Chapter XXV: Humanism and Mediaevalism (7)

Each craft had its own ‘orygynall’ or ‘play-boke,’ and paid for making the necessary copies, for setting or ‘pricking’ songs, for ‘beryng of ye Orygynall’ or prompting, and occasionally for bringing the text up to date. Thus the Smiths had a ‘new rygenale’ in 1491, and in 1573 a ‘new play,’ by which is apparently meant an additional scene to their existing play (cf. p. 423). The Drapers added ‘the matter of the castell of Emaus’ in 1540. The Weavers paid 5_s._ ‘for makyng of the play boke’ in 1535, and the colophon of their extant text shows it to have been ‘newly translate’ in that year by Robert Croo. This was a regular theatrical man of all work. The matter of the Shearmen and Taylors’ play was ‘nevly correcte’ by him in the same year. In 1557 he got 20_s._ from the Drapers ‘for makyng of the boke for the paggen.’ The Smiths paid him in 1563 ‘for ij leves of our pley boke.’ And between 1556 and 1562 he further assisted the Drapers, by playing God, mending the ‘devells cottes,’ supplying a hat for the Pharisee, and manufacturing the requisite ‘iij worldys.’

Finally, there was the not inconsiderable cost of costumes and properties, including the gloves for the performers which figure so invariably in mediaeval balance sheets. Further details as to these and all other objects of expenditure than I have here room for will be found in the invaluable volumes of Mr. Sharp.

_The Destruction of Jerusalem._

In 1584, four years after the ordinary Corpus Christi plays were laid down, the _Annals_ record ‘This year the new Play of the Destruction of Jerusalem was first played.’ This is confirmed by the accounts of the corporation, which include a sum of £13 6_s._ 8_d._ ‘paid to Mr. Smythe of Oxford the xvᵗʰ daye of Aprill 1584 for hys paynes for writing of the tragedye.’ This was one John Smythe, a scholar of the Free School in Coventry and afterwards of St. John’s College, Oxford. The play was produced at considerable expense upon the pageants of the crafts, but the day of performance is not stated. From the detailed accounts of the Smiths and the Cappers, Mr. Sharp infers that it was based upon the narrative of Josephus.

In 1591, the old Corpus Christi plays seem to have been proposed for exhibition, as the MS. of the Shearmen and Taylors’ songs bears the date of May 13 in that year. But on May 19 the corporation resolved ‘that the destruction of Jerusalem, the Conquest of the Danes, or the historie of K[ing] E[dward] the X [Confessor], at the request of the Comons of this Cittie shal be plaied on the pagens on Midsomer daye & St. Peters daye next in this Cittie & non other playes.’ The two last-named plays may have been inspired by the traditional interpretations of the Hox Tuesday custom (cf. vol. i. p. 154). Which was chosen does not appear; but some performance or other was given. Several of the crafts had by this time sold their pageants. Those who had not lent them; and all compounded for the production of a scene by the payment of a sum down. This appears to have gone to one Thomas Massey, who contracted for the production. He had already supplied properties in 1584. In 1603 he quarrelled with the corporation about certain devices shown on the visit of the Princess Elizabeth to Coventry. In 1606 he hired some acting-apparel from the Weavers’ company[801].

_Miscellaneous Plays._

The _Annals_ record:—

1490-1. ‘This year was the play of St. Katherine in the little
Park.’

1504-5. ‘This yeare they played the play of St. Crytyan in the
little parke[802].’

In 1511, one of the pageants at the entry of Henry VIII had a
‘goodly Stage Play’ upon it[803].

The Dyers in 1478, the Cappers in 1525, and the Drapers in 1556, 1566, and 1568 appear to have had plays at their dinners. Probably ‘the Golden Fleece,’ for which the Cappers paid the inevitable Robert Crowe and two others, was a play[804].

The ‘lusores de Coventry’ played at Maxstoke Priory between 1422 and 1461 (Appendix E, ii). ‘Certain Players of Coventrye’ were at court in 1530 (Appendix E, viii).

Towards the end of the sixteenth century occur notices of travelling ‘players of Coventrie.’ They were at Bristol and Abingdon in 1570, and at Leicester in 1569 and 1571. At Abingdon they are described as ‘Mr. Smythes players of Coventree.’ John Smythe, the writer of the Destruction of Jerusalem, was only seven years old in 1570. Mr. Halliwell-Phillipps would read ‘_the_ Smythes’ players[805].’

_The Corpus Christi Procession._

The procession or ‘Ridyng’ on Corpus Christi day is first mentioned in the _Leet Book_ in 1444, and in 1446 is an order ‘quod le Ruydyng in festo Corporis Christi fiat prout ex antiquo tempore consueverint.’ It took place early in the day after a ‘breakfast.’ The craft-guilds rode in it, and provided minstrels and torchbearers. The Trinity Guild seems to have borne a crucifix, and the Guild of Corpus Christi and St. Nicholas the host under a canopy. The accounts of the Smiths include the following items:—

‘1476. Item ffor hors hyre to Herod, iijᵈ.

1489. Item payd for Aroddes garment peynttyng that he went a
prossasyon in, xxᵈ.’

The other extant guild accounts throw no light on the presence of representatives of the plays in the procession; but the Corpus Christi guild itself provided dramatic personages.

‘1501. payd for a Crown of sylver & gyld for the Mare on Corpus Christi
day, xliijˢ ixᵈ.

1539. peny bred for the appostells, vjᵈ.
beiff for the appostles, viijᵈ.
to the Marie for hir gloves and wages, ijˢ.
the Marie to offer, jᵈ.
Kateryne & Margaret, iiijᵈ.
viij virgyns, viijᵈ.
to Gabriell for beryng the lilly, iiijᵈ.
to James & Thomas of Inde, viijᵈ.
to x other apostells, xxᵈ.

1540. for makyng the lilly, iijˢ iiijᵈ.

1541. to Gabryel for beryng the light [lilly?] iiijᵈ.
xij torches of wax for the apostles.

1544. a new coat & a peir of hoes for Gabriell, iijˢ. iiij.[806]’

CROXTON, NORFOLK(?).

See s.v. _Texts_ (i), _Croxton Play_, _The Sacrament_.

DAVENTRY, NORTHAMPTONSHIRE.

The ‘lusores de Daventry’ played at Maxstoke Priory between 1422 and 1461 (Appendix E, ii).

DUBLIN, IRELAND.

The version of the _Quem quaeritis_ used at the Church of St. John the Evangelist in the fourteenth century is printed in Appendix R.

The Chain Book of the City contains the following memorandum, apparently entered in 1498.

