COURT PERFORMANCES
During the reigns of Elizabeth and James, Court performances were
frequently given, especially during the religious holidays. All the
well-known London companies appeared at Court nearly every year, and
were liberally remunerated for their services. Documentary evidence is
in existence stating the exact fees paid to the actors, and the names
in some instances of the plays performed.
Shakespeare is known to have taken part in several of the Court
functions; many of his own dramas were presented before the Queen,
and although nowhere expressly stated, he, no doubt, acted in them
before the royal audience. These performances were given at the
different palaces where the Court happened to be assembled. The Royal
residences were numerous, and contemporary records prove that dramatic
entertainments were represented at each of them on several occasions.
The enthusiasm which Elizabeth displayed towards the drama must, in
a great measure, account for its continued success and development.
Without the Court patronage, the City and Local Authorities, in their
blind prejudice against all kinds of entertainment, would certainly
have taken drastic measures to drive the actors out of the Metropolis:
and in their idiotic rage against the theatre, might have gone so far
as to prohibit the actors from following the profession.
[Illustration:
M. William Shak-speare:
_HIS_
True Chronicle Historie of the life and
death of King L E A R and his three
Daughters.
_With the vnfortunate life of_ Edgar, _sonne_
and heire to the Earle of Gloster, and his
sullen and assumed humor of
TOM of Bedlam:
_As it was played before the Kings Maiestie at Whitehall vpon
S. Stephans night in Christmas Hollidayes._
By his Maiesties seruants playing vsually at the Gloabe
on the Bancke-side.
[Illustration]
LONDON,
Printed for _Nathaniel Butter_, and are to be sold at his shop
in _Pauls_ Church-yard at the signe of the Pide Bull neere
_S^t. Austins_ Gate. 1608
With kind permission of Messrs. Griggs,
Hanover Street, Peckham.
]
The following is a list of Court palaces in which plays were
presented before the reigning monarchs. Both Elizabeth and James were
enthusiastic playgoers. In the latter’s reign court performances were
given every day in the week, Sundays included, and although at times
the plays produced were far from entertaining, the royal pair remained
until the play was ended, in spite of being tired, as the rest of the
audience often were.
WHITEHALL
Everyone has heard of Whitehall, the magnificent London residence of
Henry VIII and his royal daughters. Here we are only concerned with the
Great Hall, the Great Chamber, the Banqueting House, and the Cockpit,
all four apartments being the scene of dramatic entertainments. Proof
of at least one of Shakespeare’s plays being presented at Whitehall
will be found on the title page of the authentic quarto of “King Lear”:
“M. William Shakespeare,
“His True Chronicle History of the life and death of King Lear and
his three daughters. As it was played before the King’s Majestie at
Whitehall upon St. Stephen’s night in Christmas Hollidays. By his
Majestie’s servants playing usually at the Globe, on the Bankside,
1608.”
From documentary evidence there is proof that several of Shakespeare’s
plays were acted at this palace, including “Othello,” “Measure for
Measure,” “Love’s Labour’s Lost,” “The Winter’s Tale,” and others by
the same dramatist, besides over a hundred performances of plays by
various authors. These plays were produced in the magnificent structure
called the Great Hall, which was a hundred feet in length and about
forty in breadth. The roof was elaborately decorated, and from it hung
eight large chandeliers and eight smaller ones, each containing fifteen
lights. The scene on these occasions was one of great splendour, and
those that witnessed it were considered exceptionally fortunate, as
only those whom the King delighted to honour were invited.
Plays were sometimes presented in the Great Chamber, a building of
large dimensions. This room was often chosen on account of its great
warmth, and also its being better adapted for presenting plays than
the Great Hall. The Banqueting House, in which Shakespeare’s plays
were given, was built by Queen Elizabeth; its length was 150 feet,
the walls were of wood, with lath and plaster between. The roof,
supported by thirty principals, was ceiled with canvas, and decorated
most gorgeously with the emblems of the heavens. Externally the Hall
presented the true Gothic type similar to those seen to-day at Hampton
Court and Christ Church, Oxford. On each of the three sides, tiers of
seats were erected for the audience, the fourth being reserved for the
stage. The King and Queen sat on thrones facing the stage, a clear way
of vision being kept in direct line with the actors. The performances
were always given at night, contrasting very vividly with the afternoon
representation at the Globe and other public theatres. This beautiful
building was destroyed by fire. The existing Banqueting House was
built in the reign of Charles I; many of Shakespeare’s plays were
performed in this building before the King and Queen. From this fatal
room King Charles was led forth to execution on January 30th, 1649.
The celebrated architect, Inigo Jones, was the designer of this noble
edifice, one of the few remaining buildings of this great architect
which exist to adorn this great city.
[Illustration: The Palace of Whitehall. Reproduced with kind permission
from a model by John B. Thorp, Esq.]
[Illustration: Banqueting Hall and Holbein Gate, Whitehall. Tiltyard
in foreground. Reproduced with kind permission from a model by John B.
Thorp, Esq.]
