Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane
Identifieur interne : 001464 ( Istex/Corpus ); précédent : 001463; suivant : 001465Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane
Auteurs : Graham F. BarlowSource :
- Theatre Research International [ 0307-8833 ] ; 1988.
Abstract
In 1616 Christopher Beeston converted a cockpit in Drury Lane into a playhouse known as the Phoenix or Cockpit in Drury Lane. It was the second enclosed and private theatre in Jacobean London, Blackfriars being the first. With the exception of the Cockpit in Court, this theatre not only survived the vicissitudes of the Interregnum, continuing to operate covertly and sporadically, but also it emerged at the Restoration already adapted with some limited capacity for mounting productions decorated with changeable scenery. Yet in spite of their historical importance what is known about the architecture of this and the other private theatres, the Blackfriars and the Salisbury Court, remains essentially speculative. Because of the lack of specific internal and external graphic evidence, reconstructions of these theatres have been made from deductions drawn from close readings of play texts. With regard to the Phoenix or Cockpit in Drury Lane, Leslie Hotson laid the foundations for basic research into its reconstruction when, in The Commonwealth and Restoration Stage, he wrote up his discovery of documents in the Public Record Office that dealt obliquely with the site on which the theatre was built. However, he was reluctant to accept the contemporary evidence afforded him by Hollar in his View of West London, 1657, [Fig. 26], Unfortunately we have no graphic information as to the shape and appearance of the Cockpit Theatre, I fully expected to find a clear representation of it in Hollar's Bird's-eye View of West Central London, drawn in 1657, but I was disappointed; unless indeed we are to take a three-gabled structure, which stands where the Cockpit should be, for the theatre.
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DOI: 10.1017/S0307883300014218
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Barlow</name><affiliation><mods:affiliation>Graham Barlow lectures in theDepartment of Theatre, Film & Television Studies, University of Glasgow.</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:70A6468122C9E972818D3F34107DFC3572F4BFB1</idno><date when="1988" year="1988">1988</date><idno type="doi">10.1017/S0307883300014218</idno><idno type="url">https://api.istex.fr/ark:/67375/6GQ-DL174KT5-N/fulltext.pdf</idno><idno type="wicri:Area/Istex/Corpus">001464</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">001464</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</title><author><name sortKey="Barlow, Graham F" sort="Barlow, Graham F" uniqKey="Barlow G" first="Graham F." last="Barlow">Graham F. Barlow</name><affiliation><mods:affiliation>Graham Barlow lectures in theDepartment of Theatre, Film & Television Studies, University of Glasgow.</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Theatre Research International</title><title level="j" type="abbrev">Theatre Research International</title><idno type="ISSN">0307-8833</idno><idno type="eISSN">1474-0672</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1988">1988</date><biblScope unit="volume">13</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="30">30</biblScope><biblScope unit="page" to="44">44</biblScope></imprint><idno type="ISSN">0307-8833</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0307-8833</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">In 1616 Christopher Beeston converted a cockpit in Drury Lane into a playhouse known as the Phoenix or Cockpit in Drury Lane. It was the second enclosed and private theatre in Jacobean London, Blackfriars being the first. With the exception of the Cockpit in Court, this theatre not only survived the vicissitudes of the Interregnum, continuing to operate covertly and sporadically, but also it emerged at the Restoration already adapted with some limited capacity for mounting productions decorated with changeable scenery. Yet in spite of their historical importance what is known about the architecture of this and the other private theatres, the Blackfriars and the Salisbury Court, remains essentially speculative. Because of the lack of specific internal and external graphic