Kirkman's editions (1672, 1673) of The Wits, or Sport upon Sport (originally published by Marsh, 1662) has been shown by Albright, 40, to have been erroneously regarded as a representation of the Red Bull, to which there is an incidental reference in the preface to Part II, and must be taken to show the type of stage on which the 'drolls' contained in the book were given 'when the publique Theatres were shut up'.
A Court interlude, with performers and spectators, might be supposed to be represented in (e) a woodcut prefixed to Wilson's Three Lords and Three Ladies of London (1590), but the subject is not that of the play, and the cut is shown by A. W. Pollard (English Miracle Plays, ed. 6, 1914) to be taken from S. Batman, The Travayled Pylgrime (1569), and ultimately from a fifteenth-century illustration to O. de la Marche's Chevalier Délibéré.
Of the exteriors of theatres there are (f) a small engraving of Theatrum in a compartment of the title-page of Jonson's Works (1616), which may be merely a bit of classical archaeology, but appears to have the characteristic Elizabethan hut, and (g) a series of representations, or perhaps only cartographical symbols, in the various maps detailed in the bibliographical note to ch. xvi. Doubtfully authentic is (h) a façade of the Blackfriars, reproduced by Baker, 78, from a print in the collection of Mr. Henry Gardiner, with a note (44) that the owner and various antiquarians 'believe it genuine'; and almost certainly misnamed (i) a façade engraved as a relic of the second Fortune in R. Wilkinson, Londina Illustrata (1819), ii. 141, and elsewhere, which is plausibly assigned by W. J. Lawrence, Restoration Stage Nurseries, in Archiv (1914), 301, to a post-Restoration training-school for young actors.
A small ground-plan (k) of the Swan appears upon a manor map of Paris Garden in 1627, reproduced by W. Rendle in Harrison, ii, App. I.
A rough engraving (l) on the title-page of Cornucopia, Pasquils Night-*cap (1612) shows a section of the orchestra of a classical play-house as seen from the stage, and throws no light on contemporary conditions; and (m) the design by Inigo Jones described in ch. vii is of uncertain date, and intended for the private Cockpit theatre at Whitehall.
I know of no representation of an English provincial stage, and unfortunately E. Mentzel, who describes (Gesch. der Schauspielkunst in Frankfurt am Main, 38) a woodcut of a play, with signboards, by English actors, probably at Frankfort, Nuremberg, or Cassel, in 1597, does not reproduce it. Some notion of the improvised stages used by travelling companies for out-of-door performances may be obtained from the continental engravings reproduced by Bapst, 153, by Rigal in Petit de Julleville, iii. 264, 296, and by M. B. Evans, An Early Type of Stage (M. P. ix. 421).
An engraving of the Restoration stage of the Theatre Royal, Drury Lane (built 1663), from Ariane, ou Le Mariage de Bacchus (1674), and another of the same house as altered in 1696, from Unhappy Kindness (1697), are reproduced by Lawrence, i. 169; ii. 140. Of the five engravings of the Duke's Theatre, Dorset Garden (built 1671), in E. Settle, Empress of Morocco (1673), one is reproduced by Albright, 47, and another by Lawrence, ii. 160, and Thorndike, 110.
Graphic attempts to reconstruct the plan and elevation of a typical Elizabethan stage will be found in the dissertations cited above of Brodmeier, Wegener, Archer, Godfrey, Albright, Corbin (1911, by G. Varian and J. Hambridge), and Forestier, and in the picture reproduced in W. N. Hills, The Shakespearian Stage (1919).
Various revivals have also been carried out on Elizabethan stages, with more or less of archaeological purism, notably in London (W. Poel, Shakespeare in the Theatre), Paris (Sh.-Jahrbuch, xxxv. 383), Harvard (G. P. Baker in Sh.-Jahrbuch, xli. 296), and Munich (Sh.-Jahrbuch, xlii. 327).]
