Chapter 21

MISCELLANEOUS

I

WOLF'S THEATRE IN NIGHTINGALE LANE, NEAR EAST SMITHFIELD

In Jeaffreson's _Middlesex County Records_ (I, 260), we find the following entry, dated April 1, 1600:

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."

The only stationer in London named John Wolf was the printer and publisher who at this time had 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 _Rappresentazioni_, "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 _that one man_ that must and will reform the government in this trade.'" The 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 _Life and Raigne of King Henrie IV_, and was forced to spend two weeks in jail. He died in 1601.[686]

[Footnote 686: For the life of John Wolf see the following: Edward Arber, _A Transcript of the Stationers' Registers_, especially II, 779-93; _The Calendar of State Papers, Domestic, 1598-1601_, pp. 405, 449, 450; A. Gerber, _All of the Five Fictitious Italian Editions_, etc. (in _Modern Language Notes_, XXII (1907), 2, 129, 201); H.R. Plomer, _An Examination of Some Existing Copies of Hayward's "Life and Raigne of King Henrie IV_" (in _The Library_, N.S., III (1902), 13); R.B. McKerrow, _A Dictionary of Printers and Booksellers ... 1557-1640_; S. Bongi, _Annali di Gabriel Giolito de' Ferrari_.]

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.

II

THE PROJECTED "AMPHITHEATRE"

In 1620 John Cotton, John Williams, and Thomas Dixon[687] secured from King James a license to build an amphitheatre[688] "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."

[Footnote 687: 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 _gratis_, to John Williams and four others, to make _show_ of _an Elephant_, for a year; on the 5th of September to make show of a _live Beaver_; on the 9th of June, 1638, to make show of an outlandish creature, called a _Possum_." (George Chalmers, _Supplemental Apology_, p. 208.)]

[Footnote 688: The place is not indicated, but it was probably outside the city.]

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:[689]

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 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.

[Footnote 689: See _State Papers, Domestic, 1619-1623_, p. 181. I have quoted the letter from Collier, _The History of English Dramatic Poetry_ (1879), I, 408.]

Accordingly the license was canceled, and no new license was issued.

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.

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:[690]

_My very good Lord_,--I have perused this Bill, and do call to mind that about three or four years past 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,

THO. COVENTRYE, CH.

CANBURY, 12 _August_, 1626.

[Footnote 690: Collier, _op. cit._, I, 443.]

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 _Holland's Leaguer_, II, iii:

Twill dead all my device in making matches, My plots of architecture, and erecting New amphitheatres to draw custom From playhouses once a week, and so pull A curse upon my head from the poor scoundrels.[691]

[Footnote 691: _The Dramatic Works of Shackerley Marmion_, in _Dramatists of the Restoration_, p. 37. Fleay (_A Biographical Chronicle of the English Drama_, II, 66) suggests that the impostors Agurtes and Autolichus are meant to satirize Williams and Dixon respectively.]

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:[692]

_My Lord_,--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 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,

THO. COVENTRYE.

CANBURY, 28 _Sept._, 1626. LO. CONWAY.

[Footnote 692: I quote the letter from Collier, _The History of English Dramatic Poetry_ (1879), I, 444.]

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.

III

OGILBY'S DUBLIN THEATRE

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 _MacFlecknoe_ and Pope's _Dunciad_. At the beginning of his versatile career he was a successful London dancing-master, popular with "the nobility and gentry." When Thomas Earl of Strafford 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 _Athenæ Oxonienses_, says:

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.[693]

[Footnote 693: Bliss's edition, III, 741.]

Aubrey writes:

He had a warrant from the Lord Lieutenant to be Master of the Ceremonies for that kingdom; and built a pretty[694] little theatre in St. Warburgh Street in Dublin.

[Footnote 694: "Pretty little theatre" is the reading of _MS. Aubr. 7_, folio 20; _MS. Aubr. 8_ omits the adjective "pretty." For Aubrey's full account of Ogilby see Andrew Clark's _Brief Lives_ (1898), 2 vols.]

