ELDERTON, WILLIAM. One Elderton, dressed as a fool, played the part of

one of the Lord of Misrule’s sons in George Ferrers’s Christmas revel

of 1552–3 (Feuillerat, _Edw. and Mary_, 120; cf. _Mediaeval Stage_,

i. 407). Conjecture may identify him with the Elderton who brought

the Eton boys to Court on 6 January 1573 and the William Elderton who

brought the Westminster boys on 1 January 1574, and with the rhyming

William Elderton, some of whose ballads are preserved and reprinted in

Collier, _Old Ballads from Early Printed Copies_ (1842, _Percy Soc._),

25, 45; H. Huth, _Ancient Ballads and Broadsides_ (1867, _Philobiblon

Soc._); and H. L. Collman, _Ballads and Broadsides_ (1912, _Roxburghe

Club_); or recorded, with ballads against him, in the Stationers’

Register (Arber, i. 179, 180, 181, 199, 384, 403, 439; ii. 338, 363,

369, 388, 396, 399; cf. v. lxxvi), while his ‘ale-crammed nose’ and

‘rymes lying a steepe in ale’ are subject for much humour among the

pamphleteers (Lyly, iii. 398; Nashe, i. 197, 256, 280; iii. 123, 133,

177, 354). Stowe (_Survey_, i. 272) makes him an attorney in the

sheriff’s courts at the Guildhall about 1568, but he can hardly be the

‘master Elderton’ who sat as a justice at the Guildhall in a coining

case of 1562 (Machyn, 290). He appears to have been dead by 1592

(Harvey, i. 163; Nashe, i. 280). A recent paper on Elderton by H. E.

Rollins is in _S. P._ xvii (1920), 199.

ENGLISH, JOHN. Interluders, 1494–1531.

EVANS, HENRY. Blackfriars lessee, 1583, 1600–8; payee for Oxford’s,

1584; manager of Chapel, 1600–3. He was a scrivener, and overseer to

the will of Sebastian Westcott, Master of Paul’s, in 1582.

EVANS, THOMAS. Blackfriars lessee, 1608.

EVESEED, HENRY. Chapel, >1585.

FARNABY, RICHARD. Musician in Germany, 1623.

FARRANT, RICHARD. Master of Children of Windsor, 1564–80; Acting Master

of Chapel and Blackfriars lessee, 1576–80.

FERRABOSCO, ALFONSO. Italians, 1576, and Court musician (cf. ch. ii).

FETHERSTON, WILLIAM. Of Danby, Yorks., unlicensed player, 1612 (cf. ch.

ix, p. 305).

FIDGE, WILLIAM. H. R. Plomer (3 _Library_, ix. 252) cites from a

Canterbury record of 1571, ‘William Fidge and Whetstone owe the said

[Robert] Bettes [a painter] for their portions in buying of certen

playebookes 35_s._ 4_d._’

FIELD, NATHAN, was the son of John Field, preacher and castigator of

the stage (cf. App. C, No. xxxi), and was baptized at St. Giles’s,

Cripplegate, on 17 October 1587 (Collier, iii. 425). His name is

always spelt Nathan in formal contemporary documents, although he

was familiarly known as Nat or Nid. But he appears in many reputable

modern works of learning as Nathaniel. This error perhaps originated

with the compilers of the 1679 Folio of Beaumont and Fletcher, who in

four out of the six actor-lists in which his name is found used the

form Nathan and in two (_Loyal Subject_ and _Mad Lover_) Nathanael. It

was certainly encouraged by a muddle of Collier, who finding in the

Cripplegate registers that another son of John Field had been baptized

Nathaniel on 13 June 1581, and not realizing that a cranky theological

father might quite well use the names as distinct, thought it necessary

to assume that this Nathaniel had died before 1587. As a matter of

fact, he survived, was apprenticed to a stationer at Michaelmas 1596,

took up his freedom on 3 June 1611, and between 1624 and 1627 published

some books, including two sermons by a third brother, Theophilus Field,

Bishop of Llandaff (McKerrow, _Dict._ 101). I need hardly linger over

the suggestion that Nathan Field lived a double life as actor and

bookseller. At this time of the apprenticeship he was not yet nine

years old, and he was still a scholar of St. Paul’s Grammar School

when, not earlier than 1600, he was impressed by Nathaniel Giles and

his deputies to serve as one of the Children of the Chapel (_Clifton v.

Robinson_ in Fleay, 128). His education was not entirely interrupted,

for he fell into the hands of Ben Jonson, who told Drummond in

1619 that ‘Nid Field was his schollar, and he had read to him the

Satyres of Horace, and some Epigrames of Martiall’ (Laing, 11). Field

remained a member of the Chapel and the Queen’s Revels throughout the

vicissitudes of the company from 1600 to 1613. He is in the actor-lists

of _Cynthia’s Revels_ (1600), _The Poetaster_ (1601), and _Epicoene_

(1609), and presumably played Humfrey in _K. B. P._ (1607).[954] With

his fellows he became absorbed into the Lady Elizabeth’s in March

1613, contracted with Henslowe and Meade on behalf of this company

(_Henslowe Papers_, 23), acted as their payee in 1615, and appears

in the actor-lists of _The Coxcomb_, _The Honest Man’s Fortune_, and

_Bartholomew Fair_ (1614), in the text of which Jonson compliments him

(v. 3) as follows:

_Cokes._ Which is your _Burbage_ now?

_Lanterne._ What meane you by that, Sir?

_Cokes._ Your best Actor. Your _Field_?

He seems to have been suspected by the company of taking bribes from

Henslowe to connive at transactions contrary to their interest

(_Henslowe Papers_, 88). Certainly he was in financial straits and on

more than one occasion appealed to Henslowe to secure his release from

an arrest (_Henslowe Papers_, 66, 67). Perhaps it was as a result of

this friction with his fellows that he abandoned their amalgamation

with Prince Charles’s men in 1615. Instead he joined, at or about

this date, the King’s men, and appears as one in the actor-lists of

_The Loyal Subject_, _The Knight of Malta_, _The Queen of Corinth_,

and _The Mad Lover_. It must, I think, have been by a slip that

Cuthbert Burbadge, in the _Sharers Papers_ of 1635, spoke of him as

joining the King’s with Ostler and Underwood in 1608 or 1609. It seems

probable that Field brought with him to the King’s a share of the

plays which had formed the repertory of the joint Lady Elizabeth’s

and Queen’s Revels, including Chapman’s _Bussy D’Ambois_, in which a

King’s prologue vaunts his success as Bussy. He did not stay with the

company very long, for though he is in the patent of 27 March and the

livery list of 19 May 1619, he is replaced by John Rice in the livery

list of 7 April 1621. And as he does not appear and Rice does appear

amongst the actors named in the stage-directions to _Sir John von

Olden Barnevelt_ in August 1619, it is probable that he had left in

the course of the summer (_M. L. R._ iv. 395). If so, his departure

synchronizes with a scandal which attached itself to his name. His

moral character was hardly becoming to the son of a preacher. More than

one manuscript commonplace book (e. g. _Ashm. MS._ 47, f. 49, which

appears from the spelling of the name to be a late copy) contains an

epigram with some such heading as _On Nathaniell Feild suspected for

too much familiarity with his M^{ris} Lady May_. And on 5 June 1619 Sir

William Trumbull wrote from Brussels to Lord Hay (E. J. L. Scott in

_Athenaeum_ (1882), i. 103) that he was told that the Earl of Argyll

had paid for the nursing of a child, ‘which the world sayes is daughter

to my lady and N. Feild the Player’. Lady Argyll was Anne, daughter of

Sir William Cornwallis of Brome. Field’s later life is obscure. There

is an unimportant jest about him in John Taylor’s _Wit and Mirth_

(1629). He was married to a wife Anne, and had children baptized and

buried at St. Anne’s, Blackfriars, during 1619–25. If another epigram,

printed by Collier, iii. 437, can be trusted, he very properly suffered

from jealousy. In relevant register entries the name is given as

Nathan. The Blackfriars registers give children both of Nathan and of

Nathaniel Field, and on 20 February 1633 occurs the burial of Nathaniel

Field, whom, if the entry does not indicate that the confusion of

persons had already begun, we are bound to take to be the bookseller.

There is no reason why both brothers should not have resided in

Blackfriars.

Field was dramatist, as well as actor. In addition to the two plays

published under his single name, he collaborated with Massinger in

_The Fatal Dowry_, which was a King’s play and not likely, therefore,

to fall outside the dates 1616–19. And as the Henslowe correspondence

(_Henslowe Papers_, 65, 84) show him as collaborating also with

Fletcher, Massinger, and Daborne for the Lady Elizabeth’s, he has been

conjectured as a possible sharer in the authorship of several of the

plays of the Beaumont and Fletcher series. He also, about the time of

his joining the King’s, wrote a defence of the stage, in the form of a

remonstrance to Mr. Sutton, a preacher of St. Mary Overies (App. C, No.

lxiii). A portrait of Field is at Dulwich.

FLETCHER, LAWRENCE. Scotland, 1595, 1599, 1601; Admiral’s (?), 1596;

King’s, 1603. Although included as a King’s man in the royal patent,

there is no reason to suppose that Fletcher ever joined the company

acting at the Globe; the absence of his name from the actor-list in the

Shakespeare F_{1} of 1623 is strong evidence that he did not. He lived

in St. Saviour’s, where he had a homonym, a victualler, who survived

him. One of the two is shown by the token-books as housed in Hunt’s

Rents, Maid Lane, during 1605–7; probably this was the actor, who was

buried on 12 September 1608. The description ‘Lawrence Fletcher, a man:

in the church’ of the register is amplified in a fee-book to ‘Lawrence

Fletcher, a player, the King’s servant, buried in the church, with an

afternoon’s knell of the great bell, 20s.’ (Collier, _Memoirs of the

Actors_^1, x; Rendle, _Bankside_, xxvii).

FLOWER. Admiral’s (?), _c._ 1600.

FOSTER, ALEXANDER. Lady Elizabeth’s, 1611, 1618; Charles’s, 1616.

FREYERBOTT, BARTHOLOMEUS. Germany, 1615.

FRITH, MOLL. It appears to be suggested in the Epilogue to _The

Roaring Girl_ (cf. ch. xxiii, s.v. Dekker) that this lady was to

appear in person on the Fortune stage, _c._ 1610.

FROST, JOHN. Chapel, 1601.

GARLAND, JOHN. Queen’s, 1583, 1588; Lennox’s, 1605; Duke of York’s,

1610. He appears to have dwelt in 1605 at ‘the ould forde’ (H. ii. 267).

GARLICK. In I. H., _This World’s Folly_ (1615), an actor of this name

is apparently said to have personated himself on the Fortune stage,

‘behung with chaynes of Garlicke’ (App. C, No. lix); cf. Dekker, _If

This be not a Good Play_ (1610–12), sc. x (ed. Pearson, iii. 325),

‘Fortune fauours no body but Garlicke, nor Garlike neither now, yet

she has strong reason to loue it; for tho Garlicke made her smell

abhominably in the nostrills of the gallants, yet she had smelt and

stuncke worse but for garlike’; H. Parrot, _Laquei Ridiculosi_ (1613),

Epig. 131, ‘_Greene’s Tu Quoque_ and those Garlicke Jigs’; in Tailor,

_Hog Hath Lost his Pearl_ (1614, ed. Dodsley^4, p. 434), a jig will

draw more whores ‘than e’er Garlic had’.

GARRET, JOHN. Anne’s, 1619.

GEDION. Admiral’s, 1602.

‘GERRY.’ King’s Revels, 1607.

GEW. A blind player, referred to in _1 Ant. Mellida_ (1599), ind. 142,

‘’t had been a right part for Proteus or Gew. Ho! blind Gew would ha’

done ’t rarely, rarely’; E. Guilpin, _Skialetheia_ (1598), _Sat._ v,

‘One that for ape tricks can put Gue to schoole’, and _Epig._ xi, ‘Gue,

hang thy selfe for woe, since gentlemen Are now grown cunning in thy

apishness’; Jonson, _Epig._ cxxix, ‘Thou dost out-zany Cokely, Pod;

nay, Gue.’ Pod was a puppet-showman.

GIBBS. Admiral’s, 1602.

GIBSON, RICHARD. Interluders, 1494–1508; afterwards Yeoman of the

Revels.

GILBURNE, SAMUEL, is recorded in the First Folio list of performers

in Shakespeare’s plays. All that is known of him beyond this is that

Augustine Phillips left him as his ‘late apprentice’ in his will of

1605 the sum of 40_s._, various garments, and a bass viol. Collier’s

inference that he could play on the viol is a fairly harmless example

of biographical conjecture.[955] The identification of him with the

‘b[oy?] Sam’ of the ‘plot’ of _The Dead Man’s Fortune_, a play probably

belonging to the Admiral’s, and of a date not later than 1591, is more

dangerous.[956]

GILES, NATHANIEL. Master of Windsor Choir, 1595–1634; Master of Chapel,

1597–1634.

GILES, THOMAS. Master of Paul’s, 1585–1590 <; Instructor in Music to

Henry, 1606, and Charles, 1613.

GOODALE, BAPTISTE. ‘Ghost-name’ (?) in Queen’s list (1589) forged by

Collier, _New Facts_, ii.

GOODALE, THOMAS. Berkeley’s, 1581; Strange’s (?), 1590–1; Chamberlain’s

(?) at date of _Sir Thomas More_ (cf. ch. xxiv). If he is the Thomas

Goodale, mercer, who entered with John Alleyn and Robert Lee into a

bond to Edward Alleyn on 18 May 1593 (H. ii. 295, from _Dulwich MS._

iv. 29), he was not improbably connected with the Admiral’s >1590.

GOUGHE or GOFFE, ROBERT, was probably the ‘R. Go.’ entered in the

‘plot’ of _The Seven Deadly Sins_, as playing Aspasia in _Sloth_ for

the Admiral’s or Strange’s men about 1590–1. Probably he belonged at

an early date to the King’s men. He is a legatee in Thomas Pope’s will

of 22 July 1603, and witnessed that of Augustine Phillips on 4 May

1605, in which Phillips names a sister Elizabeth Goughe, doubtless the

Elizabeth ---- recorded in the register of St. Saviour’s, Southwark,

as marrying Robert Gough on 13 February 1603. The token-books of St.

