Q 
 
 o 
 
English Pageantry 
 
 An Historical Outline 
 
 BY 
 
 Robert Withington 
 
 VOLUME II 
 
 CAMBRIDGE 
 HARVARD UNIVERSITY PRESS 
 
 LONDON: HUMPHREY MILFORD 
 
 OXFORD UNIVERSITY PRESS 
 1920 
 
COPYRIGHT, I92O 
 HARVARD UNIVERSITY PRESS 
 
CONTENTS 
 
 CHAPTER VI 
 
 PAGE 
 
 THE LORD MAYOR S SHOW 3 
 
 i. The Rise and Pageantic Development of the Lord Mayor s Show, 1209- 
 
 1585 3 
 
 2. The Show at its Height, 1585-1708: Peele to Settle 23 
 
 3. The Decline of a Time-Honored Custom, 1708-1858 86 
 
 4. The Renaissance of the Pageantic Show, 1858-1919 119 
 
 CHAPTER VII 
 
 SURVIVALS AND REVIVALS 146 
 
 i. Folk-Pageantry 146 
 
 2. "Occasional" Pageantry 159 
 
 3. Trade-Pageantry 164 
 
 4. Political Pageantry 171 
 
 5. Pageantic Tournaments of Modern Days 182 
 
 6. Christina Rossetti s "Pageant of the Months" 191 
 
 7. Conclusion 192 
 
 CHAPTER VIII 
 
 THE PARKERIAN PAGEANT 194 
 
 i. The Birth of Modern Pageantry 196 
 
 2. Producing a Pageant 198 
 
 3. Characteristics of the New Pageantry 202 
 
 4. The Pageant and the Stage 208 
 
 5. The Structure of the Pageant 210 
 
 6. The Elements of the Pageant 212 
 
 7. Masque, Interlude, and Joust in the Modern Pageant 222 
 
 8. Pageantic Tendencies in England the "Pageant-Play" 228 
 
 9. Conclusion 231 
 
 ill 
 
 4-38455 
 
iv CONTENTS 
 
 CHAPTER DC 
 
 PAGEANTRY IN THE UNITED STATES 235 
 
 i. Processional Pageantry 235 
 
 2. The Community Drama 257 
 
 3. The "Festival" 281 
 
 4. Definitions of "Pageant," and Classification of Pageantic Shows . . . 291 
 
 CHAPTER X 
 
 CONCLUSION 297 
 
 BIBLIOGRAPHY 307 
 
 INDEX 343 
 
ILLUSTRATIONS 
 
 PAGE 
 
 THE OLD AND THE NEW Frontis 
 
 A Mediaeval Pageant-Car reproduced in the York Pageant of 1909. From a photograph 
 given by F. Arey of York, to the Harvard University Library. 
 
 JACOB HALL 50 
 
 The famous rope-dancer. "From a rare print in the collection of Sir John St. Aubyn." 
 Published 18 February, 1792. 
 
 From the Fairholt Collection. Reproduced with the permission of the Society of Anti 
 quaries (London). 
 
 THE CITY BARGE, AND BARGES OF VARIOUS COMPANIES 68 
 
 B. Cole, Sc. From the Fairholt Collection. Reproduced with the permission of the Soci 
 ety of Antiquaries (London). 
 
 SIR WILLIAM WALWORTH IN THE 1616 SHOW 80 
 
 From J. G. Nichols edition of Chrysanaleia, London, 1844. 
 
 THE LORD MAYOR S COACH 94 
 
 From Hogarth s Industry and Idleness Series. 
 
 GOG AND MAGOG 100 
 
 The giants in the Guildhall. From photographs in the Harvard University Library. 
 
 WESTMINSTER ABBEY AND BRIDGE THE DEBARKATION ON LORD MAYOR S DAY 112 
 From an engraving of a painting by David Roberts, R.A., in the Fairholt Collection. Re 
 produced with the permission of the Society of Antiquaries (London). 
 
 THE LORD MAYOR S SHOW Two ANCIENT KNIGHTS AND THE MAN LN BRASS . . 1 16 
 From the Illustrated London News of 9 November, 1844. 
 
 GUILDHALL BANQUET INVITATION 1915 140 
 
 Drawn by Bernard Partridge. From a copy sent to the author by J. Dixon Taylor of the 
 Guildhall. 
 
 "LONDON S WELCOME TO PEACE" 142 
 
 Cover of the "Order of Procession " of the 1919 Show, in the Harvard University Library. 
 
 THE THRONE SCENE LN THE KNUTSFORD FESTIVAL 154 
 
 THE LADY GODIVA PROCESSION 170 
 
 From an engraving signed "D. Jee" in the Fairholt Collection. Reproduced with the 
 permission of the Society of Antiquaries (London). 
 
 THE ABORIGINES SACRIFICING 195 
 
 A scene from the Sherborne Pageant of 1905. From a photograph owned by Louis N. 
 Parker of London. 
 
vi ILLUSTRATIONS 
 
 THE DEATH OF KING ETHELBALD . . . 210 
 
 A scene from the Sherborne Pageant of 1905. From a photograph owned by Louis N. 
 Parker of London. 
 
 THE COMING OF ST. EALDHELM 218 
 
 A scene from the Sherborne Pageant of 1005. From a photograph owned by Louis N. 
 Parker of London. 
 
 THE PEASANTS REVOLT 220 
 
 A scene from the St. Albans Pageant of 1907. From a postcard in the Harvard University 
 Library. 
 
 THE BOSTON TEA-PARTY 238 
 
 A "float" in the Celebration of the 2$oth Anniversary of the Settlement of Boston 
 September 17, 1880. From a photo-engraving in Program. 
 
 TOILERS OF THE SEA 250 
 
 A " float " in the Little Compton Parade of 1914. From a photograph in the possession of 
 the author. 
 
 A SCENE FROM THE PETERBOROUGH PAGEANT OF 1910 264 
 
 From a photograph in the possession of Professor George P. Baker of Harvard Uni 
 versity. Copyrighted by the MacDowell Memorial Association. Reproduced with the 
 permission of the owner and of the Association. 
 
 SCENES FROM THE PAGEANT OF BLOOMINGTON AND INDIANA UNIVERSITY 1916 . 274 
 
 From photographs owned by, and reproduced with the permission of, W. C. Langdon, 
 author and master of the pageant. 
 
 THE CORONATION OF CHARLES VII OF FRANCE 290 
 
 A scene from the French Episode of the Red Cross Pageant of 1917 at Huntington, L. I., 
 N. Y. Reproduced with the permission of Paul Thompson of New York. 
 
ENGLISH PAGEANTRY 
 
ENGLISH PAGEANTRY 
 
 CHAPTER VI 
 
 THE LORD MAYOR S SHOW 
 
 i. THE RISE AND PAGEANTIC DEVELOPMENT OF THE 
 LORD MAYOR S SHOW, 1209-1585 
 
 EARLY in the thirteenth century, King John granted a mayor to the citi 
 zens of London, who had hitherto been governed by bailiffs. The first man 
 to hold this office was Sir Henry Fitz-Alwin, who was sworn in in I2OQ. 1 When 
 the king granted the mayor, he stipulated that the officer should be presented 
 for approval either to him or to his justices, who sat in his palace at Westminster; 
 and from this stipulation originated the procession which has lasted to our own 
 day. 2 
 
 1 Annales Lond., i, p. 14. Stubbs, the editor, notes, (loc. cit., n. i) that Fitz-Alwin " had 
 been mayor for many years, probably since 1191," yet he calls attention to Fabyan, who re 
 cords that " Fitz-Eylwin " was sworn in as first mayor on Michaelmas day, 10 John (1209). 
 Gregory s Chronicle (ed. from Egerton MS. 1995, for the Camden Society, by James Gairdner 
 [London, 1876]) p. 60, notes that Fitz-Alwin, the first mayor, was installed in 1209. Cf. ibid., 
 p. 243 and note b. Cf. Tyrrell, p. 7; Grafton, p. 245; Stow, Survey, (1618) p. 915 f. The 
 latter records Fitz-Alwin s mayoralty as beginning in 1189 (i Rich. I) and continuing twenty- 
 four years, to 15 John (1212). B. B. Orridge, F. G. S., in Some Account of the Citizens of 
 London and their Rulers (London, 1867), prints a " Calendar of Mayors and Sheriffs " which 
 begins in 1189 with Fitz-Alwin. Kingsford s Stow s Sutvey, ii, p. 384, dates Fitz-Alwin s 
 term from 1191 or 1193. Cf. ibid., p. 149. 
 
 Thomas Heywood (see Works (1874), iv, p. 270; v, pp. 264 and 360) says that Fitz-Alwin s 
 twenty-four-year term began in 1210; J. G. Nichols, Lond. Pag., is wrong in setting the date 
 of the first mayor at 1215. Thomas Jordan, in the " epistle dedicatory " to Sir Joseph Sheldon 
 in his 1675 pamphlet, says that Fitz-Alwin was mayor for " more than 24 years, sans inter 
 mission; " but neither here, nor in his 1676 pamphlet (on p. 6 of which he uses approximately 
 the same language) does he assign a date for the commencement of the term. In the third 
 " presentation " of Dekker s 1628 Show is John, who gave the city " a Lord Maior and two 
 Sheriff es "; on p. 2 of his 1631 pamphlet he dates Fitz-Alwin s advancement to the mayoralty, 
 Anno 1 2 10. I need not add that none of these writers are authorities. 
 
 In 1889, the seven-hundredth anniversary of the mayoralty of London was celebrated. 
 The " authorities concerning the Inauguration of the Mayoralty in the Year of Grace 1189, 
 being the first year of King Richard I," are as recorded in a pamphlet printed in March, 
 1889, " Liber de Antiquis Legibus; Liber Albus, and Stow s Survey of London." 
 
 2 For accounts of the Lord Mayor s Show see beside the contemporary chroniclers 
 Fairholt, Lord Mayors 1 Pageants, part i; Hone, Am. Mys.; J. G. Nichols, London Pageants; 
 
 3 
 
ENGLISH PAGEANTRY 
 
 THE EARLY CENTURIES 
 
 There were two ways of going from London to Westminster one by the 
 river and the other along the Strand. J. G. Nichols records that the newly- 
 elected mayor and his companions " were accustomed to take their way on 
 horseback, until Sir John Norman , the mayor in [1453], resolved to go by water. 
 For this purpose, a stately barge was built at his private expense, and the com 
 panies imitated his example." l Perhaps it was the magnificence of the barge 
 which was responsible for the oft-repeated tradition that Norman was the 
 first mayor to make the journey by the Thames; whatever the reason for its 
 persistence, Walderne, the mayor, seems to have made the journey by water, 
 with the crafts, in 1422. 
 
 Fabyan records 2 that in 1251 the citizens were excused from presenting their 
 mayor to the king, wherever he might be, but were allowed to present him to 
 the " baronys " of the " exchekyr," who could receive his oath were the king 
 away. This decision tended to give a " stability " to the procession, which was 
 no small factor in its development; for the goal was fixed. When the king s 
 Exchequer was not at London, or the Court was vacant, the mayor was presented 
 to the Constable of the Tower, or to his lieutenant. 3 
 
 So grew up the custom which later, as we shall see, became the famous " Lord 
 Mayor s Show," and which though its glories largely departed in the eight 
 eenth century is still a matter of interest to the citizens of London. In 16 
 Richard II (1392) one of the Bishop of Salisbury s yeomen stole from a baker; 
 this aroused the people so that the bishop complained to the king, who deposed 
 
 Unwin, Gilds and Companies of London: Herbert, History of the Livery Companies, etc. The 
 Repertories contain many items of interest; the pamphlets describing the shows between 1585 
 and 1708 are important, and there are many MS. accounts and minutes of committees in the 
 Guildhall library. I may add that John Nichols gathered much material on the subject in 
 the Gent. Mag. for 1824-25 (xciv, ii, pp. 113 f., 411 f., 514 f.; xcv, i, pp. 30 f., 131 f., 221 f., 
 321 f., 418 f., and the supplement, p. 593 f). These have been bound into a pamphlet (with 
 some leaves of the Biog. Dram.) by J oseph Haslewood ; it is in the Guildhall Library. Mr. Hasle- 
 wood s MS. note in front of this volume, records that J . G. Nichols helped his grandfather in 
 this task. 
 
 Gough, Brit. Top., p. 339 f ., gives an incomplete list of Lord Mayor s Shows of the seven 
 teenth century, which is not without misprints and other inaccuracies. My own list in the 
 Bibliography is not complete; but it is as full as possible. 
 
 1 J. G. Nichols, p. 93. (He is only one of many writers to make this statement.) 
 
 2 New Chronicle (1811) p. 337. Cf. Gregory s Chronicle, p. 67. Here the date of the 
 mayor s presentation at the Exchequer is given as 37 Henry III (1252). 
 
 3 Strype s Stow (1720) ii, p. 78. Letter-Book C, p. 174, has a record of the presentation of 
 the mayor and sheriffs to the Constable of the Tower in 1303, when the Barons of the Ex 
 chequer were absent. This was " pursuant to the King s writ ... 14 October 29 Edw. I. 
 (A.D. 1301)." Again, in 1304, mayor and sheriffs were " admitted " by the Constable of the 
 Tower. (Ibid., p. 175 f.) 
 
THE LORD MAYOR S SHOW 5 
 
 the mayor and both sheriffs. " And this was done a xiiij daies afore the feste of 
 seynte John pe Baptiste. And than the kyng called to hym a knyght named sir 
 Edwarde Dalyngrigge and made him warden and gouernour of the citee & 
 chaumbre of London and ouer his people therynne, and so he kepte that Office 
 but iiij wekes because he was so tendir & gentill vnto the citezeynes of London, 
 wherfore the Kyng deposed him and made sir Bawdewyn Radyngton knight 
 />at was counteroller of the Kynges housholde wardeyne & gouernour of his 
 Chaumbre and of >e people therynne . . . vn to the tyme of the mayres electioun 
 nexte. Than William Staundon was chosen mayre. 1 and ^is Gilberte Mawefelde 
 & Thomas Newenton Shirriefes. And than the Mayre and the ij Shirrieves & 
 all the Aldremen with all the worthy craftes of London wenten on foote vn to 
 the toure yate and />en come oute the Constable of the Toure, and gafe the 
 mayre and >e Shirrieves her othe & charge as >ey shulde haue take in pe Es- 
 cheker of Westmynster in the kynges courte of his Justices & Baronns of >e 
 Cheker, and >an wente they home ageyn." 2 
 
 Considering the many opportunities which the guilds and civic officials had, 
 of participating in " royal-entries " and Midsummer Shows, it is not hard to 
 understand the possibility of their seeking to avoid the expense of adding pag 
 eants to the annual " riding " to Westminster, or to the Tower, when the 
 mayor took the oath of office. But there was a certain state to these processions; 
 even if they did not include pageants, they seem to have included minstrels; and 
 the chief magistrate was accompanied by the beadle of his company, on horse 
 back, his brother-aldermen, and other city functionaries, besides the crafts. 
 The sheriffs were also accompanied by minstrels, 3 but there was no pageantry 
 in connection with these " ridings " until the sixteenth century. 
 
 The processions on horseback continued until 1422. " On the death of 
 Henry V," says Herbert, 4 " the sheriffs-elect, Eastfelde and Tattersalle, were 
 
 1 Cf. above, vol. i, p. 131. 
 
 2 Bodl. Ashm. MS. 793, fol. 128 et seq. 
 
 3 Cf. the " Wardens Account in the Reign of Henry IV., anno 1401," printed in the ap 
 pendix of Heath s Account of the Grocers Company (first ed., p. 310; third ed., p. 409). I 
 copy some items: 
 
 Urn. paie po r . vij mynstrales po r . chevaucher avec les viscom* R. Chychley & S. Marlowe, 
 xlvjs. viijd." 
 
 " Itm. nous avons paie po r . le chevache du John Walcote Mayr, po r . vj mynstralles po r . 
 lo r . saleire, xls. 
 
 " Itm. po r . lo r . chaprons and po lo r . fessure, viijs. 
 
 " Itm. po. lo. dyner & po r . vyn po. le chemyn, xxid. 
 
 " Itm. po r . un cheval po r . le bedyl, iiijrf." 
 
 Perhaps the " vyn po. le chemyn " is for a conduit. 
 
 4 Herbert, i, p. 98 (cited by Humpherus, i, p. 43). The date of this is 31 August 1422. 
 " To take their charge " undoubtedly means their oath of office; it probably does not refer 
 to any duties in connection with the royal funeral. But these funerals were as Herbert 
 
6 ENGLISH PAGEANTRY 
 
 ordered not to ride on horse to take their charge at Westminster, as had been 
 accustomed, but to go in barges, with their companies, which were the mercers 
 and the drapers, which they did. The drapers are described, on this occasion, 
 to have been hooded in white, and needle pointed, 1 and the sheriffs sergeants 
 to have been gowned in the same. The mercers wore their own clothing. 
 
 The sheriffs were not the only ones to make the journey by water. Herbert 
 continues: " The brewers records give the following interesting account of the 
 king s funeral. William Walderne was chosen mayor on St. Edmund s Day, 
 when it was ordered that the aldermen and crafts should go to Westminster with 
 him, to take his charge, in barges, without minstrels. " 2 Apparently the royal 
 obsequies followed closely the ceremonies of installing the mayor: " after the 
 charge, to be present at the Bang s funeral." We read in the records of the 
 Grocers Company for i Henry VI, Robert Otle[y] and Thomas Selove being 
 wardens, "Item, paie pur toutes lez torchez pur nostre art Encountre le 
 morte de le Roy Henri V e , xxxixs. vjd. . . . Item paye a pers West pur dyuers 
 Barges pur nostre art vers Westmenstre ouek le Meir et lez Scherevez pur ij 
 anz et pur servoys pur lez bargeman, xvjs, viijd." 3 It became, apparently, a 
 custom 4 for the mayor to go to Westminster by water very shortly after; but 
 the " riding " was also kept up, as several entries show. 
 
 Humpherus records 5 " a serious conflict ... on London bridge in the morn 
 ing of the 30 October [1425] . . . the day of the Mayor s procession to West 
 minster. The servants of the Bishop of Winchester proceeding from his palace 
 at Bankside, attempted to enter the bridge gate by force, but being repelled, 
 they returned with a large body of archers and men at arms, and assaulted the 
 bridge as a hostile city. All London was speedily in arms, headed by the pro 
 tector, the Duke of Gloucester, but a further conflict was avoided by the pru 
 dence and mediation of the mayor and aldermen, who rode between the protector 
 
 (loc. tit.} points out " a species of state solemnity, at which the attendance of the com 
 panies was generally required." 
 
 Stow, Annals, pp. 362 and 363, describes the journey from France with the body of the 
 king, and records its arrival in London " about the tenth of November." Herbert, loc. tit., 
 notes that " the royal corpse was brought to London on Thursday, Nov. 5." 
 
 1 Herbert does not give his authorities, which we may assume to be the records of the 
 guilds he names. 
 
 2 Ibid., loc. cit. " Every householder," he goes on to say, " was charged to provide a 
 black or russet gown and a black hood; and, after the charge, to be present at the king s 
 funeral. Certain of the crafts were ordered to find 200 torches for the funeral. The brewers 
 provided eight torches for the occasion, weighing 138 Ib. of wax, price 515. gd. . . ." 
 
 3 Kingdon, Facsimile, i, p. 149. 
 
 4 Ibid., i, p. 159, the records of the Grocers from the day of John the Baptist, 3 Henry VI, 
 to the same day the next year, where among the items we find one " for bothyre (boat hire) 
 to Westmynstre for terment (the interment) of be kyng et diuerse tymes w* b e meyre." 
 
 5 Hist. Watermen, i, p. 44. We may assume that his authority is the records of the Com 
 pany. 
 
THE LORD MAYOR S SHOW 7 
 
 and the Bishop eight times, ere they could bring them to any agreement, as the 
 feud between them had been of some standing, and had caused several affrays." 
 
 The Grocers records, in the accounts extending from 5 June, 1427, to 6 July, 
 1428, show an item " For diuerse costis and mynstrelles atte Shirevis ridyng, 
 summa iijli. xixs. iiijd." 1 In 1432, the Grocers "Payd for hors here for owr 
 bedull at pe Rydyng of the Mayre and Sherevys," two shillings. The next year, 
 they " paide for an hors at the Meiris and shrevis Ridyng for John Dalton," 
 three shillings, sixpence. 2 
 
 The Grocers records for the period 25 July, 1434, to 26 July, 1436, show that 
 there was at any rate for the sheriffs a water procession " at least nineteen 
 years before their supposed introduction by Sir John Norman." 3 In 1435, the 
 Grocers " paid be the handys of John Godyn For mynstralles and here hodys, 
 and amendyng of Baneris And hire of barges w 1 Thomas Catworthe and Robert 
 Clopton chosen Shirerevis, goyng be watir to Westmynster, iiij/j., vjs. iijd." In 
 the wardens accounts of the Grocers Company from 1437-1439, we find that 
 they " payde For barge hyr to Westmester For the obyt of y e kyng and y e 
 shrevys for ij yer, xixs." 4 
 
 These entries will be enough to show that the water-procession was common 
 enough with certain companies, at any rate before Sir John Norman made 
 the voyage to Westminster. 
 
 It is possible that the stir made by the voyage of Sir John Norman, in 1453, 
 was due to the fact that he owned the barge, while hitherto, and for some time 
 afterwards, it was usual for the companies to hire their barges. He seems to 
 have been the first Draper to have gone by water to take his oath. 
 
 Fabyan and Stow note that on the morrow of Simon and Jude, " the accus 
 tomed daye when ye newe mayer vsyd yerelye to ryde with great pompe vnto 
 Westmynster to take his charge," 5 the Mayor, Sir John Norman, made his 
 progress " the first mayor that was rowed by water to Westminster to take 
 his Oath: he caused a Barge to be made at his owne charge, and euery Company 
 
 1 Kingdon, Facsimile, i, p. 166. As the " ridings" usually came in the autumn, this may 
 be dated 1427. 
 
 2 Kingdon, op. tit., ii, pp. 227 and 230. 
 
 3 Fairholt, pt. i, pp. 7, 8, and pt. ii, p. 243; cf. Herbert, i, p. 100 and note. Arundell, p. 297, 
 points out that Fairholt has shown an earlier water-procession than Norman s, but he dates 
 this procession 1436. Humpherus, i, p. 46, wrongly records this water-procession under the 
 year 1434. Stow is copied by Orridge, p. 221, where he records that Catworth and Clopton 
 were sheriffs in 1435. 
 
 My citation of these records is made from Kingdon, Facsimile, ii, p. 236. Besides the 
 reprint in Fairholt, they may be found in Heath (3d ed.) p. 417. Fairholt is wrong in saying 
 that they commence on 25 July, 1435; Kingdon (ii, p. 234) shows that they cover two years, 
 
 (I434-3 6 )- 
 
 4 Kingdon, Facsimile, ii, p. 253. This can hardly refer to the death of Henry V, unless 
 
 the guild attended a requiem mass. 
 
 6 Fabyan, Chronicle (1811) p. 628; cited by Fairholt, pt. ii, p. 243. 
 
8 ENGLISH PAGEANTRY 
 
 had severall Barges well-decked and trimmed, to passe along with him. For 
 ioy whereof, the Watermen made a Song in his prayse." J It is, of course, pos 
 sible that the largess which Sir John presumably distributed among the water 
 men accounts for their ballad. At any rate, tradition and the early historians 
 are wrong in assigning to him the first civic journey on the Thames. 
 
 Humpherus notes 2 that in 1455 " the procession by water to Westminster . . . 
 was accompanied by the barge of the Carpenters company." Without stating 
 his authority, he adds that " the company had had a barge for some years pre 
 viously "; but Jupp, giving the same entries, says that the " first mention " of 
 the Company s " attending at Westminster is in 1455." 3 
 
 After Norman s journey, no Draper was inaugurated mayor until 1481; and 
 in that year for the first time the books of the Company mention a mayor 
 making his inaugural procession to Westminster by water. 4 " As Norman s 
 barge was not then thirty years old," says Herbert, " it is not improbable that 
 it might be used on this occasion. If so, we learn from the same and other entries 
 that it was then customarily covered on civic triumphs with blue cloth (plunket), 
 and on royal ones with red (murrey)." 5 
 
 Under the year 1483, Humpherus records 6 that " from the commencement 
 
 1 Stow, Survey (1618), p. 939. Herbert, i, p. 100, note, says that the Grocers hired a barge, 
 not building one of their own until 1617. The entry for this year may be found in Kingdon, 
 op. cit., ii, p. 347 paid " for j barge to Westmynster w* be mayr to tak his charge, xvs, }d." 
 
 Various Lord Mayor s Show pamphlets by Heywood, Munday, Middleton, and others 
 repeat Stow s error. Davey, i, p. 103, saying that Norman, " who was lame," invented the 
 water-procession, is but one of the modern writers who have fallen into this error. Hum 
 pherus, i, p. 50 citing Fabyan dates the first appearance of Sir John Norman s barge, 
 
 1454- 
 
 Gough, Brit. Topog., i, p. 675, notes that there is a drawing of Norman s Show on the river 
 in the Pepysian Library. He is quoted by Fairholt, p. 8, n. 2; cf. ibid., pt i, p. 114, n. i, and 
 pt. ii, pp. 244 and 284. 
 
 2 Op. cit., i, p. 51, citing the Carpenters records. 
 
 3 Hist. Carpenters, p. 31. Arundell, p. 297, cites the books of the Carpenters Company 
 to show that in 1460 (39 Henry VI) they paid four shillings for " hire of barge to Westminster 
 with the shireves." This is also cited by Humpherus, i, p. 52, and Jupp, p. 31; the latter 
 adds another item from the books of the Company, under date of 1471: " Itm. spent at 
 tavern whan the mair cam fro Westm. iJ5. iiijd." 
 
 4 Herbert, i, p. 453. As Norman furnished his barge at his own expense, we should not 
 expect to find it mentioned in the Company s books. 
 
 5 Minstrels accompanied the mayor to Westminster this year, and " for a rewarde to the 
 bargemen for going to Westminst r with the sheriffs to accompany the mayor aforesaid, ijs. 
 iiijrf," were given. (Entries from the Drapers books, printed by Herbert, loc. cit.) " The 
 sheriffs," Herbert adds, " were generally accompanied in their water-processions by minstrels 
 or trumpets, with crimson or red hats, and headed by their marshal, in the Company s barge, 
 decorated with banners, pennons, and streamers, fringed with silk and beaten with 
 gold. " 
 
 6 Op. cit., i, p. 59 f. without giving his authority. 
 
THE LORD MAYOR S SHOW 9 
 
 of the mayor s procession by water, the question whether the Merchant Tailors 
 or Skinners Company should have precedence in the procession had been a 
 matter of dispute; a great feud having existed between those companies, one 
 barge always attempting to get before the other barge; this year the rival com 
 panies came to blows which resulted in bloodshed and loss of life. In conse 
 quence of this, the matter was referred to the mayor for arbitration, whereupon 
 he decided that for the future the two guilds should alternately have precedence, 
 and that each year on approaching Westminster, they should lash their two 
 barges together and drink as a toast The Merchant Taylors and Skinners; 
 Skinners and Merchant Taylors; root and branch, may they flourish forever. 
 
 " For a long time this custom has continued, and latterly, when the procession 
 by water became superseded by one on land, the two companies continued the 
 friendly greeting, by inviting each other to a banquet every year." 
 
 THE SIXTEENTH CENTURY 
 
 In 1515, on 31 January, appeared " the order and direction taken ... by the 
 Mayor and Aldermen of and for all the Craftes and Mysteryes ensyuing, for 
 they [sic] going as well as in all processions, as in all other going, standynge, and 
 rydynge, for the businesses and causes of this citie. The seyd order and direction 
 to be from hensforth fermely observed and kepte. Provided always that the 
 Felyship whereof the Mayre for the yere according to the old custome shall 
 have pre-eminence, in going afore all other Felyshippes in all places during the 
 tyme of mayroltie." 1 The list of companies follows. 
 
 A fragment of what, to my mind, is rather a " royal-entry " than a Lord 
 Mayor s Show, has been printed from a Trinity College (Cantab.) manuscript 
 by Elizabeth D. Adams. 2 That this is a civic triumph, written for a London 
 Salter in 1531 or 1542, I cannot accept: I have elsewhere suggested that, if it 
 be not a provincial mayoralty show, it was probably part of the festivities with 
 which a sovereign perhaps Henry VII was welcomed into some provincial 
 city. The reference to salt which is the salt of Wisdom is purely figurative; 
 various phrases suggest that civil strife has just ended; such a phrase as " your 
 honor, worship, and royal majesty " would not be applied to a mayor, while 
 " mayralte " might conceivably be used as a synonym for reign particularly 
 if the sovereign owed his position to the support of the people. The fact that 
 the manuscript is in an early sixteenth-century hand does not rule out the 
 possibility that the speech itself was delivered much earlier. 
 
 1 W. M. Williams, Annals Founders, p. 213, quoting from the City s records. 
 
 2 Elizabeth D. Adams, " A Fragment of a Lord Mayor s Pageant," in Modern Language 
 Notes for May, 1917, p. 285. Cf. my note on this paper in Mod. Lang. Notes for December, 
 1919, p. 501. The " fragment " is reprinted from Trin. Coll. Cantab. MS. B. 15.39 (James s 
 Catalogue, no. 181, pt. iii). 
 
10 ENGLISH PAGEANTRY 
 
 From the middle of the fifteenth century, there seems to have been an in 
 crease in the splendor of the water-progresses, 1 but no pageantry has as yet been 
 introduced. As was the case with the " royal-entry," the soil is prepared for it 
 by a growing ceremony and display in the procession itself. When the occasion 
 was deemed worthy of such expense, the civic show received pageants both from 
 the " royal-entry " and the Midsummer Show, to both of which the civic bodies 
 contributed. 2 
 
 In 1532, the Pewterers " pd. for the Barge hire whan the maire went to West- 
 menster to take his othe, xvjs." 3 Norman s barge seems to have been decayed 
 in 1533, in which year the Drapers agreed to hire the great barge of the Arch 
 bishop of Canterbury " at such tyme as we shall have nede to occupy it, either 
 with the mayer or sh n eves, or for any other busines." 4 
 
 The passage in Hall, which describes the entry of Anne Boleyn, this same 
 year, contains a phrase which has been misunderstood by some writers, and 
 held to suggest that there were earlier mayoralty " shows " than I believe to 
 have been the case. Henry wrote the mayor and citizens " to make preparacion 
 aswell to fetch her grace from Grenewyche to the Tower by water as to see the 
 citie ordered and garnished with pageantes in place accustomed [i. e.,a.t" royal- 
 entries "; not at the inauguration of a mayor] . . . there was a common counsail 
 called, and comaundement was geuen to the Haberdashers (of which crafte the 
 Maior sir Stephen Pecocke then was) that they should prepare a Barge for the 
 Batchelers with a wafter and a foyst 5 garnished with banners and streamers 
 likewyse as they vse to dooe when the Maior is presented at Westminster on 
 the morowe after Symon and lude." 6 This last phrase refers, not to Lord 
 Mayor s pageants, but to the barge; and we have seen that water-processions 
 were common after 1422. We cannot assume from this passage that by 1533 
 there were pageants in the mayoralty shows. 
 
 To a modern imagination," says Mr. Chambers, 7 " the type of civic pag 
 eantry is the annual procession and the installation of the Lord Mayor in No- 
 
 1 Cf. above, vol. i, p. 160, for mention of the barges at the coronation of Elizabeth in 1487. 
 There was also, on this occasion, a dragon spouting fire into the Thames. 
 
 2 We have already noted (vol. i, p. 39) Sir Laurence Aylmer s pageant of 1516, which 
 seems to have been part of the Midsummer Show of that year, though Fairholt calls it one of 
 the earliest notices of a pageant exhibited on Lord Mayor s Day. 
 
 3 Welch, i, p. 124. 
 
 4 Herbert, i, p. 454. Mr. Edmund Wade, the archbishop s bargeman, was to furnish 28 
 oars and cushions, and to receive " for himself and . . . oars " at every voyage "when we 
 shall have nede . . . w th ou r compaignie in the lyvery, the sum of xxx 8 ." 
 
 5 Fairholt, pt. i, p. 10, explains: " a barge, or pinnace, propelled by rowers." Cf. The 
 Knight of the Burning Pestle, v, 2, 97: " next year I ll have him captain of the galley-foist, or 
 I ll want my will." 
 
 6 Hall, p. 798, cited by Fairholt and other writers. On this entry, see above, vol. i, pp. 
 1 80 ff. 
 
 7 Medicevol Stage, ii, p. 165. 
 
THE LORD MAYOR S SHOW 1 1 
 
 vember 1 . . . This was important enough from the middle of the sixteenth 
 century . . . but its history cannot be taken much further back, and it is exceed 
 ingly probable that when the Midsummer Show came to an end in 1538, the 
 pageants were transferred to the installation procession. The earliest clear 
 notice is 1540, when a pageant of the Assumption, perhaps that which had 
 already figured at the Midsummer Show of 1523, was used." 
 
 Herbert quotes from the books of the Drapers, that the " election as Mayor 
 of Sir William Roche in 1540 ... is stated to have been with the gretyst and 
 fayrest elec ion amongst the co es (commons) 3 that hathe byn sene. If 
 there were a pageant on this occasion, we may assume it was that used in earlier 
 Midsummer Shows. 
 
 The Ironmongers books record, under date of 1540, " Payde fFor oure barge 
 ffor ij. yers to Westmynster, xxxixs." 4 
 
 Civic PAGEANTRY AT NORWICH 
 
 We may note an example of civic pageantry at Norwich, just at the time 
 when the Midsummer Show in London is becoming the Lord Mayor s Show. 
 Were there more entries on this matter, it might more readily be presumed that 
 these pageants were connected with the Midsummer Show (and perhaps they 
 are) ; the civic pageants of Chester are mentioned in connection with this festival, 
 
 1 The date was changed from the 2gih of October with the change of the calendar in 1752. 
 It is not clear that Walderne, mayor in 1422, took his oath on St. Edmund s Day (when he 
 was elected) ; if he did, it is possible that the king s funeral upset the usual arrangements. 
 
 2 Cf. Fairholt, pt. i, p. 14: " In 1540, the Pageant of the Assumption which had figured 
 in the annual show at the setting of the Midsummer Watch in 1521-22, appears to have been 
 borne before the Mayor from the Tower to Guildhall." Herbert, i, p. 457, is more cautious; 
 this pageant " appears to have been that of the Assumption . . . whether it was precisely the 
 same as at the Midsummer Watch, we are left to guess." The Assumption and St. Ursula 
 were shown in 1522, (see above, vol. i, p. 40 and n. 3); Our Lady appeared in 1534 with St. 
 Elizabeth (vol. i, p. 41). 
 
 3 Professor Kittredge suggests companies which is a more likely expansion of co es. But 
 it must be admitted that Herbert had reason for his expansion into commons. Cf. Liber Albus 
 i, p. 43, (Bk. i, pt. i) cap. xvi: " En droit del eleccion des Viscountz solent les Mair, Recordour, 
 Audermans, et Communes assemblez le jour de Seint Matheu ..." " . . . Et si contraduersie 
 sourde entre les communes ..." [Cf. ibid., iii, i, fol. 12 a: "As concerning the election of 
 Sheriffs the Mayor, Recorder, Aldermen and Commons are to be assembled . . . And if 
 any controversy arise between the commons as to the election . . ."] Cf. Letter-Book C, p. 174: 
 in 1303 " John le Blund elected to the mayoralty ... by ... the whole Commonalty." Kemp, 
 Black Book of Warwick, p. 4, makes the same expansion: " The Burgesses assembled in their 
 coen (common) hall ..." 
 
 It looks as if the " commons " were the regular name for the electoral body; so that the 
 Drapers might well have spoken of the " greatest and fairest election among the commons." 
 But the abbreviation seems a more natural one for companies. 
 
 4 Nicholl, Ironmongers, p. 57. 
 
12 ENGLISH PAGEANTRY 
 
 as we have noted. 1 In 1556 and 1563, the Mayor of Norwich was clearly in 
 stalled with pageantry. In 1540, " Thomas Nicholas, of his gode mynde, hath 
 gyven to the Com naltie his Pagent called the Moremayd, the xxiiij th day off 
 Maye A xxxij nd R. R. Hen. viij., in the presens off Mast 1 Sotherton & Thomas 
 Conye." 2 The donor is probably Thomas Nicolles, who is mentioned in the list 
 of Cordwainers admitted at the Feast of the Invention of the Holy Cross (3 May) 
 12 Henry VIII (i52o). 3 
 
 Whether or not it was a custom to exhibit pageants when the Norwich mayors 
 took office is not clear; in 1545 there was " p d for the chargis of a tryumphe 
 made on trynyte sonday, for the peace concludyd between Inglond and Ffrance; 
 & fyrst, for astyll 4 C . . . iiijs." There seems to have been no pageantry on this 
 occasion, though the four waits received two shillings " for ther paynes," and 
 " iij Menstrells at Crystechurche gate " were given " xijd." 5 
 
 It is hard to say whether the pageantry in 1 546 was in honor of the mayor, or 
 not. There are some entries in the MS. Chamberlain s Book (for the years 1541 
 to 1550) under this year: " Item, to Robt. Nycholls, for his horses caryeng a 
 pageant of Kyng Salamon about processyon, xijd. 
 
 " Item, to iij men that toke payn about the forsayd pageant, and to ij men 
 that bare the moremayde, xxd; for sope, nayles, lyne, peynts, & other thyngs 
 for the pageant, xd. . . . 
 
 " Itm, for mete & drynke for iiij persons with chargis of havyng the pageant 
 out & inne, xiiijd." 
 
 THE TITLE " LORD MAYOR " OF LONDON 
 
 About 1540 the title " Lord Mayor " was applied to the chief magistrate of 
 London. There are no letters patent conferring the title upon him; " it was 
 
 1 See above, vol. i, pp. 43 ff., esp. p. 47, n. 3. 
 
 2 Court-Book v (1540-49) p. 4: cited by Ewing, p. 7. Hudson-Tingey, ii, p. 168, misprint 
 the date 22 May, 1540; it is clearly 24 in the MS. 
 
 3 Old Free Book, fol. 122 b. Cf. Hudson-Tingey, ii, p. 168, n. 2: " Nicholas was a cord- 
 wainer." Ibid., ii, p. 230 (Old Free Book, fol. 162), enumerates the Norwich pageants: that 
 of the " Tanners, Coryours, Cordwaners " is " Moises and Aron w* the children off Israel and 
 Pharo w 1 his Knightes." [The same enumeration of pageants, made from the same source, 
 may be found hi Norf. Arch., iii, p. 8.] 
 
 The " mermaid " is, perhaps, one of the inhabitants of the Red Sea. 
 
 Nicholas was neither Mayor nor Sheriff: see F. Blomefield (1806) iii, pp. 191 f ., and 218 f ., 
 for lists of the mayors and sheriffs temp. Hen. VII and Hen. VIII; also Le Strange, Norfolk 
 Official Lists (Norwich, 1890). In neither does the name of Nicholas, or Nichols, occur. 
 
 4 Ewing notes" billet wood." (p. ii). 
 
 5 Chamberlain s Book 1541-1550, fols. 214, 215. Printed in Ewing, p. 8 f. 
 
 6 Ckamb. Bk. (1541-50) fol. 249. Cf. Ewing, p. 13. The mermaid is presumably that 
 given the city six yars before. 
 
 The election of mayor at Norwich (i May) is described from a 1415 document in Hudson, 
 i, p. 94 f . No pageantry is mentioned. A sword might be carried before the mayor save in 
 the presence of the king (ibid., i, pp. Ixi and 32). 
 
THE LORD MAYOR S SHOW 13 
 
 not definite but evolutionary in its origin, and . . .whereas the prefix had been 
 more or less regularly adopted in the official minutes from about 1535, it did 
 not come into general use in the outer world until some ten years later," says 
 Mr. Beaven. 1 He refers to the expression " coram domino maiore," which was 
 used in I283, 2 and notes that before 30 May, 1545, Wriothesley never uses the 
 title Lord Mayor, and after 8 June, 1545, he never uses anything else. Sir W. H. 
 St. John Hope records 3 that in the minute-books of the Court of Aldermen and 
 the Court of Common Council, the title was used as early as 1519, but not 
 regularly until 1540. 
 
 1553 THE FIRST DEFINITE "LORD MAYOR S SHOW" 
 HENRY MACHYN S DESCRIPTION 
 
 Henry Machyn, citizen and merchant-tailor of London, has left us an ac 
 count of the first definite Lord Mayor s Show that of I553- 4 On 29 October, 
 the new Lord Mayor 5 went " toward Westmynter [attended by the] craftes of 
 London in ther best leveray . . . with trumpets blohyng and the whets 6 playng 
 ... a goodly fuyst 7 trymmed with banars and guns . . . waytyng of my lord 
 mayre [ s] barge unto Westmynster [and] all the craftes bargers with stremars 
 and banars [of every] craft, and so to the Cheker, 8 and so horn-wards; my lord 
 mayre landyd at Banard Castyll 9 and [in St Paul s] chyrche-yerd dyd hevere 10 
 craft wher set in [array] : furst wher ij tallmen 11 bayreng ij gret stremars [of] the 
 Marchand-tayllers armes, then cam on 12 [with a] drume and a flutt playng, and 
 a-nodur with a great f [ife?] all they in blue sylke, and then cam ij grett wodyn 13 
 
 1 Aldermen of Lond., ii, p. xxxi. Cf. also ibid., i, p. 407; ii, p. xxviiif. His careful re 
 searches on this subject allow him to speak with authority. I may refer, also, to Humpherus > 
 i, p. 63; Sir W. H. St. John Hope s letter in the London Times for 10 December, 1901, p. 13, 
 col. 6. (which is cited by Davey, i, p. 103.) 
 
 2 Letter-Book A, fol. 30 b; Beaven, ii, p. xxviii f., and p. xxxi. 
 
 3 In his letter to the Times already referred to. 
 
 4 His Diary (1550-1563) has been edited by J. G. Nichols, from Cotton MS. Vit. F. v, 
 for the Camden Society (no. xlii). It is referred to by Unwin, p. 275; Price, p. 92; Clode, 
 ii, p. 113 f ., &c. Cf. Fairholt, pt. ii, p. 244 f., and Nichols s note in the Gentleman s Maga 
 zine for October, 1833 (ciii, ii, p. 315 f.). This passage is on p. 47f. 
 
 6 Sir Thomas White. (Nichols.) 
 
 6 Waits (Nichols). 
 
 7 Foist or pinnace (Nichols), Cf. above, p. 10, n. 5. 
 
 8 Exchequer. (See Nichols s note e on p. 96 of the Diary.) 
 
 9 This was reproduced in the 1913 Show; see below, p. 138. 
 
 10 Every. (Nichols.) 
 
 11 Cf. the " tall men " of the 1555 Show, who were " lyke wodys" or " wild-men" 
 " alle in gren." 
 
 12 One. (Nichols.) 
 
 13 Wood-men or savage men of the wood. Next year written vodys (Nichols). These are 
 obviously, " wild-men." Cf . above, vol. i, pp. 72 ff. especially p. 77. 
 
14 ENGLISH PAGEANTRY 
 
 [armed] with ij grett clubes all in grene, and with skwybes horning 1 . . . with 
 gret herds and syd here, 2 and ij targets a-pon ther bake . . . and then cam xvj 
 trumpeters blohyng, and then cam [the Mayor s Company ?] in [blue] gownes, 
 and capes and hosse 3 and blue sylke slevys, and evere man havyng a target and 
 a gayffelyn to the nombur of Ixx . . . and then cam a duyllyll, 4 and after cam 
 the bachelars all in a leveray, and skarlett hods; and then cam the pageant of 
 sant John Baptyst 5 gorgyusly [arrayed], with goodly speches; and then cam 
 all the kynges trumpeters blowhyng, and evere trumpeter havyng skarlet capes, 
 and the wetes 6 capes and godly banars, and then the cratftes, and then the 
 wettes playhyng, and then my lord mayre[ s] offesers, and then my lord mayre 
 and ij good henchmen, and then all the aldermen and the shreyffes, and so to 
 dener; and after dener to Powlles . . . ." 
 
 This is a very interesting account of an early Lord Mayor s Show the 
 earliest definite one we have. It is interesting not only as showing the seed from 
 which so many splendid triumphs developed, but also as giving us a glimpse of 
 what the ancestry of the Show probably was. In the " royal-entry " the plat- 
 
 1 Squibs burning. 
 
 1 may note here that " squibs and crackers " in the streets were forbidden by a mayoralty 
 precept of 25 October, 1684, [now preserved in the Taylor Collection of Broadsides in the 
 Guildhall Library, (no. 99)]. The dates to which the prohibition applied were 29 October, 
 
 5 and 15 November. A mayoralty precept of 13 October, 1697 preserved in the same col 
 lection, (no. 104) provides that " no Squibs, Serpents, or any other Fire-Works, shall under 
 colour of any Day of Solemnity, Festival, or other pretence whatsoever, be made, sold, flung 
 or fired within this City or the Liberties thereof." In Repertory cxxiii, p. 574, (under date of 
 
 6 October, 1719) " it is ordered That the like number be Printed as was the last Year of a Paper 
 to caution the Inhabitants within this City and Liberties against throwing Squibbs or other 
 Fireworks be forthwith Printed and Delivered by the Beadles of the respective Wards to the 
 several Inhabitants within the same." Notices in much the same words may be found in 
 Repertory cxvi, p. 358 (21 Oct., 1712); Repertory cxvii, p. 396 (22 Oct., 1713); Repertory 
 cxxxix, p. 345 (7 Oct., 1735), etc.; they were common enough during the eighteenth century; 
 and Mayoralty Precepts of the early nineteenth century contain the same prohibitions. Cf . 
 e. g., no. 138 in the Taylor Collection (dated 24 October, 1816); nos. 139 and 140 (25 October, 
 1826 and 16 October, 1827); no. 143 (29 September, 1830) which repeats the precepts of 
 1826 and 1827. 
 
 2 Beards and side (i. e., long) hair (Nichols). Perhaps what we call (side) whiskers. 
 
 3 Caps and hose (Nichols). 
 
 4 Devil (Nichols). It is almost impossible to say whether this figure is a survival of the 
 miracle-play drawn into pageantry by the influence of the wild-man, or whether it helped to 
 make the " wood-man " become wild. There is probably some connection between the two; 
 and it is also possible that if this devil is not directly from the miracle-play, he has some con 
 nection with the Vice of the morality. 
 
 6 The patron of the Merchant-Tailors. We may recall that St. John was given a trade 
 symbolism by the Grocers in the" royal-entry " of 1392 (see above, vol. i, p. 131) and in the 
 1554 Show. 
 
 6 Waits (Nichols) ; as is wettes just below. 
 
THE LORD MAYOR S SHOW 15 
 
 forms were usually stationary; in the " midsummer show " - which began 
 with the setting of the watch there was marching, and the platforms and 
 giants were carried about. St. John, as we have already noted, stood on a plat 
 form in 1392 (when a Grocer was mayor) to greet Richard II; Machyn s ac 
 count shows that in 1553 he occupied a moving pageant at the inauguration of 
 a Merchant-Tailor. 1 Giants are found in " royal-entries," it is true but they 
 originated in folk-custom; the devil here may have come drawn by the in 
 fluence of the " wild-man " - from the miracle plays. 2 Although " wildmen," 
 waits, and henchmen were to be found in the " royal-entry," they were also in 
 the Midsummer Show; and there is little doubt that the latter is the direct 
 parent of the civic triumphs. 3 
 
 1554 MACHYN DESCRIBES THE SHOW 
 
 In 1554, " a goodly pagant, a gryffen with a child lyung in harnes, and sant 
 John Baptyst with a lyon, and ij vodys 4 and a dulle 5 with squybes bornyng," 
 and music, accompanied the " nuw lord mayre of London, master Lyons groser." 6 
 
 1555 A PAGEANT AND FOUR " WODYS " 
 
 The next year, " in Powlles cherche-yerde ther mett the bachelars and a 
 goody pagyant 7 and a Ixvi men in blue gownes, and with goodly targates and 
 gaffelynes and a duwlle 8 and iiij talle men lyke wodys alle in gren, and trumpets 
 playing a-for the mare." 9 
 
 1556 SIR THOMAS OFFLEY INSTALLED IN THE OFFICE OF MAYOR 
 
 The following year, on 28 October, the new mayor went to Westminster by 
 boat, " and there was a godly pageant," 10 but we are not told the subject. A 
 few notices of the installation of Sir Thomas Offley may be found in Clode s 
 volume. Directions were given " to see that the same men be fornyshed with 
 children that shall then syng and playe upon instrumentes. And for apparellyng 
 of them accordyngly, as by thadvice of my lord maiour electe shalbe thoughte 
 
 1 In 1554, as we shall see directly, he appeared again, for a Grocer. 
 
 2 At Chester where the influence of the miracle-play on the Midsummer Show is 
 marked there were devils; which is one of the reasons why Henry Hardware put down the 
 show in 1599 (see above, vol. i, p. 44). 
 
 3 For further remarks on the " wild-man," see above, vol. i, p. 40, n. 5, and pp. 72 ff. 
 
 4 Wildmen (Nichols). 
 
 5 Devil (Nichols). 
 
 8 Machyn s Diary, pp. 72, 73. The lion is obviously appropriate. 
 
 7 It looks as if this might have been stationary; cf. the pageant which " stood" in 
 Paul s churchyard in 1557. 
 
 8 Devil (Nichols). 
 
 9 Machyn, op. cit., p. 96. 
 
 10 Ibid., pp. 117, 1 18; cf. Clode, ii, p. 262 f. 
 
1 6 ENGLISH PAGEANTRY 
 
 meate. And to devise other conceytes as woodwardes and other pastymes to be 
 had with men castyng of Squybes of fyre afore the Bachelers." 1 In connection 
 with the mayor s pageant, " Mr. Leere, the schoolmaster of St. Anthony s 
 received los. for the children which played at the Pageant. This curious item 
 is added, Paid for Rose water spent and occupied aboute the children and hym 
 that rode upon the camyll, iiijs. ijd. 
 
 1556 A PROVINCIAL MAYOR INSTALLED WITH PAGEANTRY 
 
 In 1556, the Mayor of Norwich was installed with pageantry. This is an 
 interesting instance of what seems to have been an unusual occurrence; and as 
 the account is to be found in a rare manuscript, it may be well to give some de 
 tails of the occasion. 3 
 
 There were three pageants, described in the Mayors Book as follows: 
 
 " This Paggeante was doone by the wagghts of the Cytte of Norwich. There 
 was a SkafFoolld made at Sancte Peters of howndegate Churche-Styelle, rownnde 
 like a pavillioun Richele adorned, full of targetts with a morien 4 on the toppe 
 staunding naked, with a targett and a greate Darte in his haunde; wthin the 
 wch stood an auncyente personage who represented Tyme, having the speche 
 to the Mayor, as he cam forby, followinge the procession as ffolloweth." Here 
 follow ten verses, composed by Mr. Boucke, schoolmaster. 5 
 
 " There was in the persshe of S c John s a greate pageant, stoundinge be- 
 tweene Mr. Persses and Richard Bats, which was like a greate castell with a 
 
 1 Clode, Hist. Merchant-Taylors, ii, p. 263. 
 
 2 Ibid., ii, p. 269, n. 2. 
 
 3 The rare MS. is the Mayors Book of Norwich, which is kept in a safe in the Town Clerk s 
 office. It is a pleasure for me to record my indebtedness to Arnold H. Miller, Esq., Town 
 Clerk of Norwich, through whose kindness I was allowed to see this treasure. The paragraphs 
 I cite are taken from pp. 139-143 of this MS. 
 
 A copy done by an eighteenth or nineteenth century scribe not always accurate in 
 minor details may be found in the Brit. Mus. (Addl. MS. 27967 see fol. 54). This MS. 
 dates the event 1550, and is headed, " Pageants performed before Robt. Rugge, Mayor of 
 Norwich, upon the day of his entering into the Office." Ewing, p. 14 f, prints the account 
 " from the Corporation Books " his version does not always agree with that in the MS. 
 Mayors Book. He, too, says that these pageants were " exhibited on the Guildday of Robert 
 Rugg, Mayor in 1550." The Norwich MS. clearly dates this 1556. 
 
 It is likely that this show was planned for the induction of Steward into his third term 
 of office in 1556; the Mayors Book does not mention the name of Rugg in connection with 
 these pageants. I feel certain that a scribe misread 1556 or carelessly wrote 1550; and 
 that afterwards the show was connected with Rugg who was mayor in that year. 
 
 Augustine Steward was mayor in 1534, 1546, and 1556 (see Le Strange, Norfolk Official 
 Lists, pp. 107, 108). 
 
 4 Ewing notes, Moor. This was, apparently, an image. 
 
 5 It is possible that he spoke them as well. The MS. (p. 140) reads " yd Bucke." Perhaps 
 yd = qd = quod (quoth). 
 
THE LORD MAYOR S SHOW 17 
 
 greate gate thereunder like a Cytte gate, & ouer the gate a great casteil with 
 towers, made for Arms of the Cytte, & ye Lyon being cowched under the gate, 
 & uppon every tower a Morian with his Darte & his targett; l & at the Casteil 
 gate stoode a personage richlie apperrelled like an orrator, who had thes words 
 ffollowinge to the Mayor, which after he had spoken he gave the verses follow- 
 inge, in paper foulde in a stycke of cannell, 2 with Rosemarye & gylleves gylte, 
 & so passinge throwghe the Gate, all the greate ordenans with a grete nombre 
 of chambers wer shott offe." Here follow eight verses. 
 
 " There was a pageante standinge in the pershe of S l Andrews, against 
 Willm. Barkhams, Richelie apparelled, wherein was an orratour & fower younge 
 maydes Richelie apparelled, who represented the fower Cardenall vertews; and 
 the orracon begonne with thes sentences followinge to the said Mayor & after 
 they had all spoken, the orratour againe 3 to the said Mayor & presented him 
 with A braunche with a Roll of ther declaracoun, clad in a braunch of Rose 
 marye." The Virtues were introduced by the orator in a four-stanza speech; 
 each of the Virtues follows, with a twelve-line stanza, and the orator closes with 
 six verses 
 
 " As wee do meane take in good parte 
 This simple gyste geven with good harte." 
 
 Under this is written, " finis q* Cordalle." 4 
 
 It will be recalled that the four Virtues have appeared often in pageantry 
 since they greeted Queen Margaret at Coventry in 1456; but Time makes his 
 first appearance here. Three years later we find him welcoming Elizabeth at 
 her coronation. 
 
 1557-60 THE LONDON SHOWS 
 
 In 1557, a pageant stood in St. Paul s churchyard, and the mayor and alder 
 men, landing at Paul s wharf, passed it on their way to the Guildhall. 5 We 
 know no details concerning it. Machyn makes no mention of a Lord Mayor s 
 Show in 1558; in 1559 the first year of Elizabeth s reign on 31 September, 
 the " nuw shreyffes of London toke ther barge to Westmynster to take ther 
 howth, master Loge and master Marten, althermen, in the checker, and after 
 home to dener with ther craftes." 6 On 28 October, 1560 Chester being mayor 
 the Stationers were assigned a place following the Poulterers in processions 
 on the Lord Mayor s Day. 7 
 
 1 Presumably images, as the other one. 
 
 2 Cinnamon (Ewing). 3 Supply spoke. 
 
 4 Addl. MS. 27967 reads " Finis q* & Cordalle," and the line is underscored in pencil, and 
 queried. Cordalle may be the scribe but I think it more likely that he is the author of the 
 last set of speeches perhaps the last two. The couplet cited above seems to show that 
 mayors had not been often installed with pageants at Norwich. 
 
 6 Machyn, Diary, pp. 155, 156. 
 
 6 Ibid., p. 213. 7 Repertory xiv, fol. 552 b. 
 
1 8 ENGLISH PAGEANTRY 
 
 1561 SIR W. HARPER INSTALLED 
 
 The Merchant-Taylors records throw some interesting light on the 1561 
 Show. 1 Evan Davis, porter, agreed " that he shall and will provide to fynde 
 with hym self xvj tall and stronge men [to] beare the pageant upon the morrowe 
 after Symond and Jude next, and to see the same pageant broughte saffelye 
 into this house that present day at nighte. And he to have for every of the 
 said xvj men or portars xxd." Out of deference to the mayor the pageant showed 
 five celebrated harpers; and is particularly important as showing the first in 
 stance of mythology in these shows. 
 
 " John Shutte shall make for this Company ageynst the feaste of Symond 
 and Jude next, a pageant accordyng to suche a pattern (for drawing which, 
 Gabitt received 55.) as shalbe devised to answer the speches also here devised 
 and delyvered to hym and also he to fynd ij men to be woodwardes to cast 
 squybes or wilde-fyer the morrowe after the seid feaste of Symond and Jude 
 next, and also to fynde the said wilde-fyer. And he to have of this house for 
 the fynyshyng and makyng of the seid pageant and fynding the seid wood- 
 housys xij/f." 2 
 
 That the figures of the various harpers on this pageant were alive, the follow 
 ing extracts from the Company s records show: 
 
 " Item paid for a crowne for Davyd, and trymyng of the regalles, and hyer 
 of Mr. Shobman to attend upon the pageant xijs. vjd. 
 
 " Item to John Tayllour, master of the children of the late monastere of 
 Westminster, for his children that sung and playd in the pageant, xxxs. 
 
 " Item paid to portars for settyng uppe the pageant in the hall upon the 
 frame in the gallery, ijs. iiijd. 
 
 1 See Clode, ii, p. 263 f. 
 
 2 Ibid., ii, p. 265. Cf. ibid., ii, p. 267: " The pageant had reference to the Lord Mayor s 
 name and the only description of it is this: On the toppe as a fane the Armes of the lord 
 mayour electe on the one side thereof, and the armes of the merchant taillours on the other 
 side thereof/ 
 
 " Under in the myddest David with his story aboute him. 
 
 " On the right side Orpheus with his story before. 
 
 " On the lefte Amphion with his story. 
 
 " On the lefte side on the ende Arion, etc. 
 
 " On the right side of thende lopas, with his, etc. 
 
 Orpheus playeng upon his harpe, and trees, rivers, mountaynes as daunsinge and 
 harkeninge. 
 
 " Amphion so, with a Citie and the wall a buyldinge, and the stones as voluntary Ron- 
 ninge to it. 
 
 Arion syttinge on a dolphin in the sea playeng on the harpe. 
 
 lopas so, before a table of princes and every of theis (sic) to have his posie. 
 
 In all places of the pageant to have paynted the verses of i5o th psalme. " 
 
THE LORD MAYOR S SHOW 19 
 
 " Item paid to Mr. More for the hyer of v harps and his child playing in the 
 pegeant, xxjs." l 
 
 Apparently sixteen porters carried this pageant after the mayor, 2 and the 
 pageant was kept by the company in its hall, after the show was over. The 
 poetry was evidently written before the pageant was built by Shute; though 
 perhaps not before the design for the structure had been made by Gabitt. 
 
 Machyn describes the day; " the nuw mare toke ys barge towhard West- 
 mynster my nuw lorde mare master Harper, with the althermen in ther skarlett, 
 and all the craftes of London in ther leverey, and ther barges with ther baners 
 and streamers of evere occupasyon( s) armes; and ther was a goodly foist mad 
 with stremars . . . and grett shutyng of gunes and trumpettes blohyng; and at 
 xij of the cloke my lord mare and the althermen landyd at Powlles warfle, and 
 so to Powlles chyrche-yarde, and ther met ym a pagantt gorgyously mad, with 
 chylderyn, with dyvers instrumentes playng and syngyng; . . ." 3 
 
 " A goodly pagantt with goodly musyke plahyng " greeted the lord mayor 
 as he landed after his trip to Westminster in 1562; but we know none of the 
 details. 4 
 
 1563 A NORWICH PAGEANT 
 
 In 1563, the Norwich Grocers pageant originally used in their Whitsun 
 play was exhibited at a mayor s installation. "It was enquyryd by Mr 
 Aldriche for ye Provysyon of ye Pageant to be preparyd ageynst ye daye of 
 Mr Davy his takyng of his charge of ye Mayralltye." 5 This shows a miracle- 
 play pageant the Grocers " tree," which represented Paradise used with 
 trade-symbolism on a civic occasion. 
 
 1 Clode, ii, p. 269. The speeches are also in Clode, ii, p. 267 f. David, Orpheus, Amphion, 
 Arion, and lopas each spoke four lines in turn, explaining his " story " which was probably 
 painted behind each. Then David, Orpheus, and Amphion spoke again in praise of the harp. 
 " Who wrote the speeches or composed the music is not disclosed " (Clode). 
 
 2 It is, of course, possible that the porters were employed merely to carry the pageant 
 from the Company s hall to St. Paul s churchyard and back. 
 
 3 Machyn, p. 271; cited by Clode, ii, p. 244. 
 
 4 See Machyn, p. 294. In a note, Heath (1869, p. 426) gives an order related to the 
 dress of the bachelors, issued by the Court of Assistants in 1562. " . . . The Wardeyns of the 
 Grocers, and the Wardeyns of the Bachillors to cesse both the livery of the bachillors, and 
 all the Companie of the yeomanry for the furniture of the poor men s gownes, the pageant 
 the first, and other great charges that must be done when my Lord Mayor elect shall go to 
 Westminster, as to them shall be thought meet." 
 
 5 " Mr. Aldriche " is probably the John Aldrich who was mayor of Norwich in 1570. 
 For this cited passage see the Norwich Grocers records of 13 May 1563 (copied by Kirk- 
 patrick) in Fitch, The Grocers Play, p. 22. [Cf. above, vol. i, p. 35, and n. 2.] 
 
20 ENGLISH PAGEANTRY 
 
 1 566 SIR CHRISTOPHER DRAPER INAUGURATED 
 
 When, in 1566, Sir Christopher Draper was inaugurated Lord Mayor of 
 London, the pageant cost i8. 1 The Ironmongers records give niany interest 
 ing details. " October ist. Richard Baker, painto r stayno r , in the presence of 
 this courte, was agreed w 1 all for making of the pageant w l all, and all manner 
 of things incident to the same, as well the carpenter and paynter s worke, ex 
 cept the children and their apparel; and for his paynes therein to have the some 
 of sixtene pounds, and if it fortune him to be a loser at that price, it is agreed 
 that he shall have xl s> more; and for confirmacon of this his promise the same 
 Richard Baker hath hereunto put his hand." 2 
 
 " At the same present tyme John Tailo r , Schoole m r of the children of Westm r , 
 is also agreed w 1 all for vj of his children to serve in the foresaid pageant, as well 
 for the speeches as songs; and for his paynes in that behalfe to have the some 
 of xT - : and for performance hereof the same John Tailor hath put to his hande 
 the same day and yeare abovesaid." 3 
 
 Among the items in the accounts are : 
 
 " Item, paide to Richard Baker for the devise and makinge of the paggion, 
 xviij . 
 
