xlvi. 97) appears to have been a bill signed by the Master of the

Revels.]

[Footnote 696: Greg, _Henslowe Papers_, 109; but his note is a slip.]

[Footnote 697: Cf. ch. xiii (Chamberlain's).]

[Footnote 698: _Sydney Papers_, ii. 86 (30 Jan. 1598), 'My Lord Compton, my Lord Cobham, Sir Walter Rawley, my Lord Southampton, doe severally feast Mr. Secretary before he depart, and have plaies and banquets. My Lady Darby, my Lady Walsingham, Mrs. Anne Russell, are of the company, and my Lady Rawley'; ii. 90 (15 Feb. 1598), 'Sir Gilley Meiricke made at Essex House yesternight a very great supper. There were at yt, my Ladys Lester, Northumberland, Bedford, Essex, Rich; and my Lordes of Essex, Rutland, Monjoy, and others. They had 2 plaies, which kept them up till 1 a clocke after midnight'; ii. 175 (8 March 1600), 'All this Weeke the Lords haue bene in London, and past away the Tyme in Feasting and Plaies; for Vereiken dined vpon Wednesday, with my Lord Treasurer, who made hym a Roiall Dinner; vpon Thursday my Lord Chamberlain feasted hym, and made hym very great, and a delicate Dinner, and there in the After Noone his Plaiers acted, before Vereiken, Sir John Old Castell, to his Great Contentment'. It seems that, for their patron, the Chamberlain's men would give up an afternoon.]

[Footnote 699: _S. P. D. Jac. I_, xix. 12 (1606); Birch, i. 243; Winwood, iii. 461. A gallant might also have his private play at night in a tavern; cf. Nashe, _Lenten Stuffe_ (1599, _Works_, iii. 148), 'To London againe he will, to reuell it, and haue two playes in one night, inuite all the Poets and Musitions to his chamber the next morning'; _A Mad World, my Masters_, v. i. 78, 'a right Mitre supper;--a play and all'.]

[Footnote 700: _Aphrodysial_, v. 5, cited by Reynolds, _Percy_, 258.]

[Footnote 701: Machyn, 222, 290, notes a play, either in the Guildhall or in that of the Lord Mayor's company, on 6 Jan. 1560, and a play at the Barber Surgeons' feast on 10 Aug. 1562. The Pewterers collected 'playe pence' at their 'yemandrie feast' about 1563 (C. Welch, _Pewterers_, i. 233). Recorder Fleetwood saw a play at a dinner with the outgoing sheriffs on 29 Sept. 1575 (_Hatfield MSS._ ii. 116; dated 1573 in error in Murdin, ii. 259, and Nichols, _Eliz._ i. 357).]

[Footnote 702: They are fully treated for the sixteenth century by F. S. Boas, _University Drama in the Tudor Age_ (1914), and more briefly for the whole period, with a valuable bibliography, by the same writer, in _C. H._ vi. 293. I have recorded the extant plays, English and Latin, in App. K.]

[Footnote 703: Ch. xxiii, s.v. Beaumont; Inderwick, _Inner Temple Records_, i. lxv, 219; ii. xlix, 23 _sqq._, 56, 64. A payment of 20_s._ 'to the players' at the Christmas of 1615 was probably, in view of the amount, for musicians. The earlier account-books are not preserved. On the plays, not necessarily professional, of the 1561-2 Christmas, cf. ch. xxiii, s.v. Brooke.]

[Footnote 704: _Gesta Grayorum_ (M. S. R.), 22, 23. R. J. Fletcher, _The Pension Book of Gray's Inn_ (1901), prints entries of payments for 'the play at Shrove-tyde' 1581, of which nothing more is known, and 'the play in Michaelmas terme' and 'the Tragedie' in 1587-8, in which year the Inn gave _Catiline_ at home before Lord Burghley on 16 Jan. (_M. S. C._ i. 179) and _The Misfortunes of Arthur_ at court on 28 Feb. Gascoigne's _Supposes_ and _Jocasta_ were both produced at Gray's Inn in 1566-7. The Inn was to have entertained the Duke of Bracciano with 'shewes' at Christmas 1600-1, but he left too soon (Chamberlain, 99; Camden (tr.), 535).]

[Footnote 705: B. Rudyerd, _Memoirs_, 12, 13. The ascription of these revels to 'the Christmas of 1599' in _Mediaeval Stage_, i. 416, is an error; cf. p. 169.]