Saviour’s indicate Gough’s residence in Hill’s Rents during 1604,

Samson’s Rents during 1605 and 1606, and Austin’s Rents in 1612–22; and

the registers, which generally call him a ‘player’, record his children

Elizabeth (bapt. 30 May 1605), Nicholas (bapt. 24 November 1608),

Dorothy (bapt. 10 February 1611, bur. 12 January 1613), Alexander

(bapt. 7 August 1614), and his own burial on 19 February 1624.[957]

His son Alexander became in his turn a player. A stage-direction

to l. 1723 of _The Second Maiden’s Tragedy_ (1611) shows that he

played Memphonius. He also played Leidenberch in _Sir John von Olden

Barnevelt_ in 1619, and appears in the official lists of the King’s

men for 1619 and 1621 and in the First Folio list of performers in

Shakespeare’s plays.

GOUGHE, THOMAS. Lane’s, 1572.

GRACE, FRANCIS. Henry’s-Palsgrave’s, 1610–22. He lived at George Alley,

Golden Lane, in 1623 (J. 347).

GRAUNGER, JOHN. Chapel, 1509.

GREAVES, JOHN. Lane’s, 1572.

GREEN, JOHN. Germany, 1608; France, >1608; Holland, 1613; Germany,

1615–20, 1626. On his verses and portrait, 1608, cf. ch. xxiv, s.v.

_Nobody and Somebody_. He may have been brother of the following.

GREENE, THOMAS. Anne’s, 1604–12. In R. Braithwaite, _Remains after

Death_ (1618) are four epigrams on him, one of which says that he ‘new

come from sea, made but one face and dide’. A couplet on his death,

signed W. R., is in Cooke’s _Greene’s Tu Quoque_. I. H., _World’s

Folly_ (1615), mentions his performance of a baboon (cf. App. C, No.

lix). He was of St. James’s, Clerkenwell, in 1612, when he made his

will (Fleay, 192), naming his wife Susan, daughter Honor, sons-in-law

(i.e. stepsons) Robert and William Browne, daughters-in-law Susanna,

Elizabeth, and Anne Browne, brothers John and Jeffery Greene, and

sister Elizabeth Barrett. A conjecture that he was of Stratford origin

has no foundation (Lee, 54).

GREUM, HENRY. Germany, 1608.

GRIFFEN. Admiral’s, 1597.

GRIGORIE, JACK. Admiral’s, 1602.

GRYMES, THOMAS. Chapel, 1600–1.

GUNNELL, RICHARD. Palsgrave’s, 1613–22. Family notes appear in the

registers of St. Giles’s, 1614–30 (B. 409).

GYLLOME, FOKE. Player (?) to Alexander Houghton, 1581 (cf. ch. ix, p.

280).

GYRKE, RICHARD. A London player in 1550 (App. D, No. v).

HALLAWAIE, ‘the younger’. Paul’s, 1580.

HAMLEN (HAMLETT), ROBERT. Lady Elizabeth’s, 1611–13; Charles’s, 1616,

1625.

HAMMOND, JOHN. Interluders, 1494.

HAMOND. Worcester’s, 1565.

HARRISON, JOHN. A ‘player’ whose daughter Suzanna by wife Anne was

baptized at St. Helen’s on 10 January 1602.

HARRISON, WILLIAM. Worcester’s, 1583.

HARVEY. Chamberlain’s, 1597.

HAWKINS, ALEXANDER. Blackfriars lessee, 1601; Revels patentee, 1604.

HAYNE, WILLIAM. Head Master of Merchant Taylors’, 1599–1625.

HAYSELL, GEORGE. Worcester’s, 1583. For a possible notice of the same

man, cf. ch. xxiv, s.v. _Misogonus_.

HEARNE, THOMAS. Admiral’s, 1597.

HELLE, JOHN. Admiral’s, 1597.

HEMINGES, JOHN, whose name is variously spelt, appearing, for example,

as ‘Heminge’ in his signature to the dedication of the First Folio

of Shakespeare’s plays, and as ‘Hemmings’ in the actor-list in the

same volume, is known to have had a wife Rebecca, and may fairly be

identified with the ‘John Hemminge, gent.’ of St. Mary Cornhill,

who was married on 10 March 1588 to Rebecca Knell, widow, relict of

William Knell, gent., late of St. Mary Aldermanbury. In the same parish

William Knell had married Rebecca Edwards on 30 January 1586, and an

older William Knell had been buried on 24 September 1578.[958] One

of these was not improbably the early actor celebrated by Heywood.

Malone found a family of Heming at Shottery, and conjectured that of

this family John was born at some date earlier than the opening of

the Stratford-on-Avon register in 1558.[959] But this is rendered

improbable by a confirmation of arms in 1629 to ‘John Hemings of London

Gent. of long tyme Servant to Queen Elizabeth of happie Memory, also to

King James hir Royal Successor and to King Charles his Sonne’, in which

he is described as ‘Sonne and Heire of George Hemings of Draytwiche

in the Countye of Worcester Gent.’[960] There seems little reason to

doubt that this John Hemings is the player. He very probably began his

theatrical career with the Queen’s company, to which also Knell had

belonged. By May 1593, however, he had joined Strange’s men, from whom

he passed to the Chamberlain’s men, probably on the original formation

in 1594. Of this company, afterwards the King’s men, he remained a

member to the end of his career. He appears in all the official lists

of the company up to 1629, and regularly acted as their payee for

Court performances, generally with a colleague from 1596 to 1601, and

thereafter alone. This and his prominence in the negotiations of the

company and the lawsuits arising out of them, suggest that he acted as

their business manager. As an actor he appears in all the casts up to

_Catiline_ in 1611, but not thereafter; possibly he may have resigned

acting, and devoted himself to business. The unreliable John Roberts,

_Answer to Pope_ (1729), conjectures that he was a ‘tragedian’. Malone

had seen a statement in some tract of which he had forgotten the title,

that he was the original performer of Falstaff.[961] The lines on the

burning of the Globe in 1613 thus describe him:

Then with swolne eyes, like druncken Flemminges,

Distressed stood old stuttering Heminges.

He is ‘old Master Hemings’ in Jonson’s _Masque of Christmas_ (1616).

He lent his ‘boy’ John Rice (q.v.) to the Merchant Taylors for their

entertainment of James on 16 July 1607, and another ‘boy’ for Chapman’s

mask of 1613. He is named as a legatee and overseer in the will of

Augustine Phillips in 1605, and as executor in the event of the widow’s

re-marriage; also as a trustee in the will of Alexander Cooke, who

calls him his ‘master’, in 1614; as a witness in that of Richard

Cowley in 1618; as a legatee in that of Shakespeare in 1616; and as

a legatee and overseer in those of Underwood in 1624 and of Condell

in 1627. He was appointed a trustee for Shakespeare’s Blackfriars

property in 1613,[962] and acted with Condell as editor of the First

Folio of the plays in 1623. This fact is probably the origin of the

statement of Roberts that he was engaged with Condell in business as

a printer. He filled various parochial posts from 1608 to 1619 in

St. Mary’s, Aldermanbury, and the registers contain records of the

following children: Alice (bapt. 10 November 1590, married John Atkins

11 February 1612), Mary (bapt. 26 May 1592, bur. 9 August 1592), Judith

(bapt. 29 August 1593), Thomasine (bapt. 15 January 1595), Joan (bapt.

2 May 1596), John (bapt. 12 August 1599), Beavis (bapt. 24 May 1601),

William (bapt. 3 October 1602), George (bapt. 12 Feb. 1604), Rebecca

(bapt. 4 February 1605), Elizabeth (bapt. 6 March 1608), Mary (bapt. 21

June 1611, bur. 23 July 1611).[963] In the same parish ‘John Heminge,

player’ was himself buried on 12 October 1630, beside his wife Rebecca,

who preceded him on 2 September 1619. He is registered as a ‘stranger’

and was therefore probably residing elsewhere. In his will, made on

9 October, he describes himself as ‘citizen and grocer of London’,

appoints his son William executor and trustee for his unmarried and

unadvanced children, and Cuthbert Burbadge and ‘Mr. Rice’, possibly the

actor, overseers, and leaves legacies to his daughters Rebecca, wife of

Captain William Smith, Margaret, wife of Mr. Thomas Sheppard, who is

not mentioned in the register, Elizabeth, and Mrs. Merefield, and to

his son-in-law Atkins ‘and his now wife’, and his grandchild Richard

Atkins. He also leaves 10_s._ for a ring ‘unto every of my fellows

and sharers, his majesties servants.[964] William Heminges went to

Westminster and Christ Church, and became a playwright.[965] Unnamed

in the will is Thomasine, who may have been dead, but certainly had

quarrelled seriously with her father. She had married William Ostler of

the King’s men in 1611 and her son Beaumont was baptized at St. Mary’s,

Aldermanbury, on 18 May 1612. Ostler died intestate on 16 December

1614 in possession of shares in the leases both of the Globe and the

Blackfriars. These passed of right to Thomasine as his administratrix,

and formed all the provision left for her maintenance and her husband’s

debts. The leases, however, passed into the hands of Heminges, who

retained them and asserted that Ostler had created a trust, of which

Thomasine declared that she knew nothing. On 20 September 1615 she

entered a bill in Chancery against her father, and subpœnaed him to

appear during the coming Michaelmas term. On 26 September Heminges

promised that if she would withdraw her suit, and would also ‘doe her

dutie’ to him and to her mother Rebecca, he would satisfy her to the

value of the shares. Thomasine states that on the same day kneeling and

in tears she made her submission at her father’s house in Aldermanbury.

She also stayed her suit, but Heminges, although called upon to fulfil

his promise on 5 October, failed to do so, and on 9 October Thomasine

brought a common law action against him for damages to the amount of

£600, which she estimated to be the value of the shares.[966] The issue

of the case is unknown, but it would seem probable from the _Sharers

Papers_ of 1635 that Heminges succeeded in retaining the shares, and

that at his death they passed to his son William. Professor Wallace

states that in 1616 Thomasine Ostler was involved in another lawsuit

with Walter Raleigh, son of Sir Walter, and obtained a verdict of £250

against him for insult and slander. One way and another, Heminges seems

to have acquired a considerable financial interest in the Globe and

Blackfriars. He had an original seventh of a moiety of the Globe lease

in 1599, and an original seventh of the Blackfriars lease in 1608. But

as executor to Phillips (q.v.) and otherwise he had opportunities of

adding to these holdings. The _Sharers Papers_ show that at his death

he had four sixteenths of the Globe and probably two eighths of the

Blackfriars; and these, or some of them, he had enjoyed ‘thirty yeeres

without any molestacion, beeing the most of the sayd yeeres both player

and houskeeper, and after hee gave over playing diverse yeeres’. In

_Witter v. Heminges and Condell_ he is described as being in 1619 of

‘greate lyveinge wealth and power’.[967] The play-house shares seem

to have been the chief part of the property left by his will. They

passed to William Heminges as his executor. He seems to have gradually

disposed of them, first selling one share in the Globe by arrangement

with the company to Taylor and Lowin, and later, by transactions which

some of his fellows resented, one share in each house to John Shank

during 1633 for £156, and the remaining shares also to John Shank

during 1634, for £350. He was then in difficulties, and Shank disbursed

additional small sums to him in prison. It was these sales to Shank

which brought about the petition to the Lord Chamberlain recorded in

the _Sharers Papers_.

HENSLOWE, FRANCIS. Queen’s, 1594; Lennox’s, 1605. He was son of Richard

and nephew of Philip Henslowe, and various entries in the diary and

other Dulwich MSS. record his imprisonments, more than once on criminal

charges, his employment during 1593–4 in his uncle’s pawnbroking, and

his loans, one of which on 1 June 1595 was of £9 ‘to laye downe for his

hallfe share with the company which he dothe playe with all’ (H. i. 6),

conceivably, as Dr. Greg suggests, some company other than the Queen’s,

in which he had already acquired a half share in 1594. He dwelt in

the Clink in 1594, took a house called the Upper Ground on Bankside

in 1597, and was of St. George’s, Southwark, in 1606, in which year,

between 30 March and 6 October, both he and his wife died (H. ii. 277).

HENSLOWE, PHILIP. Owner of Rose, Fortune, Hope, and perhaps lessee of

Whitefriars; cf. ch. xi.

HERIOT, HENRY. Interluders, 1547–52.

HEYWOOD, JOHN. For his possible connexion with Paul’s, cf. ch. xii,

s.v. Chapel.

HEYWOOD, THOMAS. Admiral’s, 1598; Worcester’s Anne’s, 1602–19, and

dramatist.

HINSTOCK, ROBERT. Interluders, 1538–51.

HOBBES, THOMAS. Charles’s, 1610, 1616–25. He lived at the upper end of

Shoreditch in 1623 (J. 348).

HOLE, RICHARD. Interluders, 1526–30.

HOLLAND, J. Strange’s (?), 1590–1.

HOLT, JAMES. Anne’s, 1604–19.

HOLT, JOHN. A ‘momer’, who helped the Westminster boys in 1561,

probably identical with the Yeoman of the Revels of that name (cf. ch.

iii), who helped them in 1564–5.

HOLZHEW, BEHRENDT. Germany, 1614–15.

HOVELL, WILLIAM. Licensee for 2 King’s Revels, 1615.

HOWARD, THOMAS. A ‘player’ named in St. Saviour’s records _c._

1600 (Rendle, _Bankside_, xxvi).

HUDSON, RICHARD. Weaver of Hutton Bushell, Yorks, unlicensed player,

1612 (cf. ch. ix, p. 305).

HÜLL, JOHN. Germany, 1600–1.

HUNNIS, JOHN. A ‘ghost-name’ by an error for the following.

HUNNIS, WILLIAM. Master of Chapel, 1566–97, and dramatist.

HUNT (HONTE), THOMAS. Admiral’s, 1599, 1602; Lady Elizabeth’s, 1611 (H.

ii. 285).

HUNTLEY, DICK. Actor in _Summer’s Last Will and Testament_

(_vide_ l. 14).