The Cockpit, built in the reign of Henry VIII, was sometimes used for
presenting plays, and quite possibly Shakespeare’s plays may have
been given here before Queen Elizabeth. The building was octagonal
in shape, resembling the public theatres, containing galleries and
staircases. The original site stood in the neighbourhood of Downing
Street. This building has frequently been confused with the Cockpit
Theatre, situated in Drury Lane. There are many traps laid for the
writers of early theatrical matters, and an author cannot be careful
enough in thoroughly investigating his sources. I have noticed the
most painstaking writers sometimes go astray, even Mr. Law, to whose
interesting and valuable account of the Whitehall Palace I have been
entirely indebted for the above description, alluded to the Blackfriars
Theatre as being the scene of Shakespeare’s activities. There is
not an atom of evidence to prove that Shakespeare ever acted on its
boards or that his plays were produced there during his lifetime. The
only evidence is that Cuthbert Burbage, the son of Richard Burbage,
states that his father, in 1609 or 1610, placed deserving men, Heminge
Condell and Shakespeare, at the Blackfriars. This evidence was given
in 1632, and does not say in what capacity Shakespeare was placed
there. The evidence may only have been given to prove his claim, or
perhaps Shakespeare acted as Stage Manager; in spite of this meagre
evidence, all writers persist in stating that Shakespeare acted at this
theatre, which I emphatically deny, on the grounds that in the year
1610 Shakespeare severed his connexion with the stage and retired soon
afterwards to Stratford-on-Avon.
Court performances were frequently held at Whitehall. As early as 1560
the Earl of Leicester’s players performed at one of the royal palaces
before the Queen; in some instances the names of the plays performed
are given, but unfortunately in most cases the name of the palace is
not stated.
Chalmers, in his _Apology_, refers to Lord Strange’s men being paid £40
and £20 reward for six performances at Whitehall in December, 1591; the
titles of the plays are not given. The most interesting performance
presented at Whitehall was Shakespeare’s “King Lear,” as acted before
his Majesty at Whitehall upon St. Stephen’s night at Christmas last.
The entry for publication of “King Lear” is found on the books of the
Stationers’ Company, where the record states that Nathaniel Butter and
John Busby entered their names for a copy of “a booke called Master
William Shakespeare, his history of King Lear”; the licence is dated
November 22nd, 1607. The “Christmas last of the Stationers’ Register”
and “in Christmas Hollidaies” of the printed edition refer to the
year 1606. Whether Shakespeare took part in this production cannot be
definitely stated, but the probabilities are that he acted with his
company.
1579. The Irish Knight. The Earl of Warwick’s players were paid £6 13s.
4d. for presenting this play before the Queen at Whitehall. 1597. The
history of Murderous Michael was presented in 1604. The Children of the
Revels played before the Queen at Whitehall.
In 1608, John Hemings was paid £130 for 13 plays acted before his
Majesty at Whitehall. The King and Prince Charles witnessed a play at
Whitehall, given on Sunday. This performance took place in the year
1623. As stated above, several plays were presented at the Court at
Whitehall, for many years in succession.
The Marquise Tremouille on thursday last tooke leave of the Kinge; that
night was feasted at white hall by the duke of Lennox in the Queen’s
greate chamber.
In the Kinge’s greate chamber they went to see the play of “Pirrocles
Prince of Tyre,” which lasted till 2 o’clocke. After two actes the
players ceased till the french all refreshed them with sweetmeats,
brought on china voiders and wine and ale in bottells, after the
players began anew.
RICHMOND
A royal palace stood here in quite early times, being in ruins in the
reign of Henry the Fourth. Henry V rebuilt it, and when Henry VII
became King, he made it his royal residence, changing the name of the
hamlet from West Sheen to Richmond, in commemoration of his title as
Earl of Richmond in Yorkshire.
A fire broke out in 1498, completely demolishing the old building.
A new palace was erected in 1501. This building is especially
interesting, being in its entirety a Tudor structure, representing the
architectural taste of the time in domestic building, when the sole
determining factors were pleasure and convenience. This object was
fully obtained by mixture of judicious colouring, oblong or diamond
shaped patches of black brick, having been originally super-imposed
upon a ground of warm red. The level of the frontage is broken up
by the intervention of small circular towers, sallying forward from
the background, and fine mullioned windows, with a forest of turrets
complete the frontage, which formed a most picturesque view and which
existed only for that purpose. These architectural details bore a
strong affinity to the Saracenic type of architecture, which may well
have influenced English taste through our then close connexion with
Spain.
The chief drawback to the general good effect of the building is its
huddled appearance, arising principally from the narrowness of the
projecting towers and the manner in which they are crowded together
upon a not too extensive front.
