so much violence in the spring of 1636, that it was found necessary to prevent dangerous assemblies.of the people', by the 'suppression', for a time, of theatrical amusements. An order for this purpose, dated 10th of May, is extant in the registers of the Privy Council, which forbids the representation of stage-plays, interludes, shows, and spectacles, until farther order'. Sir Henry Herbert did not communicate this decision until the 12th of May, when he sent information of it to 'the four companies', whom he does not name in his officebook; but he, doubtless, meant the King's, Queen's, and Prince's players, and the actors at the Salisbury-court theatre. These seem to have been the principal associations of performers at the date to which we are now referring.

On an occasion of this kind it was usual for the companies to proceed to the provinces; and, besides the authority they possessed under their patents, and the commission of the Master of the Revels, it seems to have been sometimes thought necessary to obtain from the Lord Chamberlain what was termed 'a Player's Pass'. That which was granted to the King's company on 17th of May (within five days after the temporary closing of the theatres in the metropolis) is extant, in a MS., in the office of the Lord Chamberlain : hence we learn, that at this date the body consisted of eighteen performers; and as Taylor, Lowen, and Swanston, Holland, and the Lady Elizabeth Fielding. Mrs. Basse, the law-woman, led in this royal citizen and her company.

'The Earl of Holland, the Lord Goring, Mr. Percy, and Mr. Jermyn, were the men that attended. The Prince Elector sat in the midst, his brother Robert on the right hand of him, and the Prince D'Amours on the left.

The Mask was very well performed in the dances, scenes, clothing, and music, and the Queen was pleased to tell me, at her going away, that she liked it very well. Henry Lawes and William Lawes (now first Mr. Corseilles made the scenes.'

named) made the music.

1

who were, and continued to be the leaders, are not named in it, we may infer, perhaps, that they did not join in this expedition. It empowers William Pen, Thomas Hobbes, William Trigg, William Patrick, Richard Baxter, Alexander Gough, William Hart and Richard Hawley, 'together with ten more, or thereabouts, of their fellows,' to repair 'to all towns corporate, market towns, and other where they shall think fit', to act their 'plays, comedies, and interludes' in any 'common halls, moot-halls, school-houses, or other convenient rooms'. It also appears by the same instrument, that they had been ordered to attend the King in his summer progress,1 when he and the Queen visited Oxford, and saw Cartwright's play of The Royal Slave presented by the students of Christchurch this performance took place on the 30th of August 1636, and gave the highest satisfaction.

One of the cities to which the company of players proceeded was Canterbury; and in the State Paper Office is preserved the copy of a letter on the subject of their performances, which appear to have given offence: at all events, the Mayor had written to the Privy Council on the subject, and the following was the reply:

'After our hearty commendations. By your letter of the 25th of this month sent unto our very good Lord, the Lord Archbishop of Canterbury his Grace, we understand with what respect you proceeded with the Players that lately came to that city, in regard of his Majesty's Commission which they carried; and we likewise take notice not only of the disorders occasioned by their playing at so unseasonable a time in the night, but also of their insolent behaviour to yourself, for which they deserve punishment, and shall smart when they be met withal: to which purpose we pray you to advertise the names of some of the chiefest of their company that further enquiry

1 Malone's Shakespeare by Boswell, iii, 166.

may be here made after them. And as we cannot but commend the great care you have expressed in the good and orderly government of that city, so we must let you know, for your encouragement, that his Majesty being by this time made acquainted with your carriage in this particular hath commanded us to give you notice of his gracious acceptance thereof. And for the future, if any stage-players shall come to play in your city in the time of Lent, you are not to give way unto it without the special privity of his Grace of Canterbury. And so we bid you farewell. Dated at Whitehall the 29th

Thomas Heywood was the author of a Mask presented at rather an unusual season this year: on what day it was first performed is not stated, but it was repeated three times within eight days (as is stated on the title-page), and for the second time on the King's birthday, 19th November 1636, when he was entertained by the Queen at Denmark-house. It was called Love's Mistress, and was so much liked, and excited such public attention, that it was subsequently represented with great applause by the Queen's comedians at the Cockpit in Drury Lane.