evidence, reconstructions of these theatres have been made from deductions drawn from close readings of play texts. With regard to the Phoenix or Cockpit in Drury Lane, Leslie Hotson laid the foundations for basic research into its reconstruction when, in The Commonwealth and Restoration Stage, he wrote up his discovery of documents in the Public Record Office that dealt obliquely with the site on which the theatre was built. However, he was reluctant to accept the contemporary evidence afforded him by Hollar in his View of West London, 1657, [Fig. 26], Unfortunately we have no graphic information as to the shape and appearance of the Cockpit Theatre, I fully expected to find a clear representation of it in Hollar's Bird's-eye View of West Central London, drawn in 1657, but I was disappointed; unless indeed we are to take a three-gabled structure, which stands where the Cockpit should be, for the theatre.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Graham F. Barlow</name><affiliations><json:string>Graham Barlow lectures in theDepartment of Theatre, Film & Television Studies, University of Glasgow.</json:string></affiliations></json:item></author><articleId><json:string>01421</json:string></articleId><arkIstex>ark:/67375/6GQ-DL174KT5-N</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>In 1616 Christopher Beeston converted a cockpit in Drury Lane into a playhouse known as the Phoenix or Cockpit in Drury Lane. It was the second enclosed and private theatre in Jacobean London, Blackfriars being the first. With the exception of the Cockpit in Court, this theatre not only survived the vicissitudes of the Interregnum, continuing to operate covertly and sporadically, but also it emerged at the Restoration already adapted with some limited capacity for mounting productions decorated with changeable scenery. Yet in spite of their historical importance what is known about the architecture of this and the other private theatres, the Blackfriars and the Salisbury Court, remains essentially speculative. Because of the lack of specific internal and external graphic evidence, reconstructions of these theatres have been made from deductions drawn from close readings of play texts. With regard to the Phoenix or Cockpit in Drury Lane, Leslie Hotson laid the foundations for basic research into its reconstruction when, in The Commonwealth and Restoration Stage, he wrote up his discovery of documents in the Public Record Office that dealt obliquely with the site on which the theatre was built. However, he was reluctant to accept the contemporary evidence afforded him by Hollar in his View of West London, 1657, [Fig. 26], Unfortunately we have no graphic information as to the shape and appearance of the Cockpit Theatre, I fully expected to find a clear representation of it in Hollar's Bird's-eye View of West Central London, drawn in 1657, but I was disappointed; unless indeed we are to take a three-gabled structure, which stands where the Cockpit should be, for the theatre.</abstract><qualityIndicators><score>10</score><pdfWordCount>7493</pdfWordCount><pdfCharCount>39133</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>20</pdfPageCount><pdfPageSize>431.28 x 633.6 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>271</abstractWordCount><abstractCharCount>1700</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</title><pii><json:string>S0307883300014218</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>Theatre Research International</title><language><json:string>unknown</json:string></language><issn><json:string>0307-8833</json:string></issn><eissn><json:string>1474-0672</json:string></eissn><publisherId><json:string>TRI</json:string></publisherId><volume>13</volume><issue>1</issue><pages><first>30</first><last>44</last><total>15</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-DL174KT5-N</json:string></ark><categories><wos></wos><scienceMetrix></scienceMetrix><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Literature and Literary Theory</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Visual Arts and Performing Arts</json:string></scopus><inist><json:string>1 - sciences humaines et sociales</json:string><json:string>2 - art et