Music was always a great feature of these pageants and processions. "Mynstralcy of harp and lute," or of "small pypis," or that of "orgon pleyinge," formed a part of the greeting which came to Prince Edward from the stages whereon S. Edward, the prophets, or "the iii Kyngs of Colen" or "seint George" were shadowed forth. There were four chosen minstrels or city waits, and it may be remembered how on one occasion the mayor and aldermen sent for these and bade them go before the throng making their way from Whitley to the city, "which is by the space of a mile largely or more," and pipe and play as they went, "like as the people had done a great conquest or victory." The waits played also on less stirring occasions than the opening of Bristow's meadows, being greatly in request at the banquets of the guilds and crafts,[718] and much sought after in all the country round. They wore silver chains and badges charged with the arms of the city,[719] and besides occasional fees given for their performance during feasts, they received a regular "quarteredge," that is to say, a penny from every citizen having "a hallplace," and a halfpenny from every one dwelling in a cottage four times a year for their maintenance.[720] The citizens themselves delighted in music; some must have been practised singers, as the representation of the Corpus Christi pageants was diversified by songs. One of these, a lullaby from the tailors' and sheremen's play, is so pretty that it will well bear quotation. "Lully, lulla, thow littell tine child, By by, lully lullay, thow littell tyne child, By by lully lullay. O sisters too, how may we do For to preserve this day This pore yongling, for whom we do singe, By by lully lullay? Herod, the king, in his raging Chargid he hath this day His men of might in his owne sight All yonge children to slay. That wo is me, pore child, for thee, And ever morne and may For thi parting nether say nor singe By by, lully lullay."