CHAPTER VI

COURT PERFORMANCES

During the reigns of Elizabeth and James, Court performances were frequently given, especially during the religious holidays. All the well-known London companies appeared at Court nearly every year, and were liberally remunerated for their services. Documentary evidence is in existence stating the exact fees paid to the actors, and the names in some instances of the plays performed.

Shakespeare is known to have taken part in several of the Court functions; many of his own dramas were presented before the Queen, and although nowhere expressly stated, he, no doubt, acted in them before the royal audience. These performances were given at the different palaces where the Court happened to be assembled. The Royal residences were numerous, and contemporary records prove that dramatic entertainments were represented at each of them on several occasions. The enthusiasm which Elizabeth displayed towards the drama must, in a great measure, account for its continued success and development. Without the Court patronage, the City and Local Authorities, in their blind prejudice against all kinds of entertainment, would certainly have taken drastic measures to drive the actors out of the Metropolis: and in their idiotic rage against the theatre, might have gone so far as to prohibit the actors from following the profession.

LONDON,

Printed for _Nathaniel Butter_, and are to be sold at his shop in _Pauls_ Church-yard at the signe of the Pide Bull neere _S^t. Austins_ Gate. 1608

With kind permission of Messrs. Griggs, Hanover Street, Peckham. ]

The following is a list of Court palaces in which plays were presented before the reigning monarchs. Both Elizabeth and James were enthusiastic playgoers. In the latter’s reign court performances were given every day in the week, Sundays included, and although at times the plays produced were far from entertaining, the royal pair remained until the play was ended, in spite of being tired, as the rest of the audience often were.

WHITEHALL

Everyone has heard of Whitehall, the magnificent London residence of Henry VIII and his royal daughters. Here we are only concerned with the Great Hall, the Great Chamber, the Banqueting House, and the Cockpit, all four apartments being the scene of dramatic entertainments. Proof of at least one of Shakespeare’s plays being presented at Whitehall will be found on the title page of the authentic quarto of “King Lear”:

“M. William Shakespeare,

“His True Chronicle History of the life and death of King Lear and his three daughters. As it was played before the King’s Majestie at Whitehall upon St. Stephen’s night in Christmas Hollidays. By his Majestie’s servants playing usually at the Globe, on the Bankside, 1608.”

From documentary evidence there is proof that several of Shakespeare’s plays were acted at this palace, including “Othello,” “Measure for Measure,” “Love’s Labour’s Lost,” “The Winter’s Tale,” and others by the same dramatist, besides over a hundred performances of plays by various authors. These plays were produced in the magnificent structure called the Great Hall, which was a hundred feet in length and about forty in breadth. The roof was elaborately decorated, and from it hung eight large chandeliers and eight smaller ones, each containing fifteen lights. The scene on these occasions was one of great splendour, and those that witnessed it were considered exceptionally fortunate, as only those whom the King delighted to honour were invited.

Plays were sometimes presented in the Great Chamber, a building of large dimensions. This room was often chosen on account of its great warmth, and also its being better adapted for presenting plays than the Great Hall. The Banqueting House, in which Shakespeare’s plays were given, was built by Queen Elizabeth; its length was 150 feet, the walls were of wood, with lath and plaster between. The roof, supported by thirty principals, was ceiled with canvas, and decorated most gorgeously with the emblems of the heavens. Externally the Hall presented the true Gothic type similar to those seen to-day at Hampton Court and Christ Church, Oxford. On each of the three sides, tiers of seats were erected for the audience, the fourth being reserved for the stage. The King and Queen sat on thrones facing the stage, a clear way of vision being kept in direct line with the actors. The performances were always given at night, contrasting very vividly with the afternoon representation at the Globe and other public theatres. This beautiful building was destroyed by fire. The existing Banqueting House was built in the reign of Charles I; many of Shakespeare’s plays were performed in this building before the King and Queen. From this fatal room King Charles was led forth to execution on January 30th, 1649. The celebrated architect, Inigo Jones, was the designer of this noble edifice, one of the few remaining buildings of this great architect which exist to adorn this great city.

