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Records ofEarfv~ English Drama

The biennial bibliography of books and articles on records of drama and minstrelsycontributed by Ian Lancashire (Erindale College, University of Toronto) beginsthis issue ; John Coldewey (University of Washington) discusses records of waits inNottinghamshire and what the activities of the waits there suggest to historians ofdrama ; David Mills (University of Liverpool) presents new information on the iden-tity of Edward Gregory, believed to be the scribe of the Huntington manuscript ofthe Chester cycle .

IAN LANCASHIRE

1982 :1

A newsletter published by University of Toronto Press inassociation with Erindale College, University of Torontoand Manchester University Press . JoAnna Dutka, editor

Annotated bibliography of printed records of early British drama andminstrelsy for 1980-81

This list, covering publications up to 1982 that concern documentary or materialrecords of performers and performance, is based on a wide search of recent books,periodicals, and record series publishing evidence of pre-18th-century British history,literature, and archaeology . Some remarkable achievements have appeared in theseyears. Let me mention seven, in the areas of material remains, civic and town records,household papers, and biography . Brian Hope-Taylor's long-awaited report on theexcavations at Yeavering, Northumberland, establishes the existence of a 7th-centurytheatre modelled on Roman structures . R.W. Ingram has turned out an edition of

the Coventry records for REED that discovers rich evidence from both original andantiquarian papers, more than we dared hope from a city so damaged by fire andwar. The Malone Society edition of the Norfolk and Suffolk records by DavidGalloway and John Wasson is an achievement of a different sort : the collection ofevidence from 41 towns has presented them unusual editorial problems, in the solv-ing of which both editors and General Editor Richard Proudfoot have earned ourgratitude . Muriel St Clare Byrne's life work, an edition of the Lisle letters, gives adetailed, loving picture of one Tudor noble household and its music and plays .David C . Price has in an admirable way surveyed twelve other households of Tudorgentry for their own musical and dramatic records and so provides a broad backdropagainst which to measure the Lisles' interests . Biographical research, finally, hasproduced two impressive reference works of special usefulness in this field : PeterBeal's index of literary manuscripts by author, and Stanley Sadie's revised editionof Grove's dictionary of music and musicians .

There are many other striking developments in these four areas. A brief overviewof a few will have to suffice here . Articles on a 14th-century (later a royal) Englishguitar (Mary Remnant and Richard Marks), the Christ Church cornetts (JulianDrake), pre-Norman Pan pipes at York, and two brasses at King's Lynn (H .K .Cameron) point out that our most neglected record source, material culture, cantell us much about early performance . Jane A . Bakere's survey of Cornish dramaticrecords and David Wiles' gazetteer of Robin Hood plays both effectively treat aspectsof theatre history that have, up to now, been difficult to see whole . Civic records'work, however, is still dominated by two cities, London and York . There have beenmajor reassessments of the history of three professional theatres in London : thelate Irwin Smith's book on the Theatre ; Richard Hosley and John Orrell have recon-structed the Fortune, Susan P . Cerasano has done a biographical history of it, andJerzy Limon has found a striking analogue in a theatre at Gdansk ; and John Orrellhas worked out a key to the structural measurements of the first Globe, while MaijaJansson Cole reports a new letter describing its destruction and Herbert Berry ana-lyses a lawsuit about the leasing of the second Globe from still other new records .Similar work has changed our understanding of the history of London's professionaltheatre companies . Karl Wentersdorf and David George have reinterpreted, withstrikingly different results, evidence for the composition and activities of Pembroke'sMen and the Queen's Men ; and important new evidence for earlier companies, from1426 to 1573, has been published by Anne Lancashire and R . Mark Benbow . TheLondon audience has also been examined, with some unusual results : Bing D . Bills,Margot Heinemann, and Richard L . Greaves show that the attitudes of puritans todrama are more complex than had been supposed ; and Reavley Gair's study of thesociety about the second Paul's theatre shows that dramatic records are not allnecessarily about players and performances . Research on York records has takentwo directions : one, as in work by Philip Butterworth and Peter Meredith, refinesREED York ; another, in studies by Joann Moran, Eileen White, and R .B. Dobson,finds new records in biographical sources . Research on household records has beendirected at particular households : John Orrell extracts payments from the accounts of

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the duke of Buckingham under James, and my edition of the earl of Northumberland'sceremonial for Twelfth Day and Night draws attention to one useful householdrecord that is not financial in nature . Biographical studies, finally, continue toflourish with S. Schoenbaum's two beautiful books on Shakespeare, lifes of HenryMedwall by Alan H . Nelson and M .E. Moeslein, and three articles on lesser figures(Wayne H. Phelps on Robert Daborne, Mark Eccles on William Wager, and EleanorSelfridge-Field on the Bassano family) .

It is gratifying to see that, in the second century of serious theatre-and-music-history research, scholars continue to discover primary sources of information, notonly in recognized bodies of material such as Chancery and Court of Requestspapers in the PRO, and printed literature (for example, Antimo Galli's description ofa Jonson masque), but in a wide variety of lesser-known resources, from archaeologicalfinds to kinds of record that I have not seen used before : quitclaims, brass rubbings,parliamentary diaries, and Old English glossaries .

I will no doubt have overlooked works that should have appeared below, for notall current materials were available for me to look through . (Such items as I couldnot examine are described as `Not seen' .) I am particularly grateful to colleagueswho sent me offprints or notices of their work, and to Dr Theodore De Welles (whohelped me locate some items), and would welcome learning of shortcomings in thislist . Unfortunately it has not been possible to include in it literary studies of play ormusic texts, or general research tools of considerable use to records' researchers . Myannotations are not intended to be evaluative : they abstract essential records infor-mation or argument, rather more fully for items with new evidence than for thoseanalyzing already-published records, and because I may at times appear to havemissed a point, or (worse) to have misstated one, I ask the indulgence of bothauthor and user .

1 Adams, Victor J . `When the Players Came to Poole' . The Dorset Year Book (1978),pp . 129-36 . [Town accounts record the visits of the players of the marquis ofDorset to perform in the church in 1551, and those of Lord Mountjoy and ofLeicester in 1570 (p. 129) .]

2 Airs, Malcolm R ., and John G . Rhodes . 'Wall-Paintings from a House in Upper HighStreet, Thame' . Oxoniensia, 45 (1980), 235-59 . [The upper chamber of a housebuilt c . 1550-75 has contemporary paintings showing a bass viol, a woman tuning alute, and two boys singing from an open score (pp . 239, 245-7, 254-6, and pl . ii) .]

3 Alexander, Robert J . `George Jolly [Joris Joliphus], der wandernde Player andManager : Neues zu seiner Tatigkeit in Deutschland (1648-1660)'. Kle ine Schriftender Gesellschaft fur Theatergeschichte, 29-30 (1978), 31-48 . [The Continentaltravels of a Caroline player .]

4 Alford, Violet . The Hobby Horse and OtherAnimal Masks . Prepared for publicationby Margaret Dean-Smith . London : Merlin Press, 1978 . [See Chapter 2, `The Hobby

ft %-

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Horses of Great Britain and Ireland', pp . 35-68, for the Salisbury Hob-Nob, themorris at Abingdon, William Kempe's morris, and the hobby horse at Perth ; cf . pp .xxix, 2, 22, 27, and the many literary allusions to this pastime .]

5 Alsop, James . `Nicholas Brigham (d . 1558), Scholar, Antiquary, and Crown Servant' .The Sixteenth Century Journal, 12 (1981), 49-67 . [His widow married WilliamHunnis of the Chapel Royal before 2 June 1559 (pp . 58, 61) .]

6 Alsop, J . D . 'A Moorish Playing Company in Elizabethan England' . Notes and Queries,225 (1980), 135. [The `Turk' who tumbled and rope-walked c . 1589-90 at Ipswich,Norwich, New Hall, Coventry, Bridgnorth, and Leicester was a Moor, BullockeBazia, licenced with his company by the Viceroy and Council of Algiers in a letterto Elizabeth to show her 'playe and pastime' .]

7 - ` Players at Stoke Mansion, 1528' . Theatre Notebook, 35 (1981), 87 . [Two messesof players were fed, 3 and 5 January 1528, at this Suffolk seat of Thomas Howard,duke of Norfolk .]

8 - `A Sunday Play performance at the Jacobean Court' . Notes and Queries, 224(1979), 427 . [Two payments in the accounts of Queen Anne's receiver-general : toSillis Worth, one of her players, 17 Dec . 1615 ; and to the King's players on 21 Dec .,both at Queen's Court .]

9 A Middle English Treatise on the Playing of Miracles . Ed . Clifford Davidson .Washington : University Press of America, 1981 . [A new edition of the Wycliffitetreatise against miracle plays, with introduction, notes, and commentary that discussreligious attitudes - Lollard and other - to scriptural drama .]

10 Anderson, J .J. 'The Durham Corpus Christi Play' . REEDN, 1981 :2, pp . 1-3 . [Abibliographical guide to guild play references 1403-1549, and a transcription of therelevant part of the weavers' (unpublished) ordinary of 5 August 1450 .]

11 - ` The Newcastle Dragon' . Medieval English Theatre, 3, no . 2 (Dec . 1981), 67-8 . [Acivic procession with a wood-and-canvas dragon, possibly worn by one man like ahobby horse, in April 1510 in Newcastle upon Tyne .]

12 - ' The Newcastle Pageant "Care" ' . Medieval English Theatre, 1, no. 2 (Dec . 1979),60-1 . [The slaters' and the fullers' and dyers' pageants for the Corpus Christi playwith vehicles, without wheels, drawn by bearers .]

13 Astington, John H . 'Inigo Jones and the Whitehall Cockpit' . In The ElizabethanTheatre VII, ed. G.R. Hibbard (Port Credit, Ont . : P.D. Meany for the University ofWaterloo, 1980), pp . 46-64 . [The Danckerts view (1674) reveals that the exterior ofthe Cockpit was then as it was in the 1530 s : in 1629-30 Jones did not erect anew remodelled structure or even alter the location of stage and tiring house but

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rather modified their size, redid the entrances, and refined interior space by meansof a permanent stage facade and a new ceiling .]

14 Ayres, Philip J . `Anthony Munday : "Our Best Plotter"?' English Language Notes,18 (1980), 13-15 . [Francis Meres' comment refers to Munday's anti-Catholic inform-ing and conspiracy, not to his contriving of dramatic plots .]

15 Bakere, Jane A . The Cornish Ordinalia : ACriticalStudy . (Cardiff : University of WalesPress, 1980). [A broad and detailed account of surviving Cornish dramatic recordsappears in Chapter II, `The Historical and Topographical Setting' (pp . 12-49) : St .Ives 1573-84 (plays, players, playing place), Stratton 1536-8 (Robin Hood), St .Columb Major 1585-95 (Robin Hood, morris dancing), St . Breock 1588-98 (RobinHood, a play of Suzanna, dancers), Lanherne 1466-7 (a household disguising),Camborne 1540-83 (plays), Bodmin (the 16th cent . : costumes), and various 'plain-an-gwarry' sites . The St . Breock and Camborne records are drawn from originaldocuments .]

16 Beadle, Richard . 'Entertainments at Hickling Priory, Norfolk, 1510-1520' . REEDN,1980:2, pp . 17-19. [Ten payments to visiting players, bearwards, minstrels, andwaits from accounts, of special interest for their mention of Christmas "ludi" bytowns such as Beccles, Norwich, Wymondham, and Northrepps .]

17 - and Peter Meredith . `Further External Evidence for Dating the York Register (BLAdditional MS 35290)' . Leeds Studies in English, NS 11 (1980), 51-8 . [Argues fromthe York play-text and dramatic records that both the `Purification' and 'Fergus'had been laid aside before 1477, and proposes a redating of two guild agreements inREED York by one year (nn . 4, 7) .]

18 Belfield, Jane. `Robert Armin, Citizen and Goldsmith of London' . Notes and Queries,225 (1980), 158-9 . [Additional information about this actor in the goldsmiths'company records of 1582, 1604, and 1608 .]

19 Benbow, R. Mark. 'Dutton and Goffe versus Broughton : a Disputed Contract forPlays in the 1570s' . REEDN, 1981 :2, pp . 3-9 . [A detailed Chancery bill of 1573 bythree players (then of the earl of Lincoln), Lawrence Dutton, John Dutton, andThomas Goffe, gentleman, against Rowland Broughton of London for failure tofulfil an agreement whereby Broughton (1) received £20 in advance for writing 18plays over two-and-a-half years to be acted by Lawrence Dutton's company (whichwould include boys) on Sundays and holidays, and (2) would receive one-sixth ofthe troupe's profits and bear one-sixth of its costs .]

20 Benson, Larry D . `The Tournament in the Romances of Chretien de Troyes &L Histoire de Guillaume Le Marechal' . In Chivalric Literature : Essays on Relationsbetween Literature & Life in the Later Middle Ages, ed . Larry D . Benson and John

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Leyerle (Toronto : University of Toronto Press, 1980), pp . 1-24 . [Some discussionof the early history of the tournament in England .]

21 Berry, Herbert. `The Globe, its Shareholders, and Sir Matthew Brend' . ShakespeareQuarterly, 32 (1981), 339-51 . [On the basis of 17 new documents (transcribed inan appendix), drawn mainly from the Court of Requests, a close reconstruction ismade of the successful lawsuit (c . 1633-7) of the Globe shareholders against SirMatthew Brend, who owned the playhouse property, to extend their lease on it fornine or ten years beyond 1635 .]

22 Bettey, J .H . Church & Community : The Parish Church in English Life . Bradford-on-Avon, Wilts . : Moonraker Press, 1979 . [Undocumented references to dancing,organs, wrestling, plays, minstrelsy, Robin Hood, May days, and other parish pas-times in many towns in England from 1451 to 1634 .]

23 Billington, Sandra . ` "Suffer Fools Gladly" : The Fool in Medieval England and thePlay Mankind' . In The Fool and the Trickster : Studies in Honour of Enid Welsford .Ed. Paul V.A. Williams . Cambridge, Eng . : D.S. Brewer ; and Totowa, N .J . : Rowmanand Littlefield, 1979, pp . 36-54, 125-33 . [Discusses evidence of fools and theircustoms at Lincoln and Beverley, and in literary texts by Thomas of Cobham,Chaucer, and others .]

24 Bills, Bing D . `The "Suppression Theory" and the English Corpus Christi Play : ARe-Examination' . Theatre Journal, 32 (1980), 157-68 . [Argues that economicfactors, and to a much less degree the rather late puritan opposition to drama gen-erally (but not a deliberate suppression by a reformed church and state), led to theend of the scriptural cycle play in England .]

25 Blackstone, Mary A. `Notes towards a Patrons Calendar' . REEDN, 1981 :1, pp . 1-11 .[A description of a proposed list of patrons, and an itinerary of their playing troupes(about 600 patrons from 16 major sources, several yet unpublished) ; and a discussionof the kinds of information that such a list and itinerary yield .]

26 Blezzard, Judith . `A New Source of Tudor Secular Music' . The Musical Times, 122,no. 1662 (August1981), 532-5 . [BL Add. MS 60577 includes a fragment headed`The copi of a letter written by Elis Heywod at Padua in Italie to John Haywod hisfather in London' (p . 533 ; the actual letter has been torn away) . The music, copiedc. 1560-80, is probably not by Heywood .]

27 Borne, Patricia, and Philip Dixon . `Halton Castle Reconsidered' .Archaeologia AEliana,5th ser., 6 (1978), 131-9 . [A room-by-room inventory of 1624 lists a pair of virgin-als in the great chamber of the upper floor (p . 132) .]

28 Bradbrook, M .C . John Webster, Citizen and Dramatist . New York : Columbia Uni-

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versity Press, 1980 . [A full study of Webster's London, life, and plays. Documen-tation of the external evidence is largely based on Mary Edmond's biographical re-search ; with a Webster family tree by her .]

29 Bray, Roger, `More Light on Early Tudor Pitch' . Early Music, 8 (1980), 3 5-42 . [Dis-cusses the chapel of the fifth earl of Northumberland, with details from plans andsketches of Wressle chapel and antechapel c . 1600 from the Petworth HouseArchives, 3538-47, West Sussex Record office .]

30 British Library Harleian Manuscript 433 . Volume One : Register of Grants for theReigns of Edward V and Richard III . Eds. Rosemary Horrox and P .W. Hammond .Richard III Society. Gloucester: Alan Sutton, 1979 . [Richard III's grant to JohnHache, trumpeter (p. 286) .]

31 Bussby, Fredrick . Winchester Cathedral 1079-1979 . Southampton : Paul Cave, 1979 .[Includes a list of organists 1402-1642, when the organs were thrown down (p . 339 ;cf, pp. 67, 108, 126, 130-1, 134) .]

32 Butterworth, Philip . `The York Mercers' Pageant Vehicle, 1433-1467 : Wheels,Steering, and Control' . Medieval English Theatre, 1, no. 2 (Dec . 1979), 72-81 .[Technological account of wheel-binding, and discussion of how soaping the wheels,applying iron pikes and great nails to the axle-tree, adding 'costers' to the pageant,and manipulating the waggon with a potting stang and two wooden rollers affectsour understanding of this structure .]

33 Calendar of the Bristol Apprentice Book 1532-1565 . Part 11 : 1542-1552 . Eds .Elizabeth Ralph and Nora M. Hardwick . Bristol Record Society, 33 . Gloucester :Alan Sutton, for the BRS, 1980. [References to minstrels of Montgomery, Wales(nos. 182, 1447 ; pp . 16, 119), Bristol (nos . 203, 408, 428, 503, 514, 748 ; pp . 17,35-6,42-3,62), Chippenham, Wilts . (no . 313, p . 26), Cork, Ireland (no . 530, p . 44),and Penkridge, Staffs . (no . 1253, p . 102) .]

34 Callender, Michael E . `The Organs of Cork Cathedral' . The Organ, 60 (1981),178-87 . [Cork Cathedral organ was completed 4 Nov . 1633 (p . 178) .]

