[725] Peck, Desiderata Curiosa, ii. 267 (from account of Matthew Stokys in Harl. MS. 7037 (Baker MS. 10)); 'For the hearing and playing whereof was made, by her highness surveyor and at her own cost, in the body of the church, a great stage containing the breadth of the church from the one side to the other, that the chapels might serve for houses. In the length it ran two of the lower chapels full, with the pillars on a side. Upon the south wall was hanged a cloth of state, with the appurtenances and half path, for her majesty. In the rood loft, another stage for ladies and gentlewomen to stand on. And the two lower tables, under the said rood loft, were greatly enlarged and railed for the choice officers of the court. There was, before her majesty's coming, made in the King's College hall, a great stage. But, because it was judged by divers to be too little, and too close for her highness and her company, and also far from her lodging, it was taken down. When all things were ready for the plays, the Lord Chamberlain with Mr. Secretary came in, bringing a multitude of the guard with them, having every man in his hand a torch-staff for the lights of the play (for no other lights were occupied) and would not suffer any to stand upon the stage, save a very few upon the north side. And the guard stood upon the ground by the stage side, holding their lights. From the quire door unto the stage was made as 'twere a bridge, railed on both sides, for the queen's grace to go to the stage; which was straitly kept.' This account is also in Nichols, Eliz. i. 151. In his first edition Nichols (iii. 27) also gave an account by Nicholas Robinson, which adds the detail that the stage was 'structura quaedam ex crassioribus asseribus altitudine pedum quinque'; cf. also Boas, 91.
[726] Cf. ch. xii and App. K.
[727] Plummer, 123 (from Bereblock's account): 'Primo ibi ab ingenti solido pariete patefacto aditu proscenium insigne fuit, ponsque ab eo ligneus pensilis, sublicis impositus, parvo et perpolito tractu per transversos gradus ad magnam Collegii aulam protrahitur; festa fronde coelato pictoque umbraculo exornatur, ut per eum, sine motu et perturbatione prementis vulgi, regina posset, quasi aequabili gressu, ad praeparata spectacula contendere. Erat aula laqueari aurato, et picto arcuatoque introrsus tecto, granditate ac superbia sua veteris Romani palatii amplitudinem, et magnificentia imaginem antiquitatis diceres imitari. Parte illius superiori, qua occidentem respicit, theatrum excitatur magnum et erectum, gradibusque multis excelsum. Iuxta omnes parietes podia et pegmata extructa sunt, subsellia eisdem superiora fuerunt multorum fastigiorum, unde viri illustres ac matronae suspicerentur, et populus circumcirca ludos prospicere potuit. Lucernae, lichni, candelaeque ardentes clarissimam ibi lucem fecerunt. Tot luminaribus, ramulis ac orbibus divisis, totque passim funalibus, inaequali splendore, incertam praebentibus lucem, splendebat locus, ut et instar diei micare, et spectaculorum claritatem adiuvare candore summo visa sint. Ex utroque scenae latere comoedis ac personatis magnifica palatia, aedesque apparatissimae extruuntur. Sublime fixa sella fuit, pulvinaribus ac tapetiis ornata, aureoque umbraculo operta, Reginae destinatus locus erat'; cf. Boas, 99.
[728] I think Feuillerat, M. P. 73, must be misled by the Cambridge analogy and the use of the term 'proscenium' in supposing the 'pons' to have been within the auditorium and the state on the stage. The 'proscenium' was doubtless the 'porch' taken down after the visit (Boas, 106). The exterior of the hall has been refaced since 1566, but Dr. Boas tells me that during some recent alterations an unexplained aperture was traceable from within.
[729] Cf. ch. iv.
[730] Cf. p. 234.
[731] Jusserand, Shakespeare in France (tr.), 93, pl. xi.
[732] L. T. R. vii. 41. In The Times for 3 Dec. 1917 Mr. Law has a similar reconstruction of the arrangements at Hampton Court, wherein he assigns the stage to a point before the screens, with the gallery over the screens for 'upper chamber scenes', rooms behind the screens for tiring-houses, and a players' supper room, and the Watching Chamber for rehearsals. But again he produces no evidence.
[733] Cf. ch. xix.
[734] The expenses of 1578-9 (vide infra) included the 'mending' of houses. But I agree, broadly, with the argument of Graves, 53, that scenery for a Court performance had to be either new or renewed.