 " Item, paide to Walter Browne for porters w h carryed the pagent, and 
 hoggeshedes to reste the same uppon, sundry tymes, xlix s \ 
 
 " Item, paide to James Pele, 4 for seven paire of gloves for the children in the 
 pagent, sixpence a paire, iij s> vj d \ 
 
 1 See Malcolm, Lond. Rediv., ii, pp. 42, 43, (from the books of the Ironmongers Company), 
 cited by Fairholt, pt. i, p. 14; also Nicholl, Ironmongers, p. 83 f. Malcolm errs in giving the 
 mayor s name as William; cf. Fairholt, loc. cit., n. 2. Heywood, Works, (1874) iv, p. 287, and 
 Herbert, ii, p. 591, give his correct name. 
 
 Jupp, p. 31, n., cites from the Carpenters records, under 20 September, 1566: " Willyam 
 Emerson servaunt wth Sr Thomas Gresham waterman promisethe to pve this copanye to 
 Westm* to waite on the Lorde Mayo r for this yere for the some of xiijs. iiij d. and he to find 
 eyshes." 
 
 2 Nicholl, p. 85. 
 
 3 Ibid., p. 86. 
 
 4 Hazlitt, Livery Companies, p. 310, n. i, says: " probably the father of George Peele, the 
 dramatist ... He was possibly a glover, either by trade or freedom, as he supplied seven 
 pairs at 6d. a pair for the children." Cf . Chambers, ii, p. 166 (referring to Malcolm and Hazlitt). 
 
 This is the same individual who is mentioned below, sub anno 1569. Nicholl (p. 88, n.) 
 says: " He was contemporary with, and may have been a relative or elder brother of George 
 Peele . . . Mr. Dyce, however, makes no mention of him in his biography of the dramatist ..." 
 
 On his relationship to George, see Bullen s Peele, i, pp. xiii et seq. In 1565, George was a 
 scholar at Christ s Hospital, of which his father was Clerk. James had, in 1553, published 
 a black-letter treatise on book-keeping, and it was followed by another in 1569. That James 
 Peele was the father of George was first announced by John H. Ingram, in the Athenaum for 
 2 July, 1881 (see Bullen s Peele, i, p. xiii, n.). 
 
THE LORD MAYOR S SHOW 21 
 
 " Item, paide more to Mr. Pele, for his devise and paynes in the paggent xxx s> . 
 
 " Item, paid to Mr Hill, Iremonger, for settinge up a frame of tymber to set 
 the pagyent on, iij s iiij d . 
 
 " Item, paide to Goodman Cave, joyner, for the setting upp the pagent in 
 our hall, x s \ 
 
 " Item, paid for a kylderkyn stande of ale, sent into Blackwell hall, for suche 
 as tendyd on the pagent, iiij s- ." ] 
 
 There were, on this occasion, twenty-eight " wifelers; " forty-eight men with 
 wax torches, an ell in length, and an equal number armed with javelins. Two 
 " woodmen " carried clubs and hurled squibs. 2 
 
 1 568 A PAGEANT FOR SIR THOMAS ROWE 
 
 In 1568, Sir Thomas Rowe, Merchant-Tailor, had a pageant of John the 
 Baptist, the Company s patron saint; there were " other similar personages, 
 amongst whom were four boys, who spoke complimentary speeches allusive to 
 the name of the mayor. St. John s speech begins : 
 
 " St. John I am that Voyce in Wilderness, w ich ones the Jewes did calle. 
 
 " isl Boy Behold the Roe, the swift in chace. " 3 
 
 1569 A PAGEANT PLANNED 
 
 In 1569, the Ironmongers "paid unto James Pele and Peter Baker, for the 
 devise of a pageant, w ch tok none effecte, xxvj 5 . viij d ." As the son often fol 
 lowed the father s footsteps, we may assume that Peter is the son of Richard 
 Baker; Peele is the one who is mentioned in 1566. 
 
 On 25 October, 1573, the Court of Aldermen voted that the Lord Mayor-elect 
 receive 50 toward the expenses of the pageants. 5 There is no detailed record 
 of what these were ; the Recorder, Fleetwood, in a letter to Lord Burghley, men- 
 
 1 Nicholl, p. 87 f. 
 
 2 Fairholt, pt. i, p. 56, note, quotes from Shirley s Honoria and Mammon (1652) saying, 
 " He alludes to the wild men that cleared the way [for the Show] and their fireworks, in these 
 words: I am not afear d of your green Robin Hoods, that fright with fiery club your pitiful 
 spectators, that take pains to be stifled . . . 
 
 For Herbert s notices of this 1566 Show, see Hist, Liv. Comps. ii, p. 592 and n.; i, p. 199. 
 For a description of the Company s barge, or " foiste," see Malcolm, ii, p. 43 (Fairholt, pt. i, 
 p. 17). Nicholl, p. 85, gives this extract from the Company s records: " It m, agreed w* 
 Hugh Watts and Xpofer Beck that they shall fynde us two woodmen, w* clubbes, squibbes, 
 and powder . . . and that to be done in all respectes as hath byn accustomed, and to be paid 
 for the same xxxiij 8 iiij d ." 
 
 3 Herbert, i, p. 200; cited by Chambers, ii, p. 166. Cf. also Fairholt, pt. i. p. 20. J. G. 
 Nichols, Land. Pag., p. 94, quotes John Day s Order observed by the Lord Mayor, etc., of 1568, 
 which does not mention pageants. 
 
 4 The records of the Company, printed in Nicholl, p. 98. 
 6 Repertory xviii, fol. 285 b. 
 
22 ENGLISH PAGEANTRY 
 
 tions " a playe for our farewell," and feasts. 1 In 1574, on account of the plague, 
 no feast was held at Guildhall, though the mayor went to Westminster by water. 2 
 
 1575 WILLIAM SMITH S DESCRIPTION OF THE SHOW 
 
 " A breffe description of the Royall Citie of London, capitall citie of this 
 realme of England," was written by William Smythe, citizen and Haberdasher 
 of London, in 1575. The manuscript 3 contains a detailed description of the 
 Lord Mayor s Show of that period. The author tells of the chief magistrate s 
 progress to Westminster by water " in most tryumplyke maner "; he describes 
 the decorated barges, the arms of the various companies; the return also by 
 water to Paul s wharf, after the mayor had taken his oath ; and the pro 
 cession through Cheapside. On this occasion " to make waye in the streetes 
 there are certain men apparelled lyke devells and wylde men with skybbs and 
 certayne beadells." 4 As a regular feature of the procession, Smith mentions 
 " the pageant of (sic) tryumphe 5 rychly decked, whereuppon by certayne 
 fygures and wry tinges, some matter touchinge justice, and the office of a maies- 
 trate is represented." 6 
 
 The costumes of the paraders are described, and the order in which they 
 march; the procession included " certayne wyfflers in velvet cotes and chaynes 
 with white staves." 7 And so " they passe alonge through the citie, to the 
 Guyldhall, where they dyne that daye, to the number of 1000 persons, all at 
 the charge of the Mayor and the ij Shereffes. This feast costeth 4OO/., whereof 
 the Mayor payeth 2oo/., and eche of the Shereffes ioo/." 8 
 
 In 1582^ there appears to have been no Lord Mayor s Show, on account of 
 the plague; Sir Thomas Blanke, the mayor, was not presented to the queen 
 until Sunday, 6 May, 1583, Elizabeth being then at Richmond. There were no 
 pageants on this occasion. 10 
 
 1 His letter is published in Prog. Q. Eliz., i, p. 355. In his Diarium Heptomada (October, 
 1573) he describes a change in the personnel of the City government. 
 
 2 Holinshed, iv, p. 325. 
 
 3 Printed by Haslewood, Brit. Bibliog., i, pp. 539 f.; N. Drake, Shaks. and his Times, ii, 
 p. 162 f. (Cf. also Fairholt, pt. i, p. 20 f. and note on p. 24; Chambers; J. G. Nichols and 
 Hone, A nc. Mys.) 
 
 4 Smith, quoted by Fairholt, pt. i, p. 21. 
 
 5 Probably " pageant or triumph " the two words were often used as synonyms. 
 
 6 N. Drake, loc. cit. 
 
 7 Drake, p. 163. 
 
 8 Drake, op. cit., p. 164. For an order of procedure on Lord Mayor s Day of perhaps 
 a slightly later date see Strype s Stow s Survey, book v, p. 168. 
 
 9 The " 1581 " pageant referred to by Herbert, i, p. 200, is clearly the 1585 pageant, 
 written by Peele. (There is obviously a misprint in Herbert.) 
 
 10 See Prog. Q. Eliz., ii, p. 399. 
 
THE LORD MAYOR S SHOW 23 
 
 CONCLUSION 
 
 In 1585, George Peele wrote the show for Sir Wolstone Dixie; his is the first 
 printed pamphlet giving the speeches addressed to the mayor; and with it the 
 civic triumphs enter a new stage of development. That words were spoken, 
 before this show, we have seen; in 1553 there were " goodly speeches " which 
 have not survived; those addressed to the Norwich mayor of 1556 have come 
 down to us, and a fragment of those addressed to the London mayor of 1568. 
 There were speeches in the 1561 Show, for Sir W. Harper, and there was music, 
 if not speeches, in 1562. But Peek s pamphlet is the first known contemporary 
 publication giving the verses addressed to the mayor; it is followed by a long 
 line of descriptive booklets issued during the seventeenth century. 
 
 We may pause here, on the threshold of the period when the Lord Mayor s 
 Show reached its highest development, to note that by 1585 these civic triumphs 
 were well established as part of the ceremonies incidental to the inauguration of 
 a new mayor. The ride to Westminster, which dates from the establishment of 
 the mayoralty in 1209, was varied by a water-progress as early as 1422. By 
 1453, this had evidently superseded the " riding "; and a hundred years later 
 the Lord Mayor s Show, as we know it, had begun. Taking pageantry from the 
 Midsummer Show, and adapting the splendors of the " royal-entry " to the 
 civic occasion, the installation of the chief magistrate of London grew in elabo 
 rateness, until it eclipsed the " royal-entry"; this development we shall now 
 follow through the hundred and twenty-three years which lie between Peele s 
 Show for 1585 and Settle s for 1708. 
 
 2. THE SHOW AT ITS HEIGHT, 1585-1708: PEELE TO SETTLE 
 
 PEELE S 1585 SHOW 
 
 The first " text " of a Lord Mayor s Show hitherto discovered, is that written by 
 George Peele for Sir Wolstone Dixie, Skinner, mayor in 1585. The pamphlet 1 
 contains only the speeches spoken by the characters in the pageant; 2 it gives no 
 description of the pageant or of the procession a practice which grew up in 
 later pamphlets. The " speech spoken by him that rid on a luzern 3 before the 
 pageant, apparelled like a Moor " describes " this emblem thus in show signifi- 
 
 1 A copy is in the Bodleian; reprints may be found in Dyce s (1829) ed. of Peele, ii, 
 p. 147; Bullen s ed., i., p. 351; Price, p. 199; Nichols, Prog. Q. Eliz., ii, p. 446; Hist. Leices 
 tershire, iv, p. 496; Harl. Misc. (1813), x, p. 351; Strype s Stow s Survey (1720), ii, p. 136. 
 Cf. also Greg, p. 22; Fairholt, L. M. Pag., pt. i, p. 24; J. G. Nichols, Lond. Pag., p. 100; 
 Wadmore, p. 144; J. Nichols, inGent. Mag., August, 1824, p. 113; Hone, Anc. Mys., p. 249. 
 
 2 As Fairholt (loc. a/.), and others, have already pointed out. 
 
 3 Lynx. This, with the Moor, is " a slender allusion to the company " of the Mayor, 
 who was a Skinner. (Herbert, i, p. 200.) 
 
24 ENGLISH PAGEANTRY 
 
 cant ": London, attended by her " well-advised magistrates," receives presents 
 from the country; Thames, 
 
 For London s good, conveys with gentle stream 
 And safe and easy passage, what she can, 
 And keeps her leaping fishes in her lap. 
 
 The soldier and sailor, 
 
 . . . frankly both, 
 
 For London s aid, are all in readiness, 
 To venture and to fight by land and sea. 
 
 Science " is vowed to honour London with her skill," and the city herself is ready 
 to yield all unto Elizabeth. The Moor ends by telling the Lord Mayor to guard 
 the treasure he has received. 
 
 Speeches by London, Magnanimity, Loyalty, the Country, the Thames, the 
 Soldier, the Sailor, Science and four nymphs "the children in the pageant" 
 follow. London introduces herself and lauds Elizabeth; the others speak in turn, 
 praising London and extolling the queen. 1 
 
 We find here the symbolical figure of London which has persisted down to 
 our own times. I have suggested the possibility of its connection with such 
 figures as the 1486 Ebraucus, where the founder an historical or pseudo- 
 historical figure comes close to symbolism. 2 The lynx and the Moor have 
 a trade-symbolism which is, as we shall see, a very important element of the 
 seventeenth-century mayoralty shows. Magnanimity, Loyalty, and Science are 
 personified abstractions such as we have already seen in the " royal-entry; " 
 the Thames is no new figure, and the Soldier and Sailor are practically abstract, 
 in that they represent Force by land and sea. We should observe that here 
 as in former inaugural processions there is but one pageant. This may have 
 had an influence in changing the meaning of the word from car to spectacle; I do 
 not believe that Sir Laurence Aylmer s pageant of 1516 3 referred to a spec 
 tacle: the records probably meant the pageant-car itself; and in 1585 we find 
 there is still only one car, though the show has become attached to the Lord 
 Mayor s Day. 
 
 PEELE S 1588 SHOW 
 
 That Peele was the author of the Show for 1588, is clear from the entry in 
 the Stationers Register under 28 October of that year: 4 " Entred for his [i. e., 
 
 1 It is to be presumed that the female characters were boys dressed up. 
 
 2 See above, vol. i, p. 81 f. 
 
 3 Herbert, i, p. 457, cited above, vol. i, p. 39. This was for a Midsummer Show, and is 
 an example of the immediate source of the Lord Mayor s Show. 
 
 4 Arber, The Stationers Register, ii, p. 504. Fleay, Biog. Chron. Eng. Drama, 1559-1642, 
 gives a list of Lord Mayor s Shows, ii, p. 402. He assigns without giving his authority 
 the 1588 " device " to George Peele. Cf. also op. cit., ii, p. 154. 
 
 Fairholt, pt. i, p. 26 (with whom should be compared J. Nichols, in Gent. Mag. for August, 
 1824, p. 113) notes that this " device of the pageant " was licensed to be printed by Richard 
 
THE LORD MAYOR S SHOW 25 
 
 Richard Jones s] Copie vppon Condicion that it maye be lycenced, ye device of 
 the Pageant borne before the Righte honorable MARTYN CALTHROP lorde maiour of 
 the Cytie of London the 2g ih dale of October 1588 GEORGE PEELE the Authour 
 . . .vj d ." 
 
 NELSON S SHOW FOR 1590 
 
 The rare descriptive pamphlet of Thomas Nelson s Show for 1590 is in the 
 British Museum; I have described it at length in a paper which appeared in 
 Modern Language Notes for January, 1918. Here, it will be sufficient to repeat 
 that there is little new in this show, although we see such characters as The Peace 
 of England, Fame, Wisdom on one side supporting the State, Policy on the 
 other side supporting the State, God s Truth, Commonwealth, Richard II, Jack 
 Straw, another Commonwealth in the shape of Sir William Walworth where we 
 see a former mayor of London given an allegorical significance not unlike, per 
 haps, that which may have been given to the mythical-founder in the " royal- 
 entry." History plays a part in the show, and at times especially in Richard s 
 cry to Walworth the speeches suggest a formless play, partly historical, partly 
 allegorical a weaker Kynge Johan. We may presume that the mayor stopped 
 before the pageant to hear the speakers; the conditions of presentation account 
 for the lack of dramatic coherence. 1 
 
 PEELE S 1591 SHOW 
 
 The first Lord Mayor s Show to have a title is Peele s Descensus Astrcea, 
 written for the inauguration of Sir William Webb, uncle of Archbishop Laud, 2 
 who entered into the mayoralty in i59i. 3 The presenter s speech eulogizes the 
 mayor not without a punning allusion to his name 4 and flatters the queen. 
 
 Jones; he adds that no copy is now known to exist, " neither are the titles of any other than 
 this one preserved between the years 1585 and 1591, though we may reasonably suppose 
 that others were printed." In a note, he refers to Gifford s opinion that Munday contributed 
 several during this period. I have not found a copy of the 1588 pamphlet. 
 
 1 Nelson repeats the erroneous origin of the dagger in the City Arms, which is not Wai- 
 worth s, but St. Paul s. He notes that Walworth won the Fishmongers their crest (" two armes 
 bearing vp a crowne ") and received a crest for himself. Jack Straw s speech (" Jacke Strawe 
 the rebell I present, Wat Tyler was my aide . . . Yet for our bad ambitious mindes by 
 Walworth we were tamde. He being Maior of London then . . . slew me first . . .") is exposi 
 tion of history, connected with the guild, and not without a moral flavor. 
 
 2 Bullen s Peele, i, p. 360. His wife was the daughter of Sir Christopher Draper (Lord 
 Mayor, 1566); his sister Anne married Sir Wolstan Dixie (Lord Mayor, 1585). 
 
 3 This pamphlet is in the Guildhall. It is reprinted in Dyce s (1829) ed. of Peele, ii, 
 p. 155; in Bullen s ed., i, p. 361; the Earl. Misc., x, p. 68, whence Gillespy reprints it, p. 66. 
 Cf. Greg, p. 22; J. Nichols, in Gent. Mag., August, 1824, p. 113; Fairholt, pt. i, p. 27; J. G. 
 Nichols, p. 100. As usual, the pamphlet gives only the speeches there was no prose de 
 scription of the ceremonies of the day. 
 
 4 " See, lovely lords . . . How Time hath turn d his restless wheel about . . . and weaved 
 a Web For your content." 
 
26 ENGLISH PAGEANTRY 
 
 As Astr^ea guards her flock from her seat on the top of the pageant, Super 
 stition, a friar, and Ignorance, a priest, seek in vain to poison the fountain of 
 truth, 1 beside which they sit. Astraea, " our Pandora fair, Our fair Eliza, our 
 Zabeta fair," defends the fountain, her eye keeping Ignorance in awe. Eu- 
 phrosyne, Aglaia, Thalia, 2 Charity, Hope, Faith, Honour, and the Champion, 
 all praise Astraea, rather fulsomely; and the two Malcontents quail before her. 
 
 " In the hinder part of the Pageant did sit a child, representing Nature, hold 
 ing in her hand a distaff, and spinning a web, which passed through the hand of 
 Fortune, and was wheeled up by Time, who spake as followeth " - explaining 
 that he winds " the Web that kind so well begins, While Fortune doth enrich 
 what Nature spins." 3 
 
 At the end of the descriptive pamphlet is a " speech on the water, delivered 
 in the morning, at my Lord Mayor s going to Westminster." It was spoken 
 " by one clad like a Sea-nymph; who presented a Pinesse on the water, brauely 
 rigd and mand, to the Lord Mayor, at the time he took Barge . . ." This 
 speech, says Fairholt, 4 " is rather high-flown in its diction, but it contains much 
 poetic feeling, and a beautiful allusion to London, its greatness and stability, 
 in the words ; 
 
 " The mortar of these walls, tempered in peace, 
 Yet holds the building sure. 
 
 Daw, citing from the oldest book of records in the possession of the Butchers 
 Company, notes " that there was no Barge money collected this yeare [1592] for 
 that the Lord M. took his othe at the Tower Gate, and went not to Westminster, 
 and so no Barge used." 5 There was, in this year, a plague in London; 6 and this 
 seems to have made it necessary for the mayor to give up his show in 1593 as 
 well. Sir Cuthbert Buckle, whose mayoralty began in this year, 7 was presented 
 to the queen by the Recorder of London; but no place is mentioned in the 
 speech, which was probably delivered at some suburban palace perhaps 
 Greenwich. Before the presentation took place, the mayor " hath beene pre 
 sented before your Highnes Officer in that behalf e appointed, and hath sollemnly 
 sworne his fidelitie to your most excellent Majestic and taken the accustomed 
 oath for the due execution of his office . 
 
 1 Also represented on the pageant. 
 
 2 Cf. the 1533 pageant for Anne Boleyn, above, vol. i, p. 183. 
 
 3 Pamphlet, p. 7. Cf. Bullen s Peele, i, p. 366. 4 L. M. Pag., pt. i, p. 29. 
 
 5 Early Hist. Butchers, p. 23. " This appears," says Mr. Daw, in a note, " to have been 
 the practice if the Court of Exchequer were not sitting." We have already noted instances 
 of the mayor being presented to the Constable of the Tower in 1303 and 1304 (cf. above, 
 p. 4, n. 3). 
 
 6 Cf. Prog. Q. Eliz., iii, pp. 130, 190, 214, 254 and n. 4. 
 
 7 Cf. Strype s Stow s Survey (1720), ii, p. 138. 
 
 8 Harl. MS. 852, fol. 2. This speech is reprinted by Nichols, Prog. Q. Eliz., iii, 228 f.; he 
 notes that Edward Drew, sergeant-at-law, was Recorder of London, 1592-1594. 
 
THE LORD MAYOR S SHOW 27 
 
 The speech which begins " It is full three years past, my good lord, that by 
 occasion of God s punishment the Cittizens of London have beene constreyned 
 to forbeare their comeing to this Ho: place to accomplish their duety they owe 
 to yor Lordship & this Honourable Court . . ." ] follows the other address with 
 out a break. It was, however, delivered on the presentation of Sir John Spencer 
 to the Lord Chief Baron 2 at Westminster in 1594. This sentence shows that 
 for three years since 1591 no mayor had been presented at Westminster; 
 which leads us to imagine that Sir Cuthbert Buckle had met the queen at one of 
 her palaces on the outskirts of London. 
 
 1602 THE MERCHANT-TAYLORS SHOW 
 
 From the " Court Minute " of 23 September, 1602, we get the following 
 record of the Merchant-Taylors Show of that year: 3 " Itt is concluded and 
 agreed that against Symon and Jude s Day for the triumph before the Lord 
 Maior, there shalbe preparacion made of a Pageon, a Ship, a Lyon, and a Cam- 
 mell. 4 The Pageon being a thing ordinary, and th other three doe properly 
 belong unto our Companie, and are very fitt and answerable for this tyme, 
 namely, the Ship in regard two Wor 11 Members of this Company are to bear 
 great offyces in this Cittie for this nexte yeare ensuing, viz. M r Rob 1 Lee, Alder 
 man, the hon ble place of Lord Maior, and M r John Swinnerton, Alderman, the 
 place of one of the Sheriff es of this Cittie, and they both being merchants. And 
 we, as well in regard of the Companies Incorporacion and name of Merchan- 
 tailors, as also in regard, the two said Wor 11 persons are merchants by profession, 
 the shippe is proper and very apte for this occasion and tyme, and the Lyon 
 being part of the Companie s Armes, and the Cammell the Companie s sup 
 porters. And our Master and Wardens are entreated to have a speciall care, 
 that every thing maye be very sufficientlie performed, to the worship and creditt 
 of the Company . . . not havinge had a Maior of our Company sithence Sir 
 Thomas Rowe was Lord Mayor, being now thirty and three years since." 
 
 The emphasis in this show the author of which has not yet been discovered 
 is on trade-symbolism. That the Merchant-Tailors were not niggardly in 
 their celebration, is shown by the large amount of money they spent. There 
 was evidently a water-show, for the ship is spoken of as distinct from the pageant, 
 which was " a thing ordinary," though it is, of course, possible that the ship 
 
 1 Harl. MS. 852, fol. 2 reprinted in Prog. Q. Eliz., iii, p. 254 f. 
 
 2 Sir William Peryam, [Nichols, Prog. Q. Eliz., iii, p. 254, n. 2]. Both the Cat. Harl. MSS. 
 i, p. 456, and Nichols, op. cit., note that the presentation of Sir John Spencer begins here. 
 
 3 Printed in Clode, i, p. 187. 
 
 4 The ship cost 38; the pageant, 78, 175., jd.; the lion and camel, 8, 165., 6d.; there 
 were also "green-men," at 5, 35., ^d.; the barge, barge-cloth and "gallifoyst" cost 78, 
 35., 4<f. The total expenses of the Merchant-Taylors Company for this show, were 747, 
 25., lod. The items are printed from the records of the Company, by Clode, i, p. 390. 
 
2 8 ENGLISH PAGEANTRY 
 
 was displayed on land; if this were the case, we have an early example of a 
 show with more than one pageant. The " green-men," which appeared this 
 year, as the accounts of the Company indicate, are, of course, nothing new. 
 
 On account of the plague, there was no show the next year. Sidney Young 
 cites the records of the Barber-Surgeons Company, for 22 October, 1603: 
 " To the Wardens of the Companie of B arbor-Surgeons. By the Maior. 
 Theise are to will and require you that you take speciall knowledge herby that 
 for avoydinge of infeccion by assemblie of people this tyme of gods vizitacion 
 It is thought meate therbe noe shewe made the morrowe after Simond and 
 Judes daie next, it is intended that youre Companie be dischardged thereof for 
 their Attendance for that tyme. This xxij th of October 1603. Sebright." 1 
 
 1605 MUNDAY S " TRIUMPHS s OF REUNITED BRITANNIA" 
 
 Munday wrote the show for the inauguration of Sir Leonard Holliday, Mer 
 chant-Taylor, in 1605. The pamphlet is entitled The Triumphs of Reunited 
 Britannia, 2 which, of course, refers to James s accession. In this show there 
 is some of the mythical history of Britain, and Munday has inserted a good deal 
 of symbolism. Opening with a dialogue between the master and the mate of 
 the " Shippe called the Royal Exchange," 3 in which the master expresses his 
 joy at getting home, and the mate his pleasure in the fact that " our Master is 
 Mayor," the show is continued by Neptune and Amphitrite on a lion and camel; 4 
 this pair first seated their son Albion in the land. Corinaeus and Gogmagog 
 two huge giants, " for the more grace and beauty of the show " - were fettered 
 by chains of gold to " Britain s Mount " - the principal pageant, which they 
 appeared to draw. This mount, " triangular as the Island of Britayne it selfe 
 is described to bee," contained children representing " under the shape of a 
 fayre and beautifull Nymph, Britania hir selfe, accosted with Brute s divided 
 kingdoms, in the like female representations, Leogria, Cambria, and Albania." 
 
 Britannia tells Brute, " her conqueror (who is seated somewhat lower, in the 
 habite of an adventurous warlike Troy an)," that she had still continued her 
 name of Albion but for his conquest of her virgin honor and that she was 
 glad he conquered her. Brute shows her her causes for joy for he overcame 
 " Goemagot " (or Gogmagog) and his " barbarous brood "; built Troya Nova, 
 and beautified the land, which before was a vast wilderness. 
 
 The three virgin kingdoms seem to reproach him for his " over-much fond 
 love " of his sons, in dividing one monarchy between them. He stays their re- 
 
 1 Young, Annals of Barber-Surgeons, p. in. 
 
 2 Copies are in Brit. Mus., and Bodl. It is reprinted in Nichols, Prog. James, i, p. 564. 
 Cf. also Greg, p. 21; Fairholt, pt. i, p. 29; J. G. Nichols, p. 100; J. Nichols, in Gent. Mag. 
 for August, 1824, p. 114. 
 
 3 Which may be the ship furnished by this company for the 1602 Show. 
 
 4 Very likely those of 1602. 
 
THE LORD MAYOR S SHOW 29 
 
 proof by showing the present united state of the land, divided by the first Brute; 
 this glorious event is due to the second Brute King James. For joy the three 
 kingdoms deliver up their crowns and sceptres ; and Troya Nova persuades fair 
 Thamesis and the other rivers to sing pagans to the sovereign. Thames, the 
 Queen of English Rivers, begins and is followed by the Severn and the Humber. 1 
 
 The history of the Merchant-Taylors guild is recounted by Fame and her 
 attendants ; 2 and the show ends with speeches by Neptune and Amphitrite 
 lauding Sir Leonard Holliday, and invoking divine blessings on " that second 
 Brute, James our dread king." 
 
 This show is rather more connected than is apt to be the case in these civic 
 triumphs; it is to be noted that much was made of history not purely that of 
 the guild. This was due to the fact that James had to be complimented; and 
 it is interesting to observe how many countries and rivers were personified, that 
 honor might be done him. Ship, camel, and lion seem to have been brought over 
 from 1602; they were, in fact, properties belonging to the company: but Gog- 
 magog and Corinaeus who had, it will be remembered, appeared in the " royal- 
 entry " of 1554 3 seem to have been revived for the occasion. 
 
 The records of the company 4 throw an interesting side-light on this show. 
 " This year, by reason of the great rain and fowle weather hap ning and falling 
 upon the morrow after Symon and Jude s day, being the day my Lord Mayor 
 went to Westminster, the great costs the Company bestowed upon their pageant 
 and other shows were in manner cast away and defaced. And therefore upon a 
 general request made by the Batchelors the same shows were new repaired and 
 carried abroad upon All Saints Day, at a cost of 64!., 145., id" 
 
 As an example of the way the word pageant is turning to mean spectacle 
 perhaps because the Lord Mayor s Shows had but one in these early days- 
 we may refer to the epilogue of Eastward Hoe (1605): " See if the streets and 
 the fronts of the houses be not stuck with people, and the windows filled with 
 ladies, as on the solemn day of the pageant." 5 
 
 THE SHOW FOR 1609 
 
 The show to which Heywood, in the introduction of Sinus Salutis (his Show 
 for 1635) refers, dating it i6oy, 6 is really that of 1609. In the British Museum 
 (C. jj. e. 7 [23]) are to be found the last four leaves of the descriptive pamphlet, 
 to which is prefixed a pencilled titlepage, as follows: " Camp-bell; or the Iron- 
 
 1 The verse is iambic pentameter, in seven-line stanzas, riming ababbcc. 
 
 2 Tapeinotes, Eros, Eleutheriotes, Sophrosyne, Agnites, Hypomene, Epimelia; Pheme 
 rides before the chariot, which evidently contains the others. 
 
 3 See above, vol. i, p. 191. 
 
 4 Quoted by Clode, i, p. 188 n. 
 
 5 Cited by Fairholt in his Scrapbook (in the Society of Antiquaries) vol. i. 
 
 6 See the 1874 ed. of his works, iv, p. 288. 
 
30 ENGLISH PAGEANTRY 
 
 mongers Faire Field [a Pageant at the installation of Sir Thomas Campbell in 
 the office of Lord Mayor of London, 29 Oct. 1609]." In pencil, on the margin 
 of the first sheet, this is attributed to Munday. 
 
 In this show appear the Graces, various inhabitants of the sea, St. Andrew 
 and St. George, " vnited now in enduring amitie." The former Saint rides a 
 unicorn, the latter his dragon; both address the mayor. 
 
 Nicholl, citing the Ironmongers records of 3 November, 1609, throws further 
 light on this show. " At this court Mr. Anthonie Mundaye came into court, 
 and the observations then made were theise, that the children weare not in 
 structed their speeches, which was a spetiall judgment of the consideration, 
 then the musicke and singinge were wanting, the apparell most of it old and 
 borrowed, with other defects, and the matter left to Mr. Leat s coming home, 
 w ch will be by the next courte." On 18 November, Munday was " a suitor for 
 5/2. of increase over his bargaine, layinge his reason therefor in regard of his 
 speeches made for the water; and had answere given that, in respect he per 
 formed not his speeches on land, nor the rest of his contracted service, the Com- 
 panie were not to goe beyond their bargaine, and payd 45/." 
 
 1610 PRINCE OF ANHALT AT THE Crvic SHOW 
 
 Christianus, Prince of Anhalt, witnessed the civic triumphs of 1610; " he 
 surveyed the Cittie of London with great pleasure and admiration, and behelde 
 the pleasant triumphs upon the water and within the Cittie, which at this time 
 were extraordinary in honor of the Lord Mayor and Cittizens, and that daie 
 this prince, with all his Germanyne trayne, were entertayned at the Lord Mayor s 
 Feast, in the Guild hall, where hee manifested his former admiration . . . and 
 sayd there was no state nor cittie in the world that did elect their magistrates 
 with such magnificence, except the Cittie of Venice, unto which the Cittie of 
 London commeth very neere." 2 
 
 1611 A NORWICH FATALITY 
 
 While not, strictly speaking, a civic pageant, that erected on the Norwich 
 mayor s gate in 1611 deserves mention. " On the i8 th of June (it being gild-day) 
 a sumptuous pageant was prepared at the new Mayor s gate on Tombland, and 
 certain fire-works, as had been usual, were fired off in the evening, some of which 
 breaking, frighted the people (who were very numerous) to such a degree, that 
 hurrying away in crowds for fear of hurt, there were no less than 33 persons 
 
 1 Nicholl, Ironmongers, p. 143. 
 
 2 Howes, Stow s Annals (1615 ed.), p. 908; cited by J. Nichols mGent. Mag. for November, 
 1824, p. 411. Clode, ii, p. 311, is in error, in recording the election of Sir W. Craven to the 
 mayoralty in 1610, when he says: "... by order of the king the Lord Mayor s Show, which 
 had been for some years suspended, was revived." We have recorded the 1609 Show. 
 
THE LORD MAYOR S SHOW 3 1 
 
 trodden down and pressed to death, as the register of the parish of St. Simon and 
 Jude declares." l 
 
 1611 MUNDAY S " CHRYSO-THRIAMBOS " 
 
 The reproof of the Ironmongers in 1609 did not dampen Munday s ardor, for 
 in 1611 we find him in charge of the show for the Goldsmiths. 2 Prideaux, citing 
 the records of the Company, 3 notes that John Lowen, one of the king s players, 
 was " to perform the part of Lepstone in the show." He further records from 
 the same source that Grinkin, the painter, was to provide for the show a 
 tomb for Farrington, a former mayor; properties for Time; the chariot of the 
 two kings drawn by two leopards; the " orpherie " drawn by two " victors," 
 with places to contain Justice and her two daughters on the top, and for St. 
 Dunstan. Evidently a trade-pageant, or " explanation of the Mystery," was 
 to be included, together with two Moors, riding on unicorns (the supporters of 
 the Company s arms); Grinkin was to have 75 for these, and Anthony Mun- 
 day was to write the speeches. He received 80 for the following: 
 
 " Apparel for the kings in the chariot 
 
 " For Farington, the Mayor 
 
 " For Tyme 
 
 " For all other persons and children in the Mystery, and for all those that 
 ride upon the beasts. 
 
 " For making-up the speeches, for expressing the meaning of the shows, both 
 for Lepston, Farington, the kings, the boys and all the rest. 
 
 " For two books which are to be made and printed and to be delivered to 
 Mr. Wardens for their disposal. Mr. Munday is also to bear the charge of the 
 tyring and tryming of the children, and whatsoever else is requisite to be done 
 by him for the managing of the whole business." 4 
 
 By this time, clearly, there was more than one pageant in the show, although 
 the trade-pageant continued to be the important one. This show seems to have 
 included history and allegory, though some of the characters are not clear (the 
 kings, for instance). St. Dunstan was the patron of the Company, and appears 
 in later shows. 
 
 1612 DEKKER S " TROIA NOVA TRIUMPHANS " 
 
 Two items from the Merchant-Taylors records 6 are of interest in connection 
 with Dekker s Show for 1612. " Paid to Mr. Hemynge and Mr Thomas Dekker 
 the poet, for the devise of the Land Shewes, being a Sea Chariott drawne by two 
 
 1 F. Blomefield, iii, p. 364; cited by Ewing, p. 17. 
 
 2 For mention of this, see Fairholt, pt. i, p. 32; J. G. Nichols, p. 100; J. Nichols, in the 
 Gent. Mag. for Aug., 1824, p. 114; Greg, p. 20. I have not seen a copy of the descriptive 
 pamphlet, which was entitled Chryso-Thriambos, the Triumphes of Golde. 
 
 3 Prideaux, Memorials of the Goldsmiths Company, i, p. 116. 
 
 4 Prideaux, i, p. 117. 6 Printed by Clode, i, p. 335. 
 
32 ENGLISH PAGEANTRY 
 
 sea horses, one pageant called Neptune s Throne, with the seven liberall Sciences, 
 one Castle called Envy s Castle, one other pageant called Virtue s Throne, and 
 for the persons and apparel of those that went in them the sum of 197^. Also to 
 Nicholas Sotherne and George Jackson the two master painters for the making, 
 painting, gilding and garnishing of all the same several Thrones before mentioned 
 and for new painting the Company s ship, the sum of i8i/." The Mr. Hemynge 
 referred to as Dekker s collaborator in this show is possibly the one who, eleven 
 years later, shared the responsibility for the First Folio. The Company s ship, 
 used on this occasion, may be that used by the Merchant-Tailors in 1605. 
 
 A description of this show may be found in Clode ; 1 copies of the descriptive 
 pamphlet are in the Bodleian and the British Museum; and Fairholt reprints it. 2 
 The first two " triumphs," or pageants, of this show represented Neptune in a 
 sea-chariot with Tritons: and the four Winds "drive forward that Ship of 
 which Neptune spake." Luna sits at the feet of the sea-god; and the Tritons 
 ride on " foure severall fishes, viz: two dolphins and two mer-maids, which are 
 not (after the old procreation) begotten of painted cloath, and broune paper, 
 but are living beasts ..." The Throne of Virtue contains in the most eminent 
 place Arete, or Virtue herself. Beneath her sit the Seven Liberal Sciences 
 females, whose " habits are light roabes, and loose (for Knowledge should be 
 free)." This throne is drawn by four horses which are ridden by Time, Mercury, 
 Desire, and Industry. Desire seems to be a female; and Industry is "in the 
 shape of an olde country-man." Both Neptune and Virtue addressed the mayor. 
 
 " A forlorn castle " - the third device is built close to the Little Conduit 
 in Cheapside; and as the Throne of Virtue approaches, there appear on the 
 battlements Envy and her followers, Ignorance, Sloth, Oppression, Disdain 
 and others. All are armed and ready to shoot at Virtue; Riot and Calumny, 
 from their posts at the gate of the castle, 3 offer to stop Virtue s progress, but 
 she dazzles and confounds them. They shrink back, and after she has passed, 
 they shoot arrows into the air, which break out in fireworks. 
 
 On the mayor s return from the Guildhall to St. Paul s the " shewes " 
 marching back in the same order as before Envy makes another stand. Vir 
 tue summons her people; pistols are fired, and Envy vanishes with her crew. It 
 is impossible, when we read such descriptions as this, not to recall such fights 
 and fortress-stormings as Elizabeth saw at Bristol; but this has a moral signifi 
 cance even more prominently brought out. It should be added that twelve 
 horsemen, representing the twelve Companies, rode before the Throne of Virtue. 
 
 1 Op. cit., i, p. 335 f. This is the only Lord Mayor s Show to use New Troy in the title, 
 although the historical element is much stronger in Munday s Show for 1605. (On this 
 " history," see vol. i, p. 58, n. 2.) 
 
 2 L. M. Pag., pt. ii, pp. 7 ff. Cf. also Greg, p. 7; J. Nichols in Gent. Mag. for August, 
 1824, p. 114; and J. G. Nichols, p. 101. 
 
 8 Note the moral allegory joined to " pageantized " chivalry. 
 
THE LORD MAYOR S SHOW 33 
 
 1613 MEDDLETON S " TRIUMPHS OP TRUTH " 
 
 The next year, Middleton wrote The Triumphs of Truth in honor of Sir Thomas 
 Middle ton, Grocer. 1 At Soper-Lane end was a " Senate house " erected, upon 
 which musicians sat playing. After a song, the Lord Mayor appeared from the 
 Guildhall, and was greeted with a flourish. Then appeared from behind a silk 
 curtain a " grave feminine shape . . . attired like a reverend Mother, a long 
 white hair naturally flowing on either side of her ..." She represented London, 
 and addressed the mayor " after a comely grace, equally mixed with comfort and 
 reverence." Then the waits of the city being there in service, his Lordship and 
 the reverend Company were led forward to the waterside, where the river was 
 decked in the richest glory to receive them. 2 
 
 On the mayor s return from Westminster, the first " triumph " to attend his 
 Lordship was Truth s Angel on horseback, and Zeal, the champion of Truth, 
 " likewise the chastiser of Ignorance and Error " (symbolized by his scourge). 
 Both the Angel and Zeal saluted the mayor; then they ranked themselves be 
 fore his lordship and conducted him to Paul s Chain, where Error in a chariot, 
 with his infernal ministers, awaited the mayor, to assault him. Their costumes 
 showed the symbols of blind ignorance and darkness. 
 
 Envy, the champion of Error, 3 rode beside him, " eating of a human heart." 
 With a long speech, Error greeted the mayor, enticing him to let his " will and 
 
 1 Of the descriptive pamphlet of this show, two copies are in BM., one in the Gh., one in 
 Bodl. It is reprinted in Dyce s ed. of Middleton, v, p. 213; Bullen s ed., vii, p. 229; Prog. 
 James, ii, p. 679; Heath, (3 d ed.) appendix, p. 443. Cf. also Bullen, i, p. xxxviii; Fairholt, 
 pt. i, p. 32; J. Nichols, in Gent. Mag., Aug., 1824, p. 114; J. G. Nichols, p. 101; Greg, p. 15; 
 Hone, p. 246. In his introductory remarks, Middleton takes advantage of the opportunity 
 to sneer at his brother-poet, Munday. 
 
 Under date of 8 July, 1613, " it is ordered that the Company of Grocers shall haue two 
 convenient rooms one aboue another beneath in Leaden hall for the workmen to make their 
 pageants and other devises in against the next Lord Maiors day." Repertory xxxi (i), fol. 
 129. 
 
 2 See Herbert i, p. 200 (quoted by Dyce and Bullen) who says that Sir Thomas Middleton 
 " was nearly the first who attempted an emblematical and scenic representation of his com 
 pany in a water spectacle, consisting (in imitation of the pageant mentioned to have been 
 exhibited by Sir John Wells to Henry VI) of five islands artfully garnished with all manner 
 of Indian fruit trees, drugges, spiceries, and the like; the middle island having a faire castle 
 especially beautified : the latter probably allusive to the newly established East India Com 
 pany s forts, and whose adventures had contributed so much to enlarge the sphere of the 
 grocers trade." Just how much part the mayor himself took in planning the triumph is 
 doubtful. This was Middleton s first show, and most of the credit of it should, surely, be 
 given to the poet. The " imitation " of Lydgate s 1432 show is not close, and probably not 
 conscious. (Cf. above, vol. i, pp. 141 ff.) 
 
 3 Zeal and Envy recall the Elizabethan barriers in moral-allegorical clothing. (Cf. 
 above, vol. i, p. in.) 
 
34 ENGLISH PAGEANTRY 
 
 appetite sway the sword " now that he has the power. Envy echoed Error; 
 then Zeal, stirred up, forced their retirement, making way for Truth. When she 
 comes in her chariot, Zeal presents her, and she claims the mayor " Thou rt 
 mine ! " 
 
 Then they all set forward the chariot of Truth (who is attended by the 
 Graces and Virtues) taking place next before his lordship; Zeal and the angel 
 precede them, and the Chariot of Error follows the mayor, " as near as it can 
 get "; and so to Paul s Churchyard, " where stand ready the five islands, those 
 dumb glories that I spake of before upon the water." And on them were the 
 Five Senses Visus, Auditus, Tactus, Gustus, and Olfactus with their proper 
 emblems at their feet. There was also a King of Moors, his queen, and two 
 attendants, 1 in a ship without sail or pilot, bearing the motto: Veritaie gubernor. 
 The king spoke, telling how he had been converted by the truth of the English 
 merchants with whom he dealt; he is no longer an infidel. Then all in the ship 
 bow " their bodies to the tempel of Saint Paul," while Error smiles twixt scorn 
 and anger, exclaiming - 
 
 What, have my sweet-faced devils forsook me too ? 
 Nay then my charms will have enough to do. 
 
 Time, the father of Truth, 2 charges the mayor always to listen to his daughter. 
 " Then the five islands pass along into Cheapside, the ship next after them; 
 the Chariot of Truth," etc., to the Little Conduit, where there is " another more 
 subtle object." This is " a mount triumphant, but the beauty and the glory 
 thereof overspread with a thick sulphurous darkness . . ." - the mist, or fog, of 
 Error, which ominously blemished London s Triumphant Mount. Four mon 
 sters Error s disciples, Barbarism, Ignorance, Impudence, and Falsehood 
 sit at the corners. When Truth approaches, she drives the mists away with a 
 "powerful command ": the cloud rises, and turns into a brilliant canopy. The 
 four monsters fall flat: London is discovered in the place of honor; above her 
 sits Religion, with Liberality on her right, and Perfect Love on her left. In his 
 right hand, the latter bears a spear, containing all the Twelve Companies arms. 
 On two heights sit Knowledge and Modesty, and at the back are Chastity, 
 Fame, Simplicity, and Meekness. London, the scales of darkness fallen, gives 
 her blessing to the mayor 
 
 The many ways that to blind Error slide 
 Are in the entrance broad, hell-mouth is wide; 
 But when man enters far, he finds it then 
 Close, dark, and strait, for hell returns no men . . . 
 
 " At which words, the whole Triumph moves, in his richest glory, toward 
 the Cross in Cheap, at which place Error, full of wrath and malice to see his 
 mist chased away, falls into this fury." After his speech, the mist falls again; 
 
 1 These have, doubtless, a trade-signification. 
 
 2 Cf. the 1559 procession, above, vol. i, p. 202. 
 
THE LORD MAYOR S SHOW 35 
 
 Truth again disperses it, and the Mount, glorious once more, passes to the 
 Standard, 1 " about which place, by elaborate action from Error, [the mist] falls 
 again, and goes so darkened till it comes to St. Laurence Lane-end " where 
 Truth chases it away again, and is thanked by London. 2 Perfect Love banishes 
 Excess from the feast of joy, and the Lord Mayor, with the Companies, passes 
 to the Guildhall. On their return, the triumphs escort the mayor to St. Paul s 
 " Error by the way still busy and in action to draw darkness often upon that 
 Mount of Triumph, which by Truth is as often dispersed ..." Then, all return 
 ing home, this mount and the Chariot of Truth both were placed near Leaden- 
 hall, where London addressed the mayor. With Zeal s destruction of Error, 
 the pageant ends a flame shooting from his head consumes the Chariot of 
 Error with its beasts. 3 
 
 The gentle plot running through this show tempts us to call it a peripatetic 
 morality-play ; it would be interesting to know what proportion of the spectators 
 saw the whole thing. Probably few did; hence the repetition of the " mist 
 motif." It was, we may presume, a great temptation to a dramatist like Middle- 
 ton to tell a connected story; but the conditions of presentation obviously made 
 this impossible. 4 
 
 1 A Conduit in Cheap. Cf. Michaelmas Term, ii, 1,109 (Bullen). 
 
 2 This repetition of the action is obviously so that all could get a chance to see the elab 
 orate mechanism of the pageant, as well as to hear the simple lesson. 
 
 3 They were obviously not alive. It may be added that the firework was made by Hum 
 phrey Nichols: the work of the Triumph was done by John Grinkin, " and those furnished 
 with apparel and porters by Anthony Munday, gentleman." As in the case of the masque, 
 the artificers were almost if, indeed, not quite as important as the poets. Their names 
 are almost always to be found at the end of the printed descriptions, with the poet s acknowl 
 edgement of his debt. Sometimes considering the conditions of presentation the artifi 
 cer is even more important than the author of the speeches. 
 
 Fairholt, pt. i, p. 37, remarks that the incident of Truth and Error " is an evident copy 
 from that of Virtue and Envy in Dekker s pageant for the preceding year. The city poets 
 did not scruple to repeat previous portions of pageantry occasionally ..." 
 
 4 Fairholt, pt. i, p. 56, n., quotes from Shirley, who makes fun of the Lord Mayor s Show. 
 It may be remarked that, as far as is known, Shirley never composed one of these triumphs; 
 and I have yet to see a scoffing reference to them in the work of any dramatist who did. We 
 may add that they were taken much less seriously in the second half of the century; a 
 comparison of Evelyn s remarks with those of Pepys shows the different attitude, the former 
 giving the older point of view. 
 
 A satire, perhaps based on the mayoralty shows, may be found in The Seuen deadly Sinnes 
 of London, Drawne in seuen seuerall Coaches, Through the seuen seuerall Gates of the Citie, 
 Bringing the Plague with them . . . (By Thomas Dekker; London, 1606.) " The names of 
 the Actors in this old Enterlude of Iniquitie " are given just before the " induction ": they 
 are " Politike Bankeruptisme, Lying, Candle-light, Sloth, Apishnesse, Shauing, Crueltie 
 seuen may easily play this, but not without a Diuell." This is not a satire of the Lord Mayor s 
 Show and seems to be a combination of morality " spirit " with the " technique " of the 
 pageant. 
 
3 6 ENGLISH PAGEANTRY 
 
 THE OPENING OF THE NEW RIVER 
 
 No pageantry accompanied the ceremonies of the opening of the New River, 
 this same year. 1 I mention this in passing, because the 1913 Show is supposed 
 to have reproduced elements from this, as well as from the Show for 1613. We 
 shall see, later, that very little of the latter was reproduced; 2 and none of 
 Middleton s Entertainment. Echoes of the opening of the New River water 
 works are to be found, however, in the figure of Hugh Middleton, who rode in 
 1913, as well as in the captive giant, who represented the river-god. 
 
 I do not intend to outline every Lord Mayor s Show of the seventeenth cen 
 tury. This labor has been rendered unnecessary by the work of Fairholt, which 
 was well and faithfully done; I shall, therefore, limit myself to treating in detail 
 only those shows which he has not mentioned, together with one or two im 
 portant shows in decades widely separated, that the reader may see the lines 
 along which these triumphs developed. As full a list as I have been able to 
 make will be found in the Bibliography under the heading Lord Mayor s Shows; 
 and bibliographical data have been collected under the name of each author. 
 
 1614 MUNDAY S " HIMATIA-POLEOS " 
 
 The only noteworthy things in Munday s 1614 Show are first, 3 a long apology 
 for having been led astray by Stow to call Fitz-Alwin a Goldsmith when he was 
 a Draper; secondly, the figure of Richard I surrounded by many personified 
 cities, each carrying the arms of the town he represents. The first pageant is a 
 ship; and in the third pageant sits Himatia, or Clothing, surrounded by various 
 trade and allegorical figures. Sir John Norman makes the speech on the water 
 (in prose) ; and Sir Henry Fitz-Alwin also appears in the triumph. The Golden 
 Fleece makes its appearance, and a shepherd addresses the mayor 4 in prose and 
 verse. 
 
 1 One of the copies of the 1613 Show in the B. M. has Middleton s description of these 
 ceremonies bound with it [BM., C. 33. e. 34]. This is entitled: The Manner of his Lordships 
 Entertainment on Michaelmas day last ... a/ that most Famous and Admired Worke of the 
 Running Streame from Amwell Head into the Cestern neere Islington, being the sole Inuention, 
 Cost and Industry of that Worthy Maister Hugh Middleton of London, Goldsmith, for the generall 
 good of the City. London . . . 1613. This is reprinted by Dyce, v, p. 246, and Bullen, vii, 
 p. 263; for mere mention of these festivities, see Clode, i, p. 339, and J. Nichols, in Gent. 
 Mag., for Aug., 1824, p. 115. 
 
 2 See below, p. 138. 
 
 3 On p. 5 of the BM. pamphlet. This has not, as far as I know, been reprinted; it is 
 mentioned by Fairholt, pt. i, p. 37; cf. also Greg, p. 20; J. G. Nichols, p. 102. 
 
 4 Sir Thomas Hayes, Draper. 
 
THE LORD MAYOR S SHOW 37 
 
 1616 MUNDAY S " LEMON TREE " 
 
 A passing reference may be made to Mimday s Show for 1616, which is out 
 lined by Fairholt, 1 because the " lemon tree " which it contained, and which 
 recalls the trade-pageant of the Grocers which we have seen so often, does not 
 appear to have been a trade-pageant in this case. Rather was it planned to 
 honor the Lord Mayor for this year who was Mr. John Leman, Fishmonger. It 
 falls, therefore, in the category of such punningly appropriate structures as the 
 three wells, in the " royal-entry " of 1432, when the Mayor was John Wells, 2 or 
 the " Castle of Denhm " - out of compliment to Mr. Sheriff Denham in the 
 Midsummer Show of I534- 3 
 
 1617 AN ITEM FROM THE CITY RECORDS 
 
 Under date of 2 September, 1617, the Court of Aldermen thought meet " that 
 the company of grocers may make their shewes for the Lord Maiors day in some 
 convenient place one (on) the bankside of Gresham Colledg neere Broadstreete 
 & that the M r And wardens of the grocers shall presently conferr with the Mr 
 & Wardens of the Company of Mercers concerning the same." 4 In this year, 
 Dekker and Munday competed unsuccessfully with Middle ton; the accounts of 
 the Grocers contain these interesting items : 
 
 " Payde and given in benevolence to Anthony Monday, gent n , for his paynes 
 in drawing a project for this busynesse which was offered to the Comytee, 5. 
 
 " Payde and given to Mr Deckar for the like, 4." 5 
 
 1 L. M. Pag., pt. i, p. 40. Cf., for further details, Nicholl, pp. 177 and 180 f. 
 
 2 See above, vol. i, p. 146, and n. 4. 
 
 3 See above, vol. i, p. 41, and n. 2. 
 
 4 Repertory, xxxiii, fol. 160. Copies of the descriptive pamphlet of this year s show 
 written by Middleton for George Bowles, Grocer may be found in Gh., and BM. It was 
 reprinted by Dyce, v, p. 607; Bullen, vii, p. 293 (in their editions of Middleton); Heath, 
 (3 d ed.) appendix, p. 459. Cf. also Fairholt, pt. i, p. 43; Greg, p. 16; J. G. Nichols, p. 103; 
 J. Nichols, in Gent. Mag., Aug., 1824, p. 116. 
 
 5 See Heath, (2 d ed.) p. 413, and my article in Publ. Mod. Lang. Assoc. for March, 1915, 
 p. in f. For further items, see Fairholt, pt. i, p. 161 f. (appendix i) and Heath (3 d ed.) 
 p. 425 f. An interesting item is found in Heath (3 d ed.) p. 428, under the head " The Foiste 
 and other Fire Works : " 
 
 " Payde and given in benevolence to the fierman or greeneman over and about [above] 
 his agreement, the some of n s." 
 
 It will be noted that " greenman " IP here a synonym for " fireman " he who casts 
 squibs and other " fireworks " about. 
 
 Middleton received 282, but had to provide the pageants. 
 
3 8 ENGLISH PAGEANTRY 
 
 1618 MUNDAY S " SIDERO-THRIAMBOS " 
 
 Neither Fairholt nor Nichols know any pageant for idiS, 1 but the title of 
 Munday s pamphlet is recorded by Greg, 2 and the original pamphlet may be 
 found in the British Museum. It was written for Sir Sebastian Harvey, Iron 
 monger; and as it has not been reprinted, I shall outline it. 3 Munday first 
 shows Lemnos, like a " goodly Myne," wherein sits Mulciber, god of mines and 
 metals, with attendant Cyclops at work, " nimble and dexterious youthes " who 
 sing as they labor. 4 At the four corners of the Isle, or Mine, sit four nymphs 
 Chrusos, Argurion, Calcos, and Sideros, figuring the four ages of the world. The 
 two lizards of the Company s crest appear on the pageant, and " above them all 
 is Jupiter, mounted vpon his Royall Eagle." Two estridges supporters of the 
 Company s arms draw this "device." A cannon follows, with the " neces- 
 sarie furnishment for charging and discharging, ..." and " certaine gallant 
 knights in Armour 6 . . . have the charge or guiding of this cannon." Jupiter, it 
 may be remarked, was also in armor. A Leopard follows, and on him rides " an 
 ancient Brittish Barde," guiding the Mount of Fame, wherein are Fame, Ex 
 pectation, Hope, Justice, and Fortitude treading down Ambition, Treason, and 
 Hostility, shackled in Ironmongers manacles. Fear and Modesty, Vigilance 
 and Providence, 6 Courage and Counsel also occupy places on the pageant. It 
 may be noted that the bard s speeches for he gives more than one, and speaks 
 the last, " at night at my Lord s House " - are delicately flavored with lowland 
 Scotch. 
 
 In 1623, Munday and Middleton worked together, the former planning the 
 show upon the water, and the latter the show upon the land; 7 the next year 
 John Webster wrote Monuments of Honor the only Lord Mayor s Show, 
 so far as is known, which he produced. 8 In 1625 comes the first break in the 
 list of shows since 1609. That there was no show this year is made clear by 
 Middleton s reference to Sir Allen Cotton, the outgoing mayor in 1626, whose 
 
 1 See Fairholt, pt. i, p. 45, and J. Nichols, in Gent. Mag., for August, 1824, p. 116. 
 
 2 A List, etc., p. 20. 
 
 3 The disbursements for this show, from the Ironmongers accounts, may be found in 
 Nicholl, p. 182. 
 
 4 Every stanza of their song ends with Acier Dure, the motto of the company. 
 
 5 Perhaps " armed-men " given a trade significance. 
 
 6 Foresight. 
 
 7 See my paper, " The Lord Mayor s Show for 1623," in Publ. Mod. Lang. Assoc. for March, 
 1915, p. no i. 
 
 8 I have not seen a copy of the descriptive pamphlet, which is reprinted in Hazlitt s 
 edition of Webster s Works (4 vols., London, 1857) iii, p. 225. Cf. also Greg, p. 25. (The 
 show was written for John Gore, of the Merchant-Taylors Company.) J. Nichols (Gent. 
 Mag., Aug., 1824, p. 117) had not seen a copy; Fairholt, pt. i, p. 51, notes its rarity. 
 
THE LORD MAYOR S SHOW 39 
 
 arms were carried by one of the lions attached to the Chariot of Honor. 1 " At 
 [his] happy inauguration," says the poet, " though triumph was not then in 
 season Death s pageants being only advanced upon the shoulders of men 
 his noble deservings were not thereby any way eclipsed." 2 
 
 1628 DEKKER S " BRITANNIA S HONOR " 
 
 Breaking a silence that had lasted since 1612, Dekker s voice was again heard 
 in 1628, when he wrote the show for the inauguration of Richard Deane, Skin 
 ner. 3 The first triumph " is called a Sea-Consort "; Amphitrite sits on a rock, 
 built artificially in the water; mermaids attend her, sea-nymphs sit about the 
 rock, " and in places convenient for them are bestowed our three famous Riuers, 
 Humber, Trent, and Seuerne, aptly attired according to the quality of such 
 Marine Persons, who play vpon Cornets." Amphitrite speaks, and there was a 
 French speech planned, in case her Majesty honored the triumphs with her 
 presence. London, a lady, is the speaker on the next pageant; her right hand 
 rests on a tree, 4 twelve-branched, representing the Companies; various " scrip 
 tures " adorn the pageant. With London are Minerva, Bellona, Peace, Re 
 ligion, Civil Government, Justice, Learning, Industry, and Honor. 
 
 The " Glory of Furres " is the third " presentation " - which has an obvious 
 trade-significance. This was a chariot triumphant, drawn by two luzerns, 6 in 
 which chariot were seated a fur-clad Russian prince and princess; an old lord, 
 in furs; a judge, and a University doctor in furred robes, and other people with 
 garments made in whole or in part with furs. Fame, who is also in this 
 chariot, speaks. 
 
 " Brittannia s Watch-Tower" is the name of the fourth "presentation." 
 Britannia is surrounded by Magnanimity, a Shipwright, Victory, Providence; 
 and there are, in other prominent places, seated kings Edward the Confessor, 
 Richard I, John, Henry III who had added to the civic freedom of the city. 6 
 Britannia addresses the mayor from this pageant. 
 
 The last triumph is the " Sun s Bower " - an arbor, where sits Sol, sur 
 rounded by the Seasons. Beneath is a wilderness stocked with fur-bearing 
 
 1 See the preface to his Triumphs of Health and Prosperity (1626); in the Guildhall copy 
 of the pamphlet, p. 7, before the speech of Government; in Bullen s edition of Middleton, 
 vii, p. 408. 
 
 2 The reference is to the plague and the death of James I. 
 
 3 The descriptive pamphlet for this year, entitled Brittannia s Honor, may be found in 
 the British Museum. It has not been reprinted, as far as I know; neither Fairholt nor Nichols 
 knew of its existence. 
 
 4 Called " New Troyes Tree of Honor." 
 
 5 Supporters of the Company s arms. Cf. the " luzern " of the 1585 Show, (above, 
 P- 23). 
 
 6 Dekker notes that many kings have been free of the Skinner s Company, " whose names 
 I forbeare to set downe, because they haue in former yeeres beene fully exprest." 
 
40 ENGLISH PAGEANTRY 
 
 beasts. A " scripture " in Latin 1 and English hangs from a bough of one of the 
 trees. Sol addresses the mayor. 
 
 At night, Sol being veiled, London speaks the city s farewell to the new mayor. 
 Dekker, at the end of his pamphlet, commends Mr. Gerard Christmas, and his 
 son, Mr. John Christmas, for their " workes, that for many years, none haue 
 beene able to Match them for curiosity." 
 
 1629 DEKKER S "LONDON S TEMPE " 
 
 From the minutes of the Ironmongers Company 3 we get the following infor 
 mation on Dekker s Show for 1629: 
 
 According to an order of Court, made the xj th of August last, theis present treated and 
 agreed with Mr Crismas and Mr Decker and concerning the making of the pageants for the 
 shew on the next Lord Maior s day; after, the said Xpmas and Decker presented them with 
 a plott wherein was contayned six several! pageants, namely: 
 
 A Sea Lyon \ , x , 
 
 TT > for the water 
 2 Sea Horses J 
 
 An Estridge 
 
 Lemnions Forge 
 
 Tempe, or the Field of Hapines 
 
 7 Liberall Sciences 
 
 For the accomplishing whereof they demanded 200 li, which theis present conceaved to 
 be an over value, and theruppon offered them 180 li, which they accepted for the making and 
 finishing of the said pageants, to be furnished with children and speakers, and their apparell 
 and necessaries thereunto belonging; land carriage by porters, water carriage by boats and 
 watermen as is accustomed; the green-men with their fireworks; the musick for the pag 
 eant; and to give the company 500 bookes of the declaracion for the said shew: and the 
 committee demanded that 
 
 Sea Lyon 
 
 The 2 Sea Horses, and 
 
 The Estridge 
 
 be brought into the Hall after the solemnity, there to be sett upp for the Company s use, 
 whereunto Mr Crismas excepted, but was contented to deliver back the sea lyon and the es- 
 tridge and desired to retain the sea horses to himself; all the rest he undertook to performe 
 for the said some of iSoli effectually and sufficiently to the Company s liking: In witness 
 whereof they have hereunto subscribed. 
 