35 Cameron, H .K. `The Fourteenth-Century Flemish Brasses at King's Lynn' .Archaeological Journal, 136 (1979), 151-72, and pls . 35-49. [Minstrels with instru-ments, as well as a dancer (?) and a man wrestling a bear, are depicted on the brassof Adam and Margaret Walsokne in 1349 (pp . 155-6, pl . 40c) . On the brass ofRobert Blaunche and his wives, 1364, are illustrations of angels playing musicalinstruments, and minstrels at a legendary peacock feast (pp . 158-60, 161-2, andpls. 49b, c) .]

36 Carson, Neil . `Production Finance at the Rose Theatre, 1596-98' . Theatre Research

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International, NS 4 (1979), 172-83, and four tables . [Argues that the Admiral'sMen financed their productions responsibly out of largely independent funds andborrowed from Henslowe only in emergencies, and proposes a new method of re-constructing a schedule of play-productions by collating weekly income figures andthe evidence of licences, inventories, and prompt book lists .]

37 Cerasano, Susan P . `Dissertation Digest' . The Shakespeare Newsletter, no. 172 (Dec .1981), 35 . [Her 'Alleyn's Fortune : The Biography of a Playhouse, 1600-21' (Uni .of Michigan, 1981), drawing on unpublished records, includes discussions of PeterStreet (head carpenter of the Fortune), the theatre site and local community,Edward Alleyn, the acting companies, and the theatre's troubles with Middlesexauthorities and the Privy Council .]

38 Chan, Mary . `John Hilton's Manuscript British Library Add . MS 11608' . Music &Letters, 60 (1979), 440-9 . [A lease of a house 1626-9 locates this song-writer inWestminster before he was appointed clerk and organist at St . Margaret's, West-minster, 1628 .]

39 -Music in the Theatre of Ben Jonson . Oxford: Clarendon Press, 1980. [A study oftexts more than of records of performance .]

40 Chancellor, John . The Life and Times of Edward I . Intro . by Antonia Fraser.London: Weidenfeld and Nicolson, 1981 . [References to tournaments and youngEdward 11's liking for `play-acting' (pp . 113, 208) ; two manuscript illustrations ofdancers from a late 13th-cent . English bible (pp . 208-9) .]

41 Chillington, Carol A . `Playwrights at Work : Henslowe's, Not Shakespeare's, Book ofSir Thomas More' . English Literary Renaissance, 10 (1980), 439-79 . [Draws onHenslowe's diary for information about multiple-author playwriting, and on inter-nal evidence in More, to argue that Hand D is Webster's, that More was intended forWorcester's Men at the Rose, and that Henslowe's entry of 14 Jan . 1603 for anunnamed Heywood-Chettle collaboration refers to this project .]

42 Christopher Tye : II Masses . Ed. Paul Doe. Early English Church Music, 24 . London :Stainer and Bell, 1980 . [Tye, probably grandfather of Samuel Rowley, organist atEly in 1559, and a gentleman of the chapel of Edward Vi c. 1553 : a brief biography(pp . ix-x) .]

43 Clanchy, M .T . From Memory to Written Record : England 1066-1307 . London :Edward Arnold, 1979 . [Draws attention to the certificate of Miles, earl of Hereford,regarding his trusted jester and man, Folebarba, c . 1143 (p . 67) ; and to WalterMap's scornful reference to the `trifling of mummers [mimorum] in vulgar rhymes'(late 12th cent . ; p . 157) .]

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44 Cole, Maija Jansson . 'A New Account of the Burning of the Globe' . ShakespeareQuarterly, 32 (1981), 352 . [A newly-discovered letter by a London merchant,Henry Bluett, that identifies Henry VIII as All is True, performed only two or threetimes before, and adds circumstantial detail about the fire and the audience .]

45 Collinson, Patrick . 'Cranbrook and the Fletchers : Popular and Unpopular Religionin the Kentish Weald'. In Reformation Principle and Practice : Essays in Honour ofArthur Geoffrey Dickens . Ed. Peter Newman Brooks . London : Scolar Press, 1980,pp . 171-202 . [Presentments against minstrels in the court of the archdeacon ofCanterbury, 1575-1606, involving the towns of Ashford, Cranbrook, Molash, andWarden in Sheppey .]

46 Cosman, Madeleine Pelner . Medieval Holidays and Festivals: A Calendar of Cele-brations . New York : Charles Scribner's Sons, 1981 . [Twelve holidays : TwelfthNight, St. Valentine's day, Easter, All Fool's day, May day, Midsummer Eve, St .Swithin's day, Lammas, Michaelmas, Halloween, St . Catherine's day, and Christmas(a practical book, with chapters on recipes, bannermaking, etc . ; no documentation) .]

47 Cotton, Nancy . Women Playwrights in England c . 1363-1750 . Lewisburg : BucknellUniversity Press, 1980. [Up to 1642, these are Katherine of Sutton, abbess of Barking(c . 1363-76), Lady Jane Lumley (c . 1550), Elizabeth I (c. 1561), Mary SidneyHerbert, countess of Pembroke (c . 1590-2), Elizabeth Cary, viscountess Falkland(c. 1602-5), and Queen Henrietta Maria (c . 1626-35 ; pp. 15, 27-40) .]

48 Coventry . Ed. R.W. Ingram. Records of Early English Drama . Toronto and Buffalo :University of Toronto Press, 1981 . [Excerpts from 60 MSS and 14 printed books ofprimarily civic, cathedral, and guild records of drama, music, and public ceremonial1392-1642, chronologically ordered (448 pp . of text) . Documents include the cityleet books, chamberlains' accounts, council, receipt, and payments-out books,rentals, and quitclaims ; many civic annals ; St . Mary's cathedral inventory and St .Mary's Priory Pittancer's roll ; records of the butchers, cappers, cardmakers andsaddlers, carpenters, drapers, dyers, mercers, shearmen and tailors, smiths, tanners,tilers, weavers, and Corpus Christi guilds ; and miscellaneous personal papers . Someof these survive the great destruction of city records only as a result of antiquariancompilations and collections by Thomas Sharp, J .O. Halliwell-Phillipps, WilliamReader, Thomas Daffern, and Charles Nowell . These records treat of such subjectsas the ten-play Corpus Christi cycle ; the Corpus Christi procession ; saints plays ofSt. Katherine and St . Christian ; the Hock Tuesday play ; plays called `The Destruc-tion of Jerusalem' and `The History of Edward iv'; the Midsummer Watch ; FairFriday; St . Peter's Eve ; royal and noble visits ; a Priory interlude ; a comedy andtragedy by the grammar school scholars ; the song school ; civic waits ; the St . George'sday procession ; travelling bearwards, dancers, musicians, players, trumpeters, andwaits sponsored by 159 persons or towns ; musical instruments ; and various otherentertainers and entertainments . An introduction discusses the civic drama, music,

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and ceremonial, Coventry's antiquarians, the documents, and editorial procedures .There are 10 appendixes, two of which concern the Berkeleys and Caludon Castle,and the Troughton drawings (six of these appear on pp . 519-24) . The volume con-cludes with translations, endnotes, Latin and English glossaries, and a general index .]

49 Crawford, Anne. `The King's Burden? - the Consequences of Royal Marriage inFifteenth-century England' . In Patronage, the Crown and the Provinces in LaterMedieval England . Ed. Ralph A . Griffiths . Gloucester: Alan Sutton ; AtlanticHighlands : Humanities Press, 1981, pp . 33-56. [Household expenses of Margaret ofAnjou 1444-5 include the upkeep of a lion (p . 38) .]

50 Croft-Murray, Edward . `The Wind-Band in England, 1540-1840' . In The BritishMuseum Yearbook 4 : Music and Civilization . Ed. T .C . Mitchell . London : BritishMuseum Publications, 1980, pp . 135-79 . [A survey of illustrations, several of whichpredate the Restoration : the Great Tournament Roll of Westminster (1511) ; pano-ramic records of state funerals c . 1593-1603 ; and what is probably Hans Holbein'sdepiction of five wind-players in a balcony, c . 1532-45, made during one of hisvisits to London and the court of Henry Viii (see especially pp . 135-6, 148, and pl .100) .]

51 D[avidson] ., C[lifford] . `More Musical Instruments' . The EDAM Newsletter, 2, no . 1(Nov. 1979), 13 . [An Addendum to York Art : illustrations of fidels, horns, and amandora . ]

52 -'Supplement to Drama and Art' . The EDAM Newsletter, 4, no . 2 (March 1982),25-50. [Includes a `Supplementary Bibliography' (pp . 45-9) that also deals withmusic and musical iconography .]

53 Davison, Nigel . 'So Which Way Round Did They Go? The Palm Sunday Processionat Salisbury' .Music and Letters, 61 (1980), 1-14. [A mapping of the earlier route ofof the Use of Sarum, and of a later one of the 14th century ; with a description ofthe ritual at the four stations, such as the ceremony of the boy prophet (introducedonly in the printed processionals of 1508, 1517, and 1555) ; with note of a possibledifferent route at St . Paul's Cathedral (p . 8) .]

54 Dobson, E.J ., and F . Il . Harrison, Medieval English Songs . London and Boston :Faber and Faber in association with Faber Music, 1979 . [A 'joculator', harperWilliam Hennynges, owned a collection of songs made in Winchester College forsinging and dancing at its Christmas feasts (pp . 22-7, 62-3) ; no royal minstrels areassociated with any written sacred music (p . 59) ; and early uses of the organ and'cithara' at Winchester, Malmesbury, Canterbury, and Abingdon (pp. 78-82) .]

55 Drake, Julian . 'The Christ Church Cornetts, and the Ivory Cornett in the RoyalCollege of Music, London' . The Galpin Society Journal, 34 (1981),44-50, and pl . IV .

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[The extant Christ Church cornetts, purchased for the visit of James I to Oxford in1605, are analysed and photographed (pl . IVa) .]

56 Durkan, J ., and R .V. Pringle. `St Andrews Additions to Durkan & Ross : SomeUnrecorded Scottish Pre-Reformation Ownership Inscriptions in St Andrews Uni-versity Library' . The Bibliotheck, 9 (1978-9), 13-20 . [John Vaus, Aberdeenhumanist, owned a Terence printed at Paris c . 1505 (item 22) .]

57 Dutka, JoAnna. Music in the English Mystery Plays . Early Drama, Art, and MusicReference Series 2 . Kalamazoo, Mich . : Medieval Institute Publications, WesternMichigan University, 1980 . [Study and indexes based in part on records of singers,minstrels, and musicians contributing to drama at Chester, Coventry, Norwich,Beverley, Lincoln, and York ; an index of musical instruments in cycles and accounts,with commentary (pp . 82-93) ; six plates with manuscript illustrations of musicians ;and a bibliography .]

58 Dyer, Alan . `Northampton in 1524'. Northamptonshire Past & Present, 6, no .2 (1979),73-80 . [One minstrel was assessed for the subsidy of 1525 (p . 79) .]

59 Eccles, Mark . `William Wager and his Plays' . English Language Notes, 18 (1981),258-62 . [Includes new biographical information : Wager's birth about 1537, hisgeneral privilege to preach in London in 1579, certain benefices and commissions,the lives of his children, and his personal testimony in a Chancery suit in early 1579 .]

60 Edmond, Mary. `Limners and Picturemakers' . The Forty-Seventh Volume of theWalpole Society 1978-1980 (Pitman Press, for the Walpole Society, 1980), pp . 60-242. [A wide-ranging survey of unprinted London guild records, state papers, parishregisters, and wills turns up incidental information on James Harding, musician toElizabeth (pp . 76-7) ; Mark Anthony Galliardello, Tudor court musician (pp . 77-8) ;Samuel Cooper, lutenist (p . 98) ; John Oker, organist at Wells (pp . 116-17) ; Johnand Robert Dowland (p . 125) ; Henry Martin, serjeant-trumpeter to James (p. 125) ;Ingram Frizer (Marlowe's murderer in 1593), paid as a digger and carter of earth atEltham in 1625-6 (p . 168) ; and John De Critz and Maximilian Colt, who worked todecorate the new Cockpit Theatre in 1629-30 and thereafter (pp . 173-4, 176) .]

61 English, Barbara . The Lords of Holderness 1086-1260 : A Study in Feudal Society .Oxford: Oxford University Press, for the University of Hull, 1979 . [Tournaments atYork in 1142 and at Brackley, Northants ., in 1219 (pp . 4, 21, 41) .]

62 Epistolae Academicae 1508-1596 . Ed. W .T. Mitchell . Oxford Historical Society NS26. Oxford : Clarendon Press, for the OHS, 1980 (for 1977-8). [Bequest of 1522 fornew organs at St . Mary's church (pp . 162-3) .]

63 Evans, John T . Seventeenth-Century Norwich : Politics, Religion, and Government,

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1620-1690. Oxford: Clarendon Press, 1979 . [Several references to musician freemenand to the cathedral organ (pp . 20-1, 128) .]

64 Fisher, John, intro . A Collection of Early Maps of London 1533-1667 . LympneCastle, Kent : Harry Margary, in association with the Guildhall Library, London,1981 . [For the sites of the bear and bull baiting rings, and the public theatres, seethese facsimiles of the Copperplate map, c . 1553-9 ; Braun and Hogenberg's map,1572 ; the Agas map, c . 1562 ; Faithorne and Newcourt's map, 1658 ; Hollar's `GreatMap of London', c . 1658; and Leake's survey of the post-fire city, 1667 .

65 Foister, Susan. `Paintings and Other Works of Art in Sixteenth-century EnglishInventories' . The Burlington Magazine, 123, no. 938 (May 1981), 273-82 . [Theterm `pageant', used in four wills 1487-1533, denotes a type of small painted hang-ing (p . 274 ; not in OED).]

66 Francis, Richard . `The Ludlow Parish Church Organ' . The Musical Times, 122, no .1660 (June 1981), 409-10 . [A brief history, 1549-1650 .]

67 Fuggles, John . `William Laud and the Library of St John's College, Oxford' . TheBook Collector, 30 (1981), 19-38 . [Disposal of duplicate college books in 1612, in-cluding an Aristophanes ; declaimed poems at the entertainment of Charles 130August 1636 ; and Laud's donation of a Euripides to the library c . 1630-40 (pp . 22,31-2, 36) .]

68 Gair, Reavley . `The Conditions of Appointment for Masters of Choristers at Paul's(1553-1613)' . Notes and Queries, 225 (1980), 116-24. [Texts and commentary onthe documents of appointment of Sebastian Westcott (1553-82), Thomas Gyles(1584-1600), and Edward Pierce (1599-1612), the developing allowances and re-strictions of which give a running assessment of the performance of these masters .]

69 - `Second Paul's : Its Theatre and Personnel : Its Later Repertoire and Audience(1602-6)' . In The Elizabethan Theatre VII . Ed. G .R. Hibbard . Port Credit, Ont . :P .D. Meany for the University of Waterloo, 1980, pp . 21-45. [The visitation bookof Bishop Bancroft, St . Paul's dean and chapter registers, and parish registers of St .Martin's and St. Gregory's fill out the lives and characters of the masters of the cho-risters, and the cardinals, as well as the nature of the new audience, local house-holders and businessmen (rather than members of the Inns of Court) interested indramatic plots of sensational London low life .]

70 Galloway, David. `Records of Early English Drama in the Provinces and What TheyMay Tell Us about the Elizabethan Theatre' . In The Elizabethan Theatre VII . Ed .G.R. Hibbard . Port Credit, Ont . : P.D . Meany for the University of Waterloo, 1980,pp. 82-110. [Discusses the need for continued records' research in provincial

12

archives, and of evidence for provincial theatres at Bristol, York, Great Yarmouth,and Norwich, notably at its White Horse in 1624 (p . 96) and its Red Lion inn in1583 (an appendix has a fresh transcript of the `Affray at Norwich' as described incourt depositions ; pp. 97-8, 103-10) .

71 Gaskell, Philip . `Books Bought by Whitgift's Pupils in the 1570s' . Transactions ofthe Cambridge Bibliographical Society, 7, pt . 3 (1979), 284-93 . [Includes fourcopies of Sophocles' works in Greek, purchased by pupils of John Whitgift, masterof Trinity College (p. 289) .]

72 George, David . `Another Elizabethan Stage : Further Comment' . Theatre Notebook,25 (1981), 10-12 . [A reconsideration of the `blocking diagram' for Shakespeare's 2Henry IV in the light of Alfred Emmet's criticism .]

73 - ` Shakespeare and Pembroke's Men' .Shakespeare Quarterly, 32 (1981), 305-23 . [Areconstruction of the personnel of Pembroke's company, and a family tree of themajor London acting companies c . 1592-4 (based on recently-published recordsand play studies), suggest that Shakespeare began as an actor with the Queen's Menand then joined Strange's Men as a non-touring member writing plays .]

74 Gibson, Gail McMurray . `Bury St . Edmunds, Lydgate, and the N-Town Cycle' .Speculum, 56 (1981), 56-90 . [Argues for auspices of the N-town plays at Bury,and surveys published evidence for its Corpus Christi interlude and pageants 1389-1558 (pp . 60-1), monastic holdings of Terence and Plautus there and at St . Alban's(p. 63), Sir Robert Cooke's playbooks in 1537 (p . 64), St . Mary's church organplayer (p . 70), and the Boy Bishop of the St . Nicholas Guild (pp . 77-8) ; togetherwith evidence for games at Long Melford, Suffolk, in 1555 (pp . 79-80), and forLydgate's dramatic activities (pp . 82-4) .]

75 Gifford, D. J . `Iconographical Notes towards a Definition of the Medieval Fool' . InThe Fool and the Trickster: Studies in Honour of Enid Welsford . Ed. Paul V. A .Williams . Cambridge : D .S . Brewer ; Totowa, N.J . : Rowman and Littlefield, 1979,pp. 18-35, 121-5 . [Discusses portraits of trickster fools within the historicatedinitial `D' beginning Psalm 14 in various manuscripts (including the Great Bible ofRichard ii, and other English examples) .]

76 Gleason, John B . `The Dutch Humanist Origins of the De Witt Drawing of the SwanTheatre' . Shakespeare Quarterly, 32 (1981), 324-38 . [De Witt's drawing employsthe convention of `simultaneous representation' and in other ways imitates thecopperplate engraving of the Colosseum at Rome in Lipsius' De Amphitheatro(another vertical half-section, with labelled parts, of a nearly empty theatre with aperformance in progress) .]

