204 
nor Whitefriars, 44, 130-31; as 
hindrance to players, 44, 142, 143- 
46; at public theatres, 44, 45, 131%, 
136-41; at Globe, 44, 1344, 136-41; 
in France, 46, 143-47 ; Guls Horne- 
Booke on, 46, 133%, ‘140°, 140*; in 
Germany, 46, 146-47; origin of 
custom of, at Blackfriars, 130-34; 
a Blackfriars fad, 130, 141; at 
Cockpit, 130, 136, 137°, 141; at 
Salisbury Court, 130, 141, 143°; 
history of custom of, 130-47; 
Paul’s plays on, 131’, 131°; evi- 
dences of, 131-34, 136-41; Sir John 
Davies on, 132’; Every Man out 
of his Humour on, 132°; Cynthia’s 
Revels on, 132°; Hamlet’s utter- 
ance on, 133°; Blackfriars fad, 
miniatured in Hamlet, 133; All 
Fools on, 133-34; Malcontent on, 
134*, 1836; Heminges and Condell 
on, in address to 1623 edition of 
Shakespeare's plays, 136°; Foliie’s 
Anatomie on, 136°; Roaring Gil 
on, 137°; Devil’s Last Will and 
Testament on, 138‘; spread of the 
fashion, 141-47; Devil is.an Ass 
on, 142; suppressed by Charles I, 
143*; influences of, on French 
drama and acting, 143; D’Au- 
bignac on, 143; Tallemant des 
Réaux on, 143°; Les Facheux on, 
143-45; Voltaire’s Discourse on 
Tragedy on, 145°; Sémiraniis on, 
145°-46; suppressed in France, 
146; Goethe’s Wahrheit u. Dicht- 
ung on, 146-47. See Stage. 
Sitting “over” the stage, origin of, 
134; as choice position, 134°; at 
public theatres, 134-36; evidences 
of, 134-35. See Davies, Dekker, 
Fortune, Globe, Red Bull, Rox- 
ana, Skialetheta. 
Size, of Blackfriars, ix, 7, 28, 35, 36, 
38-39, 43°, 46, 49°, 50-plat—51, 
428°; of Paul’s, 7; of Whitefriars, 
7, 36; of Cockpit, 8, 36, 39%, 141; 
of Fortune and Globe, 39, 49°, 50- 
51, 52, 1837. See Capacity, Stage. 
Skialetheia, on sitting “over” stage, 
135°; on the “gull,” 138°39. =» 
Sccial centre, at Blackfriars, 7, 35- 
36, 43, 45, 48°, 51, 95-97; at other 
theatres, 51, 161. 
Songs. See Singing. 
. Source, of Children of the Chapel 
5 : ‘ 5 ine eae a Bes oie : 
CHILDREN OF THE CHAPEL AT BLACKFRIARS — ae 
Sources, for knowledge of publi ica 
Spectacular effect, 
Stage, 
at Blackfriars, 1, 70, 71, 112, 1503 
of Children of Revels, i, 745° omm 
music in modern drama, 9, 122; 
of private theatre, 5-6, 12. 
theatre, 7°-8. 
ate Blackfriars, 4 
106-7, 124, 177. 
at Blackfriars, location of, 
ix, 36, 43°, 141-42; position of, 
relative to audience, ix, 50-plaies 
61, 52; gallants on, xi, 7, 42°, 4355 
44, 45, 46, 47, 48’, 50-plat-51, 5 
124, 130-47; size of, 38, 43-47, 50- 
plat-51; position of, ‘relative to” 
lords’ rooms, 42°, 46-49, 50-plat- 
51; structure of, 42°, ‘5 46, 47, 
141-42; equipment of, at acquisi- 
tion of Blackfriars by ‘Shakespeare 
and fellows, 45'; influences of, on — 
French stage, 46, 143-47; plastic, 
47,°48-49 ; plat of, 47, 50-51; and 
modern, 47°, 47°; balcony of, 48, 
50-plat-51 ; ‘curtains or traverses” 
i 48°, 50-plat-51 ; canopy on, | 
: furnishing and equipment of, 
ase “49, 555 individuality of, i 
unhistorical, 49° 137" 
at Cockpit, size of, ‘43; sit- 
ting on, 44, 130, 136, 141. a" 
at Curtain, unhistorical, 49%, : 
137°; sitting on, 138. q 
at Fortune, size of, 45, AT, 3 
50-plat-51 ; sitting on, 45, 137-38; 
position of audience relative to, y 
52; position of gentlemen’s rooms 
and yard- crowd relative to, 52; i 
sitting “over,” 136. 
at Globe, size of, 45; sitting 
on, 45, 134*, 136-41; relation of 
gentlemen’s rooms to stage-gal- 
lants on, 45, 134*, 136, 138; un- — 
historical, 49°, 137°; position of 
audience relative £0;,152'¢ position — 
of gentlemen’s rooms and yard- — 
crowd relative to, 52; sitting over, my 
136. 
at Hope, removable, 33; po- 
sition of, 45, 138 ; , sitting on, 45, 
138; sitting “over,” 134. 
at Paul’s, size of, 43, 44, 130 
31’; sitting on, 44, 46, 130-31, 
————_ ‘at Red Bull, relation of au- 
318 
dience to, 52; sitting ‘ ‘over,’ 
"135 7a 
sitting on, 138. . 
