[463] B. d’Ambois, II. ii. 177, ‘Tamyra. See, see the gulfe is opening’ ... (183) ‘Ascendit Frier and D’Ambois’ ... (296) ‘Descendit Fryar’; IV. ii. 63, ‘Ascendit [Behemoth]’ ... (162) ‘Descendit cum suis’; V. i. 155, ‘Ascendit Frier’ ... (191) ‘Montsurry. In, Ile after, To see what guilty light gives this cave eyes’; V. iv. 1, ‘Intrat umbra Comolet to the Countesse, wrapt in a canapie’ ... (23) ‘D’Amboys at the gulfe’.

[464] The Q of 1641, probably representing a revival by the King’s men, alters the scenes in Montsurry’s house, eliminating the characteristic Paul’s ‘canapie’ of V. iv. 1 and placing spectators above in the same scene. It is also responsible for the proleptic s.d. (cf. ch. xxii) at I. i. 153 for I. ii. 1, ‘Table, Chesbord and Tapers behind the Arras’.

[465] Blurt Master Constable has (a) Camillo’s (I. i; II. i) with a hall; (b) Hippolyto’s (III. i) where (136) ‘Violetta appears above’, and (175) ‘Enter Truepenny above with a letter’; (c) a chapel (III. ii) with a ‘pit-hole’ dungeon, probably also visible in II. i and III. i; (d) Blurt’s (I. ii) which is ‘twelve score off’; (e) Imperia’s, where is most of the action (II. ii; III. iii; IV. i, ii, iii; V. ii, iii). Two chambers below are used; into one Lazarillo is shown in III. iii. 201, and here in IV. ii he is let through a trap into a sewer, while (38) ‘Enter Frisco above laughing’ and (45) ‘Enter Imperia above’. At IV. iii. 68 Lazarillo crawls from the sewer into the street. In IV. i and IV. iii tricks are played upon Curvetto with a cord and a rope-ladder hanging from a window above.

[466] Phoenix has (a) the palace (I. i; V. i) with hall; (b) Falso’s (I. vi; II. iii; III. i); (c) the Captain’s (I. ii; II. ii); (d) a tavern (I. iv; IV. iii) with interior action; (e) a law court (IV. i); (f) a jeweller’s (III. ii; IV. i, ii, iii) with interior action. It will be observed that (f) is needed both with (d) and (e). There is no action above.

[467] M. Term has (a) Paul’s (I. i, ii); (b) Quomodo’s shop, the Three Knaves (II. iii; III. iv; IV. i, iii, iv; V. i); (c) a tavern (II. i); (d) a law court (V. iii); (e) a courtesan’s (III. i; IV. ii). All have interior action and (b) eavesdropping above in a balcony (II. iii. 108, 378, 423; III. iv). Much action is merely in the streets.

[468] A Mad World has (a) Harebrain’s (I. ii; III. i; IV. iv); (b) Penitent Brothel’s (IV. i), with interior action; (c) a courtesan’s (I. i; II. iii, vi; III. ii; IV. v), with a bed and five persons at once, perhaps above, in III. ii; (d) Sir Bounteous Progress’s in the country (II. i; II. ii, iv, v, vii; III. iii; IV. ii, iii; V. i, ii). The action here is rather puzzling, but apparently a hall, a lodging next it, where are ‘Curtains drawn’ (II. vii. 103), the stairs, and a ‘closet’ or ‘matted chamber’ (IV. ii. 27; IV. iii. 3) are all used. If the scenes were shifted, the interposition of a scene of only 7 lines (II. iii) at London amongst a series of country scenes is strange.

[469] A Trick to Catch has (a) Lucre’s (I. iii, iv; II. i, ii; IV. ii, iii; V. i); (b) Hoard’s (III. ii; IV. iv; V. ii); (c) a courtesan’s (III. i); (d) an inn (III. iii); (e) Dampit’s (III. iv; IV. v); and away from London, (f) Witgood Hall, with (g) an inn (I. i, ii); (h) Cole Harbour (IV. i). Nearly all the action is exterior, but a window above is used at (b) in IV. iv, and at (e) there is interior action both below in III. iv and perhaps above (cf. III. iv. 72), with a bed and eight persons at once in IV. v.

