</a></span></p> +<h2><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY</h2> + + +<p>[<span class="smcap">In</span> the following list are included the books and articles +constituting the main authorities upon which the present study is +based. The list is not intended to be an exhaustive bibliography, +though from the nature of the case it is fairly complete. For the +guidance of scholars the more important titles are marked with +asterisks. It will be seen that not all the works are included which +are cited in the text, or referred to in footnotes; the list, in fact, +is strictly confined to works bearing upon the history of the +pre-Restoration playhouses. Considerations of space have led to the +omission of a large number of books dealing with the topography of +London, and of the counties of Middlesex and Surrey, although a +knowledge of these is essential to any thorough study of the +playhouses. Furthermore, titles of contemporary plays, pamphlets, and +treatises are excluded, except a few of unusual and general value. +Finally, discussions of the structure of the early stage, of the +manner of dramatic performances in the time of Shakespeare, and of the +travels of English actors on the Continent are omitted, except when +these contain also material important for the study of the theatres. +At the close is appended a select list of early maps and views of +London.]</p> + +<p class="notes"><i>Transcriber's Note:</i> In the original book, the numbers of the entries +below are at the end of the entry at the right margin, preceded by a +single square bracket. For the sake of clarity, in this e-book the +entries below are numbered at the left margin without the bracket.</p> + + +<p><br /><a name="B1" id="B1">*1.</a> <i>Actors Remonstrance, or Complaint for the Silencing of their +Profession.</i> London, 1643. (Reprinted in W.C. Hazlitt's <i>The English +Drama and Stage</i>, and in E.W. Ashbee's <i>Facsimile Reprints</i>.)</p> + +<p><a name="B2" id="B2">*2.</a> <span class="smcap">Adams, J.Q.</span> The Conventual Buildings of Blackfriars, London, and +the Playhouses Constructed Therein. (The University of North Carolina +<i>Studies in Philology</i>, <span class="smcap">xiv</span>, 64.)</p> + +<p><a name="B3" id="B3">3.</a> —— The Four Pictorial Representations of the Eliza<span class="pagenum"><a name="Page_434" id="Page_434">434</a></span>bethan Stage. +<i>(The Journal of English and Germanic Philology</i>, <span class="smcap">x</span>, 329.)</p> + +<p><a name="B4" id="B4">*4.</a> —— <i>The Dramatic Records of Sir Henry Herbert, Master of the +Revels 1623-1673.</i> New Haven, 1917.</p> + +<p><a name="B5" id="B5">5.</a> —— Lordinge (<i>alias</i> "Lodowick") Barry. (<i>Modern Philology</i>, <span class="smcap">ix</span>, +567. See No. <a href="#B189">189</a>.)</p> + +<p><a name="B6" id="B6">6.</a> <span class="smcap">Albrecht, H.A.</span> <i>Das englische Kindertheater.</i> Halle, 1883.</p> + +<p><a name="B7" id="B7">7.</a> <span class="smcap">Archer, T.</span> <i>The Highway of Letters.</i> London, 1893. (Chap. <span class="smcap">xv</span>, +"Whitefriars and the Playhouses.")</p> + +<p><a name="B8" id="B8">8.</a> <span class="smcap">Archer, W.</span> The Fortune Theatre. (The London <i>Tribune</i>, October 12, +1907; reprinted in <i>New Shakespeariana</i>, October, 1908, and in the +Shakespeare <i>Jahrbuch</i>, <span class="smcap">xliv</span>, 159. See also Nos. <a href="#B8">8</a>, <a href="#B38">38</a>, <a href="#B61">61</a>, <a href="#B129">129</a>.)</p> + +<p><a name="B9" id="B9">9.</a> —— A Sixteenth Century Playhouse. (<i>The Universal Review</i>, June, +1888, p. 281. Deals with the De Witt drawing of the Swan.)</p> + +<p><a name="B10" id="B10">10.</a> <span class="smcap">Aronstein, P.</span> Die Organisation des englischen Schauspiels im +Zeitalter Shakespeares. (<i>Germanisch-Romanische Monatsschrift</i>, <span class="smcap">ii</span>, +165, 216.)</p> + +<p><a name="B11" id="B11">11.</a> <span class="smcap">Audi Alteram Partem.</span> Cunningham's Extracts from the Revels' Books. +(<i>The Athenæum</i>, 1911, <span class="smcap">ii</span>, 101, 130, 421; 1912, <span class="smcap">i</span>, 469, 654; <span class="smcap">ii</span>, 143. +See Nos. <a href="#B80">80</a>, <a href="#B179">179</a>, <a href="#B180">180</a>, <a href="#B183">183</a>.)</p> + +<p><a name="B12" id="B12">12.</a> <span class="smcap">Baker, G.P.</span> The Children of Powles. (<i>The Harvard Monthly</i>, May, +1891.)</p> + +<p><a name="B13" id="B13">13.</a> —— <i>The Development of Shakespeare as a Dramatist.</i> New York, +1907.</p> + +<p><a name="B14" id="B14">14.</a> <span class="smcap">Baker, H.B.</span> <i>History of the London Stage and its Famous Players.</i> +London and New York, 1904. (A new and rewritten edition of <i>The London +Stage</i>. 2 vols. London, 1889.)</p> + +<p><a name="B15" id="B15">15.</a> —— <i>Our Old Actors.</i> 2 vols. London, 1881. (There was an earlier +edition, London, 1878, printed in New York, 1879, with the title, +<i>English Actors from Shakespeare to Macready</i>.)</p> + +<p><a name="B16" id="B16">16.</a> <span class="smcap">Bapst, C.G.</span> <i>Essai sur l'Histoire du Théâtre.</i> Paris, 1893.<span class="pagenum"><a name="Page_435" id="Page_435">435</a></span></p> + +<p><a name="B17" id="B17">17.</a> <span class="smcap">Barrett, C.R.B.</span> <i>The History of the Society of Apothecaries of +London.</i> London, 1905.</p> + +<p><span class="smcap">Bear Garden and Hope.</span> See Nos. <a href="#B27">27</a>, <a href="#B72">72</a>, <a href="#B99">99</a>, <a href="#B119">119</a>, <a href="#B143">143</a>, <a href="#B144">144</a>, <a href="#B147">147</a>, <a href="#B152">152</a>, +<a href="#B157">157</a>, <a href="#B198">198</a>, <a href="#B221">221</a>, <a href="#B222">222</a>, <a href="#B223">223</a>, <a href="#B228">228</a>, <a href="#B236">236</a>, <a href="#B238">238</a>, <a href="#B239">239</a>, <a href="#B240">240</a>, <a href="#B241">241</a>, <a href="#B274">274</a>, <a href="#B281">281</a>, <a href="#B303">303</a>, +<a href="#B304">304</a>, <a href="#B316">316</a>.</p> + +<p><a name="B18" id="B18">*18.</a> <span class="smcap">Bell, H.</span> Contributions to the History of the English Playhouse. +(<i>The Architectural Record</i>, March and April, 1913.)</p> + +<p><a name="B19" id="B19">19.</a> <span class="smcap">Bell, W.G.</span> <i>Fleet Street in Seven Centuries.</i> London, 1912. (Chap. +<span class="smcap">xiv</span>, "The Whitefriars Playhouses.")</p> + +<p><a name="B20" id="B20">20.</a> <span class="smcap">Besant, Sir W.</span> <i>Mediæval London.</i> <i>London in the Time of the +Tudors.</i> <i>London in the Time of the Stuarts.</i> 4 vols. London, 1903-06.</p> + +<p><a name="B21" id="B21">21.</a> <span class="smcap">Binz, G.</span> Deutsche Besucher im Shakespeare'schen London. (<i>Beilage +zur Allgemeinen Zeitung.</i> München, August, 1902.)</p> + +<p><a name="B22" id="B22">22.</a> —— Londoner Theater und Schauspiele im Jahre 1599. (<i>Anglia</i>, +<span class="smcap">xxii</span>, 456.)</p> + +<p><a name="B23" id="B23">*23.</a> <span class="smcap">Birch, T. and R.F. Williams.</span> <i>The Court and Times of James the +First.</i> 2 vols. London, 1849.</p> + +<p><span class="smcap">Blackfriars, First and Second.</span> See Nos. <a href="#B2">2</a>, <a href="#B6">6</a>, <a href="#B17">17</a>, <a href="#B20">20</a>, <a href="#B26">26</a>, <a href="#B34">34</a>, <a href="#B41">41</a>, <a href="#B42">42</a>, +<a href="#B43">43</a>, <a href="#B59">59</a>, <a href="#B61">61</a>, <a href="#B72">72</a>, <a href="#B90">90</a>, <a href="#B97">97</a>, <a href="#B100">100</a>, <a href="#B101">101</a>, <a href="#B105">105</a>, <a href="#B106">106</a>, <a href="#B108">108</a>, <a href="#B119">119</a>, <a href="#B136">136</a>, <a href="#B137">137</a>, <a href="#B146">146</a>, +<a href="#B150">150</a>, <a href="#B163">163</a>, <a href="#B178">178</a>, <a href="#B179">179</a>, <a href="#B191">191</a>, <a href="#B196">196</a>, <a href="#B201">201</a>, <a href="#B214">214</a>, <a href="#B218">218</a>, <a href="#B223">223</a>, <a href="#B244">244</a>, <a href="#B248">248</a>, <a href="#B287">287</a>, <a href="#B288">288</a>, +<a href="#B289">289</a>, <a href="#B293">293</a>, <a href="#B296">296</a>, <a href="#B297">297</a>, <a href="#B298">298</a>.</p> + +<p><a name="B24" id="B24">24.</a> <span class="smcap">Blanch, W.H.</span> <i>Dulwich College and Edward Alleyn.</i> London, 1877.</p> + +<p><a name="B25" id="B25">25.</a> <span class="smcap">Bolingbroke, L.G.</span> Pre-Elizabethan Plays and Players in Norfolk. +(<i>Norfolk Archæology</i>, <span class="smcap">xi</span>, 336.)</p> + +<p><a name="B26" id="B26">26.</a> <span class="smcap">Bond, R.W.</span> <i>The Complete Works of John Lyly.</i> 3 vols. Oxford, +1902.</p> + +<p><a name="B27" id="B27">27.</a> <span class="smcap">Boulton, W.B.</span> <i>The Amusements of Old London.</i> 2 vols. London, +1901.</p> + +<p><a name="B28" id="B28">*28.</a> <span class="smcap">Braines, W.W.</span> <i>Holywell Priory and the Site of the Theatre, +Shoreditch.</i> London, 1915. (Part <span class="smcap">xliii</span> of <i>Indications of Houses of +Historical Interest in London</i>, issued by the London County Council.)</p> + +<p><span class="smcap">Brand, J.</span> See No. <a href="#B157">157</a>.<span class="pagenum"><a name="Page_436" id="Page_436">436</a></span></p> + +<p><a name="B29" id="B29">29.</a> <span class="smcap">Brandes, G.</span> <i>William Shakespeare.</i> Translated by William Archer. 2 +vols. London, 1898.</p> + +<p><a name="B30" id="B30">30.</a> <span class="smcap">Brayley, E.W.</span> <i>Historical and Descriptive Accounts of the Theatres +of London.</i> London, 1826. (Brief notice of the Cockpit in Drury Lane; +relates chiefly to Restoration theatres.)</p> + +<p><a name="B31" id="B31">31.</a> <span class="smcap">Brereton, J. Le G.</span> De Witt at the Swan. (<i>A Book of Homage to +Shakespeare.</i> Oxford, 1916, p. 204.)</p> + +<p><a name="B32" id="B32">32.</a> <span class="smcap">Bruce, J.</span> Who was "Will, my lord of Leycester's jesting player"? +(<i>The Shakespeare Society's Papers</i>, <span class="smcap">i</span>, 88.)</p> + +<p><a name="B33" id="B33">33.</a> <span class="smcap">Bullen, G.</span> The Cockpit or Phœnix Theatre in 1660. (<i>The +Athenæum</i>, May 21, 1881, p. 699.)</p> + +<p><a name="B34" id="B34">*34.</a> <span class="smcap">Bülow, G. von and W. Powell.</span> <i>Diary of the Journey of Philip +Julius, Duke of Stettin-Pomerania, through England in the year 1602.</i> +(<i>Transactions of the Royal Historical Society</i>, New Series, <span class="smcap">vi</span>. See +No. <a href="#B146">146</a>.)</p> + +<p><a name="B35" id="B35">*35.</a> <i>Calendar of State Papers, Domestic Series, 1547-1660.</i> London, +1856-. (See also No. <a href="#B192">192</a>.)</p> + +<p><a name="B36" id="B36">36.</a> <i>Calendar of the Patent Rolls.</i> London, 1891-1908.</p> + +<p><a name="B37" id="B37">37.</a> <span class="smcap">Calmour, A.C.</span> <i>Fact and Fiction about Shakespeare, with Some +Account of the Playhouses, Players, and Playwrights of His Period.</i> +Stratford-on-Avon, 1894.</p> + +<p><a name="B38" id="B38">38.</a> <i>A Catalogue of Models and of Stage-Sets in the Dramatic Museum of +Columbia University.</i> New York, 1916. (See also Nos. <a href="#B129">129</a>, <a href="#B211">211</a>.)</p> + +<p><a name="B39" id="B39">*39.</a> <span class="smcap">Chalmers, George.</span> <i>An Apology for the Believers in the +Shakspeare-Papers.</i> London, 1797.</p> + +<p><a name="B40" id="B40">*40.</a> —— <i>A Supplemental Apology.</i> London, 1799.</p> + +<p><a name="B41" id="B41">*41.</a> <span class="smcap">Chambers, E.K.</span> Commissions for the Chapel. (The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 357.)</p> + +<p><a name="B42" id="B42">*42.</a> —— Court Performances Before Queen Elizabeth. (<i>The Modern +Language Review</i>, <span class="smcap">ii</span>, 1.)</p> + +<p><a name="B43" id="B43">*43.</a> —— Court Performances Under James the First. (<i>Ibid.</i>, <span class="smcap">iv</span>, +153.)</p> + +<p><a name="B44" id="B44">*44.</a> —— Dramatic Records from the Lansdowne Manuscripts. (The Malone +Society's <i>Collections</i>, <span class="smcap">i</span>, 143.)</p> + +<p><a name="B45" id="B45">45.</a> —— The Elizabethan Lords Chamberlain. (<i>Ibid.</i>, <span class="smcap">i</span>, 31.)<span class="pagenum"><a name="Page_437" id="Page_437">437</a></span></p> + +<p><a name="B46" id="B46">46.</a> —— [Review of] <i>Henslowe's Diary</i>, Edited by Walter W. Greg. +(<i>The Modern Language Review</i>, <span class="smcap">iv</span>, 407, 511.)</p> + +<p><a name="B47" id="B47">*47.</a> —— A Jotting by John Aubrey. (The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 341. Concerns Beeston and the Cockpit in Drury +Lane.)</p> + +<p><a name="B48" id="B48">*48.</a> —— <i>The Mediæval Stage.</i> Oxford, 1903.</p> + +<p><a name="B49" id="B49">49.</a> —— Nathaniel Field and Joseph Taylor. (<i>The Modern Language +Review</i>, <span class="smcap">iv</span>, 395.)</p> + +<p><a name="B50" id="B50">50.</a> —— <i>Notes on the History of the Revels Office under the Tudors.</i> +London, 1906.</p> + +<p><a name="B51" id="B51">51.</a> —— The Stage of the Globe. (<i>The Works of William Shakespeare.</i> +Stratford-Town Edition. Stratford-on-Avon, 1904-07, <span class="smcap">x</span>, 351.)</p> + +<p><a name="B52" id="B52">52.</a> —— Two Early Player-Lists. (The Malone Society's <i>Collections</i>, +<span class="smcap">i</span>, 348.)</p> + +<p><a name="B53" id="B53">53.</a> —— William Kempe. (<i>The Modern Language Review</i>, <span class="smcap">iv</span>, 88.)</p> + +<p><a name="B54" id="B54">*54.</a> <span class="smcap">Chambers, E.K. and W.W. Greg.</span> Dramatic Records from the Privy +Council Register, 1603-1642. (The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, +370. For the records prior to 1603 see No. <a href="#B87">87</a>. Cf. also No. <a href="#B260">260</a>.)</p> + +<p><a name="B55" id="B55">*55.</a> —— Dramatic Records of the City of London. The Remembrancia. +(The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 43. See also No. <a href="#B224">224</a>.)</p> + +<p><a name="B56" id="B56">*56.</a> —— Royal Patents for Players. (The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 260.)</p> + +<p><a name="B57" id="B57">57.</a> <span class="smcap">Charlanne, L.</span> <i>L'Influence Française en Angleterre au xvii<sup>e</sup> +Siecle, Le Théâtre et la Critique.</i> Paris, 1906.</p> + +<p><a name="B58" id="B58">*58.</a> <span class="smcap">Child, H.</span> The Elizabethan Theatre. (<i>The Cambridge History of +English Literature</i>, vol. <span class="smcap">vi</span>, chap. <span class="smcap">x</span>.)</p> + +<p><a name="B59" id="B59">59.</a> <span class="smcap">Clapham, A.W.</span> On the Topography of the Dominican Priory of London. +(<i>Archæologia</i>, <span class="smcap">lxiii</span>, 57. See also Nos. <a href="#B2">2</a>, <a href="#B61">61</a>.)</p> + +<p><a name="B60" id="B60">*60.</a> —— The Topography of the Carmelite Priory of London. (<i>The +Journal of the British Archæological Association</i>, New Series, <span class="smcap">xvi</span>, +15. See also No. <a href="#B61">61</a>.)</p> + +<p><a name="B61" id="B61">61.</a> <span class="smcap">Clapham, A.W. and W.H. Godfrey.</span> <i>Some Famous<span class="pagenum"><a name="Page_438" id="Page_438">438</a></span> Buildings and their +Story.</i> Westminster, [1913]. (Contains Godfrey's study of the Fortune +contract, and, in abbreviated form, the two articles by Clapham noted +above, Nos. <a href="#B59">59</a>, <a href="#B60">60</a>. See also Nos. <a href="#B8">8</a>, <a href="#B38">38</a>, <a href="#B116">116</a>, <a href="#B129">129</a>.)</p> + +<p><a name="B62" id="B62">62.</a> <span class="smcap">Clark, A.</span> Players or Companies on Tour 1548-1630. (<i>Notes and +Queries</i>, <span class="smcap">x</span> Series, <span class="smcap">xii</span>, 41.)</p> + +<p><span class="smcap">Cockpit-in-Court.</span> See Nos. <a href="#B18">18</a>, <a href="#B80">80</a>, <a href="#B81">81</a>, <a href="#B82">82</a>, <a href="#B83">83</a>, <a href="#B89">89</a>, <a href="#B99">99</a>, <a href="#B180">180</a>, <a href="#B181">181</a>, <a href="#B182">182</a>, +<a href="#B183">183</a>, <a href="#B184">184</a>, <a href="#B197">197</a>, <a href="#B228">228</a>, <a href="#B250">250</a>, <a href="#B253">253</a>, <a href="#B305">305</a>, <a href="#B313">313</a>.</p> + +<p><span class="smcap">Cockpit-in-Drury Lane.</span> See Nos. <a href="#B4">4</a>, <a href="#B30">30</a>, <a href="#B33">33</a>, <a href="#B47">47</a>, <a href="#B72">72</a>, <a href="#B88">88</a>, <a href="#B91">91</a>, <a href="#B99">99</a>, <a href="#B119">119</a>, +<a href="#B138">138</a>, <a href="#B139">139</a>, <a href="#B142">142</a>, <a href="#B147">147</a>, <a href="#B159">159</a>, <a href="#B197">197</a>, <a href="#B223">223</a>, <a href="#B227">227</a>, <a href="#B228">228</a>, <a href="#B303">303</a>.</p> + +<p><a name="B63" id="B63">*63.</a> <span class="smcap">Collier, J.P.</span> <i>The Alleyn Papers.</i> London. Printed for The +Shakespeare Society, 1843. (See No. <a href="#B161">161</a>.)</p> + +<p><a name="B64" id="B64">64.</a> —— <i>The Diary of Philip Henslowe.</i> London. Printed for The +Shakespeare Society, 1845. (See No. <a href="#B143">143</a>.)</p> + +<p><a name="B65" id="B65">*65.</a> —— <i>The History of English Dramatic Poetry.</i> 3 vols. 1831. +Second edition, London, 1879.</p> + +<p><a name="B66" id="B66">66.</a> —— <i>Lives of the Original Actors.</i> (See No. <a href="#B68">68</a>.)</p> + +<p><a name="B67" id="B67">*67.</a> —— <i>Memoirs of Edward Alleyn.</i> London. Printed for The +Shakespeare Society, 1841. (See No. <a href="#B316">316</a>.)</p> + +<p><a name="B68" id="B68">68.</a> —— <i>Memoirs of the Principal Actors in the Plays of +Shakespeare.</i> London. Printed for The Shakespeare Society, 1846. +(Reprinted with some corrections in No. <a href="#B65">65</a>.)</p> + +<p><a name="B69" id="B69">69.</a> —— On Players and Dramatic Performances in the Reign of Edward +IV. (<i>The Shakespeare Society's Papers</i>, <span class="smcap">ii</span>, 87.)</p> + +<p><a name="B70" id="B70">*70.</a> —— Original History of "The Theatre" in Shoreditch, and +Connexion of the Burbadge Family with it. (<i>Ibid.</i>, <span class="smcap">iv</span>, 63.)</p> + +<p><a name="B71" id="B71">71.</a> —— Richard Field, Nathaniel Field, Anthony Munday, and Henry +Chettle. (<i>Ibid.</i>, <span class="smcap">iv</span>, 36.)</p> + +<p><a name="B72" id="B72">*72.</a> —— <i>The Works of Shakespeare</i>, London, 1844. (Vol. <span class="smcap">i</span>, p. ccxli, +reprints a record of the end of certain early playhouses from "some +manuscript notes to a copy of Stowe's <i>Annales</i>, by Howes, folio, +1631, in the possession of Mr. Pickering." See No. <a href="#B119">119</a>.)</p> + +<p><a name="B73" id="B73">73.</a> <span class="smcap">Conrad, H.</span> Robert Greene als Dramatiker. (The Shakespeare +<i>Jahrbuch</i>, <span class="smcap">xxix-xxx</span>, 210.)<span class="pagenum"><a name="Page_439" id="Page_439">439</a></span></p> + +<p><a name="B74" id="B74">74.</a> <span class="smcap">Corbin, J.</span> Shakspere his own Stage-Manager. (<i>The Century +Magazine</i>, <span class="smcap">lxxxiii</span>, 260.)</p> + +<p><a name="B75" id="B75">75.</a> <span class="smcap">Creighton, C.</span> <i>A History of Epidemics in Britain.</i> 2 vols. +Cambridge, 1891-94.</p> + +<p><a name="B76" id="B76">76.</a> <span class="smcap">Creizenach, W.</span> <i>Geschichte des neueren Dramas.</i> Vol. <span class="smcap">iv</span>, Part I, +Book viii. Halle, 1909. (English translation by Cécile Hugon, London, +1916.)</p> + +<p><a name="B77" id="B77">77.</a> —— Die Schauspiele der englischen Komödianten. (<i>Deutsche +National-Litteratur</i>, <span class="smcap">xxiii</span>.)</p> + +<p><a name="B78" id="B78">78.</a> <span class="smcap">Cullen, C.</span> Puritanism and the Stage. (<i>Proceedings of the Royal +Philosophical Society of Glasgow</i>, <span class="smcap">xliii</span>, 153.)</p> + +<p><a name="B79" id="B79">79.</a> <span class="smcap">Cunningham. P.</span> Did General Harrison Kill "Dick Robinson" the +Player? (<i>The Shakespeare Society's Papers</i>, <span class="smcap">ii</span>, 11.)</p> + +<p><a name="B80" id="B80">*80.</a> —— <i>Extracts from the Accounts of the Revels at the Court in +the Reigns of Queen Elizabeth and King James I.</i> London. Printed for +The Shakespeare Society, 1842. (See Nos. <a href="#B11">11</a>, <a href="#B180">180</a>, <a href="#B181">181</a>, <a href="#B184">184</a>.)</p> + +<p><a name="B81" id="B81">81.</a> —— <i>A Handbook of London.</i> 2 vols. London, 1849. (A new edition, +"corrected and enlarged," London, 1850. See also No. <a href="#B305">305</a>.)</p> + +<p><a name="B82" id="B82">82.</a> —— <i>Inigo Jones. A Life of the Architect.</i> London. Printed for +The Shakespeare Society, 1848.</p> + +<p><a name="B83" id="B83">83.</a> —— Inigo Jones, and his Office under the Crown. (<i>The +Shakespeare Society's Papers</i>, <span class="smcap">i</span>, 103.)</p> + +<p><a name="B84" id="B84">84.</a> —— Plays at Court, Anno 1613. (<i>Ibid.</i>, <span class="smcap">ii</span>, 123.)</p> + +<p><a name="B85" id="B85">85.</a> —— Sir George Buc and the Office of the Revels. (<i>Ibid.</i>, <span class="smcap">iv</span>, +143.)</p> + +<p><a name="B86" id="B86">*86.</a> —— The Whitefriars Theatre, the Salisbury Court Theatre, and +the Duke's Theatre in Dorset Gardens. (<i>Ibid.</i>, <span class="smcap">iv</span>, 89.)</p> + +<p><span class="smcap">Curtain.</span> See Nos. <a href="#B96">96</a>, <a href="#B150">150</a>, <a href="#B151">151</a>, <a href="#B222">222</a>, <a href="#B223">223</a>, <a href="#B284">284</a>.</p> + +<p><a name="B87" id="B87">*87.</a> <span class="smcap">Dasent, J.R.</span> <i>Acts of the Privy Council of England.</i> New Series. +London, 1890-. (This contains the Acts to the end of Elizabeth's +reign; for those Acts relating to the drama from 1603 to 1642, see No. +<a href="#B54">54</a>. Cf. No. <a href="#B260">260</a>.)</p> + +<p><a name="B88" id="B88">88.</a> <i>Description of the Great Machines of the Descent of Or<span class="pagenum"><a name="Page_440" id="Page_440">440</a></span>pheus into +Hell. Presented by the French Comedians at the Cockpit in Drury Lane.</i> +London, 1661.</p> + +<p><a name="B89" id="B89">89.</a> Diaries and Despatches of the Venetian Embassy at the Court of +King James I., in the Years 1617, 1618. Translated by Rawdon Brown. +(<i>The Quarterly Review</i>, <span class="smcap">cii</span>, 398.)</p> + +<p><i>Diary</i>, of the Duke of Stettin-Pomerania. (See Nos. <a href="#B34">34</a>, <a href="#B146">146</a>.)</p> + +<p><a name="B90" id="B90">90.</a> <span class="smcap">Dobell, B.</span> Newly Discovered Documents. (<i>The Athenæum</i>, March 30, +1901, p. 403. Of value for Blackfriars.)</p> + +<p><a name="B91" id="B91">*91.</a> <span class="smcap">Downes, J.</span> <i>Roscius Anglicanus.</i> London, 1708.</p> + +<p><a name="B92" id="B92">92.</a> <span class="smcap">Dramaticus.</span> On the Profits of Old Actors. (<i>The Shakespeare +Society's Papers</i>, <span class="smcap">i</span>, 21.)</p> + +<p><a name="B93" id="B93">93.</a> —— The Players Who Acted in <i>The Shoemaker's Holiday</i>, 1600. +(<i>Ibid.</i>, <span class="smcap">iv</span>, 110.)</p> + +<p><a name="B94" id="B94">94.</a> <span class="smcap">Durand, W.Y.</span> Notes on Richard Edwards. (<i>The Journal of Germanic +Philology</i>, <span class="smcap">iv</span>, 348.)</p> + +<p><a name="B95" id="B95">95.</a> —— <i>Palæmon and Arcyte</i>, <i>Progne</i>, <i>Marcus Geminus</i>, and the +Theatre in Which They Were Acted, 1566. (<i>Publications of the Modern +Language Association of America</i>, <span class="smcap">xx</span>, 502.)</p> + +<p><a name="B96" id="B96">96.</a> <span class="smcap">Ellis, H.</span> <i>The History and Antiquities of the Parish of Saint +Leonard, Shoreditch.</i> London, 1798.</p> + +<p><a name="B97" id="B97">97.</a> <span class="smcap">Elton, C.I.</span> <i>William Shakespeare, His Family and Friends.</i> London, +1904. (Chap. <span class="smcap">iv</span> deals with Blackfriars and the Globe.)</p> + +<p><a name="B98" id="B98">98.</a> <span class="smcap">Evans, M.B.</span> An Early Type of Stage. (<i>Modern Philology</i>, <span class="smcap">ix</span>, 421.)</p> + +<p><a name="B99" id="B99">99.</a> <span class="smcap">Evelyn, J.</span> <i>Diary and Correspondence.</i> Edited by William Bray and +H.B. Wheatley. 4 vols. London, 1906.</p> + +<p><a name="B100" id="B100">*100.</a> <span class="smcap">Feuillerat, A.</span> Blackfriars Records. (The Malone Society's +<i>Collections</i>, <span class="smcap">ii</span>, 1.)</p> + +<p><a name="B101" id="B101">101.</a> —— <i>John Lyly.</i> Cambridge, 1910.</p> + +<p><a name="B102" id="B102">102.</a> —— <i>Le Bureau des Menus-Plaisirs (Office of the Revels) et la +Mise en Scène a la Cour D'Élizabeth.</i> Louvain, 1910.<span class="pagenum"><a name="Page_441" id="Page_441">441</a></span></p> + +<p><a name="B103" id="B103">*103.</a> —— <i>Documents Relating to the Office of the Revels in the Time +of Queen Elizabeth.</i> Louvain, 1908.</p> + +<p><a name="B104" id="B104">104.</a> —— <i>Documents Relating to the Revels at Court in the Time of +King Edward VI and Queen Mary.</i> (<i>The Loseley Manuscripts.</i>) Louvain, +1914.</p> + +<p><a name="B105" id="B105">*105.</a> —— The Origin of Shakespeare's Blackfriars Theatre. (The +Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlviii</span>, 81.)</p> + +<p><a name="B106" id="B106">106.</a> —— Shakespeare's Blackfriars. (The London <i>Daily Chronicle</i>, +December 22, 1911.)</p> + +<p><a name="B107" id="B107">*107.</a> <span class="smcap">Firth, C.H.</span> The Suppression of the Drama during the Protectorate +and Commonwealth. (<i>Notes and Queries</i>, <span class="smcap">vii</span> Series, <span class="smcap">vi</span>, 122.)</p> + +<p><a name="B108" id="B108">108.</a> <span class="smcap">Fitzjeffrey, H.</span> <i>Notes from Black-fryers.</i> London, 1620.</p> + +<p><a name="B109" id="B109">*109.</a> <span class="smcap">Fleay, F.G.</span> <i>A Biographical Chronicle of the English Drama, +1559-1642.</i> 2 vols. London, 1891.</p> + +<p><a name="B110" id="B110">110.</a> —— <i>A Chronicle History of the Life and Work of William +Shakespeare.</i> London, 1886.</p> + +<p><a name="B111" id="B111">*111.</a> —— <i>A Chronicle History of the London Stage, 1559-1642.</i> +London, 1890.</p> + +<p><a name="B112" id="B112">112.</a> —— History of the Theatres in London from their First Opening +in 1576 to their Closing in 1642. (<i>Transactions of the Royal +Historical Society</i>, <span class="smcap">x</span>, 114. Also privately issued.)</p> + +<p><a name="B113" id="B113">113.</a> —— On the Actor Lists, 1578-1642. (<i>Ibid.</i>, <span class="smcap">ix</span>, 44.)</p> + +<p><a name="B114" id="B114">114.</a> —— <i>A Shakespeare Manual.</i> London, 1878.</p> + +<p><a name="B115" id="B115">115.</a> <span class="smcap">Flecknoe, R.</span> A Short Discourse of the English Stage. (Attached to +<i>Love's Kingdom</i>, 1664; reprinted in No. <a href="#B158">158</a>.)</p> + +<p><a name="B116" id="B116">116.</a> <span class="smcap">Forestier, A.</span> The Fortune Theatre Reconstructed. (<i>The +Illustrated London News</i>, August 12, 1911, p. 276.)</p> + +<p><a name="B117" id="B117">117.</a> —— Origins of the English Stage (<i>Ibid.</i>, <span class="smcap">cxxxv</span>, 934; <span class="smcap">cxxxvi</span>, +57, 169, 225, 344, 423.)</p> + +<p><span class="smcap">Fortune.</span> See Nos. <a href="#B8">8</a>, <a href="#B24">24</a>, <a href="#B38">38</a>, <a href="#B46">46</a>, <a href="#B61">61</a>, <a href="#B63">63</a>, <a href="#B64">64</a>, <a href="#B67">67</a>, <a href="#B72">72</a>, <a href="#B89">89</a>, <a href="#B116">116</a>, <a href="#B119">119</a>, +<a href="#B120">120</a>, <a href="#B126">126</a>, <a href="#B129">129</a>, <a href="#B143">143</a>, <a href="#B144">144</a>, <a href="#B161">161</a>, <a href="#B190">190</a>, <a href="#B211">211</a>, <a href="#B223">223</a>, <a href="#B231">231</a>, <a href="#B234">234</a>, <a href="#B235">235</a>, <a href="#B239">239</a>, <a href="#B303">303</a>, +<a href="#B304">304</a>, <a href="#B316">316</a>.<span class="pagenum"><a name="Page_442" id="Page_442">442</a></span></p> + +<p><a name="B118" id="B118">118.</a> <span class="smcap">Fowell, F. and F. Palmer.</span> <i>Censorship in England.</i> London, +[1913].</p> + +<p><a name="B119" id="B119">*119.</a> <span class="smcap">Furnivall, F.J.</span> The End of Shakespeare's Theatres. (<i>The +Academy</i>, <span class="smcap">xxii</span>, 314. Manuscript notes from the Phillipps copy of +Stow's <i>Annals</i>, 1631. Previously printed by Collier. See No. <a href="#B72">72</a>.)</p> + +<p><a name="B120" id="B120">120.</a> —— The Fortune Theatre in 1649. (<i>Notes and Queries</i>, <span class="smcap">x</span> Series, +<span class="smcap">i</span>, 85.)</p> + +<p><a name="B121" id="B121">*121.</a> —— <i>Harrison's Description of England.</i> The New Shakspere +Society. London, 1877-78. (See No. <a href="#B154">154</a>.)</p> + +<p><a name="B122" id="B122">122.</a> G., G.M. <i>The Stage Censor, an Historical Sketch: 1544-1907.</i> +London, 1908.</p> + +<p><a name="B123" id="B123">*123.</a> <span class="smcap">Gaedertz, K.T.</span> <i>Zur Kenntnis der altenglischen Bühne.</i> Bremen, +1888. (On the De Witt drawing of the Swan. See Nos. <a href="#B31">31</a>, <a href="#B193">193</a>, <a href="#B306">306</a>.)</p> + +<p><a name="B124" id="B124">124.</a> <span class="smcap">Gaehde, C.</span> <i>Das Theater; Schauspielhaus und Schauspielkunst vom +griechischen Altertum bis auf die Gegenwart.</i> Leipzig, 1908.</p> + +<p><a name="B125" id="B125">125.</a> <span class="smcap">Gardner, A.E.</span> The Site of the Globe Playhouse of Shakespeare. +(<i>The Athenæum</i>, December 5, 1914.)</p> + +<p><a name="B126" id="B126">126.</a> <span class="smcap">Gayton, E.</span> <i>Pleasant Notes on Don Quixot.</i> London, 1654. (The +second edition, 1768, is of no value.)</p> + +<p><a name="B127" id="B127">127.</a> <span class="smcap">Genest, J.</span> <i>Some Account of the English Stage from the +Restoration in 1660 to 1830.</i> 10 vols. Bath, 1832.</p> + +<p><a name="B128" id="B128">*128.</a> <span class="smcap">Gildersleeve, V.C.</span> <i>Government Regulation of the Elizabethan +Drama.</i> New York, 1908.</p> + +<p><span class="smcap">Globe.</span> See Nos. <a href="#B38">38</a>, <a href="#B49">49</a>, <a href="#B51">51</a>, <a href="#B72">72</a>, <a href="#B97">97</a>, <a href="#B117">117</a>, <a href="#B119">119</a>, <a href="#B125">125</a>, <a href="#B150">150</a>, <a href="#B152">152</a>, <a href="#B165">165</a>, <a href="#B166">166</a>, +<a href="#B167">167</a>, <a href="#B171">171</a>, <a href="#B176">176</a>, <a href="#B191">191</a>, <a href="#B205">205</a>, <a href="#B206">206</a>, <a href="#B207">207</a>, <a href="#B208">208</a>, <a href="#B211">211</a>, <a href="#B212">212</a>, <a href="#B213">213</a>, <a href="#B223">223</a>, <a href="#B233">233</a>, <a href="#B236">236</a>, +<a href="#B237">237</a>, <a href="#B240">240</a>, <a href="#B241">241</a>, <a href="#B251">251</a>, <a href="#B257">257</a>, <a href="#B266">266</a>, <a href="#B292">292</a>, <a href="#B297">297</a>, <a href="#B299">299</a>, <a href="#B300">300</a>, <a href="#B301">301</a>.</p> + +<p><a name="B129" id="B129">129.</a> <span class="smcap">Godfrey, W.H.</span> An Elizabethan Playhouse. (<i>The Architectural +Review</i>, London, April, 1908; reprinted in No. <a href="#B61">61</a>. See also the +<i>Architect and Builder's Journal</i>, London, August 16, 1911, and <i>The +Architectural Review</i>, London, January, 1912, for descriptions of Mr. +Godfrey's model of the Fortune. This model is now in the Dramatic +Museum at Columbia University, and a duplicate is in the Museum of +European Culture at the University of Illinois. See also Nos. <a href="#B8">8</a>, <a href="#B38">38</a>, +<a href="#B61">61</a>, <a href="#B116">116</a>, <a href="#B211">211</a>.)<span class="pagenum"><a name="Page_443" id="Page_443">443</a></span></p> + +<p><a name="B130" id="B130">130.</a> <span class="smcap">Goodwin, A.T.</span> Court Revels in the Reign of Henry VII. (<i>The +Shakespeare Society's Papers</i>, <span class="smcap">i</span>, 47.)</p> + +<p><a name="B131" id="B131">131.</a> <span class="smcap">Grabo, C.H.</span> Theatres of Elizabeth's London. (<i>Chautauquan</i>, +November, 1906.)</p> + +<p><a name="B132" id="B132">*132.</a> <span class="smcap">Graves, T.S.</span> <i>The Court and the London Theatres During the Reign +of Elizabeth.</i> Menasha, Wis., 1913.</p> + +<p><a name="B133" id="B133">*133.</a> —— A Note on the Swan Theatre. (<i>Modern Philology</i>, <span class="smcap">ix</span>, 431. +See No. <a href="#B135">135</a>.)</p> + +<p><a name="B134" id="B134">134.</a> —— The Shape of the First London Theatre. (<i>The South Atlantic +Quarterly</i>, July, 1914.)</p> + +<p><a name="B135" id="B135">135.</a> —— Tricks of Elizabethan Showmen. (<i>Ibid.</i>, April, 1915. Deals +with The Swan. See No. <a href="#B133">133</a>.)</p> + +<p><a name="B136" id="B136">*136.</a> <span class="smcap">Greenstreet, J.</span> The Blackfriars Playhouse: Its Antecedents. +(<i>The Athenæum</i>, July 17, 1886, p. 91, January 7, 1888, p. 25.)</p> + +<p><a name="B137" id="B137">*137.</a> —— Blackfriars Theatre in the Time of Shakespeare. (<i>Ibid.</i>, +April 7, 1888, p. 445; April 21, 1888, p. 509; August 10, 1889, p. +203. These documents are reprinted by Fleay, No. <a href="#B111">111</a>.)</p> + +<p><a name="B138" id="B138">*138.</a> —— Documents Relating to the Players at the Red Bull, +Clerkenwell, and the Cockpit in Drury Lane, in the Time of James I. +(<i>The New Shakspere Society Transactions</i>, 1880-86, p. 489. Also in +<i>The Athenæum</i>, February 21, 1885. Reprinted by Fleay, No. <a href="#B111">111</a>.)</p> + +<p><a name="B139" id="B139">*139.</a> —— Drury Lane Theatre in the Reign of James I. (<i>The +Athenæum</i>, 1885, February 21, p. 258; August 29, p. 282. Reprinted by +Fleay, No. <a href="#B111">111</a>.)</p> + +<p><a name="B140" id="B140">*140.</a> —— The Red Bull Playhouse in the Reign of James I. (<i>The +Athenæum</i>, November 28, 1885, p. 709. Reprinted by Fleay, No. <a href="#B111">111</a>; and +by Wallace, in completer form, No. <a href="#B303">303</a>.)</p> + +<p><a name="B141" id="B141">*141.</a> —— The Whitefriars Theatre in the Time of Shakespeare. (<i>The +New Shakspere Society Transactions</i>, 1887-90, p. 269.)</p> + +<p><a name="B142" id="B142">*142.</a> —— The Will of Thomas Greene, with Particulars as to the Red +Bull. (<i>The Athenæum</i>, August 29, 1885. Reprinted by Fleay, No. <a href="#B111">111</a>.)</p> + +<p><a name="B143" id="B143">*143.</a> <span class="smcap">Greg, W.W.</span> <i>Henslowe's Diary.</i> 2 vols. London, 1904-1908. (See +No. <a href="#B46">46</a>.)<span class="pagenum"><a name="Page_444" id="Page_444">444</a></span></p> + +<p><a name="B144" id="B144">*144.</a> —— <i>Henslowe Papers.</i> London, 1907.</p> + +<p>---- See also under <span class="smcap">Chambers, E.K. and W.W. Greg</span>.</p> + +<p><a name="B145" id="B145">145.</a> <span class="smcap">Grote, W.</span> Das London zur Zeit der Königin Elisabeth in deutscher +Beleuchtung. (<i>Neueren Sprachen</i>, <span class="smcap">xiv</span>, 633.)</p> + +<p><a name="B146" id="B146">*146.</a> <span class="smcap">Hager, H.</span> Diary of the Journey of Philip Julius, Duke of +Stettin-Pomerania, through England in the Year 1602. (<i>Englische +Studien</i>, <span class="smcap">xviii</span>, 315. See No. <a href="#B34">34</a>.)</p> + +<p><a name="B147" id="B147">*147.</a> <span class="smcap">Halliwell-Phillipps, J.O.</span> <i>A Collection of Ancient Documents +Respecting the Office of the Master of the Revels, and Other Papers +Relating to the Early Theatre.</i> London, 1870. (Only eleven copies +printed. The documents, with others, have been reprinted by Adams in +No. <a href="#B4">4</a>.)</p> + +<p><a name="B148" id="B148">148.</a> —— Dispute between the Earl of Worcester's Players and the +Corporation of Leicester in 1586. (<i>The Shakespeare Society's Papers</i>, +<span class="smcap">iv</span>, 145.)</p> + +<p><a name="B149" id="B149">149.</a> —— <i>Illustrations of the Life of Shakespeare.</i> London, 1874. +(The material of this book has been embodied in No. <a href="#B150">150</a>.)</p> + +<p><a name="B150" id="B150">*150.</a> —— <i>Outlines of the Life of Shakespeare.</i> 2 vols. The eleventh +edition. London, 1907. (The page numbers have not been changed since +the seventh edition, 1887.)</p> + +<p><a name="B151" id="B151">151.</a> —— <i>Tarlton's Jests, and News out of Purgatory.</i> London. +Printed for The Shakespeare Society, 1844.</p> + +<p><a name="B152" id="B152">152.</a> —— <i>Two Old Theatres. Views of the Globe and Bear Garden.</i> +Privately printed. Brighton, 1884.</p> + +<p><a name="B153" id="B153">153.</a> —— <i>The Visits of Shakespeare's Company of Actors to the +Provincial Cities and Towns of England, Illustrated by Extracts +Gathered from Corporate Records.</i> Privately printed. Brighton, 1887.</p> + +<p><a name="B154" id="B154">*154.</a> <span class="smcap">Harrison, William.</span> <i>Harrison's Description of England.</i> Edited +by F.J. Furnivall. The New Shakspere Society, London, 1877-78. +(Additions by Mrs. C.C. Stopes, <i>The Shakespeare Library</i>, 1908. +Edited also by L. Withington, London, 1902.)</p> + +<p><a name="B155" id="B155">155.</a> <span class="smcap">Haslewood, Joseph.</span> <i>Account of the Old London Theatres.</i> +(<i>Roxburghe Revels</i>, Edinburgh, 1837, p. 85. Fifty copies only +printed.)<span class="pagenum"><a name="Page_445" id="Page_445">445</a></span></p> + +<p><a name="B156" id="B156">156.</a> <span class="smcap">Hatcher, O.L.</span> <i>A Book for Shakespeare Plays and Pageants.</i> New +York, 1916. ("Theatres," p. 133.)</p> + +<p><a name="B157" id="B157">157.</a> <span class="smcap">Hazlitt, W.C.</span> <i>Brand's Popular Antiquities of Great Britain. +Faiths and Folklore.</i> 2 vols. London, 1905.</p> + +<p><a name="B158" id="B158">*158.</a> —— <i>The English Drama and Stage under the Tudor and Stuart +Princes, 1543-1664.</i> Printed for the Roxburghe Library, 1869.</p> + +<p><a name="B159" id="B159">159.</a> <span class="smcap">Heckethorn, C.W.</span> <i>Lincoln's Inn Fields, and the Localities +Adjacent.</i> London, 1896.</p> + +<p><a name="B160" id="B160">160.</a> <span class="smcap">Hentzner, P.</span> <i>Itinerarium Germaniæ; Galliæ; Angliæ; Italiæ.</i> +Nüremberg, 1612.</p> + +<p><a name="B161" id="B161">161.</a> <span class="smcap">Herbert, J.F.</span> Additions to "The Alleyn Papers." (<i>The Shakespeare +Society's Papers</i>, <span class="smcap">i</span>, 16. See No. <a href="#B63">63</a>.)</p> + +<p><a name="B162" id="B162">162.</a> <span class="smcap">Heywood, T.</span> <i>An Apology for Actors.</i> London, 1612. (London: +Reprinted for The Shakespeare Society, 1841.)</p> + +<p><a name="B163" id="B163">*163.</a> <span class="smcap">Historical Manuscripts Commission.</span> <i>Calendars</i> and <i>Reports</i>. +London, 1870-.</p> + +<p><a name="B164" id="B164">164.</a> <span class="smcap">Hitchcock, R.</span> <i>An Historical View of the Irish Stage.</i> 2 vols. +Dublin, 1788.</p> + +<p><span class="smcap">Hope.</span> See Bear Garden and Hope.</p> + +<p><a name="B165" id="B165">*165.</a> <span class="smcap">Hubbard, G.</span> On the Exact Site of the Globe Playhouse of +Shakespeare. (<i>Transactions of the London and Middlesex Archæological +Society</i>, New Series, vol. <span class="smcap">ii</span>, part iii, 1912.)</p> + +<p><a name="B166" id="B166">*166.</a> —— The Site of the Globe Theatre of Shakespeare on Bankside as +Shown by Maps of the Period. (<i>Journal of the Royal Institute of +British Architects</i>, London, 1909, Third Series, <span class="smcap">xvii</span>, 26.)</p> + +<p><a name="B167" id="B167">167.</a> —— The Site of the Globe. (<i>Notes and Queries</i>, <span class="smcap">xii</span> Series, +<span class="smcap">xii</span>, 11, 50, 70, 201, 224.)</p> + +<p><a name="B168" id="B168">168.</a> <span class="smcap">Hughson, D.</span> <i>An Epitome of the Privileges of London, Including +Southwark, as Granted by Royal Charters.</i> London, 1812.</p> + +<p><a name="B169" id="B169">169.</a> —— <i>Multum in Parvo. The Privileges of Southwark.</i> London, [c. +1818].</p> + +<p><a name="B170" id="B170">170.</a> <span class="smcap">Ingleby, C.M.</span> <i>A Complete View of the Shakespeare<span class="pagenum"><a name="Page_446" id="Page_446">446</a></span> Controversy.</i> +London, 1861. (A discussion of the inaccuracies and forgeries of J.P. +Collier.)</p> + +<p><a name="B171" id="B171">171.</a> <span class="smcap">Jackson, R.C.</span> <i>The Site of Shakespeare's Globe Playhouse.</i> (<i>The +Athenæum</i>, October 30, 1909, p. 525.)</p> + +<p><a name="B172" id="B172">*172.</a> <span class="smcap">Jeaffreson, J.C.</span> <i>Middlesex County Records.</i> 4 vols. London, +1886-92.</p> + +<p><a name="B173" id="B173">173.</a> <span class="smcap">Jenkinson, W.</span> The Early Playhouses and the Drama as Referred to +in Tudor and Stuart Literature. (<i>The Contemporary Review</i>, <span class="smcap">cv</span>, 847.)</p> + +<p><a name="B174" id="B174">174.</a> <span class="smcap">Jusserand, J.J.</span> Les Théâtres de Londres au Temps de Shakespeare. +(<i>La Revue de Paris</i>, <span class="smcap">vi</span>, 713.)</p> + +<p><a name="B175" id="B175">175.</a> —— <i>A Literary History of the English People From the +Renaissance to the Civil War.</i> 2 vols. London, 1906-09. (Vol. <span class="smcap">ii</span>, bk. +<span class="smcap">v</span>, chap. <span class="smcap">v</span>.)</p> + +<p><a name="B176" id="B176">176.</a> K., L.L. Site of the Globe Theatre (<i>Notes and Queries</i>, <span class="smcap">xi</span> +Series, <span class="smcap">x</span>, 290, 335.)</p> + +<p><a name="B177" id="B177">*177.</a> <span class="smcap">Kelly, W.</span> <i>Notices Illustrative of the Drama and Other Popular +Amusements.</i> London, 1865.</p> + +<p><a name="B178" id="B178">*178.</a> <span class="smcap">Kempe, A.J.</span> <i>The Loseley Manuscripts.</i> London, 1836.</p> + +<p><a name="B179" id="B179">*179.</a> <span class="smcap">La Fèvre de la Boderie, Antoine.</span> <i>Ambassades de Monsieur de La +Boderie en Angleterre ... depuis les années 1606 jusq' en 1611.</i> 5 +vols. [Paris], 1750.</p> + +<p><a name="B180" id="B180">180.</a> <span class="smcap">Law, E.</span> Cunningham's Extracts from the Revels' Books, 1842. (<i>The +Athenæum</i>, 1911, vol. <span class="smcap">ii</span>, pp. 297, 324, 388; 1912, vol. <span class="smcap">i</span>, pp. 390, +469. See Nos. <a href="#B11">11</a>, <a href="#B80">80</a>, <a href="#B181">181</a>, <a href="#B184">184</a>.)</p> + +<p><a name="B181" id="B181">181.</a> —— <i>More About Shakespeare "Forgeries."</i> London, 1913. (See +Nos. <a href="#B11">11</a>, <a href="#B80">80</a>, <a href="#B180">180</a>, <a href="#B184">184</a>.)</p> + +<p><a name="B182" id="B182">182.</a> —— Shakespeare at Whitehall. (The London <i>Times</i>, October 31, +1910, p. 10.)</p> + +<p><a name="B183" id="B183">183.</a> —— Shakespeare's Christmas, St. Stephen's Day, 1604. (<i>Ibid.</i>, +December 26, 1910, p. 10.)</p> + +<p><a name="B184" id="B184">184.</a> —— <i>Some Supposed Shakespeare Forgeries.</i> London, 1911. (See +Nos. <a href="#B11">11</a>, <a href="#B80">80</a>, <a href="#B180">180</a>, <a href="#B181">181</a>.)</p> + +<p><a name="B185" id="B185">*185.</a> <span class="smcap">Lawrence, W.J.</span> <i>The Elizabethan Playhouse and Other Studies.</i> +Stratford-upon-Avon, 1912. Second Series, 1913. (I do not record +separately the numerous articles by Mr.<span class="pagenum"><a name="Page_447" id="Page_447">447</a></span> Lawrence which appeared first +in periodicals, and which are reprinted in these two volumes.)</p> + +<p><a name="B186" id="B186">*186.</a> —— The Evolution and Influence of the Elizabethan Playhouse. +(The Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvii</span>, 18.)</p> + +<p><a name="B187" id="B187">*187.</a> —— A Forgotten Restoration Playhouse. (<i>Englische Studien</i>, +<span class="smcap">xxxv</span>, 279.)</p> + +<p><a name="B188" id="B188">188.</a> —— Ireland's First Theatrical Manager. (<i>The Weekly Freeman</i>, +St. Patrick's Day Number, March 11, 1916.)</p> + +<p><a name="B189" id="B189">*189.</a> —— The Mystery of Lodowick Barry. (The University of North +Carolina <i>Studies in Philology</i>, <span class="smcap">xiv</span>, 52.)</p> + +<p><a name="B190" id="B190">*190.</a> —— Restoration Stage Nurseries. (<i>Archiv für das Studium der +Neueren Sprachen und Literaturen</i>, 1914, p. 301.)</p> + +<p><a name="B191" id="B191">191.</a> <span class="smcap">Lee, Sir S.</span> <i>A Life of William Shakespeare.</i> New York, 1916. +(Chap. <span class="smcap">vi</span>.)</p> + +<p><a name="B192" id="B192">*192.</a> <i>Letters and Papers, Foreign and Domestic, of the Reign of Henry +VIII.</i> London, 1862-1905. (<i>Calendar of State Papers</i>; see No. <a href="#B35">35</a>.)</p> + +<p><a name="B193" id="B193">193.</a> <span class="smcap">Logeman, H.</span> Johannes de Witt's Visit to the Swan Theatre. +(<i>Anglia</i>, <span class="smcap">xix</span>, 117. Cf. <i>The Academy</i>, December 26, 1896. See No. <a href="#B31">31</a>, +<a href="#B123">123</a>, <a href="#B306">306</a>.)</p> + +<p><a name="B194" id="B194">194.</a> <span class="smcap">London Topographical Society.</span> <i>London Topographical Record.</i> +London, 1901-.</p> + +<p><a name="B195" id="B195">195.</a> <span class="smcap">Maas, H.</span> <i>Äussere Geschichte der Englischen Theatertruppen in dem +Zeitraum von 1559 bis 1642.</i> Louvain, 1907.</p> + +<p><a name="B196" id="B196">196.</a> —— <i>Die Kindertruppen.</i> Göttingen, 1901.</p> + +<p><a name="B197" id="B197">*197.</a> <span class="smcap">McAfee, H.</span> <i>Pepys on the Restoration Stage.</i> New Haven, 1916.</p> + +<p><a name="B198" id="B198">198.</a> <span class="smcap">Malcolm, J.P.</span> <i>Anecdotes of the Manners and Customs of London +during the Eighteenth Century.</i> London, 1808.</p> + +<p><a name="B199" id="B199">199.</a> —— <i>Anecdotes of the Manners and Customs of London from the +Roman Invasion to the Year 1700.</i> London, 1811.</p> + +<p><a name="B200" id="B200">*200.</a> <span class="smcap">Malone, E.</span> <i>The Plays and Poems of William Shakespeare.</i> 21 +vols. London, 1821. (The Variorum edition, edited by Boswell.)<span class="pagenum"><a name="Page_448" id="Page_448">448</a></span></p> + +<p><a name="B201" id="B201">201.</a> <span class="smcap">Manly, J.M.</span> The Children of the Chapel Royal and their Masters. +(<i>The Cambridge History of English Literature</i>, vol. <span class="smcap">vi</span>, chap. xi.)</p> + +<p><a name="B202" id="B202">202.</a> <span class="smcap">Manning, O. and W. Bray.</span> <i>The History and Antiquities of the +County of Surrey.</i> 3 vols. London, 1804-14.</p> + +<p><a name="B203" id="B203">203.</a> <span class="smcap">Mantzius, K.</span> <i>Engelske Theaterforhold i Shakespeare-tiden.</i> +Khvn., 1901. (See No. <a href="#B204">204</a>.)</p> + +<p><a name="B204" id="B204">204.</a> —— <i>A History of Theatrical Art in Ancient and Modern Times.</i> +Authorised Translation by Louise von Cossel. Vol. <span class="smcap">iii</span>, "The +Shakespearean Period in England." London, 1904.</p> + +<p><a name="B205" id="B205">205.</a> <span class="smcap">Martin, W.</span> <i>Shakespeare in London.</i> (The London <i>Times</i>, October +8, 1909, p. 10.)</p> + +<p><a name="B206" id="B206">206.</a> —— The Site of Shakespeare's Globe Playhouse. (<i>The Athenæum</i>, +October 9, 1909, p. 425.)</p> + +<p><a name="B207" id="B207">207.</a> —— The Site of the Globe. (<i>Notes and Queries</i>, <span class="smcap">xi</span> Series, <span class="smcap">x</span>, +209, <span class="smcap">xii</span>, 10, 121, 143, 161.)</p> + +<p><a name="B208" id="B208">*208.</a> —— The Site of the Globe Playhouse of Shakespeare. (<i>Surrey +Archæological Collections</i>, London, 1910, <span class="smcap">xxiii</span>, 149. Also separately +printed.)</p> + +<p><a name="B209" id="B209">209.</a> <span class="smcap">Member From the Beginning.</span> Accounts of Performances and Revels at +Court in the Reign of Henry VIII. (<i>The Shakespeare Society's Papers</i>, +<span class="smcap">iii</span>, 87.)</p> + +<p><a name="B210" id="B210">210.</a> <span class="smcap">Meymott, W.J.</span> <i>The Manor of Old Paris Garden; an Historical +Account of Christ Church, Surrey.</i> London, 1881. (Printed for private +circulation. Inaccurate. See <i>Notes and Queries</i>, <span class="smcap">vii</span> Series, <span class="smcap">iii</span>, +241.)</p> + +<p><a name="B211" id="B211">211.</a> <span class="smcap">Miles, D.H.</span> The Dramatic Museum at Columbia University. (<i>The +American Review of Reviews</i>, <span class="smcap">xlvi</span>, 67. Illustrations of models of +early playhouses. See No. <a href="#B38">38</a>, <a href="#B129">129</a>.)</p> + +<p><a name="B212" id="B212">212.</a> <span class="smcap">Mills, C.A.</span> Shakespeare and the Globe Theatre. (The London +<i>Times</i>, April 11, 1914.)</p> + +<p><a name="B213" id="B213">213.</a> Model of the Globe Playhouse. (<i>The Graphic</i>, London, <span class="smcap">lxxxii</span>, +579; <i>Illustrated London News</i>, <span class="smcap">cxxxvi</span>, 423.)</p> + +<p><a name="B214" id="B214">214.</a> <span class="smcap">Morgan, A.</span> The Children's Companies. (<i>Shakesperiana</i>, <span class="smcap">ix</span>, 131.)</p> + +<p><a name="B215" id="B215">215.</a> <span class="smcap">Murray, J.T.</span> English Dramatic Companies in the<span class="pagenum"><a name="Page_449" id="Page_449">449</a></span> Towns Outside of +London, 1550-1600. (<i>Modern Philology</i>, <span class="smcap">ii</span>, 539.)