nually to perform a Corpus Christi play. Drake says, that this ceremony must have been in its time one of 'the most extraordinary entertainments the city could exhibit. It was acted in that city till the twenty-sixth year of queen Elizabeth, 1584. Corpus Christi day, at Newcastle-uponTyne, was celebrated with similar exhibitions by the incorporated trades. The earliest mention of the performance of mysteries there, is in the ordinary of the coopers for 1426. In 1437, the barbers' played the "Baptizing of Christ." In 1568, the "Offering of Abraham and Isaac" was exhibited by the slaters. About 1578, the Corpus Christi plays were on the decline, and never acted but by a special command of the magistrates of Newcastle. They are spoken of as the general plays of the town of Newcastle, and when thought necessary by the mayor to be set forth and played, the millers were to perform the "Deliverance of Israel;" the house carpenters, the "Burial of Christ;" the ma sons, the "Burial of our lady Saint Mary the Virgin." Between the first and last mentioned periods, there are many minutes in the trades' books of the acting in different years. In the reign of Henry VII., 1487, that king, in his castle of Winchester, was entertained on a Sunday, while at dinner, with the performance of Christ's "Descent into Hell," by the choir boys of Hyde abbey and St. Swithin's priory, two large monasteries there; and in the same reign, 1489, there were shows and ceremonies, and (religious) plays, exhibited in the palace at Westminster. On the feast of St. Margaret, in 1511, the miracle play of the "Holy Martyr St. George," was acted on a stage in an open field at Bassingborne, in Cambridgeshire, at which were a minstrel and three waits hired from Cambridge, with a propertyman and a painter. It appears from the Earl of Northumberland's Household-book, (1512,) that the children of his chapel performed mysteries during the twelve days of Christmas, and at Easter, under the direction of his master of the revels. Bishop Percy cites several particulars of the regulated sums payable to "parsones" and others for these performances. The exhibiting scripture dramas on the great festivals entered into the regular establishment, and formed part of the domestic regulations of our ancient nobility; and what is more remarkable, it was as much the business of the chaplain in those days to compose plays for the family, as it is now for him to make sermons. At London, in the year 1556, the "Passion of Christ" was performed at the Grey Friars, before the lord mayor, the privycouncil, and many great estates of the realm. In 1577, the same play was petformed at the same place, on the day that war was proclaimed in London against France; and in that year, the holiday of St. Olave, the patron of the church in Silver-street, dedicated to that saint, being celebrated with great solemnity, at eight o'clock at night, a play of the "miraculous Life of St. Olave," was performed for four hours, and concluded with many religious plays. The acting of religious plays experienced interruption during the reign of Elizabeth, and occasionally at other periods. Malone thinks that the last mystery represented in England, was that of "Christ's Passion," in the reign of king James I. Prynne relates that it was performed at Ely-house, in Holborn, when Gondomar, the Spanish ambassador, lay there, on Good Friday, at night, and that thousands were present. Concerning the Coventry mysteries, Dugdale relates, in his "History of Warwickshire," published in 1656, that, "Before the suppression of the monasteries, this city was very famous for the pageants that were played therein, upon Corpus Christi day (one of their ancient faires,) which occasioning very great confluence of people thither from far and near, was of no small benefit thereto which pageants being acted with mighty state and reverence by the Grey Friars, had theatres for the several scenes, very large and high, placed upon wheels, and drawn to all the eminent parts of the city, for the better advantage of spectators, and contained the story of the Old and New Testament, composed in the Old Englishe rithme, as appeareth by an ancient MS. (in Bibl. Cotton. Vesp. D. VIII.) intituled, Ludus Corporis Christi, or Ludus Coventriæ.. I have been told,' says Dugdale, by some old people, who in their younger years were eye-witnesses of these pageants so acted, that the yearly confluence of people to see that shew was extraordinary great, and yielded no small advantage to this city.' The celebrity of the performances may be inferred from the rank of the audiences; for, at the festival of Corpus 1 Christi, in 1483, Richard III. visited Coventry to see the plays, and at the same season in 1492, they were attended by Henry VII. and his queen, by whom they were highly commended." The mysteries were acted at Chester, by the trading companies of the city. "Every company had his pagiante, or parte, which pagiantes were a high scafolde with two rowmes, a higher and a lower upon four wheeles. In the lower they apparelled themselves, in the higher rowme they played, being all open on the tope, that all behoulders might hear and see them. The places where they played them was in every streete. They begane first at the Abay gates, and when the pagiante was played, it was wheeled to the High-cross before the mayor, and so to every streete; and so every streete had a pagiante playing before them, till all the pagiantes for the daye appointed were played, and when one pagiante was neer ended, worde was broughte from streete to streete, that soe the mighte come in place thereof, excedinge