When completed, the new playhouse was appropriately christened "The Hope."
It has been generally assumed that a picture of the Hope is given in Visscher's View of London, published in 1616; but this, I think, is exceedingly doubtful. In drawing the Bankside, Visscher rather slavishly copied the Agas map of 1560, inserting a few new buildings,—notably the playhouses,—and it is virtually certain that he represented the "Bear Garden" (so he distinctly calls it) and the Globe as they were before their reconstruction.[546] The first representation of the Hope is to be found in Hollar's splendid [View of London] published in 1647 (see page [326]). At this time the building, which had for many years been devoted wholly to the royal sports of bull- and bear-baiting, was still standing. It is hard to believe that an artist who so carefully represented the famous edifices of the city should have greatly erred in drawing the "Bear Baiting House,"—a structure more curious than they, and quite as famous.
Hollar represents the Hope as circular. According to the contract Katherens was "to build the same of such large compass, form, wideness, and height as the playhouse called the Swan." Whether the word "form" was intended to apply to the exterior of the building we do not know. The Swan was decahedral; Visscher represents the "Bear Garden" as octagonal (which is correct for the Bear Garden that preceded the Hope). But since the exterior was of lime and plaster, and a decahedral form had no advantage, Katherens may well have constructed a circular building as Hollar indicates. Perhaps it is significant in this connection that John Taylor, the Water-Poet, in his Bull, Bear, and Horse, refers to the Hope as a "sweet, rotuntious college." Significant also, perhaps, is the clause in the contract by which Katherens was required to "build the heavens all over the stage," for this exactly describes the heavens as drawn by Hollar. I see no reason to doubt that in the View of 1647 we have a reasonably faithful representation of the Hope.
THE HOPE PLAYHOUSE, OR SECOND BEAR GARDEN
The upper view is from Hollar's Post-conflagration map in the Crace Collection of the British Museum; the lower view is from Faithorne's Map of London (1658).
The Hope was probably opened shortly after November 30, 1613, the date at which Katherens had bound himself to have the building "fully finished," and it was occupied, of course, by the Henslowe and Rosseter troupe of actors. The arrangement of the movable stage enabled Henslowe and Meade to use the building also for animal-baiting. According to the contract with the actors, the latter were to "lie still one day in fourteen" for the baiting.[547] This may not have been a serious interruption for the players; but the presence of the stable, the bear dens, and the kennels for the dogs must have rendered the playhouse far from pleasant to the audiences. Ben Jonson, in the Induction to his Bartholomew Fair, acted at the Hope in October, 1614, remarks: "And though the Fair be not kept in the same region that some here perhaps would have it, yet think that therein the author hath observed a special decorum, the place being as dirty as Smithfield, and as stinking every whit."[548]
In March, 1614,—that is, at the completion of one full year under the joint management of Henslowe and Rosseter,—the amalgamated company was "broken," and Rosseter withdrew, selling his interest in the company's apparel to Henslowe and Meade for £63. The latter at once reorganized the actors under the patent of the Lady Elizabeth's Men, and continued them at the Hope.[549] The general excellence of the troupe thus formed is referred to by John Taylor, the Water-Poet, in the lines:
And such a company (I'll boldly say)
That better (nor the like) e'er play'd a play.[550]
But this encomium may have been in large measure due to gratitude, for the company had just saved the Water-Poet from a very embarrassing situation. The amusing episode which gave occasion to this deserves to be chronicled in some detail.