</p> + +<p><a name="B216" id="B216">*216.</a> —— <i>English Dramatic Companies.</i> 2 vols. London, 1910.</p> + +<p><a name="B217" id="B217">217.</a> N., T.C. The Old Bridge at Newington. (<i>Notes and Queries</i>, <span class="smcap">ii</span> +Series, <span class="smcap">xii</span>, 323.)</p> + +<p><a name="B218" id="B218">218.</a> <span class="smcap">Nairn, J.A.</span> Boy-Actors under the Tudors and Stuarts. +(<i>Transactions of the Royal Society of Literature</i>, <span class="smcap">ii</span> Series, <span class="smcap">xxxii</span>, +11.)</p> + +<p><a name="B219" id="B219">*219.</a> <span class="smcap">Nichols, J.</span> <i>The Progresses and Public Processions of Queen +Elizabeth.</i> 4 vols. London, 1823.</p> + +<p><a name="B220" id="B220">*220.</a> —— <i>The Progresses, Processions, and Magnificent Festivities +of King James the First.</i> 4 vols. London, 1828.</p> + +<p><a name="B221" id="B221">221.</a> <span class="smcap">Onions, C.T.</span> <i>Shakespeare's England.</i> 2 vols. Oxford, 1916. +(Chap. <span class="smcap">xxiv</span>, "Actors and Acting," by Percy Simpson; chap. <span class="smcap">xxv</span>, "The +Playhouse," by William Archer and W.J. Lawrence; chap. <span class="smcap">xxvii</span>, section +7, "Bearbaiting, Bull Baiting, and Cockfighting," by Sir Sidney Lee. A +popular treatise.)</p> + +<p><a name="B222" id="B222">*222.</a> <span class="smcap">Ordish, T.F.</span> <i>Early London Theatres.</i> London, 1894. (For an +important review, see E.K. Chambers in <i>The Academy</i>, August 24, 1895, +p. 139.)</p> + +<p><a name="B223" id="B223">*223.</a> —— London Theatres. (<i>The Antiquary</i>, <span class="smcap">xi-xvi</span>. "Theatre and +Curtain," <span class="smcap">xi</span>, 89; "Rose," <span class="smcap">xi</span>, 212; "Bear Garden," <span class="smcap">xi</span>, 243; "Globe," +<span class="smcap">xii</span>, 41; "Elizabethan Stage," <span class="smcap">xii</span>, 193; "Swan," <span class="smcap">xii</span>, 245; +"Blackfriars," <span class="smcap">xiv</span>, 22, 55, 108; "Fortune," <span class="smcap">xiv</span>, 205; "Red Bull," <span class="smcap">xiv</span>, +236, "Cockpit," <span class="smcap">xv</span>, 93; "Whitefriars," <span class="smcap">xv</span>, 262; "Salisbury Court," +<span class="smcap">xvi</span>, 244.)</p> + +<p><a name="B224" id="B224">*224.</a> <span class="smcap">Overall, W.H. and H.C.</span> <i>Analytical Index to the Series of +Records Known as the Remembrancia. Preserved among the Archives of the +City of London. 1579-1664.</i> London, 1878. (See No. <a href="#B55">55</a>.)</p> + +<p><a name="B225" id="B225">225.</a> <span class="smcap">Overend, G.H.</span> On the Dispute between George Maller, Glazier and +Trainer of Players to Henry VIII, and Thomas Arthur, his Pupil. (<i>The +New Shakspere Society's Transactions</i>, 1877-79, p. 425.)<span class="pagenum"><a name="Page_450" id="Page_450">450</a></span></p> + +<p><a name="B226" id="B226">226.</a> <span class="smcap">Paget, A.H.</span> <i>The Elizabethan Playhouses.</i> London, 1891. +(Privately printed, 8vo, 14 pp.)</p> + +<p><a name="B227" id="B227">*227.</a> <span class="smcap">Parton, J.</span> <i>Some Account of the Hospital and Parish of St. Giles +in the Fields, Middlesex.</i> London, 1822. (Contains parish records +relating to the Cockpit in Drury Lane.)</p> + +<p><span class="smcap">Paul's.</span> See Nos. <a href="#B6">6</a>, <a href="#B12">12</a>, <a href="#B26">26</a>, <a href="#B101">101</a>, <a href="#B196">196</a>, <a href="#B201">201</a>, <a href="#B214">214</a>, <a href="#B218">218</a>, <a href="#B297">297</a>.</p> + +<p><a name="B228" id="B228">*228.</a> <span class="smcap">Pepys, S.</span> <i>The Diary of Samuel Pepys.</i> Edited by Henry B. +Wheatley. 9 vols. London, 1893.</p> + +<p><span class="smcap">Phœnix.</span> See Cockpit in Drury Lane.</p> + +<p><a name="B229" id="B229">229.</a> <span class="smcap">Pinks, W.J.</span> <i>The History of Clerkenwell.</i> Second edition. London, +1880. (The Red Bull Playhouse, p. 190.)</p> + +<p><a name="B230" id="B230">230.</a> Pleadings in Rastell <i>v.</i> Walton, a Theatrical Lawsuit, temp. +Henry <span class="smcap">viii</span>. (Arber, <i>An English Garner, Fifteenth Century Prose and +Verse</i>, 1903, p. 305.)</p> + +<p><a name="B231" id="B231">231.</a> <span class="smcap">Plomer, H.R.</span> Fortune Playhouse (<i>Notes and Queries</i>, <span class="smcap">x</span> Series, +<span class="smcap">vi</span>, 107.)</p> + +<p><a name="B232" id="B232">232.</a> <span class="smcap">Pollock, A.</span> The Evolution of the Actor. (<i>The Drama</i>, August and +November, 1915, and November, 1916.)</p> + +<p><a name="B233" id="B233">233.</a> <span class="smcap">Porter, C.</span> Playing Hamlet as Shakespeare Staged It in 1601. +(<i>Ibid.</i>, August and November, 1915.)</p> + +<p><a name="B234" id="B234">234.</a> <span class="smcap">Prynne, W.</span> <i>Histriomastix.</i> London, 1633.</p> + +<p><a name="B235" id="B235">235.</a> <span class="smcap">Rankin, G.</span> Early London Theatres. (<i>Notes and Queries</i>, <span class="smcap">iv</span> +Series, <span class="smcap">vi</span>, 306; cf. p. 423.)</p> + +<p><span class="smcap">Red Bull.</span> See Nos. <a href="#B4">4</a>, <a href="#B91">91</a>, <a href="#B107">107</a>, <a href="#B126">126</a>, <a href="#B138">138</a>, <a href="#B139">139</a>, <a href="#B140">140</a>, <a href="#B142">142</a>, <a href="#B147">147</a>, <a href="#B197">197</a>, <a href="#B223">223</a>, +<a href="#B228">228</a>, <a href="#B229">229</a>, <a href="#B234">234</a>, <a href="#B303">303</a>.</p> + +<p><i>Remembrancia.</i> See Nos. <a href="#B55">55</a>, <a href="#B224">224</a>.</p> + +<p><a name="B236" id="B236">*236.</a> <span class="smcap">Rendle, W.</span> The Bankside, Southwark, and the Globe Playhouse. (In +Furnivall's edition of Harrison's <i>Description of England</i>, Part <span class="smcap">ii</span>, +Book iii. See No. <a href="#B121">121</a>. Deals with the Swan, Bear Garden, Hope, Rose, +and Globe.)</p> + +<p><a name="B237" id="B237">*237.</a> —— The Globe Playhouse. (<i>Walford's Antiquarian</i>, <span class="smcap">viii</span>, 209.)</p> + +<p><a name="B238" id="B238">238.</a> —— Paris Garden and Christ Church, Blackfriars. (<i>Notes and +Queries</i>, <span class="smcap">vii</span> Series, <span class="smcap">iii</span>, 241, 343, 442.)</p> + +<p><a name="B239" id="B239">239.</a> —— Philip Henslowe. (<i>The Genealogist</i>, <span class="smcap">iv</span>, 149.)</p> + +<p><a name="B240" id="B240">*240.</a> —— The Playhouses at Bankside in the Time of<span class="pagenum"><a name="Page_451" id="Page_451">451</a></span> Shakespeare. +(<i>The Antiquarian Magazine and Bibliographer</i>, <span class="smcap">vii</span>, 207, 274; <span class="smcap">viii</span>, +55.)</p> + +<p><a name="B241" id="B241">241.</a> —— <i>Old Southwark and its People.</i> London, 1878.</p> + +<p><a name="B242" id="B242">242.</a> —— The Swan Playhouse, Bankside, <i>circa</i> 1596. (<i>Notes and +Queries</i>, <span class="smcap">vii</span> Series, <span class="smcap">vi</span>, 221.)</p> + +<p><a name="B243" id="B243">*243.</a> <span class="smcap">Rendle, W. and P. Norman.</span> <i>The Inns of Old Southwark and Their +Associations.</i> London, 1888.</p> + +<p><a name="B244" id="B244">*244.</a> <i>Report of the Royal Commission on Historical Manuscripts.</i> +London, 1870-. (See No. <a href="#B163">163</a>.)</p> + +<p><a name="B245" id="B245">245.</a> <span class="smcap">Rimbault, E.F.</span> <i>The Old Cheque-Book, or Book of Remembrance, of +the Chapel Royal from 1561 to 1744.</i> (<i>The Camden Society</i>, 1872.)</p> + +<p><a name="B246" id="B246">246.</a> —— <i>Who was "Jack Wilson" the Singer of Shakespeare's Stage?</i> +London, 1846. (Cf. <i>The Shakespeare Society's Papers</i>, <span class="smcap">ii</span>, 33.)</p> + +<p><span class="smcap">Rose.</span> See Nos. <a href="#B24">24</a>, <a href="#B46">46</a>, <a href="#B63">63</a>, <a href="#B64">64</a>, <a href="#B67">67</a>, <a href="#B143">143</a>, <a href="#B144">144</a>, <a href="#B161">161</a>, <a href="#B222">222</a>, <a href="#B223">223</a>, <a href="#B236">236</a>, <a href="#B239">239</a>, +<a href="#B240">240</a>, <a href="#B241">241</a>, <a href="#B257">257</a>, <a href="#B263">263</a>, <a href="#B300">300</a>, <a href="#B302">302</a>, <a href="#B304">304</a>, <a href="#B316">316</a>.</p> + +<p><a name="B247" id="B247">*247.</a> <span class="smcap">Rye, W.B.</span> <i>England as Seen by Foreigners in the Days of +Elizabeth and James I.</i> London, 1865.</p> + +<p><span class="smcap">Salisbury Court.</span> See Nos. <a href="#B4">4</a>, <a href="#B7">7</a>, <a href="#B19">19</a>, <a href="#B72">72</a>, <a href="#B86">86</a>, <a href="#B91">91</a>, <a href="#B99">99</a>, <a href="#B119">119</a>, <a href="#B147">147</a>, <a href="#B197">197</a>, +<a href="#B223">223</a>, <a href="#B228">228</a>.</p> + +<p><a name="B248" id="B248">248.</a> <span class="smcap">Schelling, F.E.</span> "An Aery of Children, Little Eyases." (<i>The +Queen's Progress and Other Elizabethan Sketches</i>, Boston and New York, +1904, chap. <span class="smcap">v</span>.)</p> + +<p><a name="B249" id="B249">249.</a> —— The Elizabethan Theatre. (<i>Lippincott's Monthly Magazine</i>, +<span class="smcap">lxix</span>, 309.)</p> + +<p><i>Shakespeare's England.</i> See No. <a href="#B221">221</a>.</p> + +<p><a name="B250" id="B250">250.</a> <span class="smcap">Sheppard, E.</span> <i>The Old Royal Palace of Whitehall.</i> London and New +York, 1902.</p> + +<p><a name="B251" id="B251">251.</a> The Site of the Globe Theatre, Bankside. (<i>The Builder</i>, March +26, 1910, p. 353.)</p> + +<p><a name="B252" id="B252">252.</a> <span class="smcap">Smith, W.H.</span> <i>Bacon and Shakespeare. An Inquiry Touching Players, +Playhouses, and Play-Writers in the Days of Elizabeth.</i> London, 1857.</p> + +<p><a name="B253" id="B253">253.</a> <span class="smcap">Spiers, W.L.</span> An Autograph Plan by Wren. (<i>The London +Topographical Record</i>, 1903. Concerns Whitehall Palace and the +Cockpit.)<span class="pagenum"><a name="Page_452" id="Page_452">452</a></span></p> + +<p><i>State Papers.</i> See Nos. <a href="#B35">35</a>, <a href="#B192">192</a>.</p> + +<p><a name="B254" id="B254">254.</a> <i>Statutes of the Realm.</i> Record Commission. 9 vols. London, +1810-28.</p> + +<p><a name="B255" id="B255">255.</a> <span class="smcap">Stephenson, H.T.</span> <i>Shakespeare's London.</i> New York, 1905. (Chap. +<span class="smcap">xiv</span>, "The Theatres.")</p> + +<p><a name="B256" id="B256">256.</a> —— <i>The Study of Shakespeare.</i> New York, 1915. (Chap. <span class="smcap">iii</span>, "The +Playhouses.")</p> + +<p><a name="B257" id="B257">*257.</a> <span class="smcap">Stopes, C.C.</span> <i>Burbage and Shakespeare's Stage.</i> London, 1913.</p> + +<p><a name="B258" id="B258">258.</a> —— The Burbages and the Transportation of "The Theatre." (<i>The +Athenæum</i>, October 16, 1909, p. 470.)</p> + +<p><a name="B259" id="B259">259.</a> —— Burbage's "Theatre." (<i>The Fortnightly Review</i>, <span class="smcap">xcii</span>, 149.)</p> + +<p><a name="B260" id="B260">260.</a> —— Dramatic Records from the Privy Council Register, James I +and Charles I. (The Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlviii</span>, 103. See No. <a href="#B54">54</a>.)</p> + +<p><a name="B261" id="B261">261.</a> —— Giles and Christopher Alleyn of Holywell. (<i>Notes and +Queries</i>, <span class="smcap">x</span> Series, <span class="smcap">xii</span>, 341.)</p> + +<p><a name="B262" id="B262">262.</a> —— "The Queen's Players" in 1536. (<i>The Athenæum</i>, July 24, +1914.)</p> + +<p><a name="B263" id="B263">263.</a> —— The Rose and the Swan, 1597. (<i>The Stage</i>, January 6, 1910. +The documents here summarized are printed in full in No. <a href="#B257">257</a> and again +in No. <a href="#B302">302</a>.)</p> + +<p><a name="B264" id="B264">264.</a> —— <i>Shakespeare's Environment.</i> London, 1914. (Chapters on +William Hunnis, Burbage's "Theatre," and The Transportation of +Burbage's "Theatre.")</p> + +<p><a name="B265" id="B265">*265.</a> —— Shakespeare's Fellows and Followers. (The Shakespeare +<i>Jahrbuch</i>, <span class="smcap">xlvi</span>, 92.)</p> + +<p><a name="B266" id="B266">266.</a> —— The Site of the Globe. (<i>Notes and Queries</i>, <span class="smcap">xi</span> Series, <span class="smcap">xi</span>, +447.)</p> + +<p><a name="B267" id="B267">267.</a> —— "The Theatre." (<i>Archiv für das Studium der Neueren Sprachen +und Literaturen</i>, <span class="smcap">cxxiv</span>, 129.)</p> + +<p><a name="B268" id="B268">268.</a> —— William Hunnis. (The Shakespeare <i>Jahrbuch</i>, <span class="smcap">xxvii</span>, 200.)</p> + +<p><a name="B269" id="B269">269.</a> —— William Hunnis. (<i>The Athenæum</i>, March 31, 1900.)</p> + +<p><a name="B270" id="B270">270.</a> —— <i>William Hunnis and the Revels of the Chapel Royal.</i> +Louvain, 1910.<span class="pagenum"><a name="Page_453" id="Page_453">453</a></span></p> + +<p><a name="B271" id="B271">*271.</a> <span class="smcap">Stow, J.</span> <i>A Survey of London.</i> Edited by C.L. Kingsford. 2 vols. +Oxford, 1908.</p> + +<p><a name="B272" id="B272">*272.</a> —— <i>A Survey of the Cities of London and Westminster ... +Corrected, Improved, and Very Much Enlarged ... by John Strype.</i> 2 +vols. London, 1720.</p> + +<p><a name="B273" id="B273">*273.</a> —— <i>Annales, or A Generall Chronicle of England, Continued by +Edmund Howes.</i> London, 1631.</p> + +<p><a name="B274" id="B274">274.</a> <span class="smcap">Strutt, J.</span> <i>Sports and Pastimes of the People of England.</i> +London, 1801.</p> + +<p><span class="smcap">Strype, J.</span> See No. <a href="#B272">272</a>.</p> + +<p><a name="B275" id="B275">275.</a> —— <i>The Anatomy of Abuses.</i> Edited by F.J. Furnivall, for The +New Shakspere Society. London, 1877-79. (There is an earlier edition +by J.P. Collier, 1870.)</p> + +<p><span class="smcap">Swan.</span> See Nos. <a href="#B9">9</a>, <a href="#B31">31</a>, <a href="#B46">46</a>, <a href="#B123">123</a>, <a href="#B133">133</a>, <a href="#B135">135</a>, <a href="#B144">144</a>, <a href="#B193">193</a>, <a href="#B210">210</a>, <a href="#B214">214</a>, <a href="#B222">222</a>, <a href="#B223">223</a>, +<a href="#B236">236</a>, <a href="#B238">238</a>, <a href="#B240">240</a>, <a href="#B241">241</a>, <a href="#B242">242</a>, <a href="#B257">257</a>, <a href="#B263">263</a>, <a href="#B302">302</a>, <a href="#B306">306</a>.</p> + +<p><a name="B276" id="B276">276.</a> <span class="smcap">Symonds, J.A.</span> <i>Shakespeare's Predecessors.</i> London, 1883. (Chap. +<span class="smcap">viii</span>, "Theatres, Playwrights, Actors, and Playgoers.")</p> + +<p><span class="smcap">Theatre, Burbage's.</span> See Nos. <a href="#B28">28</a>, <a href="#B70">70</a>, <a href="#B96">96</a>, <a href="#B134">134</a>, <a href="#B150">150</a>, <a href="#B151">151</a>, <a href="#B222">222</a>, <a href="#B223">223</a>, <a href="#B257">257</a>, +<a href="#B258">258</a>, <a href="#B259">259</a>, <a href="#B261">261</a>, <a href="#B264">264</a>, <a href="#B267">267</a>, <a href="#B277">277</a>, <a href="#B290">290</a>.</p> + +<p><a name="B277" id="B277">277.</a> The Theater; a Middlesex Sessions Record Touching James Burbage's +"Theater." (<i>The Athenæum</i>, February 12, 1887, p. 233.)</p> + +<p><a name="B278" id="B278">*278.</a> <span class="smcap">Thompson, E.N.S.</span> <i>The Controversy between the Puritans and the +Stage.</i> New York, 1903.</p> + +<p><a name="B279" id="B279">279.</a> <span class="smcap">Thornbury, G.W.</span> Shakespeare's England. 2 vols. London, 1856. +(Vol. <span class="smcap">ii</span>, chap. <span class="smcap">x</span>, "The Theatre.")</p> + +<p><a name="B280" id="B280">*280.</a> <span class="smcap">Thorndike, A.H.</span> <i>Shakespeare's Theatre.</i> New York, 1916. (Chap. +<span class="smcap">iii</span>, "The Playhouses.")</p> + +<p><a name="B281" id="B281">281.</a> <span class="smcap">Tiler, A.</span> <i>The History and Antiquities of St. Saviours.</i> London, +1765.</p> + +<p><a name="B282" id="B282">282.</a> <span class="smcap">Tomlins, T.E.</span> A New Document Regarding the Authority of the +Master of the Revels. (<i>The Shakespeare Society's Papers</i>, <span class="smcap">iii</span>, 1. The +document is reprinted in No. <a href="#B103">103</a>.)</p> + +<p><a name="B283" id="B283">283.</a> —— The Original Patent for the Nursery of Actors and Actresses +in the Reign of Charles II. (<i>Ibid.</i>, <span class="smcap">iii</span>, 162.)<span class="pagenum"><a name="Page_454" id="Page_454">454</a></span></p> + +<p><a name="B284" id="B284">*284.</a> —— Origin of the Curtain Theatre, and Mistakes Regarding It. +(<i>The Shakespeare Society's Papers</i>, <span class="smcap">i</span>, 29.)</p> + +<p><a name="B285" id="B285">285.</a> —— Three New Privy Seals for Players in the Time of +Shakespeare. (<i>Ibid.</i>, <span class="smcap">iv</span>, 41.)</p> + +<p><a name="B286" id="B286">286.</a> <span class="smcap">Tyson, W.</span> Heming's Players at Bristol in the Reign of Henry VIII. +(<i>Ibid.</i>, <span class="smcap">iii</span>, 13.)</p> + +<p><a name="B287" id="B287">287.</a> <i>Victoria History of London.</i> London, 1909.</p> + +<p><a name="B288" id="B288">*288.</a> <span class="smcap">Wallace, C.W.</span> <i>The Children of the Chapel at Blackfriars +1597-1603.</i> Lincoln [Nebraska], 1908. (Originally printed in +<i>University Studies</i>, University of Nebraska, 1908.)</p> + +<p><a name="B289" id="B289">*289.</a> —— <i>The Evolution of the English Drama up to Shakespeare, with +a History of the First Blackfriars Theatre.</i> (<i>Schriften der Deutschen +Shakespeare-Gesellschaft</i>, Band <span class="smcap">iv</span>. Berlin, 1912.)</p> + +<p><a name="B290" id="B290">*290.</a> —— <i>The First London Theatre, Materials for a History.</i> +(<i>University Studies</i>, University of Nebraska, vol. <span class="smcap">xii</span>. Lincoln, +Nebraska, 1913.)</p> + +<p><a name="B291" id="B291">291.</a> —— Gervase Markham, Dramatist. (The Shakespeare <i>Jahrbuch</i>, +<span class="smcap">xlvi</span>, 345. Cf. J.Q. Adams, in <i>Modern Philology</i>, <span class="smcap">x</span>, 426.)</p> + +<p><a name="B292" id="B292">*292.</a> —— <i>Globe Theatre Apparel.</i> [London.] Privately printed, +August, 1909. (For the nature of the contents see the London <i>Times</i>, +November 30, 1909, p. 12; and the Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvi</span>, 239.)</p> + +<p><a name="B293" id="B293">293.</a> —— <i>Keysar</i> v. <i>Burbage and Others.</i> Privately printed, 1910. +(These documents are included in the author's <i>Shakespeare and his +London Associates</i>, No. <a href="#B297">297</a>.)</p> + +<p><a name="B294" id="B294">294.</a> —— A London Pageant of Shakespeare's Time. (The London <i>Times</i>, +March 28, 1913.)</p> + +<p><a name="B295" id="B295">295.</a> —— New Shakespeare Discoveries. (<i>Harper's Monthly Magazine</i>, +<span class="smcap">cxx</span>, 489. See No. <a href="#B297">297</a>.)</p> + +<p><a name="B296" id="B296">296.</a> —— Old Blackfriars Theatre. (The London <i>Times</i>, September 12, +1906; the New York <i>Evening Post</i>, September 24, 1906.)</p> + +<p><a name="B297" id="B297">*297.</a> —— Shakespeare and His London Associates as Revealed in +Recently Discovered Documents. (<i>University Studies</i>, University of +Nebraska, <span class="smcap">x</span>, 261.)<span class="pagenum"><a name="Page_455" id="Page_455">455</a></span></p> + +<p><a name="B298" id="B298">298.</a> —— Shakespeare and the Blackfriars Theatre. (<i>The Century +Magazine</i>, September, 1910. The documents on which this popular +article is based may be found in Nos. <a href="#B289">289</a> and <a href="#B297">297</a>.)</p> + +<p><a name="B299" id="B299">*299.</a> —— Shakespeare and the Globe. (The London <i>Times</i>, October 2 +and 4, 1909. Deals with the Osteler-Heminges documents, and the site +of the Globe. These documents Mr. Wallace has privately printed in +<i>Advance Sheets from Shakespeare, The Globe, and Blackfriars</i>, The +Shakespeare Head Press, 1909, whence they were printed in the +Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvi</span>, 235.)</p> + +<p><a name="B300" id="B300">*300.</a> —— Shakespeare and the Globe. (The London <i>Times</i>, April 30 +and May 1, 1914.)</p> + +<p><a name="B301" id="B301">301.</a> —— Shakspere's Money Interest in the Globe Theatre. (<i>The +Century Magazine</i>, August, 1910. The documents on which this popular +article is based may be found in No. <a href="#B297">297</a>.)</p> + +<p><a name="B302" id="B302">*302.</a> —— The Swan Theatre and the Earl of Pembroke's Servants. +(<i>Englische Studien</i>, <span class="smcap">xliii</span>, 340. See Nos. <a href="#B257">257</a>, <a href="#B263">263</a>.)</p> + +<p><a name="B303" id="B303">*303.</a> —— Three London Theatres of Shakespeare's Time. (<i>University +Studies</i>, University of Nebraska, <span class="smcap">ix</span>, 287.)</p> + +<p><a name="B304" id="B304">*304.</a> <span class="smcap">Warner, G.F.</span> <i>Catalogue of the Manuscripts and Muniments of +Alleyn's College of God's Gift at Dulwich.</i> [London], 1881.</p> + +<p><a name="B305" id="B305">305.</a> <span class="smcap">Wheatley, H.B.</span> <i>London, Past and Present.... Based upon the +Handbook of London by the late Peter Cunningham.</i> London and New York, +1891. (See No. <a href="#B81">81</a>.)</p> + +<p><a name="B306" id="B306">*306.</a> —— On a Contemporary Drawing of the Interior of the Swan +Theatre, 1596. (<i>The New Shakspere Society's Transactions</i>, 1887-90, +p. 213.)</p> + +<p><span class="smcap">Whitefriars.</span> See Nos. <a href="#B5">5</a>, <a href="#B6">6</a>, <a href="#B7">7</a>, <a href="#B19">19</a>, <a href="#B43">43</a>, <a href="#B60">60</a>, <a href="#B61">61</a>, <a href="#B86">86</a>, <a href="#B141">141</a>, <a href="#B144">144</a>, <a href="#B189">189</a>, <a href="#B196">196</a>, +<a href="#B201">201</a>, <a href="#B214">214</a>, <a href="#B218">218</a>, <a href="#B223">223</a>, <a href="#B239">239</a>, <a href="#B287">287</a>, <a href="#B293">293</a>, <a href="#B297">297</a>.</p> + +<p><a name="B307" id="B307">*307.</a> <span class="smcap">Wilkinson, R.</span> <i>Londina Illustrata.</i> 2 vols. London, 1819-25. +(The second volume is entitled <i>Theatrum Illustrata</i>.)</p> + +<p><a name="B308" id="B308">308.</a> <span class="smcap">Wilson, J.D.</span> <i>Life in Shakespeare's England.</i> Cambridge, 1911. +(Chap. <span class="smcap">vii</span>, "The Theatre.")<span class="pagenum"><a name="Page_456" id="Page_456">456</a></span></p> + +<p><a name="B309" id="B309">*309.</a> —— The Puritan Attack upon the Stage. (<i>The Cambridge History +of English Literature</i>, vol. <span class="smcap">vi</span>.)</p> + +<p><a name="B310" id="B310">*310.</a> <span class="smcap">Winwood, R.</span> <i>Memorials of Affairs of State.</i> 3 vols. London, +1725.</p> + +<p><a name="B311" id="B311">311.</a> <span class="smcap">Woolf, A.H.</span> <i>Shakespeare and the Old Southwark Playhouses: a +Lecture.</i> London, 1903. (20 pp., 8vo, privately printed.)</p> + +<p><a name="B312" id="B312">312.</a> <span class="smcap">Wotton, Sir H.</span> <i>Reliquiæ Wottonianæ.</i> London, 1651.</p> + +<p><a name="B313" id="B313">313.</a> <span class="smcap">Wright, G.R.</span> The English Stage in the Year 1638. (<i>The Journal of +the British Archæological Association</i>, <span class="smcap">xvi</span>, 275; reprinted in the +author's <i>Archæologic and Historic Fragments</i>, London, 1887.)</p> + +<p><a name="B314" id="B314">*314.</a> <span class="smcap">Wright, J.</span> <i>Historia Histrionica</i>, London, 1699. (Reprinted in +Hazlitt's Dodsley, vol. <span class="smcap">xv</span>.)</p> + +<p><a name="B315" id="B315">315.</a> <span class="smcap">Wright, T.</span> <i>Queen Elizabeth and Her Times.</i> 2 vols. London, 1838.</p> + +<p><a name="B316" id="B316">*316.</a> <span class="smcap">Young, W.</span> <i>The History of Dulwich College, with a Life of the +Founder, Edward Alleyn, and an Accurate Transcript of his Diary, +1617-1622.</i> 2 vols. London, 1889. (Edition limited to 250 copies, +privately printed for the author.)</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_457" id="Page_457">457</a></span></p> +<h2><a name="MAPS_AND_VIEWS_OF_LONDON" id="MAPS_AND_VIEWS_OF_LONDON"></a>MAPS AND VIEWS OF LONDON</h2> + + +<h3><br />I</h3> + +<p><span class="smcap">Crace, J.G.</span> <i>A Catalogue of Maps, Plans, and Views of London, +Westminster, and Southwark, Collected and Arranged by Frederick +Crace.</i> London, 1878. (This collection of maps is now in the British +Museum. The Catalogue is not always trustworthy.)</p> + +<p><span class="smcap">Gomme, L.</span> The Story of London Maps. (<i>The Geographical Journal</i>, +London, 1908, <span class="smcap">xxxi</span>, 489, 616.)</p> + +<p><span class="smcap">Martin, W.</span> A Study of Early Map-Views of London. (<i>The Antiquary</i>, +London, 1909, <span class="smcap">xlv</span>, 337, 406. See also <i>Home Counties Magazine</i>, <span class="smcap">ix</span>.)</p> + + +<h3>II</h3> + +<p><span class="smcap">Van den Wyngaerde, A.</span> View of London, Westminster, and Southwark. (The +original drawing, made about 1530, is now preserved in the Sutherland +Collection in the Bodleian Library. A reproduction in three sections +will be found in Besant's <i>London in the Time of the Tudors</i>.)</p> + +<p><span class="smcap">Braun, G., and F. Hogenbergius.</span> <i>Londinum Feracissimi Angliæ Regni +Metropolis.</i> (In <i>Civitates Orbis Terrarum</i>, Cologne, 1572. The map is +based on an original, now lost, drawn between 1554 and 1558; see +Alfred Marks, <i>The Athenæum</i>, March 31, 1906.)</p> + +<p><span class="smcap">Agas, R.</span> <i>Civitas Londinum.</i> (This map, executed about 1570, is based +on the same original map, 1554-58, made use of by Braun and +Hogenbergius, although Agas has introduced a few changes. The two +earliest copies are in Guildhall, London, and in the Pepysian Library +at Cambridge. The student should be warned against Vertue's +reproduc<span class="pagenum"><a name="Page_458" id="Page_458">458</a></span>tion, often met with. The best reproduction is that by The +London Topographical Society, 1905.)</p> + +<p><span class="smcap">Norden, J.</span> <i>London.</i> (In <i>Speculum Britanniæ, an Historical and +Chorographical Description of Middlesex. By the Travaile and View of +John Norden</i>. London, 1593. The map was engraved by Pieter Vanden +Keere.)</p> + +<p><span class="smcap">Delaram, F.</span> View of London. (In the background of an engraving, made +about 1603, representing King James on horseback.)</p> + +<p><span class="smcap">Hondius, J.</span> <i>London.</i> (A small view of the city set in the large map +of "The Kingdome of Great Britaine and Ireland" printed in John +Speed's <i>Theatre of the Empire of Great Britaine</i>, London, 1611. The +plate is dated 1610, but the inset view of London seems to have been +based on an earlier view, now lost, representing the city as it was in +or before 1605. Apparently the views, in the Delaram portrait of King +James, and on the title-pages of Henry Holland's <i>Herωologia</i>, +1620, and Sir Richard Baker's <i>Chronicle</i>, 1643, were based +also on this lost view.)</p> + +<p><span class="smcap">Visscher, C.J.</span> <i>London.</i> (This splendid view was printed in 1616; but +it was drawn several years earlier, and represents the city as it was +in or before 1613.)</p> + +<p><span class="smcap">Merian, M.</span> <i>London.</i> (In J.L. Gottfried's <i>Neuwe Archontologia +Cosmica</i>, Frankfurt am Mayn, 1638. Based mainly on Visscher's View, +but with additions from some other earlier view not yet identified.)</p> + +<p>[<span class="smcap">Ryther, A.</span>] <i>The Cittie of London.</i> (This map, erroneously attributed +to Ryther in the Catalogue of the Crace Collection, is often misdated +1604. It was made between 1630 and 1640; see <i>Notes and Queries</i>, <span class="smcap">iv</span> +Series, <span class="smcap">ix</span>, 95; <span class="smcap">vi</span> Series, <span class="smcap">xii</span>, 361, 393; <span class="smcap">vii</span> Series, <span class="smcap">iii</span>, 110, 297, +498.)</p> + +<p><span class="smcap">Hollar, W.</span> View of London. (The View is dated 1647; Hollar was in +banishment from England between the years 1643 and 1652. Excellently +reproduced by The London Topographical Society, 1907.)</p> + +<p>[? <span class="smcap">Hollar, W.</span>] <i>London.</i> (In James Howell's <i>Londinopolis</i>, London, +1657. This view is a poor copy of Merian's splendid view, 1638. Though +generally attributed to Hollar, it is unsigned.)<span class="pagenum"><a name="Page_459" id="Page_459">459</a></span></p> + +<p><span class="smcap">Faithorne, W., and R. Newcourt.</span> <i>An Exact Delineation of the Cities of +London and Westminster, and the Suburbs Thereof.</i> London, 1658. +(Reproduced by The London Topographical Society, 1905.)</p> + +<p><span class="smcap">Porter, T.</span> Map of London and Westminster. (About 1660. Probably based +on the earlier map, 1630-40, mistakenly ascribed to Ryther. Reproduced +by The London Topographical Society, 1898.)</p> + +<p><span class="smcap">Moore, J.</span> Map of London, Westminster, and Southwark. (Drawn in 1662. +Reproduced by The London Topographical Society, 1912.)</p> + +<p><span class="smcap">Ogilby, J., and W. Morgan.</span> <i>A Large and Accurate Map of the City of +London, 1677.</i> (Reproduced by The London and Middlesex Archæological +Society, 1895, with Ogilby's description of the map, entitled <i>London +Surveyed</i>.)</p> + +<p><span class="smcap">Morden, R., and P. Lea.</span> <i>London &c. Actually Survey'd, 1682.</i> +(Reproduced by The London Topographical Society, 1904.)</p> + +<p><span class="smcap">Rocque, J.</span> <i>An Exact Survey of the Cities of London and Westminster, +the Borough of Southwark.... Begun in 1741, Finished in 1745, and +published in 1746.</i> London, 1746. (An excellent reproduction of this +large map is now being issued in parts by The London Topographical +Society, 1913-.)</p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_461" id="Page_461">461</a></span></p> +<h2><a name="INDEX" id="INDEX"></a>INDEX</h2> + + +<p> +<i>Abuses</i>, <a href="#Page_116">116</a>.<br /> +<br /> +<a name="ADMIRAL"></a>Admiral—Prince Henry—1 Palsgrave—3 Prince Charles's Company:<br /> +<span style="margin-left: 1em;">Admiral's Company, <a href="#Page_14">14</a>, <a href="#Page_16">16</a>, <a href="#Page_61">61</a> <i>n.</i>, <a href="#Page_72">72-73</a>, <a href="#Page_153">153-57</a>, <a href="#Page_174">174-75</a>, <a href="#Page_176">176</a>, <a href="#Page_267">267</a>, <a href="#Page_269">269</a>, <a href="#Page_272">272</a>, <a href="#Page_281">281-82</a>, <a href="#Page_289">289-90</a>.</span><br /> +<span style="margin-left: 1em;">Prince Henry's Company, <a href="#Page_88">88</a>, <a href="#Page_282">282-83</a>, <a href="#Page_295">295</a>.</span><br /> +<span style="margin-left: 1em;">Palsgrave's Company, <a href="#Page_283">283-87</a>, <a href="#Page_290">290</a>, <a href="#Page_368">368</a>, <a href="#Page_369">369</a> <i>n.</i>, <a href="#Page_375">375</a>.</span><br /> +<span style="margin-left: 1em;">Prince Charles II's Company, <a href="#Page_287">287</a>, <a href="#Page_289">289-90</a>, <a href="#Page_303">303</a>, <a href="#Page_375">375-79</a>, <a href="#Page_401">401</a>.</span><br /> +<br /> +Æschylus, <a href="#Page_398">398</a>.<br /> +<br /> +Agas, Ralph, <a href="#Page_328">328</a>, <a href="#Page_392">392</a>.<br /> +<br /> +<i>Aglaura</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<a name="ALBEMARLE"></a>Albemarle, George Monck, <span class="smcap">i</span> Duke of, <a href="#Page_365">365</a>, <a href="#Page_405">405</a>.<br /> +<br /> +Albright, V.E., <a href="#Page_vii">vii</a>.<br /> +<br /> +<i>Alchemist, The</i>, <a href="#Page_419">419</a>.<br /> +<br /> +<i>Alcimedon</i>, <a href="#Page_422">422</a>.<br /> +<br /> +Aldgate, <a href="#Page_7">7</a>, <a href="#Page_10">10</a>.<br /> +<br /> +<i>Alexander and Campaspe</i>, <a href="#Page_109">109</a>, <a href="#Page_113">113</a>.<br /> +<br /> +<i>Alfonso</i>, <a href="#Page_232">232</a>.<br /> +<br /> +Allen, William, <a href="#Page_305">305</a>.<br /> +<br /> +Alleyn, Edward, <a href="#Page_57">57</a>, <a href="#Page_72">72</a>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_133">133</a>, <a href="#Page_140">140</a>, <a href="#Page_150">150-51</a>, <a href="#Page_153">153</a>, <a href="#Page_156">156</a>, <a href="#Page_246">246</a>, <a href="#Page_267">267-74</a>, <a href="#Page_281">281-87</a>, <a href="#Page_299">299</a>, <a href="#Page_319">319</a>, <a href="#Page_335">335-36</a>.<br /> +<br /> +<a name="GYLES_ALLEYN"></a>Alleyn, Gyles, <a href="#Page_30">30-38</a>, <a href="#Page_43">43</a>, <a href="#Page_47">47</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>, <a href="#Page_58">58-65</a>, <a href="#Page_84">84</a>, <a href="#Page_182">182</a>, <a href="#Page_190">190</a>, <a href="#Page_199">199</a>, <a href="#Page_234">234</a>.<br /> +<br /> +Alleyn, Joan Woodward, <a href="#Page_ix">ix</a>, <a href="#Page_151">151</a>.<br /> +<br /> +Alleyn, John, <a href="#Page_57">57-58</a>, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>.<br /> +<br /> +Alleyn, Sara. <i>See</i> <a href="#GYLES_ALLEYN">Gyles Alleyn</a>.<br /> +<br /> +<i>All is True</i>, <a href="#Page_251">251-55</a>. <i>See <a href="#HENRY_VIII">Henry VIII</a>.</i><br /> +<br /> +<i>All's Lost by Lust</i>, <a href="#Page_309">309</a>.<br /> +<br /> +Allyn, Sir William, <a href="#Page_81">81</a>.<br /> +<br /> +Alnwick Castle, <a href="#Page_173">173</a> <i>n.</i><br /> +<br /> +<i>Amends for Ladies</i>, <a href="#Page_346">346</a>.<br /> +<br /> +Amphitheatre, the projected, <a href="#Page_411">411-17</a>.<br /> +<br /> +<i>Andronicus</i>, <a href="#Page_140">140</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Androwes, George, <a href="#Page_313">313</a>, <a href="#Page_314">314</a>, <a href="#Page_315">315</a>.<br /> +<br /> +Anjou, Duke of, <a href="#Page_385">385</a>.<br /> +<br /> +Anne of Denmark, Queen of England, <a href="#Page_300">300</a>, <a href="#Page_353">353</a>.<br /> +<span style="margin-left: 1em;">Her players, <i>see under</i> +<a href="#WORCESTER">Worcester</a>, <a href="#CHILDREN_CHAPEL">Children of the Chapel</a>, and +<a href="#CHILDREN_HER_MAJESTY">Children of Her Majesty's Royal Chamber</a>.</span><br /> +<br /> +<i>Antonio's Revenge</i>, <a href="#Page_112">112</a>.<br /> +<br /> +Apothecaries, Society of, <a href="#Page_191">191</a> <i>n.</i><br /> +<br /> +<i>Architectural Record, The</i>, <a href="#Page_ix">ix</a>, <a href="#Page_395">395</a>.<br /> +<br /> +Aristophanes, <a href="#Page_398">398</a>.<br /> +<br /> +Armin, Robert, <a href="#Page_316">316</a>.<br /> +<br /> +Arundel and Surrey, Thomas Howard, 2 Earl of, <a href="#Page_426">426</a>, <a href="#Page_429">429</a>, <a href="#Page_430">430</a>.<br /> +<br /> +Arundel's Company, <a href="#Page_70">70</a>, <a href="#Page_83">83</a>.<br /> +<br /> +<i>Arviragus and Philicia</i>, <a href="#Page_401">401</a>.<br /> +<br /> +Ashen-tree Court, <a href="#Page_313">313</a>.<br /> +<br /> +Ashley, Sir Anthony, <a href="#Page_322">322</a>.<br /> +<br /> +Aubrey, John, <a href="#Page_78">78</a>, <a href="#Page_364">364</a>.<br /> +<br /> +Aunay, Josias d', <a href="#Page_423">423</a>.<br /> +<br /> +<br /> +Bacon, Anthony, <a href="#Page_15">15</a>.<br /> +<br /> +Bacon, Sir Edmund, <a href="#Page_320">320</a>.<br /> +<br /> +Bacon, Francis, <a href="#Page_15">15</a>, <a href="#Page_65">65</a>.<br /> +<br /> +Baker, Michael, <a href="#Page_430">430</a>.<br /> +<br /> +Baker, Sir Richard, <a href="#Page_127">127</a>, <a href="#Page_146">146</a>.<br /> +<br /> +Banks, Jeremiah, <a href="#Page_306">306</a>.<br /> +<br /> +Banks's horse, <a href="#Page_13">13</a>.<br /> +<br /> +Bankside, <a href="#Page_28">28-29</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_119">119</a> f., <a href="#Page_134">134</a> f., <a href="#Page_142">142</a> f., <a href="#Page_161">161</a> f., <a href="#Page_182">182-83</a>, <a href="#Page_185">185</a>, <a href="#Page_238">238</a> f., <a href="#Page_267">267</a>, <a href="#Page_326">326</a> f.<br /> +<br /> +Banqueting-House at Whitehall, <a href="#Page_385">385-89</a>.<br /> +<br /> +Barclay, Perkins, and Company, <a href="#Page_265">265</a>.<br /> +<br /> +<a name="DAVID_BARRY"></a>Barry, David Lording, <a href="#Page_313">313</a>, <a href="#Page_314">314-15</a>, <a href="#Page_316">316</a>, <a href="#Page_317">317</a>.<br /> +<br /> +Barry, Lodowick. <i>See</i> <a href="#DAVID_BARRY">David Barry</a>.<br /> +<br /> +<i>Bartholomew Fair</i>, <a href="#Page_325">325</a> <i>n.</i>, <a href="#Page_330">330</a>, <a href="#Page_334">334</a>.<br /> +<br /> +Bath, <a href="#Page_71">71</a>.<br /> +<br /> +Baxter, Richard, <a href="#Page_300">300-01</a>.<br /> +<br /> +Bear Alley, <a href="#Page_340">340</a>, <a href="#Page_341">341</a>.<br /> +<br /> +<a name="BEAR_GARDEN"></a>Bear Garden (First), <a href="#Page_15">15</a>, <a href="#Page_119">119-33</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_146">146</a> <i>n.</i>, <a href="#Page_159">159</a> <i>n.</i>, <a href="#Page_167">167</a>, <a href="#Page_182">182</a>, <a href="#Page_238">238</a>, <a href="#Page_244">244</a>, <a href="#Page_248">248</a>, <a href="#Page_326">326</a>, <a href="#Page_328">328</a>, <a href="#Page_329">329</a>, <a href="#Page_332">332</a> <i>n.</i>, <a href="#Page_336">336</a>, <a href="#Page_416">416</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_462" id="Page_462">462</a></span>Bear Garden (Second). <i>See</i> +<a href="#HOPE">Hope Playhouse</a>.<br /> +<br /> +Bear Garden Alley, <a href="#Page_340">340</a>, <a href="#Page_341">341</a>.<br /> +<br /> +Bear Garden Glass House, <a href="#Page_341">341</a> <i>n.</i><br /> +<br /> +Bear Garden Square, <a href="#Page_341">341</a>.<br /> +<br /> +Beaumont, Francis, <a href="#Page_116">116</a>, <a href="#Page_304">304</a>.<br /> +<br /> +Beaven, William, <a href="#Page_293">293</a>.<br /> +<br /> +Beddingfield, Anne, <a href="#Page_294">294</a>.<br /> +<br /> +Beddingfield, Christopher, <a href="#Page_294">294</a>.<br /> +<br /> +Beecher, Sir William, <a href="#Page_230">230</a>.<br /> +<br /> +Beeston, Christopher, <a href="#Page_158">158</a>, <a href="#Page_299">299-300</a>, <a href="#Page_350">350-58</a>, <a href="#Page_374">374</a>, <a href="#Page_421">421</a>.<br /> +<br /> +Beeston, Mrs. Elizabeth, <a href="#Page_362">362</a>.<br /> +<br /> +Beeston, William, <a href="#Page_358">358-61</a>, <a href="#Page_380">380-83</a>.<br /> +<br /> +Beeston's Boys. <i>See</i> <a href="#KINGS_QUEENS">King's and Queen's Company</a>.<br /> +<br /> +<i>Beggar's Bush</i>, <a href="#Page_403">404</a>.<br /> +<br /> +Bell, Hamilton, <a href="#Page_ix">ix</a>, <a href="#Page_395">395-400</a>.<br /> +<br /> +Bell Inn, <a href="#Page_1">1-17</a>, <a href="#Page_67">67</a>.<br /> +<br /> +Bell Savage Inn, <a href="#Page_1">1-17</a>.<br /> +<br /> +Bermondsey, Monastery of, <a href="#Page_161">161</a>.<br /> +<br /> +Bethelem, <a href="#Page_69">69</a>.<br /> +<br /> +Betterton, Thomas, <a href="#Page_366">366</a>, <a href="#Page_406">406</a>.<br /> +<br /> +Betterton, Mrs. Thomas, <a href="#Page_406">406</a> <i>n.</i><br /> +<br /> +Bevis, <a href="#Page_133">133</a>.<br /> +<br /> +Bird, Theophilus, <a href="#Page_350">350</a> <i>n.</i>, <a href="#Page_381">381</a>.<br /> +<br /> +Bird, William, <a href="#Page_170">170</a>, <a href="#Page_174">174</a>.<br /> +<br /> +Bishop, Nicholas, <a href="#Page_57">57</a>.<br /> +<br /> +Bishopsgate Street, <a href="#Page_7">7</a> f., <a href="#Page_67">67</a>.<br /> +<br /> +<i>Black Book, The</i>, <a href="#Page_73">73</a> <i>n.</i><br /> +<br /> +Blackfriars Playhouse (First), <a href="#Page_8">8</a>, <a href="#Page_91">91-110</a>, <a href="#Page_113">113</a>, <a href="#Page_183">183</a>, <a href="#Page_194">194</a>, <a href="#Page_201">201</a>, <a href="#Page_202">202</a>, <a href="#Page_204">204</a>, <a href="#Page_208">208</a>, <a href="#Page_311">311</a> <i>n.</i><br /> +<br /> +Blackfriars Playhouse (Second), <a href="#Page_59">59</a>, <a href="#Page_74">74</a>, <a href="#Page_86">86</a>, <a href="#Page_93">93</a>, <a href="#Page_98">98</a> <i>n.</i>, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>, <a href="#Page_182">182-233</a>, <a href="#Page_250">250</a>, <a href="#Page_256">256</a>, <a href="#Page_260">260</a>, <a href="#Page_261">261</a>, <a href="#Page_311">311</a>, <a href="#Page_312">312</a>, <a href="#Page_317">317</a>, <a href="#Page_319">319</a>, <a href="#Page_320">320</a>, <a href="#Page_324">324</a>, <a href="#Page_343">343</a>, <a href="#Page_350">350</a>, <a href="#Page_355">355</a>, <a href="#Page_356">356</a>, <a href="#Page_365">365</a>, <a href="#Page_369">369</a>, <a href="#Page_372">372</a> <i>n.</i>, <a href="#Page_373">373</a>, <a href="#Page_402">402</a>, <a href="#Page_403">403</a>, <a href="#Page_403">404</a>, <a href="#Page_428">428</a>.<br /> +<br /> +Blackfriars Playhouse (Rosseter's). <i>See</i> <a href="#ROSSETERS">Rosseter's Blackfriars</a>.<br /> +<br /> +Blagrove, Thomas, <a href="#Page_369">369</a>.<br /> +<br /> +Blagrove, William, <a href="#Page_368">368-72</a>, <a href="#Page_374">374</a>, <a href="#Page_424">424</a>.<br /> +<br /> +<i>Bloody Brother, The</i>, <a href="#Page_363">363</a>.<br /> +<br /> +Blount, Thomas, <a href="#Page_122">122</a>.<br /> +<br /> +Boar's Head Inn, Eastcheap, <a href="#Page_7">7</a> <i>n.</i><br /> +<br /> +Boar's Head Inn, Whitechapel, <a href="#Page_1">1-17</a>, <a href="#Page_87">87</a>, <a href="#Page_157">157-58</a>, <a href="#Page_159">159</a>.<br /> +<br /> +Boar's Head Yard, <a href="#Page_17">17</a>.<br /> +<br /> +Bodley, Sir John, <a href="#Page_256">256-57</a>, <a href="#Page_262">262</a>.<br /> +<br /> +<i>Bondman, The</i>, <a href="#Page_382">382</a>.<br /> +<br /> +Bonetti, Rocho, <a href="#Page_194">194-95</a>.<br /> +<br /> +Boone, Colonel, <a href="#Page_382">382</a>.<br /> +<br /> +Bourne, Theophilus, <a href="#Page_350">350</a> <i>n.</i><br /> +<br /> +Bouverie Street, <a href="#Page_313">313</a>.<br /> +<br /> +Bowes, Sir Jerome, <a href="#Page_184">184</a>.<br /> +<br /> +Bowman (the actor), <a href="#Page_405">405</a> <i>n.</i><br /> +<br /> +Box, Edward, <a href="#Page_160">160</a>.<br /> +<br /> +Bradshaw, Charles, <a href="#Page_192">192</a>.<br /> +<br /> +Braun, G., and F. Hogenbergius, <a href="#Page_122">122</a>.<br /> +<br /> +Brayne, John, <a href="#Page_39">39-58</a>, <a href="#Page_72">72</a>, <a href="#Page_78">78</a>, <a href="#Page_83">83</a>, <a href="#Page_144">144</a>, <a href="#Page_234">234</a>.<br /> +<br /> +Brayne, Mrs. Margaret, <a href="#Page_43">43</a>, <a href="#Page_44">44</a> <i>n.</i>, <a href="#Page_54">54-58</a>.<br /> +<br /> +Brend, Elizabeth, <a href="#Page_264">264</a>.<br /> +<br /> +Brend, Matthew, <a href="#Page_257">257</a>, <a href="#Page_262">262-63</a>.<br /> +<br /> +Brend, Sir Nicholas, <a href="#Page_238">238-39</a>, <a href="#Page_249">249</a>, <a href="#Page_256">256</a>.<br /> +<br /> +Brend, Sir Thomas, <a href="#Page_240">240</a> <i>n.</i>, <a href="#Page_249">249</a>.<br /> +<br /> +Brend, Thomas (the younger), <a href="#Page_264">264</a>.<br /> +<br /> +Bridges Street, <a href="#Page_408">408</a>.<br /> +<br /> +Bristol, <a href="#Page_172">172</a>.<br /> +<br /> +Brockenbury, Richard, <a href="#Page_35">35</a>.<br /> +<br /> +Brome, Richard, <a href="#Page_233">233</a>, <a href="#Page_361">361</a>, <a href="#Page_379">379</a>.<br /> +<br /> +Bromvill, Peter, <a href="#Page_176">176</a>.<br /> +<br /> +Brooke. <i>See</i> <a href="#COBHAM">Cobham</a>.<br /> +<br /> +Browker, Hugh, <a href="#Page_176">176-77</a>.<br /> +<br /> +Brown, Sir Matthew, <a href="#Page_256">256</a>.<br /> +<br /> +Brown, Rawdon, <a href="#Page_279">279</a> <i>n.</i><br /> +<br /> +Browne, Robert, <a href="#Page_318">318</a>.<br /> +<br /> +Bruskett, Thomas, <a href="#Page_191">191</a>, <a href="#Page_195">195</a>.<br /> +<br /> +Bryan, Sir Francis, <a href="#Page_184">184</a>.<br /> +<br /> +Bryan, George, <a href="#Page_73">73</a>.<br /> +<br /> +Buc, Sir George, <a href="#Page_321">321</a>, <a href="#Page_325">325</a>, <a href="#Page_343">343</a>.<br /> +<br /> +Buchell, Arend van, <a href="#Page_166">166</a>.<br /> +<br /> +Buckhurst, Robert, Lord, <a href="#Page_311">311-12</a>, <a href="#Page_314">314</a>.<br /> +<br /> +Bull Inn, <a href="#Page_1">1-17</a>, <a href="#Page_67">67</a>, <a href="#Page_294">294</a> <i>n.</i><br /> +<br /> +Burbage, Cuthbert, <a href="#Page_39">39</a> <i>n.</i>, <a href="#Page_40">40</a>, <a href="#Page_45">45</a> <i>n.</i>, <a href="#Page_49">49</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54-65</a>, <a href="#Page_74">74</a>, <a href="#Page_84">84</a>, <a href="#Page_198">198</a>, <a href="#Page_199">199-200</a>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a>, <a href="#Page_234">234-41</a>, <a href="#Page_249">249</a>, <a href="#Page_257">257</a>, <a href="#Page_282">282</a>.<br /> +<br /> +Burbage, James, <a href="#Page_11">11</a>, <a href="#Page_27">27-59</a>, <a href="#Page_65">65</a>, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_70">70-74</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a>, <a href="#Page_83">83</a>, <a href="#Page_91">91</a>, <a href="#Page_98">98</a> <i>n.</i>, <a href="#Page_144">144</a>, <a href="#Page_161">161</a>, <a href="#Page_182">182-99</a>, <a href="#Page_202">202</a>, <a href="#Page_234">234</a>.<br /> +<br /> +Burbage, Mrs. James, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_63">63</a>.<br /> +<br /> +Burbage, Richard, <a href="#Page_40">40</a>, <a href="#Page_57">57</a>, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_84">84</a>, <a href="#Page_111">111</a>, <a href="#Page_117">117</a>, <a href="#Page_140">140</a>, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200-01</a>, <a href="#Page_204">204</a>, <a href="#Page_208">208</a> <i>n.</i>, <a href="#Page_215">215</a>, <a href="#Page_218">218</a>, <a href="#Page_223">223-25</a>, <a href="#Page_234">234-41</a>, <a href="#Page_249">249</a>, <a href="#Page_255">255</a>, <a href="#Page_257">257</a>, <a href="#Page_261">261</a>, <a href="#Page_282">282</a>, <a href="#Page_317">317</a>, <a href="#Page_319">319</a>, <a href="#Page_325">325</a>.<br /> +<br /> +Burghley, William Cecil, Lord, <a href="#Page_14">14</a>, <a href="#Page_20">20</a>, <a href="#Page_69">69</a>.<br /> +<br /> +Burgram, John, <a href="#Page_242">242-43</a>.<br /> +<br /> +Burnell, Henry, <a href="#Page_418">418</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_463" id="Page_463">463</a></span>Burt, Nicholas, <a href="#Page_363">363</a>, <a href="#Page_367">367</a>.<br /> +<br /> +Burt, Thomas, <a href="#Page_241">241-42</a>.<br /> +<br /> +Busino, Orazio, <a href="#Page_130">130</a>, <a href="#Page_279">279</a>.<br /> +<br /> +<i>Bussy D'Ambois</i>, <a href="#Page_400">400</a>, <a href="#Page_403">404</a>.<br /> +<br /> +Buttevant, Viscount, <a href="#Page_313">313</a> <i>n.</i><br /> +<br /> +<i>Byron</i>, <a href="#Page_220">220</a>, <a href="#Page_316">316</a>.<br /> +<br /> +<br /> +C., W., <a href="#Page_302">302</a>.<br /> +<br /> +Cambridge, <a href="#Page_67">67</a>.<br /> +<br /> +Camden, William, <a href="#Page_350">350</a>, <a href="#Page_352">352</a>.<br /> +<br /> +<i>Campaspe</i>, <a href="#Page_109">109</a>, <a href="#Page_113">113</a>.<br /> +<br /> +Campeggio, Cardinal Lorenzo, <a href="#Page_186">186</a>.<br /> +<br /> +Cape, Walter, <a href="#Page_55">55</a>.<br /> +<br /> +<i>Cardinal, The</i>, <a href="#Page_406">406</a>.<br /> +<br /> +<i>Careless Shepherdess, The</i>, <a href="#Page_302">302</a>.<br /> +<br /> +Carew, Thomas, <a href="#Page_302">302</a>, <a href="#Page_356">356</a>.<br /> +<br /> +Carey. <i>See</i> <a href="#HUNSDON">Hunsdon</a>.<br /> +<br /> +Carlell, Lodowick, <a href="#Page_403">404</a>.<br /> +<br /> +Carleton, Mrs. Alice, <a href="#Page_260">260</a>.<br /> +<br /> +Carleton, Sir Dudley, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_281">281</a>, <a href="#Page_284">284</a>, <a href="#Page_388">388</a>, <a href="#Page_393">393</a>.<br /> +<br /> +Carter, Lane, <a href="#Page_231">231</a>.<br /> +<br /> +Cartwright, William, <a href="#Page_374">374</a>.<br /> +<br /> +Castle, Tavern, <a href="#Page_348">348</a> <i>n.</i><br /> +<br /> +Castlemaine, Lady, <a href="#Page_406">406</a>.<br /> +<br /> +Catherine of Aragon, Queen, <a href="#Page_186">186</a>.<br /> +<br /> +Cawarden, Sir Thomas, <a href="#Page_96">96</a>, <a href="#Page_184">184</a>, <a href="#Page_186">186-90</a>, <a href="#Page_193">193</a>.<br /> +<br /> +Challes, <a href="#Page_69">69-70</a>, <a href="#Page_83">83</a>.<br /> +<br /> +Chalmers, George, <a href="#Page_137">137-38</a>, <a href="#Page_428">428</a>.<br /> +<br /> +Chamberlain, John, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_252">252</a>, <a href="#Page_260">260</a>, <a href="#Page_281">281</a>, <a href="#Page_284">284</a>, <a href="#Page_388">388</a>, <a href="#Page_392">392</a>, <a href="#Page_393">393</a>.<br /> +<br /> +Chamberlain's Company. <i>See</i> <a href="#STRANGE_DERBY">Strange-Derby, etc., company</a>.<br /> +<br /> +Chambers, E.K., <a href="#Page_ix">ix</a>, <a href="#Page_44">44</a> <i>n.</i>, <a href="#Page_230">230</a> <i>n.</i>, <a href="#Page_247">247</a>.<br /> +<br /> +Chambers, George, <a href="#Page_206">206</a>.<br /> +<br /> +Chambers, Richard, <a href="#Page_206">206</a>.<br /> +<br /> +<i>Chances, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Changes, The</i>, <a href="#Page_376">376-78</a>.<br /> +<br /> +Chapel Royal, <a href="#Page_91">91</a> f. <i>See also</i> +<a href="#CHILDREN_CHAPEL">Children of the Chapel</a>.<br /> +<br /> +Chapman, George, <a href="#Page_116">116</a>, <a href="#Page_206">206</a>, <a href="#Page_217">217</a>, <a href="#Page_220">220</a>.