/ ,. 
16 CHILDREN OF THE CHAPEL AT BLACKFRIARS 
dren-companies in the development of both theatre and drama — 
gives just recognition to the value of every slightest detail of © 
their history. Hitherto nothing very definite has been known 
about the Children of the Chapel at Blackfriars and their off- 
springs, the Children of the Revels under James, their careers 
and influences. It is hoped that the following pages, based upon 
original records, documents, and the plays, may contribute to 
definiteness and add to the sum of knowledge. 
The history developing out of preceding conditions and evolv- 
ing into the influences noted concerns itself specifically with the 
companies of children, their piayhouses, management, member- 
ship, and performances. The boys do not emerge into individual 
prominence until they approach the end of their career. They 
are from the first little more than puppets in the hands of their 
superiors. Hence their history is very much the history of their 
managers. : 
The point of main divergence in the evolution of the Chapel 
Children, swinging them into the active current of dramatic com-_ 
petition, dates from the first royal commission to Nathaniel Gyles 
for taking up children, and the opening of the Blackfriars by 
Henry Evans, 1597. The termination of the theatrical activity 
of the resulting Children of the Revels companies is 1613-[15]. 
Imitations and echoes of this activity continue to the Restoration. 
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