[Footnote 706: Manningham, 18.]

[Footnote 707: J. D. Walker, _Black Books of Lincoln's Inn_, i. xxxiii, 344, 348, 352, 362, 374, 418; ii. 55. It was ordered on 2 Feb. 1565 that 'Mʳ Edwards shall have in reward liijˢ, iiijᵈ for his plee, and his hussher xˢ, and xˢ more to the children that pleed' (in margin, 'Children of the Quenes Chappell'). The accounts of 1564-5, however, show £1 18_s._ 2_d._ for a supper and for staff torches, clubs, and other necessaries for the play, and £1 as reward for the boys; those of 1565-6 £2 to the boys of the Queen's chapel and their master for a play at the Purification; those of 1569-70 £1 'lusoribus' of 'Lord Roche' at the Purification; those of 1579-80 £3 6_s._ 8_d._ on 9 Feb. 'to Mʳ Ferrand [Farrant] one of the Queen's chaplains _pro commedia_'. On 12 May 1598, a levy was made for the expenses of 'the gentlemen that were actors in the matter of the shew the last Christmas'. No more is known of this show. On the Inns of Court Christmases generally cf. _Mediaeval Stage_, i. 413.]

[Footnote 708: The Westminster accounts of 1564-5 (Murray, ii. 168) include 'at yᵉ rehersing before Sir Thomas Benger for pinnes and sugar candee viᵈ' and 'the second tyme att the playing of Heautonti, for pinnes halfe a thousand viᵈ', but there is nothing to suggest that any play but _Miles Gloriosus_ was given before the Queen. The _Revels Accounts_ (Feuillerat, _Eliz._ 145, 176, 179, 238, 277, 325, &c.) have (1571-2), 'playes ... chosen owte of many and ffownde to be the best that then were to be had, the same also being often pervsed, & necessarely corrected & amended (by all thafforesaide officers)'; (1572-3), 'muzitians that plaide at the proof of Duttons play' ... 'rushes in the hall & in the greate chambere where the workes were doone & the playes rezited'; (1574-5) 'at Wynsor ... for peruzing and reformyng of Farrantes playe' ... 'wheare my Lord of Leicesters menne showed theier matter of Panecia' ... 'where my Lord Clyntons players rehearsed a matter called Pretestus', &c.; (1576-7), 'To Whitehall and back againe to recyte before my Lord Chamberleyn' ... 'to Sᵗ Johns ... for the play of Cutwell'; (1579-80) 'Thinges ... brought into the Masters Lodginge for the rehearsall of sondrie playes to make choise of dyvers of them for her maiestie', &c., &c.]

[Footnote 709: Machyn, 221.]

[Footnote 710: Cf. chh. xxiii, xxiv, s.vv. Chettle (1602); Dekker, _Fortunatus, Phaethon_; the anonymous _Histriomastix_. The prints of several plays contain special court prologues or epilogues, e.g. Lyly's _Campaspe_ and _Sapho and Phaon_.]

[Footnote 711: Buggin's Revels memorandum of 1573 (_Tudor Revels_, 33) indicates that his proposed Serjeant 'is with the master and the reast of the officers to be at the rehersall of playes'.]

[Footnote 712: Feuillerat, _Eliz._ 326 (1579-80, 50 days), 337 (1580-1, 70 days), table ii (1581-2, 44 days), 352 (1582-3, 62 days), table iii (1583-4, 56 days), 368 (1584-5, 66 days), 389 (1587-8, 64 days; 1588-9, 57 days). The commission (App. D, No. lvi) authorized the Master to command players 'to appear before him with all suche plaies tragedies comedies or showes as they shall haue in readines or meane to sett forth and them to presente and recite before our said servant or his sufficient deputie'.]

[Footnote 713: Feuillerat, _Eliz._ 145, 193, 286, 320. In 1571-2 all the plays were 'throwghly apparelled and ffurnished'; in 1573-4 all were 'fytted and ffurnyshed with the store of thoffice and with the woorkmanshipp and provisions herein expressed'; in 1578-9 the clerk seems to distinguish between plays furnished with 'sondrey', 'some', 'manie', and 'verie manie' things; in 1579-80 seven out of nine plays were 'wholie furnyshed in this offyce', and of the others one had 'sondrie' and one 'many' things; cf. Graves, 83.]