The Cockpit, built in the reign of Henry VIII, was sometimes used for presenting plays, and quite possibly Shakespeare’s plays may have been given here before Queen Elizabeth. The building was octagonal in shape, resembling the public theatres, containing galleries and staircases. The original site stood in the neighbourhood of Downing Street. This building has frequently been confused with the Cockpit Theatre, situated in Drury Lane. There are many traps laid for the writers of early theatrical matters, and an author cannot be careful enough in thoroughly investigating his sources. I have noticed the most painstaking writers sometimes go astray, even Mr. Law, to whose interesting and valuable account of the Whitehall Palace I have been entirely indebted for the above description, alluded to the Blackfriars Theatre as being the scene of Shakespeare’s activities. There is not an atom of evidence to prove that Shakespeare ever acted on its boards or that his plays were produced there during his lifetime. The only evidence is that Cuthbert Burbage, the son of Richard Burbage, states that his father, in 1609 or 1610, placed deserving men, Heminge Condell and Shakespeare, at the Blackfriars. This evidence was given in 1632, and does not say in what capacity Shakespeare was placed there. The evidence may only have been given to prove his claim, or perhaps Shakespeare acted as Stage Manager; in spite of this meagre evidence, all writers persist in stating that Shakespeare acted at this theatre, which I emphatically deny, on the grounds that in the year 1610 Shakespeare severed his connexion with the stage and retired soon afterwards to Stratford-on-Avon.

Court performances were frequently held at Whitehall. As early as 1560 the Earl of Leicester’s players performed at one of the royal palaces before the Queen; in some instances the names of the plays performed are given, but unfortunately in most cases the name of the palace is not stated.

Chalmers, in his _Apology_, refers to Lord Strange’s men being paid £40 and £20 reward for six performances at Whitehall in December, 1591; the titles of the plays are not given. The most interesting performance presented at Whitehall was Shakespeare’s “King Lear,” as acted before his Majesty at Whitehall upon St. Stephen’s night at Christmas last. The entry for publication of “King Lear” is found on the books of the Stationers’ Company, where the record states that Nathaniel Butter and John Busby entered their names for a copy of “a booke called Master William Shakespeare, his history of King Lear”; the licence is dated November 22nd, 1607. The “Christmas last of the Stationers’ Register” and “in Christmas Hollidaies” of the printed edition refer to the year 1606. Whether Shakespeare took part in this production cannot be definitely stated, but the probabilities are that he acted with his company.

1579. The Irish Knight. The Earl of Warwick’s players were paid £6 13s. 4d. for presenting this play before the Queen at Whitehall. 1597. The history of Murderous Michael was presented in 1604. The Children of the Revels played before the Queen at Whitehall.

In 1608, John Hemings was paid £130 for 13 plays acted before his Majesty at Whitehall. The King and Prince Charles witnessed a play at Whitehall, given on Sunday. This performance took place in the year 1623. As stated above, several plays were presented at the Court at Whitehall, for many years in succession.

The Marquise Tremouille on thursday last tooke leave of the Kinge; that night was feasted at white hall by the duke of Lennox in the Queen’s greate chamber.

In the Kinge’s greate chamber they went to see the play of “Pirrocles Prince of Tyre,” which lasted till 2 o’clocke. After two actes the players ceased till the french all refreshed them with sweetmeats, brought on china voiders and wine and ale in bottells, after the players began anew.

RICHMOND

A royal palace stood here in quite early times, being in ruins in the reign of Henry the Fourth. Henry V rebuilt it, and when Henry VII became King, he made it his royal residence, changing the name of the hamlet from West Sheen to Richmond, in commemoration of his title as Earl of Richmond in Yorkshire.

A fire broke out in 1498, completely demolishing the old building. A new palace was erected in 1501. This building is especially interesting, being in its entirety a Tudor structure, representing the architectural taste of the time in domestic building, when the sole determining factors were pleasure and convenience. This object was fully obtained by mixture of judicious colouring, oblong or diamond shaped patches of black brick, having been originally super-imposed upon a ground of warm red. The level of the frontage is broken up by the intervention of small circular towers, sallying forward from the background, and fine mullioned windows, with a forest of turrets complete the frontage, which formed a most picturesque view and which existed only for that purpose. These architectural details bore a strong affinity to the Saracenic type of architecture, which may well have influenced English taste through our then close connexion with Spain.

The chief drawback to the general good effect of the building is its huddled appearance, arising principally from the narrowness of the projecting towers and the manner in which they are crowded together upon a not too extensive front.