77 The Great White Book of Bristol . Ed . Elizabeth Ralph . Bristol Record Society 32 .

0.

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Kendal : Titus Wilson, for the BRS, 1979. [A Star Chamber suit of 1518 betweenthe sheriffs of Bristol and the mayor and aldermen, over the proper proportion ofexpenses for which each was responsible, lists, among the sheriffs' annual charges,costs of minstrels, the four waits (as at St . George's tide), the midsummer watch,wrestling at St . Lawrence tide and St . James tide (once in the Marsh), and the bear-wards (pp. 73-5, 77-8, 83-7) .]

78 Goldstein, Leba M . `The Life and Death of John Lambe' . Guildhall Studies inLondon History, 4, pt . i (Oct.1979), 19-32 . [A black magician jailed in the King'sBench prison in 1608, where he possessed a pair of virginals (p . 20) ; and murderedon Friday, 13 June 1628, by an angry crowd who followed him after he was recog-nized at a performance in the Fortune Theatre (pp . 25-6) .]

79 Gray, Arthur and Frederick Brittain . A History of Jesus College Cambridge . New re-vised edn . London : Heinemann, 1979 . [Reviews the evidence for plays 1561-1622(pp . 68-9), organs and organists 1514-1643 (when it was buried in the master'sorchard ; pp. 23, 31, 54-6, 76, 79), and musicians in 1615 (p . 61) .]

80 Greaves, Richard L . `The Origins of English Sabbatarian Thought' . The SixteenthCentury Journal, 12 (1981), 19-34 . [As demonstrated by Elizabethans includingJohn Rogers, Thomas White, John Stockwood, Anthony Gilby, Christopher Shutte,John Walsall, Gervase Babington, and Lawrence Vaux (generally condemning plays,dancing, baitings, minstrelsy, and games) .]

81 -Society and Religion in Elizabethan England . Minneapolis : University of MinnesotaPress, 1981 . [See especially `Social Entertainment and Recreation', pp . 431-69,which examines the views of laity and clergy to plays and other pastimes in manytowns (from both published and unpublished materials) .]

82 Green, Richard Firth . `A Joust in Honour of the Queen of May, 1441' . Notes andQueries, 225 (1980), 386-9 . [Text of a challenge for a joust at Kennington (a letterby the Queen of May, read by April, her officer of arms) .]

83 Green, Vivian . The Commonwealth of Lincoln College 1427-1977 . Oxford : OxfordUniversity Press, 1979 . [A play recorded in Shrove Sunday week 1513 (p . 107) ; thevisit of the parish St . Nicholas Clerk or Bishop and his clerks 1487-1530 (p . 110) ; achapel organ, early 16th century (p . 24) ; a pair of clavicords, 1533 (p . 62) ; musicians1583 (p . 107) ; visiting trumpeters 1592-3 (p . 151) ; John Atherton, hanged atDublin for bestiality c . 1640, who confessed that `frequenting of plays' was one ofthe things that led him astray (pp . 163-4) ; William Davenant (p . 162) ; and themusic club of William Ellis (p . 233) .]

84 Hale, Paul R. `Music and Musicians' . In New College Oxford 13 79-1979. Eds. JohnBuxton and Penry Williams . Oxford : the Warden and Fellows of New College, 1979,

14

pp. 267-92 . [Discusses chapel organs, organ-makers, and organists from 1449 (pp .267-9) .]

85 Hanawalt, Barbara A. Crime and Conflict in English Communities 1300-1348 .Cambridge, Mass ., and London : Harvard University Press, 1979 . [PRO Coroners'Rolls show that one Thomas Tolly stole a lute and a litany from the house of AleynSyger of Hoo (p. 73) .1

86 Harris, John, and A .A. Tait . Catalogue of the Drawings by Inigo Jones, John Webband Isaac De Caus at Worcester College Oxford . Oxford: Clarendon Press, 1979 .[These include Jones' Cockpit Theatre, Whitehall (pp . 11-12 ; pl . 5) ; his Phoenix (orCockpit) Theatre in Drury Lane (pp . 14-15 ; pls. 11-12) ; and his design for an uniden-tified theatre, probably at Somerset House (p . 17) .]

87 Harvey, John H . [A review of William Tydeman's The Theatre in the Middle Ages(1978)] . The Antiquaries Journal, 59 (1979), 468-9 . [Easterford players visitingStoke-by-Nayland in 1482 (Household Books of John Duke of Norfolk, ed. Collier[1844]) are from Kelvedon, Essex ; and the 'stytelerys' in the stage diagram of TheCastle of Perseverance are possibly 'scytelerys', that is, `settlers' or `seated spectatorson settles' .]

88 Harwood, Ian . 'A Case of Double Standards? Instrumental Pitch in England c 1600' .Early Music, 9 (1981), 470-81 . [Pictures of surviving bass, tenor, and treble viols1598-c. 1636 (pp . 472-3), and of a bandora of 1580, possibly a gift of Elizabeth i(p. 480) .]

89 Haselock . J ., and D .E. O'Connor . `The Medieval Stained Glass of Durham Cathedral' .In Medieval Art and Architecture at Durham Cathedral . British ArchaeologicalAssociation Conference Transactions 3 . Eds. Nicola Coldstream and Peter Draper .Leeds: W . S . Maney and Son for BAS, 1980 for 1977, pp . 105-29 . [Includes 15th-cent . (?) fragment of harping angel, and 14th-cent . portative organ (pp . 117, 121,and pl . xvnib) .]

90 Hayward, L.C. and Leslie Brooks . Bygone Yeovil . Yeovil Archaeological and LocalHistory Society, 1980 . [Not seen . Describes church processions from churchwardens'accounts .]

91 Heinemann, Margot . Puritanism and Theatre: Thomas Middleton and OppositionDrama under the Early Stuarts . Past and Present Publications. Cambridge : CambridgeUniversity Press, 1980. [Chapter 2, `Puritanism, Censorship and Oppo-sition to the Theatre', pp . 18-47, surveys opinions by puritans such as LancelotAndrewes, Robert Anton, and Richard Brathwaite (pp . 28, 34, 35) . Chapter 13,`From Popular Drama to Leveller Style : a Postscript', pp . 237-57, discusses actorssuch as Richard Overton and John Harris . Appendix A, 'Middleton's Parliamentary

15

c

Puritan Patrons', pp . 258-83, mentions Sir Thomas Myddleton's accounts at ChirkCastle in 1613 (fiddlers at Christmas ; p . 261) and explores the attitudes of preacherslike Samuel Hieron and Thomas Adams to playing (pp . 274-5, 280-1) .]

92 Helm, Alex. The English Mummers' Play . With a foreword by N . Peacock and E .C .Cawte. The Folklore Society, Mistletoe Series, 14 . Woodbridge, Suff . : D .S . Brewer ;and Totowa, N.J . : Rowman and Littlefield, for the Folklore Society, 1981 . [Theearliest reference here is to a manuscript description, c . 1685, of an `ancientpastime' of St . George, St . Dennis, St . Patrick, the Turk, Oliver Cromwell, a Doctor,an old woman, Beelzebub, and a little devil (at Cork, probably performed after1658; p . 7) .]

93 Hicks, M .A. False, Fleeting, Perjur'd Clarence : George, Duke of Clarence, 1449-78 .Gloucester : Alan Sutton, 1980 . [Minstrels of the earl of Warwick, Richard Neville,and of the duke of Gloucester (Richard Plantagenet), were together at Stratford,Warws., in 1464-5 (pp . 26, 228 n. 44) ; and Clarence sponsored trumpeters, mimes,and a bearward (p . 198) .]

94 Hollowell, Ida Masters . `Was Widsid a Scop' . Neophilologus, 64 (1980), 583-91 .[Suggests that he was a 'wodbora', a prophetic seer, and that 'scops' might have beenneighbourhood or even monastic singers .]

95 Hope-Taylor, Brian . Yeavering: An Anglo-British Centre of Early Northumbria .Department of the Environment Archaeological Reports, No . 7 . London : HMSO,1977 (issued 1979) . [Bede's Ad Gefrin, a villa regis of the Northumbrian kings,included a nine-tiered structure (originally six-tiered), `akin to a grandstand', con-centric arcs facing a small platform or dais . This form is `not that of an amphitheatre,but of a theatre . The whole is focused on a stage, not an arena : a minute but a veri-table stage, which is given appropriate setting by a carefully contrived arrangementof screens, otherwise functionless (save perhaps as windbreaks or sounding boards)behind it and to either side' (p . 242) . The theatre is of `the Romano-Celtic type'(p. 242), with a life c . 605-16 to c . 640, when it was peacefully demolished, andwas probably used for political assembly and promulgation (p . 279) in the reign ofEdwin . See figs . 12, 55-7, 63, 75-8, 109 ; pls . 90-104 (excavation), 108 (recon-struction model) ; and pp . 119-22, 154, 158-9, 168-9, 241-4, 279-80, 316-19) .]

96 Horrox, Rosemary. `Urban Patronage and Patrons in the Fifteenth Century' . InPatronage, the Crown and the Provinces in Later Medieval England . Ed. Ralph A.Griffiths . Gloucester : Alan Sutton ; Atlantic Highlands, N.J . : Humanities Press,1981, pp . 145-66 . [Royal and noblemen's minstrels toured towns seeking rewardsin 'a recognised circuit' (p . 149 ; cf . pp. 156, 164 n . 75) .]

97 Hosley, Richard . `The Ground Plan of the Swan Playhouse' . The Shakespeare News-letter, 29 (1979), 20. [Abstract of a paper at the Shakespeare Association of

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America meeting, April 1979 .]

98 - `A Reconstruction of the Fortune Playhouse : Part ii ; In The Elizabethan Theatrevu . Ed . G .R. Hibbard. Port Credit, Ont. : P .D . Meany for the University of Waterloo,1980, pp . 1-20. [Drawing on answers to some `basic questions' discussed in part I,Hosley reconstructs staircases, galleries, seating and sightlines, stage, tiring-house,and stage superstructure, and these are illustrated in seven figures (by Dale Frens) :the playhouse elevation, showing staircases ; plans of the three storeys ; sections ofthe playhouse, taken through tiring-house and side galleries ; and a plan of the play-house frame at the rear of the stage .]

99 Hoy, Cyrus . Introductions, Notes, and Commentaries to Texts in `The DramaticWorks of Thomas Dekker' Edited by Fredson Bowers . 2 vols. Cambridge : CambridgeUniversity Press, 1980 . [The first two volumes of a set of four, with stage historiesof twelve plays, among them Dekker's part of The Magnificent Entertainment wel-coming James at his entry into London for his coronation .]

100 Hughes, Andrew . Medieval Manuscripts for Mass and Office : A Guide to their Or-ganization and Terminology . Toronto: University of Toronto Press, 1981 . [Seeespecially `Lent and Easter Week', pp . 245-71 ; and the General Index, under `boybishop', `dialogues', `music', and `processions' .]

101 - Medieval Music : The Sixth Liberal Art . Rev. edn. Toronto Medieval Bibliographies4 . Toronto : University of Toronto Press, 1980 . [Additional preface (p . xiii), supple-ment to the bibliography (pp . 270-94), and index to that supplement (pp . 355-60) .]

102 Index of British Literary Manuscripts . Volume 1 1450-1625 . 2 pts. Comp . PeterBeal. London : Mansell ; New York : R.R. Bowker, 1980 . [Organized alphabeticallyby author, the introductions to which sometimes have notes on the whereabouts ofletters, depositions, and other biographical materials . For dramatists, see FrancisBacon, John Bale, Francis Beaumont, Francis Beaumont and John Fletcher, WilliamBrowne, Robert Burton, Thomas Campion, George Chapman, Samuel Daniel, SirJohn Davies, Thomas Dekker, John Fletcher, Phineas Fletcher, John Ford, JohnFoxe, George Gascoigne, Robert Greene, Fulke Greville, John Heywood, ThomasHeywood, Ben Jonson, Thomas Kyd, John Leland, Sir David Lindsay, ThomasLodge, John Lyly, Christopher Marlowe, John Marston, Philip Massinger, ThomasMiddleton, Thomas Nashe, George Peele, Thomas Sackville, William Shakespeare,Sir Philip Sidney, John Skelton, Cyril Tourneur, Nicholas Udall, and John Webster .]

103 Ingram, Reg. `The Coventry Pageant Waggon' . Medieval English Theatre, 2, no. 1(July 1980), 3-14 . [Analyses, from re-edited and newly-discovered civic records,the waggon under the headings `Dimensions', `In and Out' (of the pageant house),`Roofed', `Number of Wheels', `Manhandled' (and horsedrawn), `Curtained',`Special Machinery', `Extra Pageants/Stages', `Maximum Number of Actors', `Special

0

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Decorations', `Processional Floats', and `Route' .]

104 Janssen, Carole A . `The Waytes of Norwich and an Early Lord Mayor's Show' .Research Opportunities in Renaissance Drama, 22 (1979), 57-64 . [Records andtext of the Lord Mayor's show of Truth, the daughter of Time, written by school-master John Buck (whose interlude of 1559 is also mentioned) for the city waitsand performed on a scaffold stage at St . Peter Hungate .]

105 John Coprario : Fantasia-Suites . Ed . Richard Charteris . Musica Britannica : ANational Collection of Music, XLVI . London : Stainer and Bell, 1980 . [For a life ofthis composer-court musician (c . 1575-1626), see pp . xv-xvii; and pl . 1, p . xxiv, is afacsimile of Coprario's letter to a Mr. Billet 1 June 1607 .]

106 Johnston, A.F . `Errata in York' . REEDN, 1980 :1 pp . 35-8 . [In particular, consi-dering variant readings in Meg Twycross' study of the station lists (REEDN, 1978 :2,pp. 10-33) .1

107 - ` Parish Entertainments in Berkshire' . In Pathways to Medieval Peasants . Ed. J .A .Raftis . Papers in Mediaeval Studies, 2 . Toronto : Pontifical Institute of MediaevalStudies, 1981, pp . 335-8 . [Records of Robin Hood and Maid Marion, morris dancing,fools and vices, Mays, and the king play in Bray, Thatcham, Wantage, Stanford-in-the-Vale, Reading, and Wallingford in the 16th and 17th centuries ; and of visitingtown players at Reading 1382-1428 .]

108 Josephson, David S . John Taverner, Tudor Composer . Studies in Musicology, 5 .Ann Arbor, Mich . : University Microfilms international, 1975, 1979 . [A biographybased on a search of unpublished materials, with incidental details about the musicallife of London, the court, Boston, Oxford, and Tattershall . The Tattershall accountsrefer to purchase of a setting (for church office) termed `versus prophete' (1498-9)for the Palm Sunday procession (p . 21 ; p . 219 n. 51), and to the college organists .

109 Kahrl, Stanley J . `What We Do Not Find in Chambers' . Southern Theatre, 22 (1979),11-16 . [In his Mediaeval Stage (1903), E.K. Chambers' `monolithic system', his`theory of a single norm of production', is at odds with regional variation in medie-val performance methods ; he used published records, often extracts out of context ;and he paid little attention to travelling players .]

110 Kastan, David Scott . `The Death of William Baldwin' . Notes and Queries, 226 (1981),516-17 . [The playwright? an anti-papist preacher of this name died in 1563 .]

111 Kelliher, Hilton . `A Hitherto Unrecognized Cavalier Dramatist : James Compton,Third Earl of Northampton' . British Library Journal, 6 (1980), 158-87 . [Includes asummary of the dramatic activities of the father and grandfather of this Common-wealth playwright (pp . 159, 161) .]

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o %,

112 King, T .J . 'The Superstructure of Shakespeare's Second Globe Playhouse and theHerbert House, York : An Architectural Analogue'. The Shakespeare Newsletter, 29(1979), 20 . [Abstract of a paper at the Shakespeare Association of America meeting,April 1979 .]

113 Kinsman, Robert S . John Skelton, Early Tudor Laureate : An Annotated Bibliog-raphy c. 1488-1977. Boston, Mass .: G.K. Hall, 1979 . [Known historical records ofand literary references to the author of Magnificence, entered by year from 1490 to1529 (pp . 1-15) .1

114 Knight, Frida . Cambridge Music from the Middle Ages to Modern Times . Cambridgeand New York : Oleander Press, 1980 . [A survey of local texts and records, mainlyfrom published sources (for the beginnings to 1660, see pp . 1-40) .]

115 Kolin, Philip C . 'A Bibliography of Scholarship on Henry Medwall' . ResearchOpportunities in Renaissance Drama, 22 (1979), 65-72 . [105 entries .]

116 Koster, John . 'The Importance of the Early English Harpsichord' . The GalpinSociety Journal, 33 (1980), 45-7 3 . [Analysis and figures of two surviving Englishinstruments, one made by Lodewijk Theeuwes in London in 1579, and one madeby John Hasard there in 1622 .]

117 Lamb, Margaret. 'Antony and Cleopatra' on the English Stage . Rutherford, Madison,Teaneck : Fairleigh Dickinson University Press, 1980 . [See 'The Text and the King'sMen', pp . 23-34, for early performance history .]

118 Lancashire, Anne . 'Players for the London Cutlers' Company' . REEDN, 1981 :2, pp .10-11 . [A company tradition, 1442-98, of players (a 'play' in the final year) at theguild's annual Christmas cony feast (from largely unpublished records) .]

119 -'Plays for the London Blacksmiths' Company ' . REEDN, 1981 :1, pp. 12-14. [Acompany tradition, 1426-1555, of an annual (then biennial) play at the guild'scony feast on the Monday a week after Twelfth Day (from unpublished sources) .]

120 Lancashire, Ian . 'Annotated Bibliography of Printed Records of Early British Dramaand Minstrelsy for 1978-9' . REEDN, 1980 :1, pp. 1-34 . [257 items .]

121 - 'The Corpus Christi Play of Tamworth' . Notes and Queries, 224 (1979), 508-12 .[Star Chamber depositions show that in a (Doomsday?) play performed on CorpusChristi day, 15 June 1536, possibly in the churchyard, an actor playing a chain-bearing devil struck Sir Humfrey Ferrers, lord of Tamworth Castle, across theshins; and a will by a Statfold man in 1539 bequeathes money and a velvet jacketto Tamworth's Corpus Christi play wardens, who may have been associated withthe town's St . George guild.]