 Tho Dekker 
 Garrett Chrismas. 4 
 
 1 Deus ecce Furentibus obstat. 
 
 2 Gerard Christmas, or Chrismas, was the engineer of many a Lord Mayor s Show. See 
 his life in the D. N. B. 
 
 3 Printed in Nicholl, p. 203 f. 
 
 4 The signatures are reproduced in facsimile, in Nicholl, p. 204. 
 
THE LORD MAYOR S SHOW 41 
 
 The Company s records further state that: 
 
 Mr Garratt Crismas desired to have theis things following, as is usually allowed by other 
 Companies: 
 
 8 guides for the pageant; 8 blew coats and redd caps, with ribbin and staves. 
 
 For the lighting of the shew from Paules, 4 Ibs of torches. 
 
 For the lighting of the shew to the water side 2 Ibs of linkes. 
 
 For 24 staves and ribbins for 24 men that give their attendance that day. 
 
 For 2 scarfs for himself and his sonne, and the watermen are to have ribbings. 
 
 To which the Court assented, and Mr Garratt Xmas is appointed to take care for the 
 provision of the children of the pageants, their breakefaste and dinner, as he in his discrecion 
 shall think meete. 1 
 
 The pamphlet, entitled Londons Tempe, or the Feild (sic) of Happines, which 
 describes the show prepared for James Campbell, Ironmonger, may be found in 
 the British Museum and the Bodleian. It has been reprinted by Fairholt 2 and 
 from him by Nicholl ; 3 there is no need of outlining it here. 
 
 On 18 January, 1629 (1630), the Court of Aldermen agreed that " whereas by 
 order of this court made the xxii day of December last 4 Mr. Chamberlen was 
 to satisfie vnto the severall companyes of this city especially vnto the inferior 
 companyes their severall proporcions of mony with interest towards payment 
 of the first 6ooooli in that order mentioned it is now thought fitt and soe 
 ordered by this court that such of the company as will make an abatement and 
 defalcacion of the moneys they owe vnto the City toward the charge of Pagents 
 &c. by vertue of a late Act of Common Councell shalbee satisfied and paid out 
 of the Chamber of moneys their proporcions of money aforesaid." 5 
 
 Additional items of information concerning the civic shows of the third decade 
 of this century may be found in the Repertories. On 24 September, 1633, " it is 
 ordered by this Court [of Aldermen] that Mr. Christmas and such others as are 
 imployed for the making of the pageants and shewes against the Lord Maiors 
 day shall have the present use of the rooms in the Greeneyard for the fynishing 
 of the said workes." 6 
 
 On 4 September, 1634, "it is thought fitt and soe ordered that the Greene- 
 yard and roomes therein shalbe ymployed as formerly without hurt or preiudise 
 to the same for the preparing and finishing of the Pagents and other devises 
 
 1 See Nicholl, p. 206. 2 L. M. Pag., pt. ii, p. 37 f. 
 
 3 Some Acct. of the Ironmongers, p. 206 f. Cf. on this show Malcolm, ii, p. 43; Greg, p. 8; 
 J. G. Nichols, p. 104; Fairholt, pt. i, p. 54; J. Nichols, writing in Gent. Mag. for November, 
 1824, p. 412, had not seen the pamphlet. 
 
 4 Cf. Repertory xliv, fol. 81. 
 6 Repertory xliv, fol. 90. 
 
 6 Repertory xlvii, fol. 376 b. The show for this year, Londini Emporia, was written by 
 Heywood: I have not seen either copy or reprint of the pamphlet, which is mentioned by 
 Fairholt, pt. i, p. 57, and recorded by Greg, p. 10; J. G. Nichols, p. 105; and Herbert, ii, 
 p. 659. The triumph was planned for Ralph Freeman, Clothworker. 
 
42 ENGLISH PAGEANTRY 
 
 against the next Lord Maior day " 1 John Taylor wrote the show this year for 
 Robert Parkhurst of the Clothworkers Company. 2 
 
 On 8 October, 1635, "it is thought fitt and soe ordered by this Court for 
 some reasons them moveing that from thenseforth noo pagents or other shewes 
 for the Lord Maior day shall be made in the Greeneyard in Leadenhall, but that 
 the Undertakers thereof shall provide some other place for the makeing thereof." 3 
 
 1635 HEYWOOD vs. TAYLOR: A MATTER OF MONEY 
 
 Taylor, having done the 1634 Show, was underbid in 1635; we find in the 
 Ironmongers records for 2 October, i635, 4 that " Robert Norman and John 
 Taylor presented to the Court their project of five pageants for the Lord Maior s 
 shew, for which they demanded igoli, and under that price they would not 
 undertake it." 
 
 John Christmas and Thomas Heywood also presented their invention of five 
 pageants for the said show, viz: 
 
 " One of the three celestiall goddesses, Juno, Pallas, and Venus. 
 
 " One of a Sagettary, because ye Sun entreth y* day into the signe of Sa- 
 gettary: both theise for the water and land. 
 
 " One antique pageant for pleasure. 
 
 " One of the castle of the god Mars. 
 
 " One of the harbour of happines. 
 
 " Which pageants they offered to make, furnish well and sufficiently to the 
 Company s liking for iSoli., with children and speakers, and their apparell and 
 necessaryes thereunto belonging, land carriage by porters, water carriage by 
 boats and watermen as is accustomed, the green men with their fire-works, the 
 musick for the pageants, with linkes and torches for the same, and to give the 
 Company five hundred bookes of the declaracion of the said shew, which offer 
 the courte accepted and agreed thereunto; and for performance thereof as above- 
 said, the said Xpmas and Haywood have hereunto subscribed their names." 5 
 
 1 Repertory xlviii, fol. 419. In the margin stands " Greeneyard at Leadenhall to bee 
 ymployed for makeing of Pagants." 
 
 2 I have not seen nor had Fairholt a copy of the descriptive pamphlet for 1634; 
 its title is recorded by Greg, p. 25; cf. also J. G. Nichols, p. 105; Fairholt, pt. i, p. 57; and 
 J. Nichols, in Gent. Mag. for Nov., 1824, p. 413. 
 
 3 Repertory xlix, fol. 321. 
 
 4 Cited from Nicholl, p. 222 f. 
 
 5 The agreement seems to have been signed by John and Mathias Christmas. In a note 
 Nicholl records " for the project and invencion of Norman and Taylor, the Court appointed 
 xx 8 to be paid unto them." Various expenses connected with this triumph are printed by 
 Nicholl, pp. 224-225. 
 
 The title of the show for this year was Londini Sinus Salutis. It is reprinted in Heywood s 
 Works (1874) iv, p. 283 f.; cf. also Greg, p. 10; J. G. Nichols, p. 105 (referring to Malcolm, 
 ii> P- 45); Fairholt, pt. i, p. 58; J. Nichols, in Gent. Mag. for Nov., 1824, p. 413. 
 
THE LORD MAYOR S SHOW 43 
 
 THE CIVIL WAR 
 
 I have been unable to find any mention of the shows for 1630 and 1636; but 
 the longest break in the chain of seventeenth-century triumphs is that between 
 1640 and 1655. With Heywood s Londini Status Pacatus 1 the formal descriptions 
 came, for a time, to an end; but there were flashes of brilliant ceremony, even 
 during the period of the Civil War, on these civic holidays. For instance, in 
 1643, there seems to have been a certain amount of splendor when the mayor 
 took his oath, even if there were no pageants. " Munday, the xxxth of October 
 1643 beeinge the Lord Maiour s daye, because the 2Qth was Sundaye . . . This 
 daye the Wardens, Assistantes and Liverye of this Companye [the Goldsmiths] 
 mett heere aboute 8 of the clock in the morneinge, and haveinge had some bread 
 and drinck, they went to the Lord Maior s house to accompanye him to West 
 minster (but they should have mett him att Guildhall.) The Companye went 
 from hence to his Lordship s house in such manner as the Wardens and Assis 
 tantes went on Simon and Jude s day 2 and from the Lord Maior s house the 4 
 almesmen (as on the other daye) leadeinge the waye, and the Clerke, and the 
 Beadle and the youngest of the Companye formost, untill they came to the 
 Guildhall gate, in Cateaton Street, where the Company of the Fishmongers, 
 attendinge upon the old Lord Maior .... mett this Companye; and then the 
 Fishmongers, the youngest of them goeinge formost, led the waye up St. Lau 
 rence Lane, and this Company followed them in the like manner unto the 3 
 Craynes wharfe, where this Companye s barge (which was borrowed of the 
 Grocers ) laye ready for them, in which they went to Westminster." 3 An ac 
 count of the ceremonies of 1653 also without pageants, but not wholly with 
 out splendor may be found in the records of the same company. 4 At the 
 Three Cranes Wharf were three barges ready, " but could not get to land by 
 reason of the lowe tide and the winde against them." 5 
 
 1 Copies of which are in BM., B., and Gh. The pamphlet is reprinted in his Works (1874) 
 v > P- 3555 c f- a l so Greg, p. n; J. G. Nichols, p. 106; Fairholt, pt. i, p. 60. Fairholt, p. 62, 
 points out the aptness of the following passage in " the last city pageant known to exist before 
 the unhappy civil wars had commenced ": 
 
 " Let then our gratitude and pious cares, 
 
 Strive to entaile them [i.e., Peace, Prosperity, and Plenty] to us and our heires: 
 
 Lest that too late (having stern War accited) 
 
 We wish that Peace which (whilst we had) we slighted." 
 
 2 The Saturday before, when the mayor took his oath before the companies at the Guild 
 hall. See Prideaux, i, p. 216. 
 
 3 The Goldsmiths records, printed by Prideaux, i, p. 217. 
 
 4 See Prideaux, ii, p. 48 f . 
 
 5 Ibid., p. 50. 
 
44 ENGLISH PAGEANTRY 
 
 1655 GAYTON S "CHARITY TRIUMPHANT" 
 
 Before the Cromwellian rule had passed, descriptive pamphlets of the Lord 
 Mayor s Show reappear. That for 1655, by Edmund Gayton, begins the new 
 series. It is a six-page pamphlet, with a three-page dedication, signed by the 
 author; the other three pages contain a description of the show in narrative 
 verse. 1 The preface is important : 
 
 " I cannot," says Gayton, " here set forth the reason of the late extinguishing these Civick 
 Lights, and suppressing the Genius of our Metropolis, which for these Planetary Pageants 
 and Pretorian Pomps was as famous and renouned in forraign Nations, as for their faith, 
 wealth and valour. The Ingenie, Artifices, Mysteries, Shewes, Festivals, Ceremonies and 
 Habits of a State being amongst the Decora, and unseparable Ornaments of it. Take away 
 the Fasces, and the Consuls are no more feared, but scorn d; Let fall the noble Sword of the 
 City in any place, and you are sure the Mayor has there no Priviledge, no Livery, no dis 
 tinguishing of Societies, and Fraternities, no Caps (in daies of old) no Prentices, no Truncks, 
 no Citizens, no Robes, no Judges, no Maces, no Magestrate: And so for Anniversary Shews, 
 and harmlesse and merry Recreations, without a moderate permission of them, [there is] very 
 little content to the multitude. Right Honourable, I therefore, being the Son of a Citizen, 
 Congratulate this Return of the City-Gallantry and manifestation of her severall Splendors 
 in your Majority to your honoured self, it being most proper that the lost Beauty and Mag 
 nificence of the place, should be restored by One (if I mistake it not) a brother of the prime 
 Company, and therefore most fit to lead, that so it being begun in the Virgin society, it may 
 like Vestall fire never go out: And because the Scenicall Contrivement & Pageant Bravery 
 is but an Ephemeron, or Diurnall birth and issue of one day, and so Exit till the next yeere. 2 
 Poetical fancy do s beg leave to supply that defect, and to inlarge the glory of your day (my 
 Lord) to the period of your year; And because many a far off 3 will be glad to heare what 
 they could not see, as some would willingly retaine and keep, what this day was seen by 
 them. 4 This short Poem shall be to those that saw it, a Remembrancer, or representation, 
 and to the remote Welwishers of the Cities honour, a written Pageant or Pegma Metricum, 
 and so I address myself (my Lord) to your Virgin, whom I shal labour to make as famous, 
 as your Honour has made her Dowagable . . ." 
 
 The Mercers Virgin seems to have been the only pageant exhibited this year 
 - what Fairholt calls " the old realization of the Company s arms the crowned 
 Virgin on horseback." 5 The mayor made the voyage to Westminster by water, 
 and " thirty canons went off." Unfortunately the weather was bad: 
 
 1 Copies may be found in BM. and Gh., and it is reprinted in Fairholt, pt. i, p. 170; cf. 
 also Hone, p. 249; Fairholt, pt. i, p. 64; J. Nichols, in Gent. Mag. for Dec., 1824, p. 514; 
 J. G. Nichols, p. 106. The latter notes that " this is not a description of the show " mean 
 ing that it is not one of the regular descriptive pamphlets. 
 
 2 Here is either an error in punctuation, or a verb omitted. 
 
 3 Alluding, perhaps, to the Royal Family and nobles, then in exile. 
 
 4 This period should be a comma; or a else a verb is again omitted. 
 
 5 Fairholt, pt. i, p. 64. The verse in Gayton s description, " She how she rides! See how 
 she comes! " would apply equally well to her if she rode in a car. There seem to have been 
 no speeches. 
 
THE LORD MAYOR S SHOW 45 
 
 The sight was rare, but envious clouds, 
 The glorious day in showrs beshrowds; 
 And Winds in Malice or in Love 
 To sport or court her * highly strove. 
 
 1656 JOHN BULTEEL S "LONDON S TRIUMPH" 
 
 On 14 October, 1656, the Court of Aldermen ordered " that Mr Jarman [may] 
 vse the place or Passage newly made out of Leadenhall into Limestreete for 
 preparing the Pageant intended by the Company of Skinners against the Lord 
 Maiors day. 
 
 "It is thought fit and ordered by this Court that Mr Jarman doe with all 
 Convenient Speed proceed to make or fit a place or howse at thre Cranes for 
 the Citie Barge there being not place to lay or preserve the same from Spoyle." 2 
 
 Mr. Jarman, or German, was the artificer for several years; but the author 
 of the 1656 Show is not so easily determined. Fairholt 3 records his initials, 
 J. B., but did not see a copy of his pamphlet. There is one, now, in the 
 British Museum, 4 and the catalogue of this library attributes it to John Bulteel. 5 
 The epistle dedicatory signed I. B. is addressed to the Lord Mayor, Sir 
 Robert 6 Tichburn, and his Company, the Skinners. After a eulogy of the city, 
 its government and antiquity, and an historical sketch of the office of mayor, the 
 show is described. 7 " The loving members of the honourable Societie exercising 
 Arms in Cripplegate Ground . . . march d before him [the Mayor] to the three 
 Crane Wharf e, where part of them under the Red Colours embarqued themselves 
 in three severall Barges; and another part took water at Stone Staires being 
 under green colours as enemies to the other: and . . . there began an encounter 
 between each party, which continued all the way to Westminster." The Com 
 panies attended the mayor in their barges; "when the Barges wherein the 
 
 1 The Virgin. 2 Repertory Ixiv, fol. 238. 
 
 3 L. M. Pag., pt. i, p. 64; cf. J. Nichols, mGent. Mag. for Dec., 1824, p. 514. 
 
 4 BM., C. jj. e. 10 in which Sig. B. 3 verso is slightly mutilated. 
 
 5 There is nothing in the pamphlet itself to suggest that I. B. means John Bulteel, but 
 inquiry revealed the fact that the BM. cataloguers made their assignment on the authority 
 of The Bibliographer s Manual of English Literature, by Walter Thomas Lowndes. See the 
 new ed., revised and enlarged by Henry G. Bohn, (London, 1864) i, p. 91, col. 2, where this 
 " very rare " pamphlet is ascribed to Bulteel, though no authority is given. The pamphlet 
 is also assigned to Bulteel in the Handbook to the Popular, Poetical and Dramatic Literature of 
 Great Britain ... by W. Carew Hazlitt (London, 1867) s. v. BULTEEL (p. 66); cf. also the 
 General Index to Hazlitfs Handbook and his Bibliographical Collections (1867-1889) by G. J. 
 Gray, (ed. W. C. Hazlitt [London, 1893], pp. 105 and 464); and the D. N. B., s. v. BULTEEL. 
 
 6 Fairholt misprints Roger, but in the first volume of his Scrapbook (in the SA. library) 
 he corrects himself in a pencilled note. This mayor died a prisoner in the Tower; there are 
 two portraits of him in Fairholt s Scrapbook. 
 
 7 The pamphlet cited, p. 10 f . 
 
46 ENGLISH PAGEANTRY 
 
 Souldiers were, came right against White-Hall, they saluted the Lord Protector 
 and his Councell, with severall peales of shott, which the Lord Protector an 
 swered with signal testimonies of grace and courtesie: and thence proceeding 
 forward to Westminster-Staires, they gave another volley at the landing of the 
 Lord Maior." While that official was taking his oath, the two parties of soldiers, 
 after a short, sharp, encounter, arranged a truce; saluting the mayor and Crom 
 well, the barges returned; and the mayor, landing, " put an end to the Water 
 solemnite; than which there hath not been a more gracefull fight upon the 
 Thames ever since the city stood." * 
 
 Against the Old Change the first land pageant greeted mayor and Companies; 
 " two leopards bestrid by two Moors, attird in the habit of their Country " 
 stood on the pageant; and at the four corners sat four virgins with their hair 
 dishevelled. " This seem d to be the embleme of a city pensive and forlorn "; 
 an old man, in black, threw off his mourning robes at the Mayor s approach, and 
 bewailed the condition of his native place no longer, but burst into a speech of 
 extravagant joy. After he had spoken, the pageant moved on before the mayor 
 as far as the Mercers chapel, " a Gyant being twelve foot in height going before 
 the Pageant for the delight of the people. Over against Soper-Lane End, stood 
 another Pageant also; upon this were placed several sorts of Beasts, as Lyons, 
 Tygers, Bears ... in a great Wildernesse; at the forepart whereof sate Pan with 
 a Pipe in his hand . . ." 2 Here Orpheus played, and the wild beasts danced; " the 
 Embleme of this Pageant seem d proper to the Company out of which the Lord 
 Maior was elected ... A second signification of this Emblem may be this; that 
 as Orpheus tam d the wild Beasts by the alluring sound of his melody; so doth 
 a just and upright Governour tame and govern the wild affections of men, by 
 good and wholesome Lawes." 3 Orpheus addressed the mayor, after which 
 the chief magistrate preceded by the military rode to his house in Silver 
 Street. 
 
 " Now for a conclusion to the Triumphs of this Day, let me not deprive that 
 worthy Architect Mr. Jerman, of a debt so justly due to his ingenuitie, as is the 
 praise which he hath merited by the . . . rare inventions wherewith he did adorn 
 this Day s Triumph." 4 The pamphlet ends with a congratulation to the mayor 
 who " must needs be the most welcome Governour that hath for many years 
 rul d this city: who comes bringing in his hand the Olive Branch of Peace, re 
 storing to the city those Ancient Customs of Joy and Triumph, which formerly 
 gave it the Title of the most Fortunate, Plentiful and Flourishing Citie in the 
 World." 
 
 1 Ibid., p. ii. 
 
 2 Ibid., p. 13. 
 
 3 Ibid., p. 14. (Does the expression may be mean that Bulteel had nothing to do with 
 planning the show ?) 
 
 4 Ibid., p. 16. 
 
THE LORD MAYOR S SHOW 47 
 
 1657 TATHAM S FIRST SHOW; JARMAN, ARTIFICER 
 
 In 1657, John Tatham wrote his first show, entitled London s Triumphs, for 
 Richard Chiverton, Skinner. 1 The records of the Court of Aldermen, under 
 date of 13 October, 1657, read: " It is Ordered that Mr Jarman have Liberty 
 to vse the roome in Leadenhall called the Pageant howse for preparing of some 
 pageants intended for ye Lord Maiors day." 2 And under 28 October, " It is 
 ordered by this Court that Mr Jarman and such as are Imployed by him shall 
 and are hereby authorized to tye vp such signes in any of the streetes of this 
 city as they shall see fitt for the cleerer passage of the pageants on the Lord 
 Maiors day." 3 
 
 There was, this year, " no Shew upon the Water, more then (sic) was the last 
 year " - so that we may suppose the militia accompanied the mayor, and per 
 haps had a mock fight. At Cheapside Cross were the first land pageants a 
 rock and a wilderness. On the latter were beasts, 4 with a " Satyre " and a Pil 
 grim, or Traveller. On the other pageant was Fame, and " in the Chariot," 5 
 the four Continents Europe, Asia, Africa, and America. The Pilgrim ad 
 dressed the chief magistrate. 
 
 Near the mayor s house, in Dowgate, the second triumph awaited him a 
 sea-chariot, wherein sat Neptune with Luna at his feet, and two nymphs in 
 attendance. Tritons surrounded his chariot. With a farewell speech by Nep 
 tune, the show was over. 
 
 Tatham wrote all the Lord Mayor s triumphs from 1657 to 1664 inclusive. 
 As Fairholt outlines them all, we need not consider them here in detail. On 
 ii October, 1659, the Court of Aldermen " thought fitt and ordered . . . y t such 
 convenient place of Gresham Colledge as Mr Jarman shall appoint, may be used 
 for preparing the pageants, intended by the Company of Groc: against the 
 Lord Maiors day." 6 
 
 EVELYN AND PEPYS ON THE SHOWS 
 
 Both Evelyn and Pepys saw the 1660 Show; the former records: " Going 
 to London, my Lord Maior s shew stopped me in Cheapside; one of ye pageants 
 represented a greate wood, with ye royal oake and historic of his Majesty s 
 
 1 A copy of this is in BM. Cf. Fairholt, pt. i, p. 65; J. G. Nichols, p. 107; J. Nichols, in 
 Gent. Mag., Dec., 1824, p. 514. 
 
 2 Repertory Ixv, fol. 199. 
 
 3 Ibid., fol. 211. The 1657 pamphlet ends: " The several Fabricks and Structures of the 
 whole daies Tryumph, were performed by the Industry of Mr German, a man not onely 
 excellent in his Art, but faithful in his undertakings." 
 
 4 Alluding to the trade of the mayor, who was a Skinner. 
 
 5 Apparently behind the rock, in the back part of the pageant. 
 
 6 Repertory xlvi, fol. 320 b. A full list of Tatham s shows may be found in the Bibliography 
 under his name. 
 
48 ENGLISH PAGEANTRY 
 
 miraculous escape at Boscobel." 1 Pepys writes: "... had a very good place 
 to see the pageants which were many, and I believe good, for such kind of things, 
 but in themselves but poor and absurd." 
 
 Under date of 29 October, 1661, Evelyn wrote: " I saw the Lord Maior passe 
 in his water triumph to Westminster, being the first solemnity of the nature after 
 20 years." 3 The water show this year was more elaborate than any since the 
 days of Heywood. On his way to Westminster, the Mayor Sir John Fred 
 erick was accosted by a vessel, rigged and manned, near which was Galatea, 
 a sea-nymph, drawn in a Sea Chariot by two Dolphins, which were ridden by 
 Sirens who played on harps. Behind them were two Sea-Lions, ridden by Tritons, 
 who played upon " retorted Pipes or Homes antique." Other Tritons were 
 around the Ship " wantoning in the water." On the mayor s approach, the 
 Boatswain of the ship addressed him, and bade him hearken to the Captain s 
 speech; then the mayor, with his attendant barges, continued to Westminster, 
 while the " Ship, Furniture and annexed Sceans return, and are received at the 
 place where the Ship first lanched, and from thence are conveyed through Pauls 
 Church-yard into Cheapside where they make a stand near St. Lawrence Lane." 
 
 Evelyn mentions the show for 1662 under 29 October of that year, 4 when "was 
 my Lo. Maior s show, with a number of sumptuous pageants, speeches and verses. 
 I was standing in an house in Cheapside against the place prepar d for their 
 Ma tles . The Prince and heire of Denmark was there, but not our King." 5 
 
 1 Diary, ii, p. 118 (under 29 October, 1660). The pamphlet describing this show en 
 titled The Royal Oake may be found in the BM. and Bodl; it is reprinted by Fairholt, 
 pt. ii, p. 87. Cf. also ibid., pt. i, p. 68, and J. G. Nichols, p. 108. What is apparently another 
 version of this pamphlet (The Several Speeches made to the Honorable Sir Richard Brown, 
 Lord Mayor, etc.) may be found in the Gh. and Camb. Univ. libraries. 
 
 [Cf . Withington, "A Civic Triumph circa 1 700," in Journ. Eng. Germ. Philol. for January, 
 1918, p. 125, n. i, (where Fairhold should, of course, read Fairholt}]. 
 
 2 Diary, i, p. 270 (under 29 October, 1660). 
 
 3 Diary, ii, p. 137. (Bray, the editor, refers to Nichols in Gent. Mag., Dec., 1824, p. 516.) 
 The original pamphlet for this show is in BM. and Gh.; it is reprinted in Heath (3 d ed.) 
 p. 475; cf. also Fairholt, pt. i, p. 68; J. G. Nichols, p. 108. 
 
 4 Ibid., ii, p. 153. Bray refers to Nichols in Gent. Mag., Dec., 1824, p. 517. Copies of 
 this pamphlet are in BM. and Bodl.; cf. also Fairholt, pt. i, p. 71; J. G. Nichols, p. 109. 
 
 5 Cf. Repertory Ixviii, fol. 205, under date of 7 October, 1662: " It is thought fitt and 
 ordered by this Court [of Aldermen] that the Company of Clothworkers may make vse of 
 such part of the Vnder Gallery of Gresham Colledge for preparing and fitting their Pageants 
 against the Lord Maiors day, as shall bee most convenient for y* purpose." The 1662 Show 
 written for Sir John Robinson, Clothworker, is printed without its author s name. The 
 unusually apologetic preface ends: " My Lord, I have no better way of excusing my own 
 Insufficiency then (sic) by attempting little, and making the Brevity of my discourse expiate 
 the Insipidnesse; which I cannot perform more Gratefully to your or my self, then (sic) by 
 telling you briefly, that I am your Lordships very much obliged Servant; But what my 
 Name is, none shall know, but by your Lordships Revelation." 
 
THE LORD MAYOR S SHOW 49 
 
 THE SHOW FOR 1663 
 
 Pepys writes under date of 29 October, 1663: " The dinner, it seems, is made 
 by the Mayor and two Sheriffs for the time being, the Lord Mayor paying one 
 half and they the other. And the whole, Proby says, is reckoned to come to 
 about 7 or 800 at most ... 1 ... took coach and through Cheapside, and there 
 saw the pageants, which were very silly ..." 
 
 This show included an arbor, where Faunus strange mixture of forester and 
 woodman, in green and brown sat surrounded by satyrs, who played on rude 
 instruments, as they sang and danced for the people. These figures suggest, as 
 I have noted, 2 the " drolls," and acrobats, which were common enough in the 
 shows of this time, and which we found as early as the " royal-entries " of i547 3 
 and 1554.* They may be a descendant of the "wild-man" tinged with mythology. 
 
 Pepys did not see the show in 1664, but his " boy and three mayds went out." 
 Evelyn rather enjoyed himself this year: 5 " Oct. 29, 1664. Was ye most mag 
 nificent triumph by water and land of ye Lord Mayor. I din d at Guildhall at 
 ye upper table . . . The feast was said to cost 1000. I slipt away in ye crowd, 
 and came home late." A notice of the civic show for this year may be found in 
 the London Intelligencer for Monday, 31 October, i664. 6 As it is rare, I quote it: 
 
 London, Octob. 29. This day the Right Honourable the Lord Mayor of the City of 
 London (Sir John Lawrence) was sworn into the said Office, according to Custome, at the 
 Exchequer-Barre: After which, having done the usuall duty of the Courts of Common-Pleas 
 and Chancery, he return d into the City, where the Solemnity of the day was perform d with 
 great Magnificence and in excellent Order. And for the greater Honour of the Spectacle, 
 Their Majesties Themselves were pleased to vouchsafe it their presence, and were presented 
 with a choice and sumptuous Banquet: but the glory of the Ceremony was much abated by 
 the foulness of the weather. 
 
 On account of the plague there were no pageants in 1665. The mayor took 
 his oath before the Lieutenant of the Tower, at the " further Gate of the Bul 
 wark," and after the ceremony gave a dinner at his house. 7 There was a plague 
 at Norwich this same year; for under date of 27 May, 1665, " it is ordered (in 
 consequence of the Plague) that the Bellman doe make Proclamation every 
 
 1 Diary, iii, p. 322. Tatham s show for this year, entitled Londinum Triumphans, was 
 written for Sir Anthony Bateman, Skinner. A copy of the descriptive pamphlet is in Gh.; 
 cf. also Fairholt, pt. i, p. 71; J. G. Nichols, p. 109; Wadmore, p. 145; J. Nichols, in Gent. 
 Mag., for Dec., 1824, p. 517. 
 
 2 See above, vol. i, p. 77. 3 See above, vol. i, p. 187. 
 
 4 See above, vol. i, p. 194, and n. i. 
 
 5 Diary, ii, p. 172. This the last of Tatham s shows was written for Sir John Law 
 rence, Haberdasher. Copies of the pamphlet are in BM., Bodl., and Gh.; cf. also J. Nichols 
 in Gent. Mag., Dec., 1824, p. 517; Fairholt, pt. i, p. 71; J. G. Nichols, p. 109. 
 
 6 No. 85, p. 704. 
 
 7 See the London Newes for 2 November, 1665 (no. 89, p. 1082). 
 
50 ENGLISH PAGEANTRY 
 
 mercate day, betweene this and the Guilde, that ther shall be noe extraordinary 
 solempnities, by hanginge out cloaths, Pictures, Garlands or Streamers, this 
 nexte Guilde, upon Tuesday three weekes. And this Order is made by the ad 
 vice of ye Right Hon ble the Ld Lieu 1 of ye City." l 
 
 1664-69 NEWSPAPER ACCOUNTS OF THE SOLEMNITIES 
 
 I have been able to find no descriptive pamphlets for the years which lie be 
 tween 1664 and 1671 ; but on some of these years there were shows. The London 
 Gazette for 28-31 October, i66y, 2 notes under date of 29 October: " This day 
 Sir William Peck, Lord Mayor of the City for the ensuing year, attended by the 
 Aldermen his Brethren, and the two Sheriffs, with several Companies of the 
 Livery-men, came in their Barges to Westminster where, in the Court of the 
 Exchequer, his Lordship took his Oath with the usual Solemnities." Had there 
 been pageants on this occasion, it is probable that the newspaper would have 
 mentioned them. 
 
 The same journal for 28-31 October, i668, 3 notes that on i November, " Sir 
 William Turner, Lord Mayor of the City of London for the year ensuing, went 
 in his Barge to Westminster, attended by the Aldermen his Brethren, the Sher 
 iffs, and the several Companies of the City in their Barges, and took the usual 
 Oath administered on the like occasions." Again there is no mention of pag 
 eantry. 4 
 
 1671 THOMAS JORDAN S " LONDON S RESURRECTION " 
 
 With 1671, a new writer of shows appears Thomas Jordan, who wrote the 
 civic triumphs from this year until 1685, when he was succeeded by Matthew 
 Taubman. A full list of his pamphlets may be found in the Bibliography, under 
 his name. He had been a writer of plays and masques from 1640 on; and Fair- 
 holt 5 notes that his poetry is chiefly remarkable for its allusion to contemporary 
 events. An interesting thing about his productions is the " interludes," which 
 were presented during the banquets in Guildhall. 6 
 
 The title London s Resurrection suggests that no descriptive pamphlets 
 had appeared for a few years. 7 The first pageant was " a Forests (sic) properly 
 
 1 Court Book no. 23, fol. 247, cited by Ewing, p. 18. 
 
 2 No. 204, p. 2, col. 2. 3 The London Gazette, no. 309, p. 2, col. 2. 
 
 4 I can find no mention of a Lord Mayor s Show nor any reason why one should not 
 be held in the London Gazettes of October to November, 1670. There are, in the British 
 Museum, no periodicals for 1666 and 1669. 
 
 5 L. M. Pag., pt. ii, p. no. 
 
 6 Strictly speaking, these are not parts of the shows themselves; but they are included 
 in the descriptive pamphlets, and may be considered Jordan s answer to the demand for 
 novelty or for further entertainment. 
 
 7 This show of Jordan s descriptive pamphlets of which are in HL., Gh., BM., and 
 Bodl. is reprinted by Fairholt, pt. ii, p. 113 f. For mention of it see also Fairholt, pt. i, 
 P- 755 J- G. Nichols, p. no, and Wadmore, p. 148. 
 
J AC OB HAL L 
 
 JACOB HALL 
 
THE LORD MAYOR S SHOW 51 
 
 accomodated with several Animals, Sylvans, Satyrs, and Wood-Nymphes, sitting 
 and stirring in very good Order . . . And in the Front are two Negroes, richly 
 adorned with Oriental Pearls and Jewels mounted upon two Panthers." 1 A 
 wilderness, inhabited by birds and wild beasts, was to have been the first pag 
 eant, 2 but was it seems the second. On this was erected a " stately struc 
 ture, formed in the figure of a pyramid, with four triumphal arches; " on the 
 first of which sat Orpheus, in back of whom was a beautiful woman representing 
 Amity; and on the highest part of the pyramid sat a " female negra " repre 
 senting Africa. 
 
 Orpheus addressed the mayor, resigning to him his power of bringing concord 
 to animals by harmony. 
 
 . . . This City (which my Pageant doth express) 
 May very well be call d a Wilderness. 
 A Wood where all the Wild and Brutish Creatures 
 Lie lurking in the Dens of mens bad Natures; 
 Which, if you can reduce, you will be fam d 
 For quelling more than ever Orpheus tam d: 
 No doubt but your endeavors will be shown 
 And you ll perform it (if it can be done.) 
 * * * * 
 
 Union breeds Peace and Plenty in a Land 
 But Cities self-divided, Cannot stand. 
 
 Then the mayor and his retinue went through Cheapside, and by the way the 
 third 3 scene or pageant was presented. This was an imperial palace of Pleasure, 
 in front of which sat four female figures, representing Justice, Temperance, Peace, 
 and Plenty, with attendant nymphs. On the highest part was Fame, crowned 
 and winged ; 4 in her hand she carried a trumpet on which was hung the royal 
 banner. 
 
 The mayor, having sufficiently viewed " this beautiful building " and the 
 figures, continued his journey to the Guildhall; during the banquet, the waits 
 sang " excellent musick." 5 Then " they make provision for a piece of drollery 
 to be sung in parts and shapes " by Hoyden, a countryman of the West, Free 
 man, a citizen, and Billet, a soldier. 
 
 1 Pamphlet, p. 3. The show, it may be noted, was written for Sir George Waterman, 
 Skinner. 
 
 2 See Fairholt s reprint, pt. ii, p. 118 and p. 138. Reference to the " postscript " on the 
 latter page, shows us that Jacob Hall and his tumblers performed " near to the presence of 
 the king, queen, duke, and other beam? of the royal family, near Milk-street end." In the 
 Guildhall pamphlet there is no mention of Hall. 
 
 3 Called the second, in Fairholt, pt. ii, p. 120. 
 
 4 All these figures were, apparently, alive, although none spoke. 
 
 5 The first song, " consisting of three distinct Voices, with a chorus to each " was " pur 
 posely composed for my Lord Mayor s table." 
 
52 ENGLISH PAGEANTRY 
 
 INTERLUDES AT THE BANQUET 
 
 This is a musical dialogue with elements of farce undoubtedly the audience 
 laughed when Hoyden whipped Freeman. There is no plot, and the fun is prim 
 itive. Citizen and countryman, discovering that neither can get along without 
 the other, agree to support the soldier; and the concluding chorus informs us 
 that " a union well-grounded no malice can hurt." 
 
 After this " droll," the second course of the dinner was served; it was fol 
 lowed by another " representation to salute his Lordship, which consisteth of 
 three parts, viz. A Countryman, A Citizen, and Sedition, an old Instrument 
 of Oliver s Faction." This appears to have been another musical show the 
 Countryman is the same Tom Hoyden of the last " droll; " he bemoans his fate, 
 that ever he left the West Country. Enter Citizen, who has at first little sym 
 pathy for the gulled countryman, but who finally takes pity on him. As 
 they are going out to eat, Oliver Faction who loves to sow the seeds of strife 
 enters; he wonders why he, who till lately had been in great request, 
 should now be left out of anything. After an argument with the citizen, he is 
 whipped and ejected by Hoyden; Oliver finally promises not to hurt the city, 
 and all unite in singing her glory. 
 
 The banquet and these interludes took all the afternoon. Dinner over, the 
 procession of the morning marched by torchlight to the Skinners Hall, where 
 the pageant called the Wilderness made a stand, and Orpheus wished the Lord 
 Mayor joy. Especial care was taken to lodge the silk-works and triumphs in 
 some secure place, until they could be removed to Skinners Hall " in regard 
 they are of some weight, and the burthen of the day was heavy to the under 
 takers." 
 
 It may be remarked that the royal family witnessed this show; indeed, the 
 king " graced the triumphs " of 1672, 1673, and with many nobles that of 
 1674 as well. 1 Almost a century later, " it was usual with the members of the 
 royal family to witness the civic procession on Lord Mayor s day either from 
 the leads of Whitehall, as it passed on the Thames, or from balconies in the city 
 as it returned on land." 2 
 
 SIMILARITY OF THE SHOWS FOR 1672 AND 1673 
 
 . The marked similarity of Jordan s Shows for 1672 and 1673 3 may not be 
 due wholly to Jordan s inability to invent new material fitting to the Grocers 
 Company, for which both shows were written. His dedication to that Worshipful 
 
 1 Cf. the title-pages of the pamphlets for these years, as recorded in the Bibliography. 
 
 2 Fairholt, pt. i, p. 131. He quotes from the Daily Gazetteer of 30 October, 1741. 
 
 3 On the former, see the descriptive pamphlet (in BM., Bodl., and Gh.); it is reprinted 
 by Heath (3 d ed., p. 488). Copies of the 1673 pamphlet are in Gh. and B.; it is reprinted 
 by Heath (3 d ed., p. 507). Cf. Fairholt, pt. i, pp. 74 f., 79 f.; J. G. Nichols, pp. no and in. 
 
THE LORD MAYOR S SHOW 53 
 
 Company, in the 1673 pamphlet, notes the fact that the Grocers have " under 
 gone " the display of triumphs " these two years without intermission," and 
 that it is their " fourth time of performance since the Happy Restoration of His 
 Sacred Majesty ... In such splendid actions," he continues, " although some 
 Diminution of your Treasure, they are, and will be plentifully recompensed in 
 the Addition of your Fame ..." It is possible that Jordan had to use the same 
 " silkworks and triumphs " he had used before. Both shows were opened by a 
 negro boy, who, mounted on a camel, distributed fruits and spices to the crowd. 1 
 Effigies of the supporters of the Company s arms the Gryphons made up 
 the second pageant in both shows; behind them, on a golden throne, sat Apollo 
 in 1672, and the " god of Riches " with " the much ador d Madam Pecunia, (a 
 Lady of Great Splendor) " the next year. In both shows, the third pageant, 
 near St. Laurence lane-end, was a " wilderness," or garden of fruits, in which 
 were " drolls," - " tawny Moors," - who gathered fruits, and sang and danced 
 the while: in 1672, " a proper Masculine Woman, with a tawny face," repre 
 sented America, on a " steep Rock in a pyramidical Figure . . . eminently exalted 
 above the tops of the Trees," - while in 1673, Pomona, attended by the Four 
 Seasons, occupied the " eminent promontory." The 1672 pamphlet mentions 
 giants, which do not seem to have appeared in 
 
 1674 RULES AGAINST SQUIBS; THE " SPECTATOR" ON THIS 
 
 YEAR S DINNER 
 
 In 1674, Jordan wrote the show for the Goldsmiths, upon the inauguration 
 of Sir Robert Vyner. 3 It is needless here to outline the day s triumph; but we 
 may remark that on 27 October, 1674, the Court of Aldermen, taking notice of 
 the great disorders of apprentices and other boys continually committed by the 
 throwing of squibs and other fireworks, which terrified and endangered all sorts 
 of persons in their passage through the streets, ordered " that all the Marshalls 
 men & Beadles of the four Hospitalls of this City doe attend the Right Hono ble 
 
 1 On a silver throne, under a canopy of silver, sat an Indian Emperor in 1672: the next 
 year Pallas occupied the " sublime seat of Soveraignty." 
 
 2 On 15 October, 1672, the Court of Aldermen ordered " that the Guildhall & parts ad 
 jacent bee prepared for the Entertainment on the Lord Maiors day in such manner as hath 
 been accustomed," (Repertory Ixxvii, fol. 265 b) and on 23 September, 1673, "Upon a motion 
 made unto this Court by the Lord Maior Elect whether it shall be thought fitting to invite 
 his Majesty to dine at the Guildhall on the Lord Maiors Day next, and if it shall appeare to 
 be the sense of this Court, that then his Ma ties inclinations may be understood in time, and 
 the Citty the better inabled to make preparations for his Entertainment, It is by this Court 
 recomended to his Lordshipp in such matter as hee shall thinke fitting to understand his 
 Maiestyes pleasure therein." Repertory Ixxviii, fol. 285 b. 
 
 3 Copies of this pamphlet may be found in SA., Bodl.; it was reprinted in 1835, and 
 copies of this reprint are in Gh. and BM. Cf. also Fairholt, pt. i, p. 81 f.; pt. ii, p. vi; J. G. 
 Nichols, p. in. 
 
54 ENGLISH PAGEANTRY 
 
 the Lord Major this afternoon at five of the Clock to receive his Lo pps. Comands 
 touching some course to be taken for prevention of the said Mischiefs & Dis 
 orders." 1 
 
 In the Spectator for Wednesday, 20 August, 1712, (no. 462) is printed an ac 
 count of the Lord Mayor s dinner for this year, 1674. Charles II 
 
 more than once dined with his good citizens of London on their lord-mayor s-day, and did 
 so the year that Sir Robert Viner was mayor. Sir Robert was a very loyal man, and, if you 
 will allow the expression, very fond of his sovereign; but what with the joy he felt at heart 
 for the honour done him by his prince, and through the warmth he was in with continual 
 toasting healths to the royal family, his lordship grew a little fond of his majesty, and entered 
 into a familiarity not altogether so graceful in so public a place. The king understood very 
 well how to extricate himself on all kinds of difficulties, and, with a hint to the company to 
 avoid ceremony, stole off, and made towards his coach, which stood ready for him in Guildhall- 
 yard. But the mayor liked his company so well, and was grown so intimate, that he pursued 
 him hastily, and catching him fast by the hand, cried out with a vehement oath and accent 
 " Sir, you shall stay and take t other bottle." The airy monarch looked kindly at him over 
 his shoulder, and with a smile and graceful air (for I saw him at the time, and do now) re 
 peated this line of the old song: 
 
 " He that s drunk is as great as a King," 
 and immediately returned back and complied with his landlord. 
 
 Under date of 3 June, 1675, the Court of Aldermen, " being informed that 
 the respective proporcons of the suines of money payable by the Lord Maiors 
 and Sherriffes towards the charge of the entertainm ts on the Lord Maiors Day 
 for the years Last past are not yet fully made upp and discharged in the Ac- 
 compts of the Chamber, doth order that all persons concerned doe forthwith 
 pay into the Chamber their full proporcons of the said moneys with all con 
 venient speed." 2 
 
 1675 JORDAN PLANS A SHOW FOR THE DRAPERS 
 
 Of Jordan s Show for 1675, in honor of Sir Joseph Sheldon s inauguration, 
 several descriptive pamphlets exist. 3 This was written for the Drapers Com- 
 
 1 Repertory Ixxix, fol. 421. The king having accepted the Mayor s invitation to dine at 
 Guildhall, a committee was appointed " for the providing & well-ordering of the Entertain 
 ment." (20 October, 1674.) Repertory cited, fol. 404 b. 
 
 2 Repertory Ixxx, fol. 205. 
 
 Under date of 26 October, 1676, the minutes of the Court of Aldermen record: " It is by 
 this Court Referred to S r George Waterman Knt. and Alderman and other the Members of 
 this Court concerned as Lord Majors or Sherriffes in the charge of the Entertainments at 
 Guildhall or (MS. error for on) the Lord Majors day in the yeare 1671 And since to adjust 
 and settle the Accompts thereof with Mr. Chamblen (Chamberlain) and forthwith to Pay 
 all such sumes of money as they are severally in arrear and make up the full Complement of 
 the sums charged upon them thereto and then make Report thereof to this Court." Repertory 
 Ixxxi, fol. 337. 
 
 3 Copies may be found in Gh., Bodl. (2 copies) and BM. (3 copies one lacking the title- 
 page). For mention of this show see Fairholt, pt. i, p. 84 f.; J. G. Nichols, p. in. 
 
THE LORD MAYOR S SHOW 55 
 
 pany, and included a representation of the Golden Fleece. A " Scene of Drolls " 
 was stationed near St. Laurence lane-end a forest, or desert, properly ac 
 commodated with herbage, trees, bushes, birds and flowers. Sheep grazed 
 therein, and Cotswold and Salisbury Plain shepherds played, danced, and tum 
 bled in " excellent confusion." 
 
 FROM THE RECORDS OF THE ALDERMEN 
 On 17 October, 1676, 
 
 it was now agreed by this Court [of Aldermen] That on the Lord Majors day next the Right 
 Hono ble the Lord Major accompanied with my Masters the Aldermen do in their Return 
 from Westminster Take Landing at Blackfryers Staires, and go from thence to Fleet Bridge 
 by the End of the New Channell which is apprehended to be well accomodate for that pur 
 pose the usuall Landing place at Pauls Wharf and the Passage thence being now Obstructed 
 by great Quantities of Stone laid there for the Convenience of St. Paul s Church. 1 
 
 The Show for this year was written by Jordan; a copy of the descriptive pam 
 phlet is in the Guildhall Library. 2 
 
 On 23 October, 1677, the Aldermen ruled that 
 
 whereas complaint hath been made unto this Court that Boards and Scaffolds have hereto 
 fore been set up on the Lord Majors Day by the Inhabitants before their houses in the streetes 
 and publicke passages of this City through which the Lord Major and Aldermen were to 
 passe, whereby the Companies standing in those streetes have been greatly streitened for 
 want of roome; It is now therefore ordered and strictly injoyned by this Court that noe 
 Inhabitant in any street where the Lord Major and Aldermen are to passe, and especially in 
 Cheapside, doe hereafter on the Lord Majors Day permitte any Boardes or Scaffolds to be 
 set into the street without the ffront of their houses. And Mr. Oliver one of the Surveyors 
 is desired to see that this Order be duely observed. And all Constables and other officers are 
 required to be Assistant to him therein. 3 
 
 Under date of 19 September, 1678, we find in the aldermanic records: 
 
 Whereas on the i6th day of October last upon the petition of the Master and Wardens of 
 the Company of Stationers and a suggestion by them made that they had been disturbed in 
 their standing on the Lord Major s Day before St. Paul s Schoole being the Place by them 
 anciently used for that purpose, It was Ordered by this Court that the Members of the said 
 Company should injoy their station before the said Schoole at that time as anciently, now 
 upon a Petition presented unto this Court by the Master, Wardens and Assistants and Livery 
 of the Company of Turners setting forth that their station on that day hath anciently been 
 before St. Paul s Schoole under the Wall of the said School until they were disturbed therein 
 
 1 Repertory Lxxxi, fol. 319 b. 
 
 2 For an outline of the show, see Fairholt, pt. i, p. 85 f.: cf. also J. G. Nichols, p. 112. 
 We may note that, as in 1612, the Seven Liberal Arts (or Sciences) which we have found 
 in " royal-entries " (cf., e.g., vol. i, p. 145, and n. 2) appeared this year. 
 
 3 Repertory Ixxxii, fol. 289. Descriptive pamphlets of Jordan s show for this year are in 
 Gh., Bodl., BM., (2 copies one imperfect). Cf. Fairholt, pt. i, p. 87 f.; J. G. Nichols, 
 p. 112. 
 
56 ENGLISH PAGEANTRY 
 
 the last yeare by the said Company of Stationers by vertue of the said Order, And upon 
 hearing the proofes now offered to that matter by the said Company of Turners and what 
 could be alleadged against the same by the said Company of Stationers who were here present 
 It appearing unto this Court that the said Company of Turners had their Station anciently 
 in the said place and that the said Suggestion made by the said Company of Stationers upon 
 which the said Order was grounded that the same was their ancient standing was untrue It 
 is therefore now thought fitt and Ordered by this Court That the said Company of Turners 
 doe continue their Station on the Lord Major s Day hi the place by them accustomed before 
 St Pauls Schoole and as they did before the last year, And that the said Company of Sta 
 tioners do likewise content themselves with their ancient standing And that the said Com 
 panies do not interfere or disturb each other in their said respective Stations. 1 
 
 On the 10 October, 1678, 
 
 upon the motion of the right Hono ble the Lord Major Elect 2 That the Company of Stationers 
 (who are at present destitute of a sufficient roome for the station of their whole Company 
 in the publick passage on the Lord Majors day) might be accomodated for that purpose hi 
 some convenient place near Ludgate, It is Ordered by this Court that Mr. Oliver do find out 
 a convenient place for the said Company to stand hi upon those Occasions and make report 
 to this Court on Tuesday next to the end the same may be granted and established to the 
 said Company by Authority of this Court. 3 
 
 Five days later the court ruled 
 
 upon a motion now made unto this Court for and on the behalf of the Company of Barber- 
 surgeons who by several Orders of this Court have been constituted and setled in the Ranke 
 of the 17 th Company of this City, It is Ordered by this Court that Mr. Oliver do hereafter 
 on the Lord Major s Day accordingly dispose and ranke the said Company of Barbersurgeons 
 as the seaventeenth in Order among the other Companies of this City. 4 
 
 These extracts from the manuscript records of the London Aldermen are 
 of particular interest for us, as showing the solicitude felt by the Companies in 
 the annual civic show. Even those not directly concerned were anxious to take 
 the subordinate part of onlookers; for the Companies which lined the streets 
 contributed to the glory of the triumphs. 
 
 Jordan s Show for 1678 has been twice reprinted, 5 and there is no need of out 
 lining it here. As in 1671, there was an interlude performed at the dinner, in 
 stilo recitativo, the characters in which were Crab, a West-countryman, Swab, a 
 seaman, and Self, a citizen. The scene was laid at the Royal Exchange: the 
 quarrels of the characters are followed by union, for each is necessary to the 
 others. While the characters are individualized to a certain extent, they point 
 
 1 Repertory Ixxxiii, fol. 295 el seq. 
 
 2 Sir James Edwards, Grocer. 
 
 3 The same Repertory, fol. 309 b. 
 
 4 The same Repertory, fol. 311. 
 
 5 Fairholt, pt. ii, p. 141; Heath (3 d ed.) p. 518. Copies of the original pamphlet may be 
 found in Gh., (badly trimmed about the edges); HL.; Bodl. (2 copies); BM. (2 copies, one 
 imperfect). Cf. also Fairholt, pt. i, p. 90; J. G. Nichols, p. 112. 
 
THE LORD MAYOR S SHOW 57 
 
 to type figures: Crab the Hoyden of 1671 suggests Rus; Self in 1671, 
 Freeman makes us think of a figure, Civis. The lesson that city and 
 country are mutually dependent prevents us from losing sight of the under 
 lying allegory. The " technique " of these shows is not unlike that of modern 
 comic opera ; song is combined with dialogue and dancing. 1 
 
 1679 A NEWSPAPER ACCOUNT OF THE MAYOR S INSTALLATION 
 
 The vivid picture of a London crowd which Jordan gives in his pamphlet 
 describing the 1679 Show, I have reprinted in "A Civic Triumph, circa i7oo." 2 
 It may be compared with Ward s description of London crowds two decades 
 later. 3 
 
 The Domestick Intelligence: or News both from City and Country Impartialy 
 Related, for Friday, 31 October, 1679, (no. 34) gives an account of the show. 
 
 Wednesday last, the Twenty Ninth of this Instant October, being appointed for the In 
 stallment of the Right Honourable Sir Robett Clayton to be Lord Maior of London, to which 
 he was unanimously Elected on Michaelmas day last past: His Lordship accordingly went 
 in the morning to Westminster in great Triumph, attended upon with the Barges of the several 
 Companies of the City, and being landed, his Lordship accompanied with the Aldermen and 
 Sheriffs went into His Majesties Court of Exchequer in Westminster-Hall, where Mr. Recorder 
 was pleased in a Learned and Elegant Speech, to discourse of the Excellent Qualifications 
 
 1 Resembling Jordan s " interludes " is the " short representation performed before the 
 Lord General Monk at Goldsmiths -Hall, Tuesday, Aprill n th . By three persons, An 
 English-man, a Welsh-man, and a Scotch-man." (London, 1660.) This is in Guildhall 
 (.4. 1.5) ; dialogue precedes the songs, and here an " officer " represents the citizen of London. 
 
 Various speeches addressed to General Monk on his visits to the Companies of London 
 may be found in the Bodleian. On Wednesday, 28 March, 1660, at Drapers-Hall, he heard 
 one spoken "by one Representing the Genius of England" (Bodl., Wood 398.4); Walter 
 Yeokney spoke, and perhaps wrote, the speech to Monk and the Council of State at Drapers- 
 Hall on the same date (Bodl., Wood 398.5}; W. Bard declaimed verses to the general at 
 Skinners-Hall, 4 April, 1660 beginning in the Cornish dialect, the speaker soon lapses 
 into English (Bodl., Wood 398.6). Jordan wrote the speech which followed a song in four 
 parts when Monk was entertained at the Goldsmiths-Hall, 10 April, 1660 the speech 
 was delivered by a " sea-captain," and is preserved in the same collection (Wood 398.7) ; 
 Jordan also wrote that spoken before Monk, 12 April, 1660, at Vintners-Hall " wherein his 
 illustrious virtues are shadowed forth under the emblem of a Vine." (Wood 398.8) ; the same 
 author composed that spoken by Walter " Youkcny " ( = Yeokney) on 13 April, 1660, at 
 Fishermongers-Hall; "after a song of difference betwixt the Lawyer, the Soldier, the Citizen, 
 and the Countrey-man . . . enter the Ghost of Massianello Fisher-man of Naples." (Bodl., 
 Wood 398.9). In 1659, on 13 March, Monk was entertained at the Clothworkers-Hall, 
 where a speech preserved in the same collection (Wood 398.3) was delivered. 
 
 It is clear that these pre-Restoration " interludes " of 1660, some of which were written 
 by Jordan himself, are the forerunners of the later " interludes " at the inauguration ban 
 quets. 
 
 2 Journ. Eng. and Germ. PhiloL for January, 1918, p. 127. 
 
 3 Cf. The London Spy, cited ibid., pp. 128 f. 
 
58 ENGLISH PAGEANTRY 
 
 both of Sir James Edwards late Lord Maior, and also of the present Worthy Magistrate Sir 
 Robert Clayton, who was now come to be sworn, and to enter upon that Honourable Charge; 
 Mr. Recorder was also pleased to add that he was satisfied, and that it was without all Con 
 tradiction, that the present Magistrates and Citizens of this famous City, were as Loyal to 
 His Majesty and the Government, as ever at any time heretofore, which they had fully 
 demonstrated in these late times of Trouble and Danger, wherein they have appeared to be 
 very Active and Careful for preserving the Peace and safety of the City against all Enemies 
 whatsoever. 
 
 After which the Lord Chief Baron was pleased very excellently to discourse of this Great 
 Office, and among many other worthy expressions, was pleased to Intimate, that the City 
 ought yet to be carefull of the Designs of the Romish Party, whose Jesuits and Priests are never 
 Idle in Contriving and Promoting the Destruction of His Majesties Person and Government. 
 After his Lordship had taken the usual Oath, his Lordship went according to Custom to Visit 
 the several Courts of Justice in Westminster Hall; and then his Lordship returned back in 
 his Barge, and landed at Black Fryers Stairs, where the Artillery Company, belonging to the 
 City, (who made a very Noble Appearance, in their Buff-Coats and Red Feathers,) Attended; 
 and gave three Vollies of shot upon his Lordship s Landing, and then went to Kingstreet near 
 Guildhall, where they waited till his Lordship came thither; his Lordship proceeded through 
 St. Paul s Churchyard, and Cheapside, and was entertained with several Speeches from four 
 Triumphant Pageants, which were provided at the Charge of the Drapers Company, (of 
 which his Lordship was free) and represented some part of the Drapers Trade. His Lordship 
 came then to Guildhall, where a Sumptuous Dinner was prepared, at which were the Lords of 
 His Majesties Privy Councill, the Judges in their Scarlet Gowns, and several others of the 
 Nobility and Gentry. 
 
 Such is a newspaper account of the annual occasion, of which Jordan, two 
 years before, 1 said: " In all the Authors I have read, and all the most curious- 
 observing Travellers I have conversed with, I have been answer d, that in no 
 City of Europe they have such celebrious Triumphs at the Inauguration and 
 Instalment of their Magistrates, as the Lord Mayor of London ..." 
 
 1680 JORDAN S "LONDON S GLORY" 
 
 A precept of the Mayor, dated 6 September, 1680, requires the Chamberlain, 
 Common-serjeant, Common-Clerk, two Judges of the Sheriffs Courts, four 
 Common-Pleaders, the Comptroller of the Chamber, two Secondaries, the Re 
 membrancer, Solicitor, two Bridge Masters, and four Attorneys in the Outer 
 Court, to perform their duty in walking before the Lord Mayor and Aldermen, 
 " Riding annually through the Streets of this City, on the usual days of Solem 
 nity, such as are Bartholomew Even, to Proclaim Bartholomew Fair; on the 8th 
 of September, to Lady-Fair in Southwark; on Michaelmas-day, and the day after; 
 on Simon and Judes-day, and the day after; and three days in Easter to the 
 Spittle; which are the Solemn days now used (there being some few other days 
 
 1 Addressing his patrons, the Clothworkers, in 1677. (His descriptive pamphlet for this 
 year s show is recorded in the Bibliography.) 
 
THE LORD MAYOR S SHOW 59 
 
 wherein the like service was heretofore performed in Riding to St. Pauls, but 
 the same is at present discontinued until that Church be rebuilt;) . . ." l 
 
 On 19 October of this year, " Itt is thought fitt & Ordered by this Court that 
 the Masters & Wardens of the severall Companies of this City which have Barges 
 & have usually attended the Solemnity on the Water at the Lord Majors-day bee 
 Warned to appeare before this Court on this day senight." ! London s Glory was 
 the title of Jordan s show for this year, written to celebrate the inauguration of 
 Sir Patience Ward, Merchant-Taylor. 3 
 
 THE 1681 SHOW ALSO BY JORDAN 
 
 Sir John Moore, Grocer, was inaugurated in 1681 ; again the show was written 
 by Jordan. 4 An account of it from The Impartial Protestant Mercury 5 is of 
 interest. 
 
 London, October 29. This day being the Anniversary Inauguration of the Lord Mayor 
 of this Honourable City, the Right Honourable Sir John Moor repairing with the usual Splen 
 dor and Solemnity to Westminster, and being there Sworn, on his Return landed at Black- 
 Fryars, and so proceeded in State to the Guild-Hail. Their Majesties, Attended with the 
 Chief Persons of Quality of the Court, were pleased to honour the City with Their Presence, 
 and appeared highly satisfied with Their Magnificent Entertainment: The Crowd of People 
 in the Streets was extraordinary, and during His Majesties whole Passage thither, and going 
 back, fill d the Air with loud Shouts and Acclamations of Joy, and well Wishes for His Ma 
 jesties long Life and Prosperity. So false, as well as wicked and malicious, are the Sugges 
 tions of those 111 Men, who would insinuate as if the Inhabitants of this Great and Honourable 
 City were wanting in their Loyalty, or in that Obedience and Affection which is due to their 
 Sovereign. 
 
 It will be recalled that England was politically excited at this period; we 
 shall consider, in the next chapter, the " Pope-burnings " of the years following 
 1679 suffice it here to note that, as Fairholt expresses it, " The Lord Mayor 
 was at this period popular only with his own party, being in fact a mere political 
 tool of the court. The infamous Charles . . . having among other acts of flagrant 
 injustice suspended the charter of the city, he so managed that none but the 
 servile creatures of his will should there have sway." 6 Further signs of this 
 feeling are shown in the insane laudation of the king which makes the songs of 
 
 1 See no. 94 in the Taylor Collection of broadsides in the Guildhall Library. Cf. Repertory 
 Ixxxv, fol. 219 b, et seq. for the order, made in the Court of Aldermen on 16 September, 1680, 
 for printing the above precept. 
 
 2 Repertory Ixxxv, fol. 237. 
 
 3 Copies of the pamphlet are in Gh., HL., BM., and BodL; cf. also Hone, p. 250 f.; Fair- 
 holt, pt. i, p. 92 f. 
 
 4 Copies of the descriptive pamphlet are in Gh., BM., Bodl. It is reprinted by Heath, 
 (3 d ed.) p. 536 f.; cf. J. G. Nichols, p. 112 f.; Fairholt, pt. i, p. 95. 
 
 5 No. 55 from Friday, October 28, to Tuesday, November i, 1681. 
 
 6 Pt. i, p. 97 f. 
 
60 ENGLISH PAGEANTRY 
 
 the 1682 pamphlet noteworthy, and in the cessation of pageantry the same year, 
 when some of the Companies refused to march in the procession. 
 
 1682 No PAGEANTS; BUT A PROCESSION 
 
 In 1682, no pageants were exhibited, though there was a procession, described 
 in a pamphlet entitled The Lord Mayor s Show. 1 The usual marching company, 
 with banners, escorted the mayor from Guildhall to the Three-Cranes Wharf, 
 where the water-procession began; Sir William Pritchard, the new chief magis 
 trate, was saluted on his way to and from Westminster; on his return, he landed 
 at Blackfriars, where the Artillery Company of which he was president 
 gave him a volley, after which it led the way back to the Guildhall. 
 
 Various songs are printed in the pamphlet; one scorned the " tricks " and 
 " plots " of the Whigs, and bade them farewell as they went out of office; 2 three 
 " Loyal Songs " followed, from which the City Music were, apparently, to 
 choose one for rendering. 3 Two catches, to be sung by the " loyal Spectators," 
 end the collection. Hints of the trouble between the king and the city at this 
 time, which is referred to by Fairholt, appear in the following account, taken 
 from The Domestick Intelligence:* 
 
 London, Oct. 28. Yesterday the Worthy Sir William Pritchard, Lord Mayor Elect, ac 
 companied with his present Lordship, many loyal Aldermen, and Mr. Recorder went to 
 While-hall to wait upon His Majesty, by whom they were favourably received, His Majesty 
 expressing His good liking, and high satisfaction in the Cities prudent Choice. 
 