This impression is assisted by the close proximity of the palace to the river. An early chronicler, about 1501, narrates that the building was girded and encompassed with a strong and mighty brick wall, barred and bent with towers in each corner and angle and also in the midway. The openings, the strong gates of double timber and heart of oak, were stuck full of nails right thick and crossed with bars of iron. Now but little is left to confirm the fact that there was a palace upon the site built as late as the time of Henry VIII, and was still standing in the seventeenth century. The most conspicuous of the remains are those in the house occupied by Mr. Middleton, facing Richmond Green, and the gateway to Wardrobe Court, with its upper chamber forming part of the house. The gateway is of red brick, and has a large four central archway of stone, over which is a perished stone panel of arms; on the east side is an eighteenth century oval window, and on the other side three block windows, above a stone string course, with a moulded top member and a bead at the bottom. The building is cut short north of the gateway, but evidence of its continuation in that direction is given by the arched recess on the ground floor and the blocked doorway in the upper storey, besides the marks showing the position of the first floor and the flat roof on that face, which now overlooks the gardens of the old Court House, an eighteenth century building now occupied by a lady. Some of the lower walls of Mr. Middleton’s house, no doubt, retain the original brickwork, and the three projecting bays in the east front, a semi-octagonal one between the two five-sided bays are evidently on the old foundation, but there is little in the house to call attention to its age except a fireplace on the first floor, with a Tudor arch and a chimney stack on the west side. Authentic records exist proving that Shakespeare and his fellow actors often acted before the Court when residing at Richmond Palace. The Hall in which the performance took place was situated in an upper storey containing one fairly large room 100 feet by 40 feet, called the Great Hall. The following account is taken from a description of the Palace, written in 1649: “This room (the Great Hall) hath a screen in the lower end, over which is a little gallery; the pavement is tiled, and is very well lighted; the ceiling is adorned with eleven statues; on the side stands a brick hearth for a charcoal fire, having a large lanthorn in the roof of the Hall fitted for that purpose, turreted and covered with lead. In the north end of the Great Hall there is one turret, and a clock case covered with lead, which, together with the lanthorn in the middle thereof, are a special ornament unto that building.”

No detailed account of a performance is known, and only in one instance is the name given of the play performed; documents may exist at the Record Office which one day may give us new information on the subject.

1575. The Earl of Warwick’s players were paid £10 for performing a play before the Queen at Richmond on Shrove Monday last past.

1578. The Lord Chamberlain’s men were paid £10 for performing a play called “A History of the Cruelties of a Stepmother.” This play was performed at Richmond on Innocents’ Day at night.

1578. A play was performed at Richmond on St. John’s Day at night by the Children of the Chapel Royal.

On March 15th, 1639, John Lowin, Joseph Taylor and Edward Swanston were paid £300 for 24 plays acted before the King by the King’s players. Six of these plays were produced at Richmond in the previous year.

The next year the same actors were paid £20 for producing several plays before His Majesty, two of which were performed at Richmond.

1640. A warrant for £60 unto the company of the Prince’s players for three plays acted at Richmond at £20 each play, in consideration of their travelling expenses and loss of the days at home.

HAMPTON COURT

From various documentary records there is certain proof that many of the London theatrical companies acted at Hampton Court during the Shakesperean era. Hampton Court was a favourite residence both of Elizabeth and James, and in addition the Great Hall was more suitable for the representation of plays and masques than any other royal residence. Originally this palace belonged to the great Cardinal Wolsey, who commenced the building in 1515 in a truly regal manner, and it was ready for occupation in the following year. The Palace contained over eleven hundred rooms, furnished in the most elaborate and elegant style, equal in magnificence to any Court throughout Europe. After occupying this ideal residence for a period of ten years, Wolsey presented the entire building to his sovereign, King Henry the Eighth, who graciously accepted his subject’s munificent gift, which for evermore became the property of the Crown.

The chief interest to Shakespereans is the Great Hall, a chamber of magnificent dimensions, this Hall being considered one of the finest existing examples of Gothic architecture. The length of the Hall is one hundred and eighteen feet, with a height of ninety-two feet.

One beautiful window nearly reaches the entire height of the Hall; five other superb windows encircle the building. In the alcoves of the Hall are shapely octagonal turrets, which reach to the extremity of the roof. The interior of the building is no less remarkable for its beauty. The first impression is one of dazzling brilliancy, and on further investigation the richness of all the details enhances the grandeur of this majestic state apartment. That such a noble work of art should come down to us in nearly all its ancient splendour is indeed fortunate.

Printed at London for Thomas Pauyer, and are to be solde at his shop, at the entrance into the Exchange 1605. ]

No trace remains of the rich stained glass, but after the lapse of centuries that need cause no wonder: the miracle is that as much remains for our admiration.

The large bay window contained fully eight lights, which reflected on the dais, where stood the King’s table. At the lower end of the Hall was fixed a screen of beautiful oak, before which a platform was raised for the actors, who here performed their comedies and tragedies, masques, and other kinds of entertainments. Over the screen was a balcony, called the Minstrels’ Gallery, which was reached by a small staircase.