[Footnote 714: Cf. ch. iii, p. 93.]

[Footnote 715: Feuillerat, _Eliz._ 354, 370, 381, 391; cf. ch. iii, p. 89.]

[Footnote 716: Ibid. 140, 174, 236, 320, 336, 349 (gloves); 338 (cradle); 205 (close-stool). The Westminster boys in 1565 found their own 'sugar candee', 'comfetts', and 'butterd beere for yᵉ children being horse' (Murray, ii. 168).]

[Footnote 717: Feuillerat, _Eliz._ 337.]

[Footnote 718: Tarlton, 10, records a jest, 'Tarlton having plaied before the queen till one a clock at midnight'. De Silva describes entertainments of Elizabeth in private houses early in the reign which ended at 1.30 and 2 a.m. (ch. v, pp. 161, 162). Under James, a play on 7 Jan. 1610, began at 10 p.m. (_Arch._ xii. 268).]

[Footnote 719: Feuillerat, _Eliz._ 159, 202, 216, 300, 353, 368, &c. We hear of 'high', 'vice', 'stock', 'pricke', 'plate', and 'hand' candlesticks.]

[Footnote 720: Cunningham, 214 (1611-12), 'For a musik house dore in the hall and a doore for the musik house in the Bancketing house with lockes'; possibly that in the hall was used for plays rather than masks.]

[Footnote 721: Cf. App. B and the Works Account of 'Chardges done for the revells in the hall' at Shrovetide 1568 in Feuillerat, _Eliz._ 120. But the Revels themselves had 'to enlardge the scaffolde in the hall' in 1579-80 (327).]

[Footnote 722: Cf. ch. ii, p. 34.]

[Footnote 723: On the woodcut in _Three Lords and Three Ladies of London_ (1590), cf. _Bibl. Note_ to ch. xviii.]

[Footnote 724: Cf. App. A.]

[Footnote 725: Peck, _Desiderata Curiosa_, ii. 267 (from account of Matthew Stokys in _Harl. MS._ 7037 (_Baker MS._ 10)); 'For the hearing and playing whereof was made, by her highness surveyor and at her own cost, in the body of the church, a great stage containing the breadth of the church from the one side to the other, that the chapels might serve for houses. In the length it ran two of the lower chapels full, with the pillars on a side. Upon the south wall was hanged a cloth of state, with the appurtenances and half path, for her majesty. In the rood loft, another stage for ladies and gentlewomen to stand on. And the two lower tables, under the said rood loft, were greatly enlarged and railed for the choice officers of the court. There was, before her majesty's coming, made in the King's College hall, a great stage. But, because it was judged by divers to be too little, and too close for her highness and her company, and also far from her lodging, it was taken down. When all things were ready for the plays, the Lord Chamberlain with Mr. Secretary came in, bringing a multitude of the guard with them, having every man in his hand a torch-staff for the lights of the play (for no other lights were occupied) and would not suffer any to stand upon the stage, save a very few upon the north side. And the guard stood upon the ground by the stage side, holding their lights. From the quire door unto the stage was made as 'twere a bridge, railed on both sides, for the queen's grace to go to the stage; which was straitly kept.' This account is also in Nichols, _Eliz._ i. 151. In his first edition Nichols (iii. 27) also gave an account by Nicholas Robinson, which adds the detail that the stage was 'structura quaedam ex crassioribus asseribus altitudine pedum quinque'; cf. also Boas, 91.]

[Footnote 726: Cf. ch. xii and App. K.]