archeologie</json:string></inist></categories><publicationDate>1988</publicationDate><copyrightDate>1988</copyrightDate><doi><json:string>10.1017/S0307883300014218</json:string></doi><id>70A6468122C9E972818D3F34107DFC3572F4BFB1</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-DL174KT5-N/fulltext.pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-DL174KT5-N/bundle.zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/ark:/67375/6GQ-DL174KT5-N/fulltext.tei"><teiHeader><fileDesc><titleStmt><title level="a">Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://scientific-publisher.data.istex.fr">Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><availability><licence><p>Copyright © International Federation for Theatre Research 1988</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>1988</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a">Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</title><author xml:id="author-0000"><persName><forename type="first">Graham F.</forename><surname>Barlow</surname></persName><affiliation>Graham Barlow lectures in theDepartment of Theatre, Film & Television Studies, University of Glasgow.</affiliation></author><idno type="istex">70A6468122C9E972818D3F34107DFC3572F4BFB1</idno><idno type="ark">ark:/67375/6GQ-DL174KT5-N</idno><idno type="DOI">10.1017/S0307883300014218</idno><idno type="PII">S0307883300014218</idno><idno type="article-id">01421</idno></analytic><monogr><title level="j">Theatre Research International</title><title level="j" type="abbrev">Theatre Research International</title><idno type="pISSN">0307-8833</idno><idno type="eISSN">1474-0672</idno><idno type="publisher-id">TRI</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1988"></date><biblScope unit="volume">13</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="30">30</biblScope><biblScope unit="page" to="44">44</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1988</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>In 1616 Christopher Beeston converted a cockpit in Drury Lane into a playhouse known as the Phoenix or Cockpit in Drury Lane. It was the second enclosed and private theatre in Jacobean London, Blackfriars being the first. With the exception of the Cockpit in Court, this theatre not only survived the vicissitudes of the Interregnum, continuing to operate covertly and sporadically, but also it emerged at the Restoration already adapted with some limited capacity for mounting productions decorated with changeable scenery. Yet in spite of their historical importance what is known about the architecture of this and the other private theatres, the Blackfriars and the Salisbury Court, remains essentially speculative. Because of the lack of specific internal and external graphic evidence, reconstructions of these theatres have been made from deductions drawn from close readings of play texts. With regard to the Phoenix or Cockpit in Drury Lane, Leslie Hotson laid the foundations for basic research into its reconstruction when, in The Commonwealth and Restoration Stage, he wrote up his discovery of documents in the Public Record Office that dealt obliquely with the site on which the theatre was built. However, he was reluctant to accept the contemporary evidence afforded him by Hollar in his View of West London, 1657, [Fig. 26], Unfortunately we have no graphic information as to the shape and appearance of the Cockpit Theatre, I fully expected to find a clear representation of it in Hollar's Bird's-eye View of West Central London, drawn in 1657, but I was disappointed; unless indeed we are to take a three-gabled structure, which stands where the Cockpit should be, for the theatre.</p></abstract></profileDesc><revisionDesc><change when="1988">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-DL174KT5-N/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">TRI</journal-id><journal-title>Theatre Research International</journal-title><abbrev-journal-title>Theatre Research International</abbrev-journal-title><issn pub-type="ppub">0307-8833</issn><issn pub-type="epub">1474-0672</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0307883300014218</article-id><article-id pub-id-type="pii">S0307883300014218</article-id><article-id pub-id-type="publisher-id">01421</article-id><title-group><article-title>Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</article-title><alt-title alt-title-type="left-running">Theatre Research International</alt-title><alt-title alt-title-type="right-running">Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</alt-title></title-group><contrib-group><contrib><name><surname>Barlow</surname><given-names>Graham F.