<br /> +<br /> +Chappell, John, <a href="#Page_206">206</a>.<br /> +<br /> +Charles I, <a href="#Page_227">227</a>, <a href="#Page_231">231</a>, <a href="#Page_301">301-02</a>, <a href="#Page_359">359</a>, <a href="#Page_394">394</a>, <a href="#Page_395">395</a>, <a href="#Page_414">414</a>, <a href="#Page_424">424</a>.<br /> +<span style="margin-left: 1em;">His players, <i>see</i> <a href="#KINGS_QUEENS">King's and Queen's Company</a>, +<a href="#KINGS_REVELS">King's Revels Company</a>, +<a href="#PRINCE_CHARLES">Prince Charles's Company</a>, +<a href="#STRANGE_DERBY">Strange-Derby, etc., Company</a>.</span><br /> +<br /> +Charles II, <a href="#Page_287">287</a>, <a href="#Page_405">405</a>.<br /> +<span style="margin-left: 1em;">His players, <i>see under</i> <a href="#ADMIRAL">Admiral</a>.</span><br /> +<br /> +Chasserau, Peter, <a href="#Page_75">75</a> <i>n.</i>, <a href="#Page_79">79</a>.<br /> +<br /> +Cheeke, Sir John, <a href="#Page_96">96</a>, <a href="#Page_184">184</a>, <a href="#Page_190">190</a>.<br /> +<br /> +Chettle, Henry, <a href="#Page_158">158</a>.<br /> +<br /> +Cheyney, Sir Thomas, the Lord Warden, <a href="#Page_184">184</a>, <a href="#Page_188">188</a>.<br /> +<br /> +Children of Blackfriars. <i>See</i> <a href="#CHILDREN_CHAPEL">Children of the Chapel</a>, etc.<br /> +<br /> +<a name="CHILDREN_HER_MAJESTY"></a>Children of Her Majesty's (Queen Anne's) Royal Chamber of Bristol, <a href="#Page_215">215</a> <i>n.</i><br /> +<br /> +<a name="CHILDREN_HIS_MAJESTY"></a>Children of His Majesty's (James I's) Revels (at Whitefriars), <a href="#Page_224">224</a>.<br /> +<br /> +<a name="CHILDREN_ST_PAULS"></a>Children of St. Paul's, <a href="#Page_91">91</a>, <a href="#Page_108">108-10</a>, <a href="#Page_111">111-18</a>, <a href="#Page_217">217</a>, <a href="#Page_311">311</a> <i>n.</i>, <a href="#Page_319">319</a>.<br /> +<br /> +<a name="CHILDREN_CHAPEL"></a>Children of the Chapel—1 Queen's Revels—Revels—Whitefriars—2 Queen's Revels Company:<br /> +<span style="margin-left: 1em;">Children of the Chapel (at First Blackfriars), <a href="#Page_91">91-110</a>, <a href="#Page_111">111</a>, <a href="#Page_113">113</a>.</span><br /> +<span style="margin-left: 1em;">Children of the Chapel (at Second Blackfriars), <a href="#Page_200">200-15</a>, <a href="#Page_237">237</a>, <a href="#Page_249">249-50</a>.</span><br /> +<span style="margin-left: 1em;">1 Children of the Queen's (Anne's) Revels, <a href="#Page_215">215-18</a>, <a href="#Page_219">219</a>, <a href="#Page_311">311</a>.</span><br /> +<span style="margin-left: 1em;">Children of the Revels (or of Blackfriars), <a href="#Page_218">218-24</a>, <a href="#Page_314">314</a> <i>n.</i>, <a href="#Page_316">316-17</a>.</span><br /> +<span style="margin-left: 1em;">Children of Whitefriars, <a href="#Page_318">318</a>.</span><br /> +<span style="margin-left: 1em;">2 Children of the Queen's (Anne's) Revels, <a href="#Page_117">117</a>, <a href="#Page_318">318-21</a>, <a href="#Page_324">324</a>, <a href="#Page_342">342-46</a>.</span><br /> +<br /> +Children of the Queen's Revels. <i>See under</i> <a href="#CHILDREN_CHAPEL">Children of the Chapel</a>, etc., <i>and under</i> +<a href="#WORCESTER">Worcester-Queen, etc.</a><br /> +<br /> +Children of Whitefriars. <i>See under</i> <a href="#CHILDREN_CHAPEL">Children of the Chapel, etc.</a><br /> +<br /> +<a name="CHILDREN_WINDSOR"></a>Children of Windsor Chapel, <a href="#Page_91">91-108</a>, <a href="#Page_111">111</a>, <a href="#Page_201">201</a>.<br /> +<br /> +Cholmley, John, <a href="#Page_143">143-44</a>, <a href="#Page_148">148</a>, <a href="#Page_148">148</a> <i>n.</i>, <a href="#Page_234">234</a>.<br /> +<br /> +Clerkenwell, <a href="#Page_78">78</a>, <a href="#Page_88">88</a>, <a href="#Page_301">301</a>, <a href="#Page_294">294</a> f.<br /> +<br /> +Clifton, Henry, <a href="#Page_205">205-13</a>.<br /> +<br /> +Clifton, Thomas, <a href="#Page_210">210-13</a>.<br /> +<br /> +Clink, the Liberty of the, <a href="#Page_124">124</a> f., <a href="#Page_135">135</a>, <a href="#Page_142">142</a>, <a href="#Page_145">145</a>, <a href="#Page_161">161</a>.<br /> +<br /> +Clough, George, <a href="#Page_53">53-54</a>.<br /> +<br /> +Cobham, George Brooke, Lord, <a href="#Page_96">96</a>, <a href="#Page_184">184</a>.<br /> +<br /> +Cobham, Henry Brooke, Lord, <a href="#Page_184">184</a>.<br /> +<br /> +<a name="COBHAM"></a>Cobham, William Brooke, Lord, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>, <a href="#Page_184">184</a>, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>, <a href="#Page_212">212</a> <i>n.</i><br /> +<br /> +<span class="pagenum"><a name="Page_464" id="Page_464">464</a></span>Cockpit-in-Court, <a href="#Page_384">384-409</a>, <a href="#Page_420">420</a>.<br /> +<br /> +Cockpit in Dartmouth Street, <a href="#Page_408">408</a> <i>n.</i><br /> +<br /> +<a name="COCKPIT_DRURY"></a>Cockpit Playhouse in Drury Lane, <a href="#Page_291">291</a>, <a href="#Page_297">297</a> <i>n.</i>, <a href="#Page_299">299</a>, <a href="#Page_300">300</a>, <a href="#Page_305">305</a>, <a href="#Page_348">348-67</a>, <a href="#Page_369">369</a>, <a href="#Page_373">373</a>, <a href="#Page_376">376</a> <i>n.</i>, <a href="#Page_381">381</a> <i>n.</i>, <a href="#Page_408">408</a> <i>n.</i>, <a href="#Page_421">421-22</a>, <a href="#Page_431">431</a>.<br /> +<br /> +Cokaine, Sir Aston, <a href="#Page_233">233</a>.<br /> +<br /> +Colefox, Edwin, <a href="#Page_34">34-35</a>.<br /> +<br /> +Collett, John, <a href="#Page_256">256</a>.<br /> +<br /> +Collier, J.P., <a href="#Page_vii">vii</a>, <a href="#Page_76">76</a>, <a href="#Page_138">138</a>, <a href="#Page_230">230</a> <i>n.</i>, <a href="#Page_322">322</a> <i>n.</i>, <a href="#Page_337">337</a>, <a href="#Page_347">347</a> <i>n.</i>, <a href="#Page_353">353</a> <i>n.</i>, <a href="#Page_373">373</a> <i>n.</i><br /> +<br /> +Columbia University, <a href="#Page_277">277</a>.<br /> +<br /> +Condell, Henry, <a href="#Page_224">224</a>, <a href="#Page_238">238</a>, <a href="#Page_255">255</a>, <a href="#Page_257">257</a>, <a href="#Page_258">258</a>, <a href="#Page_262">262</a>, <a href="#Page_355">355</a>.<br /> +<br /> +<i>Conspiracy and Tragedy of Charles, Duke of Byron, The</i>, <a href="#Page_220">220</a>, <a href="#Page_316">316</a>.<br /> +<br /> +<i>Constant Maid, The</i>, <a href="#Page_419">419</a>.<br /> +<br /> +Conway, Edward, Lord, <a href="#Page_414">414-17</a>.<br /> +<br /> +Cooke, William, <a href="#Page_315">315</a>.<br /> +<br /> +Cooper, Lane, <a href="#Page_ix">ix</a>.<br /> +<br /> +Corneille, Pierre, <a href="#Page_406">406</a> <i>n.</i><br /> +<br /> +Cornishe, John, <a href="#Page_241">241-42</a>.<br /> +<br /> +Cotton, John, <a href="#Page_412">412-14</a>.<br /> +<br /> +<i>Court Beggar, The</i>, <a href="#Page_361">361</a>.<br /> +<br /> +Coventry, Thomas, <a href="#Page_414">414-17</a>.<br /> +<br /> +Cranydge, James, <a href="#Page_13">13</a>.<br /> +<br /> +Creed, John, <a href="#Page_366">366</a>.<br /> +<br /> +Crew, John, <a href="#Page_406">406</a>.<br /> +<br /> +Cromwell, Oliver, <a href="#Page_364">364</a>, <a href="#Page_405">405</a>.<br /> +<br /> +Cross Keys Inn, <a href="#Page_1">1-17</a>, <a href="#Page_68">68</a>.<br /> +<br /> +<i>Cruelty of the Spaniards in Peru, The</i>, <a href="#Page_365">365</a>.<br /> +<br /> +Cunningham, Peter, <a href="#Page_322">322</a>, <a href="#Page_372">372</a>, <a href="#Page_374">374</a> <i>n.</i>, <a href="#Page_407">407</a> <i>n.</i><br /> +<br /> +<i>Cupid and Psyche</i>, <a href="#Page_113">113</a>.<br /> +<br /> +<i>Cupid's Whirligig</i>, <a href="#Page_316">316</a>.<br /> +<br /> +Curtain Court, <a href="#Page_79">79</a>, <a href="#Page_90">90</a>.<br /> +<br /> +Curtain Playhouse, <a href="#Page_8">8</a>, <a href="#Page_10">10</a>, <a href="#Page_16">16</a>, <a href="#Page_26">26</a>, <a href="#Page_32">32</a> <i>n.</i>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>, <a href="#Page_72">72</a>, <a href="#Page_75">75-90</a>, <a href="#Page_135">135</a>, <a href="#Page_144">144</a> <i>n.</i>, <a href="#Page_155">155</a>, <a href="#Page_159">159</a>, <a href="#Page_167">167</a>, <a href="#Page_172">172</a> <i>n.</i>, <a href="#Page_174">174</a>, <a href="#Page_182">182</a>, <a href="#Page_200">200</a>, <a href="#Page_295">295</a>, <a href="#Page_296">296</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a> <i>n.</i>, <a href="#Page_301">301</a>, <a href="#Page_355">355</a>.<br /> +<br /> +Curtain Road, <a href="#Page_34">34</a>, <a href="#Page_90">90</a>.<br /> +<br /> +<i>Custom of the Country, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Cutwell</i>, <a href="#Page_11">11</a>.<br /> +<br /> +<i>Cynthia's Revels</i>, <a href="#Page_209">209</a> <i>n.</i><br /> +<br /> +<br /> +Daborne, Robert, <a href="#Page_318">318</a>, <a href="#Page_324">324</a> <i>n.</i>, <a href="#Page_325">325</a>.<br /> +<br /> +Dancaster, Thomas, <a href="#Page_35">35</a>.<br /> +<br /> +Daniel, Samuel, <a href="#Page_215">215</a> <i>n.</i>, <a href="#Page_216">216</a>.<br /> +<br /> +Davenant, William, <a href="#Page_309">309</a>, <a href="#Page_361">361-65</a>, <a href="#Page_382">382</a>, <a href="#Page_424">424-31</a>.<br /> +<br /> +Davenant's Projected Theatre, <a href="#Page_424">424-31</a>.<br /> +<br /> +Davenport, Robert, <a href="#Page_356">356</a>.<br /> +<br /> +David, John, <a href="#Page_12">12</a>.<br /> +<br /> +Davies, James, <a href="#Page_339">339</a>.<br /> +<br /> +Day, John (playwright), <a href="#Page_158">158</a>, <a href="#Page_220">220</a>, <a href="#Page_315">315</a>.<br /> +<br /> +Day, John (printer), <a href="#Page_411">411</a>.<br /> +<br /> +Deadman's Place, <a href="#Page_264">264</a>.<br /> +<br /> +Dekker, Thomas, <a href="#Page_116">116</a>, <a href="#Page_158">158</a>, <a href="#Page_244">244</a>, <a href="#Page_278">278</a>, <a href="#Page_298">298</a>, <a href="#Page_332">332</a> <i>n.</i><br /> +<br /> +Delaram, F., <a href="#Page_128">128</a>, <a href="#Page_146">146</a>, <a href="#Page_248">248</a>, <a href="#Page_248">248</a> <i>n.</i><br /> +<br /> +De Lawne, William, <a href="#Page_190">190</a>.<br /> +<br /> +<a name="DERBY"></a>Derby, Ferdinando Stanley, Earl of, <a href="#Page_73">73</a>, <a href="#Page_153">153</a>.<br /> +<br /> +Derby's Company. <i>See under</i> <a href="#STRANGE_DERBY">Strange-Derby, etc.</a><br /> +<br /> +Devonshire, Charles Blount, Earl of, <a href="#Page_216">216</a> <i>n.</i><br /> +<br /> +De Witt, Johannes, <a href="#Page_46">46</a>, <a href="#Page_77">77</a> <i>n.</i>, <a href="#Page_146">146</a> <i>n.</i>, <a href="#Page_165">165-68</a>, <a href="#Page_273">273</a>.<br /> +<br /> +Ditcher, Thomas, <a href="#Page_242">242</a>.<br /> +<br /> +Dixon, Thomas, <a href="#Page_412">412-17</a>.<br /> +<br /> +<i>Doctor Faustus</i>, <a href="#Page_73">73</a>.<br /> +<br /> +Dorchester, Evelyn Pierrepont, Marquis of, <a href="#Page_340">340</a>.<br /> +<br /> +Dorset, Edward Sackville, Earl of, <a href="#Page_369">369-70</a>, <a href="#Page_375">375</a>, <a href="#Page_378">378-80</a>.<br /> +<br /> +Dorset House, <a href="#Page_371">371</a>.<br /> +<br /> +Dotridge, Alice, <a href="#Page_35">35</a>.<br /> +<br /> +<i>Doubtful Heir, The</i>, <a href="#Page_289">289</a>, <a href="#Page_419">419</a>.<br /> +<br /> +Downes, John, <a href="#Page_307">307</a>, <a href="#Page_365">365</a>, <a href="#Page_366">366</a>.<br /> +<br /> +Downton, Thomas, <a href="#Page_170">170</a>, <a href="#Page_174">174</a>, <a href="#Page_282">282</a>.<br /> +<br /> +Dragon, John, <a href="#Page_34">34-35</a>.<br /> +<br /> +Drayton, Michael, <a href="#Page_311">311-17</a>.<br /> +<br /> +Droeshout, Martin, <a href="#Page_266">266</a>.<br /> +<br /> +Drury Lane, <a href="#Page_309">309</a>, <a href="#Page_348">348</a> f., <a href="#Page_420">420</a> f.<br /> +<br /> +Dryden, John, <a href="#Page_417">417</a>.<br /> +<br /> +Dublin Theatre, <a href="#Page_417">417-19</a>.<br /> +<br /> +Duchy Chamber, <a href="#Page_189">189</a> f.<br /> +<br /> +Dudley, Robert, <i>See</i> <a href="#LEICESTER">Leicester</a>.<br /> +<br /> +Duke, John, <a href="#Page_158">158</a>.<br /> +<br /> +Duke's Theatre, <a href="#Page_383">383</a> <i>n.</i><br /> +<br /> +Dulwich College, <a href="#Page_ix">ix</a>, <a href="#Page_133">133</a>, <a href="#Page_144">144</a> <i>n.</i>, <a href="#Page_274">274</a>, <a href="#Page_283">283</a>, <a href="#Page_285">285</a> <i>n.</i>, <a href="#Page_286">286-93</a>.<br /> +<br /> +<i>Dumb Knight, The</i>, <a href="#Page_316">316</a>.<br /> +<br /> +Dun, <a href="#Page_178">178</a>.<br /> +<br /> +Dunstan, James, <a href="#Page_350">350</a> <i>n.</i><br /> +<br /> +Du Rocher, R.M., <a href="#Page_420">420</a> <i>n.</i><br /> +<br /> +Duryer, Pierre, <a href="#Page_422">422</a> <i>n.</i><br /> +<br /> +<i>Dutch Courtesan, The</i>, <a href="#Page_196">196</a> <i>n.</i><br /> +<br /> +<br /> +Earthquake, <a href="#Page_82">82-83</a>.<br /> +<br /> +Eastcheap, <a href="#Page_7">7</a> <i>n.</i>, <a href="#Page_122">122</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_465" id="Page_465">465</a></span>East Smithfield, <a href="#Page_410">410</a> f.<br /> +<br /> +<i>Eastward Hoe</i>, <a href="#Page_217">217</a>.<br /> +<br /> +Eaton, Henry, <a href="#Page_308">308</a>.<br /> +<br /> +Elizabeth, Princess (daughter of James I), <a href="#Page_393">393</a>.<br /> +<span style="margin-left: 1em;">Her players, <i>see</i> +<a href="#PRINCESS_ELIZABETH">Princess Elizabeth's Company</a>.</span><br /> +<br /> +Elizabeth, Queen of England, <a href="#Page_91">91</a>, <a href="#Page_108">108</a>, <a href="#Page_113">113-14</a>, <a href="#Page_158">158</a> <i>n.</i>, <a href="#Page_171">171</a>, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_215">215</a>, <a href="#Page_385">385</a>.<br /> +<span style="margin-left: 1em;">Her players, <i>see</i> +<a href="#QUEENS_COMPANY">Queen's Company</a>.</span><br /> +<br /> +<i>Endimion</i>, <a href="#Page_114">114</a>.<br /> +<br /> +<i>England's Joy</i>, <a href="#Page_177">177-78</a>.<br /> +<br /> +<i>English Traveller, The</i>, <a href="#Page_277">277</a>.<br /> +<br /> +Epicharmus, <a href="#Page_398">398</a>.<br /> +<br /> +<i>Epicœne</i>, <a href="#Page_319">319</a>, <a href="#Page_405">405</a>.<br /> +<br /> +Epicurus, <a href="#Page_398">398</a>.<br /> +<br /> +Erasmus, Desiderius, <a href="#Page_120">120</a>.<br /> +<br /> +Essex, <a href="#Page_44">44</a> <i>n.</i><br /> +<br /> +Essex, Robert Devereux, Earl of, <a href="#Page_13">13</a>, <a href="#Page_216">216</a>.<br /> +<br /> +Euripides, <a href="#Page_398">398</a>.<br /> +<br /> +Evans, Henry, <a href="#Page_107">107</a>, <a href="#Page_110">110</a>, <a href="#Page_192">192-225</a>.<br /> +<br /> +Evelyn, John, <a href="#Page_338">338</a>, <a href="#Page_363">363</a>, <a href="#Page_405">405</a> <i>n.</i><br /> +<br /> +<i>Every Man in His Humour</i>, <a href="#Page_85">85</a>.<br /> +<br /> +<i>Every Man out of his Humour</i>, <a href="#Page_246">246</a>, <a href="#Page_247">247</a> <i>n.</i><br /> +<br /> +<br /> +<i>Fair Favourite, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +Faithorne, W., <a href="#Page_348">348</a> <i>n.</i>, <a href="#Page_392">392</a>.<br /> +<br /> +Falcon Stairs, <a href="#Page_164">164</a>.<br /> +<br /> +<i>Family of Love, The</i>, <a href="#Page_315">315</a>.<br /> +<br /> +Farrant, Anne, <a href="#Page_104">104-10</a>.<br /> +<br /> +Farrant, Richard, <a href="#Page_91">91-110</a>, <a href="#Page_183">183</a>, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>, <a href="#Page_202">202</a>, <a href="#Page_203">203</a>, <a href="#Page_204">204</a>.<br /> +<br /> +Faunte, William, <a href="#Page_133">133</a>.<br /> +<br /> +Fennor, William, <a href="#Page_177">177</a> <i>n.</i>, <a href="#Page_332">332-34</a>.<br /> +<br /> +Ferrers, Captain, <a href="#Page_366">366</a>.<br /> +<br /> +Ferretti, Francesco, <a href="#Page_164">164</a>.<br /> +<br /> +Ferrys, <a href="#Page_173">173</a>.<br /> +<br /> +Feuillerat, A., <a href="#Page_101">101</a> <i>n.</i>, <a href="#Page_186">186</a>.<br /> +<br /> +Field, John, <a href="#Page_125">125</a>.<br /> +<br /> +Field, Nathaniel, <a href="#Page_206">206</a>, <a href="#Page_237">237</a>, <a href="#Page_319">319</a>, <a href="#Page_324">324</a> <i>n.</i>, <a href="#Page_325">325</a>, <a href="#Page_342">342</a> <i>n.</i>, <a href="#Page_346">346</a>.<br /> +<br /> +Finsbury Field, <a href="#Page_28">28-38</a>, <a href="#Page_75">75</a>, <a href="#Page_81">81</a>, <a href="#Page_135">135</a>, <a href="#Page_142">142</a>, <a href="#Page_268">268</a>, <a href="#Page_352">352</a>.<br /> +<br /> +Fisher, Edward, <a href="#Page_381">381</a>, <a href="#Page_383">383</a>.<br /> +<br /> +Fisher, John, <a href="#Page_285">285</a> <i>n.</i>, <a href="#Page_387">387</a> <i>n.</i>, <a href="#Page_396">396</a>.<br /> +<br /> +Fitz-Stephen, William, <a href="#Page_120">120</a>.<br /> +<br /> +Fleay, F.G., <a href="#Page_112">112</a>, <a href="#Page_115">115</a>, <a href="#Page_179">179</a> <i>n.</i>, <a href="#Page_201">201</a> <i>n.</i>, <a href="#Page_311">311</a> <i>n.</i>, <a href="#Page_323">323</a>, <a href="#Page_335">335</a> <i>n.</i>, <a href="#Page_350">350</a> <i>n.</i>, <a href="#Page_354">354</a> <i>n.</i>, <a href="#Page_377">377</a>, <a href="#Page_402">402</a> <i>n.</i>, <a href="#Page_416">416</a> <i>n.</i><br /> +<br /> +Flecknoe, Richard, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_17">17</a>, <a href="#Page_111">111</a>, <a href="#Page_311">311</a> <i>n.</i><br /> +<br /> +Fleet Street, <a href="#Page_231">231</a>, <a href="#Page_314">314</a>, <a href="#Page_424">424</a> f.<br /> +<br /> +Fleetwood, William, <a href="#Page_20">20</a>, <a href="#Page_46">46</a>, <a href="#Page_69">69-70</a>, <a href="#Page_71">71</a>.<br /> +<br /> +Fletcher, Dr., <a href="#Page_172">172</a>.<br /> +<br /> +Fletcher, John, <a href="#Page_251">251</a>, <a href="#Page_304">304</a>, <a href="#Page_325">325</a>, <a href="#Page_419">419</a>.<br /> +<br /> +Floridor, Josias, <a href="#Page_401">401</a>, <a href="#Page_420">420-24</a>.<br /> +<br /> +Fortescue, Sir John, <a href="#Page_211">211</a>.<br /> +<br /> +Fortune Playhouse, <a href="#Page_45">45</a>, <a href="#Page_85">85</a>, <a href="#Page_88">88</a>, <a href="#Page_156">156-57</a>, <a href="#Page_176">176</a>, <a href="#Page_177">177</a> <i>n.</i>, <a href="#Page_229">229</a>, <a href="#Page_246">246</a>, <a href="#Page_259">259</a> <i>n.</i>, <a href="#Page_267">267-93</a>, <a href="#Page_295">295</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_302">302</a>, <a href="#Page_303">303</a>, <a href="#Page_327">327</a> <i>n.</i>, <a href="#Page_333">333</a> <i>n.</i>, <a href="#Page_353">353</a> <i>n.</i>, <a href="#Page_364">364</a> <i>n.</i>, <a href="#Page_368">368</a>, <a href="#Page_374">374</a>, <a href="#Page_375">375</a>, <a href="#Page_379">379</a>, <a href="#Page_381">381</a> <i>n.</i>, <a href="#Page_425">425</a> <i>n.</i><br /> +<br /> +<i>Fortunes of Nigel, The</i>, <a href="#Page_310">310</a> <i>n.</i><br /> +<br /> +Fowler, Thomas, <a href="#Page_172">172</a>, <a href="#Page_410">410</a>.<br /> +<br /> +<i>Fox, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<a name="FREDERICK_V"></a>Frederick V, Elector Palatine of Palsgrave, <a href="#Page_393">393</a>.<br /> +<br /> +French Ambassador, <a href="#Page_113">113</a> <i>n.</i>, <a href="#Page_220">220-21</a>, <a href="#Page_261">261</a>, <a href="#Page_316">316</a>.<br /> +<br /> +French players, <a href="#Page_401">401</a>, <a href="#Page_420">420-24</a>.<br /> +<br /> +French Players' Theatre, <a href="#Page_420">420-24</a>.<br /> +<br /> +<i>Friar Bacon and Friar Bungay</i>, <a href="#Page_150">150</a>.<br /> +<br /> +Frith, Sir Richard, <a href="#Page_96">96</a>, <a href="#Page_190">190</a>.<br /> +<br /> +<br /> +Gabriel. <i>See</i> <a href="#SPENCER">Spencer</a>.<br /> +<br /> +Gaedertz, Karl T., <a href="#Page_167">167</a>.<br /> +<br /> +Gardiner, William, <a href="#Page_34">34</a>.<br /> +<br /> +Garrard, G., <a href="#Page_231">231</a>, <a href="#Page_232">232</a>.<br /> +<br /> +Gasquine, Susan, <a href="#Page_159">159</a> <i>n.</i><br /> +<br /> +Gayton, Edmund, <a href="#Page_303">303</a>.<br /> +<br /> +<i>Gazette, The</i>, <a href="#Page_341">341</a> <i>n.</i><br /> +<br /> +<i>General, The</i>, <a href="#Page_419">419</a>.<br /> +<br /> +George Yard, <a href="#Page_313">313</a>.<br /> +<br /> +Gerschow, Frederic, <a href="#Page_197">197</a>, <a href="#Page_208">208</a>.<br /> +<br /> +Gibbon's Tennis-Court Playhouse, <a href="#Page_309">309</a> <i>n.</i><br /> +<br /> +Gildersleeve, Virginia C., <a href="#Page_320">320</a> <i>n.</i><br /> +<br /> +Giles, Nathaniel, <a href="#Page_201">201-13</a>, <a href="#Page_220">220</a> <i>n.</i><br /> +<br /> +Gill, John, <a href="#Page_300">300</a>.<br /> +<br /> +Gill, Richard, <a href="#Page_300">300</a> <i>n.</i><br /> +<br /> +Giolito, Gabriel, <a href="#Page_411">411</a>.<br /> +<br /> +Giunti, <a href="#Page_411">411</a>.<br /> +<br /> +Glapthorne, Henry, <a href="#Page_369">369</a>, <a href="#Page_423">423</a>.<br /> +<br /> +Globe Playhouse, <a href="#Page_65">65</a>, <a href="#Page_74">74</a>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_86">86</a> <i>n.</i>, <a href="#Page_88">88</a>, <a href="#Page_112">112</a>, <a href="#Page_128">128</a>, <a href="#Page_146">146</a>, <a href="#Page_146">146</a> <i>n.</i>, <a href="#Page_155">155</a>, <a href="#Page_156">156</a>, <a href="#Page_159">159</a> <i>n.</i>, <a href="#Page_176">176</a>, <a href="#Page_180">180</a>, <a href="#Page_200">200</a>, <a href="#Page_209">209</a>, <a href="#Page_210">210</a>, <a href="#Page_214">214</a> <i>n.</i>, <a href="#Page_219">219</a> <i>n.</i>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a>, <a href="#Page_227">227</a>, <a href="#Page_229">229</a>, <a href="#Page_233">233</a> <i>n.</i>, <a href="#Page_234">234-66</a>, <a href="#Page_267">267</a>, <a href="#Page_274">274-76</a>, <a href="#Page_282">282</a>, <a href="#Page_286">286</a>, <a href="#Page_289">289</a> <i>n.</i>, <a href="#Page_295">295</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_311">311</a> <i>n.</i>, <a href="#Page_324">324</a>, <a href="#Page_328">328</a>.<br /> +<br /> +Goad, Christopher, <a href="#Page_374">374</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_466" id="Page_466">466</a></span>Godfrey (Master of the Bear Garden), <a href="#Page_337">337</a>.<br /> +<br /> +Godfrey, W.H., <a href="#Page_277">277</a> <i>n.</i><br /> +<br /> +Golding Lane, <a href="#Page_88">88</a>, <a href="#Page_268">268</a> f.<br /> +<br /> +Goodman, Nicholas, <a href="#Page_180">180-81</a>, <a href="#Page_336">336</a>.<br /> +<br /> +Gosson, Stephen, <a href="#Page_11">11</a>, <a href="#Page_47">47</a>, <a href="#Page_113">113</a>.<br /> +<br /> +Goulston Street, <a href="#Page_17">17</a>.<br /> +<br /> +Govell, R., <a href="#Page_369">369</a> <i>n.</i><br /> +<br /> +Gower, Edward, <a href="#Page_405">405</a>.<br /> +<br /> +Grabu, M., <a href="#Page_408">408</a>.<br /> +<br /> +Grace Church Street, <a href="#Page_7">7</a> f., <a href="#Page_67">67</a>, <a href="#Page_68">68</a>.<br /> +<br /> +<i>Grateful Servant, The</i>, <a href="#Page_349">349</a>.<br /> +<br /> +Grave, Thomas, <a href="#Page_387">387</a>.<br /> +<br /> +Graves, T.S., <a href="#Page_vii">vii</a>, <a href="#Page_47">47</a> <i>n.</i>, <a href="#Page_177">177</a> <i>n.</i><br /> +<br /> +Gray, Lady Anne, <a href="#Page_184">184</a>.<br /> +<br /> +Greene, Robert, <a href="#Page_150">150</a>.<br /> +<br /> +Greene, Thomas, <a href="#Page_296">296</a>, <a href="#Page_298">298-99</a>.<br /> +<br /> +<i>Greene's Tu Quoque</i>, <a href="#Page_298">298</a>.<br /> +<br /> +Greenstreet, J., <a href="#Page_317">317</a>.<br /> +<br /> +Greenwich, <a href="#Page_384">384</a>.<br /> +<br /> +Greg, W.W., <a href="#Page_ix">ix</a>, <a href="#Page_73">73</a>, <a href="#Page_148">148</a>, <a href="#Page_159">159</a> <i>n.</i>, <a href="#Page_179">179</a> <i>n.</i>, <a href="#Page_335">335</a> <i>n.</i>, <a href="#Page_377">377</a>.<br /> +<br /> +Grigges, John, <a href="#Page_48">48</a>.<br /> +<br /> +Grymes, Thomas, <a href="#Page_206">206</a>.<br /> +<br /> +Guildford, Lady Jane, <a href="#Page_184">184</a>.<br /> +<br /> +Gunnell, Richard, <a href="#Page_368">368-72</a>, <a href="#Page_374">374</a>, <a href="#Page_375">375</a>.<br /> +<br /> +Gwalter, William, <a href="#Page_285">285</a> <i>n.</i><br /> +<br /> +Gyles, Thomas, <a href="#Page_113">113-15</a>, <a href="#Page_206">206</a>.<br /> +<br /> +<br /> +Hall, Ralph, <a href="#Page_308">308</a>.<br /> +<br /> +<i>Hamlet</i> (Pre-Shakespearean), <a href="#Page_74">74</a>, <a href="#Page_140">140</a>.<br /> +<br /> +<i>Hamlet</i> (Shakespeare), <a href="#Page_208">208-10</a>, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_248">248</a> <i>n.</i>, <a href="#Page_261">261</a>.<br /> +<br /> +Hammon, Thomas, <a href="#Page_395">395</a>.<br /> +<br /> +Hampton Court, <a href="#Page_384">384</a>, <a href="#Page_385">385</a>, <a href="#Page_401">401</a>, <a href="#Page_402">402</a>, <a href="#Page_403">404</a>.<br /> +<br /> +Harberte, Thomas, <a href="#Page_81">81</a>.<br /> +<br /> +Harington, Sir John, <a href="#Page_69">69</a>.<br /> +<br /> +Harper, Sir George, <a href="#Page_184">184</a>.<br /> +<br /> +Harrison, Joan, <a href="#Page_34">34-35</a>.<br /> +<br /> +Harrison, Thomas (Colonel), <a href="#Page_304">304</a>.<br /> +<br /> +Hart, William, <a href="#Page_304">304</a>, <a href="#Page_363">363</a>.<br /> +<br /> +Harvey, Gabriel, <a href="#Page_48">48</a>.<br /> +<br /> +Hathaway, Richard, <a href="#Page_158">158</a>.<br /> +<br /> +Hatton, Sir Christopher (Vice-Chamberlain), <a href="#Page_70">70</a>.<br /> +<br /> +Hatton House, <a href="#Page_363">363</a>.<br /> +<br /> +Haukins, William, <a href="#Page_85">85</a>.<br /> +<br /> +Hawkins, Alexander, <a href="#Page_211">211</a>, <a href="#Page_213">213</a>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a>.<br /> +<br /> +Hayward, John, <a href="#Page_411">411</a>.<br /> +<br /> +Heath, John, <a href="#Page_297">297</a>.<br /> +<br /> +<i>Hector of Germany, The</i>, <a href="#Page_89">89</a>, <a href="#Page_321">321</a> <i>n.</i><br /> +<br /> +Heminges, John, <a href="#Page_62">62</a>, <a href="#Page_73">73</a>, <a href="#Page_84">84</a>, <a href="#Page_204">204</a>, <a href="#Page_208">208</a> <i>n.</i>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a>, <a href="#Page_235">235-41</a>, <a href="#Page_255">255</a>, <a href="#Page_257">257</a>, <a href="#Page_258">258</a>, <a href="#Page_261">261-62</a>, <a href="#Page_319">319</a>, <a href="#Page_355">355</a>.<br /> +<br /> +Heminges, Thomasine, <a href="#Page_261">261</a>.<br /> +<br /> +Henrietta Maria, Queen of England, <a href="#Page_232">232-33</a>, <a href="#Page_420">420-22</a>.<br /> +<span style="margin-left: 1em;">Her players, <i>see</i> +<a href="#QUEENS_COMPANY">Queen's Company</a>, <a href="#KINGS_QUEENS">King's and Queen's Company</a>.</span><br /> +<br /> +<i>Henry IV</i>, <a href="#Page_7">7</a> <i>n.</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Henry V</i> (not Shakespeare's), <a href="#Page_13">13</a>.<br /> +<br /> +<i>Henry V</i> (Shakespeare), <a href="#Page_77">77</a> <i>n.</i>, <a href="#Page_348">348</a>.<br /> +<br /> +<i>Henry VI</i>, <a href="#Page_150">150</a>.<br /> +<br /> +<i><a name="HENRY_VIII"></a>Henry VIII</i>, <a href="#Page_251">251-55</a>, <a href="#Page_391">391</a> <i>n.</i><br /> +<br /> +Henry VIII, <a href="#Page_29">29</a>, <a href="#Page_186">186</a>, <a href="#Page_391">391</a>.<br /> +<br /> +Henry, Prince of Wales, <a href="#Page_282">282-83</a>, <a href="#Page_392">392-93</a>.<br /> +<span style="margin-left: 1em;">His players, <i>see under</i> <a href="#ADMIRAL">Admiral</a>.</span><br /> +<br /> +Henslowe, Agnes, <a href="#Page_283">283</a>.<br /> +<br /> +Henslowe, Philip, <a href="#Page_73">73</a>, <a href="#Page_85">85</a>, <a href="#Page_140">140</a>, <a href="#Page_140">140</a> <i>n.</i>, <a href="#Page_142">142-60</a>, <a href="#Page_161">161</a>, <a href="#Page_166">166</a>, <a href="#Page_174">174-75</a>, <a href="#Page_179">179</a>, <a href="#Page_213">213</a> <i>n.</i>, <a href="#Page_234">234</a>, <a href="#Page_244">244-46</a>, <a href="#Page_267">267-74</a>, <a href="#Page_281">281-83</a>, <a href="#Page_321">321-22</a>, <a href="#Page_324">324-35</a>, <a href="#Page_342">342-43</a>, <a href="#Page_346">346</a>.<br /> +<br /> +Henslowe, William, <a href="#Page_268">268</a> <i>n.</i><br /> +<br /> +Hentzner, Paul, <a href="#Page_131">131</a>, <a href="#Page_162">162</a>.<br /> +<br /> +Herbert, Sir Henry, <a href="#Page_89">89</a>, <a href="#Page_225">225</a>, <a href="#Page_232">232</a>, <a href="#Page_250">250</a>, <a href="#Page_301">301</a>, <a href="#Page_307">307</a> <i>n.</i>, <a href="#Page_351">351</a> <i>n.</i>, <a href="#Page_357">357</a> <i>n.</i>, <a href="#Page_358">358</a>, <a href="#Page_359">359</a>, <a href="#Page_360">360</a>, <a href="#Page_360">360</a> <i>n.</i>, <a href="#Page_367">367</a>, <a href="#Page_368">368</a>, <a href="#Page_369">369</a>, <a href="#Page_373">373</a>, <a href="#Page_374">374</a>, <a href="#Page_376">376</a>, <a href="#Page_377">377</a>, <a href="#Page_377">377</a> <i>n.</i>, <a href="#Page_378">378</a>, <a href="#Page_380">380</a>, <a href="#Page_381">381</a>, <a href="#Page_400">400</a>, <a href="#Page_401">401</a> <i>n.</i>, <a href="#Page_403">403</a>, <a href="#Page_412">412</a> <i>n.</i>, <a href="#Page_420">420-24</a>.<br /> +<br /> +Herbert, Sir Philip, <a href="#Page_392">392</a>.<br /> +<br /> +Herbert, Thomas, <a href="#Page_81">81</a>.<br /> +<br /> +Herne, John, <a href="#Page_370">370</a>, <a href="#Page_380">380</a>.<br /> +<br /> +Herne, John (the younger), <a href="#Page_380">380-81</a>.<br /> +<br /> +Heton, Richard, <a href="#Page_356">356</a> <i>n.</i>, <a href="#Page_357">357</a> <i>n.</i>, <a href="#Page_378">378-80</a>, <a href="#Page_427">427</a>.<br /> +<br /> +Heywood, Thomas, <a href="#Page_158">158</a>, <a href="#Page_235">235</a> <i>n.</i>, <a href="#Page_247">247</a> <i>n.</i>, <a href="#Page_277">277</a> <i>n.</i>, <a href="#Page_298">298-99</a>, <a href="#Page_382">382</a>, <a href="#Page_394">394-95</a>.<br /> +<br /> +Hide, John, <a href="#Page_51">51</a>, <a href="#Page_53">53-55</a>, <a href="#Page_70">70</a> <i>n.</i><br /> +<br /> +High Street, Southwark, <a href="#Page_121">121</a>.<br /> +<br /> +Hill, John, <a href="#Page_50">50</a>.<br /> +<br /> +Hoby, Sir Edward, <a href="#Page_220">220</a>.<br /> +<br /> +Hoby, Sir Philip, <a href="#Page_184">184</a>.<br /> +<br /> +Hockley-in-the-hole, Clerkenwell, <a href="#Page_340">340</a>.<br /> +<br /> +Hogarth, William, <a href="#Page_409">409</a> <i>n.</i><br /> +<br /> +<i>Hog Hath Lost His Pearl, The</i>, <a href="#Page_320">320</a>.<br /> +<br /> +Holinshed, Raphael, <a href="#Page_385">385</a>.<br /> +<br /> +Holland, Aaron, <a href="#Page_294">294-96</a>.<br /> +<br /> +Holland, Henry, <a href="#Page_127">127</a>, <a href="#Page_146">146</a>.<br /> +<br /> +Hollandia, Dona Britannica, <a href="#Page_180">180</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_467" id="Page_467">467</a></span><i>Holland's Leaguer</i> (Goodman), <a href="#Page_180">180</a>, <a href="#Page_336">336</a>.<br /> +<br /> +<i>Holland's Leaguer</i> (Marmion), <a href="#Page_259">259</a>, <a href="#Page_375">375</a>, <a href="#Page_377">377</a>, <a href="#Page_415">415</a>.<br /> +<br /> +Hollar, W., <a href="#Page_181">181</a>, <a href="#Page_259">259</a>, <a href="#Page_329">329-30</a>.<br /> +<br /> +Hollywell Lane, <a href="#Page_81">81</a>.<br /> +<br /> +Holywell Priory, <a href="#Page_30">30</a> f., <a href="#Page_75">75</a> f., <a href="#Page_88">88</a>, <a href="#Page_182">182</a>, <a href="#Page_183">183</a>.<br /> +<br /> +Honduis, J., <a href="#Page_127">127</a>, <a href="#Page_146">146</a>, <a href="#Page_265">265</a>, <a href="#Page_329">329</a> <i>n.</i><br /> +<br /> +<a name="HOPE"></a>Hope Playhouse, <a href="#Page_46">46</a>, <a href="#Page_128">128</a>, <a href="#Page_133">133</a>, <a href="#Page_146">146</a> <i>n.</i>, <a href="#Page_166">166</a>, <a href="#Page_179">179</a>, <a href="#Page_180">180</a>, <a href="#Page_248">248</a> <i>n.</i>, <a href="#Page_322">322</a>, <a href="#Page_324">324-41</a>, <a href="#Page_346">346</a>, <a href="#Page_355">355</a>.<br /> +<br /> +Horton, Joan, <a href="#Page_143">143</a>.<br /> +<br /> +Houghton, John, <a href="#Page_129">129</a>.<br /> +<br /> +Housekeepers, <a href="#Page_225">225</a>, <a href="#Page_234">234</a> <i>n.</i>, <a href="#Page_236">236</a>, <a href="#Page_237">237</a> <i>n.</i>, <a href="#Page_351">351</a> <i>n.</i>, <a href="#Page_421">421</a> <i>n.</i><br /> +<br /> +Howard, Charles, the Lord Admiral. <i>See</i> <a href="#NOTTINGHAM">Nottingham</a>.<br /> +<br /> +Howell, James, <a href="#Page_248">248</a>, <a href="#Page_329">329</a> <i>n.</i><br /> +<br /> +<a name="HOWES"></a>Howes, Edmund, <a href="#Page_7">7</a>, <a href="#Page_45">45</a> <i>n.</i>, <a href="#Page_111">111</a>, <a href="#Page_141">141</a>, <a href="#Page_251">251</a>, <a href="#Page_257">257</a>, <a href="#Page_285">285</a>, <a href="#Page_349">349</a>, <a href="#Page_350">350</a>, <a href="#Page_352">352</a>, <a href="#Page_372">372</a>. <i>See also</i> +<a href="#PHILLIPS">Phillipps</a>.<br /> +<br /> +<i>Humour Out of Breath</i>, <a href="#Page_315">315</a>.<br /> +<br /> +<i>Hungarian Lion, The</i>, <a href="#Page_368">368</a>.<br /> +<br /> +Hunks, Harry, <a href="#Page_121">121</a>.<br /> +<br /> +Hunnis, William, <a href="#Page_102">102-10</a>, <a href="#Page_202">202</a>, <a href="#Page_203">203</a>.<br /> +<br /> +<a name="HUNSDON"></a>Hunsdon, George Carey, Lord, <a href="#Page_184">184</a>, <a href="#Page_189">189</a>, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_214">214</a>.<br /> +<br /> +Hunsdon, Henry Carey, Lord, <a href="#Page_14">14</a>, <a href="#Page_68">68</a> <i>n.</i>, <a href="#Page_71">71</a>, <a href="#Page_184">184</a>.<br /> +<br /> +Hunsdon's Company (not the Strange-Derby, etc. Company), <a href="#Page_69">69-71</a>.<br /> +<br /> +Hunsdon's Company. <i>See under</i> <a href="#STRANGE_DERBY">Strange-Derby, etc. Company</a>.<br /> +<br /> +Hutchinson, Christopher, <a href="#Page_350">350</a> <i>n.</i>, <a href="#Page_362">362</a>.<br /> +<br /> +Hynde, John, <a href="#Page_11">11</a>.<br /> +<br /> +<br /> +Ianthe, <a href="#Page_406">406</a>.<br /> +<br /> +Ibotson, Richard, <a href="#Page_11">11</a>.<br /> +<br /> +<i>Inner Temple Masque, The</i>, <a href="#Page_350">350</a>.<br /> +<br /> +<i>Isle of Dogs, The</i>, <a href="#Page_84">84</a>, <a href="#Page_154">154</a>, <a href="#Page_170">170-75</a>.<br /> +<br /> +<i>Isle of Guls, The</i>, <a href="#Page_220">220</a>.<br /> +<br /> +Italian players, <a href="#Page_21">21</a>.<br /> +<br /> +<br /> +<i>Jack Drum's Entertainment</i>, <a href="#Page_115">115</a>.<br /> +<br /> +James I, <a href="#Page_215">215</a>, <a href="#Page_217">217</a>, <a href="#Page_218">218</a>, <a href="#Page_221">221</a>, <a href="#Page_227">227</a>, <a href="#Page_250">250</a>, <a href="#Page_258">258</a>, <a href="#Page_281">281</a>, <a href="#Page_310">310</a> <i>n.</i>, <a href="#Page_316">316</a>, <a href="#Page_387">387</a>, <a href="#Page_392">392</a>, <a href="#Page_413">413</a>, <a href="#Page_416">416</a>.<br /> +<span style="margin-left: 1em;">His players, <i>see</i> +<a href="#CHILDREN_HIS_MAJESTY">Children of His Majesty's Revels</a>, +<a href="#KINGS_REVELS">King's Revels Company</a>, <a href="#STRANGE_DERBY">Strange-Derby, etc. Company</a>.</span><br /> +<br /> +James, William, <a href="#Page_264">264</a>.<br /> +<br /> +Jeaffreson, J.C., <a href="#Page_85">85</a>, <a href="#Page_410">410</a>.<br /> +<br /> +Jeffes, Anthony, <a href="#Page_174">174</a> <i>n.</i><br /> +<br /> +Jeffes, Humphrey, <a href="#Page_174">174</a> <i>n.</i><br /> +<br /> +Jerningham, Sir Henry, <a href="#Page_184">184</a>, <a href="#Page_189">189</a>.<br /> +<br /> +<i>Jew, The</i>, <a href="#Page_11">11</a>.<br /> +<br /> +<i>Jew of Malta, The</i>, <a href="#Page_140">140</a>, <a href="#Page_150">150</a>, <a href="#Page_395">395</a>.<br /> +<br /> +Johnson, Henry, <a href="#Page_60">60</a>.<br /> +<br /> +Johnson, Peter, <a href="#Page_191">191-92</a>, <a href="#Page_196">196</a>.<br /> +<br /> +Johnson, Samuel, <a href="#Page_264">264</a>.<br /> +<br /> +Jones, Inigo, <a href="#Page_389">389</a>, <a href="#Page_395">395-400</a>.<br /> +<br /> +Jones, Richard, <a href="#Page_168">168</a>, <a href="#Page_174">174</a>, <a href="#Page_318">318</a>.<br /> +<br /> +Jones, Robert, <a href="#Page_343">343</a>.<br /> +<br /> +Jonson, Ben, <a href="#Page_78">78</a>, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>, <a href="#Page_171">171-73</a>, <a href="#Page_174">174</a> <i>n.</i>, <a href="#Page_206">206</a>, <a href="#Page_207">207</a>, <a href="#Page_217">217</a>, <a href="#Page_226">226</a>, <a href="#Page_244">244</a>, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>, <a href="#Page_251">251</a>, <a href="#Page_255">255</a>, <a href="#Page_259">259</a>, <a href="#Page_319">319</a>, <a href="#Page_325">325</a>, <a href="#Page_330">330</a>, <a href="#Page_334">334</a>, <a href="#Page_419">419</a>, <a href="#Page_424">424</a>.<br /> +<br /> +Joyner, William, <a href="#Page_194">194</a>.<br /> +<br /> +<i>Julius Cæsar</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Just Italian, The</i>, <a href="#Page_356">356</a>.<br /> +<br /> +<br /> +Katherens, Gilbert, <a href="#Page_326">326-30</a>.<br /> +<br /> +Kempe, Anthony, <a href="#Page_189">189</a>.<br /> +<br /> +Kempe, William, <a href="#Page_62">62</a>, <a href="#Page_73">73</a>, <a href="#Page_84">84</a>, <a href="#Page_115">115</a>, <a href="#Page_158">158</a>, <a href="#Page_235">235-40</a>, <a href="#Page_298">298</a>.<br /> +<br /> +Kelly, William, <a href="#Page_17">17</a>.<br /> +<br /> +Kendall, Richard, <a href="#Page_177">177</a> <i>n.</i>, <a href="#Page_333">333</a> <i>n.</i><br /> +<br /> +Kendall, Thomas, <a href="#Page_213">213-22</a>.<br /> +<br /> +Kendall, William, <a href="#Page_213">213</a> <i>n.</i><br /> +<br /> +Kenningham, Robert, <a href="#Page_41">41</a>.<br /> +<br /> +Keysar, Robert, <a href="#Page_117">117</a>, <a href="#Page_218">218-19</a>, <a href="#Page_222">222-24</a>, <a href="#Page_317">317-20</a>.<br /> +<br /> +Kiechel, Samuel, <a href="#Page_47">47</a>, <a href="#Page_77">77</a>.<br /> +<br /> +Kildare, Earl of, <a href="#Page_419">419</a>.<br /> +<br /> +Killigrew's playhouse, <a href="#Page_382">382</a>.<br /> +<br /> +Kinaston, Edward, <a href="#Page_207">207</a>, <a href="#Page_366">366</a>.<br /> +<br /> +<i>Kingdom's Weekly Intelligencer, The</i>, <a href="#Page_291">291</a>, <a href="#Page_293">293</a> <i>n.</i><br /> +<br /> +<i>King Lear</i>, <a href="#Page_261">261</a>.<br /> +<br /> +<i>King Leir</i>, <a href="#Page_153">153</a>.<br /> +<br /> +Kingman, Philip, <a href="#Page_343">343</a>.<br /> +<br /> +<a name="KINGS_QUEENS"></a>King's and Queen's Company (or Beeston's Boys), <a href="#Page_357">357-62</a>.<br /> +<br /> +King's Company. <i>See under</i> <a href="#STRANGE_DERBY">Strange-Derby, etc.</a><br /> +<br /> +<a name="KINGS_REVELS"></a>King's (James I's) Revels Company, <a href="#Page_311">311-18</a>.<br /> +<br /> +King's (Charles I's) Revels Company, <a href="#Page_287">287</a>, <a href="#Page_374">374</a>, <a href="#Page_377">377-79</a>.<br /> +<br /> +Kingsland Spittle, <a href="#Page_89">89</a>.<br /> +<br /> +Kingston, Lady Mary, <a href="#Page_189">189</a>.<br /> +<br /> +Kingston, Sir William, <a href="#Page_184">184</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_468" id="Page_468">468</a></span>Kirkham, Edward, <a href="#Page_116">116</a>, <a href="#Page_208">208</a> <i>n.</i>, <a href="#Page_213">213-22</a>, <a href="#Page_226">226</a>.<br /> +<br /> +Kirkman, Francis, <a href="#Page_296">296-97</a>, <a href="#Page_305">305</a>, <a href="#Page_358">358-59</a>.<br /> +<br /> +Knowles, John, <a href="#Page_241">241-42</a>.<br /> +<br /> +Kymbre, <a href="#Page_41">41</a>.<br /> +<br /> +Kynaston, Edward, <a href="#Page_207">207</a>, <a href="#Page_366">366</a>.<br /> +<br /> +Kyrkham, Sir Robert, <a href="#Page_184">184</a>.<br /> +<br /> +<br /> +<i>Ladies' Priviledge, The</i>, <a href="#Page_423">423</a>.<br /> +<br /> +Lady Elizabeth's Company. <i>See</i> <a href="#PRINCESS_ELIZABETH">Princess Elizabeth's Company</a>.<br /> +<br /> +<i>Lady Mother, The</i>, <a href="#Page_369">369</a>.<br /> +<br /> +La Fèvre de la Boderie, Antoine, <a href="#Page_220">220-22</a>, <a href="#Page_316">316</a> <i>n.</i><br /> +<br /> +Lamb, Charles, <a href="#Page_299">299</a>.<br /> +<br /> +Lambarde, William, <a href="#Page_15">15</a>.<br /> +<br /> +Lambeth, <a href="#Page_121">121</a>, <a href="#Page_161">161</a>.<br /> +<br /> +<i>Landgartha</i>, <a href="#Page_418">418</a>.<br /> +<br /> +Laneham, Robert, <a href="#Page_128">128</a>.<br /> +<br /> +Langley, Francis, <a href="#Page_161">161</a>, <a href="#Page_170">170-76</a>, <a href="#Page_234">234</a>.<br /> +<br /> +Lanham, John, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_80">80</a> <i>n.</i><br /> +<br /> +Lanman, Henry, <a href="#Page_78">78-82</a>, <a href="#Page_83">83</a>, <a href="#Page_86">86</a>, <a href="#Page_87">87</a>, <a href="#Page_144">144</a>, <a href="#Page_234">234</a>.<br /> +<br /> +Lanteri, Edward, <a href="#Page_265">265</a> <i>n.</i><br /> +<br /> +Lau, Hurfries de, <a href="#Page_423">423</a>.<br /> +<br /> +Laud, William, <a href="#Page_228">228-30</a>.<br /> +<br /> +Lawrence, W.J., <a href="#Page_vii">vii</a>, <a href="#Page_48">48</a> <i>n.</i>, <a href="#Page_112">112</a>, <a href="#Page_177">177</a> <i>n.</i>, <a href="#Page_293">293</a> <i>n.</i>, <a href="#Page_313">313</a> <i>n.</i>, <a href="#Page_350">350</a> <i>n.</i>, <a href="#Page_365">365</a> <i>n.</i>, <a href="#Page_398">398</a>, <a href="#Page_408">408</a>, <a href="#Page_423">423</a> <i>n.</i><br /> +<br /> +Leaden Hall, <a href="#Page_12">12</a>.<br /> +<br /> +Lee, Sir Sidney, <a href="#Page_124">124</a> <i>n.</i>, <a href="#Page_294">294</a> <i>n.</i>, <a href="#Page_350">350</a> <i>n.</i>, <a href="#Page_408">408</a> <i>n.</i><br /> +<br /> +Le Febure (or Fevure), <a href="#Page_422">422-23</a>.<br /> +<br /> +<a name="LEICESTER"></a>Leicester, Robert Dudley, Earl of, <a href="#Page_106">106-07</a>.<br /> +<br /> +Leicester's Company, <a href="#Page_22">22</a>, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>, <a href="#Page_71">71</a>, <a href="#Page_80">80</a> <i>n.</i><br /> +<br /> +Lennox, James Stuart, 4 Duke of, <a href="#Page_232">232</a>.<br /> +<br /> +Lennox, Ludovick Stuart, 2 Duke of, <a href="#Page_261">261</a>.<br /> +<br /> +Lenton, Francis, <a href="#Page_356">356</a>.<br /> +<br /> +Leveson, Sir Richard, <a href="#Page_405">405</a>.<br /> +<br /> +Levison, William, <a href="#Page_240">240</a>.<br /> +<br /> +Lewes, Thomas, <a href="#Page_382">382</a>.<br /> +<br /> +Lilleston, Thomas, <a href="#Page_366">366</a>.<br /> +<br /> +Lincoln's Inn Fields, <a href="#Page_348">348</a> <i>n.</i>, <a href="#Page_352">352</a>, <a href="#Page_382">382</a>, <a href="#Page_414">414</a> f.<br /> +<br /> +Lodge, Thomas, <a href="#Page_74">74</a>.<br /> +<br /> +<i>London's Lamentation for her Sins</i>, <a href="#Page_302">302</a>.<br /> +<br /> +Long, Maurice, <a href="#Page_81">81</a>.<br /> +<br /> +Lorkin, Thomas, <a href="#Page_254">254</a>, <a href="#Page_389">389</a>.<br /> +<br /> +<i>Lost Lady, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Loves and Adventures of Clerico and Lozia, The</i>, <a href="#Page_359">359</a>.<br /> +<br /> +<i>Love's Mistress, or the Queen's Masque</i>, <a href="#Page_382">382</a>.<br /> +<br /> +Lowin, John, <a href="#Page_158">158</a>, <a href="#Page_363">363</a>, <a href="#Page_400">400</a>.<br /> +<br /> +<i>Loyal Protestant, The</i>, <a href="#Page_339">339</a>.<br /> +<br /> +<i>Loyal Subject, The</i>, <a href="#Page_366">366</a>.<br /> +<br /> +Ludgate, <a href="#Page_7">7</a> f., <a href="#Page_226">226</a>.<br /> +<br /> +Ludlow, <a href="#Page_71">71</a>.<br /> +<br /> +Luther, Martin, <a href="#Page_113">113</a> <i>n.</i>, <a href="#Page_411">411</a>.<br /> +<br /> +Lyly, John, <a href="#Page_109">109-10</a>, <a href="#Page_112">112</a>, <a href="#Page_113">113-14</a>, <a href="#Page_194">194</a>, <a href="#Page_202">202</a>.<br /> +<br /> +<br /> +Machiavel, <a href="#Page_411">411</a>.<br /> +<br /> +Machin, Lewis, <a href="#Page_316">316</a>.<br /> +<br /> +Machyn, Henry, <a href="#Page_124">124</a> <i>n.</i><br /> +<br /> +Mackaye, Steele, <a href="#Page_398">398</a>.<br /> +<br /> +Madden, Sir Frederick, <a href="#Page_130">130</a>.<br /> +<br /> +Madison Square Theatre, <a href="#Page_398">398</a>.<br /> +<br /> +Maiden Lane, <a href="#Page_88">88</a>, <a href="#Page_144">144</a>, <a href="#Page_243">243</a> f., <a href="#Page_341">341</a>.<br /> +<br /> +Malcolm, J.P., <a href="#Page_339">339</a>.<br /> +<br /> +Malone, Edmund, <a href="#Page_vii">vii</a>, <a href="#Page_77">77</a>, <a href="#Page_89">89</a>, <a href="#Page_160">160</a> <i>n.</i>, <a href="#Page_225">225</a>, <a href="#Page_248">248</a>, <a href="#Page_367">367</a>, <a href="#Page_373">373</a>, <a href="#Page_375">375-76</a>, <a href="#Page_420">420</a>.<br /> +<br /> +Manchester, Edward Montagu, Earl of, <a href="#Page_122">122</a>, <a href="#Page_337">337</a>.<br /> +<br /> +<i>Mankind</i>, <a href="#Page_2">2-4</a>.<br /> +<br /> +Manningham, John, <a href="#Page_178">178</a>.<br /> +<br /> +Mantzius, Karl, <a href="#Page_48">48</a> <i>n.</i><br /> +<br /> +Markham, Gervais, <a href="#Page_316">316</a>.<br /> +<br /> +Marlowe, Christopher, <a href="#Page_73">73</a>.<br /> +<br /> +Marmion, Shackerley, <a href="#Page_259">259</a>, <a href="#Page_375">375</a>, <a href="#Page_376">376</a>, <a href="#Page_377">377</a>, <a href="#Page_415">415</a>.<br /> +<br /> +Marston, John, <a href="#Page_85">85</a> <i>n.</i>, <a href="#Page_112">112</a>, <a href="#Page_115">115</a>, <a href="#Page_116">116</a>, <a href="#Page_196">196</a> <i>n.</i>, <a href="#Page_216">216</a>, <a href="#Page_217">217-18</a>, <a href="#Page_223">223</a>.<br /> +<br /> +Martin, William, <a href="#Page_265">265</a> <i>n.</i><br /> +<br /> +Martin Marprelate Controversy, <a href="#Page_114">114</a>.<br /> +<br /> +<i>Martin's Month's Mind</i>, <a href="#Page_10">10</a>, <a href="#Page_69">69</a>.<br /> +<br /> +Mason, John, <a href="#Page_315">315</a>, <a href="#Page_316">316</a>.<br /> +<br /> +<i>Masque, The</i>, <a href="#Page_369">369</a> <i>n.</i><br /> +<br /> +Massinger, Philip, <a href="#Page_325">325</a>, <a href="#Page_382">382</a> <i>n.</i><br /> +<br /> +Mathews, John, <a href="#Page_14">14</a>.<br /> +<br /> +Meade, Jacob, <a href="#Page_326">326-36</a>, <a href="#Page_346">346</a>.<br /> +<br /> +<i>Measure for Measure</i>, <a href="#Page_388">388</a>.<br /> +<br /> +<i>Melise, ou Les Princes Reconnus, La</i>, <a href="#Page_420">420</a>.<br /> +<br /> +Mercer, Will, <a href="#Page_338">338</a>.<br /> +<br /> +<i>Merchant of Dublin, The</i>, <a href="#Page_418">418</a>.<br /> +<br /> +<i>Mercurius Fumigosus</i>, <a href="#Page_307">307</a> <i>n.</i><br /> +<br /> +<i>Mercurius Politicus</i>, <a href="#Page_292">292</a>.<br /> +<br /> +Meres, Francis, <a href="#Page_175">175</a> <i>n.</i>, <a href="#Page_176">176</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_469" id="Page_469">469</a></span>Merian, M., <a href="#Page_146">146</a> <i>n.</i>, <a href="#Page_180">180</a> <i>n.</i>, <a href="#Page_248">248</a>, <a href="#Page_328">328</a> <i>n.</i><br /> +<br /> +Merry, Edward, <a href="#Page_192">192</a>.<br /> +<br /> +<i>Merry Devil of Edmonton, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Merry Wives of Windsor, The</i>, <a href="#Page_388">388</a>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Midas</i>, <a href="#Page_112">112</a>.<br /> +<br /> +Middlesex Street, <a href="#Page_17">17</a>.<br /> +<br /> +Middleton, Thomas, <a href="#Page_116">116</a>, <a href="#Page_207">207</a>, <a href="#Page_209">209</a> <i>n.</i>, <a href="#Page_278">278</a>, <a href="#Page_315">315</a>, <a href="#Page_350">350</a>, <a href="#Page_419">419</a>.<br /> +<br /> +Mohun, Michael, <a href="#Page_304">304</a>.<br /> +<br /> +Monk, General. <i>See</i> <a href="#ALBEMARLE">Albemarle</a>.<br /> +<br /> +Monkaster. <i>See</i> <a href="#MULCASTER">Mulcaster</a>.<br /> +<br /> +Montmorency, Duke of, <a href="#Page_385">385</a>.<br /> +<br /> +Moore, Mr. (of Pepy's <i>Diary</i>), <a href="#Page_405">405</a>.<br /> +<br /> +Moor Field, <a href="#Page_81">81</a>.<br /> +<br /> +<i>Moor of Venice, The</i>, <a href="#Page_367">367</a>, <a href="#Page_387">387</a>.<br /> +<br /> +More, Sir Christopher, <a href="#Page_184">184</a>.<br /> +<br /> +More, Sir William, <a href="#Page_96">96-110</a>, <a href="#Page_113">113</a>, <a href="#Page_184">184</a>, <a href="#Page_189">189-90</a>, <a href="#Page_208">208</a>.<br /> +<br /> +Morocco Ambassador, <a href="#Page_339">339</a>.<br /> +<br /> +Morris, Isbrand, <a href="#Page_241">241-42</a>.<br /> +<br /> +Motteram, John, <a href="#Page_206">206</a>.<br /> +<br /> +Mountjoy, Lord, <a href="#Page_81">81</a>.<br /> +<br /> +<a name="MULCASTER"></a>Mulcaster, Richard, <a href="#Page_206">206</a>.<br /> +<br /> +Munday, Anthony, <a href="#Page_82">82</a>.<br /> +<br /> +Murray, J.T., <a href="#Page_71">71</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a> <i>n.</i>, <a href="#Page_111">111</a> <i>n.</i>, <a href="#Page_286">286</a> <i>n.</i>, <a href="#Page_298">298</a> <i>n.</i>, <a href="#Page_311">311</a> <i>n.</i>, <a href="#Page_323">323</a>, <a href="#Page_354">354</a> <i>n.</i>, <a href="#Page_377">377</a>, <a href="#Page_378">378</a>.<br /> +<br /> +Myles, Ralph, <a href="#Page_57">57</a>.<br /> +<br /> +Myles, Robert, <a href="#Page_28">28</a> <i>n.</i>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_54">54-58</a>.