said William Davenant doth for
himself his heirs, executors, administrators, and assigns,
and every of them, covenant, promise, and agree to and with
our said Sovereign Lord the King, his heirs and successors,
that he, the said William Davenant, his heirs, executors,
administrators, nor assigns shall not, nor will not, by
virtue of the said license and authority to him granted as
aforesaid, frame, erect, new build, or set up upon the said
parcel of ground in Fleet Street aforesaid, or in any other
part of Fleet Street, a theatre or playhouse, nor will not
frame, erect, new build, or set up upon any other parcel of
ground lying in or near the cities, or suburbs of the
cities, of London or Westminster any theatre or playhouse,
unless the said place shall be first approved and allowed by
warrant under His Majesty's sign manual, or by writing under
the hand and seal of the said Right Honorable Thomas, Earl
of Arundel and Surrey. In witness whereof to the one part of
this indenture the said William Davenant hath set his hand
and seal the day and year first above written.

WILLIAM DAVENANT. L.S.

Signed sealed and delivered
in the presence of
Edw. Penruddoks.
Michael Baker.

[Footnote 718: That he did not actually surrender the patent is shown
by the fact that he claimed privileges by virtue of it after the
Restoration; see Halliwell-Phillipps, _A Collection of Ancient
Documents_, p. 48.]

Possibly as a recompense for this surrender of his rights, Davenant
was made Governor of the King's and Queen's Servants at the Cockpit in
June of the following year; and from this time until the suppression
of acting in 1642, he expended his energies in managing the affairs of
this important playhouse.

BIBLIOGRAPHY

[In the following list are included the books and articles
constituting the main authorities upon which the present study is
based. The list is not intended to be an exhaustive bibliography,
though from the nature of the case it is fairly complete. For the
guidance of scholars the more important titles are marked with
asterisks. It will be seen that not all the works are included which
are cited in the text, or referred to in footnotes; the list, in fact,
is strictly confined to works bearing upon the history of the
pre-Restoration playhouses. Considerations of space have led to the
omiss