</given-names></name><xref ref-type="aff" rid="aff1"></xref></contrib></contrib-group><aff id="aff1">Graham Barlow lectures in the<addr-line>Department of Theatre</addr-line>, <addr-line>Film & Television Studies</addr-line>, <institution>University of Glasgow</institution>.</aff><pub-date pub-type="ppub"><season>Spring</season><year>1988</year></pub-date><volume>13</volume><issue>1</issue><fpage seq="5">30</fpage><lpage>44</lpage><permissions><copyright-statement>Copyright © International Federation for Theatre Research 1988</copyright-statement><copyright-year>1988</copyright-year><copyright-holder>International Federation for Theatre Research</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>In 1616 Christopher Beeston converted a cockpit in Drury Lane into a playhouse known as the Phoenix or Cockpit in Drury Lane. It was the second enclosed and private theatre in Jacobean London, Blackfriars being the first. With the exception of the Cockpit in Court, this theatre not only survived the vicissitudes of the Interregnum, continuing to operate covertly and sporadically, but also it emerged at the Restoration already adapted with some limited capacity for mounting productions decorated with changeable scenery. Yet in spite of their historical importance what is known about the architecture of this and the other private theatres, the Blackfriars and the Salisbury Court, remains essentially speculative. Because of the lack of specific internal and external graphic evidence, reconstructions of these theatres have been made from deductions drawn from close readings of play texts. With regard to the Phoenix or Cockpit in Drury Lane, Leslie Hotson laid the foundations for basic research into its reconstruction when, in <italic>The Commonwealth and Restoration Stage</italic>, he wrote up his discovery of documents in the Public Record Office that dealt obliquely with the site on which the theatre was built. However, he was reluctant to accept the contemporary evidence afforded him by Hollar in his <italic>View of West London</italic>, 1657, [Fig. 26],</p><p>Unfortunately we have no graphic information as to the shape and appearance of the Cockpit Theatre, I fully expected to find a clear representation of it in Hollar's Bird's-eye View of West Central London, drawn in 1657, but I was disappointed; unless indeed we are to take a three-gabled structure, which stands where the Cockpit should be, for the theatre.</p></abstract><counts><page-count count="15"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0307883300014218a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Articles</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><title>Notes</title><fn id="fn01" symbol="1."><label>1.</label><p><citation id="ref001" citation-type="other"><name><surname>Hotson</surname><given-names>L.</given-names></name>, <italic>The Commonwealth and Restoration Stage</italic>, <year>1928</year>, <fpage>88</fpage>–<lpage>99</lpage>.</citation></p></fn><fn id="fn02" symbol="2."><label>2.</label><p><citation id="ref002" citation-type="other">op. cit., <fpage>91</fpage>.</citation></p></fn><fn id="fn03" symbol="3."><label>3.</label><p><citation id="ref003" citation-type="journal"><name><surname>Adams</surname><given-names>J. Q.</given-names></name>, <source>Shakespearean Playhouses</source>, <year>1921</year>, <fpage>348</fpage>–67</citation>. <citation id="ref004" citation-type="journal"><name><surname>Bentley</surname><given-names>G. E.</given-names></name>, <source>The Jacobean and Caroline Stage</source>, vol. <volume>VI</volume>, <year>1956</year>, <fpage>47</fpage>–<lpage>77</lpage></citation>. <citation id="ref005" citation-type="journal"><name><surname>Wickham</surname><given-names>G.</given-names></name>, <source>Early English Stages</source>, vol. <volume>II</volume>, pt. II, <year>1972</year>, <fpage>78</fpage>–<lpage>89</lpage></citation>, emphasises throughout the element of conversion rather than reconstruction. <citation id="ref006" citation-type="thesis"><name><surname>Markwood</surname><given-names>W. B.</given-names></name>, ‘A Study of the Phoenix Theatre in Drury Lane, 1617–1638’, unpub. Ph.D. thesis, <publisher-name>Birmingham Univ.