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122 -'Orders for Twelfth Day and Night circa 1515 in the Second NorthumberlandHousehold Book' . English Literary Renaissance, 10 (1980), 6-45, and pl . betweenpp. 32-3 . [An edition of the fourteenth ordinance in a ceremonial manuscript : theproper ordering of the hall of Henry Algernon Percy, fifth earl of Northumberland,on Twelfth Day, probably at Wressle, as well as the ceremony, banquets, and enter-tainments there on Twelfth Night, including a play 'as an entirlude A comody ortrigidy', a disguising and dance accompanied by minstrels, a pageant 'towr or thing'devised for morris dancers, and additional music by minstrels, trumpeters, and theearl's chapel . An introduction and commentary cite unpublished dramatic and mu-sical evidence in household accounts of Percy and Henry VII, fabricated evidence byJohn Payne Collier, and a reference to plays in the ceremonial for the weddingsupper of an earl's daughter . An appendix gives the text of Henry VII's TwelfthNight ceremonial . (Errata : read 'Eng . Hist . b . 208' [p .6 ; pl . between pp. 32-31,`1491 to 1544' [p .7], `Van Fossen' [p . 8 n . 3], `Bulletin ofthelnstitute' [p . 8 n . 4],'Mediaeval' [p . 8 n. 51, `players or "histrionibus" ' [p . 111, `the king's juggler'

[p. 15], `to be couerid' [p . 26,1. 53], 'Rastall' [p . 34, n . to 11 . 213-14], and `the (i>r'[p. 43,1. 4311 .)]

123 Lawless, Donald S . 'On Shakespeare's Death, Funeral, and Burial' . Notes and Queries,225 (1980), 176-7 . [Applying the known funeral and burial practices at St .Saviour's, Southwark, in 1613, to the unknown ones at Stratford three years later .]

124 Lehrman, Walter D ., Dolores J. Sarafinski, and Elizabeth Savage, SSJ. The Plays ofBen Jonson : A Reference Guide . Boston, Mass . : G.K. Hall, 1980 . [See `Influenceand Allusions' (items 737-817), 'Jonson and Shakespeare' (items 818-62), 'Theatri-cal History' (items 1001-21), and `The War of the Theatres' (items 1022-42) .]

125 Levin, Richard A . `Shakespeare's Bastard Son' . Notes and Queries, 225 (1980), 177-9 . [Argues that Aubrey's story of Shakespeare's begetting of Sir William D'Avenantalludes tellingly to King John .]

126 Limon, Jerzy . `New Evidence for the Activity of English Players in the Netherlandsin the Second Quarter of the Seventeenth Century' . English Studies [Lisse], 62(1981), 115-19 . [Two new documents, recording a troupe of English comediansvisiting Gdansk in 1636, and another unidentified English troupe visiting there in1649 : both discussed in the context of other Continental and Gdansk records ofEnglish actors .]

127 - `Pictorial Evidence for a Possible Replica of the London Fortune Theatre inGdansk' . Shakespeare Survey, 32 (1979), 189-99, pls . IIA-B . [A square woodenstructure, with several galleries surrounding an open inner yard, illustrated in anengraving of the exterior c . 1664-87, described briefly in 1646, documented from1600, built c . 1600-12, and used by various English players (some of themassociated with the London Fortune), the visits of whom from 1587 to 1612 are

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described in order . See also his `An Early Seventeenty-Century Public Playhouse inGdarisk Reminiscent of London's Fortune Theatre', The Shakespeare Newsletter,29 (1979), 20. (Abstract of a paper at the Shakespeare Association of Americameeting, April 1979 .) .]

128 The Lisle Letters . Ed . Muriel St. Clare Byrne . 6 vols. Chicago and London : Univer-sity of Chicago Press, 1981 . [John Husee, the Lisles' London agent, writes LadyLisle 5 Oct. 1538 about players' garments he has rented and an interlude called'Rex Diabole', the text (?) costing above 20s ., `new ecclesiastical matters' ; and byApril 1539, when he is returning the garments, Husee has to pay damages becausethey have been sea-wet (V, 237-8, 428, 437) . Husee writes Lord Lisle 22 June 1539about the cancellation of the London Midsummer night watch (V, 542) . Lisle'spossessions, inventoried at his jailing in 1540, include a set of twelve masquinggowns and vizards (VI, 157, 201) and a pair of organs in the chapel and vestry (Vi,194) . There are many references to gift monkeys and marmosets (I, 503 ; Ii, 316-17,532 ; III, 548), to music lessons for Lisle's daughter on the lute, virginals, and regals(III, 157, 164, 205 ; cf . IV, 264), to dancing lessons for his son (IV, 470, 473-4 ; 486,517), and to payments to his minstrels or players at Southampton and Tiverton(I, 163) . Another letter of 1583 mentions that Thomas Richards, with his harp andstringed instrument, has been recommended to Sir Philip Sidney, who expects himat Salisbury (Vi, 285) .]

129 Loades, D.M . The Reign of Mary Tudor : Politics, Government, and Religion in Eng-land, 1553-1558 . London : Ernest Benn, 1979 . [Princess Mary's fool Jane andtumbler Lucrece (pp . 25, 35 n . 67 ; cf. pp . 443-4, 455-6 nn . 76-81) .]

130 The London Theatre Guide. 1576-1642 . Ed. Christopher Edwards. FoxtonRoyston, Herts .: Burlington Press, 1979 . [Not seen . A survey of 34 playhouses,with 44 illustrations .]

131 Lyall, R . J . `The Linlithgow interlude of 1540' . In Actes du 2e Colloque de Langueet de Litterature ecossaises (Moyen Age et Renaissance) . Univ. de Strasbourg 5-11juillet 1978 . Eds. Jean-Jacques Blanchot and Claude Graf . Strasbourg : Univ. deStrasbourg, 1978, pp. 409-21 . [Not seen. What is taken to be the first version ofSir David Lindsay's Satire of the Three Estates . Cited from 1979 MLA InternationalBibliography, no. 4003 .]

132 Lyons, David B . Lute, Vihuela, Guitar to 1800 : A Bibliography . Detroit Studies inMusic Bibliography, no . 40 . Detroit : Information Coordinators, 1978 . [Coversthese instruments as well as the cittern and the theorbo, surveys known composersand performers, and has a special section on `Lute History/England' (pp . 112-15) .]

133 McFarlane, I .D . Buchanan . London : Duckworth, 1981 . [An intellectual biographyof George Buchanan, Scottish humanist and Latin playwright, with four plays and

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t.

a dialogue written at Bordeaux (pp. 90-1, 94, 117-21, 190-205, 379-92), andmasques for Mary, Queen of Scots, and James Vi (pp . 231, 233-4) .]

134 McGee, C. E . `A Reception for Queen Elizabeth in Greenwich' . REEDN, 1980:2,pp . 1-8 ; [An edition, with commentary, of the unprinted part of Goodwill (60 11 .)for a show with music at the turret at the entrance to Greenwich Park (in the early1580s): Goodwill, played by one of the Chapel children, wears a (fully described)allegorical costume .]

135 - and John C . Meagher. `Preliminary Checklist of Tudor and Stuart Entertainments :1588-1603' [i .e . 1558-1603] . Research Opportunities in Renaissance Drama, 24(1981), 51-155 . [154 texts, or records of performances whose texts have not sur-vived, of masques, tilts, manor house shows, royal entries, Lord Mayor's shows,martial sports, banquet shows, fireworks, dialogues, debates, Twelfth Night revels,devices of war, musters, and a civic show, for each of which the compilers listmanuscript and printed sources .]

136 MacLean, Sally-Beth . Chester Art : A Subject List of Extant and Lost Art IncludingItems Relevant to Early Drama . Early Drama, Art and Music Reference Series, 3 .Kalamazoo, Mich . : Medieval Institute Publications, Western Michigan University,1982 . [See pp . 68-70, a section on 'Entertainments', with wood carvings or roofbosses of green man masks (four, c . 1380-1538), a tumbler (c . 1380), wild men(seven, c . 1380 ; fig . 38), and wrestlers (c . 1380 ; fig . 39) ; and Appendix ii, `MusicalInstruments in Surviving Chester Art', pp . 86-9, for wood carvings or stone carvingsof citoles, harps, lutes, serpent, shawms, transverse flute, drum, organs, and singers(figs. 1-2, pls . i-ii, and `Index', s .v . `instruments, musical') .]

137 McPherson, David . `Roman Comedy in Renaissance Education : The Moral Question' .The Sixteenth Century Journal, 12 (1981), 19-30 . [Attitudes to Plautus andTerence in educators such as Roger Ascham, Alexander Nowell, Richard Bernard,John Brinsley, John Rainolds, Thomas Elyot, Laurence Humphrey, and Juan LuisV Ives . ]

138 Mactaggart, Peter and Ann . `The Rich Wearing Apparel of Richard, 3rd Earl ofDorset' . Costume, 14 (1980), 41-55 . [An inventory of 1617-19 of the clothing ofRichard Sackville includes a pair of his yellow, silver-embroidered masquingstockings, two banners and two pairs of cordalls for the trumpets, and the trum-peter's coat (items 69, 81-2, 93, 95 ; pp . 51, 53 ; fig . 3) .]

139 Manning, Roger B . `The Origins of the Doctrine of Sedition' . Albion, 12 (1980),99-12 1 . [A serious libel could be committed by `impersonating an important per-sonage in a play' or by means of rhymes or songs (p . 118, cited from WilliamHudson's treatise on the Court of Star Chamber .]

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1 %_V .

140 Marcus, Leah Sinanoglou . `The Occasion of Ben Jonson's Pleasure Reconciled toVirtue'. Studies in English Literature, 1500-1900, 19 (1979), 271-93 . [James'progress through Scotland and Lancashire in 1618, where he met with puritanresentment at lawful pastimes and at excesses such as the morris dancing JohnBarwick describes as taking place outside a Lancashire church during the king's visitthere (pp . 276-7) .]

141 Marder, Louis . `132 Year Mystery Solved : Ashbourne Portrait Now Proved to beLord Mayor' . The Shakespeare Newsletter, 160 (Nov. 1979), 33-4 . [A portrait ofHugh Hammersley, Lord Mayor of London in 1627, overpainted to look likeShakespeare .]

142 Marshall, John . `The Chester Pageant Carriage - How Right was Rogers?' MedievalEnglish Theatre, 1, no. 2 (Dec . 1979), 49-55 . [Records of the smiths, the shoe-makers, and the coopers suggest that he `was not seriously wrong' about a four-or-six-wheel waggon with two rooms, one lower and one upper .]

143 - `The Medieval English Stage : A Graffito of a Hell-mouth Scaffold?' Theatre Note-book, 24 (1980), 99-103, pl . 8 . [A 15th-century drawing on a clunch pier of thechurch of St. Peter, Stetchworth, Cambs ., previously described as a `cat drawn with-in a square' .]

144 Meredith, Peter . `John Clerke's Hand in the York Register' . Leeds Studies in English,NS 12 (1981 for 1980-1), 245-71 . [The scrivener responsible for the York play-text1542-67 : his annotations and additions, none of which suggests censorship orofficial revision for ecclesiastical authorities, may in part arise from what he heardduring performances .]

145 -'The Ordo Paginarum and the Development of the York Tilemakers' Pageant' .Leeds Studies in English, NS 11 (1980), 59-73 . [The Ordo (1415) has an entry forthe pageant of Christ's condemnation, the combined responsibility of several craftsincluding the tilemakers, that is made over an erased entry and must be dated c .1422-36, after the second list (1417-22), as a calendar history of that pageant from1415 to 1563 (relying on and in some details emending REED York shows .]

146 - and John Marshall . `The Wheeled Dragon in the Luttrell Psalter' . Medieval EnglishTheatre, 2, no . 2 (Dec . 1980), 70-3 . [An East Anglian manuscript illustration c .1340, suggested to represent a pageant dragon such as the one in Brueghel's pictureof a St. George play .]

147 Meserole, Harrison T., and John B . Smith . `Shakespeare : Annotated World Bibliog-raphy for 1979' . Shakespeare Quarterly, 31 (1980), 468-659 . [See `Biography andMilieu', pp. 488-90 (items 95-126), `Shakespeare and his Stage', pp . 497-9 (items260-96), and `Productions, Stage History', pp . 499-510 (items 297-538) .]

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148 - `Shakespeare : Annotated World Bibliography for 1980' . Shakespeare Quarterly,32 (1981), 420-684 . [See `Biography and Milieu', pp . 444-6 (items 168-205),`Shakespeare and his Stage', pp . 454-6 (items 374-415), and `Productions, StageHistory', pp. 457-72 (items 416-735) .]

149 Moisl, Hermann . 'A Sixth-century Reference to the British bardd' . Bulletin of theBoard of Celtic Studies, 29 (1981), 269-73 . [Venantius Fortunatus, in a poem com-posed at Metz in 566, refers generally to the British 'crotta', a stringed musical in-strument (the Welsh 'crwth'), as singing, and associates it with the poetry of a'barbarus', a Frankish court poet .]

150 Montagu, Jeremy . `A Carved Wooden Figure at Haddon Hall' . The Galpin SocietyJournal, 33 (1980), 128-9 . [Two carved wooden figures, over two feet tall, Englishwork of the first half of the 15th century : one plays a rebec-like instrument ; theother a shawm, with staple .]

151 Moran, Joann H. Education and Learning in the City of York 1300-1560 . BorthwickPapers no . 55 . [St . Anthony's Press] 1979 . [Some dramatic records in REED York(pp. 30, 32-4), York Minster account rolls of `performers' hired to help celebratethe feasts of St . William and Pentecost, c . 1371-1430 (p . 33), and early expensesfor the organist and organ repairs at St . Michael's church (p . 46 n . 80) .]

152 Myers, A.R. `The Book of the Disguisings for the Coming of the Ambassadors ofFlanders, December 1508' . Bulletin of the Institute of Historical Research, 54(1981), 120-9. [An edition of a previously unprinted financial account mentioninga tree, a castle, and a mount, painted (transported and stored) pageants, costumes(some with crowns), and other stuff for disguisings organized by Henry Wentworthfor the marriage by proxy of Princess Mary and Charles, Prince of Castile .]

153 Nathaniel Giles : Anthems . Ed. J . Bunker Clark. Early English Church Music 23 .London : Stainer and Bell, 1979 . [With a biographical summary (pp . ix-xi) .]

154 Nelson, Alan H . `Life Records of Henry Medwall, M. A ., Notary Public and Play-wright; and John Medwall, Legal Administrator and Summoner' . Leeds Studiesin English, NS 11 (1980), 111-55 . [Brief documentary biographies, prefixed totranscriptions or summaries of the relevant parts of forty documents (with biblio-graphical notes, translations, and commentary) : many unpublished before, notablydozens of references to Henry Medwall in King's College Cambridge muniments1480-95 (items 7.a-c, 8 .a) . Many published records have also not been noticedpreviously .]

155 Nelson, Malcolm A . ' "See An Account By Sir G . Esterling, 1598" ' . ShakespeareQuarterly, 31 (1980), 95-6 . [The source of Richard Clark's note (1824) thatShakespeare's daughter, accompanying herself on the virginals, sang for him his ownsetting of Marlowe's `Come live with me' .]

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a,

156 The New Grove Dictionary of Music and Musicians . Ed. Stanley Sadie . New edn. 20

vols. London: Macmillan, 1980 . [Replacing the fifth edition (1954) as the standardreference work, and covering, with updated bibliography, all important figures andsubjects in British music up to 1642 .1

157 Newton, Stella Mary . Fashion in the Age of the Black Prince: A Study of the Years1340-1365. Woodbridge, Suff . : Boydell Press ; Totowa, N . J . : Rowman and Littlefield,1980. [See especially Chapters VI, `Tournaments and Orders of Chivalry', pp . 41-52,and IX, `Actors, Minstrels and Fools', pp . 76-85 . Visers, tunics, and other thingswere supplied for `the king's play' at Windsor in 1361 (pp . 77, 122 n . 18) . Courtminstrels appearing in the Christmas and Pentecost 1360 wardrobe accounts arenamed often after their instruments (Lambkyn Taborer, Petro Clarion, NicholasFidler, John Sitoler, and Arnold Pyper), and the 1363-4 accounts mention about20 minstrels as receiving Christmas liveries (pp . 67-8, 77) .]

158 Non-Cycle Plays and the Winchester Dialogues : Facsimiles of Plays and Fragmentsin Various Manuscripts and the Dialogues in Winchester College MS 33 . Intro . andtranscr. Norman Davis . Leeds Texts and Monographs, Medieval Drama Facsimiles V .The University of Leeds : School of English, 1979 . [Facsimiles of all texts in Davis'EETS edn ., SS 1 (1970), except for the Shrewsbury fragments (reserved for a latervolume) ; with additional facsimiles of the Interludium de Clerico et Puella, RobinHood and the Sheriff of Nottingham, and the Winchester interludes . Davis arguesthat a performance of the Robin Hood fragment cannot have been sponsored (asW.W. Greg suggests) by Sir John Paston, or acted in by his horse-keeper Woode (pp .75-6) .]

159 Opland, Jeff, Anglo-Saxon Oral Poetry : A Study of the Traditions . New Haven andLondon : Yale University Press, 1980 . [Surveys literary, historical, and ecclesiasticalsources for evidence of travelling entertainers, minstrelsy, and playing from the 7thto the 12th centuries in England (pp. 102-88) ; and describes, in Chapter 9, `TheWords For Poets and Poetry', pp . 230-56, the rich information that can be derivedfrom glosses for Anglo-Saxon and Latin words such as 'scop', 'comicus', 'tragicus',`mimus', and 'gleoman', some of which suggest theatrical entertainments or illustratethe use of music to accompany poems (although Opland argues that the 'scop' andthe harper are quite different entertainers) .]