HUSE, RICHARD. Paul’s chorister, >1582.

IVY, NICHOLAS. Chapel, 1509.

JEFFES, ANTHONY. Chamberlain’s (?), 1597; Pembroke’s, 1597;

Admiral’s-Henry’s, 1597–>1613. Anthony, son of Richard Jeffes,

baptized at St. Saviour’s, Southwark, on 14 December 1578, may be the

same who married Faith Jones there on 19 February 1601. Children of

Anthony Jeffes ‘player’ are recorded in the registers of St. Giles’s,

Cripplegate, from 11 June 1602 to 1 May 1609; in later entries from 30

May 1610 to 30 October 1616, Anthony is called ‘brewer’ (H. ii. 286;

_Bodl._).

JEFFES, HUMPHREY. Chamberlain’s (?), 1597; Pembroke’s, 1597;

Admiral’s-Henry’s-Palsgrave’s, 1597–1616<. He was buried at St.

Giles’s, 21 August 1618. A daughter Mary was baptized at St. Saviour’s,

25 January 1601 (H. ii. 287; Collier, _Actors_, xxx).

JOHNSON, WILLIAM. Leicester’s, 1572–4; Queen’s, 1583, 1587–8. The

baptismal entries at St. Giles’s include on 10 February 1587 ‘Comedia,

baseborne daughter of Alice Bowker, and, as she saithe, the father’s

name is William Johnson, one of the Queen’s plaiers’, and the burials

on 3 March 1593 ‘Comedia, daughter of William Johnson, player’. Is

he the William Johnson, vintner, who was trustee of Shakespeare’s

Blackfriars property 1613–18 (Lee, 459, 493)?

JONES, RICHARD. Worcester’s, 1583; Admiral’s (?), >1589; Germany,

1592–3; Admiral’s, 1594–6; Pembroke’s, 1597; Admiral’s, 1597–1602;

Revels patentee, 1610; Germany (?), 1615; Germany, 1620, 1622–4. His

wife Harris inherited a lease of the Leopard’s Head in Shoreditch from

her father in 1620. A Richard Jones is traceable in the Southwark

token-books from 1588 to 1607 and may or may not be the same who

married Anne Jube there on 14 February 1602 (H. ii. 288; _H. P._

94; _Bodl._).

JONES, ROBERT. Germany, 1602; Porter’s Hall patentee, 1615.

JONNS, DANIEL. Denmark, 1586.

JONSON, BENJAMIN. Pembroke’s (?), 1597; Chamberlain’s (?), _c._

1598; and dramatist.

JUBY, EDWARD. Admiral’s-Henry’s-Palsgrave’s, 1594–1618, Fortune

lessee, 1618. An Edward Juby is traceable during 1598 to 1619 in the

token-books of St. Saviour’s, Southwark. In the last year he is marked

‘dead’, and his burial was registered on 20 November 1618. In 1610 and

1614 he filled parish offices. He may fairly be identified with the

‘player’ whose children occur in the registers from 3 June 1599 to 15

September 1614. His widow Francis held his share of the Fortune lease

in 1622 (H. ii. 290; Rendle, _Bankside_, xxvi; _Bodl._).

JUBY, RICHARD. Admiral’s, 1602. His son Richard was baptized at St.

Saviour’s, Southwark, on 1 May 1602 (_Bodl._).

JUBY, WILLIAM (?). Admiral’s, 1599–1602 (H. ii. 290).

JUGLER, RICHARD. A London player in 1550 (cf. App. D, No. v).

KEMP, JOHN. Germany, 1601.

KEMPE, WILLIAM, cannot be securely identified or connected with

any one of various homonyms who have been traced in _D. N. B._ and

elsewhere.[968] He probably emerges as one of Leicester’s men in the

Low Countries during 1585–6 and thence made his way to Denmark. He

was in London and had already won a comic reputation by 1590 when the

dedication of _An Almond for a Parrat_ (Nashe, iii. 341), ‘To that

most Comicall and conceited Caualeire Monsieur du Kempe, Jestmonger

and Vice-gerent generall to the Ghost of Dicke Tarlton,’ tells how

the anonymous author, possibly Nashe, had been asked by ‘that famous

Francatrip’ Harlicken’ at Bergamo in the previous summer, whether

he knew ‘any such Parabolano here in London as Signior Chiarlatano

Kempino’ of whose ‘pleasance’ Harlicken had heard ‘report’. In _Four

Letters Confuted_ (1592) Nashe says of an action of Harvey’s, ‘Will

Kempe, I mistrust it will fall to thy lot for a merriment, one of these

dayes’ (i. 287). An example of Kempe’s merriments is to be found in

sc. xii of _A Knack to Know a Knave_ (1594) played by Strange’s men,

to whom Kempe belonged by 1593. He was also famous for his jigs. Four

of these are entered in the Stationers’ Register during 1591–5 (cf.

ch. xviii) but are not preserved, and ‘Kemps jiggs’ is the heading to

some music collected by John Dowland and preserved in _Camb. Univ.

Libr. MS._ Dd. ii. 11 (cf. Halliwell, _MS. Rarities_, 8). Marston (iii.

372), _Scourge of Villainy_ (1598), sat. xi. 30, ‘the orbs celestial

Will dance Kempe’s jig,’ and E. Guilpin, _Skialetheia_ (1598), sat. v,

‘Whores, bedles, bawdes, and sergeants filthily Chaunt Kemps Jigge,

or the Burgonians tragedy,’ show his vogue. In 1594–5 he was one

of the recently constituted Chamberlain’s men and the intrusion of

his name into stage-directions to _R. J._ iv. 5. 102 (Q_{2}) and _M.

Ado_, iv. 2, shows that he played Peter in the one play and Dogberry

in the other. Oddly enough, one of his speeches (iv. 2. 4) in _M.

Ado_ is assigned to ‘Andrew’, possibly a generic name for a clown or

‘merry-Andrew’. He is in the actor-list of _Every Man in his Humour_

(1598) but not in that of _Every Man out of his Humour_ (1599), and

this fact, together with his sale of his share in the Globe soon after

the lease of 21 February 1599 was signed, points to his leaving the

company. ‘Would I had one of Kemps shooes to throw after you,’ says a

speaker in _E. M. O._ IV. v (q.v.). This may be an allusion to some

clownery by Kempe, perhaps in a performance with some other company

at the Curtain in the autumn of 1599 after the Chamberlain’s left

that house; or, less probably, to Kempe’s famous morris-dance for a

wager from London to Norwich, at the end of which he hung his buskins

in the Guildhall, for this began on 11 February 1600 and ended on 11

March, the year being fixed by the mayoralty (1599–1600) of Roger Weld

at Norwich. Another allusion to ‘Kemps morice’ is in _Jack Drum’s

Entertainment_ (1600), i. 45. Dudley Carleton wrote to John Chamberlain

on 13 October 1600 (_S. P. D. Eliz._ cclxxv. 93) that on his way from

Witham to Englefield ‘we met a company of mad wenches, whereof M^{rs}.

Mary Wroughton and young Stafford were ringleaders, who travelled

from house to house, and to some places where they were little known,

attended with a concert of musicians, as if they had undertaken the

like adventure as Kemp did from London to Norwich’. Kempe’s own account

of his adventure was entered in the Stationers’ Register as ‘Kemps

morris to Norwiche’ on 22 April 1600 (Arber, iii. 160). In the Epistle

to Anne Fitton, whom, possibly by confusion with her sister Mary,

he describes as maid of honour to Elizabeth, he refers to unentered

ballads on the subject, and when he says that ‘I haue daunst my selfe

out of the world’ is not improbably jesting on his departure from the

Globe. At the end he foreshadows crossing to Calais, which he no doubt

did. A John Kemp, who was in charge of a touring company, which had

been in Holland and reached Münster by November 1601, may have been a

relative. But William Kempe had returned to England, after visiting

Italy as well as Germany, on 2 September 1601, as is shown by the

following interpolation in a diary of one William Smith of Abingdon, in

_Sloane MS._ 414, f. 56 (wrongly cited by Halliwell, _Ludus Coventriae_

410, as _Sloane MS._ 392, f. 401; cf. F. J. Furnivall in _N.S.S. Trans.

1880–6_, 65):

‘Sep. 2. Kemp, mimus quidam, qui peregrinationem quandam in

Germaniam et Italiam instituerat, post multos errores, et

infortunia sua, reversus: multa refert de Anthonio Sherley,

equite aurato, quem Romae (legatum Persicum agentem) convenerat.’

Possibly Kempe rejoined the Chamberlain’s for a while. In _3 Parnassus_

(? January 1602), iv. 3, he is introduced as a fellow of Burbadge and

Shakespeare, and greeted with allusions to his ‘dancing the morrice

ouer the Alpes’ and ‘the Emperour of Germany’. But on 10 March 1602

he had a loan from Henslowe, and during the winter of 1602–3 he was

certainly one of Worcester’s men. The dates do not lend support to the

suggestion of Fleay, ii. 20, that he had already in 1599–1600 been at

the Rose with Pembroke’s men. After the end of Elizabeth’s reign he

is not traceable, and he is mentioned as dead in Heywood, _Apology_

(_c._ 1608), and dead or retired in Dekker, _Gull’s Hornbook_ (1609),

11, ‘Tarlton, Kemp, nor Singer, nor all the litter of fools that now

come drawling behind them, never played the clown more naturally.’ A

William Kempe is recorded in token-books of St. Saviour’s, Southwark,

as living in Samson’s Rents in 1595, 1596, 1598, and 1599, in Langley’s

New Rents in 1602, and later near the old play-house (Collier,

iii. 351, and _Bodl._; Rendle, _Bankside_, xxvi). Collier, but not

Rendle, gives the date ‘1605’ for the last entry, probably with a

view to supporting his notice of Kempe, as playing with Armin at the

Blackfriars (q.v.) in 1605, which is doubtless a fabrication. On the

other hand, though the date is plausible, the notice of ‘Kempe a man’

as buried at St. Saviour’s on 2 November 1603 (Rendle, xxvii) is not

so worded as to be absolutely conclusive. The name was a common one,

and Collier, _Actors_, xxxvi, gives notices of it from other parishes.

In T. Weelkes, _Ayres on Phantasticke Sprites_ (1608), it is said of

Kempe that ‘into France He took pains to skip it’. His visit to Venice

and meeting with Sherley are dramatized in _Travels of Three English

Brothers_ (1607) and apparently misdated after the _Englands Joy_ of

November 1602. Finally, an epitaph upon him is in R. Braithwaite,

_Remains after Death_ (1618), sig. F 8^v, which suggests that he died

not long after his morris.

KENDALL, THOMAS. Blackfriars manager, 1602; Revels patentee, 1604. He

died in 1608.

KENDALL, WILLIAM. Admiral’s, 1597–8; Henry’s-Palsgrave’s, >1614. His

son John was baptized at St. Saviour’s, Southwark, on 5 January 1615

(_Bodl._).

KEYSAR, ROBERT. Revels manager, 1606–10 (?); Blackfriars lessee,

1606–8. To him was written the epistle to _K. B. P._

KING, ARTHUR. Berkeley’s, 1581.

KING, THOMAS. Denmark-Germany, 1586–7.

KINGMAN (KINGSMAN), PHILIP. Germany, 1596; Porter’s Hall patentee,

1615. ‘M^r Kyngman the elder’ was a witness for Henslowe on 16 April

1599 (H. i. 205).

KINGSMAN, ROBERT. Germany, 1599, 1601; afterwards a tradesman in

Strassburg, 1606 (?), 1618, 1626.

KIRCK (KIRCKMANN), JOHN. Denmark, 1579–80.

KIRKHAM, EDWARD. Chapel manager, 1602; Revels patentee, 1604–6. He is

probably the Yeoman of the Revels (cf. ch. iii).

KITE, JOHN. Gentleman of Chapel, 1508; afterwards Abp. of Armagh.

KNAGGES, RICHARD. Of Moorsham, Yorks, unlicensed player, 1612 (cf. ch.

ix, p. 305).

KNELL, WILLIAM (?). Queen’s, >1588. A Rebecca, widow of William Knell,

married John Heminges (q.v.), 10 March 1588. Heywood notes Knell as

before his time. Nashe, _Pierce Penilesse_ (1592, _Works_, i. 215),

names him with Tarlton, Alleyn, and Bentley, and he is coupled with

Bentley in the undated challenge to Alleyn (q.v.) to play one of their

parts.

KNIGHT, ROBERT. Paul’s chorister, >1582.

KOSTRESSEN, JOHAN, musician. Germany, 1623.

KRAFFT, JOHN. Denmark, 1579–80.

LANEHAM, JOHN. Leicester’s, 1572–4; Queen’s, 1583, 1588–91. Heywood

notes him as before his time. Was he related to Robert Laneham, Keeper

of the Council Chamber door, who described the Kenilworth entertainment

(cf. ch. xxiv) in 1575?

LANMAN, HENRY. Owner of Curtain, 1581–92. Adams, 80, suggests,

apparently from the similarity of the names, that he was a brother of

John Laneham.

LEBERWURST, HANS. Germany, 1613.

LEDBETTER, ROBERT. Admiral’s, 1597; Germany, 1599, 1601, 1606.

LEE, ROBERT. Admiral’s (?), >1591; Anne’s, 1604–19; Revels Company,

1622. He had a business transaction with Edward and John Alleyn and

Thomas Goodale (q.v.) in 1593. He lived in Clerkenwell Close in 1623

(H. ii. 294; J. 347; Murray, i. 198).

LEEKE, DAVID. Possibly an actor at Canterbury, c. 1571 (_3

Library_, ix. 253).

LEVESON, ROBERT. Oxford’s, 1580.

LISTER, EDWARD. Weaver of Allerston, Yorks, unlicensed player, 1612

(cf. ch. ix, p. 305).

LONG, NICHOLAS. Revels (provincial) manager, 1612, 1617; Lady

Elizabeth’s, 1614–15. For his later career, cf. Murray, i. 192, 361;

ii. 101. He was buried at St. Giles’s, Cripplegate, on 21 January 1622

(_Bodl._).

LOVEKYN, ARTHUR. Chapel, 1509–13.