[Footnote 727: Plummer, 123 (from Bereblock's account): 'Primo ibi ab ingenti solido pariete patefacto aditu proscenium insigne fuit, ponsque ab eo ligneus pensilis, sublicis impositus, parvo et perpolito tractu per transversos gradus ad magnam Collegii aulam protrahitur; festa fronde coelato pictoque umbraculo exornatur, ut per eum, sine motu et perturbatione prementis vulgi, regina posset, quasi aequabili gressu, ad praeparata spectacula contendere. Erat aula laqueari aurato, et picto arcuatoque introrsus tecto, granditate ac superbia sua veteris Romani palatii amplitudinem, et magnificentia imaginem antiquitatis diceres imitari. Parte illius superiori, qua occidentem respicit, theatrum excitatur magnum et erectum, gradibusque multis excelsum. Iuxta omnes parietes podia et pegmata extructa sunt, subsellia eisdem superiora fuerunt multorum fastigiorum, unde viri illustres ac matronae suspicerentur, et populus circumcirca ludos prospicere potuit. Lucernae, lichni, candelaeque ardentes clarissimam ibi lucem fecerunt. Tot luminaribus, ramulis ac orbibus divisis, totque passim funalibus, inaequali splendore, incertam praebentibus lucem, splendebat locus, ut et instar diei micare, et spectaculorum claritatem adiuvare candore summo visa sint. Ex utroque scenae latere comoedis ac personatis magnifica palatia, aedesque apparatissimae extruuntur. Sublime fixa sella fuit, pulvinaribus ac tapetiis ornata, aureoque umbraculo operta, Reginae destinatus locus erat'; cf. Boas, 99.]

[Footnote 728: I think Feuillerat, _M. P._ 73, must be misled by the Cambridge analogy and the use of the term 'proscenium' in supposing the 'pons' to have been within the auditorium and the state on the stage. The 'proscenium' was doubtless the 'porch' taken down after the visit (Boas, 106). The exterior of the hall has been refaced since 1566, but Dr. Boas tells me that during some recent alterations an unexplained aperture was traceable from within.]

[Footnote 729: Cf. ch. iv.]

[Footnote 730: Cf. p. 234.]

[Footnote 731: Jusserand, _Shakespeare in France_ (tr.), 93, pl. xi.]

[Footnote 732: _L. T. R._ vii. 41. In _The Times_ for 3 Dec. 1917 Mr. Law has a similar reconstruction of the arrangements at Hampton Court, wherein he assigns the stage to a point before the screens, with the gallery over the screens for 'upper chamber scenes', rooms behind the screens for tiring-houses, and a players' supper room, and the Watching Chamber for rehearsals. But again he produces no evidence.]

[Footnote 733: Cf. ch. xix.]

[Footnote 734: The expenses of 1578-9 (_vide infra_) included the 'mending' of houses. But I agree, broadly, with the argument of Graves, 53, that scenery for a Court performance had to be either new or renewed.]

[Footnote 735: In 1563-5, 'canvas to couer diuers townes and howsses and other devisses and clowds' (Feuillerat, _Eliz._ 116); in 1571-2, 'sundry Tragedies Playes Maskes and sportes with their apte howses of paynted canvas' (129); in 1572-3, 'sparres to make frames for the players howses' (175); in 1573-4, 'hoopes for tharbour and topp of an howse' ... 'pynnes styf and great for paynted clothes' ... 'nayles to strayne the canvas' ... 'canvas to paynte for howses for the players and for other properties as monsters, greate hollow trees and suche other' ... 'cariage for the fframes for the howses that served in the playes' ... 'iij elme boordes and vij ledges for the frames for the players' ... 'cariage of fframes and painted clothes for the players howses' (197, 201, 203, 204, 218); in 1574-5, 'canvas to make frenge for the players howse' (244); in 1576-7, 'cariadge ... of a paynted cloth and two frames' (266); in 1587-9, 'timber bordes and workmanshipp in mending and setting vp of the houses by greate' (390); in 1587-8 'paynters for ... clothe for howses' (381); in 1579-80, 'ffurre poles to make rayles for the battlementes and to make the prison for my Lord of Warwickes men' (327).]

[Footnote 736: Feuillerat, _M. P._ 69, calculates that enough cloth was painted in 1580-1, 1582-3, and 1584-5 to allow of about 16 square yards for every house or other _décor_ used.]

[Footnote 737: Feuillerat, _Eliz._ 134.]

[Footnote 738: Ibid. 176.]

[Footnote 739: Ibid. 119.]

[Footnote 740: Ibid. 320.]

[Footnote 741: Ibid. 336.]

[Footnote 742: Ibid. 349.]

[Footnote 743: Ibid. 365.]

[Footnote 744: In 1571-2, 'curtyn ringes' (Feuillerat, _Eliz._ 140); in 1573-4, 'poles and shivers for draft of the curtins before the senat howse ... curtyn ringes ... edging the curtins with ffrenge ... tape and corde for the same' (200); in 1576-7, 'a lyne to draw a curteyne' (275); in 1580-1, a purchase of 8 ells of orange taffeta double sarcenet at 10s an ell for a curtain for a play (338); in 1584-5 'one greate curteyne' of sarcenet for _Phillyda and Corin_ (365).]

