[83] The T. C. Accounts show a reward of £200 to Cornish on 30 Nov. 1516, of which the occasion is not specified, and a payment of £18 2s. 11½d. for ‘ij pagentes’ on 6 July 1517. With these possible exceptions, no expenditure on the disguisings or the interludes which formed part of them as distinct from the independent interludes by the Children, for which Cornish received £6 13s. 4d. each, seems to have passed through these accounts. Any remuneration received by Cornish or his fellows or children for their personal services probably passed through the Revels Accounts.
[84] Wallace, i. 16, 50. He light-heartedly accuses my friend Mr. Pollard, me, and others of perpetuating an old mis-ascription on the strength of Bale, ‘generally without consulting the Scriptores’, in the first edition of which (1548) Bale says that Rastell ‘reliquit’, and in the second that he ‘edidit’ The Four Elements. This Professor Wallace regards as revision by Bale of an incorrect assertion that Rastell was the author into an assertion that he was the publisher. But Bale elsewhere uses ‘edidit’ to indicate authorship, as Professor Wallace might have learnt from the notice of Heywood which he quotes on p. 80. As to The Four P. P. there are three early editions by three different publishers, and they all assign it to Heywood.
[85] Wallace, i. 61, 69; ii. 63, from patents and Exchequer payments. The Elizabethan patent is in Rymer, xv. 517.
[86] Rimbault, viii, quoting only the words ‘in anie churches or chappells within England to take to the King’s use, such and so many singing children and choristers, as he or his deputy should think good’. Stopes, 12, gives Lansd. MS. 171, and Stowe MS. 371, f. 31v, as references, but the commission is not in either of them.
[87] Matthew Welder appears as a lute and viol at Court in 1516 and 1517. Peter Welder was appointed in 1519 and is traceable to 1559, as a lute, viol, or flute. Henry van Wilder was a ‘musician’, 1553–8. Philip Welder or van Wilder himself is first noted as a ‘minstrel’ in 1526. Later he was a lute up to 1554. In 1547 he was also ‘of the Privy Chamber’ and keeper of the King’s musical instruments (Nagel, 6, 13, 15, 16, 18, 22, 24, 27; Lafontaine, 8, 9, 12; Brewer, i, cxi). He died 24 Jan. 1554, leaving a son, Henry, probably the one noted above (Fry, London Inquisitions, i. 117). The Chamber Accounts for 1538–41 show an allowance to him of £70 ‘for six singing children’ (Stopes, 12). Several references to ‘Philippe and his fellows yong mynstrels’ and to ‘the children that be in the keeping of Philip and Edmund Harmon’ appear in Green Cloth documents from 30 June 1538 to 1544 (H. O. 166, 172, 191, 208; Genealogist, xxx. 23). Edmund Harmon was one of the royal Barbers. Finally, livery lists of 1547 show nine singing men and children under ‘Mr. Phelips’ (Lafontaine, 7). An earlier company of ‘the King’s young minstrels’ than this of 1538–50 seems to have been lodged at court c. 1526 (Brewer, iv. 1. 865), and there were ‘troyes autres nos ioesnes ministralx’ as far back as 1369 (Life Records of Chaucer, iv. 174). Elizabethan fee lists continue to make provision for ‘six children for singing’, but there is no indication that the posts were filled up.
[88] Wallace, ii. 63, from docquet in B. M. Royal MS. 18, C. xxiv, f. 232. By an obvious error, the name is written by the clerk as ‘Gowre’.
[89] Wallace, i. 77.
[90] Cf. p. 12.
[91] It is possible that the Treasurer of the Chamber did not pay all the rewards for plays during the earlier years of the reign; but the suggestion of Wallace, i. 108, that, if we had the Books of Queen’s Payments, more information might be available, seems to show a failure to realize the identity of the Tudor Books of King’s Payments with the T. of C. Accounts. There might, however, be rewards in a book subsidiary to the Privy Purse Accounts. I do not think that much can be made of the recital of ‘playes’ as well as ‘maskes’ in the preamble of the Revels Accounts for 1558–9, during which the T. of C. paid no rewards, since this may be merely ‘common form’.
[92] Feuillerat, Eliz. 34; cf. Appendix A. Naturally no ‘reward’ would be paid in such circumstances. Fleay, 16, 32, 60, conjectures that the play was Misogonus.