The history of this "little theatre" is not known in detail. For its actors Ogilby himself wrote at least one play, entitled _The Merchant of Dublin_,[695] and Henry Burnell a tragi-comedy entitled _Landgartha_, printed in 1641 "as it was presented in the 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 _The Royal Master_, published in 1638 as "acted in the new theatre in Dublin"; _Rosania, or Love's Victory_, now known as _The Doubtful Heir_, under which title it was later printed; _St. Patrick for Ireland_;[696] and in all probability _The Constant Maid_.[697] 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 _Poems_ we learn that they were presenting Jonson's _Alchemist_, Middleton's _No Wit_, two of Fletcher's plays, unnamed, and two anonymous plays entitled _The Toy_ and _The General_; and we may fairly assume that they honored several of Shirley's early plays in the same way.

[Footnote 695: Aubrey mentions this as having been "written in Dublin, and never printed."]

[Footnote 696: 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.]

[Footnote 697: Never licensed for England; reprinted in 1657 with _St. Patrick for Ireland_.]

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."[698]

[Footnote 698: _MS. Aubr. 7_, folio 20 v. Ogilby's second theatre in Dublin, built after the Restoration, does not fall within the scope of the present work.]

IV

THE FRENCH PLAYERS' TEMPORARY THEATRE IN DRURY LANE

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,[699] 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:

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 _Melise_,[700] with good approbation: for which play the King gave them ten pounds.

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 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[701] 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,[702] which I obtained of the King for them.

[Footnote 699: See Frederick Hawkins, _Annals of the French Stage_ (1884), I, 148 ff., for the career of this player on the French stage. "Every gift required by the actor," says Hawkins, "was possessed by Floridor."]

[Footnote 700: _La Melise, ou Les Princes Reconnus_, by Du Rocher, first acted in Paris in 1633; see _The Athenæum_, July 11, 1891, p. 73; and cf. _ibid._, p. 139.]

[Footnote 701: "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 _all_ money taken on the two sermon days of the _first_ week, and after that exacted their usual share as rental for the building.]

[Footnote 702: That is, Passion Week, during which time the English companies were never allowed to give performances.]

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:

The 4 April, on Easter Monday,[703] they played the _Trompeur Puny_[704] with better approbation than the other.

On Wednesday night, the 16 April,[705] 1635, the French played _Alcimedor_[706] with good approbation.[707]

[Footnote 703: This must be an error, for Easter Monday fell on March 30.]

[Footnote 704: _Le Trompeur Puni, ou Histoire Septentrionale_, by Scuderi.]

[Footnote 705: Wednesday was the 15th.]

[Footnote 706: _Alcimedon_, by Duryer.]

[Footnote 707: Malone, _Variorum_, III, 121, note.]

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:

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[708]] 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.[709]

[Footnote 708: This clause I insert from Mrs. Stopes's notes on the Lord Chamberlain's records, in the Shakespeare _Jahrbuch_, XLVI, 97.]

[Footnote 709: I have chosen to reproduce the record from Chalmers's _Apology_, p. 506, note _s_, rather than from Mrs. Stopes's apparently less accurate notes in the Shakespeare _Jahrbuch_, XLVI, 97.]

Apparently the players lost little time in fitting up the building, for we read in Herbert's Office-Book:

A warrant granted to Josias D'Aunay,[710] Hurfries de Lau, and others, for to act plays at a new house in Drury Lane, during pleasure, the 5 May, 1635.

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.[711]

[Footnote 710: Should we place a comma after "Josias"? That "Josias Floridor" was the leader of the troupe we know from two separate entries; cf. Chalmers, _Apology_, pp. 508, 509.]

[Footnote 711: Malone, _Variorum_, III, 122, note.]

In Glapthorne's _The Ladies' Priviledge_ is a good-natured allusion to the French Company and their vivacious style of acting:[712]

_La._ But, Adorni, What think you of the French?

_Ador._ Very airy people, who participate More fire than earth; yet generally good, And nobly disposition'd, something inclining To over-weening fancy. This lady Tells my remembrance of a comic scene I once saw in their Theatre.

_Bon._ Add it to Your former courtesies, and express it.

[Footnote 712: Act II, Scene i. This passage is pointed out by Lawrence, _The Elizabethan Playhouse_, p. 137.]

Whereupon, according to the stage direction, Adorni "acts furiously."

In the margin of his Office-Book Sir Henry Herbert writes complacently: "These Frenchmen were 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."

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."[713] 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.

[Footnote 713: Stopes, _op. cit._, p. 98, Chalmers, _Apology_, p. 509.]

