Passing from the architecture of the theatre to the physiognomy of the actors, let us study the manner in which they were recruited. There were stock companies, and extemporized companies. Of the first description were the "Fraternity of the Passion," so celebrated in the history of the representations of the "mysteries" at the end of the middle ages. There were also the burgesses of Paris, artisans of all handicrafts, who, at the end of the fourteenth century, assembled at the village of St. Maur, near Vincennes, to give on festal days their pious spectacles. Interdicted June 3, 1398, by ordinance of the provost of Paris, who mistrusted this novelty, they obtained from King Charles VI., by letters patent of December 4, 1402, permission to play even at Paris, and at the same time their society was elevated into a permanent fraternity, under the title of De la Passion de Notre Seigneur, and was installed near the gate St. Denis in the ancient hospital of the Trinity, then for some time disused.
It would appear that in certain provinces, cities, and even parishes, had, like Paris, their association of miracle-players. But, most commonly, these companies were improvised, and consisted of volunteers. This was the case at the gigantic representations of the Mystery of the Acts of the Apostles at Bruges and at Paris. We have still "the cry and public proclamation made at Paris, Thursday, the sixteenth of December, 1540, by the command of our lord the king, Francis I. by name, and monsieur the provost of Paris, summoning the people to fill the parts necessary for the playing of said mystery." At eight o'clock of the morning there were assembled at the Hotel de Flandre, where the "mystery" was to be performed, all those who were charged with its management, rhetoricians, gentlemen of the long robe and the short, lawyers and commoners, clergymen and laity, in vast numbers. They paraded through the streets in fine apparel, all well mounted according to their estate and capacity, preceded by six trumpeters and escorted by numerous sergeants of the provost, who kept the crowd in check. They halted at every square, and, after a triple flourish of trumpets, a public crier made the proclamation, which was in bad rhyme. Ten days [{586}] after, on St. Stephen's day, the large hall of the Hotel de Flandre—the usual place, says the narrative, for making the records and holding the rehearsals of the mysteries, was filled with a crowd of burgesses and merchants, clergy and laity, who came to exhibit their talents in the presence of the commissioners and lawyers deputed to hear the voice of each person, retaining and remunerating them according to the measure of their excellence in the parts required. The selections having been made, the rehearsals commenced and continued every day until the performance of the mystery, which was played at the beginning of the next year.
Whoever deemed himself of any value responded generously to these appeals, not only among the bourgeois and gentlemen—artisans and magistrates—but also the curés and their vicars, the canons, and sometimes even the friars. Women alone were excluded, the female parts being always filled by men. The participation of the clergy in these scenic diversions is readily accounted for, when one considers the moral aim and the religious character of the plays. All these dramas represent the mysteries and history of Christianity. All commence, either with readings from the Holy Scripture or by the chanting of the hymns of the Church, or by the recitation of the Ave Maria—the whole assemblage kneeling and joining in the services. All ended, moreover, as in preceding centuries, with the Te Deum. The spectacle was frequently interrupted by preaching, and more than once, at the end of a dramatic day, actors and spectators might be seen wending their way to church to offer up thanks to heaven. Beside, did not the clergy find themselves on their own ground, in these plays, instituted in order to increase the solemnity of their sacred days, and evincing unquestionable traces of a liturgic origin? Let us add finally, with Dom Piolin, that a distinction was rigorously maintained between profane pieces and those whose aim was the edification and the instruction of the faithful; that while zealously keeping in check all acting which could possibly be turned to license, the clergy furthered with all their power the exhibiting of the "mysteries." The learned Benedictin presents to us the chapter of St. Julien at Mans preventing, in 1539, the ringing of the cathedral bells in order not to interrupt a representation of the Miracle of Theophilus; and stopping them again, in 1556, and, in addition, hastening the morning offices and delaying those of evening, in order to accommodate them to the time of the performance of the "Mystery of the Conception of the most Holy Virgin."
After the distribution of parts, all the actors were obliged on the spot to pledge themselves by oath and under penalty of a fine never to be absent from the rehearsals. A second appeal to the public good-will was necessary to secure a wardrobe for the hundreds of players, who on the day of exhibition wore sometimes the richest jewels and the most beautiful stuffs of a whole province. The magnificence of the spectacle at Bruges, in 1536, would strike us as incredible, if the author of the narrative which has preserved us the details, had not taken the precaution to forewarn his readers at the start that he kept within the truth. As illustrating its splendor, take the following examples, gathered here and there from the volume.