This impression is assisted by the close proximity of the palace to the
river. An early chronicler, about 1501, narrates that the building was
girded and encompassed with a strong and mighty brick wall, barred and
bent with towers in each corner and angle and also in the midway. The
openings, the strong gates of double timber and heart of oak, were
stuck full of nails right thick and crossed with bars of iron. Now but
little is left to confirm the fact that there was a palace upon the
site built as late as the time of Henry VIII, and was still standing
in the seventeenth century. The most conspicuous of the remains are
those in the house occupied by Mr. Middleton, facing Richmond Green,
and the gateway to Wardrobe Court, with its upper chamber forming part
of the house. The gateway is of red brick, and has a large four central
archway of stone, over which is a perished stone panel of arms; on the
east side is an eighteenth century oval window, and on the other side
three block windows, above a stone string course, with a moulded top
member and a bead at the bottom. The building is cut short north of the
gateway, but evidence of its continuation in that direction is given by
the arched recess on the ground floor and the blocked doorway in the
upper storey, besides the marks showing the position of the first floor
and the flat roof on that face, which now overlooks the gardens of the
old Court House, an eighteenth century building now occupied by a lady.
Some of the lower walls of Mr. Middleton’s house, no doubt, retain the
original brickwork, and the three projecting bays in the east front, a
semi-octagonal one between the two five-sided bays are evidently on the
old foundation, but there is little in the house to call attention to
its age except a fireplace on the first floor, with a Tudor arch and a
chimney stack on the west side. Authentic records exist proving that
Shakespeare and his fellow actors often acted before the Court when
residing at Richmond Palace. The Hall in which the performance took
place was situated in an upper storey containing one fairly large room
100 feet by 40 feet, called the Great Hall. The following account is
taken from a description of the Palace, written in 1649: “This room
(the Great Hall) hath a screen in the lower end, over which is a little
gallery; the pavement is tiled, and is very well lighted; the ceiling
is adorned with eleven statues; on the side stands a brick hearth for a
charcoal fire, having a large lanthorn in the roof of the Hall fitted
for that purpose, turreted and covered with lead. In the north end of
the Great Hall there is one turret, and a clock case covered with lead,
which, together with the lanthorn in the middle thereof, are a special
ornament unto that building.”
No detailed account of a performance is known, and only in one instance
is the name given of the play performed; documents may exist at the
Record Office which one day may give us new information on the subject.
1575. The Earl of Warwick’s players were paid £10 for performing a play
before the Queen at Richmond on Shrove Monday last past.
1578. The Lord Chamberlain’s men were paid £10 for performing a play
called “A History of the Cruelties of a Stepmother.” This play was
performed at Richmond on Innocents’ Day at night.
1578. A play was performed at Richmond on St. John’s Day at night by
the Children of the Chapel Royal.
On March 15th, 1639, John Lowin, Joseph Taylor and Edward Swanston were
paid £300 for 24 plays acted before the King by the King’s players. Six
of these plays were produced at Richmond in the previous year.
The next year the same actors were paid £20 for producing several plays
before His Majesty, two of which were performed at Richmond.
1640. A warrant for £60 unto the company of the Prince’s players for
three plays acted at Richmond at £20 each play, in consideration of
their travelling expenses and loss of the days at home.
HAMPTON COURT
From various documentary records there is certain proof that many of
the London theatrical companies acted at Hampton Court during the
Shakesperean era. Hampton Court was a favourite residence both of
Elizabeth and James, and in addition the Great Hall was more suitable
for the representation of plays and masques than any other royal
residence. Originally this palace belonged to the great Cardinal
Wolsey, who commenced the building in 1515 in a truly regal manner,
and it was ready for occupation in the following year. The Palace
contained over eleven hundred rooms, furnished in the most elaborate
and elegant style, equal in magnificence to any Court throughout
Europe. After occupying this ideal residence for a period of ten years,
Wolsey presented the entire building to his sovereign, King Henry the
Eighth, who graciously accepted his subject’s munificent gift, which
for evermore became the property of the Crown.
The chief interest to Shakespereans is the Great Hall, a chamber of
magnificent dimensions, this Hall being considered one of the finest
existing examples of Gothic architecture. The length of the Hall is one
hundred and eighteen feet, with a height of ninety-two feet.
One beautiful window nearly reaches the entire height of the Hall;
five other superb windows encircle the building. In the alcoves of
the Hall are shapely octagonal turrets, which reach to the extremity
of the roof. The interior of the building is no less remarkable for
its beauty. The first impression is one of dazzling brilliancy, and
on further investigation the richness of all the details enhances the
grandeur of this majestic state apartment. That such a noble work of
art should come down to us in nearly all its ancient splendour is
indeed fortunate.
[Illustration:
THE
FAIRE MAIDE
of Bristovv.
As it was plaide at Hampton, before the
King and Queenes most excellent
Maiesties.
[Illustration: ✠ THOV · SHALT · LABOR · TILL ·
THOV · RETVRNE · TO · DVSTE · ]
Printed at London for Thomas Pauyer, and are
to be solde at his shop, at the entrance
into the Exchange 1605.
]
No trace remains of the rich stained glass, but after the lapse
of centuries that need cause no wonder: the miracle is that as much
remains for our admiration.
The large bay window contained fully eight lights, which reflected
on the dais, where stood the King’s table. At the lower end of the
Hall was fixed a screen of beautiful oak, before which a platform was
raised for the actors, who here performed their comedies and tragedies,
masques, and other kinds of entertainments. Over the screen was a
balcony, called the Minstrels’ Gallery, which was reached by a small
staircase.