Mention must be made of the magnificent roof, the most ornate of this particular style which still exists, for richness of detail and elaborate carving it remains unrivalled. Although we do not possess actual proof, we can confidently maintain that Shakespeare acted on several occasions under this noble roof, and also produced many of his immortal plays before the royal audience.

Lord Charles Howard’s men performed a play before the Queen in 1576. This Lord Howard was Baron Howard of Effingham. In the early years of Elizabeth’s reign Lord Howard’s men are styled the Lord Chamberlain’s men.

Lord Strange’s men were paid £20 and given £10 reward on March the 7th, 1593, for three plays presented at Hampton Court on St. John’s Night, New Year’s Eve and New Year’s Day. This extract is taken from Chalmer’s _Apology_. The names of the plays are not recorded. Shakespeare was a member of Lord Strange’s company, and probably acted on this occasion.

The Earl of Warwick’s servants were paid a reward for acting before the Queen at Hampton Court in the Christmas Holydays; the name of the play was the “Painter’s Daughter.”

Lord Rich’s players were paid £6 13s. 4d. for presenting plays before the Queen on St. Stephen’s Day at night. Lord Rich’s company was quite an unimportant one, and was unknown in London; they acted at Hampton Court in 1569 and again in 1570. Court performances were frequently given here during the reigns of James I and Charles I.

WINDSOR CASTLE

Historically, Windsor Castle dates from before the Conquest. William the Conqueror was the first English king to reside here permanently. Little is heard of this fortress castle until the reign of Edward III, when a complete restoration was effected. One of the chief glories of the Castle is St. George’s Chapel, reconstructed on a princely scale by Edward IV. In Queen Elizabeth’s reign a new gallery and banqueting house were erected; the latter was situated at the extreme eastern side of the terrace; it was an octagon in shape, and was surmounted by a cupola, windows being placed on every side. The Great Hall was built in the reign of Henry III, and appears to have been a truly stately edifice. When Henry VIII entertained Charles the Fifth at Windsor in 1522, the great Hall was the scene of many festivities. At the upper end of the chamber a platform was erected, in the centre of which was a dais elaborately painted in royal state. On all sides of the Hall were several windows filled with fine stained glass. During Charles’s visit a play was presented in this Hall; after the play was ended, a most magnificent masque was introduced, in which twelve gentlemen and twelve ladies dressed in the most costly masquerade garments, all of which were in gold. After the dance a sumptuous banquet was held, which greatly added to the night’s entertainment.

1582. A play called “A History of Love and Fortune” was performed before the Queen at Windsor “on the Sondaie at night next before the newe yeares daie.” The play was produced by the Earl of Derby’s players.

1570. William Hunnis was paid £6 13s. 4d. for a play performed by the Chapel Children before the Queen on the Twelfth Night at Windsor. This William Hunnis was a poet musician, a keeper of the Queen’s gardens at Greenwich, and eventually was appointed Master of the Children of the Chapel Royal.

In 1582 a play called “A Game of Cards” was presented at Court. This play was performed before the Queen at Windsor on the evening of St. Stephen’s Day. In the original document the entry is as follows: “A Comodie or Morrall, devised on ‘A Game of the Cardes.’”

1569. Richard Farrant, Master of the Children of Windsor Chapel, was paid £6 13s. 4d. for a play “performed by these boys before the Queen upon St. John’s daye, at nighte last past.” There are several entries relating to this company, but the place where they acted is not stated; most probably the Windsor boys only acted at Windsor Castle.

1563. The Children of Westminster School acted before the Queen at Windsor.

GREENWICH PALACE

As far back as the year 1300, a royal palace was in existence at Greenwich. Nothing is known of this early building until the end of the reign of Henry IV. Afterwards it came into the possession of the Duke of Gloucester, who beautified the place and considerably extended the grounds, calling the palace Palacentia, on account of its sweet and pleasing aspect.

Henry VIII was born here, and in after years his birthplace was an object of his special devotion, he spending much of his time and income on enlarging the building and laying out the grounds.

In the great Hall many feasts and entertainments were held, these occasions being specially noted for the lavishness and splendour displayed. This monarch greatly encouraged the performing of the Masque, then newly imported from Italy. “On the day of the Epiphany, at night, the King, with eleven others, were disguised after the manner of Italy, called a masque a thing not seen before in England, they were apparelled in garments long and broad wrought all in gold.” The King himself took part in these gorgeous displays. Queen Elizabeth was also born at Greenwich; like her royal father, she was much attached to the palace and greatly enlarged the edifice. The Presence Chamber was hung with rich tapestries, and the floor, as was usual in those days, was strewn with rushes.

