The buffoon of the piece used formerly to wear a calf-skin, “I’ll go put on my devilish robes, I mean my Christmas calf’s-skin suit, and then walk to the woods,” says Robin Goodfellow, in the time of James the First. “I’ll put me on my great carnation nose, and wrap me in a rousing calf-skin suit, and come like some hobgoblin.” The performers, who are usually young persons in humble life, are attired, including St. George and the Dragon, much in the same manner, having white trousers and waistcoats, showing their shirt-sleeves, and decorated with ribbons and handkerchiefs; each carrying a drawn sword or cudgel in his hand: as one of the Somersetshire mummers says, “Here comes I liddle man Jan wi’ my sword in my han!” They wear high caps of pasteboard, covered with fancy paper, and ornamented with beads, small pieces of looking-glass, bugles, &c., and generally have long strips of pith hanging down from the top, with shreds of different coloured cloth strung on them, the whole having a fanciful and smart effect. The Turk sometimes has a turban; Father Christmas is represented as a grotesque old man, with a large mask and comic wig, and a huge club in his hand; the Doctor has a three-cornered hat, and painted face, with some ludicrous dress, being the comic character of the piece; the lady is generally in the dress of last century, when it can be got up; and the hobby-horse, when introduced, which is rarely, has a representation of a horse’s hide. Wellington and Wolfe, when they appear, are dressed in any sort of uniform that can be procured for the nonce, and no doubt will now be found as militia men of the county where the play is represented. These plays are of very remote origin, and founded probably on the old mysteries before mentioned, the subject of St. George being introduced at the time of the crusades. A play was performed before Henry the Fifth at Windsor, in 1416, when the Emperor Sigismund was with him, founded on the incidents of the life of St. George, and “his ridyng and fighting with the dragon, with his speer in his hand.” It is curious to observe how near, in many cases, the style of the early drama approaches to the homeliness of our present country Christmas plays; so that one may suppose that not only their structure is derived from the ancient representations, but that even some of the speeches have been carried down with some little modification. When St. George struts in, saying, “Here am I, St. George,” he is but repeating the introduction of characters sometimes used of old. Johnson, who wrote the favourite romance of the ‘Seven Champions of Christendome,’ about the time of Elizabeth, took his subject from early metrical romances, and particularly from the story of St. George and the fair Sabra, in the old poetical legend of Sir Bevis of Hampton, which is older than Chaucer. The Cornish had their Guary or Miracle Play from a very early date, and amphitheatres are still existing where they used to be performed.