<br /> +<br /> +<br /> +Nash, Thomas, <a href="#Page_10">10</a> <i>n.</i>, <a href="#Page_69">69</a>, <a href="#Page_84">84</a>, <a href="#Page_114">114-15</a>, <a href="#Page_154">154</a>, <a href="#Page_171">171-73</a>.<br /> +<br /> +Neuendorf, B., <a href="#Page_vii">vii</a>.<br /> +<br /> +Neville, Sir Henry, <a href="#Page_95">95-100</a>, <a href="#Page_102">102</a> <i>n.</i>, <a href="#Page_184">184</a>.<br /> +<br /> +Newgate Market, <a href="#Page_122">122</a>.<br /> +<br /> +Newington Butts Playhouse, <a href="#Page_73">73</a>, <a href="#Page_134">134-41</a>, <a href="#Page_151">151</a>, <a href="#Page_154">154</a>.<br /> +<br /> +New Inn Yard, <a href="#Page_34">34</a>, <a href="#Page_79">79</a>.<br /> +<br /> +Newman, John, <a href="#Page_107">107-08</a>.<br /> +<br /> +Nexara, Duke of, <a href="#Page_130">130</a>.<br /> +<br /> +Nicholas, Basilius, <a href="#Page_224">224</a>.<br /> +<br /> +Nightingale Lane, <a href="#Page_410">410-12</a>.<br /> +<br /> +<i>Noble Stranger, The</i>, <a href="#Page_373">373</a> <i>n.</i><br /> +<br /> +Norden, John, <a href="#Page_128">128</a> <i>n.</i>, <a href="#Page_145">145</a>.<br /> +<br /> +Northbrooke, John, <a href="#Page_76">76</a>.<br /> +<br /> +<i>Northern Lass, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +Northup, Clark S., <a href="#Page_ix">ix</a>.<br /> +<br /> +<a name="NOTTINGHAM"></a>Nottingham, Charles Howard, Earl of, <a href="#Page_155">155</a> <i>n.</i>, <a href="#Page_268">268-70</a>, <a href="#Page_272">272-73</a>.<br /> +<span style="margin-left: 1em;">His players, <i>see</i> <a href="#ADMIRAL">Admiral</a>.</span><br /> +<br /> +<i>No Wit, No Help like a Woman's</i>, <a href="#Page_419">419</a>.<br /> +<br /> +<br /> +Ogilby, John, <a href="#Page_294">294</a>, <a href="#Page_417">417-19</a>.<br /> +<br /> +Ogilby, John, and William Morgan, <a href="#Page_294">294</a>.<br /> +<br /> +Ogilby's Dublin Theatre, <a href="#Page_417">417-19</a>.<br /> +<br /> +<i>Oldcastle</i>, <a href="#Page_403">404</a>.<br /> +<br /> +Opera, <a href="#Page_365">365</a>, <a href="#Page_425">425</a>.<br /> +<br /> +Ordish, T.F., <a href="#Page_vii">vii</a>, <a href="#Page_48">48</a> <i>n.</i>, <a href="#Page_341">341</a> <i>n.</i><br /> +<br /> +<i>Orlando Furioso</i>, <a href="#Page_150">150</a>.<br /> +<br /> +Osteler, William, <a href="#Page_225">225</a> <i>n.</i>, <a href="#Page_237">237</a>, <a href="#Page_260">260</a>.<br /> +<br /> +<i>Othello</i>, <a href="#Page_367">367</a>, <a href="#Page_387">387</a>, <a href="#Page_388">388</a>.<br /> +<br /> +Oxford, Edward de Vere, Earl of, <a href="#Page_16">16</a>, <a href="#Page_108">108-10</a>, <a href="#Page_157">157</a>, <a href="#Page_202">202</a>.<br /> +<br /> +Oxford's Company, <a href="#Page_16">16</a>, <a href="#Page_87">87</a> <i>n.</i>, <a href="#Page_157">157-59</a>.<br /> +<br /> +<br /> +Palatine. <i>See</i> <a href="#FREDERICK_V">Frederick V</a>.<br /> +<br /> +Palladio, Andrea, <a href="#Page_398">398</a>.<br /> +<br /> +Pallant, Robert, <a href="#Page_158">158</a>.<br /> +<br /> +Palmyra, <a href="#Page_265">265</a>.<br /> +<br /> +Palsgrave. <i>See</i> <a href="#FREDERICK_V">Frederick V</a>.<br /> +<br /> +Palsgrave's Company. <i>See under</i> <a href="#ADMIRAL">Admiral</a>.<br /> +<br /> +<i>Pappe with an Hatchet</i>, <a href="#Page_112">112</a>.<br /> +<br /> +Paris, Robert de, <a href="#Page_122">122</a>.<br /> +<br /> +Paris Garden. <i>See</i> <a href="#BEAR_GARDEN">Bear Garden</a>.<br /> +<br /> +Paris Garden, Manor of, <a href="#Page_121">121</a> f., <a href="#Page_135">135</a>, <a href="#Page_161">161</a> f.<br /> +<br /> +Park, The, <a href="#Page_241">241</a>.<br /> +<br /> +Park Street, <a href="#Page_265">265</a>.<br /> +<br /> +Parliament Chamber, <a href="#Page_186">186</a> f.<br /> +<br /> +<i>Passionate Lovers, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Pastorall, The</i>, <a href="#Page_401">401</a>.<br /> +<br /> +Pavy, Salmon (or Salathiel), <a href="#Page_206">206</a>, <a href="#Page_207">207</a>.<br /> +<br /> +Payne, Robert, <a href="#Page_215">215</a>.<br /> +<br /> +Peckam, Edmund, <a href="#Page_51">51-52</a>, <a href="#Page_66">66</a>.<br /> +<br /> +Pembroke, William Herbert, Earl of, <a href="#Page_261">261</a>.<br /> +<br /> +Pembroke and Montgomery, Philip Herbert, Earl of, <a href="#Page_232">232</a>.<br /> +<br /> +Pembroke's Company, <a href="#Page_84">84</a>, <a href="#Page_154">154-55</a>, <a href="#Page_157">157</a>, <a href="#Page_170">170-75</a>.<br /> +<br /> +Penruddoks, Edward, <a href="#Page_430">430</a>.<br /> +<br /> +Pepys, Samuel, <a href="#Page_17">17</a>, <a href="#Page_207">207</a>, <a href="#Page_308">308</a>, <a href="#Page_338">338</a>, <a href="#Page_366">366</a>, <a href="#Page_382">382</a>, <a href="#Page_405">405</a>.<br /> +<br /> +<i>Perfect Account, The</i>, <a href="#Page_305">305</a>.<br /> +<br /> +<i>Perfect Occurrences</i>, <a href="#Page_304">304</a>.<br /> +<br /> +Perkins, Richard, <a href="#Page_158">158</a>, <a href="#Page_380">380</a>.<br /> +<br /> +Perrin, Lady, <a href="#Page_184">184</a>.<br /> +<br /> +Peyton, Sir John, <a href="#Page_410">410</a>.<br /> +<br /> +<a name="PHILLIPS"></a>Phillips, Augustine, <a href="#Page_62">62</a>, <a href="#Page_73">73</a>, <a href="#Page_84">84</a>, <a href="#Page_224">224</a>, <a href="#Page_235">235-41</a>, <a href="#Page_260">260</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_470" id="Page_470">470</a></span>Phillipps, Sir Thomas (his copy of Stow's <i>Annals</i>), <a href="#Page_233">233</a>, <a href="#Page_258">258</a> <i>n.</i>, <a href="#Page_264">264</a>, <a href="#Page_285">285</a> <i>n.</i>, <a href="#Page_291">291</a>, <a href="#Page_330">330</a> <i>n.</i>, <a href="#Page_336">336</a>, <a href="#Page_364">364</a>, <a href="#Page_381">381</a> <i>n.</i><br /> +<br /> +<i>Philotas</i>, <a href="#Page_216">216</a>.<br /> +<br /> +Phœnix Playhouse. <i>See</i> <a href="#COCKPIT_DRURY">Cockpit Playhouse in Drury Lane</a>.<br /> +<br /> +Pierce, Edward, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_319">319-20</a>.<br /> +<br /> +Pierce, James, <a href="#Page_382">382</a>.<br /> +<br /> +Pierce, Mrs. James, <a href="#Page_308">308</a>, <a href="#Page_382">382</a>.<br /> +<br /> +<i>Pierce the Ploughman's Creed</i>, <a href="#Page_196">196</a>.<br /> +<br /> +Piozzi, Hester Lynch, <a href="#Page_264">264</a>.<br /> +<br /> +Pipe Office, <a href="#Page_190">190</a> <i>n.</i>, <a href="#Page_197">197</a>.<br /> +<br /> +Pit Court, <a href="#Page_348">348</a> <i>n.</i><br /> +<br /> +Plague, <a href="#Page_12">12</a>, <a href="#Page_15">15</a>, <a href="#Page_20">20</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_67">67</a> <i>n.</i>, <a href="#Page_74">74</a> <i>n.</i>, <a href="#Page_152">152-53</a>, <a href="#Page_159">159</a>, <a href="#Page_215">215</a>, <a href="#Page_222">222</a>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a>, <a href="#Page_281">281</a>, <a href="#Page_282">282</a>, <a href="#Page_287">287-88</a>, <a href="#Page_316">316</a>, <a href="#Page_355">355</a>, <a href="#Page_356">356</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>, <a href="#Page_379">379</a>.<br /> +<br /> +<i>Playhouse to be Let</i>, <a href="#Page_309">309</a>.<br /> +<br /> +Playhouse Yard, <a href="#Page_197">197</a>.<br /> +<br /> +Plomer, H.R., <a href="#Page_293">293</a> <i>n.</i><br /> +<br /> +<i>Poetaster</i>, <a href="#Page_1">1</a> <i>n.</i>, <a href="#Page_226">226</a>.<br /> +<br /> +Pollard, Thomas, <a href="#Page_363">363</a>.<br /> +<br /> +Pope (a scrivener?), <a href="#Page_159">159</a>.<br /> +<br /> +Pope, Alexander, <a href="#Page_417">417</a>.<br /> +<br /> +Pope, Morgan, <a href="#Page_159">159</a> <i>n.</i><br /> +<br /> +Pope, Thomas, <a href="#Page_62">62</a>, <a href="#Page_73">73</a>, <a href="#Page_84">84</a>, <a href="#Page_86">86</a>, <a href="#Page_159">159</a> <i>n.</i>, <a href="#Page_224">224</a>, <a href="#Page_235">235-41</a>, <a href="#Page_260">260</a>.<br /> +<br /> +Porter's Hall. <i>See</i> <a href="#ROSSETERS">Rosseter's Blackfriars Playhouse</a>.<br /> +<br /> +Portynary, Sir John, <a href="#Page_184">184</a>, <a href="#Page_193">193</a>.<br /> +<br /> +Pride, Thomas, <a href="#Page_337">337</a>.<br /> +<br /> +<a name="PRINCE_CHARLES"></a>Prince Charles—2 Red Bull Company:<br /> +<span style="margin-left: 1em;">Prince Charles I's Company, <a href="#Page_17">17</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>, <a href="#Page_179">179</a>, <a href="#Page_300">300</a>, <a href="#Page_301">301-02</a>, <a href="#Page_334">334-35</a>, <a href="#Page_344">344</a>, <a href="#Page_346">346</a>, <a href="#Page_354">354-55</a>, <a href="#Page_417">417</a>.</span><br /> +<span style="margin-left: 1em;">2 Red Bull Company, <a href="#Page_301">301-04</a>.</span><br /> +<br /> +Prince Charles's (Charles II's) Company. <i>See under</i> +<a href="#ADMIRAL">Admiral, etc.</a><br /> +<br /> +Prince Henry's Company. <i>See under</i> <a href="#ADMIRAL">Admiral, etc.</a><br /> +<br /> +Prince's Arms Inn, <a href="#Page_180">180</a> <i>n.</i><br /> +<br /> +<a name="PRINCESS_ELIZABETH"></a>Princess Elizabeth's Company, <a href="#Page_179">179</a>, <a href="#Page_321">321</a>, <a href="#Page_324">324</a>, <a href="#Page_332">332-35</a>, <a href="#Page_342">342</a>, <a href="#Page_344">344</a>, <a href="#Page_346">346</a>, <a href="#Page_354">354</a> <i>n.</i>, <a href="#Page_355">355</a>.<br /> +<br /> +Prynne, William, <a href="#Page_302">302</a>, <a href="#Page_310">310</a> <i>n.</i>, <a href="#Page_372">372</a> <i>n.</i><br /> +<br /> +<i>Ptolome</i>, <a href="#Page_11">11</a>.<br /> +<br /> +Puckering, Sir Thomas, <a href="#Page_254">254</a>, <a href="#Page_389">389</a>.<br /> +<br /> +Puddlewharf, <a href="#Page_343">343</a> f.<br /> +<br /> +Puiseux, M. de, <a href="#Page_221">221</a> <i>n.</i><br /> +<br /> +Puritans, <a href="#Page_6">6</a>, <a href="#Page_18">18-19</a>, <a href="#Page_29">29</a>, <a href="#Page_85">85</a>, <a href="#Page_126">126</a>, <a href="#Page_156">156</a>.<br /> +<br /> +Pykman, Phillipp, <a href="#Page_206">206</a>.<br /> +<br /> +<br /> +Queen Anne's Company. <i>See under</i> <a href="#WORCESTER">Worcester, etc.</a><br /> +<br /> +<a name="QUEENS_COMPANY"></a>Queen's (Elizabeth's) Company, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_66">66-72</a>, <a href="#Page_80">80</a> <i>n.</i>, <a href="#Page_84">84</a>, <a href="#Page_153">153</a>.<br /> +<br /> +Queen's (Henrietta's) Company, <a href="#Page_355">355-56</a>, <a href="#Page_379">379-80</a>, <a href="#Page_394">394</a>, <a href="#Page_421">421</a>, <a href="#Page_427">427</a>.<br /> +<br /> +Queen's Revels. <i>See under</i> <a href="#CHILDREN_CHAPEL">Children of the Chapel, etc.</a><br /> +<br /> +Queen's Street, <a href="#Page_348">348</a> <i>n.</i><br /> +<br /> +<br /> +Raleigh, Sir Walter, <a href="#Page_126">126</a>.<br /> +<br /> +<i>Ram Alley</i>, <a href="#Page_313">313</a>, <a href="#Page_316">316</a>.<br /> +<br /> +Randolph, Thomas, <a href="#Page_303">303</a>, <a href="#Page_349">349</a>.<br /> +<br /> +Rastell, William, <a href="#Page_213">213-22</a>.<br /> +<br /> +Ratcliffe, <a href="#Page_352">352</a>.<br /> +<br /> +Rathgeb, Jacob, <a href="#Page_132">132</a>.<br /> +<br /> +1 Red Bull Company. <i>See under</i> <a href="#WORCESTER">Worcester, etc.</a><br /> +<br /> +2 Red Bull Company. <i>See under</i> <a href="#PRINCE_CHARLES">Prince Charles, etc.</a><br /> +<br /> +Red Bull Playhouse, <a href="#Page_75">75</a> <i>n.</i>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>, <a href="#Page_219">219</a> <i>n.</i>, <a href="#Page_226">226</a> <i>n.</i>, <a href="#Page_287">287</a>, <a href="#Page_294">294-309</a>, <a href="#Page_311">311</a> <i>n.</i>, <a href="#Page_351">351</a>, <a href="#Page_353">353</a>, <a href="#Page_353">353</a> <i>n.</i>, <a href="#Page_356">356</a>, <a href="#Page_374">374</a>, <a href="#Page_378">378</a>.<br /> +<br /> +Red Bull Yard, <a href="#Page_294">294</a>.<br /> +<br /> +Redwood, C.W., <a href="#Page_ix">ix</a>.<br /> +<br /> +Reeve, Ralph, <a href="#Page_343">343</a>.<br /> +<br /> +Rendle, William, <a href="#Page_12">12</a>, <a href="#Page_124">124</a> <i>n.</i>, <a href="#Page_143">143</a>, <a href="#Page_178">178</a> <i>n.</i>, <a href="#Page_180">180</a> <i>n.</i>, <a href="#Page_339">339</a>.<br /> +<br /> +Reulidge, Richard, <a href="#Page_8">8</a>, <a href="#Page_310">310</a> <i>n.</i><br /> +<br /> +Revels Office, <a href="#Page_94">94</a>, <a href="#Page_96">96</a>.<br /> +<br /> +Reynolds, G.F., <a href="#Page_vii">vii</a>.<br /> +<br /> +Rhodes, John, <a href="#Page_365">365</a>, <a href="#Page_366">366</a>.<br /> +<br /> +Richards, Hugh, <a href="#Page_36">36</a>.<br /> +<br /> +Richmond, <a href="#Page_402">402</a>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Roaring Girl, The</i>, <a href="#Page_278">278</a>.<br /> +<br /> +Roberts, John, <a href="#Page_242">242</a>.<br /> +<br /> +Robinson, James, <a href="#Page_205">205</a>, <a href="#Page_213">213</a>.<br /> +<br /> +Robinson, Richard, <a href="#Page_304">304</a>.<br /> +<br /> +Rochester, John Wilmot, Earl of, <a href="#Page_340">340</a>.<br /> +<br /> +<i>Romeo and Juliet</i>, <a href="#Page_85">85</a>.<br /> +<br /> +Roper, Lactantius, <a href="#Page_241">241-42</a>.<br /> +<br /> +<i>Rosania</i>, <a href="#Page_259">259</a>, <a href="#Page_419">419</a>.<br /> +<br /> +Rose Alley, <a href="#Page_144">144</a>, <a href="#Page_160">160</a> <i>n.</i><br /> +<br /> +Rose Playhouse, <a href="#Page_16">16</a>, <a href="#Page_16">16</a> <i>n.</i>, <a href="#Page_61">61</a> <i>n.</i>, <a href="#Page_63">63</a>, <a href="#Page_73">73</a> <i>n.</i>, <a href="#Page_75">75</a> <i>n.</i>, <a href="#Page_77">77</a> <i>n.</i>, <a href="#Page_128">128</a>, <a href="#Page_139">139</a>, <a href="#Page_140">140</a>, <a href="#Page_142">142-60</a>, <a href="#Page_167">167</a>, <a href="#Page_168">168</a> <i>n.</i>, <a href="#Page_174">174</a>, <a href="#Page_179">179</a>, <a href="#Page_182">182</a>, <a href="#Page_238">238</a>, <a href="#Page_248">248</a>, <a href="#Page_265">265</a>, <a href="#Page_267">267</a>, <a href="#Page_296">296</a>, <a href="#Page_324">324</a>, <a href="#Page_332">332</a> <i>n.</i><br /> +<br /> +Rosseter, Philip, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>, <a href="#Page_224">224</a>, <a href="#Page_317">317-23</a>, <a href="#Page_324">324-25</a>, <a href="#Page_330">330-32</a>, <a href="#Page_335">335</a>, <a href="#Page_342">342-47</a>.<br /> +<br /> +<a name="ROSSETERS"></a> +<span class="pagenum"><a name="Page_471" id="Page_471">471</a></span>Rosseter's Blackfriars Playhouse, <a href="#Page_322">322</a>, <a href="#Page_336">336</a>, <a href="#Page_342">342-47</a>, <a href="#Page_355">355</a>.<br /> +<br /> +Rossingham, Edmond, <a href="#Page_288">288</a>.<br /> +<br /> +Rowlands, Samuel, <a href="#Page_185">185</a> <i>n.</i><br /> +<br /> +Roxalana, <a href="#Page_406">406</a>.<br /> +<br /> +<i>Royal Master, The</i>, <a href="#Page_419">419</a>.<br /> +<br /> +<i>Rump, The</i>, <a href="#Page_382">382</a>.<br /> +<br /> +Russell, Dowager Lady Elizabeth, <a href="#Page_199">199</a>.<br /> +<br /> +Rutland, Edward Manners, Earl of, <a href="#Page_36">36</a>, <a href="#Page_36">36</a> <i>n.</i>, <a href="#Page_37">37</a>.<br /> +<br /> +Rutland House, <a href="#Page_364">364</a>.<br /> +<br /> +Ryther, Augustine, <a href="#Page_277">277</a>.<br /> +<br /> +<br /> +Sacarson, <a href="#Page_121">121</a>.<br /> +<br /> +<i>Sackful of News, A.</i>, <a href="#Page_10">10</a>.<br /> +<br /> +St. Bride's, Parish of, <a href="#Page_425">425</a> f.<br /> +<br /> +St. Dunstan's, Parish of, <a href="#Page_425">425</a> f.<br /> +<br /> +St. Giles, Cripplegate, <a href="#Page_268">268</a> f.<br /> +<br /> +St. Giles in the Fields, <a href="#Page_355">355</a>, <a href="#Page_362">362</a>.<br /> +<br /> +St. James, Palace of, <a href="#Page_384">384</a>, <a href="#Page_392">392</a>.<br /> +<br /> +St. James, Parish of, <a href="#Page_294">294</a> f.<br /> +<br /> +St. John's Gate, <a href="#Page_294">294</a>.<br /> +<br /> +St. John's Street, <a href="#Page_11">11</a>, <a href="#Page_96">96</a>, <a href="#Page_294">294</a> f., <a href="#Page_305">305</a>.<br /> +<br /> +St. Mary Overies, <a href="#Page_64">64-65</a>, <a href="#Page_168">168</a> <i>n.</i>, <a href="#Page_238">238</a>.<br /> +<br /> +St. Mildred, Parish of, <a href="#Page_143">143</a>, <a href="#Page_159">159</a>.<br /> +<br /> +<i>St. Patrick for Ireland</i>, <a href="#Page_419">419</a>.<br /> +<br /> +St. Paul's Boys. <i>See</i> <a href="#CHILDREN_ST_PAULS">Children of St. Paul's</a>.<br /> +<br /> +St. Paul's Cathedral, <a href="#Page_29">29</a> <i>n.</i>, <a href="#Page_167">167</a>.<br /> +<br /> +St. Paul's Playhouse, <a href="#Page_8">8</a>, <a href="#Page_111">111-18</a>, <a href="#Page_349">349</a>.<br /> +<br /> +St. Saviours, Parish of, <a href="#Page_145">145</a>, <a href="#Page_170">170</a>, <a href="#Page_259">259</a>.<br /> +<br /> +St. Warburg's Street, Dublin, <a href="#Page_418">418</a>.<br /> +<br /> +Salisbury, Mr. (portrait painter), <a href="#Page_366">366</a>.<br /> +<br /> +Salisbury, Robert Cecil, Earl of, <a href="#Page_221">221</a>.<br /> +<br /> +Salisbury Court Playhouse, <a href="#Page_233">233</a>, <a href="#Page_259">259</a>, <a href="#Page_287">287</a>, <a href="#Page_291">291</a>, <a href="#Page_302">302</a>, <a href="#Page_350">350</a>, <a href="#Page_357">357</a> <i>n.</i>, <a href="#Page_360">360</a> <i>n.</i>, <a href="#Page_364">364</a>, <a href="#Page_368">368-83</a>, <a href="#Page_427">427</a>.<br /> +<br /> +Sampson, M.W., <a href="#Page_279">279</a> <i>n.</i><br /> +<br /> +Sandwich, Edward Montagu, Earl of, <a href="#Page_405">405</a>.<br /> +<br /> +<i>Sapho and Phao</i>, <a href="#Page_109">109</a>, <a href="#Page_113">113</a>.<br /> +<br /> +<i>Satiromastix</i>, <a href="#Page_332">332</a>.<br /> +<br /> +Saunders, Lady, <a href="#Page_343">343</a> f.<br /> +<br /> +Saunders, Sir Thomas, <a href="#Page_184">184</a>.<br /> +<br /> +Savage, Thomas, <a href="#Page_240">240</a>.<br /> +<br /> +<i>Scornful Lady, The</i>, <a href="#Page_403">403</a>, <a href="#Page_406">406</a>.<br /> +<br /> +Scott, Sir Walter, <a href="#Page_310">310</a> <i>n.</i><br /> +<br /> +Scuderi, Georges de, <a href="#Page_421">421</a> <i>n.</i><br /> +<br /> +Sellers, William, <a href="#Page_242">242</a>.<br /> +<br /> +Shadwell, Thomas, <a href="#Page_310">310</a> <i>n.</i><br /> +<br /> +Shakespeare, William, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>, <a href="#Page_65">65</a>, <a href="#Page_73">73</a>, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>, <a href="#Page_140">140</a>, <a href="#Page_150">150</a>, <a href="#Page_186">186</a>, <a href="#Page_208">208-10</a>, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_224">224</a>, <a href="#Page_235">235-41</a>, <a href="#Page_249">249</a>, <a href="#Page_251">251</a>, <a href="#Page_261">261-62</a>, <a href="#Page_298">298</a>, <a href="#Page_348">348</a>, <a href="#Page_391">391</a> <i>n.</i><br /> +<br /> +Shanks, John, <a href="#Page_263">263</a>.<br /> +<br /> +Sharp, Lewis, <a href="#Page_373">373</a> <i>n.</i><br /> +<br /> +Sharpham, Edward, <a href="#Page_316">316</a>.<br /> +<br /> +Shatterel, Edward, <a href="#Page_304">304-05</a>, <a href="#Page_308">308</a>.<br /> +<br /> +Shaw, Robert, <a href="#Page_168">168</a>, <a href="#Page_172">172-74</a>.<br /> +<br /> +Sherlock, William, <a href="#Page_380">380</a>.<br /> +<br /> +Shirley, James, <a href="#Page_259">259</a>, <a href="#Page_349">349</a>, <a href="#Page_376">376</a>, <a href="#Page_377">377</a>, <a href="#Page_406">406</a> <i>n.</i>, <a href="#Page_419">419</a>.<br /> +<br /> +Shoreditch, <a href="#Page_30">30</a>, <a href="#Page_78">78</a>, <a href="#Page_185">185</a>.<br /> +<br /> +Sibthorpe, Edward, <a href="#Page_315">315</a>.<br /> +<br /> +<i>Siege of Rhodes, The</i>, <a href="#Page_364">364</a>.<br /> +<br /> +<i>Silent Woman, The</i>, <a href="#Page_319">319</a>, <a href="#Page_405">405</a>.<br /> +<br /> +Silver, George, <a href="#Page_13">13</a> <i>n.</i>, <a href="#Page_194">194-95</a>.<br /> +<br /> +Silver, Thomas, <a href="#Page_381">381</a>, <a href="#Page_383">383</a>.<br /> +<br /> +Singer, John, <a href="#Page_235">235</a> <i>n.</i><br /> +<br /> +<i>Sir Francis Drake</i>, <a href="#Page_364">364</a>.<br /> +<br /> +<i>Sir Giles Goosecappe</i>, <a href="#Page_373">373</a>.<br /> +<br /> +Skevington, Richard, <a href="#Page_172">172</a>.<br /> +<br /> +<i>Skialetheia</i>, <a href="#Page_46">46</a>, <a href="#Page_61">61</a>.<br /> +<br /> +Slaiter, Martin, <a href="#Page_315">315</a>, <a href="#Page_317">317-18</a>.<br /> +<br /> +Slye, William, <a href="#Page_224">224</a>, <a href="#Page_225">225</a> <i>n.</i>, <a href="#Page_235">235</a> <i>n.</i>, <a href="#Page_260">260</a>.<br /> +<br /> +Smallpiece, Thomas, <a href="#Page_108">108</a>.<br /> +<br /> +Smith, Isack, <a href="#Page_366">366</a>.<br /> +<br /> +Smith, John, <a href="#Page_351">351</a> <i>n.</i><br /> +<br /> +Smith, Captain John, <a href="#Page_369">369</a> <i>n.</i><br /> +<br /> +Smith, Wentworth, <a href="#Page_158">158</a>.<br /> +<br /> +Smith, William, <a href="#Page_63">63</a>.<br /> +<br /> +Smithfield, <a href="#Page_332">332</a>.<br /> +<br /> +Somerset House, <a href="#Page_403">404</a>.<br /> +<br /> +Sophocles, <a href="#Page_398">398</a>.<br /> +<br /> +Soulas, Josias de, <a href="#Page_420">420-24</a>.<br /> +<br /> +Spanish Ambassador, <a href="#Page_281">281</a>, <a href="#Page_339">339</a>.<br /> +<br /> +<i>Spanish Curate, The</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Spanish Tragedy, The</i>, <a href="#Page_150">150</a>, <a href="#Page_261">261</a>.<br /> +<br /> +<i>Sparagus Garden, The</i>, <a href="#Page_379">379</a>.<br /> +<br /> +Sparks, Thomas, <a href="#Page_285">285</a> <i>n.</i><br /> +<br /> +Speed, John, <a href="#Page_265">265</a>.<br /> +<br /> +<a name="SPENCER"></a>Spencer, Gabriel, <a href="#Page_168">168</a>, <a href="#Page_172">172-74</a>, <a href="#Page_235">235</a> <i>n.</i><br /> +<br /> +Spiller, Sir Henry, <a href="#Page_230">230</a>.<br /> +<br /> +Spykes School, <a href="#Page_206">206</a>.<br /> +<br /> +<i>Squire of Alsatia, The</i>, <a href="#Page_310">310</a> <i>n.</i><br /> +<br /> +Stanley, Ferdinando, Lord Strange. <i>See</i> <a href="#DERBY">Derby</a>.<br /> +<br /> +Star of the West, <a href="#Page_133">133</a>.<br /> +<br /> +Steevens, George, <a href="#Page_77">77-78</a>.<br /> +<br /> +Stepney Field, <a href="#Page_352">352</a>.<br /> +<br /> +Stettin-Pomerania, Philip Julius, Duke of, <a href="#Page_207">207</a>, <a href="#Page_214">214-15</a>.<br /> +<br /> +<span class="pagenum"><a name="Page_472" id="Page_472">472</a></span>Stevens, John, <a href="#Page_183">183</a>.<br /> +<br /> +Stockwood, John, <a href="#Page_8">8</a>, <a href="#Page_26">26</a>, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>.<br /> +<br /> +Stone, George, <a href="#Page_121">121</a>.<br /> +<br /> +Stopes, Charlotte C., <a href="#Page_361">361</a> <i>n.</i><br /> +<br /> +Stoughton, Robert, <a href="#Page_36">36</a>.<br /> +<br /> +Stow, John, <a href="#Page_124">124</a>, <a href="#Page_136">136</a>, <a href="#Page_166">166</a>, <a href="#Page_348">348</a>, <a href="#Page_388">388</a>, <a href="#Page_391">391</a>.<br /> +<span style="margin-left: 1em;"><i>See also</i> <a href="#HOWES">Howes</a>, +<a href="#PHILLIPS">Phillipps</a>, and <a href="#STRYPE">Strype</a>.</span><br /> +<br /> +Strafford, Thomas Wentworth, Earl of, <a href="#Page_417">417-18</a>.<br /> +<br /> +Strange, Lord. <i>See</i> <a href="#DERBY">Derby</a>.<br /> +<br /> +<a name="STRANGE_DERBY"></a>Strange—Derby—1 Chamberlain—Hunsdon—2 Chamberlain—King James I—King Charles I's Company:<br /> +<span style="margin-left: 1em;">Strange's Company, <a href="#Page_14">14</a>, <a href="#Page_139">139</a>, <a href="#Page_150">150-54</a>.</span><br /> +<span style="margin-left: 1em;">Derby's Company, <a href="#Page_73">73</a>, <a href="#Page_87">87</a> <i>n.</i>, <a href="#Page_153">153</a>.</span><br /> +<span style="margin-left: 1em;">1 Chamberlain's Company, <a href="#Page_14">14-15</a>, <a href="#Page_150">150</a>, <a href="#Page_153">153-54</a>.</span><br /> +<span style="margin-left: 1em;">Hunsdon's Company, <a href="#Page_199">199</a>, <a href="#Page_199">199</a> <i>n.</i></span><br /> +<span style="margin-left: 1em;">2 Chamberlain's Company, <a href="#Page_16">16</a>, <a href="#Page_61">61</a>, <a href="#Page_61">61</a> <i>n.</i>, <a href="#Page_62">62</a>, <a href="#Page_68">68</a> <i>n.</i>, <a href="#Page_73">73-74</a>, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>, <a href="#Page_150">150</a>, <a href="#Page_154">154-55</a>, <a href="#Page_159">159</a> <i>n.</i>, <a href="#Page_174">174-75</a>, <a href="#Page_176">176</a>, <a href="#Page_200">200</a>, <a href="#Page_209">209</a> <i>n.</i>, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_235">235-38</a>, <a href="#Page_249">249</a>, <a href="#Page_267">267</a>, <a href="#Page_272">272-73</a>, <a href="#Page_351">351</a>.</span><br /> +<span style="margin-left: 1em;">King James I's Company, <a href="#Page_88">88</a>, <a href="#Page_118">118</a>, <a href="#Page_223">223-27</a>, <a href="#Page_250">250-62</a>, <a href="#Page_295">295</a>, <a href="#Page_320">320-21</a>, <a href="#Page_324">324</a>, <a href="#Page_325">325</a>, <a href="#Page_374">374</a>.</span><br /> +<span style="margin-left: 1em;">King Charles I's Company, <a href="#Page_227">227-33</a>, <a href="#Page_262">262-63</a>, <a href="#Page_302">302</a>, <a href="#Page_365">365</a>, <a href="#Page_374">374</a>, <a href="#Page_378">378</a>, <a href="#Page_400">400</a>, <a href="#Page_401">401</a>, <a href="#Page_402">402</a>.</span><br /> +<br /> +Street, Peter, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_239">239</a>, <a href="#Page_269">269</a>, <a href="#Page_273">273-74</a>.<br /> +<br /> +<a name="STRYPE"></a>Strype, John, <a href="#Page_243">243</a>, <a href="#Page_340">340</a>, <a href="#Page_391">391</a>, <a href="#Page_408">408</a> <i>n.</i><br /> +<br /> +Stubbes, Philip, <a href="#Page_83">83</a>, <a href="#Page_125">125</a>.<br /> +<br /> +Stutville, George, <a href="#Page_374">374</a>.<br /> +<br /> +Summer playhouse, <a href="#Page_67">67-68</a>, <a href="#Page_225">225</a>, <a href="#Page_250">250</a>, <a href="#Page_321">321</a>, <a href="#Page_324">324</a>, <a href="#Page_325">325</a>, <a href="#Page_342">342</a>.<br /> +<br /> +Sumner, John, <a href="#Page_380">380</a>.<br /> +<br /> +Sussex's Company, <a href="#Page_152">152</a>.<br /> +<br /> +Swan Inn, <a href="#Page_180">180</a> <i>n.</i><br /> +<br /> +Swan Playhouse, <a href="#Page_77">77</a> <i>n.</i>, <a href="#Page_84">84</a>, <a href="#Page_154">154-55</a>, <a href="#Page_161">161-81</a>, <a href="#Page_182">182</a>, <a href="#Page_238">238</a>, <a href="#Page_273">273</a>, <a href="#Page_321">321</a>, <a href="#Page_324">324</a>, <a href="#Page_326">326</a>, <a href="#Page_327">327</a>, <a href="#Page_329">329</a>, <a href="#Page_334">334</a>, <a href="#Page_342">342-43</a>.<br /> +<br /> +Swanston, Eilliard, <a href="#Page_400">400</a>.<br /> +<br /> +Swinerton, Sir John, <a href="#Page_321">321</a>.<br /> +<br /> +Swynnerton, Thomas, <a href="#Page_296">296</a>.<br /> +<br /> +<br /> +<i>Taming of a Shrew, The</i>, <a href="#Page_140">140</a>.<br /> +<br /> +Tarbock, John, <a href="#Page_318">318</a>.<br /> +<br /> +Tarleton, Richard, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a> <i>n.</i>, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_72">72</a>, <a href="#Page_72">72</a> <i>n.</i>, <a href="#Page_235">235</a>, <a href="#Page_298">298</a>.<br /> +<br /> +<i>Tarlton's Jests</i>, <a href="#Page_13">13</a>.<br /> +<br /> +<i>Tarlton's News out of Purgatory</i>, <a href="#Page_69">69</a>, <a href="#Page_75">75</a>.<br /> +<br /> +Tatham, John, <a href="#Page_289">289</a>, <a href="#Page_303">303</a> <i>n.</i>, <a href="#Page_382">382</a>.<br /> +<br /> +Taylor, John (the Water Poet), <a href="#Page_251">251</a>, <a href="#Page_257">257</a>, <a href="#Page_259">259</a>, <a href="#Page_329">329</a>, <a href="#Page_332">332-34</a>.<br /> +<br /> +Taylor, Joseph, <a href="#Page_363">363</a>, <a href="#Page_400">400</a>.<br /> +<br /> +Taylor, Robert, <a href="#Page_320">320</a>.<br /> +<br /> +Theatre Playhouse, <a href="#Page_8">8</a>, <a href="#Page_10">10</a>, <a href="#Page_11">11</a> <i>n.</i>, <a href="#Page_15">15</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27-74</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a href="#Page_83">83</a>, <a href="#Page_84">84</a>, <a href="#Page_91">91</a>, <a href="#Page_112">112</a>, <a href="#Page_135">135</a>, <a href="#Page_138">138</a>, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>, <a href="#Page_167">167</a>, <a href="#Page_172">172</a> <i>n.</i>, <a href="#Page_182">182</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_234">234-35</a>, <a href="#Page_239">239</a>, <a href="#Page_244">244</a>, <a href="#Page_249">249</a>.<br /> +<br /> +Thespis, <a href="#Page_398">398</a>.<br /> +<br /> +Thoresby, Henry, <a href="#Page_410">410</a>.<br /> +<br /> +Thorndike, A.H., <a href="#Page_vii">vii</a>.<br /> +<br /> +Thrale, Mrs. Henry, <a href="#Page_264">264</a>.<br /> +<br /> +Three Kings Ordinary, <a href="#Page_425">425</a>, <a href="#Page_429">429</a>, <a href="#Page_430">430</a>.<br /> +<br /> +Tilney, Edmund, <a href="#Page_66">66</a>, <a href="#Page_85">85</a>.<br /> +<br /> +<i>Titus Andronicus</i>, <a href="#Page_140">140</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Tomlins, T.E., <a href="#Page_76">76</a>.<br /> +<br /> +<i>Tom Tell Troth's Message</i>, <a href="#Page_146">146</a>.<br /> +<br /> +Tooley, Nicholas, <a href="#Page_350">350</a> <i>n.</i><br /> +<br /> +Topclyfe, Richard, <a href="#Page_172">172-73</a>.<br /> +<br /> +<i>Totenham Court</i>, <a href="#Page_373">373</a>.<br /> +<br /> +<i>Toy, The</i>, <a href="#Page_419">419</a>.<br /> +<br /> +Trevell, William, <a href="#Page_315">315</a>.<br /> +<br /> +<i>Trompeur Puni, Le</i>, <a href="#Page_421">421</a>.<br /> +<br /> +Trussell, Alvery, <a href="#Page_206">206</a>.<br /> +<br /> +Tunstall, James, <a href="#Page_350">350</a> <i>n.</i><br /> +<br /> +<i>Turk, The</i>, <a href="#Page_316">316</a>.<br /> +<br /> +Turner, <a href="#Page_178">178</a>.<br /> +<br /> +Turner, Anthony, <a href="#Page_308">308</a>, <a href="#Page_380">380</a>.<br /> +<br /> +Turnor, Richard, <a href="#Page_50">50</a>.<br /> +<br /> +<i>Two Maids of Moreclacke, The</i>, <a href="#Page_316">316</a>.<br /> +<br /> +<br /> +Underwood, John, <a href="#Page_86">86</a>.<br /> +<br /> +<i>Unfortunate Lovers, The</i>, <a href="#Page_233">233</a>, <a href="#Page_403">404</a>.<br /> +<br /> +University of Illinois, <a href="#Page_277">277</a> <i>n.</i><br /> +<br /> +<br /> +Vaghan, Edward, <a href="#Page_410">410</a>.<br /> +<br /> +<i>Valient Cid, The</i>, <a href="#Page_406">406</a>.<br /> +<br /> +Vaughan, Sir William, <a href="#Page_125">125</a>.<br /> +<br /> +Venetian Ambassador, <a href="#Page_280">280</a>.<br /> +<br /> +Vennar, Richard, <a href="#Page_177">177-78</a>, <a href="#Page_333">333</a> <i>n.</i><br /> +<br /> +Vere, Lady Susan, <a href="#Page_392">392</a>.<br /> +<br /> +Verneuil, Madame de, <a href="#Page_220">220-21</a>.<br /> +<br /> +Vertue, George, <a href="#Page_387">387</a> <i>n.</i>, <a href="#Page_396">396</a>.<br /> +<br /> +Virgin, performance by a, <a href="#Page_74">74</a> <i>n.</i><br /> +<br /> +<span class="pagenum"><a name="Page_473" id="Page_473">473</a></span>Visscher, C.J., <a href="#Page_127">127</a>, <a href="#Page_128">128</a>, <a href="#Page_146">146</a> <i>n.</i>, <a href="#Page_164">164-65</a>, <a href="#Page_248">248</a>, <a href="#Page_253">253</a>, <a href="#Page_328">328</a>, <a href="#Page_328">328</a> <i>n.</i>, <a href="#Page_329">329</a>.<br /> +<br /> +<i>Volpone</i>, <a href="#Page_403">404</a>.<br /> +<br /> +<i>Vox Graculi</i>, <a href="#Page_89">89</a>.<br /> +<br /> +Vuolfio, Giovanni. <i>See</i> <a href="#WOLF">John Wolf</a>.<br /> +<br /> +<br /> +Walker, Thomas, <a href="#Page_337">337</a>.<br /> +<br /> +Wallace, C.W., <a href="#Page_ix">ix</a>, <a href="#Page_67">67</a>, <a href="#Page_71">71</a>, <a href="#Page_110">110</a> <i>n.</i>, <a href="#Page_115">115</a>, <a href="#Page_117">117</a>, <a href="#Page_140">140</a>, <a href="#Page_148">148</a> <i>n.</i>, <a href="#Page_160">160</a> <i>n.</i>, <a href="#Page_168">168</a> <i>n.</i>, <a href="#Page_170">170</a> <i>n.</i>, <a href="#Page_177">177</a> <i>n.</i>, <a href="#Page_178">178</a> <i>n.</i>, <a href="#Page_179">179</a> <i>n.</i>, <a href="#Page_192">192</a> <i>n.</i>, <a href="#Page_196">196</a> <i>n.</i>, <a href="#Page_197">197</a>, <a href="#Page_197">197</a> <i>n.</i>, <a href="#Page_201">201</a> <i>n.</i>, <a href="#Page_204">204</a> <i>n.</i>, <a href="#Page_208">208</a>, <a href="#Page_212">212</a> <i>n.</i>, <a href="#Page_215">215</a> <i>n.</i>, <a href="#Page_221">221</a> <i>n.</i>, <a href="#Page_243">243</a>, <a href="#Page_248">248-49</a>, <a href="#Page_258">258</a> <i>n.</i>, <a href="#Page_259">259</a> <i>n.</i>, <a href="#Page_266">266</a>, <a href="#Page_285">285</a> <i>n.</i>, <a href="#Page_353">353</a> <i>n.</i><br /> +<br /> +Walsingham, Sir Francis, <a href="#Page_110">110</a>.<br /> +<br /> +Warburton, John, <a href="#Page_369">369</a> <i>n.</i><br /> +<br /> +War of the Theatres, <a href="#Page_250">250</a>.<br /> +<br /> +Warwick, Ambrose Dudley, Earl of, <a href="#Page_12">12</a>.<br /> +<br /> +Water Lane, Blackfriars, <a href="#Page_98">98</a>, <a href="#Page_102">102</a>.<br /> +<br /> +Water Lane, Whitefriars, <a href="#Page_371">371</a>.<br /> +<br /> +<i>Way to Content all Women, or How a Man May Please his Wife</i>, <a href="#Page_368">368-69</a>.<br /> +<br /> +Webster, John, <a href="#Page_116">116</a>, <a href="#Page_158">158</a>, <a href="#Page_226">226</a> <i>n.</i><br /> +<br /> +<i>Weekly Account, The</i>, <a href="#Page_290">290</a>.<br /> +<br /> +<i>Weekly Intelligencer, The</i>, <a href="#Page_306">306</a>, <a href="#Page_307">307</a>.<br /> +<br /> +Westcott, Sebastian, <a href="#Page_113">113</a>.<br /> +<br /> +Westminster Cathedral, <a href="#Page_126">126</a>, <a href="#Page_167">167</a>.<br /> +<br /> +Westminster School, <a href="#Page_206">206</a>.<br /> +<br /> +<i>What You Will</i>, <a href="#Page_112">112</a>.<br /> +<br /> +Whitaker, Laurence, <a href="#Page_230">230</a>.<br /> +<br /> +White, Thomas, <a href="#Page_48">48</a>, <a href="#Page_76">76</a>.<br /> +<br /> +Whitechapel, <a href="#Page_8">8</a> <i>n.</i>, <a href="#Page_17">17</a>.<br /> +<br /> +Whitechapel Street, <a href="#Page_7">7</a>.<br /> +<br /> +Whitecross Street, <a href="#Page_268">268</a> f.<br /> +<br /> +<i>White Devil, The</i>, <a href="#Page_226">226</a> <i>n.</i><br /> +<br /> +Whitefriars Playhouse, <a href="#Page_8">8</a>, <a href="#Page_117">117</a>, <a href="#Page_224">224</a>, <a href="#Page_310">310-23</a>, <a href="#Page_324">324</a>, <a href="#Page_342">342-43</a>, <a href="#Page_368">368</a> <i>n.</i><br /> +<br /> +Whitehall, <a href="#Page_356">356</a> <i>n.</i>, <a href="#Page_374">374</a>, <a href="#Page_384">384</a> f., <a href="#Page_387">387-91</a>, <a href="#Page_403">403</a>.<br /> +<br /> +White Hart Inn, <a href="#Page_1">1</a>.<br /> +<br /> +Whitelock, Bulstrode, <a href="#Page_305">305</a>.<br /> +<br /> +Whitton, Tom, <a href="#Page_382">382</a>.<br /> +<br /> +Wigpitt, Thomas, <a href="#Page_285">285</a> <i>n.</i><br /> +<br /> +Wilbraham, <a href="#Page_172">172</a>.<br /> +<br /> +Wilbraham, William, <a href="#Page_374">374</a>.<br /> +<br /> +Wilkinson, Nicholas, <a href="#Page_350">350</a> <i>n.</i><br /> +<br /> +Wilkinson, R., <a href="#Page_259">259</a> <i>n.</i>, <a href="#Page_293">293</a> <i>n.</i><br /> +<br /> +Williams, John, <a href="#Page_412">412-17</a>.<br /> +<br /> +Williamson, Joseph, <a href="#Page_306">306</a>.<br /> +<br /> +Wilson, J.D., <a href="#Page_76">76</a> <i>n.</i><br /> +<br /> +Wilson, Robert, <a href="#Page_12">12</a>, <a href="#Page_176">176</a>.<br /> +<br /> +Winchester, Bishop of, <a href="#Page_119">119</a>, <a href="#Page_134">134</a>, <a href="#Page_241">241</a> <i>n.</i><br /> +<br /> +Windsor, <a href="#Page_384">384</a>.<br /> +<span style="margin-left: 1em;"><i>See also</i> <a href="#CHILDREN_WINDSOR">Children of Windsor Chapel</a>.</span><br /> +<br /> +Winter playhouse, <a href="#Page_67">67-68</a>, <a href="#Page_225">225</a>, <a href="#Page_233">233</a>, <a href="#Page_250">250</a>, <a href="#Page_321">321</a>, <a href="#Page_324">324</a>, <a href="#Page_325">325</a>, <a href="#Page_342">342</a>.<br /> +<br /> +Wintershall, William, <a href="#Page_308">308</a>.<br /> +<br /> +Winwood, Sir Ralph, <a href="#Page_252">252</a>, <a href="#Page_392">392</a>.<br /> +<br /> +Wirtemberg, Duke of, <a href="#Page_132">132</a>.<br /> +<br /> +<i>Witch of Edmonton, The</i>, <a href="#Page_354">354</a> <i>n.</i><br /> +<br /> +Witt, Johannes de, <a href="#Page_77">77</a> <i>n.</i>, <a href="#Page_146">146</a> <i>n.</i>, <a href="#Page_165">165-68</a>, <a href="#Page_273">273</a>.<br /> +<br /> +Witter, John, <a href="#Page_224">224</a>, <a href="#Page_258">258</a>.<br /> +<br /> +<i>Wit Without Money</i>, <a href="#Page_304">304</a>.<br /> +<br /> +<a name="WOLF"></a>Wolf, John, <a href="#Page_410">410-12</a>.<br /> +<br /> +Wolf's Theatre, <a href="#Page_410">410-12</a>.<br /> +<br /> +Wolsey, Cardinal, <a href="#Page_186">186</a>, <a href="#Page_252">252</a>, <a href="#Page_391">391</a>.<br /> +<br /> +<i>Woman is a Weathercock, A</i>, <a href="#Page_140">140</a>, <a href="#Page_342">342</a> <i>n.</i><br /> +<br /> +Wood, Anthony à, <a href="#Page_418">418</a>.<br /> +<br /> +Woode, Tobias, <a href="#Page_410">410</a>.<br /> +<br /> +Woodford, Thomas, <a href="#Page_311">311</a>, <a href="#Page_313">313</a>, <a href="#Page_314">314</a>, <a href="#Page_322">322</a>.<br /> +<br /> +Woodman, <a href="#Page_193">193</a>.<br /> +<br /> +Woodward, <a href="#Page_142">142</a>.<br /> +<br /> +Woodward, Agnes, <a href="#Page_142">142-43</a>, <a href="#Page_283">283</a>.<br /> +<br /> +Woodward Joan, <a href="#Page_ix">ix</a>, <a href="#Page_151">151</a>.<br /> +<br /> +Worcester College, <a href="#Page_395">395</a>.<br /> +<br /> +<a name="WORCESTER"></a>Worcester—Queen—1 Red Bull—Children of the Revels Company:<br /> +<span style="margin-left: 1em;">Worcester's Company, <a href="#Page_16">16</a>, <a href="#Page_72">72</a>, <a href="#Page_87">87</a>, <a href="#Page_157">157-59</a>, <a href="#Page_295">295</a>, <a href="#Page_351">351</a>.</span><br /> +<span style="margin-left: 1em;">Queen Anne's Company, <a href="#Page_16">16</a>, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>, <a href="#Page_158">158</a>, <a href="#Page_295">295-300</a>, <a href="#Page_351">351</a>, <a href="#Page_353">353</a>.</span><br /> +<span style="margin-left: 1em;">1 Red Bull Company, <a href="#Page_300">300-01</a>.</span><br /> +<span style="margin-left: 1em;">Children of the Revels, <a href="#Page_301">301</a>.</span><br /> +<br /> +Wordsworth, William, <a href="#Page_299">299</a>.<br /> +<br /> +Wotton, Sir Henry, <a href="#Page_251">251</a>, <a href="#Page_320">320</a>.<br /> +<br /> +Wright, George R., <a href="#Page_401">401</a>.<br /> +<br /> +Wright, James, <a href="#Page_285">285</a>, <a href="#Page_297">297</a>, <a href="#Page_303">303</a>, <a href="#Page_304">304</a>, <a href="#Page_350">350</a>, <a href="#Page_363">363</a>, <a href="#Page_373">373</a>.<br /> +<br /> +Wyngaerde, A. van den, <a href="#Page_124">124</a>.<br /> +<br /> +<br /> +Yarmouth, <a href="#Page_45">45</a> <i>n.</i><br /> +<br /> +York House, <a href="#Page_391">391</a>.<br /> +<br /> +Young, John, <a href="#Page_374">374</a>.<br /> +<br /> +<i>Younger Brother, The</i>, <a href="#Page_299">299</a>.<br /> +<br /> +<i>Young Gallant's Whirligig, The</i>, <a href="#Page_356">356</a>.<br /> +<br /> +<br /> +Zanche, Lord, <a href="#Page_184">184</a>.<br /> +</p> + + + +<hr style="width: 65%;" /> +<h2>FOOTNOTES</h2> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> "Thou shalt not need to travel with thy pumps full of +gravel any more, after a blind jade and a hamper, and stalk upon +boards and barrel-heads." (<i>Poetaster</i>, <span class="smcap">iii</span>, i.)</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> All historians of the drama have confused this great +carriers' inn with the Boar's Head in Eastcheap made famous by +Falstaff. The error seems to have come from the <i>Analytical Index of +the Remembrancia</i>, which (p. 355) incorrectly catalogues the letter of +March 31, 1602, as referring to the "Boar's Head in Eastcheap." The +letter itself, however, when examined, gives no indication whatever of +Eastcheap, and other evidence shows conclusively that the inn was +situated in Whitechapel just outside of Aldgate.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> See especially <i>The Acts of the Privy Council</i> and <i>The +Remembrancia</i> of the City of London.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> There is some error here. The city had no jurisdiction +over Whitefriars, or Blackfriars either; but there was a playhouse in +Blackfriars at the time, and it was suppressed in 1584, though not by +the city authorities. Possibly Reulidge should have written +"Whitechapel."</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> <i>The Remembrancia</i> shows that the inn-playhouses remained +for many years as sharp thorns in the side of the puritanical city +fathers.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Grosart, <i>Nash</i>, <span class="smcap">i</span>, 179.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">vi</span>, 168.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> W. Rendle, <i>The Inns of Old Southwark</i>, p. 235.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> A. Feuillerat, <i>Documents Relating to the Office of the +Revels in the Time of Queen Elizabeth</i>, p. 277.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Burbage <i>v.</i> Brayne, printed in C.W. Wallace, <i>The First +London Theatre</i>, pp. 82, 90. Whether Burbage was going to the Cross +Keys as a spectator or as an actor is not indicated; but the +presumption is that he was then playing at the inn, although he was +proprietor of the Theatre.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Arber's <i>English Reprints</i>, p. 40.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> See The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 55-57.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> See <i>The Remembrancia</i>, in The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 66.</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> C.W. Wallace, <i>The First London Theatre</i>, p. 11.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> <i>MS. Sloane</i>, 2530, f. 6-7, quoted by J.O. Halliwell in +his edition of <i>Tarlton's Jests</i>, p. xi. The Bell Savage seems to have +been especially patronized by fencers. George Silver, in his <i>Paradoxe +of Defence</i> (1599), tells how he and his brother once challenged two +Italian fencers to a contest "to be played at the Bell Savage upon the +scaffold, when he that went in his fight faster back than he ought, +should be in danger to break his neck off the scaffold."</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> First printed in 1611; reprinted by J.O. Halliwell for +The Shakespeare Society in 1844.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> <i>MS. Sloane</i>, 2530, f. 6-7, quoted by Halliwell in his +edition of <i>Tarlton's Jests</i>, p. xi. There is some difficulty with the +date. One of the "masters" before whom the prize was played was +"Rycharde Tarlton," whom Halliwell takes to be the famous actor of +that name; but Tarleton the actor died on September 3, 1588. Probably +Halliwell in transcribing the manuscript silently modernized the date +from the Old Style.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> <i>Lansdowne MSS.</i> 60, quoted by Collier, <i>History of +English Dramatic Poetry</i> (1879), <span class="smcap">i</span>, 265.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> <i>The Remembrancia</i>, The Malone Society's <i>Collections</i>, +<span class="smcap">i</span>, 73.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> See W. Rendle, <i>The Inns of Old Southwark</i>, p. 236.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> The passage does not appear in the earlier edition of +1576, though it was probably written shortly after the erection of the +Theatre in the autumn of 1576.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> <i>The Remembrancia</i>, The Malone Society's <i>Collections</i>, +<span class="smcap">i</span>, 85.</p></div> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> They had to use the Rose nevertheless; see page <a href="#Page_158">158</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 265.</p></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> So the Lord Mayor characterized playgoers; see <i>The +Remembrancia</i>, in The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 75.</p></div> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 164.</p></div> + +<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> <i>The Remembrancia</i>, in The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 69.</p></div> + +<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">viii</span>, 131, 132.</p></div> + +<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> For the complete document see W.C. Hazlitt, <i>The English +Drama and Stage</i>, p. 27.</p></div> + +<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> I emphasize this point because the opposite is the +accepted opinion. We find it expressed in <i>The Cambridge History of +English Literature</i>, <span class="smcap">vi</span>, 431, as follows: "Certain players, finding +the city obdurate, and unwilling to submit to its severe regulations, +began to look about them for some means of carrying on their business +out of reach of the mayor's authority," etc.</p></div> + +<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Deposition by Robert Myles, 1592, printed in Wallace's +<i>The First London Theatre</i>, p. 141.</p></div> + +<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> See page <a href="#Page_134">134</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See <i>The Remembrancia</i>, p. 274; Stow, <i>Survey</i>. The +Corporation of London held the manor on lease from St. Paul's +Cathedral until 1867.</p></div> + +<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> Doubtless, too, Burbage was influenced in his choice by +the fact that he had already made his home in the Liberty of +Shoreditch, near Finsbury Field.</p></div> + +<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> For a detailed history of the property from the year +1128, and for the changes in the ownership of Alleyn's portion after +the dissolution, see Braines, <i>Holywell Priory</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 365. The suit +concerns the Curtain property, somewhat south of the Alleyn property, +but a part of the Priory.</p></div> + +<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> I have based this map in large measure on the documents +presented by Braines in his excellent pamphlet, <i>Holywell Priory</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> For proof see Braines, <i>op. cit.</i></p></div> + +<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> The original lease may be found incorporated in Alleyn +<i>v.</i> Street, Coram Rege, 1599-1600, printed in full by Wallace, <i>The +First London Theatre</i>, pp. 163-80, and again in Alleyn <i>v.</i> Burbage, +Queen's Bench, 1602, Wallace, <i>op. cit.</i>, pp. 267-75. The lease, I +think, was in English not Latin, and hence is more correctly given in +the first document; in the second document the scrivener has +translated it into Latin. The lease is also given in part on page +<a href="#Page_187">187</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> This part of the property was claimed by the Earl of +Rutland, and was being used by him. For a long time it was the subject +of dispute. Ultimately, it seems, the Earl secured the title, as he +had always had the use of the property. This probably explains why +Burbage did not attempt to erect his playhouse there.</p></div> + +<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> The document by error reads "brick wall" but the mistake +is obvious, and the second version of the lease does not repeat the +error. This clause merely means that the ditch, not the brick wall, +constituted the western boundary of the property.</p></div> + +<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Quoted from Burbage <i>v.</i> Alleyn, Court of Requests, +1600, Wallace, <i>op. cit.</i>, p. 182. I have stripped the passage of some +of its legal verbiage.</p></div> + +<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Quoted from Burbage <i>v.</i> Alleyn, Court of Requests, +1600, Wallace, <i>op. cit.</i>, p. 182.</p></div> + +<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> That is, about £80.</p></div> + +<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> Wallace, <i>op. cit.</i>, p. 134; cf. p. 153.</p></div> + +<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Wallace, <i>op. cit.</i>, p. 151. Cuthbert Burbage declared +in 1635: "The Theatre he built with many hundred pounds taken up at +interest." (Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 317.)</p></div> + +<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> The name is often spelled "Braynes."</p></div> + +<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> Wallace, <i>op. cit.</i>, p. 109.</p></div> + +<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> See Wallace, <i>op. cit.</i>, pp. 139 <i>seq.