We trace the existence of this class of performers during the earlier period of the middle ages by the expressions of hostility towards them used from time to time by the ecclesiastical writers, and the denunciations of synods and councils. Nevertheless, it is evident from many allusions to them, that they found their way into the monastic houses, and were in great favour not only among the monks, but among the nuns also; that they were introduced into the religious festivals; and that they were tolerated even in the churches. It is probable that they long continued to be known in Italy and the countries near the centre of Roman influence, and where the Latin language was continued, by their old name of _mimus_. The Anglo-Saxon vocabularies interpret the Latin _mimus_ by _glig-mon_, a gleeman. In Anglo-Saxon, _glig_ or _gliu_ meant mirth and game of every description, and as the Anglo-Saxon teachers who compiled the vocabularies give, as synonyms of _mimus_, the words _scurra_, _jocifta_, and _pantomimus_, it is evident that all these were included in the character of the gleeman, and that the latter was quite identical with his Roman type. It was the Roman _mimus_ introduced into Saxon England. We have no traces of the existence of such a class of performers among the Teutonic race before they became acquainted with the civilisation of imperial Rome. We know from drawings in contemporary illuminated manuscripts that the performances of the gleeman did include music, singing, and dancing, and also the tricks of mountebanks and jugglers, such as throwing up and catching knives and balls, and performing with tamed bears, etc.