LOWIN, JOHN, was a member of Worcester’s company during their season of

1602–3 with Henslowe at the Rose. On 12 March 1603 Henslowe lent him

money to go into the country with the company, but during the course

of the year he must have transferred his services to the King’s men,

presumably as a hireling, since, although in the cast of _Sejanus_

(1603) and the Induction to _Malcontent_ (1604) he is not in the

official lists of 1603 and 1604. A portrait of him in the Ashmolean

Museum at Oxford, has the inscription ‘1640, Aetat. 64’, and he may

therefore be identified with the John, son of Richard Lowen, baptized

at St. Giles’s, Cripplegate, on 9 December 1576. If so, his father

seems to have been a carpenter, and he had a sister Susan and a brother

William.[969] He remained through a long life with the King’s men,

appearing in most of the casts, in the actor-list of the First Folio,

and in the official lists from 1619 onwards. He played Bosola in _The

Duchess of Malfi_. A pamphlet entitled _Conclusions upon Dances_ (1607)

has a dedication to Lord Denny, dated 23 November 1606, and signed

‘I. L. _Roscio_’. Collier claims to have found in a copy of this the

note ‘By Jhon Lowin. Witnesseth Tho. D. 1610’.[970] A John Lowen

married Joan Hall, widow, by licence, in St. Botolph’s, Bishopsgate,

on 29 October 1607.[971] Shortly afterwards a John Lowin was paying a

poor-rate of 2_d._ weekly in the liberty of the Clink. The Southwark

token-books attest his residence ‘near the play-house’ and in other

parts of the parish at various dates from 1601 to 1642.[972] He was

overseer of Paris Garden in 1617–18.[973] But in 1623 he lived in

Lambeth (J. 348). He is named as a legatee and overseer in the will

of his ‘fellow’ John Underwood in 1624. It appears from the _Sharers

Papers_ that he had no interest in the play-houses until after the

death of Heminges in 1630, when he was admitted to purchase two

sixteenths of the Globe and one eighth of the Blackfriars. From this

time onwards he seems to have shared the business responsibilities of

the company with Joseph Taylor. He was also prominent as an actor.[974]

Wright enumerates amongst his parts Shakespeare’s Falstaff; but when

Roberts adds Hamlet and Henry VIII, he is presumably guessing that

Lowin was ‘fat and scant of breath’. He may have been the original

Henry VIII, for Downes reports that Betterton was instructed in the

part by Sir William Davenant, ‘who had it from old Mr. Lowen, that had

his instructions from Mr. Shakespeare himself’.[975] Wright tells us

that at the outbreak of civil war he was ‘superannuated’, and ‘in his

latter days kept an inn (the Three Pigeons) at Brentford, where he dyed

very old (for he was an actor of eminent note in the reign of King

James the First), and his poverty was as great as his age’.[976] He

signed with Taylor the dedication to Fletcher’s _The Wild-goose Chase_

in 1652, the publication of which was an attempt to relieve their

necessities. A ‘John Lewin’ who left a widow Martha, was buried at St.

Martin’s-in-the-Fields on 18 March 1659, and a ‘John Lowen’ at St.

Paul’s, Covent Garden, on 16 March 1669.[977] Probably a G. Lowin who

played Barnaveldt’s daughter to Lowin’s Barnaveldt in 1619 was his son.

LYLY, JOHN. Blackfriars lessee, 1583; Oxford’s payee, 1584; and

dramatist.

MACHIN, RICHARD. Germany, 1600–3, 1605–6.

MAGETT, STEPHEN. Admiral’s tireman, 1596, 1599 (?) (H. ii. 295).

MARBECK, THOMAS. Admiral’s, 1602.

MARSHALL, CHARLES. Palsgrave’s (provincial), 1616.

MARSTON, JOHN. Blackfriars lessee, 1603–8, and dramatist.

MARTINELLI (?), ANGELICA. Italians, >1598.

MARTINELLI, DRUSIANO. Italians, 1578.

MARTON, THOMAS. Chapel, 1602.

MARTYN, WILLIAM. Payee for a company at Ipswich, 20 February 1572

(Murray, ii. 290).

MASON, JOHN. Whitefriars lessee, 1608, and dramatist.

MASSEY (MASSYE), CHARLES. Admiral’s-Henry’s-Palsgrave’s, 1597–>1635

(?); Fortune lessee, 1618–>1635; and dramatist (cf. ch. xxiii). He is

probably the Charles Marcy or Mercy, variously described as ‘player’,

‘gentleman’, and ‘yeoman’ in the registers of St. Giles’s, Cripplegate,

from 30 December 1610 to 20 July 1625. He died before 6 December 1635,

leaving a widow Elianor, and had a cousin Ned Collins (H. ii. 296;

_Bodl._).

MAXE, ROBERT. Chapel, 1509–>1513.

MAY, EDWARD. Interluders, 1494–1503.

MAY, NATHAN. Licensee for 2 King’s Revels, 1615. Possibly the name, as

given in Murray, ii. 340, may be a mistake for Clay (q.v.).

MAYLER, GEORGE. Interluders, 1525–40.

MEADE, JACOB. Keeper of the Bears, by 1599, and partner with Henslowe

in the Bear Garden and Hope. He was buried at St. Saviour’s on 9 July

1624 (_Bodl._).

MELYONEK, JOHN. Master of Chapel (?), 1483–5.

MERYELL, HENRY. Chapel, 1509.

MILS (MYLLES), TOBIAS. Queen’s, 1583. Heywood notes him as before his

time. He was buried as ‘one of the Queenes Maiesties players’ at St.

Olave’s, Southwark, on 11 July 1585, and his sons William and Toby were

baptized on 3 January 1584 and 5 September 1585 (_Bodl._). Probably,

therefore, ‘one Myles, one of my lord of Summersettes players’,

whose testimony to the value of Bath waters for the gout is cited in

a hydropathic treatise of 1557 (Collier, i. 139), was of an older

generation. Somerset was beheaded on 22 January 1552. Robert Cecil had

a Secretary Milles, whose son Tobias was buried at Chelsea on 9 April

1599 (R. Davies, _Chelsea Old Church_, 296).

MOON, PETER. Payee for a company of players at Ipswich, 1562 (Murray,

ii. 287).

MOORE, JOSEPH. Lady Elizabeth’s, 1611; 1616–29. He lived at the Harrow

in Barbican in 1623 (Murray, i. 252; J. 347).

MOTTERAM, JOHN. Chapel, 1600–1.

MUFFORD, JOHN. Beauchamp’s, 10 June 1590 (Murray, ii. 337).

MULCASTER (MONCASTER), RICHARD. Head Master of Merchant Taylors,

1561–86; of St. Paul’s Grammar School, 1596–1608.

MUNDAY, ANTONY. A player before 1582, according to a contemporary

pamphlet, possibly with Oxford’s, whose ‘servant’ he was in 1580, and

dramatist (cf. ch. xxiii).

NASION. Paul’s chorister, >1582.

‘NED.’ Musician (?) in _Summer’s Last Will and Testament, prol._ 7.

‘NED.’ Strange’s (?), 1590–1.

NETHE, JOHN. A London player in 1550 (cf. App. D, No. v).

NETHERSALL, JOHN. A London player in 1550 (cf. App. D, No. v).

NEWARK, WILLIAM. Master of Chapel, 1493–1509.

NEWMAN, JOHN. Blackfriars lessee, 1581–3.

NEWTON, JOHN. Charles’s, 1610, 1616, 1619, 1625.

‘NICK.’ Admiral’s, 1601–3. See also TOOLEY.

NILL, JOHN. A ‘player’ whose daughter Alice was baptized at St.

Saviour’s on 13 August 1601 (_Bodl._).

NORWOOD. Paul’s, 1599.

NYCOWLLES, ROBERT. A ‘player’ who witnessed a loan to Francis Henslowe

on 1 June 1595 (H. i. 6).

OFFLEY, THOMAS. Paul’s, _c._ 1522.

OSTLER, WILLIAM, began his career as a boy actor in the Chapel company.

He took a part in Jonson’s _Poetaster_ in 1601. From the _Sharers

Papers_ we learn that on growing up he was, like Field and Underwood,

‘taken to strengthen the King’s service’.[978] He first appears amongst

the King’s men in the cast of Jonson’s _The Alchemist_ in 1610, and

played also in _Catiline_, _The Captain_, _The Duchess of Malfi_, in

which he took the part of Antonio, _Valentinian_, and _Bonduca_. The

following epigram in John Davies, _Scourge of Folly_ (_c._ 1611),

attests his fame and his participation in some forgotten brawl:

_To the Roscius of these Times, Mr. W. Ostler._

Ostler, thou took’st a knock thou would’st have giv’n,

Neere sent thee to thy latest home: but O!

Where was thine action, when thy crown was riv’n,

Sole King of Actors! then wast idle? No:

Thou hadst it, for thou would’st bee doing? Thus

Good actors deeds are oft most dangerous;

But if thou plaist thy dying part as well

As thy stage parts, thou hast no part in hell.

Ostler married Thomasine, daughter of John Heminges, in 1611. His son

Beaumont was baptized at St. Mary’s, Aldermanbury, on 18 May 1612.[979]

He acquired shares in the Blackfriars on 20 May 1611, and the Globe on

20 February 1612, and died on 16 December 1614, leaving his shares a

subject for litigation between his widow and Heminges (q.v.).

PAGE, OLIVER. A London player in 1550 (App. D, No. v).

PALLANT, ROBERT. Strange’s (?), 1590–1; Worcester’s-Anne’s, 1602–19;

Lady Elizabeth’s, 1614; Charles’s, 1616; King’s, 1619, unless, indeed,

the R. Pallant who played the female part of Cariola in _Duchess of

Malfi_ was of a younger generation. This is not unlikely, for while

the St. Saviour’s registers record the burial of Robert Pallant, ‘a

man,’ on 4 September 1619, the token-books give the name in 1621 as

well as in 1612 and 1616. Ephraim and Hanburye, sons of Robert Pallant

‘player’, were baptized there on 1 January 1611 and 3 July 1614

respectively. There were others earlier. Pallant wrote commendatory

verses for Heywood’s _Apology_ (1612), and is noted as visiting

Henslowe on his death-bed on 6 January 1616 (H. ii. 20, 300; _Bodl._).

PANT, THOMAS. Unlicensed player, 1607–10 (cf. ch. ix, p. 304).

PARR, WILLIAM. Admiral’s-Henry’s-Palsgrave’s, 1602–20.

PARROWE (PARLOWE), RICHARD. Interluders, 1538–45.

PARSELEY, RICHARD. A London player in 1550 (cf. App. D, No. v).

PARSONS, THOMAS. Admiral’s, 1597, 1602 (H. ii. 301).

PATESON, WILLIAM. Worcester’s, 1584.

PAVY. Admiral’s, 1602.

PAVY, SALATHIEL (SALMON). Chapel, 1600–3. An epitaph on him is in

Jonson’s _Epigrams_ (1616), cxx, which gives his age at death, after

three years of playing, as 13. He was ‘apprentice to one Peerce’, when

he was pressed for the Chapel. This is not likely to have been the

Master of Paul’s, from whom it would have been rash to take a boy.

PAYNE, ROBERT. Revels patentee, 1604.

PEACOCKE, ROBERT. A London player in 1550 (cf. App. D, No. v).

PEARCE (PIERS), EDWARD. Gentleman of Chapel, 1589; Master of Paul’s,

1600.

PEDEL, ABRAHAM. Germany, 1614–15; Palsgrave’s, 1623. He lived at George

Alley in Golden Lane in 1623 (J. 348, 350).

PEDEL (BEHEL, BIEL), JACOB. Germany, 1597, 1614–15.

PEDEL, WILLIAM. Holland, 1608; Germany, 1614–15. Children of a William

Peadle, variously described as ‘tumbler’ and ‘gentleman’, were baptized

at St. Saviour’s, Southwark, in 1610, 1617, and 1629 (_Bodl._).

PENN, WILLIAM. Revels, 1609; Charles’s, 1616, 1625. He lived at George

Alley, Golden Lane, in 1623 and had children baptized and buried at St.

Giles’s, Cripplegate, in 1636 (J. 347; _Bodl._).

PENTON, FABIAN. Germany, 1602.

PEPEREL, GILES. Possibly an actor in the _Bugbears_ of John Jeffere

(cf. ch. xxiii).

PERKIN, JOHN. Leicester’s, 1572–4. Is he the Parkins who assisted

George Ferrers as Lord of Misrule in 1552–3 (Feuillerat, _Edw. and

Mary_, 120)?

PERKINS, RICHARD. Worcester’s-Anne’s, 1602–19; for his later history,

cf. Murray, i. 198, 200, 266. He wrote commendatory verses for

Heywood’s _Apology_ (1612), and Webster praises his acting in

_The White Devil_ (1612) in a note at the end of the print. His

portrait is at Dulwich. He lived at the upper end of St. John’s Street

in 1623 (H. ii. 301; J. 347).

PERRY, WILLIAM. Licensee for 2 King’s Revels, 1615; Queen’s Revels

manager, 1617.

PERSJ (PERSTEN), ROBERT (RUPERT). Denmark-Germany, 1586–7.

PERSONN, JOHANN. Denmark, 1579–80.

PERY, ROBERT. Chapel, 1529–31.

PERY, WILLIAM. Chapel, 1530.

‘PETER’ (?). King’s. At _Taming of the Shrew_, iv. 4. 68, F_{1} has the

s.d. ‘Enter Peter’, apparently a servant of Tranio, who does not speak.

PFLUGBEIL, AUGUST. Germany, 1614–15.

PHILIP, ROBERT. Chapel, 1514.

PHILLIPPE, ROBERT. A ‘momer’, buried at St. Leonard’s, on 9 April 1559

(Collier, _Actors_, 79). He might be identical with the foregoing.

