That better (nor the like) ne’er played a play—

who came to the rescue and saved the occasion from fiasco. And it was at the Hope and by the Lady Elizabeth’s men, as the Induction and the title-page show, that Jonson’s Bartholomew Fair was produced on 31 October. There is a reference in the text of the play to Taylor’s adventure,[706] and a compliment to Field, which puts him on a level with Burbadge of the King’s men.[707] Bartholomew Fair was presented on the very next day before James at Court. This performance, for which Field was payee on 11 June, was the only one by the company during the winter festivities of 1614–15. In February 1615 there was a breach between Henslowe and the company, as a result of which the Articles of Grievance were drawn up. According to the Articles Henslowe ‘brooke the companie’; but it is not quite clear what exactly took place. In some form the Lady Elizabeth’s men certainly continued to exist. They visited Nottingham in March 1615, and a letter from Lord Coke to the Mayor of Coventry shows that they also contemplated a visit to that town in the same month.[708] My impression is that they subsequently patched up another reconstruction with Henslowe, and that on this occasion the process did entail some kind of amalgamation with Prince Charles’s men. Field, however, probably now joined the King’s men. The Lady Elizabeth’s do not appear to have been separately represented when the Privy Council called the London companies before them for a breach of Lent on 29 March 1615. It is true that they may have been alone in not offending, but it is more probable that William Rowley and John Newton, who were summoned, answered for the amalgamation. The Prince’s men are recorded as playing at Court during the Christmas of 1615–16 and the Lady Elizabeth’s men are not. Yet the payee for their four plays, of which the dates are not specified, was Alexander Foster, who had been a Lady Elizabeth’s man and not a Prince’s man. But it is probable that both this amalgamation and the earlier one between the Lady Elizabeth’s and the Queen’s Revels, although effective as a business operation from Henslowe’s point of view, did not amount to a complete merging of identities, such as would entail a surrender of one or other of the official patents. Certainly the Lady Elizabeth’s, the Prince’s and the Revels were in some sense distinct, and yet in the closest relationship in 1615. So much is clear from Rosseter’s patent of 3 June to build in the Blackfriars, which contemplated that all three companies would share in the use of the new house. That the joint user extended also to plays is suggested by the title-page of Field’s Amends for Ladies (1618) which declares it to have been ‘acted at the Blacke-Fryers, both by the Princes Seruants and the Lady Elizabeths’. Perhaps this indicates alternative rather than combined playing. Whatever the arrangement, it was probably altered again on or before Henslowe’s death on 6 January 1616.[709] A company containing many of the former Lady Elizabeth’s men remained at the Hope. But they went under Prince Charles’s patronage, and it is not until 1622, when we find them at Christopher Beeston’s house of the Cockpit or Phoenix, that we can be sure of the presence of Lady Elizabeth’s men in London once more.[710] But they had held together in the provinces. Possibly the nucleus of the provincial company had been formed of men left out by the Henslowe-Rosseter negotiations of 1613–14. They first appear at Norwich on 2 March 1614 under Nicholas Long, who in 1612 had been travelling with Queen’s Revels boys. They came again on 27 May 1615 with an exemplification of the 1611 patent dated 31 May 1613, and again on 5 June 1616 under John Townsend, and again on 7 June 1617 under Henry Sebeck. In the same year Joseph Moore was acting as an agent of the Lord Chamberlain and Master of the Revels in clearing the provinces of irregularly licensed players, not improbably in the interests of the Lady Elizabeth’s themselves, whose original patent was now set free, through changes in London, for provincial use in place of a mere exemplification.[711] The company is also traceable at Leicester, Coventry, Nottingham, Marlborough, and elsewhere from 1614,[712] and on 11 July 1617 Townsend and Moore received a warrant for £30 in respect of three plays given before James during his journey to Scotland.[713] On 20 March 1618 Townsend and Moore, with Alexander Foster and Francis Waymus, obtained a new licence under the royal signet.[714] This authorized them to play in London, and their actual return there may have been earlier than 1622.