Corpus Christi day a pagentis:—

‘The pagentis of Corpus Christi day, made by an olde law and confermed by a semble befor Thomas Collier, Maire of the Citte of Divelin, and Juries, Baliffes and commones, the iiiith Friday next after midsomer, the xiii. yere of the reign of King Henri the VIIth [1498]:

‘Glovers: Adam and Eve, with an angill followyng berryng a swerde. Peyn, xl._s._

‘Corvisers: Caym and Abell, with an auter and the ofference. Peyn, xl._s._

‘Maryners, Vynters, Shipcarpynderis, and Samountakers: Noe, with his shipp, apparalid acordyng. Peyn, xl._s._

‘Wevers: Abraham [and] Ysack, with ther auter and a lambe and ther offerance. Peyn, xl._s._

‘Smythis, Shermen, Bakers, Sclateris, Cokis and Masonys: Pharo, with his hoste. Peyn, xl._s._

‘Skynners, House-Carpynders, and Tanners, and Browders: for the body of the camell, and Oure Lady and hir chil[d]e well aperelid, with Joseph to lede the camell, and Moyses with the children of Israell, and the Portors to berr the camell. Peyn, xl._s._ and Steyners and Peyntors to peynte the hede of the camell. [Peyn,] xl._s._

‘[Goldsmy]this: The three kynges of Collynn, ridyng worshupfully, with the offerance, with a sterr afor them. Peyn, xl._s._

‘[Hoopers]: The shep[er]dis, with an Angill syngyng Gloria in excelsis Deo. Peyn, xl._s._

‘Corpus Christi yild: Criste in his Passioun, with three Maries, and angilis berring serges of wex in ther hands. [Peyn,] xl._s._

‘Taylors: Pilate, with his fellaship, and his lady and his knyghtes, well beseyne. Peyn, xl._s._

‘Barbors: An[nas] and Caiphas, well araied acordyng. [Peyn,] xl._s._

‘Courteours: Arthure, with [his] knightes. Peyn, xl._s._

‘Fisshers: The Twelve Apostelis. Peyn, xl._s._

‘Marchauntes: The Prophetis. Peyn, xl._s._

‘Bouchers: tormentours, with ther garmentis well and clenly peynted. [Peyn,] xl._s._

‘The Maire of the Bulring and bachelers of the same: The Nine Worthies ridyng worshupfully, with ther followers accordyng. Peyn, xl._s._

‘The Hagardmen and the husbandmen to berr the dragoun and to repaire the dragoun a Seint Georges day and Corpus Christi day. Peyn, xl._s._’

This list is immediately followed by a second, practically identical with it, of ‘The Pagentys of Corpus Christi Processioun.’

These pageants, though the subjects are drawn from the usual Corpus Christi play-cycle (with the addition of King Arthur and the nine Worthies), appear, from their irregular order, to be only dumb-show accompaniments of a procession. In 1569 the crafts were directed to keep the same order in the Shrove Tuesday ball riding (cf. vol. i. p. 150), ‘as they are appointed to go with their pageants on Corpus Christi daye by the Chayne Boke[807].’

The same intermixture of profane and sacred elements marks the late and scanty records of actual plays in Dublin.

‘Tho. Fitzgerald, Earl of Kildare and Lord Lieutenant of Ireland in the year 1528, was invited to a new play every day in Christmas, Arland Usher being then mayor, and Francis Herbert and John Squire bayliffs, wherein the taylors acted the part of Adam and Eve; the shoemakers represented the story of Crispin and Crispinianus; the vintners acted Bacchus and his story; the Carpenters that of Joseph and Mary; Vulcan, and what related to him, was acted by the Smiths; and the comedy of Ceres, the goddess of corn, by the Bakers. Their stage was erected on Hoggin Green (now called College Green), and on it the priors of St. John of Jerusalem, of the blessed Trinity, and All Hallows caused two plays to be acted, the one representing the passion of our Saviour, and the other the several deaths which the apostles suffered[808].’ In 1541 there were ‘epulae, comoediae, et certamina ludicra’ when Henry VIII was proclaimed King of Ireland. These included ‘the nine Worthies.’ On the return of Lord Sussex from an expedition against James MacConnell in 1557, ‘the Six Worthies was played by the city[809].’

A seventeenth-century transcript of a lost leaf of the Chain Book has the following order for the St. George’s day procession:—

‘The Pageant of St. George’s day, to be ordered and kept as hereafter followeth:

‘The Mayor of the yeare before to finde the Emperour and Empress with their followers, well apparelled, that is to say, the Emperor, with two Doctors, and the Empress, with two knights, and two maydens to beare the traynes of their gownes, well apparelled, and [the Guild of] St. George to pay their wages.

‘Item: Mr. Mayor for the time being to find St. George a-horseback, and the wardens to pay three shillings and four pence for his wages that day. And the Bailives for the time being to find four horses, with men upon them, well apparelled, to beare the pole-axe, the standard, and the Emperor and St. George’s sword.

‘Item: The elder master of the yeald to find a mayd well aparelled to lead the dragon; and the Clerk of the Market to find a good line for the dragon.

‘Item: The elder warden to find St. George, with four trumpettors, and St. George’s [Guild] to pay their wages.

‘Item: the yonger warden to finde the king of Dele and the queene of Dele, and two knightes to lead the queene of Dele, with two maydens to beare the trayne of her goune, all wholy in black apparell, and to have St. George’s chappell well hanged and apparelled to every purpose with cushins ... russhes and other necessaries belonging for said St. George’s day[810].’

DUNSTABLE, BEDFORDSHIRE.

One Geoffrey, a Norman, was ‘apud Dunestapliam, expectans scholam S. Albani sibi repromissam; ubi quendam ludum de S. Katerina (quem Miracula vulgariter appellamus) fecit; ad quae decoranda petiit a Sacrista S. Albani, ut sibi capae chorales accommodarentur, et obtinuit.’ Unfortunately the ‘capae’ were burnt. This must have been early in the twelfth century, as Geoffrey in grief became a monk, and was Abbot of St. Albans by 1119[811].

EDINBURGH, SCOTLAND.

The civic records show traces of municipal plays in 1554, but it is not clear that they were miracle-plays proper or of long standing. Sir David Lyndsay’s _Satyre of the Thrie Estaitis_ was played in the Greenside between 1550 and 1559 (cf. p. 442). On June 15, 1554, a payment was made to Sir William Makdougall, ‘maister of werk,’ for those ‘that furneist the grayth to the convoy of the moris to the Abbay and of the play maid that samyn day the tent day of Junii instant.’ Makdougall was to deliver to the dean of guild the handscenye [ensign] and canves specifiit in the said tikkit to be kepit to the behuif of the town.’ Sums were also paid this summer for ‘the playing place’ or ‘the play field now biggand in the Grenesid.’

On Oct. 12 Walter Bynnyng was paid for ‘the making of the play graith’ and for painting the ‘handsenye’ and ‘playariss facis.’ He was to ‘mak the play geir vnderwrittin furthcumand to the town, quhen thai haif ado thairwith, quhilkis he has now ressauit; viz. viij play hattis, ane kingis crown, ane myter, ane fulis hude, ane septour, ane pair angell wingis, twa angell hair, ane chaplet of tryvmphe.’

On Dec. 28 ‘the prouest, baillies and counsale findis it necessar and expedient that the litill farsche and play maid be William Lauder be playit afoir the Quenis grace[812].’ I trace a note of regret for the doubtful morals and certain expense of the entertainments which the presence in Edinburgh of the newly-made Regent, Mary of Lorraine, imposed upon the burghers.