PHILLIPS, AUGUSTINE, is included in the 1593 list of Strange’s men,

and played for them or the Admiral’s in _2 Seven Deadly Sins_ about

1590–1 as ‘Mr. Phillipps’. Probably he joined the Chamberlain’s men

on their formation in 1594. He appears in the actor-lists of 1598 and

1599, was one of the original Globe shareholders of 1599, and on 18

February 1601 gave evidence as to the performance of _Richard II_ by

the company before the Essex rising. He is also in the official lists

of the King’s men in 1603 and 1604, in the actor-list of _Sejanus_ in

1603, and in that of the First Folio of Shakespeare’s plays. ‘Phillips

his gygg of the slyppers’ was entered in the Stationers’ Register on

26 May 1595 (cf. p. 552). It has been conjectured that Phillips was a

brother-in-law of Alleyn, to whom Henslowe wrote on 28 September 1593,

‘Your sister Phillipes & her husband hath leced two or thre owt of ther

howsse, yt they in good health & doth hartily comend them unto you.’ If

so, his wife was probably Elizabeth Woodward. But it is also possible

that the family in question was that of one Edward Phillipes, who was

also in relations with Henslowe and Alleyn.[980] An Augustine Phillipps

buried at St. Saviour’s, Southwark, in 1592, was probably a relative

of the actor, whose children the register of the same parish records

as Magdalen (bapt. 29 September 1594), Rebecca (bapt. 11 July 1596),

and Austen or Augustine (bapt. 29 November 1601, bur. 1 July 1604). The

father is designated _histrio_, ‘player,’ or ‘player of interludes’.

The parish token-books show that he dwelt in Horseshoe Court during

1593 and 1595, thereafter near the Swan in Paris Garden, in Montagu

Close during 1601, in ‘Bradshaw’s Rents’ during 1602, and in Horseshoe

Court again during 1604.[981] But by 4 May 1605, when he made his will,

he was of Mortlake, Surrey, where he had a house and land of which

he had lately purchased the lease.[982] Doubtless he had prospered.

A note of heraldic irregularities delivered by William Smith, Rouge

dragon, to the Earl of Northampton as commissioner for the Earl Marshal

states that ‘Phillipps the player had graven in a gold ring the armes

of S^r W^m Phillipp, Lord Bardolph, with the said L. Bardolph’s cote

quartred, which I shewed to M^r. York at a small gravers shopp in

Foster Lane’.[983] The will mentions Phillips’s wife, whose name was

not Elizabeth but Anne, his daughters Magdalen, Rebecca, Anne, and

Elizabeth, his mother Agnes Bennett, his brothers William and James

Webb, his sister Margery Borne, and her sons Miles and Philipps, and

his sister Elizabeth Gough. Elizabeth had been married at St. Saviour’s

in 1603, to Robert Gough (q.v.) of the King’s men, who witnesses the

will.[984] Margery Borne may have been the wife of William Borne

_alias_ Bird (q.v.) of the Prince’s men. Presumably the Webbs were his

brothers-in-law, in which case his wife was obviously not a Woodward.

There are legacies of £5 to ‘the hyred men of the company which I am

of’, of 30_s._ pieces to his ‘fellows’ William Shakespeare and Henry

Condell, and his ‘servant’ Christopher Beeston, of 20_s._ pieces

to his ‘fellows’ Laurence Fletcher, Robert Armin, Richard Cowley,

Alexander Cook and Nicholas Tooley, of silver bowls to John Heminges,

Richard Burbadge, and William Sly, and of £20 to Timothy Whithorne.

Samuel Gilburne, ‘my late apprentice’ is to have 40_s._ and ‘my mouse

colloured velvit hose and a white taffety dublet, a blacke taffety

sute, my purple cloke, sword, and dagger, and my base viall’. James

Sands ‘my apprentice’ is to have 40_s._ and ‘a citterne, a bandore and

a lute’. The widow is appointed executrix, but if she re-marries she

is to have ‘no parte or porcion of my goods or chattells’, and is to

be replaced by the overseers of the will, Heminges, Richard Burbadge,

Sly, and Whithorne. After proving the will on 13 May 1605, the widow

did in fact re-marry, with John Witter, and it was proved again by John

Heminges on 16 May 1607. His share in the Globe was subsequently the

subject of litigation.[985] Heywood (_c._ 1608) praises his deserts

with those of other dead actors.

PICKERING, JAMES. Mason of Bowlby, Yorks, unlicensed player, 1612 (cf.

ch. ix, p. 305).

PLUMMER, JOHN. Master of Chapel, 1444–55.

POKELEY, RICHARD. A London player in 1550 (cf. App. D, No. v).

POLE. Gate-keeper at Paul’s, 1582.

POPE, THOMAS, was one of the English players, who visited Denmark and

Germany in 1586 and 1587. He is in the 1593 list of Strange’s men and

played as ‘Mr. Pope’ for them or the Admiral’s in _2 Deadly Sins_ about

1590–1. He joined the Chamberlain’s men, probably on their foundation

in 1594, was joint payee for them with Heminge from 1597–9, and appears

in the actor-lists of 1598 and 1599. On 30 August 1598, William

Bird borrowed 10_s._ of Henslowe, ‘to folowe the sewt agenst Thomas

Poope’.[986] In 1600 he is mentioned, with Singer of the Admiral’s, by

Samuel Rowlands in _The Letting of Humour’s Blood in the Head-Vein_,

sat. iv:

What meanes Singer then,

And Pope, the clowne, to speak so boorish, when

They counterfaite the clownes upon the Stage?

He had an original fifth share of a moiety of the Globe, increased to a

fourth on the retirement of Kempe. But he does not appear in the lists

of the King’s men, and had therefore probably retired by 1603. On 22

July of that year he made his will, which was proved on 13 February

1604.[987] He leaves his interests in the Globe and Curtain to Mary

Clark, _alias_ Wood, and Thomas Bromley, and legacies to Robert Gough

and John Edmans. He mentions the house in Southwark, in which he

dwelt, held with other tenements of the late Francis Langley; also his

brothers John and William Pope, and his mother Agnes Webbe. This hardly

justifies Collier in connecting him with the Webbes of Snitterfield,

Shakespeare’s kin. Bazell Nicholl, scrivener, and John Wrench, are

left executors. As in 1612 a sixth of the Globe was in the hands of

Basil Nicoll and John and Mary Edmonds, it is probable that John

Edmonds married Mary Clark. It appears from the Southwark token-books

that one Pope lived in Blamer’s Rents during 1593, in Wrench’s Rents

during 1595, and in Mr. Langley’s New Rents during 1596, 1598, 1600,

and 1602.[988] Dr. Greg thinks that Thomas Pope, rather than a Morgan

Pope who also had interests in Southwark, was the ‘Mr. Pope’ with whom

Henslowe had an interview on 25 June 1603, ‘at the scryveners shope

wher he lisse’, concerning the renewal of the lease of the Rose.[989]

But Thomas Pope clearly lived in his own house. Collier (_Actors_,

xxxvi) gives a marriage of a Thomas Pope and Elizabeth Baly at St.

Botolph’s on 20 December 1584, but the indications of the will do not

suggest a married man. William Smith complains that ‘Pope the player

would have no other armes but the armes of Sir Thomas Pope, Chancelor

of y^e Augmentations’.[990] Heywood mentions the ‘deserts’ of Pope in

his _Apology_. He is included in the actor-list of the First Folio

Shakespeare.

POWLTON, THOMAS. Worcester’s, 1584.

PRICE, JOHN. Musician in Germany, 1609.

PRICE (PRYOR?), RICHARD. Admiral’s-Henry’s-Palsgrave’s, 1600 (?), 1610,

1613, 1622. He lived in White Cross Street in 1623, and records of his

children are in the registers of St. Giles, Cripplegate, from 1620

to 1627, where he is variously entered as ‘gentleman’, ‘yeoman’, and

‘player’ (J. 348; _Bodl._).

PROCTOR. Admiral’s, 1599.

PRUN, PETER DE. Germany, 1594. He was of Brussels.

PUDSEY, EDWARD. Germany, 1626. He was presumably the owner of the

manuscript note-book from which extracts are given in R. Savage,

_Stratford-upon-Avon Notebooks_ (1888), i; cf. ch. xxiii, s.v. Chapman,

_Blind Beggar of Alexandria_.

PULHAM, GEORGE. Anne’s, 1612.

PYE, JOHN. A ‘momer’, whose son Samuel was baptized at St. Leonard’s,

Shoreditch, on 28 May 1559 (_Bodl._).

PYK (PIK, PYGE, PIGGE), JOHN. Strange’s, 1593; Admiral’s, 1597–9 (H.

ii. 303).

PYKMAN, PHILIP. Chapel, 1600–1.

RADSTONE, JOHN. A London player in 1550 (cf. App. D, No. v).

RASTALL, WILLIAM. Chapel manager, 1602. He died in 1608.

RAWLYNS, JOHN. A London player in 1550 (cf. App. D, No. v).

READE, EMANUEL. Lady Elizabeth’s, 1613; Anne’s, 1613 (?)-17.

READING, WILLIAM. Interluders, 1559–63 (cf. App. D, No. v).

REASON, GILBERT. Charles’s, 1610, 1616, 1625.

REDFORD, JOHN. Master of Paul’s, _c._ 1540, and dramatist (cf.

_Mediaeval Stage_, ii. 454).

REEVE, RALPH. Germany, 1603–9; Revels manager (provincial), 1611;

Porter’s Hall patentee, 1615.

REYNOLDS, ROBERT. Anne’s, 1616–17; Germany, 1616, 1618–20, 1626. He

was known in Germany by the clown-name Pickleherring. He and his wife

Jane were indicted for non-attendance at church in 1616 and 1617

(Jeaffreson, ii. 120, 127).

RICE, JOHN, was ‘boy’ to Heminges when he delivered a speech in

Merchant Taylors’ hall on 16 July 1607, and must have been still

with the King’s men when he took part as Corinea with Burbadge in

the water-pageant of 31 May 1610. He became one of the original Lady

Elizabeth’s men in 1611, and seems to have joined the King’s men again

in 1619. The Southwark token-books indicate a John Rice as a resident

in 1615, 1619, 1621, and 1623, with an ‘uxor’ in 1621, and another

record names John Rice ‘of the Bankside’ amongst players in 1623.[991]

He is not in the official list of May of that year, but played in _Sir

John van Olden Barnavelt_ about August, and is in the official list of

1621. He is traceable up to the list of 1625, but is not in that of

1629. It is not improbable that he retired, and went into Orders, for

Heminges, in his will of 1630, leaves 20_s._ to ‘John Rice, clerk, of

St. Saviour’s in Southwark’, and also names ‘Mr. Rice’ as overseer.

Rice is in the actor-list of the First Folio Shakespeare.

‘ROBIN.’ Chapel, 1518.

ROBINS (ROBINSON), WILLIAM. Anne’s, 1616–19. He lived on Clerkenwell

Hill in 1623 (J. 348).

ROBINSON, JAMES. Chapel manager, 1600.

ROBINSON, RICHARD, first appears in the _Catiline_ actor-list of the

King’s men in 1611, and as playing the Lady in a stage direction (l.

1929) to _The Second Maiden’s Tragedy_ of the same year. In _The Devil

is an Ass_ (1616), ii. 8. 64, Merecroft describes ‘Dicke Robinson’ as

a lad, and as masquerading ‘drest like a lawyer’s wife’. I think it

not impossible that he was a son of James Robinson, who was a member

of the Children of the Chapel syndicate in 1600. If so, he may have

been a Blackfriars boy. He played in _Bonduca_ (_c._ 1613), is in the

1619 patent to the King’s men, and in the actor-list of the First Folio

Shakespeare, and is traceable as a King’s man up to the Beaumont and

Fletcher Folio of 1647. He may have married Richard Burbadge’s widow,

who held shares in the Globe and Blackfriars as Mrs. Robinson in 1635.

He owed Tooley £29 13_s._ when the latter made his will in 1623.

According to Wright he was a comedian. The same author states that he

took up arms for the King, and was killed by Major Harrison at the

taking of Basing House, on 14 October 1645. A contemporary report of

this event by Hugh Peters confirms the death of ‘Robinson, the player,

who, a little before the storm, was known to be mocking and scorning

the Parliament’. There were, however, other actors named Robinson, and

probably this was one of them. If Richard had been killed in 1645, he

could not have signed the dedication of the Beaumont and Fletcher plays

in 1647. Moreover, the register of St. Anne’s, Blackfriars, records the

burial of ‘Richard Robinson, a player’ on 23 March 1648.[992] He seems

to have lived at the upper end of Shoreditch in 1623 (J. 347).

ROBINSON, THOMAS. Germany, 1626.

ROLL (ROE), JOHN. Interluders, 1530. He died in 1539.

RONNER, JOHN. A London player in 1550 (cf. App. D, No. v).

ROSE. Henry’s, 1612, where his wife became (?) a gatherer (_H. P._

63).

ROSSETER, PHILIP. Whitefriars lessee, 1609–15; Revels patentee, 1610;

Porter’s Hall patentee, 1615; Revels manager, 1617. He was one of the

royal lutenists from Midsummer 1604 to Easter 1623, and published _A

Booke of Ayres_ (1601) with Campion, who left him his property in 1620.

He died on 5 May 1623 (_D. N. B._; _Chamber Accounts_).

ROSSILL. Chamberlain’s, 1597.

ROWLEY, SAMUEL. Admiral’s-Henry’s-Palsgrave’s, 1597–1624 (?), and

dramatist (cf. ch. xxiii; H. ii. 307).

ROWLEY, THOMAS. Admiral’s, 1602.

ROWLEY, WILLIAM. Charles’s, 1610–19; King’s, 1623–5. But he remained

technically a Prince’s man until the death of James in 1625 (Murray, i.

162, 172, table).

RUSSELL, JOHN. Gatherer for Palsgrave’s, _c._ 1617 (_H. P._

28, 29, 85).

RUTTER, WILLIAM. Interluders, 1503.

SACKVILLE, THOMAS. Germany, 1592–3, 1597–1602. He used the clown-name

Johannes Bouset, was a merchant in Frankfort, 1604–17, and died in 1628.

‘SAM.’ Admiral’s, >1591.

SANDERSON, GREGORY. Anne’s, 1617–19.

SANDS, JAMES. King’s, 1605; Anne’s, _c._ 1617? He received legacies

from Augustine Phillips (q.v.), to whom he was apprentice, in 1605 and

from William Sly (q.v.) in 1608. A James Sands appears in the Southwark

token-books in 1596, 1598, and 1612 (_Bodl._).