[Footnote 745: Cf. ch. xix.]

[Footnote 746: In 1572-3, 'an awlter for Theagines' (Feuillerat, _Eliz._ 175); in 1573-4, 'lathes for the hollo tree' ... 'one baskett with iiij eares to hang Dylligence in the play of Perobia ... a iebbett to hang vp Diligence' ... 'hoopes for tharbour' (199, 200, 203); in 1578-9 'a rope, a pulley, a basket' (296); in 1584-5, a well for _Five Plays in One_ (365). For Cutwell, rehearsed but not performed in 1576-7 (277), 'the partes of yᵉ well counterfeit' were brought from the Bell to St. John's.]

[Footnote 747: In 1572-3, 'a tree of holly for the Duttons playe ... holly for the forest ... tymber for the forest ... provizion and cariage of trees and other things to the Coorte for a wildernesse in a playe' (Feuillerat, _Eliz._ 175, 180); in 1573-4, 'holly and ivye for the play of Predor' (203); in 1574-5, 'moss and styckes' and holly and ivy (239, 244).]

[Footnote 748: Feuillerat, _Eliz._ 306. There were rocks or mountains also in 1574-5, 1579-80, and 1584-5 (244, 320, 365).]

[Footnote 749: Ibid. 240. It was an old device. Graves, 27, quotes Palsgrave, _Acolastus_ (1540), 'in stage-playes, when some god or some saynt made to appeare forth of a cloude; and succoureth the parties which seemed to be towardes some great danger, through the Soudans crueltie'.]

[Footnote 750: 'Andramedas picture' ... 'Benbow for playing in the monster' ... 'canvas for a monster' ... 'hoopes for the monster' (ibid. 175, 176, 181).]

[Footnote 751: Ibid. 265.]

[Footnote 752: Ibid. 140, 141. The 'hunters that made the crye after the fox (let loose in the Coorte) with their howndes, hornes, and hallowing' had already been a feature of Edwardes' _Palaemon and Arcite_ at Oxford in 1566.]

[Footnote 753: Feuillerat, _M. P._ 57, gives an excellent summary of the data in the Accounts, but his schedule of properties does not attempt to disentangle masks and plays. The latter were liberally supplied. The Italians at Reading and Windsor during the progress of 1574, for example, were furnished with 'golde lether for cronetes', 'shepherdes hookes', 'lam-skynnes for shepperds', 'arrowes for nymphes', 'a syth for Saturne', 'iij deveils cotes and heades and one olde mannes fries cote' (Feuillerat, _Eliz._ 227). Probably the apparel used on the stage was of less costly materials than that worn by lords and ladies in masks, but it was doubtless calculated to present the same glittering effect.]

[Footnote 754: Cf. p. 226, and Plummer (from Bereblock), 138, 'Fiunt igitur in silvis septa marmorea' with three altars.]

[Footnote 755: I. Wake, _Rex Platonicus sive Musae Regnantes_ (1607), 46, 79, 112, 134; Nichols, i. 530 (from account, probably by Philip Stringer, in _Harl. MS._ 7044, f. 201). Wake thus describes the hall: 'Partem Aulae superiorem occupavit Scena, cuius Proscenium molliter declive (quod actorum egressui, quasi e monte descendentium, multum attulit dignitatis) in planitiem desinebat. Peripetasmata scenicaque habitacula, machinis ita artificiose ad omnium locorum rerumque varietatem apparata, ut non modo pro singulorum indies spectaculorum, sed etiam pro Scenarum una eademque fabula diversitate subito (ad stuporem omnium) compareret nova totius theatralis fabricae facies.... Media cavea thronus Augustalis cancellis cinctus Principibus erigitur, quem utrinque optimatum stationes communiunt: reliquum inter thronum et theatrum interstitium Heroinarum Gynaeceum est paulo depressius.' In _Annus Recurrens_ the scene was a zodiac with a sun moving by artifice, and the play lasted from the Ram to the Fishes. Stringer adds the details about the turning pillars, the false wall, and the participation of Jones.]

[Footnote 756: _Pipe Office, Declared Accounts_ (_Revels_), 2805.]

[Footnote 757: Thorndike, 191.]

[Footnote 758: Cf. p. 217.]