EASTERFORD, ESSEX.

Lord Howard rewarded the players of ‘Esterforde’ on Jan. 7, 1482 (Appendix E, vii). This place is now known as Kelvedon.

FOLKESTONE, KENT.

Folkestone players were at New Romney in 1474, and at Lydd in 1479.

FOSTON, LEICESTERSHIRE.

In 1561 the players of ‘Fosson’ borrowed ‘serten stufe’ from the churchwardens of St. Martin’s, Leicester[813].

FYFIELD, OXFORDSHIRE.

See s.v. SHIPTON.

GARBOLDISHAM, NORFOLK.

‘Garblesham game’ was at Harling (q.v.) in 1457.

GREAT CHART, KENT.

‘Chart’ players were at New Romney in 1489.

HADLEIGH, ESSEX.

Lord Howard rewarded the ‘Plaiers of Hadley’ on Dec. 27, 1481 (Appendix E, vii).

HALSTEAD, ESSEX.

There was a play in the church in 1529[814].

HAM STREET, KENT.

Ham players were at Lydd in 1454.

HANNINGFIELD, ESSEX.

‘John Walker of Hanfild’ hired the Chelmsford (q.v.) wardrobe in 1572.

HARLING, NORFOLK.

In 1452 the wardens paid for the ‘original of an Interlude pleyed at the Cherch gate.’ In 1457 payments were made for ‘Lopham game,’ and ‘Garblesham game,’ in 1463 for ‘Kenningale game,’ in 1467 to the ‘Kenyngale players[815].’

HASCOMBE, SURREY.

Amongst the _Loseley MSS._ is a deposition of 1578/9:

‘Coram me Henr. Goringe, ar. xijᵒ die Januar. 1578. George Longherst and John Mill exᵈ sayeth, that on Sondaye last they were together at widow Michelles house, in the parish of Hascombe, and there delyvered their mares to kepe till they came agayne, and sayde that they wold goo to Hascombe Churche, to a kynge playe wᶜʰ then was there. And sayeth yᵗ they went thither and there contynued about an houre, at which tyme the sonne was then downe[816].’

The date suggests a performance on Jan. 6. Evidently a May ‘kynge playe’ is out of the question; but a Twelfth Night King, or a ‘Stella’ belated in the afternoon, are both possible.

HEREFORD, HEREFORDSHIRE.

On April 30, 1440, John Hauler and John Pewte sued Thomas Sporyour in the city court ‘de placito detencionis unius libri de lusionibus, prec. ii_s._ iiij_d._[817]’

The Register of the Corporation for 1503 contains a list of

‘The paiants for the procession of Corpus Christi:

Furst, Glovers. Adam, Eve, _Cayne and Abell_ (erased).

Eldest seriant. Cayne, Abell, and Moysey, Aron.

Carpenters. Noye ship.

Chaundelers. Abram, Isack, Moysey cum iiiiᵒʳ pueris.

Skynners. Jesse.

Flacchers. Salutac̄on of our Lady.

Vynteners. Nativite of our Lord.

Taillours. The iii Kings of Colen.

The belman. The purificac̄on of our Lady, with Symyon.

Drapers. The ... (_blank_) deitours, goyng with the good Lord.

Sadlers. Fleme Jordan.

Cardeners. The castell of Israell.

Walkers. The good Lord ridyng on an asse (“judging at an assize,” in Johnson!) with xii Appostelles.

The tanners. The story of Shore Thursday.

Bochours. The takyng of our Lord.

The eldest seriant. The tormentyng of our Lord with iiii tormentoures, with the lamentac̄on of our Lady [and Seynt John the evaungelist: _faintly added by another hand_].

[Cappers. Portacio crucis usque montem Oilverii: _added_.]

Dyers. Iesus pendens in cruce [_altered by the second hand from_ Portacio crucis et Iohanne evangelista portante Mariam].

Smythes. Longys with his knyghtes.

The eldest seriant. Maria and Iohannes evangelista (_interlined_).

Barbours. Joseth Abarmathia.

Dyers. Sepultura Christi.

The eldest seriant. Tres Mariae.

Porters. Milites armati custodes sepulcri.

Mercers. Pilate, Cayfes, Annas, and Mahounde. [_This last name has been partly erased._]

Bakers. Knyghtes in harnes.

Journeymen cappers. Seynt Keterina with tres(?) tormentors[818].’

At a law day held on Dec. 10, 1548, it was agreed that the crafts who were ‘bound by the grantes of their corporacions yerely to bring forthe and set forward dyvers pageaunttes of ancient history in the processions of the cytey upon the day and fest of Corpus Χρi, which now is and are omitted and surceased’ should instead make an annual payment towards the expense of repairing walls, causeways, &c.[819] The 1503 list seems to concern a dumb-show only, and it cannot be positively assumed that the _lusiones_ of 1440 were a Corpus Christi play.

In 1706 a labourer went through the city in the week before Easter, being Passion week, clothed in a long coat with a large periwig, with a great multitude following him, sitting upon an ass, to the derision of our Saviour Jesus Christ’s riding into Jerusalem, to the great scandal of the Christian religion, to the contempt of our Lord and his doctrine, and to the ill and pernicious example of others[820].

HERNE, KENT.

Herne players were at New Romney in 1429.

HEYBRIDGE, ESSEX.

The churchwardens’ accounts for 1532 show a play, with ‘a fool’ and ‘pagent players,’ apparently in the church[821].

HIGH EASTER, ESSEX.

High Easter men hired the Chelmsford (q.v.) wardrobe in 1570-2.

HIGH HALDEN, KENT.

‘Haldene’ players were at New Romney in 1499.

HOLBEACH, LINCOLNSHIRE.

In 1548 the churchwardens paid vˢ viijᵈ for the ‘costs of the iij kyngs of Coloyne[822].’

HULL, YORKSHIRE.

The accounts of the Trinity House, a guild of master mariners and pilots, contain entries concerning a play of Noah.

‘1483. To the minstrels, vjᵈ.
To Noah and his wife, jˢ vjᵈ.
To Robert Brown playing God, vjᵈ.
To the Ship-child, jᵈ.
To a shipwright for clinking Noah’s ship, one day, vijᵈ.
22 kids for shoring Noah’s ship, ijᵈ.
To a man clearing away the snow, jᵈ.
Straw, for Noah and his children, ijᵈ.
Mass, bellman, torches, minstrels, garland, &c., vjˢ.
For mending the ship, ijᵈ.
To Noah for playing, jˢ.
To straw and grease for wheels, ¼ᵈ.
To the waits for going about with the ship, vjᵈ.
1494. To Thomas Sawyr playing God, xᵈ.
To Jenkin Smith playing Noah, jˢ.
To Noah’s wife, viijᵈ.
The clerk and his children, jˢ vjᵈ.
To the players of Barton, viijᵈ.
For a gallon of wine, viijᵈ.
For three skins for Noah’s coat, making it, and a rope to hang
the ship in the kirk, vijˢ.
To dighting and gilding St. John’s head, painting two tabernacles,
beautifying the boat and over the table, vijˢ ijᵈ.
Making Noah’s ship, vˡⁱ viijˢ.
Two wrights a day and a half, jˢ vjᵈ.
A halfer (rope) 4 stone weight, iiijˢ viijᵈ.
Rigging Noah’s ship, viijᵈ.’