[470] Puritan has (a) the Widow’s (I. i; II. i, ii; III. i, ii; IV. i, ii, iii; V. i, ii), with a garden and rosemary bush; (b) a gentleman’s house (III. iv); (c) an apothecary’s (III. iii); (d) a prison (I. iv; III. v). There is interior action below in all; action above only in (a) at V. ii. 1, ‘Enter Sir John Penidub, and Moll aboue lacing of her clothes’ in a balcony.

[471] Woman Hater has (a) the Duke’s palace (I. i, iii; IV. i; V. ii); (b) the Count’s (I. iii); (c) Gondarino’s (II. i; III. i, ii); (d) Lazarillo’s lodging (I. i, ii); (e) a courtesan’s (II. i; IV. ii, iii; V. ii); (f) a mercer’s shop (III. iv); (g) Lucio’s study (V. i). There is interior action below in (a), (e), (f), and (g), where ‘Enter Lazarello, and two Intelligencers, Lucio being at his study.... Secretary draws the Curtain’. A window above is used at (e), and there is also action above at (c), apparently in a loggia within sight and ear-shot of the street.

[472] The term is used in The Faery Pastoral, Satiromastix, and Bussy d’Ambois (vide supra); but also in Sophonisba (vide infra), which is a Blackfriars play.

[473] I take it that it was in this stand that Andrugio’s ghost was placed ‘betwixt the music-houses’ in 2 Antonio and Mellida.

[474] The four plays which seem most repugnant to continuous staging, Westward Ho!, Northward Ho!, A Mad World, my Masters, and A Trick to Catch the Old One, are all datable in 1604–6.

[475] Elizabethan Plays: Love’s Metamorphosis, Liberality and Prodigality, Cynthia’s Revels, Poetaster, Sir Giles Goosecap, Gentleman Usher, and probably All Fools; Jacobean Plays: M. d’Olive, May Day, Widow’s Tears, Conspiracy of Byron, Tragedy of Byron, Case is Altered, Malcontent, Dutch Courtesan, Sophonisba, Eastward Ho!, Your Five Gallants, Philotas, Isle of Gulls, Law Tricks, Fleir, Faithful Shepherdess, Knight of the Burning Pestle. In addition Fawn and Trick to Catch an Old One, already dealt with under Paul’s, were in the first case produced at, and in the second transferred to, Blackfriars.

[476] Cf. p. 34.

[477] Lib. and Prod. 903, ‘Here Prod. scaleth. Fortune claps a halter about his neck, he breaketh the halter and falles’; 1245, ‘The Judge placed, and the Clerkes under him’.

[478] The fountain requires a trap. There is no action above. I cite the scenes of Q₁, which are varied by Jonson in F₁.

[479] In the prol. 27, Envy says, ‘The scene is, ha! Rome? Rome? and Rome?’ (cf. p. 154). The only action above is by Julia in IV. ix. 1, before the palace, where (F₁) ‘Shee appeareth above, as at her chamber window’, and speaks thence.

[480] Sir G. G. has, besides the London and Barnet road (III. i), the houses of (a) Eugenia (I. i-iii; II; IV. i) and (b) Momford (I. iv; II; III. ii; IV. iii; V). Both have action within, none above. In IV. ii. 140 persons on the street are met by pages coming from Momford’s ‘on the other side’, but (b) is near enough to (a) to enable Clarence in II to overhear from it (as directed in I. iv. 202) a talk between Momford and Eugenia, probably in her porch, where (ii. 17) ‘Enter Wynnefred, Anabell, with their sowing workes and sing’, and Momford passes over to Clarence at ii. 216. Two contiguous rooms in (b) are used for V. i, ii (a single scene). One is Clarence’s; from the other he is overheard. They are probably both visible to the audience, and are divided by a curtain. At V. ii. 128 ‘He draws the curtains and sits within them’. Parrott adds other s.ds. for curtains at 191, 222, 275, which are not in Q₁.