V

DAVENANT'S PROJECTED THEATRE IN FLEET STREET

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 interested in "the art of perspective in scenes," and also in the Italian _opera musicale_. The royal patent--unusually verbose even for a patent--is printed in full in Rymer's _Foedera_, XX, 377; I cite below all the essential passages:

[_The Building._] 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,[714] 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.

[_Its Location._] 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 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.

[_Its Uses._] 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,[715] 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 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.

[Footnote 714: 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."]

[Footnote 715: 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.]

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."[716] Doubtless the owners of other houses 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.[717] They certainly would not have regarded with complacency the erection in their midst of a still larger theatre.

[Footnote 716: Cunningham, _The Whitefriars Theatre_, in _The Shakespeare Society's Papers_, IV, 96.]

[Footnote 717: See the chapter on the Second Blackfriars.]

Whatever the opposition, it was so powerful that on October 2 Davenant was compelled to make an indenture by which he virtually renounced[718] 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 _Supplemental Apology_, is as follows:

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. _Anno Domini_ 1639. Between the said King's most excellent Majesty of the first part, and William Davenant of London, Gent., of the other 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.

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 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.

WILLIAM DAVENANT. L.S.

Signed sealed and delivered in the presence of Edw. Penruddoks. Michael Baker.

[Footnote 718: 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, _A Collection of Ancient Documents_, p. 48.]

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.

BIBLIOGRAPHY

[In 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.]

[Transcriber's Note: 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.]

*1. _Actors Remonstrance, or Complaint for the Silencing of their Profession._ London, 1643. (Reprinted in W.C. Hazlitt's _The English Drama and Stage_, and in E.W. Ashbee's _Facsimile Reprints_.)

*2. ADAMS, J.Q. The Conventual Buildings of Blackfriars, London, and the Playhouses Constructed Therein. (The University of North Carolina _Studies in Philology_, XIV, 64.)

3. ---- The Four Pictorial Representations of the Elizabethan Stage. _(The Journal of English and Germanic Philology_, X, 329.)

*4. ---- _The Dramatic Records of Sir Henry Herbert, Master of the Revels 1623-1673._ New Haven, 1917.

5. ---- Lordinge (_alias_ "Lodowick") Barry. (_Modern Philology_, IX, 567. See No. 189.)

6. ALBRECHT, H.A. _Das englische Kindertheater._ Halle, 1883.

7. ARCHER, T. _The Highway of Letters._ London, 1893. (Chap. XV, "Whitefriars and the Playhouses.")

8. ARCHER, W. The Fortune Theatre. (The London _Tribune_, October 12, 1907; reprinted in _New Shakespeariana_, October, 1908, and in the Shakespeare _Jahrbuch_, XLIV, 159. See also Nos. 8, 38, 61, 129.)

9. ---- A Sixteenth Century Playhouse. (_The Universal Review_, June, 1888, p. 281. Deals with the De Witt drawing of the Swan.)

10. ARONSTEIN, P. Die Organisation des englischen Schauspiels im Zeitalter Shakespeares. (_Germanisch-Romanische Monatsschrift_, II, 165, 216.)

11. AUDI ALTERAM PARTEM. Cunningham's Extracts from the Revels' Books. (_The Athenæum_, 1911, II, 101, 130, 421; 1912, I, 469, 654; II, 143. See Nos. 80, 179, 180, 183.)

12. BAKER, G.P. The Children of Powles. (_The Harvard Monthly_, May, 1891.)

13. ---- _The Development of Shakespeare as a Dramatist._ New York, 1907.

14. BAKER, H.B. _History of the London Stage and its Famous Players._ London and New York, 1904. (A new and rewritten edition of _The London Stage_. 2 vols. London, 1889.)

15. ---- _Our Old Actors._ 2 vols. London, 1881. (There was an earlier edition, London, 1878, printed in New York, 1879, with the title, _English Actors from Shakespeare to Macready_.)

16. BAPST, C.G. _Essai sur l'Histoire du Théâtre._ Paris, 1893.

17. BARRETT, C.R.B. _The History of the Society of Apothecaries of London._ London, 1905.

BEAR GARDEN AND HOPE. See Nos. 27, 72, 99, 119, 143, 144, 147, 152, 157, 198, 221, 222, 223, 228, 236, 238, 239, 240, 241, 274, 281, 303, 304, 316.

*18. BELL, H. Contributions to the History of the English Playhouse. (_The Architectural Record_, March and April, 1913.)

