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 door was cut in the side of the hall and a 'proscenium' or 'porch' built in front of it, which was approached by a wooden 'bridge' or stairway, adorned with a painted roof and hung with greenery. It was a wise precaution, for undergraduates were not excluded, as they had been at Cambridge, and the press on the main staircase of the hall was so great that one of the low bounding walls was broken down and killed a college cook and two other persons. The interior appearance of the hall is fully described by Bereblock. The stage was at the upper or western end, raised high above a flight of steps. The Queen had a high seat beneath a gilded state, the exact location of which is not specified. The lords and ladies were accommodated on scaffolds round the walls, and the lesser personages in galleries above them. Every kind of lighting device seems to have been utilized, including 'ramuli' and 'orbes', in which we may see the 'branches' and 'plates' of the Revels Accounts. The Christ Church hall, with a stage at its upper end, was used again when James came in 1605, and we hear of a dispute between the academic functionaries and those of the Household as to the placing of the King's chair. The latter complained that it was fixed so low that only His Majesty's cheek would be visible to the auditory; the latter attempted to explain that, by the laws of perspective, the King would have a much better view than if he sat higher. There was a solemn debate in the council chamber, resulting in the decision that a King must not merely see, but be seen, and the state was moved to the middle of the hall, twenty-eight feet from the stage, which in fact proved too far, as he could not well hear or understand the long speeches. The Queen and Prince shared the state with the King; in front, but on a lower level, were seats for ladies; the state itself was ringed with lights; on either side were placed nobles; and the populace thronged around the walls.

I think it may be taken that this seating, with the sovereign in the middle of the floor and directly opposite the stage, was that ordinarily employed. It may be illustrated by a French engraving of Louis XIII in Richelieu's Palais Royal theatre of the mid-seventeenth century, which also shows very clearly the seating round the walls and the lighting by means of suspended chandeliers. I notice that Mr. Ernest Law,