</i></p></div> + +<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> That is, half-interest.</p></div> + +<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> Wallace, <i>op. cit.</i>, p. 40.</p></div> + +<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> Wallace, <i>op. cit.</i>, p. 136.</p></div> + +<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Brayne <i>v.</i> Burbage, 1592. Printed in full by Wallace, +<i>op cit.</i> p. 141.</p></div> + +<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Wallace, <i>op. cit.</i>, pp. 213, 217, 263, 265, <i>et al.</i></p></div> + +<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> Wallace, <i>op. cit.</i>, pp. 137, 141, 142, 148, 153.</p></div> + +<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Alleyn <i>v.</i> Burbage, Star Chamber Proceedings, 1601-02; +printed by Wallace, <i>op. cit.</i>, p. 277.</p></div> + +<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Myles <i>v.</i> Burbage and Alleyn, 1597; printed by Wallace, +<i>op. cit.</i>, p. 159; cf. pp. 263, 106, 152.</p></div> + +<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> See Wallace, <i>op. cit.</i>, p. 277.</p></div> + +<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> This agrees with the claim of Brayne's widow.</p></div> + +<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> Wallace, <i>op. cit.</i>, p. 120.</p></div> + +<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> Mr. E.K. Chambers (<i>The Mediæval Stage</i>, <span class="smcap">i</span>, 383, note 2; +<span class="smcap">ii</span>, 190, note 4) calls attention to a "theatre" belonging to the city +of Essex as early as 1548. Possibly the Latin document he cites +referred to an amphitheatre of some sort near the city which was used +for dramatic performances; at any rate "in theatro" does not +necessarily imply the existence of a playhouse (cf., for example, <i>op. +cit.</i>, <span class="smcap">i</span>, 81-82). There is also a reference (quoted by Chambers, <i>op. +cit.</i>, <span class="smcap">ii</span>, 191, note 1, from <i>Norfolk Archæology</i>, <span class="smcap">xi</span>, 336) to a +"game-house" built by the corporation of Yarmouth in 1538 for dramatic +performances. What kind of house this was we do not know, but the +corporation leased it for other purposes, with the proviso that it +should be available "at all such times as any interludes or plays +should be ministered or played." Howes, in his continuation of Stow's +<i>Annals</i> (1631), p. 1004, declares that before Burbage's time he +"neither knew, heard, nor read of any such theatres, set stages, or +playhouses as have been purposely built, within man's memory"; and +Cuthbert Burbage confidently asserted that his father "was the first +builder of playhouses"—an assertion which, I think, cannot well be +denied.</p></div> + +<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> The rest of his speech indicates that he had the Theatre +in mind. The passage, of course, is rhetorical.</p></div> + +<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> One cannot be absolutely sure, yet the whole history of +early playhouses indicates that the Theatre was polygonal (or +circular) in shape. The only reason for suspecting that it might have +been square, doubtfully presented by T.S. Graves in "The Shape of the +First London Theatre" (<i>The South Atlantic Quarterly</i>, July, 1914), +seems to me to deserve no serious consideration.</p></div> + +<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> Quoted by W.B. Rye, <i>England as Seen by Foreigners</i>, p. +88.</p></div> + +<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> Wallace, <i>op. cit.</i>, p. 177.</p></div> + +<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> There is no reason whatever to suppose, with Ordish, +Mantzius, Lawrence, and others, that the stage of the Theatre was +removable; for although the building was frequently used by fencers, +tumblers, etc., it was never, so far as I can discover, used for +animal-baiting.</p></div> + +<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> Wallace, <i>op. cit.</i>, p. 135.</p></div> + +<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> For depositions to this effect see Halliwell-Phillipps, +<i>Outlines</i>, <span class="smcap">i</span>, 350 ff.</p></div> + +<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> I suspect that the same terms were made with the actors +by the proprietors of the inn-playhouses.</p></div> + +<div class="footnote"><p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 317.</p></div> + +<div class="footnote"><p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> Wallace, <i>op. cit.</i>, pp. 142, 148.</p></div> + +<div class="footnote"><p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> For the history of this quarrel, and for other details +of the award see Wallace, <i>op. cit.</i>, pp. 102, 119, 138, 142, 143, +148, 152.</p></div> + +<div class="footnote"><p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> Wallace, <i>op. cit.</i>, p. 103.</p></div> + +<div class="footnote"><p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> See Wallace, <i>op. cit.</i>, pp. 201, 239, 240, 242.</p></div> + +<div class="footnote"><p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> Wallace, <i>op. cit.</i>, pp. 229, 234, 228, 233.</p></div> + +<div class="footnote"><p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> Wallace, <i>op. cit.</i>, p. 55.</p></div> + +<div class="footnote"><p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> <i>Ibid.</i>, p. 105.</p></div> + +<div class="footnote"><p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> Wallace, <i>op. cit.</i>, pp. 57, 60, 62.</p></div> + +<div class="footnote"><p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> <i>Ibid.</i>, p. 121.</p></div> + +<div class="footnote"><p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> Wallace, <i>op. cit.</i>, pp. 63, 97, 100, 101, 114.</p></div> + +<div class="footnote"><p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> See Wallace, <i>op. cit.</i>, pp. 195, 212, 216, 250, 258, +<i>et al.</i></p></div> + +<div class="footnote"><p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> Wallace, <i>op. cit.</i>, p. 246.</p></div> + +<div class="footnote"><p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> <i>Ibid.</i>, p. 184.</p></div> + +<div class="footnote"><p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> The lease expired on April 13, 1597; on July 28 the +Privy Council closed all playhouses until November. The references to +the Theatre in <i>The Remembrancia</i> (see The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 78) do not necessarily imply that the building was +then actually used by the players.</p></div> + +<div class="footnote"><p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> The same fact is revealed in the author's remark, "If my +dispose persuade me to a play, I'le to the Rose or Curtain," for at +this time only the Chamberlain's Men and the Admiral's Men were +allowed to play.</p></div> + +<div class="footnote"><p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> Wallace, <i>op. cit.</i>, pp. 216, 249.</p></div> + +<div class="footnote"><p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> <i>Ibid.</i>, pp. 277, 288.</p></div> + +<div class="footnote"><p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> The date, January 20, 1599, seems to be an error.</p></div> + +<div class="footnote"><p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> Wallace, <i>op. cit.</i>, p. 238.</p></div> + +<div class="footnote"><p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> Wallace, <i>op. cit.</i>, pp. 278-79. This document was +discovered by J.O. Halliwell-Phillipps, who printed extracts in his +<i>Outlines</i>. See also Ordish, <i>Early London Theatres</i>, pp. 75-76.</p></div> + +<div class="footnote"><p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> For a list of the Queen's Men see Wallace, <i>op. cit.</i>, +p. 11.</p></div> + +<div class="footnote"><p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> Such a license would include also permission to act in +the provinces. This latter was soon needed, for shortly after their +organization the Queen's Men were driven by the plague to tour the +provinces. They were in Cambridge on July 9, and probably returned to +London shortly after. See Murray, <i>English Dramatic Companies</i>, <span class="smcap">i</span>, 8.</p></div> + +<div class="footnote"><p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 66.</p></div> + +<div class="footnote"><p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> Lord Hunsdon, on October 8, 1594, requested the Lord +Mayor to permit the Chamberlain's Men "to play this winter time within +the city at the Cross Keys in Gracious Street." See The Malone +Society's <i>Collections</i>, <span class="smcap">i</span>, 67.</p></div> + +<div class="footnote"><p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 170, 172.</p></div> + +<div class="footnote"><p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> The letter is printed in full in The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 164.</p></div> + +<div class="footnote"><p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> This could not have been Hide, as usually stated. Hide +had nothing to do with the management of the Theatre, and was not "my +Lord of Hunsdon's man." Hide's connection with the Theatre as sketched +in this chapter shows the absurdity of such an interpretation of the +document.</p></div> + +<div class="footnote"><p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> Wallace, <i>op. cit.</i>, p. 11.</p></div> + +<div class="footnote"><p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> Murray, <i>English Dramatic Companies</i>, <span class="smcap">i</span>, 321.</p></div> + +<div class="footnote"><p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> <i>Tarlton's Jests</i>, ed. by J.O. Halliwell, p. 16. +Tarleton died in 1588.</p></div> + +<div class="footnote"><p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> Wallace, <i>op. cit.</i>, pp. 101, 126.</p></div> + +<div class="footnote"><p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> <i>The Black Booke</i>, 1604.</p></div> + +<div class="footnote"><p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> Wallace, <i>op. cit.</i>, p. 101.</p></div> + +<div class="footnote"><p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">ii</span>, 83. The Admiral's Men +were reorganized in 1594, and occupied the Rose under Henslowe's +management.</p></div> + +<div class="footnote"><p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> For other but unimportant references to the Theatre see +The Malone Society's <i>Collections</i>, vol. <span class="smcap">i</span>: disorder at, October, +1577, p. 153; disorder at, on Sunday, April, 1580, p. 46; fencing +allowed at, July, 1582, p. 57; fencing forbidden at, May, 1583, p. 62; +to be closed during infection, May, 1583, p. 63; complaint against, by +the Lord Mayor, September, 1594, p. 76. And see Halliwell-Phillipps, +<i>Outlines</i>, <span class="smcap">i</span>, 363, for a special performance there by a "virgin," +February 22, 1582.</p></div> + +<div class="footnote"><p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> The site is probably marked by Curtain Court in + <a href="#CURTAIN">Chasserau's survey of 1745</a>, reproduced on page <a href="#Page_79">79</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> Ed. by J.O. Halliwell, for The Shakespeare Society +(1844), p. 105.</p></div> + +<div class="footnote"><p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> The Rose and the Red Bull derived their names in a +similar way from the estates on which they were erected.</p></div> + +<div class="footnote"><p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 364.</p></div> + +<div class="footnote"><p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> Tomlins, <i>Origin of the Curtain Theatre, and Mistakes +Regarding It</i>, in The Shakespeare Society's Papers (1844), p. 29.</p></div> + +<div class="footnote"><p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> J.D. Wilson, <i>The Cambridge History of English +Literature</i>, <span class="smcap">vi</span>, 435, says that this sermon was "delivered at Paul's +cross on 9 December, 1576 and, apparently, repeated on 3 November in +the following year." This is incorrect; White did preach a sermon at +Paul's Cross on December 9, but not the sermon from which this +quotation is drawn.</p></div> + +<div class="footnote"><p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> Ed. by J.P. Collier, for The Shakespeare Society +(1843), p. 85.</p></div> + +<div class="footnote"><p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxvii</span>, 313.</p></div> + +<div class="footnote"><p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> It seems, however, to have been smaller than the +Theatre.</p></div> + +<div class="footnote"><p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> Johannes de Witt describes the Theatre and the Curtain +along with the Swan and the Rose as "amphitheatra" (see page <a href="#Page_167">167</a>). It +is quite possible that Shakespeare refers to the Curtain in the +Prologue to <i>Henry V</i> as "this wooden O," though the reference may be +to the Globe.</p></div> + +<div class="footnote"><p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 54; cf. also Ellis, <i>The +Parish of St. Leonard</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> Did Steevens base his statement on this passage in +Aubrey?</p></div> + +<div class="footnote"><p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> Brayne <i>v.</i> Burbage, 1592, printed in full by Wallace, +<i>The First London Theatre</i>, pp. 109-52. See especially pp. 126, 148.</p></div> + +<div class="footnote"><p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> Easer?</p></div> + +<div class="footnote"><p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> Wallace, <i>op. cit.</i>, p. 148; cf. p. 126.</p></div> + +<div class="footnote"><p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> Tomlins, <i>op. cit.</i>, pp. 29-31.</p></div> + +<div class="footnote"><p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> Of this Henry Lanman we know nothing beyond the facts +here revealed. Possibly he was a brother of the distinguished actor +John Lanman (the name is variously spelled Lanman, Laneman, Lenmann, +Laneham, Laynman, Lanham), one of the chief members of Leicester's +troupe, and one of the twelve men selected in 1583 to form the Queen's +Men. But speculation of this sort is vain. It is to be hoped that in +the future some student will investigate the life of this obscure +theatrical manager, and trace his connection with the early history of +the drama.</p></div> + +<div class="footnote"><p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 365.</p></div> + +<div class="footnote"><p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> The Privy Council on March 10, 1601, refers to it as +"The Curtaine in Moorefeildes"; in ancient times, says Stow, +Moorefields extended to Holywell. See Halliwell-Phillipps, <i>Outlines</i>, +<span class="smcap">i</span>, 364.</p></div> + +<div class="footnote"><p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> Tomlins, <i>op. cit.</i>, p. 31.</p></div> + +<div class="footnote"><p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> <i>View of Sundry Examples</i>, 1580.</p></div> + +<div class="footnote"><p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> <i>The Anatomy of Abuses</i>, ed. F.J. Furnivall, New +Shakspere Society, p. 180. For other descriptions of this earthquake +see Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 369.</p></div> + +<div class="footnote"><p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> <i>Tarlton's Jests</i>, ed. by J.O. Halliwell for the +Shakespeare Society (1844), p. 16. For a discussion see the preceding +<a href="#CHAPTER_III">chapter</a> on the Theatre, p. <a href="#Page_72">72</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> For details see the <a href="#CHAPTER_X">chapter</a> on the Swan.</p></div> + +<div class="footnote"><p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxvii</span>, 313.</p></div> + +<div class="footnote"><p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> Marston, <i>The Scourge of Villainy</i> (1598); Bullen, <i>The +Works of John Marston</i>, <span class="smcap">iii</span>, 372.</p></div> + +<div class="footnote"><p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a> Greg, <i>Henslowe Papers</i>, p. 52.</p></div> + +<div class="footnote"><p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 82.</p></div> + +<div class="footnote"><p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a> Wallace, <i>op. cit.</i>, p. 148.</p></div> + +<div class="footnote"><p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a> J.P. Collier, <i>Lives of the Original Actors in +Shakespeare's Plays</i>, p. 127. In exactly the same words Pope disposed +of his share in the Globe.</p></div> + +<div class="footnote"><p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a> <i>Ibid.</i>, p. 230.</p></div> + +<div class="footnote"><p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a> Possibly Derby's Men.</p></div> + +<div class="footnote"><p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a> See Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxxi</span>, 346.</p></div> + +<div class="footnote"><p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a> The company was formed by an amalgamation of Oxford's +and Worcester's Men in 1602. See The Malone Society's <i>Collections</i>, +<span class="smcap">i</span>, 85.</p></div> + +<div class="footnote"><p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 266.</p></div> + +<div class="footnote"><p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a> Greg, <i>Henslowe Papers</i>, p. 61; Dasent, <i>Acts of the +Privy Council</i>, <span class="smcap">xxxii</span>, 511.</p></div> + +<div class="footnote"><p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 270.</p></div> + +<div class="footnote"><p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a> <i>English Dramatic Companies</i>, <span class="smcap">i</span>, 230.</p></div> + +<div class="footnote"><p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 59; cf. Chalmers's +<i>Supplemental Apology</i>, p. 213, note <i>y</i>. Murray gives the date +incorrectly as 1623.</p></div> + +<div class="footnote"><p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a> Murray, <i>English Dramatic Companies</i>, <span class="smcap">i</span>, 237, note 1.</p></div> + +<div class="footnote"><p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146"><span class="label">[146]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 54, note 2.</p></div> + +<div class="footnote"><p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147"><span class="label">[147]</span></a> See Jeaffreson, <i>Middlesex County Records</i>, <span class="smcap">iii</span>, 164, +from which the notice was quoted by Ordish, <i>Early London Theatres</i>, +p. 106.</p></div> + +<div class="footnote"><p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148"><span class="label">[148]</span></a> From this notion of privacy, I take it, arose the term +"private" theatre as distinguished from "common" or "public" theatre. +The interpretation of the term suggested by Mr. W.J. Lawrence, and +approved by Mr. William Archer, namely, that it was a legal device to +escape the city ordinance of 1574, cannot be accepted. The city had no +jurisdiction over the precinct of Blackfriars, nor did Farrant live in +the building.</p></div> + +<div class="footnote"><p><a name="Footnote_149_149" id="Footnote_149_149"></a><a href="#FNanchor_149_149"><span class="label">[149]</span></a> This was enclosed with brick walls, and the greater +part used as a wood-yard. This yard was later purchased by James +Burbage when he secured the frater for his playhouse. The kitchen, +shed, and stairs, built on the eastern part, were sold to Cobham.</p></div> + +<div class="footnote"><p><a name="Footnote_150_150" id="Footnote_150_150"></a><a href="#FNanchor_150_150"><span class="label">[150]</span></a> By an error in the manuscript this reads "fifty"; but +the rooms are often described and always as "forty-six" feet in +length; moreover, the error is made obvious by the rest of the lease.</p></div> + +<div class="footnote"><p><a name="Footnote_151_151" id="Footnote_151_151"></a><a href="#FNanchor_151_151"><span class="label">[151]</span></a> The breadth is elsewhere given as twenty-six, and +twenty-seven feet.</p></div> + +<div class="footnote"><p><a name="Footnote_152_152" id="Footnote_152_152"></a><a href="#FNanchor_152_152"><span class="label">[152]</span></a> The date from which the lease was made to run.</p></div> + +<div class="footnote"><p><a name="Footnote_153_153" id="Footnote_153_153"></a><a href="#FNanchor_153_153"><span class="label">[153]</span></a> It is usually said that he converted the entire seven +rooms into his theatre, but that seems highly unlikely. The northern +section was 46 x 26 feet, the southern section 110 x 22—absurd +dimensions for an auditorium. Moreover, that Farrant originally +planned to use only the northern section is indicated by his request +to be allowed to "pull down one partition and so make two rooms—one." +The portion not used for the playhouse he rented; in 1580, we are +told, he let "two parcels thereof to two several persons."</p></div> + +<div class="footnote"><p><a name="Footnote_154_154" id="Footnote_154_154"></a><a href="#FNanchor_154_154"><span class="label">[154]</span></a> M. Feuillerat, I think, is wrong in supposing that +there was a gallery. He deduces no proof for his contention, and the +evidence is against him.</p></div> + +<div class="footnote"><p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155"><span class="label">[155]</span></a> There must have been two stairways leading to the upper +rooms; I have assumed that playgoers used Neville's stairs to reach +the theatre.</p></div> + +<div class="footnote"><p><a name="Footnote_156_156" id="Footnote_156_156"></a><a href="#FNanchor_156_156"><span class="label">[156]</span></a> I suspect that the theatre gave greater offense to More +himself than it did to any one else, for it adjoined his home, and the +audience made use of the private passage which led from Water Lane to +his mansion. Unquestionably he suffered worse than any one else both +from the noise and the crowds.</p></div> + +<div class="footnote"><p><a name="Footnote_157_157" id="Footnote_157_157"></a><a href="#FNanchor_157_157"><span class="label">[157]</span></a> Wallace, <i>The Evolution of the English Drama</i>, p. 163.</p></div> + +<div class="footnote"><p><a name="Footnote_158_158" id="Footnote_158_158"></a><a href="#FNanchor_158_158"><span class="label">[158]</span></a> Wallace, <i>The Evolution of the English Drama</i>, p. +153.</p></div> + +<div class="footnote"><p><a name="Footnote_159_159" id="Footnote_159_159"></a><a href="#FNanchor_159_159"><span class="label">[159]</span></a> More had "refused to accept any rent but +conditionally." Probably he refused written consent to the sublease +for the same reason.</p></div> + +<div class="footnote"><p><a name="Footnote_160_160" id="Footnote_160_160"></a><a href="#FNanchor_160_160"><span class="label">[160]</span></a> Wallace, <i>The Evolution of the English Drama</i>, p. 154.</p></div> + +<div class="footnote"><p><a name="Footnote_161_161" id="Footnote_161_161"></a><a href="#FNanchor_161_161"><span class="label">[161]</span></a> The letter is printed in full by Mr. Wallace in <i>The +Evolution of the English Drama</i>, p. 158. Mr. Wallace, however, +misdates it. It was not written until after More had "recovered it +[the lease] against Evans."</p></div> + +<div class="footnote"><p><a name="Footnote_162_162" id="Footnote_162_162"></a><a href="#FNanchor_162_162"><span class="label">[162]</span></a> Murray, <i>English Dramatic Companies</i>, <span class="smcap">i</span>, 325, +erroneously says: "Their public place was, probably, from the first, +the courtyard of St. Paul's Cathedral."</p></div> + +<div class="footnote"><p><a name="Footnote_163_163" id="Footnote_163_163"></a><a href="#FNanchor_163_163"><span class="label">[163]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +95.</p></div> + +<div class="footnote"><p><a name="Footnote_164_164" id="Footnote_164_164"></a><a href="#FNanchor_164_164"><span class="label">[164]</span></a> That is, in or near Pater Noster Row.</p></div> + +<div class="footnote"><p><a name="Footnote_165_165" id="Footnote_165_165"></a><a href="#FNanchor_165_165"><span class="label">[165]</span></a> <i>Annales, or A Generall Chronicle of England</i>, 1631, +signature liii 1, verso.</p></div> + +<div class="footnote"><p><a name="Footnote_166_166" id="Footnote_166_166"></a><a href="#FNanchor_166_166"><span class="label">[166]</span></a> F.G. Fleay, <i>A Biographical Chronicle of the English +Drama</i>, <span class="smcap">ii</span>, 76; W.J. Lawrence, <i>The Elizabethan Playhouse</i>, p. 17.</p></div> + +<div class="footnote"><p><a name="Footnote_167_167" id="Footnote_167_167"></a><a href="#FNanchor_167_167"><span class="label">[167]</span></a> R.W. Bond, <i>The Complete Works of John Lyly</i>, <span class="smcap">iii</span>, 408. +Higher prices of admission were charged to all the private +playhouses.</p></div> + +<div class="footnote"><p><a name="Footnote_168_168" id="Footnote_168_168"></a><a href="#FNanchor_168_168"><span class="label">[168]</span></a> John Marston, <i>Antonio's Revenge</i>, acted at Paul's in +1600.</p></div> + +<div class="footnote"><p><a name="Footnote_169_169" id="Footnote_169_169"></a><a href="#FNanchor_169_169"><span class="label">[169]</span></a> There is a record of a play by the Paul's Boys in 1527 +before ambassadors from France, dealing with the heretic Luther; but +exactly when they began to give public performances for money we do +not know.</p></div> + +<div class="footnote"><p><a name="Footnote_170_170" id="Footnote_170_170"></a><a href="#FNanchor_170_170"><span class="label">[170]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 432.</p></div> + +<div class="footnote"><p><a name="Footnote_171_171" id="Footnote_171_171"></a><a href="#FNanchor_171_171"><span class="label">[171]</span></a> <i>The Children of the Chapel</i>, p. 153.</p></div> + +<div class="footnote"><p><a name="Footnote_172_172" id="Footnote_172_172"></a><a href="#FNanchor_172_172"><span class="label">[172]</span></a> <i>A Chronicle History of the London Stage</i>, p. 152.</p></div> + +<div class="footnote"><p><a name="Footnote_173_173" id="Footnote_173_173"></a><a href="#FNanchor_173_173"><span class="label">[173]</span></a> Cunningham, <i>Extracts from the Accounts of the Revels</i>, +p. <span class="smcap">xxxviii</span>.</p></div> + +<div class="footnote"><p><a name="Footnote_174_174" id="Footnote_174_174"></a><a href="#FNanchor_174_174"><span class="label">[174]</span></a> Nichols, <i>The Progresses of James</i>, <span class="smcap">iv</span>, 1073.</p></div> + +<div class="footnote"><p><a name="Footnote_175_175" id="Footnote_175_175"></a><a href="#FNanchor_175_175"><span class="label">[175]</span></a> <i>Shakespeare and his London Associates</i>, p. 80.</p></div> + +<div class="footnote"><p><a name="Footnote_176_176" id="Footnote_176_176"></a><a href="#FNanchor_176_176"><span class="label">[176]</span></a> <i>Ibid.</i>, p. 95.</p></div> + +<div class="footnote"><p><a name="Footnote_177_177" id="Footnote_177_177"></a><a href="#FNanchor_177_177"><span class="label">[177]</span></a> "Pingues tauri cornupetæ, seu vrsi immanes, cum +obiectis depugnant canibus."</p></div> + +<div class="footnote"><p><a name="Footnote_178_178" id="Footnote_178_178"></a><a href="#FNanchor_178_178"><span class="label">[178]</span></a> The map is reproduced in facsimile by Rendle as a +frontispiece to <i>Old Southwark and its People</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_179_179" id="Footnote_179_179"></a><a href="#FNanchor_179_179"><span class="label">[179]</span></a> Or Parish Garden, possibly the more correct form. For +the early history of the Manor see William Bray, <i>The History and +Antiquities of the County of Surrey</i>, <span class="smcap">iii</span>, 530; Wallace, in <i>Englische +Studien</i> (1911), <span class="smcap">xliii</span>, 341, note 3; Ordish, <i>Early London Theatres</i>, +p. 125.</p></div> + +<div class="footnote"><p><a name="Footnote_180_180" id="Footnote_180_180"></a><a href="#FNanchor_180_180"><span class="label">[180]</span></a> Blount, in his <i>Glossographia</i> (1681), p. 473, says of +Paris Garden: "So called from Robert de Paris, who had a house and +garden there in Richard II.'s time; who by proclamation, ordained that +the butchers of London should buy that garden for receipt of their +garbage and entrails of beasts, to the end the city might not be +annoyed thereby."</p></div> + +<div class="footnote"><p><a name="Footnote_181_181" id="Footnote_181_181"></a><a href="#FNanchor_181_181"><span class="label">[181]</span></a> See Gilpin's <i>Life of Cranmer</i> for a description of a +bear-baiting before the King held on or near the river's edge. See +also the proclamation of Henry VIII in 1546 against the stews, which +implies the non-existence of regular amphitheatres.</p></div> + +<div class="footnote"><p><a name="Footnote_182_182" id="Footnote_182_182"></a><a href="#FNanchor_182_182"><span class="label">[182]</span></a> Sir Sidney Lee (<i>Shakespeare's England</i>, <span class="smcap">ii</span>, 428) says +that one of the amphitheatres was erected in 1526. I do not know his +authority; he was apparently misled by one of Rendle's statements. +Neither of the amphitheatres is shown in Wyngaerde's careful <i>Map of +London</i> made about 1530-1540; possibly they are referred to in the +<i>Diary</i> of Henry Machyn under the date of May 26, 1554. The old "Bull +Ring" in High Street had then disappeared, and the baiting of bulls +was henceforth more or less closely associated, as was natural, with +the baiting of bears.</p></div> + +<div class="footnote"><p><a name="Footnote_183_183" id="Footnote_183_183"></a><a href="#FNanchor_183_183"><span class="label">[183]</span></a> Stow, <i>Annals</i> (ed. 1631), p. 696.</p></div> + +<div class="footnote"><p><a name="Footnote_184_184" id="Footnote_184_184"></a><a href="#FNanchor_184_184"><span class="label">[184]</span></a> Philip Stubbes, <i>The Anatomie of Abuses</i> (ed. +Furnivall), p. 179.</p></div> + +<div class="footnote"><p><a name="Footnote_185_185" id="Footnote_185_185"></a><a href="#FNanchor_185_185"><span class="label">[185]</span></a> <i>A Godly Exhortation by Occasion of the Late Judgement +of God, Shewed at Paris-Garden</i> (London, 1583). Another account of the +disaster may be found in Vaughan's <i>Golden Grove</i> (1600).</p></div> + +<div class="footnote"><p><a name="Footnote_186_186" id="Footnote_186_186"></a><a href="#FNanchor_186_186"><span class="label">[186]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 65.</p></div> + +<div class="footnote"><p><a name="Footnote_187_187" id="Footnote_187_187"></a><a href="#FNanchor_187_187"><span class="label">[187]</span></a> What became of the other amphitheatre labeled "The Bull +Baiting" I do not know. Stow, in his <i>Survey</i>, 1598, says: "Now to +return to the west bank, there be two bear gardens, the old and new +places, wherein be kept bears, bulls, and other beasts to be baited."</p></div> + +<div class="footnote"><p><a name="Footnote_188_188" id="Footnote_188_188"></a><a href="#FNanchor_188_188"><span class="label">[188]</span></a> For a fuller discussion of these various maps and views +see pages <a href="#Page_146">146</a>, <a href="#Page_248">248</a>, and <a href="#Page_328">328</a>. + <a href="#BEAR_ROSE_1">Norden's map of 1594</a> (see page <a href="#Page_146">147</a>) +merely indicates the site of the building.</p></div> + +<div class="footnote"><p><a name="Footnote_189_189" id="Footnote_189_189"></a><a href="#FNanchor_189_189"><span class="label">[189]</span></a> For such a history the reader is referred to Ordish, +<i>Early London Theatres</i>; Greg, <i>Henslowe's Diary</i>, <span class="smcap">ii</span>, and <i>Henslowe +Papers</i>; Young, <i>The History of Dulwich College</i>; Rendle, <i>The +Bankside</i>, and <i>The Playhouses at Bankside</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_190_190" id="Footnote_190_190"></a><a href="#FNanchor_190_190"><span class="label">[190]</span></a> No. 108, August, 1694. Quoted by J.P. Malcolm, +<i>Anecdotes of the Manners and Customs of London from the Roman +Invasion to the Year 1700</i> (London, 1811), p. 433.</p></div> + +<div class="footnote"><p><a name="Footnote_191_191" id="Footnote_191_191"></a><a href="#FNanchor_191_191"><span class="label">[191]</span></a> The original manuscript of this narrative, in Spanish, +is preserved in the British Museum. I quote the translation by +Frederick Madden, in <i>Archæologia</i>, <span class="smcap">xiii</span>, 354-55.</p></div> + +<div class="footnote"><p><a name="Footnote_192_192" id="Footnote_192_192"></a><a href="#FNanchor_192_192"><span class="label">[192]</span></a> <i>The Calendar of State Papers</i>, Venetian, <span class="smcap">xv</span>, 258.</p></div> + +<div class="footnote"><p><a name="Footnote_193_193" id="Footnote_193_193"></a><a href="#FNanchor_193_193"><span class="label">[193]</span></a> The secretary was named Jacob Rathgeb, and the diary +was published at Tübingen in 1602 with a long title beginning: <i>A True +and Faithful Narrative of the Bathing Excursion which His Serene +Highness</i>, etc. A translation will be found in Rye, <i>England as Seen +by Foreigners</i>, pp. 3-53.</p></div> + +<div class="footnote"><p><a name="Footnote_194_194" id="Footnote_194_194"></a><a href="#FNanchor_194_194"><span class="label">[194]</span></a> Collier, <i>The Alleyn Papers</i>, p. 31.</p></div> + +<div class="footnote"><p><a name="Footnote_195_195" id="Footnote_195_195"></a><a href="#FNanchor_195_195"><span class="label">[195]</span></a> It is just possible—but, I think, improbable—that the +term "common players" as used in this proclamation referred to +gamblers. The term is regularly used in law to designate actors.</p></div> + +<div class="footnote"><p><a name="Footnote_196_196" id="Footnote_196_196"></a><a href="#FNanchor_196_196"><span class="label">[196]</span></a> <i>The Calendar of State Papers, Domestic, 1547</i>, +February 5, p. 1; cf. Tytler's <i>Edward VI and Mary</i>, <span class="smcap">i</span>, 20.</p></div> + +<div class="footnote"><p><a name="Footnote_197_197" id="Footnote_197_197"></a><a href="#FNanchor_197_197"><span class="label">[197]</span></a> See page <a href="#Page_29">29</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_198_198" id="Footnote_198_198"></a><a href="#FNanchor_198_198"><span class="label">[198]</span></a> The Council again refers to the building in the phrase +"in any of these remote places." (Dasent, <i>Acts of the Privy Council</i>, +<span class="smcap">xii</span>, 15.)</p></div> + +<div class="footnote"><p><a name="Footnote_199_199" id="Footnote_199_199"></a><a href="#FNanchor_199_199"><span class="label">[199]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xii</span>, 15.</p></div> + +<div class="footnote"><p><a name="Footnote_200_200" id="Footnote_200_200"></a><a href="#FNanchor_200_200"><span class="label">[200]</span></a> <i>Ibid.</i>, <span class="smcap">xiv</span>, 102.</p></div> + +<div class="footnote"><p><a name="Footnote_201_201" id="Footnote_201_201"></a><a href="#FNanchor_201_201"><span class="label">[201]</span></a> <i>Apology</i>, p. 403.</p></div> + +<div class="footnote"><p><a name="Footnote_202_202" id="Footnote_202_202"></a><a href="#FNanchor_202_202"><span class="label">[202]</span></a> <i>History of English Dramatic Poetry</i> (1879), <span class="smcap">iii</span>, 131.</p></div> + +<div class="footnote"><p><a name="Footnote_203_203" id="Footnote_203_203"></a><a href="#FNanchor_203_203"><span class="label">[203]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xiv</span>, 99.</p></div> + +<div class="footnote"><p><a name="Footnote_204_204" id="Footnote_204_204"></a><a href="#FNanchor_204_204"><span class="label">[204]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">ii</span>, 50, 73.</p></div> + +<div class="footnote"><p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205"><span class="label">[205]</span></a> Greg, <i>Henslowe Papers</i>, p. 42.</p></div> + +<div class="footnote"><p><a name="Footnote_206_206" id="Footnote_206_206"></a><a href="#FNanchor_206_206"><span class="label">[206]</span></a> <i>Ibid.</i>, pp. 43-44.</p></div> + +<div class="footnote"><p><a name="Footnote_207_207" id="Footnote_207_207"></a><a href="#FNanchor_207_207"><span class="label">[207]</span></a> There is no evidence that Henslowe owned the house at +Newington; he might very well have rented it for this particular +occasion.</p></div> + +<div class="footnote"><p><a name="Footnote_208_208" id="Footnote_208_208"></a><a href="#FNanchor_208_208"><span class="label">[208]</span></a> Wallace, <i>The First London Theatre</i>, p. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_209_209" id="Footnote_209_209"></a><a href="#FNanchor_209_209"><span class="label">[209]</span></a> Page 1004.</p></div> + +<div class="footnote"><p><a name="Footnote_210_210" id="Footnote_210_210"></a><a href="#FNanchor_210_210"><span class="label">[210]</span></a> W. Rendle, in <i>The Antiquarian Magazine and +Bibliographer</i>, <span class="smcap">viii</span>, 60.</p></div> + +<div class="footnote"><p><a name="Footnote_211_211" id="Footnote_211_211"></a><a href="#FNanchor_211_211"><span class="label">[211]</span></a> For the earlier history of the Rose estate see Rendle, +<i>The Bankside</i>, p. xv, and Greg, <i>Henslowe's Diary</i>, <span class="smcap">ii</span>, 43. "The plan +of the Rose estate in the vestry of St. Mildred's Church in London +marks the estate exactly, but not the precise site of the Rose +Playhouse. The estate consisted of three rods, and was east of Rose +Alley." (Rendle, <i>The Bankside</i>, p. xxx.)</p></div> + +<div class="footnote"><p><a name="Footnote_212_212" id="Footnote_212_212"></a><a href="#FNanchor_212_212"><span class="label">[212]</span></a> Possibly the fact that Burbage had just secured control +of the Curtain, and hence had a monopoly of playhouses, was one of the +reasons for a new playhouse.</p></div> + +<div class="footnote"><p><a name="Footnote_213_213" id="Footnote_213_213"></a><a href="#FNanchor_213_213"><span class="label">[213]</span></a> The deed of partnership is preserved among the Henslowe +papers at Dulwich College. For an abstract of the deed see Greg, +<i>Henslowe Papers</i>, p. 2. Henslowe seems to have driven a good bargain +with Cholmley.</p></div> + +<div class="footnote"><p><a name="Footnote_214_214" id="Footnote_214_214"></a><a href="#FNanchor_214_214"><span class="label">[214]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xv</span>, 271.</p></div> + +<div class="footnote"><p><a name="Footnote_215_215" id="Footnote_215_215"></a><a href="#FNanchor_215_215"><span class="label">[215]</span></a> Discovered by Mr. Wallace and printed in the London +<i>Times</i>, April 30, 1914.</p></div> + +<div class="footnote"><p><a name="Footnote_216_216" id="Footnote_216_216"></a><a href="#FNanchor_216_216"><span class="label">[216]</span></a> The circular building pictured in these maps has been +widely heralded as the First Globe, but without reason; all the +evidence shows that it was the Rose. For further discussion see the +chapters dealing with the <a href="#CHAPTER_VII">Bear Garden</a>, the <a href="#CHAPTER_XII">Globe</a>, and the <a href="#CHAPTER_XVI">Hope</a>. In the +Merian <i>View</i>, issued in Frankfort in 1638, the Bear Garden and the +Globe, each named, are shown conspicuously in the foreground; in the +background is vaguely represented an unnamed playhouse polygonal in +shape. This could not possibly be the Rose. Merian's <i>View</i> was a +compilation from Visscher's <i>View</i> of 1616 and some other view of +London not yet identified; it has no independent authority, and no +value whatever so far as the Rose is concerned.</p></div> + +<div class="footnote"><p><a name="Footnote_217_217" id="Footnote_217_217"></a><a href="#FNanchor_217_217"><span class="label">[217]</span></a> If we may believe Johannes de Witt, the Rose was "more +magnificent" than the theatres in Shoreditch. See page <a href="#Page_167">167</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_218_218" id="Footnote_218_218"></a><a href="#FNanchor_218_218"><span class="label">[218]</span></a> Ordish, <i>Early London Theatres</i>, p. 155; Mantzius, <i>A +History of Theatrical Art</i>, p. 58. Mr. Wallace's discovery of a +reference to the Rose in the Sewer Records for April, 1588, quite +overthrows this hypothesis.</p></div> + +<div class="footnote"><p><a name="Footnote_219_219" id="Footnote_219_219"></a><a href="#FNanchor_219_219"><span class="label">[219]</span></a> This seems unlikely. At the beginning of Henslowe's +<i>Diary</i> we find the scrawl "Chomley when" (Greg, <i>Henslowe's Diary</i> <span class="smcap">i</span>, +217); this was written not earlier than 1592, and it shows that +Cholmley was at that time in Henslowe's mind.</p></div> + +<div class="footnote"><p><a name="Footnote_220_220" id="Footnote_220_220"></a><a href="#FNanchor_220_220"><span class="label">[220]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 7.</p></div> + +<div class="footnote"><p><a name="Footnote_221_221" id="Footnote_221_221"></a><a href="#FNanchor_221_221"><span class="label">[221]</span></a> For a list of their plays see Greg, <i>Henslowe's Diary</i>, +<span class="smcap">i</span>, 13 ff.</p></div> + +<div class="footnote"><p><a name="Footnote_222_222" id="Footnote_222_222"></a><a href="#FNanchor_222_222"><span class="label">[222]</span></a> Greg, <i>Henslowe Papers</i>, p. 42.</p></div> + +<div class="footnote"><p><a name="Footnote_223_223" id="Footnote_223_223"></a><a href="#FNanchor_223_223"><span class="label">[223]</span></a> See Greg, <i>Henslowe Papers</i>, p. 43. For a general +discussion of various problems involved, see Greg, <i>Henslowe's Diary</i>, +<span class="smcap">ii</span>, 51-2.</p></div> + +<div class="footnote"><p><a name="Footnote_224_224" id="Footnote_224_224"></a><a href="#FNanchor_224_224"><span class="label">[224]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 16.</p></div> + +<div class="footnote"><p><a name="Footnote_225_225" id="Footnote_225_225"></a><a href="#FNanchor_225_225"><span class="label">[225]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 17.</p></div> + +<div class="footnote"><p><a name="Footnote_226_226" id="Footnote_226_226"></a><a href="#FNanchor_226_226"><span class="label">[226]</span></a> He is so described, for example, in the warrant issued +by the Privy Council on May 6, 1593, to Strange's Men.</p></div> + +<div class="footnote"><p><a name="Footnote_227_227" id="Footnote_227_227"></a><a href="#FNanchor_227_227"><span class="label">[227]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 4.</p></div> + +<div class="footnote"><p><a name="Footnote_228_228" id="Footnote_228_228"></a><a href="#FNanchor_228_228"><span class="label">[228]</span></a> For the details of this episode see the <a href="#CHAPTER_X">chapter</a> on the +Swan.</p></div> + +<div class="footnote"><p><a name="Footnote_229_229" id="Footnote_229_229"></a><a href="#FNanchor_229_229"><span class="label">[229]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 54.</p></div> + +<div class="footnote"><p><a name="Footnote_230_230" id="Footnote_230_230"></a><a href="#FNanchor_230_230"><span class="label">[230]</span></a> In January, 1600, the Earl of Nottingham refers to "the +dangerous decay" of the Rose. See Greg, <i>Henslowe Papers</i>, p. 45; cf. +p. 52.</p></div> + +<div class="footnote"><p><a name="Footnote_231_231" id="Footnote_231_231"></a><a href="#FNanchor_231_231"><span class="label">[231]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxx</span>, 395.</p></div> + +<div class="footnote"><p><a name="Footnote_232_232" id="Footnote_232_232"></a><a href="#FNanchor_232_232"><span class="label">[232]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 131.</p></div> + +<div class="footnote"><p><a name="Footnote_233_233" id="Footnote_233_233"></a><a href="#FNanchor_233_233"><span class="label">[233]</span></a> <i>The Remembrancia</i>, <span class="smcap">ii</span>, 189; The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 85.</p></div> + +<div class="footnote"><p><a name="Footnote_234_234" id="Footnote_234_234"></a><a href="#FNanchor_234_234"><span class="label">[234]</span></a> On March 19 the Privy Council formally ordered the +suppression of all plays. This was five days before the death of Queen +Elizabeth.</p></div> + +<div class="footnote"><p><a name="Footnote_235_235" id="Footnote_235_235"></a><a href="#FNanchor_235_235"><span class="label">[235]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 190.</p></div> + +<div class="footnote"><p><a name="Footnote_236_236" id="Footnote_236_236"></a><a href="#FNanchor_236_236"><span class="label">[236]</span></a> Some scholars have supposed that this was Morgan Pope, +a part owner of the Bear Garden; but he is last heard of in 1585, and +by 1605 was probably dead. Mr. Greg is of the opinion that Thomas +Pope, the well-known member of the King's Men at the Globe, is +referred to. From this has been developed the theory that Pope, acting +for the Globe players, had rented the Rose and closed it in order to +prevent competition with the Globe on the Bankside. I believe, +however, that the "Mr. Pope" here referred to was neither of these +men, but merely the agent of the Parish of St. Mildred. It is said +that he lived at a scrivener's shop. This could not apply to the actor +Thomas Pope, for we learn from his will, made less than a month later, +that he lived in a house of his own, furnished with plate and +household goods, and cared for by a housekeeper; and with him lived +Susan Gasquine, whom he had "brought up ever since she was born."</p></div> + +<div class="footnote"><p><a name="Footnote_237_237" id="Footnote_237_237"></a><a href="#FNanchor_237_237"><span class="label">[237]</span></a> The old rental was £7 a year.</p></div> + +<div class="footnote"><p><a name="Footnote_238_238" id="Footnote_238_238"></a><a href="#FNanchor_238_238"><span class="label">[238]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 178.</p></div> + +<div class="footnote"><p><a name="Footnote_239_239" id="Footnote_239_239"></a><a href="#FNanchor_239_239"><span class="label">[239]</span></a> Wallace in the London <i>Times</i>, April 30, 1914, p. 10. +In view of these records it seems unnecessary to refute those persons +who assert that the Rose was standing so late as 1622. I may add, +however, that before Mr. Wallace published the Sewer Records I had +successfully disposed of all the evidence which has been collected to +show the existence of the Rose after 1605. The chief source of this +error is a footnote by Malone in <i>Variorum</i>, <span class="smcap">iii</span>, 56; the source of +Malone's error is probably to be seen in his footnote, <i>ibid.</i>, p. +66.</p></div> + +<div class="footnote"><p><a name="Footnote_240_240" id="Footnote_240_240"></a><a href="#FNanchor_240_240"><span class="label">[240]</span></a> For the tourist the memory of the old playhouse to-day +lingers about Rose Alley on the Bank.</p></div> + +<div class="footnote"><p><a name="Footnote_241_241" id="Footnote_241_241"></a><a href="#FNanchor_241_241"><span class="label">[241]</span></a> Or "Parish Garden." See the note on page <a href="#Page_121">121</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_242_242" id="Footnote_242_242"></a><a href="#FNanchor_242_242"><span class="label">[242]</span></a> The sale took the form of a lease for one thousand +years.</p></div> + +<div class="footnote"><p><a name="Footnote_243_243" id="Footnote_243_243"></a><a href="#FNanchor_243_243"><span class="label">[243]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 74-76.</p></div> + +<div class="footnote"><p><a name="Footnote_244_244" id="Footnote_244_244"></a><a href="#FNanchor_244_244"><span class="label">[244]</span></a> The swan was not uncommon as a sign, especially along +the river; for example, it was the sign of one of the famous brothels +on the Bankside, as Stow informs us.</p></div> + +<div class="footnote"><p><a name="Footnote_245_245" id="Footnote_245_245"></a><a href="#FNanchor_245_245"><span class="label">[245]</span></a> Quoted in Rye, <i>England as Seen by Foreigners</i>, p. +183.</p></div> + +<div class="footnote"><p><a name="Footnote_246_246" id="Footnote_246_246"></a><a href="#FNanchor_246_246"><span class="label">[246]</span></a> Reproduced by Rendle, <i>The Bankside, Southwark, and the +Globe Playhouse</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_247_247" id="Footnote_247_247"></a><a href="#FNanchor_247_247"><span class="label">[247]</span></a> Stow's original manuscript (Harl. MSS., 544), quoted by +Collier, <i>History of English Dramatic Poetry</i> (1879), <span class="smcap">iii</span>, 96, note 3. +The text of the edition of 1598 differs very slightly.</p></div> + +<div class="footnote"><p><a name="Footnote_248_248" id="Footnote_248_248"></a><a href="#FNanchor_248_248"><span class="label">[248]</span></a> Apparently he allowed Van Buchell to transcribe the +description and the rough pen-sketch from his notebook or traveler's +diary.</p></div> + +<div class="footnote"><p><a name="Footnote_249_249" id="Footnote_249_249"></a><a href="#FNanchor_249_249"><span class="label">[249]</span></a> This interesting document was discovered by Dr. Karl T. +Gaedertz, and published in full in <i>Zur Kenntnis der altenglischen +Bühne</i> (Bremen, 1888).