SITTING ON THE STAGE 1387 
at that, I doubt its value. It is even questionable whether this, 
upon close examination, can be taken to mean the Globe more 
_ than the Blackfriars. Besides, the advice is the same as given a 
little while before in the same work concerning Blackfriars.* 
Middleton’s The Roaring Girl, acted at the Fortune ca. 1610,? 
_ satirizes the practice throughout the greater part of the first scene 
of act II, and specifically ridicules* it as belonging to the 
private stage.* No further evidence comes from or relates to 
the Fortune. 
From the evidence given and in the absence of contradictory 
testimony, I conclude that neither the Globe nor the Fortune made 
provision to entertain visitors on the stage. To have done so 
would have required a probable rebuilding of the stage, or of the 
best paying part df the theatre, the gentlemen’s rooms at the sides. 
The structure of certain stages furnishes further negative evi- 
dence. The Fortune,® eighty feet square outside and fifty-five 
within, built in other respects on the model of the Globe, had a 
stage forty-three feet wide which extended in depth to the middle 
of the yard, 7. e., excluding the tiring-house, twenty-seven and 
one-half feet. At left and right of the stage was the “orchestra’’® 
‘This meant, of course, the 
Blackfriars. It is not certain 
whether the Cockpit was yet built, 
or S atyres and Satyrical Epigrams 
(1619), sign. B2. 
*Dancing attendance on _ the 
Blackfriers stage, 
Call for a stoole with a command- 
ing rage. 
—Idem, sign. A. See infra, 139-40. 
*Published 1611 with the state- 
ment on the title-page, “As it hath 
lately beene Acted on the Fortune- 
stage by the Prince his Players.” 
i [At the feather-shop. 
Jack Dapper.—Pooh, I like it not. 
Mistress Tiltyard—What feather 
ist you’d have, sir? 
These are most worn and most in 
fashion: 
Amongst the beaver-gallants, the 
stone riders, 
The private stage’s audience, the 
twelvepenny-stool gentlemen, 
I can inform you ’tis the general 
feather. 
—Thomas Middleton, The Roaring 
Girl, II, i, 151-56, in Middleton’s 
Works (ed. Bullen, 1885) IV, 37. 
which was the next theatre to take 
up the fashion. 
°For details see Contract for the 
Fortune in Halliwell-Phillips, op. 
cit., I, 304-306. See also plat of 
the Fortune, supra, 50-51. 
°*Dr. Cecil Brodmeier, Die 
Shakespeare Biihne nach den alten 
Bithnenanweisungen (Diss. Halle, 
1904), 102, following Professor 
Brandl, evidently misunderstand- 
ing the designation “orchestra” in 
the Swan sketch as having not the 
Latin sense but the modern mean- 
ing, places the music here!! To 
be sure, Brodmeier does not deal 
with the Fortune. But as he melts 
the stages of “The Theatre,” Cur- 
tain, Globe, and Blackfriars into 
one, the addition of the Fortune 
cannot disturb his resulting com- 
posite. Cf. supra, 42°, 44-45. 
251 
