The procession of the Patron Saint, or any other holy day, and that of Corpus Christi Day were further used to teach the people in the dramatic way. The saints marched with the Trade Guilds; they were known by what they carried. Adam and Eve wore the Tree of Knowledge; John the Baptist was a herald—everybody at that time knew what was meant by a herald; Judas followed. Of course he was received with hisses and groans, but he could not escape observation, because he carried a bag of gold and was followed by the Devil with the gallows; Christopher carried Christ; the wise men carried gifts; nothing was forgotten. That these representations sank deeply into the hearts of the people is certain, because it is only natural that this should be their effect. A story is related of a German Prince, the Landgrave Frederic of the Scarred Cheek, who, after witnessing a play of the Wise and Foolish Virgins, in which the Virgin Mary herself failed to move her Son to mercy, cried out, “What sort of thing is Christian faith if Christians cannot be pardoned even on the intercession of the mother of God and all the Saints?” And so fell into a religious melancholy such as was common in later times among Calvinists. But it wants no such story to make us understand the power of these dramatic performances. At first they were presented in dumb show; then with the words of the Bible; lastly, with words specially written for them. The next step was the transfer of the stage from the nave of the church to the place outside. This took place when the machinery required was too large for the little parish church, and when the _dramatis personæ_ were too numerous for the ecclesiastical staff of the Church. Then the laity became the actors, speedily the only actors. At the same time, the Church did not surrender control over the plays: in Rome there was the Fraternity of the Gonfaler: in Antwerp the Brethren of St. Luke, who were authorised to perform these plays. In England they were divided among the Trade Guilds, every one of which had to exhibit some dramatic scene on the Feast of Corpus Christi. Thus at Coventry the smiths played the Trial and Crucifixion; the Cappers played the Resurrection and Descent into Hell; the Shearmen played the Birth of Christ, the Adoration of the Magi, the Flight into Egypt and the Massacre of the Innocents. In London the Company of Parish Clerks took a prominent part, one of their performances being recorded by Stow as lasting for three days. This was at the Skinners’ Well, Smithfield, in the year 1391. Another performance is also mentioned which took place in 1409, and lasted for eight days. The civic procession of Corpus Christi, which was attended by Mayor, Sheriffs, and Aldermen, with all the City officers, together with the City clergy, and was adorned by pageants and figures and groups, was entrusted to the Skinners’ Company. I have not been able to discover other London companies entrusted with the representation of these plays.