St. James the Lesser wore a scarf estimated at 450 gold crowns. The girdle of St. Matthew was valued at more than 500 crowns sterling. Queen Dampdeomopolis, who was mounted on an ambling pad which was covered with a housing of black velvet and had a gold fringed harness, wore a petticoat of cloth of gold, beneath a robe of crimson damask bordered with gold chains, while down the front ran a rich beading of precious stones, rubies and diamonds, of the value of more than 2,000 crowns. This is not all. From head to foot gold and jewels glittered [{587}] on her person. Her head-dress was surmounted by a white feather, and on her forehead hung by a little thread of black silk a huge oriental pearl. The wife of Herod Agrippa had for her girdle a great gold chain of more than 1,000 crowns in value; from which hung chaplets carved in facets. She had on her neck another great chain and a collar of pearls, whence hung a ring and sprig of four diamonds, and on her stomacher was a dorure which bore a gold dog having a great ruby hanging from its neck, and a great pearl suspended to the tail.
All these princesses—and they could be counted by dozens—had with them their maids, their squires, and their pages, handsomely clothed. There were likewise princes, kings, and emperors, who came from all quarters of the world.
Nothing approaches to the magnificence of Nero. It would carry us too far out of our way if we should mention in detail the numerous and brilliant cortege which preceded the formidable emperor when the actors issued from the abbey of St. Sulpice, where they robed themselves before entering the theatre. First came a troop of musicians composed of a fifer, six trumpeters, and four players on the tamborine; next the grand provost of Rome, mounted on a splendid horse caparisoned with violet-colored satin, fringed with white silk; then four cavaliers attending the ensign-bearer of Nero; presently four companies of Moors crowned with laurels and bearing, some, masses of gilded silver, others, vases of silver and gold or cornucopiae filled with fleurs de lis—or the armorial bearings of the empire inter-worked on triumphal hats. Lastly, a horse appeared covered to the ground with flesh-colored velvet, bordered with tracery of gold, into which were woven the devices of Nero. This horse, conducted by two lackeys clothed also with flesh-colored velvet, bore a cushion of silk and cloth-of-gold in Turkish work, on which lay three crowns, the first, solid gold; the second, all pearls; the third, composed of every kind of precious stone of marvellous beauty and richness—and these three crowns formed the imperial head-gear.
Next there came into sight another horse, whose harness and caparison were of blue satin, fringed with gold and bestrewn with stars made of embroidery of gold stuff on a violet field. The two lackeys who led it by the bridle, had their heads uncovered and were clothed with velvet of a violet crimson, purfled with gold, slashed with broad slashes, through which the lining of white satin showed itself in folds. This was the saddle-horse of the emperor.
Afterward came six players on the hautboy clothed in sarcinet of a violet crimson.
Nero appeared last, borne on a high tribunal eight feet wide and ten long, and covered to the earth with cloth-of-gold, strewn with large embroidered eagles, "copied as closely as possible from the life." The chair on which he was seated was entirely covered with another cloth-of-gold crimped. His sagum, or military cloak, was of blue velvet all purfled with gold, with large flowers in needle-work after the antique; the sleeves slashed, and displaying beneath the undulating folds of the lining, which was of gold stuff on a violet field. His robe, a crimson velvet, adorned with flowers and interlaced with gold thread, was lined with velvet of the same color. The cape was serrated, the points interblending, and was bestrewn with a profusion of great pearls, and at each point hung a great tassel of other pearls. His hat, of Persian velvet and of a tyrannical fashion, was bordered with chains of gold and strewn with a great quantity of rings. His gold crown, with its triple branches, was filled with gems so numerous, so varied, and of so great a price that it is impossible to specify them. And his collar was not less garnished. His buskins, of Persian velvet, with small slashes, were laced with chains of gold, and some rings hung from his [{588}] garters. He placed one of his feet upon a casket which enclosed the imperial seal and was covered with silver cloth sown with gems, thus symbolizing that the power of the empire was his, and that all things were submissive to him. In his hand was a battle-axe well gilded. His port was haughty and his mien very magnificent. The tribunal, with the monarch upon it, was borne by eight captive kings, the drapery concealing from the audience everything save their heads, on which rested crowns of gold. A troupe of musicians followed with trumpets, clarions, tamborines, and fifes. The procession was closed by twenty-four cavaliers, captains, chevaliers, squires, cup-bearers—some wearing the imperial livery, others clad according to their pleasure; and by chariots which were loaded with the emperor's baggage and vivanderie, and were drawn by eighteen or twenty horses.