</publisher-name>, <year>1953</year></citation>. <citation id="ref007" citation-type="journal"><name><surname>King</surname><given-names>T. G.</given-names></name>, ‘<article-title>The Staging of Plays at the Phoenix in Drury Lane, 161 7–42</article-title>’, <source>Theatre Notebook</source>, vol. <volume>19</volume>, <year>1965</year>, <fpage>146</fpage>–<lpage>164</lpage>.</citation></p></fn><fn id="fn04" symbol="4."><label>4.</label><p><citation id="ref008" citation-type="journal"><name><surname>Orrell</surname><given-names>J.</given-names></name>, <source>The Theatres of Inigo Jones and John Webb</source>, <year>1985</year>, <fpage>39</fpage>–<lpage>77</lpage></citation>. <citation id="ref009" citation-type="journal"><name><surname>Mackintosh</surname><given-names>I.</given-names></name>, ‘<article-title>Inigo Jones – Theatre Architect</article-title>’, <source>Tabs</source>, vol. <volume>31</volume>, <year>1973</year>, <fpage>99</fpage>–<lpage>105</lpage></citation>. <citation id="ref010" citation-type="journal"><name><surname>Rowan</surname><given-names>D. F.</given-names></name>, ‘<article-title>A Neglected Jones/Webb Theatre Project</article-title>’, <source>New Theatre Magazine</source>, vol. <volume>IX</volume>, No. 3, <year>1969</year>, <fpage>6</fpage>–<lpage>15</lpage></citation>. <citation id="ref011" citation-type="other">‘The English Playhouse: 1595–1630’, <italic>Renaissance Drama</italic>, <volume>IV</volume>, <year>1971</year>, <fpage>37</fpage>–<lpage>51</lpage></citation>. <citation id="ref012" citation-type="other"><name><surname>Harris</surname><given-names>J.</given-names></name> & <name><surname>Tait</surname><given-names>A. A.</given-names></name>, <italic>Catalogue of the Drawings by Inigo Jones at Worcester College Oxford</italic>, <year>1979</year>. <fpage>14</fpage>–<lpage>15</lpage></citation>. Harris dates 78 & 7C 1616 but Orrell, <xref ref-type="bibr" rid="ref012">ibid.</xref>, notes 195, n.11, that R. Higgott prefers 1638 which if substantiated weakens the Jones theory.</p></fn><fn id="fn05" symbol="5."><label>5.</label><p><citation id="ref013" citation-type="other"><name><surname>Orrell</surname></name>, <italic>The Theatres of Inigo Jones</italic>, <fpage>195</fpage>–6</citation>, ns, 22–26; provide a bibliography concerning cockpit architecture to which no useful additions have been found.</p></fn><fn id="fn06" symbol="6."><label>6.</label><p><citation id="ref014" citation-type="other"><name><surname>Orrell</surname><given-names>J.</given-names></name>, <italic>The Quest for the Globe</italic>, <year>1983</year></citation>, analysed the precision of Hollar's representation of the south bank of the Thames.</p></fn><fn id="fn07" symbol="7."><label>7.</label><p>Artisans & Labourers Dwellings Improvement Act, 40 & 41 Victoria cap CXXXIII.</p></fn><fn id="fn08" symbol="8."><label>8.</label><p>G.L.C.R.O., MBW 1877, Enquiry Proceedings.</p></fn><fn id="fn09" symbol="9."><label>9.</label><p><citation id="ref015" citation-type="other">G.L.C.R.O., <year>1877</year> MBW, vol. <volume>5</volume></citation>, & Peabody Trust, WIL2, 3, 3, 1880.</p></fn><fn id="fn10" symbol="10."><label>10.</label><p><citation id="ref016" citation-type="other"><italic>The Survey of London</italic>, vol. <volume>V</volume>, <year>1923</year>, <fpage>34</fpage></citation>, cites conveyance Mountjoy & <citation id="ref017" citation-type="other"><name><surname>Holford</surname><given-names>R.</given-names></name>, 20 <month>01</month> 1566/7</citation>, C54, 9 Eliz, 748 & <italic>Inquisitions Post-Mortems</italic> (<italic>Mdx</italic>), 18 Eliz vol. 174(32).</p></fn><fn id="fn11" symbol="11."><label>11.</label><p>P.R.O., C54/3060/23, Holford & Stratton.</p></fn><fn id="fn12" symbol="12."><label>12.</label><p>Principal documents relating to plots north of the Cockpit site from north to south; 155–151 Drury Lane including 45–46 Queen St. & 1–4 Gt Wild St., 110′, P.R.O., C54/3060/23, (1635) & C54/3984/10, (1654); 148–150 DL & 5–8 Gt WS, 52′6″, G.L.C.R.O., C/82& Stevens, (1651), C/82/257–298, (1651–1883); C/82/242, (1664), notes the Holford-Burton-Best leases of this plot and that Rolleston had lease of a plot on Gt WS, adjacent to Higgins, see Hotson, <xref ref-type="bibr" rid="ref017">ibid</xref>, 97; 147–145 DL & 9–11 Gt WS, 48′, P.R.O., C54/3060/25, <citation id="ref018" citation-type="other"><name><surname>Holford</surname></name> & <name><surname>Lee</surname></name>, (<year>1635</year>)</citation>; 144–141 DL & 12–1461 WS, 78′, Richard Ockonald cited in previous lease, vestryman 1617 & churchwarden 1620, Holburn Public Library, St. Giles Parish Vestry Minutes 1618–1719; 140–139 DL, 15–16 Gt WS, 1–4 Wild Passage, 32′, G.L.C.R.O., MDR 1715.3.158, reference to 1635; 138DL-17 Gt WS, 21′, G.L.C.R.O., MDR 1880.4.574 & MDR 1880.7.818 & MDR 1880.9.786; 137 DL-18 Gt WS, 23′, MDR 1877.36.243, Chadwick.