Record revealed # Royal accounts from 1605, including expenses to host Shakespeare's plays These financial accounts show more than a list of Royal Household’s expenses. They also provide a glimpse into the extravagant celebrations that took place in James I and VI's court. ![intricate handwriting text in think black ink](https://www.nationalarchives.gov.uk/media/images/image00007.width-400.format-webp.webpquality-70.webp) ## Images ### Image 1 of 2 ![record accounts on paper with thick handwritten text, a list of expenses appears on the right side of the page](https://www.nationalarchives.gov.uk/media/images/master_of_reve.max-1024x1024.format-webp.webpquality-70.webp) Financial accounts from Edmund Tilney, the Master of the Revels for 1604–1605. These were submitted to the Exchequer. #### Partial transcript The plaiers 1604 The poets wch mayd the plaies By the Kings Matis plaiers Hallamas Day being the first of: November A play in the Banketinge house att Whithall called The Moor of Venis By his Matis plaiers The Sunday ffollowinge A play of the Merry wiues of Winsor By his Matis plaiers On St Stiuens Night in the Hall A play called Mesur for Mesur Shaxberd On St Jons night A maske wth Musike presented by the Erl of Penbrok the lord Willownbie & 6 knights more of ye Court By his Matis plaiers On Inosents night The plaie of Errors Shaxberd By the Queens Matis plaiers On Sunday ffolowinge A plaie Caled How to Larne of a women to wooe Hewood The Boyes of the Chapell On Newers Night a playe cauled: All Foulles By Georg Chapman By his Matis plaiers Betwin Newers Day And Twelfe day A play of Loves Labours Lost ### Image 2 of 2 ![record accounts on paper with thick handwritten text, a list of expenses appears on the left side of the page](https://www.nationalarchives.gov.uk/media/images/master_of_reve_D3t4Hik.max-1024x1024.format-webp.webpquality-70.webp) Tilney's accounts continued. According to this document, seven plays by Shakespeare were performed at court during this time. #### Partial transcript The plaiers On Twelfe night The Queens Maties maske of Moures wth Aleven Laydies of honour to Accupayney her matie wch cam in great howes of devises wch wch thay sath in with exceent musike The Poets By his Matis plaiers On the 7 of January was played the play of Henry the fift: By his Matis plaiers The 8 of January a olay called Euery on out of his Umop By his Matis plaiers On Candelmas night a playe Every one In his Umor The Sunday ffollowing A playe provided And discharged By his Matis plaiers On ShrouSunday A play of the Marthant of Venis Shaxberd By his Matis Plaiers On Shroumonday A Tragide of the Spanishe Maz. By his Matis players On Shroutusday A play Cauled The Martchant of Venis Againe Comanded By the Kings Matie Shaxberd ## Why this record matters Date : 1604–1605 Catalogue reference : [AO 3/908](https://discovery.nationalarchives.gov.uk/details/r/C2573912) At the end of October 1605, Edmund Tilney submitted his annual accounts to the Exchequer to be audited for the year 1604–1605. Tilney was James VI and I’s Master of the Revels, originally appointed to this role in 1578 for Elizabeth I. This meant he had been leading the Revels Office, which was part of the Royal Household, for over 25 years when producing these accounts. Revels were festive occasions and formed part of the generous extravagance expected from the Royal Household. This included hosting masques (choreographed dances performed by masked members of the court), banquets, music performances, plays, and other forms of lavish entertainment for the King’s court. From 1560, the Master of the Revels received his funding in advance (known as an imprest). The following year, he was required to submit for audit. Tilney had transformed how revels were performed by creating the ‘Queen’s Men’, a troupe of professional actors who went on to dominate the thriving theatre scene in Elizabethan London. When James became king in 1603, the actors became the ‘King’s Men’, or King’s Players. Before Tilney, the Masters of the Revels created their own entertainments for the court. However, under Tilney’s leadership, the Master of the Revels began working with the Queen’s (and later King’s) Players to select, edit, and produce the performances of others. This included plays from the new generation of playwrights, such as Shakespeare. Tilney was given £100 to support his work, including paying the actors, set and costume makers, and anyone needed to put on the royal entertainments. Tilney himself received a salary of £66, 9 shillings, and 10 pence. However, these accounts are not just about money. They offer insights into what James, and his wife Queen Anna, enjoyed as entertainment. They also highlight the impressive wealth the royal couple wanted to present to their court. Over several months, from All Hallows' Day (1 November), through the Christmas period (the Twelve Nights), and during the few days before Lent (Shrove Sunday, Monday, and Tuesday), these accounts show the plays and masques performed at court. Some of these are unknown to us now, but others remain very popular. This includes Shakespeare’s The Merchant of Venice, which the King enjoyed so much he asked for it to be performed a second time. The accounts do not explain why James asked for it to be performed again, but its themes of religious tension, law and justice likely appealed to the King. Unfortunately, Master of the Revels accounts survive only for 1604–1605 and 1611–1612 at The National Archives. Despite this, the remaining accounts help us imagine the lavish performances that took place over 400 years ago in the King’s Court. 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