The pageants were constructed of wood and iron, and so thoroughly that it was seldom that they needed to be renewed. In the floor of the stage were trap-doors covered with rushes. The whole was supported on four or six wheels so as to facilitate movement from point to point; and as the miracle plays were essentially peripatetic—within, at least, the bounds of a particular town, and sometimes beyond—this was a very necessary provision.
Each pageant had its company. The word "company" here is not exactly synonymous with "gild," for several gilds might combine for the object of maintaining a pageant and training and entertaining actors, and the composition of the company varied according to the wealth or poverty, zeal or indifference, of different gilds. Thus it came to pass that the number of pageants, in the same city, was subject to change, companies being sometimes subdivided, and at other times amalgamated; and in the latter event the actors undertook the performance of more scenes than would otherwise have fallen to their share. Commonly speaking, there was probably no lack, whether of funds or players, at any rate as regards the principal centres. The cycles were the pride of the city, and it would have been a point of honour with the members of the several companies not to allow themselves to be outclassed by their competitors.
To enumerate the gilds taking part in the miracle plays is tantamount to making an inventory of industrial crafts at the close of the Middle Ages. The "Order of the Pageants of the Play of Corpus Christi at York," compiled by Roger Burton, the town clerk, and comprising a list of the companies with their respective parts, yields the following analysis: Tanners, plasterers, card-makers, fullers, coopers, armourers, gaunters (glovers), shipwrights, pessoners (fishmongers), mariners, parchment-makers, book-binders, hosiers, spicers, pewterers, founders, tylers, chandlers, orfevers (goldsmiths), marshals (shoeing-smiths), girdlers, nailers, sawyers, spurriers, lorimers (bridle-makers), barbers, vintners, fevers (smiths), curriers, ironmongers, pattern-makers, pouchmakers, bottlers, cap-makers, skinners, cutlers, bladesmiths, sheathers, sealers, buckle-makers, horners, bakers cordwainers, bowyers, fletchers (arrow-featherers); tapisers, couchers, littesters (dyers), cooks, water-leaders, tilemakers, millers, twiners, turners, tunners, plumbers, pinners, latteners, painters, butchers, poulterers, sellers (saddlers), verrours (glaziers), fuystours (makers of saddle-trees), carpenters, wine-drawers, brokers, wool-packers, scriveners, luminers (illuminators), questors (pardoners), dubbers, tallianders (tailors), potters, drapers, weavers, hostlers, and mercers.
The subjects of the plays were the story of the Creation, the Fall, the Deluge, the Sacrifice of Isaac, the incidents preceding the Birth of Christ, the Nativity, and in pretty regular sequence the chief events of our Lord's life to the Ascension; and, finally, the Assumption of the Blessed Virgin. As a rule it is hard to discern any connexion between the nature of a scene and the craft or crafts representing it, but the assignment of the pageant in which God warns Noah to make an ark to the shipwrights, and of its successor, in which the patriarch appears in the Ark, to the "pessoners" and mariners has an obvious propriety, and must have conduced to the—not historical, but conventional—realism which was the aim of the miracle artists.
The whole town was made to serve as a huge theatre, and the many pageants proceeded in due order from station to station. "The place," says Archdeacon Rogers—he is speaking of Chester—"the place where they played was in every streete. They begane first at the abay gates and when the first pagiant was played, it was wheeled to the highe crosse before the mayor, and so to every streete; and so every streete had a pagiant playinge before them at one time, till all the pagiantes for the daye appoynted weare played; and when one pagiant was neere ended word was broughte from streete to streete, that soe they might come in place thereof excedinge orderlye, and all the streetes have their pagiantes afore them all at one time playeing togeather, to se which playe was greate resorte, and also scafoldes and stages made in the streetes in those places where they determined to playe their pagiantes."
Should the supply of pageants be limited, different scenes were acted in different parts of the same stage; and actors who were awaiting or had ended their parts stood on the stage unconcealed by a curtain. In more elaborate performances a scene like the "Trial of Jesus" involved the employment of two scaffolds, displaying the judgment-halls of Pilate and Herod respectively; and between them passed messengers on horseback. The plays contain occasional stage directions—e.g., "Here Herod shall rage on the pagond." We find also rude attempts at scene-shifting, of which an illustration occurs in the Coventry Play of "The Last Supper:"
"Here Cryst enteryth into the hous with his disciplis, and ete the Paschal lomb; and in the mene tyme the cownsel hous beforn seyd xal sodeynly onclose, shewynge the buschopys, prestys, and jewgys sytting in here astat, lyche as it were a convocacyon."
And again:
"Here the Buschopys partyn in the place, and eche of hem here leve be contenawns resortyng eche man to his place with here meny to take Cryst; and than xal the place that Cryst is in sodeynly unclose round abowt, shewynge Cryst syttyng at the table, and hise dyscypulis eche in ere degré. Cryst thus seyng."
The outlay on these plays was necessarily large, and the accounts of gilds and corporations prove that not only were considerable sums expended on the dresses of the actors, but the latter received fees for their services. The fund needed to meet these charges was raised by an annual rate levied on each craftsman—called "pageant money"—and varying from one penny to fourpence. The cost of housing and repairing the pageant, as well as the refreshment of the performers at rehearsals, would also come out of this fund. As the actors were paid, they were expected to be efficient, and the duty of testing their qualifications was delegated either to a pageant-master or to a committee of experienced actors. A York ordinance dated April 3, 1476, shows that four of "the most cunning, discreet, and able players" were summoned before the mayor during Lent for the purpose of making a thorough examination of plays, players, and pageants, and "insufficient persons," in whatever requirement—skill, voice, or personal appearance—their defect lay, were mercilessly "avoided." No single player was allowed to undertake more than two parts on pain of a fine of forty shillings.