[31] Devil’s Charter, II, i, IV, iv; Timon, V, iv; Coriolanus, I, iv; A Larum for London, sc. ii. There is no stage direction specifying Sancto Davila’s appearance on the walls. However, he is “walking about Castle” and he answers to the question, “Whose that above?” (sig. B2v).
[32] Othello, I, i; Volpone, II, ii; Every Man Out of His Humour, I, ii; Devil’s Charter, III, ii.
[33] Richard Hosley, “The Gallery over the Stage in the Public Playhouse of Shakespeare’s Time,” S.Q., VIII (1957), 31.
[34] J. C. Adams, pp. 209-215. Also G. F. Reynolds, The Staging of Elizabethan Plays at the Red Bull (New York, 1940), p. 188.
[35] Macbeth, IV, i; Hamlet, V, i; A Larum for London, scene xii; The Devil’s Charter, prologue; III, v, IV, i, V, vi. For Hamlet, I, iv and v, see [Chapter Five].
[36] Leslie Hotson, Shakespeare’s Wooden O (London, 1959), p. 13.
[37] Hotson, The First Night of Twelfth Night, p. 67, also p. 119; Nagler, p. 11.
[38] Thomas Dekker, The Gull’s Hornbook, in Alois Nagler, Sources of Theatrical History (New York, 1952), p. 135.
[39] Hosley, “The Gallery,” 28.
[40] Alois Nagler, Shakespeare’s Stage (New Haven, 1958), pp. 10-11.