the other of vellett, with pillowes bolsters and the shetes curiouslie wrowght with needle worke.' Lighting: Lighting for a theatre like the Globe is completely dependent upon the sun. Performances would occur in the afternoon so as to see the performers, since no other sources of lighting were accessible. However, indoor playhouses would have been lit with candles. Costumes: This was the Jacobean era, and Renaissance clothing, often hand-me-downs from noble patrons, would have been appropriate during this time. Especially since this play takes place among wealthy, prestigious characters who belong to The Royal Court, there would have been long dresses with elaborate sleeves and headpieces for most female characters, and form fitting tunics for most of the men as a general rule. Men would wear hose and codpieces, very royal members of The Court might wear jackets with stuffed (bombast) sleeves, and both men and women would be able to wear clothing with some type of colour to it. Due to the sumptuary laws, deep purple was restricted to the nobility of the times. During this period, and until the Restoration (1660) women were not generally accepted on stage. Because of this, the roles of women were played by apprentice boys or the younger men. Padding would be built into their costumes, their heads would be adorned with wigs, and extra make-up would be applied to their faces. The 1623 quarto The Duchess of Malfi was first performed between 1613 and 1614 by the King's Men, an acting group to which Shakespeare belonged. The printer was Nicholas Okes and the publisher was John Waterson. However, the play was not printed in quarto (a smaller, less expensive edition than the larger folio) until 1623. The title page of this particular edition tells us that the play was printed privately. The title page also informs readers that the play text includes numerous passages that were cut for performance. The 1623 quarto is the only substantive version of the play in circulation today, and modern editions and productions are based on it. Notable is that, on the title page of the 1623 quarto, a clear distinction is drawn between the play in performance and the play as a text to be read. Reception and performance history The play was written for and performed by the King's Men in 1613 or 1614. The double cast lists included in the 1623 quarto suggest a