work himself and not by contract. He bought a mast, turned balusters, boards and laths, in part from the carpenter Grigges who is named in the agreement with Cholmley, and in part from a 'timber man' called Lee. He bought bolts, hinges, and nails from the ironmonger at the Fryingpan in Southwark and from one Brader. He bought lime, sand, chalk, and bricks. He paid wages to carpenters, workmen, and labourers, and employed painters and a thatcher. The exact nature and extent of the work are not specified, but it included the painting of the stage, the ceiling of 'my lords rome', and 'the rome ouer the tyerhowsse', and the 'makeinge the penthowsse shed at the tyeringe howsse doore'. It has sometimes been supposed that the Rose never got built in 1587, and that these are the accounts, or part of them, for the original construction. This seems to me most unlikely. The total expense, with the exception of a small number of items lost by the mutilation of a page, only amounted to about £108. This could not cover more than repairs. On the other hand, these were clearly substantial repairs, and the fact that they were needed suggests that the building cannot have been a very new one. The lapse of five years since 1587 would, however, be consistent with the necessity for them. Almost simultaneously with the earliest dated entries in the building account, begins on 19 February 1592 the record of performances by Lord Strange's men, which continues to the following 22 June. If these were at the Rose, the paint on the stage can hardly have been dry in time for them, unless, as Dr. Greg suggests, the payments made in March and April were for work done a little earlier. That it was at the Rose that Strange's men played seems indicated by the Privy Council order, reciting the restraint of this company 'from playinge at the Rose on the Banckside', which it is difficult to assign to any year but 1591 or 1592.[1] It is a little curious that nothing more is heard of John Cholmley, and I think the natural inference is that he was dead and that the partnership had thereby, in accordance with the terms of the agreement, been automatically dissolved.[2]
The assumption, in the absence of evidence to the contrary, that until he acquired a share in the Fortune Henslowe had no proprietary interest in any other theatre must explain the assignment to the Rose of all the playing recorded in the diary between 1592 and the autumn of 1600, with the exception of the few performances definitely stated to have been at