orderlye, and all the streetes had their pagiante afore them, all at one time, playing together, to se which playes was great resorte, and also scafoldes, and stages made in the streetes, in those places where they determined to playe their pagiantes." In Cornwall they had interludes in the Cornish language from scripture history. These were called the Gnary Miracle plays, and were sometimes performed in the open fields, at the bottom of earthen amphitheatres, the people standing around on the inclined plane, which was usually forty or fifty feet diameter. Two MSS. in the Bodleian Library contains the Cornish plays of the "Deluge," the "Passion," and the "Resurrection." According to Strutt, when mysteries were the only plays, the stage consisted of three platforms, one above another. On the uppermost sat God the Father, surrounded by his angels; on the second, the glorified saints, and on the last and lowest, men who had not yet passed from this life. On one side of the lowest platform was the resemblance of a dark pitchy cavern, from whence issued the appearance of fire and flames; and when it was necessary, the audience was treated with nideous yellings and noises in imitation of the howlings and cries of wretched souls tormented by relentless demons. From this yawning cave the devils themselves constantly ascended to delight, and to instruct the spectators.* Cat Worship on Corpus Christi Day. In the middle ages, animals formed as prominent a part in the worship of the time as they had done in the old religion of Egypt. The cat was a very important personage in religious festivals. At Aix, in Provence, on the festival of Corpus Christi, the finest Tom cat of the country, wrapt in swaddling clothes like a child, was exhibited in a magnificent shrine to bent, every hand strewed flowers or pourEvery knee W:9 public admiration. ed incense, and Grimalkin was treated in all respects as the god of the day. But on the festival of St. John, poor Tom's fate was reversed. A number of the tabby tribe were put into a wicker basket and thrown alive into the midst of an immense fire, kindled in the public Hymns and anthems were sung, and prosquare by the bishop and his clergy. cessions were made by the priests and people in honour of the sacrifice.+ FLORAL DIRECTORY. Pimpernal. Anagallis arvensis. Dedicated to St. Erasmus. June 3. St. Cecilius, a. d. 211. St. Clotildis, or Clotilda, Queen of France, A. d. 545. St. Coemgen, or Keivin, a. D. 618. St. Lifard, Abbot, about the middle of the 6th Cent. St. Genesis, in French, Genes, Bp. about A. D. 662. CHRONOLOGY. 1817, June 3, Paris.-Yesterday the ladies of the market of St. Germain, having invited the rector of St. Sulpice to bless their new market-place, that pastor accompanied by the clergy of the parish, repaired there at five o'clock, and sung the hymn, Veni Creator. A procession took place inside the edifice, and the market was formally blessed. The whole concluded with Domine, Salvum fac Regem. The market was to open the next morning.-Moniteur. • Hone on Mysteries. + Mill's Hist. Crusades. A house of entertainment-in a place Hornsey-wood house is beyond the Sluice-house, from whence anglers and other visitors pass to it through an upland meadow, along a straight gravel-path, angle-wise. It is a good, "plain, brown brick," respectable, modern, London lookmg building. Within the entrance to the eft, is a light and spacious room of ample accommodation, and of which more care has been taken,than of its fine leather-folding screen in ruins-an unseemly sight for him, who respects old requisites for their former beauty and convenience. This once partook of both, but disuse hath abused and "time hath written strange defeatures" on its face, which in its early days was handsome. It still bears some remains of a spirited painting, spread all over its leaves, to represent the amusements and humours of a fair in the low countries. At the top of a pole, which may have been the village May-pole, is a monkey with a cat on his back; then there is a sturdy bear-ward, in scarlet, with a wooden leg, exhibiting his bruin; an old woman telling fortunes to the rustics; a showman's drummer on a stage before a booth, beating up for spectators to the performance within, which the show-cloth represents to be a dancer on the tightrope; a well set-out stall of toys, with a woman displaying their attractions; besides other really interesting" bits" of a crowded scene, depicted by no mean hand, especially a group coming from a church in the distance, apparently a wedding procession, the feinales welllooking and well dressed, bearing ribbons or scarfs below their waists in festoons. The destruction of this really interesting screen by worse than careless keeping, is to be lamented. This ruin of art is within a ruin of nature. Hornsey-tavern and its grounds have displaced a romantic portion of the wood, the remains of which, however, skirt a large and pleasant piece of water, formed at a considerable expense. Lake of Hornsey-wood House. To this water, which is well stored with fish, anglers resort with better pros pect of success than to the New River; the walk around it, and the prospect, are very agreeable. The old Hornsey-wood house well became its situation; it was embowered, and seemed a part of the wood. Two sisters, Mrs. Lloyd and Mrs. Collier, kept the house; they were ancient women; large in size, and usually sat before their door, on a seat fixed between two venerable oaks, wherein swarms of bees hived themselves. Here the venerable and cheerful dames tasted many a refreshing cup, with their good-natured customers, and told tales of by-gone days, till, in very old age, one of them passed to her grave, and the other followed in a few months. Each died regretted by the frequenters of the rural dwelling, which was No. 25. soon afterwards pulled down, and the old oaks felled, to make room for the present roomy and more fashionable building. To those who were acquainted with it in its former rusticity, when it was an unassuming "calm retreat," it is indeed an altered spot. To produce the altera. tion, a sum of ten thousand pounds was expended by the present proprietor, and Hornsey-wood tavern is now a well-frequented house. The pleasantness of its situation is a great attraction in fine weather. CHRONOLOGY. 