as a rule also burdened by their ordinances with the duties of providing a light and of walking or riding in honour of the host; but the two ceremonies took place at different hours on the same day, and there was no external relation, so far as the evidence goes, between them. Even so there was still some clashing, and at York, after an unsuccessful attempt on the part of the clergy in 1426 to get the plays put off, the procession itself appears to have been transferred to the following day. On the other hand the difficulty seems to have been met in certain towns by suppressing the plays and reducing them to dumb-show ‘pageants’ carried in the procession. Lists are extant of such pageants as they were assigned to the crafts at Dublin in 1498 and at Hereford in 1503, and although it is not of course impossible that there were to be plays later in the day, there is no proof that this was the case. For a similar procession of _tableaux_ held in London, in the earlier part of the fifteenth century, a set of descriptive verses was written by John Lydgate, and the adoption of this method of ‘interpreting’ the dumb-show seems to put the possibility of a regular dramatic performance out of court[467]. There were pageants also in the Corpus Christi processions at Bungay and at Bury St. Edmunds, but the notices are too fragmentary to permit of more than a conjecture as to whether they were accompanied by plays. The _tableaux_ shown at Dublin, Hereford, and London were of a continuous and cyclical character, although at Hereford St. Catherine, and at Dublin King Arthur, the Nine Worthies, and St. George’s dragon were tacked on at the tail of the procession[468]. A continental parallel is afforded by the twenty-eight _remontrances_, making a complete cycle from the Annunciation to the Last Judgement, shown at Béthune in 1549[469]. But elsewhere, both in England and abroad, the shows of the Corpus Christi procession were of a much less systematic character, and Dublin was not the only place where secular elements crept in[470]. At Coventry, in addition to the representative figures from the craft-plays, the guild of Corpus Christi and St. Nicholas, to which, as to special Corpus Christi guilds elsewhere, the general supervision of the procession fell, provided in 1539 a Mary and a Gabriel with the lily, Saints Catherine and Margaret, eight Virgins and twelve Apostles. The Coventry procession, it may be added, outlived the Corpus Christi feast. In the seventeenth century Godiva had been placed in it and became the most important feature. By the nineteenth century the wool-combers had a shepherd and shepherdess, their patron saint Bishop Blaize, and Jason with the Golden Fleece[471]. At the Shrewsbury ‘Show,’ which also until a recent date continued the tradition of an older Corpus Christi procession, Saints Crispin and Crispinian rode for the shoemakers. At Norwich the grocers sent the ‘griffin’ from the top of their pageant and