9. “When on the cross hanged I was; When a spear to my heart did glance, There issued forth both water and blood, To call my true love to the dance. Sing oh! etc. 10. “Then down to Hell I took my way, For my true love’s deliverance, And rose again on the third day, Up to my true love and the dance. Sing oh! etc. 11. “Then up to Heaven I did ascend, Where now I dwell in sure substance, On the right hand of God, that man May come into the general dance. Sing oh! etc.” Mr G. R. S. Mead thinks that this carol was originally sung by the mediæval minstrels, jongleurs, and troubadours, who are said to have invented the word carol, meaning a dance in which the performers moved slowly in a circle, singing as they went. The Troubadours are responsible for the preservation of many fragments of old mystery plays, and this carol is probably one such fragment, and as such is a link between the definitely pagan folk-dance and through the Christian Church to those alive in England to-day. The following tune is taken from Miss A. G. Gilchrist’s Manuscript Collection, and was noted and sent to her by Mr Smith Williamson, bandmaster of Moston, W. Manchester, in 1907. Miss Gilchrist thinks it interesting in connection with the tune of this Carol, as it is called “My love, my love,” and was played as a Morris dance at the Rush-Cart ceremony at Moston up to forty-five or fifty years ago. [Music: MOSTON RUSH-CART MORRIS TUNE, “MY LOVE, MY LOVE”] The following account of the sacred all-night dance written by Philo (about A.D. 26) is quoted by Mr Mead in _Quest_, October 1910, and is interesting because the dance described is curiously like the surviving processional dances which have intervals in the processional when a set dance is performed. “After the banquet they kept the sacred all-night festival. And this is how they keep it. They all stand up in a body, and in the middle of the banqueting-place they first form the Choroi, one of men and the other of women, and a leader and conductor is chosen for each, the one whose reputation is greatest for a knowledge of music: they then chant hymns composed in God’s honour in many metres and melodies, sometimes singing together, sometimes one chorus beating the measure with their hands for the antiphonal chanting of the other, now dancing to the measure and now inspiring it, at times dancing in procession, at times set dances, and then circle-dances right and left.” The latter part of this description might almost have been taken down from some of the Morris dances danced to-day.