THE SITES OF THE WHITEFRIARS AND THE SALISBURY COURT PLAYHOUSES 318 THE HOPE PLAYHOUSE, OR SECOND BEAR GARDEN 326 THE HOPE PLAYHOUSE, OR SECOND BEAR GARDEN 331 THE SITE OF THE COCKPIT IN DRURY LANE 350 A PLAN OF THE SALISBURY COURT PROPERTY 371 THE COCKPIT AT WHITEHALL 390 INIGO JONES'S PLANS FOR THE COCKPIT-IN-COURT 396 FISHER'S SURVEY OF WHITEHALL SHOWING THE COCKPIT-IN-COURT 398 THE THEATRO OLYMPICO AT VICENZA 399 THE COCKPIT-IN-COURT 407 SHAKESPEAREAN PLAYHOUSES CHAPTER I THE INN-YARDS Before the building of regular playhouses the itinerant troupes of actors were accustomed, except when received into private homes, to give their performances in any place that chance provided, such as open street-squares, barns, town-halls, moot-courts, schoolhouses, churches, and--most frequently of all, perhaps--the yards of inns. These yards, especially those of carriers' inns, were admirably suited to dramatic representations, consisting as they did of a large open court surrounded by two or more galleries. Many examples of such inn-yards are still to be seen in various parts of England; a picture of the famous White Hart, in Southwark, is given opposite page 4 by way of illustration. In the yard a temporary platform--a few boards, it may be, set on barrel-heads[1]--could be erected for a stage; in the adjacent stables a dressing-room could be provided for the actors; the rabble--always the larger and more enthusiastic part of the audience--could be accommodated with standing-room about the stage; while the more aristocratic members of the audience could be comfortably seated in the galleries overhead. Thus a ready-made and very serviceable theatre was always at the command of the players; and it seems to have been frequently made use of from the very beginning of professionalism in acting. [Footnote 1: "Thou shalt not need to travel with thy pumps full of gravel any more, after a blind jade and a hamper, and stalk upon boards and barrel-heads." (_Poetaster_, III, i.)] One of the earliest extant moralities, _Mankind_, acted by strollers in the latter half of the fifteenth century, gives us an interesting glimpse of an inn-yard performance. The opening speech makes distinct reference to the two classes of the audience described above as occupying the galleries and the yard: O ye sovereigns that sit, and ye brothers that stand right up. The "brothers," indeed, seem to have stood up so closely about the stage that the actors had great difficulty in passing to and from their dressing-room. Thus, Nowadays leaves the stage with the request: Make space, sirs, let me go out! New Gyse enters with the threat: Out of my way, sirs, for dread of a beating!