</p></div> + +<div class="footnote"><p><a name="Footnote_250_250" id="Footnote_250_250"></a><a href="#FNanchor_250_250"><span class="label">[250]</span></a> "Viâ quâ itur per Episcopalem portam vulgariter +Biscopgate nuncupatam."</p></div> + +<div class="footnote"><p><a name="Footnote_251_251" id="Footnote_251_251"></a><a href="#FNanchor_251_251"><span class="label">[251]</span></a> "Theatrorum."</p></div> + +<div class="footnote"><p><a name="Footnote_252_252" id="Footnote_252_252"></a><a href="#FNanchor_252_252"><span class="label">[252]</span></a> "Id cuius intersignium est cygnus (vulgo te theatre off +te cijn)." Mr. Wallace proposes to emend the last clause to read: "te +theatre off te cijn off te Swan," thus making "cijn" mean "sign"; but +is not this Flemish, and does not "cijn" mean "Swan"?</p></div> + +<div class="footnote"><p><a name="Footnote_253_253" id="Footnote_253_253"></a><a href="#FNanchor_253_253"><span class="label">[253]</span></a> It is commonly thought that De Witt was wrong in +stating that the Swan was built of flint stones. Possibly the plaster +exterior deceived him; or possibly in his memory he confused this +detail of the building with the exterior of the church of St. Mary +Overies, which was indeed built of "a mass of flint stones." On the +other hand, the long life of the building after it had ceased to be of +use might indicate that it was built of stones.</p></div> + +<div class="footnote"><p><a name="Footnote_254_254" id="Footnote_254_254"></a><a href="#FNanchor_254_254"><span class="label">[254]</span></a> Discovered by Mr. Wallace and printed in <i>Englische +Studien</i> (1911), <span class="smcap">xliii</span>, 340-95. These documents have done much to +clear up the history of the Swan and the Rose in the year 1597.</p></div> + +<div class="footnote"><p><a name="Footnote_255_255" id="Footnote_255_255"></a><a href="#FNanchor_255_255"><span class="label">[255]</span></a> I cannot agree with Mr. Wallace that Langley induced +these players to desert Henslowe, secured for them the patronage of +Pembroke, and thus was himself responsible for the organization of the +Pembroke Company.</p></div> + +<div class="footnote"><p><a name="Footnote_256_256" id="Footnote_256_256"></a><a href="#FNanchor_256_256"><span class="label">[256]</span></a> For an account of <i>The Isle of Dogs</i> see E.K. Chambers, +<i>Modern Language Review</i> (1909), <span class="smcap">iv</span>, 407, 511; R.B. McKerrow, <i>The +Works of Thomas Nashe</i>, <span class="smcap">v</span>, 29; and especially the important article by +Mr. Wallace in <i>Englische Studien</i> already referred to.</p></div> + +<div class="footnote"><p><a name="Footnote_257_257" id="Footnote_257_257"></a><a href="#FNanchor_257_257"><span class="label">[257]</span></a> <i>Nashes Lenten Stuffe</i> (1599), ed. McKerrow, <span class="smcap">iii</span>, 153.</p></div> + +<div class="footnote"><p><a name="Footnote_258_258" id="Footnote_258_258"></a><a href="#FNanchor_258_258"><span class="label">[258]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxvii</span>, 313. +Possibly the other public playhouses were suppressed along with the +Swan in response to the petition presented to the Council on July 28, +(i.e. on the same day) by the Lord Mayor and Aldermen requesting the +"final suppressing of the said stage plays, as well at the Theatre, +Curtain, and Bankside as in all other places in and about the city." +See The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 78.</p></div> + +<div class="footnote"><p><a name="Footnote_259_259" id="Footnote_259_259"></a><a href="#FNanchor_259_259"><span class="label">[259]</span></a> In a marginal gloss to <i>Nashes Lenten Stuffe</i> (1599), +ed. McKerrow, <span class="smcap">iii</span>, 154, Nashe says: "I having begun but the induction +and first act of it, the other four acts without my consent or the +best guess of my drift or scope, by the players were supplied, which +bred both their trouble and mine too."</p></div> + +<div class="footnote"><p><a name="Footnote_260_260" id="Footnote_260_260"></a><a href="#FNanchor_260_260"><span class="label">[260]</span></a> The identity of the three players is revealed in an +order of the Privy Council dated October 8, 1597: "A warrant to the +Keeper of the Marshalsea to release Gabriel Spencer and Robert Shaw, +stage-players, out of prison, who were of late committed to his +custody. The like warrant for the releasing of Benjamin Jonson." +(Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxviii</span>, 33.)</p></div> + +<div class="footnote"><p><a name="Footnote_261_261" id="Footnote_261_261"></a><a href="#FNanchor_261_261"><span class="label">[261]</span></a> Such a copy was formerly preserved in a volume of +miscellaneous manuscripts at Alnwick Castle, but has not come down to +modern times. See F.J. Burgoyne, <i>Northumberland Manuscripts</i> (London, +1904).</p></div> + +<div class="footnote"><p><a name="Footnote_262_262" id="Footnote_262_262"></a><a href="#FNanchor_262_262"><span class="label">[262]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">XXVII</span>, 338.</p></div> + +<div class="footnote"><p><a name="Footnote_263_263" id="Footnote_263_263"></a><a href="#FNanchor_263_263"><span class="label">[263]</span></a> Langley sued these actors on their bond to him of £100 +to play only at the Swan; see the documents printed by Mr. Wallace. +Ben Jonson also joined Henslowe's forces at the Rose, as did Anthony +and Humphrey Jeffes, who were doubtless members of the Pembroke +Company.</p></div> + +<div class="footnote"><p><a name="Footnote_264_264" id="Footnote_264_264"></a><a href="#FNanchor_264_264"><span class="label">[264]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxviii</span>, 327.</p></div> + +<div class="footnote"><p><a name="Footnote_265_265" id="Footnote_265_265"></a><a href="#FNanchor_265_265"><span class="label">[265]</span></a> After the order of February 19, when the "intruding +company" was driven out, and before September 7 when Meres's <i>Palladis +Tamia</i> was entered in the Stationers' Registers.</p></div> + +<div class="footnote"><p><a name="Footnote_266_266" id="Footnote_266_266"></a><a href="#FNanchor_266_266"><span class="label">[266]</span></a> Dasent, <i>Acts of the Privy Council</i>, <span class="smcap">xxx</span>, 327.</p></div> + +<div class="footnote"><p><a name="Footnote_267_267" id="Footnote_267_267"></a><a href="#FNanchor_267_267"><span class="label">[267]</span></a> <i>Ibid.</i>, 395.</p></div> + +<div class="footnote"><p><a name="Footnote_268_268" id="Footnote_268_268"></a><a href="#FNanchor_268_268"><span class="label">[268]</span></a> For this and other details as to the subsequent history +of the property see Wallace, <i>Englische Studien</i>, <span class="smcap">xliii</span>, 342; Rendle, +<i>The Antiquarian Magazine</i>, <span class="smcap">vii</span>, 207; and cf. the + <a href="#MANOR">map</a> on page <a href="#Page_162">163</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_269_269" id="Footnote_269_269"></a><a href="#FNanchor_269_269"><span class="label">[269]</span></a> Many writers, including Mr. Wallace, have confused this +Richard Vennar with William Fennor, who later challenged Kendall to a +contest of wit at the Fortune. For a correct account, see T.S. Graves, +"Tricks of Elizabethan Showmen" (in <i>The South Atlantic Quarterly</i>, +April, 1915, <span class="smcap">xiv</span>) and "A Note on the Swan Theatre" (in <i>Modern +Philology</i>, January, 1912, <span class="smcap">ix</span>, 431).</p></div> + +<div class="footnote"><p><a name="Footnote_270_270" id="Footnote_270_270"></a><a href="#FNanchor_270_270"><span class="label">[270]</span></a> From the broadside printed in <i>The Harleian +Miscellany</i>, <span class="smcap">x</span>, 198. For a photographic facsimile, see Lawrence, <i>The +Elizabethan Playhouse</i> (Second Series), p. 68.</p></div> + +<div class="footnote"><p><a name="Footnote_271_271" id="Footnote_271_271"></a><a href="#FNanchor_271_271"><span class="label">[271]</span></a> <i>Letters Written by John Chamberlain</i>, Camden Society +(1861), p. 163; <i>The Calendar of State Papers, Domestic, 1601-1603</i>, +p. 264. See also Manningham's <i>Diary</i>, pp. 82, 93.</p></div> + +<div class="footnote"><p><a name="Footnote_272_272" id="Footnote_272_272"></a><a href="#FNanchor_272_272"><span class="label">[272]</span></a> This seems to be the source of the statement by Mr. +Wallace (<i>Englische Studien</i>, <span class="smcap">xliii</span>, 388), quoting Rendle (<i>The +Antiquarian Magazine</i>, <span class="smcap">vii</span>, 210): "In 1604, a man named Turner, in a +contest for a prize at the Swan, was killed by a thrust in the eye." +Rendle cites no authority for his statement.</p></div> + +<div class="footnote"><p><a name="Footnote_273_273" id="Footnote_273_273"></a><a href="#FNanchor_273_273"><span class="label">[273]</span></a> These dates are in a measure verified by the records of +the Overseers of the Poor for the Liberty of Paris Garden, printed by +Mr. Wallace (<i>Englische Studien</i>, <span class="smcap">xliii</span>, 390, note 1). Mr. Wallace +seems to labor under the impression that this chapter in the history +of the Swan (1611-1615) was unknown before, but it was adequately +treated by Fleay and later by Mr. Greg.</p></div> + +<div class="footnote"><p><a name="Footnote_274_274" id="Footnote_274_274"></a><a href="#FNanchor_274_274"><span class="label">[274]</span></a> Wallace, <i>op. cit.</i>, p. 390, note 1.</p></div> + +<div class="footnote"><p><a name="Footnote_275_275" id="Footnote_275_275"></a><a href="#FNanchor_275_275"><span class="label">[275]</span></a> Rendle quotes a license of 1623 for "T.B. and three +assistants to make shows of Italian motions at the Princes Arms or the +Swan." (<i>The Antiquarian Magazine</i>, 1885, <span class="smcap">vii</span>, 211.) But this may be a +reference to an inn rather than to the large playhouse.</p></div> + +<div class="footnote"><p><a name="Footnote_276_276" id="Footnote_276_276"></a><a href="#FNanchor_276_276"><span class="label">[276]</span></a> What seems to be a picture of this famous house may be +seen in <a href="#MERIAN">Merian's <i>View of London</i></a>, 1638 (see opposite page <a href="#Page_256">256</a>), with +a turret, and standing just to the right of the Swan.</p></div> + +<div class="footnote"><p><a name="Footnote_277_277" id="Footnote_277_277"></a><a href="#FNanchor_277_277"><span class="label">[277]</span></a> The Petition of 1619, in The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 93.</p></div> + +<div class="footnote"><p><a name="Footnote_278_278" id="Footnote_278_278"></a><a href="#FNanchor_278_278"><span class="label">[278]</span></a> It is true that poor people also, feather-dealers and +such-like, lived in certain parts of Blackfriars, but this, of course, +did not affect the reputation of the precinct as the residence of +noblemen.</p></div> + +<div class="footnote"><p><a name="Footnote_279_279" id="Footnote_279_279"></a><a href="#FNanchor_279_279"><span class="label">[279]</span></a> In Samuel Rowlands's <i>Humors Looking Glass</i> (1608), a +rich country gull is represented as filling his pockets with money and +coming to London. Here a servant "of the Newgate variety" shows him +the sights of the city:</p> + +<p> +Brought him to the Bankside where bears do dwell,<br /> +And unto Shoreditch where the whores keep hell.<br /> +</p></div> + +<div class="footnote"><p><a name="Footnote_280_280" id="Footnote_280_280"></a><a href="#FNanchor_280_280"><span class="label">[280]</span></a> <i>Blackfriars Records</i>, in The Malone Society's +<i>Collections</i>, (1913).</p></div> + +<div class="footnote"><p><a name="Footnote_281_281" id="Footnote_281_281"></a><a href="#FNanchor_281_281"><span class="label">[281]</span></a> For a reconstruction of the Priory buildings and +grounds, and for specific evidence of statements made in the following +paragraphs, the reader is referred to J.Q. Adams, <i>The Conventual +Buildings of Blackfriars, London</i>, in the University of North Carolina +<i>Studies in Philology</i>, <span class="smcap">xiv</span>, 64.</p></div> + +<div class="footnote"><p><a name="Footnote_282_282" id="Footnote_282_282"></a><a href="#FNanchor_282_282"><span class="label">[282]</span></a> Feuillerat, <i>Blackfriars Records</i>, pp. 7, 12.</p></div> + +<div class="footnote"><p><a name="Footnote_283_283" id="Footnote_283_283"></a><a href="#FNanchor_283_283"><span class="label">[283]</span></a> Feuillerat, <i>Blackfriars Records</i>, p. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_284_284" id="Footnote_284_284"></a><a href="#FNanchor_284_284"><span class="label">[284]</span></a> Feuillerat, <i>Blackfriars Records</i>, pp. 105-06.</p></div> + +<div class="footnote"><p><a name="Footnote_285_285" id="Footnote_285_285"></a><a href="#FNanchor_285_285"><span class="label">[285]</span></a> In all probability it was separated from the Hall and +Parlor by a passage leading through the Infirmary into the Inner +Cloister yard.</p></div> + +<div class="footnote"><p><a name="Footnote_286_286" id="Footnote_286_286"></a><a href="#FNanchor_286_286"><span class="label">[286]</span></a> One reason for the greater height may have been the +slope of the ground towards the river; a second reason was the unusual +height of the Parlor.</p></div> + +<div class="footnote"><p><a name="Footnote_287_287" id="Footnote_287_287"></a><a href="#FNanchor_287_287"><span class="label">[287]</span></a> Feuillerat, <i>Blackfriars Records</i>, p. 105.</p></div> + +<div class="footnote"><p><a name="Footnote_288_288" id="Footnote_288_288"></a><a href="#FNanchor_288_288"><span class="label">[288]</span></a> <i>Ibid.</i>, p. 124.</p></div> + +<div class="footnote"><p><a name="Footnote_289_289" id="Footnote_289_289"></a><a href="#FNanchor_289_289"><span class="label">[289]</span></a> Feuillerat, <i>Blackfriars Records</i>, p. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_290_290" id="Footnote_290_290"></a><a href="#FNanchor_290_290"><span class="label">[290]</span></a> For the deed of sale see <i>ibid.</i>, p. 60.</p></div> + +<div class="footnote"><p><a name="Footnote_291_291" id="Footnote_291_291"></a><a href="#FNanchor_291_291"><span class="label">[291]</span></a> It should be observed, however, that Burbage paid only +£100 down, and that he immediately mortgaged the property for more +than £200. The playhouse was not free from debt until 1605. See +Wallace, <i>The First London Theatre</i>, p. 23.</p></div> + +<div class="footnote"><p><a name="Footnote_292_292" id="Footnote_292_292"></a><a href="#FNanchor_292_292"><span class="label">[292]</span></a> The northern section of the Cheeke Lodging (a portion +of the old Buttery) which had constituted Farrant's private theatre, +and which was no real part of the Frater building, had been converted +by More into the Pipe Office.</p></div> + +<div class="footnote"><p><a name="Footnote_293_293" id="Footnote_293_293"></a><a href="#FNanchor_293_293"><span class="label">[293]</span></a> A prosperous physician. His son was one of the +illustrious founders of the Society of Apothecaries, and one of its +chief benefactors. His portrait may be seen to-day in Apothecaries' +Hall. See C.R.B. Barrett, <i>The History of the Society of Apothecaries +of London</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_294_294" id="Footnote_294_294"></a><a href="#FNanchor_294_294"><span class="label">[294]</span></a> Mr. Wallace's description of the building and the way +in which it was converted into a playhouse (<i>The Children of the +Chapel at Blackfriars</i>, pp. 37-41) is incorrect. For the various +details cited above see the deed of sale to Burbage.</p></div> + +<div class="footnote"><p><a name="Footnote_295_295" id="Footnote_295_295"></a><a href="#FNanchor_295_295"><span class="label">[295]</span></a> This may have contained the two rooms in which Evans +lived, and "the schoolhouse and the chamber over the same," which are +described (see the documents in Fleay's <i>A Chronicle History of the +London Stage</i>, p. 210 ff.) as being "severed from the said great +hall." In another document this schoolhouse is described as "schola, +anglice <i>schoolhouse</i>, ad borealem finem Aulæ prædictæ." (Wallace, +<i>The Children of the Chapel at Blackfriars</i>, p. 40.)</p></div> + +<div class="footnote"><p><a name="Footnote_296_296" id="Footnote_296_296"></a><a href="#FNanchor_296_296"><span class="label">[296]</span></a> Feuillerat, <i>Blackfriars Records</i>, pp. 43, 47, 48.</p></div> + +<div class="footnote"><p><a name="Footnote_297_297" id="Footnote_297_297"></a><a href="#FNanchor_297_297"><span class="label">[297]</span></a> <i>Ibid.</i>, p. 52.</p></div> + +<div class="footnote"><p><a name="Footnote_298_298" id="Footnote_298_298"></a><a href="#FNanchor_298_298"><span class="label">[298]</span></a> <i>Ibid.</i>, p. 51.</p></div> + +<div class="footnote"><p><a name="Footnote_299_299" id="Footnote_299_299"></a><a href="#FNanchor_299_299"><span class="label">[299]</span></a> Feuillerat, <i>Blackfriars Records</i>, p. 121.</p></div> + +<div class="footnote"><p><a name="Footnote_300_300" id="Footnote_300_300"></a><a href="#FNanchor_300_300"><span class="label">[300]</span></a> <i>Ibid.</i>, p. 122.</p></div> + +<div class="footnote"><p><a name="Footnote_301_301" id="Footnote_301_301"></a><a href="#FNanchor_301_301"><span class="label">[301]</span></a> Wallace, <i>The Children of the Chapel at Blackfriars</i>, +p. 39, note 1.</p></div> + +<div class="footnote"><p><a name="Footnote_302_302" id="Footnote_302_302"></a><a href="#FNanchor_302_302"><span class="label">[302]</span></a> Mr. Wallace, <i>The Children of the Chapel at +Blackfriars</i>, p. 42, quotes from the Epilogue to Marston's <i>The Dutch +Courtesan</i>, acted at Blackfriars, "And now, my fine Heliconian +gallants, and you, my worshipful friends in the middle region," and +adds that the "reference to 'the middle region' makes it clear there +were three" galleries. Does it not, however, indicate that there were +only two galleries?</p></div> + +<div class="footnote"><p><a name="Footnote_303_303" id="Footnote_303_303"></a><a href="#FNanchor_303_303"><span class="label">[303]</span></a> See the documents printed in Fleay's <i>A Chronicle +History of the London Stage</i>, pp. 211, 215, 240, etc. Mr. Wallace, +however (<i>The Children of the Chapel at Blackfriars</i>, p. 40 ff.), +would have us believe that an additional story was added: "the roof +was changed, and rooms, probably of the usual dormer sort, were built +above." I am quite sure he is mistaken.</p></div> + +<div class="footnote"><p><a name="Footnote_304_304" id="Footnote_304_304"></a><a href="#FNanchor_304_304"><span class="label">[304]</span></a> Cf. Playhouse Yard in the London of to-day.</p></div> + +<div class="footnote"><p><a name="Footnote_305_305" id="Footnote_305_305"></a><a href="#FNanchor_305_305"><span class="label">[305]</span></a> <i>The Children of the Chapel at Blackfriars</i>, p. 43, +note 3.</p></div> + +<div class="footnote"><p><a name="Footnote_306_306" id="Footnote_306_306"></a><a href="#FNanchor_306_306"><span class="label">[306]</span></a> <i>The Diary of the Duke of Stettin-Pomerania</i>, in +<i>Transactions of the Royal Historical Society</i> (1892), <span class="smcap">vi</span>, 26.</p></div> + +<div class="footnote"><p><a name="Footnote_307_307" id="Footnote_307_307"></a><a href="#FNanchor_307_307"><span class="label">[307]</span></a> For the full document see Halliwell-Phillipps, +<i>Outlines</i>, <span class="smcap">i</span>, 304. For the date, see The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 91.</p></div> + +<div class="footnote"><p><a name="Footnote_308_308" id="Footnote_308_308"></a><a href="#FNanchor_308_308"><span class="label">[308]</span></a> Shortly after this he was appointed Lord Chamberlain, +under which name his troupe was subsequently known.</p></div> + +<div class="footnote"><p><a name="Footnote_309_309" id="Footnote_309_309"></a><a href="#FNanchor_309_309"><span class="label">[309]</span></a> Petition of 1619, The Malone Society's <i>Collections</i>, +<span class="smcap">i</span>, 91.</p></div> + +<div class="footnote"><p><a name="Footnote_310_310" id="Footnote_310_310"></a><a href="#FNanchor_310_310"><span class="label">[310]</span></a> The constables and other officers in the Petition of +1619 say: "The owner of the said playhouse, doth under the name of a +private house ... convert the said house to a public playhouse." (The +Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 91.)</p></div> + +<div class="footnote"><p><a name="Footnote_311_311" id="Footnote_311_311"></a><a href="#FNanchor_311_311"><span class="label">[311]</span></a> Fleay, <i>A Chronicle History of the London Stage</i>, p. +234.</p></div> + +<div class="footnote"><p><a name="Footnote_312_312" id="Footnote_312_312"></a><a href="#FNanchor_312_312"><span class="label">[312]</span></a> <i>Ibid.</i>, p. 211.</p></div> + +<div class="footnote"><p><a name="Footnote_313_313" id="Footnote_313_313"></a><a href="#FNanchor_313_313"><span class="label">[313]</span></a> This theory has been urged by Fleay, by Mr. Wallace in +<i>The Children of the Chapel at Blackfriars</i>, and by others.</p></div> + +<div class="footnote"><p><a name="Footnote_314_314" id="Footnote_314_314"></a><a href="#FNanchor_314_314"><span class="label">[314]</span></a> The full commission is printed in Wallace, <i>The +Children of the Chapel at Blackfriars</i>, p. 61.</p></div> + +<div class="footnote"><p><a name="Footnote_315_315" id="Footnote_315_315"></a><a href="#FNanchor_315_315"><span class="label">[315]</span></a> Fleay, <i>A Chronicle History of the London Stage</i>, p. +248.</p></div> + +<div class="footnote"><p><a name="Footnote_316_316" id="Footnote_316_316"></a><a href="#FNanchor_316_316"><span class="label">[316]</span></a> <i>Ibid.</i>, p. 234. Note that Evans is not to "continue" a +troupe there, as Fleay and Wallace believe, but to "erect" one.</p></div> + +<div class="footnote"><p><a name="Footnote_317_317" id="Footnote_317_317"></a><a href="#FNanchor_317_317"><span class="label">[317]</span></a> Possibly Robinson and the "others" were merely +deputies.</p></div> + +<div class="footnote"><p><a name="Footnote_318_318" id="Footnote_318_318"></a><a href="#FNanchor_318_318"><span class="label">[318]</span></a> Field became later famous both as an actor and +playwright. His portrait is preserved at Dulwich College.</p></div> + +<div class="footnote"><p><a name="Footnote_319_319" id="Footnote_319_319"></a><a href="#FNanchor_319_319"><span class="label">[319]</span></a> Salathiel Pavy, whose excellent acting is celebrated in +Jonson's tender elegy, quoted in part below.</p></div> + +<div class="footnote"><p><a name="Footnote_320_320" id="Footnote_320_320"></a><a href="#FNanchor_320_320"><span class="label">[320]</span></a> Star Chamber Proceedings, printed in full by Fleay, +<i>op. cit.</i>, p. 127.</p></div> + +<div class="footnote"><p><a name="Footnote_321_321" id="Footnote_321_321"></a><a href="#FNanchor_321_321"><span class="label">[321]</span></a> <i>Father Hubbard's Tales</i> (ed. Bullen, <span class="smcap">viii</span>, 77).</p></div> + +<div class="footnote"><p><a name="Footnote_322_322" id="Footnote_322_322"></a><a href="#FNanchor_322_322"><span class="label">[322]</span></a> Jonson, <i>Epigrams</i>, <span class="smcap">cxx</span>, <i>An Epitaph on Salathiel Pavy, +a Child of Queen Elizabeth's Chapel</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_323_323" id="Footnote_323_323"></a><a href="#FNanchor_323_323"><span class="label">[323]</span></a> <i>Diary</i>, August 18, 1660.</p></div> + +<div class="footnote"><p><a name="Footnote_324_324" id="Footnote_324_324"></a><a href="#FNanchor_324_324"><span class="label">[324]</span></a> <i>The Diary of the Duke of Stettin-Pomerania</i>, printed +in <i>Transactions of the Royal Historical Society</i> (1890). The diary +was written by the Duke's tutor, Gerschow, at the express command of +the Duke.</p></div> + +<div class="footnote"><p><a name="Footnote_325_325" id="Footnote_325_325"></a><a href="#FNanchor_325_325"><span class="label">[325]</span></a> It is hard to believe Mr. Wallace's novel theory that +the Children of the Chapel were subsidized by Elizabeth, as presented +in his otherwise valuable <i>The Children of the Chapel at Blackfriars</i>. +Burbage and Heminges knew nothing of such a royal patronage at +Blackfriars (see Fleay, <i>op. cit.</i>, p. 236), nor did Kirkham, the +Yeoman of the Revels (<i>ibid.</i>, p. 248). Kirkham and his partners spent +£600 on apparel, etc., according to Kirkham's statement.</p></div> + +<div class="footnote"><p><a name="Footnote_326_326" id="Footnote_326_326"></a><a href="#FNanchor_326_326"><span class="label">[326]</span></a> The Children were acting light comedies such as +<i>Cynthia's Revels</i>; the Lord Chamberlain's Men were acting <i>Hamlet</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_327_327" id="Footnote_327_327"></a><a href="#FNanchor_327_327"><span class="label">[327]</span></a> Shakespeare's troupe is known to have been traveling in +the spring of 1601.</p></div> + +<div class="footnote"><p><a name="Footnote_328_328" id="Footnote_328_328"></a><a href="#FNanchor_328_328"><span class="label">[328]</span></a> Cf. Middleton's <i>Father Hubbard's Tales</i>, already +quoted, "a nest of boys." Possibly the idea was suggested by the fact +that the children were lodged and fed in the building.</p></div> + +<div class="footnote"><p><a name="Footnote_329_329" id="Footnote_329_329"></a><a href="#FNanchor_329_329"><span class="label">[329]</span></a> The full complaint is printed by Fleay, <i>op. cit.</i>, p. +127.</p></div> + +<div class="footnote"><p><a name="Footnote_330_330" id="Footnote_330_330"></a><a href="#FNanchor_330_330"><span class="label">[330]</span></a> <i>Ibid.</i>, pp. 244-45.</p></div> + +<div class="footnote"><p><a name="Footnote_331_331" id="Footnote_331_331"></a><a href="#FNanchor_331_331"><span class="label">[331]</span></a> Wallace, <i>The Children of the Chapel at Blackfriars</i>, +p. 84, note 4.</p></div> + +<div class="footnote"><p><a name="Footnote_332_332" id="Footnote_332_332"></a><a href="#FNanchor_332_332"><span class="label">[332]</span></a> On December 29, 1601, Sir Dudley Carleton wrote to his +friend John Chamberlain: "The Queen dined this day privately at My +Lord Chamberlain's. I came even now from the Blackfriars, where I saw +her at the play with all her <i>candidæ auditrices</i>." From this it has +been generally assumed that Elizabeth visited the playhouse in +Blackfriars to see the Children act there; and Mr. Wallace, in his +<i>The Children of the Chapel at Blackfriars</i>, pp. 26, 87, 95-97, lays +great emphasis upon it to show that the Queen was directly responsible +for establishing and managing the Children at Blackfriars. But the +assumption that the Queen attended a performance at the Blackfriars +Playhouse is, I think, unwarranted. The Lord Chamberlain at this time +was Lord Hunsdon, who lived "in the Blackfriars." No doubt on this +Christmas occasion he entertained the Queen with a great dinner, and +after the dinner with a play given, not in a playhouse, but in his +mansion. (Lord Cobham, who was formerly Lord Chamberlain, and who also +lived in Blackfriars, had similarly entertained the Queen with plays +"in Blackfriars"; cf. also The Malone Society's <i>Collections</i>, <span class="smcap">ii</span>, +52.) Furthermore, the actors on this occasion were probably not the +Children of the Chapel, as Mr. Wallace thinks, but Lord Hunsdon's own +troupe. Possibly one of Shakespeare's new plays (<i>Hamlet</i>?) was then +presented before the Queen for the first time.</p></div> + +<div class="footnote"><p><a name="Footnote_333_333" id="Footnote_333_333"></a><a href="#FNanchor_333_333"><span class="label">[333]</span></a> Fleay, <i>op. cit.</i>, p. 248.</p></div> + +<div class="footnote"><p><a name="Footnote_334_334" id="Footnote_334_334"></a><a href="#FNanchor_334_334"><span class="label">[334]</span></a> We find in Henslowe's <i>Diary</i> a player named William +Kendall, but we do not know that he was related to Thomas.</p></div> + +<div class="footnote"><p><a name="Footnote_335_335" id="Footnote_335_335"></a><a href="#FNanchor_335_335"><span class="label">[335]</span></a> The agreements remind one of the organization of the +Globe. It seems clear that Kirkham, Rastell, and Kendall held their +moiety in joint tenancy.</p></div> + +<div class="footnote"><p><a name="Footnote_336_336" id="Footnote_336_336"></a><a href="#FNanchor_336_336"><span class="label">[336]</span></a> Fleay, <i>op. cit.</i>, pp. 211-13; 216; 220.</p></div> + +<div class="footnote"><p><a name="Footnote_337_337" id="Footnote_337_337"></a><a href="#FNanchor_337_337"><span class="label">[337]</span></a> <i>Ibid.</i>, p. 220.</p></div> + +<div class="footnote"><p><a name="Footnote_338_338" id="Footnote_338_338"></a><a href="#FNanchor_338_338"><span class="label">[338]</span></a> <i>Ibid.</i>, p. 217.</p></div> + +<div class="footnote"><p><a name="Footnote_339_339" id="Footnote_339_339"></a><a href="#FNanchor_339_339"><span class="label">[339]</span></a> Fleay, <i>op. cit.</i>, p. 235.</p></div> + +<div class="footnote"><p><a name="Footnote_340_340" id="Footnote_340_340"></a><a href="#FNanchor_340_340"><span class="label">[340]</span></a> For the patent, commonly misdated January 30, see The +Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 267. Mr. Wallace, in <i>The Century +Magazine</i> (September, 1910, p. 747), says that the company secured its +patent "through the intercessions of the poet Samuel Daniel." It is +true that the Children of Her Majesty's Royal Chamber of Bristol +secured their patent in 1615 at the intercession of Daniel, but I know +of no evidence that he intervened in behalf of the Blackfriars +troupe.</p></div> + +<div class="footnote"><p><a name="Footnote_341_341" id="Footnote_341_341"></a><a href="#FNanchor_341_341"><span class="label">[341]</span></a> A letter from Daniel to the Earl of Devonshire +vindicating the play is printed in Grosart's <i>Daniel</i>, <span class="smcap">i</span>, xxii.</p></div> + +<div class="footnote"><p><a name="Footnote_342_342" id="Footnote_342_342"></a><a href="#FNanchor_342_342"><span class="label">[342]</span></a> See Dobell, "Newly Discovered Documents," in <i>The +Athenæum</i>, March 30, 1901.</p></div> + +<div class="footnote"><p><a name="Footnote_343_343" id="Footnote_343_343"></a><a href="#FNanchor_343_343"><span class="label">[343]</span></a> Cunningham, <i>Revels</i>, p. xxxviii.</p></div> + +<div class="footnote"><p><a name="Footnote_344_344" id="Footnote_344_344"></a><a href="#FNanchor_344_344"><span class="label">[344]</span></a> Fleay, <i>op. cit.</i>, p. 221.</p></div> + +<div class="footnote"><p><a name="Footnote_345_345" id="Footnote_345_345"></a><a href="#FNanchor_345_345"><span class="label">[345]</span></a> Except carelessly, as when sometimes called "The +Children of the Chapel."</p></div> + +<div class="footnote"><p><a name="Footnote_346_346" id="Footnote_346_346"></a><a href="#FNanchor_346_346"><span class="label">[346]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +82.</p></div> + +<div class="footnote"><p><a name="Footnote_347_347" id="Footnote_347_347"></a><a href="#FNanchor_347_347"><span class="label">[347]</span></a> <i>Ibid.</i>, pp. 81, 86, 89, 93.</p></div> + +<div class="footnote"><p><a name="Footnote_348_348" id="Footnote_348_348"></a><a href="#FNanchor_348_348"><span class="label">[348]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. 80 +ff.</p></div> + +<div class="footnote"><p><a name="Footnote_349_349" id="Footnote_349_349"></a><a href="#FNanchor_349_349"><span class="label">[349]</span></a> That is, £33, more or less, a share. We have +documentary evidence to show that a share in the Red Bull produced +£30, and a share in the Globe £30 to £40 per annum.</p></div> + +<div class="footnote"><p><a name="Footnote_350_350" id="Footnote_350_350"></a><a href="#FNanchor_350_350"><span class="label">[350]</span></a> Fleay, <i>op. cit.</i>, p. 249. The yearly rental must have +included not only the playhouse and its equipment, but the playbooks, +apparel, properties, etc., belonging to the Children. These were on +July 26, 1608, divided up among the sharers, Kirkham, Rastell, +Kendall, and Evans.</p></div> + +<div class="footnote"><p><a name="Footnote_351_351" id="Footnote_351_351"></a><a href="#FNanchor_351_351"><span class="label">[351]</span></a> Birch, <i>Court and Times of James the First</i>, <span class="smcap">i</span>, 60; +quoted by E.K. Chambers, in <i>Modern Language Review</i>, <span class="smcap">iv</span>, 158.</p></div> + +<div class="footnote"><p><a name="Footnote_352_352" id="Footnote_352_352"></a><a href="#FNanchor_352_352"><span class="label">[352]</span></a> Possibly an aftermath of the King's displeasure is to +be found in the cancellation of Giles's long-standing commission to +take up boys for the Chapel, and the issuance of a new commission to +him, November 7, 1606, with the distinct proviso that "none of the +said choristers or children of the Chapel so to be taken by force of +this commission shall be used or employed as commedians or stage +players." (The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 357.)</p></div> + +<div class="footnote"><p><a name="Footnote_353_353" id="Footnote_353_353"></a><a href="#FNanchor_353_353"><span class="label">[353]</span></a> From the report of the French Ambassador, M. de la +Boderie, to M. de Puisieux at Paris, <i>Ambassades de Monsieur de la +Boderie en Angleterre</i>, 1750, <span class="smcap">iii</span>, 196; quoted by E.K. Chambers in +<i>Modern Language Review</i>, <span class="smcap">iv</span>, 158.</p></div> + +<div class="footnote"><p><a name="Footnote_354_354" id="Footnote_354_354"></a><a href="#FNanchor_354_354"><span class="label">[354]</span></a> The name of this play is not known; probably the King +was satirized in a comic scene foisted upon an otherwise innocent +piece. Mr. Wallace, in <i>The Century Magazine</i> (September, 1910, p. +747), says: "From a document I have found in France the Blackfriars +boys now satirized the King's efforts to raise money, made local jokes +on the recent discovery of his silver mine in Scotland, brought him on +the stage as drunk, and showed such to be his condition at least three +times a day, caricatured him in his favorite pastime of hawking, and +represented him as swearing and cursing at a gentleman for losing a +bird." I do not know what document Mr. Wallace has found; the French +document quoted above has been known for a long time.</p></div> + +<div class="footnote"><p><a name="Footnote_355_355" id="Footnote_355_355"></a><a href="#FNanchor_355_355"><span class="label">[355]</span></a> Fleay, <i>op. cit.</i>, pp. 221-22.</p></div> + +<div class="footnote"><p><a name="Footnote_356_356" id="Footnote_356_356"></a><a href="#FNanchor_356_356"><span class="label">[356]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, pp. +83, 97.</p></div> + +<div class="footnote"><p><a name="Footnote_357_357" id="Footnote_357_357"></a><a href="#FNanchor_357_357"><span class="label">[357]</span></a> <i>Ibid.</i>, p. 87.</p></div> + +<div class="footnote"><p><a name="Footnote_358_358" id="Footnote_358_358"></a><a href="#FNanchor_358_358"><span class="label">[358]</span></a> <i>Ibid.</i>, p. 90.</p></div> + +<div class="footnote"><p><a name="Footnote_359_359" id="Footnote_359_359"></a><a href="#FNanchor_359_359"><span class="label">[359]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +97.</p></div> + +<div class="footnote"><p><a name="Footnote_360_360" id="Footnote_360_360"></a><a href="#FNanchor_360_360"><span class="label">[360]</span></a> Twenty-one years was a very common term for a lease to +run; but in this case, no doubt, it was intended that the lease of +Blackfriars should last as long as the lease of the Globe, which then +had exactly twenty-one years to run.</p></div> + +<div class="footnote"><p><a name="Footnote_361_361" id="Footnote_361_361"></a><a href="#FNanchor_361_361"><span class="label">[361]</span></a> Shortly after this agreement had been made William Slye +died, and his executrix delivered up his share to Richard Burbage "to +be cancelled and made void." See the Heminges-Osteler documents +printed by Mr. Wallace in the London <i>Times</i>, October 4, 1909. In 1611 +Burbage let William Osteler have this share.</p></div> + +<div class="footnote"><p><a name="Footnote_362_362" id="Footnote_362_362"></a><a href="#FNanchor_362_362"><span class="label">[362]</span></a> The method is clearly explained in the documents of +1635 printed by Halliwell-Phillipps, in <i>Outlines</i>, <span class="smcap">i</span>, 312.</p></div> + +<div class="footnote"><p><a name="Footnote_363_363" id="Footnote_363_363"></a><a href="#FNanchor_363_363"><span class="label">[363]</span></a> See Wright, <i>Historia Histrionica</i>, Hazlitt's Dodsley, +<span class="smcap">xv</span>, 406.</p></div> + +<div class="footnote"><p><a name="Footnote_364_364" id="Footnote_364_364"></a><a href="#FNanchor_364_364"><span class="label">[364]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 71.</p></div> + +<div class="footnote"><p><a name="Footnote_365_365" id="Footnote_365_365"></a><a href="#FNanchor_365_365"><span class="label">[365]</span></a> Act <span class="smcap">iii</span>, scene iv. Cf. also Webster's Preface to <i>The +White Devil</i>, acted at the Red Bull about 1610.</p></div> + +<div class="footnote"><p><a name="Footnote_366_366" id="Footnote_366_366"></a><a href="#FNanchor_366_366"><span class="label">[366]</span></a> Fleay, <i>A Chronicle History of the London Stage</i>, p. +248.</p></div> + +<div class="footnote"><p><a name="Footnote_367_367" id="Footnote_367_367"></a><a href="#FNanchor_367_367"><span class="label">[367]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 91.</p></div> + +<div class="footnote"><p><a name="Footnote_368_368" id="Footnote_368_368"></a><a href="#FNanchor_368_368"><span class="label">[368]</span></a> Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 311.</p></div> + +<div class="footnote"><p><a name="Footnote_369_369" id="Footnote_369_369"></a><a href="#FNanchor_369_369"><span class="label">[369]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 281.</p></div> + +<div class="footnote"><p><a name="Footnote_370_370" id="Footnote_370_370"></a><a href="#FNanchor_370_370"><span class="label">[370]</span></a> <i>Ibid.</i>, <span class="smcap">i</span>, 282.</p></div> + +<div class="footnote"><p><a name="Footnote_371_371" id="Footnote_371_371"></a><a href="#FNanchor_371_371"><span class="label">[371]</span></a> Collier, <i>History of English Dramatic Poetry</i> (1879), +<span class="smcap">i</span>, 455.</p></div> + +<div class="footnote"><p><a name="Footnote_372_372" id="Footnote_372_372"></a><a href="#FNanchor_372_372"><span class="label">[372]</span></a> The <i>Calendar of State Papers, Domestic, 1633</i>, p. 293. +The report of the commissioners in full, as printed by Collier in <i>New +Facts</i> (1835), p. 27, and again in <i>History of English Dramatic +Poetry</i> (1879), <span class="smcap">i</span>, 477, is not above suspicion, although Mr. E.K. +Chambers is inclined to think it genuine. According to this document +the actors estimated the property to be worth £21,990, but the +committee thought that the actors might be persuaded to accept £2900 +13<i>s.</i> 4<i>d.</i></p></div> + +<div class="footnote"><p><a name="Footnote_373_373" id="Footnote_373_373"></a><a href="#FNanchor_373_373"><span class="label">[373]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 99; 387.</p></div> + +<div class="footnote"><p><a name="Footnote_374_374" id="Footnote_374_374"></a><a href="#FNanchor_374_374"><span class="label">[374]</span></a> <i>The Earl of Strafforde's Letters</i> (Dublin, 1740), <span class="smcap">i</span>, +175.</p></div> + +<div class="footnote"><p><a name="Footnote_375_375" id="Footnote_375_375"></a><a href="#FNanchor_375_375"><span class="label">[375]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 388.</p></div> + +<div class="footnote"><p><a name="Footnote_376_376" id="Footnote_376_376"></a><a href="#FNanchor_376_376"><span class="label">[376]</span></a> <i>The Earl of Strafforde's Letters</i> (Dublin, 1740), <span class="smcap">i</span>, +511.</p></div> + +<div class="footnote"><p><a name="Footnote_377_377" id="Footnote_377_377"></a><a href="#FNanchor_377_377"><span class="label">[377]</span></a> The Herbert MS., Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 167.</p></div> + +<div class="footnote"><p><a name="Footnote_378_378" id="Footnote_378_378"></a><a href="#FNanchor_378_378"><span class="label">[378]</span></a> See <i>The Academy</i>, 1882, <span class="smcap">xxii</span>, 314. Exactly the same +fate had overtaken the Globe ten years earlier.</p></div> + +<div class="footnote"><p><a name="Footnote_379_379" id="Footnote_379_379"></a><a href="#FNanchor_379_379"><span class="label">[379]</span></a> That even James Burbage is to be put in this class +cannot be disputed.</p></div> + +<div class="footnote"><p><a name="Footnote_380_380" id="Footnote_380_380"></a><a href="#FNanchor_380_380"><span class="label">[380]</span></a> Cuthbert Burbage in 1635 says: "The players that lived +in those first times had only the profits arising from the doors, but +now the players receive all the comings-in at the doors to themselves +and half the galleries from the housekeepers." (Halliwell-Phillipps, +<i>Outlines</i>, <span class="smcap">i</span>, 317.)</p></div> + +<div class="footnote"><p><a name="Footnote_381_381" id="Footnote_381_381"></a><a href="#FNanchor_381_381"><span class="label">[381]</span></a> See, for example, Thomas Heywood's <i>Apology for Actors</i> +(1612). In enumerating the greatest actors of England he says: +"Gabriel, Singer, Pope, Phillips, Sly—all the right I can do them is +but this, that though they be dead, their deserts yet live in the +remembrance of many."</p></div> + +<div class="footnote"><p><a name="Footnote_382_382" id="Footnote_382_382"></a><a href="#FNanchor_382_382"><span class="label">[382]</span></a> "The petitioners have a long time with much patience +expected to be admitted sharers in the playhouses of the Globe and the +Blackfriars, whereby they might reap some better fruit of their labour +than hitherto they have done, and be encouraged to proceed therein +with cheerfulness." (The Young Players' Petition, 1635, printed by +Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 312.)</p></div> + +<div class="footnote"><p><a name="Footnote_383_383" id="Footnote_383_383"></a><a href="#FNanchor_383_383"><span class="label">[383]</span></a> Exact information about the lease and the organization +of the company is derived from the Heminges-Osteler and the +Witter-Heminges documents, both discovered and printed by Mr. Wallace. +And with these one should compare the article by the same author in +the London <i>Times</i>, April 30, May 1, 1914.</p></div> + +<div class="footnote"><p><a name="Footnote_384_384" id="Footnote_384_384"></a><a href="#FNanchor_384_384"><span class="label">[384]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +53. Shakespeare's leadership in the erection of the Globe is indicated +in several documents; for example, the post-mortem inquisition of the +estate of Sir Thomas Brend, May 16, 1599.</p></div> + +<div class="footnote"><p><a name="Footnote_385_385" id="Footnote_385_385"></a><a href="#FNanchor_385_385"><span class="label">[385]</span></a> The lease is incorporated in the Heminges-Osteler +documents, which Mr. Wallace has translated from the Anglicized Latin. +The original Latin text may be found in Martin, <i>The Site of the Globe +Playhouse of Shakespeare</i>, pp. 161-62. Since, however, that text is +faultily reproduced, I quote Mr. Wallace's translation.</p></div> + +<div class="footnote"><p><a name="Footnote_386_386" id="Footnote_386_386"></a><a href="#FNanchor_386_386"><span class="label">[386]</span></a> What is meant by "The Park" is a matter of dispute. +Some contend that the Park of the Bishop of Winchester is meant; it +may be, however, that some small estate is referred to. In support of +the latter contention, one might cite Collier's <i>Memoirs of Edward +Alleyn</i>, p. 91. Part of the document printed by Collier may have been +tampered with, but there is no reason to suspect the two references to +"The Parke."</p></div> + +<div class="footnote"><p><a name="Footnote_387_387" id="Footnote_387_387"></a><a href="#FNanchor_387_387"><span class="label">[387]</span></a> For the discussions of the subject, see the +<a href="#BIBLIOGRAPHY">Bibliography</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_388_388" id="Footnote_388_388"></a><a href="#FNanchor_388_388"><span class="label">[388]</span></a> This was probably not the only means of approach.</p></div> + +<div class="footnote"><p><a name="Footnote_389_389" id="Footnote_389_389"></a><a href="#FNanchor_389_389"><span class="label">[389]</span></a> Wallace, in the London <i>Times</i>, April 30, 1914, p. 10; +<i>Notes and Queries</i> (<span class="smcap">xi</span> series), <span class="smcap">xi</span>, 448.</p></div> + +<div class="footnote"><p><a name="Footnote_390_390" id="Footnote_390_390"></a><a href="#FNanchor_390_390"><span class="label">[390]</span></a> <i>An Execration upon Vulcan.</i></p></div> + +<div class="footnote"><p><a name="Footnote_391_391" id="Footnote_391_391"></a><a href="#FNanchor_391_391"><span class="label">[391]</span></a> <i>The Guls Hornbook</i>, published in 1609, but written +earlier.</p></div> + +<div class="footnote"><p><a name="Footnote_392_392" id="Footnote_392_392"></a><a href="#FNanchor_392_392"><span class="label">[392]</span></a> <i>Jonson's Works</i>, ed. Cunningham, <span class="smcap">i</span>, 71.</p></div> + +<div class="footnote"><p><a name="Footnote_393_393" id="Footnote_393_393"></a><a href="#FNanchor_393_393"><span class="label">[393]</span></a> In the first quarto edition of <i>Every Man Out of His +Humour</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_394_394" id="Footnote_394_394"></a><a href="#FNanchor_394_394"><span class="label">[394]</span></a> <i>The Stage of the Globe</i>, p. 356.</p></div> + +<div class="footnote"><p><a name="Footnote_395_395" id="Footnote_395_395"></a><a href="#FNanchor_395_395"><span class="label">[395]</span></a> Induction to <i>Every Man Out of His Humour</i> (ed. +Cunningham, <span class="smcap">i</span>, 66).</p></div> + +<div class="footnote"><p><a name="Footnote_396_396" id="Footnote_396_396"></a><a href="#FNanchor_396_396"><span class="label">[396]</span></a> I have not space to discuss the question further. The +foreign traveler who visited a Bankside theatre, probably the Globe, +on July 3, 1600, described it as "Theatrum ad morem antiquorum +Romanorum constructum ex lignis" (London <i>Times</i>, April 11, 1914). +Thomas Heywood, in his <i>Apology for Actors</i> (1612), describing the +Roman playhouses, says: "After these they composed others, but +differing in form from the theatre or amphitheatre, and every such was +called <i>Circus</i>, the frame <i>globe</i>-like and merely round." The +evidence is cumulative, and almost inexhaustible.</p></div> + +<div class="footnote"><p><a name="Footnote_397_397" id="Footnote_397_397"></a><a href="#FNanchor_397_397"><span class="label">[397]</span></a> See <i>Hamlet</i>, <span class="smcap">ii</span>, ii, 378.</p></div> + +<div class="footnote"><p><a name="Footnote_398_398" id="Footnote_398_398"></a><a href="#FNanchor_398_398"><span class="label">[398]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 67.</p></div> + +<div class="footnote"><p><a name="Footnote_399_399" id="Footnote_399_399"></a><a href="#FNanchor_399_399"><span class="label">[399]</span></a> The circular playhouse in Delaram's <i>View</i> is commonly +accepted as a representation of the First Globe, but without reason. +The evidence which establishes the identity of the several playhouses +pictured in the various maps of the Bankside comes from a careful +study of the Bear Garden, the Hope, the Rose, the First Globe, the +Second Globe, and their sites, together with a study of all the maps +and views of London, considered separately and in relation to one +another. Such evidence is too complicated to be given here in full, +but it is quite conclusive.</p></div> + +<div class="footnote"><p><a name="Footnote_400_400" id="Footnote_400_400"></a><a href="#FNanchor_400_400"><span class="label">[400]</span></a> The London <i>Times</i>, October 2, 1909.</p></div> + +<div class="footnote"><p><a name="Footnote_401_401" id="Footnote_401_401"></a><a href="#FNanchor_401_401"><span class="label">[401]</span></a> Possibly he gives this evidence in his <i>The Children of +the Chapel at Blackfriars</i>, p. 29, note 4.</p></div> + +<div class="footnote"><p><a name="Footnote_402_402" id="Footnote_402_402"></a><a href="#FNanchor_402_402"><span class="label">[402]</span></a> Wallace, in the London <i>Times</i>, May 1, 1914.</p></div> + +<div class="footnote"><p><a name="Footnote_403_403" id="Footnote_403_403"></a><a href="#FNanchor_403_403"><span class="label">[403]</span></a> Printed in The Malone Society <i>Collections</i>, <span class="smcap">i</span>, 264.</p></div> + +<div class="footnote"><p><a name="Footnote_404_404" id="Footnote_404_404"></a><a href="#FNanchor_404_404"><span class="label">[404]</span></a> Howes's continuation of Stow's <i>Annals</i> (1631), p. +1003.</p></div> + +<div class="footnote"><p><a name="Footnote_405_405" id="Footnote_405_405"></a><a href="#FNanchor_405_405"><span class="label">[405]</span></a> <i>Reliquiæ Wottonianæ</i> (ed. 1672), p. 425.