A plan of the various buildings as they appeared before the dissolution, based on the Loseley Manuscripts and other documents, surveys, and maps. The Buttery became Farrant's, the Frater Burbage's playhouse. (Drawn by the author.)] For Farrant to build a playhouse specifically for the use of the Children was out of the question. In the first place, it would be too conspicuously a capitalization of the royal choristers for private gain; and in the second place, it would be far too hazardous a business venture for so poor a man as he to undertake. The more sensible thing for him to do was to rent somewhere a large hall which could at small expense be converted into a place suitable for training the Children in their plays, and for the entertainment of select--possibly at first invited--audiences. The performances, of course, were not to be heralded by a trumpet-and-drum procession through the street, by the flying of a flag, and by such-like vulgar advertising as of a public show; instead, they were to be quiet, presumably "private," and were to attract only noblemen and those citizens of the better class who were interested in the drama.[148] [Footnote 148: From this notion of privacy, I take it, arose the term "private" theatre as distinguished from "common" or "public" theatre. The interpretation of the term suggested by Mr. W.J. Lawrence, and approved by Mr. William Archer, namely, that it was a legal device to escape the city ordinance of 1574, cannot be accepted. The city had no jurisdiction over the precinct of Blackfriars, nor did Farrant live in the building.] [Illustration: THE SITES OF THE TWO BLACKFRIARS PLAYHOUSES The smaller rectangle at the north represents the Buttery, later Farrant's playhouse, the larger rectangle represents the Frater, later Burbage's playhouse. (From Ogilby and Morgan's _Map of London_, 1677, the sites marked by the author.)]