[35] Engravings, by Jean de Gourmont and another, of this type of stage are reproduced by Bapst, 145, 153, and by Rigal in Petit de Julleville, iii. 264, 296; cf. M. B. Evans, An Early Type of Stage (M. P. ix. 421).
[36] Cf. Mediaeval Stage, ii. 217.
[37] Baschet, 6; D’Ancona, ii. 456; H. Prunières, L’Opéra Italien en France (1913), xx; A. Solerti, La rappresentazione della Calandra a Lione nel 1548 (1901, Raccolta di Studii Critici ded. ad A. d’ Ancona), from La Magnifica et Triumphale Entrata del Christianissimo Re di Francia Henrico Secundo (1549).
[38] Cf. ch. xiv (Italians).
[39] D’Ancona, ii. 457.
[40] Brantôme, Recueil des Dames, i. 2 ([OE]uvres, ed. 1890, x. 47), ‘Elle eut opinion qu’elle avoit porté malheur aux affaires du royaume, ainsi qu’il succéda; elle n’en fit plus jouer’. Ingegneri says of tragedies, ‘Alcuni oltra dicio le stimano di triste augurio’.
[41] E. Rigal in Rev. d’Hist. Litt. xii. 1, 203; cf. the opposite view of J. Haraszti in xi. 680 and xvi. 285.
[42] Sainte-Marthe, Elogia (1606), 175.
[43] G. Lanson in Rev. d’Hist. Litt. x. 432. In Northward Hoe, iv. 1, Bellamont is writing a tragedy of Astyanax, which he will have produced ‘in the French court by French gallants’, with ‘the stage hung all with black velvet’.
[44] Lanson, loc. cit. 422. A description of a tragi-comedy called Genièvre, based on Ariosto, at Fontainebleau in 1564 neglects the staging, but gives a picture of the audience as