SANDT, BERNHARDT. Germany, 1600–1.

SAUNDERS, WILLIAM. Chapel, >1517.

SAUSS, EVERHART. Netherlands, 1592.

SAVAGE, JEROME. Warwick’s, 1575–9.

SAVEREY, ABRAHAM. Lennox’s, 1605.

SCHADLEUTNER, SEBASTIAN. Germany, 1623.

SCARLETT, JOHN. A ‘player’ whose son Richard was baptized at St.

Giles’s on 1 September, and buried on 19 September 1605 (_Bodl._).

SCARLETT, RICHARD. A ‘player’, buried on 23 April 1609 at St. Giles’s,

where his daughter Susan had been baptized on 11 February 1607 and his

wife Marie buried on 12 February 1607. Several Scarletts were royal

trumpeters--Edward, William, and William the younger in 1483, John in

1509, Arthur in 1559–1603, John in 1677–9 (_Bodl._; _Chamber

Accounts_; Lafontaine, 1, 3, 325, 341).

SCOTT, JOHN. Interluders, 1503–28.

SEBECK, HENRY. Lady Elizabeth’s, 1617.

SEHAIS, JEHAN. France, 1598. Possibly the John Shaa, who witnessed

an Admiral’s payment to Dekker, 24 November 1599 (H. i. 114). ‘John’

appears for ‘Robert’ Shaw, probably by an error, in a play warrant of

1600 as given in the P. C. Acts (cf. App. B).

SHAKESPEARE, EDMOND. The burials at St. Saviour’s include, on 31

December 1607, ‘Edmond Shakespeare, a player: in the church,’ which is

expanded in a fee-book as ‘Edmund Shakespeare, a player, buried in the

church, with a forenoone knell of the great bell, 20_s._ (Collier,

_Actors_, xiv). Presumably this is the brother of William.

SHAKESPEARE, EDWARD. The baptisms at St. Giles’s include, on 12 August

1607, ‘Edward, sonne of Edward Schackspeere, Player: base borne’

(Collier, _Actors_, xv; J. Hunter in _Addl. MS._ 24589, f.

24).

SHAKESPEARE, WILLIAM. Strange’s, 1592; Pembroke’s (?), 1593; Sussex’s

(?), 1594; Chamberlain’s-King’s, 1594–1616; and dramatist.

SHAKSHAFTE, WILLIAM. Player (?) to Alexander Houghton, 1581 (cf. ch.

ix, p. 280).

SHANBROOKE, JOHN. A ‘player’ buried on 17 Sept. 1618 at St. Giles’s,

where his children appear in the registers from 10 June 1610 to 4 June

1618 (_Bodl._).

SHANK, JOHN, or SHANKS, for the name is variously spelt, describes

himself to Lord Chamberlain Pembroke in the _Sharers Papers_ of 1635

as ‘beeing an old man in this quality, who in his youth first served

your noble father, and after that the late Queene Elizabeth, then King

James, and now his royall Majestye’.[993] Presumably the Pembroke’s

company in question was that of 1597–1600, and the Queen Elizabeth’s

men the travelling company of the latter years of the reign. Shank’s

account of his own career may be amplified from the records of his

name in the 1610 list of Prince Henry’s men and in the patent issued

to the same company when they became the Elector Palatine’s men in

1613. He lived in Rochester Yard, Southwark, in 1605, but the register

of St. Giles’s, Cripplegate, shows him later in Golden Lane, and

records several baptisms and burials of his children between 1610 and

1629.[994] He had joined the King’s men between 1613 and 1619, as his

name is in the patent of the latter year. It recurs in the official

lists of the company up to 1629, but occasionally only in actor-lists

up to 1631, including that of the First Folio Shakespeare. Amongst

his ‘boyes’ or apprentices were Thomas Pollard, John Thompson, John

Honiman, and Thomas Holcome. Thompson cost him £40; for other boys he

had spent by 1635 as much as £200. After the death of John Heminges,

Shank bought from his son William, surreptitiously, as his fellows

averred, two shares in the Blackfriars and three in the Globe, for a

total sum of £506. It was these transactions, which took place between

1633 and 1635, that led to the petition of Benfield, Swanston, and

Pollard to the Lord Chamberlain recorded in the _Sharers Papers_. As

a result Shank was directed to transfer one share in each house to the

petitioners. He, however, complained that he could not get satisfactory

terms from them, and that they restrained him from the stage. The

Cripplegate register records Shank’s burial on 27 January 1636.[995]

James Wright calls him a ‘comedian’,[996] and the following verses,

signed W. Turner, and quoted by Collier from Turner’s _Dish of Stuff,

or a Gallimaufry_, may perhaps be taken as confirming this[997]:

That’s the fat fool of the Curtain,

And the lean fool of the Bull:

Since Shancke did leave to sing his rhimes,

He is counted but a gull:

The players on the Bankside,

The round Globe and the Swan,

Will teach you idle tricks of love,

But the Bull will play the man.

The verses are dated 1662, but the theatres named indicate a much

earlier date.

SHAW (SHAA, autograph), ROBERT. Chamberlain’s (?), 1597; Pembroke’s,

1597; Admiral’s, 1597–1602. John, son of Robert Shaw, ‘player’, was

baptized on 10 April 1603, at St. Saviour’s, and Robert Shaw, ‘a man’,

buried on 12 September 1603 (H. ii. 309; _Bodl._).

SHEALDEN. A ‘player’, who witnessed a loan for Henslowe on 24 August

1594 (H. i. 76).

SHEPARD. Paul’s door-keeper, 1582.

SHEPPARD, WILLIAM. A ‘player’, whose son Robert by his wife Johane was

baptized at St. Helen’s, 26 November 1602.

SIBTHORPE, EDWARD. Whitefriars lessee, 1608.

SIMPSON, CHRISTOPHER. Shoemaker of Egton, Yorks, recusant and

unlicensed player in 1610–12 (cf. ch. ix, p. 305).

SIMPSON, CUTHBERT. Of Egton, recusant and unlicensed player, 1616

(_ibid._).

SIMPSON, JOHN. Of Egton, recusant and unlicensed player, 1616 (_ibid._).

SIMPSON, RICHARD. Of Egton, recusant and unlicensed player, 1616

(_ibid._).

SIMPSON, ROBERT. Shoemaker of Staythes, Yorks, recusant and unlicensed

player, 1612, 1616 (_ibid._).

SINCLER (SINKLO, SINCKLO), JOHN. Strange’s (?), 1590–1; Pembroke’s (?),

1592–3; Chamberlain’s, 1594 (?)-1604.

SINGER, JOHN. Queen’s, 1583, 1588; Admiral’s, 1594–1603. He became an

ordinary Groom of the Chamber in 1603. A John Singer in 1571 owed money

to a Canterbury citizen, who had also debts from players (H. R. Plomer

in _3 Library_, ix. 253). Children of John Singer, ‘player’, appear in

the St. Saviour’s register from 1 August 1597 to 5 October 1609, and

his name is in the token-books from 1596 to 1602 (_Bodl._). The _Quips

upon Questions_ (1600) of Armin (q. v.) has been ascribed to Singer in

error. Rowlands couples him as a clown with Pope (q. v.) in 1600, and

Dekker, _Gull’s Horn Book_ (1609), says, ‘Tarlton, Kemp, nor Singer,

nor all the litter of fooles that now come drawling behind them, never

played the clowns more naturally than the arrantest sot of you all

shall’. Heywood praised him as dead in the same year (H. ii. 310).

SKINNER, RICHARD. Interluders, 1547–58.

SLATER (SLAUGHTER), MARTIN. Admiral’s, 1594–7; Scotland, 1599;

Hertford’s, 1603; Anne’s, 1606; King’s Revels manager, 1608; Chamber

of Bristol, 1618–19. He is sometimes recorded by his Christian name

only. He had a wife on 22 July 1604, and is described as a citizen and

ironmonger in 1608. His name is in the Southwark token-books from 1595

to 1602, and Martin Slawter, ‘a servant’, was buried there on 4 August

1625 (H. ii. 310; _Bodl._).

SLAUGHTER, WILLIAM. ‘Ghost-name’ evolved by Mr. Fleay for a supposed

Queen’s man.

SLEE (SLYE), JOHN. Queen Jane’s, >1537; Interluders, 1539–40.

SLY, WILLIAM, was doubtless of Strange’s men or the Admiral’s about

1590–1, when he played in _2 Seven Deadly Sins_. On 11 October 1594

Henslowe sold him ‘a jewell of gowld seat with a whitte safer’ for

8_s._ to be paid for at the rate of 1_s._ weekly.[998] But apparently

he never paid more than 6_s._ 6_d._ An inventory of garments belonging

to the Admiral’s men on 13 March 1598 includes ‘Perowes sewt, which

W^m Sley were’.[999] Presumably this had come from Strange’s men,

as Sly is never traceable as a member of the Admiral’s company.

Probably he joined the Chamberlain’s men on their formation in 1594.

He is in all the lists of this company from 1598 to 1605, and in the

Induction to _The Malcontent_ (1604). He is also in the actor-list

of the First Folio Shakespeare. The fact that ‘Christopher Sly, old

Sly’s son of Burton Heath’ is the name given to the beggar in _The

Taming of the Shrew_ (_c._ 1594), led Collier to suggest that he

migrated from Warwickshire about the same time as Shakespeare. But the

beggar in _A Shrew_ is already Sly, and the name occurs in various

parts of London. The Southwark token-books show a William Sly in

Norman’s Rents during 1588, in Horseshoe Court during 1593, and in

Rose Alley during 1595 and 1596.[1000] In 1605 he was named as one of

the overseers and residuary executors, with a legacy, in the will of

Augustine Phillips. The register of St. Giles’s, Cripplegate, records

the baptism on 24 September and the burial on 4 October 1606 of John,

base-born son of William Sly, player, by Margaret Chambers; and the

register of St. Leonard’s, Shoreditch, records his own burial on 16

August 1608, from Halliwell Street. His nuncupative will was made on 4

August 1608. He left legacies to Cuthbert Burbadge, and James Sandes,

and the rest of his property to Robert and Cecily Browne and their

daughter Jane. Robert is to have his part of the Globe, and Cecily

is appointed executrix. The will was witnessed by several illiterate

women, and disputed by a relative named William Sly, but proved on

24 August.[1001] He was not one of the original shareholders in the

Globe, but was admitted to a share in 1605 or later. On 9 August 1608,

between the date of his will and that of his death, he was granted a

lease of a seventh share in the Blackfriars, and this his executrix

afterwards surrendered to Richard Burbadge.[1002] Heywood names Sly

(_c._ 1608) amongst other dead players, whose ‘deserts’ he commemorates.

SMITH, ANTONY. Charles’s, 1616, 1625.

SMITH, JOHN. Interluders, _c._ 1547–80. Is he the John Smith who

assisted George Ferrers as Lord of Misrule in 1552–3 (Feuillerat,

_Edw. and Mary_, 120)?

SMITH, JOHN. Revels, 1609.

SMYGHT, WILLIAM. A ‘player’ who witnessed a loan from Philip to Francis

Henslowe on 1 June 1595 (H. i. 6; ii. 312).

SOMERSET, GEORGE. Admiral’s, 1601–2. See also JOHN WILSON.

SOUTHEY, THOMAS. Interluders, 1547–56.

SOUTHYN, ROBERT. A London player in 1550 (cf. App. D, No. v).

SPENCER, GABRIEL. Chamberlain’s (?), 1597; Pembroke’s, 1597; Admiral’s,

1598. He was slain by Ben Jonson (cf. ch. xxiii) on 22 September 1598,

and was buried on the next day but one at St. Leonard’s, where the

register records him as from Hogge Lane (Collier, _Actors_, xxii). On

3 December 1596 a coroner’s inquest found that he had himself slain

James Feake with a rapier in the house of Richard East, barber, in St.

Leonard’s (Jeaffreson, i. xlv, 234). Henslowe sometimes describes him

merely as ‘Gabriel’, and under this name Heywood praises him (H. ii.

312).

SPENCER, JOHN. Germany, 1605–23. He was known by the clown-name of Hans

Stockfisch.

SQUIRE, LAWRENCE. Master of Chapel, 1486–93.

STEVENS, THOMAS. Denmark-Germany, 1586–7.

STOKEDALE, EDMUND. A London player in 1550 (cf. App. D, No. v).

STRATFORD, WILLIAM. Henry’s-Palsgrave’s, 1610–23. He lived at the upper

end of White Cross Street in 1623. His children appear in the St.

Giles’s register in that year, and he was buried as a ‘player’ there on

27 August 1625 (J. 348, 350; _Bodl._).

STROWDEWIKE, EDMUND. Interluders, 1559–68.

SUDBURY, THOMAS. Interluders, 1530.

SUTTON, ROBERT. A London player in 1550 (cf. App. D, No. v).

SWANSTON, ELIARD. Lady Elizabeth’s, 1622; King’s, 1624–42 (Murray, i.

172, 255).

SWINNERTON (SWETHERTON), THOMAS. Anne’s, 1604–19; for his later career

cf. Murray, ii. 101, 105.

SYFERWESTE, RICHARD. Worcester’s (?), 1602 (H. ii. 314).

SYMCOCKES. Lennox’s, 1605.

SYMONS, JOHN. A tumbler. Strange’s, 1583; Oxford’s, 1585; Strange’s,

1586–8 (?); Queen’s, 1588 (?)-9.

TAILOR, ROBERT. Admiral’s, 1601–2.

TARBUCK, JOHN. Revels patentee, 1610.

