sad song in the music room:' boxes were indifferently called rooms, and one of them was probably appropriated to the musicians. Whatever might be its situation at an earlier date, when Shakespeare's Tempest, as altered by Dryden and Davenant, was played at the Duke's theatre in Lincoln's-Inn-Fields in 1667, it seems probable that the band was for the first time placed between the audience and the stage. The subsequent is part of the introductory description:-The front of the stage is opened, ' and the band of twenty-four violins, with the harpsicals and theorbos, which accompany the voices, are placed between the pit and the stage.' As Malone has remarked, if this had not been a novel regulation, the explanation would have been unnecessary *.

Although various songs are introduced into Ralph Roister Doister, it no where appears that music was played between the acts. At the end of Act ii. of Gammer Gurton's Needle, 1566, Diccon, addressing himself to the instrumental performers, tells them, 'In the mean time, fellows, pipe up your fiddles;' and, perhaps, we may conclude that music was also played at the close of the other acts, although it is not mentioned. In The Two Italian Gentlemen, by Anthony Munday, (printed about 1584,) the different kinds of music to be played

*There is little doubt that Davenant introduced this change, as well as others less commendable, from France. The authors of the Histoire Universelle dés Théâtres tell us, that after the disuse of the old chorus in 1630, 'à la place du chant qui distinguoit les actes, et qui 'marquoit les repos nécessaires, on introduisit des joueurs d'instru" mens, qui d'abord furent placés sur les aîles du théâtre, où ils exé'cutoient différens airs avant le commencement de la pièce, et entre les 'actes. Ensuite ils furent mis au fond des troisièmes loges, puis aux " secondes, enfin entre le théâtre et le parterre, où ils sont restés.'— Essais Historiques, ii. 290.

after each act are mentioned, whether a pleasant galliard,' a solemn dump,' or 'a pleasant allemaigne.' Marston is very particular in his Sophonisba, 1606, in pointing out the instruments to be played during the four intervals of the acts the cornets and organs playing loud full music' for Act i.; organs, mixed with recorders,' for Act ii.; organs, viols, and voices' for Act iii.; and 'a base lute and a treble viol' for Act iv. In the course of Act v. he introduces a novel species of harmony, for we are twice told that infernal music plays softly.' Fiddles, flutes, and hautboys are mentioned by other dramatists as instruments then in use at the theatres. Nabbes, in the prologue to his Hannibal and Scipio, 1637, alludes at the same time to the change of the place of action, and to the performance of instruments between the acts—

6

'The place is sometimes changed too with the scene,
'Which is translated as the music plays

'Betwixt the acts.'

Malone refers to a warrant of protection, dated 27th of December, 1624, by Sir H. Herbert to Nicholas Underhill, Robert Pallant, John Rhodes, and seventeen others, 'all employed by the King's Majesty's servants in their quality of playing as musicians, and other necessary attendants; but here it is impossible to, distinguish who were musicians and who attendants, and a doubt must exist whether the musicians did not sometimes perform, and vice versa. We know that Phillippes and other actors of eminence played upon different instruments †, and

* Shakespeare by Boswell, iii. 112.

By his will, dated 4th of May, 1605, among other bequests, he left his base viol to Samuel Gilburne, his late apprentice,' and his cittern, bandore, and lute to James Sands, who was his apprentice at the time of his death. Malone's Shakespeare by Boswell, iii. 472. 2 G

VOL. III.

Pallant was a performer in the 'plat' of the second part of the Seven Deadly Sins, before 1588: possibly after he had ceased to act he became an instrumental performer in the band. The fee to the Master of the Revels for a warrant for the musicians of the king's company' appears to have been 11., and on the 9th of April, 1627, Sir H. Herbert enters the receipt of that sum for that purpose; before this date we do not hear of any such claim by the Master of the Revels.

Dr. Burney, in his History of Music (iii. 376), quotes from a MS., then in the possession of Dr. Moreton of the British Museum, an account of the preparation and performance of Shirley's Mask of Peace in February, 1633-4, in which it is said that the Blackfriars music' was then ' esteemed the best of the common musicians in London.' The shifts they were put to, after the closing of the theatres in 1642, are thus humorously noticed by the author of The Actor's Remonstrance, 1643 :-' Our music, 'that was held so delectable and precious, that they ⚫ scorned to come to a tavern under twenty shillings salary 'for two hours, now wander with their instruments under 'their cloaks-I mean such as have any-into all houses ' of good fellowship, saluting every room where there is 'company with "Will you have any music, gentlemen ?"

Achilles' Shield, by George Chapman

Acolastus, his Afterwit, a poem

Act of Common Council in 1575, against Plays

for the Suppression of the Stage, Feb. 11, 1647-8
Acteon and Diana, by Robert Cox

Actors' Remonstrance, the

Actors, the payment of

iii. 257

iii. 51

i. 213

ii. 114

iii. 327

ii. 110. iii. 416, 428

iii. 427

ii. 22

i. 42

All for Money, by T. Lupton ii. 258, 263, 266, 269, 347, 417. iii. 364

All's lost by Lust, a play, by William Rowley

All's Well that ends Well, by Shakespeare
All Fools, a play, by George Chapman
Almond for a Parrot, by Thomas Nash

Alphonsus, King of Arragon, by Robert Greene
Alucius, the History of

Alwyn, Walter, disguisings under

Amadas, Robert, his bill for jewels, in 1528
Amadis of France and Gaul

Amanda, by Thomas Cranley

Amends for Ladies, a play, by Nathaniel Field.
America, the discovery of

Amphitheatre, project for constructing

Amyot, Mr., Chronicle printed under his care
Ancre, Marquis d', a play concerning

Andria of Terence, translated

Angel King, a play

Anuales Burtonenses

ii. 92. iii. 330

iii. 444

iii. 95, 257, 393

iii. 28, 175

iii. 146, 167, 357

i. 243

i. 42

i. 105

ii. 419. iii. 153

iii. 378, 411

i. xxvii. iii. 69

ii. 321

i. 423. ii. 12

i. 17
i. 408

Anne, Queen, her players

Ant and the Nightingale, the, by T. M.
Antichrist, Miracle-play of
Antipodes, a play, by Richard Brome
Antiquarian Society of London, its MS.
Antonio and Mellida, by John Marston
-'s Revenge, by John Marston

Antony and Cleopatra, by Shakespeare

iii. 275, 345, 429
ii. 218.

iii. 331, 356, 399, 445

i. 28

i. 282

iii. 447

i. 435

the Tragedy of, by the Countess of Pembroke iii. 249, 255