Mention must be made of the magnificent roof, the most ornate of
this particular style which still exists, for richness of detail and
elaborate carving it remains unrivalled. Although we do not possess
actual proof, we can confidently maintain that Shakespeare acted on
several occasions under this noble roof, and also produced many of his
immortal plays before the royal audience.
Lord Charles Howard’s men performed a play before the Queen in 1576.
This Lord Howard was Baron Howard of Effingham. In the early years of
Elizabeth’s reign Lord Howard’s men are styled the Lord Chamberlain’s
men.
Lord Strange’s men were paid £20 and given £10 reward on March the 7th,
1593, for three plays presented at Hampton Court on St. John’s Night,
New Year’s Eve and New Year’s Day. This extract is taken from Chalmer’s
_Apology_. The names of the plays are not recorded. Shakespeare was a
member of Lord Strange’s company, and probably acted on this occasion.
The Earl of Warwick’s servants were paid a reward for acting before the
Queen at Hampton Court in the Christmas Holydays; the name of the play
was the “Painter’s Daughter.”
Lord Rich’s players were paid £6 13s. 4d. for presenting plays before
the Queen on St. Stephen’s Day at night. Lord Rich’s company was quite
an unimportant one, and was unknown in London; they acted at Hampton
Court in 1569 and again in 1570. Court performances were frequently
given here during the reigns of James I and Charles I.
WINDSOR CASTLE
Historically, Windsor Castle dates from before the Conquest. William
the Conqueror was the first English king to reside here permanently.
Little is heard of this fortress castle until the reign of Edward III,
when a complete restoration was effected. One of the chief glories of
the Castle is St. George’s Chapel, reconstructed on a princely scale
by Edward IV. In Queen Elizabeth’s reign a new gallery and banqueting
house were erected; the latter was situated at the extreme eastern side
of the terrace; it was an octagon in shape, and was surmounted by a
cupola, windows being placed on every side. The Great Hall was built
in the reign of Henry III, and appears to have been a truly stately
edifice. When Henry VIII entertained Charles the Fifth at Windsor in
1522, the great Hall was the scene of many festivities. At the upper
end of the chamber a platform was erected, in the centre of which was
a dais elaborately painted in royal state. On all sides of the Hall
were several windows filled with fine stained glass. During Charles’s
visit a play was presented in this Hall; after the play was ended, a
most magnificent masque was introduced, in which twelve gentlemen and
twelve ladies dressed in the most costly masquerade garments, all of
which were in gold. After the dance a sumptuous banquet was held, which
greatly added to the night’s entertainment.
1582. A play called “A History of Love and Fortune” was performed
before the Queen at Windsor “on the Sondaie at night next before the
newe yeares daie.” The play was produced by the Earl of Derby’s players.
1570. William Hunnis was paid £6 13s. 4d. for a play performed by the
Chapel Children before the Queen on the Twelfth Night at Windsor. This
William Hunnis was a poet musician, a keeper of the Queen’s gardens at
Greenwich, and eventually was appointed Master of the Children of the
Chapel Royal.
In 1582 a play called “A Game of Cards” was presented at Court. This
play was performed before the Queen at Windsor on the evening of St.
Stephen’s Day. In the original document the entry is as follows: “A
Comodie or Morrall, devised on ‘A Game of the Cardes.’”
1569. Richard Farrant, Master of the Children of Windsor Chapel, was
paid £6 13s. 4d. for a play “performed by these boys before the Queen
upon St. John’s daye, at nighte last past.” There are several entries
relating to this company, but the place where they acted is not stated;
most probably the Windsor boys only acted at Windsor Castle.
1563. The Children of Westminster School acted before the Queen at
Windsor.
GREENWICH PALACE
As far back as the year 1300, a royal palace was in existence at
Greenwich. Nothing is known of this early building until the end of the
reign of Henry IV. Afterwards it came into the possession of the Duke
of Gloucester, who beautified the place and considerably extended the
grounds, calling the palace Palacentia, on account of its sweet and
pleasing aspect.
[Illustration: Greenwich Palace in the time of Elizabeth.]
Henry VIII was born here, and in after years his birthplace was an
object of his special devotion, he spending much of his time and
income on enlarging the building and laying out the grounds.
In the great Hall many feasts and entertainments were held, these
occasions being specially noted for the lavishness and splendour
displayed. This monarch greatly encouraged the performing of the
Masque, then newly imported from Italy. “On the day of the Epiphany, at
night, the King, with eleven others, were disguised after the manner of
Italy, called a masque a thing not seen before in England, they were
apparelled in garments long and broad wrought all in gold.” The King
himself took part in these gorgeous displays. Queen Elizabeth was also
born at Greenwich; like her royal father, she was much attached to the
palace and greatly enlarged the edifice. The Presence Chamber was hung
with rich tapestries, and the floor, as was usual in those days, was
strewn with rushes.
