For all this Katherens was to receive the sum of L360; but since Henslowe and Meade supplied a large share of the lumber and other materials, the total cost of the building may be estimated as not less than L600. When completed, the new playhouse was appropriately christened "The Hope." It has been generally assumed that a picture of the Hope is given in Visscher's _View of London_, published in 1616; but this, I think, is exceedingly doubtful. In drawing the Bankside, Visscher rather slavishly copied the Agas map of 1560, inserting a few new buildings,--notably the playhouses,--and it is virtually certain that he represented the "Bear Garden" (so he distinctly calls it) and the Globe as they were before their reconstruction.[546] The first representation of the Hope is to be found in Hollar's splendid _View of London_ published in 1647 (see page 326). At this time the building, which had for many years been devoted wholly to the royal sports of bull- and bear-baiting, was still standing. It is hard to believe that an artist who so carefully represented the famous edifices of the city should have greatly erred in drawing the "Bear Baiting House,"--a structure more curious than they, and quite as famous. [Footnote 546: The Merian _View of London_, published in 1638 at Frankfort-am-Main, is merely a copy of the Visscher view with the addition of certain details from another and earlier view not yet identified. It has no independent value. The _View of London_ printed in Howell's _Londinopolis_ (1657), is merely a slavish copy of the Merian view. Visscher's representation of the Bear Garden does not differ in any essential way from the representation in Hondius's _View_ of 1610. For a fuller discussion see pages 126, 146, 248.] Hollar represents the Hope as circular. According to the contract Katherens was "to build the same of such large compass, form, wideness, and height as the playhouse called the Swan." Whether the word "form" was intended to apply to the exterior of the building we do not know. The Swan was decahedral; Visscher represents the "Bear Garden" as octagonal (which is correct for the Bear Garden that preceded the Hope). But since the exterior was of lime and plaster, and a decahedral form had no advantage, Katherens may well have constructed a circular building as Hollar indicates. Perhaps it is significant in this connection that John Taylor, the Water-Poet, in his _Bull, Bear, and Horse_, refers to the Hope as a "sweet, _rotuntious_ college." Significant also, perhaps, is the clause in the contract by which Katherens was required to "build the heavens all over the stage," for this exactly describes the heavens as drawn by Hollar. I see no reason to doubt that in the _View_ of 1647 we have a reasonably faithful representation of the Hope. [Illustration: THE HOPE PLAYHOUSE, OR SECOND BEAR GARDEN