200 
Much Ado about Nothing. See. 
Shakespeare. 
Music, taught and practiced at 
Blackfriars, xi, 4, 5, 9, 10, 11, 71, 
106-7, 113, 114, 115, 116-18, 121, 
122, 163; Duke of Stettin’s Diary 
on, 5, 10, 106-7, 113, 117; within 
the “play; 5; “9-10,- 114-4165 4121. 
122; preceding the play, 5, 9, 10, 
106-7, 113, 115, 117-18, 122; char- 
acteristic of children-plays, 9-10, 
113; 116-18) 121, 1222 character- 
istic of private theatre, 9-10', 122; 
in public theatres, 9, 10'-11, 116’, 
122; at Paul’s, 9, 122; source of 
praeludia, interludia, and inter- 
meszos in modern drama, 9, 122; 
stage-directions for, 10, 113, 116*- 
18, 121; Malcontent on, 10°, 116’; 
in The Tempest, 10°; of Black- 
friars orchestra, 10*, 48°; The 
Actors Remonstrance on, 10%; 
Cynthia’s Revels on, 48°; in early 
German theatre, 111; “shows” 
containing, 115, 121°-22; concerts, 
popularized by Blackfriars, 117’, 
121; publications of, for concerts, 
iahees: 
Musical entertainments. See Con- 
CELL, 
Musical instruments, at Blackfriars, 
106-7, 116, 117°. 
Musicale. See Concert. 
Musicians, in balcony, at Blackfri- 
ars, 48°, 50-plat-51; not in “or- 
chestra” of public theatres, 42°, 
45, 137°. 
Nash, Thomas, Isle of Dogs, re- 
strained at Rose, ate: De 
Necromantes. See Percy. 
Newington Butts theatre, date of, 
9°; location of, 153'; dramatists 
for, 1637. 
Nobility, in evolution of private 
theatre, 5'-6, 22°; patronage of 
public theatres by, as model for 
German patronage, 111; Eliza- 
beth’s law for patronage of the- 
atres by, 152, 152°, 175°. 
Official conduct of Blackfriars, x, 1, 
4, 26, 40, 51, 71, 73-76, 87, 91-92, 
95-97, 98-104, 105, 106-7, 112, 115, 
125, 126, 127, 128-29, 160, 173-74, 
175-82 ; summary of evidences on, 
126-29. 
CHILDREN OF THE CHAPEL AT BLACKFRIARS — 
See Orders. _ “3 : 
Official orders. 
of, 10; Whitelocke on, 10°. 
“Orchestra” 
See Gentlemen’s rooms. s 
Orchestral  praeludia, } 
See Music, Singing. 
Orders, official, 
ing, against Blackfriars, 53-54; 
Elizabeth’s purposes in, 125, 129, 
150, 153, 152, 154-55, 157, 7g 
limiting number 
125, 156; 
ber of, 148; early, a Elizabeth, — 
“Thea- , 
Puritanism not cause — 
regulating Curtain and 
tres = 148": 
in London ee 
meaning of, 42°-43, 45, 137"-38, 
interludia, — 
and intermezzos, origin of, 9, 122. 7 
against theatres, 3 
significance of, cleared up, x, Xli; — 
false statement of City concern- — 
of, 148-50; request of City for, to 
suppress theatres, 149, 152, 
155, 156, 160; City neglects exe- 
cution of, 149, 158, 155, 156, 161°; 
‘161°-62 ; 
I, 149*-50, 161’; protective tom 
Blackfriars, 153, 1615, 15-16% 
against Rose, 155, 181°; 
differentiating “public” 
vate” theatre, 156-57; restraining 
Curtain, 158, 181°; touching Black- 
friars and Paul’s, 158’; 
against “public” 
149, 153; (1597-[8]), 155; (June, — 
1600), 125, 149, 156, 161’; ‘(March 
11, 1601), 157-58; (Dec. 31, 
1601), 125, 149, 160, 161°; (March 
19, 1602-[3]), 162°. 
by City of London, 
press Blackfriars, 17°, 53°, 
161’. 
general, — 
154", 
Fage of Plymouth. See Jonson. 
“Pardon, general,’ meaning of, 77°. 
Patient Grisell. See Dekker. 
Paul’s, the church Singing-school, 
7, 107°; as private theatre, 7, 130°, 
153°; size and capacity of, 7; no 
galleries i in, 7; date of, 8, 9°, 153°; 
music at, 9, 122; Satiromastix at, 
Tt Sar size of stage at, 43, 44, 
130-31°; sitting on stage of, 44, 
46°, 130-31'; location of, 153°; 
strained, 158’; list of dramatists 
for, 163°; plays of, with local al- 
314 
revocation of, by James “ 
favorable / 
to Globe and Fortune, bee 156; “4 
and ‘ ‘pri- “a 
theatres (1597), a 
to sup : 
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