[399] At the Globe the windows appear to have been bay windows; cf. p. 116, n. 7. Lawrence, ii. 25 (Windows on the Pre-Restoration Stage), cites T. M. Black Book (1604), ‘And marching forward to the third garden-house, there we knocked up the ghost of mistress Silverpin, who suddenly risse out of two white sheets, and acted out of her tiring-house window’. It appears from Tate Wilkinson’s Memoirs (Lawrence, i. 177) that the proscenium balconies were common ground to actors and audience in the eighteenth century.
[400] Family of Love, I. iii. 101.
[401] The theory is best represented by C. Brodmeier, Die Shakespeare-Bühne nach den alten Bühnenanweisungen (1904); V. Albright, The Shakespearian Stage (1909).
[402] Thorndike, 106.
[403] Cf. pp. 41, 126, 154.
[404] Palace of Tiberius (Acts I, II, III), Senate house (III, V), Gardens of Eudemus (II), Houses of Agrippina (II, IV), Sejanus (V), Regulus (V).
[405] Houses of Volpone (I, II, III, V), Corvino (II), Would Be (V), Law court (IV, V).
[406] Houses of Catiline (I, IV), Fulvia (II), Cicero (III, IV, V), Lecca (III), Brutus (IV), Spinther (V. vi), Cornificius (V. vi), Caesar (V. vi), Senate house (IV, V), Milvian Bridge (IV).
[407] Alchemist, III. v. 58, ‘He speakes through the keyhole, the other knocking’. Hen. VIII, V. ii, iii (continuous scene) also requires a council-chamber door upon the stage, at which Cranmer is stopped after he has entered through the stage door.
[408] Daborne gave Tourneur ‘an act of ye Arreignment of London to write’ (Henslowe Papers, 72).