As the last word is sung, the hands forming the arch are lowered, and the child who is then passing is caught, and falls in behind one of the leaders. When all in turn have been so caught, a tug-of-war, only without a rope, follows. The ‘chopping’ obviously suggests a sacrifice, in this case a human sacrifice. And the bell-rhymes show the connexion of the game with the parish contests just described. There exists indeed a precisely similar set of verses which has the title, _Song of the Bells of Derby on Football Morning_. The set ordinarily used in ‘Oranges and Lemons’ names London parishes, but here is a Northamptonshire variant, which is particularly valuable because it alludes to another rite of the agricultural festival, the sacramental cake buried in a furrow: ‘Pancakes and fritters, Says the bells of St. Peter’s: Where must we fry ’em? Says the bells of Cold Higham: In yonder land thurrow (furrow) Says the bells of Wellingborough, &c.[496]’ Other games of the same type are ‘How many Miles to Babylon,’ ‘Through the Needle Eye,’ and ‘Tower of London.’ These add an important incident to ‘Oranges and Lemons,’ in that a ‘king’ is said to be passing through the arch. On the other hand, some of them omit the tug-of-war[497]. With all these singing games it is a little difficult to say whether they proceed from children’s imitations of the more serious proceedings pf their elders, or whether they were originally played at the festivals by grown men and maidens, and have gradually, like the May _quête_ itself, fallen into the children’s hands. The ‘Oranges and Lemons’ group has its analogy to the tug-of-war; the use of the arch formation also connects it with the festival ‘country’ dances which will be mentioned in the next chapter.