</p></fn><fn id="fn13" symbol="13."><label>13.</label><p>P.R.O., C54/3680/40, Holford & Seagood & G.L.C.R.O., C/82/241, Holford & Stevens.</p></fn><fn id="fn14" symbol="14."><label>14.</label><p><citation id="ref019" citation-type="other">P.R.O., C2 Chas I H 44/26, 9 <month>07</month> <year>1647</year>.</citation></p></fn><fn id="fn15" symbol="15."><label>15.</label><p><xref ref-type="bibr" rid="ref019">ibid.</xref>; C2 Chas I H 44/26 & G.L.R.O., C/82/242.</p></fn><fn id="fn16" symbol="16."><label>16.</label><p>P.R.O., C2 Chas I H 44/26.</p></fn><fn id="fn17" symbol="17."><label>17.</label><p>G.L.C.R.O., Chadwick & M.B.W., MDR 1877.36.243, 23′ × 113′. Jones & M.B.W., MDR not found in search.</p></fn><fn id="fn18" symbol="18."><label>18.</label><p>op. cit., Salaman & M.B.W., MDR 1879.21.595, 16′ × 48′ + 92′; Lewin & M.B.W., MDR 1880.18.95, Chichester and Webber & M.B.W. not found in search but MDR 1712.3.141 Taylor & Thorpe 6 Jan 1712 refers to conveyance <citation id="ref020" citation-type="other"><name><surname>Holford</surname></name> & <name><surname>Raydell</surname></name>, 25 <month>09</month> <year>1674</year></citation> when property clearly included all the above, describing two houses and gardens which had recently been redeveloped to include the property in Drury lane as well as 8 houses built on the previous gardens and house and another house in Wild St., This formed the lane known as Holford or Coulson Court named after the owners. Hollar shows position of one of the original houses in the centre of the site running N-S.</p></fn><fn id="fn19" symbol="19."><label>19.</label><p>G.L.C.R.O., MDR 1721.5.299 Thurland & Smith, refers to leases Holford & A. Busby 1680–2 which suggest that earlier the plot noted n. 19 was the northern boundary of this plot which extended south to the northern side of Princes St., The remainder became the Stewart property down to 1880. No MDR of that date found but G.L.R.C.O., MBW 1887, <citation id="ref021" citation-type="other"><italic>Provisional and Final Awards of the Arbitrators, Great Wild Street Scheme</italic>, <year>1877</year>, <fpage>2</fpage>–<lpage>3</lpage></citation>. states £20,000 paid for Stewart property.</p></fn><fn id="fn20" symbol="20."><label>20.</label><p><citation id="ref022" citation-type="other"><name><surname>Hotson</surname></name>, op. cit., <fpage>94</fpage>–<lpage>98</lpage>.</citation></p></fn><fn id="fn21" symbol="21."><label>21.</label><p><citation id="ref023" citation-type="other">P.R.O., C2 Chas I H44/66, 9 <month>07</month> <year>1647</year></citation>, Hussey Complaint.</p></fn><fn id="fn22" symbol="22."><label>22.</label><p><citation id="ref024" citation-type="other">op. cit., C2 Chas I H28/26, 4 <month>11</month> <year>1647</year></citation>, Rolleston Answer.</p></fn><fn id="fn23" symbol="23."><label>23.</label><p><citation id="ref025" citation-type="other">op. cit., C2 Chas I H28/26, 8 <month>11</month> <year>1647</year></citation>, Kirkes Answer.</p></fn><fn id="fn24" symbol="24."><label>24.</label><p>G.L.R.C.O., M.B.W. Plan No. 3, supra, n. 11.</p></fn><fn id="fn25" symbol="25."><label>25.</label><p>op. cit., Haincs & M.B.W., MDR 1877.36.243, 136 DL, 16′/20′ × 56′ + 30′ for plot 506 & 135 DL, 20′ × 56′. Simes & M.B.W., MDR 1878.4.615, 134 DL, 18′ × 74′. Haines & M.B.W., MDR 1880.9.721, 133 DL, 20′ × 50′ + 24′. The latter deed does not mention Rolleston by name but the conditions regarding an existing lease of 99 years to expire on the same date as the previous deeds suggests that the lease was held by Robert Rolleston.</p></fn><fn id="fn26" symbol="26."><label>26.</label><p>op. cit., Tubbs & M.B.W., MDR 1880.3.822, (Compulsary purchase, no dimensions given).</p></fn><fn id="fn27" symbol="27."><label>27.</label><p>op. cit., MDR 1722.2.67, Rolleston & Bollen.</p></fn><fn id="fn28" symbol="28."><label>28.