As is usually the case, the puppets in England appear to have had a religious origin. Magnin mentions as an undoubted fact the movement of head and eyes on the Crucifix in the monastery of Boxley in Kent, and one hears not only of single articulated images but of passion plays performed by moving figures within the sacred edifices. E. K. Chambers has found the record of a Resurrection Play in the sixteenth century by “certain small puppets, representing the Persons of Christe, the Watchmen, Marie and others.” This was at Whitney in Oxfordshire, “in the days of ceremonial religion,” and one of these puppets which clacked was known as _Jack Snacker of Whitney_. It is certain that similar motions of sacred dramas and pageants given by mechanical statuettes were not unusual within the Catholic churches, and that during the reign of Henry VIII they were destroyed, as idols. Under Elizabeth and James, religious puppet-shows went wandering about the kingdom, giving the long drawn out moralities and mysteries, _The Prodigal Son_, _The Motion of Babylon_ and _Nineveh with Jonah and the Whale_, a great favorite. These early motions or drolls were a combination of dumb show, masques and even shadow play. Flögel explains that the masques were sometimes connected with the puppets or given sometimes as a separate play. “These masques,” he writes, “consist of five tableaux or motions which take place behind a transparent curtain, just as in Chinese shadows. The showman, a silver-covered wand in his hand and a whistle for signalling, stands in front of the curtain and briefly informs the audience of the action of the piece. Thereupon he draws the curtain, names each personage by name as he appears, points out with his wand the various important actions of his actors’ deeds, and relates the story more in detail than formerly. Another masque which Ben Jonson’s _Bartholomew Fair_ describes is quite different, for here the puppets themselves speak, that is, through a man hidden behind the scenes, who like the one standing out in front is called the interpreter.” As early as 1575 Italian pupazzi appeared in England and established themselves there. An order of the Lord Mayor of London at the time authorizes that, “Italian marionettes be allowed to settle in the city and to carry on their strange motions as in the past and from time immemorial.” Piccini was a later Italian motion-man, but very famous, giving shows for fifty years and speaking for his _Punch_ to the last with a foreign accent.