</p></div> + +<div class="footnote"><p><a name="Footnote_406_406" id="Footnote_406_406"></a><a href="#FNanchor_406_406"><span class="label">[406]</span></a> Ralph Winwood, <i>Memorials of Affairs of State</i> (ed. +1725), <span class="smcap">iii</span>, 469.</p></div> + +<div class="footnote"><p><a name="Footnote_407_407" id="Footnote_407_407"></a><a href="#FNanchor_407_407"><span class="label">[407]</span></a> Printed in Birch, <i>The Court and Times of James the +First</i> (1849), <span class="smcap">i</span>, 251.</p></div> + +<div class="footnote"><p><a name="Footnote_408_408" id="Footnote_408_408"></a><a href="#FNanchor_408_408"><span class="label">[408]</span></a> Printed by Haslewood in <i>The Gentleman's Magazine</i> +(1816), from an old manuscript volume of poems. Printed also by +Halliwell-Phillipps (<i>Outlines</i>, <span class="smcap">i</span>, 310) "from a manuscript of the +early part of the seventeenth century of unquestionable authenticity." +Perhaps it is the same as the "Doleful Ballad" entered in the +Stationers' Register, 1613. I follow Halliwell-Phillipps's text, but +omit the last three stanzas.</p></div> + +<div class="footnote"><p><a name="Footnote_409_409" id="Footnote_409_409"></a><a href="#FNanchor_409_409"><span class="label">[409]</span></a> Punning on the title <i>All is True</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_410_410" id="Footnote_410_410"></a><a href="#FNanchor_410_410"><span class="label">[410]</span></a> <i>An Execration upon Vulcan.</i></p></div> + +<div class="footnote"><p><a name="Footnote_411_411" id="Footnote_411_411"></a><a href="#FNanchor_411_411"><span class="label">[411]</span></a> These interesting facts were revealed by Mr. Wallace in +the London <i>Times</i>, April 30 and May 1, 1914.</p></div> + +<div class="footnote"><p><a name="Footnote_412_412" id="Footnote_412_412"></a><a href="#FNanchor_412_412"><span class="label">[412]</span></a> Did he increase the amount of the rental to £25 per +annum? The rent paid for the Blackfriars was £40 per annum; in 1635 +the young actors state that the housekeepers paid for both playhouses +"not above £65."</p></div> + +<div class="footnote"><p><a name="Footnote_413_413" id="Footnote_413_413"></a><a href="#FNanchor_413_413"><span class="label">[413]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +60.</p></div> + +<div class="footnote"><p><a name="Footnote_414_414" id="Footnote_414_414"></a><a href="#FNanchor_414_414"><span class="label">[414]</span></a> <i>Works</i> (1630), p. 31; The Spenser Society reprint, p. +515.</p></div> + +<div class="footnote"><p><a name="Footnote_415_415" id="Footnote_415_415"></a><a href="#FNanchor_415_415"><span class="label">[415]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +61.</p></div> + +<div class="footnote"><p><a name="Footnote_416_416" id="Footnote_416_416"></a><a href="#FNanchor_416_416"><span class="label">[416]</span></a> Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 316. This evidence +seems to me unimpeachable. I should add, however, that Mr. Wallace +considers the estimate "excessive," and says that he has "other +contemporary documents showing the cost was far less than £1400." (The +London <i>Times</i>, October 2, 1909.)</p></div> + +<div class="footnote"><p><a name="Footnote_417_417" id="Footnote_417_417"></a><a href="#FNanchor_417_417"><span class="label">[417]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +61. There is, I think, no truth in the statement made by the +inaccurate annotator of the Phillipps copy of Stow's <i>Annals</i>, that +the Globe was built "at the great charge of King James and many +noblemen and others." (See <i>The Academy</i>, October 28, 1882, p. 314.) +The Witter-Heminges documents sufficiently disprove that. We may well +believe, however, that the King and his noblemen were interested in +the new building, and encouraged the actors in many ways.</p></div> + +<div class="footnote"><p><a name="Footnote_418_418" id="Footnote_418_418"></a><a href="#FNanchor_418_418"><span class="label">[418]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +70.</p></div> + +<div class="footnote"><p><a name="Footnote_419_419" id="Footnote_419_419"></a><a href="#FNanchor_419_419"><span class="label">[419]</span></a> I see no reason to accept Mr. Wallace's suggestion +(<i>The Children of the Chapel at Blackfriars</i>, p. 34, note 7) that "it +seems questionable, but not unlikely, that the timber framework was +brick-veneered and plastered over." Mr. Wallace mistakenly accepts +Wilkinson's view of the second Fortune as genuine.</p></div> + +<div class="footnote"><p><a name="Footnote_420_420" id="Footnote_420_420"></a><a href="#FNanchor_420_420"><span class="label">[420]</span></a> Rendle, <i>Bankside</i>, p. xvii.</p></div> + +<div class="footnote"><p><a name="Footnote_421_421" id="Footnote_421_421"></a><a href="#FNanchor_421_421"><span class="label">[421]</span></a> Birch, <i>The Court and Times of James the First</i>, <span class="smcap">i</span>, +329; quoted by Wallace, <i>The Children of the Chapel at Blackfriars</i>, +p. 35.</p></div> + +<div class="footnote"><p><a name="Footnote_422_422" id="Footnote_422_422"></a><a href="#FNanchor_422_422"><span class="label">[422]</span></a> From a folio MS. in the Huth Library, printed by J.P. +Collier in <i>The History of English Dramatic Poetry</i> (1879), <span class="smcap">i</span>, 411, +and by various others.</p></div> + +<div class="footnote"><p><a name="Footnote_423_423" id="Footnote_423_423"></a><a href="#FNanchor_423_423"><span class="label">[423]</span></a> Printed by Mrs. Stopes, <i>Burbage and Shakespeare's +Stage</i>, p. 117, with many other interesting references to the great +actor.</p></div> + +<div class="footnote"><p><a name="Footnote_424_424" id="Footnote_424_424"></a><a href="#FNanchor_424_424"><span class="label">[424]</span></a> Wallace, "Shakespeare and the Globe," in the London +<i>Times</i>, April 30 and May 1, 1914.</p></div> + +<div class="footnote"><p><a name="Footnote_425_425" id="Footnote_425_425"></a><a href="#FNanchor_425_425"><span class="label">[425]</span></a> The Petition of the Young Actors, printed by +Halliwell-Phillipps, <i>Outlines</i>, <span class="smcap">i</span>, 312. Mrs. Stopes, in <i>Burbage and +Shakespeare's Stage</i>, p. 129, refers to a record of the suit mentioned +by Shanks, dated February 6, 1634.</p></div> + +<div class="footnote"><p><a name="Footnote_426_426" id="Footnote_426_426"></a><a href="#FNanchor_426_426"><span class="label">[426]</span></a> Printed in <i>The Academy</i>, October 28, 1882, p. 314. +Should we read the date as 1644/5?</p></div> + +<div class="footnote"><p><a name="Footnote_427_427" id="Footnote_427_427"></a><a href="#FNanchor_427_427"><span class="label">[427]</span></a> William Martin, <i>The Site of the Globe</i>, p. 171.</p></div> + +<div class="footnote"><p><a name="Footnote_428_428" id="Footnote_428_428"></a><a href="#FNanchor_428_428"><span class="label">[428]</span></a> Printed in <i>The Builder</i>, March 26, 1910, from the +Conway MSS. in Mrs. Thrale's handwriting.</p></div> + +<div class="footnote"><p><a name="Footnote_429_429" id="Footnote_429_429"></a><a href="#FNanchor_429_429"><span class="label">[429]</span></a> For later discoveries of supposed Globe relics, all +very doubtful, see the London <i>Times</i>, October 8, 1909; George +Hubbard, <i>The Site of the Globe Theatre</i>; and William Martin, <i>The +Site of the Globe</i>, p. 201.</p></div> + +<div class="footnote"><p><a name="Footnote_430_430" id="Footnote_430_430"></a><a href="#FNanchor_430_430"><span class="label">[430]</span></a> The tablet was designed by Dr. William Martin and +executed by Professor Lanteri. For photographs of it and of the place +in which it is erected, see <i>The London Illustrated News</i>, October 9, +1909, <span class="smcap">cxxxv</span>, 500.</p></div> + +<div class="footnote"><p><a name="Footnote_431_431" id="Footnote_431_431"></a><a href="#FNanchor_431_431"><span class="label">[431]</span></a> Greg, <i>Henslowe Papers</i>, p. 25; Wallace, <i>Three London +Theatres</i>, p. 53. Later, Alleyn rented to the actors the playhouse +alone for £200 per annum. In the document, Alleyn <i>v.</i> William +Henslowe, published by Mr. Wallace in <i>Three London Theatres</i>, p. 52, +it is revealed that this annual rental of £8 was canceled by Alleyn's +rental of a house from Henslowe on the Bankside; hence no actual +payments by Henslowe appear in the Henslowe-Alleyn papers.</p></div> + +<div class="footnote"><p><a name="Footnote_432_432" id="Footnote_432_432"></a><a href="#FNanchor_432_432"><span class="label">[432]</span></a> Later, by a series of negotiations ending in 1610, +Alleyn secured the freehold of the property. The total cost to him was +£800. See Greg, <i>Henslowe Papers</i>, pp. 14, 17, 108.</p></div> + +<div class="footnote"><p><a name="Footnote_433_433" id="Footnote_433_433"></a><a href="#FNanchor_433_433"><span class="label">[433]</span></a> <i>Ibid.</i>, p. 50.</p></div> + +<div class="footnote"><p><a name="Footnote_434_434" id="Footnote_434_434"></a><a href="#FNanchor_434_434"><span class="label">[434]</span></a> <i>Ibid.</i>, p. 49; cf. p. 51.</p></div> + +<div class="footnote"><p><a name="Footnote_435_435" id="Footnote_435_435"></a><a href="#FNanchor_435_435"><span class="label">[435]</span></a> Collier, <i>The Alleyn Papers</i>, p. 98. For a slightly +different measurement of the plot see Collier, <i>Memoirs of Edward +Alleyn</i>, p. 167.</p></div> + +<div class="footnote"><p><a name="Footnote_436_436" id="Footnote_436_436"></a><a href="#FNanchor_436_436"><span class="label">[436]</span></a> Greg, <i>Henslowe Papers</i>, p. 49.</p></div> + +<div class="footnote"><p><a name="Footnote_437_437" id="Footnote_437_437"></a><a href="#FNanchor_437_437"><span class="label">[437]</span></a> <i>Ibid.</i>, p. 50.</p></div> + +<div class="footnote"><p><a name="Footnote_438_438" id="Footnote_438_438"></a><a href="#FNanchor_438_438"><span class="label">[438]</span></a> <i>Ibid.</i>, p. 51.</p></div> + +<div class="footnote"><p><a name="Footnote_439_439" id="Footnote_439_439"></a><a href="#FNanchor_439_439"><span class="label">[439]</span></a> See page <a href="#Page_174">174</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_440_440" id="Footnote_440_440"></a><a href="#FNanchor_440_440"><span class="label">[440]</span></a> Greg, <i>Henslowe Papers</i>, p. 10.</p></div> + +<div class="footnote"><p><a name="Footnote_441_441" id="Footnote_441_441"></a><a href="#FNanchor_441_441"><span class="label">[441]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 158-59.</p></div> + +<div class="footnote"><p><a name="Footnote_442_442" id="Footnote_442_442"></a><a href="#FNanchor_442_442"><span class="label">[442]</span></a> Greg, <i>Henslowe Papers</i>, p. 108.</p></div> + +<div class="footnote"><p><a name="Footnote_443_443" id="Footnote_443_443"></a><a href="#FNanchor_443_443"><span class="label">[443]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 124.</p></div> + +<div class="footnote"><p><a name="Footnote_444_444" id="Footnote_444_444"></a><a href="#FNanchor_444_444"><span class="label">[444]</span></a> For the full document see Greg, <i>Henslowe Papers</i>, p. +4.</p></div> + +<div class="footnote"><p><a name="Footnote_445_445" id="Footnote_445_445"></a><a href="#FNanchor_445_445"><span class="label">[445]</span></a> See the <a href="#BIBLIOGRAPHY">Bibliography</a>. A model of the Fortune by Mr. +W.H. Godfrey is preserved in the Dramatic Museum of Columbia +University in New York City, and a duplicate is in the Museum of +European Culture at the University of Illinois. For a description of +the model see the <i>Architect and Builders' Journal</i> (London), August +16, 1911.</p></div> + +<div class="footnote"><p><a name="Footnote_446_446" id="Footnote_446_446"></a><a href="#FNanchor_446_446"><span class="label">[446]</span></a> The three galleries (twelve, eleven, and nine feet, +respectively) were thirty-two feet in height; but to this must be +added the elevation of the first gallery above the yard, the space +occupied by the ceiling and flooring of the several galleries, and, +finally, the roof.</p></div> + +<div class="footnote"><p><a name="Footnote_447_447" id="Footnote_447_447"></a><a href="#FNanchor_447_447"><span class="label">[447]</span></a> Thomas Heywood, <i>The English Traveller</i> (1633), ed. +Pearson, <span class="smcap">iv</span>, 84. We do not know when the play was written, but the +reference is probably to the New Fortune, built in 1623. Heywood +generally uses "picture" in the sense of "statue."</p></div> + +<div class="footnote"><p><a name="Footnote_448_448" id="Footnote_448_448"></a><a href="#FNanchor_448_448"><span class="label">[448]</span></a> <i>The Roaring Girl</i>, <span class="smcap">i</span>, i. Pointed out by M.W. Sampson, +<i>Modern Language Notes</i>, June, 1915.</p></div> + +<div class="footnote"><p><a name="Footnote_449_449" id="Footnote_449_449"></a><a href="#FNanchor_449_449"><span class="label">[449]</span></a> "Diaries and Despatches of the Venetian Embassy at the +Court of King James I, in the Years 1617, 1618. Translated by Rawdon +Brown." (<i>The Quarterly Review</i>, <span class="smcap">cii</span>, 416.) It is true that the notice +of this letter in <i>The Calendar of State Papers, Venetian</i>, <span class="smcap">xv</span>, 67, +makes no mention of the Fortune; but the writer in <i>The Quarterly +Review</i>, who had before him the entire manuscript, states positively +that the Fortune was the playhouse visited. I have not been able to +examine the manuscript itself, which is preserved in Venice.</p></div> + +<div class="footnote"><p><a name="Footnote_450_450" id="Footnote_450_450"></a><a href="#FNanchor_450_450"><span class="label">[450]</span></a> Nichols, <i>The Progresses of King James</i>, <span class="smcap">iv</span>, 67.</p></div> + +<div class="footnote"><p><a name="Footnote_451_451" id="Footnote_451_451"></a><a href="#FNanchor_451_451"><span class="label">[451]</span></a> Greg, <i>Henslowe's Diary</i>, <span class="smcap">i</span>, 174.</p></div> + +<div class="footnote"><p><a name="Footnote_452_452" id="Footnote_452_452"></a><a href="#FNanchor_452_452"><span class="label">[452]</span></a> See the Company's Patent of 1606, in The Malone +Society's <i>Collections</i>, <span class="smcap">i</span>, 268.</p></div> + +<div class="footnote"><p><a name="Footnote_453_453" id="Footnote_453_453"></a><a href="#FNanchor_453_453"><span class="label">[453]</span></a> Greg, <i>Henslowe Papers</i>, p. 13.</p></div> + +<div class="footnote"><p><a name="Footnote_454_454" id="Footnote_454_454"></a><a href="#FNanchor_454_454"><span class="label">[454]</span></a> For an ordinance concerning "lewd jiggs" at the Fortune +in 1612, see <i>Middlesex County Records</i>, <span class="smcap">ii</span>, 83.</p></div> + +<div class="footnote"><p><a name="Footnote_455_455" id="Footnote_455_455"></a><a href="#FNanchor_455_455"><span class="label">[455]</span></a> Greg, <i>Henslowe Papers</i>, p. 27; Young, <i>The History of +Dulwich College</i>, <span class="smcap">ii</span>, 260.</p></div> + +<div class="footnote"><p><a name="Footnote_456_456" id="Footnote_456_456"></a><a href="#FNanchor_456_456"><span class="label">[456]</span></a> The deed is printed by Young, <i>op. cit.</i>, <span class="smcap">i</span>, 50. The +Fortune property, I believe, is still a part of the endowment of the +college.</p></div> + +<div class="footnote"><p><a name="Footnote_457_457" id="Footnote_457_457"></a><a href="#FNanchor_457_457"><span class="label">[457]</span></a> Birch, <i>The Court and Times of James the First</i>, <span class="smcap">ii</span>, +280. Howes, in his continuation of Stow's <i>Annals</i> (1631), p. 1004, +attributes the fire to "negligence of a candle," but gives no +details.</p></div> + +<div class="footnote"><p><a name="Footnote_458_458" id="Footnote_458_458"></a><a href="#FNanchor_458_458"><span class="label">[458]</span></a> Greg, <i>Henslowe Papers</i>, pp. 28-30; 112. The names of +the sharers are not inspiring: Thomas Sparks, merchant tailor; William +Gwalter, innholder; John Fisher, barber-surgeon; Thomas Wigpitt, +bricklayer; etc.</p></div> + +<div class="footnote"><p><a name="Footnote_459_459" id="Footnote_459_459"></a><a href="#FNanchor_459_459"><span class="label">[459]</span></a> Prynne, <i>Histriomastix</i>, Epistle Dedicatory.</p></div> + +<div class="footnote"><p><a name="Footnote_460_460" id="Footnote_460_460"></a><a href="#FNanchor_460_460"><span class="label">[460]</span></a> The writer of the manuscript notes in the Phillipps +copy of Stow's <i>Annals</i> (see <i>The Academy</i>, October 28, 1882, p. 314), +who is not trustworthy, says that the Fortune was burned down in 1618, +and "built again with brick work on the outside," from which Mr. +Wallace assumed that he meant that the building was merely +brick-veneered. If the writer meant this he was in error. See the +report of the commission appointed by Dulwich College to examine the +building (Greg, <i>Henslowe Papers</i>, p. 95).</p></div> + +<div class="footnote"><p><a name="Footnote_461_461" id="Footnote_461_461"></a><a href="#FNanchor_461_461"><span class="label">[461]</span></a> Hazlitt's Dodsley, <span class="smcap">xv</span>, 408.</p></div> + +<div class="footnote"><p><a name="Footnote_462_462" id="Footnote_462_462"></a><a href="#FNanchor_462_462"><span class="label">[462]</span></a> Stow, <i>Annals</i>, 1631.</p></div> + +<div class="footnote"><p><a name="Footnote_463_463" id="Footnote_463_463"></a><a href="#FNanchor_463_463"><span class="label">[463]</span></a> Greg, <i>Henslowe Papers</i>, p. 29. Half-shares were £41 +13<i>s.</i> 4<i>d.</i>, which Murray (<i>English Dramatic Companies</i>) confuses +with whole shares.</p></div> + +<div class="footnote"><p><a name="Footnote_464_464" id="Footnote_464_464"></a><a href="#FNanchor_464_464"><span class="label">[464]</span></a> Greg, <i>Henslowe Papers</i>, p. 95. This estimate was made +after the interior of the building had been "pulled down," and hence +refers merely to the cost of erection.</p></div> + +<div class="footnote"><p><a name="Footnote_465_465" id="Footnote_465_465"></a><a href="#FNanchor_465_465"><span class="label">[465]</span></a> For an account of "a dangerous and great riot committed +in Whitecross Street at the Fortune Playhouse" in May, 1626, see +Jeaffreson, <i>Middlesex County Records</i>, <span class="smcap">iii</span>, 161-63.</p></div> + +<div class="footnote"><p><a name="Footnote_466_466" id="Footnote_466_466"></a><a href="#FNanchor_466_466"><span class="label">[466]</span></a> For details of this move see the <a href="#CHAPTER_XIX">chapter</a> on the +Salisbury Court Playhouse.</p></div> + +<div class="footnote"><p><a name="Footnote_467_467" id="Footnote_467_467"></a><a href="#FNanchor_467_467"><span class="label">[467]</span></a> Young, <i>The History of Dulwich College</i>, <span class="smcap">i</span>, 114.</p></div> + +<div class="footnote"><p><a name="Footnote_468_468" id="Footnote_468_468"></a><a href="#FNanchor_468_468"><span class="label">[468]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 391, 392; +Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 239.</p></div> + +<div class="footnote"><p><a name="Footnote_469_469" id="Footnote_469_469"></a><a href="#FNanchor_469_469"><span class="label">[469]</span></a> Young, <i>The History of Dulwich College</i>, <span class="smcap">i</span>, 114.</p></div> + +<div class="footnote"><p><a name="Footnote_470_470" id="Footnote_470_470"></a><a href="#FNanchor_470_470"><span class="label">[470]</span></a> The College appealed to the Lord Keeper, who on January +26 ordered the payment of the sum. But two years later, February, +1640, we find the College again petitioning the Lord Keeper to order +the lessees of the Fortune property to pay an arrearage of £104 14<i>s.</i> +5<i>d.</i> See Collier, <i>The Alleyn Papers</i>, pp. 95-98.</p></div> + +<div class="footnote"><p><a name="Footnote_471_471" id="Footnote_471_471"></a><a href="#FNanchor_471_471"><span class="label">[471]</span></a> Printed in <i>The Calendar of State Papers, Domestic, +1639</i>, p. 140.</p></div> + +<div class="footnote"><p><a name="Footnote_472_472" id="Footnote_472_472"></a><a href="#FNanchor_472_472"><span class="label">[472]</span></a> The Prologue is printed in full by Malone, <i>Variorum</i>, +<span class="smcap">iii</span>, 79.</p></div> + +<div class="footnote"><p><a name="Footnote_473_473" id="Footnote_473_473"></a><a href="#FNanchor_473_473"><span class="label">[473]</span></a> Not even the Globe was entirely free from this; see the +Prologue to <i>The Doubtful Heir</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_474_474" id="Footnote_474_474"></a><a href="#FNanchor_474_474"><span class="label">[474]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 79.</p></div> + +<div class="footnote"><p><a name="Footnote_475_475" id="Footnote_475_475"></a><a href="#FNanchor_475_475"><span class="label">[475]</span></a> <i>The Calendar of State Papers, Domestic, 1643</i>, p. +564.</p></div> + +<div class="footnote"><p><a name="Footnote_476_476" id="Footnote_476_476"></a><a href="#FNanchor_476_476"><span class="label">[476]</span></a> For an interesting comment on the situation, especially +in the year 1649, see <i>Notes and Queries</i> (series <span class="smcap">x</span>), I, 85.</p></div> + +<div class="footnote"><p><a name="Footnote_477_477" id="Footnote_477_477"></a><a href="#FNanchor_477_477"><span class="label">[477]</span></a> Printed in <i>The Academy</i>, October 28, 1882, p. 314.</p></div> + +<div class="footnote"><p><a name="Footnote_478_478" id="Footnote_478_478"></a><a href="#FNanchor_478_478"><span class="label">[478]</span></a> See <i>The Journals of the House of Commons</i>, July 26, +1648.</p></div> + +<div class="footnote"><p><a name="Footnote_479_479" id="Footnote_479_479"></a><a href="#FNanchor_479_479"><span class="label">[479]</span></a> Warner, <i>Catalogue</i>, <span class="smcap">xxxi</span>; Greg, <i>Henslowe's Diary</i>, +<span class="smcap">ii</span>, 65.</p></div> + +<div class="footnote"><p><a name="Footnote_480_480" id="Footnote_480_480"></a><a href="#FNanchor_480_480"><span class="label">[480]</span></a> The entire report is printed in Greg, <i>Henslowe +Papers</i>, p. 95.</p></div> + +<div class="footnote"><p><a name="Footnote_481_481" id="Footnote_481_481"></a><a href="#FNanchor_481_481"><span class="label">[481]</span></a> Discovered by Stevens, and printed in Malone, +<i>Variorum</i>, <span class="smcap">iii</span>, 55, note 5. Mr. W.J. Lawrence, <i>Archiv für das +Studium der Neueren Sprachen und Literaturen</i> (1914), p. 314, says +that the date of this advertisement is 1660. But the same +advertisement is reprinted by H.R. Plomer in <i>Notes and Queries</i> +(series <span class="smcap">x</span>), <span class="smcap">vi</span>, 107, from <i>The Kingdom's Intelligencer</i> of March 18, +1661.</p></div> + +<div class="footnote"><p><a name="Footnote_482_482" id="Footnote_482_482"></a><a href="#FNanchor_482_482"><span class="label">[482]</span></a> Young, <i>The History of Dulwich College</i>, <span class="smcap">ii</span>, 265.</p></div> + +<div class="footnote"><p><a name="Footnote_483_483" id="Footnote_483_483"></a><a href="#FNanchor_483_483"><span class="label">[483]</span></a> Collier, <i>The Alleyn Papers</i>, p. 101. I am aware of the +fact that there are references to later incidents at the Fortune (for +example, the statement that it was visited by officers in November, +1682, in an attempt to suppress secret conventicles that had long been +held there), but in view of the unimpeachable documentary evidence +cited above (in 1662 the College authorities again refer to it as "the +late ruinous and now demolished Fortune playhouse"), we must regard +these later references either as inaccurate, or as referring to +another building later erected in the same neighborhood. The so-called +picture of the Fortune, printed in Wilkinson's <i>Londina Illustrata</i>, +and often reproduced by modern scholars, cannot possibly be that of +the playhouse erected by Alleyn. For an interesting surmise as to the +history of this later building see W.J. Lawrence, <i>Restoration Stage +Nurseries</i>, in <i>Archiv für das Studium der Neueren Sprachen und +Literaturen</i> (1914), p. 301.</p></div> + +<div class="footnote"><p><a name="Footnote_484_484" id="Footnote_484_484"></a><a href="#FNanchor_484_484"><span class="label">[484]</span></a> This playhouse is not to be confused with the famous +Bull Tavern in Bishopsgate Street, for many years used as a theatre.</p></div> + +<div class="footnote"><p><a name="Footnote_485_485" id="Footnote_485_485"></a><a href="#FNanchor_485_485"><span class="label">[485]</span></a> These statements are based upon the Woodford <i>v.</i> +Holland documents, first discovered by Collier, later by Greenstreet, +and finally printed in full by Wallace, <i>Three London Theatres</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_486_486" id="Footnote_486_486"></a><a href="#FNanchor_486_486"><span class="label">[486]</span></a> Sir Sidney Lee (<i>A Life of William Shakespeare</i>, p. 60) +says that the Red Bull was "built about 1600." He gives no evidence, +and the statement seems to be merely a repetition from earlier and +unauthoritative writers.</p></div> + +<div class="footnote"><p><a name="Footnote_487_487" id="Footnote_487_487"></a><a href="#FNanchor_487_487"><span class="label">[487]</span></a> The original warrant is preserved at Dulwich, and +printed by Greg, <i>Henslowe Papers</i>, p. 61. Cf. also Dasent, <i>Acts of +the Privy Council</i>, <span class="smcap">xxxii</span>, 511.</p></div> + +<div class="footnote"><p><a name="Footnote_488_488" id="Footnote_488_488"></a><a href="#FNanchor_488_488"><span class="label">[488]</span></a> <i>Raven's Almanack</i> (1609); Dekker's <i>Works</i> (ed. +Grosart), <span class="smcap">iv</span>, 210.</p></div> + +<div class="footnote"><p><a name="Footnote_489_489" id="Footnote_489_489"></a><a href="#FNanchor_489_489"><span class="label">[489]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 265.</p></div> + +<div class="footnote"><p><a name="Footnote_490_490" id="Footnote_490_490"></a><a href="#FNanchor_490_490"><span class="label">[490]</span></a> Wallace, <i>Three London Theatres</i>, p. 18.</p></div> + +<div class="footnote"><p><a name="Footnote_491_491" id="Footnote_491_491"></a><a href="#FNanchor_491_491"><span class="label">[491]</span></a> Hazlitt's Dodsley, <span class="smcap">xv</span>, 408. If the Kirkham picture +represents the interior of any playhouse, it more likely represents +the Cockpit, which was standing at the time of the Restoration.</p></div> + +<div class="footnote"><p><a name="Footnote_492_492" id="Footnote_492_492"></a><a href="#FNanchor_492_492"><span class="label">[492]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 270.</p></div> + +<div class="footnote"><p><a name="Footnote_493_493" id="Footnote_493_493"></a><a href="#FNanchor_493_493"><span class="label">[493]</span></a> Dekker's <i>Works</i> (ed. Grosart), <span class="smcap">iv</span>, 210-11. I cannot +understand why Murray (<i>English Dramatic Companies</i>, <span class="smcap">i</span>, 152-53) and +others say that Dekker refers to the Fortune, the Globe, and the +Curtain. His puns are clear: "<i>Fortune</i> must favour some ... the +<i>whole world</i> must stick to others ... and a third faction must fight +like <i>Bulls</i>."</p></div> + +<div class="footnote"><p><a name="Footnote_494_494" id="Footnote_494_494"></a><a href="#FNanchor_494_494"><span class="label">[494]</span></a> <i>Greene's Tu Quoque</i>, Hazlitt's Dodsley, <span class="smcap">xi</span>, 240. In +May, 1610, there was "a notable outrage at the Playhouse called the +Red Bull"; see <i>Middlesex County Records</i>, <span class="smcap">ii</span>, 64-65.</p></div> + +<div class="footnote"><p><a name="Footnote_495_495" id="Footnote_495_495"></a><a href="#FNanchor_495_495"><span class="label">[495]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 223; Young, <i>The History of +Dulwich College</i>, <span class="smcap">ii</span>, 51; Warner, <i>Catalogue</i>, p. 165; Collier, +<i>Memoirs of Edward Alleyn</i>, p. 107.</p></div> + +<div class="footnote"><p><a name="Footnote_496_496" id="Footnote_496_496"></a><a href="#FNanchor_496_496"><span class="label">[496]</span></a> The play is not otherwise known; a play with this +title, however, was entered on the Stationers' Register in 1653.</p></div> + +<div class="footnote"><p><a name="Footnote_497_497" id="Footnote_497_497"></a><a href="#FNanchor_497_497"><span class="label">[497]</span></a> For details of this change, and of the quarrels that +followed, see the <a href="#CHAPTER_XVIII">chapter</a> on the Cockpit.</p></div> + +<div class="footnote"><p><a name="Footnote_498_498" id="Footnote_498_498"></a><a href="#FNanchor_498_498"><span class="label">[498]</span></a> The name is also given, incorrectly, as Richard Gill.</p></div> + +<div class="footnote"><p><a name="Footnote_499_499" id="Footnote_499_499"></a><a href="#FNanchor_499_499"><span class="label">[499]</span></a> Jeaffreson, <i>Middlesex County Records</i>, <span class="smcap">ii</span>, 165-66; +175-76.</p></div> + +<div class="footnote"><p><a name="Footnote_500_500" id="Footnote_500_500"></a><a href="#FNanchor_500_500"><span class="label">[500]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 62; The Malone Society's +<i>Collections</i>, <span class="smcap">i</span>, 284.</p></div> + +<div class="footnote"><p><a name="Footnote_501_501" id="Footnote_501_501"></a><a href="#FNanchor_501_501"><span class="label">[501]</span></a> Chalmers, <i>Supplemental Apology</i>, p. 213.</p></div> + +<div class="footnote"><p><a name="Footnote_502_502" id="Footnote_502_502"></a><a href="#FNanchor_502_502"><span class="label">[502]</span></a> <i>Ibid.</i>, pp. 213-14.</p></div> + +<div class="footnote"><p><a name="Footnote_503_503" id="Footnote_503_503"></a><a href="#FNanchor_503_503"><span class="label">[503]</span></a> Quoted by Collier, <i>The History of English Dramatic +Poetry</i> (1879), <span class="smcap">iii</span>, 121.</p></div> + +<div class="footnote"><p><a name="Footnote_504_504" id="Footnote_504_504"></a><a href="#FNanchor_504_504"><span class="label">[504]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 70.</p></div> + +<div class="footnote"><p><a name="Footnote_505_505" id="Footnote_505_505"></a><a href="#FNanchor_505_505"><span class="label">[505]</span></a> Randolph's <i>Works</i> (ed. Hazlitt), p. 504.</p></div> + +<div class="footnote"><p><a name="Footnote_506_506" id="Footnote_506_506"></a><a href="#FNanchor_506_506"><span class="label">[506]</span></a> Hazlitt's Dodsley, <span class="smcap">xv</span>, 407.</p></div> + +<div class="footnote"><p><a name="Footnote_507_507" id="Footnote_507_507"></a><a href="#FNanchor_507_507"><span class="label">[507]</span></a> <i>Pleasant Notes on Don Quixote</i>, p. 24.</p></div> + +<div class="footnote"><p><a name="Footnote_508_508" id="Footnote_508_508"></a><a href="#FNanchor_508_508"><span class="label">[508]</span></a> J. Tatham, <i>Fancies Theatre</i>. For a fuller discussion +of the shifting of companies in 1635 and 1640 see the <a href="#CHAPTER_XIII">chapter</a> on "The +Fortune."</p></div> + +<div class="footnote"><p><a name="Footnote_509_509" id="Footnote_509_509"></a><a href="#FNanchor_509_509"><span class="label">[509]</span></a> Hazlitt's Dodsley, <span class="smcap">xv</span>, 409.</p></div> + +<div class="footnote"><p><a name="Footnote_510_510" id="Footnote_510_510"></a><a href="#FNanchor_510_510"><span class="label">[510]</span></a> <i>Ibid.</i>, 409-10.</p></div> + +<div class="footnote"><p><a name="Footnote_511_511" id="Footnote_511_511"></a><a href="#FNanchor_511_511"><span class="label">[511]</span></a> Cited by C.H. Firth, in <i>Notes and Queries</i>, August 18, +1888, series <span class="smcap">vii</span>, vol. <span class="smcap">vi</span>, p. 122.</p></div> + +<div class="footnote"><p><a name="Footnote_512_512" id="Footnote_512_512"></a><a href="#FNanchor_512_512"><span class="label">[512]</span></a> <i>Ibid.</i></p></div> + +<div class="footnote"><p><a name="Footnote_513_513" id="Footnote_513_513"></a><a href="#FNanchor_513_513"><span class="label">[513]</span></a> Hazlitt, <i>The English Drama and Stage</i>, p. 69.</p></div> + +<div class="footnote"><p><a name="Footnote_514_514" id="Footnote_514_514"></a><a href="#FNanchor_514_514"><span class="label">[514]</span></a> <i>The Calendar of State Papers, Domestic, 1655</i>, p. +336.</p></div> + +<div class="footnote"><p><a name="Footnote_515_515" id="Footnote_515_515"></a><a href="#FNanchor_515_515"><span class="label">[515]</span></a> For a further account of this episode see <i>Mercurius +Fumigosus</i>, No. 69.</p></div> + +<div class="footnote"><p><a name="Footnote_516_516" id="Footnote_516_516"></a><a href="#FNanchor_516_516"><span class="label">[516]</span></a> Cf. Wright, <i>Historia Histrionica</i>, p. 412; and for the +general history of the actors at the Red Bull during this period see +the Herbert records in Halliwell-Phillipps, <i>A Collection of Ancient +Documents</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_517_517" id="Footnote_517_517"></a><a href="#FNanchor_517_517"><span class="label">[517]</span></a> After November 8, 1660, they acted also in Gibbon's +Tennis Court in Clare Market, which they had fitted up as a theatre; +see Halliwell-Phillipps, <i>A Collection of Ancient Documents</i>, p. 34.</p></div> + +<div class="footnote"><p><a name="Footnote_518_518" id="Footnote_518_518"></a><a href="#FNanchor_518_518"><span class="label">[518]</span></a> See Pepys' <i>Diary</i>, April 25, 1664.</p></div> + +<div class="footnote"><p><a name="Footnote_519_519" id="Footnote_519_519"></a><a href="#FNanchor_519_519"><span class="label">[519]</span></a> Whitefriars passed under city control in 1608 by grant +of King James I, but certain rights remained, notably that of +sanctuary. This has been celebrated in Shadwell's play, <i>The Squire of +Alsatia</i>, and in Scott's romance, <i>The Fortunes of Nigel</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_520_520" id="Footnote_520_520"></a><a href="#FNanchor_520_520"><span class="label">[520]</span></a> Prynne, in <i>Histriomastix</i> (1633), p. 491, quotes a +passage from Richard Reulidge's <i>Monster Lately Found Out and +Discovered</i> (1628), in which there is a reference to a playhouse as +existing in Whitefriars "not long after" 1580. By "playhouse" Reulidge +possibly meant an inn used for acting; but the whole passage, written +by a Puritan after the lapse of nearly half a century, is open to +grave suspicion, especially in its details. Again Richard Flecknoe, in +<i>A Short Discourse of the English Stage</i> (1664), states that the +Children of the Chapel Royal acted in Whitefriars. But that he +confused the word "Whitefriars" with "Blackfriars" is shown by the +rest of his statement.</p></div> + +<div class="footnote"><p><a name="Footnote_521_521" id="Footnote_521_521"></a><a href="#FNanchor_521_521"><span class="label">[521]</span></a> Fleay, Murray, and others are wrong in assuming that +this troupe was merely a continuation of the Paul's Boys. So far as I +can discover, there is no official record of the patent issued to +Drayton; but that such a patent was issued is clear from the lawsuits +of 1609, printed by Greenstreet in <i>The New Shakspere Society's +Transactions</i> (1887-90), p. 269.</p></div> + +<div class="footnote"><p><a name="Footnote_522_522" id="Footnote_522_522"></a><a href="#FNanchor_522_522"><span class="label">[522]</span></a> He was part proprietor of the Red Bull. In the case of +Witter <i>v.</i> Heminges and Condell he was examined as a witness (see +Wallace, <i>Shakespeare and his London Associates</i>, p. 74), but what +connection, if any, he had with the Globe does not appear.</p></div> + +<div class="footnote"><p><a name="Footnote_523_523" id="Footnote_523_523"></a><a href="#FNanchor_523_523"><span class="label">[523]</span></a> Greenstreet, <i>The New Shakspere Society's Transactions</i> +(1887-90), p. 275.</p></div> + +<div class="footnote"><p><a name="Footnote_524_524" id="Footnote_524_524"></a><a href="#FNanchor_524_524"><span class="label">[524]</span></a> The stipple walls, in the original survey colored gray, +were of stone; the thinner walls of the adjoining "tenements," in the +original colored red, were of brick.</p></div> + +<div class="footnote"><p><a name="Footnote_525_525" id="Footnote_525_525"></a><a href="#FNanchor_525_525"><span class="label">[525]</span></a> By a stupid error often called Lodowick Barry. For an +explanation of the error see an article by the present writer in +<i>Modern Philology</i>, April, 1912, <span class="smcap">ix</span>, 567. Mr. W.J. Lawrence has +recently shown (<i>Studies in Philology</i>, University of North Carolina, +April, 1917) that David Barry was the eldest son of the ninth Viscount +Buttevant, and was called "Lording" by courtesy. At the time he became +interested in the Whitefriars Playhouse he was twenty-two years old. +He died in 1610.</p></div> + +<div class="footnote"><p><a name="Footnote_526_526" id="Footnote_526_526"></a><a href="#FNanchor_526_526"><span class="label">[526]</span></a> At this time the Children of Blackfriars had lost their +patent, so that the Children at Whitefriars were the only Revels +troupe.</p></div> + +<div class="footnote"><p><a name="Footnote_527_527" id="Footnote_527_527"></a><a href="#FNanchor_527_527"><span class="label">[527]</span></a> Also spelled Slater, Slaughter, Slather, Slawghter. +Henslowe often refers to him as "Martin."</p></div> + +<div class="footnote"><p><a name="Footnote_528_528" id="Footnote_528_528"></a><a href="#FNanchor_528_528"><span class="label">[528]</span></a> Mr. Wallace (<i>The Century Magazine</i>, 1910, <span class="smcap">lxxx</span>, 511) +incorrectly says that Whitefriars was held by "six equal sharers."</p></div> + +<div class="footnote"><p><a name="Footnote_529_529" id="Footnote_529_529"></a><a href="#FNanchor_529_529"><span class="label">[529]</span></a> Letter of M. De La Boderie, the French Ambassador to +England; quoted by E.K. Chambers, <i>Modern Language Review</i>, <span class="smcap">iv</span>, 159.</p></div> + +<div class="footnote"><p><a name="Footnote_530_530" id="Footnote_530_530"></a><a href="#FNanchor_530_530"><span class="label">[530]</span></a> Greenstreet, <i>The New Shakspere Society's Transactions</i> +(1887-90), p. 283.</p></div> + +<div class="footnote"><p><a name="Footnote_531_531" id="Footnote_531_531"></a><a href="#FNanchor_531_531"><span class="label">[531]</span></a> Printed in The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 271.</p></div> + +<div class="footnote"><p><a name="Footnote_532_532" id="Footnote_532_532"></a><a href="#FNanchor_532_532"><span class="label">[532]</span></a> See Keysar <i>v.</i> Burbage <i>et al.</i>, printed by Mr. +Wallace, in his <i>Shakespeare and his London Associates</i>, pp. 80 ff.</p></div> + +<div class="footnote"><p><a name="Footnote_533_533" id="Footnote_533_533"></a><a href="#FNanchor_533_533"><span class="label">[533]</span></a> <i>Ibid.</i>, p. 90.</p></div> + +<div class="footnote"><p><a name="Footnote_534_534" id="Footnote_534_534"></a><a href="#FNanchor_534_534"><span class="label">[534]</span></a> Wallace, <i>Shakespeare and his London Associates</i>, p. +95.</p></div> + +<div class="footnote"><p><a name="Footnote_535_535" id="Footnote_535_535"></a><a href="#FNanchor_535_535"><span class="label">[535]</span></a> Miss Gildersleeve, in her valuable <i>Government +Regulation of the Elizabethan Drama</i>, p. 112, says: "Just what is the +meaning of 'a new Play without Book' no one seems to have +conjectured." And she develops the theory that "it refers to the +absence of a licensed play-book," etc. The phrase "to learn without +book" meant simply "to memorize."</p></div> + +<div class="footnote"><p><a name="Footnote_536_536" id="Footnote_536_536"></a><a href="#FNanchor_536_536"><span class="label">[536]</span></a> <i>Reliquiæ Wottonianæ</i> (ed. 1672), p. 402. The letter is +dated merely 1612-13. In connection with the play one should study +<i>The Hector of Germany</i>, 1615.</p></div> + +<div class="footnote"><p><a name="Footnote_537_537" id="Footnote_537_537"></a><a href="#FNanchor_537_537"><span class="label">[537]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 52.</p></div> + +<div class="footnote"><p><a name="Footnote_538_538" id="Footnote_538_538"></a><a href="#FNanchor_538_538"><span class="label">[538]</span></a> See the <a href="#CHAPTER_XVII">chapter</a> on "Rosseter's Blackfriars." The +documents concerned in this venture are printed in The Malone +Society's <i>Collections</i>, <span class="smcap">i</span>, 277.</p></div> + +<div class="footnote"><p><a name="Footnote_539_539" id="Footnote_539_539"></a><a href="#FNanchor_539_539"><span class="label">[539]</span></a> <i>The Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, 90. The +document printed by Collier in <i>New Facts Regarding the Life of +Shakespeare</i> (1835), p. 44, as from a manuscript in his possession, +is, I think, an obvious forgery.</p></div> + +<div class="footnote"><p><a name="Footnote_540_540" id="Footnote_540_540"></a><a href="#FNanchor_540_540"><span class="label">[540]</span></a> The agreement has been lost, but for a probably similar +agreement, made with the actor Nathaniel Field, see Greg, <i>Henslowe +Papers</i>, p. 23.</p></div> + +<div class="footnote"><p><a name="Footnote_541_541" id="Footnote_541_541"></a><a href="#FNanchor_541_541"><span class="label">[541]</span></a> Daborne writes to Henslowe on June 5, 1613: "The +company told me you were expected there yesterday to conclude about +their coming over ... my own play which shall be ready before they +come over." This, I suspect, refers to the moving of the company to +the Swan for the summer. (See Greg, <i>Henslowe Papers</i>, p. 72.) That +Henslowe was manager of a "private" house in 1613 is revealed by +another letter from Daborne, dated December 9, 1613. (See Greg, +<i>ibid.</i>, p. 79.)</p></div> + +<div class="footnote"><p><a name="Footnote_542_542" id="Footnote_542_542"></a><a href="#FNanchor_542_542"><span class="label">[542]</span></a> <i>Bartholomew Fair</i>, <span class="smcap">v</span>, iii. The part of Littlewit was +presumably taken by Field himself.</p></div> + +<div class="footnote"><p><a name="Footnote_543_543" id="Footnote_543_543"></a><a href="#FNanchor_543_543"><span class="label">[543]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 52.</p></div> + +<div class="footnote"><p><a name="Footnote_544_544" id="Footnote_544_544"></a><a href="#FNanchor_544_544"><span class="label">[544]</span></a> The contract is printed in full in Greg, <i>Henslowe +Papers</i>, p. 19.</p></div> + +<div class="footnote"><p><a name="Footnote_545_545" id="Footnote_545_545"></a><a href="#FNanchor_545_545"><span class="label">[545]</span></a> The height is given for the first story only. We may +assume that the middle and uppermost stories were of diminishing +heights, as in the case of the Fortune Playhouse, in which the +galleries were respectively twelve, eleven, and nine feet in height.</p></div> + +<div class="footnote"><p><a name="Footnote_546_546" id="Footnote_546_546"></a><a href="#FNanchor_546_546"><span class="label">[546]</span></a> The Merian <i>View of London</i>, published in 1638 at +Frankfort-am-Main, is merely a copy of the Visscher view with the +addition of certain details from another and earlier view not yet +identified. It has no independent value. The <i>View of London</i> printed +in Howell's <i>Londinopolis</i> (1657), is merely a slavish copy of the +Merian view. Visscher's representation of the Bear Garden does not +differ in any essential way from the representation in Hondius's +<i>View</i> of 1610. For a fuller discussion see pages <a href="#Page_126">126</a>, <a href="#Page_146">146</a>, <a href="#Page_248">248</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_547_547" id="Footnote_547_547"></a><a href="#FNanchor_547_547"><span class="label">[547]</span></a> Greg, <i>Henslowe Papers</i>, p. 88; cf. p. 125, where +animal-baiting is said to be used "one day of every four days"—a +possible error for "fourteen days." In the manuscript notes to the +Phillipps copy of Stow's <i>Survey</i> (1631), we are told that baiting was +used at the Hope on Tuesdays and Thursdays; but the anonymous +commentator is very inaccurate.</p></div> + +<div class="footnote"><p><a name="Footnote_548_548" id="Footnote_548_548"></a><a href="#FNanchor_548_548"><span class="label">[548]</span></a> The Rose Playhouse was likewise affected. Dekker, in +<i>Satiromastix</i>, <span class="smcap">iii</span>, iv, says: "Th'ast a breath as sweet as the Rose +that grows by the Bear Garden."</p></div> + +<div class="footnote"><p><a name="Footnote_549_549" id="Footnote_549_549"></a><a href="#FNanchor_549_549"><span class="label">[549]</span></a> Greg, <i>Henslowe Papers</i>, p. 87. The articles of +agreement between Henslowe and Meade and the company, are printed by +Greg on page 23.</p></div> + +<div class="footnote"><p><a name="Footnote_550_550" id="Footnote_550_550"></a><a href="#FNanchor_550_550"><span class="label">[550]</span></a> <i>Works</i>, Folio of 1630; The Spenser Society's reprint, +p. 307.</p></div> + +<div class="footnote"><p><a name="Footnote_551_551" id="Footnote_551_551"></a><a href="#FNanchor_551_551"><span class="label">[551]</span></a> Fennor is not to be confused (as is commonly done) with +Vennar (see p. 177). Such wit-contests were popular; Fennor had +recently challenged Kendall, on the Fortune Stage.</p></div> + +<div class="footnote"><p><a name="Footnote_552_552" id="Footnote_552_552"></a><a href="#FNanchor_552_552"><span class="label">[552]</span></a> John Taylor's <i>Works</i>, Folio of 1630, p. 142; The +Spenser Society's reprint, p. 304.</p></div> + +<div class="footnote"><p><a name="Footnote_553_553" id="Footnote_553_553"></a><a href="#FNanchor_553_553"><span class="label">[553]</span></a> Greg, <i>Henslowe Papers</i>, p. 89.</p></div> + +<div class="footnote"><p><a name="Footnote_554_554" id="Footnote_554_554"></a><a href="#FNanchor_554_554"><span class="label">[554]</span></a> <i>Ibid.</i>, pp. 86, 89.</p></div> + +<div class="footnote"><p><a name="Footnote_555_555" id="Footnote_555_555"></a><a href="#FNanchor_555_555"><span class="label">[555]</span></a> Collier, <i>Memoirs of Edward Alleyn</i>, p. 127; Greg, +<i>Henslowe Papers</i>, p. 91.</p></div> + +<div class="footnote"><p><a name="Footnote_556_556" id="Footnote_556_556"></a><a href="#FNanchor_556_556"><span class="label">[556]</span></a> Collier, <i>Memoirs of Edward Alleyn</i>, p. 127.</p></div> + +<div class="footnote"><p><a name="Footnote_557_557" id="Footnote_557_557"></a><a href="#FNanchor_557_557"><span class="label">[557]</span></a> My interpretation of the relation of Henslowe to Prince +Charles's Men differs from the interpretation given by Fleay and +adopted by Greg and others. For the evidence bearing on the case see +Fleay, <i>Stage</i>, pp. 188, 262; Greg, <i>Henslowe's Diary</i>, <span class="smcap">ii</span>, 138; Greg, +<i>Henslowe Papers</i>, p. 90, note; Chambers, <i>Modern Language Review</i>, +<span class="smcap">iv</span>, 165; Cunningham, <i>Revels</i>, p. xliv; Wallace, <i>Englische Studien</i>, +<span class="smcap">xliii</span>, 390; Murray, <i>English Dramatic Companies</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_558_558" id="Footnote_558_558"></a><a href="#FNanchor_558_558"><span class="label">[558]</span></a> Greg, <i>Henslowe Papers</i>, p. 93. Cf. also the <a href="#CHAPTER_XVII">chapter</a> on +"Rosseter's Blackfriars."</p></div> + +<div class="footnote"><p><a name="Footnote_559_559" id="Footnote_559_559"></a><a href="#FNanchor_559_559"><span class="label">[559]</span></a> Collier, <i>The History of English Dramatic Poetry</i> +(1879), <span class="smcap">iii</span>, 102; Ordish, <i>Early London Theatres</i>, p. 237.</p></div> + +<div class="footnote"><p><a name="Footnote_560_560" id="Footnote_560_560"></a><a href="#FNanchor_560_560"><span class="label">[560]</span></a> Arthur Tiler, <i>St. Saviour's</i>, p. 51; Reed's Dodsley, +<span class="smcap">ix</span>, 175.</p></div> + +<div class="footnote"><p><a name="Footnote_561_561" id="Footnote_561_561"></a><a href="#FNanchor_561_561"><span class="label">[561]</span></a> Printed in <i>The Academy</i>, October 28, 1882, p. 314. As +to "Mr. Godfrey" see Collier, <i>The History of English Dramatic Poetry</i> +(1879), <span class="smcap">iii</span>, 102.</p></div> + +<div class="footnote"><p><a name="Footnote_562_562" id="Footnote_562_562"></a><a href="#FNanchor_562_562"><span class="label">[562]</span></a> <i>The Remembrancia</i>, p. 478. Quoted by Ordish, <i>Early +London Theatres</i>, p. 241.</p></div> + +<div class="footnote"><p><a name="Footnote_563_563" id="Footnote_563_563"></a><a href="#FNanchor_563_563"><span class="label">[563]</span></a> British Museum Additional MSS. 5750; quoted by +Cunningham, <i>Handbook of London</i> (1849), <span class="smcap">i</span>, 67.</p></div> + +<div class="footnote"><p><a name="Footnote_564_564" id="Footnote_564_564"></a><a href="#FNanchor_564_564"><span class="label">[564]</span></a> <i>The Antiquarian Magazine and Bibliographer</i>, <span class="smcap">viii</span>, +59.</p></div> + +<div class="footnote"><p><a name="Footnote_565_565" id="Footnote_565_565"></a><a href="#FNanchor_565_565"><span class="label">[565]</span></a> James Peller Malcolm, <i>Anecdotes of the Manners and +Customs of London from the Roman Invasion to the Year 1700</i> (London, +1811), p. 425.</p></div> + +<div class="footnote"><p><a name="Footnote_566_566" id="Footnote_566_566"></a><a href="#FNanchor_566_566"><span class="label">[566]</span></a> The earliest advertisement of the Bear Garden at +Hockley-in-the-hole that I have come upon is dated 1700. For a +discussion of the sports there see J.P. Malcolm, <i>Anecdotes of the +Manners and Customs of London during the Eighteenth Century</i> (1808), +p. 321; Cunningham, <i>Handbook of London</i>, under "Hockley"; W.B. +Boulton, <i>Amusements of Old London</i>, vol. <span class="smcap">i</span>, chap. <span class="smcap">i</span>.