and following them with the Conversion of the King and Queen of Marseilles, and of Mary’s Life in the Wilderness and Death. As offshoots from the Corpus Christi cycle may also be regarded the Deaths of the Apostles played in the Dublin series of 1528, Thomas Ashton’s _Julian the Apostate_ at Shrewsbury in 1565, and the _Destruction of Jerusalem_, written by John Smith in 1584 to take the place of the traditional plays at Coventry[388]. The Mary Magdalen and the rest of the group just described may be considered as standing halfway between the plays of and akin to the Corpus Christi cycle and those founded on the legends of saints. Of regular saint-plays there are unfortunately only two texts available from these islands. The Digby manuscript contains an East Midland Conversion of St. Paul, which, however, is almost wholly biblical and not legendary. It will be remembered that the subject was one known even to the liturgical drama[389]. There is also a Cornish play of St. Meriasek or Mereadocus, the patron saint of Camborne, written at the beginning of the sixteenth century. Other such plays are, however, upon record. It is perhaps curious that no mention should be found of any English parallel to either the Saint Nicholas plays or the _Miracles de Nostre Dame_ of France. It can hardly be doubted that the former at least existed in connexion with the widespread revel of the Boy Bishop[390]. The most popular English saint for dramatic purposes appears to have been St. George. A play of St. George was maintained by the town of Lydd, and was probably copied by a neighbouring guild at New Romney. Another, on an elaborate scale, was given by a group of villages at Bassingbourne in 1511. These seem to have been genuine dramas, and not mere ‘ridings’ or folk-plays such as occur elsewhere[391]. A St. George play, described by Collier at Windsor in 1416, can be resolved into a cake. St. Thomas of Canterbury was only honoured with a dumb show in his own city, but there was a play upon him at King’s Lynn in 1385. Of quite a number of other saint-plays the barest notices exist. London had hers on St. Catherine; Windsor on St. Clotilda; Coventry on St. Catherine and St. Crytyan; Lincoln on St. Laurence, St. Susanna, St. Clara, and St. James; Shrewsbury on St. Feliciana and St. Sabina; Bethersden in Kent on St. Christina; Braintree in Essex on St. Swithin, St. Andrew, and St. Eustace. The Dublin shoemakers contributed a play on their patron saints Crispin and Crispinian to the Dublin festival of 1528. In London, the plays on the days of St. Lucy and St. Margaret at St. Margaret’s, Southwark, may have been on the stories of those saints; and during the Marian reaction a ‘goodly’ stage-play was given at St. Olave’s church on St. Olave’s day.