</label><p>op. cit., Counter-part indentures for this 1721 transaction are all dated 23 December 1721 and are tripartite revealing the way in which the John Rolleston estate was divided among his children. Joshua Rolleston held three houses in Cockpit Alley occupied initially by Stratford, John Le Hunt and John Wilson and later respectively by Richard Butler, Mary Londe and George Bradshaw, (MDR 1722.2.68). Mary Rolleston held ‘all those two several messuages fronting Wild Street in the several tenures of William Bridgewater and Anthony Aldin now John Price and Mary Morton with several yards lying behind the same’, (MDR 1722.2.69). John Eliot and Sarah his wife youngest daughter of John Rolleston held ‘all that messuage or tenement lately erected or built by John Rhodes fronting Wild Street with yard or garden in the tenure of John Patten now James Lodge and all that other messuage or tenement fronting Wild Street in the tenure or occupation of George Alwell now James Thompson with yard behind’, (MDR 1722.2.70). Although it is not altogether critical in this area, [Fig. 29], these houses ‘I’, ‘J’, ‘K’ and ‘L’ in Wild Street have been ascribed according to the way in which they were linked by ownership. Evidence regarding the size of these house may be deduced from the G.L.C.R.O., Hearth Tax Returns, 1664, MR/TH/2; Add Tax 1669–70, MR/TH/8 & 1671–2, MR/TH/21, make no specific mention of Cockpit Alley or the theatre but note the presence in 1664 of an Elizabeth Hutchinson, the ‘owner of an empty house’ with 7 hearths and William Land, (8 hearths); in 1671, Aldwell(Alwell?, 9), Moore(9), Wm Lande(Londe?(9) & John Willson (12). All are entered in close proximity under Weld Street Side not Drury Lane.</p></fn><fn id="fn29" symbol="29."><label>29.</label><p>G.L.C.R.O., MBW 1838, pt. 7, Gilbert an objector to the M.B.W. Scheme at the enquiry but ultimately sold his property later than others and possibly for this reason the conveyance has not been found in the MDR.</p></fn><fn id="fn30" symbol="30."><label>30.</label><p>op. cit., Drew & M.B.W., MDR 1878.30.246, 22 G.W. St., 14′ × 60′; 23 G. W. St., 14′ × 65′.</p></fn><fn id="fn31" symbol="31."><label>31.</label><p>op. cit., Flemming & M.B.W., MDR 1880.1.755.</p></fn><fn id="fn32" symbol="32."><label>32.</label><p>The deed Flemming & M.B.W., MDR 1880.1.755 notes an indenture of 4 September 1819 between William Railton and Richard Fleming reciting,</p><p>All those four messuages situate on the south side of Pitt Place Drury Lane Nos. 1, 2, 3, and 4 and also one other messuage on the north side No 6 which five messuages were formerly four messuages and numbered 3, 5, 6 and 7 and called Cockpit Alley but were then converted into five by pulling down and rebuilding and then in the tenure of Richard Flemming which said five tenements were more particularly described in the plan and ground plot drawn in the margin of the lease now in recital were demised unto the said <citation id="ref026" citation-type="other"><name><surname>Flemming</surname><given-names>Richard</given-names></name> 25 <month>12</month> <year>1818</year></citation> for a term of seventy years at £30 p.a. (No plan was transcribed).</p><p>No. I was a house with a yard, and Nos 2, 3 and 4 had become a registered lodging house. The two remaining houses, 5 and 7 Pitt Place, were respectively in the ownership of Oppenheimer and Smith. The Oppenheimer plot No. 5, indenture 25 April 1878, (MDR 1879, 37, 690), cites a mortgage between J. C. & <citation id="ref027" citation-type="other"><name><surname>Oppenheimer</surname><given-names>J. M.</given-names></name> and <name><surname>Mullinger</surname><given-names>George</given-names></name> which was registered 10 <month>01</month> <year>1860</year></citation>. This document has not been traced. The indenture notes the will of George Mullinger, died 13 April 1878, by which he bequeathed his property to an Anne Charlotte Andrews. The only details regarding No. 7 are as follows, Rev. <citation id="ref028" citation-type="other"><name><surname>Smith</surname><given-names>Ralph Colley</given-names></name> on 3 <month>05</month> <year>1880</year></citation>, (MDR 1880.16.527), conveyed to the M.B.W. all that messuage No. 7 formerly No 2 situate on the north side of Pitt Place which he possessed under a twenty one year lease from June 1873 from one Michael Duggan. The plot 506 which had previously been an open space was leased to Alfred Augustus as an extension to 136 Drury Lane. Augustus managed a brass foundry under the name of Wicks and Herbert. The information in the Railton-Flemming indenture is confusing for it is unclear how the four houses that became five had been laid out on the site.