[319] Cf. pp. 3, 4, 11.
[320] See my diagrams on [pp. 84–5.]
[321] W. Archer in Universal Review (1888), 281; J. Le G. Brereton, De Witt at the Swan (Sh. Homage, 204); cf. p. 7.
[322] Serlio’s ‘comic’ and ‘tragic’ scenes (cf. App. G) show steps to the auditorium from the front of the stage.
[323] Creizenach, iii. 446; iv. 424 (Eng. tr. 370), with engravings from printed descriptions of 1539 and 1562.
[324] The contest of 1561 is described in a long letter to Sir Thomas Gresham (Burgon, i. 377) by his agent at Antwerp, Richard Clough. It might be possible to trace a line of affiliation from another of Gresham’s servants, Thomas Dutton, who was his post from Antwerp temp. Edw. VI, and his agent at Hamburg c. 1571 (Burgon, i. 109; ii. 421). The actor Duttons, John and Laurence, seem also to have served as posts from Antwerp and elsewhere (cf. ch. xv).
[325] Thomas Lord Cromwell and A Larum for London, dealt with in the last chapter, might also be Globe plays.
[326] Henry V, Much Ado about Nothing, Merry Wives of Windsor, Hamlet, King Lear, Troilus and Cressida, Pericles, Every Man Out of his Humour, Sejanus, Volpone, Yorkshire Tragedy, London Prodigal, Fair Maid of Bristow, Devil’s Charter, Merry Devil of Edmonton, Revenger’s Tragedy, Miseries of Enforced Marriage, and perhaps 1 Jeronimo; with the second version of Malcontent, originally a Queen’s Revels play, and Satiromastix, the s.ds. of which perhaps belong rather to Paul’s, where it was also played.
[327] Catiline, Alchemist; Second Maid’s Tragedy.
[328] Julius Caesar, Twelfth Night, As You Like It, All’s Well that Ends Well, Measure for Measure, Othello, Macbeth, Coriolanus, Antony and Cleopatra, Timon of Athens.