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 The actors themselves were not wholly without protection from the elements. De Witt depicts two heavy classical columns, which stand on square bases rather farther back than the middle of the stage and a little way from each side of it. These support a pent-house roof, which starts from the level of the eaves of the 'tectum' over the top gallery, and descends in a steep slope to a level opposite to the middle of the second gallery, where it slightly projects beyond the supporting columns. Behind and above it rises a kind of hut, conspicuous above the 'tectum' and forming a superstructure to the tire-house. Its front has less width than that of the tire-house, and its side is shown in clumsy perspective, which is apparently followed round by the pent-house below it. The pent-house is the only thing in the drawing, that can represent the 'shadow' or 'heavens', which several allusions point to as a regular feature in the public theatres, and which certainly existed at the Rose, the Fortune—and therefore presumably the Globe—and the Hope. But it must be admitted that this sharply sloping roof, coming down low and considerably impeding the vision of the spectators at any rate in the top gallery, does not agree very well with the notion of a heavens dominating the stage, elaborately decorated, and serving for the display of spectacular effects, which were surely meant to be visible to all. It is possible that De Witt's halting draughtsmanship has failed him in