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 The threshold theory must not be pushed to a disregard of the clear evidence for a certain amount of interior action. We have already come across examples of shallow recesses, such as a tent, a cave, a bower, a tomb, a shop, a window, within which, or from within which, personages can speak. There are also scenes which must be supposed to take place within a room. In dealing with these, I propose to distinguish between spacious hall scenes and limited chamber scenes. Hall scenes are especially appropriate to palaces. Full value should no doubt be given to the extension in a palace of a porch to a portico, and to the convention, which kings as well as private men follow in Elizabethan plays, especially those located in Italian or Oriental surroundings, of transacting much important business more or less out of doors. The characteristic Roman 'senate house', already described, is a case in point. But some scenes must be in a closed presence chamber. Others are in a formal council room or parliament house. The conception of a hall, often with a numerous company, cannot therefore be altogether excluded. Nor are halls confined to palaces. They must be assumed for law courts. There are scenes in such buildings as the

Glass'', ii. 2037, 'Enter the temple Omnes'. Selimus, sc. xxi. 2019, has
 * [Footnote: yard, where he has been locked up; James IV, ii (stable); ''Looking

Thy bodie in this auntient monument, Where our great predecessours sleep in rest: Suppose the Temple of Mahomet, Thy wofull son Selimus thus doth place.

Is the third line really a s.d., in which case it does not suggest realistic staging, or a misunderstood line of the speech, really meant to run, 'Supposed the Temple of great Mahomet'?]*