Plays were frequently acted at this palace, Greenwich being a favourite residence of Queen Elizabeth. In 1584, the Queen’s players acted before Her Majesty here on St. Stephen’s Day at night; the next day the Earl of Oxenford’s plays were performed before the Queen, the play presented being “The History of Agamemnon and Ulysses”; this play was acted on St. John’s Day at night. The St. John’s Day mentioned is in celebration of the Evangelist of that name whose birth is honoured on the 27th of December; this saint must not be confused with John the Baptist, whose name day is celebrated both on the 24th of June and the 29th of August. The play acted on St. Stephen’s Day was “Phylbyda and Corin.”

1585. A play called “Felix and Philomence” was performed before the Queen at Greenwich; the plot was founded on a pastoral poem by George Monetmayor. An early edition of this poem, dated 1585, written in the original Spanish, is in my possession.

AT LONDON

Printed by Robert Robinson. 1587. ]

A few days later another play was performed called “Five plays in One.”

1588. On Shrove Sunday, Paul’s boys performed before the Queen at Greenwich. Their master, Thomas Gyles, received in payment £10.

1594. This year is a very important land-mark in Court performances: no less a personage than Shakespeare himself acted at Court on this occasion.

“To William Kempe, William Shakespeare, and Richard Burbage, servants to the Lord Chamberlayne, upon the Councelles Warrant, dated at Whitehall XV of Mar., 1594, for two several comedies or interludes showed by them before her Majestie on Christmas time laste paste, viz., upon St. Stephen’s days and Innocentes days XIIIli, VIs. VIId. and by waye of her Majesties reward VIli, XIIIs, VIId, in all XXli.”

“For making ready at Greenwich for the Qu. Majestie against her Highness coming thither by the space of VIII days, December, 1594, as appeareth by a bill signed by the Lord Chamberleyne.”

Although the two plays performed are not mentioned by name, one of them may have been “The Comedy of Errors,” as this play was performed on the same date in Gray’s Inn Hall, and was acted by the same company as appeared before the Queen at Greenwich.

1606. On October 18th, John Hemings was paid £30 for three plays acted before his Majesty and the King of Denmark, two of them at Greenwich and one at Hampton Court.

ST. JAMES’S PALACE

The ground on which St. James’s Palace stood was originally a hospital for lepers, and was in existence years before the Conquest. When it surrendered to Henry VIII, the maiden lepers (being a hospital for women) were pensioned.

The building and grounds were in possession of Eton College, with which the King made an exchange. The building, on coming into possession of the King, was entirely demolished, and upon the same site a magnificent Palace was erected, and was named after the adjoining fields.

The Palace was designed in the Gothic style. In course of time the building has been much altered, and further additions have been made by subsequent sovereigns. A goodly part of the old structure remained until a disastrous fire at the beginning of the last century destroyed nearly the entire fabric. Fortunately, the Clock Tower escaped destruction as also did the famous Gateway, together with the celebrated Chapel Royal, one of the special features of the ancient residence. The Chapel is built of brick, with battlements coped with stone, somewhat after the Gothic fashion; this part is quite ancient, forming the original chapel as it existed in the time of Henry VIII. Some authorities would even ascribe it as part of the old hospice, but this is more than doubtful. Many records exist that during the reigns of Elizabeth and James many theatrical representations were given. In Elizabeth’s reign no special room was set aside for these court performances, but at a later period the Ball Room was generally the scene of action. Several of Shakespeare’s plays are known to have been performed before Charles I and Queen Henrietta.

The famous Children of the Revels performed regularly before Queen Elizabeth, and many are the plays extant, by all the famous Tudor dramatists, in which these children companies acted before private and semi-private audiences.

1623. All Hallows. The play performed was the “Maid of the Mill.” The prince being present only.

1633. On Saturday, the 17th of November, being the Queen’s birthday, “Richard the Third” was acted by the K. players at St. James’s, when the King and Queene were present, “it being the first play the Queene sawe since Her Mrys. delivery of the Duke of York, 1633.”

“1633. On Tuesday night, at Saint James, the 26th of November, 1633, was acted before the King and Queen ‘The Taminge of the Shrew.’ Likt.”

“November 28th, 1633. ‘The Tamer Tamed, or, The Woman’s Prize.’ Very well likt.”

Several other plays were performed at St. James’s Palace by the King’s players.