 Most of the Companies are preparing to wait upon the Right Honourable the Lord Mayor 
 to Westminster in their Formalities, in order to [attend] the Swearing the Lord Mayor Elect; 
 and notwithstanding some are not a little solicitous to Eclipse the Triumph of the day (as we 
 are informed,) by disswading their Brethren of the Livery from being present; yet such is the 
 resolution of the Loyal and worthy Citizens, that nothing will be wanting that may conduce 
 to the splendid Introduction of so worthy a Gentleman, as is to take upon him that great and 
 Honourable Trust for the year insuing. 5 
 
 1 This pamphlet, which is mentioned by Fairholt, pt. i, p. 97, is in Bodl., (Gough Lond. 
 122.24.} The songs, which are printed after the account of the procession, were probably 
 sung at the banquet following the inauguration of Sir William Pritchard, Merchant-Taylor. 
 It is doubtful if these be the work of Jordan; though I have inserted this title with Jordan s 
 shows in the Bibliography, he did not claim it. No " epistle dedicatory " precedes the ac 
 count of the procession, which almost anyone might have written; if Jordan composed the 
 songs, there is no sign of his authorship beside their commonplaceness. 
 
 2 This was to be sung " to the Tune of Sawny." 
 
 3 One was a " New Song, which is set to an excellent Tune by Mr. Pur sell" 
 
 4 No. 150 " from Thursday, October the 26. to Munday the 30. 1682." 
 
 6 The same issue of this periodical describes the administration of the oath to the mayor 
 at Guildhall, (before the city authorities), and reports that in the afternoon of the same 
 day the king was invited to dinner on the 30*, when the Mayor should go to Westminster. 
 [Number 151 (from 30 October to 2 November, 1682) does not mention the ceremonies of 
 the Lord Mayor s Day. It may be added that the election of the Lord Mayor, on 25 October, 
 is described, ibid., no. 149 (23-26 October, 1682.)] 
 
THE LORD MAYOR S SHOW 61 
 
 1683 JORDAN S PAMPHLET, "THE TRIUMPHS or LONDON" 
 
 Jordan seems to have planned the festivities for Sir Henry Tulse, the king s 
 appointee to the mayoralty in 1683; but there was no pageantry, and it is not 
 clear that Jordan did anything but write a couple of songs for the mayor s ban 
 quet. The Triumphs of London, performed on Monday, October xxix. 1683, for 
 the entertainment of the Right Honourable, and truly Noble Pattern of Prudence and 
 Loyalty, Sir Henry Tulse, Knight . . . was printed at London in 1683; 1 from this 
 pamphlet we learn that, the king having appointed Sir Henry Tulse to the 
 mayoralty, Sir William Pritchard " issued forth his Precepts to summon the 
 respective Liveries to attend His Majesty s new Lord Mayor ... on Monday, the 
 29 th of this instant October, 1683." There was a water-procession to and from 
 Westminster, a military parade of the Artillery Company, and a march of the 
 Companies, but nothing pageantic. 2 
 
 1684 JORDAN S LAST Civic SHOW 
 
 London s Royal Triumph for the City s Loyal Magistrate is the title of the last 
 civic show which Jordan wrote. 3 It is outlined by Fairholt, in the Gentleman s 
 Magazine for April, 1854. 
 
 There is nothing in the foreword of this pamphlet to suggest that there had 
 been a break in the shows for two years: the " movements of the morning " are 
 described in couplets ; the Pleasure Boat saluted the mayor 4 with two broadsides ; 
 and everything took place as usual. The first pageant described in verse 
 
 is the Chariot of Industry, where are twelve Virgins representing the twelve 
 Companies; here Metropolis, " a majestic masculine woman " is the speaker. 
 
 1 Copies are in Bodl. (Gough Land. 122.25} an( l m Gh. (A. 1.5). In pencil on the title-page 
 of the latter copy is written, " by Thomas Jordan, city poet." 
 
 A picture at Windsor Castle, representing Charles II and his consort watching the Lord 
 Mayor s procession by water in 1683, has been reproduced by the London Topographical 
 Society, and a copy of the reproduction is in the Guildhall library. (The picture shows the 
 City Barge, the barges of various Companies, and many spectators; it was reproduced in 
 1909, with permission of the king.) 
 
 2 Two songs entitled A New Irish Song and The West-Countryman s Song, on a wedding 
 
 are printed, with the music, in the pamphlet. The Honourable Artillery Company took 
 part in many of the Lord Mayor s Shows; see the descriptive pamphlets, passim. For men 
 tion of the appearance of the Company in these triumphs, see Captain G. A. Raikes, The 
 History of the Honourable Artillery Company [(2 vols.) London, 1878] i, p. 161, etc. In 1779, 
 there was considerable friction between the Mayor and " the military glory of the nation," 
 
 cf. ibid., ii, pp. 65 f., 424. 
 
 3 Copies of the descriptive pamphlet are in Gh., Bodl., and BM. Cf. also J. G. Nichols, 
 p. 115; Gillespy, p. 64; and Fairholt s letter to " Mr. Urban " (Gent. Mag. for April, 1854, 
 pp. 380 f.) on this pageant, which he discovered (after the publication of L. M. Pag.}, in the 
 library of Sir Harry Verney, Bart. 
 
 4 Sir James Smith, Draper. 
 
62 ENGLISH PAGEANTRY 
 
 The Mercers are represented by Mercatura; the Grocers by Aromatoria; the 
 Drapers by Pannaria; the Fishmongers by Piscaria; the Goldsmiths by Au- 
 rifera; the Skinners by Pelicula; the Merchant-Taylors by Vestiaria; the 
 Haberdashers by Minutaria; the Salters by Salina; the Ironmongers by Fer- 
 raria; the " Vintonners " by Vinitioria, and the Clothworkers by Lanaria 
 each character showing the arms and motto of the Company she represents. 
 Two " Lyons or " draw the chariot: on one, rides a negro from India; on the 
 other, a " West-Indian Cacick, or Lord." Metropolis explains the pageant. 
 
 The second the " Fabrick of Fate " - had ten living figures on it, repre 
 senting Good Fortune, Long Life, Strength, Riches, Beauty, Honour, Liberty, 
 Pleasure, Fancy, and Agility. Here, a little musical dialogue took place each 
 contended with Fortune as to which quality was preeminent, and she answered 
 each in stilo recitativo. The song of contention ended somewhat abruptly, per 
 haps in a general reconciliation; each character agreed that Fortune is the 
 most necessary quality. She then addressed the mayor, who passed afterwards 
 to the next stage, where sat princely shepherds and shepherdesses in a grove or 
 grotto: they were Mucedorus, Pastora, Mirtillo, Jesemina, Sylvio, Dorinda, 
 Tytero, and Corisca. After a song by Mirtillo, " in answer to his Friend, who 
 had been labouring with Arguments to disuade him from Love, telling him that 
 he mispent his Time in that unprofitable Passion," 1 Pastor Fido rose and saluted 
 the mayor, after which Mucedorus and Pastora sang a " pastoral dialogue." 2 
 
 As the mayor progressed, he came to the fourth pageant " Downs of De 
 light " - where there were more shepherds and shepherdesses singing, dancing, 
 piping, and tumbling: here were also spinners, carders, and other trade-figures. 
 Then the mayor went to dinner, where a " Welcome Home " to the king and 
 duke, upon their return from Newmarket, was sung, and instrumental music 
 was performed; and so the day s festivities came to an end. There were no 
 evening pageants. 
 
 1685 TAUBMAN S FIRST SHOW 
 
 Matthew Taubman made his first appearance as a writer of civic triumphs 
 in 1585; he composed the shows for the four following years, 3 all of which are 
 recorded in the Bibliography. The four pageants provided for the inauguration 
 of Sir Robert Jeffreys, Ironmonger, in 1685, cost 175, and the total expense for 
 this show was 473, 4<1 4 
 
 1 It is not clear whether or not a debat actually took place. The friend may have argued 
 in dumb-show, or the song may have been an answer to a possible argument. 
 
 z In this two-part song, the argument is very slight. There are six stanzas in all the 
 last being a " chorus," sung in unison. 
 
 3 Fairholt, pt. i, p. 100 f., describes his work. He is, says Fairholt, p. 101, " much inferior 
 to Jordan, being altogether a dull person enough." 
 
 4 See Malcolm, ii, p. 48, and Fairholt, pt. i, p. 174. Copies of the descriptive pamphlet 
 are in BM. and Bodl. Cf. Fairholt, pt. i, p. 101. 
 
THE LORD MAYOR S SHOW 63 
 
 The first pageant contained eight females, representing Victory, Triumph, 
 Honour, Peace, Plenty, Courage, Vigilance, and Conduct. 1 The next pageant, 
 a Sea-chariot of cerulean green, contained Neptune, drawn by Tritons; 
 Amphitrite, attended by Proteus, Glaucus, Thetis, and Galatea. The third was 
 the Arch of Loyalty, surmounted by Fame who was attended by Loyalty, Truth 
 Union, and Concord; a sea-lion, Tritons, and a negro suggested the " first com 
 mercial city in the world." Here Loyalty addressed the mayor. 
 
 In the fourth pageant music was combined with a trade appropriateness, in 
 the labor of Vulcan and his attendants. 2 Among the characters on this pageant 
 was " Polypheme. A Giant of large size, one great Eye in the middle of his Fore 
 head . . . standing at the entrance of the Cave with a Crow of Iron in his hand to 
 break the Rocks that hinder the access to the Mines, and a Sword in the other 
 to prevent all others, but the Right Worshipful the Company of Iron-Mongers 
 (whose peculiar Prerogatives it is) to enter." 3 Apollo and Cupids, Vulcan, 
 Brontes, Steropes, and Pyracmon were also on this car; Vulcan addressed the 
 mayor. 4 
 
 Under date of 27 October, 1686, Evelyn writes, " There was a triumphant 
 shew of the Lord Maior both by land and water, with much solemnity, when 
 yet his power has ben so much diminish d, by the losse of the Citty s former 
 charter." 5 The show is outlined by Fairholt. 6 In 1687, Sir John Shorter, Gold 
 smith, was inaugurated as Mayor, 7 and the king and queen attended the ban 
 quet. 8 
 
 1 Triumph, Honour, Peace, and Plenty are the attendants of the other four. (Pamphlet, 
 pp. 4 and 5.) Malcolm characterizes Victory s speech as " twenty-two vile doggerel lines." 
 
 [Malcolm, ii, p. 47, notes that " William and Mary honoured this spectacle by their 
 presence," and that it was the " first civic celebration after their ascending the throne." 
 This is an obvious error. James and his consort were present (Pamphlet, p. 12).] 
 
 2 The mayor was Sir Robert Jeffreys, Ironmonger. 
 
 3 Pamphlet, p. 10. 
 
 4 Three songs the last to the king, (" With a Health to our Royal James") were 
 sung during the banquet. 
 
 5 Diary, iii, p. 29. 
 
 6 Pt. i, p. 102. Copies of the descriptive pamphlet are in Bodl., BM., and Gh. 
 
 The Mercers Virgin mentioned by Celia Fiennes (see below, p. 67) appeared this 
 year in glory. One is inclined to suppose that her chariot was new; for Taubman says, " the 
 Magnificence of the Structure, the Elegancy of the Contrivance, and Costliness of the Work, 
 has hardly ever yet been parallel d." Allowing for the exaggeration common to these descrip 
 tive pamphlets, we may presume that the author would not have made such an emphatic 
 statement if the chariot were old. The procession this year included " green-men." 
 
 7 He died the following year. In Fairholt s scrapbook (vol. ii) is a MS. note from the 
 Ellis Correspondence (vol. 2, p. 161) giving, under date of 6 September, 1688, the news of 
 Sir John Shorter s death. " Few days before died Bunian, his Lordship s teacher, or chaplain, 
 a man said to be gifted that way, though once a cobbler." And Fairholt noted below: " This 
 was John Bunyan, author of the Pilgrim s Progress." 
 
 8 See the pamphlet describing this year s show, copies of which are in Gh., Bodl., BM. On 
 
64 ENGLISH PAGEANTRY 
 
 1688 No PAGEANTRY, BUT A MAGNIFICENT PROCESSION 
 Taubman s pamphlet for 1688 l has no " epistle dedicatory " addressed to a 
 guild; a poetic address to the mayor " on the return of the Charter " takes its 
 place. The Mercers, another foreword tells us, bore the charge of the entertain 
 ment; and a brief history of the Company is given. " Nevertheless though the 
 Pageantry was omitted, there wanted nothing that could contribute to make it 2 
 Great both by Land and Water; nay, rather more Sumptuous in the Magnifi 
 cence of their Cavalcade," which Taubman describes. " To supply the defect 
 of the Pageants " the Artillery Company took part in the procession. Various 
 banners and coats-of-arms represented St. George, King Richard II, Sir Thomas 
 Gresham, and others; " at the time of Dinner, the Hall Echoing with Huzza s, 
 and Healths to His Majesty, who returns the same to his Lordship; wishing him 
 Success and Happiness . . . " 3 after which came a song in praise of James, 4 some 
 what hyperbolical, perhaps, but hardly " abject trash." 
 
 In 1689, Sir Thomas Pilkington was raised from " Prison to the Pretorial 
 Chair," and Taubman likened him to Daniel; "this," says the poet in his 
 Epistle Dedicatory to the mayor, " is the Happy Day of Deliverance from 
 Pagan and Egyptian Bondage, by Miracles and Wonders. When Idolatry, like 
 a Deluge, had Over-spread the Land, and the Church, like the Ark, lay Totter 
 ing upon the Billows, then came the Dove with the Olive Branch of Joy . . . " 6 
 King William and Queen Mary dined at Guildhall this year. 
 
 the title-page of the latter copy is a pencilled " excessively rare," and the following MS. 
 note regarding Shorter: " He had a new Quarter to his Arms giuen him by K. lames 2d. for 
 receiuing the Pope s Nunc [io] He was Grandfa[ther] to Catherine first wife of Sr R Walpole 
 Earl of Orford." For mention of the 1687 Show, see Fairholt, pt. i, p. 103; J. G. Nichols, 
 p. 116; Hone, p. 257. It included " green-men," and the Seven Liberal Arts. 
 
 1 In Bodl. (2 copies). Cf. Hone, p. 260; Fairholt, pt. i, p. 105; J. G. Nichols, p. 116. 
 
 2 That is, the show. 3 Pamphlet, p. n. 
 
 4 The lack of pageants this year was, no doubt, due to what Taubman in his dedication, 
 calls " the present Impending Storm, the Dread of a Foreign Invasion," which " has Obnubi 
 lated the usual Splendor of this Day s Solemnity." On account of the restoration of the 
 charter, he calls this " Auspicious 88! England s great Year of Jubilee." 
 
 Conder, p. 235, gives some of the Masons expenses for this show. The items include 
 175. 6d. for whifflers, but no mention is made of pageants. 
 
 Fairholt, pt. i, p. 107, is unkind to Taubman who, he says, showed " a political versatility 
 that would have done honour to the Vicar of Bray himself," for his flattery, (the "abundant 
 and excessive expressions of loyalty,") to James gave way, in 1689, to " equally exuberant 
 professions of loyalty and gratitude for the revolution." We should remember that these 
 poets were hired, and had to write to please their employers no one attacks a modern 
 editorial writer for changing the opinions he voices, and which he does not pretend are his 
 own. The similarity of the phrases addressed to different mayors and companies shows that 
 much of the phraseology had become conventional. 
 
 5 Copies of the descriptive pamphlet are in Bodl., BM., and Gh. A reprint of this show 
 was made in 1761 (see Bibliography) and the pamphlet is also reprinted in Somers Tracts 
 
THE LORD MAYOR S SHOW 65 
 
 16891 TAUBMAN REJOICES OVER THE REVOLUTION 
 
 Taubman hardly merits Fairholt s abuse; for the poet, writing for a patron 
 who had opposed James, could not fail to praise the rule which had released him 
 from prison. The writing of the city triumphs was a definite business proposition ; 
 it was understood that the poet was to praise the mayor and company who em 
 ployed him. Taubman might have been less extravagant in his language; but 
 no one can accuse him of being a turn-coat. 
 
 ELKANAH SETTLE " LAST OF THE CITY POETS " 
 
 No trace of festivities in 1690 has as yet been found; Sir Thomas Pilkington 
 still continued in office. 1 In 1691, Elkanah Settle wrote his first show, and con 
 tinued with some interruptions to produce these triumphs until lyoS. 2 A 
 full list of these shows, as far as they are known, may be found in the Bibliography; 
 they do not differ from those of his predecessors, but contain the same allegorical 
 characters, the same trade symbolism, the same gods and goddesses, the same 
 personified countries, cities, rivers. This is not surprising, for the pageants used 
 in the civic shows were kept from year to year, each guild using its own property 
 when it became necessary to inaugurate one of its members. 3 While the names of 
 
 (1751) 3d coll., iii, p. 33; (ibid., (1812) xi, p. 584); cf. Fairholt, pt. i, p. 107; J. G. Nichols, 
 p. u6f.; Wadmore, p. 148. 
 
 Sir Thomas Pilkington was a Skinner. 
 
 Wadmore, p. 57, citing the Company s records, notes under 16 October, 1689: " At this 
 Court it was determined that Pageants should be prepared against my Lord Mayors day and 
 upon a 2nd question being put it was ordered that there should be four Pageants prepared on 
 this occasion. Mr. Hayes appeared and proposed to make 3 pageants for two hundred Pounds; 
 he was offered i8ol. and as to the other 2ol. to stand to the Judgm* of the Renter Warden and 
 he promised to bring a Perticular how he would performe the same." 
 
 1 Fairholt, pt. i, p. 109; cf. D. TV. B. li, p. 274. I can find, in the London Gazette for 
 October and November, 1690, no mention of the Lord Mayor s Show for this year. 
 
 2 For a detailed account of Settle s life and work, see F. C. Brown, Elkanah Settle (Chicago, 
 1910). 
 
 3 " Salisbury Plain " and the " Arcadian Plain " appear often as such, and we know not 
 how often under other names. We may note that the cut of the " Chariot of Justice " in the 
 1698 descriptive pamphlet is reproduced in that of 1708 and neither description agrees 
 exactly with the picture; the 1698 pamphlet describes it as " a triumphant chariot of gold." 
 The picture is reproduced by F. C. Brown, op. tit., opp. p. 124, and forms the frontispiece of 
 Fairholt s Civic Garland. As Gough (Brit. Topog., p. 342) notes, there are illustrations of the 
 1692 and 1698 shows in the Pepysian Library at Cambridge University. Three of the 
 pageants of 1692, with the Lord Mayor s Barge and a " wild-man," are in Pepys s Collec 
 tion of Prints and Drawings relating to London and Westminster (put together in 1700) ii, pp. 
 277-279. Other pageants are illustrated, ibid., pp. 282, 283. 
 
 It may be added that the " Chariot of Honour " of 1698, painted on glass by William 
 Peckett in 1753, is preserved in a window in the old Committee Room of the York Guildhall. 
 That Peckett should have chosen this subject to show his skill as an artist, indicates that the 
 subject was a popular one. 
 
66 ENGLISH PAGEANTRY 
 
 the characters who occupied them could be changed as the "drolls" ap 
 peared as shepherds for the Skinners, or as planters for the Grocers there is 
 not a large selection to choose from. 
 
 Unlike the " royal-entries," the Lord Mayor s Shows occur fairly regularly 
 once every twelve months. This being the case, traditions grew up, which must 
 have hampered the poets considerably. It is hard to find anything new, when 
 one has to keep within a limited field. 1 This accounts, in large measure, for the 
 similarity and consequent tediousness of this form of art; and we must also 
 bear in mind that an uncritical audience was easily satisfied, and that the ephem 
 eral nature of the production did not serve to inspire the poet to put forth his 
 best endeavors. So we must not be too hard on Settle, whose shows probably 
 served their purpose well enough. 
 
 Until 1695 there is no interruption in the list of Settle s shows, 2 and Brown 
 says there were no shows from 1695 to i698. 3 But it is possible that there were 
 processions, without pageantry, during these years, 4 though the title of Settle s 
 Show for 1698 Glory s Resurrection seems to indicate that there were none. 
 
 A DESCRIPTION OF A LORD MAYOR S SHOW temp. WILLIAM AND MARY 
 
 A vivid contemporary account not from a glowing pamphlet by the author 
 of the show himself of a civic triumph at the end of the seventeenth century, 
 may be found in Celia Fiennes s diary. 6 
 
 ... ye old Lord Major Comes to meete ye new one and with him on his Left hand is Con 
 ducted on horse back in all their gouns of scarlet Cloth Lined with ffurr; all ye aldermen in 
 Like Robes only differenc d as their station, those of them wch have been Lord Majors weare 
 
 1 Cf . the Harvard Class Day odes, where the poet is not only restricted to a certain sub 
 ject, but confined to a certain meter. 
 
 2 In 1692, William and Mary dined at Guildhall. Under date of 22 October, " it is agreed 
 that the Lord Maior and this Court doe congratulate theire Majesties upon his Ma ties Re- 
 turne and then humbly desire theire Ma ties to honour this City with theire presence at dinner 
 at Guildhall on the Lord Maiors day next ensueing which was accordingly done And theire 
 Majesties were graciously pleased to accept of the said Invitation," (Repertory xcvi, fol. 504.) 
 Whereupon a Committee was appointed to prepare all things requisite for their entertain 
 ment. 
 
 3 F. C. Brown, op. cit., p. 124. On pp. 122 f., he lists Settle s shows with some comments. 
 Conder, p. 238, notes that in 1695 the Standard-bearers and whifHers were ordered to attend 
 the Masons on Lord Mayor s Day; the bill of fare for the Masons dinner is given, ibid. 
 
 4 I have not, however, found any mention of them. On 24 March, 1696, it was agreed 
 by the Court of Aldermen that " the Processions and Entertainments on Easter Monday, 
 Tuesday, and Wednesday be made and performed with the same solemnity as hath beene 
 accustomed," (Repertory ci, p. 170,) but this throws no light on mayoralty processions. 
 
 5 Published in 1888 under the title Through England on a Side-Saddle in the Time of William 
 and Mary. I am indebted to Dr. Milton Percival for calling my attention to this book; the 
 passage I quote begins on p. 242. With it, compare that by Ned Ward, in The London Spy, 
 cited in my paper "A Civic Triumph circa 1700" (Journ. Eng. and Germ. Philol. for Janu 
 ary, 1918) and Jordan s picture of the crowd in 1679 (above, p. 57, n. 2). 
 
THE LORD MAYOR S SHOW 67 
 
 a Gold Chaine Ever after, but those yt have not passed ye Chaire weare none. Ye Lord 
 Major is allwayes one of ye aldermen and he has a great gold Chaine round his neck, the 
 Sheriffs also weare a gold Chaine round their neck yt yeare. Thus on horseback they proceed 
 two and two with all their officers. Ye Lord Major has his Sword bearer wch walkes before 
 him with the Sword in an Embroyder d Sheath he weares a Great velvet Cap of Crimson, 
 the bottom and ye top of ffurr or such Like standing up Like a turbant or Great bowle in 
 forme of a Great open Pye, this is Called ye Cap of Maintenance. This is ye Lord Majors 
 Chiefe officer . . . He thus walkes before the Lord Major with ye water Bayliff beareing a 
 Gold Mace &c. At Fleete ditch they Enter ye Barges wch are all very Curiously adorned 
 and thus he is Conducted ye river being full of Barges belonging to ye severall Companyes of 
 London, adorned with streamers and their armes and fine musick, and have sack to drinke 
 and Little Cakes as bigg as a Crown piece. They Come to Westminster staires where they 
 Land and are Conducted, the Lord Majors traines being borne up as well ye old as new Lord 
 Major, they Enter Westminster Hall and are Conducted to ye severall Courts of justice where 
 there is severall Ceremonyes perform d. The new Lord Major is presented to ye King or 
 those deputed to act under him and then is sworne, all which being over they are Conducted 
 back to their Barges and soe to ye staires they took barge, where they are received by some of 
 ye nobility deputed by the King who made some Little speech of Compliment and Give ye 
 Lord Major and aldermen a treate of wine and sweet meates passant. They mount on horse 
 back and returne only ye new Lord Major takes ye right hand and haveing by ye sheriffs 
 invited ye King and Court to dinner, wch sometymes they accept but mostly refuse, because 
 it puts the Citty to a vast Charge; they being then Conducted through ye Citty with Create 
 acclamations their own habits and trappings of their horses being very fine, and they haveing 
 all the Severall Companyes of ye Citty wch walke hi their order and gowns with pageants to 
 most or many of their Companyes, wch are a sort of Stages Covered and Carryed by men 
 and on ye top many men and boys acting ye respective trades or Employ* 8 of Each Company, 
 some in shipps for ye Merch ts , and whatever Company the new Lord Major is off his pageant 
 is ye finest and yt Company has ye precedency that yeare of all ye Companyes Except ye 
 mercers Company, wch allwayes is the first and Esteemed ye Greatest, and when there is a 
 Lord Major of yt Company their pageant is a maiden queen on a throne Crowned and with 
 Royal Robes and scepter and most richly dressed, with Severall Ladyes dressed, her attend 
 ants, all on ye same pageant and wth a Cannopy over her head and drawn in an open chariot 
 with 9 horses very finely accouter d and pages that Ride them all, with plumes of feathers. 
 After being drawn through ye Citty she is jnvited by ye Lord Major to a dinner provided on 
 purpose for her, and soe many Rich Batchelors are appointed to Entertaine her that is a 
 ranck among ye freemen. She has her traine bore up and is presented to Lady Majoris that 
 salutes her as doth the aldermens Ladyes, all wch are Conducted in their Coaches to Guild 
 hall. 
 
 The writer then tells of the banquet. 
 
 A NORWICH MAYORALTY PAGEANT OF THIS REIGN 
 
 The same lady describes a mayoralty pageant at Norwich, 1 where 
 
 there is a great many Cerimonyes in ye Choice and Swearing their Major: they Elect him 
 the first day of May and yn prepare for his being sworne on Holly Thursday. They new washe 
 and plaister their houses with in and without wch they strike out in squares like free stone. 
 All ye streete in wch this mayor Elect s house, is very exact in beautifying themselves (sic) 
 
 1 Op. cit., p. 122. 
 
68 ENGLISH PAGEANTRY 
 
 and hanging up flaggs ye Coullrs of their Companyes, and dress up pageants and there are 
 playes and all sorts of show that day in Little what is done at ye Lord major of London 
 show. Then they have a great feast with fine flaggs and scenes hung out, musick and dance- 
 ing. I was in ye hall they keep their feast in and saw some of their preparations: for that 
 day being about a fortnight to it. 
 
 After 1698, Settle s shows appeared regularly until 1702; between this year 
 and 1708 there were no triumphs. 1 
 
 A CONTEMPORARY RECORD OF THE SHOW FOR 1700 
 
 The rarity, as well as the interest, of this contemporary account of the Show 
 for 1700 will justify my quoting it at length. I take it from the London Post 
 with Intelligence Foreign and Domestick, from Monday, October 28 to Wednesday, 
 October 30, 1700 (no. 219): 2 
 
 Yesterday Sir Thomas Abney, the new Lord Mayor was sworn in Guild-hall, upon which 
 the Sword and Mace-bearers kneeling, delivered the Sword and Mace to the Old Lord Mayor 
 who presented the same to the New, after which Sir Richard Levit the Old, Treated all the 
 Aldermen above, and Sir Thomas Abney the New Lord Mayor, Treated all those under the 
 Chaire. 
 
 And this day, commonly called the Lord Mayors day, Sir Thomas Abney, the New Lord 
 Mayor accompanied with some of the Aldermen, &c. made a splendid Cavalcade from Fish 
 mongers-hall, up Grace-church-Street, down Cornhill and through the Poultry, being pre- 
 ceeded by 8 Men in Armour, Cap a pee on Horseback, the first of which carried, upon the 
 top of a Pole, a Head, representing that of the Rebel Tyler, who was Stabb d to the Heart 
 in Smithfield (by Sir William Walworth, then Lord Mayor, and free of the Fishmongers Com 
 pany) at the head of his Rebellions Crew: the second represented the said Sir William Wal 
 worth, and held a Naked Dagger in his Hand, the other 6 followed two by two. When his 
 Lordship came over against Mercers Chappel, he was met by a Pageant representing a Ship, 
 with the Cross-keys upon it, and some Men and Boys in it, drawing of a Net, in which came 
 up a great many live Fish, which they flung among the Livery-men. This Ship carried 2 
 Masts, and was under full Sail, but dropt Anchor before his Lordship, when the Master made 
 a Speech to him; after which, his Lordship proceeded further down Queen-street to the 3 
 Cranes, where being joyned by Sir Richard Levit, and the rest of the Aldermen, they Im- 
 barqued on board their Barges; and went to Westminster-Hall, being accompanied by the 
 Barges of the other Companies, one boat sailing to and again, round the New Lord Mayors 
 Barge, and saluting his Lordship from time to time with 2 or 3 Guns; after having been sworn 
 before the Lord Chief Baron, performed all the other usual Ceremonies at the Exchequer Bar, 
 they returned by Water to Dorset Stairs; where, after having Landed, they were treated 
 with a Noble Cold Banquet in the open Place, by the said Stairs, by the Lord Buckhurst 
 Son to the Earl of Dorset; after which, the Lord Mayor, and Court of Aldermen, mounted 
 on Horseback, began their Cavalcade through the City towards Guildhall, several of the 
 Companies going before them with their Streamers displayed; as also the Artillery Company 
 well Armed, and were followed by some other of the Companies. A splendid Entertainment 
 was prepared in Guildhall for his Lordship. &c. and for those of his Company. The other 
 Companies dined at their respective Halles. Besides the above-mentioned Pageant, there 
 
 1 F. C. Brown, p. 36. 2 Brit. Mus., newspaper room, Burney 123, 
 
c 
 U 
 
 pq 
 
THE LORD MAYOR S SHOW 69 
 
 were also 4 others, viz, one representing a Mairman and Maremaid, 1 very curiously done; 
 one representing 2 Dolphins, with 2 Men on their Backs; one a Chariot cover d with Scallop- 
 Shells; and one a Tower or Temple, in the Pinacle of which sat a beautiful Woman richly 
 apparall d, who, I am told, also made a Speech to his Lordship. 
 
 The English Post, giving " an Authentick Account of the Transactions of the 
 World, Foreign and Domestick," (no. 8 from Monday, October 28 to Wednes 
 day, October 30, 1700,) contains a paragraph narrating this event, 2 as does the 
 Post-Boy of the same date, the final ten lines of which account Fairholt prints. 
 
 In 1 708, Settle prepared a show, but the death of the Prince of Denmark pre 
 vented its production. Thus the spoken pageants came to an end. 3 
 
 CONCERNING THE TERM " CITY POET " 
 
 Settle is often called " the last of the City Poets," and this term City Poet is 
 commonly applied, by Fairholt and other writers on this subject, to the authors 
 of the civic shows we have been studying. Concerning this office, C. W. Wallace 4 
 notes that Ben Jonson was City-Poet; he says there was such a position, and 
 refers to "documents in the City Record Office, Guildhall, London." 5 F. C. 
 Brown remarks that " the city poet was usually chosen to prepare the pageants 
 for the lord mayor s show, and whatever money he received was given by the 
 company which employed him ... It is stated by several biographers [of Settle] 
 that the poet received a yearly pension from the City, and by one writer that 
 this amount was 6, but no record has been found to justify such an opinion. 
 
 1 See Nichols s edition of the 1616 Show, p. 16, and Shaw s Plate xi. 
 
 2 This, and the Post-Boy (quoted by Fairholt, pt. i, p. 116) are in the same volume as the 
 London Post. 
 
 3 On 8 October, 1702, the Aldermen unanimously agreed that her Majesty and the Prince 
 of Denmark be invited to dine at the Guildhall on the Lord Mayor s Day (Repertory cvi, p. 
 518); on 20 October, it was ordered that the streets be cleansed, and precautions taken 
 against blocking the traffic with coaches or carts, so that the mayor s procession might not 
 be obstructed or delayed, (ibid., p. 525); on 22 October, the Committee of Entertainment 
 was called to consider whether an invitation to the dinner could be made to the two Houses 
 of Parliament, (ibid., p. 543) and decided there wasn t room (ibid., pp. 548 f.). 
 
 On 19 October, 1703, " This Court being now acquainted that Black Friers Staires is the 
 fittest Place for the Right Hono ble the Lord Major to land in his Returne from Westminster 
 the next Lord Major s day, It is Ordered That his Lordship do land at the said Staires and 
 from thence proceed in his Cavalcade." (Repertory cvii, pp. 574 f.) This does not, of course, 
 prove that there were pageants this year. 
 
 On 17 October, 1704, " It is ordered that the Precept to the Companies to attend the 
 Right Hono ble the Lord Maior Elect and this Court in their Liveries on the Lord Maiors Day 
 as also the Precept for keeping of a double Watch and Ward at the same time be sent out as 
 usual." (Repertory cviii, p. 629.) 
 
 4 Evol. Eng. Drama, pp. 18 f., referring to Overall, Index to Remembrancia, 1570-1664 
 (1888) p. 305, etc. 
 
 5 Ibid., loc. tit., n. 2. 
 
70 ENGLISH PAGEANTRY 
 
 The records of the City of London contain nothing on the subject, and the 
 chamberlain s accounts for the period have been destroyed by fire. There is 
 little likelihood that the Corporation of London ever paid anything to the city 
 poet, or bore any part of the expense of the lord mayors shows. The amounts 
 which the poets received for their work seem to have varied greatly. 1 Much 
 depended, no doubt, on how well the company was pleased with the pageants, 
 and on the financial ability and generosity of the new lord mayor . . . " 2 In 
 1617, Dekker, Munday, and Middleton apparently competed, the two former 
 unsuccessfully, for the civic show; 3 in 1621 and 1623, Middleton and Munday 
 collaborated. 4 The sums paid to the authors indicate that they had to furnish 
 the materials for their shows; and the arrangement seems to have been made 
 between them and the companies. 
 
 That the poets regarded the companies, rather than the city, as being their 
 employers is shown by the Epistles Dedicatory prefixed to their descriptive 
 pamphlets. I need call attention to but a few; in 1674, Jordan addressed the 
 Goldsmiths, (" when by your own Indulgence more than my Desert, I was 
 preferr d to the Honour of this Imployment . . . ") and in 1675, the Drapers, 
 ("Gentlemen your own Urbanity more than my Desert hath exalted my 
 humble Genius to the Advancement of Designing and Describing this Days 
 Triumph . . . ") In his preface to the Drapers in 1676, Jordan calls the Com 
 pany " my Worshipful Patrons, by whom I am employed and gratified." That 
 the " city poet " was not required to give all his time to the city is shown by 
 Jordan s preface to the Grocers in the 1672 pamphlet: "... if the nicety of 
 some Mens Enquiry discover any thing that is irregular or superfluous, I hope 
 you will justly impute it to the brevity of my time, my person being imployed 
 in sundry places, as well as my Pen upon several Subjects." 
 
 1 Brown gives an " Extract from Quires of Warden s Accounts of the Grocers Company, 
 dated July 1692 to July 1693," which shows that Settle received 2, 35. 6d.; and an account 
 of the Vintners Company for 1703 shows that he received 11, is.,6d. See Brown, Settle, 
 pp. 122, n. 5, and 125, n. 4. 
 
 2 Brown, op. cit., p. 28. He notes, p. 29, that Settle was spoken of by a contemporary as 
 " City Poet " in 1717 (Dennis, Remarks upon Mr. Pope s Translation of Homer, Preface); 
 and that, as it was never recognized by the Corporation of the City of London, the office was 
 allowed to lapse with its last occupant in 1724. 
 
 Cyril Davenport, in The Connoisseur, vi (1903) pp. 160-163, 210-12, says that John Taylor, 
 " the water poet," was not officially appointed city poet, of whom the first was Tatham, 
 who superintended the processions from 1657 to 1664. He records the succession of Jordan 
 in 1671, Taubman in 1685, and Settle in 1691 ; but he gives no authorities for his statements. 
 The names Settle and City Poet do not appear in the Repertories between 1691 and 1708. 
 
 3 See above, p. 37. 
 
 4 Withington, "The Lord Mayor s Show for 1623," in Publ. Mod. Lang. Assoc. for March, 
 1915, p. 112. Heming and Dekker collaborated in 1612 (see above, p. 31). 
 
THE LORD MAYOR S SHOW 71 
 
 THE ELEMENTS OF THE LORD MAYOR S SHOWS OF THE xvn CENTURY 
 
 Before we consider the development of this civic show in the eighteenth cen 
 tury, let us glance at the various elements which composed it in the period from 
 Peele to Settle. Many of these will reappear in modern pageantry; this con 
 sideration, then, serves not only to review the past, but to connect it with the 
 present. 
 
 It will not be necessary to emphasize the elaborateness which the physical 
 pageant the car has reached; suffice it to remark that the ship and the 
 " Paradise " of early days had developed into very complicated structures. In 
 1687, a ship of a hundred and forty-five feet in length, with twenty-two guns, 
 rigging, anchors, and " a full complement of men," was shown among the pag 
 eants. 1 The trade-pageant was often very elaborate a good example is the 
 " plantation " in the Grocers Show of i6y8. 2 It must not be forgotten, how 
 ever, that the author s imagination probably ran away with him at times, and 
 lifted him above the facts. 
 
 SYMBOLISM 
 
 Modern pageantry has a certain amount of symbolism; but it is nothing 
 compared to that in these earlier shows. Naturally enough, in the guild pro 
 ductions, the emphasis is on trade-symbolism. Even in the days of the miracle- 
 play, the bakers distributed their bread; the miracle-plays were given by guilds 
 whose trade was appropriate to the show; many of the pageants in the early 
 " royal-entries " bore the marks of the guilds which furnished them; as far back 
 as 1298, the Fishmongers held a procession with what appear to have been mov 
 ing pageants 3 indicative of trade. We should, then, be surprised if we did not 
 find, in the shows of the seventeenth century, a symbolical representation of the 
 guild whose brother is being inducted into the mayoralty. 
 
 UNION OF MYTHOLOGY AND TRADE-SYMBOLISM 
 
 A few examples will suffice to show the character of this trade-symbolism. 
 In London s Tempe* the fourth pageant is called the Lemnian Forge. In it, 
 Vulcan and his servants work at an anvil; a fire is seen in the forge, and the bel 
 lows with other fittings of a blacksmith s shop are in evidence. As the 
 smiths work, they sing in praise of iron, the anvil and the hammer, by the con- 
 
 1 Cf. Fairholt, pt. i, p. 104; this ship was named The Unity of London. 
 
 2 The Triumphs of London, reprinted by Fairholt. See L. M. Pag., pt. ii, p. 164 f. 
 
 3 The fishes. On this, see above, vol. i, p. 124. 
 
 4 Dekker s Show for 1629, reprinted by Fairholt. The mayor of this year was a member 
 of the Ironmongers Company. Cf. above, p. 29 f., where the same pun, made for Sir 
 Thomas Campbell in 1609, is recorded. 
 
72 ENGLISH PAGEANTRY 
 
 cordant sounds of which Tubal Cain became the " first inventor " of music. 
 Cupid and Jove 1 occupy the pageant also; and there is a dialogue between 
 Jove and Vulcan, the former of whom upbraids the latter for making his 
 men work on a holiday! He ends by saying that it is high time to get rid 
 of Pride, Ambition, and Avarice and that Iron is the only thing which 
 can do this. 
 
 Here we find an interesting combination of mythology and trade; but this 
 pageant does not contain all the symbolism of the show. The second " presen 
 tation " was a proud swelling sea, on whose waves is borne a sea lion, " in regard 
 it is one of the supporters of the East Indian Company, of which his Lordship is 
 free." 2 The fifth " presentation " called " London s Tempe, or the Field of 
 Happiness," with the usual pun on the mayor s name (" Le Beu Champe," 
 Champ bel Campbell) had on the top of all a lion s head, the Lord 
 Mayor s crest. In Heywood s Londini Status Pacatus 3 the fourth show is a 
 chariot drawn by two camels; "and though the pelleted Lyons might have 
 serv d more properly to this place, as being supporters of the Armes belonging 
 to the Right Worshipfull Company of the Drapers; yet these are as genuine to 
 the purpose : to show his Lordships generall negotiation in all kinds of Merchan 
 dise whatsoever." We may recall the ship of 1602 " proper and very apt for 
 this occasion and time," 4 which appeared with the lion and camel, crest and 
 supporters of the Merchant-Taylors arms. It is possible that this ship was later 
 given another trade-signification, being made applicable to the Drapers under 
 the name of the Argo. 
 
 The first pageant of Porta Pietatis 5 was presented by Proteus in a beautiful 
 sea-chariot " decored with divers marine nymphs," etc. He sat on a tortoise, 
 which lives both on water and on land; symbolizing the fact that the mayor was 
 a merchant, trading with Turkey, Italy, and France, as well as late governor of 
 the East India Company. The first land show of this triumph was a shepherd 
 with dog and hook; about him his flock, some feeding, some resting, occu 
 pied a platform adorned with flowers. The third show, symbolizing the mer 
 chants trade, was a ship, full-rigged. 
 
 The " drolls," or singers, dancers, and tumblers, who occupied a stage in 
 many of the seventeenth-century Lord Mayor s Shows, were commonly given 
 a trade-complexion, being dressed as planters if the mayor were a Grocer, or as 
 shepherds if he were a Draper, or as Cyclopes if he were an Ironmonger. 
 
 1 Possibly these figures were attracted by Vulcan. 
 
 2 Practically every show contained the animals which were crest and supporters of the 
 arms of the Company who footed the bills. It is not necessary to emphasize this point. 
 
 3 Works (1874) v, p. 368. 
 
 4 Cf. above, p. 27. 
 
 6 Heywood s Show for 1638; reprinted by Fairholt. The mayor was a member of the 
 Drapers Company. 
 
THE LORD MAYOR S SHOW 73 
 
 Further examples of the union of mythology and trade-symbolism may be 
 indicated. In Middleton s Triumphs of Love and Antiquity 1 we find " a wilder 
 ness most gracefully and artfully furnished with divers kinds of beasts, bearing 
 fur . . . the presenter, the musical Orpheus ..." who delivers a flattering speech. 2 
 Among the worthies who sat in the " Chariot of Honour," which opened Middle- 
 ton s Sun in Aries, 3 were Jason, Hercules, Alexander, and Caesar. Jason, " most 
 proper by his manifestation," -the Golden Fleece, addressed the mayor. 
 In 1623, Munday introduced the Argo into Middleton s show for Sir Martin 
 Lumley, Draper; 4 this subject has been popular with the Drapers since the 
 entry of Charles V in 1522; the original reference to the Toison d Or was quickly 
 turned into trade-symbolism, and from the Midsummer Show it crept into the 
 civic pageantry. 5 
 
 In 1702, Bacchus appeared in the Vintners Show; 6 in 1692, Neptune, Thetis, 
 Mercury, and Pallas as being the four requisite for the management of the 
 Grocers traffic " through all parts of the Universe " - appeared in the Temple 
 of the latter. 7 These shows are full of mythology to which a trade-symbolism 
 has been given, and it is useless to cite more examples. 
 
 THE COMPANIES SYMBOLICALLY REPRESENTED 
 
 In Dekker s Troia Nova Triumphans 8 twelve men, representing the twelve 
 " superior companies " each carrying a shield with the arms of one of the 
 guilds rode as guardians of Virtue before her throne. The chariot of Indus 
 try, in Jordan s London s Royal Triumph of 1684 " contained twelve female 
 characters, allegorical of the twelve companies, with appropriate names, habits, 
 and shields." In 1615, the principal pageant of the show represents London 
 and her twelve daughters the twelve Companies. 10 Symbolism permeates 
 
 1 His Show for 1619, written for the inauguration of Sir William Cockayn, Skinner. Re 
 printed by Dyce, Bullen, and in Nichols, Prog. James. 
 
 2 Orpheus appeared in similar surroundings in Jordan s Show for 1671, cf. above, 
 p. 51. The earliest instance of his appearance I have found in these triumphs is in 1561, 
 when, with Amphion, Arion, Jopas, and David, he welcomed Sir W. Harper, the lord mayor. 
 One might imagine that the presence of mythology in these shows was originally due to a 
 pun on the mayor s name! On this 1561 Show, see above, p. 18 and n. 2. 
 
 3 The Show for 1621, for Sir Edward Barkham, Draper. Reprinted by Dyce, Bullen; and 
 Nichols in Prog. James. 
 
 4 See my article, The Lord Mayor s Show for 1623, already cited. Jason, Medea, and the 
 Argo appeared in 1615, (cf. article cited, p. 113, n. 2.) 
 
 5 Cf. above, vol. i, pp. 40 and 176. 6 Fairholt, pt. i, p. 121. 
 
 7 The pamphlet is reprinted by Heath (3d ed.) pp. 551 f. 
 
 8 The Show for 1612; see above, p. 32 . 
 
 9 Fairholt, pt. i, p. 100, citing Herbert. These are described in the pamphlet for this year; 
 see above, p. 61. 
 
 10 Munday s Metropolis Coronata, the Show for 1615, was reprinted by Nichols in Prog. 
 James, iii, pp. 107 f. 
 
74 ENGLISH PAGEANTRY 
 
 these shows, and most though not all of it is naturally connected with 
 trade. Even that, however, is softened by an appropriate mixture of classical 
 mythology, or allegory. 
 
 PERSONIFICATION: CITIES, CONTINENTS, RIVERS; TIME, 
 THE SEASONS, AND MONTHS 
 
 In Jordan s London in Luster the Show for 1679 the twelve months sur 
 round Time; and Opportunity says: " The twelve months which these persons 
 represent Contain the limits of your government ; . . . the Shields (on which their 
 honour much relies) Contain the Arms of the Twelve Companies. . . . Advance, 
 true Virtue, punish every Crime, Y have but a year to rule, This is the Time." 1 
 Janus s speech in Heywood s Londini Status Pacatus 12 might have served as a 
 model for it. The four seasons surround Janus, who speaks: 
 
 " I, Janus, the year s father in my prime . . . 
 Hither my servants, the four seasons, bring . . . 
 These four succeeding seasons I resign 
 Unto your charge; (which I before called mine) 
 To the twelve months, most aptly may comply 
 Your twelve chief companies . . ." 3 
 
 In 1677, Jordan introduced " the Temple of Time," on which was Time himself, 
 attended by the Four Quarters of the year, Winter, Spring, Summer, and 
 Autumn. Round about him sat six persons a Minute, an Hour, a Day, a 
 Week, a Month, and a Year. 4 It will be recalled that Time appeared in some of 
 the " royal-entries " - notably in the first progress of Queen Elizabeth through 
 London. 5 
 
 The personification of cities including such figures as the Genius of the 
 City was not unknown in Elizabethan pageantry; at Norwich, in 1578, " the 
 Commonwealth of the Citie " and Norwich herself, appeared. 6 London ap 
 peared in Peek s Show for 1585; 7 in 1613, a " reverend Mother " represented 
 the city in Middleton s Triumphs of Truth* Londons lus Honorarium, Hey 
 wood s Show for 1 63 1, 9 included " the prime Lady seated in the first and most 
 eminent place of the Chariot, [who] representeth London, behind whom, and on 
 either side, diverse others of the chief e Cities of the Kingdome take place: As 
 
 1 See the descriptive pamphlet, p. 5 ; Fairholt, pt. i, p. 90 f . 
 
 2 The Show for 1639; reprinted in his Works (1874) v, p. 355 f. 3 Op. cit., p. 365. 
 
 4 London s Triumphs for 1677 has not been reprinted; but these characters are described 
 by Fairholt, pt. i, p. 88. 
 
 We shall discuss Miss Rossetti s Pageant of the Months in a later chapter. 
 
 5 See above, vol. i, pp. 201, and 202. 
 
 6 See above, vol. i, p. 211. Elsewhere the relation of these figures to the "mythical 
 founder " is suggested; see vol. i, p. 81 f. 
 
 7 See above, p. 24. 9 Works (1874) iv, pp. 274 f. 
 
 8 Reprinted by Dyce, Bullen, Heath, and Nichols in Prog. James, ii, pp. 679 f. 
 
THE LORD MAYOR S SHOW 75 
 
 Westminster, Yorke, Bristoll, Oxford, Lincolne, Exeter, &c. All these are to be 
 distinguished by their several escutcheons; to them London being speaker, 
 directeth the first part of her speech." Chester was personified in a " royal- 
 entry " of I6IO; 1 Britannia and Genius Urbis greeted James in 1604; 2 the 
 " genious of the citie " welcomed Christian IV on his way through London. 3 
 London or the Genius of the City, sometimes under the name Augusta, appeared 
 in the shows of 1628; 1639; 1662; 1689; 1694; 1700; 1616, and in Civitatis 
 Amor (1616), when Charles was made Prince of Wales. In 1678, six Indian 
 cities were " represented." 4 
 
 Countries and Rivers appeared often in these civic shows ; the four Quarters 
 of the World were also common. In 1622, came " The Continent of India . . . 
 replenished with all manner of spice-plants and trees bearing odour " on which 
 a black person, representing India, called the Queen of Merchandise, was at 
 tended by Indians in antique habits. " Commerce, Adventure, and Traffic, 
 three habited like merchants," follow the black queen s speech. 5 In 1605, 
 Britannia, Leogria, Cambria, and Albania appeared; in 1691, Albion, Germania, 
 Hispania, and Batavia. In 1671, Africa was represented by a " female negra; " 
 Asia and Africa appeared in 1658; all four continents in i694. 6 
 
 A few examples of personified rivers may be given: the Thames, naturally, 
 appears often, we find him in 1585; in 1605, with the Severn and Humber; 
 with the Tiber and Indus in 1694; and Neptune, with the Thames, Danube, 
 Rhine, and Tiber occupied the second pageant of the 1701 show. The Boyne, 
 Shannon, Rhine, and Danube, " signifying the present seats or scenes of war, 
 of which the entire pageant is an emblem," appeared in 1691. 7 
 
 Closely allied to such figures as India, London, and Africa, are the negroes, 
 Indians, sea-captains, and sailors 8 who recall the mayor s trading interests, and 
 the lands with which he deals. 
 
 1 See above, vol. i, p. 230. The same year, Cornwall and Wales were personified at London, 
 to welcome Prince Henry (vol. i, p. 231). 
 
 2 See above, vol. i, p. 223. 
 
 3 See above, vol. i, p. 228, n. i. These last three instances of personification are not, it 
 is true, taken from the civic shows; but they serve to indicate another thread which binds 
 these triumphs to the " royal-entry," which they displaced. 
 
 4 Fairholt, pt. ii, p. 162. There is no need of citing more instances. 
 
 6 Middleton s Show for 1622 is reprinted by J. L. Pearson in Shaks. Soc. Papers (1845) 
 i, p. 93; also by Bullen. 
 
 6 It is not necessary to give more examples of these personifications. As we shall see, 
 later, Britannia and France appeared in 1905; Egypt, Greece, Rome, and Britain in 1904; 
 India in 1884, Australia in 1890, etc. Britain and the Colonies were personified in Britannia s 
 Muster of 1910 (see below, p. 188). 
 
 7 We shall find the Thames, Sabrina, Avona, and the Chelt, in the Gloucestershire Pageant 
 of 1908. The New River was symbolized by a giant in the Lord Mayor s Show of 1913. 
 
 8 Cf. on these last, the ship s master, mate, and boy of the 1605 Show; they are linked 
 to symbolism by their ship, the Royal Exchange. Cf. the soldier and the sailor with such 
 
76 ENGLISH PAGEANTRY 
 
 A European, an Egyptian, and a Persian appeared in the 1659 Show; x in 
 1617 a Frenchman in a French speech, followed by its translation wished 
 " le comble de toutes nobles et heureuses fortunes " to " Monseigneur le Maire " 
 and "la tres honorable societe* des Grociers." He was followed by a Spaniard, 
 who gave his good wishes also in his native tongue ; their joy was echoed by the 
 silent joy of an Englishman, an Irishman, a Turk, a Jew, a Dane, a Pole, a Bar 
 barian, and a Russian or " Muscovian." 2 Representing a country by a figure 
 portraying an inhabitant of that country, is much the same thing as personifi 
 cation; but the personification is not, perhaps, so closely allied to symbolism 
 or allegory. 
 
 TYPES STANDING BETWEEN ALLEGORY AND THE INDIVIDUAL 
 
 Such figures as Hoyden and Freeman and Oliver in the Jordanian " inter 
 lude " may have suggested the allegorical figures of Rus and Urbs; but they 
 are really men from the life of the times, and only as types tend to be symbolic. 
 Like the Frenchman and Spaniard of 1617, and the foreigners in James s coro 
 nation triumph, 3 who tended to symbolize the nations they represented, rather 
 than to stand out as individuals, Billet and Swab are types, as are the negroes 
 and Indians, who are not far from Africa and India. Perhaps the six Cities of 
 1631 are on the line between symbolical representatives and representative types. 4 
 The technique of this older kind of pageantry prevents any character from being 
 individualized all must, of necessity, be colorless; hence, even those which tend 
 to become individual are driven back into symbolism. 
 
 It is true that Hoyden and Freeman are not strictly speaking characters 
 in the Lord Mayor s Show. The " interludes " were presented during the ban 
 quet, and the characters could have been individualized. That they are not, is 
 partly due to the songs and singing, as in the opera today, militates against 
 " convincingness of characterization " - and partly to the fact that the " moral 
 ity " flavor of the shows penetrated to these interludes, all of which teach the 
 mutual dependence of town and country, and the need both have for the soldier. 
 It is largely this didactic quality which keeps the characters in the interlude 
 " typical." 
 
 figures as the Country, Thames, Loyalty, and Science in Peek s Show for 1585. They are 
 at most types and really abstractions. Hoyden and Freeman in the Jordanian " in 
 terlude " are types almost individualized. 
 
 1 Reprinted in Heath (3d ed.) pp. 466 f. 
 
 2 Middleton s Show for this year is reprinted by Dyce, Heath, and Bullen. 
 
 3 See above, vol. i, p. 224. 
 
 4 Always assuming, of course, that they are not delegates from the cities named. See above, 
 P- 75- 
 
THE LORD MAYOR S SHOW 77 
 
 ALLEGORY 
 
 Openly symbolic, of course, are the allegorical characters which permeate 
 these shows. Ever since Nature, Grace, and Fortune gave Henry VI " gostly 
 giftes " at his coronation in I432, 1 allegory has been an important part of this 
 form of literary expression. We have seen that it was plentiful in the days be 
 fore the Lord Mayor s Shows; and in them it is abundant. The strong morality- 
 play flavor which these shows have, is entirely due to their allegorical seasoning. 
 It is not worth while to cite many examples of this ingredient, for it is all-pervad 
 ing. 2 Peele s earliest show gave us Magnanimity, Loyalty, and Science; in 
 1591 we find Nature, Hope, Faith, and Honour, while Superstition and Ignorance 
 are represented by two of the Roman Church. In Dekker s Show for 1612, the 
 second " land-triumph " was the Throne of Virtue, on the top of which sat Vir 
 tue herself, and beneath her the Seven Liberal Sciences. 3 In 162 2, 4 in Soper 
 Lane " two parts of the triumph stand ready planted; viz. the Throne of Vir 
 tue and the Globe of Honour, which Globe suddenly opening and flying into 
 eight cants 5 or distinct parts, discovers in a twinkling eight bright personages, 
 most gloriously decked, representing, (as it were,) the inward man . . . Clear 
 Conscience, Divine Speculation, Peace of Heart, Integrity, Watchfulness, Equal 
 ity, Providence, 6 Impartiality, each exprest by its own proper illustration." 
 
 In Tatham s Show for 1660, The Royal Oak, 7 the Lord Mayor is entertained 
 at the end of Cheapside by a " sceane " which is a chariot drawn by a lion and 
 a lamb; it is driven by Time, and contains Peace, Truth, and Plenty. The 
 driver of the chariot addresses the mayor, showing that in time all come into 
 their own, that treachery is discovered, and Treason cannot last. 8 From the 
 
 1 See above, vol. i, p. 144. 
 
 2 Occasionally the morality element is attached to mythology, as in Heywood s Londons 
 lus Honorarium (Works [1874] iv, p. 271 f.) where Ulysses, who personates a wise and discreet 
 magistrate, delivers the speech upon the water. As the Mayor s barge goes between two 
 rocks, representing Scylla and Charybdis, on which are placed the Sirens, Ulysses warns 
 the mayor to keep the " even Channell and be neither swayde to the right hand nor left, and 
 so evade Malicious envie . . . smooth visadgd flattery, and black mouthd detraction, sedition 
 ... all ambushing the god-like Magistrate." 
 
 3 We have seen them in " royal-entries " as early as 1432 (see above, vol. i, p. 145) and 
 in 1547 (see above, vol. i, p. 186,); and shall find them at Oxford in 1907, at Boston in 1908, 
 (see below, pp. 223 and 283). They appeared in the 1612 Show (see above, p. 32); they 
 surrounded Janus in the fourth pageant of the 1687 Show, and Minerva in the first pageant 
 of that of 1676. [Neither of these has been reprinted; but mention of the Sciences is made by 
 Fairholt, pt. i, pp. 85 and 104.] 
 
 4 Middleton s Triumphs of Honour and Virtue, reprinted by Bullen, vii, p. 365. 
 
 5 Pieces (Bullen). 
 
 6 Meaning, of course, foresight. 
 
 7 Reprinted by Fairholt, pt. ii, pp. 87 f . 
 
 8 Fairholt, pt. ii, pp. 103 f. 
 
y8 ENGLISH PAGEANTRY 
 
 next scene, the mayor is greeted by another Peace, 1 who having with Truth 
 been exiled has now returned to flourish. Justice, Power, and Obedience 
 were included in the show which Settle had planned for lyoS. 2 These random 
 selections from the earliest and latest of the Lord Mayor s Shows are enough 
 so indicate how wide-spread the allegory is. With it we have the didactic char 
 acter of the morality-play a quality which is much weakened when speech 
 disappears from the triumphs. 
 
 ALLEGORY AND HISTORY 
 
 Almost as pervasive as the allegory and mythology in these shows is the his 
 tory though this is usually confined to the past of the Company giving the 
 show. Again, it will not be necessary to cite more than a few examples of this 
 element, which is often linked to allegory, as in Middleton s Show for 1623, The 
 Triumphs of Integrity. At the Little Conduit in Cheap stood a chariot " artfully 
 framed and properly garnished . . . and on the conspicuous part thereof is placed 
 the register of all heroic acts and worthy men bearing the title of Sacred Memory, 
 who for the greater fame of this honourable fraternity [the Drapers] presents the 
 never-dying names of memorable and remarkable worthies of this ancient so 
 ciety." Sir Henry Fitz-Alwin sat figured under the person of Government; Sir 
 John Norman under the person of Honour; Sir Francis Drake under that of 
 Victory; Sir Simon Eyre 3 under that of Charity; Sir Richard Champion and 
 Sir John Milbourne under Munificence or Bounty; Sir Richard Hardell and Sir 
 John Poultney under Justice and Piety. 4 The chariot was drawn by lions, the 
 supporters of the Company s arms, mounted by two riders representing Power 
 
 1 It was not uncommon to represent the same character twice in the same show. 
 
 2 This has not been reprinted; cf. Fairholt, pt. i, p. 123. 
 
 3 Simon Eyre was the name of the shoemaker-mayor of London in Dekker s Shoemaker s 
 Holiday. The real Simon Eyre died 18 September, 1459; see Stow s Survey (ed. Kingsford, 
 
 i, P- 154). 
 
 4 Cf. Bullen s Middleton, vii, p. 342 for another list of the same worthies in very much 
 the same language. The Triumphs of Integrity repeats The Sun in Aries. Fame sounds the 
 praises of the Drapers in the latter show: Antiquity, " the register of Fame," contains " in 
 her golden legend their names and titles." 
 
 In the 1626 Show (Bullen s Middleton, vii, pp. 403 f.) was a " Sanctuary of Prosperity " 
 on the top arch of which hung the Golden Fleece (the mayor being a Draper) recalling Sir 
 Francis Drake, " that most famous and renowned brother of this company . . . who never 
 returned to his country without the golden fleece of honour and victory: the four fair Corin 
 thian columns or pillars imply the four principal virtues, Wisdom, Justice, Fortitude, Tem 
 perance." (Ibid., p. 406. These were usually personified.) A " speech in the Sanctuary upon 
 the Fleece," lauds Sir Francis, " England s true Jason." Passing from this, the mayor and 
 his company were taken to the Chariot of Honour, where Sir Henry Fitz Alwin illustrated 
 Government, Sir John Norman, Munificence, Sir Simon Eyre, Piety, " et sic de ceteris," 
 (p. 407). Again, lions, mounted by Power and Honour, drew the chariot. Fitz Alwin ap 
 peared in the 1615 Show. 
 
THE LORD MAYOR S SHOW 79 
 
 and Honour. 1 Memory delivered the speech, calling to mind the advantage of 
 a fame built on virtues over an age which " sits laughing upon heaps of gold." 
 
 In this same show appeared, in St. Paul s Churchyard, the Mount Royal, 
 " on which are placed certain kings and great commanders, which ancient his 
 tory produces, that were originally sprung from shepherds and humble begin 
 nings: only the number of six presented; " which were Viriat, Arsaces, Marcus 
 Julius Lucinus, Bohemia s Primislaus, the Emperor Pertinax, and Tamburlaine. 
 A speech from the mount explained the part that Virtue played in raising the 
 great from the humble. 2 Here the morality element attaches itself to history 
 as (with Ulysses in 1631) it had to mythology. 3 
 
 The historical element in these shows is doubtless an inheritance from the 
 " royal-entry," stimulated by obvious opportunities for recalling the glorious 
 past of the Companies. 4 In The Sun in Aries, Tame salutes the mayor from the 
 " master triumph," the Tower of Virtue; and when he is done, " one in a cloudy, 
 ruinous habit, leaning upon the turret, at a trumpet s sounding suddenly starts 
 and wakes, and in amazement throws off his unseemly garments." His speech 
 is an historical resume, and a welcome to the mayor. 5 In the following year, 
 Middle ton provided a Chariot of Fame, " which awaits his Honour s approach 
 near the Little Conduit in Cheap," where " Antiquity, a grave and reverend 
 personage with a golden register-book in his hand," recalled the past. 6 
 
 Sir John Hawkwood, an old Merchant-Taylor, appeared in i68o, 7 and again 
 
 1 Bullen, vii, pp. 388 f. 
 
 2 Such combinations as an allegorical Virtue treading an historical wrong-doer under foot 
 as seen at Edinburgh in 1503, for example show the combination of allegory and history 
 in the " royal-entry." The Liberal Sciences were sometimes as in 1432 represented by 
 historical figures as well as allegorical, or symbolical, personifications. 
 
 In 1676, the second pageant was a Chariot "according to the Scythian mode of Building," 
 upon whose eminent seat was mounted Tamburlaine; he was attended by Discipline, Con 
 duct, Courage, and Victory, " properly arrayed." The chariot was drawn by two golden 
 lions, the supporters of the Company s arms. Tamburlaine addressed the mayor. 
 
 In the same show, on the first pageant, at Minerva s feet was " a grave personage, repre 
 senting Government, in the shape of the old Roman orator Cicero." (My citations are from 
 the descriptive pamphlet; but mention of these matters is made by Fairholt, pt. i, pp. 85 
 and 86.) 
 
