190 
45', 56°; The Tempest, first piay 
at. Blackfriars by, 10°; dramatic 
freedom conduced to by, 18, 123; 
profits of, at Blackfriars, 35, 45; 
retained but restricted by Eliza- 
beth, 155, 156; connection of, with 
Essex conspiracy, 157; strolling or 
traveling of, 175°; not the com- 
pany patronized by James VI of 
Scotland, 175°. 
Byron tragedies. 
Campaspe. See Lyly. 
Candle-light, at Blackfriars, 106-7, 
124. 
Canopy, 48*. 
Capacity, of the Swan and Hope, 
30-31, 33, 50°; of the Fortune 
and Globe, 49, 50- plat-51;"52 3 of 
Blackfriars, 47, 49, 50-plat-51, 52; 
comparison of, in Elizabethan- 
Jacobean and modern theatres, 50°. 
Case is Altered, The. See Jonson. 
Cawarden, Sir Thomas, owner of 
Blackfriars, 17; royal grant of 
Blackfriars to, 22; not first Mas- 
ter of the Revels, 21°-22; uses 
hall at Blackfriars for play-act- 
ing, 22'-22°, 42°; makes changes 
in Blackfriars precinct, 23. 
Chapel Royal, place of, 2-3; uses 
of, 2, 3; constitution of, 2; duties 
of, 2-3; James I and choristers 
of, in Scotland, 3; salaries and 
fees of, 3, 3°; -4; Nathaniel Gyles’s 
connection with, 3°, 58, 59°-62;.as 
a theatre, 4°; as source of private 
theatre, 5-6; children not to be 
taken from, 64. See Children, 
Commission, Elizabeth, Gyles. 
Chapman, George, source of an un- 
known play by, xv, 164°; rank of, 
12 e eidsr dramatist, ror ’ children- 
companies, 12; Biron tragedies, 
indiscretions of, 15, 163*, 177-78; 
See Chapman. 
as writer of masques, 121; recip- 
rocal influences of, on Shake- 
speare, 167-68. 
All Fools, on sitting on the 
stage, 133-347. 
Gentleman Usher, The, act- 
ors required in, 5s evidences in, 
of singing, 114*; music, 116°; 
dancing, 118°; masque, 119; obli- 
gations of, to Twelfth Night, 167- 
68. 
304 
CHILDREN OF THE CHAPEL AT BLACKFRIARS 
May Day, actors required. in, 
75°; as laughing answer to Hai 
let, 86, 168; evidences in, of sing- 
ing, . 114'; instrumental mu ic 
116°; ; dancing, lin tee 
im: Zo. " evidences in, of singing 
114'; music, 116°; dancing, 118°; 
character-extension of Malvolio 
in, 168. 
Sir Giles Goosecap, actors, 
required in, 75°; evidences in, of 
singing, 114°; music, 116'; dane 
ing, 118; masque, 119; character- 
extension of Dogberry in, 167. 
Widdowes Teares, The, act- 
ors required in, 75°; satire of, on 
Star Chamber decree; 82-83, 86— 
87; date of, 82, 86, 114*-15, 118°, 
120; evidences. in, of singing, 
114*; music, 116°; dancing, 118; 
musical prelude to, 106-7, 115-163 
117-18; masque in, 120; elaborate ; 
costuming of, 106-7, 124; obliga-— 
tions of, to The Taming of the 
Shrew, 168. ; 
Characteristics of children-plays, g- 
10; 14-15, 118, 114S19, Loser, 122, : 
123- 24. 
Characteristics of theatres, private, — 
5-7, 18°, 35, 43-49, 50-plat-5iym 
141-42; public, re 18°, 42°, 44-49, ~ 
50-plat-51, 52, 137-38. a 
Charles I, suppresses custom of sit-— 
ting on stage, 143°. ~ a 
Charles II, grant of theatrical mo- 
nopoly by, 110°, 148. 
Children-companies, on_ history of, 
vii, vill, xil; publications” on, Vii, 
xii; on editing plays of, vii; re- 
lations of, to dramatic and his-_ 
trionic art, vii, vili, ix, xii, 1, 9, 3 
12, 13, 14-15; 16, 105, 122, 141, 147, 
180°; under Elizabeth, 1, 9, 12,9 
105; under James I, 1, # 9, 12, 
{3,)15,. 16,044 545% 74, 105, ‘110%, 4 
113, 1177, 121, 163, 177, 183; "early, | 
at Blackfriars, 6, 24, 42°; period 
of, 1, 12, 16; imitations and echoes — 
of, 1, 16, 117", 121, 163; at White- — 
friars, 1, 6, 13, 14, 15; in private 
theatres, 7; characteristics of 
plays by, 9-10, 14-15, 113, 114-19, 
119-21, 122, 123-24; period of, 1, 
12, 16; proportion of plays by, 12, © 
163-64; chief dramatists as poets © 