SOMERSET HOUSE

Old Somerset House, sometimes called Denmark House, in honour of the Queen of James the First, was situated in the Strand on the same site as the modern Somerset House. This palace was built by the great Duke of Somerset called the Protector; he was the ill-fated brother of Jane Seymour. In the erection of this building many well known palaces and houses were demolished, including the palaces of the Bishops of Worcester, Chester, Llandaff, Lichfield, also the Strand Inn and the Parish Church of St. Mary’s. The great Duke never lived to see his magnificent house completed; arrested on a charge of high treason, he was beheaded in 1552. The Palace, when finished, was frequently the residence of Queen Elizabeth, and in later years was inhabited by the Queens of Charles I and Charles II. This palace was not the favourite residence of Elizabeth, she preferring the more fashionable quarters of Whitehall and St. James’s. Old Somerset House was pulled down in 1776, and the present building was commenced under the superintendence of the architect, Sir William Chambers. Old Somerset House consisted of one large and principal quadrangle, called the Upper Court, facing the Strand. In the southern front of the quadrangle were the Guard Chambers, with a waiting room. The Privy Chamber and the Presence Chamber from the west end of which a flight of stone steps led down into the garden, on the western side. In the south-east angle were situated the private apartments of the Queen. Facing the Strand was a variety of other buildings occupied by members of the Court, also the Yellow Room, the Cross Gallery, and the Long Gallery, this last, no doubt, being the chamber where plays and masques were held. These entertainments attracted a vast throng of courtiers and their friends, especially on those nights when the King and Queen attended in person.

1585. Three plays in One. “This play should have been shewed before her highness on Shrovesundie at night, but the Queen came not abroad that night. Tarlton, the celebrated clown and jester of Queen Elizabeth, wrote a play in two parts called ‘The seven Deadly Sins.’ Three plays in one may have been the first part.”

1585. “An Antic play and a Comedy. This play was given at Somerset Place at night, the Queen being present.”

1634. “The Shepherdess.” “On Monday night, the sixth of January and the Twelfth Night, was presented at Denmark House, before the King and Queen, Fletcher’s pastorall, called ‘The Faithful Shepherdesse’ in the clothes the Queen had given Taylor the yeare before of her owne pastorall.” The scenes were fitted to the pastorall and made by Mr. Inigo Jones in the great chamber, 1633.

Denmark House is another name for Somerset House, also called Somerset Place. After spending a whole afternoon in searching for a reference to Denmark House without any result, I made repeated enquiries, which were fruitless. Eventually, after further research, the desired information was forthcoming.

NONSUCH PALACE

Nonsuch Palace was built by Henry VIII. When erecting this building the King destroyed the entire village of Cuddington, including the church and the old manor house. Judging from its name, which signifies “beyond compare,” the palace, when furnished, must have presented a noble appearance. One author waxes quite enthusiastic: “Here Henry VIII, in his magnificence, erected a structure so beautiful, so elegant and so splendid, that in whatever direction the admirer of florid architecture turned his eye he will say that it easily bears off the palm, so great is the emulating Roman Art, so beautiful are the paintings, the sculpture, gildings and decorations of all kinds that you would say it is a sky spangled with stars.”

Paul Hentzer, who described the early London theatres, also took notice of this handsome building and lovely grounds. On the death of the King, Queen Mary sold it to the Earl of Arundel, and in the next reign the noble earl entertained the Queen in right royal state. Balls, masques, and plays were given in alternate evenings, the children of St. Paul’s acting in a play especially composed for the occasion. After this visit the Queen much favoured this beautiful summer retreat, and a few years later she purchased the entire estate from Lord Lumley, the Earl of Arundel’s son-in-law. Elizabeth kept open house here, daily hunting over the neighbouring downs, and in the evenings masques and plays were held; sometimes for divertissement she would dance a galliard with her courtiers. Nonsuch was pulled down in 1671, and the surrounding lands were converted into farms. Even in the present day a residence named Nonsuch House will be found in the neighbourhood.

“1559. A play was performed here before the Queen by the Children of St. Paul’s, under their Master, Sebastian Westcott.”

No other play is mentioned as performed in this Palace.