[481] Gent. Usher has (a) Strozza’s (I. i; IV. i, iii; V. ii), where only a porch or courtyard is needed, and (b) Lasso’s (I. ii; II; III; IV. ii, iv; V. i, iii, iv), with a hall, overlooked by a balcony used in V. i. 1 and V. iii. 1, and called ‘this tower’ (V. iii. 5).

[482] The visible houses of All Fools are (a) Gostanzo’s, (b) Cornelio’s, and (c) the Half Moon tavern, where drawers set tables (V. ii. 1), but not necessarily inside. Both (a) and (b) are required in II. i and IV. i, and (a), (b), and (c) in III. i.

[483] M. d’Olive has (a) a hall at Court (II. ii); (b) Hieronyme’s chamber, also at Court (V. ii); (c) d’Olive’s chamber (III. ii; IV. ii); (d) Vaumont’s (I; II. i; IV. i; V. i); (e) St. Anne’s (III. i); of which (b) and (d) are used together in V. i, ii (a continuous scene), and probably (c) and (e) in III. i. There is action within at (a), (c), and (d), and above at (d), which has curtained windows lit by tapers (I. 48), at one of which a page above ‘looks out with a light’, followed by ladies who are bidden ‘come down’ (V. i. 26, 66).

[484] May Day has (a) Quintiliano’s, (b) Honorio’s, (c) Lorenzo’s, and (d) the Emperor’s Head, with an arbour (III. iii. 203). The only interior action is in Honorio’s hall (V). Windows above are used at Lorenzo’s, with a rope-ladder, over a terrace (III. iii), and at Quintiliano’s (III. ii). The action, which is rather difficult to track, consists largely of dodging about the pales of gardens and backsides (II. i. 180; III. iii. 120, 185; IV. ii. 83, 168). Clearly (a), (c), and (d) are all used in the latter part of II. i, where a new scene may begin at 45; and similarly (b), (c), and (d) in III. iii, and (b) and (c) in IV. ii.

[485] Widow’s Tears has (a) Lysander’s (I. i; II. i; III. i); (b) Eudora’s (I. ii; II. ii, iv; III. ii; IV. i); (c) Arsace’s (II. iii); all of which are required in I. iii; and (d), a tomb (IV. ii, iii; V). There is interior action in a hall of (b), watched from a ‘stand’ (I. i. 157; I. iii. 1) without, and the tomb opens and shuts; no action above.

[486] In the Conspiracy the Paris scenes are all at Court, vaguely located, and mainly of hall type, except III. iii, which is at an astrologer’s; the only Brussels scene is I. ii, at Court. The Tragedy is on the same lines, but for V. ii, in the Palace of Justice, with a ‘bar’, V. iii, iv, in and before the Bastille, with a scaffold, and I. ii and III. i at Dijon, in Byron’s lodging. In II. i. 3 there is ‘Music, and a song above’, for a mask.

[487] C. Altered, I. i. 1, ‘Iuniper a Cobler is discouered, sitting at worke in his shoppe and singing’; IV. v. 1, ‘Enter Iuniper in his shop singing’.

[488] C. A. I. v. 212; II. i; III. ii, iii, v, ‘Enter Iaques with his gold and a scuttle full of horse-dung’. ‘Jaques. None is within. None ouerlookes my wall’; IV. vii. 62, ‘Onion gets vp into a tree’; V. i. 42. In I. v action passes directly from the door of Farneze to that of Jaques.

[489] Malc. I. i. 11, ‘The discord ... is heard from ... Malevole’s chamber’ ... (19) ‘Come down, thou rugged cur’ ... (43) ‘Enter Malevole below’.

