"Appius and Virginia" (S. R. 1567-68), by an unknown R. B., was also evidently acted by one of the children's companies, perhaps, as Mr. Fleay plausibly conjectures, by the boys of the Westminster school. It is much shorter than "Damon and Pithias," but, like that play, is styled a tragical comedy, is written in rhymed verse, mostly doggerel, and contains farcical scenes and many songs. The vice Haphazard is a clown and mischief-maker; and, in addition, a number of personified abstractions, Conscience, Justice, Comfort, Doctrina, etc., indicate the close relation of the play to the moralities. The main plot, however, is tragic and has no integral connection with the comic scenes. It begins with the domestic happiness of the family of Virginius, and proceeds promptly to the action. Virginia is beheaded, and the head is afterwards exhibited; Appius Claudius and Haphazard are executed out of the sight of the audience; and in the closing scene the tomb of Virginia is shown upon the stage, Memory inscribes her renown, while Justice, Reward, Doctrine, and Fame apparently join in a song "around about the tomb in honor of her name." "Horestes" (1567) by John Pickering was probably the "Orestes" acted at court 1567-68. It also seems to have been performed by children, but was very likely given public presentation by various companies. The title runs significantly, "A New Interlude of Vice, conteyninge the Historye of Horestes," etc. The vice, indeed, is hardly absent from the stage, and offers much that is new in his species. He is a clown, but apparently this is only a disguise, for he appears to Horestes as a messenger from the gods, urging him to revenge; later as Courage he is Horestes' faithful friend and supporter, then as Revenge he attends to the execution of Clytemnestra, and finally he appears as a beggar thrust out of court, since Revenge could not agree with the Amity dwelling there, and takes the opportunity to read a long lecture to women. The diversity of elements confused in this personage is typical of the play. It is in a large measure a morality; Nature appears to Horestes to dissuade him from including his mother in his vengeance, Fame appears as a judge and exempts him from guilt, and other abstractions are numerous and voluble. There are also a number of songs, Egisthus and Clytemnestra having just finished a love song when the messenger announces the avenger's approach. There are many scenes of sheer farce, where the humor lies wholly in fisticuffs and beatings; and the spectacular element suggests the later historical plays. Horestes is accompanied by an army which marches with drums about the stage and fights two pitched battles, one with the host of Egisthus and the other for the possession of the city. "Make your lively battel and let it be long," says the stage direction. Still further, the classical elements are curiously confused. Although there are a number of quotations from Ovid and