[441] Greg, Henslowe's Diary, i, 158-59.
[442] Greg, Henslowe Papers, p. 108.
[443] Greg, Henslowe's Diary, i, 124.
[444] For the full document see Greg, Henslowe Papers, p. 4.
[445] See the [Bibliography]. A model of the Fortune by Mr. W.H. Godfrey is preserved in the Dramatic Museum of Columbia University in New York City, and a duplicate is in the Museum of European Culture at the University of Illinois. For a description of the model see the Architect and Builders' Journal (London), August 16, 1911.
[446] The three galleries (twelve, eleven, and nine feet, respectively) were thirty-two feet in height; but to this must be added the elevation of the first gallery above the yard, the space occupied by the ceiling and flooring of the several galleries, and, finally, the roof.
[447] Thomas Heywood, The English Traveller (1633), ed. Pearson, iv, 84. We do not know when the play was written, but the reference is probably to the New Fortune, built in 1623. Heywood generally uses "picture" in the sense of "statue."
[448] The Roaring Girl, i, i. Pointed out by M.W. Sampson, Modern Language Notes, June, 1915.
[449] "Diaries and Despatches of the Venetian Embassy at the Court of King James I, in the Years 1617, 1618. Translated by Rawdon Brown." (The Quarterly Review, cii, 416.) It is true that the notice of this letter in The Calendar of State Papers, Venetian, xv, 67, makes no mention of the Fortune; but the writer in The Quarterly Review, who had before him the entire manuscript, states positively that the Fortune was the playhouse visited. I have not been able to examine the manuscript itself, which is preserved in Venice.
[450] Nichols, The Progresses of King James, iv, 67.