[490] Malc. V. ii. 163. This transition is both in Q₁ and Q₂, although Q₂ inserts a passage (164–94) here, as well as another (10–39) earlier in the scene, which entails a contrary transition from the palace to the citadel.

[491] Dutch C. has (a) Mulligrub’s (I. i; II. iii; III. iii) with action in a ‘parlour’ (III. iii. 53); (b) Franceschina’s (I. ii; II. ii; IV. iii, v; V. i), with action above, probably in a loggia before Franceschina’s chamber, where she has placed an ambush at V. i. 12, ‘She conceals them behind the curtain’; (c) Subboy’s (II. i; III. i; IV. i, ii, iv; V. ii), with a ring thrown from a window above (II. i. 56); (d) Burnish’s shop (III. ii; V. iii), with an inner and an outer door, for (III. ii. 1) ‘Enter Master Burnish [&c.] ... Cocledemoy stands at the other door ... and overhears them’.

[492] Soph. I. ii. 32, ‘The Ladies lay the Princess in a fair bed, and close the curtains, whilst Massinissa enters’ ... (35) ‘The Boys draw the curtains, discovering Sophonisba, to whom Massinissa speaks’ ... (235) ‘The Ladies draw the curtains about Sophonisba; the rest accompany Massinissa forth’.

[493] Soph. III. i. 117, ‘The attendants furnish the altar’.... (162) ‘They lay Vangue in Syphax’ bed and draw the curtains’ ... (167) Soph. ‘Dear Zanthia, close the vault when I am sunk’ ... (170) ‘She descends’ ... (207) ‘[Syphax] descends through the vault’.

[494] Soph. IV. i, ‘Enter Sophonisba and Zanthia, as out of a cave’s mouth’ ... (44) ‘Through the vaut’s mouth, in his night-gown, torch in his hand, Syphax enters just behind Sophonisba’.... (126) ‘Erichtho enters’ ... (192) ‘Infernal music, softly’ ... (202) ‘A treble viol and a base lute play softly within the canopy’ ... (212) ‘A short song to soft music above’ ... (215) ‘Enter Erichtho in the shape of Sophonisba, her face veiled, and hasteth in the bed of Syphax’ ... (216) ‘Syphax hasteneth within the canopy, as to Sophonisba’s bed’ ... (V. i. 1) ‘Syphax draws the curtains, and discovers Erichtho lying with him’ ... (24) ‘Erichtho slips into the ground’ ... (29) ‘Syphax kneels at the altar’ ... (40) ‘Out of the altar the ghost of Asdrubal ariseth’. There is no obvious break in IV. Erichtho promises to bring Sophonisba with music, and says ‘I go’ (181), although there is no Exit. We must suppose Syphax to return to his chamber through the vault either here or after his soliloquy at 192, when the music begins.

[495] E. Ho!, I. i. 1, ‘Enter Maister Touchstone and Quick-silver at severall dores.... At the middle dore, enter Golding, discovering a gold-smiths shoppe, and walking short turns before it’; II. i. 1, ‘Touchstone, Quick-silver[cf above and below, but Touchstone diff]; Goulding and Mildred sitting on eyther side of the stall’.

[496] At the end of II. ii, which is before Security’s, with Winifred ‘above’ (241), Quick-silver remains on the stage, for II. iii, before Petronel’s. The tavern is first used in III. iii, after which III. iv, of one 7–line speech only, returns to Security’s and ends the act. Billingsgate should be at some little distance from the other houses.

[497] E. Ho!, IV. i. 1, ‘Enter Slitgut, with a paire of oxe hornes, discovering Cuckolds-Haven above’.

[498] Clearly IV. i. 346–64 (ed. Schelling) has been misplaced in the Q_q; it is a final speech by Slitgut, with his Exit, but without his name prefixed, and should come after 296. The new scene begins with 297.

