42 CHILDREN OF THE CHAPEL AT BLACKFRIARS 
document declares how many galleries there were. But one of 
the recent discoveries from which quotation has just been made 
uses the plural “‘porticibws anglice Galleryes,’* by which it is sure 
there were two or more, while The Dutch Courtesan by reference 
to “the middle region” makes it clear there were three.? Also the 
available space of two full stories? would have allowed an upper 
gallery, a middle gallery, and the usual lower gallery on the level 
with the stage.* In that part of the lower gallery that adjoined 
the stage must have been the chief loges or boxes or rooms for 
gentlemen and lords,’—to which reference is made when Horace 
[Jonson] in Satiromastix is accused of coming on the stage at the 
close of his play and exchanging courtesies and compliments with 
Wa) and. J. 2. Collier op. .est., 11, 
145. 
Although the date of this notice 
is 1635, there are reasons to believe 
that the structure and arrangement 
of the “rooms” was the same from 
the first. 
Cf. supra, 41%. 
a... And now, my very fine 
Heliconian gallants, and you, my 
worshipful friends in the middle 
region.”—Cockledemov’s Epilogue 
to Marston’s The Dutch Courtesan, 
V, iii, 162-64. Played at Black- 
friars ca. autumn, 1602. 
also “middle rooms” 
“middle stories,” supra, 38°. 
*The Fortune contract (“. S., 
29°) calls for three stories, the 
first 12 feet, the second 11 feet, and 
the third 9 feet, a total of 32 feet. 
Blackfriars auditorium must have 
been of nearly or quite an equal 
height. This might well have been. 
Any one familiar with the nobler 
mediaeval monastic or conventual 
buildings is aware that their ceil- 
ings are generally very high. The 
upper story of Blackfriars seems to 
have been built and roofed by the 
friars as a single room for audi- 
torial purposes, and certainly dur- 
ing Sir Thomas Cawarden’s time 
was used as such, even for presen- 
tation of plays, and for rehearsals 
of interludes, masques, &c., in prep- 
aration for Court entertainment. A 
room 66 x 46 feet built and used for 
and 
such purposes could hardly be less 
than 16 to 18 feet in height,—pos- 
sibly rather more than less. If then 
the lower floor was but 12 to 14 
feet high, the reconstructed “Great 
Hall” had a height of 28 to 32 feet. 
With 4 feet as the height of the 
stage-level gallery, this 28 to 32 feet ° 
of space allowed an average height 
of 8 to 9 feet for each gallery-story. 
*This low gallery was charac- 
teristic of. contemporary public the- 
atres. (See for example the De 
Witt—Van Buchell sketch of the 
Swan.) It is still found in Euro- 
pean theatres, especially in those of 
a date not quite modern. No better 
example could be cited than the old 
Stadttheater of Freiburg in Baden, 
not only in this particular of the 
lower gallery but in most other par- 
ticulars; for it was remodeled as 
Blackfriars was from part of a me- 
diaeval monastery. (Cf. infra, com- 
plete work, vol. I.) 
This feature of a stage-level gal- 
lery around the whole room appears 
in the American theatre in only the 
most rudimentary form, extending 
no farther back from the stage than 
the two or three private boxes and 
the one or two open loges at their 
rear. 
5Cf. supra, 41°, 41°, 427. 
In the public theatres these “gen- 
tlemen’s rooms” were at right and 
left of the stage with a passage be- 
tween. In the Swan sketch they 
156 