ELTHAM PALACE

This royal residence dates from quite ancient times, being erected during the thirteenth century. It was occupied by royalty for many centuries, until the reign of James I, when it ceased to be a royal palace. Originally a moated manor house, like all such buildings, the house was nearly square in form, and embraced four courts, surrounded by a high wall. The moat, which surrounded the structure, was of great width; the principal entrance was over a stone bridge and through a gateway in the north wall. There was also another gateway and bridge at the opposite side of the enclosure. The most important part of the building consisted of a high range, which crossed the Court from east to west, and included the Great Hall, the Chapel and the State Apartments. The principal courts were spacious, lodging rooms and state offices were numerous. Of all these large buildings, the Banqueting Hall and an ivy covered bridge now remain, which still forms an entrance to the ruins. The Banqueting Hall is a most interesting relic of this once magnificent Palace.

The high pitched roof is in a fair state of preservation, with hammer beams, carved pendants, and braces, supported on corbels of hewn stone. The dimensions of the Hall are 100 feet in length, 55 in height, and 36 in breadth. This Hall, with a suite of rooms at either end, was the main feature of the Palace; it rose in the centre of surrounding buildings as superior in the grandeur of its architecture, the magnificence of its properties and the amplitude of its dimensions. This fair edifice has survived the vicissitudes which, at different periods, has destroyed the old palace. Desolation has reached its very walls, but still the Hall of Eltham Palace has not, with the exception of the Louvre, been deprived of any of its salient features. The proportions of Eltham Hall and the harmony of the design attest the care and skill which were exerted in the production of this beautiful edifice. Other halls may surpass this building in extent, but this is perfect in every useful and elegant decoration belonging to a banqueting chamber. It was splendidly lighted, and perhaps required painted glass to subdue the glare admitted through two and twenty windows.

The Palace during the early part of the nineteenth century was used as a barn, when most of the windows were bricked up and three pairs on the north side remain in that position at the present time. The holes for the timber supports of the elevated platform are still visible on the western wall and above the same spot at a considerable elevation was a window, where the King might look from his own private apartment on the revellers in the Hall, an arrangement commonly in use in the old mansions of this description.

“1559. August 7th. A play was performed at this date before the Queen.” Collier gives the acting place at Eltham, other authorities state the performance took place at Nonsuch. The Children who presented the play were acting under their Master, Sebastian Westcott. This is the only reference I can find pertaining to Eltham, and unfortunately, a doubtful one.

THE MIDDLE TEMPLE HALL

In Elizabethan times plays and masques were often presented in the Halls of the buildings belonging to the Inns of Court. The Hall of the Middle Temple has the distinction of being one of the grandest Tudor buildings remaining in the United Kingdom.

This beautiful Hall dates from the year 1571, when the edifice was completed. At the lower end of the Hall stands a marble bust of Plowden, who was Treasurer during the period of its erection. One of the plays acted in this historic building possesses great interest for the Shakesperean student. The play solicited by the Benchers for their Candlemas Festival in the year 1601 was no other than Shakespeare’s delightful masterpiece, “Twelfth Night.” The assumption is quite natural that the Lord Chamberlain’s company produced and acted the play, and that Shakespeare, as a member of that company, took part in the performance. In all likelihood, Queen Elizabeth was present on this auspicious occasion. There is no authentic record in any way bearing out this last statement. I was one of the fortunate individuals who witnessed the production of this same comedy, under the same roof, and attended by royalty, our present King and Queen and Queen Alexandra being interested spectators at this performance in aid of the Red Cross Society. I still retain as a souvenir the voucher of my five-guinea seat.

The date of the first production of this play was in former times attributed to various years, ranging from 1599 to 1614. Malone and Stevens, two of the foremost commentators of the eighteenth century assign the play to the year 1614. By the discovery of Manningham’s Diary, in which “Twelfth Night” is mentioned as early as 1601, all dates previously suggested are null and void. Manningham was a student of the Middle Temple who, for a space of over two years, kept a diary, which was discovered in the British Museum as early as the last century. The extract which interests us is as follows:

“Febr. 1601.

“Feb. 2. At our feast we had a play called ‘Twelve Night,’ or ‘What you Will,’ much like the Commedy of Errores or Menechmi in Plautus, but most like and neere to that in Italian called ‘Inganni.’ A good practise in it to make the Steward believe his Lady widdowe was in love with him by counterfeyting a letter as from his Lady in generall terms, telling him that she liked best in him, and prescribing his gesture in smiling, his apparaile cte, and then when he came to practise making him believe they tooke him to be mad.”

Manningham made mistake in believing Olivia to be a widow; she was mourning for a brother, which is distinctly referred to by Orsino. The play mentioned by Manningham as “Inganni,” is really an Italian play called “Gl’Ingannati,” a copy of which I recently picked up at a bargain price, the bookseller being unaware that the play was the original source of “Twelfth Night.”