Hadley, the historian of Hull, extracts these items ‘from the expences on Plough-day,’ and says, ‘This being a maritime society, it was celebrated by a procession adapted to the circumstance[823].’ There are continental parallels for ship-processions at spring feasts (vol. i. p. 121); but evidently that at Hull had been assimilated, perhaps under the influence of Beverley, to a miracle-play or pageant. A recent writer, apparently from some source other than Hadley, says that the entries in the accounts run from before 1421 to 1529. Amongst his additional extracts are:—

‘A payr of new mytens to Noye, iiijᵈ.
Amending Noye Pyleh, iiijᵈ.
Nicholas Helpby for wrytᵍ the pley, vijᵈ.
A rope to hyng the shipp in ye kyrk, ijᵈ.
Takyng down shype and hyngyng up agayn, ijˢ.
Wyn when the shype went about, ijᵈ.
1421. New shype, vˡⁱ viijˢ iiijᵈ[824].’

HYTHE, KENT.

Hythe players were at New Romney in 1399 and at Lydd in 1467.

IDBURY, OXFORDSHIRE.

See s.v. SHIPTON.

IPSWICH, SUFFOLK.

In 1325 the former Guild Merchant was reconstituted as a Guild of Corpus Christi. The Constitution provides for a procession, on Corpus Christi day, unless it is hindered ‘pro qualitate temporis[825].’

The notices in the seventeenth-century Annals of the town point to a play as well as a procession[826]. The Guild included all the burgesses; each paying 16_d._ a year and attending the dinner on Corpus Christi day.

In 1443 the common marsh was devised ‘to maintaine and repaire the pageants of the Guilde.’

In 1445 J. Causton was admitted burgess on condition of maintaining for seven years ‘the ornaments belonging to Corpus Χⁱ pageant and the stages, receiving the Charges thereof from the farmers of the Common Marshe and the Portmen’s medow, as the Bayliffs for the time being shall think meete.’ Arrears were paid to J. Caldwell for his charge of ‘Corpus Chr. pageant.’

In 1491 an order was made, laying down, ‘Howe euery occupacion of craftsmen schuld order themselves in the goyng with their pageantes in the procession of Corpus Christi.’ The list closes with the ‘Friers Carmelites,’ ‘Friers Minors,’ and ‘Friers Prechors.’ The subjects of the pageants are unfortunately not given. The pageant cost 45_s._ 1_d._

In 1492 ‘areres of yᵉ Pageant’ were paid, and ‘kepers of the Ornaments and utensiles of Corpus Christi appointed.’

In 1493, 1494, 1495, 1496 orders were made for the provision of the ‘pageant.’ In 1495 there was a grant of £3 11. 0 for it. In 1496 it was ‘at the charge of such as have been used.’

In 1502 ‘Corpus Christi pageant shall hereafter be observed, and a convenient artificer shall be intertained to that end, and shall have 40_s._’ Each Portman was to pay 1_s._ 4_d._, each of the ‘twenty-four’ 8_d._; the other 6_s._ 8_d._ to be levied. ‘Noe Bayliff shall interrupt or hinder the pageant, unless by order of the great court or uppon special cause.’ Collectors for the pageant were chosen.

In 1504 the ‘collectors for the play of Corpus Christi’ were ‘to make a free burgess for their expences at Corpus Christi play.’ These collectors are again mentioned in 1505 and 1506, and in the latter year ‘ornaments’ and ‘stageing for Corpus Christi play.’

In 1509 all inhabitants are to have ‘their Tabernas and attendance at the ffeast of Corpus Christi’ and ‘everyone shall hold by the order of their procession, according to the Constitutions.’

In 1511 a contribution is ordered to a pageant of St. George, and the Corpus Christi dinner and pageant are laid aside.

From 1513 to 1519 the play is ordered to be laid aside in every year except 1517. In 1520 it ‘shall hold this yere,’ and the pageant is ordered to be ready. It is laid aside in 1521 until further order, and the master of the pageant called ‘the shipp’ is to have the same ready under forfeiture of £10. It is ‘deferred’ in 1522 and ‘laid aside for ever’ in 1531.

Probably it was never revived. But there is an order for the procession with the Sacrament in 1540, and in 1542 this had its ‘pageants’ to which each householder was rated at 1_d._

In 1552 the guild is held on the Sunday after Trinity Sunday, and similar meetings continue until 1644.

On a possible performance of Bale’s _King John_ at the visit of Elizabeth to Ipswich in 1561 see _Texts_ (iii), s.v. _Bale_.

IXWORTH, SUFFOLK.

Thetford Priory made a payment ‘in regard to Ixworth play,’ in 1507-8 (Appendix E, iii).

KELVEDON, ESSEX.

See s.v. EASTERFORD.

KENDAL, WESTMORELAND.

The ‘Boke of Record,’ a municipal register begun at the incorporation in 1575, refers to the Corpus Christi play by the crafts as established at that date. On Feb. 14, 1575, the corporation forbade feasts of more than twelve guests;

‘Such lyke ... as have bene comonlye used at ... metyings of men off Occupacyons aboute orders for their severall pagiands off Corpus xpi playe ... exceptyd and reserved.’

An order ‘ffor the playe’ of Sept. 22, 1586, forbade the alderman to give permission for the acting of the play in any year without the consent of his brethren[827].’

The plays lasted into the seventeenth century. Thomas Heywood says in 1612, that, ‘to this day,’ Kendall holds the privilege of its fairs and other charters by yearly stage-plays[828]. And Weever, about 1631, speaks of—

‘Corpus Christi play in my countrey, which I have seene acted at Preston, and Lancaster, and last of all at Kendall, in the beginning of the raigne of King James; for which the Townesmen were sore troubled; and upon good reasons the Play finally supprest, not onely there, but in all other Townes of the Kingdome[829].’

In the MS. life of the Puritan vicar of Rotherham, John Shaw, is a description of how he spoke to an old man at Cartmel of salvation by Christ:—

‘Oh Sir,’ said he, ‘I think I heard of that man you speak of once in a play at Kendall, called Corpus Christ’s play, where there was a man on a tree, and blood ran down, &c. And afterwards he professed he could not remember that he ever heard of salvation by Jesus, but in that play[830].’

KENNINGHALL, NORFOLK.

‘Kenningale game’ was at Harling (q.v.) in 1463, and the ‘Kenyngale players’ in 1467.

KILKENNY, IRELAND.

John Bale, in his description of his brief episcopate of Ossory, gives an account of the proclamation of Queen Mary, at Kilkenny, on August 20, 1553, ‘The yonge men, in the Forenone, played a Tragedye of God’s Promyses in the olde Lawe, at the Market Crosse, with Organe, Plainges, and Songes very aptely. In the Afternone agayne they played a Commedie of Sanct Johan Baptistes Preachinges, of Christes Baptisynge, and of his Temptacion in the Wildernesse, to the small contentacion of the Prestes and other Papistes there[831].’

