(_c_) The Riding of the Guild of _St. George_ on his day (April 23). This dates from at least 1408, and a good many details as to it are preserved[892]. NUNEATON, WARWICKSHIRE. The ‘lusores de Eaton’ played at Maxstoke Priory between 1422 and 1461 (Appendix E, ii). OXFORD, OXFORDSHIRE. The following extracts from the Bursars’ _computi_ of Magdalen College point to a _Quem quaeritis_ of the longer type, with the ‘Noli me tangere’ episode. 1486-7. ‘pro factura sepulturae erga pascham. xijᵈ.’ 1506-7. ‘pro scriptura lusi’ of St. Mary Magdalen. xᵈ.’ [There were further payments in connexion with this play, and for music.] 1509-10. ‘pro pane, cibo et aliis datis pueris ludentibus in die Paschae ... xvijᵈ ob.’ 1514-5. ‘pro carnibus consumptis in capella tribus noctibus ante Pascha et in tempore Nativitatis. ijˢ.’ 1518-9. ‘pro tinctura et factura tunicae eius qui ageret partem Christi et pro crinibus mulieribus. ijˢ vjᵈ.’ 1536-7. ‘pro carbonibus consumptis in sacrario per custodes sepulchri, et per pueros in festis hiemalibus.’ [Repeated in other years.] A chapel inventory of 1495 includes ‘unum frontale ... et unum dorsale cum quibus solet sepulcrum ornari.’ The same accounts (cf. p. 248) show items for plays in the hall at various seasons, and for the Boy Bishop at Christmas[893]. The churchwardens of St. Peter’s in the East kept between 1444 and 1600 a stock of players’ garments, and let them out on hire[894]. PENRHYN, CORNWALL. See _Texts_ (i), _Cornish Plays_, _Origo Mundi_. PERRANZABULO, CORNWALL. The earliest historical notice of plays in Cornwall is by Richard Carew in 1602:— ‘The Guary miracle, in English, a miracle-play, is a kinde of Enterlude, compiled in _Cornish_ out of some Scripture history, with that grossenes which accompanied the Romanes _vetus Comoedia_. For representing it they raise an earthen Amphitheatre in some open field, hauing the Diameter of his enclosed playne some 40 or 50 foot. The Country people flock from all sides, many miles off, to hear and see it: for they haue therein, deuils and deuices, to delight as well the eye as the eare; the players conne not their parts without booke, but are prompted by one called the Ordinary, who followeth at their back with the book in his hand, and telleth them softly what they must pronounce aloud.’ Whereupon Carew has a story of a ‘pleasant conceyted gentleman’ who raised laughter by repeating aloud all the Ordinary’s asides to himself. One Mr. Scawen (†1660) describes the Guirremears as— ‘solemnized not without shew of devotion in open and spacious downs, of great capacity, encompassed about with earthen banks, and in some part stonework of largeness to contain thousands, the shapes of which remain in many places to this day, though the use of them long since gone.’ Bp. Nicholson, writing in 1700, says that the plays were:—