Plays were frequently acted at this palace, Greenwich being a favourite
residence of Queen Elizabeth. In 1584, the Queen’s players acted before
Her Majesty here on St. Stephen’s Day at night; the next day the Earl
of Oxenford’s plays were performed before the Queen, the play presented
being “The History of Agamemnon and Ulysses”; this play was acted on
St. John’s Day at night. The St. John’s Day mentioned is in celebration
of the Evangelist of that name whose birth is honoured on the 27th of
December; this saint must not be confused with John the Baptist, whose
name day is celebrated both on the 24th of June and the 29th of August.
The play acted on St. Stephen’s Day was “Phylbyda and Corin.”
1585. A play called “Felix and Philomence” was performed before the
Queen at Greenwich; the plot was founded on a pastoral poem by George
Monetmayor. An early edition of this poem, dated 1585, written in the
original Spanish, is in my possession.
[Illustration:
CERTAINE DEUISES
and shewes presented to
~her~ MAIESTIE ~by the Gentlemen of~
_Grayes-Inne_ at her Highnesse Court in
Greenewich, _the twenty eighth day of_
Februarie in the thirtieth yeare of her
MAIESTIES most happy
Raigne.
[Illustration]
AT LONDON
Printed by Robert Robinson.
1587.
]
A few days later another play was performed called “Five plays in One.”
1588. On Shrove Sunday, Paul’s boys performed before the Queen at
Greenwich. Their master, Thomas Gyles, received in payment £10.
1594. This year is a very important land-mark in Court performances:
no less a personage than Shakespeare himself acted at Court on this
occasion.
“To William Kempe, William Shakespeare, and Richard Burbage, servants
to the Lord Chamberlayne, upon the Councelles Warrant, dated at
Whitehall XV of Mar., 1594, for two several comedies or interludes
showed by them before her Majestie on Christmas time laste paste,
viz., upon St. Stephen’s days and Innocentes days XIIIli, VIs. VIId.
and by waye of her Majesties reward VIli, XIIIs, VIId, in all XXli.”
“For making ready at Greenwich for the Qu. Majestie against her
Highness coming thither by the space of VIII days, December, 1594, as
appeareth by a bill signed by the Lord Chamberleyne.”
Although the two plays performed are not mentioned by name, one of them
may have been “The Comedy of Errors,” as this play was performed on
the same date in Gray’s Inn Hall, and was acted by the same company as
appeared before the Queen at Greenwich.
1606. On October 18th, John Hemings was paid £30 for three plays acted
before his Majesty and the King of Denmark, two of them at Greenwich
and one at Hampton Court.
ST. JAMES’S PALACE
The ground on which St. James’s Palace stood was originally a hospital
for lepers, and was in existence years before the Conquest. When it
surrendered to Henry VIII, the maiden lepers (being a hospital for
women) were pensioned.
The building and grounds were in possession of Eton College, with which
the King made an exchange. The building, on coming into possession of
the King, was entirely demolished, and upon the same site a magnificent
Palace was erected, and was named after the adjoining fields.
The Palace was designed in the Gothic style. In course of time the
building has been much altered, and further additions have been
made by subsequent sovereigns. A goodly part of the old structure
remained until a disastrous fire at the beginning of the last century
destroyed nearly the entire fabric. Fortunately, the Clock Tower
escaped destruction as also did the famous Gateway, together with the
celebrated Chapel Royal, one of the special features of the ancient
residence. The Chapel is built of brick, with battlements coped with
stone, somewhat after the Gothic fashion; this part is quite ancient,
forming the original chapel as it existed in the time of Henry VIII.
Some authorities would even ascribe it as part of the old hospice, but
this is more than doubtful. Many records exist that during the reigns
of Elizabeth and James many theatrical representations were given.
In Elizabeth’s reign no special room was set aside for these court
performances, but at a later period the Ball Room was generally the
scene of action. Several of Shakespeare’s plays are known to have been
performed before Charles I and Queen Henrietta.
The famous Children of the Revels performed regularly before Queen
Elizabeth, and many are the plays extant, by all the famous Tudor
dramatists, in which these children companies acted before private and
semi-private audiences.
1623. All Hallows. The play performed was the “Maid of the Mill.” The
prince being present only.
1633. On Saturday, the 17th of November, being the Queen’s birthday,
“Richard the Third” was acted by the K. players at St. James’s, when
the King and Queene were present, “it being the first play the Queene
sawe since Her Mrys. delivery of the Duke of York, 1633.”
“1633. On Tuesday night, at Saint James, the 26th of November, 1633,
was acted before the King and Queen ‘The Taminge of the Shrew.’ Likt.”
“November 28th, 1633. ‘The Tamer Tamed, or, The Woman’s Prize.’ Very
well likt.”
Several other plays were performed at St. James’s Palace by the King’s
players.