These plays are extant; cf. _Texts_ (iii), s.v. _Bale_.

KING’S LYNN, NORFOLK.

There was a Corpus Christi guild as early as 1400, and the Tailors’ _Ordinances_ of 1449 require them to take part in the Corpus Christi procession; but I do not find evidence of regular annual plays. The Chamberlains’ Accounts for 1385, however, include:—

‘iijˢ iiijᵈ to certain players, playing an interlude on Corpus Christi day.’

‘iijˢ iiijᵈ paid by the Mayor’s gift to persons playing the interlude of St. Thomas the Martyr.’

And those for 1462—

‘iijˢ paid for two flagons of red wine, spent in the house of Arnulph Tixonye, by the Mayor and most of his brethren, being there to see a certain play at the Feast of Corpus Christi.’ In the same year the Skinners and Sailors ‘of the town’ received rewards ‘for their labour about the procession of Corpus Christi this year[832].’

In 1409-10 Lady de Beaufort came to see a play[833].

See also s.v. MIDDLETON.

KINGSTON-ON-THAMES, SURREY.

On May 20, 1505, Henry VII made a payment

‘To the Players of Kingeston toward the bilding of the churche steple, in almasse, iijˢ iiijᵈ[834].’

The churchwardens’ accounts for 1505-6 include

‘That we, Adam Backhous and Harry Nycol, amountyd of a play, 4ˡⁱ.’

A few later items relate to plays at Easter.

‘1513-4. For thred for the resurrection, jᵈ.
For 3 yards of dorneck for a player’s cote, and the makyng,
xvᵈ.

1520-1. Paid for a skin of parchment and gunpowder for the play
on Ester-day, viijᵈ.
For bred and ale for them that made the stage and other
thinges belonginge to the play, jˢ ijᵈ.

1565. Recᵈ. of the players of the stage at Easter, jˢ ijᵈ
ob.[835]’

LANCASTER.

A Corpus Christi play was acted within the lifetime of Weever, who was born 1576, and wrote 1631[836].

LANCHIRE(?), ESSEX.

‘Somers of Lanchire’ hired the Chelmsford (q.v.) wardrobe in 1566. But I can find no such place.

LANGLEY, OXFORDSHIRE.

See s.v. SHIPTON.

LAVENHAM, SUFFOLK.

The Earl of Surrey rewarded the players of ‘Lanam’ on Jan. 8, 1492 (Appendix E, vii).

LECONFIELD, YORKSHIRE.

The list of customary rewards given by the fifth Earl of Northumberland to his servants, drawn up †1522, includes:—

‘Them of his Lordschipes Chapell if they doo play the Play of the Nativite uppon Cristynmes-Day in the mornynge in my Lords Chapell befor his Lordship, xxˢ.

... Them of his Lordship Chappell and other, if they doo play the play of Resurrection upon Esturday in the morning in my Lords Chapell, xxˢ[837].’

LEEDS, YORKSHIRE.

Ten Brink, ii. 256, says that Leeds formed a centre ‘for the art of the cyclic plays, which were represented yearly’; and Ward, i. 55, that at Leeds ‘the religious drama was assiduously cultivated by the citizens.’ I cannot find any authority for this, and can only suggest that it is a misapprehension of an entry in the _Catalogue_ of Ralph Thoresby’s manuscripts appended to his _Ducatus Leodensis_ (1715), 517. This was copied by Sharp, 141. But it refers to the _York Plays_, then in Thoresby’s possession.

LEICESTER.

The Hall book of the Corporation contains the following entries:—

1477, March 26. ‘The pleyers the which pleed the passion play the yere next afore brought yne a byll the whiche was of serten devties of mony and whedʳ the passion shulbe put to crafts to be bounden or nay. And at yᵗ tyme the seid pleyers gaff to the pachents yʳ mony which that thei had getten yn playng of the seid play euer fore to that day and all yʳ Rayments wʰ al othʳ maner of stuff yᵗ they had at that tyme. And at the same Common Halle be the advyse of all the Comons was chosen thies persones after named for to have the gydyng and Rule of the said play’ [19 persons with 2 ‘bedalls’ named][838].

1495, Friday after xijᵗᵉ day. ‘Yᵗ ys ordent agreyt stabelechyd & acte for the comon well of the towne and of seche guds as ys yn a store hows in the Setterday marcat yᵗ ys to say wodde tymber and vdyr playyng germands yf ther be ony her hys chosyn to be ouersears thereof’ [6 names][839].

It is not clear on what day the Passion play took place. There were great processions on Whit Monday from the churches of St. Martin and St. Mary to that of St. Margaret, and in these the Twelve Apostles figured[840].

The accounts of the same churches show plays apparently distinct from the Passion play.

_St. Mary’s._

1491. Paid to the Players on New-year’s day at even in the
church, vjᵈ.

1499. Paid for a play in the church, in Dominica infra Octavam
Epiphaniae, ijˢ.

1504. Paid for mending the garment of Jesus and the cross
painting, jˢ iijᵈ.
Paid for a pound of hemp to mend the angels heads, iiijᵈ.
Paid for linen cloth for the angels heads, and Jesus hoose,
making in all, ixᵈ.

1507. Paid for a pound of hemp for the heads of the angels,
iijᵈ. Paid for painting the wings and scaff, &c., viijᵈ[841].

These entries suggest a _Quem quaeritis_, but perhaps only a puppet-show.

_St. Martin’s._

1492. Paid to the players on New-year’s day at even in the
church, vjᵈ.

1546-7. Pᵈ. for makynge of a sworde & payntynge of the same for
Harroode.

1555-6. Pᵈ. to the iij shepperds at Whytsontyde, vjᵈ.

1559-60. Pᵈ. to ye plears for ther paynes.

1561. Rᵈ. for serten stufe lent to the players of Fosson[842].

In 1551 the Corporation came not to a feast ‘because of the play that was in the church[843].’

LICHFIELD, STAFFORDSHIRE.

The Cathedral Statutes of Bishop Hugh de Nonant (1188-98) provide for the _Pastores_ at Christmas and the _Quem quaeritis_ and _Peregrini_ at Easter.

‘Item in nocte Natalis representacio pastorum fieri consueuit et in diluculo Paschae representacio Resurreccionis dominicae et representacio peregrinorum die lunae in septimana Paschae sicut in libris super hijs ac alijs compositis continetur.’

Similarly in the account of the _officium_ of the _Succentor_ it is provided:

‘Et prouidere debet quod representacio pastorum in nocte Natalis domini et miraculorum in nocte Paschae et die lunae in Pascha congrue et honorifice fiant[844].’

LINCOLN.

About 1244 Bishop Grosseteste names ‘miracula’ amongst other ‘ludi’ which the archdeacons, so far as possible, are to exterminate in the diocese[845].

Chapter _computi_ for 1406, 1452, and 1531 include entries of payments, ‘In serothecis emptis pro Maria et Angelo et Prophetis ex consuetudine in Aurora Natalis Dñi hoc anno[846].’