XIV
INTERNATIONAL COMPANIES

i. ITALIAN PLAYERS IN ENGLAND

[Bibliographical Note.—The wanderings of the Italian companies in Italy itself and in France are recounted in A. D’Ancona, Origini del Teatro Italiano (ed. 2, 1891), and A. Baschet, Les Comédiens italiens à la Cour de France (1882), but without much knowledge of the few English records. W. Smith, Italian and Elizabethan Comedy (M. P. v. 555) and The Commedia dell’ Arte (1912), deals more fully with these. The literary influence of Italian comedy is discussed by L. L. Schücking, Die stofflichen Beziehungen der englischen Komödie zur italienischen bis Lilly (1901), and R. W. Bond, Early Plays from the Italian (1911).]

The England of Elizabeth and James was a lender rather than a borrower of players. No records have been disinterred of French actors in this country between 1495 and 1629;[715] and although there are a few of Italian actors, their visits seem to have been confined to a single brief period.[716] The head-quarters of Italian comedy during the middle of the sixteenth century was at the Court of Mantua, and when Lord Buckhurst went as ambassador to congratulate Charles IX of France on his wedding, it was by Louis Gonzaga, Duke of Nevers and brother of the Duke of Mantua, that he was entertained on 4 March 1571 ‘with a comedie of Italians that for the good mirth and handling thereof deserved singular comendacion’.[717] In the following year the Earl of Lincoln was at Paris from 8 to 22 June in order to conclude a treaty, and letters relate how he saw at the Louvre ‘an Italian playe, and dyvers vauters and leapers of dyvers sortes verie excellent’, and how later, when he visited the King at the Chateau de Madrid, ‘he had some pastyme showed him by Italian players, which I was at with hym’.[718] It may perhaps have been encouragement from one or both of these nobles, which led an Italian company not long afterwards to make its way across the Channel. The first notice of it is at Nottingham in September 1573, when a reward was ‘gevin to the Italyans for serteyne pastymes that they shewed before Maister Meare and his brethren’.[719] In 1574 the Revels Accounts include expenditure ‘for the Italyan players that ffollowed the progresse and made pastyme fyrst at Wynsor and afterwardes at Reading’. Elizabeth was at Windsor on 11 and 12 July; on 15 July she removed to Reading and remained there to 22 July. At Windsor the Italians used ‘iij devells cotes and heades & one olde mannes fries cote’; at Reading, where they performed on 15 July, the provisions included staves, hooks, and lambskins for shepherds, arrows for nymphs, a scythe for Saturn, and ‘horstayles for the wylde mannes garment’. Professor Feuillerat appears to suggest that they may have been playing Tasso’s Aminta, produced at Ferrara on 31 July 1573. But there were other pastorals.[720] The Italians are probably the comedians commended to the Lord Mayor on 22 July, and in November Thomas Norton calls special attention to ‘the unchaste, shamelesse and unnaturall tomblinge of the Italian weomen’. How long this company remained in England is unknown. There was an Italian acrobat at the Kenilworth festivities on 14 July 1575, but the description suggests that he was a solitary performer.[721] The Treasurer of the Chamber paid ‘Alfruso Ferrabolle and the rest of the Italian players’ for a play at Court on 27 February 1576, to the consideration of which I shall return. In April 1577 there was an Italian play before the Council at Durham Place.[722] Finally, on 13 January 1578, the Privy Council addressed a letter to the Lord Mayor, requiring him to permit ‘one Drousiano, an Italian, a commediante and his companye’, to play until the first week of the coming Lent. I take it that the company was also at Court, since the Chamber Accounts for 1577–8 include an item ‘for a mattres hoopes and boardes with tressells for the Italian Tumblers’. The company to which the visit of 1573–4 was due cannot be identified with any certainty. Presumably it came through France, and ought to have left signs there. There seem to have been three Italian companies in France during 1571. The first, in February, was that of Giovanni Tabarin. The second, that seen by Lord Buckhurst in Paris, was the famous Compagnia de’ Gelosi, of which one Signora Vittoria, of Ferrara, known on the stage as Fioretta, was the prima donna. This, however, had returned to Milan by the spring of 1572 and its subsequent movements hardly render a visit to England in 1573 plausible. A third company, that of Alberto Ganassa, a Zanni or clown from Bergamo, reached Paris in the autumn of 1571.[723] It was sent away by the Parlement on account of its high charges for admission, but returned in 1572 and played at the wedding of Henri of Navarre and Marguerite of Valois on 18 August. Nothing is heard of Ganassa in France after October 1572, but during the summer of 1574 he seems to have been in Madrid; so he also is not available for the English visit. It may very likely have been his company which the Earl of Lincoln saw. But it may also have been that led by Soldino of Florence and Anton Maria of Venice, which was performing ‘commedies et saults’ before Charles IX at Blois on 25 March 1572, and subsequently made its way to Paris. My authorities say nothing further about Soldino and Anton Maria, so we are at liberty to believe that Lincoln invited them to try their fortune across the sea.[724]

