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48 CHILDREN OF THE CHAPEL AT BLACKFRIARS 
from 25 to 46 feet wide as occasion might require, the genera] — 
notion of the size and structure of Blackfriars stage derived — 
from known conditions as presented on preceding pages, is merely 
translated into nearer definiteness.* 
At the rear of the stage and over the passage was a permanent 
balcony extending doubtless the full width between the two lower 
rooms of the tiring-house. The balcony did occasional service 
for certain situations in the plays, but seems to have been used 
mainly as the station for the musicians. 
The Blackfriars stage was elastic in depth as well as in width, 
and could according to the demands of the given play be varied 
by curtains or traverses of any required number placed at any 
required distance between the balcony and the front of the stage.® 
This flexibility was further increased by the use of a canopy* as 
occasion required, which could be set anywhere on the stage to 
be removed at will. 
But the evidences of structure, arrangement, furnishing, and 
equipment of Blackfriars stage must be deferred to a later work.® 
*While I have little doubt that 
the dimensions and other items here 
presented will ultimately prove to 
be substantially correct, I shall not 
be satisfied until I turn up certain 
documents I am now on trace of, 
which I am confident from the na- 
ture of them will settle details with 
finality. 
*It is this close juxtaposition of 
the music to the tiring-house that 
gives point to the remark, in one 
of the Chapel Children’s plays, about 
the author’s swearing in the tiring- 
house, and thereby railing the music 
out of tune, as follows: 
“T assure you sir we are not so 
officiously befriended by him [the 
author, Ben Jonson], as to have his 
presence in the tiring-house, to 
prompt us aloud, stamp at the book- 
holder, swear for our properties, 
curse the poor tire-man, rayle the 
musick out of tune,” &c—Ilnduction 
to Cynthia’s Revels. At Blackfriars 
ca. April, 1600. 
®The gallants on the stage, 
whose chief end at the theatre was 
not to see but to be seen,—are some- 
times made the butt of pleasantry for 
ostentatiously “standing at the helme 
to steere the passage of scaenes” (u. 
1, 140°), solely for the opportunity 
ef displaying themselves and their 
fine dresses the better to the 
audience. 
The crossing of traverses opposite 
their seats therefore could not have 
been an annoyance to them but may 
the rather have contributed to their 
notion of pleasure by the opportu- 
nity afforded for officious service. 
*The canopy was a cloth or can- 
vas affair in the shape of a covered 
room, a shop, a high wall, or other 
necessary enclosing apparatus. It is 
still an accessory more common on 
the European than the American 
stage. One of the most effective 
uses comes to mind in connection 
with a recent masterly presentation 
of Wagner’s Die Meistersinger von 
Niirnberg on a German stage with 
acting and staging as perfect as the 
singing. 
*There is some hope that the 
chapter on this head may be ready 
for the completed work. But there 
162 
