‘called Guirimir, which Mʳ Llhuyd supposes a corruption of Guarimirkle, and in the Cornish dialect to signify a miraculous play or interlude. They were composed for begetting in the common people a right notion of the Scriptures, and were acted in the memory of some not long since deceased.’ The eighteenth-century antiquary, Borlase, identifies the places in which the miracle-plays were given with those known as ‘rounds’ or, in Cornish, _plân an guare_. Of these he describes and figures two. That of St. Just was of stone, 126 feet in diameter, with seven rows of seats inside. It was much decayed when Norris wrote in 1859. That of Perranzabulo, or Piran-sand, was of earth, 130 feet in diameter, with a curious pit in the centre, joined to the outer ring by a narrow trench. Borlase thought that this was used for a Hell[895]. It was more likely filled with water for Noah’s ship to float upon. The _Ordinalia_ printed by Mr. Norris take the Cornish plays back to at least the fourteenth, if not the thirteenth century. The circular diagrams in the manuscript exactly fall in with the round _plân an guare_ described by Borlase and others. They show a ring of eight _loci_ or _sedes_ (cf. p. 83), for which the terms used in the stage-directions are _pulpita_ or _tenti_, with an open circular space in the middle, which the stage-directions call the _platea_. The action is partly at the _pulpita_, partly in the _platea_. A new character often marks his appearance by strutting about his _pulpitum_, or perhaps around the ring—_Hic pompabit Abraham_, &c.