Normally no doubt only two of the doors (those nearest the proscenium opening on opposite sides) with their balconies were in constant use by the actors as the exigencies of the play might demand, but if required, all four balconies, and more frequently, all four doors could be and were employed. It is noticeable in Wren’s design that the balconies are not stage balconies, but side boxes, a permanent part of the general architectural scheme, and there can be no doubt that, save in exceptional circumstances, the two outermost were occupied by spectators. If the play did not require the use of a balcony at all, spectators would also fill the inner side boxes. In time, indeed, two doors and two balconies only came to be used, but for some decades at least all four were practicable. The present passage of _The Rover_ indicates the use of three doors. The bravos hang up two little pictures of Angelica, one at each side of the door of her house, and presently the fair courtezan appears in her balcony above. A little later Don Pedro and Stephano enter by one door at the opposite side, Don Antonio and his page by the second door on the same side as Pedro. In Etheredge’s _She Wou’d if She Cou’d_ (6 February, 1668) Act ii, 1, Courtal and Freeman are seen following up Ariana and Gatty in the Mulberry Garden. Presently ‘The Women go out, and go about behind the Scenes to the other Door’, then ‘Enter the Women [at one door] and after ’em Courtal at the lower Door, and Freeman at the upper on the contrary side’. Three balconies are employed in Ravenscroft’s _Mamamouchi_ (1672; 4to 1675) Act iv. We have ‘Enter Mr. Jorden, musick’ obviously in one balcony from the ensuing dialogue. Then ‘Cleverwit, in Turk’s 442 habit, with Betty Trickmore and Lucia appear in the Balcony’ number two. A song is sung and ‘Young Jorden and Marina in the Balcony against ’em’. Young Jorden remarks, ‘Now, dearest Marina, let us ascend to your Father, he is by this time from his Window convinc’d of the slight is put on you....’ ‘They retire’ and although there has been no exit marked for Mr, Jorden, we find directly, ‘Enter Mr. Jorden and Trickmore,’ obviously upon the stage itself, to which Mr. Jorden has descended. It must be noted, however, that the use of more than two balconies is very rare. Mr. W. J. Lawrence in _The Elizabethan Playhouse and other Studies_ (First Series) aptly writes: ‘No dramatist of the time had a better sense of the theatre than Mrs. Behn, and none made more adroit employment of the balconies.’ He then cites the scene of Angelica, her bravos and admirers. p. 36 _a Patacoone._ A Spanish coin in value about 4_s._ 8_d._ Act II: Scene ii p. 38 _a Pistole-worth._ The pistole was a gold coin worth about 16_s._ p. 42 _a shameroon._ A rare word meaning a trickster, a cozening rascal. Act III: Scene iia p. 54 _bow’d Gold._ Bowed for bent is still used in the North of England: ‘A bowed pin.’ Act III: Scene iii