‘In 1420 tithes to the amount of 8ˢ 8ᵈ were assigned to Thomas Chamberleyn for getting up a spectacle or pageant (“cuiusdam excellentis visus”) called _Rubum quem viderat_ at Christmas.... An anthem sung at Lauds on New Year’s day ... begins thus[847]’ (cf. _Sarum Breviary_, ccxciii). Was this spectacle a Moses play forming part of, or detached from, an _Ordo Prophetarum_?

A set of local annals (1361-1515) compiled in the sixteenth century records the following plays:—

1397-8. Ludus de Pater Noster lvi anno.
1410-11. Ludus Pater Noster.
1424-5. Ludus Pater Noster.
1441-2. Ludus Sancti Laurentii.
1447-8. Ludus Sanctae Susannae.
1452-3. Ludus de Kyng Robert of Cesill.
1455-6. Ludus de Sancta Clara.
1456-7. Ludus de Pater Noster.
1471-2. Ludus Corporis Christi.
1473-4. Ludus de Corporis Christi.

Canon Rock, apparently quoting the same document, also mentions a ‘Ludus de Sancto Iacobo[848].’

On Dec. 13, 1521, the Corporation ‘agreed that Paternoster Play shall be played this year[849].’

In 1478-80 the Chapter _Curialitates_ include ‘In commun’ canonicorum existent’ ad videndum ludum Corporis Christi in camera Iohannis Sharpe infra clausum, 17ˢ 11ᵈ[850].’

But the Corpus Christi play, although so called, would appear not to have been played upon Corpus Christi day, but to be identical with the _visus_ or ‘sights’ of St. Anne’s day (July 26). These are mentioned almost yearly in the city minute-books of the early sixteenth century, and appear to have been cyclic and processional. They certainly included Noah’s Ship, the Three Kings of Cologne, the Ascension, and the Coronation of the Virgin. The Corporation ordered them to be played; the mayor and the ‘graceman,’ or chief officer of the guild of Saint Anne, directed them; the guild priest gave his assistance in the preparations. In 1517 Sir Robert Denyer was appointed on condition of doing this. Garments were often borrowed from the priory and the local magnates. In 1521 Lady Powys lent a gown for one of the Maries, and the other had a crimson gown of velvet belonging to the guild. Each craft was bound under penalty to provide a pageant. In 1540 some of the crafts had broken their pageants and were ordered to restore them. In the same year a large door was made at the late school-house that the pageants might be sent in, and 4_d._ was charged for housing every pageant, ‘and Noy schippe 12ᵈ.’ In 1547 the valuables of the procession were sold, but the ‘gear’ (i.e. the theatrical properties) still existed in 1569. During the Marian reaction in 1554 and 1555 ‘it was ordered that St. Anne’s Gild with Corpus Christi Play shall be brought forth and played this year[851].’

The friendly relations of the Cathedral Chapter to the civic play are noteworthy. In 1469 the chapter paid the expenses of the _visus_ of the Assumption given on St. Anne’s day in the nave of the church. In 1483 it was similarly agreed to have ‘Ludum, sive Serimonium, de Coronatione, sive Assumptione, beatae Mariae, prout consuetum fuerat, in navi dictae Ecclesiae.’ This was to be played and shown in the procession to be made by the citizens on St. Anne’s day. Apparently the crafts played the earlier plays of the cycle during the progress of the St. Anne’s procession through the streets, and the Chapter gave the Assumption as a finale to the whole in the cathedral itself. But their interest extended beyond their own _visus_. In 1488 Robert Clarke received an appointment, because ‘he is so ingenious in the show and play called the Ascension, given every year on St. Anne’s Day[852].’

Under Elizabeth a new play appears. In 1564 the Corporation ordered ‘that a standing [i.e. non-processional?] play of some story of the Bible shall be played two days this summertime.’ The subject chosen was Tobias, and the place the Broadgate. Some of the properties, e.g. ‘Hell mouth, with a nether chap,’ were possibly the old ‘gear’ of St. Anne’s guild. In 1567 ‘the stage-play of the story of Toby’ was again played at Whitsuntide[853].

LITTLE BADDOW, ESSEX.

Little Baddow men hired the Chelmsford (q.v.) wardrobe during 1564-6.

LONDON.

William Fitzstephen (†1170-82), in a description of London prefatory to his _Vita_ of St. Thomas à Becket, says:—

‘Lundonia pro spectaculis theatralibus, pro ludis scenicis, ludos habet sanctiores, representationes miraculorum quae sancti confessores operati sunt, seu representationes passionum quibus claruit constantia martyrum[854].’

Nothing more is heard of plays in London until 1378, when the scholars of St. Paul’s petitioned Richard II,

‘to prohibit some unexpert people from representing the History of the Old Testament, to the great prejudice of the said Clergy, who have been at great expence in order to represent it publickly at Christmas[855].’

The chronicler Malvern records that in 1384,—

‘Vicesimo nono die Augusti clerici Londoniae apud Skynnereswelle fecerunt quendam ludum valde sumptuosum, duravitque quinque diebus[856].’

In 1391 Malvern again records,—

‘Item xviijᵒ die Iulii clerici Londonienses fecerunt ludum satis curiosum apud Skynnereswell per dies quatuor duraturum, in quo tam vetus quam novum testamentum oculariter ludendo monstrabant[857].’

In 1393, according to the _London Chronicle_, ‘was the pley of seynt Katerine[858].’

Other chronicles record a play in 1409:—

‘This yere was the play at Skynners Welle, whiche endured Wednesday, Thorsday, Friday, and on Soneday it was ended[859].’

The accounts of the royal wardrobe show that a scaffold of timber was built for the King (Henry IV), prince, barons, knights, and ladies on this occasion, and that the play showed,—

‘how God created Heaven and Earth out of nothing, and how he created Adam and so on to the Day of Judgment[860].’

Finally, the Grey Friars Chronicle mentions a yet longer play in 1411:—

‘This year beganne a gret pley from the begynnyng of the worlde at the skynners’ welle, that lastyd vij dayes contynually; and there ware the moste parte of the lordes and gentylles of Ynglond[861].’

The performers in most, if not all, of this group of plays were the clerks in minor orders who naturally abounded in London. The Guild of St. Nicholas of Parish Clerks had existed since 1233. In 1442 they received a charter, which refers to ‘diversis charitatis et pietatis operibus per ipsos annuatim exhibitis et inventis[862].’ These _opera_ possibly include the plays, which may have become annual between 1411 and 1442. They seem to have been given at various times of year, and hard by the well, variously described as Skinners Well or Clerkenwell. The Priory of St. Bartholomew is not far, and the plays may have had some connexion, at one time or another, with the famous Bartholomew Fair[863]. It was probably the double name of the well that led Stowe to say that ‘the skinners of London held there certain plays yearly, played of Holy Scripture[864].’

There is another gap of a century in the history of these greater London plays. But on July 20, 1498, Henry VII rewarded ‘the pleyers of London’ (Appendix E, viii), and of 1508 the annalist of Henry VII, Bernard Andrew, says:—

‘Spectacula vero natalis divi Iohannis vespere longe praeclarissima hoc anno ostensa fuerunt, quemadmodum superioris mensis huiusque aliquot festis diebus pone Christi ecclesiam circa urbis pomaria divinae recitatae fuere historiae[865].’

