We leave the tempting subject of church-ales, and, still considering the motives which led to the provision of such ample space within the sacred walls, we must take a glimpse of church-plays. The connection between the church and the drama has been partially dealt with by numerous writers, and exhaustively by Mr E. K. Chambers, in his _Mediaeval Stage_. On the character of the church plays we cannot dwell at length, nor is this necessary, for the subject has interested most antiquaries, and descriptions are to be found in many treatises. A brief enumeration, however, is desirable. There was the Passion Play at Easter, when a solemn representation of the burial and Resurrection of the Saviour was enacted at the altar, or beneath a specially constructed “sepulchre.” There was the Nativity play at Christmas, when clergy, choristers, and other folk, represented the scenes connected with the manger-birth[420]. But the best known performances were the Miracle Plays. At first, these were acted within the church walls, but, at a later date, the players were driven into the church-yard. The popularity of these plays became so great that the church could not accommodate the audience, and this consideration, rather than clerical disfavour, probably turned the scale. Indeed, when the drama had passed out of the hands of the clergy and choir, and had become appropriated by trade guilds or strolling players, when, too--it must be said--the plays had become tinged with ribaldry and profanity, the authorities seemed to have regretted the expulsion. Within the church, a certain degree of oversight was always exercised; on the village green, the censorship was lax and intermittent. Occasionally, as Dr J. C. Cox asserts, the wandering troops were still allowed to use the churches[421]. An attempt was made to recover lost ground, and miracle plays were declared sinful if played on the roads or greens[422]. We must shortly return to this phase of the question, but meanwhile let us recapitulate Mr Chambers’s theory of the development of the religious drama. Mr Chambers, after tracing the steady evolution of religious plays, concludes that the Church gradually came to make the appeal to the mimetic instinct in mankind by means of the introduction of dramatic elements into its liturgy[423]. From the fourth century, at least, the Mass was the central object of ritual, and it was from this service, little by little, that the dramatic dialogues and representations were derived and elaborated. Originally a mere symbol of a commemorative kind, the Mass became a repetition of the initial sacrifice, invested with a dramatic character[424]. Thus the ritual play proper was evolved, and out of this, in later times, sprang the familiar miracle play[425].