 Tamburlaine, as one of Marlowe s characters, appeared in the 1908 Show (see below, 
 
 P- 135)- 
 
 3 See p. 77, n. 2. 
 
 4 As examples of history in the " royal-entry," it will suffice to recall the six Henries at 
 York in 1486; the Philips of 1554; Charlemagne in 1522; Edward and the nine Worthies 
 at Coventry in 1456; Richard at Coventry in 1474, and Alphonso, Job, and Boethius in 1501. 
 
 5 Bullen s Middleton, vii, pp. 344 f . In the Chariot of Honour, this same year, Alexander 
 and Caesar appeared with Jason and Hercules a mixture of history and mythology. 
 
 6 The Triumphs of Honour and Virtue, the Show for 1622. Bullen s Middleton, vii, p. 360. 
 
 7 This pamphlet of Jordan s has not been reprinted; the figure of Sir John is recorded by 
 Fairholt, pt. i, p. 93. The pamphlet reads: " On the lowest seat [of the first pageant, which 
 
8o ENGLISH PAGEANTRY 
 
 in 1693 where he occupied a place on the fifth pageant. 1 Sir William Wai- 
 worth was a popular figure in these shows. In 1616 he made an extraordinary 
 resurrection, summoned from the tomb by the " Genius of the City." 2 The 
 fifth pageant of this show was " a goodly Bower, shaped in forme of a flowrie 
 Arbour, and adorned with all the Scutchions of Armes of so many worthy men, 
 as have been Lord Maiors 3 of the Fishmongers Company and each mans name 
 truely set downe on them. It is appointed first to stand in Paules Church-yard: 
 And at such a place as is thoght most convenient. In this Bower is a faire Tombe, 
 whereon in Armour lyeth the imaginary body of Sir William Walworth, some 
 time twise Lord Maior of London, and a famous Brother of the Fishmongers 
 Company. The reason of this conceit, aimeth at that tempestuous and trouble 
 some time of King Richard the Second, and the fourth yeare of his Raigne, whose 
 life, Crowne, and Dignitie . . . were manfully defended and preserved by that 
 worthy man Walworth." Five mounted knights in armour attended him; 4 
 " London s Genius, a comely Youth, attired in the shape of an Angell, with a 
 golden Crowne on his head, golden Wings at his backe, bearing a golden Wand 
 in his hand, sits mounted on Horsebacke by the Bower; 5 with an Officer at 
 Armes, bearing the Rebels head on Walworth s Dagger." Upon the mayor s 
 arrival, the Genius struck Walworth with his wand, and the latter arose from his 
 tomb to address the new executive. 6 Sir William also appeared in 1700, when 
 " a Cavalcade is Perform d by several Persons Riding in Armour, viz. the first 
 the Sergeant at Mace, Arm d Ca-pa-pee (sic), bearing the Head of Wat Tyler on 
 a Bloody Spear. The next the famous Sir William Walworth, Arm d likewise 
 Cap-a-pee, and the other Five being so many Aldermen, also all in Rich Armour; 
 these all mounted on Manag d Horses, most Richly Caparison d, &c. march 
 before the last Pageant, being the Fifth Pageant, the Chariot of Honour." 7 
 
 is otherwise occupied by male allegorical figures] alone sitteth an ancient English Hero, 
 habited in Antick Habiliaments of War, such as were worn by the Chief Commanders: under 
 the Conduct of Edward the Third, when he conquered France, whose Name was Sir John 
 Hawkwood, a Merchant-Taylor." Sir John addressed the mayor. 
 
 1 See the descriptive pamphlet, which has not been reprinted. Fairholt had not been 
 able to find a copy (pt. i, p. 112); one is now in the Brit. Mus. 
 
 2 For a full account, with illustrations, see J. G. Nichols s ed. of Chrysanaleia, with Shaw s 
 plates made from contemporary drawings. On p. 18 (plate v) this pageant is described. 
 
 3 In the first pageant of Settle s Show for 1699, Triumph sat surrounded by the escut 
 cheons of twenty Lord Mayors, members of the Haberdashers Company. 
 
 4 They represented the five knighted with him on the field, after Wat Tyler was slain. 
 (See Nichols s ed., plates vii and viii.) 5 Ibid., plate x. 
 
 5 The last grand pageant of this show, " drawne by two Mare-men and two Mare-mayds, 
 as being supporters to the Companies coate of Armes [Plates xi and xii] " contained a vic 
 torious angel at the top, beneath whom sat Richard II, surrounded by impersonations of 
 kingly virtues. 
 
 7 Descriptive pamphlet, p. 5. Cf. Fairholt, pt. i, p. 116, citing the Post Boy. Cf. above, 
 p. 68. 
 
 Fame occupied the highest seat of this " Chariot of Honour "; before her sat Richard II 
 
; *2 *7 -? v_ Y. T^Qr- * ji ^-flSi^^^W -TJ Ti -rT"* 1 ^ i>^-~S,, 
 
 
 la AJHT i-^ri-^ \ "j^m\ - J - 1 -A\ ___^ 
 
 SIR WILLIAM WALWORTH IN THE 1616 SHOW 
 
THE LORD MAYOR S SHOW 8 1 
 
 In Dekker s Show for 1612, Fame welcomed the mayor, and gave a list of 
 kings who had been members of the Merchant-Taylors Company; in i66o, the 
 mayor was entertained " by a pageant or scean " representing a royal tent, in 
 front of which sat Henry VII holding the first charter of the Merchant-Taylors 
 guild. A " Soldier-senator " occupied a lower seat; his speech referred to the 
 past great members of the Company, and gave thanks for the return of Charles. 
 
 There is as we have noted 1 considerable real and fictitious history re 
 told in Munday s show for 1605; former mayors occupied the Castle of Fame 
 or Honor in 1617, and in 1619 there was a Sanctuary of Fame, on which twenty- 
 six bright-burning lamps represented the twenty-six Aldermen; Example, who 
 sat on the structure, assured the mayor that he would find a place in the Temple 
 where the members of his company who have preceded him in office were " en 
 rolled. " 2 
 
 The mayor was then taken towards the Parliament of Honour, near St. 
 Laurence Lane-end, where Antiquity saluted him, and called attention to 
 
 " . . . this mount of royalty, by kings grac d 
 
 Queens, prince, dukes, nobles, more by numbering gain d 
 
 Than can be in this narrow sphere contained; 
 
 Seven kings, five queens, only one prince alone 
 
 Eight dukes, two earls, Plantagenets twenty-one: 
 
 All these of this fraternity made free," etc. 3 
 
 " In former times," says Fairholt, "these pageants and their allusions con 
 nected themselves in no small degree with the history of the country, and its 
 political movements; and shadowing forth as they do, the opinions of the me 
 tropolis, they are worthy of more attention than may be at first imagined, by 
 persons who only know them through the expiring relics now yearly exhibited." 4 
 
 trampling Insurrection under his feet. Conduct, Prudence, Temperance, and Vigilance sat 
 around him, and in front Augusta bore the City sword, and the City Arms. Settle echoes the 
 old error (Pamphlet, p. 6) in Augusta s speech: 
 
 " Walworth made War and Conquest at a Blow 
 With that Great Deed proud Albion s Annals fill d, 
 His bloody Steel adorns my Glorious Shield." 
 
 Fairholt points out (pt. i, p. 116, n. 2) that the sword of St. Paul not the dagger of 
 Walworth is on the shield of London. 
 
 1 Above, p. 29. 
 
 2 Among them was Sir Henry Barton, who first had lights hung out in the city " for the 
 safety of travellers and strangers." Sir Wolstone Dixie also appeared. It is not quite clear 
 whether the mayors (named in Bullen s ed. of Middleton, vii, p. 322) were represented by 
 living figures, or whether their names were written on the Sanctuary. Of course the emphasis 
 on history is almost as strong if the latter were the case. 
 
 We shall see that former lord mayors and kings appeared in the 1884 Show; cf. also 
 those of 1895, 1906, and 1913 (below, pp. 127, 132, and 138). 
 
 3 Bullen s Middleton, vii, p. 324. The list is given more in detail, ibid., pp. 325 f. 
 
 4 Op. cit., pt. i, p. ii. 
 
82 ENGLISH PAGEANTRY 
 
 Most of the history, which we have found so largely mixed with allegory that 
 it is impossible entirely to extricate it, is brought into the seventeenth-century 
 shows to glorify the Company which is meeting the expenses of the inauguration. 
 Just how far the triumphs shadow forth the opinions of the metropolis is, I 
 think, doubtful ; it is even dubious how far they reflect the real opinions of their 
 authors: but they are instructive as giving us a glimpse of the customs of the 
 past, as showing us the kind of thing the people of the century swarmed to see. 
 
 BIBLICAL CHARACTERS, AND SAINTS, IN THE SHOWS 
 
 The " royal-entries " before 1500 included Biblical, as well as historical and 
 allegorical characters; the early Lord Mayor s Shows were largely religious. 
 John the Baptist appeared in I553, 1 and again in 1554; 2 in 1561 David appeared 
 with Orpheus and Amphion to honor Sir W. Harper. 3 In 1568 John the Baptist 
 appeared again, 4 as the patron-saint of the Merchant-Taylors Company. 5 Just 
 as the morality-play substituted allegorical characters for the earlier individuals 
 of the Biblical " mysteries," so in pageantry the development was from Biblical 
 characters to abstractions. The reason for this is obvious; for unless a Biblical 
 character were appropriate to the Company providing the show, he could not 
 hold his place. Symbolism is at the bottom of these triumphs; and allegorical 
 figures are more easily made symbolic than are Biblical characters. 
 
 It is not long before the only Biblical characters who appear are the patrons 
 of the Companies; or if we may class the saints with Biblical characters 
 the national patrons of Britain. In 1609, St. Andrew, riding a unicorn, and 
 St. George, his dragon, appeared " vnited now in enduring amitie." 6 The seven 
 Champions of Christendom appeared in the Show for 1681; 7 and the Mercers 
 Virgin was seen more than once, 8 sometimes on horseback, more often in her 
 chariot. The Eight Beatitudes appeared in 1623 ; 9 "near the entrance of 
 Wood Street, the Imperial Canopy (being the Drapers arms) is planted, and the 
 rest about the Cross, the Imperial Canopy covered the Eight beatitudes 
 ( Beati pacifici, being the king s word or motto, is set in fair great letters near 
 the uppermost of the three crowns) as the King must not be forgotten in the tri- 
 
 1 See above, p. 14. 3 See above, pp. 18, and n. 2; 19, and n. i. 
 
 2 See above, p. 15. 4 See above, p. 21. 
 
 6 In 1553, a Merchant-Taylor was inaugurated; but in 1554 the mayor was a Grocer. 
 
 6 See above, p. 30. 
 
 7 This is reprinted by Heath (3 d ed.) pp. 536 f. The saints are: George, for England; 
 Andrew, for Scotland; Dennis, for France; Patrick, for Ireland; David, for Wales; James, 
 for Spain, and Anthony, for Italy. The latter was the patron of the Grocers. 
 
 8 The Virgin appeared with the Drapers Company in 1638; with the Mercers in 1655; 
 in 1686; and in 1701. (See Fairholt, pt. ii, p. 75; pt. i, pp. 64, 102, and 117 f.) 
 
 9 It will be recalled that they took part in Elizabeth s royal passage across London in 
 1559 (see above, vol. i, p. 201). These figures may be a development of the 1522 " scripture " 
 (cf. vol. i, p. 177). 
 
THE LORD MAYOR S SHOW 83 
 
 umph of his great substitute." 1 In the second pageant of Jordan s London in 
 Luster written for the Drapers in 1679 sat David, attended by various 
 shepherds and shepherdesses: Vigilius, Precaria, Canonicus, Evangelia, Ortho- 
 doxus, and Protestantia, among others. 2 His speech began: 
 
 " I represent that shepherd whose abode 
 Was Palestine, One who Divinely trod 
 And said, My Shepherd is the Living God." 
 
 St. Martin, patron of the Vintners , received the mayor on his return from 
 Westminster in iyo2; 3 St. Dunstan, with a goldsmith s forge, and workmen 
 about him, defied the devil seizing him by the nose with his tongs in the 
 1674 Show, 4 and St. Katharine, patroness of the Haberdashers, sat surrounded 
 by her servants some carding wool, some spinning, others knitting caps, 
 while a shepherd kept his sheep in the background on the " maine Pageant " 
 of the 1620 Show. 5 In 1631, St. Katharine occupied a place in the Palace of 
 Honour, whence she addressed the mayor; 6 and she appeared also in 1637 an d 
 1699. 7 
 
 CLASSICAL CHARACTERS 
 
 We have already noted the important part played in these shows by mythol 
 ogy; but occasionally we find classical characters which are rather historic than 
 mythological. Pythagoras delivered the first speech and " Linvoy " in London s 
 Mirror; 8 Aristotle, Plato, Socrates, and Diogenes, with " a Learned woman 
 called Diotema" occupied the "Academy of Sciences" in 1681; Diogenes 
 emerged from his tub to address the mayor, 9 he is connected with the Grocers 
 through his currant-butt. 
 
 There were forty lictors in Roman habits, with masked faces of silver, in 
 Taubman s Show for 1686 ; 10 they escorted the "Imperial Triumphant Chariot 
 
 1 Bullen s Middleton, vii, p. 392. 
 
 2 See the Pamphlet, pp. 9-12, and Fairholt, pt. i, p. 91. 
 
 3 Fairholt, pt. i, p. 118. The saint is attended by twenty satyrs dancing before him; 
 two persons in rich liveries walk by his horse; ten " halberteers " and ten Roman lictors 
 escort him, and several cripples and beggars, supplicating for his charity, follow him. As 
 Fairholt points out, Settle is blind to the absurdities of this group. 
 
 4 St. Dunstan is the patron of the Company. He appeared in 1611 (see above, p. 31); 
 in 1687 (Fairholt, pt. i, p. 103); and was to have appeared in 1708 (ibid., p. 123). 
 
 5 This is reprinted in Prog. James, iii, pp. 619 f.; cf. Fairholt, pt. i, p. 47. 
 
 6 Fairholt, pt. i, p. 56. 
 
 7 Cf. Heywood s Works (1874) iv, p. 308; Fairholt, pt. i, pp. 58 and 116. 
 
 8 Heywood s Show for 1637, reprinted in his Works (1874) iv, pp. 301 f.; cf. Fairholt, 
 pt. i, p. 59. 
 
 9 See Fairholt, pt. i, pp. 96 and 97. He does not name the philosophers except Diogenes; 
 but the names are recorded in the descriptive pamphlet. 
 
 10 See the descriptive pamphlet of this show, which was entitled London s Yearly Jubilee; 
 also Fairholt, pt. i, p. 103. 
 
84 ENGLISH PAGEANTRY 
 
 of Roman form/ in which sat the Mercers patroness, the Virgin. This combi 
 nation foreshadows the lictors, satyrs, and St. Martin of 1702.* In 1664, Mag 
 nanimity, surrounded by various animals under the protection of a lion, on 
 which he was mounted, was " habited like a Roman general, in a buff doublet 
 and scarlet breeches ! " 2 
 
 MUSIC IN THE SHOWS 
 
 It is unnecessary to pick out the various instances of music in pageantry. 
 Already in the days of the " royal-entry " the minstrel played an important part 
 in the triumph; and while not an integral part of these shows music, both 
 vocal and instrumental, was commonly found in these entertainments. Where 
 it was particularly needed, of course, was with the " drolls," who alternated 
 their dancing and tumbling with songs. In Dekker s London s Tempe we find 
 the song of the smiths at the Lemnian Forge ; Jordan s Triumphs of London for 
 1678 gives us a stout planter, " with a voice like a trumpet," who bellows forth 
 a song from the Indian plantation. 3 Apollo and Orpheus were usually accom 
 panied by minstrels; and occasionally a " musical dialogue " like that of 1684 4 
 would take place. The banquets at Guildhall are still accompanied by music 
 but they lie outside our field. 
 
 DANCING AND TUMBLING IN THE SHOWS 
 
 Another element, which is often found in these shows, though not an integral 
 part of them, is the dancing and tumbling of the " drolls," who are usually given 
 a setting suitable to the mayor s company. Mr. Dyamond " tumbled " in 
 Tatham s Show for 1660, and Jacob Hall brought his troupe to at least one 
 triumph; 5 but the writers of these entertainments did not, evidently, take 
 kindly to the " drolls," for Heywood says that " the third Plat-forme is con 
 trived onely for Pastime, to please the vulgar," 6 and again, " the third Pageant 
 
 1 See above, p. 83, and n. 3. 
 
 2 See the descriptive pamphlet of the show, and Fairholt, pt. i, p. 72. 
 
 3 See Fairholt, pt. ii, p. 168. 4 See above, p. 62. 
 6 Cf., e.g., Jordan s London s Resurrection, (Fairholt, pt. ii, p. 138.) 
 
 6 Londons Sinus Salutis; Works (1874) iv, p. 292. As an example of the way the poets 
 described these " drolls " when they wanted to make the best of it, let me cite Jordan s de 
 scriptive pamphlet for 1676: near St. Laurence Lane end was "a kind of Chase artfully 
 contrived " with trees, grass, bushes, birds, flowers, shepherds, shepherdesses, and sheep on 
 one part of the stage; and on the other side, persons at work: an old woman spinning yarn 
 for woollen cloth; another carding wool; a third picking it; and in the middle, a crew of 
 mad, frolicking shepherds, piping, dancing, and tumbling, " being intended for a description 
 of Disorder, and an elaborate expression of Confusion; where since no Song can be heard, I 
 have omitted it, because it would be rendered as ineffectual as the sound of a Lute in a 
 Whirlwind." 
 
 In 1677, the fourth pageant was a " Jocular Scene " containing " a brisk Society of merry 
 Labourers." Three masculine figures, representing Patience, Labour, and Diligence, occupied 
 
THE LORD MAYOR S SHOW 85 
 
 or Show merely consisteth of Anticke gesticulations, dances, and other mimicke 
 postures, devised onely for the vulgar, who are better delighted with that which 
 pleaseth the eye, than contenteth the eare." 1 In the pageantry of our own day, 
 under different circumstances of production, the dance has become in America, 
 at all events very important; it is yoked to symbolism, and aims no longer 
 solely to amuse. 
 
 These " drolls," who were sometimes shepherds, seem to have absorbed some 
 of the characteristics of the older " wild-men." It may be observed that in 
 1686 the Mercers Virgin was preceded by " twenty Savages or Green Men, with 
 Squibs and Fireworks, to sweep the streets, and keep off the Crowd." 2 Of 
 course, the " drolls " did not clear the streets: but they were not unlike the 
 " hommes sauvages " of i43i. 3 
 
 CONCLUSION 
 
 We have seen how the Lord Mayor s Show rose out of the " Midsummer 
 Show; " how it borrowed much from the " royal-entry," and finally drove that 
 form of pageantry almost out of existence. We have seen how it gradually grew 
 in elaboration; how its course was interrupted by the Civil War; how, in the 
 hands of minor poets, who had to use many of the same properties over and over 
 again, it lacked novelty, and finally fell into decay in 1702. Settle tried to re 
 vive it in 1708, but the death of the Prince of Denmark prevented the perform 
 ance of his show; and speech has never crept into this annual parade since. 
 What its course has been for the last two hundred years, we shall discover in the 
 next two sections of this chapter. 
 
 the most conspicuous position. At their feet were several workers, spinning, carding, &c., 
 while others, " more jocose and at liberty sing a Song in Commendation of the Cloth-workers- 
 Trade, and at the end of the Song, certain Rusticks, and Shepherd-like persons, Pipe, Dance, 
 and exercise the activity of their limbs, in Gambolling, Tumbling and Capering . . . the whole 
 Pageant being a piece of ingenious Confusion, or a Comical Scene of delightful disorder." 
 (From the descriptive pamphlet for this year.) 
 
 We may refer to the " drolls " in Tatham s Aqua Triumphalis of 1662 (above, vol. i, 
 p. 249) as well as to the tumblers in 1547 (i, p. 186) ; 1553 (i, p. 189) ; and 1554 (i, p. 193 f.). 
 Perhaps the " hommes et femmes sauvages," who greeted Henry VI at Paris in 1431 (see 
 vol. i, pp. 76 and 139) are related to the " drolls "; though they may not have sung, their 
 acrobatic performance entitles them to consideration in this light. 
 
 1 Londons Mirror; Works, iv, p. 312. 
 
 2 London s Yearly Jubilee; cf. Fairholt, pt. i, p. 103. Cf. the " wodyn " of 1553 (above, 
 p. 13 f.) and the wild-men of 1575 (above, p. 22.) There were lictors and " green men " and 
 satyrs in the 1687 Show; cf. the descriptive pamphlet Fairholt s account (pt. i, p. 103 f.) 
 does not mention them. 
 
 3 See above, vol. i, p. 139. 
 
86 ENGLISH PAGEANTRY 
 
 3. THE DECLINE OF A TIME-HONORED CUSTOM, 
 
 1708-1858 
 
 With the Lord Mayor s Show of 1702, speech departed from the civic tri 
 umphs; for, though Settle planned a series of pageants for 1708, and wrote the 
 speeches for them, the death of the Prince of Denmark prevented the exhibition. 
 There seems to have been no interruption in the annual processions between 
 1702 and 1708; and we may presume that some of them were accompanied with 
 pageantry, although speeches were done away with; the failure to employ the 
 services of a poet would account for the lack of descriptive pamphlets. Since 
 many Companies owned the " properties " of earlier pageantic " triumphs," it 
 would not be surprising to discover that they brought them out on Lord Mayor s 
 Day; and the description of that festival in Ned Ward s London Spy seems to 
 lend color to the supposition that they did. 
 
 The passage in the rare volume to which I have just alluded, has been reprinted 
 in the Journal of English and Germanic Philology, for January, 1918; it is vivid 
 and entertaining, despite the satire. Exaggerated as it is, it is no worse than the 
 laudatory accounts written by the poets who err on the other side, being too par 
 tial to the products of their brains; and Ward s fun is a good antidote to Settle s 
 fulsomeness. 1 We may note that Ward does not mention speeches, as we might 
 expect he would have done, had there been any. 
 
 Perhaps such attacks as this helped to bring the show into disrepute ; at any 
 rate, during the eighteenth and early nineteenth centuries it fell from the position 
 it had held. It continued, however, to appeal to the people; and that the show 
 is not dead today is largely due to the " mobility." 
 
 As a mere procession, the Lord Mayor s Show fails to interest us, and it seems 
 to have been little else early in the eighteenth century. Fairholt records that 
 Sir Gilbert Heathcote, in 1711, was the last mayor to ride on horseback at his 
 mayoralty; 2 and says that since this year the mayor has ridden to Guildhall 
 in a coach; 3 that before 1740, it was drawn by four horses, but that that year 
 it had six. 4 
 
 1 With this passage should be compared the description by Celia Fiennes, (above, p. 66 f .) 
 and Henley s " oration " of 1730, reprinted by Fairholt, pt. i, pp. 126 ff. The latter mentions 
 pageants and the City Giants. I have quoted Ward s description of the latter (above, vol. i, 
 p. 61) and his humorous picture of the City Waits (above, vol. i, p. 50, n. 2). 
 
 2 Pt. i, p. 124; he cites Hone, p. 261, as does J. G. Nichols, p. 120. A writer in the Athe 
 naeum for 3 November, 1860, p. 585, notes, like Hone, he fails to give his authorities, 
 that Sir Gilbert was the last mayor to ride; and further remarks that he was " that large- 
 acred man, whom Pope has immortalized, whom Addison has made known under the pseu 
 donym of Freeport. . ." 
 
 3 Hone, p. 261; Fairholt, pt. i, p. 124; Davey, i, p. 103. The Repertories and Journals 
 are strangely silent on this matter of a state coach. 
 
 4 Fairholt, pt. i, p. 130 f. He records, ibid., that the coach may be found in the conclud- 
 
THE LORD MAYOR S SHOW 87 
 
 1717 A PAGEANTIC SHOW AT ADRIANOPLE 
 
 We may note in passing that in a letter, written on 17 May, 1717, Lady Mary 
 Wortley Montagu gives an account of a pageant which she saw at Adrianople. 1 
 It included many features of the seventeenth-century Lord Mayors Shows, 
 among which " a man dressed in green boughs, representing a clean husband 
 man sowing seed," may be a development of some Turkish " green-man." " Af 
 ter him several reapers, with garlands of ears of corn, as Ceres is pictured, with 
 scythes in their hands, seeming to mow. Then a little machine drawn by oxen, 
 in which was a windmill, and boys employed in grinding corn, followed by an 
 other machine, drawn by buffaloes, carrying an oven, and two more boys, one 
 employed in kneading the bread, and another in drawing it out of the oven. 2 
 These boys threw little cakes on both sides among the crowd, and were followed 
 by the whole company of bakers, marching on foot, two by two, in their best 
 clothes, with cakes, loaves, pastries, and pies of all sorts, on their heads, and 
 after them two buffoons, or jack-puddings, with their faces and clothes smeared 
 with meal, who diverted the mob with their antic gestures. 3 In the same manner 
 followed all the companies of trade in the empire; the nobler sort, such as 
 jewelers, mercers, etc., finely mounted, and many of the pageants that repre 
 sent their trades, perfectly magnificent; among which, that of the furriers made 
 one of the best figures, being a very large machine set round with the skins of 
 ermines, foxes, etc., so well stuffed that the animals seemed to be alive, and fol 
 lowed by music and dancers. I believe they were, upon the whole, twenty thou 
 sand men, all ready to follow his highness if he commanded them. The rear was 
 closed by the volunteers, who came to beg the honor of dying in his service. 
 This part of the show seemed to me so barbarous that I removed from the win 
 dow upon the first appearance of it. They were all naked to the middle. Some 
 had their arms pierced through with arrows, left sticking in them. Others had 
 them sticking in their heads, the blood trickling down their faces. Some slashed 
 their arms with sharp knives, making the blood spring out upon those that stood 
 there ; and this is looked upon as an expression of their zeal for glory. I am told 
 that some make use of it to advance their love ; and when they are near the win 
 dow where their mistress stands (all the women in town being vailed to see this 
 spectacle), they stick another arrow for her sake, who gives some sign of appro 
 bation and encouragement to this gallantry. The whole show lasted for near 
 eight hours, to my great sorrow, who was heartily tired, though I was in the 
 
 ing plate of Hogarth s Industry and Idleness series. A coach is mentioned by the author of 
 A Gigantick History (see below, p. 90). 
 
 1 Letters of Lady Mary Wortley Montagu (ed. Mrs. Hale, Boston, 1884, p. 87 f.). This 
 letter is cited by Fairholt, Civic Garland, p. xix, n. 
 
 * These suggest the trade-pageants of the London guilds. 
 
 3 Cf. the " drolls " of the London civic shows, and the earlier " devils " or " wild-men." 
 
88 ENGLISH PAGEANTRY 
 
 house of the widow of the captain-pasha (admiral), who refreshed me with coffee, 
 sweetmeats, sherbet, etc., with all possible civility." 
 
 The trade-pageantry has much in common with the London civic shows; it 
 is interesting as an example of a parallel development, if nothing more. Lady 
 Mary s failure to suggest the obvious likeness, may be due to her unfamiliarity 
 with the pageantry of her own capital; we often find things worthy of notice 
 abroad which at home we ignore. 
 
 We have mentioned 1 the mayor s precepts against squibs in these early years 
 of this century; they are important only as suggesting pageantry. In 1721, the 
 Goldsmiths went to Westminster by water; 2 in 1722, the Masons were at some 
 expense for the Lord Mayor s Day dinner; 3 on 24 October, 1727, " the Right 
 Honourable the Lord Mayor Elect is desired to provide a New Crimson Velvet 
 Gown at the Charge of this City to be wore on the Lord Mayors Day when their 
 Majesties Honour this City with their presence with the Royal Family at Dinner 
 and that the same be preserved for the use of this city on the like publick 
 Occasions." 4 
 
 1727 ROYALTY IN THE CITY 
 
 On 30 October, Sir Edward Becher, Mayor-elect, with the late Lord Mayor, 
 Aldermen, and Sheriffs went, in the City Barge, to Westminster and back. 
 They progressed from Blackfriars to the Guildhall " with the usual solemnity." 
 The royal family came to Cheapside about three in the afternoon, and saw the 
 procession from a balcony near Bow Church. 5 They then went to Guildhall, 
 where they were received by the Mayor and other city officials. The banquet 
 on this occasion cost 4889, 4$. 6 
 
 1 See above, p. 14, n. i. 
 
 2 But there is no mention of pageants in the extract from their records in Prideaux, ii, 
 p. 201. 
 
 3 See Conder, p. 258. 
 
 4 Repertory cxxxi, p. 459. Fairholt, pt. i, p. 133, records that the King, Queen, and prin 
 cesses witnessed the procession this year from a balcony near Bow Church. He does not 
 name his authority, which appears to be the pamphlet recorded in the Bibliography under 
 the name of George II. This is my authority for the following paragraph; the account will 
 be found there, pp. 45 f. 
 
 5 Pamphlet cited in the last note, p. 48. This was " at David Barclay s an eminent Linen 
 Draper (the only surviving son of the Apologist) at the Black Bear against Bow Church." See 
 Verses on the Coronation of their Late Majesties . . . October n, MDCCXXVTI, &c., (London, 1761) 
 p. 40, n. (This is bound with the volume cited above, in Fairholt s collection in the Library 
 of the Society of Antiquaries.) On Barclay, see below, p. 96. 
 
 6 An itemized account may be found in the pamphlet cited, pp. 54-6. After dinner, the 
 royal guests returned to the Council Chamber, to be present at the ball; at eleven o clock 
 they returned in state to St. James s, the " Trained Bands " lining the streets, and the houses 
 being illuminated. 
 
THE LORD MAYOR S SHOW 89 
 
 We have referred to the remarks of Henley published in The Lord Mayor s 
 Shew, or the City in its Glory, 1 and I shall not repeat the orator s words. Suffice 
 it to say, that pageants, without speeches, seem to have been carried through 
 the London streets about 1730; and that the giants appear to have graced the 
 procession. 
 
 The London Magazine for October, 1732 2 notes that on 30 October, John 
 Barber, Esq., the Lord Mayor-elect, was sworn " with the accustom d Cere 
 mony." 3 On Monday, 29 October, 1733, Sir William Billers, the Lord Mayor- 
 elect, went from the Guildhall to Westminster " with the usual formalities "; 4 
 but we can only surmise what they were. 
 
 No pageants are mentioned by Lord Mayor Perry, in his MS. Diary; 5 but 
 he tells of going to, and returning from, Westminster by water in 1739; and, 
 after landing at Blackfriars, " we proceeded to Guildhall in Procession of which 
 I can give no account but that my own Company and the Artillery Company 
 marched all the way before me." 6 
 
 A DESCRIPTION or THE LORD MAYOR S DAY, c. 1740 
 
 The Gigantick History has already been referred to, when we discussed the 
 men in armor and the giants. 7 In the second volume of this microscopic work, 
 Book iv is " an Account of My Lord Mayor s Show." I quote a few chapters. 8 
 
 Chap. I. Of my Lord entring upon his office. 
 
 My Lord Mayor is the grand magistrate of this great city. He is yearly elected on Michael 
 mas day, and though the oldest Alderman, who has not served that office, is usually chosen, 
 yet that is at the electors discretion. 
 
 On St. Simon and Jude s day, the 28 th of October, let it happen to be Sunday or any other 
 day; the Lord Mayor, Aldermen, Sheriffs, &c. meet at Guildhall about twelve a clock: and 
 when the Lord Mayor elect comes, they all go to the Hustings court; where, after the com 
 mon crier has commanded silence, the Town-clerk gives the new Lord his oath, and then the 
 old Lord Mayor rises up, and gives the new his place: The Chamberlain first presents the 
 
 1 Above, p. 86, n. i. This pamphlet, from which Fairholt quotes, may be found in the 
 Brit. Mus. (605. d. 20.7 ) ; it is recorded in the Bibliography under Henley. 
 
 2 P. 369; on p. 368 the writer records the fact that 30 October is the anniversary of his 
 majesty s birth. 
 
 3 A Rural Lay, by a Gentleman in Norwich, is published, ibid., for November, 1732 (p. 
 411) ; this is dedicated to the mayor. " The Pegasus in Grub-Street " also wrote a poem to 
 him (ibid., p. 412) ; but these verses do not seem to have been recited from a pageant. 
 
 4 London Magazine for October, 1733, p. 529. 
 
 6 Preserved at the Guildhall (MS. 15); a notice of the receipt of the Diary by the Court 
 of Aldermen may be found in Repertory cxliii, p. 473. 
 
 6 MS. cited, p. u. Had there been pageants, he would, of course, have seen them. 
 
 7 See above, vol. i, p. 47 f., and n. 5; p. 59; p. 61, and n. 4. 
 
 8 My quotations are from vol. ii, pp. 97 f. (The first edition of this volume is dated 1740; 
 though written for, and dedicated to, children, its description of a contemporary Lord Mayor s 
 Show is probably accurate enough.) 
 
90 ENGLISH PAGEANTRY 
 
 sceptre to him, then the keys of the common seal, and lastly the seal of the office of mayoralty; 
 and the sword bearer brings him the sword; all which the Mayor immediately returns. 
 This ceremony being ended, they ride home in their coaches to dinner; the Aldermen who 
 have been Mayors accompanying the old Lord Mayor, and those who have not served that 
 office go with the new Lord. The next morning, the 2gth of October, called Lord Mayor s 
 Day, they meet together again, and proceed as follows. 
 
 Chap. II. Of My Lord Mayor s procession to the water side. 
 
 The Lord Mayor elect meets as many of his brethren the Aldermen as please to come, at 
 Guildhall, about eleven a clock in the morning; all being invited: where having breakfasted, 
 about 12 they set out in the following order. 
 
 Before the procession go officers to clear the way : Then the first in the cavalcade are the 
 streamers of the company the new Lord is free of, born by sturdy watermen: next come the 
 band of pensioners, as many in number, they say, as my Lord is years old, headed by their 
 captain: and after them the gentlemen ushers, called rich batchelors, thirty in number, with 
 white staves in their hands, and chains of gold about their necks, all in black clothes. Then 
 comes the musick, viz. kettle drums, trumpets, hautboys, and other musical instruments; 
 next the three banners; the King s in the middle, the City s on the right hand, and the Lord 
 Mayor s on the left. Then comes the master of the city barge in his gown; and after him 
 the champion, or master of defence, with his drawn sword in his hand; next to him march 
 thirty or forty whifflers, dress d up with ribbands, and white staves in their hands; who are 
 followed by the two beadles of the old Lord s company; and then come the master, wardens, 
 and livery men in their gowns. After them follow the new Lord s company in order, with all 
 their attendants. And before the coach 1 come first the sheriff s officers, then the city musick, 
 the city marshals on horseback, finely caparason d; the city artificers, in furr d gowns; and 
 next before the coach, my Lord s officers. 
 
 And so they proceed to the end of King-street, Cheapside, where the old Lord Mayor s 
 coach falls in next that of the new Lord. The swordbearer is at the right side in the new 
 Lord s coach, with the sword in his right hand, and cap of maintenance upon his head; and 
 on the left side of the coach, the common crier, bearing the mace. 
 
 After the old Lord s coach, come the Aldermen past the chair, in their coaches, according 
 to seniority: next the Recorder, and after him the Aldermen who have not serv d Mayor: 
 Then come the Sheriffs, Chamberlain, Town-clerk, Comptroller, city Remembrancer, Com 
 mon Hunt, city Solicitor, and city Counsel. 
 
 Being thus marshalled, they proceed with the greatest uniformity to the water side; and 
 at the Three Cranes stairs they embark on board their state barge. 
 
 Chap. III. Of the procession by water, bc. 
 
 The barge being well provided with all things fitting for the voyage, the cockswain takes 
 the helm, and the bargemen their oars, and so set forward towards Westminster; attended 
 by a great number of the city companies in their barges, all with ensigns, streamers, &c. dis 
 play d; musick playing, and thousands of boats crowded with people, to see this gallant 
 show; being all the way saluted with a discharge of the great cannon from the wharfs, and 
 batteries on both sides the river, with a God send the ship a good voyage, and bless the Lord 
 Mayor, and his honourable company. And, if wind and tide are not too boisterous, in about 
 one hour they reach Westminster stairs; where they are receiv d by a large body of city 
 grenadiers, who fire a volley to welcome their landing. 
 
 Then they walk to Westminster hall, where the new Lord Mayor is shewn the several 
 courts; and having paid his respects to the Judges, &c. then sitting, he is sworn, according 
 
 The mayor is supposed to have ridden in a coach after 1711; see above, p. 86 and n. 4. 
 
THE LORD MAYOR S SHOW 91 
 
 to custom, before the Barons of the Exchequer. Then they go round the hall again, and invite 
 the Lord Chancellor and Judges of the several courts to his Lordship s feast. This being 
 ended, they return back to their barge; and are again saluted in their passage with a dis 
 charge from the great guns; and attended by several companies in their barges, with their 
 streamers, banners, musick, &c. as in coming. And about three or four a clock my Lord 
 lands, generally at Blackfriars stairs; where another large body of the honourable artillery 
 company receive him and his attendants, and give them three vollies. 
 
 Chap. IV. Of the Procession to Guildhall. 
 
 From Blackfriars stairs they commonly proceed up the Ditch-side in their coaches to 
 Ludgate hill; where the Nobility, Judges, 6-c. who are invited to dine with my Lord, join 
 the procession: the artillery company, his Lordship s company, &c. marching before. And 
 thus this solemn, magnificent, and grand procession is conducted with great regularity thro* 
 the city to Guildhall, amidst thousands of men, women and children, who fill the balconies 
 and windows, and line both sides of the streets, from the landing place, all up the Ditch-side, 
 Ludgate hill and street, St. Paul s churchyard, Cheapside and King-street, to Guildhall. 
 
 When his Lordship comes near the hall, the commanding officers of the artillery company 
 line both sides of the way, till my Lord, the Nobility, Judges and all the great personages 
 who attend this grand show, enter the hall. 1 
 
 If we may regard this description as accurate and I do not see why we 
 may not it is clear that by the middle of the eighteenth century these shows 
 had but one pageantic figure the " armed man " - who may have a chivalric 
 origin stimulated by his applicability to the Armourers , or even Ironmongers , 
 Guild. 2 We may recall that, in 1700, Walworth was accompanied by several of 
 his aldermen, in armor; that in 1681, the seven champions of Christendom were 
 shown, and that Saints Andrew and George appeared in 1609. These are ex 
 amples of the pageantic adaptation of an older figure, which survived well into 
 the nineteenth century; by this time, he had become reduced to an " armed 
 man," with no glamour of chivalry, history, or legend thrown about him. 
 
 THE SHOW OF 1740 
 
 No mention is made either of pageants or of Sir William Walworth in the 
 account of the mayoralty procession which appeared in the London Daily Post 
 of 30 October, I740. 3 An account of this procession may also be found in the 
 
 1 Chapter V of this book deals with the feast; Chapter VI Of the City Companies that 
 grace my Lord s show makes no mention of pageants, but states that " some companies 
 have stands built along the sides of the streets through which my Lord passes; where they 
 seat themselves in order, and pay their respects to his Lordship, the Aldermen, 6*c. as they 
 come by." (Op. /., ii, pp. 121 f.). [The seventh chapter, dealing with The Man in Armour, 
 has already been quoted at length; see above, vol. i, p. 48.] 
 
 2 There may be a hint of the older St. George and similar champion-figures in this char 
 acter, as well as of the militia, who go back to the older " marching watch." Cf. the " giant- 
 champion " of 1432 (above, vol. i, p. 143, and n. 6) and the discussion concerning the rela- 
 lationship of these figures (above, vol. i, p. 48, and n. 2). 
 
 3 Herbert, ii, p. 51, cites under 1740 the same passage from the Post-Boy which Fairholt 
 cites under 1700. This is, evidently, a misprint or oversight on Herbert s part. I can find no 
 
92 ENGLISH PAGEANTRY 
 
 Diary of Richard Hoare, 1 who says: " . . . what added magnificence to this 
 day s shew was, that his lordship s coach was drawn by six horses, adorned with 
 grand harnesses, ribbons, &c. a sight never seen before on this occasion. . . My 
 late Lord Mayor chose to go privately in his coach by land to Westminster, 
 where we met him in our barge, and after having paid our compliments to the 
 several Courts in the hall, and passed through the formalities at the Exchequer 
 Court, we got into our barge again by two o clock; my late Lord Mayor return 
 ing back by himself in his coach as he came. 
 
 " But it so happened, that by the carelessness of our watermen, while we 
 were in the hall, the tide had fell so low as to leave the barge aground, and it 
 was . . . past four o clock before we arrived at Guildhall; our procession both 
 by water and land being attended by the usual concourse of people." 
 
 The mayor s notice, making the arrangements for this show, may be found 
 in the London Evening-Post, (from Saturday, 25 October, to Tuesday, 28 October, 
 1740, no. 2022). It reads: 
 
 Salter, Mayor. 
 
 Tuesday the 2i st Day of October, 1740, and in the Fourteenth year of the Reign of King 
 George the Second, of Great Britain, &c. 
 
 It is order d, That the two Marshals of this City do take Care to give Notice to the several 
 Constables of the Wards of Bread street, Castle-Baynard, Cheap, Cordwainer, Cripplegate 
 Within, Farringdon Within, Farringdon Without, and Vintry, through which the Procession 
 is to pass on the next Lord Mayor s-Day, that they take effectual Care to obey the Precept 
 sent for a Double Watch and Ward of able Men well Weapon d, to be kept on that Day; and 
 that they dispose their said Watch at such Places, and in such Manner, that the publick 
 Streets thro which the said Solemnities are to pass be kept free and clear from all Obstruc 
 tions or Hindrances to the said Procession; and that they do not permit any Cart, Dray or 
 Coach to stand in the said publick Streets thro which the said Procession is to pass; and if 
 any Carman, Drayman or Coachman refuse to remove out of the said Streets, that they 
 carry such Carman, Drayman, or Coachman to one of the Compters, and the Cart, Dray or 
 Coach to the Greenyard, that they may be prosecuted for such their Offences; and they are 
 to take especial Care that no Hackney-Coach, Cart or Dray be permitted to come into any 
 of the said publick Streets thro which the Procession is to pass, between Fetter-lane End in 
 Fleet-street and Stocks-Market, after Twelve o Clock at Noon on that Day; and the said 
 Marshals are to take especial Care that the Passage down Queen-street to the Three Crane 
 Stairs, be kept free and clear from all Coaches, Carts and other Hindrances, so that the Lord 
 Mayor, Aldermen, and others in the Procession, may pass in their Coaches, without any Ob 
 struction, to the Water-side; and that they cause the said Coaches to go in Order down one 
 side of Queen-street to the said Stairs; and that as soon as his Lordship is set down there, 
 his Coach to return up Queen-street again, and the other Coaches to do the like in Succession, 
 so that all the Aldermen, and others, may be set down as near as possible to the said Stairs; 
 and it is order d, that a Copy hereof be publish d in some of the Daily Papers. 2 
 
 mention, among contemporary accounts, of the presence of Wai worth or Wat Tyler in this 
 show. Cf. Fairholt, pt. i, p. 130. 
 
 1 Mentioned in the Bibliography; my extract is taken from p. 33. 
 
 2 Cf. Repertory cxlv, p. 403, where this notice is written; the last words there read " some 
 of the publick daily papers." 
 
THE LORD MAYOR S SHOW 93 
 
 The order of procession on the occasion of the inauguration of Sir Robert 
 Godschall, Ironmonger, in 1741, is given by Nicholl. 1 There were, however, 
 no pageants on this occasion. A picture of the " Lord Mayor and the Livery 
 Companies on their Way to Westminster in 1750," from " a picture belonging 
 to the Corporation of London, hanging in the Guildhall Art Gallery," may be 
 found in Stewart s History of the Gold and Silver Wyre-Drawers. 2 
 
 1751 THE ALTERATION OF LORD MAYOR S DAY TO 9 NOVEMBER 
 
 In 1751, at the alteration of the style, the Lord Mayor s Day, which up to 
 that time had fallen regularly on 29 October, was changed to 9 November, the 
 present date unless the ninth happens to fall on Sunday. 3 
 
 1757 THE LORD MAYOR S COACH 
 
 The present Lord Mayor s Coach almost entirely rebuilt several times, as 
 it has been, at enormous expense was built in I757. 4 On 7 July, 1758, 860 
 were paid as " consideration money " for the coach every Alderman paid 60, 
 and the mayor 100, to the Coach Fund. In 1764, 227, is. 6d. were spent on 
 the coach; and the next year, one Hutchinson agreed to mend the paint of the 
 body, and paint the coat-of-arms, and new gild, " as at the first," the body and 
 carriage, for 80, to make a new set of wheels for 20, and other repairs for 130 
 to 150. In 1768, 103, 45. were paid to the Coachmaker for work done to the 
 coach; and in 1773, 279, 105. were paid to the Coachmaker the itemized 
 bills are in the Guildhall Records Office, where there are many others for vari 
 ous years. Among these papers is a letter from Berry & Barker, the coach- 
 
 1 Hist. Ironmongers, p. 345. 
 
 2 The History of the Worshipful Company of Gold and Silver Wyre-Drawers . . . Compiled 
 by Horace Stewart (Illustrated). [London, 1891], p. 93. 
 
 3 Cf. on this subject, Beaven, ii, p. xxviii; the Handbook of Ceremonials , &c. for the Lord 
 Mayor, Aldermen and other Corporation officers (London, 1906) p. 24, n. i, citing 24 Geo. II, 
 c. 48, sec. ii ; the change is recorded by Fairholt, pt. i, p. 133, he dates it 1752; cf. Hone, 
 p. 261. 
 
 Beaven, loc. cit., gives various electoral and inaugural dates of mayors; since 1546 the 
 election has been on Michaelmas Day (29 September). 
 
 4 MS. Agreement for the building of the coach, kept in the custody of the London Town 
 Clerk s office. Many of the following items come from bills preserved in the Guildhall Record 
 Office, in the custody of the Town Clerk of the City of London. A brief description of the 
 coach is in The Illustrated News of the World, 13 November, 1858, p. 317; cf. also Fairholt, 
 pt. i, pp. 135 f. 
 
 Fairholt, (p. 136) says that the original cost of the coach was 1065, 35. Cipriani, who 
 painted the allegorical panels on it, was the artist who decorated the State Coach used by 
 King George V and Queen Mary at their coronation in 1911; this coach, and the panels, are 
 pictured in color in the supplement of the Illustrated London News for i July, 1911, following 
 p. 33. Fairholt, pt. i, p. 135, n., says that the State Coach was built in 1762. 
 
94 ENGLISH PAGEANTRY 
 
 builders, which is worthy of reproduction; it is addressed " To Samuel Plumb, 
 Esq r . No. 23. Foster Lane," and reads as follows: 
 
 Sr. To-morrow being the day on which our affair with regard to the State coach will in 
 all Probability be determin d; humbly beg leave to Entreat your Concurrence with those 
 Gentlemen who sensible of the hardships we have laboured under are disposed of relieving 
 us as much as in their power. 
 
 It is not only our Premier loss in the building of it, is a hardship but the misfortune we 
 labour under of having (in the Opinion of a few) overcharged some articles which we have 
 always been ready to answer to and have had Mr. Pinnock a Proper Judge, who has been 
 ready for sometime past to answer any Taxation which any Gentleman or other might please 
 to make. 
 
 Things have been in this Situation for three years past, and the account of course un 
 liquidated, if the latter was all we suffer d woud chearfully sustain it, and scarce think it 
 hard to wait till the Bank was able to Assist us. 
 
 But to loose (sic) the honour we have so long had of doing up and taking care of the Coach 
 and unmerited lay (sic) under the Calumny of imposition is realy Excessive hard. 
 
 Nought has been spared, (we are sure) to deserve a Continuance, especially if it is con 
 sidered it was our Resolution to finish it to the Satisfaction of the Gentlemen notwithstand 
 ing we knew the Consequences woud be considerable to us more even than 200. 
 
 We built at no small Expence a Proper place of reception for it and provided every requi 
 site to do it up annually, which we may boldly assert we have it in our power to do cheaper 
 & better than any of the Profession (Partiality to any particular excepted). We purchased 
 at no small Expence a temporary State Coach new Gilt & decorated the same, submitting 
 the Charge of the use of it to the Worshipful Aldermen: and having had the honour of giving 
 Satisfaction to Every Gentleman till the Mayoralty of the late George Nelson Esq r . thought 
 with Submission our fate the harder, as no other Complaint was made than the high charge 
 of our bills, which on notice given were ready to submit to Arbitration and had the above 
 mentioned Mr. Pinnock ready to attend any summons on that account. 
 
 This worthy Sir being realy the case most humbly beg you will take into Consideration 
 & be assured that nothing in our power shall be ever wanting to be deserving of the continu 
 ance the worthy Aldermen have hitherto thought Proper to confer on 
 
 Sr., your very humble and most 
 
 Obliged Serv ts . 
 
 BERRY & BARKER. 
 
 Leather Lane 21 September 1767. 
 
 1761 A REVIVAL OF PAGEANTS 
 
 Unpageantic processions continued until 1761, when the Court of Common 
 Council recommended pageants for the entertainment of their Majesties on 
 Lord Mayor s Day. 1 A full account of the procession on 9 November, 1761, may 
 
 1 Hone, p. 261 ; he continues (writing in 1823) : " Although such revivals are inexpedient, 
 yet, surely, means may be devised for improving the appearance of the present procession, 
 without further expenditure from the city funds, or interfering with the public appropriation 
 of the allowance for the support of the civic dignity." 
 
 The pamphlet describing Taubman s Show for 1689, entitled London s Great Jubilee, was 
 reprinted in 1761, "for the perusal of the several Companies of London, agreeable to the 
 
o 
 
 w 
 
 H 
 

THE LORD MAYOR S SHOW 95 
 
 be found in the contemporary Gentleman s Magazine l and London Magazine 
 from which last, because it is the rarer account, I shall quote: 2 
 
 I must own that I look upon that part of the ceremony . . . which is presented to us 
 on the water, as perhaps equal to what we read of in Holland or Venice. . . The skinners 
 barge was distinguished from the rest by the outlandish dresses, in strange spotted skins and 
 painted hides, of their rowers, &c. . . 
 
 Every house, indeed, from Temple-Bar to Guildhall, was crowded from top to bottom, 
 and many had scaffolding besides. Carpets and rich hangings were hung out on the fronts 
 all the way along. . . As the royal family passed by our window, I counted between twenty 
 and thirty coaches belonging to them and their attendants, besides those of the foreign am 
 bassadors, officers of state, and the principal nobility. . . . What was most remarkable, were 
 the prodigious acclamations and tokens of affection shewn by the populace to Mr. Pitt, who 
 came in his chariot, accompanied by Earl Temple. At every stop the mob clung about every 
 part of the vehicle, hung upon the wheels, hugged his footmen, and even kissed his horses. . . . 
 
 I need not trouble you with an account of the city procession, (which was now left at 
 liberty to shew itself) as it differed very little from that which you and I saw together, and 
 has been seen for many years the same. The skinners, the ironmongers, and the fishmongers 
 companies, were the only companies that had something like the pageants exhibited of old 
 on this occasion: But, however clearly the symbols of the furred caps and spotted furr- 
 dresses of the skinners company, or the dolphin and mermaid of the fishmongers, might be 
 understood by the spectators, I must confess myself at a loss how to interpret the improve 
 ment made in the show of the armourers company. Besides the usual horseman in armour, 3 
 they presented us with a figure, standing erect in a kind of phaeton, drawn by f<our horses; 
 this . . . represented an Indian warrior, because he had a bow in one hand, and a quiver of 
 arrows flung across his back. But what has this to do with the armourers company ? Or, 
 are Indian princes ever carried in that manner ? From the figure of the youth (whose com 
 plexion, made florid with rouge, was wholly European) one might rather suppose (as many 
 did suppose) he was meant to personate Cupid, in allusion to the intrigue of the god of war, 
 Mars, with his mother Venus, wife to the cuckold Vulcan, the founder of armourers: Or, 
 (according to the ancient mythology) as some will have it, the pageant must have been 
 designed to represent the chariot of Apollo, i. e., the sun, the creator of all metalline sub 
 stances, consequently iron. Whichever interpretation is approved of, there was certainly 
 
 Recommendation of ... Sir Matthew Blakiston, Knt, Lord Mayor, and the Court of Common 
 Council, held on Saturday the 3 d of October, 1761; " this reprint recorded in the Bibliog 
 raphy, s. v. Taubman, sub anno 1689 is in the Soc. Antiq. and Brit. Mus. libraries. Cf. 
 The Guide to the Lord Mayor s Show (London, 1761). 
 
 1 Gent. Mag., xxxi, p. 533 f., for November, 1761, cited by J. G. Nichols, p. 87. 
 Cf. Fairholt, pt. i, p. 133 f. 
 
 2 Lond. Mag., xxx, pp. 597-601, for November, 1761, under the title: "Extract 
 of a Letter from a Gentleman to his Friend in the Country, containing a full and circumstantial 
 Detail of many Particulars, concerning My Lord Mayor s Show, and the Entertainment at 
 Guildhall, &c." 
 
 3 Cf. the 1761 Guide to the Lord Mayor s Show, which gives the Order of Procession of the 
 Mayor on his Landing at Blackfriars through the City to Guildhall: it includes (p. 8), " Ar 
 mourers and Braziers Company, preceded by a Man on Horseback in a complete Suit of 
 Armour, with a Plume of Feathers on his Head and proper Attendants." This is no new 
 figure; here, however, the trade-symbolism is more than usually marked. 
 
96 ENGLISH PAGEANTRY 
 
 no occasion for the burntcork strait stroke from beneath the youth s nostrils on the upper 
 lip, and the serpentine line of beauty by the same pencilling on each corner of his lower one, 
 to represent whiskers; as both Cupid and Apollo have always been described without any 
 beard at all. . . 
 
 The account in the Gentleman s Magazine before referred to 1 gives other de 
 tails : 
 
 The show on the water was very brilliant. . . . The state-coach was drawn by six beautiful 
 iron-grey horses . . . and all the companies made a very grand appearance. . . . 
 
 The former [armourers and braziers] were marked by an archer riding erect in his car, 
 having his bow in his left hand, and his quiver and arrows hanging behind his left shoulder, 
 and a man in compleat armour. The skinners were distinguished by seven of their company 
 being dressed in fur, having their skins painted in the form of Indian princes. The fish 
 mongers pageants consisted of a statue of St. Peter 2 finely gilt, a dolphin, two mairmaids, 
 and two sea-horses, which had a very pleasing effect. But the disagreeable circumstance of 
 several livery companies waiting upwards of two hours in Temple lane, before the king, &c. 
 could get by, made it almost dark before the lord mayor could pass the king in Cheapside. 
 
 The 1761 Guide 3 informs us that the king and queen were entertained by 
 David Barclay, who had received George II in 1727. "It has been an antient 
 Custom (which their Majesties upon this Occasion are most graciously pleased to 
 keep up) to honour the City with their Presence the first Show after their coming 
 to the Crown; and not only to see the Procession at a House in Cheapside, but 
 afterwards to dine with the Lord Mayor at the Guildhall." And in a note, " The 
 Kings and Queens who have honoured the City with their Presence upon this 
 Occasion, have for many years been entertained at a Linendraper s in Cheapside, 
 opposite Bow Church, now in the Occupation of Mr. David Barclay, a very wealthy 
 and respectable Tradesman, and one of the People called Quakers, who with his 
 Father-in-law (whom he succeeded in the House and Business) have entertained 
 King William, Queen Mary, Queen Anne, King George I., King George II. and 
 Queen Caroline; and will on this happy Day entertain their present Majesties 
 King George III. and Queen Charlotte; an Honour that few private Persons can 
 boast off (sic}." 
 
 THE LATER EIGHTEENTH CENTURY 
 
 After this occasion, the Lord Mayor s Show seems to have lost pageantry for 
 a while; in 1762, (2 Geo. III.) " a committee was appointed to consider a recom 
 mendation of the Common Council to provide pageants for the ensuing Lord 
 
 1 Above, p. 95, n. i. This, I may add, is printed (without reference to the Gent. Mag.) 
 in The Citizen s Pocket Chronicle: containing a Digested View of the History, Antiquity, and 
 Temporal Government of the City of London . . . for the use of Citizens, Merchants, Lawyers, and 
 Strangers, (London, 1827), p. 335. 
 
 2 Fairholt, pt. i, p. 134, notes " the patron Saint of the Company." 
 
 3 Before referred to, (p. 95, n. 3). The extract is on p. 12 of the Guide to the Lord Mayor s 
 Show. On Barclay, cf. above, p. 88, n. 5. 
 
THE LORD MAYOR S SHOW 97 
 
 Mayor s day, when the Ironmongers resolved to adopt the course pursued by 
 the other Companies; and no pageants were provided." In November, 1768, 
 a committee of the Merchant-Taylors Company " taking into consideration 
 the lord mayor s precept to attend the King of Denmark, on Friday next, directed 
 that there should be no breakfast at the hall, nor pipes nor tobacco, in the barge, 
 as usual, on Lord Mayor s Day." 2 
 
 There is a description of Lord Mayor s Day in the Gentleman s Magazine for 
 November, 1773; here we read that " the procession by water was as usual, but 
 rather tedious, as the tide was contrary. The ceremonies at Westminster-Hall 
 being gone through in the customary manner, the company returned by water 
 to Black-Friars-bridge, where the Lord-Mayor landed at about three o clock, 
 and proceeded in solemn state to Guildhall. . . During the absence of the Lord 
 Mayor, such of the city companies as have not barges paraded the streets in the 
 accustomed manner; and the man in armour [was] exhibited to the delight of 
 the little masters and misses, and the astonishment of many a gaping rustic . . ." 3 
 
 1783 A PANTOMIME ON THE LORD MAYOR S SHOW 
 
 What appears to be a forerunner of the tableau vivant which is related to 
 our modern pageantry, particularly when the living pictures were historical 
 is found in connection with an " operetta " produced at the Theatre-Royal in 
 Co vent-Garden in January, I783. 4 In the General Evening Post, we read: 
 
 On Saturday evening the Manager of Co vent-Garden Theatre afforded a fresh instance 
 of his attention to the publick, and his liberality in the mode of expressing his thanks for 
 favours received. The Pantomime called Lord Mayor s Day, (having been rather hastily 
 contrived,) when first performed, though allowed to be pleasant, was thought a more meagre 
 entertainment than those previously brought out at Covent-Garden Theatre, in which Harle 
 quin had been the hero. In order to remove the objection immediately, half-price was taken 
 on the second night of representation; and now, effectually to do it away, the pantomime 
 
 1 Nicholl, p. 347 ; he wrongly dates this 1761, when we have seen that there were pageants 
 provided by three companies; " 2 George III " was 1762. (The pageantry of 1689 was not 
 reproduced in 1761.) 
 
 2 Herbert, ii, p. 411, from entries in the Merchant-Taylor s books. (The italics are 
 Herbert s.) 
 
 3 Gent. Mag., xliii, pp. 577 f.; this is referred to by J. G. Nichols, p. 121. There is nothing 
 to tell us whether there was pageantry or not, beyond the pageantic figure of the " armed 
 man." " As usual " and " in the accustomed manner " are non-committal. 
 
 4 For accounts of this, see the [London] General Evening Post, 18-21 January, 1783; the 
 British Magazine and Review (1783) pp. 60 f.; and a small pamphlet, preserved in the Guild 
 hall Library, which gives the " Songs, Duets, &c. in the new pantomime called Lord Mayor s 
 Day; or, a Flight from Lapland, as performed at the Theatre-Royal in Covent-Garden." 
 This is an operetta, the characters in which are Sailor, Gobble, Polly, and Aerial Spirit. It 
 is followed by " A Grand Historical Procession of the Several Companies with their respective 
 Pageants, And the Chief Magistrates belonging to the City of London, from its Foundation." 
 
98 ENGLISH PAGEANTRY 
 
 has been enriched with the addition of a procession and pageant, 1 of a nature equally new, 
 shewy, and apposite to the occasion. When processions are added to serious performances, 
 we consider them as contemptible adjuncts to the drama, and always suspect, that the author 
 means to dazzle our eyes with the glare of pageantry, because he is conscious he cannot satisfy 
 our understandings with the plot, conduct and characters of his play; but when processions 
 close a pantomime, our sensations are extremely different; pageantry appears then in right 
 place, and is well employed in giving a striking termination to an entertainment, of which 
 shew is one of the most essential properties. The procession of Saturday evening (as we have 
 before observed) was perfectly in character for the occasion. . . 
 
 Then follows the playbill, which we shall quote from the Guildhall pamphlet : 
 
 1. A TROJAN bearing a scroll with Troynovanl. The City so called by Brute (the lineal 
 descendant of Eneas) who first built it. 
 
 2. BRUTE with Label, A. M. 2855 The year of the city s foundation. 
 
 3. A BRITON with Label Lundain The city so called from Llan Dian. The Temple 
 of Diana. 
 
 4. A BRITON bearing a Scroll with Caire Lud. The city so called by King Lud, who 
 in the year 3915 increased the city and built therein, to commemorate his own honor, the 
 gate to this day called after him Ludgate. 
 
 5. KING LUD, A. M. 3915. 
 
 6. \ c / Androgeus. 
 } Two Sons < _. 
 
 7. J ( Theomanticus. 
 
 These were sons to King Lud, and would have inherited his crown, but not being of age to 
 govern at the death of their father, their uncle Cassibelan mounted the regal seat, in the 8 th 
 year of whose reign, Julius Caesar landed in Britain, and after numbers of battles between 
 the Romans and native Britons, Cassibelan paid tribute to Rome. 
 
 Two ANTIENT BRITONS. 
 9- 
 10. A ROMAN with a Scroll Augusta. The city so called in Julius Caesar s time. 
 
 > Two LICTORS with Fasces. 
 
 12. J 
 
 13. PREFECT. A. D. 44. 
 
 I4 > Two ROMANS bearing The Eagle and S. P. Q. R. 
 5 J 
 
 1 6. A SAXON with a Scroll Londonceaster. The city so called in the time of the Saxons. 
 
 17. PORTREVE, A.D. 654. This title was given to the Chief Magistrate in the time 
 of the Saxons. 
 
 1 8. A NORMAN with a Scroll Camera Regia The city so calFd in the time of William 
 the Conqueror. 
 
 19. GODFREY, the Portreve, bearing the first Charter, A.D. 1067. In this year, being 
 the second of the Conqueror s reign, he granted to Godfrey (a Portreve) in conjunction with 
 William the Bishop of London the first Charter, viz. William the King friendly salutes 
 William the Bishop, and Godfrey the Portreve, and all the Burgesses within London, both 
 French and English. And I declare, that I grant you to be all law-worthy, as you were in 
 the days of King Edward; and I grant that every child shall be his father s heir, after his 
 father s days; and I will not suffer any person to do you wrong God keep you. 
 
 20. BAILIFF, A.D. 1067. The Chief Magistrate, so called by the Normans. 
 
 1 Note the use of this word. 
 
THE LORD MAYOR S SHOW 99 
 
 21. HENRY FITZALWIN, A.D. 1189. FIRST LORD MAYOR of London. 
 
 Mercers, A.D. 1393 Mayor, 2 Aldermen, 2 Common Councilmen, 2 Liverymen. 
 