19. BELL, W.G. _Fleet Street in Seven Centuries._ London, 1912. (Chap. XIV, "The Whitefriars Playhouses.")

20. BESANT, SIR W. _Mediæval London._ _London in the Time of the Tudors._ _London in the Time of the Stuarts._ 4 vols. London, 1903-06.

21. BINZ, G. Deutsche Besucher im Shakespeare'schen London. (_Beilage zur Allgemeinen Zeitung._ München, August, 1902.)

22. ---- Londoner Theater und Schauspiele im Jahre 1599. (_Anglia_, XXII, 456.)

*23. BIRCH, T. AND R.F. WILLIAMS. _The Court and Times of James the First._ 2 vols. London, 1849.

BLACKFRIARS, FIRST AND SECOND. See Nos. 2, 6, 17, 20, 26, 34, 41, 42, 43, 59, 61, 72, 90, 97, 100, 101, 105, 106, 108, 119, 136, 137, 146, 150, 163, 178, 179, 191, 196, 201, 214, 218, 223, 244, 248, 287, 288, 289, 293, 296, 297, 298.

24. BLANCH, W.H. _Dulwich College and Edward Alleyn._ London, 1877.

25. BOLINGBROKE, L.G. Pre-Elizabethan Plays and Players in Norfolk. (_Norfolk Archæology_, XI, 336.)

26. BOND, R.W. _The Complete Works of John Lyly._ 3 vols. Oxford, 1902.

27. BOULTON, W.B. _The Amusements of Old London._ 2 vols. London, 1901.

*28. BRAINES, W.W. _Holywell Priory and the Site of the Theatre, Shoreditch._ London, 1915. (Part XLIII of _Indications of Houses of Historical Interest in London_, issued by the London County Council.)

BRAND, J. See No. 157.

29. BRANDES, G. _William Shakespeare._ Translated by William Archer. 2 vols. London, 1898.

30. BRAYLEY, E.W. _Historical and Descriptive Accounts of the Theatres of London._ London, 1826. (Brief notice of the Cockpit in Drury Lane; relates chiefly to Restoration theatres.)

31. BRERETON, J. LE G. De Witt at the Swan. (_A Book of Homage to Shakespeare._ Oxford, 1916, p. 204.)

32. BRUCE, J. Who was "Will, my lord of Leycester's jesting player"? (_The Shakespeare Society's Papers_, I, 88.)

33. BULLEN, G. The Cockpit or Phoenix Theatre in 1660. (_The Athenæum_, May 21, 1881, p. 699.)

*34. BÜLOW, G. VON AND W. POWELL. _Diary of the Journey of Philip Julius, Duke of Stettin-Pomerania, through England in the year 1602._ (_Transactions of the Royal Historical Society_, New Series, VI. See No. 146.)

*35. _Calendar of State Papers, Domestic Series, 1547-1660._ London, 1856-. (See also No. 192.)

36. _Calendar of the Patent Rolls._ London, 1891-1908.

37. CALMOUR, A.C. _Fact and Fiction about Shakespeare, with Some Account of the Playhouses, Players, and Playwrights of His Period._ Stratford-on-Avon, 1894.

38. _A Catalogue of Models and of Stage-Sets in the Dramatic Museum of Columbia University._ New York, 1916. (See also Nos. 129, 211.)

*39. CHALMERS, GEORGE. _An Apology for the Believers in the Shakspeare-Papers._ London, 1797.

*40. ---- _A Supplemental Apology._ London, 1799.

*41. CHAMBERS, E.K. Commissions for the Chapel. (The Malone Society's _Collections_, I, 357.)

*42. ---- Court Performances Before Queen Elizabeth. (_The Modern Language Review_, II, 1.)

*43. ---- Court Performances Under James the First. (_Ibid._, IV, 153.)

*44. ---- Dramatic Records from the Lansdowne Manuscripts. (The Malone Society's _Collections_, I, 143.)

45. ---- The Elizabethan Lords Chamberlain. (_Ibid._, I, 31.)

46. ---- [Review of] _Henslowe's Diary_, Edited by Walter W. Greg. (_The Modern Language Review_, IV, 407, 511.)

*47. ---- A Jotting by John Aubrey. (The Malone Society's _Collections_, I, 341. Concerns Beeston and the Cockpit in Drury Lane.)

*48. ---- _The Mediæval Stage._ Oxford, 1903.

