York, which was a religious fraternity, mentions, in 1408,
books of plays, various banners and flags, beards, vizards, crowns,
diadems, and scaffolds, belonging to the society; which shows that its
members were at that time concerned in the representation of
Miracle-Plays. It appears that a few years afterwards these
performances, because of certain abuses attending them, were
discontinued: but in 1426 William Melton, a friar who is called "a
professor of holy pageantry," preached several sermons in favour of
them; and the result was, that they were then made annual, suitable
measures being taken for preventing the former disorders. But the
best evidence as to the share the Clergy had in the representations is
furnished by the account-book of Thetford Priory from 1461 to 1540;
which contains numerous entries of payments to players; and in divers
cases expressly states that members of the convent assisted in the
performances. These were commonly held twice or three times a year; in
1531 there were five repetitions of them; after which time there are
but three entries of plays wherein the members participated with the
common actors; the old custom being broken up most likely by the
progress of the Reformation.

The practice in question, however, was by no means universal. We learn
from Stowe that in 1391 and 1409, plays were acted in London by the
parish clerks. In cities and large towns, these performances were
generally in the hands of the trade fraternities or guilds. Our
information touching the _Corpus Christi_ plays at Coventry extends
from 1416 to 1590; during which period there is no sign of the Clergy
having any part in them. The records of Chester also show that the
whole business was there managed by laymen. And in 1487 a Miracle-Play
on the descent of Christ into Hell was acted before Henry the Seventh
by the charity boys of Hyde Abbey and St. Swithin's Priory. Long
before this date, acting was taken up as a distinct profession, and
regular companies of actors were formed.

That churches and chapels of monasteries were at first, and for a long
time after, used as theatres, is very certain. The Anglo-French poem
already referred to informs us that Miracle-Plays were sometimes
performed in churches and cemeteries, the Clergy getting them up and
acting in them. And Burnet tells us that Bishop Bonner as late as 1542
issued an order to his clergy, forbidding "all manner of common plays,
games, or interludes to be