fraternity, mentions, in 1408, books of plays, various banners and flags, beards, vizards, crowns, diadems, and scaffolds, belonging to the society; which shows that its members were at that time concerned in the representation of Miracle-plays. It appears that a few years afterwards these performances, because of certain abuses attending them, were discontinued; but in 1426 William Melton, a friar, who is called "a professor of holy pageantry," preached several sermons in favour of them; and the result of his efforts was, that they were then made annual, suitable measures being taken for preventing the former disorders. But the best evidence as to the share the clergy had in these representations is furnished by the account-book of Thetford Priory from 1461 to 1540, which contains numerous entries of payments to players, and in divers cases expressly states that members of the convent assisted in the performances. These were commonly held two or three times a year: in 1531 there were five repetitions of them; after which time there are but three entries of plays wherein the members participated with the common actors; the old custom being broken up most likely by the progress of the Reformation. Further information on the subject is supplied by Dean Colet, who in 1511 delivered an oratio ad clerum at St. Paul's, in which he complains that the clergy lose themselves in banquetings and vain discourse, in plays and sports, in hawking and hunting; and he urges

them to study the laws and holy rules of the fathers, which forbid clergymen to be traders, usurers, hunters, public players, or soldiers.

The custom in question, however, was by no means universal. We have already seen that in 1391 and 1409 plays were acted by the parish clerks of London. In cities and large towns, these performances were generally in the hands of the trading companies. Our information touching the Corpus Christi plays at Coventry extends from 1416 to 1591; during which period there is no sign of the clergy having any share in them. The records. of Chester also show that the whole business was there managed by laymen. And in 1487 a Miracleplay on the descent of Christ into hell was acted before Henry VII. by the charity boys of Hyde Abbey and St. Swithin's Priory. Long before this date, acting was taken up as a distinct profession, and regular companies of actors were formed; but of these we shall have to speak more hereafter.

That churches and chapels of monasteries were at first, and for a long time after, used as theatres, is very certain. The Anglo-French poem already referred to informs us that Miracle-plays were sometimes performed in churches and cemeteries, the clergy getting them up and acting in them. And Burnet tells us that Bishop Bonner as late as 1542 issued an order to his clergy, forbidding "all manner of common plays, games, or interludes to be played, set forth, or declared within their

churches and chapels." Nor was the custom wholly discontinued till some time after that; for in 1572 was printed a tract which has a passage inferring that churches were still sometimes used for such purposes. The author is remarking how the clergy read the service: "He again posteth it over as fast as he can gallop; for either he hath two places to serve, or else there are some games to be played in the afternoon, as lying for the whetstone, heathenish dancing for the ring, a bear or a bull to be baited, or else jack-an-apes to ride on horseback, or an interlude to be played; and if no place else can be gotten, it must be done in the church."

When plays were performed in the open air, temporary scaffolds or stages were commonly erected for the purpose; though in some cases the scaffold was set on wheels, so as to be easily moved from one part of the town to another. From an account of Chester, written in the time of Elizabeth, it appears that the structure there used had two stages, one above the other; the lower being closed in, to serve as a dressing-room for the actors; while the performance was on the upper stage where it could be seen by all the spectators. Sometimes the lower stage seems to have been used for hell, the devils rising out of it, or sinking into it, as occasion required. It is pretty evident, however, that in some of the plays more than one scaffold must have been used. And Mr. Collier thinks there can be no doubt, from some of the stage-directions in the

Towneley and Coventry plays, that two, three, and even four scaffolds were erected round a centre, the actors going from one to another across "the mid place," as the scene changed, or their several parts required.

As to the general character of the plays themselves, this may best be shown by brief analyses of some of them. Our specimens will be chiefly from the Towneley series, as these are the most ancient. The first play of the set includes the Creation, the revolt of Lucifer and his adherents, and their expulsion from heaven. It opens with a short address from the Deity, who then begins the creation, and, after a song by the cherubim, descends from the throne and retires; Lucifer usurps it, and asks his fellows how he appears. The good and bad angels have different opinions on the subject: the Deity soon returns, and ends the dispute by casting the rebels with their leader out of heaven. Adam and Eve are then created, and Satan ends the piece with a speech venting his envy of their happiness in Eden.

The second play relates to the killing of Abel. It is opened by Cain's plough-boy with a sort of prologue, in which he declares himself "a merry lad," and warns the spectators to be silent, wishing, if any one make a noise, "the devil hang him up to dry." Cain then enters with a plough and team, and quarrels with the boy for refusing to drive the team. Presently Abel comes in, and wishes God

may speed Cain, who meets his kind word with a very unmentionable request. The killing then proceeds, and is followed by the cursing of Cain; after which he calls the boy, and beats him "but to use his hand;" he owns the slaying of his brother, and the boy counsels flight, lest the bailiffs catch them. Next we have a course of buffoonery: Cain makes a mock proclamation in the king's name; the boy repeats it blunderingly after him, and is then sent off with the team; and the piece ends with a speech by Cain to the spectators, bidding them farewell for ever, before he goes to the devil.

The third of the series is occupied with the Deluge. After a lamentation from Noah on the sinfulness of the world, God is introduced, repenting that He has made man, telling Noah how to build the Ark, and blessing him and his. Noah's wife is an arrant shrew, and they fall at odds in the outset, both of them swearing by the Virgin Mary : she complains that he does nothing for the family. Noah begins and finishes the Ark on the spot, "in the name of the Father, and of the Son, and of the Holy Ghost;" then tells his wife what is coming, and invites her on board. His description of the flood is rather poetical; part of it may be rendered in modern English thus: "Behold the heavens! All the cataracts are opened, both great and small; the seven planets have left their stations; thunders and lightning strike down the strong halls, bowers, castles, and towers." Her ladyship stoutly refuses