_a._ 1591, by “Edward Gregorie a Scholar of Bunbury”;
now in possession of the Duke of Devonshire.
_b._ 1592 } by George Bellin, Brit. Mus.: Add. MS. 10305;
_c._ 1600 } Brit. Mus.; Harl. 2013.
_d._ 1604, by William Bedford, Bodleian.
_e._ 1607, by James Miller, Brit. Mus.; Harl. 2124.
_f._ “The Resurrection” Play, by George Bellin,
in the books of the Ironmongers’ Company,
Chester.[18]
[18] Found by me last year. It is no doubt the “riginall” which the
Company used, as they were responsible for the play. I have collated it
with the other MSS., but the differences are not very important.
George Bellin was parish clerk of Holy Trinity Church in Chester.[19]
He wrote an excellent hand, was a member of the Ironmongers’ Company,
and had doubtless often acted in the plays, and he is therefore, on
the whole, a reliable guide, especially as to stage directions. He
made some curious mistakes, and his French is very bad, but we must be
grateful to him for his labours.
[19] “George Bellin ironmonger & Clarke of this p’rish bur: in the
middle Ile 23 July 1624.”--_Holy Trinity Registers._
As already stated, Chester was fortunate in possessing, like York,
London, and other great centres, a powerful array of Trade Gilds.[20]
These City Companies provided workable units, and their power of
organisation, the discipline exerted over their members, the brotherly
feeling engendered by the Companies were all potent factors in the
representation of these plays. “It made the performance a local work
of art, in which all the city had a personal share. They believed with
just pride that search England throughout none had the like, nor like
does sett out.”
[20] The City Gilds still hold an annual dinner in Chester, and in
January 1908 representatives of some thirty Companies attended. Many
of these Companies possess badges, flags, and documents of priceless
interest; but in many cases they are insecurely kept.
The preparation of the plays occupied many months. There was keen
competition between the various City Companies, and great pains were
taken by the civic fathers to see that really competent players were
chosen, and that no one should have an undue number of parts, and the
Mayor frequently attended rehearsals.
Then the “Pageant carriages,”[21] which had been securely housed since
the last performance, had to be newly cleaned and repaired, and there
needed much mending and repainting of the canvas and boards which
represented “Heaven and Hell,” “Morning and Night,” or, as in “Noah’s
Play,” was embellished with representations of birds, beasts, and
fishes.
[21] The carriages themselves were sometimes called “Pageants,” and
were kept in special houses. Most of the Gilds had their own, but
sometimes two Gilds shared the cost between them. They were drawn by
men, as a rule, _e.g._:--
“To twelve porters of the cariage ii_s._ iv_d._”
--_Painters and Glaziers’ Accounts._
The stage manager’s properties had also to be bought or borrowed
throughout the town, and included many dozens of articles, ranging from
a costly cope[22] down to the whistles[23] for the shepherd-boys and
the ox tongue[24] for the old shepherd to put in his haversack, and
it is obvious that the success of these plays depended greatly on the
felicitous subdivision of work amongst the numerous City Companies, for
no one manager could have supervised the whole.
[22]
“To the Clark for loan of a Cope an Altar Cloth and Tunick x_d._”
--_Smiths’ Accounts._
[23]
“For two Wystylls for Trowe ii_d._
[24]
“For a beast’s tongue and four calfe’s feet viii_d._”
--_Painters and Glaziers’ Accounts._
The expenses were evenly divided among the members of the Company.
Sometimes there was a “passive resister” who thought the plays
nonsense, and that there should be “no more cakes and ale”; but he was
speedily disillusioned, for the Mayor promptly clapped him into prison
until he, or his friends, paid his proper[25] share.
[25] Andrew Tailer of the Dyers’ Company was thus treated in 1575.
It has been said that “no English play that has been preserved to
us contains any mark of its representation by clerical actors,” but
we find that as late as the sixteenth century the “clerks from the
Minster,” the organist and choir boys, had no scruples about joining
in the plays, and helping in those parts which required musical
qualifications.
1561. To Sir Jo: Jenson for songes[26] -- xii_d._
” To the five boys for singing ii_s._ vi_d._
1567. To two of the clarkes of the Minster -- viii_d._
” To Mr. Whyte[27] iiii_s._ --
[26] Senior Minor Canon.
[27] Organist and a very celebrated musician. It was probably due to
his influence and co-operation that the Cathedral authorities joined in
the preparation and plays, as appears from the Cathedral Treasurer’s
accounts for 1567.