The managers were also authorised to fix such rates of
admission as were customary or reasonable "in regard of the great
expenses of scenes, music, and such new decorations as have not been
formerly used:" with full power "to make such allowances out of that
which they shall so receive to the actors and other persons employed
in the same representations, in both houses respectively, as they
shall think fit." For these patents other grants were afterwards
substituted, Davenant receiving his new letters on January 15th, and
Killigrew _his_ on April 25th, 1662. The new grants did not differ
much from the old ones, except that the powers vested in the patentees
were more fully declared. No other companies but those of the two
patentees were to be permitted to perform within the cities of London
and Westminster; all others were to be silenced and suppressed.
Killigrew's actors were styled the "Company of his Majesty and his
Royal Consort;" Davenant's the "Servants of his Majesty's
dearly-beloved brother, James, Duke of York." The better to preserve
"amity and correspondence" between the two theatres, no actor was to
be allowed to quit one company for the other without the consent of
his manager being first obtained.
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