Lord: the
Raising of Lazarus: the Birth of Christ: the Flood: the Fall of Lucifer:
the Shepherds of Bethlehem: and other scenes. The Mystery or Sacred Play
was the Sunday school of the middle ages. By those plays they learned
the whole of Scripture History. The churches taught detached portions by
the frescoes on the wall, the painted windows and the carvings: but the
history in its sequence was taught by the Sacred Dramas.

We have very full accounts of one Miracle Play, that which was annually
performed by the Guilds of the City of Chester. It was performed at
Whitsuntide and lasted three days. The play began with the 'Fall of
Lucifer' performed by the tanners: went on to the 'Creation,' by the
drapers: then to the 'Flood,' and so on. Nine plays were performed on
the first day; nine on the second; and seven on the third. Each Guild
provided a scaffold on wheels. The scaffold was provided with a canopy
which would represent the sky, or the roof of a house, or a tent, or a
cave, as the play demanded: the performers were properly dressed for
their parts: there was music, and in some cases there were songs. Under
the scaffold was the room where the actors dressed and where the
'properties' were kept. Every play was performed in every principal
street. When one was finished the scaffold was rolled to another station
and the play was repeated. This method prevented crowding. The most
sacred Persons were exhibited at these plays, and nothing was spared to
make them realistic to the last degree. Sometimes devils were put upon
the stage: flames issued from their mouths: they performed tricks of
buffoonery: they dragged off sinners to their doom. Sometimes comic
scenes were introduced, as in the play of the 'Flood,' where it was
common to represent Noah's wife as a shrew who beats her husband and
refuses to go into the Ark.

These plays were swept away by the Reformation. They had been productive
for a long time of mischief rather than of instruction. The profanity of
the comic scenes increased: and reverence was destroyed when in the same
tableau which presented the most sacred of events appeared the most
unbridled buffoons. Religious plays have never been allowed since the
Reformation. Should they again be put upon the stage it must be under
the safeguard of those who can be trusted to admit of no other
consideration than the presentation in the most reverent manner of
sacred subjects. There must be no thought of gain for th