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THE CONTROL OF THE STAGE

London itself or within or without any other town throughout the country. The licence was only subject to two provisions. One was that there should be no performance during common prayer or during plague times in London; the other that all plays should be seen and allowed by the Master of the Revels. As the Master of the Revels was an officer of the royal household, subordinate to the Lord Chamberlain, the action taken practically amounted to a transference of control, so far as this particular company was concerned, from the Corporation to the Court itself. Nothing specific was said in the patent about the allowing of playing-places as distinct from the allowing of plays, and it may have left the Corporation with some reasonable discretion on this point. It is not known that a similar licence was issued to any other Elizabethan company besides Leicester's men, although this could hardly be definitely asserted without a complete examination of the Patent Rolls for the reign. My own impression is that the issue of the patent served its purpose by bringing the Corporation to a more reasonable frame of mind, and that it was not found necessary to repeat the experiment, at any rate exactly in the same form. On 22 July the Council issued a passport to 'the comedie plaiers' to go to London, and also wrote to the Corporation requiring their admission and favourable usage. I feel little doubt that the company in question were the Italians who had been at Windsor and Reading during the progress. In any case it may be taken for granted from the events of the following winter that the Corporation were now beaten, and yielded. But it can only have been with reluctance. The enforced toleration of the Italian players, who seem to have brought with them some female acrobats, had added strength to the Puritan criticisms. Thomas Norton, the City Remembrancer, writing a preface to a summary of City customs for the use of the new Lord Mayor, James Hawes, and dwelling on the need for better regulations against the contagion of the plague, lays special stress on the danger of 'the unnecessarie and scarslie honeste resorts to plaies' and of such assemblies as those attracted by 'the unchaste, shamelesse and unnaturall tomblinge of the Italion weomen'. With a characteristic touch of Puritan logic he adds, 'To offend God and honestie, is not to cease a plague'. In fact, the increase of plague gave London a respite from plays during the winter. On 15 November the Privy Council wrote to the Justices of Middlesex, Essex, and Surrey to inhibit assemblies within ten miles of London until Easter; and the City hardly needed the stimulus of an 'admonition' from their lordships to