160 Orme, Nicholas. `An Early-Tudor Oxford Schoolbook' . Renaissance Quarterly, 34(1981), 11-39 . [Written c . 1512-14 or 1522-7 at Magdalen College School, Oxford,the second entry says that `it is tyme to leue owre plays, sportes and meryconseittes' that have taken place in the Christmas holidays (entry 2, p . 22 ; cf . entry51, p. 30) ; and other entries allude to Hock Monday women capturing men, and todancing (pp . 26, 32) .]

161 -'Two Tudor Schoolmaster-Musicians' . Somerset & Dorset Notes & Queries, 31, pt .

V '-

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.

311 (March 1980), 19-26 . [Richard Bramston, master of the choristers at Wells(1507-9, c . 1512-31) and organist (1507-9) ; and Pancras Grout, organist of AllHallows, Sherborne (1524-7) .]

162 Orrell, John . 'Antimo Galli's Description of The Masque of Beauty'. HuntingtonLibrary Quarterly, 43 (1979), 13-23 . [A long poem of 124 stanzas, printed inLondon in 1609 in a book dedicated to Elizabeth Talbot-Grey, and previously un-known to Jonson scholars, lists spectators at this masque, describes its effects inperformance, and suggests that Jonson's symbolism was at times liable to audiencemisinterpretation .]

163 -'Buckingham's Patronage of the Dramatic Arts : the Crowe Accounts' . REEDN,1980 :2, pp . 8-17 . [Text and commentary for records (1621-7) of expenses incurredby the household of George Villiers, duke of Buckingham, for plays, masques,musicians, dancers, dancing masters, and fools at Burley-on-the-Hill, York House(London), New Hall, Royston, Newmarket, Oxford, Whitehall, and places inFrance, and also of interest for the light they shed on figures like Balthazar Gerbier(Buckingham's Inigo Jones) and B . de Montagut (deviser of Buckingham's masquedances) .]

164 - ` Peter Street at the Fortune and the Globe' . Shakespeare Survey, 33 (1980), 139-51 . [Using line, statute rod, and carpenter's square, surveyor Street is shown tohave built the square Fortune Theatre frame and courtyard by the medieval adquadratum method, and its stage by the ad triangulum method. From contemporaryillustrations of the polygonal Globe, Street appears to have reconstructed it fromthe Theatre by using the non-Vitruvian ad quadratum method as well, with differ-ent dimensions from the Fortune : frame width 100 feet, yard width 69 feet, stagewidth 49 feet 6 inches, and gallery depth 15 feet 6 inches . See also Orrell's `On theConstruction of Elizabethan Theatres', The Shakespeare Newsletter, 29 (1979), 20 .(Abstract of a paper at the Shakespeare Association of America meeting, April 1979 .)]

165 Osborn, Marijane . `Reote and Ridend as Musical Terms in Beowulf : Another Kindof Harp?' Neophilologus, 62 (1978), 442-6 . [Beowulf 2457 refers to a musicalinstrument, the 'rota', a stringed instrument with soundbox that might be termed a'harp-zither', and to its strumming sound .]

166 Page, Christopher . `The 15th-century Lute : New and Neglected Sources' . EarlyMusic, 9 (1981), 11-21 ; [English instructions for tuning a lute, c . 1493-1509 ;George Cely's accounts for lessons at Calais 1474-5 ; and musical instruments listedin 14 English wills, from Bristol, York, London, Oxford, and Somerset, 1404-94,including harps, organs, lutes, hornpipe, cithera, and clavichord .]

167 Palliser, D .M. `A Crisis in English Towns? The Case of York, 1460-1640' . NorthernHistory, 14 (1978), 108-25 . [Notes the history of civic plays, and of entertainments

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for the gentry like races and cockfighting, as it relates to the city's deep recessionup to 1558, and to its recovery beginning in the 1560s (pp . 117, 120) .]

168 - Tudor York . Oxford Historical Monographs . Oxford : Oxford University Press,1979. [Comments on civic cockfighting from 1568 (p . 20) ; and on dramatic andminstrel evidence (pp . 63, 75, 80, 87, 105, 155, 172, 232, 239, 242, 246-7, 269,280 (for which see REED York) .]

169 Palmer, Susann, and Samuel Palmer . The Hurdy-Gurdy . Foreword by FrancisBaines. Newton Abbot, London, North Pomfret : David and Charles, 1980 . [Asurvey of literary allusions to and material depictions of, in manuscript illustrations,paintings, stained glass, and carvings, the symphony, from the 12th century .]

170 Park, Katharine, and Lorraine J . Daston . `Unnatural Conceptions : the Study ofMonsters in Sixteenth-and Seventeenth-Century France and England' . Past andPresent, 92 (August 1981), 20-54 . [Such as the tour of Lazarus Coloredo and hisparasitic twin John Baptista from London to Norwich and Aberdeen in 1638-42(pp . 20-2) .]

171 Parsons, Robert D . `Thomas Kyd's Letters' . Notes and Queries, 225 (1980), 140-1 .[An unsigned letter previously held to be in Kyd's hand is not .]

172 Pattenden, Philip . `Robert Hegge, an Oxford Antiquary' . Oxoniensia, 45 (1980),284-99 . [The Greek phrase used by Hegge in his note of ownership of the N-townmanuscript probably means `not possession but a loan' (p . 297 and n . 61) .]

173 Peck, Linda Levy . `The Earl of Northampton, Merchant Grievances and the AddledParliament of 1614' . The Historical journal, 24 (1981), 533-52 . [In his maidenspeech in 1604 Northampton compared the Lower House of Parliament, theCommons, to 'a theatre' (pp . 551-2) .]

174 Pendry, E.D . `2 . Shakespeare's Life, Times and Stage' . Shakespeare Survey, 32(1979), 227-37 . [Part of `The Year's Contributions to Shakespearian Study', pp .211-47, this reviews some current work on theatre history and Shakespeare's biog-raphy .]

175 Phelps, Wayne H. `The Date of Ben Jonson's Death' . Notes and Queries, 225 (1980),146-9 . [Not 6 August 1637, as commonly held today, but about ten days later,according to contemporary accounts .]

176 -'The Early Life of Robert Daborne' . Philological Quarterly, 59 (1980-1), 1-10 .[Biographical information 1598-1612, principally from wills and three Chancerysuits that pitted the playwright against his mother and his wife's family and thathelp explain his later need for loans and advances from Philip Henslowe and add to

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our knowledge of Jacobean theatrical entrepreneurs Philip Rosseter and PhilipKingman .]

177 -'The Second Night of Davenant's "Salmacida Spolia" ' . Notes and Queries, 224(1979), 512-14 . [Four of William Hawkins' letters to Robert Sidney, earl ofLeicester, allude to the masque's rehearsals and to its sparsely-attended repeatperformance on Shrove Tuesday, 18 February 1640 .]

178 - `Sir Henry Helmes, Prince of Purpoole' . Notes and Queries, 225 (1980), 135-7 . [Abiography of the leader of Gray's Inn Christmas revels 1594-5 .]

179 -'Two Notes on Thomas May' . Notes and Queries, 224 (1979), 412-15 . [Infor-mation about the playwright's birthdate, letters of administration issued after hisdeath, intestate, in 1650, and his brother George .]

180 Phythian-Adams, Charles . Desolation of a City : Coventry and the Urban Crisis ofthe Late Middle Ages . Past and Present Publications . Cambridge : Cambridge Univer-sity Press, 1979 . [Includes discussion of many dramatic and minstrel records (forwhich now see REED Coventry) ; see also summer dancing on Whitley Common (p .79), and table 38, statistics mentioning musicians .]

181 - ` Urban Decay in Late Medieval England' . In Towns in Societies : Essays in Eco-nomic History and Historical Sociology . Eds. Philip Adams and E .A. Wrigley .Cambridge : Cambridge University Press, 1978, pp . 159-85 . [About 1520-70, a se-rious demographic collapse and reduced ability by towns to pay for plays, entertain-ments, and ceremonies (as at Bristol, Leicester, Salisbury, Norwich, and Coventry)occurred that were factors that made the country house, not the town, the `basicunit of the English Renaissance' .]

182 The Plays of Henry Medwall . Ed. Alan H . Nelson . Cambridge and Woodbridge, Suff . :D .S. Brewer ; and Totowa, N .J . : Rowman and Littlefield, 1980 . [See `HenryMedwall : A Summary Biography', pp . 3-14, and `Appendix : Medwall Life Records',pp. 163-9 (an abbreviated listing of the 40 entries in Nelson's article in Leeds SE,for which see above), for a wholly revised account of the playwright's life . Figs . 1-3(pp. 10, 12) reproduce examples of Medwall's notarial handwriting .]

183 The Plays of Henry Medwall : A Critical Edition . Ed. M . E . Moeslein . New York andLondon : Garland, 1981 . [See `Life of Medwall', pp . 11-29, and an appendix of`Life Records' (19 items, 1474-1501), drawing attention to Medwall's earlierpossible nomination to Eton in 1473 (from now-lost election rolls ; p . 11) .]

184 Poole, Eric. `The Ancestors of Mary Arden' . The Shakespeare Newsletter, 171 (Sept .-Nov . 1981), 30 . [Research in progress on members of the Arden family and parties to a1501 property transfer to Shakespeare's maternal grandfather and great-grandfather .]

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185 - ` John and Mary Shakespeare and the Aston Cantlow Mortgage' . CahiersElisabethains, 17 (April 1980), 21-41 . [A legal historian's examination of already-printed documents in lawsuits by Shakespeare's parents in 1588 and 1597 againsttheir nephew John Lambert .]

186 Price, David C . Patrons and Musicians of the English Renaissance . Cambridge Studiesin Music. Cambridge : Cambridge University Press, 1981 . [A thorough study of secu-lar musical patronage c . 1550-1630, centering on private music-making in thehouseholds of the Kytsons of Hengrave, the Petres of Ingatestone, the Bacons andCornwallises of Suffolk, the Pastons of Norfolk, the Talbots of Welbeck, theCavendishes of Chatsworth and Hardwick, the Seymours (earls of Hertford) ofWulfhall, the Thynnes of Longleat, the Manners of Belvoir, the Berties of Eresby,and the Willoughbys of Wollaton . Records of musicians and minstrel troupes, withnew evidence of dramatic activity, are derived from a survey of over 165 manuscriptsets of household and churchwardens' accounts, inventories, royal household papers,diaries, and miscellaneous documents (see the select list of manuscript sources, pp .226-3 1) . Price argues that the professional musicians cast out by the Reformationchurch found new employment in the private household .]

187 Proceedings in the Parliament of Elizabeth !. Volume t : 1558-1581 . Ed. T .E. Hartley .Leicester: Leicester University Press ; Wilmington, Delaware : Michael Glazier, 1981 .[Sir Nicholas Bacon's opening speech to Parliament 2 April 1571 says that the queenhas, in defence of economy, turned 'chardgeable, glitteringe, glorious triumphesinto delectable pastimes and shewes' (p . 186) . In 1572 Mary, queen of Scots, isaccused of displaying the arms of England on the clothes of judges at jousts and on`ripper' clothes at triumphs (pp . 270, 319) . Several diaries of Commons debates,20-30 May 1572, record members disagreeing with the inclusion of minstrels inthe bill against vagabonds : Mr . Thomas Norton said 'Mynstrolls by the bill appointedroges though they goe not aboute, "which I would have reformed" ' (p . 367) ; anddespite much argument (names of those supporting and opposing the measure aregiven), the bill remained unchanged (pp . 312-13, 384) . A bill restricting importingof wire except for virginals and 'clevicolls' was rejected in 1576 (p. 483) . See alsopp . 14, 31, 66, 99 .1

188 Records of Early English Drama . Handbook for Editors . Comps . A.F. Johnston andS .B. MacLean, with contributions from M . Blackstone and C . Louis. Toronto : REED,1980 . [A book of basic information for REED editors, with sections on principlesof selection, transcription rules, bibliography, dating, subject indexing, etc .]

189 Records of Plays and Players in Norfolk and Suffolk 1330-1642 . Ed . DavidGalloway (Great Yarmouth and Wymondham) and John Wasson . The MaloneSociety Collections, Volume XI . Ed . G.R. Proudfoot. Oxford: Oxford UniversityPress for the MS, 1980/1 . [An edition of records from 41 towns, excluding Norwich,hosting performances by travelling entertainers belonging to 177 patrons and 53

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towns, with introduction, map, and appendixes (three lists of players' companies bypatrons and places of origin) : 205 pp . of text. The Norfolk towns are Denton (pro-cessions 1513-38), East Dereham (Corpus Christi celebration 1491-1539), EastHarling (interlude, games, players, and morris dances 1452-1633), Felbrigg (musi-cians and moms dancers 1602-5), Great Witchingham (wrestling and ChristmasLord 1528-69), Great Yarmouth (minstrels, game place, players, bearwards, trum-peters, waits, Corpus Christi play and game 1277-1598), Hickling (`ludi', bearwards,waits, interludes, minstrels 1512-44), Hunstanton (minstrels, Christmas Lords,bearwards, players, trumpeters, organ players, jugglers, fools, musicians, jester,motions, ape-wards 1519-1639), King's Lynn (minstrels, trumpeters, jugglers,players, Corpus Christi interlude, 'interludium Sancte Thome Martiris', waits, 'ludi'[one with Mary and Gabriel, another at Corpus Christi, with procession] , the`dragon', bearwards, plays, musicians 1331-1636), Little Walsingham (minstrels, the`dragon', processions 1517-45), Loddon ('gaudayes', game week 1554-6),Shipdham (Christmas Lords, game players 1524-36), Snettisham (processions,games, dances, Mays, plays, Christmas Lords, 'Rockefest' 1468-1567), Stiffkey(musicians, trumpeters, morris dancers 1628-36), Swaffham (stages erected on re-ligious feasts, games, Christmas Lords, Corpus Christi processions, pageants, wait1508-67), Thetford (jugglers, waits, minstrels, players, mimes, St . Nicholas bishopand clerks, trumpeters, games, plays, organ players, Mays, processions, fools, tum-blers, bearwards, `ludi', puppet-players, 1496-1576), Tilney All Saints (organ player,processions, Mays, players 1470-1547), and Wymondham (minstrels, singers, mimes,waits, bearward, play, the town watch, game, and play [with giant, vices, devil,wild man, doctors, and knights], pageant in procession, game place 1474-1586) .The Suffolk towns are Boxford (plays, property player 1529-38), Brome(musicians, game players, tumblers 1561), Bungay (players, wait with interlude, fiveCorpus Christi pageants [Heaven, All the World, Paradise, Bethlehem, Hell], games,processions, interludes, play with vice, gloves for the witch 1407-1591), Bury St .Edmunds (minstrels, St . Nicholas bishop, players 1422-1537), Creeting St . Mary(minstrels, `sport' 1468-1538), Dennington (Lord of Misrule 1539), Dunwich(players 1594-1634), Eye (Corpus Christi players 1536-40), Flixton Hall (musicians,interlude players, jester 1597-1606), Hadleigh (Whitsun stage plays 1597-99),Hengrave (bearwards, fools, musicians, waits, trumpeters, players, interluder, theTower lions, virginals, morris dancer 1541-1627), Ipswich (minstrels, Corpus Christipageants [St . George, St . John, St . Eligius, St . Thomas, St . Luke, Bull, Assumptionof Mary, Ship, Dolphin], `ludus' or play, jugglers, bearwards, players, show 1360-1614), Long Melford (games, play 1555-79), Metfield (processions, game 1509-11),Mettingham (minstrels, players, puppets 1395-1514), Mildenhall (plays [one of St .Thomas], Mays, players, Lord of Misrule, games 1505-44), Newmarket (minstrel1532), Stoke by Nayland (players 1526-7), Stradbroke (players 1632-33),Sudbury(players, musicians 1573-1637), Walberswick (waits, Mays, games 1453-99),Wenhaston (game? 1588), and Wingfield (minstrels 1408-9) .]

190 Registrum Cancellarii 1498-1506. Ed. W.T. Mitchell . Oxford Historical Society NS

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27 . Oxford : Clarendon Press for OHS, 1980 (for 1979-80). [Scholar of Broadgateswhose personal inventory in 1500 includes a `casement pro doulcemeryes' (pp . 53,212) ; and a harper whose harp has been detained by two men of St. Michael's atthe North Gate who claim he owes them service (pp . 96, 242-3) .]

191 Remnant, Mary, and Richard Marks. `A Medieval "Gittern" ' . In The BritishMuseum Yearbook 4 : Music and Civilization . Ed . T .C. Mitchell . London : BritishMuseum Publications, 1980, pp . 83-134, and pls . 49-99 . [Analysis and history ofthe design and artistic context of the early 14th-century (probably English) guitarin the British Museum that was inexpertly converted into a violin after it acquiredin 1578 a plate bearing the arms of Elizabeth and the earl of Leicester .]

192 Richmond, Colin . John Hopton: A Fifteenth Century Suffolk Gentleman .Cambridge: Cambridge University Press, 1981 . [Visiting and local games atWalberswick 1493-7, for which the guildhouse (St . John's House) is suggested asthe place of performance (p. 177) ; and the church organs 1489-1501 (pp. 170, 178) .]

193 Rigg, A.G. `Antiquaries and Authors : The Supposed Works of Robert Baston, O .Carm.' In Medieval Scribes, Manuscripts & Libraries : Essays Presented to N.R . Ker .Eds. M.B . Parke s and Andrew G . Watson . London : Scolar Press, 1978, pp . 317-31 .[The `Tragoedias vulgares' noted by Bale, if they exist at all, must be poems (pp . 322,326, 330) .1

194 Ripley, John . 'Julius Caesar' on Stage in England and America, 1599-1973 .Cambridge : Cambridge University Press, 1980 . [Four records of performance, someliterary allusions, 1599-1640 .]

195 Robin Hood and the Friar . Ed. Mary A . Blackstone . PLS Performance Text 3 .Toronto : Poculi Ludique Societas, 1981 . [The introduction draws on many recordsand illustrations of the Robin Hood play from 1473 .1

196 Rowan, D .F. `Inigo Jones and the Teatro Olimpico' . In The Elizabethan Theatre VII .

Ed. G.R. Hibbard . Port Credit, Ont . : P .D. Meany for the University of Waterloo,1980, pp . 65-81 . [Jones' Theatre Project drawing reflects the alternate originaldesigns of Palladio's Teatro Olimpico in Vicenza and lacks an English context out-side of Jones' own designs .]