The restraint of players in consequence of the plague was not taken off until the 23rd of February 1636-7: the King, however, kept his Christmas at Hampton Court, and summoned his own players, and others, to attend his service. The King's company was, therefore, obliged, early in December, to return to the vicinity of London, without the liberty of exercising their quality there, and consequently without the means of maintaining themselves. This circumstance was taken into consideration by the King, and on the 10th of

December 1636, a Privy Seal was issued, authorising the payment from the Exchequer to Lowen and Taylor of an allowance of 20/. a-week, in behalf of themselves and their theatrical associates.1

This instance of the royal bounty brings us to the dramatic performances at Hampton Court during Christmas 1636-7, A. D. the most remarkable of which was the repetition, on 1637. the 12th of January, of Cartwright's Royal Slave, which the King and Queen had, however, seen in the summer at Oxford, when it was represented by the students of Christ Church. It appears by the printed copy of the play, that when it was repeated at Hampton Court, it was acted by the King's servants; and there can be little doubt that the royal audience was well pleased with their exertions, because they obtained an extraordinary reward of 30/. in consideration, partly, of its being a new play, which they had had to learn for the occasion.2 In the whole they received 240/. for their

1 The following is a copy of this unusual document, from the original in the Chapter-house, Westminster :

'BY THE KING.-Right trustie and welbeloved Cousin, etc. To the Treasurer and Under Treasurer of our Exchequer, etc. Whereas we have commanded our Servants, the Players, to assemble their company and keepe themselves together neere our Court for our service, and are gratiously pleased to give them an allowance of Twenty Pounds by the weeke, our will and pleasure is, and we do hereby will and commaund you to pay, or cause to be payd, unto John Lowen and Joseph Taylor or their assignes, in the behalf of their company, the some of Twenty Pounds by the weeke, the same to commence from the first day of November last past, and to contynue during our pleasure, to be taken unto them as of our princely bountie, without accompt, imprest, or other charge to be sett upon them for the same or any part thereof. And these our letters, etc. Given under our Signet, at our Honor of Hampton Court, the Tenth day of December in the Twelveth yeare of our Raigne.

'FRA. GALLE.'

2 The Biographia Dramatica states (vide Royal Slave) that the Queen

exertions at this season, when they performed twenty-two pieces.1 Sir H. Herbert states, that the King gave Cartwright 40%. as his reward; so that he attended at Hampton Court, on the 12th of January, to take care that his Royal Slave was properly got up, and understood by the King's players.

Besides the royal theatrical servants, a company performed, whom Sir H. Herbert calls 'Beeston's boys', an expression which he afterwards explains by adding (though Malone has not given the precise date of the entry in the MS.) that 'Mr. Beeston was commanded to make a company of boys, and began to play at the Cockpit with them the same day'. These were, doubtless, the juvenile performers who exhibited before the King and Queen at Hampton Court, at Christmas 1636-7, and who, perhaps, in the MS. office-book in the department of the Lord Chamberlain, are called, on the 10th of May 1637, 'the New Company.

We are to understand, therefore, that at this date Christopher Beeston separated himself from the Queen's players, at whose was mainly instrumental in the repetition of the play at Hampton Court. This may be true; but it is not true (as it adds) that it was performed by 'her own servants', and that the comparison was in favour of the students of Oxford. It was performed by the King's players, and if it did not please as well at Hampton Court, as it had done at Oxford, it was probably because the zest of novelty was lost.

1'15 March 1636-7. A warrant for 240/. unto his Majesty's players— viz., 210/. for twenty-one plays acted by them, at 10l. a play; and 30. more for a new play called The Royal Slave!

26 10th May 1637. A warrant for the payment of 150l. unto Mr. Christopher Beeston, for plays acted by the Queen's servants-viz., Four at Hampton Court, at 20l. per play, in 1635; Five at Whitehall in the same year, and two plays acted by the New Company.'

The 'two plays acted by the New Company' were performed in January 1636,7, as appears by Sir H. Herbert's Register, although the date is not here specified.