Such a scheme had many advantages. In the first place, it prevented the company from shifting from one playhouse to another, as was frequently the case with other troupes. In the second place, it guaranteed both the excellence and the permanency of the company. Too often good companies were dissolved by the desertion of a few important members; as every student of the drama knows, the constant reorganization of troupes is one of the most exasperating features of Elizabethan theatrical history. In the third place, the plan, like all profit-sharing schemes, tended to elicit from each member of the organization his best powers. The opportunity offered to a young actor ultimately to be admitted as a sharer in the ownership of the building was a constant source of inspiration,[382] and the power to admit at any time a new sharer enabled the company to recruit from other troupes brilliant actors when such appeared; as, for example, William Osteler and Nathaniel Field, who had attained fame with the Children at Blackfriars and elsewhere. Finally, the plan brought the actors together in a close bond of friendship that lasted for life. Heminges was loved and trusted by them all. Shakespeare was admired and revered; three members of the troupe seem to have named their sons for him. Indeed, there is nothing more inspiring in a close study of all the documents relating to the Globe than the mutual loyalty and devotion of the original sharers. The publication of Shakespeare's plays by Heminges and Condell is merely one out of many expressions of this splendid comradeship. [Footnote 382: "The petitioners have a long time with much patience expected to be admitted sharers in the playhouses of the Globe and the Blackfriars, whereby they might reap some better fruit of their labour than hitherto they have done, and be encouraged to proceed therein with cheerfulness." (The Young Players' Petition, 1635, printed by Halliwell-Phillipps, _Outlines_, I, 312.)]