[Footnote 317: Possibly Robinson and the "others" were merely deputies.] [Footnote 318: Field became later famous both as an actor and playwright. His portrait is preserved at Dulwich College.] [Footnote 319: Salathiel Pavy, whose excellent acting is celebrated in Jonson's tender elegy, quoted in part below.] [Footnote 320: Star Chamber Proceedings, printed in full by Fleay, _op. cit._, p. 127.] In spite of the obvious animosity inspiring Clifton's words, we get from his complaint a clear notion of how Evans and Giles supplemented the Children of the Chapel proper with actors. In a short time they brought together at Blackfriars a remarkable troupe of boy-players, who, with Jonson and Chapman as their poets, began to astonish London. For, in spite of certain limitations, "the children" could act with a charm and a grace that often made them more attractive than their grown-up rivals. Middleton advises the London gallant "to call in at the Blackfriars, where he should see a nest of boys able to ravish a man."[321] Jonson gives eloquent testimony to the power of little Salathiel Pavy to portray the character of old age: Years he numbered scarce thirteen When Fates turned cruel, Yet three filled zodiacs had he been The stage's jewel; And did act, what now we moan, Old men so duly, As, sooth, the Parcae thought him one, He played so truly.[322] [Footnote 321: _Father Hubbard's Tales_ (ed. Bullen, VIII, 77).] [Footnote 322: Jonson, _Epigrams_, CXX, _An Epitaph on Salathiel Pavy, a Child of Queen Elizabeth's Chapel_.] And Samuel Pepys records the effectiveness of a child-actor in the role of women: "One Kinaston, a boy, acted the Duke's sister, but made the loveliest lady that ever I saw in my life."[323] [Footnote 323: _Diary_, August 18, 1660.] Moreover, to expert acting these Boys of the Chapel Royal added the charms of vocal and instrumental music, for which many of them had been specially trained. The Duke of Stettin-Pomerania, who upon his grand tour of the European countries in 1602 attended a play at Blackfriars, bears eloquent testimony to the musical powers of the children: "For a whole hour before the play begins, one listens to charming [_koestliche_] instrumental music played on organs, lutes, pandorins, mandolins, violins, and flutes; as, indeed, on this occasion, a boy sang _cum voce tremula_ to the accompaniment of a bass-viol, so delightfully [_lieblich_] that, if the Nuns at Milan did not excel him, we had not heard his equal in our travels."[324] In addition, the Children were provided with splendid apparel--though not at the cost of the Queen, as Mr. Wallace contends.[325] Naturally they became popular. On January 6, 1601, they were summoned to Court to entertain Her Majesty--the first recorded performance of the Children of the Chapel at Court since the year 1584, when Sir William More closed the first Blackfriars.