SOMERSET HOUSE
Old Somerset House, sometimes called Denmark House, in honour of the
Queen of James the First, was situated in the Strand on the same site
as the modern Somerset House. This palace was built by the great Duke
of Somerset called the Protector; he was the ill-fated brother of Jane
Seymour. In the erection of this building many well known palaces
and houses were demolished, including the palaces of the Bishops of
Worcester, Chester, Llandaff, Lichfield, also the Strand Inn and the
Parish Church of St. Mary’s. The great Duke never lived to see his
magnificent house completed; arrested on a charge of high treason, he
was beheaded in 1552. The Palace, when finished, was frequently the
residence of Queen Elizabeth, and in later years was inhabited by the
Queens of Charles I and Charles II. This palace was not the favourite
residence of Elizabeth, she preferring the more fashionable quarters of
Whitehall and St. James’s. Old Somerset House was pulled down in 1776,
and the present building was commenced under the superintendence of
the architect, Sir William Chambers. Old Somerset House consisted of
one large and principal quadrangle, called the Upper Court, facing
the Strand. In the southern front of the quadrangle were the Guard
Chambers, with a waiting room. The Privy Chamber and the Presence
Chamber from the west end of which a flight of stone steps led down
into the garden, on the western side. In the south-east angle were
situated the private apartments of the Queen. Facing the Strand was
a variety of other buildings occupied by members of the Court, also
the Yellow Room, the Cross Gallery, and the Long Gallery, this last,
no doubt, being the chamber where plays and masques were held. These
entertainments attracted a vast throng of courtiers and their friends,
especially on those nights when the King and Queen attended in person.
[Illustration:
THE
PASSIONATE
LOVERS,
A
_TRAGI-COMEDY_.
_The First and Second Parts._
Twice presented before the +KING+ and
+QUEENS+ Majesties at _Somerset-House_,
and very often at the Private House in
_Black-Friars_, with great Applause,
_By his late MAJESTIES Servants._
_Written by
LODOWICK CARLELL_, Gent.
_+LONDON+_,
Printed for _Humphrey Moseley_, and are to be
sold at his shop at the sign of the _Prince’s Arms_
in St. _Pauls_ Church-yard. +1655+.
]
1585. Three plays in One. “This play should have been shewed before her
highness on Shrovesundie at night, but the Queen came not abroad that
night. Tarlton, the celebrated clown and jester of Queen Elizabeth,
wrote a play in two parts called ‘The seven Deadly Sins.’ Three plays
in one may have been the first part.”
1585. “An Antic play and a Comedy. This play was given at Somerset
Place at night, the Queen being present.”
1634. “The Shepherdess.” “On Monday night, the sixth of January and
the Twelfth Night, was presented at Denmark House, before the King and
Queen, Fletcher’s pastorall, called ‘The Faithful Shepherdesse’ in
the clothes the Queen had given Taylor the yeare before of her owne
pastorall.” The scenes were fitted to the pastorall and made by Mr.
Inigo Jones in the great chamber, 1633.
Denmark House is another name for Somerset House, also called Somerset
Place. After spending a whole afternoon in searching for a reference to
Denmark House without any result, I made repeated enquiries, which were
fruitless. Eventually, after further research, the desired information
was forthcoming.
NONSUCH PALACE
Nonsuch Palace was built by Henry VIII. When erecting this building the
King destroyed the entire village of Cuddington, including the church
and the old manor house. Judging from its name, which signifies “beyond
compare,” the palace, when furnished, must have presented a noble
appearance. One author waxes quite enthusiastic: “Here Henry VIII, in
his magnificence, erected a structure so beautiful, so elegant and so
splendid, that in whatever direction the admirer of florid architecture
turned his eye he will say that it easily bears off the palm, so
great is the emulating Roman Art, so beautiful are the paintings, the
sculpture, gildings and decorations of all kinds that you would say it
is a sky spangled with stars.”
Paul Hentzer, who described the early London theatres, also took notice
of this handsome building and lovely grounds. On the death of the King,
Queen Mary sold it to the Earl of Arundel, and in the next reign the
noble earl entertained the Queen in right royal state. Balls, masques,
and plays were given in alternate evenings, the children of St. Paul’s
acting in a play especially composed for the occasion. After this visit
the Queen much favoured this beautiful summer retreat, and a few years
later she purchased the entire estate from Lord Lumley, the Earl of
Arundel’s son-in-law. Elizabeth kept open house here, daily hunting
over the neighbouring downs, and in the evenings masques and plays were
held; sometimes for divertissement she would dance a galliard with her
courtiers. Nonsuch was pulled down in 1671, and the surrounding lands
were converted into farms. Even in the present day a residence named
Nonsuch House will be found in the neighbourhood.
“1559. A play was performed here before the Queen by the Children of
St. Paul’s, under their Master, Sebastian Westcott.”
No other play is mentioned as performed in this Palace.
ELTHAM PALACE
This royal residence dates from quite ancient times, being erected
during the thirteenth century. It was occupied by royalty for many
centuries, until the reign of James I, when it ceased to be a royal
palace. Originally a moated manor house, like all such buildings, the
house was nearly square in form, and embraced four courts, surrounded
by a high wall. The moat, which surrounded the structure, was of great
width; the principal entrance was over a stone bridge and through a
gateway in the north wall. There was also another gateway and bridge
at the opposite side of the enclosure. The most important part of
the building consisted of a high range, which crossed the Court from
east to west, and included the Great Hall, the Chapel and the State
Apartments. The principal courts were spacious, lodging rooms and state
offices were numerous. Of all these large buildings, the Banqueting
Hall and an ivy covered bridge now remain, which still forms an
entrance to the ruins. The Banqueting Hall is a most interesting relic
of this once magnificent Palace.
