Once emerged from the Church, the drama had the whole town in which to display itself; and it filled the whole town. On these days the city belonged to dramatic art; each company had its cars or scaffolds, _pageants_ (placed on wheels in some towns), each car being meant to represent one of the places where the events in the play happened. The complete series of scenes was exhibited at the main crossings, or on the principal squares or open spaces in the town. The inhabitants of neighbouring houses sat thus as in a front row, and enjoyed a most enviable privilege, so enviable that it was indeed envied, and at York, for example, they had to pay for it. After 1417 the choosing of the places for the representations was regulated by auction, and the plays were performed under the windows of the highest bidders. In other cases the scaffolds were fixed; so that the representation was performed only at one place. The form of the scaffolds varied from town to town. At Chester "these pagiantes or cariage was a highe place made like a house with two rowmes beinge open on ye tope: the lower rowme they apparrelled and dressed them selves; and in the higher rowme they played: and they stoode upon six wheeles. And when they had done with one cariage in one place, they wheeled the same from one streete to an other."[790] In some cases the scaffolds were not so high, and boards made a communication between the raised platform and the ground; a horseman could thus ride up the scaffold: "Here Erode ragis in the pagond and in the strete also."[791] Sometimes the upper room did not remain open, but a curtain was drawn, according to the necessity of the action. The heroes of the play moved about the place, and went from one scaffold to another; dialogue then took place between players on the ground and players on the boards: "Here thei take Jhesu and lede hym in gret hast to Herowde; and the Herowdys scaffald xal unclose, shewyng Herowdes in astat, alle the Jewys knelyng except Annas and Cayaphas."[792] Chaucer speaks of the "scaffold hye" on which jolif Absolon played Herod; king Herod in fact was always enthroned high above the common rabble. The arrangements adopted in England differed little, as we see, from the French ones; and it could scarcely be otherwise, as the taste for these dramas had been imported by the Normans and Angevins. Neither in England nor in France were there ever any of those six-storied theatres described by the brothers Parfait, each story being supposed to represent a different place or country. To keep to truth, we should, on the contrary, picture to ourselves those famous buildings stretched all along on the ground, with their different compartments scattered round the public square.