The Anglo-Norman Resurrection play was pretty clearly out of doors[277]; and the double line of _sedes_ may be thought of as stretching from the west door of the church right across the market-place. In _Adam_ the _Figura_ comes and goes from and to the church, which thus serves for a _ciel_; in the Benedictbeuern Christmas play, the chair of Augustine is set _in fronte ecclesiae_. This arrangement, also, can be paralleled from later plays, both French and German. At Freiburg in 1504 the stage was built across the cathedral yard from the south door to the Kaufhaus, a space of some 110 feet long[278]. At Rouen, in 1474, the _establies_ went across the market-place from the Axe and Crown to the Angel[279]. It must not, however, be supposed that the rectangular stage survived as the invariable type. In particular a round type was sometimes preferred. The Cornish guary-plays were given in rounds, and a round is figured in a fifteenth-century miniature by Jean Fouquet, representing a play of Saint Apollonia[280]. I have spoken of a stage, but I am not sure that there was any stage in the sense of a platform. There is certainly no such scaffold in Fouquet’s miniature, and the _plateae_ of the Fleury _Suscitatio Lazari_ and the _Adam_ are probably only the open spaces kept free for the actors between the _sedes_[281]. In the _Adam_ the devils are able to make sallies from the _plateae_ amongst the spectators. The latter probably crowded upon barriers between the _sedes_. In the miniature, however, the _sedes_ stand close together and are considerably raised, with ladders running up to them. The spectators stand beneath. The prologue to the Anglo-Norman _Resurrection_ speaks of _la gent_ as seated, and possibly raised scaffolds for the audience were already in use. These were certainly known later, and the descriptions of some of them as no less than nine stories high have given rise to an erroneous theory that the plays were performed upon a many-storied stage[282]. It is clear that this was not really the case. All the _sedes_ were on the same level, except that, for greater dignity, the Calvary, the Heaven, the Paradise might be, as in _Adam_, _loco eminentiore_, and that the _infernum_ or hell, conventionally represented by the head and open gullet of a monstrous dragon, was low down, as if in the bowels of the earth[283]. It should be added that, as early as the first quarter of the twelfth century, plays had begun to make their way from the church, if not into the open, at any rate into buildings of domestic use. The authority for this is Gerhoh of Reichersberg, who speaks of performances in the refectory of Augsburg, when he was _magister scolae_ there about 1123[284]. Some of the Fleury or other early plays may conceivably have been intended for the refectory.