feast of fools (or asses), which enjoyed the greatest popularity in France (though protests against it are on record from the 11th century onwards to the 17th), but was well known from London to Constantinople. This riotous New Year's celebration was probably derived from the ancient Kalend feasts, which may have bequeathed to it both the hobby-horse and the lord, or bishop, of misrule. In the 16th century the feast of fools was combined with the elaborate festivities of courts and cities during the twelve Christmas feast-days--the season when throughout the previous two centuries the "mummers" especially flourished, who in their disguisings and "_viseres_" began as dancers gesticulating in dumb-show, but ultimately developed into actors proper. The liturgy the main source of the medieval religious drama. Tropes. Thus the literary and the professional element, as well as that of popular festive usages, had survived to become tributaries to the main stream of the early Christian drama, which had its direct source in the liturgy of the Church itself. The service of the Mass contains in itself dramatic elements, and combines with the reading out of portions of Scripture by the priest--its "epical" part--a "lyrical" part in the anthems and responses of the congregation. At a very early period--certainly already in the 5th century--it was usual on special occasions to increase the attractions of public worship by living pictures, illustrating the Gospel narrative and accompanied by songs; and thus a certain amount of action gradually introduced itself into the service. The insertion, before or after sung portions of the service, of tropes, originally one or more verses of texts, usually serving as introits and in connexion with the gospel of the day, and recited by the two halves of the choir, naturally led to dialogue chanting; and this was frequently accompanied by illustrative fragments of action, such as drawing down the veil from before the altar. The liturgical mystery.