Some of the London churches had their own plays, as may be seen from their churchwardens’ accounts. Those of St. Margaret’s, Southwark, have the following entries:—

‘1444-5. Peid for a play vpon Seynt Lucy day [Dec. 13], and for a pley
vpon Seynt Margrete day [July 20], xiijˢ iiijᵈ.
1445-6. [Similar entry.]
1447-8. Also peid for a pley vpon Seynt Margrete day, vijˢ.
1449-50. Item, peyd vpon Seynt Lucy day to the Clerkes for a play, vjˢ
viijᵈ.
1450-1. [Similar entry.]
1451-2. Fyrste, peyd to the Pleyrs vpon Seynt Margretes day, vijˢ.
Also peyd for hyryng of Germentes xiiijᵈ.
1453-7 and 1459 [a play on St. Margaret’s day in each year[866]].’

Towards the end of Henry VIII’s reign the Revels office was able to borrow ‘frames for pageants’ from the wardens of St. Sepulchre’s[867].

Probably the guild of Parish Clerks made it a profession to supply such church plays as these for a regular fee. They were employed also at the feasts of the city guilds. The Brewers, for instance, had plays in 1425 and 1433, and in 1435 paid ‘4 clerkis of London, for a play[868].’ The Carpenters paid iiijˢ iiijᵈ for a play in 1490[869]. London players occasionally performed before Henry VII. Besides ‘the players of London’ in 1498, he rewarded in 1501 the players at ‘Myles ende[870].’

Attempts were made to revive religious plays during the Marian reaction. On June 7, 1557, ‘be-gane a stage play at the Grey freers of the Passyon of Cryst[871].’ On St. Olave’s day, July 29, in the same year ‘was the church holiday in Silver street; and at eight of the clock at night began a stage play of a goodly matter, that continued until xij at mydnyght, and then they mad an end with a good song[872].’

The last such play in London was ‘the acting of Christ’s Passion at Elie house in Holborne when Gundemore [Gondomar] lay there, on Good-Friday at night, at which there were thousands present[873].’ This would be between 1613 and 1622.

_Midsummer Watch._

A ‘marching watch’ was kept on the eves of Midsummer and SS. Peter and Paul (June 29) until 1538, and revived, for one year only, in 1548. Some 2,000 men went in armour; lamps and bonfires were lit in the streets, and ‘every man’s door shadowed with green birch, long fennel, St. John’s wort; orpine, white lilies and such like, garnished upon with garlands of beautiful flowers.’ It seems to have been customary for the guilds to which the Lord Mayor and Sheriffs for the year belonged to furnish pageants. Stowe says that ‘where the mayor had besides his giant three pageants, each of the sheriffs had besides their giants but two pageants, each their morris dance.’ In 1505 the Grocers had ‘a pageant for the maire [Sir John Wyngar] at Midsomer.’ In 1510 Henry VIII, disguised as a groom, came to see the Midsummer Watch, and on St. Peter’s eve came openly with the queen. There were ‘diverse goodlie shewes, as had beene accustomed.’ In 1522 the Drapers resolved ‘that there shall be no Mydsomʳ pageant becaus there was so many pageants redy standyng for the Emperors coming into London,’ and ‘for divers considerations’ to ‘surcease the said pageants and find xxx men in harness instead.’ But later they decided to ‘renew all the old pageants for the house; including our newe pageant of the Goldyn Flees for the mayr against mydsomʳ; also the gyant, lord Moryspyks, and a morys daunce, as was used the last year.’ The account-books mention Lord Moryspyks or ‘Marlingspikes,’ and a ‘king of the Moors,’ with a ‘stage’ and ‘wyld fire.’ In 1523, the King of Denmark being in London, the Drapers allowed the Sheriff two pageants, ‘but to be no precedent hereafter.’ They paid ‘for garnyshyng and newe repayring of th’ Assumpcion, and also for making a new pageant of St. Ursula.’ The King of Denmark was duly brought to see the watch. In 1524 they again had a pageant, the nature of which is not specified[874].

LOPHAM, NORFOLK.

‘Lopham game’ was at Harling (q.v.) in 1457.

LOUTH, LINCOLNSHIRE.

An inventory of documents in the rood-loft in 1516 includes the ‘hole Regenall of corpus xr̄i play.’ In 1558 the corporation paid for a play ‘in the markit-stede on corpus xr̄i day.’[875]

LYDD, KENT.

The town accounts show a play of St. George on July 4, 1456, and payment to the ‘bane cryars’ of ‘our play’ in 1468. In 1422 the Lydd players acted at New Romney, and in 1490 the chaplain of the guild of St. George at New Romney went to see a play at Lydd, with a view to reproducing it. Between 1429 and 1490 the New Romney players acted often at Lydd, and also players of Ruckinge (1431), Wytesham (1441), Ham (1454), Hythe (1467), Folkestone (1479), Rye (1480), Stone (1490). Unnamed players were in the high street in 1485[876].

LYNEHAM, OXFORDSHIRE.

See s.v. SHIPTON.

MALDEN, ESSEX.

The Chelmsford (q.v.) play was shown at Malden in 1562.

MANNINGTREE, ESSEX.

John Manningham, of the Middle Temple, wrote in his Diary, on Feb. 8, 1602, ‘The towne of Manitree in Essex holds by stage plays[877].’ So Heywood, in his _Apology for Actors_ (1612), ‘To this day there be townes that hold the priviledge of their fairs and other charters by yearly stage-plays, as at Manningtree in Suffolke, Kendall in the North, and others[878].’ There are further allusions to these plays in T. Nash, _The Choosing of Valentines_,

‘a play of strange moralitie,
Showen by bachelrie of Manning-tree,
Whereto the countrie franklins flock-meale swarme[879]’;

and in Dekker, _Seven Deadly Sins of London_ (1607), ‘Cruelty has got another part to play; it is acted like the old morals at Manning-tree[880].’

MAXSTOKE, WARWICKSHIRE.

The accounts of Maxstoke Priory (a house of Augustinian canons) for 1430 include, ‘pro ientaculis puerorum eleemosynae exeuntium ad aulam in castro ut ibi ludum peragerent in die Purificationis, xivᵈ. Unde nihil a domini [Clinton] thesaurario, quia saepius hoc anno ministralli castri fecerunt ministralsiam in aula conventus et Prioris ad festa plurima sine ullo regardo[881].’

MIDDLETON, NORFOLK.

In 1444 the corporation of Lynn (q.v.) showed a play with Mary and Gabriel before Lord Scales[882].

MILDENHALL, SUFFOLK.

Thetford Priory made a payment to ‘the play of Mydenale’ in 1503-4 (Appendix E, iii).

MILE END, MIDDLESEX.

Henry VII rewarded ‘the Pleyers at Myles End’ on Aug. 6, 1501 (Appendix E, viii).

MILTON, OXFORDSHIRE.

See s.v. SHIPTON.