1802. On the 3d of June, madame Mara, the celebrated singer, took leave of the English public. The Dictionary of Musicians, in recording the performance, observes, that never certainly was such a transcendent exercise of ability as a duet composed to display the mutual accomplishments of madame Mara and Mrs. Billington, which they sung with mutual excitement to the highest pitch of scientific expression. Madame Mara was born at Cassel, in Germany, in 1750. Her paternal name was Schmelling. Her early years were devoted to the study of the violin, which, as a child, she played in England, but quitted that instrument, and became a singer, by the advice of the English ladies, who disliked a "female fiddler." To this, perhaps, we owe the delight experienced from the various excellencies of the most sublime singer the world ever saw. Her first efforts were in songs of agility, yet her intonation was fixed by the incessant practice of plain notes. To confirm the true foundation of all good singing, by the purest enunciation, and the most precise intonation of the scale, was the study of her life, and the part of her voicing upon which she most valued herself. The late Dr. Arnold saw Mara dance, by way of experiment, and assume the most violent gesticulations, while going up and down the scale; yet such was her power of chest, that the tone was as undisturbed and free as if she had stood in the customary quiet position of the orchestra. The Italians say, that "of the hundred requisites to make a singer, he who has a fine voice has ninety-nine." Mara had certainly the ninety-nine in one. Her voice was in compass from G to E in altissimo, and all its notes were alike even and strong; but she had the hundredth also in a supereminent degree, in the grandest and most sublime conception. At the early age of twentyfour, when she was at Berlin, in the immaturity of her judgment and her voice, the best critics admitted her to have exceeded Cuzzoni, Faustina, and indeed all those who preceded her. Our age has since seen Billington and Catalani, yet in majesty and truth of expression (a term comprehending the most exalted gifts and requisites of vocal science,) Mara retains her superiority. From her we deduce all that has been learned concerning the great style of singing. The memory of her performance of Handel's sublime work, I know that my Redeemer liveth,' is immortalized, together with the air itself. Often as we have since heard it, we have never witnessed even an approach to the simple majesty of Mara: it is to this air alone that she owes her highest preeminence; and they who, not having heard her, would picture to themselves a just portraiture of her performance, must image a singer who is fully equal to the truest expression of the inspired words, and the scarcely less inspired music of the loftiest of all possible compositions. She was the child of sensibility: every thing she did was directed to the heart; her tone, in itself pure, sweet, rich, and powerful, took all its various colourings from the passion of the words; and she was not less true to nature and feeling in The Soldier tir'd,' and in the more exquisite, Hope told a flattering tale,' than in 'I know that my Redeemer liveth.' Her tone, perhaps, was neither so sweet nor so clear as Billington's, nor so rich and powerful as Catalani's, but it was the most touching language of the soul. It was on the mastery of the feelings of her audience that Mara set her claims to fame. She left surprise to others, and was wisely content with an apparently, but not really humbler, style; and she thus chose the part of genuine greatness." Her elocution must be taken rather as universal than as national; for although she passed some time in England when a child, and retained some knowledge of the language, her pronunciation was continually marred by a foreign accent, and those mutilations of our words which are inseparable from the constant use of foreign languages, during a long residence abroad. Notwithstanding this drawback,the impression she made, even upon uneducated persons, always extremely alive to the ridiculous effects of mispronunciation, and upon the unskilled in music, was irresistible. The fire, dignity, and tenderness of her vocal appeal could never be misunderstood; it spoke the language of all nations, for it spoke to the feelings of the human heart. Mrs. Billington, with a modesty becoming her great acquirements, voluntarily declared, that she considered Mara's execution to be superior to her own in genuine effect, though not in extent, compass, rapidity, and complication. Mara's divisions always seemed to convey a meaning; they were vocal, not instrumental; they had light and shade, and variety of tone; they relaxed from or increased upon the time, according to the sentiment of which they always appeared to partake: these attributes were always remarkable in her open, true, and liquid shake, which was certainly full of expression. Neither in |