This is not the place to investigate how far the English were influenced by Italian professional dramatic art. At any rate, the English national character differed too much from the Italian to allow it to receive more than an outward and formal stamp. And even this superficial effect is much less significant in England than in France. Still, we are certainly not mistaken in assuming that it helped to strengthen English dramatic art, which already possessed no small amount of power; and we may take it for granted that about the time of Shakespeare's birth London possessed a socially and professionally organized class of actors, in spite of the fact that they did not yet possess a theatre of their own. Before proper theatres were built, and after the time of the great mysteries, the actors found a refuge for their art chiefly in the inns, those splendid and expensive old public-houses which convey to our minds the idea of old-fashioned and picturesque comfort; where the nobility and clergy sought their quarters in winter, and where the carriers unloaded their goods in the large square yards, which were surrounded on all sides by the walls of the inn. On these walls there were galleries running all round, supported by wooden pillars and with steep picturesque ladders running up to them. It was in these yards of the Cross Keys in Gracechurch Street, of The Bull in Bishopsgate Street, La Belle Sauvage on Ludgate Hill, or the Tabbard Inn in Southwark that the actors set up their stages. Perhaps it was this very circumstance that became one of the indirect reasons why they finally were obliged to build a house for themselves. Certainly the inns offered advantages to the actors; they were meeting-places for the public, frequented by lords and other persons of distinction; probably the companies paid next to nothing for the use of them. In themselves they afforded good room for the audience, with a natural pit for ordinary people in the yard, and with more comfortable "boxes" for the more distinguished part of the audience on the surrounding balconies and at the windows facing the yard. On the other hand, these inn-theatres had their drawbacks. In the first place, the actors were not on their own ground, and so, after all, they were only tolerated. Secondly, it must have been very difficult for them to keep to regular prices, and especially to secure the payment of the entrance fee, as they had probably to collect the money during or after the performance, thus depending on the liberality of the public for their remuneration. And finally, worst of all, they were led into quarrels with the lord mayor and with the citizens.