The arrangement of the rear stage may have differed considerably in the various theaters, but the typical form may best be described as an alcove in front of which curtains could be drawn. This alcove was by no means so small as the word may seem to imply, but must have been about half as wide as the front stage and perhaps a quarter as deep. In its rear wall was a door through which the actors could enter without being seen when the curtains were drawn, and it seems to have had side doors as well. To the right and left of it were doors for such entrances to the front stage as could not properly be made through the curtains. This part of the stage was used for such scenes as the caves in _Cymbeline_ or _The Tempest_, for the tomb in _Romeo and Juliet_, and for scenes in which characters concealed themselves behind the arras, as in _I Henry IV_ or _Hamlet_. Since the front stage could not be concealed from the spectators, most heavy properties were placed on the back stage, so that this part of the stage was generally used for scenes which required such properties. For many of these scenes, however, both parts of the stage were used, the actors spreading out over the front stage soon after the beginning of the scene. The space between the top of the back stage and the {42} heavens formed a balcony, like the balcony already described as part of the stage as arranged in the inn-yards. This balcony could also be curtained off when occasion required. To the right and left of it, over the doors leading to the front stage, some of the theaters had window-like openings, which were probably not in line with the balcony, but, like the doors below them, projected at an oblique angle. At one of these windows Jessica appeared in the second act of _The Merchant of Venice_; from the balcony Romeo took leave of Juliet. Thus the Elizabethan dramatist had three fields of action--a front, rear, and upper stage--which he could use singly, together, or in various combinations.