his booth a curious rigmarole of a motion in which Hero and Leander, Damon and Pythias, and Dionysius are all mixed up[459]. It would appear to have been customary for the showman, like his brethren of the modern Punch and Judy, to ‘interpret’ for the puppets by reciting a suitable dialogue as an accompaniment to their gestures[460]. The repertory of Lanthorn Leatherhead contained a large proportion of ‘motions’ on subjects borrowed from the miracle-play. Similar titles occur in the notices of later performances at Bartholomew Fair[461] and of those given by the popular London showman, Robert Powell, during the reign of Queen Anne[462]. In more recent times all other puppet-shows have been outdone by the unique vogue of Punch and Judy[463]. The derivation of these personages from the Pontius Pilate and Judas Iscariot of the miracle-plays is the merest philological whimsy. Punch is doubtless the Pulcinella[464], who makes his appearance about 1600 as a stock figure in the impromptu comedy of Naples. Under other names his traditions may, for all one knows, go back far beyond the miracle-plays to the _fabulae Atellanae_. But the particular drama in which alone he now takes the stage, although certainly not a miracle-play, follows closely upon the traditional lines of the moralities[465]. Another kind of religious dumb-show, at once more ancient and more important than that of the puppets, was presented by living persons in the ‘ridings’ or processions which formed an integral part of so many mediaeval festivals. Like the miracle-plays themselves, these _tableaux_ reached their highest point of elaboration in connexion with the ceremonies of Corpus Christi day; and, in order to understand their relation to the regular dramas, it is necessary to return for a moment to the early history of the great feast. It has already been suggested that the processional character of the great English craft-cycles, with their movable pageants and their ‘stations,’ may be explained on the hypothesis, that the performances were at one time actually given during the ‘stations’ or pauses before temporary street altars of the Corpus Christi procession itself. The obvious inconveniences of such a custom, if it really existed, might not unnaturally lead to its modification. Except at Draguignan, where the dialogue was reduced to the briefest limits, no actual traces of it are left[466]. In England the difficulty seems to have been solved at Newcastle by sending the pageants round with the procession in the early morning and deferring the actual plays until the afternoon. At Coventry representatives of the _dramatis personae_ appear to have ridden in the procession, the cumbrous pageants being left behind until they were needed. Herod, for instance, rode on behalf of the smiths. At other places, again, the separation between procession and play was even more complete. The crafts which produced the plays were