 Skinners, A.D. 1325. 
 
 Grocers, A.D. 1344. 
 
 Vintners, A.D. 1340 Bacchus, the son of Jupiter and Semele God of Wine he 
 planted the first Vine in Egypt. 
 
 Drapers, A.D. 1438. 
 
 Weavers, A.D. 1 104 Penelope at her Web. The daughter of Icarius and wife of Ulysses, 
 a princess of great chastity, who, during her husband s stay at the siege of Troy, when it was 
 reported he was dead, was addressed by many suitors, and having promised to determine 
 when she had finished a Web of Cloth, to delay the time, she undid in the night what she had 
 finished in the day, and so amused them till her husband s return, when he slew them. 
 
 Fishmongers, A.D. 1537. 
 
 Dyers, A.D. 1472 Iris in her Rainbow, the messenger of the Goddess Juno. 
 
 Goldsmiths, A.D. 1391. 
 
 Armourers, A.D. 1423. 
 
 Merchant Taylors, A.D. 1469. 
 
 Bakers, A.D. 1307 Ceres, the goddess who first taught mankind to plough and sow, 
 and reap and house their corn. 
 
 Haberdashers, A.D. 1502. 
 
 Butchers, A.D. 1604 An ox dressed for sacrifice. 
 
 Sailers, A.D. 1558. 
 
 Sadlers, A.D. 1281. 
 
 Cordwainers, A.D. 1438 Crispin and Crispianus the latter taking leave of the former, 
 he going to the wars, and leaving his brother to follow the business of shoe-making. Sup 
 posed sons of King Logrid in Maximinius s time, who, seeking their lives, they were disguised 
 by their mother, and travelling about at Feversham in Kent, were apprenticed to Robans, a 
 shoemaker. They afterwards each of them married a princess. 
 
 Ironmongers, A.D. 1464. 
 
 Blacksmiths, A.D. 1577 The Cyclops at Work. They were the sons of Neptune and 
 Amphitrite, and assisted Vulcan in forging Jupiter s thunderbolts. 
 
 Woolmen, A.D. 1511 Bishop Blaise, the inventor of Wool-combing. 
 
 Musicians Apollo the God of Music, attended by his Priestesses, the antient Bards, 
 and Doctors of Music. 
 
 [Then follow glees and dances, in honor of Music.] 
 
 Shipwrights, A.D. 1605 Noah s Ark. The first vessel or ship built by the art of man. 
 
 Apothecaries, A.D. 1618 Esculapius, the son of Apollo, the God of Health. Chiron 
 taught him physic. He was killed by Jupiter for bringing Hippolitus to life. The Serpent 
 and Dog symbolical of the arts of healing and physic. 
 
 John Norman, A.D. 1250 First Mayor that was sworn at Westminster. 
 
 Henry Darcey, A.D. 1338 First Mayor that had a mace borne before him. 
 
 Henry Picard, A.D. 1363 Entertained at one time Four Kings, i. e. Edward III. of 
 England, John of France, David of Scotland, King of Cyprus. 
 
 John Philpot, A.D. 1378 Hired a thousand soldiers, who took John Mercer, a sea- 
 rover, with all the ships he had before taken from Scarbro, and fifteen Spanish ships laden 
 with great riches. 
 
 William Walworth, A.D. 1381 Banner with the City Arms. By the slaying of Wat 
 Tyler in Smithfield, delivered the kingdom from a dangerous insurrection, and was knighted 
 for it in the field. 
 
100 ENGLISH PAGEANTRY 
 
 Thomas Knowles, A.D. 1400 New-built Guildhall, re-edified St. Anthony s church, and 
 conveyed water to Ludgate for the use of the prisoners. 
 
 Richard Whiltington, A.D. 1421 Three times Mayor; founded the library of Grey- 
 Friars, Whittington college, and almshouses, and whose executors built Newgate. 
 
 Robert Chichley, A.D. 1482 Appointed, that on his birth-day a sufficient dinner should 
 be given to 2400 poor Citizens, housekeepers, and also two-pence apiece. 
 Thomas Cook, A.D. 1462 Knight of the Bath. 
 John Younge, A.D. 1466 Knight Banneret. 
 
 John Shaw, Mayor, A.D. 1501 First entertained the Aldermen and Citizens in Guild 
 hall. 
 
 William Fitzuilliams , A.D. 1506 For his attachment to Cardinal Wolsey in his fall 
 (who had been the means of his great fortunes) King Henry the Eighth knighted him, and 
 made him a Privy Counsellor. He left the king by will his great ship with all her tackles, and 
 his George set with diamonds, and collar of the Garter. At his death he was Knight of the 
 Garter, Lord Privy Seal, and Chancellor of the Dutchy of Lancaster. 
 
 John Allen, A.D. 1554 Gave a rich gold collar to be worn by the Mayor, and 500 marks 
 for a stock of sea coal. 
 
 Thomas, Gresham, A.D. 1566 Built the Royal Exchange, and alms-houses for the poor. 
 The GRAND PAGEANT 
 
 A Triumphal Arch. On the left side, on a pedestal, is seen Industry: on the right Com 
 merce: over which are two symbolical medallions. Through the Arch is seen The Genius, of 
 the City, crowned with a wreath of plane tree: in one hand a Goblet; in the other, a branch 
 full of little twigs, to signify increase and indulgence. On his right hand, 1 The Council of the 
 City, with a wreath of oak on his head and the fasces in his hand, as tokens of strength and 
 civil magistracy. On his left The Warlike Force of the City, with his helm on, and crowned 
 with laurel, implying Strength and Conquest. At his feet, Thames, the River God, leaning 
 on his urn. 
 
 CHORUS 
 
 London, London, richest, noblest mart, 
 Seat of freedom, science, art ; 
 Commerce spreads the swelling sail 
 Plenty s wafted in the gale. 
 Hail, London, great emporium of the world, 
 While Britain s thunder round the globe is hurl d. 
 
 It makes little difference, here, that the history of this pantomime is not al 
 ways accurate; what is important for us, is that here we have, in the form of 
 tableaux, the elements of the earlier Lord Mayor s Show. Walworth, and other 
 former Mayors; Apollo, and brother gods; Industry and the Genius of the 
 City, have all appeared in these triumphs. We have a union of civic and national 
 history; the pantomime does not glorify any one Company it reflects an in 
 terest in London s glorious past. 
 
 After giving the above program, the critic in the General Evening Post con 
 tinues : 
 
 The personages of this procession were all dressed in the characters of the time in which 
 they lived, and before each of them a label, a scroll, or a pageant was carried, bearing their 
 
 Note that the Genius is masculine. 
 
la 
 
 H 
 fc 
 < 
 
 3 
 
 o 
 o 
 O 
 
 H 
 Z 
 
 < 
 
 5 
 w 
 
 a 
 
THE LORD MAYOR S SHOW 
 
 101 
 
 name, or some allusion of the poets to their occupation. The figures in transparency were all 
 painted as large as the life, and had a most grand and beautiful effect. The principal ex 
 hibited [were] Penelope at her Web, Iris in her Rainbow, Ceres, Crispin and Crispianus, the 
 Cyclops at Work in tlteir Cave, Apollo, Esculapius; and a Triumphal Arch, with an emblematical 
 painting in the centre, proper to the subject of the Procession. 
 
 The idea of the paintings was furnished by Mr. Richards and Mr. Smirk, and all of them 
 executed by the latter, in a style of great taste and excellence. 
 
 The audience expressed the strongest approbation at the whole of the Procession, and dis 
 tinguished each of the transparencies with loud plaudits. 
 
 The glee introduced with so much applause, is the composition of the late Dr. Rogers 
 (who lived in 1600); the other airs in the Pantomime and Procession, are by Handell, Lord 
 Kelly Abel, Stamitz, and Shields, and have great merit. 
 
 The expense of preparing this splendid spectacle must have been very great, and the cost 
 of continuing its representation cannot be inconsiderable, since more than 200 supernumarries 
 (sic) are employed to walk in the Procession. 
 
 This occasion is not, of course, a Lord Mayor s Show; I have, however, in 
 cluded it here, chronologically, because it is based on the Lord Mayor s Show. 
 For us, it is especially important as marking a stage between the civic triumph 
 and the historical pageantry of the United States which, in the form of 
 tableaux vivants, antedates the Parkerian pageant of more recent times. Here, 
 on a stage, without speech, we find procession and tableau vivant combined; 
 the main emphasis is on civic history, but there are suggestions of symbolism 
 and allegory. 
 
 We may remark that the symbolism and allegory are saved for the " grand 
 pageant " at the end mythology and history dividing the interest of the main 
 part of the show. 
 
 THE EBB-TIDE 
 
 The Barber-Surgeons " went out " on Lord Mayor s day for the last time in 
 1 785.* I have found few references to the Lord Mayor s procession for the clos 
 ing years of this century; but there are some interesting glimpses of the banquet 
 to be gleaned from the MS. Proceedings 2 of the Committees for conducting the 
 entertainments on this civic festival. Although not strictly connected with the 
 subject, some of these items hitherto unpublished may be included here. 
 In 1790, the committee "resolved that a card of Invitation [to the dinner] be 
 sent to the Right Hon ble Edmund Burke, Esq r ." 3 The waits whose duties 
 are not specified received ten guineas; and the total cost of the celebration 
 most of which was for the dinner was 1055, igs. qd. 4 
 
 A MS. " Minute Book " preserved in the Guildhall Library gives many de 
 tails concerning the procedure on the Lord Mayor s day during the last decade 
 
 1 See Young, p. 421; and cf. below, p. 125. 
 
 2 See the Bibliography, where these volumes are mentioned under this head. 
 
 3 MS. Proceedings for this year, p. 21. 
 
 4 Ibid., p. 30. Mr. Jenkins seems to have provided only the music for the ball (ibid., p. 13) . 
 
ENGLISH PAGEANTRY 
 
 of the eighteenth century; there is no pageantry, in the strict sense, though the 
 water processions were kept up regularly during these years. 1 On 4 October, 
 1791, " there being a sufficient number of Members present to form a Court of 
 Assistants, tho no such Court was called, the Master took the sense of the Mem 
 bers present, as an adjournment from the last Court of Assistants, whether the 
 Company should go out in the usual procession the ensuing Lord Mayor s day, 
 when on the question being put, the same was resolved in the negative." 2 
 
 The expenses of the Lord Mayor s Day celebration in 1794, as recorded in 
 the MS. Proceeedings of that year, amounted to 962, 165. jd., of which the mayor 
 paid 481, 8s. 3!^., and each of the sheriffs 240, 145 lid. Again no mention of 
 pageantry is made; but the City Waits contracted " to provide a good Band of 
 Music to attend the Lord Mayor and Company during the procession by Land 
 and Water for the Sum of 8, &s. And also to provide 18 Persons to play in the 
 different Parts of the Hall during the Ball, and to continue playing untill the 
 Company choose to leave off Dancing, for the Sum of 18, 185., making in the 
 whole, 27, 6s." 3 At the meeting of the committee in the Guildhall on 16 Octo 
 ber, 1795, " Mr. Jenkins attended and contracted with the Committee to pro 
 vide a good Band of Music to attend the Lord Mayor & Company during the 
 Procession by Land and Water; and also to provide 10 Persons to Play in the 
 different parts of the Hall during the Ball ... for the Sum of 27, 6s. in the 
 whole." 4 There is no mention of pageantry; the total cost of the celebration 
 wasion, is. 3^. 5 
 
 In 1801, " Messrs. Ballet & Nash, City Waits, attended, & agreed to furnish 
 8 performers to play to & from Westminster for 8 Guineas, & 18 Performers to 
 play for the Dancers in the several Rooms till dismist by Committee for 18 
 Guineas." 6 At the meeting of 27 October, 1801, " Mr. Mountague attended, 
 and stated to the Committee that it was the wish of the Lord Mayor that a 
 transparency should be exhibited in the Guildhall on Lord Mayor s day, that 
 he the Lord Mayor had consulted the Sheriffs who said they should concur in 
 anything that might be adopted by this Committee. 
 
 " Resolved. That this Committee approve the design marked no. 2 (repre 
 senting Peace descending attended by Genii to bestow her inestimable blessings 
 on the Four Quarters of the World) as fit for the transparency that the same 
 be painted by Mr. Smirke, 7 & that he be paid for the same the Sum of 30 Guineas. 
 
 1 Cf. this MS., pp. 18-28. 
 
 2 From the Barber-Surgeons records, cited by Young, p. 235. 
 
 3 MS. referred to, fol. 6. 
 
 4 Proceedings for this year, fol. 4. 5 Ibid., fol. 17. 
 
 6 Proceedings of the Committee for this year, fol. 7. In 1801, as in the past, another 
 band was hired for the dinner. 
 
 7 Perhaps he who had planned the pantomime of 1783 (see above, p. 101); Peace and the 
 Four Quarters of the World had appeared as living figures in more than one seventeenth- 
 century Lord Mayor s Show. 
 
THE LORD MAYOR S SHOW 103 
 
 " Resolved. That the word PEACE be exhibited in White Lamps over the 
 Sheriffs Hustings." These entries show the development or deterioration 
 from the pageant-car, with its living figures, to the painted transparency. 
 
 At the meeting of 6 November, 1801, it was " Resolved, that the Chairman 
 & Secretary be desired to procure vocal performers on the best terms they can." 
 It is recorded under date of 9 November, " The Lord Mayor, Aldermen & 
 Sheriffs &c departed to Westm r about 12 o Clock when the Comm 66 proceeded 
 to clear the Hall of Interlopers, & secure all the avenues, having previously 
 badged the several attendants engaged for the service of the day. . . At three 
 o clock the Doors were opened & the company began to assemble, the Com 
 mittee receiving them at the entrance, with their Wands decorated with Olive 
 Branches, as a symbol of the restoration of Peace. The Lord Mayor, Aldermen 
 and Sheriffs arrived about f past Four: & were followed by the Great Officers 
 of State &c dinner was served at Six, to a Company as numerous as ever assem 
 bled at Guildhall: in fact the unusual splendor of the show; the fineness of the 
 day, & the happy return of Peace, all contributed to invite those, whose situation 
 in life entitled them to a seat; or whose interest could procure them a Ticket, 
 to be present at the celebration of that day when the Chief Magistrate of the 
 first City in the British Empire began the exercise of his magisterial functions. . . 
 
 "The company at the Sheriffs Hustings were much gratified by the melodi 
 ous Voice of Mr. Incledon, who kindly & freely gave his assistance at a very 
 short notice to forward the general harmony. . . The company continued en 
 joying the festive Dance, &c. with the utmost hilarity till \ past 3 o clock when, 
 the last party separated; & the Committee having seen the hall cleared & per 
 fectly secure from Fire retired to their respective habitations." 
 
 The " order of procession " for the proclamation of peace, 28 April, i8o2, 2 
 seems to include no pageants. The carriages of various city officials appeared, 
 however, and the occasion may have resembled the annual civic show, which 
 seems to have lost almost all if not all of its pageantic features. The 
 transparency of 1801, and the olive-branched wands of the Committee, brought 
 allegory and symbolism inside the Guildhall a noteworthy fact. 
 
 Bell s Weekly Messenger for Sunday, n November, i8o4, 3 recounts the mayor 
 alty procession of that year. " The Goldsmiths Company took precedence of 
 the others in consequence of the Lord Mayor belonging to it. This Company 
 put themselves to an additional expense on the occasion by introducing about 
 twenty men ... in full bottomed wigs and black cloaks, with cocked hats, 
 and wearing round their necks gilt chains. The novelty of this exhibition, which 
 was formerly a usual appendage to the Company, but long since discontinued, 
 attracted general notice." Here we find a suggestion of history behind the dress- 
 ing-up which must represent more than a costume-ball if it is to be real pageantry. 
 
 1 MS. cit., fol. 26 f. 3 Cited by Prideaux, ii, p. 308. 
 
 2 Preserved in the Guildhall (Broadsides 11-13). 
 
104 ENGLISH PAGEANTRY 
 
 1809 THE USUAL PREPARATIONS; AND THE RUDENESS OF A 
 
 GREAT MAN. 
 
 At a meeting of the Lord Mayor s and Sheriffs Committee held on 21 October, 
 i Sop, 1 " Mr. Warren of the West London Militia attended and was directed to 
 supply a Band of 14 Musicians to attend the Lord Mayor in going to & return 
 ing from the water side which he agreed to do for the Sum of 8, 85. . ." At the 
 meeting of 31 October, " The Secretary was requested to write to Mr. W m 
 Taylor to request his Attendance on the ensuing Lord Mayor s Day as a Vocal 
 Performer," 2 and on 7 November it was " resolved that Mr. John Hayne have 
 a personal ticket as a Gentleman qualified to assist in the vocal Performances." 3 
 
 A parenthetical record may be made of the fact that in the committee s list 
 of " Noblemen & Gentlemen who did not return any answer " to the invitation 
 to the banquet, occurs the name of the " Rt Honble R. B. Sheridan." 
 
 1815 RELICS OF WATERLOO EXHIBITED 
 
 The year of Waterloo saw the revival of a figure not uncommon in the older 
 pageantry, the " armed man." The author of Civic Honours 4 tells us that 
 " at the last Lord Mayor s Day, [1815] independently of two persons in com 
 plete armour, and a third partially armed, representing ancient Knights, with 
 their attendants, squires, heralds, standard-bearers, &c. the procession was ren 
 dered very interesting by small parties of horse soldiers, arrayed as curiassiers, 
 (sic), in the spoils so bravely won on the preceding i8 th of June, at the ever- 
 memorable battle of Waterloo! " 5 From this time on, the " armed man " be 
 comes a common figure in these processions for many years; he is given no 
 proper name, and can be regarded only as the skeleton of pageantic chivalry, 
 or the shade of " pageantized " romance; but his direct ancestry seems to be 
 in the Armorers trade-figure. 
 
 In 1816, a precept of the Mayor 6 provides for the show, announcing the route 
 of the procession, and forbidding squibs or other fireworks. 7 It further provides 
 
 1 See the Proceedings of this year, p. 7. 2 Ibid., p. 21. 
 
 3 Ibid., p. 30. The names of four " vocal performers " Messrs. Maynard, Ingle, 
 Taylor and Terrail are recorded on p. 32. 
 
 4 This volume, published at London in 1816, is recorded in the Bibliography. The colored 
 frontispiece of the book shows the men in armor, the Lord Mayor s Coach, and a bit of the 
 crowd, in a drawing done after the style of Cruikshank. 
 
 5 Op. cit., p. 19. Mr. Marriott, whose name appears frequently in later Proceedings of 
 Committees, received 80 for these " men in armour." (See the MS. " Expences at Guild 
 hall on Lord Mayor s Day 1815," now preserved in that Library (MS. 148). No other sign 
 of pageantry appears on the accounts; the total expenses amounted to 1448, 05. id. 
 
 6 Dated 24 October. 
 
 7 This is preserved in the Taylor Collection of Broadsides (no. 138) in the Guildhall 
 Library. (Cf. above, p. 14, n. i.) It answers Herbert s query, (ii, p. 411, n. 2), as to whether 
 
THE LORD MAYOR S SHOW 105 
 
 for the decoration of " the Fronts and Balconies of [the] Houses," with the best 
 hangings or ornaments of the inhabitants; but makes no mention of pageants. 
 
 J. G. Nichols l records that when the mayor in 1816 returned from West 
 minster by land, the " High Steward of the City and Liberties of Westminster 
 (Lord Viscount Sidmouth) thought proper to protest against such deviation 
 from the usual practice, in order that the same course may not be drawn into 
 precedent, and adopted on any future occasion. 
 
 " In 1817, the death of the Princess Charlotte of Wales having occurred three 
 days before Lord Mayor s Day, the procession was omitted." 
 
 1821 MEN IN ARMOR AND MR. MARRIOTT 
 
 The Secretary of the Committee for 1821 reported " that the Sub-committee 
 had seen Mr. Marriott who informed them that it would not be consistent to 
 have the Men in Armour without military, neither could he suggest any other 
 procession but at an expence of at least from Three to Four hundred pounds." 3 
 Later 
 
 " Mr. Marriott . . . stated that he should be ready to provide Five Men in Armour with 
 their Attendants on Lord Mayor s Day, the two in addition to the three which he had for 
 several years furnished on previous occasions. One of the additional suits of armour was of 
 a most splendid appearance, sent to this Country for the use of the Champion at the Coro 
 nation, but not used. The other new suit would be of a novel and striking description never 
 introduced before. Mr. Marriott stated that in addition to his own men (about Twenty) 
 he should require the attendance of Thirty six Mounted, Ten dismounted cavalry, Twelve 
 Trumpeters, Two Kettle Drummers and six Chargers. Mr. Marriott said that the Charge 
 for the Five Men would be One Hundred and ten Guineas. If only three, Eighty Guineas." 
 And it was 
 
 "... Resolved. That the Lord Mayor Elect and the Sheriffs be requested to afford this 
 Committee an opportunity of having a conference on the propriety of having the Men in 
 Armour with the usual attendance of a Military before the final orders be given to Mr. Mar 
 riott." 4 At the next meeting of the Committee, the Lord Mayor-elect " stated that from a 
 
 the precept of 1768 " be not the last instance of the lord mayor s commanding the companies 
 by precept." 
 
 A similar precept (no. 139 in the same collection) repeats practically the very words of the 
 1816 order; it is dated 25 October, 1826. That of 16 October, 1827 (no. 140) is phrased in 
 much the same language both forbid " squibs, serpents, or other fireworks." That of 
 29 September, 1830 (no. 142) to the Companies, does not mention fireworks; but that to the 
 Aldermen of the different Wards, under the same date (no. 143 in the Taylor Collection) 
 repeats the precepts of 1826 and 1827. 
 
 1 Land. Pag,, p. 121, (giving no authority). 2 Ibid., loc. cit. 
 
 3 Proceedings for this year, p. 17. On p. 13, we find that " Mr. Stokes was ordered to 
 attend the procession to and from Westminster with his band (in all twelve persons) and to 
 receive Eight Guineas. He was desired to take care that they all appeared in Uniform and 
 were clean in their appearance." 
 
 4 Ibid., p. 21. 
 
106 ENGLISH PAGEANTRY 
 
 communication which he had with the proper authorities, he clearly understood that no 
 Troops would be granted but the usual Guards. That in consequence of the opinion of the 
 Sheriffs as well as that of this Committee that it would be improper to introduce those Troops 
 and considering that it would not be consistent to have Men in Armour without the attendance 
 of a Military he wished that they should not be engaged for the ensuing Lord Mayor s Day " 1 
 Whereupon, it was unanimously resolved, " That Mr. Marriott be informed that the Com 
 mittee cannot enter into any Arrangement for the Attendance of the Men in Armour in the 
 procession on the ensuing Lord Mayor s Day," to which an amendment was made, adding 
 the words, " At present." 2 
 
 At a later meeting, " the Sheriffs attended and stated that they had seen the Lord Mayor 
 Elect with whom they had again left the decision of having the Men in Armour with the usual 
 Troops, who had informed them that he had had an interview with Lord Sidmouth on the sub 
 ject of the attendance of the Military with the Men in Armour. His Lordship had referred 
 to a letter sent last year in which it was stated that the Military could not be granted in any 
 future year and that the said Resolution would be adhered to on the present occasion. That 
 in consequence the Lord Mayor had acquainted the Sheriffs that he would agree to the Men 
 in Armour being employed in such a way as the same could be arranged. 
 
 " Mr. Marriott having been sent for, attended and stated that last week he had received 
 positive orders from the Lord Mayor Elect to get ready the Men in Armour in the usual 
 way, his Lordship undertaking to obtain the attendance of the necessary Troops. In conse 
 quence of which he had been making preparations accordingly when on Saturday Evening 
 last the Lord Mayor called in his way to Lord Sidmouth and promised to let Mr. Mariott (sic) 
 know on his return the result of his application. . . Mr. Marriott was . . . asked whether he 
 could provide the attendance of Four Men in Armour with suitable attendants at an expence 
 of Eighty to One hundred pounds. He informed the Committee that it would be in his power 
 and the said proposal received the approbation and sanction of both the Sheriffs . . ." 3 
 
 At the next meeting of the Committee, the Lord Mayor-elect " stated that he never gave 
 any positive directions to Mr. Mariott (sic), but only conditional orders on his own responsi 
 bility in case the usual number of Troops could be spared. The Lord Mayor Elect however 
 not having been able to obtain the Troops he considered that he had given no orders on the 
 subject. His Lordship added that subsequently he had withdrawn his objection to having 
 the Men in Armour without Military the Sheriffs appearing to wish to have them. The 
 Sheriffs however having referred the subject to the Committee, . . . his Lordship upon hear 
 ing the representation Mr. Marriott had made to the Committee as to positive orders having 
 been given to him by the Lord Mayor Elect, His Lordship had refused to give any instructions 
 in the affair and that he had nothing to do with it." 4 So there were no Men in Armor this 
 year. 
 
 1822 MEN IN ARMOR REAPPEAR 
 
 In 1822, " the Lord Mayor Elect and Sheriffs signified their wish to have 
 the usual Procession of Men in Armour, &c. and which was left to the Com- 
 
 1 Proceedings for this year, pp. 25 f. 
 
 2 Ibid., p. 26. 
 
 3 Ibid., pp. 44, 45. 
 
 4 Ibid., p. 52. Four " Vocal Gentlemen " were engaged as singers (p. 38); they received 
 thirteen guineas (p. 69); Mr. Marriott received "for trouble of attendance about Men in 
 Armour," five guineas (ibid.}; the dinner cost 906, 195. 4^.; and the total expenses for the 
 Lord Mayor s Day of 1821 were 1753, i6i. 3^. (pp. 69-70). 
 
THE LORD MAYOR S SHOW 107 
 
 mittee to arrange." l It was resolved, " That Mr. Henry Marriott be requested 
 to attend the next Meeting of the Committee with Estimates &c. respecting the 
 Procession with Men in Armour and their Attendants." At a later meeting, 
 " Mr. Henry Marriott attended, and stated that he should be ready to provide 
 the Men in Armour which he had for several Years furnished on similar occasions. 
 And he had no doubt if Application was made to the proper Authority for suffi 
 cient Troops to form the Procession they would be readily granted. It was there 
 fore moved and resolved unanimously That Mr Henry Marriott do attend the 
 Procession in the usual way And that the Sum of Eighty Guineas be paid him 
 to include the whole of his Expences And in the event of Troops not being 
 obtained to assist in the Procession Mr. Marriott undertook to form a Proces 
 sion which would be satisfactory to the Committee and suitable to himself at 
 an Expence not exceeding the Sum before mentioned." 3 
 
 On 24 October, 1822, " Mr. Remembrancer reported That he had seen Mr. 
 Dawson the Under Secretary of State and Colonel Haverfield who informed him 
 that the application for the Military to attend in the Procession was forwarded 
 to the Rt. Hon. Robert Peel the Secretary of State for the Home Department 
 who was absent in the country, and that an Answer might be expected before 
 the next Meeting of the Committee." 4 Peel refused to order the attendance of 
 either the Life or the Horse Guards, referring to a precedent. 5 " In 1820 the 
 Lord Mayor Elect was informed by Sir Herbert Taylor by direction of H. R. H. 
 The Commander in Chief that in future it would be necessary to discontinue 
 the Attendance of the Military and last Year no Detachment was granted," 
 reads his postscript. 
 
 " Mr. Marriott attended the Committee when he was informed that the 
 Military would not be granted to assist in forming the Procession. He stated 
 to the Committee that he had been preparing the necessary requisites for the 
 Procession but as there were many necessary requisites ... to be provided in 
 equipping a certain number of Horsemen to form a Procession which should 
 not be deficient in splendour and appearance from any former occasion the Ex- 
 pence would amount to 100 which the Committee agreed to give him. 
 
 " Mr. Marriott requested the use of the Magistrates Room and the adjoin 
 ing Room in Guildhall Yard for the purpose of equipping his Men and deposit 
 ing the Articles required for the Procession on the 9 Nov r . which the Com 
 mittee engaged to obtain for him for that purpose." 6 
 
 1 Proceedings for this year, p. 2. 
 
 2 Ibid., p. 4. 4 Ibid., p. 25. 
 
 3 Ibid., pp. 13 f. 6 Ibid., p. 33. 
 
 6 Ibid., pp. 33 f. Mr. Marriott was paid 100 for " Men in Armour as pr. Contract," 
 and eight guineas for extra trumpeters and kettle drum (p. 75). Four men were engaged as 
 "Vocal Performers" for the banquet (p. 28); they received together nine guineas 
 (p. 76). The total cost of the entertainment this year was 1718, 2s. 8d. (ibid.). 
 
108 ENGLISH PAGEANTRY 
 
 At the end of the volume of minutes of the 1823 committee is preserved the 
 " Order of Procession " for the 1822 Lord Mayor s Day parade. Besides the 
 usual marching guilds, etc., it included an " Ancient Herald " and three " An 
 cient Knights," with their attendants armorers, trumpeters, standard- 
 bearers, and esquires, with yeomen of the guard. The Suit of Brass Armour, 
 worn by the First Knight," says the Order of Procession, " is the property of 
 Mr. MARRIOTT. The Suit of Steel Armour, worn by the second Knight is 
 HENRY THE FIFTH S, from the Tower. The suit of Brass Armour, worn by 
 the third Knight, is Mr. ELLISTON S; all the Half Armour and Banners, are the 
 property of Mr. MARRIOTT, and the former were taken from the French, at the 
 Battle of Waterloo. 
 
 " The Arrangements of that part of the Procession connected with the Ar 
 mour are under the direction of Mr. MARRIOTT." 
 
 Knights and attendants were inserted in this procession, like the modern 
 " parenthetical " pageant. They were preceded by the Merchant-Taylors, in 
 carriages, with their banners and attendants; they were followed by the Mayor, 
 Sheriffs, and other civic officials. " At the Obelisk, Bridge Street, the Proces 
 sion on its Return from Westminster in the State Barges of the several Companies 
 of London, will be joined by the Carriages of the Royal Family . . . and other 
 persons of Distinction invited to the Banquet at Guildhall." 1 
 
 1823 ARMED MEN THE ONLY PAGEANTIC FEATURE 
 
 The MS. minutes of the 1823 Committee record that on 13 October Mr. 
 Marriott was called in; and " not being prepared with a Plan of the Procession 
 for the Men in Armour, It was refer d to a Sub Committee consisting of The 
 Chairman, Secretary, Mr. Waithman, Mr. Whittaker and Mr. Richardson to 
 arrange the same with him." 2 On 30 October, a letter from Mr. Elliston was 
 read, " granting the use of his Armour to the Committee." At the same meet 
 ing, Messrs. Waithman and Whittaker reported that they had made the neces 
 sary arrangements for the procession of the Men in Armour, except the Trump 
 eters." 3 
 
 A manuscript in the Guildhall Library, called Ceremonies Observed by the 
 Lord Mayor of London, 1824-25, notes a water-procession on Lord Mayor s Day, 
 1824, to Westminster and return (fols. 7 and 8); no mention is made of land 
 
 1 From the Order of Procession. Cf. on this year s show, Fairholt, pt. i, p. 137; in a 
 note, he questions the authenticity of the ascription of armor in the Tower to Henry V. 
 
 2 Proceedings for this year, p. 12. 
 
 3 Ibid., p. 32. " Humphries, for Men in Armour " sent in a bill of 33, 195. (p. 56); it 
 was resolved, " That in consequence of the Vocal Gentlemen who engaged to attend not 
 being in the Hall in proper time, only Nine Guineas be given to them one of the Gentlemen 
 not arriving till 9 o Clock the others not before 7 o Clock " (p. 59). The total cost of the 
 entertainment this year was 1237, 155. 2d. (p. 58). 
 
THE LORD MAYOR S SHOW 109 
 
 pageants, but Fairholt 1 says that the armor of 1822 appeared again. I have 
 not seen any minutes of the Committee for this year. In 1825, at the meeting 
 of the Committee on 7 October, it was resolved to provide four " Vocal Gentle 
 men," and to request Mr. Marriott s attendance, " on the subject of the Men 
 in Armour." A " transparency " at 2, ios., was voted, to be provided by 
 Mr. Pattrick; 3 and on 31 October, " the contractor for the Men in Armour 
 attended to know what colour the Lord Mayor s Ribbons would be on the 9 
 November. Resolved, That he do attend tomorrow with a particular of the 
 procession for the use of the Committee." 4 Mr. Callahan received " for Men 
 in Armour and procession " 71, 8s? 
 
 Armed men, or knights, and their attendants, appeared in other mayoralty 
 shows of the period 6 the only trace of pageantry we find. In 1827, as we 
 have noted, 7 the two giants appeared; the Order of Procession for 1828 8 shows 
 the usual guild-members, and four " ancient knights " preceded by two " an 
 cient heralds." The humorous verses, published in 1830 under the name of 
 " Thomas Dybdynne," and entitled, A Ryghte Sorroweful Tragyke Lamentacyonne 
 for ye losse of my Lorde Mayor his Day el which was to have byn on ye ix of Novembyr 
 MDCCCXXX, But dydd nevyr see ye Lychte, beyng Smothyred lyke unto a Fovle 
 Abortyonne, suggest that perhaps no show was given this year. 
 
 1833 MR. MARRIOTT AND THE COMMITTEE; THE ARMED MEN AGAIN 
 
 The MS. Minutes of the Committee for 1833, under date of i November, 
 record that 
 
 Mr. Marriott having been called in was requested to inform the Committee whether that part 
 of the procession under his direction was equal to former years, replied that it was not; that 
 in former years there were more Troops, Heralds, and Trumpeters, which gave to that part 
 of the Pageant a more imposing appearance. 
 
 Mr. Figgins inquired what would be the additional expense of the necessary Heralds and 
 Trumpeters, and how many more Troops would be required. 
 
 Mr. Marriott replied that in all about 25 Persons; that the expense would be about 
 Twenty Pounds, and that the Pageant would be increased about one third. [It was there 
 upon resolved,] That Mr. Marriott do cause the said additions to be made and that his ar 
 rangements do equal in Splendour any former years. 
 
 That for the said additional improvements his contract be increased from Eighty Pounds 
 to One Hundred Pounds. 
 
 1 L. M. Pag., pt. i, p. 137. 3 Ibid., fol. 28. 
 
 2 Proceedings for this year, fol. 5. 4 Ibid., fol. 34. 
 
 5 Ibid., fol. 60; the total expenses were 1819, us. ^d. (fol. 61). Fairholt, pt. i, pp. 137 f., 
 records that five knights appeared this year, in modern armor. 
 
 6 Cf. Fairholt, pt. i, p. 138. 
 
 7 See above, vol. i, p. 63. 
 
 8 Preserved in Fairholt s Scrapbook, vol. ii, now in the library of the Soc. Antiq. Cf. the 
 precepts for 1826, 1827, and 1830, mentioned above, p. 14, n. i, and p. 104, n. 7. 
 
no ENGLISH PAGEANTRY 
 
 A " Crown and Rays," which was the transparency the year before, was used 
 again this year; the committee hired it for ten guineas and had it fixed in the 
 East Window, and taken down, (" the same as last year,") the price being 
 for one night only. 1 On the 4th, 
 
 Mr. Depy Alderman referd to the additional engagement made by this Committee with 
 Mr. Marriott in respect of adding to the procession a larger proportion of Troops and Heralds 
 to precede the knights in armour, and Mr. Remembrancer having stated that any Troops 
 required for the Procession had always been applied for by him, as from and for the accomo- 
 dation of the Lord Mayor, and the copy of a letter from Sir Geo. Naylor, Garter King at 
 Arms, addressed to Mr. Town Clerk dated 2 By desire of the Duke of Norfolk the 
 
 Earl Marshall (requesting Mr. Town Clerk to lay the same before the proper Authorities) 
 requesting therein that the use of Heralds wearing Tabords may be discontinued as tending 
 to bring a very ancient service of His Majesty s Household into ridicule, 2 having 
 
 been read from the minutes of the proceeding of the Committee conducting the entertainment 
 for the 9 th of Nov r as also a resolution of that Committee thereon 
 
 [Resolved] That for the reasons above given the Committee rescind the resolution of the 
 I st of Nov r in respect of increasing that portion of the pageant under Mr. Marriott s direction 
 and that the contract do remain as originally agreed upon at the sum of 80. o. o. 
 
 The Remembrancer " was directed to make the necessary arrangements for 
 the attendance of the marine Boys "; and on the 5th it was resolved that a dinner 
 be provided for the forty boys who were to receive each a shilling in addition. 3 
 
 The Order of Procession for this year is inserted in the MS. minutes, under 9 
 November; it included, beside the usual marching companies, three " Ancient 
 Knights " with attendants. From the Guildhall, the procession went to the 
 Tower, thence to Westminster by water; returning, the mayor landed at Black- 
 friars. 
 
 1837 THE FIRST YEAR OF VICTORIA S REIGN 
 
 On the first Lord Mayor s Day after her accession, Queen Victoria dined at 
 the Guildhall, according to custom. 4 Coming from Westminster in regal splen 
 dor, the young sovereign was met at Temple Bar by Mayor and Aldermen in 
 all their civic glory; the senior scholar of Christ s Hospital delivered an address 
 
 1 Ibid. The pages of this volume are not numbered; these arrangements were made on 
 the first of November. 
 
 2 Blank left in the MS. 
 
 3 The cost of this item was 8, i6s. There were forty-one boys. Ten singers were agreed 
 on at the meeting of 7 November; for his procession, Mr. Marriott received 85; the total 
 cost of the entertainment was 2174. 
 
 4 For particulars of this occasion, see a collection made by F. Hobler in 1838, now pre 
 served in the Guildhall Library. It contains some rare folders and plates many of them 
 colored tickets, menus, &c., together with the " Report to the Court of Common Council, 
 from the Royal Entertainment Committee, presented 14 December 1837," and an Order of 
 Procession (bound opposite p. 29). A rare panoramic view of the procession may be found 
 injthe Guildhall Library; a long account of the occasion appeared in the London Times for 
 
THE LORD MAYOR S SHOW 1 1 1 
 
 at the door of the royal carriage, 1 but there was no technical pageantry on this 
 occasion. The procession was a long and brilliant one ; the banquet was elaborate, 
 and in the evening, the city was illuminated. 2 
 
 THE SHOW FOR 1839 
 
 The MS. Minutes of the Lord Mayor and Sheriffs Committee for 1839 con 
 tain the usual items. On 9 October, it was resolved that " the Men in Armour 
 be engaged as usual for the procession on Lord Mayor s day, & that Mr. Mar 
 riott do attend the next Committee meeting with his terms for providing them." 3 
 On 14 October, " Mr. Marriott attended & offered to provide Men in Armour 
 with their attendants, Banners, Troops & Trumpeters, the same as usual for 
 the amount of One Hundred Guineas. 
 
 " Resolved; That Mr. Marriott s offer be accepted." 4 The Marine Society 
 furnished forty boys, and five officers, with a banner, for the procession; 6 and 
 an offer from the London & Westminster Iron Steam boat Company of the 
 gratuitous use of one of its steam boats to tow the State Barge, if necessary, to 
 its destination, was gratefully accepted. 6 
 
 1841 PAGEANTRY REAPPEARS: A FULL-RIGGED SHIP 
 
 Besides the " ancient knights " and their attendants, there was, in the Show 
 for 1841, the model of an East Indiaman, fully rigged and manned, on a car 
 drawn by six horses. 7 It will be remembered that a ship appeared in many 
 folk-processions, " royal-entries," and in the elaborate shows of the seventeenth 
 century. This may be the immediate ancestor of the later ships which we shall 
 find in subsequent Lord Mayor s Shows; it is an interesting example of the 
 
 10 November, 1837; the "Supplementary Number" (862) of The Mirror of Literature, 
 Amusement and Instruction for Saturday, u November, 1837, gives an abridged version of 
 the Times account, and illustrates the banquet. Pictures of the City Giants are reproduced 
 (ibid., opp. p. 319) but they do not appear to have been carried in the procession. 
 
 1 As Victoria passed St. Mary s, the charity children sang " God Save the Queen." 
 
 2 The editor of the Mirror (supplementary number, p. 321) calls this a " solemn 
 national pageant." It may be worth noting that a " handsome three-storied booth " was 
 erected at the west end of Cheapside, for the boys of the City of London schools. After the 
 scholars had quitted it, " the galleries " were occupied by about five hundred members of 
 the Sacred Harmonic Society who sang " God Save the Queen " as the sovereign returned 
 to Buckingham Palace. 
 
 3 Minutes, p. 4. 
 
 4 Ibid., pp. u, 12. A Star was provided this year for the Guildhall (p. 25); twelve vo 
 calists and a piano were furnished for twenty guineas (p. 12). 
 
 5 Ibid., p. 27. 
 
 6 Ibid., p. 49. The total cost of this year s celebration was 2009, 175. id. (p. 76). 
 
 7 See Fairholt, pt. i, pp. 139 and 176. The Order of Procession for 1841 is reprinted, pt. i, 
 pp. 175 ff. 
 
112 ENGLISH PAGEANTRY 
 
 resurrection of what we might call the " body " of pageantry, when the " knights " 
 representing nothing in particular are mere masqueraders. 
 
 1842 AN ELABORATE SHOW 
 
 In the Illustrated London News for 12 November, 1842, may be found an 
 account of the Lord Mayor s Show for that year. The gth of November was 
 the anniversary of the birth of the Prince of Wales ; and the double celebration 
 was accompanied by the ringing of bells within and without the City. " The 
 morning, too, was unusually fine, and altogether a Lord Mayor s Show has 
 seldom . . . presented a gayer appearance than that of Wednesday. It is to be 
 deeply regretted, however, that the festive procession did not pass over without 
 a very serious accident to one of the men in armour, who . . . fell from his 
 horse near Blackfriars-bridge and broke his thigh." x The " men in armor " 
 were again the only pageantic features ; and the barges instead of being 
 rowed to Westminster by watermen were towed by steamboats. 
 
 A short story by one Abraham Elder, entitled Tommy Doddy: or the Grand 
 Pageant, appeared in Bentley s Miscellany for this year. 2 It describes, in the 
 manner of historical fiction, a dinner given to the King and Queen, in 1633, at 
 the Merchant-Taylors Hall; the banquet was preceded by a " pageant," and the 
 " hero " of the story is the son of the artisan who furnished the effigies. Neither 
 as history nor as fiction is the production of great value ; but it shows an interest 
 in the civic pageants of the past felt in 1842, and is a rare instance of fiction 
 based upon pageantry. 
 
 1 Nov. 12, 1842, p. 424. The procession by water, from London Bridge, is pictured on this 
 page; but the picture does not agree with the text, which (noting a departure from precedent 
 in the embarcation at the Southwark end of London bridge) continues: " Here the silent 
 highway was witness to another departure from established rule, for some of the barges, in 
 the place, as has been the custom any time these hundred years past/ of being propelled in 
 the true and stately style of civic dignity, viz., by powerful sweeps in the hands of the re 
 nowned Thames watermen, were made fast to steamers, and tugged up to Westminster . . . 
 The state barge ran aground, and, as the tide was unusually low, a quarter of an hour elapsed 
 before she could be got off ... The appearance of the gilded barges on the water, when com 
 pletely under weigh, was really very grand and imposing, particularly the state barge and 
 the barge of the Goldsmiths Company, which shone like immense masses of floating gold." 
 
 Pictures of the water-procession of 1843, tne barge, and the show, with a humorous article, 
 (illustrated by caricatures), on the " Characters " of the Lord Mayor s Day, may be found 
 in the London Pictorial News for n November, 1843, PP-i84 and 188. The official program 
 of the show is printed, ibid., p. 186; it included an " ancient Herald " and three " ancient 
 Knights." 
 
 2 See this publication, ix, pp. 281 f. I am indebted to Professor Kittredge for calling 
 this to my attention. 
 
Q 
 
 PQ 
 
 Q 
 X 
 
THE LORD MAYOR S SHOW 113 
 
 1845 THE GOLDSMITHS BARGE USED FOR THE LAST TIME 
 
 Unmoved by the appreciation of the Illustrated London News in 1842, "on 
 the 2gth of October, 1845, it was resolved [by the Goldsmiths] That the Com 
 pany do not join the procession on Lord Mayor s day by land or water/ and the 
 barge was not used again." * 
 
 In 1847, Marriott and Smith received 105 for providing a " procession of 
 knights, &c." 2 Four " ancient knights," an " ancient herald," with armourers, 
 esquires, and standard-bearers appeared. 3 In 1848, it was resolved that the 
 " Men in Armour be engaged as usual for the Procession on Lord Mayor s Day, 
 and that Mr. Marriott of Fleet Street do attend the next committee meeting 
 with his terms for providing them." 4 His terms (including a dinner for the 
 mounted band) were 110, which were accepted. 5 The Order of Procession is 
 bound with the minutes of the Committee 6 - four " ancient knights," fully 
 attended, with an " ancient Herald, Habited in a Tabard," followed the march 
 ing companies and preceded the Lord Mayor: again the "parenthetical" 
 character of this part of the show is to be noted. 7 
 
 The minutes of the Committee for 1849 8 give us details on the show for this 
 year. It was resolved " that the procession take place as usual . . . and be as 
 similar as possible to that of last year." 9 The Committee further resolved, 
 " That the Fairlop Boat be engaged for the occasion; that the Men in Armour 
 be engaged as usual for the Procession, and that Mr. Marriott 10 be written to 
 attend the next Committee Meeting with his terms for providing them; that 
 Mr. Remembrancer do apply to the Commander in Chief for the usual number 
 of Troops and a Mounted Band for the Street Procession; that the Remembran 
 cer do also make the usual application to the Board of Ordnance for Armour and 
 
 1 Prideaux, ii, pp. 318 f. The " man in brass " and two " ancient knights " are pictured 
 in the Illustrated London News of 9 November, 1844. 
 
 2 See the MS. accounts for this year, in Guildhall MS. 149. 
 
 3 Cf. Illus. Lond. News, 13 November, 1847, p. 308. 
 
 4 MS. Minutes of the Committee for Conducting the Entertainment at Guildhall on Lord 
 Mayor s Day, 1848, fol. 4. 
 
 5 Ibid., fol. 9. The route of the procession to and from Blackfriars Bridge is recorded 
 (fol. n); for the evening, Mr. Jolley offered to furnish twelve voices three trebles (ladies) 
 three altos, three tenors, and three basses and to preside at the piano, for twenty guineas, 
 which offer was accepted (fol. 12). The expenses this year were 2471, gs. (fol. 54). 
 
 6 Ibid., fol. 19. The bill for the 1848 " men in armor " was receipted by Henry Marriott. 
 (Ibid., fol. 58). 
 
 7 Cf. the Shows for 1822, 1907, &c. 
 
 8 Guildhall MS. 899. 
 
 9 MS. cit., pp. 6 f. 
 
 10 Mr. Henry Marriott, for providing Men in Armour with Attendants, etc., received 115, 
 165. (ibid., p. 77). 
 
114 ENGLISH PAGEANTRY 
 
 Flags to be placed in Guildhall on Lord Mayor s Day; that the Remembrancer 
 do apply to the Clerks of the Company s (sic) of which the Lord Mayor and 
 Sheriffs are Members to ascertain whether they will attend in the Procession. 
 Also to apply to the Marine Society for 40 Boys to join the Procession. 
 
 " That the Chairman be requested to provide a Dinner for the Boys ... at 
 Masons Hall Tavern at 2/6d. per head, and pay the usual gratuity of i/ to each 
 Boy . . . 
 
 " That Mr. Rathbone of 7 Portland Place, and Mr. J. Smithers of No. 4 
 Gregory Street, Pimlico, be applied to, requesting them to attend the next Com 
 mittee to tender for providing the usual Band and Trumpeters in the Guildhall." 1 
 
 The route of the procession was fixed as follows: 2 " From Guildhall through 
 Gresham Street East to Basinghall Street, Fore Street, Moorgate Street, Princes 
 Street, Cornhill, Gracechurch Street, and take water at London Bridge and to 
 return from Blackfriars Bridge, Bridge Street, Ludgate Hill, St. Paul s Church 
 yard, Cheapside, King Street to Guildhall." 
 
 At a meeting of the Committee on 7 November, " the Barge Master attended 
 and stated that in consequence of the Tide being low at the time intended for 
 the Embarkation of the Procession it might be necessary to engage a Steam Boat 
 to assist. 
 
 " Resolved That the Secretary write to the Superintendent of the Iron 
 Steam Boat Company to attend the next meeting of the Committee at 2 o Clock. 
 
 That Mr. Searle the Bargemaster be allowed the sum of 5 to be paid to 
 the City Watermen as usual." 3 
 
 1850 A CHANGE MADE IN THE SHOW: GODWIN S LETTER 
 
 In 1850, George Godwin addressed a letter to the Lord Mayor-elect, giving 
 suggestions for the improvement of the Show. 4 In view of its antiquity, he said, 
 more taste and invention should take the place of dull routine; he suggests 
 " emblems and works of art, accordant with its ancient character, and worthy 
 of the present time. In lieu of the men in mock armour, who have had a long 
 run, you might introduce, say three compositions typical of manufactures, agri 
 culture, and the arts; and do honour, if it were by but a series of banners, to 
 the great minds that have taught and raised the world, and to the past worthies 
 
 1 Guildhall MS. 899, pp. 7-9. 
 
 2 Ibid., p. 28. 
 
 3 Ibid., pp. 43 f . At the end of the MS. may be found copies of the various bills. Twelve 
 vocalists as in 1848 were provided at a cost of 21 (pp. 13 and 73); various military 
 bands and trumpeters both for the procession and banquet were employed; the dinner 
 exclusive of wine cost 1015; and the total cost of the entertainment amounted to 
 2366, 75. yd., of which the mayor paid 1100, the two sheriffs 550 each, and the City 
 Lands Committee 200. 
 
 A copy of these minutes, with an Order of Procession may be found in Guildhall MS. 35. 
 
 4 The letter is preserved in the Guildhall. (See Bibliography, s. v. Godwin.) 
 
THE LORD MAYOR S SHOW 115 
 
 who have specially served, adorned or otherwise improved the City. Peace 
 has its victories as well as war. . . " 
 
 This letter seems to have had an effect; the Morning Post and the Times for 
 2 November, 1850, announced: " The streets of the City will present a very 
 curious and interesting scene on the approaching Lord Mayor s Day. Amongst 
 the changes which are to be introduced upon that occasion in the great civic 
 procession, will be the following appropriate substitutes for the trumpery ex 
 hibition of the men in armour at the head of the cavalcade. . . " The Globe of 
 7 November, 1850, foretells the changes in the procession, and observes: " It 
 will be seen that the committee have most judiciously dispensed with the at 
 tendance of the farcical-looking l ancient Knights, mounted and armed cap-a-pie, 
 in suits of polished steel armour, and plumed, and filled up the hiatus with 
 something more pleasingly figurative of England s glory." 
 
 ALLEGORY AND SYMBOLISM REVIVED 
 
 " The New Lord Mayor s Show, 1850," is pictured in the Illustrated London 
 News for 9 November, 1850; after musicians and trumpeters came Peace, 
 mounted on a white horse; she was followed by Africa, Europe, America, and 
 Asia, also mounted and appropriately dressed. Then came various animals - 
 a horse, a camel, an elephant, and two deer bearing fruits and produce of the 
 different continents; then horses, bearing burdens representing Industry, the 
 Arts, Manufactures, Commerce; and finally a car, drawn by six horses, repre 
 senting a barge, manned by four sailors; Happiness sat therein on the world, 
 Britannia at her feet. After this, soldiers and civic officials; then the Mayor in 
 his coach. 2 
 
 John Ashton 3 records this Show of 1850 from his own recollections of it. 
 Its " novelty " commenced after the appearance of the late Lord Mayor. " First 
 of all came Peace, 4 white-robed and white-winged, on a white charger . . . and 
 in her train came Europe, Asia, Africa and America on horse-back." Then the 
 animals above-mentioned, representing the four continents a horse, carrying 
 a trophy of all the arms of Europe ; a camel for Asia, an elephant for Africa, 
 
 1 The " pleasant change " in the Show for this year is recorded in the Gent. Mag. for 
 December, 1850, p. 630. 
 
 2 This Illus. Land. News is preserved in Fairholt s Scrapbook, in the Soc. Antiq. library, 
 vol. ii. A contemporary Order of Procession may also be found there, as well as in the Harvard 
 Library. This shows no car, and mentions six " ancient knights " mounted and fully armed, 
 each attended by two mounted squires bearing his battle-axe and mace. There seems to have 
 been no water-procession this year, the route to Westminster being from Guildhall through 
 Gresham-street, Princes-street, Lombard, Gracechurch, Leadenhall, Fenchurch, Gracechurch 
 streets, Cannon-street East and West, St. Paul s Churchyard, Ludgate-hill, Fleet-street, and 
 the Strand; the return was made through the Strand, Fleet-street, Ludgate-hill, St. Paul s 
 Churchyard, Cheapside, and King-street to Guildhall. 
 
 3 Lord Mayor s Show, p. 8. 
 
 4 The show preceded the inauguration of the first International Exhibition in 1851. 
 
Il6 ENGLISH PAGEANTRY 
 
 and two deer for America; then came horses laden with attributes of Industry, 
 Art, Commerce and Manufactures, as already related. " After this came the 
 piece de resistance of the show. A car, drawn by six cream-coloured horses, three 
 abreast, containing four Sailors, and Britannia, most correctly habited, holding 
 a branch of olive, whilst Happiness was seated on the summit of a huge Globe, 
 flanked on either side by a Cornucopia." 
 
 A soliloquy by one who took the part of a " man in armor " in the mayoralty 
 shows, lamenting his lot when these figures were abolished, appeared in Punch 
 this year, 1 under the title, The Lament of the Man in Brass. With this show, we 
 see the first sign of the new birth a reappearance of the elements of the pag- 
 eantic " triumph " at its height. The doom of the " armed man " has sounded. 
 
 But Punch s lament was a bit premature ; in 1851, twenty-three " knights 
 in armour " accompanied the Lord Mayor in procession. 2 Owing to the death 
 of the Duke of Wellington, there was no show in 1852; and in 1853, the men 
 in armor were replaced by personification and pageantic allegory. 
 
 1853 MORE PERSONIFICATION 
 
 " . . . For reasons well-known to everybody, there has been an interregnum of twenty- 
 four instead of twelve months since the last Lord Mayor s Show paraded the streets of London. 
 . . . Alderman Sidney, following in the footsteps of his aldermanic brother Musgrove, has 
 lopped off the absurd portions of the spectacle, such as the knights in armour and other 
 things equally ridiculous; and taking a hint from the more tasteful public processions in 
 France and Belgium, has replaced them by picturesque personifications of Justice/ In 
 dustry, Peace and Prosperity, and so forth, and by living representations of the inhabitants 
 of all foreign countries. . ." 3 
 
 The Empire for 12 November, 1853, quoting from the Times account of the 
 show, notes that " the pageant was distinguished by several attractive fea 
 tures," and " was, in fact, one of the most successful that has taken place for 
 some years past. The show, thanks to the cooperation of Mr. W. Cooke, of 
 Astley s Amphitheatre, was well arranged, and in some respects picturesque . . ." 
 In the Weekly Times 4 we read that " the committee for conducting the proceed- 
 
 1 See vol. xix (1850) p. 206. Cf. ibid., for a humorous account of Peace, the four Conti 
 nents, Happiness, and Britannia, together with the rest of the show. Both these bits of 
 humor are illustrated by Leech. 
 
 2 See the Illus. Lond. News, 15 November, 1851, p. 606. 
 
 3 Extract from an account of the Show of 1853, which appeared in the London Weekly 
 Times for 13 November, 1853, p. 729, col. i. Cf. the London Times for 10 November, 1853, 
 p. 7, col. 3, for a full description of the show; and the Illus. Lond. News for 12 November, 
 I ^53> P- 45> for a page-picture of the procession. The car of Justice preceded horsemen 
 representing " the Nations " France, Russia, Germany, Italy, Turkey, etc., each bear 
 ing a banner of identification. A cart, drawn by oxen, contained an Australian digger, fol 
 lowed by country-men and maids, representing Australia; and Peace and Prosperity 
 occupied a car drawn by nine horses. 
 
 4 Issue cited, p. 729. 
 
THE LORD MAYOR S SHOW Two ANCIENT KNIGHTS AND THE MAN IN BRASS 
 
THE LORD MAYOR S SHOW 117 
 
 ings of the day consigned the allegorical representations in the procession to 
 Mr. Frederick Fenton, the scenic artist of Sadler s Wells Theatre. . . . The 
 novel part of the procession, in which Mr. Cooke s equestrian troupe was seen 
 to very great advantage, excited general admiration. . . . The representatives 
 of North and South America were amusingly tattooed and completely covered 
 with dabs of various paints and occasioned much merriment. What, however, 
 brought the laughter of the people to a climax, was the Australian digger ..." 
 Perhaps this figure was humorous of the class of the older " drolls "; but 
 he was also symbolical a personification, as it were, of Australia, as the tat 
 tooed characters were of North and South America. All of the British public 
 were not amused by the show, nor did they all have complimentary things to 
 say about it; I can here only refer to various letters in the Times. 
 
 OBJECTIONS TO THE SHOW VOICED IN THE " TIMES " 
 
 " A Curate " protests against the lavish mayoralty banquet; 1 " Prisoner " 
 voices his complaint of the show; 2 a protest against the " continuance of an 
 absurd and ridiculous display " appeared from the committee of the coal trade; 3 
 " A City Broker " asks " how long is this foolery to be permitted ? " 4 A letter, 
 signed "Viator," complains of the obstructions caused by the procession; 5 
 another, from a sheriff, mentions the triumph with many uncomplimentary re 
 marks; 6 and the Weekly Times 7 concludes that "the utilitarian spirit must 
 prevail at last; and as this partiality for street pageantry is on the wane through 
 out the whole of England in Ireland it is put down by the strong arm of the 
 law we think that the Lord Mayor s day may safely be left to itself and to 
 the growing sense of the people of London . . . The whole thing will die a natural 
 death, or be consigned to a desuetude, the natural result of indifference." 
 
 In 1856, the last water procession took place; the last entry in the Repertories 
 concerning orders regulating barges on the Lord Mayor s Day appears this 
 year. 8 On 13 October, 1856, together with the usual precept against squibs and 
 other fireworks, we find it ordered " that the several barges to be rowed on the 
 River Thames on Lord Mayor s day next be rowed from Southwark bridge and 
 back to Blackfriars bridge, in procession, according to seniority, and that they 
 
 1 Journal cited, 25 October, 1853, p. 8, col. 5. 
 
 2 Ibid., 7 November, 1853, p. 7, col. 6. 
 
 3 Ibid., 9 November, 1853, p. 7, col. 6. 
 
 4 Ibid., 10 November, 1853, p. 10, col. 2. The leader (on p. 6, col. 3 of this issue) is bitter 
 against the Show; and the Weekly Times for 13 November, 1853, pp. 721 and 726, mentions 
 the performance in no very enthusiastic terms, reprinting the Times opinion. 
 
 5 The Times for u November, 1853, p. 5, col. 4. 
 
 6 Ibid., 16 November, 1853, p. 10, col. 4. 
 
 7 In the issue for 13 November, 1853, p. 721. 
 
 8 Repertory cclxi, fol. 420. 
 
Ii8 ENGLISH PAGEANTRY 
 
 do not approach too near this City s barge, thereby to endanger the lives of the 
 passengers." 1 
 
 Orders against squibs and other fireworks, for keeping the streets, over which 
 the procession is to pass, clear from obstructions, and for the usual water-pro 
 cession were made in 1857 ; 2 but the boats do not seem to have been used. The 
 Illustrated London News 3 records that 
 
 the pageant was not of a very imposing character, being shorn of much of its wonted pomp 
 by the absence of the usual squadrons of dragoons. In point of fact, it was little more than 
 a string of private carriages, interspersed with a military band or two, and slightly diversified 
 by a few men in armour from Astley s. The ceremony deviated in an important particular 
 from those of previous years, there being no water procession. The Corporation are no longer 
 the only conservators of the Thames, and it was therefore resolved that the route should be 
 entirely upon land. 
 
 CONCLUSION 
 
 By 1857, the Show had completely fallen from its high estate its glory is, 
 indeed, departed. The papers call it " little more than a string of private car 
 riages "; a few " armed men " indicate but faintly the spirit of pageantry; the 
 water-procession which dated from 1422 is no more. From the time when 
 Ned Ward penned his gentle satire, to that of the more bitter attacks of the 
 Times correspondents, a spirit of ridicule hung over the Show. Gradually 
 getting less pageantic, it became little more than a procession, the chief figure 
 in which from our point of view was the "armed man" or "knight," 
 whose immediate ancestor seems to have been the trade-figure of the Armourers 
 Company already " usual " in i76i. 4 A connection with history was made, in 
 1815 and 1822, by equipping these figures with " half-armor " taken at Water 
 loo, and old suits of armor from the Tower; but they seem to have excited ridi 
 cule just the same, as in 1833 we find Garter King at Arms protesting against 
 the use of heralds with them. 5 
 
 In 1841, a ship appeared ; this was a common accompaniment of earlier shows, 
 but such pageantic features were rare in the century and a half which lies be 
 tween 1700 and 1850. In the latter year, Mr. Godwin wrote a letter which bore 
 fruit in the pageantry of 1850; but, with the exception of the show in 1853, this 
 stimulation was deceitful, and a relapse to " armed men " followed. Bitter were 
 the complaints of many correspondents in the Times of November, 1853; the 
 
 1 Minutes . . . of the Court of Aldermen for 1856, (London, 1856) p. 72. A model of the 
 last State Barge, built in 1807, is in the Guildhall Museum. 
 
 2 Minutes . . . of the Court of Aldermen for 1857, pp. 54 f., under date of 13 October, 1857. 
 
 3 For 14 November, 1857, p. 494. 
 
 4 See above, p. 95 and n. 3. As these figures represented nothing in particular, they may 
 hardly be said to be pageantic; rather they were masqueraders, from whom, to be sure, the 
 raw material of the pageantic " soul " is drawn. 
 
 6 See above, p. no. 
 
THE LORD MAYOR S SHOW 119 
 
 Show, however, survived the attacks levelled against it, and as we shall see 
 editorial opinion has now changed regarding it. 
 
 One important fact in the history of pageantry during this period should be 
 emphasized; in 1783, the show was carried into the theatre, and made the basis 
 of a pantomime. The tableaux miiants of this production establish a connecting 
 link between the figures carried through the streets on floats, and the historic 
 " living pictures " of earlier American pageantry. Much history was recalled 
 in the 1783 pantomime; and it was not the history of any one Company (as in 
 the Lord Mayor s Show itself) but rather of London, in which all Companies 
 and every citizen could take a just pride. Elements of mythology, allegory, 
 and symbolism lent their aid; and the set of the final tableau recalled the street- 
 pageant, or triumphal arch, of the Elizabethan " royal-entry." 
 
 In the years following 1857, the Lord Mayor s Show struggled from the depths 
 into which it had fallen; the course of this regeneration we shall now trace. 
 