In the essay on Law contributed to Shakespeare’s “England,” by Mr. Arthur Underhill, the author states that: “It was for a Christmas revel at the Middle Temple that Shakespeare wrote ‘Twelfth Night.’” There does not exist an atom of evidence to prove this assertion, the general opinion being that Shakespeare wrote all his plays for the Lord Chamberlain’s company, and they were produced first at a regular theatre. How is it that at this late period of Shakesperean research such foolish guesses are allowed to pass the Censor?

THE INNER TEMPLE

The Inner Temple and the Middle Temple cover the site formerly occupied by the Knights Templars. After their suppression in 1312, the Temple Church and the surrounding buildings passed into the possession of the Crown. Thirty years later the Hospitallers, or Knights of St. John, were the owners, who eventually leased the ground and buildings to the lawyers, who have remained in possession ever since.

The Inner Temple had the distinction of possessing a famous library as early as the fifteenth century, being the first of the Inns of Court which possessed a library worthy of the name.

The ancient Hall of the Inner Temple, where plays and masques were held on Festival and other occasions, was rebuilt early in the last century. The modern Hall has been erected in close imitation of the former one. Historically and architecturally the new Hall cannot compare with the exquisite building of the Middle Temple, and every Englishman should consider it his duty to pay at least one visit to this monument of ancient learning.

The first English Tragedy, properly so called, was acted in the ancient Hall of the Inner Temple on the occasion of the Christmas Revels in 1561. The same play was performed the next year before the Queen at Whitehall. The first edition of this work was a piratical one, published in 1565, a unique copy of which is in the Eton Library. The title page of this edition states that the first three acts were written by Thomas Norton, and the last two by Thomas Sackville. The play is styled the “Tragedie of Gorboduc.” The second edition is called “The Tragedie of Ferrex and Porrex,” published in 1570. The third edition was issued in 1590. Each act of this play is preceded by a dumb show similar to the one produced in the play scene of “Hamlet.” Another play acted by the members of the Inner Temple in 1567 is “Gismund of Salerne,” a tale adapted from one of Boccaccio’s novels. Two manuscripts of this play exist, as well as a printed version, dated 1591, called “Tancred and Gismonda,” a revised version of the earlier play. This tale had been translated by Painter and published in his _Palace of Pleasure_, Vol. I, 1566. The author translated the version from the original Italian, but it is quite possible they consulted Painter’s version.

GRAY’S INN

Gray’s Inn owes its name to one Reginald Le Gray, who was Chief Justice at Chester early in the fourteenth century. Towards the end of the same century we find a building mentioned as “Graysyn” which at this time was in the possession of the lawyers. The present Hall is founded on the same site as the one that previously existed, which was not entirely destroyed, but rebuilt about the middle of the sixteenth century. The existing Hall is of quite modest dimensions and, together with the old Chapel, forms quite a picturesque view. The surrounding buildings date from early Georgian times, and add quite a pleasing effect; a few modern buildings afford an opportunity of criticising and comparing several modes of architecture in one place. The beautiful gardens of Grays Inn add another exquisite touch to these old world surroundings.

The original entrance to Gray’s Inn was a Gray’s Inn Lane, now Gray’s Inn Road, the Holborn entrance being made about the year 1600. The present archway certainly wears a modern aspect: that may be through the old brickwork being stuccoed at a later period. Gray’s Inn was famous for its revelling, Masque Plays and other diversions being frequently acted within its walls.

We know for almost certain that one of Shakespeare’s plays was performed at Gray’s Inn. On the even of Innocents’ Day, 1594, a play was enacted called “The Comedy of Errors,” before the benchers, students and invited guests. During the performance a disturbance was caused by the students of the Inner Temple being dissatisfied with their seating accommodation. A Gray’s Inn chronicler describes the scene thus: “Was begun and continued to the end on nothing but confusion and errors, whereupon it was afterwards called the Night of Errors.” This same play was given in the identical Hall by members of the Elizabethan Society, 1895. An early representation of a play at Gray’s Inn was named “Jocasta,” a Greek play, 1566, adapted and translated for the English stage by George Gascoigne and Francis Kenwelmersche, both of Gray’s Inn. The first edition of this play is included in the complete works of George Gascoigne, entitled “A Hundred Sundrie Floures,” bound up in one small Poem, no date, but issued in 1573. A second edition appeared in 1575, and a third in 1587. There is no record of any stage play or masque being given at Lincoln’s Inn.

+LONDON+

Published by Isaac Iaggard, and Ed. Blount. 1623. ]