[299] 1 Hen. VI, II. i (p. 54, n. 5). This arrangement would also fit I. ii, in which a shot is fired from the walls at ‘the turrets’, which could then be represented by the back wall. On a possible similar wall in the Court play of Dido, cf. p. 36.
[300] W. Archer (Quarterly Review, ccviii. 466) suggests the possible use of a machine corresponding to the Greek ἐκκύκλημα (on which cf. A. E. Haigh, Attic Theatre3, 201), although he is thinking of it as a device for ‘thrusting’ out a set interior from the alcove, which does not seem to me necessary.
[301] Henslowe Papers, 118. The ‘j payer of stayers for Fayeton’ may have been a similar structure; cf. p. 95, n. 4. Otway, Venice Preserved (1682), V, has ‘Scene opening discovers a scaffold and a wheel prepared for the executing of Pierre’.
[302] Henslowe Papers, 116.
[303] Cf. p. 56, nn. 2, 3. The courtyard in Arden of Feversham, III. i, ii, might have been similarly staged.
[304] 1 Hen. VI, I. ii (a tower with a ‘grate’ in it), III. ii (p. 55); 1 Contention, sc. iii (p. 56); Soliman and Perseda, V. ii. 118 (p. 57); Blind Beggar of Alexandria, sc. ii (p. 62); Old Fortunatus, 769 (p. 63).
[305] Cf. p. 54.
[306] Arden of Feversham, sc. i, begins before Arden’s house whence Alice is called forth (55); but, without any break in the dialogue, we get (245) ‘This is the painter’s house’, although we are still (318) ‘neare’ Arden’s, where the speakers presently (362) breakfast.
[307] T. of A Shrew, sc. xvi (cf. p. 92), see. iii, iv, v (a continuous scene). T. of The Shrew, I. i, ii, is similarly before the houses both of Baptista and Hortensio.
[308] Blind Beggar, scc. v, vii. The use of the houses seems natural, but not perhaps essential.