 4. THE RENAISSANCE OF THE PAGEANTIC SHOW, 
 
 1858-1919 
 
 In spite of the ridicule and anger it had excited, the Lord Mayor s Show con 
 tinued to exist even after the water-procession was abolished. Together with 
 orders against fireworks, on 19 October, 1858: "it is ordered that the Com 
 missioner of the City Police do take effectual care that the several public streets 
 through which the procession is to pass on Lord Mayor s day next be kept free 
 and clear from all obstructions and hindrances to the same." l Of what the 
 Show consisted, we cannot be certain; but it did not, during the next decade, 
 free itself from the ridicule with which it was, as we have seen, often greeted 
 during the preceding century and a half; for, in 1867 it was again subjected to 
 
 1 Minutes . . . of the Court of Aldermen for 1858, pp. 56 f. (The same notice appeared in 
 
 In The Illustrated News of the World for 20 November, 1858, the arrival of the procession 
 at Westminster is pictured (p. 328). The procession this year showed " nothing novel " 
 (ibid., for 13 November, p. 307) which indicates how quickly the public had got used to the 
 absence of a water-procession. 
 
 Regarding the disposal of the State Barge, we read in the Minutes . . . of the Court of 
 Aldermen for 1859 (London, 1859), p. 21, on 22 March: " Report, General Purposes Com 
 mittee, upon the reference to consider the letter from Mr. Comptroller by direction of the 
 City Lands Committee, to ascertain whether this Court desire that the housing of the Lord 
 Mayor s State Barge should be still continued, and recommending that the Barge should be 
 given over to the City Lands Committee to be sold. Read, approved and ordered." (Cf. 
 ibid., p. 1 6.) " The last of the Company s Barges " forms the frontispiece to Prideaux, 
 Memorials of the Goldsmiths Company, vol. ii; on the barge of the Skinners Company, see 
 Wadmore, pp. 137 f. after spending 257, 145. on it for repairs in 1855, the Company 
 sold it, in 1858, for 75. 
 
120 ENGLISH PAGEANTRY 
 
 satire, 1 and its abolition was threatened. More than ten years later, however, 
 the Lord Mayor and Sheriffs Committee was meeting; and from their manu 
 script Minutes of 1879 we get some interesting information. 2 At the meeting of 
 15 October, " a letter was read from the Surveyor General s Department of the 
 War Office, acknowledging the receipt of a letter from the Remembrancer re 
 questing the issue on loan of armour to be used in the procession on the loth 
 November, and in reply calling attention to a letter from that Office in 1877 
 pointing out that the valuable specimens of armour which were then lent had 
 been seriously damaged, and suggesting that imitation sets of armour of modern 
 manufacture might be obtained for future use, and asking whether the Lord 
 Mayor could not arrange to dispense with the valuable armour asked for." 3 
 As men in armour were hired from Messrs. Sanger and Son, and among the terms 
 we find " Man in armour, lance horse and cloth for horse ... 6; for armour 
 for horse 4, los extra; for scale armour, 4 extra," we may assume that the 
 suggestion of the War Office was acted upon. 4 
 
 The keepers of Epping Forest announced their intention of marching; and 
 Mr. Hart (the Chairman of the Coal and Corn and Finance Committee) wrote 
 to ask if " the Committee could introduce anything in the procession illustrating 
 the purchase of Burnham Beeches by the Corporation, and suggesting that a 
 banner or banners should be carried by hired men." 5 The Metropolitan Board 
 of Works was invited to send a detachment of firemen to walk in the procession, 6 
 and the Band and Boys of the training-ship Exmouth were authorized to take 
 part in it. 
 
 The Commander-in-Chief was asked to allow " about 50 of the survivors of 
 the detachment of soldiers engaged at Rorke s Drift to attend in the procession 
 on the ensuing Lord Mayor s Day " but the request was refused, as, with some 
 exceptions, the defenders of Rorke s Drift were still serving abroad. 7 This is 
 an interesting effort; for it shows a tendency to substitute actual historical 
 figures for the allegory which used to be so common in these shows. Is not a 
 veteran more valuable, in rousing a spirit of pride, than a draped figure repre 
 senting Glory ? 
 
 1 See The Prologue and Epilogue to the Lord Mayor s Show of 1867, signed W. H. H., but 
 published anonymously that year, at London. This is a humorous satire on the threatened 
 abolition of the Show, and a lament for its past glories. The pamphlet is preserved in the 
 Guildhall Library. 
 
 2 Guildhall MS. 517. 
 
 3 MS. cit., pp. 21 f. 
 
 4 Twenty men in armour with horses, lances, clothes for horses, etc., at 6 apiece were 
 hired, (ibid., p. 33). The route of the procession, to and from Westminster Hall, is given 
 
 (P- 3). 
 
 6 This suggestion was adopted, (ibid., p. 34). 
 
 6 Ibid., p. 34- 
 
 7 Ibid., pp. 42 and 52. No vocal music was provided for the dinner, (pp. 20 and 44.) 
 
THE LORD MAYOR S SHOW 1 21 
 
 1 88 1 PAGEANTS AND INTERNATIONAL COURTESY 
 
 In 1 88 1, there were many triumphal arches, and the decorations were un 
 usually splendid. 1 
 
 An elaborate and imposing structure was erected at the corner of the Royal Exchange- 
 avenue. A large pavilion had been constructed here, in front of which the procession halted, 
 in order that the inhabitants of the ward might present an address through their representa 
 tives to the Lord Mayor. 2 The flag of the United States was displayed at various points, and 
 it formed a feature in the procession, being escorted by a guard of honour . . . Upon arrival 
 at Palace Yard, Westminster, the massed bands played the American National Anthem, 
 The Star-Spangled Banner . . . The procession was this year singularly free from eccentric 
 features, which have the one merit of pleasing the lower elements hi a London mob . . . The 
 contingent of firemen, the boys from the Netley, and the American flag, called forth general 
 enthusiasm. 
 
 1882 THE LAST TIME TO WESTMINSTER HALL 
 
 In 1882, the mayor went to Westminster Hall to take his oath, for the last 
 time, although his procession has entered the neighboring city often since then. 
 Nothing particular marked this show, which was received " with all the cheering 
 and goodhumour which is customary." The thoroughfares were gay with flags, 
 and many of them were spanned by triumphal arches. 3 
 
 1883 THE MAYOR TAKES HIS OATH AT THE NEW LAW COURTS - 
 THE COLONIES IN PAGEANTS 
 
 The next year, we find the forerunner of a new era in the history of this civic 
 pageant. In 1883, the mayor took his oath at the new Law Courts for the first 
 time ; 4 and the procession which accompanied him 
 
 contained no men in armour, or meaningless fancy costumes, but it included Grace Darling s 
 boat, a life-boat with its crew, and a rocket apparatus, for saving lives from shipwreck; a 
 trophy of the Fisheries, composed of nets, spars and oars, ropes, buoys, baskets and other 
 fishing-gear, from the late Exhibition; and several trophies of India and the Colonies, which 
 
 1 Cf. the Illus. Lond. News for 12 November, 1881, p. 470, from which I quote. 
 
 2 Cf. the 1913 Baynard Castle below, p. 138. 
 
 3 Cf. Illus. Lond. News for 18 November, 1882, p. 530. Perhaps the glamour of the Show 
 this year was dimmed by the return of soldiers from the war in Egypt (cf . the progress of the 
 Horse Guards through London, ibid., for 28 October, 1882, p. 440) ; at any rate the Show had 
 no new features. 
 
 4 The Handbook of Ceremonials, p. 24, n. 2, records that before 1881 the Lord Mayor was, 
 in accordance with the charter of 37 Henry III, presented to the Barons of the Exchequer, 
 and took the oath, or declaration, in that Court. Since 1881, he has been presented to Judges 
 of the King s Bench division, and makes the declaration before them. (This volume cites 
 Acts 44 & 45 Vic., cap. 68, sec. 17.) 
 
 On the mayor s going to the new Law Courts for the first time, see the Illus. Lond. News 
 for 17 November, 1883, p. 478; various pictures of this year s Show may be found, ibid., 
 P- 473- 
 
122 ENGLISH PAGEANTRY 
 
 were original, if not quite appropriate in design. That of " India " consisted of natives stand 
 ing among palm-trees, with a stuffed tiger above, followed by two elephants; that of " Can 
 ada," a backwoodsman, amidst pine-logs and piles of corn-sacks, with beavers and bears; 
 that of " Australia," two red-shirted station-hands, with fleeces of sheep and bags of wool; 
 a kangaroo and an emu, and a species of pelican, being perched a little higher. The vehicles 
 upon which these colonial " exhibits " were set up, passed along the street; and they were 
 succeeded by one which conveyed what was supposed to be meant as a representation of the 
 supply of frozen fresh mutton from New Zealand. This was simply a row of twenty or thirty 
 sheep carcasses, hanging up in much the same way as they do at a butcher s shop. The 
 Committee of the Common Council, and others, appointed by the Lord Mayor and Sheriffs 
 to arrange the procession, had given no sanction to any such exhibition; and it was certainly 
 not provided by any person officially connected with the New Zealand Government Agency. 
 The remaining parts of the procession were of the ordinary character, but there was a greater 
 show of banners than usual, and more bands of music; the engines of the Fire Brigade, with 
 their firemen, and the sailor boys of the Exmouth, made a very good figure. 1 
 
 1884 A FORECAST OF MODERN PAGEANTRY 
 
 The emphasis which modern historical pageantry places upon the educational 
 value of the past, is foreshadowed by the publication of a pamphlet in connection 
 with the Lord Mayor s Show of i884. 2 The preface of this pamphlet reads as 
 follows: " The publication of an Historical Pamphlet containing extracts from 
 Standard Works on matters connected with the forthcoming Procession, de 
 mands a few words of explanation. It is only natural that many readers may 
 have forgotten some of the memorable incidents they were taught in their 
 school days, and the raison d etre of the publication of these extracts is to 
 recall them to their recollection by depicting some of the scenes connected with 
 the life and history of our renowned ancestors. 
 
 " The purpose of this year s Show is to bring before the minds of the public 
 some of the glorious traditions of our ancient city to show how, from time 
 almost immemorial, the Corporation has been both loyal to the Crown and true 
 to the People." 
 
 How this purpose was carried out is told in the Illustrated London News for 
 15 November, i884. 3 " Most of the elaborate devices of the show were illustra 
 tions of national and civic history or tradition. There was a car drawn by twelve 
 
 1 Illus. Lond. News for 17 November, 1883, p. 478. At the banquet in the evening M. 
 Waddington, Mr. Gladstone, and Count de Lesseps were among the speakers. 
 
 2 Extracts from Maitland s History of London, Thornbury s Old and New London, S tow s 
 Survey, Allen s History of London, etc., compiled by Charles G. Nottage, inform the citizens 
 of " a few memorable incidents in our civic history." (The Rt. Hon. George S. Nottage was 
 mayor this year.) 
 
 3 For illustrations of the Indian Empire Trophy, the Nile Expedition Boat, the Old Bow 
 Church as before the Great Fire, and various Kings and Queens, with Barons, Knights, and 
 Crusaders, see this issue of the Illus. London News, p. 469. The citation is from pp. 469 and 
 470. 
 
THE LORD MAYOR S SHOW 123 
 
 ponies, with Dick Whittington beside the Highgate mile-post listening to Bow 
 bells. . . Then followed a model of Bow Church as it was in old times with bell- 
 ringers and a banner, and the figure of Sir Richard Whittington in all his civic 
 dignity. William the Conqueror was represented, Richard Cceur de Lion, 
 Richard II and Queen Elizabeth, all mounted and costumed after the habits in 
 which they lived. . . Lord Mayor Wai worth standing over the slain Wat Tyler 
 provoked groans and hisses. A fairer spectacle was the car, drawn by four 
 horses, carrying a raised dai s, upon which was a casket containing a fac-simile 
 of the City s First Charter, A.D. 1067, guarded by citizens. . . A Nile boat, 
 similar to those sent out to Lord Wolseley, was exhibited properly manned. . . 
 There was a fine herd of camels, and, in recognition of our Indian Empire, Mr. 
 Sanger provided also elephants ridden by representatives of Rajahs, and a car 
 containing a picturesque group surmounted by a figure symbolical of India. . ." 
 This show having a definite purpose foreshadows the "educational 
 pageant " of our own day. One cannot assume that much stress was laid on 
 historical accuracy in this procession; but the emphasis on history is noteworthy. 
 The past of one Company was glorified often enough in the seventeenth century; 
 here the past of the City as a whole is brought before the people ; and suggestions 
 of the imperial greatness of Britain are made in the Nile boat, and the symbolical 
 representation of India. The figures of the sovereigns furnish an element of 
 chronicle-history. 
 
 1885 AN HISTORICAL ELEMENT IN A TRADE-PAGEANT 
 
 In 1885, the Gold and Silver Wyre-Drawers took part in the civic procession; 
 as this was the first time that the Company had participated in the annual show, 
 " a great effort was made to signalize the event in a fit and worthy manner, and 
 thanks to the . . . generosity of Past-Master George Kenning, who, at his own 
 expense, fitted up on Trolleys, a most picturesque and realistic representation 
 of the Art of Gold and Silver Wyre-Drawing, as practiced at the time when the 
 Company was Incorporated, 1 a display was made which was generally pronounced 
 to be the chief feature of the Show." 2 
 
 1889 THE SEVEN HUNDREDTH ANNIVERSARY OF THE MAYORALTY 
 
 In the City Press for 30 March, 1889, was printed a report of a meeting of the 
 Court of Common Council, during which the matter of celebrating the seven 
 hundredth anniversary of the mayoralty was discussed, and at which it was re 
 solved " that the Court ... do commemorate the event in a suitable manner ..." 
 The show for this year was largely historical, though there were no cars; and 
 while the account of the procession in the Illustrated London News does not men- 
 
 1 /. e., 1623 see Stewart, Hist. Company of Gold and Silver Wyre-Drawers, p. 32. 
 
 2 Ibid., p. 102. 
 
124 ENGLISH PAGEANTRY 
 
 tion the anniversary, one cannot help feeling that this was the form the celebra 
 tion took. 1 The show included delegates from le federation des qfficiers et sous- 
 qfficiers de sapeur-pompiers de France et d Algerie, as well as English firemen from 
 twenty-nine provincial fire-brigades. The band and boys of the training-ship 
 War spite appeared in line; the Worshipful Company of Makers of Playing 
 Cards marched with horsemen, " representing Knaves of the four suites (sic) 
 of playing cards, in the costume shown upon the earliest existing playing cards 
 temp, about A.D. 1460," who bore the Company s banners. The Master of 
 the Worshipful Company of Gold and Silver Wyre Drawers rode in a state 
 carriage, escorted by two men in the costumes of the supporters of the arms of 
 the Company. " The liveries and costumes are emblematical of the Gold and 
 Silver Wyre Drawers craft." 
 
 Groups illustrating the Sports and Pastimes of Old England followed other 
 marching companies. A Hawking Party, in the dress of 1200; Shooting at the 
 Butt, 1300; Quarterstaff, Tilting at the Ring, the Quintain, 1300; Maying, 
 1300; Preparing for the Tournament, showing the Queen of Beauty with her 
 Maids of Honour, Heralds, Trumpeters, and armed Knights followed by their 
 Squires; the Chase; the Lord of Misrule and his Court mummers, mu 
 sicians, jesters, etc. were all shown. Many of these groups were costumed 
 after illustrated MSS. in the British Museum; this suggests the desire for histor 
 ical accuracy which is inseparable from a truly " educational " pageant. 
 
 Then came various English worthies who traced descent from Lord Mayors 
 or Aldermen ; they included : 
 
 1533 Queen Elizabeth Ancestor, Sir Geoffrey Bullen, Lord Mayor, A.D. 1457. Her 
 canopy supported by Elizabethan gentlemen. 
 
 1561 Lord Bacon Ancestor, Sir Thomas Coke, Lord Mayor, A.D. 1462. Supported 
 by yeomen of the period. 
 
 1594 John Hampden Ancestor, Ralph Warren, Lord Mayor, A.D. 1536. Supported 
 by a party of Puritans. 
 
 1599 Oliver Cromwell Ancestor, Sir Thomas Marfin, Lord Mayor, A.D. 1518. Sup 
 ported by soldiers of the Commonwealth. 
 
 1650 Duke of Marlborough Ancestor, Sir Thomas Leigh, Lord Mayor, A.D. 1558. 
 Supported by soldiers of the period. 
 
 1676 Sir Robert Walpole Ancestor, Sir Edward Barkham, Alderman, A.D. i58o. 2 
 Supported by Lords (temp. Queen Anne). 
 
 1 I can find, in the index of the Times, no other pageant which celebrates this anniversary. 
 Cf. the Ittus. Land. News of 16 November, 1889, p. 613, for a picture of the Queen Elizabeth 
 of this show; the " Procession of Lord Mayors of London " is illustrated ibid., pp. 628 and 
 629. An account of Lord Mayor s Day, in much the same language as that used in the official 
 program, may be found ibid., p. 627. 
 
 2 A Sir Edward Barkham was mayor in. 1621. See the Bibliography, under Middleton, 
 sub anno 1621 : The Sun in Aries. This may have been the son of the alderman. 
 
THE LORD MAYOR S SHOW 125 
 
 1708 Earl of Chatham Ancestor, Sir Thomas Leigh, Lord Mayor, A.D. 1558. Sup 
 ported by Citizens (temp. George III) . 
 
 1718 General Marquis of Granby Ancestor, Sir Baptist Hicks, Alderman, A.D. 1611. 
 Supported by soldiers of the Whitehorse Hanoverian Regiment. 
 
 After this group came a " Procession of Lord Mayors," showing " one repre 
 sentative mayor of each of the seven centuries of the Mayoralty, supported by 
 four Halberdiers of the period. This series is interesting as exemplifying the 
 strange and peculiar changes in the colour and shape of the Mayoral robes." 
 The Mayors who marched were: Sir Henry Fitzalwyn, (1190); Sir Gregory de 
 Rockesby, (1285); Sir Richard Whittington, (1397); Sir Edmund Shaw, (1480); 
 Sir John Gresham, (1547); Sir William Craven, (1611); and John Wilkes, 
 ( I 775)j 1 then followed the Aldermen, Sheriffs, the late Lord Mayor, and the 
 new one, with much splendor. 
 
 1890 THE SHOW INCLUDES CARS AND SYMBOLISM 
 
 Two steam fire-engines and a detachment of men from various fire-brigades 
 followed the mounted band of the Royal Artillery in the Lord Mayor s Show of 
 i89o. 2 After them came the band and cadets of the training-ship War spite, 
 followed by " a fully equipped life-boat ... on its transportation carriage . . . 
 drawn by eight horses." The Worshipful Companies of Pattenmakers, Clock- 
 makers, Poulters, and Barber-Surgeons followed; then came cars " emblematic 
 of the Markets of the Corporation of the City of London." Four city pages 
 marched between each two. The first car, " Fruits and Flowers," contained 
 figures of Pomona, the goddess of fruit, and Flora, the goddess of flowers, with 
 their attendants; it was drawn by six horses, and accompanied by gardeners. 
 The second, " Fish, Game and Poultry," showed " Neptune borne by sea-horses, 
 Sportsmen, trophies of game, poultry, etc." It, too, was drawn by six horses; 
 and fishermen and gamekeepers were in attendance. The third car was " typical 
 of the Central Markets," and carried a shepherd and a shepherdess, surrounded 
 by trophies; this car was also drawn by six horses, and was accompanied by 
 farm-laborers. 
 
 Then came survivors of the Crimean War, in thirty carriages, each group 
 indicated by a banner variously inscribed: Crimean Heroes, 1854-1856; Alma, 
 Sept. 20th, 1854; Balaklava, October 2$th, 1854; Inkerman, Nov. 5th, 1854, and 
 Sevastopol Peace April 2$th, 1856. Beside these veterans there rode the 
 two trumpeters who sounded the charge at Balaklava. Here were no lay- 
 figures dressed up to represent historical characters but men who had greeted 
 
 1 The dates are those of the program. 
 
 2 My account is based on the Official Program of this year. The five cars in this show are 
 illustrated in the supplement to the City Press for 12 November, 1890, p. 2. " The Pageant " 
 is described in the same issue, p. 3. 
 
126 ENGLISH PAGEANTRY 
 
 History herself, and put their names in the book she is always writing, though 
 they were privates, many of them, and obscure. Veterans were sought in 1879, 
 as we have seen; 1 they appeared in several subsequent pageants 2 ; not as a 
 show, but that the public, gazing on men who had fought for their country, 
 might be awakened to a keener sense of her glory, and a deeper love for her 
 institutions. Such figures as these must have done a great deal to raise this 
 annual civic triumph from the depths into which it had fallen; we laugh, per 
 haps, at the " ancient knight," - but we do not smile at the old soldier. 
 
 After more military bands came a car " representing the Arts." The central 
 figure here was Music, who was surrounded by the nine Muses, and busts of 
 great composers. 3 This float, likewise, was drawn by six horses, and was ac 
 companied by four people in the garb of ancient Greek citizens. Ten halberdiers 
 in derm-armor followed; then came a car entitled "The Colonies," in which 
 sat the " figure of Australia, surrounded by figures emblematic of our colonies, 
 supported on either side by heralds of England, Ireland, Scotland, and Wales. 
 The car drawn by six dark-brown horses," was " accompanied by Colonists and 
 Indian Mahouts." After officials of the city, the late Lord Mayor, another band, 
 and the city trumpeters, came the Lord Mayor in his state chariot, bringing the 
 procession to a close. 
 
 1891 CARS, A SHIP; HISTORY AND TRADE 
 
 Fire-engines; a life-boat; a car emblematical of the Guilds and City of 
 London Institute ; another car carrying the model of an Elizabethan ship 
 emblematical of Queenhithe (the ancient port of London) ; a car emblematical 
 of the Principality of Wales, with Welsh girls in ancient and modern costumes, 
 bards and Druids upon it; a car displaying the Welsh industries of Iron, Tin, 
 Coal, and Slate; a car showing Edward I presenting the first prince of Wales 
 to the Welsh chieftains at Carnavon in 1284, accompanied the Right Honorable 
 David Evans, Lord Mayor, in 1891. 4 
 
 1892 TRADE, HISTORY, AND ALLEGORY; CARS 
 
 The next year, after the marching Companies, came a car of the Fruiterers, 
 with a trophy of fruit and flowers, drawn by six horses, and escorted by carters 
 in costume. The second car, furnished by the Gold and Silver Wyre-Drawers, 
 showed seven distinct branches of their trade, while specimens of their work 
 
 1 Above, p. 120. 
 
 2 Cf. e. g., the Lord Mayor s Show of 1906; the Columbus Day parade at Boston in 1912. 
 Who can doubt that future pageantry will make much of those who fought the Great War 
 just ended ? 
 
 3 The next thing to personification. 
 
 4 See the Official Program for this year. 
 
THE LORD MAYOR S SHOW 127 
 
 formed the decorations. Both carters and workers were in the costume of temp. 
 James I. The London and Provincial Fire-Brigades brought a " Manual Fire 
 Engine, dated 1852," and one of the hand-squirts used at the Great Fire of 
 London in 1666, together with a steam fire-engine of 1892. A car, entitled 
 " Commerce and the Port of London," showed an " emblematical figure of 
 Commerce, with Cornucopia and cereals, surrounded with groups representing 
 the various countries. Sailors and Porters " were followed by two merchants 
 on horseback. Then came a car " emblematical of the Goldsmiths craft," 
 drawn by six horses which were led by carters in the costume of I56I. 1 
 
 1895 TRADE, HISTORY, SYMBOLISM, AND CARS 
 
 Again, in 1895, the Company of Fruiterers furnished a car- Trophy of 
 Fruit and Flowers." 2 The Leathersellers brought "forty working Tanners, 
 Lime Workers, Skinners, Leather Dyers, . . . carrying implements of their trade," 
 and a " Car: containing a trophy of various Leathers and Workmen. A Leather 
 Shaver at his beam, shaving a skin; a Leather Finisher graining and setting a 
 skin; a Shoemaker at work, and a Harness Maker stitching a saddle. The Car 
 covered with Skins, Heads of Animals, and Crocodiles, and canopied and fes 
 tooned with Hides and Skins and surmounted by the Crest of the Company." 
 
 The band and cadets of the Warspite, together with detachments of firemen, 
 appeared again; also the Epping Forest Keepers and their brethren. What is, 
 however, of more interest to us, is a group of former Lord Mayors on horseback, 
 each representing his epoch. There were six: Sir Richard Whittington, 1406; 
 Sir John Gresham, 1547; Sir John More, 1612 ; 3 Sir Thomas Middleton, 1613; 
 Brass Crosby, Esq., 1771; Samuel Birch, Esq., 1814. Five attendants and a 
 banner-bearer, carrying his arms, escorted each magistrate; St. George of Eng 
 land followed them he rode on horseback, attended by two esquires and 
 twelve mounted knights in armor. 4 
 
 Two cars, representing South Africa and India, followed. The first contained 
 gold and diamond miners, African hunters and natives; it was escorted by six 
 mounted Cape Volunteers in the uniform of 1853. The other India Past and 
 Present showed Sir Thomas Smyth, founder of the East India Company, 
 with two soldiers in the uniform of the East India Volunteers. A Rajah in his 
 
 1 Order of Procession for this year. 
 
 2 This, and the other cars of the procession, are illustrated in the Official Program. 
 
 3 The dates are those of the program. Reference to the Bibliography, under Dekker, 
 sub anno 1612: Troia Nova Triumphans, will show that the mayor that year was Sir John 
 Swinerton. Jordan s Show for 1681 London s Joy was written for Sir John Moore. 
 
 4 These figures die hard; but, when made symbolic, or attached to a pageantic figure 
 as St. George undoubtedly is they become more closely related to pageantry, less mere 
 masqueraders. 
 
128 ENGLISH PAGEANTRY 
 
 native costume; Indian merchants and the products of Indian workmanship 
 
 appeared on the car, which was escorted by naval officers in the uniform of 1808. 
 
 Here we have trade and symbolism on pageant-cars, or floats ; and between 
 
 them an historical parenthesis, as it were, of equestrian mayors, with St. George. 
 
 1896 THE HISTORY or UNIFORMS 
 
 In 1896, the car " England and her Heroes " showed various army uniforms 
 of different epochs; another car contained men in the uniforms of an admiral 
 and sailors of the early nineteenth century; another showed " uniforms of vari 
 ous regiments in the early part of the present [i. e., the nineteenth] century, 
 with mounted gun." A stage-coach, " with ladies and gentlemen, guards and 
 coachman, in costumes of 1796," preceded a motor-car " old times " being 
 thus contrasted with the present. The last " float " in this show carried a 
 mounted Maxim gun, and men in the uniforms of I896. 1 This is what might 
 be called " expository history " - it is interesting to observe how far from a 
 guild, or from London itself, this show has taken us. It can hardly have awak 
 ened civic pride; it appeals rather to a sense of national glory. These shows 
 were preparing the way for the seed which Mr. Louis N. Parker was soon to 
 plant; 2 it is probable that the emphasis on history both civic and national, 
 represented by former Lord Mayors or by the uniforms of a century ago had 
 much to do with the appreciation of Mr. Parker s work, which has little else in 
 common with the kind of pageantry we have been considering. 
 
 1901 TRADE, SYMBOLISM, AND A TOUCH OF HISTORY 
 
 There were three cars in the 1901 Show: the first illustrated the trade and 
 commerce of London in the twelfth century; the second symbolized the Com 
 monwealth of Australia, and was escorted by stock-riders; while the third 
 represented the methods of weighing in use from the earliest times brought 
 to England by the guilds which united to form the Grocers Company. 3 This 
 
 1 See the Order of Procession, [which has been reprinted in Mellin s History of the Lord 
 Mayor s Show a pamphlet by Eric Broad (London, 1896)]. 
 
 2 It is due to Mr. Parker to say that he disclaims any influence from the Lord Mayor s 
 Show. But however little they have affected him, there is small room for doubting that the 
 people at least in part appreciated his work because of the training received at these 
 processions. Both brought the past to the present; the Parkerian " folk-play," or pageant, 
 did so in a more artistic fashion. 
 
 3 This car is illustrated in a four-leaf pamphlet among the broadsides in the Guildhall 
 Library, entitled " Why the Car of the Grocers Company in the Lord Mayor s pageant of 
 1001 represented ancient modes of weighing." (See Bibliography, s.v. Grocers Company.) 
 
 " The Grocers Company, as custodians of the King s Beams and Weigh-house for more 
 than three hundred years, have taken pains to represent the characteristics of the Company 
 on their car which figures in the Lord Mayor s procession. The aim is to illustrate methods 
 of weighing from the earliest times." A short history of the various methods follows. 
 
THE LORD MAYOR S SHOW 129 
 
 was preceded by a group showing the early trade-connections of the Grocers 
 Company, illustrated by camels laden with spices and led by Arabs, with a 
 mounted escort. In this show we find again the cadets and band of the War spite, 
 a life-boat, and a stage-coach of 1801 with motor-cars of a century later. 1 
 
 1902 TRADE, NAVAL HISTORY, INTERNATIONAL SYMBOLISM 
 
 In the 1902 procession, the Gardeners Company was followed by a " Floral 
 Car representing the Garden Industry. The floor of the Car is laid out as a 
 Flower Garden, with Rockery, etc. A canopy rising from the corners supports 
 four cornucopise, filled with choice blooms; from the centre depends a basket 
 of trailing creepers and flowers. The sides of the car are edged with smilax and 
 draped with the colours of the Guild, on which are embroidered the arms of the 
 Gardeners Company. The Car is drawn by a team of Six Horses, and attended 
 by the Gardeners in costume." Following the Haberdashers, came a car illus 
 trating " The Dawn of Printing." A model of the first English printing-press 
 was surrounded by a group representing Caxton showing proof to King Edward 
 IV, the Queen, and Earl Rivers; a printer and his apprentice were included in 
 this group. Around the car were the arms of Edward IV, and trade-marks of 
 the leading printers of the period. 
 
 Following this, came cars illustrating the rise and progress of the British 
 Navy; first, a model of the Great Harry? escorted by men in the costume of 
 sailors of the period; after the boys of the War spite came a model of H. M. S. 
 Victory (1805) also escorted by men in the costume of sailors of the period; 
 finally, a model of H. M. S. King Edward VII, escorted by men dressed as sailors 
 of the present. The next car, which followed the keepers of various forests, 
 represented "The Anglo- Japanese Alliance"; it contained "an allegorical 
 representation of Great Britain and Japan, with background of Japanese scenery; 
 a boat in the foreground typifies the commerce between the two countries. 
 Around the Car are emblazoned national armorial bearings and clusters of Roses 
 and Chrysanthemums." This car, drawn by the usual six horses, which were 
 led by carters in costume, was escorted by Japanese sailors. 
 
 Following the Spectacle-Makers, came a car " representing the Optical In 
 dustry of the 1 6th Century." It illustrated the use of nautical and astronomical 
 instruments, " also scientific mechanics making and fitting spectacles. The 
 Car is draped with the colours of the Spectacle Makers Company, with the Arms 
 of the Guild emblazoned thereon." 
 
 It is worthy of note that, although the earlier pageantry had historical char 
 acters and plenty of trade-symbolism, we have not seen, before these modern 
 
 1 My reference for this, and succeeding shows is, unless otherwise stated, the Official Pro 
 grams or Orders of Procession. 
 
 2 Destroyed by fire in 1553. 
 
130 ENGLISH PAGEANTRY 
 
 shows, a representation of the past in any trade. The illustrations of the Com 
 merce of London of the twelfth century, of the Methods of Weighing from 
 earliest times, and of the Optical Industry of the sixteenth century, seem to be 
 new developments. The transition is, however, very natural; we have seen, in 
 earlier centuries, the past of guilds portrayed by the former mayors who brought 
 distinction to them; and we have been shown journeymen and masters at work 
 at their trades, on many a pageant-car. Such figures as Caxton before Edward 
 IV show the bridge between trade and history elements which are united on 
 the 1902 float. And with this union comes more than advertisement, more than 
 entertainment ; the past of a trade is used for instruction. This aim, or tendency, 
 appeared in the Lord Mayor s Show of 1884; and in these floats of 1901 and 1902, 
 we come a step nearer to the idea underlying the Parkerian " folk-play," where 
 we deal, not merely with historical figures, but with the more social aspect of 
 history. 
 
 1904 HISTORY, MYTHOLOGY, ALLEGORY: ONE UNDERLYING SCHEME 
 
 The cars of the 1904 Show were four in number. A note in the Order of Proces 
 sion for that year informs us that 
 
 " the general scheme of the ornamental cars is to represent, by reference to their chief char 
 acteristics, four of the most potent civilizing powers in the world s history, viz: 
 
 " Ancient Egypt the Religion 
 
 " Ancient Greece the Arts 
 
 " Ancient Rome the Conquest 
 
 " Great Britain the Bible, Navigation and Industry." 1 
 
 On the first were " sphinxes guarding stairway leading to pillar supporting Statue of the 
 God of the Nile placed under a canopy. On faces of pillar are wall paintings taken from the 
 papyrus of Ani representing phases of the Adoration of the Nile, which is further illustrated 
 by group of Priests, etc." Followed a " Car representing Ancient Greece, Pillar, decorated 
 with bas-reliefs, representing the Muses, at rear of Car, supporting Chariot drawn by two 
 Grecian steeds, in which stands Apollo playing his Lyre. In front are grouped representatives 
 of the Arts of Greece." The car representing ancient Rome contained the " Columna Ros- 
 trata supporting Statue of Victory. Group shewing Caesar, accompanied by Roman 
 Soldiers." And on the last: " Britannia seated high on Gothic throne supported by Griffins 
 carrying City Arms, the British Lion crouched at her feet. In her right hand Britannia 
 carries the trident while her left hand rests upon the open Bible, the secret of England s 
 greatness, and the names of some of the greatest pioneer exponents of the Bible in distant 
 lands are mentioned, viz.: Livingstone (Africa) ; Morrison (China); Carey (India) ; Martyn 
 (Persia). Allegorical figures representing Navigation and Industry. Representative Group 
 of the British Colonies " completed the float. 
 
 It is to be remarked that here, for the first time, we have four floats related; 
 one scheme of allegory underlies all. With all the symbolism and allegory which 
 
 1 These cars are pictured in the Order of Procession. 
 
THE LORD MAYOR S SHOW 131 
 
 we found in the seventeenth century, there was nothing which showed the single 
 ness of purpose we find here; and this unity of design brings us another step 
 nearer the Parkerian attitude. 
 
 1905 INTERNATIONAL SYMBOLISM, ALLEGORY, AND SUGGESTIONS 
 
 OF THE GIANTS 
 
 The Order of Procession for 1905 contains illustrations of the three cars shown 
 that year. 1 The first, recalling the Anglo- Japanese pageant of 1902^ represented 
 L Entente Cordiale. " This car shows two giant figures respectively representing 
 Britannia and the French Republic 3 with hands clasped over a globe. At the 
 corners are standing French and English Soldiers and Sailors. The Car is deco 
 rated by two giant Flambeaux of Peace, garlanded to the corners with gilt 
 laurels and wreaths. The sides and base of the Car are draped with Union Jacks 
 and Tricolours." 
 
 The next car was " designed to exemplify Peace and War. The rear, or Peace 
 portion of the Car is a pedestal of granite with the word PAX marked in relief 
 upon each side, and surmounted by a giant figure designed after the celebrated 
 Statue of Liberty at the entrance to New York harbour. The base is decorated 
 with a marble balustrade garlanded with flowers. The rear of the Car is draped 
 with two large American ensigns. 4 In the forepart of the Car, at the foot of the 
 Statue of Liberty, are two soldiers of Russia and Japan with rifles on the ground 
 advancing on the summit of a ditch to give their hands in peace. At their feet 
 are a dismantled cannon and broken wheels as if shattered by shell-fire. The 
 base of the Car is decorated by Russian and Japanese flags." 
 
 " The central and upper part " of the third pageant, which represented the 
 Colonies, " shows an Indian Trapper bartering furs with a Hudson Bay Trader. 
 On one side of the Car is a typical Canadian Agriculturalist seated upon a real 
 plough, with sheaves of corn and trophies of colonial produce near, and on the 
 other side a New Zealand Agriculturalist with a live sheep, and samples of New 
 Zealand produce. The four corners are occupied by typical Colonials and the 
 Car is decorated with real fruit and the heads of animals." 
 
 1 We may note that in 1905 came to life at Sherborne, England, the Parkerian " pageant " 
 or " folk-play " which is discussed in chapter viii. 
 
 2 See above, p. 129. 
 
 3 If it be true that the personification of cities and countries came originally from the 
 giant, through the giant-champion, Bruce, Ebraucus, to London and Africa, it is interesting 
 to note here a return of the personified figure to the giant. This is, in all probability, pure 
 coincidence; but it is none the less remarkable. 
 
 4 In the illustration, printed in the Program, these appear to be the Japanese ensign and 
 the Union Jack. The American flags and the Statue of Liberty refer, of course, to the Peace 
 of Portsmouth. 
 
132 ENGLISH PAGEANTRY 
 
 Surely Dekker, Heywood, and Middleton would have smiled could they have 
 foreseen how a peace signed in far-away New Hampshire, between the envoys 
 of a Slavic and an Eastern Empire, would figure in the Lord Mayor s Show! 
 The larger aspect of London, in her relations to the Empire, is emphasized in 
 these later processions; as London, outgrowing its old boundaries, became less 
 and less " the City " of old, it connected itself more and more with the Colonies, 
 and with the Empire ; and the history which is reflected from the present as 
 well as from the past is rather that of the Empire and her Allies than of one 
 London Company. The gigantic figures of Pax (or Liberty), Britannia, and the 
 French Republic, recall the London, India, and Africa, of the older shows; but 
 to these personifications has been added a suggestion of the civic giants. The 
 latter represented what was believed to be history; the figures of 1905 were 
 frankly symbolical and allegorical yet the emotions of the crowd on seeing 
 these huge images must have been akin to those with which the seventeenth- 
 century mobs greeted their giants. 
 
 1906 AN HISTORICAL PARENTHESIS IN THE SHOW FOR THIS YEAR 
 
 A short historical introduction, with various illustrations including " The 
 Lord Mayor s Show from the famous picture by Hogarth 1 opens the Order 
 of Procession for 1906. Many of the features of this show are unchanged; there 
 are the fire-engines, the life-boat, and the boys from the Warspite. A car, " carry 
 ing Cornish miners from the School of Mining, Truro," preceded the Ragged 
 School Union and Shaftesbury Society, which was followed by a " car representing 
 various Departments of the Society s Work." Then followed in carriages Crimean 
 veterans representing the five regiments which took part in the charge of the 
 Light Brigade. 2 
 
 An " Historical Pageant representing notable Lord Mayors of London of the 
 Past Seven Centuries, with their Retinues " brings us nothing new; 3 Henry 
 Fitz-Alwin (1189-1212) represented the thirteenth century; 4 Sir John Philpot 
 (1378) the fourteenth; Sir Richard Whittington (1397, 1406, 1419) the fifteenth; 
 Sir Richard Gresham (1537) the sixteenth; Sir Thomas Myddleton (sic) (1613) 
 
 1 This is the oft-reproduced final picture of the Industry and Idleness series. 
 
 2 Cf. the Show of 1890, (above, p. 125). 
 
 3 Cf. the Shows for 1884, 1889, and 1895. It will be recalled that in the seventeenth 
 century, Lord Mayors appeared frequently in the procession; but they were famous prede 
 cessors of their guild-brother who was being inaugurated. In the more modern shows, the 
 men owe their representation to no guild in particular; a civic broadness has taken the place 
 of a natural exclusiveness. 
 
 The title " historical pageant " -probably indicates an influence from the Parkerian 
 pageants of Sherborne and Warwick, though there were " historical pageants " at Boston, 
 (Massachusetts) in 1880, and Marietta (Ohio) in 1888. 
 
 4 The dates are those of the program. 
 
THE LORD MAYOR S SHOW 133 
 
 the seventeenth; John Wilkes (1775) the eighteenth, and Robert Waithman 
 (1823) the nineteenth. 1 There were no cars with this part of the procession, 
 which gives us history as a symbol of a glorious past the " soul " of pageantry, 
 which is an important element in the Parkerian work. 
 
 1907 THE OLDER AND PARKERIAN PAGEANTRY MEET 
 
 That the difference between the older and the Parkerian pageant is mainly 
 one of technique, is shown by the ease with which the two were combined, when, 
 in 1907, Mr. Louis N. Parker who has been called the " father of modern 
 pageantry " - planned an " historical pageant " for the Lord Mayor s Show. 
 This insertion, or " interlude," in the procession was not a " folk-play " at all; 
 and the conditions of presentation were not such that the show could be tech 
 nically influenced by the " folk-play." Mr. Parker s contribution to the proces 
 sion is devoid of speech or action; " groups " take the place of his folk-play 
 " episodes," and a symbolic car replaces the " final scene " - which is also 
 symbolic of his pageants. But this " interlude," if so it may be called, 3 shows 
 the " folk-play " master s insistence on historical accuracy, his research, and 
 the dramatist s desire for unity. The Edwards of England 4 is, after all, but an 
 elaboration of such processions of former mayors as those of 1889 and 1906. 
 
 The Pageant begins with Edward the Confessor (crowned 1043) as closing the Saxon epoch. 
 He is followed by an Abbot bearing the model of Westminster Abbey, which was built in his 
 reign, and in which he was buried. Next comes Godwine, Earl of the West Saxons, the father 
 of Eadgyth, the king s wife, and his two sons, Tostig the king s favourite, and Harold, who 
 was himself chosen king in 1066. Edward the Confessor was a great benefactor to the Church, 
 and by his gifts and endowments laid the foundation of the glory of St. Edmundsbury. The 
 Great Shrine of St. Edmund is here shown. Behind it rides William, Duke of Normandy, 
 whom Edward entertained at his court, and who returned in 1066 as William the Conqueror. 
 
 Group II 
 
 Edward I (1239-1307.) One of the greatest of our kings. He was a Crusader; he re 
 ceived the submission of the Barons of the Cinque Ports; was at war with Simon of Montfort, 
 and created his son Edward, first Prince of Wales. 
 
 1 Pictures of these mayors and their trains are published in the Order of Procession; 
 and post-card illustrations of the groups may be found in the Guildhall and Harvard Libraries. 
 
 2 I use this word in the Parkerian sense, meaning " a play given by the people." This 
 form of art began as I have already noted in 1905; we shall treat it more in detail in 
 chapter viii. With Mr. Parker s, pageantry adds to its list (which contains the names of 
 Lydgate, Udall, Peele, Middleton, Webster, Dekker, and Hey wood) another important name; 
 he joins his fellow-dramatists, who, in the past, contributed much to the Lord Mayor s Show. 
 
 The reader must not confuse the Parkerian " folk-play," or pageant, with the earlier 
 " folk-play," such as the mummers play of Lutterworth, the sword-dance, or the Robin Hood 
 plays. 
 
 3 I have given it this name, because it is really a parenthetical insertion in the procession. 
 
 4 It may be noted that the birthday of Edward VII fell on 9 November, (cf. above, p. 112.) 
 
134 ENGLISH PAGEANTRY 
 
 Group III 
 
 Edward II (1284-1327.) On his right rides Piers Gaveston, his favourite and foster- 
 brother, with the ominous figure of the Headsman folio whig close upon him; for Piers Gaves 
 ton was executed by the infuriated Barons on Blacklow Hill, near Warwick, in 1312. On the 
 king s left rides his later favourite Hugh Le Dispenser, the younger. Behind them come the 
 Barons, whose opposition to the king and his favourites made this one of the most turbulent 
 and tragic reigns. Lastly Henry Le Waleys, first M. P. for London. 
 
 Group IV 
 
 Edward HI (1312-1377) surnamed by Parliament The King of the Sea. In his reign 
 English Commerce had its beginning. He favoured James van Artevelde, a wealthy citizen 
 of Ghent, and invited Flemish Weavers to settle in England, and Genoese Merchants to bring 
 their wares. Geoffrey Chaucer, the poet of the Canterbury Tales, flourished in this reign. 
 During his reign the First Cannon is said to have been used. He instituted the Order of the 
 Garter (which was then, and long afterwards, called the Order of St. George). His son, Ed 
 ward the Black Prince, was so called after the Battle of Crecy, at which he was possibly ac 
 coutred in black armour. Edward III entertained Knights from Spain, Cyprus and Armenia, 
 who had come to solicit aid against the Mahometans. 
 
 Group V 
 
 Edward IV (1442-1483.) He is closely followed by the Earl of Warwick (known as the 
 King Maker ) and by the Duke of Clarence, who, with Warwick, plotted his overthrow. 
 Lastly the tragic figure of Falconbridge rides by, followed by the Men of Kent whom he raised 
 in rebellion on behalf of Warwick. 
 
 Group VI 
 
 Edward V (1470-1483). The unhappy boy, who with his brother the Duke of York was 
 murdered by the order of the Duke of Gloucester, afterwards Richard III. 
 
 Group VII 
 
 Edward VI (1537-1553-) The key-note of this reign was the revival of education. The 
 boy-king himself was taught in all godly learning by his four tutors, Richard Cox, Bishop of 
 Ely; Sir John Cheke, M.A., Sir Anthony Cooke, and Roger Ascham, who was afterwards tutor 
 to Princess Elizabeth and Latin Secretary to Queen Mary. He is followed by the Earl of 
 Hertford, his uncle. A Physician representing the conversion of the Monastery of St. Bar 
 tholomew into St. Bartholomew s Hospital. He appointed as Court preachers Nicholas 
 Ridley, Bishop of Rochester and London, Hugh Latimer, Bishop of Worcester, and John 
 Hooper, Bishop of Gloucester and Worcester. Edward VI presented the Palace of Bridewell 
 to the Corporation of London as a Workhouse. A prominent figure in his short reign, and 
 long afterwards, was Sir Thomas Gresham, who founded the first Royal Exchange. Edward VI 
 converted the old Grey Friars Monastery into Christ s Hospital (the Blue Coat School) in 
 1553, and founded many grammar schools, of which Sherborne (May 13 th 1550) is reputed to 
 have been the first. 
 
 Group VIII 
 
 The reign of His Most Gracious Majesty King Edward the Seventh is symbolized by a 
 Car entitled The Harvest of the Peacemaker. It is a real Harvest Wagon, drawn by Eight 
 Shire Horses, and bearing the fruits of Peace, who, owing greatly to the unceasing efforts of 
 our Sovereign, is seen enthroned over the Four Quarters of the Earth." 
 
THE LORD MAYOR S SHOW 135 
 
 This is the Parkerian interlude of 1907, which brought to the London crowds 
 the raw-material of many chronicle-plays. Higher in artistic aim and historical 
 accuracy than any previous Show, it gave to this institution the element which 
 permeates our newer pageantry the desire to turn entertainment to the uses 
 of instruction. 
 
 1908 "THE PRESS, THE POETS, AND THE MUSICIANS FROM 
 CHAUCER TO MILTON " 
 
 The following year, the Order of Procession included an " historical literary 
 pageant " by Mr. Parker, entitled The Press, the Poets, and the Musicians from 
 Chaucer to Milton. Two Heralds led this section of the Show: then came Chaucer, 
 followed by the Canterbury Pilgrims, 1 each of whom carried an identifying 
 banner. William Caxton 2 came next, with a printing-press " (kindly lent by 
 the Governors of the St. Bride Foundation), with Printers and a Printer s Devil 
 at work." Sir Thomas Malory was followed by King Arthur and Sir Lancelot; 
 Edmund Spenser by the Knight of the Red Cross, Sir Guyon, Sir Cambal, and 
 Sir Talamondj Sir Artegall, and Sir Calidore, each of whom bore a pennant with 
 his name, and the quality he represented, upon it. 3 Christopher Marlowe was 
 followed by Tamburlaine, 4 Dr. Faustus, Mephistophilis, Barabas, Edward II, 
 Henry of Navarre, ^Eneas, and Ascanius; Shakspere led many characters; Ben 
 Jonson, Philip Massinger, and Robert Herrick followed; and then came John 
 Milton, accompanied by L Allegro, II Penseroso, and Comus. All of these 
 writers were it will be noted more or less intimately connected with London. 
 
 The Musicians Company of London, (1472); Walter Halliday (First Master 
 of the Company, 1472); Orlando Gibbons, Mus. Doc. (1583-1625); John Blow, 
 Mus. Doc. (1648-1708); Henry Purcell, Mus. Doc. (1658-1695), and John 
 Bull, Mus. Doc. (1563-1628) brought the pageant to a close. This show, like 
 that of 1907, is an " interlude," or " insert," in the regular procession. 
 
 1 A note in the Program states that " in arranging the procession of Literary and other 
 celebrities, great care has been exercised in obtaining from all available sources the most re 
 liable data as to the personal appearance, dress and habits of the various notabilities who are 
 portrayed. ... So far as concerns the dress of the different periods, the pageant may be looked 
 upon as being probably the most authentic and correct series of historical groups that has 
 ever been seen in London." Some of the characters in this part of the procession are pictured 
 in the Order of Procession as well as in the Program. 
 
 This emphasis on accurate historical detail is one of the characteristics of the Parkerian 
 pageant. 
 
 2 Who appeared in 1902, it will be recalled. 
 
 3 This might be thought to show a pageantic use of the older " men in armor; " I believe 
 there is no connection whatever between the two. 
 
 4 Tamburlaine, it may be remarked, appeared in the Shows of 1623 and 1676. (See above, 
 p. 79, and n. 2.) 
 
136 ENGLISH PAGEANTRY 
 
 1910 FAMOUS CHARACTERS or SHAKSPERE S LONDON PLAYS 
 
 The procession of 1909 included Balaklavan survivors who filled only two 
 carriages steam fire-engines, boy scouts, and the usual marching companies 
 with their banners. There were no allegorical floats, or representations of his 
 torical figures. 1 But the Show of 1910 included an " insert " like those of 1907 
 and 1908. 
 
 Philip Carr was honorary master of the pageant this year; and his interlude 
 consisted of " representative characters from scenes mentioned in Shakspere s 
 plays as occurring in the streets of London." The events reproduced were: the 
 return of Henry V and his army after the Battle of Agincourt, (1415) ; Sir John 
 Falstaff and his companions leaving the Boar s Head Tavern at Eastcheap; 
 Richard, Duke of Gloucester with King Edward V and the young Duke of York 
 on their way to the Tower, (1483); King Henry VIII and Cardinal Wolsey 
 going to the Papal enquiry concerning Queen Katherine at Blackfriars, (i528). 2 
 We find here a procession of some of the historical, and pseudo-historical, char 
 acters treated in Shakspere s plays. In 1907, we dealt with history, the raw- 
 material of the chronicle play; in 1908, we saw literature viewed through the 
 eyes of history; and here we get history seen through literary spectacles. These 
 three processions indicate the influence on the Lord Mayor s Show of the modern 
 historical "folk-play," or Parkerian pageant; and we have an interesting ex 
 ample of a later form affecting an earlier. 
 
 1911 ARMY HISTORY AND NAVAL PAST PORTRAYED 
 
 Perhaps the Army Pageant of 1910 influenced the 1911 Show; at any rate, 
 in this year the parenthetical " insert " which we may call the " pageant " 
 - illustrated, by means of groups, " five important epochs in the history of the 
 British Navy and Army from the time of Queen Elizabeth." 3 The first group 
 showed Sir Francis Drake, with officers and men who defeated the Armada; 
 Sir Philip Sidney, with representatives of the land forces of his day. Group ii 
 
 1 Reminiscences of Bridge Ward and the Bridge of the World London Bridge (illustrated) 
 prefaces the Order of Procession for 1909. The program for this year reproduces various old 
 prints illustrating former pageants; and in this way history is emphasized. 
 
 2 The Official Program of this show was reprinted in the Lord Mayor s Procession Number 
 of The County and City of London Observer, for 9 November, 1910; but there are no illustra 
 tions of the Show in this paper. From a note we learn that the management of the Festival 
 of Empire (cf. Bibliography) lent a number of properties and costumes used in the Lord 
 Mayor s Show. It is hard to tell whether the characters here rode, or progressed on cars, 
 reconstructing the scenes as tableaux vivants. 
 
 3 How this kind of thing was done before the influence of the Parkerian work was felt, 
 may be seen by referring to the Show for 1896. Both that, and this for 1911, may have felt 
 an influence from the " Royal Military and Naval Tournament," which we shall touch on 
 in the next chapter. 
 
THE LORD MAYOR S SHOW 137 
 
 presented Admiral Blake, with officers and men " who drove Van Tromp from 
 our seas "; and General Monk with " Ironsides " and pikemen of 1650; group 
 iii portrayed Sir George Rooke and the captors of Gibraltar; the Duke of Marl- 
 borough, with mounted dragoons. In group iv, marched Admiral Boscawen, with 
 sailors of 1747; and Lord Clive, with Dragoons and Grenadiers of 1757; and 
 group v represented Admiral Lord Nelson, with officers and men of Trafalgar, 
 and the Duke of Wellington, with soldiers of Waterloo. 
 
 Ever since 1585, when a Soldier and a Sailor accompanied the Genius of the 
 City, the two branches of the service have been closely connected with London 
 in the popular mind. A large part of the procession has for long been made up 
 of soldiers; and with the tendency visible at intervals from 1850 to empha 
 size Britain rather than London, the ties between England and the Colonies, it 
 is not surprising that the Army and Navy should be made the subject of a civic 
 pageant. Now that the Great War is over, we may expect to find further glori 
 fication of His Majesty s Forces in more than one Lord Mayor s Show; indeed, 
 before universal service was voted, troops were used as a means of stimulating 
 recruiting. 
 
 1913 A CHANGE m THE ATTITUDE OF THE PRESS 
 
 It is interesting to compare the attitude of the press, in speaking of the Lord 
 Mayor s Show of 1913, with that of 1853. 
 
 " The glorious history of the City of London was again epitomized yesterday when the annual 
 historical and military pageant of the Lord Mayor s Show proceeded from the Guildhall 
 through the City . . . This quaint procession, with its curious conglomeration of potted history, 
 can always be relied on to attract the whole of London and many from the provinces; and 
 this year . . . the public imagination had been caught by rumours of a captive giant who was 
 to be led through the streets, as in the Imperial triumphs of old Rome. . ." l 
 
 The leader in the Times for the 10 November, 1913, shows a marked contrast to 
 that cited from the Weekly Times of 13 November, i853. 2 After a brief resume 
 of the history of the Lord Mayor s Show, the editor continues : 
 
 " No doubt many peaceable citizens, before as since, resented this noisy and even danger 
 ous interruption of their trade. There is not lacking opposition to the custom even to-day. 
 It is urged that the procession seriously obstructs the traffic, which is already as much as the 
 City thoroughfares can cope with. This difficulty has to some extent been met this year by 
 a commendable alteration of the route. Other critics, more revolutionary, complain of the 
 expense and question the desirability of this civic parade. Objections on these grounds can, 
 of course, be urged against any form of pageantry. None is in the strictest sense necessary, 
 and all is expensive. Such criticisms are nevertheless superficial. This is a time when the 
 rule of common sense is so strict that appeals to the emotions and imagination of the public 
 are only too few. There is no method like the pictorial method for stimulating and fixing in 
 the popular mind some notion of the past without which the present falls out of perspective. 
 
 1 The London Daily Chronicle for n November, 1913. 
 
 2 Cf. above, p. 117; and the editorial in the Times for 10 November, 1853, p. 6, col. 3. 
 
138 ENGLISH PAGEANTRY 
 
 This is the use, symbolical, suggestive, of all pageantry. The first City of the world is the 
 last place where it could profitably be dispensed with. It is essential that its citizens should 
 be reminded from year to year of some other aspect of their City s greatness than is provided 
 merely in statistics of trade. The Tower holds as many secrets of the progress of London 
 among the world s cities as does the Stock Exchange, and a picture drawn solely from one 
 standpoint or the other would be incomplete. The unflagging interest of the public in the 
 Lord Mayor s Show proves, at all events, that the vast majority are alive to its value and 
 interest and true to civic traditions. There can be no gain in lessening the corporate spirit 
 that still animates " the City " by impairing the authority and dignity attached to the yearly 
 president of the community. The City Companies, by continuing to serve, in loyalty to 
 tradition, the purposes for which they were founded, and by carrying on at the same time 
 useful work of a more modern character, testify that even in matters relating to commerce it 
 is possible to combine the old spirit and the new. According to EMERSON, " the use of history 
 is to give value to the present hour and its duty." This use the Lord Mayor s Show can 
 claim in some measure to perform. If some future Lord Mayor decided to revive the water 
 pageant of olden days, this useful purpose would be equally well served and the complaint 
 of interrupted business would be no longer heard." 
 
 Although announced, and reported, as a " reproduction " of the Lord Mayor s 
 Show of 1613, that of 1913 was nothing of the sort. 1 Planned to observe the 
 three-hundredth anniversary of the opening of the New River, the show in 
 cluded a giant in which walked a man who represented the River. He 
 was led captive by a very small boy, dressed as a Crusader, who personified the 
 Genius of London. At the corner of Queen Victoria Street and Upper Thames 
 Street was a castle, representing the mayor s Ward Castle Baynard at 
 which the Dean of St. Paul s read the new mayor a congratulatory address. 
 There were the usual military bands, soldiers, boys of the Royal Merchant Sea 
 men s Orphanage, Dr. Barnardo s Homes, and cadets from the Warspite. Among 
 the Boy Scouts was young Dick Whittington as an apprentice. A real life-boat 
 manned by the crew of Clacton-on-Sea took part in the procession; and a 
 " trolley," or " float," accompanied the Boy Scouts, on which a group showed 
 the duties of the Scouts in camp. 
 
 Sir William Walworth, attended by Knights, Sir Henry Fitz-Alwin, Robin 
 Hood, with some of his men, five Moorish kings, 2 and Hugh Middleton, with 
 mounted " wyfflers," and " waytes," rode in the procession, as did various City 
 officers in the garb of the seventeenth century the Common-Sergeant, Cham- 
 
 1 For illustrations of the giant, the historical characters, the Boy Scouts camp and the 
 " reproduction " of Baynard Castle, see the Ittus. Land. News for 15 November, 1913, p. 783. 
 " We are continually hearing," says that periodical, " that the most typical of London pag 
 eants, the Lord Mayor s Show, is a thing dead; yet every November it turns up again and 
 draws great crowds to see it. This year s Procession proved no exception to the rule." 
 
 2 Which, the Official Program tells us, " have reference to the Goldsmiths Company, of 
 which Hugh Myddelton was a member." The supporters of the Goldsmiths arms are not 
 Moors but unicorns; apparently the 1613 Moors referred to Sir Thomas Middleton s wide 
 commercial interests: (cf. above, p. 34). 
 
THE LORD MAYOR S SHOW 139 
 
 berlain, Common-crier, Sword-bearer, and the two Sheriffs. Sir Thomas Middle- 
 ton, with his immediate predecessor beside him, rode last of all. None of the 
 dramatist Middle ton s speeches was delivered; nor were any of Grinkin s 
 pageants reproduced. 1 
 
 1914 THE SHOW INCITES TO PATRIOTISM 
 
 Just as no historical pageantry can bring the past so vividly before us as the 
 figures of veterans who have participated in historical battles, so no amount of 
 symbolism will arouse the fervor awakened by the sight of troops about to go 
 to fight. The world was shuddering at the horrors of war when Sir Charles 
 Johnstone took his oath in November, 1914. No pageantry accompanied him; 
 but for the first time in the history of the Show there figured in the procession 
 " the Empire troops from the Over-Sea Dominions come to help the Mother 
 Country in a time of unparalleled stress." 2 
 
 On the day after the Show, the Times published a leader which is worth quot 
 ing in full : 3 
 
 " November 9, 1914, will be for ever memorable in the long annals of the City of London. 
 The shadow of the greatest war in history is over all hearts, and leaves our minds but little 
 attuned to feasting. The flower of our manhood are at this hour wrestling in deadly conflict 
 for all that we hold dear. All that the wisdom and the valour of our fathers have wrought 
 for a thousand years is at stake; our fairest hopes, our noblest aspirations, hang upon the 
 issue. The magnitude and the gravity of the struggle, and the consciousness that upon it 
 depends the whole future of civilization in Europe, weigh upon the City of London and upon 
 His MAJESTY S Ministers more heavily perhaps than upon any others. Yet it was decided, 
 and in our judgment wisely decided, that neither sorrow for those who have fallen, nor cares or 
 anxieties for the State should interrupt the accustomed ceremony with which the LORD MAYOR 
 takes possession of his office. The LORD MAYOR drove in procession through the streets of 
 London yesterday, as the KING will pass in State to the Palace of Westminster to-morrow, 
 because we hold it meet as an ancient nation that not even war should disturb our time- 
 hallowed customs. We boast that our " culture " has its roots deep in the past, and these 
 things are the outward symbols of the strong links that bind our race throughout the world 
 to the inheritance which makes them what they are. The old Guildhall was built before the 
 first HOHENZOLLERN came to Brandenburg, and Lord Mayors have " kept their feast " there 
 
 1 The Evening Standard and St. James s Gazette for 25 October, 1913, records that " this 
 year there will be no symbolical cars and no private fire brigades. The proposal to include 
 in the pageant representatives of the naval and military uniforms worn at Trafalgar and 
 Waterloo, in which battles some of the Bowater family fought, has been dropped." The 
 Lord Mayor for 1913 was Sir T. Vansittart Bowater, Bart. 
 
 2 The London Times for 9 November, 1914, p. 10, col. 2. The Order of Procession is 
 printed, ibid. In addition to the Canadian and New Zealand contingents, a detachment from 
 the Newfoundland contingent of the Expeditionary Force also took part, with various London 
 troops. 
 
 3 The London Times for 10 November, 1914, p. 9, col. i, under the caption Lord Mayor s 
 Day. 
 
140 ENGLISH PAGEANTRY 
 
 since those days. Long before, KING EDWARD III, and the BLACK PRINCE sat with their 
 captive guests from Poitiers at a Lord Mayor s table. Many of our Kings and almost all our 
 great sailors and soldiers have been entertained at the Guildhall by the Chief Magistrate of 
 the capital. The memories of our struggles and of our triumphs gather thick about it. QUEEN 
 ANNE and GEORGE III., CHATHAM and PITT and NELSON, are there on canvas or in marble. 
 It is right to recall these memories at this tune, not in any spirit of boastfulness or of over 
 weening self-confidence, but in that temper of calm reliance upon the righteousness of our 
 cause and of humble trust in the protection of Heaven, which the nation have exhibited since 
 war was forced upon them. 
 
