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 specified for prohibition by the proclamation of April 1559, and the City regulations of 1574 are clearly aimed at the control of the 'greate innes, havinge chambers and secrete places adjoyninge to their open stagies and gallyries', and impose obligations for the sake of good order upon inn-*keepers and tavern-keepers in the fore-front of those regarded as likely to harbour plays. It is not reading too much between the lines to suggest that the owners of particular houses specially laid themselves out to secure the attraction of public entertainments, entered into regular contracts with players, and probably even undertook structural alterations which in fact converted their yards into little less than permanent theatres. We have, indeed, the record of a trade dispute about the workmanship of play-scaffolds at the Red Lion in Stepney as far back as 1567. The Red Lion stood outside the jurisdiction of the City. Within it, and so far as we can judge, much more important in the history of the stage were the Bell and the Cross Keys, both in Gracechurch Street, the Bull in Bishopsgate Street, and the Bel Savage on Ludgate Hill. No one of these four is in fact mentioned by name as a play-house earlier than 1575, and although they must have been hard hit by the regulations of 1574, it is clear that they did not go altogether out of use, especially during the winter, when climatic conditions rendered the suburbs unattractive, for another twenty years. Stockwood, in 1578, speaks of six or eight 'ordinarie places' where plays were then performed. Nevertheless the action of the City, and the enterprise of James Burbadge, whose descendants claimed for him the honour of being 'the first builder of playhowses', led to a shifting of the dramatic focus. The Theatre and the Curtain, both built in or about 1576, stood in 'the fields' to the north of London proper, and were perhaps soon followed by Newington Butts on the south side of the river, beyond St. George's Fields; while the Blackfriars, adapted in the same year (1576) by Richard Farrant to house the performances of children, occupied an old monastic building in the precinct of a 'liberty' which, although within the walls, was largely exempt from the jurisdiction of the Corporation. This became the home of the Children of the Chapel, while the Paul's boys played in their own 'song-school', either