TARLTON, RICHARD, first appears in the ‘Q^d Richard Tarlton’ at the end

of a ballad called _A very lamentable and wofull discours of the fierce

fluds ... the 5. of October, 1570_ (Arber, i. 440).[1003] This is

preserved (Halliwell, 126; Collier, _Old Ballads_, 78; H. L. Collman,

_Ballads and Broadsides_, 265). The Stationers’ Registers also record

in 1576 ‘a newe booke in Englishe verse intituled Tarltons Toyes’

(Arber, ii. 306), in 1578 ‘Tarltons Tragical Treatises conteyninge

sundrie discourses and pretie conceiptes bothe in prose and verse’

(Arber, ii. 323), and in 1579 ‘Tarltons devise upon this unlooked for

great snowe’ (Arber, ii. 346); but these are all lost. _Tarltons Jigge

of a horse loade of Fooles_ (Halliwell, xx) should, if it is genuine,

date from about 1579, as the jest at the Puritan fool ‘Goose son’ is

obviously aimed at Stephen Gosson; but it reads to me like a fake,

and Halliwell took it from a manuscript belonging to Collier, who had

already quoted it in his tainted _New Facts_, 18. It is improbable

that Richard is the ‘one Tarlton’ whose house in Paris Garden is

included in a list of suspected papist resorts sent by Richard Frith

to Alderman Martin at some date not earlier than 1585 (Wright, _Eliz._

ii. 250). The first mention of him is by Gabriel Harvey (cf. p. 4)

in 1579, when he had already acquired some reputation. He became an

original member of the Queen’s men (q. v.) in 1583, and remained

their principal comedian until his death in 1588. For this company he

wrote _The Seven Deadly Sins_ (q. v.) in 1585. Music for some of his

jigs is in existence (Halliwell, _Cambridge Manuscript Rarities_, 8)

and his facility as a jester made him, until he pushed it too far, a

_persona grata_ in Elizabeth’s presence. Bohun, 352, says that the

Queen admitted ‘Tarleton, a famous comedian, and a pleasant talker,

and other such like men, to divert her with stories of the town and

the common jests or accidents, but so that they kept within the bounds

of modesty and chastity’. He adds, ‘Tarleton, who was then the best

comedian in England, had made a pleasant play, and when it was acting

before the Queen, he pointed at Sir Walter Raleigh and said “See, the

Knave commands the Queen”, for which he was corrected by a frown from

the Queen; yet he had the confidence to add that he was of too much

and too intolerable a power; and going on with the same liberty, he

reflected on the overgreat power and riches of the Earl of Leicester,

which was so universally applauded by all that were present, that she

thought best to bear these reflections with a seeming unconcernedness.

But yet she was so offended, that she forbad Tarleton and all her

jesters from coming near her table, being inwardly displeased with this

impudent and unseasonable liberty.’ An anecdote of Tarlton ‘playing

the God Luz with a flitch of bacon at his back’, fighting the Queen’s

little dog Perrico de Faldes with sword and long staff, and exchanging

chaff with the Earl of Sussex (Halliwell, _Death-bed_, 30, from _S.

P. Dom. Eliz._ ccxv, 89) might have some point if Luz was a take-off

of Leicester. On 27 October 1587 Tarlton was allowed as a Master

of Fence, and is described as an ‘ordenary grome off her majestes

chamber’ (_Sloane MS._ 2530, f. 6). The same description recurs in

his will, which was signed on 3 September 1588, the actual day of his

burial at St. Leonard’s, Shoreditch, from Halliwell Street. He left

his property to his son Philip, as whose guardians he appointed his

mother Katharine, then a widow, his friend Robert Adams, and his fellow

of the Queen’s men, William Johnson. One of the witnesses, Charles

Barnard, was his sister’s husband. This will was disputed by Katharine

Tarlton, who brought a bill in Chancery, alleging that after signing it

and making over property worth £700 to Adams, Tarlton repented, tried

in vain to recall the will, and made another. A rejoinder by Adams

accuses Katharine of acting under the influence of another son-in-law,

Thomas Lee, a butcher, and describes how Adams was called to Tarlton’s

death-bed in the house of one Emma Ball in Shoreditch, ‘of a very

bad reputacion’. Some colour is given to his mother’s complaint by a

death-bed petition from Tarlton to Walsingham, begging his protection

for Philip, who was Sidney’s godson, against ‘a sly fellow, on Addames’

(_S. P. Dom. Eliz._ ccxv. 90). There is no mention of Tarlton’s wife;

the boy was six years old. Robert Adams was apparently a lawyer, and to

be distinguished from John Adams of the Queen’s men, who is referred

to as a fellow of Tarlton’s by the stage keeper in _Bartholomew Fair_

(Induction 38), ‘I kept the Stage in Master _Tarletons_ time, I thanke

my starres. Ho! and that man had liu’d to haue play’d in _Bartholmew

Fayre_, you should ha’ seene him ha’ come in, and ha’ beene coozened i’

the Cloath-quarter, so finely. And _Adams_, the Rogue, ha’ leap’d and

caper’d vpon him, and ha’ dealt his vermine about, as though they had

cost him nothing.’ After Tarlton’s death, several pamphlets, ascribed

to him or otherwise exploiting his popularity, came to the press; in

1588 ‘a ballad intituled Tarltons Farewell’ (Arber, ii. 500); in 1589

‘a sorowfull newe sonnette, intituled Tarltons Recantacon uppon this

theame gyven him by a gentleman at the Bel savage without Ludgate

(nowe or ells never) beinge the laste theame he songe’ (Arber, ii.

526); in 1589 ‘Tarltons repentance of his farewell to his frendes in

his sicknes a little before his deathe’ (Arber, ii. 531); in 1590 ‘a

pleasant dyttye dialogue wise betwene Tarltons ghost and Robyn Good

Fellowe’ (Arber, ii. 559). These are lost, unless, indeed, _Tarltons

Farewell_ is identical with ‘A pretie new ballad, entituled Willie

and Peggie, to the tune of Tarlton’s Carroll’, printed in _Archiv._

cxiv. 341, and A. Clark, _Shirburn Ballads_, 351, from _Rawl. Poet.

MS._ 185, f. 10. This ends ‘qd. Richard Tarlton’, but it is in fact

a lament over the death of Tarlton under the name of Willie, as is

clearly shown by lines 23 ‘None would be wery to see him one stage’,

41 ‘A groome of her chamber my Willie was made’, 55 ‘To singe them

their themes he never denied’. These verses support the theory, based

upon a contemporary note in a copy of Spenser (cf. _6 N. Q._ xi. 417;

Halliwell-Phillipps, ii. 394), that Tarlton is the ‘pleasant Willy’

mourned as dead in the _Tears of the Muses_ (1591), 208, and if he is

also the Yorick of _Hamlet_, v. 1. 201, he was sufficiently honoured.

Another ballad in the same manuscript on the Armada (_Archiv._ cxiv.

344; _Ballads from MS._ ii. 92) also claims to be to the tune of

Tarlton’s ‘carroll’; the ‘Carroll’ itself is unknown. ‘_Tarltons Newes

out of Purgatorie. Onelye such a jest as his Jigge, fit for Gentlemen

to laugh at an houre, &c. Published by an old companion of his, Robin

Goodfellow_’ (n.d., but entered in S. R. 26 June 1590; Arber, ii.

553) is a volume of _novelle_, put into the mouth of Tarlton’s ghost.

The writer describes him as ‘only superficially seene in learning,

having no more but a bare insight into the Latin tung’, and physically

as ‘one attired in russet, with a buttond cap on his head, a great

bag by his side, and a strong bat in his hand’. Similarly, Henry

Chettle, who put into his mouth a defence of plays forming a section

of _Kind-hartes Dreame_ (1592; cf. App. C, No. xlix), knew him in a

dream ‘by his sute of russet, his buttond cap, his taber, his standing

on the toe, and other tricks’. _The Cobler of Caunterburie or an

Invective against Tarltons Newes out of Purgatorie_ (1590) is also a

volume of _novelle_, and has practically nothing about Tarlton. On

the other hand, _Tarltons Jests_ at least claims to be biographical,

although its material, like that of Peele’s _Jests_, largely consists

of the flotsam and jetsam of all the jest-books. The earliest extant

edition is of 1611. But it was transferred from one publisher to

another in 1609 (Arber, iii. 402), the second of its three parts,

which mentions the Globe (Halliwell, 23), was entered in S. R. on 4

August 1600 (Arber, iii. 168), and probably therefore the first part

was already in print in the sixteenth century. It speaks of Tarlton

as a Queen’s man (Halliwell, 13, 27, 29, 30, 33), as playing at the

Bull in Bishopsgate (13, 24), where he did both the clown and the

judge in ‘Henry the Fifth’ (_The Famous Victories_) to Knell’s Harry,

the Curtain (16), and the Bell in Gracechurch Street (24), as singing

themes (16, 27, 28, 40), and as jesting in clown’s apparel in the royal

presence or in the Great Chamber at Court (7, 8). It also tells us,

for what the statements are worth, that his father lived at Ilford

(40), that he had a wife Kate of light character (17, 19), that he

kept the Saba tavern in Gracechurch Street, where he was scavenger of

the ward (15, 21, 22), and an ordinary in Paternoster Row (21, 26),

and that he had a squint (12) and a flat nose (28). A woodcut on the

title-page confirms these peculiarities of feature, and represents a

short, broad-faced, cunning-looking man, with curly hair, an elaborate

moustache and a starved beard, wearing a cap, and a bag or moneybox

slung at his side, and playing on a tabor and a pipe. This appears to

be taken from a drawing by John Scottowe in an initial letter to some

verses on Tarlton’s death in _Harl. MS._ 3885, f. 19. Nashe, _Pierce

Penilesse_ (1592, _Works_, i. 188), gives us a hint of his stage

methods in describing how at a provincial performance, as the Queen’s

men ‘were now entring into their first merriment (as they call it) the

people began exceedingly to laugh, when _Tarlton_ first peeped out his

head’, and how a ‘cholericke wise Iustice’ laid his staff about their

pates, ‘in that they, being but Farmers & poore countrey Hyndes, would

presume to laugh at the Queenes men, and make no more account of her

cloath in his presence’. According to Fuller (_Worthies_, iii. 139)

Tarlton was born at Condover in Shropshire, and kept his father’s

swine there, until a servant of the Earl of Leicester, struck with his

witty replies, brought him to Court. On the other hand, in the _Three

Lords and Three Ladies of London_ (1590), by his fellow Robert Wilson,

Simplicity produces his picture, and says he was ‘a prentice in his

youth of this honorable city: ... when he was yoong he was leaning to

the trade ... waterbearing: I wis he hath tossed a tankard in Cornehil

er now’ (sign. C^v). Halliwell (xxx) has collected a large number of

allusions to Tarleton and his humours, lasting well into the middle

of the seventeenth century. Taverns were named after him, and one is

said to have still stood in Southwark in 1798. Much of the action of W.

Percy’s _Cuck-Queanes and Cuckolds Errants_ (q. v.) takes place at the

Tarlton Inn, Colchester, of which he is said to have been the ‘quondam

controller and induperator’. Tarlton himself speaks the prologue to the

play. George Wilson, _The Commendation of Cockes and Cock-fighting_

(1607), records that on 4 May 1602 there fought at Norwich ‘a cocke

called Tarleton, who was so intituled, because he alwayes came to the

fight like a drummer, making a thundering noyse with his winges, which

cocke fought many batels with mighty and fierce adversaries’.

TAWYER, WILLIAM. At _M. N. D._ v. 1. 128, F_{1} has the s. d. ‘Tawyer

with a Trumpet before them’. The St. Saviour’s burials give in June

1625, ‘William Tawier, M^r Heminges man’.

TAYLOR, JOHN. Choir Master at St. Mary’s, Woolnoth, 1557; at

Westminster, 1561–7.

TAYLOR, JOSEPH, is conjectured by Collier to be the Joseph Taylor

who was baptized at St. Andrew’s by the Wardrobe in Blackfriars on 6

February 1586, the Joseph Taylor who married Elizabeth Ingle, widow,

at St. Saviour’s, Southwark, on 2 May 1610, and the Joseph Taylor who

is shown by the Southwark token-books as dwelling in ‘M^r Langley’s

new rents, near the play-house’ during 1607, in Austen’s Rents during

1612 and 1615, as ‘gone’ in 1617, and as dwelling ‘near the play-house’

in 1623 and 1629, ‘on the Bankside’ in 1631, and in Gravel Lane

during 1633. ‘Joseph Taylor, player,’ is entered in the St. Saviour’s

registers as the father of Elsabeth (bapt. 12 July 1612), Dixsye and

Joseph (bapt. 21 July 1614), Jone (bapt. 11 January 1616), Robert

(bapt. 1 June 1617), and Anne (bapt. 24 August 1623).[1004] On the

other hand, a Joseph Taylor, not improbably a player, was living in

Bishopsgate near the Spittle in 1623 (J. 347). He was a member of the

Duke of York’s company in 1610, but left them without the consent of

his fellows for the Lady Elizabeth’s in 1611, and thereby involved

himself during the same year in a lawsuit with John Heminges.[1005]

He is in the actor-lists of _The Honest Man’s Fortune_ (1613) and of

_The Coxcomb_, as played by the Lady Elizabeth’s men about the same

date, and is also named in the text of their _Bartholomew Fair_ (1614).

There seems to have been some sort of amalgamation between the Duke

of York’s, now Prince Charles’s, and the Lady Elizabeth’s in 1615,

and when this terminated in the following year, Taylor became again

a member of the Prince’s company. He was still with them between

6 January and 2 February 1619, when he appeared as Dr. Almanac in

Middleton and Rowley’s _Mask of Heroes_, but on 19 May 1619 he appears

in a livery warrant issued for the King’s men. As he is not in their

patent of the previous 27 March, it is to be supposed that he joined

them to replace Burbadge, who had died on 13 March.[1006] The rest of

his stage career was spent with the King’s men. He succeeded Burbadge

in several of his characters, including Ferdinand in the _Duchess of

Malfi_ and Hamlet, although the incidence of dates must cast some

doubt upon the statement of Downes that he was instructed in the part

‘by the Author M^r Shakespear’.[1007] Wright says that he played it

‘incomparably well’, and praises him also as Iago in _Othello_, Truewit

in _Epicoene_, and Face in _The Alchemist_.[1008] He is included in

the First Folio list of performers in Shakespeare’s plays. In 1623

Nicholas Tooley left him £10 to pay a debt for which Tooley had become

his surety. With Lowin he seems to have assumed the leadership of the

company in succession to Heminges and Condell, and after Heminges’s

death in 1630 he was admitted to two shares in the ‘house’ of the

Globe and one in that of the Blackfriars, which he still held in

1635. About 1637 he petitioned for a waiter’s place in the Custom

House of London,[1009] and on 11 November 1639 he obtained the post

of Yeoman of the Revels, probably through the influence of Sir Henry

Herbert, with whom he had been in frequent contact as representative

of his company.[1010] After the closing of the theatres he joined his

fellows of the King’s men in publishing the First Folio of Beaumont

and Fletcher’s plays in 1647, and for his benefit and Lowin’s _The

Wild-goose Chase_ was added in 1652. He died at Richmond and was there

buried on 4 November 1652.[1011] The ascription to his brush of the

‘Chandos’ portrait of Shakespeare is now discredited.

