[1769] Cf. ch. xvii.
[1770] Dutch Courtesan (c. 1603, Blackfriars), V. iii. 162, ‘my very fine Heliconian gallants, and you my worshipful friends in the middle region’.
[1771] Cf. Wright (App. I). For the origin of the term, cf. the c. v. of L. Digges to Shakespeare’s Poems (1640):
Let but Beatrice
And Benedicke be seene, loe in a trice
The cockpit, galleries, boxes, are all full,
To hear Malvoglio that crosse-garterd gull.
[1772] Dekker, G. H. B. (cf. App. H), with its mingling of ‘public’ and ‘private’ features, cannot be relied on. The Roxana and Wits engravings show spectators ‘over the stage’, but cannot be treated as evidence for the private houses. The Messallina engraving only shows a window closed by curtains.
[1773] Cf. p. 556, infra.
[1774] 1 Ant. Mellida (Paul’s), prol., ‘select and most respected auditors’; What You Will (Paul’s), ind., ‘the female presence, the genteletza, the women’; Jack Drum’s Entertainment (Paul’s), ind., ‘this choise selected influence’. But it was still mixed enough; cf. Jonson’s c. v. to Faithful Shepherdess (Revels, c. 1608–9):