49. ---- Nathaniel Field and Joseph Taylor. (_The Modern Language Review_, IV, 395.)

50. ---- _Notes on the History of the Revels Office under the Tudors._ London, 1906.

51. ---- The Stage of the Globe. (_The Works of William Shakespeare._ Stratford-Town Edition. Stratford-on-Avon, 1904-07, X, 351.)

52. ---- Two Early Player-Lists. (The Malone Society's _Collections_, I, 348.)

53. ---- William Kempe. (_The Modern Language Review_, IV, 88.)

*54. CHAMBERS, E.K. AND W.W. GREG. Dramatic Records from the Privy Council Register, 1603-1642. (The Malone Society's _Collections_, I, 370. For the records prior to 1603 see No. 87. Cf. also No. 260.)

*55. ---- Dramatic Records of the City of London. The Remembrancia. (The Malone Society's _Collections_, I, 43. See also No. 224.)

*56. ---- Royal Patents for Players. (The Malone Society's _Collections_, I, 260.)

57. CHARLANNE, L. _L'Influence Française en Angleterre au xviie Siecle, Le Théâtre et la Critique._ Paris, 1906.

*58. CHILD, H. The Elizabethan Theatre. (_The Cambridge History of English Literature_, vol. VI, chap. X.)

59. CLAPHAM, A.W. On the Topography of the Dominican Priory of London. (_Archæologia_, LXIII, 57. See also Nos. 2, 61.)

*60. ---- The Topography of the Carmelite Priory of London. (_The Journal of the British Archæological Association_, New Series, XVI, 15. See also No. 61.)

61. CLAPHAM, A.W. AND W.H. GODFREY. _Some Famous Buildings and their Story._ Westminster, [1913]. (Contains Godfrey's study of the Fortune contract, and, in abbreviated form, the two articles by Clapham noted above, Nos. 59, 60. See also Nos. 8, 38, 116, 129.)

62. CLARK, A. Players or Companies on Tour 1548-1630. (_Notes and Queries_, X Series, XII, 41.)

COCKPIT-IN-COURT. See Nos. 18, 80, 81, 82, 83, 89, 99, 180, 181, 182, 183, 184, 197, 228, 250, 253, 305, 313.

COCKPIT-IN-DRURY LANE. See Nos. 4, 30, 33, 47, 72, 88, 91, 99, 119, 138, 139, 142, 147, 159, 197, 223, 227, 228, 303.

*63. COLLIER, J.P. _The Alleyn Papers._ London. Printed for The Shakespeare Society, 1843. (See No. 161.)

64. ---- _The Diary of Philip Henslowe._ London. Printed for The Shakespeare Society, 1845. (See No. 143.)

*65. ---- _The History of English Dramatic Poetry._ 3 vols. 1831. Second edition, London, 1879.

66. ---- _Lives of the Original Actors._ (See No. 68.)

*67. ---- _Memoirs of Edward Alleyn._ London. Printed for The Shakespeare Society, 1841. (See No. 316.)

68. ---- _Memoirs of the Principal Actors in the Plays of Shakespeare._ London. Printed for The Shakespeare Society, 1846. (Reprinted with some corrections in No. 65.)

69. ---- On Players and Dramatic Performances in the Reign of Edward IV. (_The Shakespeare Society's Papers_, II, 87.)

*70. ---- Original History of "The Theatre" in Shoreditch, and Connexion of the Burbadge Family with it. (_Ibid._, IV, 63.)

71. ---- Richard Field, Nathaniel Field, Anthony Munday, and Henry Chettle. (_Ibid._, IV, 36.)

*72. ---- _The Works of Shakespeare_, London, 1844. (Vol. I, p. ccxli, reprints a record of the end of certain early playhouses from "some manuscript notes to a copy of Stowe's _Annales_, by Howes, folio, 1631, in the possession of Mr. Pickering." See No. 119.)

73. CONRAD, H. Robert Greene als Dramatiker. (The Shakespeare _Jahrbuch_, XXIX-XXX, 210.)

74. CORBIN, J. Shakspere his own Stage-Manager. (_The Century Magazine_, LXXXIII, 260.)

75. CREIGHTON, C. _A History of Epidemics in Britain._ 2 vols. Cambridge, 1891-94.

76. CREIZENACH, W. _Geschichte des neueren Dramas._ Vol. IV, Part I,