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 be conjectural, but the fact is undoubted. The Paul's boys disappear from the Court records after 1590. In 1591 the printer of Endymion writes in his preface that 'Since the Plaies in Paules were dissolved, there are certaine Commedies come to my handes by chaunce', and the prolongation of this dissolution is witnessed to in 1596 by Thomas Nashe, who in his chaff of Gabriel Harvey's anticipated practice in the Arches says, 'Then we neede neuer wish the Playes at Powles vp againe, but if we were wearie with walking, and loth to goe too farre to seeke sport, into the Arches we might step, and heare him plead; which would bee a merrier Comedie than euer was old Mother Bomby'.

A last theatrical period opened for the boys with the appointment about 1600 of a new master. This was one Edward Pearce or Piers, who had become a Gentleman of the Chapel on 16 March 1589, and by 15 August 1600, when his successor was sworn in, had 'yealded up his place for the Mastership of the children of Poules'. I am tempted to believe that in reviving the plays Pearce had the encouragement of Richard Mulcaster, who had become High Master of the grammar school in 1596, and during his earlier mastership of Merchant Taylors had on several occasions brought his boys to Court. Pearce is first found in the Treasurer of the Chamber's Accounts as payee for a performance on 1 January 1601, but several of the extant plays produced during this section of the company's career are of earlier date, and one of them, Marston's 1 Antonio and Mellida, can hardly be later than 1599. A stage direction of this play apparently records the names of two of the performers as Cole and Norwood. The Paul's boys, therefore, were