MOREBATH, DEVONSHIRE.

The churchwardens’ accounts record an Easter play at some date between 1520 and 1574[883].

NAYLAND, ESSEX.

Richard More, of Nayland, hired the Chelmsford (q.v.) wardrobe in 1566.

NEWCASTLE-ON-TYNE, NORTHUMBERLAND.

The craft-plays on Corpus Christi day are mentioned in several fifteenth-century ordinaries, the earliest being that of the Coopers in 1426/7. The last years in which performances can be proved to have been given are 1561 and 1562. Ordinaries dated from 1578 to 1589 stipulate for a performance by the crafts ‘whensoever the generall plaies of the town of Newcastle, antiently called the Corpus Christi plays, shall be plaied,’ or the like. The determination of this point rested with the Corporation. The Goldsmiths drew up an ‘invoic of all the players apperell pertainyng to’ them in 1598/9. The cost of the plays fell on the crafts, who took fixed contributions from their members. The Taylors in 1536 required iijᵈ from each hireling, and vijᵈ from each newly admitted member. The Fullers and Dyers paid 9_s._ in 1561 for ‘the play lettine’ to four persons.

The mentions of ‘bearers of the care and baneres’ of them ‘that wated of the paient’ and of ‘the carynge of the trowt and wyn about the town’ seem to show that the plays were processional. On the other hand the one extant play (cf. p. 424) ends with a remark of the _Diabolus_ to ‘All that is gathered in this stead.’ Perhaps the pageants first took part in the Corpus Christi procession proper and afterwards gathered in a field. The Mercers’ ordinary of 1480 shows that the procession was ‘by vij in morning,’ and the plays were certainly in the evening, for it was deposed in a law-suit at Durham in 1569 that Sir Robert Brandling of Newcastle said on Corpus Christi day, 1562, that ‘he would after his dinner draw his will, and after the plays would send for his consell, and make it up’ (_Norfolk Archaeology_, iii. 18).

For the list of plays, so far as it can be recovered, see p. 424. The ordinary of the Goldsmiths (1536) requires their play (Kynges of Coleyn) to be given at their feast[884].

NEW ROMNEY, KENT.

There are many notices of a play in the town accounts between 1428 and 1560. In 1456 the wardens of the play of the _Resurrection_ are mentioned. In 1463 the jurats paid Agnes Ford 6_s._ 8_d._ ‘for the play of the Interlude of our _Lord’s Passion_.’ From 1474 the banns of the play are mentioned. In 1477 the play was on Whit-Tuesday. In 1518 the Lord Warden of the Cinque Ports forbade the play, but it was revived elaborately in 1560. The accounts mention the purchase of copes and vestures from the corporation of Lydd, and refer to ‘a fool,’ ‘the Cytye of Samarye,’ ‘our last play,’ ‘the iijᵗʰ play,’ ‘the iiijᵗʰ play,’ and the ‘bane cryers.’ No crafts are mentioned: perhaps the play was produced by the corporation itself. The performances may have been on Crockhill or Crockley Green. ‘Playstool’ is a common name for a bit of land in Kent. Performances were often given in other towns: see s.v. LYDD. The play seems to have been only a _Passion and Resurrection_ play, and not a complete cycle. ‘Le Playboke’ is mentioned from 1516. It is in an Elizabethan inventory of town records. A second play of _St. George_ was probably started in 1490 when a chaplain of the guild of St. George went to see the Lydd _St. George_ play, with a view to reproducing it. In 1497 the chaplains received the profits of the play. Players from the following towns are found acting at New Romney: Hythe (1399), Lydd (1422), Wittersham (1426, they ‘shewed th’ interlude’), Herne (1429), Ruckinge (1430), Folkestone (1474), Appledore (1488), Chart (1489), Rye (1489), Wye (1491), Brookland (1494), Halden (1499), Bethersden (1508)[885].

NORTHAMPTON, NORTHAMPTONSHIRE.

Brotanek (_Anglia_, xxi. 21) conjectures that the _Abraham and Isaac_ of the Dublin MS. may come from Northampton (cf. p. 427), and hints at an explanation of the ‘N. towne’ in the prologue to the _Ludus Coventriae_ as ‘N[orthampton] towne’ (cf. p. 421).

But the only allusion even remotely suggesting miracle-plays that I can find in the printed civic records is in 1581, in which year some interrogatories as to St. George’s Hall contain a deposition by an old man to the effect that he had known the hall fifty years, and that the mayor and chamberlains had been wont to lay therein pageants, &c.[886]

NORWICH, NORFOLK.

_Whitsun Plays._

J. Whetley writes from Norwich on Corpus Christi even (May 20), 1478, to Sir John Paston in London, of a visit of Lord Suffolk to Hellesden, ‘at hys beyng ther that daye ther was never no man that playd Herrod in Corpus Crysty play better and more agreable to hys pageaunt than he dud[887].’

I do not know whether it is fair to infer from this that in 1478 the Norwich plays were not at Whitsuntide, but at Corpus Christi; but this would account for J. Whetley’s trope.

On Sept. 21, 1527, the guild of St. Luke, composed of painters, braziers, plumbers, &c., made a presentment to the Assembly of the town that,—

‘where of longtime paste the said Guylde of Seynt Luke yerly till nowe hath ben used to be kept and holden within the citie aforesaid upon the Mundaye in pentecoste weke at which daye and the daye next ensuyng many and divers disgisyngs and pageaunts, as well of the lieffs and martyrdoms of divers and many hooly Saynts, as also many other light and feyned figurs and picturs of other persones and bests; the sight of which disgisings and pageaunts, as well yerly on the said Mondaye in pentecoste weke in the time of procession then goyng about a grett circuitte of the forsaid citie, as yerly the Tuysday in the same weke [serving] the lord named the Lord of Misrule at Tumlond within the same citie, hath ben and yet is sore coveted, specially by the people of the countre.’

The presentment goes on to show that much resort and profit have accrued to the city, but all the cost has fallen on the guild, which ‘is almost fully decayed’; and urges an order,—

‘that every occupacion wythyn the seyd Citye maye yerly at the said procession upon the Mondaye in Pentecost weke sette forth one pageaunt.’

It was agreed that each craft should play,—

‘one such pageaunt as shalbe assigned and appoynted by Master Mair and his brethern aldermen, as more playnly appereth in a boke thereof made.’

In the same hand is a list of crafts and plays (cf. p. 425)[888].

Some extracts made in the eighteenth century from the, now lost, books of the Grocers’ Company, contain (_a_) two versions of their play on _The Fall_, dating from 1533 and 1565 respectively (cf. p. 425), and (_b_) various notices of the same from the Assembly Book.

The latter begin in 1534, when ‘4 Surveyors of yᵉ Pageant’ with a ‘Bedell’ were chosen, and an assessment of 22_s._ 10_d._ made for the pageant and the Corpus Christi procession. The expenses include, besides repairs to the pageant, fees to actors, refreshments, &c.,—

‘It. to Sʳ Stephen Prowet for makyng of a newe ballet, 12ᵈ.

House ferme for ye Pageant, 2ˢ.’