197 Roxburgh, Ronald F . `Lincoln's Inn in the Fifteenth Century' . The Law QuarterlyReview, 96 (1980), 51-72 . [Mentions Christmas revels and minstrelsy, dancing andgames, and jousts as Inn activities (pp . 53, 56, 60-1, 69-71) .]

198 Salgado Gimini . `2 . Shakespeare's Life, Times, and Stage' . Shakespeare Survey, 3 3(1980), 194-204 . [Part of `The Year's Contributions in Shakespearian Study', pp .181-211, mentioning a few works on biography and theatre history .]

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199 Sanders, Norman, Richard Southern, T .W. Craik, and Lois Potter . The RevelsHistory of Drama in English . Volume II : 1500-1576. London and New York :Methuen, 1980. [Four chapters concern the social and historical context (with atable of plays 1495-1575), the technique of play presentation, the companies andthe repertory, and the plays and the playwrights ; 17 pls ., including indoor views ofthe halls of Hampton Court, Penshurst Place, and Lambeth Palace ; and a bibliography.]

200 Sandon, Hugh . `Another Mass by Hugh Aston?' Early Music, 9 (1981), 184-91 . [In-cludes a biography : in 1520-1 and advisor from Coventry on the organ at St . Mary'schurch, Warwick ; and organ keeper and master of the choisters at St . Mary Newarke,Leicester, 1525-48 .]

201 Schmidt, Paul Gerhard . `The Vision of Thurkill' . The Journal of the Warburg andCourtauld Institutes, 41 (1978), 50-64 . [Thurkill's vision of the devil's theatre, per-haps influenced by his sight of a Roman theatre on the Continent .]

202 Schoenbaum, S. Shakespeare : The Globe & the World . Washington, D.C . : FolgerShakespeare Library; New York and Oxford : Oxford University Press, 1979 . [Arichly illustrated book that grew from a touring exhibition of manuscripts, books,and artifacts of Shakespeareana largely in the Folger Shakespeare Library, includ-ing plates of several documents owned (but not signed) by Shakespeare (pp . 47,144), buildings associated with him (pp . 23-4, 40, 47), and views of Londontheatres and stages (pp . 58-9, 89, 93-4) and of a procession through Cheapside in1639 with railings, banners, and hangings erected by the craft guilds (pp . 128-9) .]

203 - William Shakespeare : Records and Images . Oxford : Oxford University Press, 1981 .[Not seen . Reproductions of over 160 documents and portraits, with discussion ofShakespeare's hand and of forgeries involving him .]

204 Schrickx, Willem . `English Actors at the Courts of Wolfenbuttel, Brussels and Grazduring the Lifetime of Shakespeare' . Shakespeare Survey, 33 (1980), 153-68 . [Astudy of the development of two companies, the `foreign branch' of the Admiral'sMen led by Robert Browne from 1592 to 1607 on the Continent, and the successortroupe led by John Green from 1607, combining known evidence with newly-discovered (published and unpublished) records from Wolfenbuttel, Lille, andBrussels .]

205 Seddon, P.R. `Household Reforms in the Reign of James I' . Bulletin of the Instituteof Historical Research, 53 (1980), 44-55 . [Increased expenditure on musicians bythe royal family, over L2000 in 1608-9 (p . 50 n . 30) .]

206 Selfridge-Field, Eleanor . `Venetian Instrumentalists in England : A Bassano Chronicle(1538-1660)' . Studi Musicali, 8 (1979), 173-221 . [A thorough study of the geneal-ogy, musical and commercial activities, and patronage of some 20 members of this

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family of court musicians and instrument makers that draws widely on unpublishedwills, registers, court accounts, and miscellaneous documents in London and Venetianarchives ; and a family pedigree and bibliography .]

207 Sellin, Paul R . `The Performances of Ben Jonson's Newes from the New WorldDiscover'd in the Moone' . English Studies [Amsterdam], 61 (1980), 491-7 . [Ten,and possibly twelve or more performances in January-February 1620, of this`running ballet' or masque at various royal and noble London houses, such as White-hall and Essex House, and at Sir John Croft's house at Saxham Parva near Bury St .Edmunds.]

208 Shapiro, Michael . `Annotated Bibliography on Original Staging in Elizabethan Plays' .Research Opportunities in Renaissance Drama, 24 (1981), 23-49 . [100 entries,with analytic introductions, for books and articles from 1922 to the present,stressing structural features of the London playhouses 1576-1642, and staging tech-niques in Elizabethan play productions .]

209 Sharpe, J .A . Defamation and Sexual Slander in Early Modern England: The ChurchCourts at York . Borthwick Papers no . 38 . University of York : Borthwick Instituteof Historical Research [1981] . [Twelfth Night celebrations at Colchester in 1623,`enlivened by the circulation of a libel showing the devil taking tobacco with vari-ous of the town's clergymen' (p . 5) .]

210 Shaw, Catherine M . Richard Brome . Boston: Twayne, 1980 . [Chapter 1, `The Manand his Plays', pp . 17-33, bases a biography on printed work .]

211 Skelton : The Critical Heritage . Ed. Anthony S .G. Edwards. London, Boston, andHenley : Routledge and Kegan Paul, 1981 . [Early biographical sketches by John Baleand Thomas Fuller (pp. 54-5, 71-3), and many literary allusions .]

Smith, G .H. `The Excavation of the Hospital of St . Mary of Ospringe, CommonlyCalled Maison Dieu' . Archaeologia Cantiana, 95 (1980 for 1979), 81-184 . [Discov-ery of a Jew's harp with an iron reed, evidently post-medieval (p . 142 ; fig . 27, no .166) .]

213 Smith, Irwin . Shakespeare's First Playhouse . Ed. David George. Dublin : Liffey Press,1981 . [Not seen . Narrative history of James Burbage's Theatre in Shoreditch, fromoriginal documents discovered in 1913 by C .W. Wallace, with a plan of the site : anedition of Smith's manuscript'The Burbages and Shakespeare' in the Folger Library .]

214 Smith, Mary Elizabeth . `Nathaniel Giles "From Winsore" : Master of the Children inthe Chapel Royal' . Notes and Queries, 225 (1980), 124-3 1 . [A biography of Giles'professional life reexamining the second (1595) indenture appointing him to St .

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George's Chapel, Windsor, clearly made out to permit him to become Master of theChapel Royal in London ; Giles' brief association with the Blackfriars 1600-4 ; andhis success in managing both chapels until his death in 1634 .]

215 Smolden, William L . The Music of the Medieval Church Dramas . Ed. CynthiaBourgeault . London : Oxford University Press, 1980 . [An analysis of the vocal lineof the music-dramas of the European medieval church : texts rather than records arethe main subject here .]

216 Sotheby's . Catalogue of Western Manuscripts andMiniatures . Day of Sale : [London]Tuesday, 19th June, 1979 . [Lot 57, an anthology of Middle English verse and prose(now BL Add . MS . 60577) from Winchester c . 1487, with (1) a poem probably tobe recited before William Waynfleet, bishop of Winchester, at Christmas or NewYear's night by a 'chylde' of his (pp . 52-3) ; and (2) a fragment of a letter by ElisHeywod from Padua to his father John Heywood in London (p . 59) . I owe thisreference to Edward Wilson, whose edition of (1) is forthcoming in a festschrift forNorman Davis.]

217 Staniland, Kay. `Medieval Courtly Splendour' . Costume, 14 (1980), 7-23 . [Joustinggarments, Christmas 'ludi', banners for trumpets and clarions, and Richard H'sdancing doublet, recorded in four royal wardrobe accounts of 1342, 1344-9, 1351-2, and 1393-4 .1

218 Streitberger, W .R. `The Armada Victory Procession and Tudor Procedure' . Notesand Queries, 225 (1980), 310-12 . [Marshalling decisions for the London statetriumph and procession of 24 November 1588 established standards for precedence .]

219 Taylor, A .J . `Count Amadeus of Savoy's Visit to England in 1292' . Archaeologia,106 (1979), 123-32. [The count's household included his jester (pp . 124, 127) .]

220 -'Edward i and the Shrine of St Thomas of Canterbury' . Journal of the BritishArchaeological Association, 132 (1979), 22-8 . [Edward rewarded Walter Luvel,`cithariste' of Chichester, for performing before St . Richard's tomb in the cathedralat Canterbury, 26 May 1297 (p . 23 n . 9) .]

221 Taylor, John. `Letters and Letter Collections in England, 1300-1420' . NottinghamMediaeval Studies, 24 (1980), 57-70 . [A survey, touching on the fictional Oxfordletter to the King of Christmas, and on correspondence of Prince Edward aboutpurchase of trumpets (pp . 60, 62) .]

222 Tebbs, H .F . Peterborough : A History . Cambridge, Eng ., and New York : OleanderPress, 1979 . [References to lease of players' garments 1467, players in the church1479, visiting players in 1548, 1620 (breaking the stairs in the Moothall), and 1628(puppet-player in the Common Hall ; p . 173 ; cf. p . 178) .]

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223 Temperley, Nicholas. The Music of the English Parish Church . 2 vols . Cambridge :Cambridge University Press, 1979 . [Volume 1, pp . 1-76, discusses the Reformation(1534-9) and the establishment of Anglicanism (1559-1644), when popular psalm-singing undermined the professional church musician and organ-playing in church :conclusions based especially on archival work in the West Riding of Yorkshire,Dorset, central London, and York ; with a very full bibliography .]

224 Three Rastell Plays : Four Elements, Calisto and Melebea . Gentleness and Nobility .Ed . Richard Axton . Cambridge and Ipswich : D.S . Brewer ; and Totowa, N .J .,Rowman and Littlefield, 1979 . ['John Rastell's career', pp . 4-10, gives an updatedlife of this printer-playwright .]

225 Travitsky, Betty . `The "Wyll and Testament" of Isabella Whitney' . English LiteraryRenaissance, 10 (1980), 76-94 . [An edition of a poem published in 1573 in whichWhitney leaves to gentlemen of the London inns of court or chancery both dancingschools and, on Sundays, `In divers places Players, that / of wonders shall reporte'(p. 92,11 . 297, 301-2) .]

226 Tricomi, Albert H . `John Marston's Manuscripts' . Huntington Library Quarterly, 43(1980), 87-102 . [Discusses some John Payne Collier forgeries and analyses Marston'shand and surviving autograph papers .]

227 -'Two Letters Concerning George Chapman' . Modern Language Review, 75 (1980),241-8. [A petition by his brother Thomas, 18 Nov . 1611, with George's own sworntestimony at the end ; and an undated letter probably from Thomas c . 1603-4 andevidently mentioning the actor Nathan Field and the playwright Thomas Lodge .]

228 Two Tudor Interludes : The Interlude of Youth : Hick Scorner . Ed. Ian Lancashire .The Revels Plays . Manchester: Manchester University Press ; and Baltimore, Maryland,1980. [Uses published and unpublished records of the playwrights, plays, and dis-guisings in the households of Henry Algernon Percy, 5th earl of Northumberland,and Charles Brandon, duke of Suffolk, to locate the auspices of these two texts (pp .27-30, 33-4) . Appendix ii gives 15 allusions to the play-character Hick Scorner inpublished books 1542-93 .]

229 Twycross, Meg, and Sarah Carpenter. `Masks in Medieval English Theatre : TheMystery Plays' . Medieval English Theatre, 3, no. 1 (July 1981), 7-44 . [Parts 1,`Terminology', and 2, `Purposes and Effects of Masking', illustrate the theatricaland non-theatrical mask from early dictionaries and word-lists, dramatic texts andrecords (e .g ., Tudor revels accounts ; records from York, Chester, and Coventry),and early European art .]

230 - ` Masks in Medieval English Theatre : The Mystery Plays 2'. Medieval EnglishTheatre, 3, no . 2 (Dec . 1981), 69-113 . [Part 3, `The Characters Who Wore Masks', a

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wide-ranging study of devils, wicked human characters, God, and angels, with someuse of unpublished materials .]

231 Victoria History of the Counties of England . A History of the County of Chester.Volume III . Ed. B.E. Harris . Oxford : Oxford University Press, for the Institute ofHistorical Research, 1980 . [At Chester, organs in the abbey, the church of theFranciscan friars, that of the Carmelite friars, and the cathedral (pp . 136, 173, 177,189) ; the teaching of Terence at Sir John Deane's Grammar School at Northwich(p. 245) ; and cf . pp. 29, 139, 176 .1

232 -A History of the County of Sussex . Volume Vi, Part I . Bramber Rape (SouthernPart). Ed . T.P. Hudson . Oxford : Oxford University Press for the Institute of His-torical Research, 1980 . [Early 16th-century church ales and a king's play atSteyning (p . 238) ; Christmas singing at Broadwater manor c . 1300 (p . 73) ; and a be-quest for organs in the church there in 1536 (p . 78) .]

233 `Viking Discovery in York' . Ed . Peter Phillips . The Early Music Gazette, a Supple-ment to Early Music, 8, no . 2 (April 1980), 1. [Boxwood `Pan pipes' found in thebackyard of a tenement c . 980-1020 in Coppergate, York (with two photographs) .]

234 Waith, Eugene. `Stage or "State"?' The Shakespeare Newsletter, 161 (Dec . 1979),44. [Suggests that Henslowe has drawn a stage `state' in his letter to Alleyn 28 Sept .1593 .]

235 Wasson, John. `Records from the Abbey of St Benet of Hulme, Norfolk' . REEDN,1980 :2, pp. 19-21 . [17 payments to visiting musicians and bearwards, and for theRogation Sunday dragon-banner, in accounts for 1372-3, 1510-11, and 1516-17 ;also documenting a `ludus' at Horning in 1372-3 .]

236 -'The St. George and Robin Hood Plays in Devon' . Medieval English Theatre, 2,no . 2 (Dec . 1980), 66-9. [Mainly unpublished parish records c . 1426-1588 show aSt. George at Plymouth, Dartmouth, Exeter, and Morebath, a Robin Hood at Exeter,Braunton, Woodbury, Ashburton, Honiton, Chudleigh, and Chagford, and a Mayday play at Plymouth .]

237 Wedderburn, Robert . The Complaynt of Scotland (c . 1550) . Ed. A.M. Stewart.Scottish Text Society, 4th ser., 11. Edinburgh : William Blackwood and Sons for STS,1979. [In old time the two wardens of the borders of England and Scotland deter-mined that there be no contact between their people, as in 'conuentions on holydais at gammis and plays' (p . 84) .]

238 Wentersdorf, Karl P. `The Origin and Personnel of the Pembroke Company' .Theatre Research International, 5 (1979-80), 45-68 . [Argues that Pembroke's Menwas formed in late 1592 from a branch of the Queen's Men led by John and

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Lawrence Dutton, and that Richard Burbage and Shakespeare were among theirplayers .]

239 - `The Queen's Company in Scotland in 1589' . Theatre Research International, 6(1980-1), 33-6 . [After an invitation by James VI that the Queen's players comenorth (20 Sept.), they were entertained at Edinburgh by the fifth earl of Bothwellbefore 22 Oct ., when the king set sail for Denmark .]

240 Wharram: A Study of Settlement on the Yorkshire Wolds . Ed . J .G . Hurst . Volumeis Domestic Settlement, 1 : Areas 10 and 6 . Eds. D.D . Andrews and G. Milne . TheSociety for Medieval Archaeology Monograph Series, 8 . London : SMA, 1979 . [Twoiron Jews' harps (I .H . Goodall, `Iron Objects', p . 120, fig . 63, and p . 121 ; c . 1380-1450, and c . 1450-1520), and a fragment of a pipe of a flute made from a sheep'stibia (D .D . Andrews, `Miscellaneous Small Finds', pp . 128-9, fig . 70 ; post-15th-century) .]

241 White, Eileen . ` "Bryngyng Forth of Saynt George" : The St. George Celebrations inYork' . Medieval English Theatre, 3, no. 2 (Dec . 1981), 144-21 . [Records and dis-cussion of the riding of St . George, with the dragon and St . Christopher, and of theman who played St . George in 1554 (John Stamper), largely from REED York ; anda newly-found will of 1503 that refers to this riding as being by the Guild of St .Christopher and St. George .]

242 Wickham, Glynne . Early English Stages 1300 to 1660. Volume III : Plays and theirMakers to 1576 . London : Routledge and Kegan Paul ; New York : Columbia Uni-versity Press, 1981 . [Three sections, on drama and occasion, emblems of occasion,and play-makers and play texts (comedy and tragedy) ; with appendixes, one ofwhich gives the Latin text and translation of Bishop Grandisson's injunction againsta play against the Exeter leatherworkers in 1352 ; and 12 pls ., including carvings ofmusicians at Beverley Minster, and portraits of Will Sommers and John Bale (VI,x-xi) .]

243 Wienpahl, Robert W. Music at the inns of Court During the Reigns of Elizabeth,James, and Charles . Ann Arbor, Mich . : University Microfilms International for theDepartment of Music, California State University, Northridge, 1979 . [A study ofmusic, dancing, and masques based on literary allusions, contemporary accounts,and documentary records of inns from 1407 ; among unpublished materials are theLondon Corporation repertories, Edward Heath's personal accounts at the innerTemple 1629-3 1 (listing ten play-books ; p . 179), and Justinian Pagitt's diary 1633-4 .]

244 Wiles, David . The Early Plays of Robin Hood . Cambridge : D.S . Brewer, 1981 .[Chapters 1, `Introduction' ; 2-3, `Robin Hood as Summer Lord' ; 4, `The CombatPlay' ; 5, `Game and Ballad : the Courtly and the Popular Traditions' ; and 6, `The

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Symbolic Language of Carnival' . Appendixes 1, `Gazetteer of references to RobinHood Plays before 1600' ; 2, `Map' ; 3, `Extracts from the Church-wardens' AccountBook of Kingston-upon-Thames for the years 1506 and 1509' ; 4, `Original Play-texts'; 5, 'May-games in Elizabethan Drama (Extracts)' ; and 6, `The KempfordMumming Play' ; and a bibliography .]

