It has been conjectured that they were first introduced into Italy, from its intercourse with the metropolis of the Greek Empire; but when we have recourse to its literary recorder, we gather nothing but ambiguity. Tiraboschi is dubious whether the early Italian mysteries exhibited in the year 1264 were anything more than a dumb show, or the processional display of a religious pageant. Decided, on system, not to approve of such familiar exhibitions of sacred themes, the Jesuit has cautiously noticed two companies who evidently had performed a mystery, or miracle-play. In that piece there is a direction that "An angel and the virgin _sing_;" but our learned Jesuit will not venture even to surmise that "the virgin and the angel" _acted_ their parts, but merely chanted a poem.[3] The literary antiquary Signorelli inclines to fix the uncertain date of the first sacred drama so late as in 1445.[4] In France these early scriptural exhibitions were so little comprehended, that Le Grand D'Aussy, in his pretension that his nation possessed the drama in the thirteenth century, derives the origin of their mysteries from such pieces as the three fabliaux which he has given, as the earliest dramas.[5] So little conversant in his day--not a distant one--were the French antiquaries with a subject which has of late become familiar to their tastes. We learn nothing positive of their "Mysteries" till their "Confraerie de la Passion" was incorporated in 1402. The earliest of these representations necessarily would be in Latin,[6] and performed in monasteries by the ecclesiastics themselves, on festival days; in this state, how could they have been designed for the people? Aware of this difficulty, and convinced that these holy plays were in their origin intended for popular instruction and recreation, it has been conjectured that the Latin mystery was accompanied by a pantomimic show, for the benefit of the people; but an impatient concourse could be little affected by the action of the performers, almost as incomprehensible as the language was unintelligible. The people, a great animal only to be fondled in one way, as usual, worked out their own wants; they taught learned clerks the only method by which they were to be amused, by having the same thing after their own fashion, and to be comprehended in their own language; and the day at last arrived when even the people themselves would be actors. In the obscurity of the medieval period, the literary antiquary has often to feel his way in the darkness, till among uncertain things he fancies that he grasps the palpable. We are not furnished with precise dates, but some natural circumstances may account for the introduction of the mysteries in the _vernacular idiom_. About the eighth century, merchants carried on their trades in the great fairs, and to attract the people together, jugglers, minstrels, and buffoons were well paid, and the populace flocked. Such a multitudinous concourse appears to have created