The high pitched roof is in a fair state of preservation, with hammer
beams, carved pendants, and braces, supported on corbels of hewn stone.
The dimensions of the Hall are 100 feet in length, 55 in height, and
36 in breadth. This Hall, with a suite of rooms at either end, was
the main feature of the Palace; it rose in the centre of surrounding
buildings as superior in the grandeur of its architecture, the
magnificence of its properties and the amplitude of its dimensions.
This fair edifice has survived the vicissitudes which, at different
periods, has destroyed the old palace. Desolation has reached its very
walls, but still the Hall of Eltham Palace has not, with the exception
of the Louvre, been deprived of any of its salient features. The
proportions of Eltham Hall and the harmony of the design attest the
care and skill which were exerted in the production of this beautiful
edifice. Other halls may surpass this building in extent, but this
is perfect in every useful and elegant decoration belonging to a
banqueting chamber. It was splendidly lighted, and perhaps required
painted glass to subdue the glare admitted through two and twenty
windows.
The Palace during the early part of the nineteenth century was used as
a barn, when most of the windows were bricked up and three pairs on the
north side remain in that position at the present time. The holes for
the timber supports of the elevated platform are still visible on the
western wall and above the same spot at a considerable elevation was
a window, where the King might look from his own private apartment on
the revellers in the Hall, an arrangement commonly in use in the old
mansions of this description.
“1559. August 7th. A play was performed at this date before the Queen.”
Collier gives the acting place at Eltham, other authorities state the
performance took place at Nonsuch. The Children who presented the
play were acting under their Master, Sebastian Westcott. This is the
only reference I can find pertaining to Eltham, and unfortunately, a
doubtful one.
THE MIDDLE TEMPLE HALL
In Elizabethan times plays and masques were often presented in the
Halls of the buildings belonging to the Inns of Court. The Hall of the
Middle Temple has the distinction of being one of the grandest Tudor
buildings remaining in the United Kingdom.
[Illustration: Interior of the Middle Temple Hall.]
This beautiful Hall dates from the year 1571, when the edifice was
completed. At the lower end of the Hall stands a marble bust of
Plowden, who was Treasurer during the period of its erection. One of
the plays acted in this historic building possesses great interest for
the Shakesperean student. The play solicited by the Benchers for their
Candlemas Festival in the year 1601 was no other than Shakespeare’s
delightful masterpiece, “Twelfth Night.” The assumption is quite
natural that the Lord Chamberlain’s company produced and acted the
play, and that Shakespeare, as a member of that company, took part in
the performance. In all likelihood, Queen Elizabeth was present on this
auspicious occasion. There is no authentic record in any way bearing
out this last statement. I was one of the fortunate individuals who
witnessed the production of this same comedy, under the same roof, and
attended by royalty, our present King and Queen and Queen Alexandra
being interested spectators at this performance in aid of the Red Cross
Society. I still retain as a souvenir the voucher of my five-guinea
seat.
The date of the first production of this play was in former times
attributed to various years, ranging from 1599 to 1614. Malone and
Stevens, two of the foremost commentators of the eighteenth century
assign the play to the year 1614. By the discovery of Manningham’s
Diary, in which “Twelfth Night” is mentioned as early as 1601, all
dates previously suggested are null and void. Manningham was a student
of the Middle Temple who, for a space of over two years, kept a diary,
which was discovered in the British Museum as early as the last
century. The extract which interests us is as follows:
“Febr. 1601.
“Feb. 2. At our feast we had a play called ‘Twelve Night,’ or ‘What
you Will,’ much like the Commedy of Errores or Menechmi in Plautus,
but most like and neere to that in Italian called ‘Inganni.’ A
good practise in it to make the Steward believe his Lady widdowe
was in love with him by counterfeyting a letter as from his Lady
in generall terms, telling him that she liked best in him, and
prescribing his gesture in smiling, his apparaile cte, and then
when he came to practise making him believe they tooke him to be
mad.”
Manningham made mistake in believing Olivia to be a widow; she was
mourning for a brother, which is distinctly referred to by Orsino.
The play mentioned by Manningham as “Inganni,” is really an Italian
play called “Gl’Ingannati,” a copy of which I recently picked up at
a bargain price, the bookseller being unaware that the play was the
original source of “Twelfth Night.”
In the essay on Law contributed to Shakespeare’s “England,” by Mr.
Arthur Underhill, the author states that: “It was for a Christmas
revel at the Middle Temple that Shakespeare wrote ‘Twelfth Night.’”
There does not exist an atom of evidence to prove this assertion,
the general opinion being that Shakespeare wrote all his plays for
the Lord Chamberlain’s company, and they were produced first at a
regular theatre. How is it that at this late period of Shakesperean
research such foolish guesses are allowed to pass the Censor?
THE INNER TEMPLE
[Illustration: Interior of the old Inner Temple Hall.]
[Illustration: Facsimile of passage in Manningham’s Diary, referring to
Twelfth Night.]