[499] E. Ho!, IV. i. 92, ‘Enter the Drawer in the Taverne before [i.e. in III. iii], with Wynnyfrid’; he will shelter her at ‘a house of my friends heere in S. Kath’rines’ ... (297) ‘Enter Drawer, with Wynifrid new attird’, who says ‘you have brought me nere enough your taverne’ and ‘my husband stale thither last night’. Security enters (310) with ‘I wil once more to this unhappy taverne’.

[500] Y. F. Gallants has (a) Frippery’s shop (I. i); (b) Katherine’s (I. ii; V. ii); (c) Mitre inn (II. iii); (d) Primero’s brothel (II. i; III. iv; V. i); (e) Tailby’s lodging (IV. i, ii); (f) Fitzgrave’s lodging (IV. iii); (g) Mrs. Newcut’s dining-room (IV. vii); (h) Paul’s (IV. vi). There is action within in all these, and in V. i, which is before (d), spies are concealed ‘overhead’ (124).

[501] In Isle of Gulls the park or forest holds a lodge for the duke (I. i), a ‘queach of bushes’ (II. ii), Diana’s oak (II. ii; IV. iv), Adonis’ bower (II. ii; V. i), a bowling green with arbours (II. iii-v), and the house of Manasses (IV. iii).

[502] Law Tricks has (a) the palace (I. i; II; IV. i, ii; V. ii), within which (p. 64, ed. Bullen) ‘Discover Polymetes in his study’, and (p. 78) ‘Polymetes in his study’; (b) an arrased chamber in Lurdo’s (III. i), entered by a vault (cf. p. 148, supra); (c) Countess Lurdo’s (III. ii); (d) the cloister vaults (V. i, ii) where (p. 90) ‘Countesse in the Tombe’. Action passes direct from (a) to (d) at p. 89.

[503] Fleir has (a) the courtesans’ (I. 26–188; II; III. 1–193; IV. 1–193); (b) Alunio’s (IV. 194–287); (c) Ferrio’s (V. 1–54); (d) a prison (V. 55–87); (e) a law court (V. 178–end); (f) possibly Susan and Nan’s (I. 189–500). Conceivably (c), (d), (e) are in some way combined: there is action within at (b), ‘Enter Signior Alunio the Apothecarie in his shop with wares about him’ (194), (d) ‘Enter Lord Piso ... in prison’ (55), and (e); none above.

[504] The action of F. Shepherdess needs a wood, with rustic cotes and an altar to Pan (I. ii, iii; V. i, iii), a well (III. i), and a bower for Clorin (I. i; II. ii; IV. ii, v; V. ii, v), where is hung a curtain (V. ii. 109).

[505] K. B. P. I. 230, ‘Enter Rafe like a Grocer in ’s shop, with two Prentices Reading Palmerin of England’; at 341 the action shifts to Merrithought’s, but the episode at Venturewell’s is said to have been ‘euen in this place’ (422), and clearly the two houses were staged together. Possibly the conduit head on which Ralph sings his May Day song (IV. 439) was also part of the permanent setting.

[506] K. B. P. II. 71–438; III. 1–524; IV. 76–151.

[507] The certain plays are Epicoene, Woman a Weathercock, Insatiate Countess, and Revenge of Bussy. I have noted two unusual s.ds.: W. a W. III. ii, ‘Enter Scudmore ... Scudmore passeth one doore, and entereth the other, where Bellafront sits in a Chaire, under a Taffata Canopie’; Insatiate C. III. i, ‘Claridiana and Rogero, being in a readiness, are received in at one anothers houses by their maids. Then enter Mendoza, with a Page, to the Lady Lentulus window’. There is some elaborate action with contiguous rooms in Epicoene, IV, V.

[508] Cf. pp. 98, 117.