245 Wilkins, Nigel . Music in the Age of Chaucer . Chaucer Studies, 1 . Cambridge : D . S .Brewer ; Totowa, N.J . : Rowman and Littlefield, 1979 . ['The Chapel Royal', pp .86-8, gives the names of Edward III's singers c. 1342-74, as well as those in theseparate Queen's chapel . See also Chapters 3, `Britain', pp . 74-110 ; 4, 'Chaucer',pp. 111-24 ; 5, `Minstrels', pp . 125-44 (for those of Tutbury and Beverley, and atcourt, see pp . 140-2) ; and 6, `Instruments', pp . 145-57 .]

246 Willan, T .S . Elizabethan Manchester . Chetham Society, 3rd ser ., 27 . Manchester :Printed for the Chetham Society, 1980 . [In 1598-9 waits were paid at the twocourt leets and on the fair day (pp . 9-10), and there was a cockpit (pp . 143, 153) .]

247 Williams, John H. St Peter's Street Northampton: Excavations 1973-1976 . Archae-ological Monograph no . 2 . [Northampton] : Northampton Development Corporation,1979. [Two possible fragments, decorated tubes (goose ulva), of musical instruments,one like a mouthpiece (G .E . Oakley and M. Harman, `The Worked Bone', p . 318,fig. 141 [WB 103-4] ; the first, early 10th cent .) .]

248 Williams, Penry . `From the Reformation to the Era of Reform 1530-1850' . In NewCollege Oxford 1379-1979 . Eds. John Buxton and Penry Williams . Oxford : theWarden and Fellows of New College, 1979, pp . 44-71 . [Organs were repaired inMary's reign (pp . 48-9) .]

249 Wilson, David M . `The Art and Archaeology of Bedan Northumbria .' Bede andAnglo-Saxon England: Papers in Honour of the 1300th Anniversary of the Birth ofBede, Given at Cornell University in 1973 and 1974 . Ed. Robert T . Farrell . BritishArchaeological Reports 46 . Oxford : BAR, 1978, pp . 1-22 . [Discussion of the`Timber "Amphitheatre" ' at Yeavering (p . 18) .]

250 Wilson, Jean.Entertainments forElizabethi . Studies in Elizabethan and RenaissanceCulture Ii . Woodbridge, Eng . : D . S . Brewer ; Totowa, N . J . : Rowman and Littlefield,1980. [Reprinted texts of `The Four Foster Children of Desire' (Whitehall, 1581),and the entertainments by Lord Montague at Cowdray, Sussex (1591), by EdwardSeymour, earl of Hertford, at Elvetham, Hants . (1591), and by Sir Henry Lee atDitchley, Oxon . (1592) . The introduction discusses Elizabethan pageantry, tilts,progresses, and entertainments, and gives two small texts of ones by Lady Russellat Bisham, Berks . (1592), and by Lord Norris at Rycote, Oxon . (1592) .]

251 Wilson, Michael I . Organ Cases of Western Europe . London : C. Hurst, 1979 . [Early

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examples at St. Stephen's, Old Radnor, Wales (c . 1530), Tewkesbury Abbey (c .1600), King's College Chapel, Cambridge (1605-6), for which see pp . 75-6, and p1s .249-51 .1

252 Wiltshire, Jacqueline. `Medieval Fiddles at Hardham' . The Galpin Society Journal,34 (1981), 142-6 . [Wall-paintings c . 1125 in this Sussex village church show figuresof the elders with viol in the right hand and fiddle in the left .]

253 Wolffe, Bertram . Henry VI . London : Eyre Methuen, 1981 . [Excerpts from twoaccounts kept by the king's chamber treasurer show that at Eltham in Christmas1426 Henry was entertained by Jack Travaill's London players and by four boysof the duke of Exeter performing interludes, and that in the same celebration nextyear there he again saw Jack Travaill, this time with Abingdon players (p . 37) . Seealso pp . 7 (Blackman's anecdote about the king's reaction to a disguising may notbe authentic), 37 (his portable organs), 45 (visiting players at Hertford for Christ-mas 1428), 60-4, 306 (royal entries in Paris, London, and Coventry), and 145(organs at Eton) .]

254 Wormald, Patrick . 'Bede, "Beowulf" and the Conversion of the Anglo-Saxon Aris-tocracy' . In Bede and Anglo-Saxon England : Papers in Honour of the 1300thAnniversary of the Birth of Bede, Given at Cornell University in 1973 and 1974 .Ed . Robert T . Farrell . British Archaeological Reports 46 . Oxford : BAR, 1978, pp .32-95. [Discussion of early references to games and musicians (pp . 43, 50-1) .]

255 Wrightson, Keith, and David Levine.Poverty and Piety in an English Village : Terling,1525-1700 . New York, San Francisco, London : Academic Press, 1979 . [Localauthorities are shown trying to repress piping, fiddling, and dancing on the greenand in alehouses from 1588 to 1620 ; with the names of some of those citizenscharged (pp. 23, 121, 136-7, 157) .]

256 Wunderli, Richard M . London Church Courts and Society on the Eve of the Refor-mation . Speculum Anniversary Monographs 7 . Cambridge: Medieval Academy ofAmerica, 1981 .[The mayor's court in 1529 sentences five pimps to be led throughthe city by minstrels to the pillory (pp . 94-5) .]

257 Wyatt, Diana. `The Pageant Waggon : Beverley' . Medieval English Theatre, 1, no . 2(Dec. 1979), 55-60. [The hairers' manhandled 'karre' for the play of Paradise, thewaggons in the Peter Noster play, and the guilds' ceremonial `castles', as describedin original records .]

258 York City Chamberlains' Account Rolls 1396-1500 . Ed. R.B. Dobson . SurteesSociety 192 . Gateshead : Northumberland Press, 1980 for 1978-9 . [Includes drama-tic and minstrel records appearing in REED York, edited according to different con-ventions (and with some variant readings) ; and pensions to minstrels Robert Closse

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in 1453-4 and 1454-5 (pp . 74, 93) ; the seizure of the goods of John Skelton, min-strel, who murdered his wife in 1462-3 (p . 106) ; and granting of waits' livery in1486-7 (p. 188) . See also pp . xvii, xxx-xxxi, xxxiv, xxxvii .]

259 `York High Commission Causes and Act Books' . Borthwick Institute Bulletin, 2,no. 2 (1980), 75-98 . [Games-playing in Cawthorne church in 1596-7 ; and dam-age to the organ of Pocklington church in 1635 (pp . 87, 96) .]

JOHN C. COLDEWEY

Some Nottinghamshire waits : their history and habits'

It has long been the rule, rather than the exception to the rule, for historians of thedrama to neglect or ignore the part that musical activities played in the unfolding ofthe early English dramatic tradition . For whatever reasons this has occurred - lackof information or lack of interest - it is fast becoming clear that the habit cannotcontinue . Recent studies of the liturgical drama have stressed the crucial interde-pendence of music and text ;2 likewise, recent work on later civic and local dramahas begun to explore the variety and kinds of musical entertainment that can befound both within medieval and renaissance play texts, and that which existed side-by-side with dramatic productions . 3 In this paper I want to highlight the musicalactivities in a single county, Nottinghamshire, using some of the records of thedrama which I have just finished collecting there for the REED project . 4 I willfocus in particular on the waits, or liveried town musicians, who flourished or whovisited the county from the late middle ages until 1642 . In doing so I hope to shedsome light on the customs, duties, and traumas of these colourful figures who pipedand fiddled in the shadows of our drama . I want also to suggest that their activitiesand those of musicians generally were, in Nottinghamshire at least, so extensive andfrequent that they are of more importance in assessing the dramatic tradition ofthat county than the drama itself ; furthermore, that if music was the main form ofperforming arts in Nottinghamshire, the `players' there were not as often players ofplays as we should like to believe .

Literally hundreds of references to waits survive in the civic documents of Not-tingham and Newark, two of the most populous towns in the county during themedieval and renaissance periods . In both places the earliest and latest entries re-garding entertainment of any kind in fact refer to waits . Indeed, entries chroniclingtheir fortunes continue well past 1642 .

In Nottingham, waits appear in the earliest surviving Chamberlains' accounts in1461, although it is clear from other sources that they existed during the first half

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a,

of the century . 5 They were apparently always valued - originally as musical watch-men - although the price paid for their services fluctuated with the times . In 1461the waits were paid an annual wage of 20 s to be split amongst them . It was baresubsistence pay, but it did not preclude their earning a living as musicians elsewhere .In addition, they were provided with new town liveries each year ; in the fifteenthcentury these cost 15 s . They were also issued expensive gear : escutcheons, or largemetal badges enamelled with the town device, and chains, or `collars' with which tohang them . 6 These remained city property and had to be sworn for, or bonded, bysome substantial citizen for each wait . By the end of the sixteenth century, thestandard complement of waits in Nottingham increased from three to four . 8 Theirwages, never constant - or at least not regularly recorded - had reached £1 apieceby 1571 . 9 Then, in 1576, the wages ceased altogether, although the waits were stillretained by the town and annually provided with liveries . In the seventeenth centurytheir wages were reinstated, and a complex system of supplementary paymentsthrough contribution was established .

In the Newark records, which begin to refer to waits in 1538, a variety of termsis used for the musicians who receive liveries there . 10 There were evidently two waitsuntil 1561, then three, and from 1583 on there were four of them . 11 Like Nottingham,Newark provided its waits with new liveries every year and in 1562 they were fur-nished with escutcheons . 12 Newark supported its waits in two ways : it ordered anassessment be paid by each townsman according to his status, and it gave the waitsa virtual monopoly on music in the town . The order accomplishing this, in the Cor-poration Minute Book, is dated 29 September 1565 :

Item yt is ordein'd that euery person now inhabitinge or which heraftershall inhabit within this Towne of Newarke and liberties of the same,shall paye toward the wages of the waites, that now be and that heraftershalbe appoynted in that Rowme such some or somes of money, asshalbe assessed and set vpon hym or them, by the Alderman andassistantes of the same Towne of Newarke for the tyme being or themore parte of them, vppon payn of imprisonment, or fyne, at thediscretion of the same Alderman and Iustices of peace within the saidTowne or three of them at the least wherof the said Alderman to beone // And further That no person nowe dwelling or which heraftershall dwell and inhabit within this Towne of Newarke and shall mariewithin the same, shall at eny such mariage hyer Reteyne or have enymusicions or mynstrells other then the [waites] A 'inhabiters' of thesame towne for the tyme being vppon payn to forfett and pay for euerydefault doing the contrary such fyne shalbe assessed by the said Aldermanand assistauntes or the more parte of them .(ff 41v-42)

There is no evidence that Newark ever spent any of its own money on the waits'wages; since the Council could assign fees in any amount they pleased, this shouldcome as no surprise . The order originally specified 'waites' as being the only musi-cians entitled to play in the town, but that word was crossed out and 'inhabiters'substituted in its place . It is not clear when that emendation took place, but the

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emendation makes it clear that there were other musicians in Newark, rivals of thewaits, whose livelihoods were threatened by this order .

In passing, we might remark that playing at weddings would normally be, for thewaits at Newark and at Nottingham, too, employment beyond their ordinary duties,producing income beyond their ordinary wages . Doubtless they had to count onthis work, since they received precious little from town coffers . Before turning tothe question of why they worked for such meager rewards, perhaps we can deter-mine in more detail precisely what services they performed for a town . In a present-ment to the Nottingham Sessions Court, dated 24 April 1615, one of the duties ex-pected of waits - quite possibly their original duty - is clearly laid out : the 'comonwaites' were presented `for thatt they doe not goe theire wattch in the day tyme onTuesdaies, Thurrsdaies and Saturdaies, as their predicessors have vsed, and as theyare therevnto sworne .' 13 Thus, in Nottingham, waits were still responsible for keep-ing the watch on certain days - although their music must have preceded them intheir turn around the town . In addition to this duty, we discover in various otherrecords that they were expected to attend the Mayor and his Brethren on theirnumerous full-dress processions on All Hallows day, Christmas, Candlemas, Easter,the 'Middleturn Walk' to St Anne's Well on Black Monday (a perambulation of theborough boundaries), the long march to Southwell Minster on Whitsun Monday tobear the pentecostal offerings, and others . The waits played regularly at specialfeasts - sessions dinners, opening of assizes, the sheriff's dinner (shortly after StBartholomew's Day) - and at celebrations on May Day, at the opening of fairs, atthe occasional celebrations prompted by visiting dignitaries, noblemen, the king orqueen, and at those times of the year, such as Twelfthtide or Midsummer, whenevery day was holiday . 14 The waits were, in short, an integral part of a thousandmoments of pomp and benediction in the daily, weekly, and seasonal life of thetown .

They also toured around the country, playing when and where they could . Theincome this produced, though, was hardly reliable, as the following entry in theNottingham Common Council Minutes indicates . It is date 7 February 1617 :

ytt is agreed by this companie thatt the [waig] waytes in regard of therrepovertye and for thatt theire gratuities abrodd in theire travells are nottsoe benificiall as heretofore they have beene, shall have [yerely] thisyeare 40 s wages amongste them to be payed them by the Chamberlainesquarterly as the officers receave their wages and this to contynewe vponthere good deservinge . 15

We should note, by the way, that the recent failure of the waits to carry out theirduty less than two years earlier may have been on the minds of the Council mem-bers who insisted on a year-by-year basis for payment rather than a guaranteedannual wage. In any case, the waits could hardly have taken much satisfaction fromthe reinstatement of these wages : per man, it came out to only half of what theyhad been paid annually more than forty years earlier . Still, no complaints are recorded,and the Chamberlains, as directed, allocated the money to the waits on a fairly reg-ular basis over the next ten years .

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In 1628, however, a new and complex arrangement for paying the waits, overand above their wages, was put into effect . This arrangement, similar to the `tax'Newark levied on its townspeople in 1565, here involved an actual schedule for pay-ments based upon degree . The rate for the Mayor and Aldermen was 4 s apiece ; forthe Coroners and Sheriffs, 3 s ; for members of the Council 2 s 6 d ; and so on, downto the commoners, who are urged to donate 'whatt they are wele pleased to geve orallowe to the poore men accordinge to theire free and willing disposition .' The effectof this order was to guarantee substantial annual payments to the 'poore men,' andto ensure that the waits, on their part, would `doe theire duties and services accord-inge to theire oathes in walkinge and playinge with their instruments assigned there-vnto as well in the day as in the nighte for the Credite and worshipp of the towne ashath been Antiently vsed and accustomed .' 16 The new assessments would in factprovide the waits with six or seven pounds a year, plus whatever the 'comoners ofthe better sort and Rancke' and `of the lower Rancke or degree' might contribute .This money, when added to the basic allotment of 10 s per quarter, plus liveries(each now worth well over a pound a year), apparently gave the waits some comfortduring their hard times . Indeed, as we shall see, it may have proved too generous .

Perhaps the most grisly occurrence involving a wait in Nottingham is attested toin the Sessions presentments of 1521 . Here, Richard Johnson, `late won of theSergients,' was charged with 'wylfull murthur done apon Edmond Chameley, latewon of the weytes .' 17 Edmund Chomley was probably the son of William Chomley,a Nottingham wait in 1502 . 18 The father, in fact, may have fled town after thedeath of his son to become the London wait William Cholmley who retired in 1526 . 19I cite this case not to illustrate the courage it took to wander the streets in 1521, oreven to point to the London professional connection, but rather - a much moremundane matter - to note that the Chomleys, father and son, both waits, representa familiar pattern among medieval and renaissance musicians, where the musicalprofession itself was the family business . Quite often, sons joined their fathers'companies, carrying the work of one lifetime forward into another . This is true forthe Awkland (or Lawkland) family in Newark : Thomas Awkland appears on theearliest document listing waits' names in 1557 ; he is joined by George Awkland in1562 ; they continue together until 1573 . 20 Among their replacements are Anthonyand John Ringrosse, from another family of musicians . 21 In Nottingham, membersof a family named French seem to have been active as waits for three generations -more than half a century . Thomas French had a company of musicians who playedfor the town at various times from 1558 to 1588 . His son William was one of theNottingham waits from 1577 until 1590 ; his son, Roger, became a wait in 1586 andremained one until 1627, the year before the special assessment (referred to above)was ordered by the Town Council . 22

Another family of musicians, the Cogges, should now be introduced . HumphreyCoggs is listed as one of the Nottingham waits as early as 1597 ;23 his father maywell have been the 'Cogges' referred to as `Mr . Stanhope's man,' apparently head ofLord Stanhope's musicians in 1573 . 24 Now, Humphrey Cogges had a son, William,who was also a musician, as we might expect . He was not, however, a wait . By 1628,

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when the special `tax' was passed to support the waits, Humphrey Cogges was pro-bably the oldest wait in the company, having served in that capacity for thirty-oneyears . As he neared retirement, Humphrey no doubt wished his son to take hisplace, especially if the position were now more secure and lucrative than at anytime in the past . It would have been only natural for him to entertain this hope .But somewhere along the line something went wrong . Perhaps the other three waits -Richard Pierson, Solomon Sebastian, and Richard Storr - could not get along withyoung William ; perhaps they believed him an incompetent or had their own plans ;perhaps old Humphrey was getting cranky . What is certain, though, is that troublehad been brewing for some time when in 1632 the bickering became public . Theday after Michaelmas election, when town officials customarily took their oaths ofoffice, Humphrey Cogges was not sworn in like the other waits ; instead, the Mayorand Aldermen were given notice 'thatt the waites have agreed to geve to homfreyCogges xx Ii to leave his place so thatt they make choice of anuther waite or waites .' 25It was, of course, an enormous sum : a rare, and probably accurate measure of theactual worth of the position ; perhaps an even more accurate measure of the otherthree waits' desperation . They proposed to give £5 at once, £5 at Candlemas (2February), £5 at Midsummer, and £5 the following Michaelmas . But Cogges short-circuited the arrangement - or the waits failed to make their second payment, foron 4 February Humphrey was sworn in . 26 In addition, he apparently convinced theother waits to give his son a chance ; eight months later, at the 1633 swearing-in,William was at last allowed to take his own oath and his father's place among theother waits . 27