THARE (THAYER), JOHN. Worcester’s, 1602–3; Germany, 1603–6 (?).

TILBERY, JOHN. Chapel, 1405.

TOMSONE, JOHN. A ‘player’ who borrowed 5_s._ from Henslowe on 22

December 1598 (H. i. 40).

TOOLEY, NICHOLAS, appears in the 1619 patent to the King’s men, but

not in that of 1603. He probably joined the company about 1605, as he

received a legacy under the will of Phillips on 4 May as his ‘fellow’.

He is not in the actor-list of _Volpone_ in that year, but is in most

of the later actor-lists from _The Alchemist_ (1610) to _The Spanish

Curate_ (1622), and in that of the First Folio Shakespeare. In 1619 he

witnessed Richard Burbadge’s will. He made his own will as Nicholas

Tooley, Gentleman, on 3 June 1623. After legacies to charity, to the

families of ‘my good friend Mr. Cuthbert Burbadge (in whose house I

do now lodge)’, of ‘my late Mr. Richard Burbadge deceased’, and of ‘my

good friend Mr. Henry Condell’, and to Joseph Taylor, and remissions

of debt to John Underwood and William Ecclestone, but not to Richard

Robinson, he ends by making Burbadge and Condell his executors and

residuary legatees. By a codicil of the same date, signed as Nicholas

Wilkinson _alias_ Tooley, he guards against any danger of invalidity

due to his failure to use the name of Wilkinson.[1012] Presumably,

therefore, Wilkinson, and not Tooley, was his original name. The name

of Tooley was fairly common in London, and more than one Nicholas

Wilkinson has been traced. He may have been the Nicholas, son of

Charles Wilkinson, baptized at St. Anne’s, Blackfriars, on 3 February

1575.[1013] There seems no reason to connect him with a Nicholas Tooley

found on the Warwickshire muster-book in 1569.[1013] His reference to

Richard Burbadge as his ‘master’ suggests that he was his apprentice.

It is tempting, but arbitrary, to identify him with the ‘Nick’ who

played with Strange’s men in _2 Seven Deadly Sins_ about 1592, or the

‘Nycke’ who tumbled before Elizabeth for the Admiral’s in 1601 and

is commended by Joan to Edward Alleyn on 21 October 1603.[1014] The

register of St. Giles’s, Cripplegate, records the burial of ‘Nicholas

Tooley, gentleman, from the house of Cuthbert Burbidge, gentleman’, on

5 June 1623.[1015]

TOTTNELL, HARRY. A ‘player’ whose daughter Joan was baptized at St.

Saviour’s on 20 March 1591 (_Bodl._).

TOWNE, JOHN. Queen’s, 1583, 1588, 1594–7. Greg (H. ii. 315) rather

arbitrarily suggests that Henslowe’s note of him as a witness to a loan

to Francis Henslowe of the Queen’s on 8 May 1593 (H. i. 4) is by an

error for Thomas (q. v.).

TOWNE, THOMAS. Admiral’s-Henry’s, 1594–1610. His name is in a s. d. to

_1 Honest Whore_ (1604). Alleyn’s papers record a widow Agnes. Towne’s

name is in the Southwark token-books during 1600–7, and Thomas Towne ‘a

man’ was buried on 9 August 1612. Towne’s will of 4 July 1612 names his

wife, whom he calls Ann, and his brother John, of Dunwich in Suffolk

(‘if he be still living’) and leaves £3 to his fellows Borne, Downton,

Juby, Rowley, Massey, and Humphrey Jeffes, ‘to make them a supper when

it shall please them to call for it’ (H. ii. 316; _Bodl._, citing will

in P. C. C.).

TOWNSEND, JOHN. Lady Elizabeth’s, 1611, 1616–32 (?); for his later

career, cf. Murray, i. 252–60; ii. 8.

TOY. The performer of Will Summer in _Summer’s Last Will and Testament_.

TREVELL, WILLIAM. Whitefriars lessee, 1608, 1621.

TRUSSELL, ALVERY. Chapel, 1600–1.

TUNSTALL (DONSTALL, DONSTONE), JAMES. Worcester’s, 1583; Admiral’s,

1590–1, 1594–7. Guilpin, _Skialetheia_ (1598), refers to him in

conjunction with Alleyn (q. v.). The variation in his name is made

more, rather than less, puzzling by the baptism at St. Botolph’s of

Dunstone Tunstall on 20 August 1572 (H. ii. 261).

UBALDINI, PETRUCCIO. Italians, 1576 (?).

UNDERELL. Worcester’s, 1602. A Thomas Underell was a royal trumpeter in

1609–24 (_Chamber Accounts_).

UNDERWOOD, JOHN, was a Chapel boy in the year 1601, and continued at

Blackfriars until, as the _Sharers Papers_ state, on growing up to

be a man, he was taken to strengthen the King’s service. This was in

1608 or a little later. He is not in the Queen’s Revels actor-list

of _Epicoene_ (1609), and is in the King’s men’s actor-list of _The

Alchemist_ (1610), and thereafter in the official lists and most of

the actor-lists of the company, including that of the First Folio

Shakespeare, up to 1624. Tooley in his will of 1623 forgave him a debt.

His own will was made on 4 October 1624 and has a codicil appended

on 10 October, doubtless from his oral directions, but after his

death. He describes himself as ‘of the parish of Saint Bartholomew the

Less, in London, gent.’, and leaves his shares in the Blackfriars,

Globe, and Curtain to his executors, of whom Henry Condell is one, in

trust for his five children, all under twenty-one--John, Elizabeth,

Burbage, Thomas, and Isabel. The executors and his ‘fellowes’, Mr. John

Heminges and John Lowin, who are appointed overseers, have 11s. each

for rings.[1016] The baptism of his son John on 27 December 1610 is in

the register of Saint Bartholomew the Less, West Smithfield.[1017] The

trust was still unexpired at Condell’s death in 1627, and was handed on

by him to his wife. The _Sharers Papers_ of 1635 show one share in the

Blackfriars still in the hands of an Underwood; but apparently a third

of it had been parted with about 1632 to Eliart Swanston.[1018]

VINCENT. Strange’s (?), 1590–1.

VIRNIUS, JOHANN FRIEDRICH. Germany, 1615.

WAKEFIELD, EDWARD. Germany, 1597, 1602.

WALPOLE, FRANCIS. Anne’s, 1616–17.

WARD, ANTHONY. Vide ARKINSTALL.

WAYMUS (WAMBUS), FRANCIS. Lady Elizabeth’s, 1611, 1617–24.

WEBSTER, GEORGE. Germany, 1598, 1600–3.

WEBSTER, JOHN. Germany, 1596. Is he identical with the dramatist?

WESTCOTT, SEBASTIAN. Master of Paul’s, 1557–82. He is sometimes

described by his Christian name alone.

WHETSTONE, _c._ 1571. Cf. s.v. FIDGE. Plomer suggests that he might be

George Whetstone (cf. ch. xxiii).

WHITELOCKE, JAMES, afterwards Sir James. Merchant Taylors, 1575–86.

WILDER, PHILIP VAN. Gentleman of the Privy Chamber and lutenist,

commissioned to raise a royal company of young minstrels in 1550; cf.

ch. xii, s.v. Chapel.

‘WILL.’ Strange’s, 1590–1.

‘WILL.’ Admiral’s, 1597.

WILLIAMS, JOHN. Chapel, 1509.

WILSON, JOHN. In _Much Ado_, ii. 3. 38, for the ‘Enter Balthaser with

musicke’ of Q_{1}, F_{1} has ‘Enter ... Iacke Wilson’, who therefore,

at some date before 1623, sang ‘Sigh no more, ladies!’ He is probably

the son of Nicholas Wilson, ‘minstrel’, baptized at St. Bartholomew’s

the Less on 24 April 1585. He had an elder brother Adam, and buried

a wife Joan on 17 July 1624, and an unnamed son on 3 September 1624

at St. Giles’s from the house of George Sommerset, musician (Collier,

_Actors_, xviii). He seems to have become a city ‘wait’ about 1622 and

to have still held his post in 1641, and has been confused (Collier in

_Sh. Soc. Papers_, ii. 33; E. F. Rimbault, _Who was Jacke Wilson?_,

1846) with another John Wilson, born in 1595, a royal lutenist and

musician of distinction (cf. _D. N. B._). One or other of them was

concerned with a performance of _M. N. D._ in the house of John

Williams, Bishop of Lincoln, on 27 September 1631, which gave offence

to the Puritans (Murray, ii. 148).

WILSON, ROBERT, was one of Leicester’s men in 1572, 1574, and 1581. A

reference in Gabriel Harvey’s correspondence of 1579 suggests that he

was conspicuous amongst the actors of the day, and Lodge’s praise about

the same date in the _Defence of Plays_ of his _Shorte and Sweete_,

‘the practice of a good scholler,’ shows that he was also a playwright.

This piece Lodge compares with Gosson’s _Catiline’s Conspiracies_, and

it may have been on the same theme. Further evidence of his reputation

is in the letter of 1581 from T. Baylye (q. v.). In 1583 he joined the

Queen’s men, and is described by Howes in his account of the formation

of that company as a ‘rare’ man ‘for a quicke, delicate, refined,

extemporall witt’. He is not in the Queen’s list of 1588. This may

not be quite complete; on the other hand he may by then have left the

company. I see no solid foundation for the conjectures of Fleay, ii.

279, that he was the player of _Greenes Groatsworth of Wit_ (cf. App.

C, No. xlviii) who penned the _Moral of Man’s Wit_ and the _Dialogue of

Dives_, that he wrote _Fair Em_, that he left the Queen’s for Strange’s

in 1590 and thereby incurred Greene’s hostility, that he is the Roscius

of Nashe’s _Menaphon_ epistle, that he died of the plague in 1593. It

is extremely unlikely that he died in 1593, for in his _Palladis Tamia_

of 1598, after lauding Tarlton as famous for ‘extemporall verse’, Meres

continues, ‘And so is now our wittie Wilson, who for learning and

extemporall witte in this facultie is without compare or compeere, as

to his great and eternall commendations he manifested in his chalenge

at the Swanne on the Banke side.’ The common use by Meres and Howes

of the phrase ‘extemporall witte’ renders it almost impossible to

suppose that they are not speaking of the same man. It is true that,

in the _Apology for Actors_, Heywood, whose knowledge of the stage

must have gone back at least to 1594, classes Wilson with the older

generation of actors, whom he never saw, as being before his time, and

I take it the explanation is that, at or before the virtual break-up

of the Queen’s men in the plague of 1592–3, Wilson gave up acting, and

devoted himself to writing, and occasional extemporizing on themes. He

is generally supposed to be the R. W. of _The Three Ladies of London_

(1584) and _The Three Lords of London_ (1590), and the ‘Robert Wilson,

Gent.’ of _The Cobbler’s Prophecy_ (1594). The ‘Gent.’ is hardly an

insuperable obstacle to identifying him with the ‘Robert Wilson, yoman

(a player)’, who was buried at St. Giles’s, Cripplegate, on 20 November

1600 (Collier, _Actors_, xviii). A Wilson is in the suspected Admiral’s

cast of _c._ January 1600. But now comes the real difficulty. Meres,

also in the _Palladis Tamia_ and without any indication that he has

another man in mind, includes ‘Wilson’ in a group of ‘the best for

comedy amongst vs’, which is composed of the principal writers for the

Admiral’s in 1598, and amongst these writers, as shown by Henslowe’s

papers, was a Robert Wilson, who collaborated in eleven plays during

1598, and in three more during 1599 and 1600. He is last mentioned in

a letter of 14 June 1600. This is generally taken to be a younger man

than the Queen’s player, possibly a Robert Wilson who was baptized at

St. Botolph’s, Bishopsgate, on 22 September 1579, and married Mary

Eaton there on 24 June 1606, possibly the Robert Wilson (not described

as ‘a player and the younger’ as Collier suggests in _Bodl._) whose

son Robert was baptized at St. Leonard’s on 15 January 1601 (Stopes,

_Burbage_, 141), possibly the Robert Wilson whose burial is recorded

at St. Bartholomew’s the Less on 21 October 1610. On the whole, I am

inclined to think that, in view of the character of Meres’ references,

of the use of Catiline as a play-theme both about 1580 and in 1598 (cf.

ch. xxiii), and of the sudden disappearance of Wilson from Henslowe’s

diary in the year of the ‘player’s’ death, the balance of evidence is

in favour of one playwright rather than two. The undefined share of

the Admiral’s man in the extant _1 Sir John Oldcastle_ does not really

afford a basis for stylistic comparison with the more old-fashioned

manners of the 1584–94 plays. There is nothing to show that the

Bishopsgate man had any connexion with the stage, still less that he

was a son of the Queen’s player, as has been suggested.

WINTER, RICHARD. Possibly an actor at Canterbury, _c._ 1571 (_3

Library_, ix. 253).

WODERAM, RICHARD. Oxford’s, 1586–7 (?).

WOODFORD, THOMAS. Whitefriars lessee, 1608, 1621.

WOODS, JOHN. Holland, 1604.

WORTH, ELLIS. Anne’s, 1615–19; for his later career, cf. Murray, i.

198, 218. He is described as ‘gentleman’ in the register of St. Giles’s

at the baptism of his daughter Jane on 19 July 1613, and as ‘player’ at

that of his son Elizeus on 12 March 1629 (_Bodl._).

WYLKYNSON, JOHN. A London ‘coriour’, who maintained players in his

house in 1549 (cf. App. D, No. ii).

YOUNG, JOHN. Queen Jane’s, >1537; Interluders, 1539–53 (?). He seems to

have been still alive in 1569–70.