[509] I have noted bedchamber scenes as ‘perhaps above’ at Paul’s in A Mad World, my Masters and A Trick to Catch the Old One, but the evidence is very slight and may be due to careless writing. In A Mad World, III. ii. 181, Harebrain is said to ‘walke below’; later ‘Harebrain opens the door and listens’. In A Trick, III. iv. 72, Dampit is told that his bed waits ‘above’, and IV. v is in his bedchamber.

[510] Cf. p. 116.

[511] Cf. Dr. Dodipoll, 1 Antonio and Mellida, The Fawn, and Bussy d’Ambois for Paul’s, and Sir Giles Goosecap and Fleir for Blackfriars. The early Court plays had similar scenes; cf. p. 43.

[512] C. Revels, ind. 54, ‘First the Title of his Play is Cynthias Revels, as any man (that hath hope to be sau’d by his Booke) can witnesse; the Scene Gargaphia’; K. B. P. ind. 10, ‘Now you call your play, The London Marchant. Downe with your Title, boy, downe with your Title’. For Wily Beguiled, cf. p. 126.

[513] Duff, xi.

[514] Ch. ix; cf. Mediaeval Stage, ii. 221.

[515] Pollard, Sh. F. 2. ‘Cum priuilegio’ is in the colophons of Rastell’s 1533 prints of Johan Johan, The Pardoner and the Friar, and The Wether, and ‘Cum priuilegio regali’ in those of his undated Gentleness and Nobility and Beauty and Good Properties of Women.

[516] Procl. 114, 122, 155, 176. The texts of 1529 and 1530 are in Wilkins, Concilia, iii. 737, 740; that of 1538 in Burnet, Hist. of Reformation, vi. 220; cf. Pollard, Sh. F. 6, and in 3 Library, x. 57. I find ‘Cum priuilegio ad imprimendum solum’ in the colophon of Acolastus (1540) and in both t.p. and colophon of Troas (1559); also ‘Seen and allowed &c.’ in the t.p. of Q₂ of Gorboduc (c. 1570), ‘Perused and Alowed’ at the end of Gammer Gurton’s Needle (1575), and ‘Seen and allowed, according to the order appointed in the Queenes maiesties Injunctions’ in the t.p. of The Glass of Government (1575). Otherwise these precautions became dead letters, so far as plays were concerned.

[517] Procl. 295 (part only in Wilkins, iv. 1; cf. Pollard, Sh. F. 7). The ‘daye of the printe’ is in the t.ps. of Thyestes (1560), Oedipus (1563), Gordobuc (1565), Four Ps (1569), and the colophon of Promos and Cassandra (1578); the year and month in the t.p. of King Darius (1565). Earlier printers had given the day in the colophons of Mundus et Infans (1522), Johan Johan (1533), and The Pardoner and the Friar (1533).

[518] Dasent, ii. 312; Procl. 395 (text in Hazlitt, E. D. S. 9; cf. Pollard, Sh. F. 8).

[519] Procl. 427 (cf. Pollard, Sh. F. 9); Procl. 461 (text in Wilkins, Concilia, iv. 128; Arber, i. 52); Procl. 488 (text in Arber, i. 92).

[520] Arber, i. xxviii, xxxii.

[521] Duff, xi.

[522] 1 Eliz. c. 1 (Statutes, iv. 1. 350).

[523] App. D, No. ix.

[524] App. D, No. xii.

[525] App. D, No. xiii.

[526] Procl. 638, 656, 659, 687, 688, 702, 740, 752, 775; Arber, i. 430, 452, 453, 461, 464, 474, 502; cf. McKerrow, xiii. A draft Bill by William Lambarde prepared in 1577–80 for the establishment of a mixed body of ecclesiastics and lawyers as Governors of the English Print (Arber, ii. 751) never became law.

[527] Pollard, Sh. F. 15; F. and Q. 4. Mr. Pollard stresses the difficulty of obtaining the hands of six Privy Councillors. Perhaps this is somewhat exaggerated. Six was the ordinary quorum of that body, which sat several times a week, while many of its members resided in court, were available for signing documents daily, and did in fact sign, in sixes, many, such as warrants to the Treasurer of the Chamber, of no greater moment than licences (cf. ch. ii). The signatures were of course ministerial, and would be given to a licence on the report of an expert reader. In any case the Injunction provides alternatives.

