The Venetian playwright Carlo Goldoni wrote a few scenarios starting in 1734, but since he considered the genre too vulgar, he refined the topics of his own to be more sophisticated. He also wrote several plays based on real events, in which he included "commedia" characters. The commedia dell’arte allowed professional women to perform early on: Lucrezia Di Siena, whose name is on a contract of actors from 10 October 1564, has been referrd to as the first Italian actress known by name, with Vincenza Armani and Barbara Flaminia as the first primadonna's and the first well documented actresses in Italy (and Europe). Renaissance theatre derived from several medieval theatre traditions, such as, the mystery plays that formed a part of religious festivals in England and other parts of Europe during the Middle Ages. Other sources include the "morality plays" and the "University drama" that attempted to recreate Athenian tragedy. The Italian tradition of "Commedia dell'arte", as well as the elaborate masques frequently presented at court, also contributed to the shaping of public theatre. Since before the reign of Elizabeth I, companies of players were attached to households of leading aristocrats and performed seasonally in various locations. These became the foundation for the professional players that performed on the Elizabethan stage. The tours of these players gradually replaced the performances of the mystery and morality plays by local players, and a 1572 law eliminated the remaining companies lacking formal patronage by labelling them vagabonds. The City of London authorities were generally hostile to public performances, but its hostility was overmatched by the Queen's taste for plays and the Privy Council's support. Theatres sprang up in suburbs, especially in the liberty of Southwark, accessible across the Thames to city dwellers but beyond the authority's control. The companies maintained the pretence that their public performances were mere rehearsals for the frequent performances before the Queen, but while the latter did grant prestige, the former were the real source of the income for the professional players. Along with the economics of the profession, the character of the drama changed toward the end of the period. Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses. With the development of the private theatres, drama became more oriented toward the tastes and values of an upper-class audience. By the later part of the reign of Charles I, few new plays were being written for the public theatres, which sustained themselves on the accumulated works of the previous decades.