chapel, and afterwards in divers other places.”  Early in his reign he appointed Richard Gibson, one of his father’s company of players, to be “yeoman tailor to the king,” and subsequently “serjeant-at-arms and of the tents and revels;” and in 1546 he granted a patent to Sir Thomas Cawarden, conferring upon him the office of “Magistri Jocorum, Revellorum et Mascorum, omnium et singulorum nostrorum, vulgariter nuncupatorum Revells et Masks,” with a salary of L10 sterling—­a very modest stipend; but then Sir Thomas enjoyed other emoluments from his situation as one of the gentlemen of the Privy Chamber.  The Yeoman of the Revels, who assisted the Master and probably discharged the chief duties of his office, received an annual allowance of L9 2s. 6d., and eight players of interludes were awarded incomes, of L3 6s. 8d.  To these remote appointments of “yeoman tailor,” and “Master of the Revels,” is due that office of “Licenser of Plays,” which, strange to say, is extant and even flourishing in the present year of grace.

As Chalmers has pointed out, however, in his “Apology for the Believers in the Shakespearean Papers,” the King’s Chamberlain, or, as he was styled in all formal proceedings of the time, Camerarius Hospitii, had the government and superintendence of the king’s hunting and revels, of the comedians, musicians, and other royal servants; and was, by virtue of the original constitution of his office, the real Master of the Revels, “the great director of the sports of the court by night as well as of the sports of the field by day.”  Still the odium of his office, especially in its relation to plays and players, could not but attach to his subordinates and deputies the Masters of the Revels; “tasteless and officious tyrants,” as Gifford describes them in a note to Ben Jonson’s “Alchemist,” “who acted with little discrimination, and were always more ready to prove their authority than their judgment, the most hateful of them all being Sir Henry Herbert,” appointed by Charles I. to an office which naturally expired when the Puritans suppressed the stage and did their utmost to exterminate the players.  At the Restoration, however, Herbert resumed his duties; but he found, as Chalmers relates, “that the recent times had given men new habits of reasoning, notions of privileges, and propensities to resistance.  He applied to the courts of justice for redress; but the verdicts of judges were contradictory; he appealed to the ruler of the state, but without receiving redress or exciting sympathy:  like other disputed jurisdictions, the authority of the Master of the Revels continued to be oppressive till the Revolution taught new lessons to all parties.”