Of the continued development of popular tragedy after 1570, and particularly of the sources drawn upon for dramatic material, we can get a few hints from the titles of non-extant plays. The incomplete Revels Accounts of performances at court preserve the names of over sixty plays acted between 1570 and 1585, and about thirty are derived from other sources. Of the court plays, none had biblical subjects; a number were moralities, a few were drawn from old romances; but the majority were from classical or Italian sources. Many of these must have contained tragic incidents,[8] though probably they were not much more classical in form than "Appius and Virginia" or "Horestes." Only one title drawn from national history presents itself, "The King of Scots." The English chronicle play had evidently not yet made any stir at court; but many of the classical plays were drawn from Livy. Two other titles, "The Cruelty of a Stepmother" and "Murderous Michael" (Sussex's men, '78, '79), and a third of a play at Bristol in 1578, "What Mischief Worketh in the Mind of Man," may possibly have had for sources accounts of contemporary murders, and thus have instituted the species of domestic tragedy. A few titles, suggestive of tragedy, with accompanying comments, have been preserved by Gosson, who praises: "The Jew," "representing the greediness of worldly chusers and bloody minds of usurers," apparently a forerunner of "The Merchant of Venice"; "Ptolemy," "describing the overthrow of seditious estates and rebellious commons"; "The Blacksmith's Daughter," "contayning the treachery of the Turkes, the honourable bountye of a noble mind, and the shining of virtue in distress"; and his own play, "Catilin's Conspiracy," "showing the reward of traitors." Some further information concerning the emergence of popular tragedy can be derived from the criticisms of the period. Gosson in his "Plays Confuted" (1582), declares:-- "For the poets drive it most commonly unto such points as may best show the majesty of their pen in tragical speeches, or set their hearers agog with discourses of love; or paint a few antics to fit their own humours with scoffs and taunts or wring in a show to furnish forth the stage when it is too bare; when the matter itself comes short of this, they follow the practice of the cobbler, and set their teeth to the leather to pull it out.... So," he adds, "was the history of Cæsar and Pompey and the play of the Fabii at the theatre, both amplified where the drums might walk or the pen ruffle."