</p></div> + +<div class="footnote"><p><a name="Footnote_567_567" id="Footnote_567_567"></a><a href="#FNanchor_567_567"><span class="label">[567]</span></a> Ordish (<i>Early London Theatres</i>, p. 242) is mistaken in +thinking that the old building was converted into a glass house. He +says: "The last reference to the Hope shows that it had declined to +the point of extinction," and he quotes an advertisement from the +<i>Gazette</i>, June 18, 1681, as follows: "There is now made at the Bear +Garden glass-house, on the Bankside, crown window-glass, much +exceeding French glass in all its qualifications, which may be squared +into all sizes of sashes for windows, and other uses, and may be had +at most glaziers in London." From Strype's <i>Survey</i> it is evident that +the glass house was in Bear Garden Alley, but not on the site of the +old Bear Garden.</p></div> + +<div class="footnote"><p><a name="Footnote_568_568" id="Footnote_568_568"></a><a href="#FNanchor_568_568"><span class="label">[568]</span></a> Nathaniel Field, the leading actor at Whitefriars, +published <i>A Woman is a Weathercock</i> in 1612, with the statement to +the reader: "If thou hast anything to say to me, thou know'st where to +hear of me for a year or two, and no more, I assure thee." Possibly +this reflects the failure of the managers to renew the lease; after +1614 Field did not know where he would be acting. But editors have +generally regarded it as meaning that Field intended to withdraw from +acting.</p></div> + +<div class="footnote"><p><a name="Footnote_569_569" id="Footnote_569_569"></a><a href="#FNanchor_569_569"><span class="label">[569]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 52.</p></div> + +<div class="footnote"><p><a name="Footnote_570_570" id="Footnote_570_570"></a><a href="#FNanchor_570_570"><span class="label">[570]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 277. For the +location of Puddlewharf see the <a href="#BLACKFRIARS_2">map of the Blackfriars precinct</a> on +page <a href="#Page_94">94</a>.</p></div> + +<div class="footnote"><p><a name="Footnote_571_571" id="Footnote_571_571"></a><a href="#FNanchor_571_571"><span class="label">[571]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 277.</p></div> + +<div class="footnote"><p><a name="Footnote_572_572" id="Footnote_572_572"></a><a href="#FNanchor_572_572"><span class="label">[572]</span></a> <i>Ibid.</i>, p. 373.</p></div> + +<div class="footnote"><p><a name="Footnote_573_573" id="Footnote_573_573"></a><a href="#FNanchor_573_573"><span class="label">[573]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 373.</p></div> + +<div class="footnote"><p><a name="Footnote_574_574" id="Footnote_574_574"></a><a href="#FNanchor_574_574"><span class="label">[574]</span></a> <i>Ibid.</i></p></div> + +<div class="footnote"><p><a name="Footnote_575_575" id="Footnote_575_575"></a><a href="#FNanchor_575_575"><span class="label">[575]</span></a> See the <a href="#CHAPTER_XVI">chapter</a> on "The Hope."</p></div> + +<div class="footnote"><p><a name="Footnote_576_576" id="Footnote_576_576"></a><a href="#FNanchor_576_576"><span class="label">[576]</span></a> I can find no further reference to the Puddlewharf +Theatre either in the <i>Records</i> of the Privy Council or in the +<i>Remembrancia</i> of the City. Collier, however, in his <i>History of +English Dramatic Poetry</i> (1879), <span class="smcap">i</span>, 384, says: "The city authorities +proceeded immediately to the work, and before three days had elapsed, +the Privy Council was duly and formally made acquainted with the fact +that Rosseter's theatre had been 'made unfit for any such use' as that +for which it had been constructed." Collier fails to cite his +authority for the statement; the passage he quotes may be found in the +order of the Privy Council printed above.</p></div> + +<div class="footnote"><p><a name="Footnote_577_577" id="Footnote_577_577"></a><a href="#FNanchor_577_577"><span class="label">[577]</span></a> Its exact position in Drury Lane is indicated by an +order of the Privy Council, June 8, 1623, concerning the paving of a +street at the rear of the theatre: "Whereas the highway leading along +the backside of the Cockpit Playhouse near Lincolns Inn Fields, and +the street called Queens Street adjoining to the same, are become very +foul," etc. (See The Malone Society <i>Collections</i>, <span class="smcap">i</span>, 383. Queens +Street may be readily found in Faithorne's <i>Map of London</i>.) Malone +(<i>Variorum</i>, <span class="smcap">iii</span>, 53) states that "it was situated opposite the Castle +Tavern." The site is said to be marked by Pit Court.</p></div> + +<div class="footnote"><p><a name="Footnote_578_578" id="Footnote_578_578"></a><a href="#FNanchor_578_578"><span class="label">[578]</span></a> Stow's <i>Annals</i> (1631), p. 1004.</p></div> + +<div class="footnote"><p><a name="Footnote_579_579" id="Footnote_579_579"></a><a href="#FNanchor_579_579"><span class="label">[579]</span></a> Some scholars have supposed that the playhouse, when +attacked by the apprentices in 1617, was burned, and that the name +"Phœnix" was given to the building after its reconstruction. But +the building was not burned; it was merely wrecked on the inside by +apprentices.</p></div> + +<div class="footnote"><p><a name="Footnote_580_580" id="Footnote_580_580"></a><a href="#FNanchor_580_580"><span class="label">[580]</span></a> Continuation of Stow's <i>Annals</i> (1631), p. 1026.</p></div> + +<div class="footnote"><p><a name="Footnote_581_581" id="Footnote_581_581"></a><a href="#FNanchor_581_581"><span class="label">[581]</span></a> William Camden, <i>Annals</i>, under the date of March 4, +1617. Yet Sir Sidney Lee (<i>A Life of William Shakespeare</i>, p. 60) +says, "built about 1610."</p></div> + +<div class="footnote"><p><a name="Footnote_582_582" id="Footnote_582_582"></a><a href="#FNanchor_582_582"><span class="label">[582]</span></a> Hazlitt's Dodsley, <span class="smcap">xv</span>, 408.</p></div> + +<div class="footnote"><p><a name="Footnote_583_583" id="Footnote_583_583"></a><a href="#FNanchor_583_583"><span class="label">[583]</span></a> Fleay and Lawrence are wrong in supposing that the +Cockpit was circular.</p></div> + +<div class="footnote"><p><a name="Footnote_584_584" id="Footnote_584_584"></a><a href="#FNanchor_584_584"><span class="label">[584]</span></a> <i>Alias</i> Christopher Hutchinson. Several actors of the +day employed <i>aliases</i>: Nicholas Wilkinson, <i>alias</i> Tooley; Theophilus +Bourne, <i>alias</i> Bird; James Dunstan, <i>alias</i> Tunstall, etc. Whether +Beeston admitted other persons to a share in the building I cannot +learn. In a passage quoted by Malone (<i>Variorum</i>, <span class="smcap">iii</span>, 121) from the +Herbert Manuscript, dated February 20, 1635, there is a reference to +"housekeepers," indicating that Beeston had then admitted "sharers" in +the proprietorship of the building. And in an order of the Privy +Council, May 12, 1637 (The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 392), we +read: "Command the keepers of the playhouse called the Cockpit in +Drury Lane, who either live in it or have relation to it, not to +permit plays to be acted there till further order."</p></div> + +<div class="footnote"><p><a name="Footnote_585_585" id="Footnote_585_585"></a><a href="#FNanchor_585_585"><span class="label">[585]</span></a> Wallace, <i>Three London Theatres</i>, p. 35.</p></div> + +<div class="footnote"><p><a name="Footnote_586_586" id="Footnote_586_586"></a><a href="#FNanchor_586_586"><span class="label">[586]</span></a> Wallace, <i>ibid.</i>, pp. 32, 46. John Smith was delivering +silk and other clothes to the Queen Anne's Men at the Red Bull from +1612 until February 23, 1617.</p></div> + +<div class="footnote"><p><a name="Footnote_587_587" id="Footnote_587_587"></a><a href="#FNanchor_587_587"><span class="label">[587]</span></a> <i>Annals</i> (1631), p. 1026.</p></div> + +<div class="footnote"><p><a name="Footnote_588_588" id="Footnote_588_588"></a><a href="#FNanchor_588_588"><span class="label">[588]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 374. Collier, in +<i>The History of English Dramatic Poetry</i> (1879), <span class="smcap">i</span>, 386, prints a long +ballad on the event; but he does not give its source, and its +genuineness has been questioned. The following year threats to pull +down the Fortune, the Red Bull, and the Cockpit led to the setting of +special watches. See The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 377.</p></div> + +<div class="footnote"><p><a name="Footnote_589_589" id="Footnote_589_589"></a><a href="#FNanchor_589_589"><span class="label">[589]</span></a> Greenstreet, Documents, <i>The New Shakspere Society's +Transactions</i> (1880-86), p. 504.</p></div> + +<div class="footnote"><p><a name="Footnote_590_590" id="Footnote_590_590"></a><a href="#FNanchor_590_590"><span class="label">[590]</span></a> Mr. Wallace (<i>Three London Theatres</i>, p. 29) says that +the documents he prints make it "as certain as circumstances +unsupported by contemporary declaration can make it, that Queen Anne's +company occupied the Red Bull continuously from the time of its +erection ... till their dissolution, 1619." His documents make it +certain only that Queen Anne's Men occupied the Red Bull until +February 23, 1617. Other documents prove that they occupied the +Cockpit from 1617 until 1619. (Note the letter of the Privy Council +quoted above.) The documents printed by Greenstreet show that Queen +Anne's Men moved to the Cockpit on June 3, 1617, and continued there.</p></div> + +<div class="footnote"><p><a name="Footnote_591_591" id="Footnote_591_591"></a><a href="#FNanchor_591_591"><span class="label">[591]</span></a> Wallace, <i>Three London Theatres</i>, p. 33.</p></div> + +<div class="footnote"><p><a name="Footnote_592_592" id="Footnote_592_592"></a><a href="#FNanchor_592_592"><span class="label">[592]</span></a> He had joined Prince Charles's Men.</p></div> + +<div class="footnote"><p><a name="Footnote_593_593" id="Footnote_593_593"></a><a href="#FNanchor_593_593"><span class="label">[593]</span></a> Wallace, <i>Three London Theatres</i>, p. 38.</p></div> + +<div class="footnote"><p><a name="Footnote_594_594" id="Footnote_594_594"></a><a href="#FNanchor_594_594"><span class="label">[594]</span></a> <i>Ibid.</i>, p. 40. Fleay, Murray, and others have +contended that the Princess Elizabeth's Men came to the Cockpit in +1619, and have denied the accuracy of the title-page of <i>The Witch of +Edmonton</i> (1658), which declares that play to have been "acted by the +Prince's Servants at the Cockpit often." (See Fleay, <i>A Chronicle +History of the London Stage</i>, p. 299.)</p></div> + +<div class="footnote"><p><a name="Footnote_595_595" id="Footnote_595_595"></a><a href="#FNanchor_595_595"><span class="label">[595]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 59.</p></div> + +<div class="footnote"><p><a name="Footnote_596_596" id="Footnote_596_596"></a><a href="#FNanchor_596_596"><span class="label">[596]</span></a> John Parton, <i>Some Account of the Hospital and Parish +of St. Giles in the Fields</i>, p. 235. From a parish entry in 1660 we +learn that the players had to contribute 2<i>d.</i> to the parish poor for +each day that there was acting at the Cockpit. (See <i>ibid.</i>, p. 236.)</p></div> + +<div class="footnote"><p><a name="Footnote_597_597" id="Footnote_597_597"></a><a href="#FNanchor_597_597"><span class="label">[597]</span></a> In the <i>Middlesex County Records</i>, <span class="smcap">iii</span>, 6, we find that +on December 6, 1625, because "the drawing of people together to places +was a great means of spreading and continuing the infection ... this +Court doth prohibit the players of the house at the Cockpit, being +next to His Majesty's Court at Whitehall, commanding them to surcease +all such their proceedings until His Majesty's pleasure be further +signified." Apparently the playhouses in general had been allowed to +resume performances; and since by December 24 there had been no deaths +from the plague for a week, the special inhibition of the Cockpit +Playhouse was soon lifted.</p></div> + +<div class="footnote"><p><a name="Footnote_598_598" id="Footnote_598_598"></a><a href="#FNanchor_598_598"><span class="label">[598]</span></a> "When Her Majesty's Servants were at the Cockpit, being +all at liberty, they dispersed themselves to several companies." +(Heton's Patent, 1639, <i>The Shakespeare Society Papers</i>, <span class="smcap">iv</span>, 96.)</p></div> + +<div class="footnote"><p><a name="Footnote_599_599" id="Footnote_599_599"></a><a href="#FNanchor_599_599"><span class="label">[599]</span></a> Herbert Manuscript, Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 240.</p></div> + +<div class="footnote"><p><a name="Footnote_600_600" id="Footnote_600_600"></a><a href="#FNanchor_600_600"><span class="label">[600]</span></a> Stopes, "Shakespeare's Fellows and Followers," +Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvi</span>, 99. In 1639 Heton applied for a patent +as "Governor" of the company at Salisbury Court.</p></div> + +<div class="footnote"><p><a name="Footnote_601_601" id="Footnote_601_601"></a><a href="#FNanchor_601_601"><span class="label">[601]</span></a> On May 10 Beeston was paid for "two plays acted by the +New Company." See Stopes, "Shakespeare's Fellows and Followers," in +the Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvi</span>, 99.</p></div> + +<div class="footnote"><p><a name="Footnote_602_602" id="Footnote_602_602"></a><a href="#FNanchor_602_602"><span class="label">[602]</span></a> Herbert Manuscript, Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 240.</p></div> + +<div class="footnote"><p><a name="Footnote_603_603" id="Footnote_603_603"></a><a href="#FNanchor_603_603"><span class="label">[603]</span></a> The Malone Society's <i>Collections</i>, <span class="smcap">i</span>, 392.</p></div> + +<div class="footnote"><p><a name="Footnote_604_604" id="Footnote_604_604"></a><a href="#FNanchor_604_604"><span class="label">[604]</span></a> <i>The Calendar of State Papers, Domestic, 1636-1637</i>, p. +254.</p></div> + +<div class="footnote"><p><a name="Footnote_605_605" id="Footnote_605_605"></a><a href="#FNanchor_605_605"><span class="label">[605]</span></a> <i>Ibid.</i>, <i>1637</i>, p. 420.</p></div> + +<div class="footnote"><p><a name="Footnote_606_606" id="Footnote_606_606"></a><a href="#FNanchor_606_606"><span class="label">[606]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 240.</p></div> + +<div class="footnote"><p><a name="Footnote_607_607" id="Footnote_607_607"></a><a href="#FNanchor_607_607"><span class="label">[607]</span></a> He is referred to as their Governor on August 10, 1639; +see Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 159.</p></div> + +<div class="footnote"><p><a name="Footnote_608_608" id="Footnote_608_608"></a><a href="#FNanchor_608_608"><span class="label">[608]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 241.</p></div> + +<div class="footnote"><p><a name="Footnote_609_609" id="Footnote_609_609"></a><a href="#FNanchor_609_609"><span class="label">[609]</span></a> Collier, <i>The History of English Dramatic Poetry</i> +(1879), <span class="smcap">ii</span>, 32; Stopes, <i>op. cit.</i>, p. 102.</p></div> + +<div class="footnote"><p><a name="Footnote_610_610" id="Footnote_610_610"></a><a href="#FNanchor_610_610"><span class="label">[610]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 241. Herbert did not forget +Beeston's insubordination, and in 1660, in issuing to Beeston a +license to use the Salisbury Court Playhouse, he inserted clauses to +prevent further difficulty of this kind (see <i>Variorum</i>, <span class="smcap">iii</span>, 243).</p></div> + +<div class="footnote"><p><a name="Footnote_611_611" id="Footnote_611_611"></a><a href="#FNanchor_611_611"><span class="label">[611]</span></a> Stopes (<i>op. cit.</i>) dates this June 5, but Collier, +Malone, and Chalmers all give June 27, and Mrs. Stopes is not always +quite accurate in such matters.</p></div> + +<div class="footnote"><p><a name="Footnote_612_612" id="Footnote_612_612"></a><a href="#FNanchor_612_612"><span class="label">[612]</span></a> Collier, <i>The History of English Dramatic Poetry</i> +(1879), <span class="smcap">ii</span>, 32, note 1.</p></div> + +<div class="footnote"><p><a name="Footnote_613_613" id="Footnote_613_613"></a><a href="#FNanchor_613_613"><span class="label">[613]</span></a> John Parton, <i>Some Account of the Hospital and Parish +of St. Giles in the Fields</i>, p. 235.</p></div> + +<div class="footnote"><p><a name="Footnote_614_614" id="Footnote_614_614"></a><a href="#FNanchor_614_614"><span class="label">[614]</span></a> Hazlitt's Dodsley, <span class="smcap">xv</span>, 409.</p></div> + +<div class="footnote"><p><a name="Footnote_615_615" id="Footnote_615_615"></a><a href="#FNanchor_615_615"><span class="label">[615]</span></a> See <i>The Academy</i>, October 28, 1882, p. 314. The +soldiers here mentioned also "pulled down on the inside" the Fortune +playhouse.</p></div> + +<div class="footnote"><p><a name="Footnote_616_616" id="Footnote_616_616"></a><a href="#FNanchor_616_616"><span class="label">[616]</span></a> For a discussion of Davenant's attempts to introduce +the opera into England, see W.J. Lawrence, <i>The Elizabethan Playhouse</i> +(Second Series), pp. 129 ff.</p></div> + +<div class="footnote"><p><a name="Footnote_617_617" id="Footnote_617_617"></a><a href="#FNanchor_617_617"><span class="label">[617]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 93; Collier, <i>The History of +English Dramatic Poetry</i> (1879), <span class="smcap">ii</span>, 48.</p></div> + +<div class="footnote"><p><a name="Footnote_618_618" id="Footnote_618_618"></a><a href="#FNanchor_618_618"><span class="label">[618]</span></a> For his troubles with the Master of the Revels see +Halliwell-Phillipps, <i>A Collection of Ancient Documents</i>, p. 26.</p></div> + +<div class="footnote"><p><a name="Footnote_619_619" id="Footnote_619_619"></a><a href="#FNanchor_619_619"><span class="label">[619]</span></a> Parton, <i>op. cit.</i>, p. 236.</p></div> + +<div class="footnote"><p><a name="Footnote_620_620" id="Footnote_620_620"></a><a href="#FNanchor_620_620"><span class="label">[620]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 244 ff.</p></div> + +<div class="footnote"><p><a name="Footnote_621_621" id="Footnote_621_621"></a><a href="#FNanchor_621_621"><span class="label">[621]</span></a> The playhouse discussed in this chapter was officially +known as "The Salisbury Court Playhouse," and it should always be +referred to by that name. Unfortunately, owing to its situation near +the district of Whitefriars, it was sometimes loosely, though +incorrectly, called "Whitefriars." Since it had no relation whatever +to the theatre formerly in the Manor-House of Whitefriars, a +perpetuation of this false nomenclature is highly undesirable.</p></div> + +<div class="footnote"><p><a name="Footnote_622_622" id="Footnote_622_622"></a><a href="#FNanchor_622_622"><span class="label">[622]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 66.</p></div> + +<div class="footnote"><p><a name="Footnote_623_623" id="Footnote_623_623"></a><a href="#FNanchor_623_623"><span class="label">[623]</span></a> Chalmers's <i>Supplemental Apology</i>, pp. 216-17. He may +also have been the author of a play called <i>The Masque</i>, which Herbert +in 1624 licensed: "For the Palsgrave's Company, a new play called <i>The +Masque</i>." In the list of manuscript plays collected by Warburton we +find the title <i>A Mask</i>, and the authorship ascribed to R. Govell. +Since "R. Govell" is not otherwise heard of, we may reasonably suppose +that this was Warburton's reading of "R. Gunell." Gunnell also +prefixed a poem to the Works of Captain John Smith, 1626.</p></div> + +<div class="footnote"><p><a name="Footnote_624_624" id="Footnote_624_624"></a><a href="#FNanchor_624_624"><span class="label">[624]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 66, 122, 176, 177.</p></div> + +<div class="footnote"><p><a name="Footnote_625_625" id="Footnote_625_625"></a><a href="#FNanchor_625_625"><span class="label">[625]</span></a> The Blackfriars auditorium was sixty-six feet in length +and forty-six feet in breadth.</p></div> + +<div class="footnote"><p><a name="Footnote_626_626" id="Footnote_626_626"></a><a href="#FNanchor_626_626"><span class="label">[626]</span></a> Cunningham, <i>The Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, +104. In his <i>Handbook for London</i> Cunningham says that the Salisbury +Court Playhouse "was originally the 'barn.'"</p></div> + +<div class="footnote"><p><a name="Footnote_627_627" id="Footnote_627_627"></a><a href="#FNanchor_627_627"><span class="label">[627]</span></a> <i>Annals</i> (1631), p. 1004. In 1633 Prynne +(<i>Histriomastix</i>) refers to it as a "new theatre erected."</p></div> + +<div class="footnote"><p><a name="Footnote_628_628" id="Footnote_628_628"></a><a href="#FNanchor_628_628"><span class="label">[628]</span></a> Collier, <i>The History of English Dramatic Literature</i> +(1879), <span class="smcap">iii</span>, 106, thought that Salisbury Court was a round playhouse, +basing his opinion on a line in Sharpe's <i>Noble Stranger</i> acted at +"the private house in Salisbury Court": "Thy Stranger to the +Globe-like theatre."</p></div> + +<div class="footnote"><p><a name="Footnote_629_629" id="Footnote_629_629"></a><a href="#FNanchor_629_629"><span class="label">[629]</span></a> I have not been able to examine this. In the only copy +of the second edition accessible to me the Epistle is missing.</p></div> + +<div class="footnote"><p><a name="Footnote_630_630" id="Footnote_630_630"></a><a href="#FNanchor_630_630"><span class="label">[630]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 178.</p></div> + +<div class="footnote"><p><a name="Footnote_631_631" id="Footnote_631_631"></a><a href="#FNanchor_631_631"><span class="label">[631]</span></a> Halliwell-Phillipps, <i>A Collection of Ancient +Documents</i>, p. 27.</p></div> + +<div class="footnote"><p><a name="Footnote_632_632" id="Footnote_632_632"></a><a href="#FNanchor_632_632"><span class="label">[632]</span></a> See Mrs. Stopes's extracts from the Lord Chamberlain's +books, in the Shakespeare <i>Jahrbuch</i> (1910), <span class="smcap">xlvi</span>, 97. This entry +probably led Cunningham to say (<i>The Shakespeare Society's Papers</i>, +<span class="smcap">iv</span>, 92) that Blagrove was "Master of the Children of the Revels in the +reign of Charles I."</p></div> + +<div class="footnote"><p><a name="Footnote_633_633" id="Footnote_633_633"></a><a href="#FNanchor_633_633"><span class="label">[633]</span></a> For Dorset's interest in the matter see Cunningham, +<i>The Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, 96.</p></div> + +<div class="footnote"><p><a name="Footnote_634_634" id="Footnote_634_634"></a><a href="#FNanchor_634_634"><span class="label">[634]</span></a> In December, 1631; see Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 178.</p></div> + +<div class="footnote"><p><a name="Footnote_635_635" id="Footnote_635_635"></a><a href="#FNanchor_635_635"><span class="label">[635]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 178.</p></div> + +<div class="footnote"><p><a name="Footnote_636_636" id="Footnote_636_636"></a><a href="#FNanchor_636_636"><span class="label">[636]</span></a> The Cockpit, for which Shirley had been writing.</p></div> + +<div class="footnote"><p><a name="Footnote_637_637" id="Footnote_637_637"></a><a href="#FNanchor_637_637"><span class="label">[637]</span></a> Cf. "new poets" of Marmion's Prologue.</p></div> + +<div class="footnote"><p><a name="Footnote_638_638" id="Footnote_638_638"></a><a href="#FNanchor_638_638"><span class="label">[638]</span></a> An allusion to the smallness of the Salisbury Court +Playhouse?</p></div> + +<div class="footnote"><p><a name="Footnote_639_639" id="Footnote_639_639"></a><a href="#FNanchor_639_639"><span class="label">[639]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 232. But Malone was a careless +transcriber, and Herbert himself sometimes made errors. Possibly the +correct date is January 10, 1631.</p></div> + +<div class="footnote"><p><a name="Footnote_640_640" id="Footnote_640_640"></a><a href="#FNanchor_640_640"><span class="label">[640]</span></a> <i>Ibid.</i>, <span class="smcap">iii</span>, 178.</p></div> + +<div class="footnote"><p><a name="Footnote_641_641" id="Footnote_641_641"></a><a href="#FNanchor_641_641"><span class="label">[641]</span></a> <i>English Dramatic Companies</i>, <span class="smcap">i</span>, 221.</p></div> + +<div class="footnote"><p><a name="Footnote_642_642" id="Footnote_642_642"></a><a href="#FNanchor_642_642"><span class="label">[642]</span></a> Richard Heton, "Instructions for my Pattent," <i>The +Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, 96.</p></div> + +<div class="footnote"><p><a name="Footnote_643_643" id="Footnote_643_643"></a><a href="#FNanchor_643_643"><span class="label">[643]</span></a> We find a payment to Richard Heton, "for himself and +the rest of the company of the players at Salisbury Court," for +performing a play before his Majesty at Court, October, 1635. +(Chalmers's <i>Apology</i>, p. 509.) Exactly when he took charge of +Salisbury Court I am unable to learn.</p></div> + +<div class="footnote"><p><a name="Footnote_644_644" id="Footnote_644_644"></a><a href="#FNanchor_644_644"><span class="label">[644]</span></a> Cunningham, <i>The Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, +96.</p></div> + +<div class="footnote"><p><a name="Footnote_645_645" id="Footnote_645_645"></a><a href="#FNanchor_645_645"><span class="label">[645]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 240.</p></div> + +<div class="footnote"><p><a name="Footnote_646_646" id="Footnote_646_646"></a><a href="#FNanchor_646_646"><span class="label">[646]</span></a> For certain troubles at Salisbury Court in 1644 and +1648, see Collier, <i>The History of English Dramatic Poetry</i> (1879), +<span class="smcap">ii</span>, 37, 40, 47.</p></div> + +<div class="footnote"><p><a name="Footnote_647_647" id="Footnote_647_647"></a><a href="#FNanchor_647_647"><span class="label">[647]</span></a> William Beeston was the son of the famous actor +Christopher Beeston, who was once a member of the Lord Chamberlain's +Men, later manager of the Fortune, and finally proprietor of the +Cockpit. In 1639 William had been appointed manager of the Cockpit +Company. (See pages <a href="#Page_358">358</a> ff.)</p></div> + +<div class="footnote"><p><a name="Footnote_648_648" id="Footnote_648_648"></a><a href="#FNanchor_648_648"><span class="label">[648]</span></a> That is, stripped of its benches, stage-hangings, and +other appliances for dramatic performances.</p></div> + +<div class="footnote"><p><a name="Footnote_649_649" id="Footnote_649_649"></a><a href="#FNanchor_649_649"><span class="label">[649]</span></a> The manuscript entry in Stow's <i>Annals</i>. See <i>The +Academy</i>, October 28, 1882, p. 314. On the same date the soldiers +"pulled down on the inside" also the Phœnix and the Fortune.</p></div> + +<div class="footnote"><p><a name="Footnote_650_650" id="Footnote_650_650"></a><a href="#FNanchor_650_650"><span class="label">[650]</span></a> Cunningham, <i>The Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, +103.</p></div> + +<div class="footnote"><p><a name="Footnote_651_651" id="Footnote_651_651"></a><a href="#FNanchor_651_651"><span class="label">[651]</span></a> Printed in Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 243, and +Halliwell-Phillipps, <i>A Collection of Ancient Documents</i>, p. 85. The +language clearly indicates that Beeston was to <i>reconvert</i> the +building into a theatre.</p></div> + +<div class="footnote"><p><a name="Footnote_652_652" id="Footnote_652_652"></a><a href="#FNanchor_652_652"><span class="label">[652]</span></a> Cunningham, <i>The Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, +103.</p></div> + +<div class="footnote"><p><a name="Footnote_653_653" id="Footnote_653_653"></a><a href="#FNanchor_653_653"><span class="label">[653]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 257; Halliwell-Phillipps, <i>A +Collection of Ancient Documents</i>, p. 27.</p></div> + +<div class="footnote"><p><a name="Footnote_654_654" id="Footnote_654_654"></a><a href="#FNanchor_654_654"><span class="label">[654]</span></a> By Philip Massinger.</p></div> + +<div class="footnote"><p><a name="Footnote_655_655" id="Footnote_655_655"></a><a href="#FNanchor_655_655"><span class="label">[655]</span></a> The subsequent history of Salisbury Court is traced in +the legal documents printed by Cunningham. Beeston lost the property, +and Fisher and Silver erected nearer the river a handsome new +playhouse, known as "The Duke's Theatre," at an estimated cost of +£1000.</p></div> + +<div class="footnote"><p><a name="Footnote_656_656" id="Footnote_656_656"></a><a href="#FNanchor_656_656"><span class="label">[656]</span></a> Edition of 1808, <span class="smcap">iv</span>, 434. See also Stow's <i>Chronicle</i>, +under the year 1581.</p></div> + +<div class="footnote"><p><a name="Footnote_657_657" id="Footnote_657_657"></a><a href="#FNanchor_657_657"><span class="label">[657]</span></a> This had once already, on Shrove Tuesday, 1604, been +used for a play. The situation and ground-plan of the "Great Hall" are +clearly shown in Fisher's <i>Survey</i> of the palace, made about 1670, and +engraved by Vertue, 1747.</p></div> + +<div class="footnote"><p><a name="Footnote_658_658" id="Footnote_658_658"></a><a href="#FNanchor_658_658"><span class="label">[658]</span></a> Stow's <i>Annals</i>, continued by Edmund Howes (1631), p. +891.</p></div> + +<div class="footnote"><p><a name="Footnote_659_659" id="Footnote_659_659"></a><a href="#FNanchor_659_659"><span class="label">[659]</span></a> John Nichols, <i>The Progresses of James</i>, <span class="smcap">ii</span>, 162.</p></div> + +<div class="footnote"><p><a name="Footnote_660_660" id="Footnote_660_660"></a><a href="#FNanchor_660_660"><span class="label">[660]</span></a> Shakespeare writes (<i>Henry VIII</i>, <span class="smcap">iv</span>, i, 94-97): +</p> +<p> +<span style="margin-left: 8em;">Sir you</span><br /> +Must no more call it York-place, that is past;<br /> +For since the Cardinal fell, that title's lost:<br /> +'Tis now the King's, and called Whitehall.<br /> +</p></div> + +<div class="footnote"><p><a name="Footnote_661_661" id="Footnote_661_661"></a><a href="#FNanchor_661_661"><span class="label">[661]</span></a> Book <span class="smcap">vi</span>, page 6.</p></div> + +<div class="footnote"><p><a name="Footnote_662_662" id="Footnote_662_662"></a><a href="#FNanchor_662_662"><span class="label">[662]</span></a> <i>Winwood State Papers</i> (1725), <span class="smcap">ii</span>, 41.</p></div> + +<div class="footnote"><p><a name="Footnote_663_663" id="Footnote_663_663"></a><a href="#FNanchor_663_663"><span class="label">[663]</span></a> See Cunningham, <i>Extracts from the Accounts of the +Revels</i>, pp. xiii-xiv.</p></div> + +<div class="footnote"><p><a name="Footnote_664_664" id="Footnote_664_664"></a><a href="#FNanchor_664_664"><span class="label">[664]</span></a> John Nichols, <i>The Progresses of James</i>, <span class="smcap">ii</span>, 466.</p></div> + +<div class="footnote"><p><a name="Footnote_665_665" id="Footnote_665_665"></a><a href="#FNanchor_665_665"><span class="label">[665]</span></a> See <i>The Dramatic Works of Thomas Heywood</i> (1874), <span class="smcap">vi</span>, +339.</p></div> + +<div class="footnote"><p><a name="Footnote_666_666" id="Footnote_666_666"></a><a href="#FNanchor_666_666"><span class="label">[666]</span></a> Whether he merely made over the old Cockpit which Henry +VIII had constructed "out of certain old tenements," or erected an +entirely new building, I have not been able to ascertain. Heywood's +<i>Speech</i> indicates a "new" and "lasting" structure.</p></div> + +<div class="footnote"><p><a name="Footnote_667_667" id="Footnote_667_667"></a><a href="#FNanchor_667_667"><span class="label">[667]</span></a> Vertue conservatively dates the survey "about 1680"; +but the names of the occupants of the various parts of the palace show +that it was drawn before 1670, and nearer 1660 than 1680.</p></div> + +<div class="footnote"><p><a name="Footnote_668_668" id="Footnote_668_668"></a><a href="#FNanchor_668_668"><span class="label">[668]</span></a> Reprinted here by the kind permission of Mr. Bell and +the editors of <i>The Architectural Record</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_669_669" id="Footnote_669_669"></a><a href="#FNanchor_669_669"><span class="label">[669]</span></a> Lord Chamberlain's Office-Book, C.C. Stopes, +"Shakespeare's Fellows and Followers," Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvi</span>, +96.</p></div> + +<div class="footnote"><p><a name="Footnote_670_670" id="Footnote_670_670"></a><a href="#FNanchor_670_670"><span class="label">[670]</span></a> Herbert MS., Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 237.</p></div> + +<div class="footnote"><p><a name="Footnote_671_671" id="Footnote_671_671"></a><a href="#FNanchor_671_671"><span class="label">[671]</span></a> Herbert MS., Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 237.</p></div> + +<div class="footnote"><p><a name="Footnote_672_672" id="Footnote_672_672"></a><a href="#FNanchor_672_672"><span class="label">[672]</span></a> Lord Chamberlain's Office-Book, Chalmers's <i>Apology</i>, +p. 508.</p></div> + +<div class="footnote"><p><a name="Footnote_673_673" id="Footnote_673_673"></a><a href="#FNanchor_673_673"><span class="label">[673]</span></a> <i>Ibid.</i>, p. 509.</p></div> + +<div class="footnote"><p><a name="Footnote_674_674" id="Footnote_674_674"></a><a href="#FNanchor_674_674"><span class="label">[674]</span></a> The Herbert MS., Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 238.</p></div> + +<div class="footnote"><p><a name="Footnote_675_675" id="Footnote_675_675"></a><a href="#FNanchor_675_675"><span class="label">[675]</span></a> Fleay in his elaborate studies of performances at Court +ignores it entirely, as do subsequent scholars.</p></div> + +<div class="footnote"><p><a name="Footnote_676_676" id="Footnote_676_676"></a><a href="#FNanchor_676_676"><span class="label">[676]</span></a> Chalmers, <i>Apology</i>, p. 510.</p></div> + +<div class="footnote"><p><a name="Footnote_677_677" id="Footnote_677_677"></a><a href="#FNanchor_677_677"><span class="label">[677]</span></a> Herbert MS., Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 241.</p></div> + +<div class="footnote"><p><a name="Footnote_678_678" id="Footnote_678_678"></a><a href="#FNanchor_678_678"><span class="label">[678]</span></a> Historical Manuscripts Commission, Fifth Report, p. +200. Pepys, under the date November 20, 1660, gives an anecdote about +the King's behavior on this occasion.</p></div> + +<div class="footnote"><p><a name="Footnote_679_679" id="Footnote_679_679"></a><a href="#FNanchor_679_679"><span class="label">[679]</span></a> He first "got in" on April 20, 1661, "by the favour of +one Mr. Bowman." John Evelyn also visited the Cockpit; see his +<i>Diary</i>, January 16 and February 11, 1662.</p></div> + +<div class="footnote"><p><a name="Footnote_680_680" id="Footnote_680_680"></a><a href="#FNanchor_680_680"><span class="label">[680]</span></a> By James Shirley, licensed 1641.</p></div> + +<div class="footnote"><p><a name="Footnote_681_681" id="Footnote_681_681"></a><a href="#FNanchor_681_681"><span class="label">[681]</span></a> By Corneille.</p></div> + +<div class="footnote"><p><a name="Footnote_682_682" id="Footnote_682_682"></a><a href="#FNanchor_682_682"><span class="label">[682]</span></a> Mrs. Betterton.</p></div> + +<div class="footnote"><p><a name="Footnote_683_683" id="Footnote_683_683"></a><a href="#FNanchor_683_683"><span class="label">[683]</span></a> Chalmers, <i>Apology</i>, p. 530. Cunningham says, in his +<i>Handbook of London</i>: "I find in the records of the Audit Office a +payment of £30 per annum 'to the Keeper of our Playhouse called the +Cockpit in St. James Park'"; but he does not state the year in which +the payment was made.</p></div> + +<div class="footnote"><p><a name="Footnote_684_684" id="Footnote_684_684"></a><a href="#FNanchor_684_684"><span class="label">[684]</span></a> I quote from W.J. Lawrence, <i>The Elizabethan Playhouse</i> +(First Series), p. 144.</p></div> + +<div class="footnote"><p><a name="Footnote_685_685" id="Footnote_685_685"></a><a href="#FNanchor_685_685"><span class="label">[685]</span></a> The reasons why the Cockpit at Whitehall has remained +so long in obscurity (its history is here attempted for the first +time) are obvious. Some scholars have confused it with the public +playhouse of the same name, a confusion which persons in the days of +Charles avoided by invariably saying "The Cockpit in Drury Lane." +Other scholars have confused it with the residential section of +Whitehall which bore the same name. During the reign of James several +large buildings which had been erected either on the site of the old +cockpit of Henry VIII, or around it, were converted into lodgings for +members of the royal family or favorites of the King, and were +commonly referred to as "the Cockpit." Other scholars have assumed +that all plays during the reigns of Elizabeth, James, and Charles were +given either in the Banqueting House or in the Great Hall. Finally, +still other scholars (e.g., Sir Sidney Lee, in <i>Shakespeare's +England</i>, 1916) have confused the Cockpit at Whitehall with the Royal +Cockpit in St. James's Park. Exactly when the latter was built I have +not been able to discover, but it was probably erected near the close +of the seventeenth century. It stood at the end of Dartmouth Street, +adjacent to Birdcage Walk, but not in the Park itself. John Strype, in +his edition of Stow's <i>Survey</i> (1720), bk. <span class="smcap">vi</span>, p. 64, says of +Dartmouth Street: "And here is a very fine Cockpit, called the King's +Cockpit, well resorted unto." A picture of the building is given by +Strype on page 62, and a still better picture may be found in J.T. +Smith's <i>The Antiquities of Westminster</i>. The Royal Cockpit in +Dartmouth Street survived until 1816, when it was torn down. Hogarth, +in his famous representation of a cock-fight, shows its interior as +circular, and as embellished with the royal coat of arms. Another +interesting picture of the interior will be found in Ackermann's <i>The +Microcosm of London</i> (1808). It is needless to add that this building +had nothing whatever to do with the theatre royal of the days of King +Charles.</p></div> + +<div class="footnote"><p><a name="Footnote_686_686" id="Footnote_686_686"></a><a href="#FNanchor_686_686"><span class="label">[686]</span></a> For the life of John Wolf see the following: Edward +Arber, <i>A Transcript of the Stationers' Registers</i>, especially <span class="smcap">ii</span>, +779-93; <i>The Calendar of State Papers, Domestic, 1598-1601</i>, pp. 405, +449, 450; A. Gerber, <i>All of the Five Fictitious Italian Editions</i>, +etc. (in <i>Modern Language Notes</i>, <span class="smcap">xxii</span> (1907), 2, 129, 201); H.R. +Plomer, <i>An Examination of Some Existing Copies of Hayward's "Life and +Raigne of King Henrie IV</i>" (in <i>The Library</i>, N.S., <span class="smcap">iii</span> (1902), 13); +R.B. McKerrow, <i>A Dictionary of Printers and Booksellers ... +1557-1640</i>; S. Bongi, <i>Annali di Gabriel Giolito de' Ferrari</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_687_687" id="Footnote_687_687"></a><a href="#FNanchor_687_687"><span class="label">[687]</span></a> Of these men nothing is known; something, however, may +be inferred from the following entries in Sir Henry Herbert's +Office-Book: "On the 20th August, 1623, a license <i>gratis</i>, to John +Williams and four others, to make <i>show</i> of <i>an Elephant</i>, for a year; +on the 5th of September to make show of a <i>live Beaver</i>; on the 9th of +June, 1638, to make show of an outlandish creature, called a +<i>Possum</i>." (George Chalmers, <i>Supplemental Apology</i>, p. 208.)</p></div> + +<div class="footnote"><p><a name="Footnote_688_688" id="Footnote_688_688"></a><a href="#FNanchor_688_688"><span class="label">[688]</span></a> The place is not indicated, but it was probably outside +the city.</p></div> + +<div class="footnote"><p><a name="Footnote_689_689" id="Footnote_689_689"></a><a href="#FNanchor_689_689"><span class="label">[689]</span></a> See <i>State Papers, Domestic, 1619-1623</i>, p. 181. I have +quoted the letter from Collier, <i>The History of English Dramatic +Poetry</i> (1879), <span class="smcap">i</span>, 408.</p></div> + +<div class="footnote"><p><a name="Footnote_690_690" id="Footnote_690_690"></a><a href="#FNanchor_690_690"><span class="label">[690]</span></a> Collier, <i>op. cit.</i>, <span class="smcap">i</span>, 443.</p></div> + +<div class="footnote"><p><a name="Footnote_691_691" id="Footnote_691_691"></a><a href="#FNanchor_691_691"><span class="label">[691]</span></a> <i>The Dramatic Works of Shackerley Marmion</i>, in +<i>Dramatists of the Restoration</i>, p. 37. Fleay (<i>A Biographical +Chronicle of the English Drama</i>, <span class="smcap">ii</span>, 66) suggests that the impostors +Agurtes and Autolichus are meant to satirize Williams and Dixon +respectively.</p></div> + +<div class="footnote"><p><a name="Footnote_692_692" id="Footnote_692_692"></a><a href="#FNanchor_692_692"><span class="label">[692]</span></a> I quote the letter from Collier, <i>The History of +English Dramatic Poetry</i> (1879), <span class="smcap">i</span>, 444.</p></div> + +<div class="footnote"><p><a name="Footnote_693_693" id="Footnote_693_693"></a><a href="#FNanchor_693_693"><span class="label">[693]</span></a> Bliss's edition, <span class="smcap">iii</span>, 741.</p></div> + +<div class="footnote"><p><a name="Footnote_694_694" id="Footnote_694_694"></a><a href="#FNanchor_694_694"><span class="label">[694]</span></a> "Pretty little theatre" is the reading of <i>MS. Aubr. +7</i>, folio 20; <i>MS. Aubr. 8</i> omits the adjective "pretty." For Aubrey's +full account of Ogilby see Andrew Clark's <i>Brief Lives</i> (1898), 2 +vols.</p></div> + +<div class="footnote"><p><a name="Footnote_695_695" id="Footnote_695_695"></a><a href="#FNanchor_695_695"><span class="label">[695]</span></a> Aubrey mentions this as having been "written in Dublin, +and never printed."</p></div> + +<div class="footnote"><p><a name="Footnote_696_696" id="Footnote_696_696"></a><a href="#FNanchor_696_696"><span class="label">[696]</span></a> Published in 1640 as "the first part," and both the +Prologue and the Epilogue speak of a second part; but no second part +was printed, and in all probability it never was written.</p></div> + +<div class="footnote"><p><a name="Footnote_697_697" id="Footnote_697_697"></a><a href="#FNanchor_697_697"><span class="label">[697]</span></a> Never licensed for England; reprinted in 1657 with <i>St. +Patrick for Ireland</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_698_698" id="Footnote_698_698"></a><a href="#FNanchor_698_698"><span class="label">[698]</span></a> <i>MS. Aubr. 7</i>, folio 20 v. Ogilby's second theatre in +Dublin, built after the Restoration, does not fall within the scope of +the present work.</p></div> + +<div class="footnote"><p><a name="Footnote_699_699" id="Footnote_699_699"></a><a href="#FNanchor_699_699"><span class="label">[699]</span></a> See Frederick Hawkins, <i>Annals of the French Stage</i> +(1884), <span class="smcap">i</span>, 148 ff., for the career of this player on the French stage. +"Every gift required by the actor," says Hawkins, "was possessed by +Floridor."</p></div> + +<div class="footnote"><p><a name="Footnote_700_700" id="Footnote_700_700"></a><a href="#FNanchor_700_700"><span class="label">[700]</span></a> <i>La Melise, ou Les Princes Reconnus</i>, by Du Rocher, +first acted in Paris in 1633; see <i>The Athenæum</i>, July 11, 1891, p. +73; and cf. <i>ibid.</i>, p. 139.</p></div> + +<div class="footnote"><p><a name="Footnote_701_701" id="Footnote_701_701"></a><a href="#FNanchor_701_701"><span class="label">[701]</span></a> "Housekeepers" were owners, who always demanded of the +players as rental for the building a certain part of each day's +takings. The passage quoted means that the housekeepers allowed the +French players to receive <i>all</i> money taken on the two sermon days of +the <i>first</i> week, and after that exacted their usual share as rental +for the building.</p></div> + +<div class="footnote"><p><a name="Footnote_702_702" id="Footnote_702_702"></a><a href="#FNanchor_702_702"><span class="label">[702]</span></a> That is, Passion Week, during which time the English +companies were never allowed to give performances.</p></div> + +<div class="footnote"><p><a name="Footnote_703_703" id="Footnote_703_703"></a><a href="#FNanchor_703_703"><span class="label">[703]</span></a> This must be an error, for Easter Monday fell on March +30.</p></div> + +<div class="footnote"><p><a name="Footnote_704_704" id="Footnote_704_704"></a><a href="#FNanchor_704_704"><span class="label">[704]</span></a> <i>Le Trompeur Puni, ou Histoire Septentrionale</i>, by +Scuderi.</p></div> + +<div class="footnote"><p><a name="Footnote_705_705" id="Footnote_705_705"></a><a href="#FNanchor_705_705"><span class="label">[705]</span></a> Wednesday was the 15th.</p></div> + +<div class="footnote"><p><a name="Footnote_706_706" id="Footnote_706_706"></a><a href="#FNanchor_706_706"><span class="label">[706]</span></a> <i>Alcimedon</i>, by Duryer.</p></div> + +<div class="footnote"><p><a name="Footnote_707_707" id="Footnote_707_707"></a><a href="#FNanchor_707_707"><span class="label">[707]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 121, note.</p></div> + +<div class="footnote"><p><a name="Footnote_708_708" id="Footnote_708_708"></a><a href="#FNanchor_708_708"><span class="label">[708]</span></a> This clause I insert from Mrs. Stopes's notes on the +Lord Chamberlain's records, in the Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvi</span>, 97.</p></div> + +<div class="footnote"><p><a name="Footnote_709_709" id="Footnote_709_709"></a><a href="#FNanchor_709_709"><span class="label">[709]</span></a> I have chosen to reproduce the record from Chalmers's +<i>Apology</i>, p. 506, note <i>s</i>, rather than from Mrs. Stopes's apparently +less accurate notes in the Shakespeare <i>Jahrbuch</i>, <span class="smcap">xlvi</span>, 97.</p></div> + +<div class="footnote"><p><a name="Footnote_710_710" id="Footnote_710_710"></a><a href="#FNanchor_710_710"><span class="label">[710]</span></a> Should we place a comma after "Josias"? That "Josias +Floridor" was the leader of the troupe we know from two separate +entries; cf. Chalmers, <i>Apology</i>, pp. 508, 509.</p></div> + +<div class="footnote"><p><a name="Footnote_711_711" id="Footnote_711_711"></a><a href="#FNanchor_711_711"><span class="label">[711]</span></a> Malone, <i>Variorum</i>, <span class="smcap">iii</span>, 122, note.</p></div> + +<div class="footnote"><p><a name="Footnote_712_712" id="Footnote_712_712"></a><a href="#FNanchor_712_712"><span class="label">[712]</span></a> Act <span class="smcap">ii</span>, Scene i. This passage is pointed out by +Lawrence, <i>The Elizabethan Playhouse</i>, p. 137.</p></div> + +<div class="footnote"><p><a name="Footnote_713_713" id="Footnote_713_713"></a><a href="#FNanchor_713_713"><span class="label">[713]</span></a> Stopes, <i>op. cit.</i>, p. 98, Chalmers, <i>Apology</i>, p. +509.</p></div> + +<div class="footnote"><p><a name="Footnote_714_714" id="Footnote_714_714"></a><a href="#FNanchor_714_714"><span class="label">[714]</span></a> The Fortune was only eighty feet square, but the stage +projected to the middle of the yard. Davenant probably wished to +provide for an alcove stage of sufficient depth to accommodate his +"scenes."</p></div> + +<div class="footnote"><p><a name="Footnote_715_715" id="Footnote_715_715"></a><a href="#FNanchor_715_715"><span class="label">[715]</span></a> That is, he may give his "musical presentments," etc., +either at the hours when he was accustomed to give plays, or after his +plays are ended. This does not necessarily imply evening +entertainments.</p></div> + +<div class="footnote"><p><a name="Footnote_716_716" id="Footnote_716_716"></a><a href="#FNanchor_716_716"><span class="label">[716]</span></a> Cunningham, <i>The Whitefriars Theatre</i>, in <i>The +Shakespeare Society's Papers</i>, <span class="smcap">iv</span>, 96.</p></div> + +<div class="footnote"><p><a name="Footnote_717_717" id="Footnote_717_717"></a><a href="#FNanchor_717_717"><span class="label">[717]</span></a> See the <a href="#CHAPTER_XI">chapter</a> on the Second Blackfriars.</p></div> + +<div class="footnote"><p><a name="Footnote_718_718" id="Footnote_718_718"></a><a href="#FNanchor_718_718"><span class="label">[718]</span></a> That he did not actually surrender the patent is shown +by the fact that he claimed privileges by virtue of it after the +Restoration; see Halliwell-Phillipps, <i>A Collection of Ancient +Documents</i>, p. 48.</p></div> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK SHAKESPEAREAN PLAYHOUSES***</p> +<p>******* This file should be named 22397-h.txt or 22397-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/2/2/3/9/22397">http://www.gutenberg.org/2/2/3/9/22397</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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