The ‘Drousiano’ of 1578 offers less difficulty. He must have been Drusiano, son of Francisco Martinelli, of Mantua, who in after years won a considerable reputation, although less than that of his brother Tristano Martinelli, as Arlecchino in the commedia dell’ arte.[725] There is no other notice of him before 1580, when he subscribes himself as ‘marito di Ma Angelica’, who appears to have been one Angelica Alberghini, and the company with which he was associated in 1578 is not known.[726] But it may very well have been the Gelosi. This company paid in 1577 their second visit to France, upon the invitation of Henri III, and remained there at least until July. They seem to have been in Florence fairly early in 1578, but some or all of them may have found time for an English trip in the interval. Direct proof that Drusiano Martinelli ever belonged to the Gelosi is lacking. But they are the only Italian company known to have been in France in the summer of 1577, and players are not likely to have passed from Italy to England without leaving some traces of their presence in France.[727]

The professional Italian actors of the second half of the sixteenth century played both the popular commedia dell’ arte and the literary commedia erudita, or commedia sostenuta. The former, with its more or less improvised dialogue upon scenarii, which revolved around the amorous and ridiculous adventures of the zanni, the arlecchino, the dottore, and other standing types, was probably best adapted to the methods of wandering mimes in an alien land.[728] The latter was common to professionals and amateurs. And I suspect that the Court play of 27 February 1576, although it earned its reward from the Treasurer of the Chamber, was an amateur performance. The ‘Alfruso Ferrabolle’ of the account-book can hardly be other than a clerical perversion of the name of Alfonso Ferrabosco, the first of three generations of that name, father, son, and grandson, who contributed in turn to the gaiety of the English Court. The eldest Ferrabosco was certainly in this country by 1562 when he was granted an annuity of 100 marks. His service terminated after various interruptions in 1578.[729] He is doubtless the ‘Mr. Alphonse’ who took part in the preparation of a mask in June 1572.[730] In connexion with the same mask, a reward was paid to one ‘Petrucio’, while for a later mask of 11 January 1579 ‘Patruchius Ubaldinas’ was employed to translate speeches into Italian and write them out fair in tables.[731] This was Petruccio Ubaldini, another of Elizabeth’s Italian pensioners, who was both a literary man and an illuminator, and made his residence in England from 1562 to 1586.[732] It is quite possible that the performance of 1576 may be referred to in the following undated letter from Ubaldini to the Queen, in which he makes mention of Ferrabosco.[733] If so, it came off after all.

Sacra Serenissima Maiesta,

Perché à i giorni passati io haveva promesso à M. Claudio Cavallerizzo, et à M. Alfonso Ferrabosco, d’esser contento di recitare ad una piacevol Comedia Italiana; per compiacere alla Maiesta Vostra; et non si trovando di poi altri, che tre ò quattro, che fusser contenti d’accettar tal carico; ho voluto che l’Altezza Vostra conosca da me stesso il pronto animo, ch’ io ho per la mia parté di servirla, et di compiacerla in ogni attioné, che me sia comandata ò da lei, ò in suo nomé, non solamente comé servitore giurato, ch’io gli sono; ma comé desiderosissimo di far conoscere, che la divotioné, ch’io porto allé sue Reali qualità, supera ogn’ altro rispetto; desiderandogli io contentezza, et felicità non meno, che qualunqué altro suo servitore gli desideri: la cui bontà Dio ci prosperi.