In some cities, the crafts received help from outside. At Coventry, in 1501, the tilers’ pageant got a contribution of 5_s._ from the neighbouring tilers of Stoke. At Chester, vestments were borrowed from the clergy; at Lincoln from the priory and the local gentry. A ‘gathering’ was also made in the surrounding districts. The only trace of any charge made to the spectators, other than the fees for ‘stations’ at York, is at Leicester, where, in 1477, the players paid over to the ‘pachents’ certain sums they had received for playing. The majority of the crafts in a big city were, of course, already formed into guilds for ordinary trade purposes, and in their case the necessary organization for the plays was to hand. But no citizen could wholly escape his responsibility in so important a civic matter. At Coventry it was ordered in 1494 that every person exercising any craft must become contributory to some pageant or other. At York the innholders, who do not appear to have been a regular guild, were organized in 1483 for the purposes of a pageant on the basis of a yearly contribution of 4_d._ from each man. The demand at Beverley in 1411 for the appropriation of a play to the _generosi_ has already been alluded to. In a Beverley list of 1520 the ‘Gentylmen’ are put down for the ‘Castle of Emaut.’ It may be suspected that some of the other crafts named in the same list, such as the ‘Husbandmen’ and the ‘Labourers,’ were not regular guilds; not to speak of the ‘Prestes,’ who played the ‘Coronacion of Our Lady.’ This participation of religious bodies in the craft plays can be paralleled from other towns. At York the hospital of St. Leonard took the Purification in 1415; at Lincoln the cathedral clergy, like the priests at Beverley, were responsible for the Coronation or Assumption of the Virgin, a play which at Chester was given by the ‘worshipfull wyves of this town,’ and at York by the innholders. Both at York and Chester this scene was dropped at the Reformation. Possibly its somewhat exceptional position may be accounted for by its having been a comparatively late addition in all four cycles. Some endeavour after dramatic appropriateness is visible in the apportioning of the other plays amongst the crafts. Thus Noah is given to the shipwrights (York, Newcastle), the watermen (Beverley, Chester), the fishers and mariners (York); the _Magi_ to the goldsmiths (Beverley, Newcastle, York); the Disputation in the Temple to the scriveners (Beverley); the Last Supper to the bakers (Beverley, Chester, York); the Harrowing of Hell to the cooks (Beverley, Chester).