from the Earl of Shrewsbury, who as President of the North stood in the place of a Lord Lieutenant for Yorkshire, about a month after the issue of the proclamation. He calls it, indeed, a licence to play, but he dwells on the 'tollerable and convenient' character of their pieces, and it is easy to see how one conception of the purpose for which a licence was required would slip into another.
The history of play-licensing in London, which must now be followed in detail, really turns upon an attempt of the Corporation, goaded by the preachers, to convert their power of regulating plays into a power of suppressing plays, as the ultimate result of which even the power of regulation was lost to them, and the central government, acting through the Privy Council and the system of patents, with the Master of the Revels as a licenser, took the supervision of the stage into its own hands. The issue does not define itself very clearly until the 'seventies, perhaps partly because the Puritan sentiment took some time to grow, and partly because the earlier years are much less fully documented than the later ones.
As with all narratives pieced together out of fragmentary records, care must be taken not to lay too much stress on merely negative evidence with regard to any particular point. The two chief sources of information are the Register of the Privy Council, which contains minutes of letters written to the City Corporation or the Justices of Middlesex and Surrey and of other action taken by the Council with regard to plays, and the City Remembrancia, a book containing copies of letters passing between the Corporation and the Council or other persons of importance. But neither record is continuous during the whole controversy, and although the two frequently help each other out, some of the gaps unfortunately synchronize. In particular there is a comparative absence of information upon the first part of the reign, since the Register only begins to help in 1573 and the Remembrancia in 1580. It is possible, therefore, that the Court and the City may have come to grips on the vexed question of stage-control in London somewhat earlier than is now apparent.
It is certain, indeed, that some negotiations had taken place between the two authorities before the period to which the documents mainly relate. These are appealed to in a City letter of 1574, and it is claimed that, in view of the objections of the Corporation, the Council had 'long since' refrained from pressing a proposal that some private person should be nominated to license playing-places within the City.