</p></fn><fn id="fn33" symbol="33."><label>33.</label><p>See <citation id="ref029" citation-type="journal"><name><surname>Wickham</surname></name>, <source>E.E.S.</source>, vol. <volume>II</volume>, pt. II, <fpage>87</fpage> & <fpage>88</fpage></citation>, the <italic>Roxana & Messalina</italic> vignettes for speculative representation of the interior of the Phoenix Theatre.</p></fn><fn id="fn34" symbol="34."><label>34.</label><p><citation id="ref030" citation-type="other"><name><surname>Orrell</surname></name>, <italic>The Theatres of Inigo Jones</italic>, <fpage>46</fpage>–<lpage>50</lpage>.</citation></p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>Wenceslas Hollar and Christopher Beeston's Phoenix Theatre in Drury Lane</title></titleInfo><name type="personal"><namePart type="given">Graham F.</namePart><namePart type="family">Barlow</namePart><affiliation>Graham Barlow lectures in theDepartment of Theatre, Film & Television Studies, University of Glasgow.</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1988</dateIssued><copyrightDate encoding="w3cdtf">1988</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">In 1616 Christopher Beeston converted a cockpit in Drury Lane into a playhouse known as the Phoenix or Cockpit in Drury Lane. It was the second enclosed and private theatre in Jacobean London, Blackfriars being the first. With the exception of the Cockpit in Court, this theatre not only survived the vicissitudes of the Interregnum, continuing to operate covertly and sporadically, but also it emerged at the Restoration already adapted with some limited capacity for mounting productions decorated with changeable scenery. Yet in spite of their historical importance what is known about the architecture of this and the other private theatres, the Blackfriars and the Salisbury Court, remains essentially speculative. Because of the lack of specific internal and external graphic evidence, reconstructions of these theatres have been made from deductions drawn from close readings of play texts. With regard to the Phoenix or Cockpit in Drury Lane, Leslie Hotson laid the foundations for basic research into its reconstruction when, in The Commonwealth and Restoration Stage, he wrote up his discovery of documents in the Public Record Office that dealt obliquely with the site on which the theatre was built. However, he was reluctant to accept the contemporary evidence afforded him by Hollar in his View of West London, 1657, [Fig. 26], Unfortunately we have no graphic information as to the shape and appearance of the Cockpit Theatre, I fully expected to find a clear representation of it in Hollar's Bird's-eye View of West Central London, drawn in 1657, but I was disappointed; unless indeed we are to take a three-gabled structure, which stands where the Cockpit should be, for the theatre.</abstract><relatedItem type="host"><titleInfo><title>Theatre Research International</title></titleInfo><titleInfo type="abbreviated"><title>Theatre Research International</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0307-8833</identifier><identifier type="eISSN">1474-0672</identifier><identifier type="PublisherID">TRI</identifier><part><date>1988</date><detail type="volume"><caption>vol.</caption><number>13</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>30</start><end>44</end><total>15</total></extent></part></relatedItem><identifier type="istex">70A6468122C9E972818D3F34107DFC3572F4BFB1</identifier><identifier type="ark">ark:/67375/6GQ-DL174KT5-N</identifier><identifier type="DOI">10.1017/S0307883300014218</identifier><identifier type="PII">S0307883300014218</identifier><identifier type="ArticleID">01421</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © International Federation for Theatre Research 1988</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © International Federation for Theatre Research 1988</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-DL174KT5-N/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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