[528] Arber, iii. 690; Pollard, Sh. F. 23, ‘From 19^o Elizabethe [1576–7] till the Starre-chamber Decree 28^o Elizabeth [1586], many were licensed by the Master and Wardens, some few by the Master alone, and some by the Archbishop and more by the Bishop of London. The like was in the former parte of the Quene Elizabeth’s time. They were made a corporacon but by P. and M. Master Kingston, y^e now master, sayth that before the Decree the master and wardens licensed all, and that when they had any Divinity booke of muche importance they would take the advise of some 2 or 3 ministers of this towne’.

[529] The references in the following notes, unless otherwise specified, are to the vols. and pages of Arber’s Transcript.

[530] i. 106; ii. 879.

[531] i. 17, ‘No member or members of this Company shall hereafter knowingly imprint or cause to be imprinted any book, pamphlet, portraicture, picture or paper whereunto the law requires a license, without such license as by the law is directed for the imprinting of the same (1678)’; 22, ‘By ancient usage of this company, when any book or copy is duly entred in the register-book of this company, to any member or members of this company, such person to whom such entry is made, is, and always hath been reputed and taken to be proprietor of such book or copy, and ought to have the sole printing thereof (1681)’; 26, ‘It hath been the ancient usage of the members of this company, for the printer or printers, publisher or publishers of all books, pamphlets, ballads, and papers, (except what are granted by letters pattents under the great seal of England) to enter into the publick register-book of this company, remaining with the clerk of this company for the time being, in his or their own name or names, all books, pamphlets, ballads, and papers whatsoever, by him or them to be printed or published, before the same book, pamphlet, ballad, or paper is begun to be printed, to the end that the printer or publisher thereof may be known, to justifie whatsoever shall be therein contained, and have no excuse for the printing or publishing thereof (1682)’.

[532] Typical examples are i. 75 (1557–8), ‘To master John Wally these bokes called Welth and helthe, the treatise of the ffrere and the boy, stans puer ad mensam, another of youghte charyte and humylyte, an a. b. c. for cheldren in englesshe with syllabes, also a boke called an hundreth mery tayles ij^s’; 77 (1557–8), ‘To Henry Sutton to prynte an enterlude vpon the history of Jacobe and Esawe out of the xxvij chapeter of the fyrste boke of Moyses called Genyses and for his lycense he geveth to the howse iiij^d’; 128 (1559–60), ‘Recevyd of John Kynge for his lycense for pryntinge of these copyes Lucas urialis, nyce wanton, impaciens poverte, the proude wyves pater noster, the squyre of low degre and syr deggre graunted ye x of June anno 1560 ij^s’. The last becomes the normal form, but without the precise date.

[533] i. 155, 177, 204, 205, 208, 209, 231, 263, 268, 269, 272, 299, 302, 308, 312, 334, 336, 343, 378, 382, 385, 398, 399, 415. It is possible that the wardens, intent on finance, did not always transcribe into their accounts notes of authorizations. Only half a dozen of the above are ascribed to the archbishop, yet a mention of ‘one Talbot, servant of the archbishop of Canterbury, a corrector to the printers’ in an examination relative to the Ridolfi plot (Haynes-Murdin, ii. 30) shows that he had enough work in 1571 to justify the appointment of a regular deputy.

[534] ii. 35, 301. Collins remained clerk to 1613, when he was succeeded by Thomas Mountfort, who became a stationer (McKerrow, 196), and is of course to be distinguished from the prebendary of Paul’s and High Commissioner of a similar name, who acted as ‘corrector’ (cf. p. 168).

[535] i. 451 sqq.

[536] ii. 302, 359, 371, 377, 378, 414, &c.

[537] ii. 440, 444.