The Inner Temple and the Middle Temple cover the site formerly occupied
by the Knights Templars. After their suppression in 1312, the
Temple Church and the surrounding buildings passed into the possession
of the Crown. Thirty years later the Hospitallers, or Knights of St.
John, were the owners, who eventually leased the ground and buildings
to the lawyers, who have remained in possession ever since.
[Illustration:
¶ The Tragidie of Ferrex
and Porrex,
set forth without addition or alteration
but altogether as the same was shewed
on stage before the Queenes Maiestie,
about nine yeares past, _vz._ the
xviij. day of Ianuarie. 1561.
by the gentlemen of the
Inner Temple.
~Seen and allowed. ce.~
❧ Imprinted at London by
Iohn Daye, dwelling ouer
Aldersgate.
Acted at the Inner Temple in 1561 and repeated
before the Queen at Whitehall in the same year
]
The Inner Temple had the distinction of possessing a famous library as
early as the fifteenth century, being the first of the Inns of Court
which possessed a library worthy of the name.
The ancient Hall of the Inner Temple, where plays and masques were held
on Festival and other occasions, was rebuilt early in the last century.
The modern Hall has been erected in close imitation of the former one.
Historically and architecturally the new Hall cannot compare with the
exquisite building of the Middle Temple, and every Englishman should
consider it his duty to pay at least one visit to this monument of
ancient learning.
The first English Tragedy, properly so called, was acted in the
ancient Hall of the Inner Temple on the occasion of the Christmas
Revels in 1561. The same play was performed the next year before the
Queen at Whitehall. The first edition of this work was a piratical
one, published in 1565, a unique copy of which is in the Eton Library.
The title page of this edition states that the first three acts were
written by Thomas Norton, and the last two by Thomas Sackville. The
play is styled the “Tragedie of Gorboduc.” The second edition is called
“The Tragedie of Ferrex and Porrex,” published in 1570. The third
edition was issued in 1590. Each act of this play is preceded by a dumb
show similar to the one produced in the play scene of “Hamlet.” Another
play acted by the members of the Inner Temple in 1567 is “Gismund
of Salerne,” a tale adapted from one of Boccaccio’s novels. Two
manuscripts of this play exist, as well as a printed version, dated
1591, called “Tancred and Gismonda,” a revised version of the earlier
play. This tale had been translated by Painter and published in his
_Palace of Pleasure_, Vol. I, 1566. The author translated the version
from the original Italian, but it is quite possible they consulted
Painter’s version.
[Illustration: Interior of Gray’s Inn Hall.]
GRAY’S INN
Gray’s Inn owes its name to one Reginald Le Gray, who was Chief Justice
at Chester early in the fourteenth century. Towards the end of the
same century we find a building mentioned as “Graysyn” which at this
time was in the possession of the lawyers. The present Hall is founded
on the same site as the one that previously existed, which was not
entirely destroyed, but rebuilt about the middle of the sixteenth
century. The existing Hall is of quite modest dimensions and, together
with the old Chapel, forms quite a picturesque view. The surrounding
buildings date from early Georgian times, and add quite a pleasing
effect; a few modern buildings afford an opportunity of criticising and
comparing several modes of architecture in one place. The beautiful
gardens of Grays Inn add another exquisite touch to these old world
surroundings.
The original entrance to Gray’s Inn was a Gray’s Inn Lane, now Gray’s
Inn Road, the Holborn entrance being made about the year 1600. The
present archway certainly wears a modern aspect: that may be through
the old brickwork being stuccoed at a later period. Gray’s Inn was
famous for its revelling, Masque Plays and other diversions being
frequently acted within its walls.
We know for almost certain that one of Shakespeare’s plays was
performed at Gray’s Inn. On the even of Innocents’ Day, 1594, a
play was enacted called “The Comedy of Errors,” before the benchers,
students and invited guests. During the performance a disturbance
was caused by the students of the Inner Temple being dissatisfied
with their seating accommodation. A Gray’s Inn chronicler describes
the scene thus: “Was begun and continued to the end on nothing but
confusion and errors, whereupon it was afterwards called the Night of
Errors.” This same play was given in the identical Hall by members
of the Elizabethan Society, 1895. An early representation of a play
at Gray’s Inn was named “Jocasta,” a Greek play, 1566, adapted and
translated for the English stage by George Gascoigne and Francis
Kenwelmersche, both of Gray’s Inn. The first edition of this play is
included in the complete works of George Gascoigne, entitled “A Hundred
Sundrie Floures,” bound up in one small Poem, no date, but issued in
1573. A second edition appeared in 1575, and a third in 1587. There is
no record of any stage play or masque being given at Lincoln’s Inn.
[Illustration: Jocasta,
A Tragedie written in Greek by Euripides, translated and digested into
acte by George Gascoygne and Francis Kinwelmershe, of Grayes Inne, and
there by them presented, 1566.]
[Illustration:
MR. WILLIAM
SHAKESPEARES
COMEDIES,
HISTORIES, &
TRAGEDIES.
Published according to the True Originall Copies.
[Illustration: Martin . Droeshout : scuplsit · London.]
+LONDON+
Published by Isaac Iaggard, and Ed. Blount. 1623.
]