It was not, one might say, a marriage made in heaven . There was a brief honey-moon, squabbling and jealousy, and ultimately a quick divorce . The accusation of`playing around' surfaced in a shockingly short time . On 25 February 1634, lessthan five months after the swearing-in, all the parties involved went once more be-fore the Common Council for guidance . The Council agreed that :

whereas the waytes and homfrey Cogges and William Cogges his sonnehaue ahad manie differences aboute theire places and havinge referredthem selves and theire severall busynes amongste them to the iudgmentandorderof this Companie,thecompaniedoe order thatt from henceforthboth the Cogges shalbe separated from the other waytes and nott bereputed as the waites of this towne And in lewe thereof Richard peirson,Salomon Sebastyan, and Richard Storr shall allowe vnto homfreyCogges duringe his lyefe iij Ii yearely to be from henceforth quarterlypaied him and the same waytes shall lykewise pay vnto William Coggesxx s yearely to be paid quarterly lykewise duringe the pleasure of thisCompanie, butt vpon Condition thatt the saied Cogges and his sonneshall nott play with theire Instrumentes in this towne when the otherWaytes are in the towne, unlesse they be invited to play att Weddingesor Churchinges, and they are nott to were anie of the townes lyveriesnor be reputed as the waytes from henceforthe, nor they nott to goeinto the Countrie as the townes waytes, and thatt the bonds by them

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taken from the yonger Cogges for payment of 3 Ii shalbe nowe deliveredin to the saied Cogges togeather with soe muche monee as they havereceaved in parte thereof allreddy . and the saied William Cogges to deliverin his Scuttcheon . presently. the bondes are delivered and cancelled . 28

This was only the first round - a trial separation, as it were .At the next swearing-in, in October of 1634, John Marshall replaced William

Cogges ; three months later, Thomas Stanley replaced Richard Pierson, who wasevidently retiring .29 In March, the entire group again appeared before the CommonCouncil, clearly with new gripes and accusations . The Council itself must havebegun to weary of the struggle ; certainly the tone of their decision is one of patientexasperation :

Vpon the hearinge of the differences the second tyme amongste thewaites, [they] and Homfrey Cogges, for the fynall endinge of all thedifferences and objections amongste them they have nowe referedthemselves and the ire saied busynes to the fynall hearinge and endingeof this companie . Whoe doe nowe order and agree thatt SalomonSebastyan, Richard Storr and Thomas Stanley shall from henceforwardpay vnto the saied Homfrey Cogges A'and William Coggs his sonne'yearly duringe [his]the naturall lyefe,'of Homfrey Cogges onely' thesome of iiij Ii by quarterly paymentes, [togeal and noe other allowanceto him and his sonne or either of them . And in lewe and recompencethereof the saied Homfrey nor his sonne shall nott weare theire coates,of the same colour the other waites doe, nor shall nott play in thistowne when the other waites are in towne vnlesse [ytt] they bee invitedto weddinges Churchinges or other meetinges, And the saied HomfreyCogges nor his sonne shall nott goe [into abroad] abroad or into theCountrie to the prejudice of the saied waites to play with their instru-mentes, [ And nor] and when the other waites have a purpose to travellto london or ellswhere as vsually they have done, thatt then HomfreyCogges nor his sonne shall nott travell thatt way to forstall themvntill a fortnighte after they be gone att the leaste . And thatt yf aniedifferences shall hereafter growe or arise on anie partt touchinge thisorder the same differences and questyons to be allwayes heard endedand determined by this Companie as theire shalbe cawse . And thattSalomon Sebastyan, Richard Storr and Richard Pierson shall pay vntothe saied Homfrey Cogges and his sonne before Easter next xxx s of themonie due to Cogges vpon the last agreament . and to be dischardged ofthe remaynder forever yf they doe before Midsomer nexte bringecertificatt or make ytt appeare in this companie thatt Cogges or hissonne or bothe have nott performed the former order on theire parte .and the former order to be disolved al this being Read vnto [by] thewaites they are well content to performe the same ; butt Cogges willnott stand to this order.

The reason for this anticlimax may well be that it finally dawned on Coggs how

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high the stakes had become : he would have been, by signing this agreement, publiclysubscribing to an express monopoly of services by the existing waits, both in-townand abroad, thus cutting himself and his son out of all but the occasional piece ofwork. Still, they had lost the battle . 31 At Michaelmas next, Humphrey settled forfreedom and a nominal fee - the best he could hope for under the circumstances :

30 September 1635 The Waytes and Homfrey Cogges are thus agreedthatt all orders formerly made amongste them shall be disolved andthatt they Waites shall pay him L s thus videlicet xxx s in hand A land'xx s [ath] after Christmas nexte . And Cogges to be art libertie to playwhere hee will or can and when bee will .

Implicit in the foregoing struggle between the Cogges and the town waits are anumber of details and circumstances which require further comment . Let meremark briefly on three . First and foremost is the threatened monopoly of townbusiness . We should recall that in Newark since 1565 (and elsewhere in England aswell) a monopoly by the waits was already an accomplished fact . 33 This was noidle threat. Second, the return of the liveries and the escutcheon, an apparentlyminor bureaucratic detail, in fact lies at the center of the problem . The liveryallowed musicians to travel with relative ease ; it was a clear mark of distinction,achievement, and preferment, all of which translated into opportunity and higherfees in other towns . Since Humphrey Cogges knew, from his own past experience,the routines and itinerary of the appointed waits - and was himself undoubtedlyknown in the towns along the way - it was an easy, if audacious, matter for himand William to dress in blue and leave a few days early . Who could guess they werebogus? Who would care - except the real waits who followed in their tracks? Nowonder the Nottingham waits took the matter up at home with the CommonCouncil .

Travelling on tour, then, was essential to the livelihoods of these and most otherwaits, and of independent musicians as well . Certainly there seems to have been noshortage of them - and that is the third point to be made about the Cogges case .An underlying cause of strife on both sides throughout the struggle was an abun-dance and an availability of musicians, local and otherwise, in Nottingham . And in-deed, as we can gather from the records, the town was simply swarming with them .

If we leave aside the Nottingham waits and simply tally the waits who visitedNottingham, we may be able to get some idea of what alternative musical talent wasavailable to the town from elsewhere . During the sixteenth century alone, waits fromthirty-nine different towns played in Nottingham . This is well over half of theseventy-three towns to have waits as listed by Woodfill (pp 293-5) ; Nottingham, infact, provides the only evidence for fourteen of these seventy-three companies .Rather than run through a long and repetitious chronological count of waits visit-ing Nottingham, let me list those who appeared during the course of one accountingyear and let that stand for many . In 1587-8, the Nottingham records indicate thatin addition to providing support and liveries for their own waits, the town paid var-ious sums to the waits of Blyth, Lichfield, Rotheram, Grantham, Boston, Lincoln(twice), Wigan in Lancashire, Retford, Leicester, Coventry, Shrewsbury, Newark,

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and Burton-upon-Trent. An abundance of talent, surely . But to put even this extra-ordinary profusion of waits into perspective, we ought also to note that the townrewarded, that same year, the following separate musical groups : `Mr. CandishMusicians,' Thomas the blind harper, 4 musicians, Sir Thomas Stanhope's musicians(twice), 4 `munitions,' 4 musicians and minstrels, the Earl of Sussex's musicians andplayers, the Earl of Essex's musicians and players (twice), Sir George Hasting's mus-icians and players (twice), `Mr . Ferres' musicians, 2 poor minstrels, 3 musicians,`Mr. Werlers' musicians, 3 musicians, 2 muscians, 3 musicians, 4 musicians,'Mr .Ambrose' musicians, Mr . Varnes' musicians, 3 musicians, 3 musicians, Sir JohnMunson's musicians, 3 other musicians, `3 musicians more,' 3 musicians, `ThomasFrench' musicians, 3 musicians of Chesterfield, 2 musicians, and `Mr . Dutton ofDutton musicioners.' That year the Earl of Leicester's players and two bearwardsappeared as well.

The activities of the waits, then, were only part of a vast array of musical en-tertainments in Nottingham and Nottinghamshire . At the start of this paper Isuggested that waits and musicians had special importance in assessing the dramatictraditions of this county . And my final observation is really quite simple . The musi-cal activities here, for the whole of the time we have records, virtually eclipse thedrama . Because of this, the prevailing frame of reference in the records themselvesis musical, no matter what terms are used . Thus, early accounts in Newark use`ministrallis,"musicionis,' `histrionic,' and 'tibisinariis' in precisely the oppositeway that we, as historians of the drama, would hope : these terms all refer to waits . 35Thus, too, Nottingham Chamberlains refer repeatedly to `players' ; but the likelihoodis that these players quite often played instruments rather than plays . Sometimesthe evidence for this is incontrovertible . In 1591, for example, `musicians dwellingin Rotheram' are paid, and, in the entry immediately following, `other plaiers'receive payment. But most of the time the context does not make a `players'function clear, and we are, I would suggest, in serious danger of distorting the evi-dence. The Nottinghamshire waits and musicians can teach us, I hope, that there isno standard or formula to `fix' the often quite distinct dramatic traditions of Englishcounties . They are as diverse and unpredictable as the society they mirror, and mustfinally be taken on their own terms .

NOTES

1 A version of this paper was read at the 16th Congress on Medieval Studies, the Medieval In-stitute, Western Michigan University, Kalamazoo, Michigan, in May 1981 .

2 For a survey of scholarship to 1975, see C . Clifford Flanigan `The Liturgical Drama and ItsTradition : a Review of Scholarship 1965-1975,' RORD 18 (1975), 81-102 ; 19 (1976), 109-36 .

3 See, for example, JoAnna Dutka, Music in the English Mystery Plays (Kalamazoo, 1980),and Carole Janssen, "The Waytes of Norwich and an Early Lord Mayor's Show," RORD 22(1979),57-64 .

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4 John C. Coldewey (ed), Nottinghamshire, Records of Early English Drama (Toronto, forth-coming) .

5 Nottinghamshire Records Office (hereafter NRO) MS CA 1660a, f Iv . The Nottingham waitswere paid in York in 1448 : see Alexandra F . Johnston and Margaret Rogerson (eds), York,Records of Early English Drama (Toronto, 1979), p 133 .

6 The waits' escutcheons were newly enamelled and their collars repaired in 1495-6 : see NROMS CA 1605, f 2v . The chains for their escutcheons are referred to in 1543-4 : see NRO MSCA 1607, f 13 .

7 The bonds are first recorded in 1502 (NRO MS CA 3352, p 1) . In records of the sixteenthand seventeenth centuries such references become commonplace .

8 Starting in 1587-8, four waits' liveries were issued, although only three men are named aswaits in the Chamberlains's Accounts (NRO MS CA 3369, f 2v, p 38) . Four men are firstnamed as waits in 1598-9 (NRO MS CA 3377, p 2) .

9 NRO MS CA 1612, f 2 .10 See the Trinity Guild Accounts in the Newark Corporation Minute Book (hereafter NCMB),

now at Newark Town Hall, ff 1-20, passim .11 See NCMB, ff 5, 13, 246, where these numbers of waits are first recorded .12 Newark Museum (hereafter NM) Bundle D .675/C 9 .13 NRO MS CA 67, rolls 15, 24 .14 For reference to these celebrations and the waits' attendance at them, see NRO MSS CA 4770,

p 12 ; CA 1608, f 4v ; CA 1610A, f 3 ; CA 1601B, ff 8v, 9 ; CA 1629, p 11 ; CA 1631, pp 33, 37 ;CA 1634, f 8 .

15 NRO MS CA 3392, f 29v .16 NRO MS CA 3402, pp 60, 61 .17 NRO MS CA 23a, rolls 5, 6 .18 NRO MS CA 3352, p 1 .19 See Walter L . Woodfill, Musicians in English Society from Elizabeth to Charles I (Princeton,

1953 Frpt New York, 19691), 247 .20 NCMB, ff 220, 234.21 NCMB, f 235 .22 For the first and last appearances of Thomas French, see NRO MSS CA 1610B, f 8v, and CA

1627, p 19 ; for those of William French, see CA 3362, p 4, and CA 3371, f 2v ; for Roger French,see CA 3368, f 2v, and CA 3401, p 2 .

23 NRO MS CA 3377, p 2 .24 In the Middleton Accounts : Nottingham University Library MS Mi A 57, f 14v .25 NRO MS CA 3407, p 46 .26 NRO MS CA 3407, p 2 .27 NRO MS CA 3408, p 3 .28 NRO MS CA 3408, pp 56, 57c .29 NRO MS CA 3409, p 5 .30 NRO MS CA 3409, p 48 .31 But not the war. The waits were disbanded during the turbulent 1640s . When in 1653 the town

agreed once more to have its own waits, William Cogges was one of them . He continued in thatcapacity until 1675 . See W.T . Baker, Records of the Borough of Nottingham (London, 1900),432-7,passim .

32 NRO MS CA 3410, p 64 .33 The waits of Lincoln, Leicester, Manchester (and neighbouring Salford), Westminster, Beverley,

Norwich, and no doubt many other towns where records have not survived, all enjoyed mono-

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polies . See Woodfull, 99-104, 11934 NRO MS CA 1627, ff 6-14.35 See NCMB, ff 4, 5v, 7, 9v, 12, 14, 16v, 19v .36 NRO MS CA 3372, p 21 .

DAVID MILLS

Edward Gregorie - a `Bunbury scholar'

`A narrow vol., rebound in vellum and kept in a case, pp . 194 parchment (num-bered 1-192 due to omission of pp . between 119, 120) pp . 4 paper' is the desc-ription in the catalogue of the Cheshire County Record Office of 'Bunbury Register1559 to 1653,' the title embossed in gold on a red background on the cover of thevolume . The volume contains principally the records of the baptisms at the parishchurch of St Boniface, Bunbury, Cheshire, between 1598 and 1653 ; marriages be-tween 1593 and 1653 ; and burials between 1559 and 1649 .'

The registers have particular interest to students of medieval drama in view ofthe colophon to the Huntington manuscript of the Chester Mystery Cycle, HM2 .

This reads :Deo gratias, This ys the laste of all the xxiiiitie pageantes and playesplayed by the xxiiii- craftesmen of the Cyttie of Chester, wrytten inthe yeare of our lord God 1591 and in the xxxiiiith yeare of the reigneof our sovereigne Ladye queene Elizabeth, whom God preserve for ever .Amen . Finis . By me Edward Gregorie, scholler at Bunburye, the yeareof our lord God 1591Edwardus Gregorie . 2

F.M . Salter questions the authenticity of the colophon . 3 R.M. Lumiansky and Ihave indicated our dissent from his view, comparing the practice in MS Bodley 175and the difficulties raised by his thesis . 4 But in 1980 we had still not identified thescribe named .

In 1607 the minister at Bunbury, Richard Roe, initiated a new copy of the churchrecords left by his predecessor, Philip Street . 5 The authenticity of the new copy isvalidated at regular intervals - usually at the foot of each page - by some formulasuch as 'Collatum cum exemplari Philippi Street et comprobatum per nos' (p 81) or`Concordat cum originali, test .' (p 147) followed by the names of the vicar - eg,'Riccardum Roe, Minist . de Bunb .' (p 95) - and of his two church wardens - ie,`Ed. Gregorie, John . Stockton, gardianes .' The names are not signatures . Since the1608 record of baptisms also bears these names (p 10), Gregorie and Stockton wereevidently the `guardians' for that year and were then released from office .

The records themselves contain only two references to Edward Gregory . Under

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12

34

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baptisms, p 5 : `1601 March 22 Edmund the supposed sonne of Edward Gregorie .'The entry is in a section which Gregory himself verified . Unfortunately it does notgive the name of the child's mother . And under burials, p 158 : `1628 Aprill 22Edward the sonne of John Gregory of the paryshe of Tatnall .' The entry seems tosuggest that Edward was not born in Bunbury but in the neighbouring parish ofTattenhall . Although we cannot be absolutely certain that the churchwarden,putative father and deceased were the same man, or that he is the same man as theHM2 scribe, there are no other 'Gregories' in the entries of this time and `Edward' isnot a particularly frequent Christian name . The paucity of surnames might bear outthe view that Edward was not a member of a Bunbury family . And given the datesand his evident literacy, it seems probable that this man is indeed the HM2 scribe .

Questions still hang around Gregory . I have not yet found records of his birth orpossible marriage, or further records concerning his `supposed' son . Most tantalisingof all, the records give no indication of why he should assume the title of `scholar .'Probably further investigations into the local records which I am undertaking willanswer some of these questions, and perhaps also identify the `Richard Gregorie'named on the first page of the manuscript .

NOTES

Page numbers cited below refer to the pencilled numbers on the pages .R.M. Lumiansky and David Mills (eds), The Chester Mystery Cycle, vol 1 : Text, EETS, SS 3(London, 1974), 533 .`The Banns of the Chester Plays,' RES 15 (1939), 443, fn 4 .The Chester Mystery Cycle : A Reduced Facsimile of Huntington Library MS2, with an intro-duction by R .M. Lumiansky and David Mills, Leeds Texts and Monographs : Medieval DramaFacsimiles VI (Leeds 1980), xvi, fn 18 .The date is confirmed by the entry on p 82 :

Heere endeth the Register of Philip Street taken outof the Copie that hee left per me Ri. Roe .

A perfect Register of all that were maryed inthe parish Church of Bunb. from the feast of St. James1607 faithfully collected by [cancelled] by me RichardRoe then Minister of Bunb .

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Ubi Bunt

TRAVELLING PLAYERS AND DEFERRED PAYMENT

David George requests information on instances when an acting company visited anoble or gentle family in the pre-1642 period and the payment for playing wasdeferred. Please write to him at the Department of English, Urbana College, Urbana,Ohio 43078, USA .

Of Note

RAVISIUS TEXTOR'S ECCLESIA

The English translation made by Robert Radcliffe, MA, Jesus College, Cambridge,c 1536-47 of Ravisius Textor's Ecclesia, a Latin dramatic dialogue of the earlysixteenth century, has been edited (along with Textor's Latin original) by Dr HerthaSchulze. A limited number of copies of this handprinted, handbound book(Rochester, NY : The Press of the Good Mountain, 1980) are available from theeditor, 3006 Duncan Drive, Adelphi, MD 20783 .

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© University of Toronto Press 1982

ISSN 0700-9283

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