 " That temper was conspicuous in the ordering of the procession and in the attitude of 
 the people of London yesterday. With a just sense of what is becoming, which the crowds 
 thoroughly appreciated, the display was military only, and military in a stern and practical 
 form. Troops, and troops in khaki, were the escort of the LORD MAYOR and of the chief 
 officers of the ancient City Companies. The Honourable Artillery Company, the London 
 Territorials, the Royal Naval Reserve, and the contingents from the Dominions were all 
 represented. The unusual quiet of the crowd until they appeared, and the enthusiasm with 
 which they were cheered, again and again, as they marched past, struck all observers. These 
 signs showed the earnestness with which we are facing the great ordeal of war, and the grati 
 tude and admiration we feel for our champions. The Canadians, New Zealanders, and New 
 foundlanders were greeted with special warmth. Londoners were eager to give them a wel 
 come on this, their first, appearance in public, which should convey to our fellow-subjects 
 beyond the seas something of the sentiments their love of the old country and the old flag 
 kindles amongst us at home. The London Scottish, who have lately given their brother 
 Territorials such a " glorious lead and example " at the front, were acclaimed with equal 
 ardour. This year the joyous popular holiday has been a serious demonstration. The change 
 is deeply significant to those who know our people. 
 
 " The speeches at the banquet teach the same lesson as the conduct of the crowds in the 
 streets. They show that we are absolutely of one mind as to the justice of our quarrel and 
 unanimously resolved to fight it out, at all costs and at all risks, until a righteous and an abid 
 ing peace has been won. For that end we have spared, and we shall spare, no efforts and no 
 sacrifices. The services of our Allies, and of all who are fighting for the common cause, were 
 amply acknowledged by more than one speaker." 
 
 THE SHOW FOR 1915; A PROMISE or THE FUTURE 
 
 The " Recruiting " Lord Mayor s Show with captured guns, is pictured 
 in the Illustrated London News for 13 November, 191 5- 1 Accompanying the 
 scenes presented, is the following description: 
 
 The Lord Mayor s Show of this, the second year of the Great War, took exceptional and 
 appropriate form, and was very successful despite the bad weather. It started at 11.30 from 
 the Guildhall, earlier than usual because it was arranged that the Guildhall Banquet in the 
 evening should begin at six o clock instead of the customary seven. Included in the Proces 
 sion were some German guns captured by our forces; a detachment of the Anti-aircraft Corps, 
 with guns; a detachment of the R. F. C., with aeroplane; a detachment of the City of London 
 National Guard; a Canadian Contingent; and Contingents representing Australia and New 
 Zealand, South Africa and the West Indies. In addition were representatives of various regi- 
 
 See that periodical, p. 617. 
 
O 1 
 
 PQ 
 
THE LORD MAYOR S SHOW 141 
 
 ments, the Royal Naval Division, the Royal Marine Artillery, and the Royal Marine Light 
 Infantry. Other very prominent features were recruiting bands and, following the Lord Mayor 
 and his escort of City of London Yeomanry, a Recruiting Column of considerable strength. 
 Before the arrival of the Procession, recruiting meetings were held at various points of the 
 route, and it was arranged that recruits should fall in in rear of the Guards detachment. 
 
 A promise of the future may be found not only in the " Royal Pageant on the 
 Thames " of 4 August, 1919,* but also in Mr. Parker s Show for 1919. This took 
 the form of " London s Welcome to Peace," and was built up around the League 
 of Nations. 2 Children headed the procession, with a decorated car containing 
 a large globe and the inscription, " You will build the new world." The " Herald 
 of Peace " preceded a wain drawn by four horses, escorted by wagoners in long 
 white smocks; in the wagon were the five continents of the world Europe, 
 Asia, Africa, America, and Australasia who were followed by a long cavalcade 
 of women representing the Allied States and neutral countries, each in her na 
 tional costume or a symbolic one. London led the pageant, and Britannia closed 
 it, with the Dominions including Newfoundland, Canada, South Africa, Aus 
 tralia, India and England, Scotland, Ireland, and Wales, in appropriate cos 
 tumes. In the pageant, Mr. Parker expressed the union of the nations necessary 
 to rebuild a world which the war had shattered. 
 
 This survey of the recent Lord Mayor s Shows indicates a gradual change in 
 emphasis from the history of a particular Company to the history of the city as 
 a whole, and of the Empire. No longer are past mayors revived because they 
 belonged to a certain guild; though the Worshipful Companies still march 
 carrying their banners and those of former illustrious members, the mayors 
 who are represented are those who have helped to make the city great. Allegory 
 and symbolism have reappeared but they show Allied nations, and symbolize 
 the Colonies across the world. The primary emphasis is still on entertainment 
 rather than on education; for it is difficult to give lessons which will sink deeply 
 into the popular mind, by means of a speech-less parade; but the sight of so 
 many former worthies admirals, mayors, generals, and sovereigns must 
 help to keep alive a pride in the past, which the historical " folk-play " could 
 
 1 See the Times [weekly edition: for Friday, 8 August, 1919, p. 782] for mention of this 
 greeting to the British Mercantile Marine. The Royal Barge, " the last survivor of many 
 similar vessels which added to the gaiety of the river in the old days, was at once the most 
 ancient as well as the most distinguishable of all in the procession." The writer in the Times 
 finds symbolism in the display of house flags of the shipping lines, which recalled the vessels 
 sunk in the War, and the brave fights put up by those which escaped. This pageant rightly 
 belongs in the previous chapter, and one may leave further mention of it to the future his 
 torian of royal progresses. 
 
 2 The Program of this show is hi the Harvard Library. For mention of it, see the Times 
 Weekly Edition of 14 November, 1919, p. 1065, and the illustrated section, p. i. (On p. iii are 
 reproduced engravings of the Lord Mayor s coach in Cheapside [1768] and the Fishmongers 
 " pageant-chariot " of 1616.) 
 
142 ENGLISH PAGEANTRY 
 
 awaken only at rare intervals even if it could be satisfactorily given in a metropo 
 lis. What this " folk-play," or newer pageantry is, we shall consider in a later 
 chapter; in this place, it is enough to indicate the fact that the Lord Mayor s 
 Show the chief aim of which, for centuries, has been to amuse the crowds 
 seems to be absorbing some of the new educational spirit; and with its higher 
 aims, it has won back popular favor. The earlier programs are giving place to 
 pamphlets, neatly bound and often illustrated, 1 which contain much interesting 
 material beyond the mere order of procession. Even as far back as 1884, there 
 was an educational purpose in the show; symbolism is still there, and personi 
 fication the latter more important, even, than it used to be; but the main 
 element is history of the past, to inspire pride in the present; of the present, 
 to awaken effort for the future. 2 
 
 CONCLUSION 
 
 We have, in this chapter, traced in fair detail the course of the Lord Mayor s 
 Show from the time when London first had a mayor to the year 1919. We have 
 seen how mayor and citizens rode to Westminster early in the thirteenth century; 
 how, in 1422, the progress was first made by water a practice that soon grew 
 regular, and lasted until 1857. We have seen how, in the middle of the sixteenth 
 century, the pageants which had been connected with the Midsummer Show 
 were absorbed into the civic procession, and how this grew in importance until, 
 in 1585, speech was added; how Peele, Munday, Dekker, Middleton, Heywood, 
 and even Webster, wrote speeches for the Show, and planned the symbolism, 
 history, and allegory which were to honor the mayor and delight the populace. 
 We have seen the elaborate triumphs which took place, with few interruptions, 
 from 1655 to 1702; and how Settle s final show for 1708 could not be given 
 because of the death of Queen Anne s husband. 
 
 After Settle s day, the shows fell rapidly from favor; scoffers arose who 
 from the time of Ned Ward satirized the civic procession with more or less 
 venom. Yet royalty continued to grace the triumphs from time to time, and 
 the strong popular demand for them kept the institution alive. 
 
 By the end of the eighteenth century, little of the old pageantry, save the 
 water-procession, was left; early in the nineteenth, allegorical or symbolical 
 " transparencies " were installed in the Guildhall; and the only pageantic fea 
 tures of the procession were the " knights in armor " who, originating, appar- 
 
 1 Cf. the history of London Bridge published with the 1909 Order of Procession; and the 
 history of Guildhall prefacing that of 1910. 
 
 2 The soldiers in the 1914 Show stimulated recruiting enormously. Viewed in one way, 
 these figures personified the history of the present more powerfully than anything else could 
 have done; and they showed that even in the dark days of the war the appeal of the 
 Lord Mayor s Show was far from dead. 
 

 ORDER OF PROCESSION 
 
 SATURDAYS NOVEMBER 1919 
 
 - 6y Sdward <me$t 
 
 : LONDON S WELCOME TO PEACE 
 

THE LORD MAYOR S SHOW H3 
 
 ently, from a trade-figure of the Armourers and Braziers, 1 soon became mere 
 masqueraders, representing little in particular, and provided by successive Lord 
 Mayor and Sheriffs Committees, regardless of the Company to which the chief 
 magistrate belonged. 
 
 In 1850, Godwin s letter to the Lord Mayor demanding an improvement in 
 the Show, brought about the abolition of these figures but in 1851, they re 
 turned in greater numbers than ever. Since the middle of the century the Show 
 has become more and more pageantic ; and when the armed men have appeared, 
 they have been given a pageantic meaning. The Show survived the attacks 
 levelled against it in the press of 1853 ; and, in 1884, we find it aiming not merely 
 to give pleasure, but also instruction. For this reason there has been, in the suc 
 ceeding years, a stronger and deeper emphasis on the treasured history of London, 
 and on the City s present ties with the Colonies. 
 
 The Show has survived the War. It was used, before Parliament voted uni 
 versal service, to stimulate recruiting; it proved an effective aid in stirring 
 national pride and national determination. It is still a vital thing; and now that 
 victory and peace have come to Great Britain and her Allies, we may expect 
 that the annual procession, deeply rooted in the past as it is, will take on a new 
 strength, nourished by the glorious chapters of England s history which have 
 just been written not only by the mother-country, but by the Colonies as 
 well. The increasing vigor which the Show has displayed since 1884, the sober 
 ness of a nation emerging from a Titanic struggle, and the wealth of heroism which 
 the war engendered, allow us to hope that in the future a more serious effort will 
 be made to celebrate worthily the greatness of a capital whose glory does not 
 decrease with age. Handicapped as she is by the " technique " of a street parade, 
 Art has the material, and can find a method, of giving the London public yearly 
 a dignified and adequate reminder of its rich Past and noble Present. 
 
 We shall see the emphasis on the educational value of a pageant more clearly 
 marked in the " community dramas " which we shall discuss in a later chapter. 
 These have adopted the name pageant, and are what most people think of when 
 the word is used today. " None of the present so-called pageants" writes Mr. 
 W. C. Langdon, 2 " have anything really to do with the mediaeval pageant; 
 they all alike have no right to the name. But the community-drama stole the 
 word first; therefore its title should be respected . . . The modern pageant is a 
 new thing . . . Mr. Parker simply took the name; he did not continue the thing. 
 He made a new one." 
 
 1 Possibly the trade-figure may have been adapted from an earlier chivalric or historical 
 figure, or have been a development of the Marching Watch which was a usual accompani 
 ment of the Midsummer Show. (Cf. above, vol. i, p. 47 f.) 
 
 2 In a letter, dated 9 September, 1912. 
 
144 ENGLISH PAGEANTRY 
 
 We shall shortly turn to a consideration of the Parkerian " pageant " its 
 origin, development, and the different kinds of entertainments which claim the 
 name today. Mr. Parker has frequently told me that he was not influenced by 
 the Lord Mayor s Show at all; and while " none of the present so-called pag 
 eants have anything really to do with the mediaeval pageant," there were un 
 doubtedly features in common between the older and these newer forms. 
 
 The emphasis on history, which is so strong in the " folk-play " or " com 
 munity-drama," returns to the Lord Mayor s Show as early as 1884; it was 
 common enough in the seventeenth-century shows, and was made the basis of 
 a pantomime in 1 783. The history of the more recent Lord Mayor s Shows deals, 
 as I have repeatedly pointed out, with that of the community rather than with 
 that of any particular guild ; it is no incidental recalling of the past, but tends 
 to be the framework on which everything else is built; London as a whole is 
 glorified. There is, in this matter, a possible exchange of influence; the grow 
 ing importance of history, from 1884 on, may have been quite unconsciously 
 - felt by Mr. Parker; or he may have been influenced by the same causes which 
 produced it. And the historical element in the civic shows probably did much 
 to prepare Mr. Parker s audiences to appreciate his work. 1 
 
 Besides the civic processions of London, there were pageantic activities in the 
 provinces, and these we shall examine in the next chapter. Some of these pag 
 eants are closely connected with folk-custom; others have a trade-origin, and 
 we find some long before the Parkerian " folk-play " - celebrating civic 
 anniversaries. We must keep in mind the fact that these shows developed be 
 side the London mayoralty processions, and may have had an influence on these, 
 as well as on the Parkerian pageants. Many who saw the performance at Sher- 
 borne in 1905, had probably seen a certain number of the Lord Mayor s Shows 
 since 1884, or recalled such occasions as the Ripon anniversary of 1886; if so, 
 the history of these processions lived for them in a way it does not in books; 
 and they could appreciate more fully a play based on history. 
 
 All this is, of course, mere surmise. There is no way of settling just what 
 exchanges of influence may have taken place but there were probably some, 
 even if Mr. Parker s choice of the word pageant, when folk-play failed to arouse 
 interest, was made without thought of the Lord Mayor s Show, or such proces- 
 
 1 Similarities between earlier and later pageants do not necessarily prove an influence. 
 The knitting women at Swansea in 1881 (see above, vol. i, p. 257) are probably not due to 
 the spinners at Norwich in 1578 (see above, vol. i, p. 211); Robin Hood, " attended by Little 
 John, Scathlocke, Much the Miller s sonne, Right-hitting Brand, Fryar Tuck and many 
 more, " appeared in Munday s 1615 Show [Fairholt, pt. i, p. 40]; he was also a common 
 figure in the court masques of Henry VIII; he appeared in Parker s Sherborne Pageant of 
 1005, the Lancaster (Massachusetts) Pageant of 1912, and the Lord Mayor s Show of 1913. 
 This does not mean that the Robin Hood plays, the Court disguisings, or the Lord Mayor s 
 Shows influenced the modern pageants directly; or that Robin Hood did not come straight 
 from the ballads to each. 
 
THE LORD MAYOR S SHOW 145 
 
 sions as those at Preston, Coventry, Lichfield, and Ripon. In the old sense of 
 the word, a pageant was as we have seen something "put together": 
 giant, animal, stage, or wagon. To this background came hero, saint, patriarch, 
 angel, knight allegory, symbolism, history, and mythology, which have be 
 come, as the " soul " of pageantry, so necessary an element that often a pro 
 cession may lose the cars or " floats " and keeping the personified qualities 
 or historical characters still be regarded as pageantic. 
 
 In the next chapter, we shall examine some of the pageantry which lies out 
 side the " royal-entry," and the Lord Mayor s Show. These celebrations are, 
 in some cases, survivals of older ones: in others, they are due to the interest in 
 the past, which is one of the characteristics of the nineteenth century an 
 interest which may be mirrored in the later London civic shows, as well, and which 
 came in pageantry under the leadership of Mr. Louis N. Parker, to a full 
 fruition in the Sherborne Pageant of 1905. 
 
CHAPTER VII 
 
 SURVIVALS AND REVIVALS 
 
 WE have traced the development of " royal-entry " and Lord Mayor s Show, 
 and have seen how the former declined when the latter was at its height ; 
 how the pageantry of London civic triumphs grew out of the Midsummer Show, 
 which existed beside the earlier " royal-entries "; and how much the " formal " 
 pageantry owes to the folk-celebrations, which often included one or more pag- 
 eantic elements. Outside the pageants provided by civic authorities for sovereign 
 and mayor, and the pageantic features borrowed by the courtiers for their 
 masques and barriers, lie certain survivals and revivals of older pageantry which 
 we shall examine before turning to the Parkerian work. 
 
 In this chapter we shall treat such pageants as those of Lichfield, Knutsford, 
 and Grimsby, which have their root in folk-custom; such processions as those 
 at Salisbury, Edinburgh, Preston, and Coventry, which seem to spring from 
 trade; such political pageantry as the " Pope-burnings " of the time of Charles 
 II, and of Colonial Boston, nearly a century later, as well as the " Orange Pro 
 cessions " of Belfast and other North of Ireland cities; " occasional " pageants, 
 such as the Peace Celebration of 1814, the Ripon Millenary Celebration of 1886, 
 the Liverpool Pageant of 1907 (which was not Parkerian) referring briefly to a 
 couple of modern pageantic processions on the Continent. 
 
 We shall also consider the revival of the tournament in England, artificial as 
 it is; and give a passing glance at the pageantic tournament at Compiegne of 
 the days before the War. And, finally, we shall examine Christina Rossetti s 
 Pageant of the Months an example of a large class of productions wrongly 
 called " pageants " - to show why it has no right to the name. 
 
 i. FOLK-PAGEANTRY 
 
 We have already dealt with folk-pageantry, 1 and it will not be necessary to 
 repeat what was said above; let me merely remind the reader that, in its simplest 
 form, this folk-pageantry is practically a revel, or masquerade. This is what 
 may be called the " raw-material " of pageantry it is found whenever any 
 one dresses-up to represent someone he is not. The girl who goes to a fancy- 
 dress ball as one of the Muses is in herself just as pageantic as if she were 
 to occupy a car in the Lord Mayor s Show, and represent Clio, leading a de 
 tachment of famous chief magistrates. What makes her unpageantic at the 
 ball is her surroundings. Such notices as those under the caption " Balls and 
 
 1 See chapter i. 
 
 146 
 
SURVIVALS AND REVIVALS 147 
 
 Pageants " in the London newspapers, 1 show that these masquerades are com 
 ing to have a central idea; one was planned, which should represent " famous 
 men and women from B.C. 7000 to A.D. 2914 "; 2 but even these are rather out 
 growths from pageantry, than pageants themselves. At best they have but the 
 " soul " of pageantry they lack the body, spirit, and technique of this form 
 of art. From early days until the present, Court revels, artists festivals and the 
 like have been common enough; but they lie outside our field. 
 
 ARTISTS REVELS WITH PAGEANTIC FEATURES 
 
 Sometimes, however, these revels add to the " soul " of pageantry the pageant- 
 car. An example of this kind of thing may be found described in the Illustrirte 
 Zeitungior i852. 3 The artists festival at Diisseldorf, on 12 June, 1852, included 
 cars; the Venusberg, King Arthur, Percival, and other Knights of the Round 
 Table, Eckhard, Tannhauser, Venus, the devil, etc., appeared. A fight took 
 place, but was stopped by Venus, who captured the knights and bound them 
 prisoners with flowers. Costumes of the twelfth and fifteenth centuries mingled 
 harmoniously together, " Marchenfiguren aus vielen Zeitaltern." As the Zeitung 
 says, " Der Plan ist bunt und phantastisch "; and while the celebration has 
 pageantic features, it more nearly resembles the carnival. 4 
 
 These celebrations, though not unknown in England and America, are more 
 common on the Continent. The Fleet Street Revel, and other artists balls in 
 England, commonly take place indoors, without pageantic accompaniments. 
 
 1 Cf. e. g., the London Sunday Times for 19 April, 1914. 
 
 2 This was held at the Hotel Cecil on 4 May, 1914; among the characters to be presented 
 were Lady Jane Grey, Garibaldi, the Hon. Mrs. Norton, Vittoria Colonna, Fanny Burney, 
 &c. (Cf . the Sunday Times, loc. tit.) 
 
 3 No. 477, (xix, pp. ii9f.). 
 
 4 On 20 March, 1852, the first artists festival in Hamburg took place. This is described 
 in the Illustrirte Zeitung, xviii, pp. 36of. (no. 466). A Meistersinger, a minstrel, Albrecht 
 Diirer, and Till Eulenspiegel were among the characters. The " Winzerfest " at Vevey (7 
 and 8 August) celebrated every fifteen or twenty years, is described, ibid., xvii, pp. 211 f. (no. 
 427). Here was a car of Bacchus, attended by boys dressed in leaves. 
 
 It is not uncommon for French students to have these pageantic carnival-processions. 
 I saw that at Lyons on Mi-careme, 1910; there were cars filled with flancifully-dressed char 
 acters; and students with bags on the end of long sticks collected money from the crowd 
 with which, if I remember rightly, they were to defray the expenses of their ball. Cf. with 
 such shows the entry of Bacchus into Lyons in 1627, which is described in a pamphlet entitled, 
 Entree Magnifique de Bacchus avec Madame Dimanche Grasse, sa Femme, faicte en la mile de 
 Lyon, le i^feburier 1627. Cf. above, vcl. i, p. 77, n. i. 
 
 In this procession, there were cars and figures, personifying various inn-signs, spoke. 
 The humorous character of the procession is suggested by " Le Mont de Parnasse Represente 
 par Neuf Lavandieres au Lieu des Neuf Muses," (op. til., p. 39) whose verses are in patois. 
 The whole thing seems to have been a pageantic carnival, or revel, of which it is needless to 
 give more examples. 
 
148 ENGLISH PAGEANTRY 
 
 These affairs suggest the older court " disguisings," in that they interest and 
 appeal to a small group of the community ; even when they borrow the pageant- 
 car, they are hardly pageants. 
 
 Just as the " knights in armor " of the Lord Mayor s Shows ceased to be 
 pageantic as soon as they ceased to represent King Arthur, Charlemagne, St. 
 George, or even a trade-figure of the Armourers Company, so the folk-mum 
 mers who represent no one in particular, fail to be pageantic. The small chil 
 dren in many American towns who on Hallowe en dress up and go from house 
 to house are simply mummers disguised; an historical suggestion makes the 
 English child, with his " Guy," somewhat more pageantic. Only when a couple 
 represents another who won the Dunmow Flitch a century and a half before, 
 is there any pageantry in connection with that ancient folk-custom; and even 
 then, the element is slight. One of the oldest folk-customs in England which has 
 pageantic features is the Lichfield " Greenhill Bower "; let us examine this in 
 some detail. 
 
 THE LICHFIELD " GREENHILL BOWER " 
 
 The Origin of this remarkable and ancient Custom is uncertain. Some suppose it was 
 first instituted, an. 657 by Oswius, ... in memory of a Victory obtained by him linear this 
 place) at the head of the Christians, over Penda . . . 
 
 Others conclude, that the Custom is founded upon an act, made in the 27 th year of the 
 Reign of King Henry the Second (1176) ... by which it was enacted that the High Constables 
 of every Town, &c. should oftentimes view the Arms and Armour of the Men in their Fran 
 chise or Liberty . . . l 
 
 In the time of William and Mary, Celia Fiennes described the show in her diary: 2 
 They have [in Lichfield] a Custome at Whitsontide ye Monday and Tuesday 
 Call d ye green Bower feast, by which they hold their Charter. The Bailiff and 
 Sheriff assist at ye Cerimony of dressing up Baby s with garlands of flowers and 
 Carry it in procession through all ye streetes, and then assemble themselves at 
 ye Market place and so go on in a solemn procession through the great streete 
 to a hill beyond the town where is a Large Bower made with greens in wch they 
 have their feast. Many lesser Bowers they make about for Conveniency of ye 
 Whole Company and for selling fruite Sweetemeetes and Gingerbread wch is a 
 Chief Entertainment." 
 
 1 Jackson, Hist. City and Cathedral of Lichfield (1795) i, pp. 27 f., gives an account of the 
 Bower. Cf. Harwood, Hist. andAntiq. of Lichfield (1806), pp. 352 f.; on p. 353, n., he reprints 
 the statutes 27 Henry II (1176) and 13 Edward I (1285) " which enacted, that the high con 
 stables of every town should view, at stated periods, the arms and armour of the men within 
 their district . . . The first Commission of Array, which we meet with, was issued in the reign 
 of K. Henry V (Rymer, ix, pp. 254, 255) ... The statutes of Array were repealed in the reign 
 of James I when a military force superseded the necessity of such a measure; notwithstand 
 ing which, the Bailiffs have constantly held a manerial court on Green-hill, at the same time 
 as the view of men and arms, according to ancient charter and prescription. It is now, how 
 ever, an idle and useless ceremony, adapted for the amusement of children." 
 
 2 Through England on a Side Saddle, p. 135. 
 
SURVIVALS AND REVIVALS 149 
 
 Jackson s account of the ceremony, written about a century later, includes 
 mention of " armed men " and morris dancers who escorted the city officers to 
 the Bower, " where the stile and title of the Court is proclaimed by the Com 
 mon Cryer . . . and all persons owing suit and service to this Court, anciently 
 called, The Court of Array, or view of Men, and Arms of the Manour and 
 Lordship of Lichfield, are required to appear, under pain of fine and amercie- 
 ment. The Dozeners, or petty Constables, of the 21 Decennaries or Wards in 
 the City, attend with emblems of their respective Trades, or other Devices . . . 
 During the course of the Day, the High Constables, &c. perambulate the City, 
 the Armed- Men Fire a Volley over each House; and the Evening concludes 
 with a Procession, through the principal Streets, to the Market-place . . ." 
 
 Harwood, whose account was published in 1806, attaches this to such folk- 
 customs as the Midsummer Watch, which we have already dealt with. 2 This 
 Court," he says, " was anciently called * The Court of Array or View of Men 
 and Arms. The public officers of the city attend, and various processions are 
 made by the constables and dozeners of each ward; who, in these processions, 
 anciently bore tutelary saints, but which [sic] are now converted into garlands of 
 flowers, or emblems of their trade. They are attended by morrice (or moresque) 
 dancers who appear in their shirts, with ribbands of various colours tied round 
 their arms, and flung across their shoulders. They dance sarabands, chacons, 
 &c. in imitation of the Moors ..." 
 
 He considers that " the origin of this mixture of a religious and military 
 custom, which is very ancient in the city," is probably due to the campus martins, 
 " which was an annual assembly of the people upon May-day; when they con 
 federated together to defend the kingdom against all foreigners and enemies, as 
 mentioned in the laws of Edward the Confessor." 3 
 
 About the year 1890 Mr. Councillor William A. Wood joined the Bower 
 Committee, and from then on " official programs " have been issued. 4 
 
 1 Jackson, i, pp. 27 f. 
 
 2 See above, vol. i, pp. 36 f. (I quote from his work, already cited, pp. 352 f.). 
 
 3 The Bower of 1850 is described and pictured in the Ittus. Land. News for 2 5 May, 1850, 
 p. 364. There are illustrations of the " knight," the morris dancers, and some of the civic 
 officials, among whom is the Town Crier, who exercises his functions at Lichfield to this day. 
 Photographs of this custom are in Stone. 
 
 4 Thanks to Mr. Wood, a collection of these programs has been placed in the Harvard 
 Library. The collection is not complete; with the exception of those for 1893 and 1895, all 
 the programs date from the twentieth century; but it is hoped that lacuna may later be 
 filled. Every program since 1904 contains a brief notice of the antiquity of this cele 
 bration. 
 
 The following quotations are from various letters which Mr. Wood, then chairman of the 
 " Bower Committee," wrote me in the autumn of 1913: 
 
 " There is no doubt," writes Mr. Wood, " that the celebration took its rise in the Courts 
 of Array ... In course of years the military portion of the proceedings was dropped, except 
 for spectacular and picturesque purposes; and local and topical features were introduced . . . 
 
ISO ENGLISH PAGEANTRY 
 
 We may sketch a few examples of this show between 1893 and igi^ 1 In 
 the former year, as the custom is, the procession started from the Guildhall at 
 one o clock, and wound its way through the town to the " Bower House "; at 
 the entrance to the Guildhall, the Mayor and Corporation reviewed it. The 
 marchers were headed by boys on cobs or ponies, the winner of the first prize in 
 the competition, leading; then followed Wombwell and Bailey s " World- 
 Renowned Menagerie," with their brass band; historical and miscellaneous 
 characters, (suggesting the carnival) followed among them Shylock, Portia, 
 Friar Tuck, Little John, Robin Hood; Buffalo Bill, Mexican Joe, a Toreador, 
 a Chinaman, John Bull, a Yellow Dwarf, and Mephistopheles. Then came royal 
 and political characters the Prince of Wales, the Duke of Cambridge, Lord 
 Salisbury, Mr. Gladstone, Mr. Chamberlain, and Lord Randolph Churchill. 
 
 :t Tableaux Staged on Cars, Representing Nursery Tales " included Sleeping 
 Beauty, (who was followed by Henry VIII, Wolsey, the Earl of Leicester and 
 Sir Richard Varney); Cinderella, (followed by Cavaliers, Roundheads, Charles I 
 and Cromwell); Red Riding Hood, (followed by George II, George III, and an 
 officer of his time), and the Old Woman who lived in a Shoe. Then came " Mor- 
 rice Dancers," a maypole, and the " Grand Mediaeval Display of Ye Olde Court 
 of Arraye, consisting of Knights and Men at Arms." In this division were 
 trumpeters, heralds, a company of Halberdiers, bearing the City Halberds and 
 Axes, " the Knight of Lichfield " and " the Knight of the Diocese," attended 
 by squires; a Jester, a Knight in Black Armor, a Knight in Chain Armor, and 
 a youthful knight of the time of Edward V, attended by his squires, and sup- 
 
 It is believed that the Bower is the last remaining regular representation of a Court of 
 Array in England, and to Lichfield people and neighbouring districts, it still retains marvel 
 lous vitality, and is a perpetual source of pleasure and interest . . . 
 
 "... I don t think there has been any actual break in the celebration, since its inception; 
 there have been years when little, perhaps, has been done, but I believe the Bower has 
 been celebrated in some fashion continuously . . . From the earliest times, the City Trade 
 Guilds took part in the Festival, and I well remember old flags, &c., indicative of the various 
 Trades, being part of the paraphernalia; but from want of care in storage these have become 
 lost. 
 
 " The Pageant Cars were introduced in the early nineties by Mr. C. J. Corrie, then City 
 Surveyor; one of the first was a Stanley car, in the year after Stanley returned from Dark 
 est Africa. The Trade Exhibits on Cars were introduced afresh, about the same time, and 
 these were arranged by individual firms . . . 
 
 " Like every other popular entertainment, it is getting increasingly difficult, owing to a 
 variety of reasons, to keep the Bower going, and its arrangement entails much work and 
 responsibility on the leaders, and, with the inevitable corollary, very little thanks. But from 
 old association, and because of the benefit to the City in the way of business, a few enthusiasts 
 besides myself manage to keep the Festival alive, and what is more, I think it was never more 
 vigorously tackled than it is now." 
 
 1 My authorities are the programs of the Shows; the procession which took place on 
 Whitmonday, in 1914, I had the pleasure of witnessing. 
 
SURVIVALS AND REVIVALS 151 
 
 ported by a company of youths on foot, clad in chain armor, and carrying spears 
 and banners. 1 
 
 Then came the Trades procession, the Odd-Fellows display, and those of 
 other Friendly Societies; and, after a band, the Mayor, Corporation, Bower 
 Committee, with other officials. " Humorous and comical characters " brought 
 up the rear. 2 
 
 LlCHFIELD AND DR. JOHNSON 
 
 Although this includes historical characters, it suggests rather the carnival or 
 revels than a pageant. The pageantic features, such as cars, historical or sym 
 bolical tableaux, 3 became more closely related to a central idea, and so more im 
 portant, as the show developed. In 1909, the central idea of the " Bower " was 
 the celebration of the two-hundredth anniversary of the birth of Samuel John 
 son, " Lichfield s greatest citizen." Three of this year s tableaux were meant to 
 illustrate his genius; " the first, devoted to Literature is a picturesque at 
 tempt to bring this about. The central figure (a female) is illustrative of classical 
 scholarship; round her are grouped boy and girl scholars, four students bearing 
 emblems marking phases in Johnson s learning, and at the rear a representation 
 of a Doctor of Laws ... A second Tableau represents Poetry. There we see 
 the muse of poetry attended by * Fame carrying a torch, and grouped round 
 these are Genius, Song, Art and Truth. 
 
 " Another Tableau is illustrative of the Drama. No more fitting figure 
 could be found to occupy the seat of honour than Johnson s pupil and friend 
 David Garrick, the greatest English actor of all time. Round him appear char 
 acters from some of Shakspere s most celebrated plays, including Shylock and 
 Portia, Hamlet and Ophelia, Othello and Desdemona, and Orlando and Rosa 
 lind." 
 
 Beside these Johnsonian floats, there was a procession of notable sheriffs from 
 1553 to 1767 one from each reign from Mary to George III. A tableau en 
 titled " Boy Scouts," and another, " The National Service League," 4 followed. 
 
 1 This section of the procession is strongly suggestive of the Lord Mayor s Shows of the 
 early nineteenth century. The armed men here, however, are descended from the soldiers 
 in whom the show found its origin. 
 
 2 In the afternoon was a distribution of " Bower cakes "; an open-air band concert and 
 an organ recital in the Cathedral. 
 
 3 " Russia," " Japan," " Grace Darling," and the " Life Boat " are among the tableaux 
 exhibited in 1904. They suggest the contemporary Lord Mayor s Show. " L Entente 
 Cordiale " was one of the tableaux in 1906; in 1907, " Peace " and " Imperial Unity " ap 
 peared, and in 1908 an attempt was made to illustrate in the procession, " various incidents, 
 buildings, and individuals connected with the Siege of Lichfield in the Reign of Charles I, 
 and with the stirring events of the Civil War." This may show the effect of the Parkerian 
 pageantry on this old custom. 
 
 4 Designed, a note in the program tells us, " to enforce on British men and boys the vital 
 
152 ENGLISH PAGEANTRY 
 
 A CORONATION- YEAR PAGEANT 
 
 In 191 1, the leading motif bore special reference to the Dominions of George V, 
 this being Coronation year. England, Scotland, Ireland, and Wales, " the nu 
 cleus of His Majesty s possessions, from which springs his glorious Empire be 
 yond the seas," were represented as follows: England, the Motherland, was 
 depicted by " Britannia . . . forging on an anvil a chain of many links inscribed 
 with the names of the Colonies innumerable which owe their birth and well- 
 sustained being to the glorious deeds, both peaceful and warlike, of our ancestors. 
 Four corner figures represented the chief divisions of the British Dominions 
 namely: Canada, Australia, India, and South Africa. 
 
 " Scotland, the land of the Firs, is well pictured by a female figure, Bonnie 
 Scotland, with her picturesque attendants in kilt, plaid and sporran. 
 
 " Erin, that charming and poetic ideal of the Green Island, represents Ireland, 
 supported by pretty pictures of Irish girlhood . . . 
 
 " A unique incident is imported into the display by the choice of the Investi 
 ture of young Prince Edward as Prince of Wales, as the picture designed to 
 typify Wales. 1 Centuries have run their course since the last occasion on which 
 a Prince of Wales was invested in state to the rank and dignity of his Office. 
 The attempt now being made to illustrate this function may be useful in remind 
 ing us of the interesting event which is so soon to be enacted at Carnavon Castle." 
 
 The other features of the procession were much the same as usual : a military 
 display of mounted men preceded the armed knights of the " Grand Court of 
 Arraye "; and the trades procession and fire-brigade display followed as usual. 
 
 " The chief products of Peace and Amity," were chosen for representation 
 in 1912 the Drama, Music, Painting, and Sculpture; but in 1913, the pro 
 cession became more suggestive of the carnival, for the tableaux consisted of 
 " The May Pole," " The May Queen," " Springtime," and " The Jack in the 
 Green." In 1914, children showed " Little Red Riding-Hood," " Beauty and 
 the Beast," " Sleeping Beauty," and " Cinderella." The knights wore " au 
 thentic Armour of great value and historic interest," which is kept in the City 
 Museum save when worn in this procession. There appeared also some trade 
 floats, boy morris dancers, and mounted characters in Elizabethan, Cavalier, and 
 Foresters costumes; after the " Bower " luncheon, athletic sports, and dancing 
 on the green occupied the crowd till sunset; and in the evening there was a fair. 
 
 Such, then, is the Lichfield " Bower." On an old folk-custom, arising from 
 a military review, was grafted a pageantic show which suggested carnival or 
 revel. Recently perhaps under the influence of the Parkerian pageantry 
 
 principle that military training and habits should become an indispensable part of the edu 
 cation of every one of us." 
 1 On this see below, p. 227. 
 
SURVIVALS AND REVIVALS 153 
 
 this became more unified; allegory, symbolism, and history were not scattered 
 broadcast through the procession, but were related to a central idea. This 
 brought the show farther from the carnival, and made it a higher form of artistic 
 expression the Shylock and Portia at the feet of Garrick, in 1909, have some 
 raison d etre, while the Shylock and Portia of 1893 marching with Robin 
 Hood and Buffalo Bill have not. In studying this festival, we see clearly 
 where the distinction between the pageant of the street and the carnival pro 
 cession lies; not in the material, but in the purpose. At the end of the seven 
 teenth century, the Lord Mayor s Show tended toward the carnival ; this Fair- 
 holt observed, when he remarked: " The excessive absurdity of surrounding a 
 Christian saint with a heterogeneous mass of attendants, composed of livery 
 servants, Roman lictors, halberdiers, and, worse than all, twenty dancing satyrs 
 with tambourines, seems never to have struck the mind of the last of the city 
 laureates." l That this was not pure carnival is due to the relation of St. Martin 
 and the satyrs to the Vintners Company, to which belonged the mayor, Sir 
 Samuel Dashwood. 
 
 THE KNUTSFOKD " ROYAL " MAY-DAY FESTIVITIES 
 
 From this festival of Lichfield, let us turn to the May-day celebration at 
 Knutsford. As this does not date further back than 1864, it is rather a revival 
 of older folk-custom than a survival, and need not detain ug long. Organized by 
 the Misses Clowes and Mr. G. W. Clarke, it later received the " hearty support 
 of the late respected Vicar of the Parish "; in 1887, Edward VII and Queen 
 Alexandra, then Prince and Princess of Wales, witnessed the celebration, and 
 subsequently gave the Committee the right to use the prefix " Royal " in con 
 nection with it. 2 This festival is more closely connected with folk-revels than 
 with pageantry, though it has pageantic features. In 1913, the procession in 
 cluded various tableaux on lorries, escorted by mounted boys and girls in cos 
 tume; there was a Jack-in-the-Green, 3 and morris dancers danced through the 
 streets with the procession. The characters suggested a peripatetic fancy-dress 
 ball rather than a pageant; there were Flower Girls, Gypsies, an "Ancient 
 Lady in a Sedan," King Canute, 4 Scotch Highlanders, the four Seasons, Italian 
 nobles, Night, Spanish and Swiss girls, John Bull, Britannia, foresters, etc., in 
 line. " Special Canadian Tableaux " included a " Trooper of the North West 
 Mounted Police on Pony," " Miss Canada," " The Farmer," " The Lumber 
 man," "The Miner," "The Fisherman" and "The Trapper"; on another 
 lorry followed India, Australia, Africa, America, Yankees, Japanese girls, a 
 Turk, a group of Courtiers, three Old English Officers, and Infant Hornpipe 
 
 1 Remarks on the 1702 Show Fairholt, pt. i, p. 119, n. 
 
 2 Official program for 1913, p. 3. Cf. the Knutsford Advertiser for i May, 1914, p. 7. 
 
 3 Cf. above, vol. i, p. 70. 
 
 4 Knutsford is " King Canute s ford." 
 
154 ENGLISH PAGEANTRY 
 
 Dancers. Then came sailor girls with " ^race Darling and her Father "; * and 
 following them came cricketers, middies, admiral and sailors and a tableau " Alice 
 in Wonderland." Maid Marian, Robin Hood, Will Scarlet, and foresters; 
 heralds, with a Lord Chamberlain and Judge; pages, maids of honour, court 
 officials and boy scouts escorted the " royal " May Queen and her attendants. 
 
 When the procession arrived at the Heath, various dances were performed, 
 after which the public was allowed to enter the ring and dance. 2 
 
 Although held on Whitmonday, the Milton procession of decorated cars and 
 children seems to be a revival of May-day festivities. The twenty-seventh 
 annual " fete " of the Milton Amalgamated Friendly Societies is illustrated, and 
 briefly described, in the Staffordshire Weekly Sentinel for Saturday, 6 June, 
 1914. Various local firms provided " decorated turnouts"; a May Queen was 
 crowned, and the whole affair seems to have resembled the more famous May 
 day celebration at Knutsford, which may be taken as the type of this kind of 
 pageantry. 
 
 The fiftieth anniversary of this celebration was observed in 1914, and the 
 May Queen of fifty years before rode in a carriage with her husband in the pro 
 cession. A boy in armor represented "the Cheshire Champion"; "Miss 
 Matty s tea-party " recalled Cranford; 3 the rest of the procession was much 
 like that of the preceding year. 4 At the end of the formal dancing on the Heath 
 - which, of course, included the Maypole dance the townsfolk danced in 
 formally till dusk. 
 
 1 In 1914, two children sat in a lorry on which was a boat. This tableau, it will be recalled, 
 was not unknown in the Lord Mayor s Show and appeared at Lichfield in 1904. 
 
 2 For details see the Official Program for 1913. Much the same procedure was observed 
 on May Day, 1914, when I witnessed the procession; most of the participants were children, 
 and the parade through the town was but the prelude to the more important part of the cele 
 bration the dances on the Heath. (Cf. above, vol. i, p. 10.) 
 
 3 Knutsford is the Cranford of Mrs. Gaskell s novel. 
 
 4 The Knutsford Advertiser for i May, 1914, p. 7, gives a short history of the celebration, 
 from which I give extracts. "... Pageantry in any form has an attraction for English folk, 
 which is evidenced by the fact that for fifty years people have watched with interest the re 
 production of the programme submitted at the festival for which Knutsford is so justly 
 famous. This festival holds undisputed the position of being the most picturesque and fasci 
 nating of its kind, for its fame exceeding the limits of this country has reached the Colonies 
 with the result that a tableau representing Canada was introduced two years ago . . . 
 
 " The May-day Festival at the beginning was entirely a Church Schools organisation . . ." 
 It " was advertised only by blind Moses, the old bell man, who went round the town in his 
 uniform and tall hat, while he also requested people to sand the streets . . . 
 
 " Records from the year 1870 reveal many interesting facts. The present run of the festi 
 val commenced in 1864, but for six years after that date no records were kept. It is extremely 
 probable that the first of May was celebrated prior to 1864, but of that fact nothing authentic 
 is known. At that time there was nothing to call forth the admiration it produces today, as 
 its inception, like that of other institutions, was launched in quite an insignificant manner, 
 
8 
 
 V. 
 
SURVIVALS AND REVIVALS 155 
 
 SURVIVALS OF MAY-DAY CUSTOMS; " A LABOUR KNIGHT " 
 
 In some cities, children many of whom have blackened faces set up 
 Maypoles in the streets, and, dressed in old bits of lace and paper crowns, dance 
 about them. At other towns, processions of decorated wagons take place 
 usually without the allegorical occupants which give meaning to pageantry. 
 In connection with such figures as the armed men of the London shows, the 
 knights of the Lichfield " Bower," and the Knutsford champion, it is interesting 
 to note that the " first May-day demonstration of Labourites in Warrington 
 was held on Saturday [2 May, 1914] ... A long procession with a couple of 
 bands and numerous banners, paraded the town before the meetings, and par 
 ticular attention was drawn by a knight in shining armour mounted on a 
 fine steed. He was a representative of the Sheet Metal Workers Union . . . m 
 
 With the exception of the Jack-in-the-Green, who appears in the Knutsford 
 May-day procession, St. Christopher of Salisbury is probably the only folk- 
 figure in active service. I have already referred to his appearance in 1911 ; 2 
 since 1760 he has marched on these occasions: 
 
 1 760. Accession and Proclamation of George III. 
 
 1763. Thanksgiving Day for Peace. 
 
 1784. Peace Festival at the Termination of the American War. 
 
 1798. Thanksgiving for the Recovery of George III. 
 
 1809. Jubilee of George III. 
 
 1832. " Reform " Festival. 
 
 1838. Coronation of Queen Victoria. 
 
 1842. Baptism of the Prince of Wales (Edward VII.). 
 
 the school children carrying out the proceedings in a degree that aroused merely local in 
 terest ..." 
 
 An early procession is thus described in the columns of the Advertiser: " The procession 
 started from the boys school at the bottom of Adams Hill, preceded by the St. Cross Drum 
 and Fife Band and the Crown Bearer and Sceptre Bearer. The Queen rode in a carriage . . . 
 with an outrider arrayed in livery ... At the tail-end of the procession was a milkmaid 
 with a cow decorated with ribbons . . . The Queen s carriage was immediately followed by a 
 Knight hi ancient armour on horseback ... In those days, the Crown-bearer and Sceptre- 
 bearer did not wear any special dress, but appeared in the best mufti. The Crown was only 
 of cardboard covered with gold leaf . . . Some of the costumes were lent by a travelling theatre 
 proprietor named Snape, who supervised the painting of the faces with the exception of the 
 sweep, who had to black himself ..." 
 
 1 Liverpool Daily Post and Mercury for 4 May, 1914, p. 8, col. 5. 
 
 2 See above, vol. i, p. 56, n. 3 ; my authority for the information here given is Mr. Frank 
 Stevens s paper, already mentioned, in the Salisbury Festival Book, p. 64, from " official 
 records." 
 
156 ENGLISH PAGEANTRY 
 
 1856. Peace Festival at the end of the Crimean War. 
 
 1863. Prince of Wales Marriage. 
 
 1872. Visit of the Prince of Wales. 
 
 1887. Jubilee of Queen Victoria. 
 
 1892. Marriage of the Duke of York (George V.). 
 
 1897. Diamond Jubilee of Queen Victoria. 
 
 1902. Coronation of Edward VII. 
 
 1911. Coronation of George V. 
 
 When not in use, St. Christopher is kept in the Salisbury Museum. Mr. 
 Stevens notes, in the article cited, that " Miss Child (The Spinster in The Close] 
 gives an excellent portrait of the Giant and his attendants as they would have 
 appeared in 1842 . . . The Giant appears to be smoking a pipe, placed between 
 his lips doubtless by one of his merrie men. " 1 This trace of the old Mid 
 summer Show is worth recording among the survivals of folk-pageantry. Nor, 
 on the Continent, 2 is all trace of the old folk-figures gone. 
 
 " PACK MONDAY " FAIR IN DORSET 
 
 Mr. H. V. W. Temperley, of Peterhouse, Cambridge, tells me that when he 
 was a boy at Sherborne School, there was a great procession on the night of 
 " Pack Monday fair," which included cars of the different crafts, and a bogus 
 clergyman who carried a bogus Bible. 3 Interest in this procession is waning; 
 it may have been extinguished by the new pageantry, which came into being 
 at Sherborne in 1905. 
 
 OTHER SUGGESTIONS or FOLK-PAGEANTRY 
 
 We have already referred to the flogging of Judas Iscariot by foreign sailors 
 at British ports 4 a ceremony which keeps the religious flavor of its origin, 
 and has apparently been widespread. In Two Years Before the Mast? Mr. Dana 
 refers to this custom, which, if not strictly " folk," is closely related to such 
 
 1 St. Christopher is pictured, above, vol. i, opp. p. 62, and in the Festival Book, opp. pp. 59, 
 and 64. 
 
 2 See L 1 Illustration for July, 1846, pp. 279!, for a pictured account of Les Jeux de la 
 Tarasque at Tarascon. I have already referred to the giants in the war-swept area of northern 
 France and Flanders; few of them are probably still in existence. (Cf. above, vol. i, p. 55, n. 2.) 
 
 3 On "Pack-Monday fair," see Ditchfield, p. 245; this celebration dates from the time 
 that the builders of the Abbey packed up their tools, having finished their work. The " clergy 
 man " suggests the Boy Bishop, and recalls the anti-Popish feeling of Elizabethan days 
 but he may have been a later addition. 
 
 4 Cf. above, vol. i, p. 16. 
 
 6 (New York, 1841,) p. 159: " It was now the close of Lent, and on Good Friday she had 
 all her yards a -cock-bill, which is customary among Catholic vessels. Some also have an 
 effigy of Judas, which the crew amuse themselves with keel-hauling and hanging by the 
 neck from the yard-arms." 
 
SURVIVALS AND REVIVALS 157 
 
 pageantry. Similarly, the ceremony of Crossing the Line * which includes the 
 figure of Neptune, preserves a tradition, not without an element of pageantry. 
 That it is still very much alive, the following description will testify: 2 
 
 Four days later we crossed the Equator, and here the time-honoured ceremony of cross 
 ing the line took place. All who have not been over the line before, officers and men alike, 
 have to be ducked and submitted to various other indignities before they can be considered 
 freemen of the Sea King s domain. 
 
 On the previous night officers and men impersonating Neptune and his Court had paraded 
 the ship with an impromptu band, and in the morning a huge canvas bath was rigged up on 
 the fo c sle, with a rude throne for Neptune at one end. After lunch the fun began. The 
 bears were already splashing about in the bath ready to duck the neophytes when Neptune 
 and his staff had finished with them. One of our lieutenants was the first victim. The Sea 
 King, gorgeously arrayed in red and yellow bunting, with a cardboard crown set on his hempen 
 wig, asks each in turn if he has ever crossed the line before, but no sooner does the unfortunate 
 open his mouth to reply, than a large brush dripping with whitewash is slapped in his face! 
 He is then liberally whitewashed all over by Neptune s merry men and tipped over back 
 wards into the bath. 
 
 Here the bears seize upon him and pass him along to the other end, each one ducking him 
 as he goes, after which his ordeal is finished, and he can watch his messmates being served 
 in the same way. 
 
 Our Gunnery Lieutenant at first hid, but he was soon routed out and carried, kicking and 
 struggling, before the tribunal. He had reason to regret his attempt to shirk, for by this time 
 the whitewash had run out, so he was treated to a plastering of black paint, sand, and water 
 instead; and, further, given a spoonful of medicine made up of mustard, pepper, salt, oil, 
 and sea-water all mixed together, after which he was duly tipped backwards into the bath! 
 
 The performance lasted until 4 o clock, when we all went below, changed, and had tea. 3 
 
 1 Referred to, above, vol. i, p. 9 f. 
 
 2 From Dartmouth to the Dardanelles: A Midshipman s Log, (London, 1916), pp. 98 f. 
 We may note that Dana, who crossed the Line in 1834, escaped the " initiation ": cf. Two 
 Years Before the Mast, (New York, 1841), p. 26: " Wednesday, October ist. Crossed the 
 equator in long. 24 24 W. I now, for the first time, felt at liberty, according to the old usage, 
 to call myself a son of Neptune, and was very glad to be able to claim the title without the 
 disagreeable initiation which so many have to go through. After once crossing the line you 
 can never be subjected to the process, but are considered as a son of Neptune, with full powers 
 to play tricks upon others. This ancient custom is now seldom allowed, unless there are pas 
 sengers on board, in which case there is always a good deal of sport." 
 
 3 The mother of the midshipman-author, who edited his log book, notes: " Maybe sober- 
 minded people will think all this very silly childish almost improper, in view of the seri 
 ous business on which they were engaged. But let it be remembered that, in the words of 
 Kipling: The Navy is very old and very wise. She cherishes her traditions, and knows 
 well that the observance of an old ceremony in which officers and men take part without dis 
 tinction of class tends to foster that immortal spirit of comradeship which is one of the most 
 valuable assets of the service, and by no means the least important secret of our sea-power. 
 For the rest, time enough to think of War when the call to action has been sounded off. 
 They work best who know how to play." 
 
158 ENGLISH PAGEANTRY 
 
 PRESENT-DAY MUMMING AT BROOKLYN 
 
 A sporadical manifestation of what may be a survival of more elaborate 
 holiday pageantry is found at Brooklyn (New York) on Thanksgiving Day. 1 
 This, like the mumming found on Hallowe en and in connection with the Guy 
 Fawkes celebrations, is confined to children, dressed up in costume, whose buf 
 foonery and hilarity find expression in their progress from house to house rarely 
 singly, often in groups of ten or twelve. They invade front lawns, court-yards, 
 or hallways, and give a " performance," which is little more than a succession of 
 antics, popular songs, and " movie " representations, to which each one in the 
 group contributes his bit. The program ended, each collects what he can from 
 the spectators, in the way of pennies, or cake, fruit, and other sweets (the edibles 
 are more in demand than the money, and are often put into the basket, which is 
 part of the holiday garb) ; after which, the group moves on to fresh fields and 
 pastures new. 
 
 Often the girls will give exhibitions of folk-dancing, learned in the public 
 school or at the recreation center: frequently Russian peasant dances, the High 
 land fling, some Irish jig, or Swedish dance is skilfully interpreted on the city 
 pavement by youngsters often arrayed in a manner at least suggesting the na 
 tional costume of the country in question. A convincing effect is often obtained 
 by merely tucking up a skirt or rolling stockings down below the knee and cock 
 ing the hat on one side; the illusion is there, if not the detail. 
 
 The boys usually prefer to dress up as " movie " heroes, and one often sees 
 Charlie Chaplins and Bill Harts abroad; but pirates, Indians, cowboys, and 
 colored comedians, are not neglected. Of historical periods, the Revolutionary 
 is perhaps the favorite; the blue and buff Continental uniform is somehow 
 achieved topped by a cocked hat, it is at least recognizable. The bouffante 
 skirt of the period, with lace kerchief and cap, is an attractive costume sometimes 
 encountered. Present-day uniforms, Red Cross costumes, the dress of the boy- 
 scouts, have been in evidence for the past year or two; but on the whole, the 
 hybrid costumes are commoner, and the attempt to approximate historical 
 costumes is rare. 
 
 In many parts of America, children dress up on Hallowe en and visit the 
 neighbors, sometimes playing tricks, such as carrying off gates, turning signs 
 around, changing house-numbers, or exchanging various articles as witches, 
 in the past, were supposed to play roguish, if not malicious, tricks. Perhaps 
 such mumming as that at Thanksgiving in Brooklyn, was transferred from 
 Hallowe en; though it does not include any of the tricks sometimes found else 
 where. Professor Paul R. Lieder, whose boyhood was spent in Brooklyn, haz- 
 
 1 I am indebted to Miss Helen L. Lieder, of Brooklyn, for the following information. Her 
 account indicates that what goes on today is rather mumming than pageantry. 
 
SURVIVALS AND REVIVALS 159 
 
 ards the suggestion that if this mumming is not a legacy from the early Dutch 
 settlers, it has come from New England. I may add that I have seen it on Hal 
 lowe en in Bloomington, Indiana. 
 
 REVELS AT GRIMSTON 
 
 Miss Edith Milner, of York, has told me of May-day revivals before 1867, in 
 which she had taken part ; similar to these was an outdoor fete, given by Lord 
 Wantage in August, 1884, which inspired her to arrange at Grimston, Yorkshire, 
 a pageantic festival early in September of that year. On this occasion the " Har 
 vest wain " was covered with children; the Harvest Queen, Robin Hood, and 
 other characters appeared; old English sports, and the Hobby Horse of folk- 
 custom were revived. These revels are of importance because the Ripon pageant 
 of 1886 owes its existence to them. And Ripon deserves detailed mention. 
 
 We see in these folk-festivals revived, the " raw material " of pageantry - 
 or, to change the figure, the " unborn soul " of the pageant. There is no central 
 plan to give the allegory or history a meaning; most of these celebrations tend 
 rather to the carnival, which is pageantry without a central idea to give it unity. 
 A tendency toward pageantry is seen in the celebration of the millenary anni 
 versary of Ripon Cathedral in 1886; but it is worthy of note that the director of 
 this festival is referred to as " master of the revels." 
 
 2. " OCCASIONAL " PAGEANTRY 
 
 THE RIPON MILLENARY CELEBRATION OF 1886 
 
 Because it is connected with the Grimston " revels," we may consider the 
 Ripon Millenary celebration here, rather than defer it to its chronological place 
 in this section. This show took place in August, I886. 1 The town was hung with 
 flags, and there were triumphal arches, flower-festooned; a procession of clergy, 
 soldiers, magistrates, and civic authorities opened the festivities; Mr. Darcy 
 Ferris, " master of the revels " marched with his committees. After service in 
 the Cathedral, there was a luncheon for more than a thousand guests; in the 
 evening, the " revels " began Mr. Ferris, in Elizabethan dress, announced 
 them from the market-cross. 
 
 PAGEANTIC REVELS 
 
 The proclamation having been read, the procession was formed in the market place. First 
 came a group of torchbearers, then a drum-and-fife band, then a number of grotesque boy 
 dogs, followed by a dancing band of satyrs and ogres. Behind these was a hobby-horse of 
 the most approved and absurd appearance, and then, after more torchbearers and a huge 
 symbolical banner, came the car of the Brewers Guild. Around this were grouped a number 
 
 1 Detailed accounts of this event may be found in the London Times of 26 August, 1886, 
 p. 4, cols. 4 and 5; ibid., for 27 August, p. 8, col. i; for 28 August, p. 10, col. i. 
 
160 ENGLISH PAGEANTRY 
 
 of stalwart fellows in appropriate red caps and aprons, while on the car were two huge casks, 
 garlanded with evergreens. Following the brewers were the Oddfellows lodges, marching 
 four deep; then, after another banner, the Millers car and the order of Foresters, then more 
 banners, preceding in turn the Clothworkers car and the Druids Order. The Saddletree 
 makers car came next, and it is worthy of note that Ripon saddletrees have been as famous 
 as Ripon spurs. At this point a somewhat more modern feature was introduced in the shape 
 of the town fire engine, which broke the mediaeval character of the procession. Following 
 close on the fire engine, however, was the banner of St. Wilfred, followed by St. Wilfred 
 himself on horseback, supported by two deacons and followed by six monks. Next came an 
 old horn-blower and attendants in chariots, and a floral banner. The procession was closed 
 by the master of the revels, his heralds, chamberlains and pages, the city banner, constables, 
 bellman and beadle, and the mayor in a carriage with the chain and mace bearer. By the 
 time the procession had formed, night had fallen, and the town was then lit up in all directions 
 by most brilliant and decorative arrangements of colored lamps. The facade of the town- 
 hall was brilliantly illuminated, and the triumphal arch at the head of Kirkgate was most 
 picturesquely hung with Chinese lanterns. . . The lurid glow of the torches, the bright gleams 
 of the coloured lamps, and the fitful shadows cast by the curling smoke on the faces and dresses 
 of the actors in the pageant, served to make up such a picture of mediaeval manners and cus 
 toms, as set forth by the chroniclers, as to induce for a moment the belief that the veritable 
 mummers had come to life again, and were disporting themselves at Ripon at the close of the 
 nineteenth century. 1 
 
 This evening s celebration is chiefly interesting for us in that it shows a large 
 part of the community participating. Many of the characters appeared again 
 in the Ripon Civic Pageant, which had a strong historical flavor. As this is 
 much nearer our modern pageantry, it may be described in detail. 2 
 
 THE RIPON Civic PAGEANT AN HISTORICAL PROCESSION INCLUDING 
 " WILD MEN," ALLEGORY AND SYMBOLISM 
 
 The procession included 
 
 " wild men, marking the first period of known history, and looking wonderfully fierce, as, 
 clad in skins, their limbs covered with hair, and their faces decked with woad, they strode 
 along brandishing their clubs." Hobby-horse and jester followed; and the introductory 
 part of the procession was brought to a close by a company of halberdiers and the master of 
 the revels with his attendants. 
 
 The " first chapter was the Druidical period," and these priests came next, with foliage- 
 crowned bards, carrying golden lyres. Arch-Druid, Vice-Arch Druid and Royal Arch-Druid 
 with golden sickles and high golden head-dresses followed. Then came the Roman period 
 Hadrian and his empress in a Roman chariot, followed by Roman soldiers; then the Viking 
 period represented by a huge Viking boat, around which hung the shields of the crew, 
 who sat or stood within, a shaggy lot of Norsemen. The Abbot of Melrose, with a model of 
 the Monastery, led the Saxon period; he was followed by Prince Alefrid, behind whose at 
 tendants rode Queen Edelfleda, whose saddle was a tiger s skin. After her train which 
 included pages, nobles and Saxon ladies came " a car bearing the ancient hornblower, 
 
 1 The London Times for 26 August, 1886, p. 4. 
 
 2 The Times for 28 August, 1886, p. 10. 
 
SURVIVALS AND REVIVALS 161 
 
 attended by the executioner and gaoler, in type of the ancient rights of sanctuary and mort 
 main. It should be mentioned that the character of the hornblower was taken by an old 
 man of ninety, who has blown the horn nightly in the market place of Ripon for the last 
 seventy years. Following this car came that of St. Wilfrid," whereon was seated in a throne, 
 supported by spears, King Egfried, attended by his brother Elwyn. Saxon soldiers accom 
 panied the car of King Alfred, wherein sat Elswitha his Queen; then came Athelstan and 
 Archbishop Odo; and the Normans were represented by Henry IV and his Queen, with 
 Norman nobles, " who visited Ripon to escape the plague which raged at that time in London." 
 
 The prosperity of the town at this period was symbolized by a harvest group, and a car 
 bearing a Queen of the Harvest with attendants in classic costumes. 
 
 Then came the first two burgesses of Ripon summoned for the Parliament of 1295. Robin 
 Hood and his men followed, and behind them came Hugh Ripley, last wakeman of Ripon, 
 with his lady. Then " cars of the city guilds, with operatives at work " preceded the heralds 
 and banners of the knights of the tournament. 1 James I and his Queen accepting spurs from 
 the Spurriers Guild of Ripon, when he was on his way to his coronation at London, and 
 " numerous other events in the history of the ancient city s existence were also represented 
 in succession." Then followed the allegorical part of the procession. 
 
 This included the wife of the then Mayor of Ripon as the Genius of the City, with Charity 
 and Loyalty in attendance. Maypole dancers, a Georgian farmer, with his wife on a pillion, 
 shepherds and shepherdesses, sword dancers, and the civic procession of mayor and municipal 
 dignitaries ended a mile-long procession. It marched to the ruins of Fountains Abbey, and 
 filed before the crowd assembled there, later joining them to watch the play of Robin Hood 
 and the Curtal Friar, 2 given on the traditional site of the famous event it recalled. 3 
 
 In the afternoon there was tilting at the ring and quintain; and a tourna 
 ment between armed knights on " armoured hobbies " took place, " much 
 merriment being caused by the play made by the knights in their life-like horse 
 manship of their hobbies. With the ancient Yorkshire sword dance, the enter 
 tainment for the day came to an end." 4 
 
 Although this procession included figures from the revel, it has many char 
 acteristics of later as well as earlier pageantry. The cars with their allegory 
 and symbolism; the historical characters, from the " wild man," who represents 
 the Early Briton, to the Georgian farmer; the care with which the site for the 
 
 1 See below, and p. 185. 
 
 2 Written by Augustin Dawtrey; Mark Landon, " who is justly celebrated for the part 
 he has taken in previous revels and pageants, was a most admirable friar," and " the whole 
 representation was eminently in keeping with the surroundings both of scenery and of the 
 pageant grouped around the rustic stage." (The Times, loc. tit.) 
 
 3 Cf. The Times for 27 August, 1886, p. 8, col. i: * .... The site selected for the represen 
 tation of the play of Robin Hood and the Curtal Friar is immediately adjacent to the beautiful 
 ruins of Fountains Abbey, and is supposed to be the identical spot on the banks of the Skell 
 described in the ballad where the outlaw had his memorable encounter with the Curtal Friar, 
 and where the two fought their long fight from ten in the morning till four in the afternoon." 
 It was given before a crowd of 7,000 people who swarmed over the arena and the hillside 
 without. (The Times for 28 August, p. 10.) 
 
 4 The Times for 28 August, 1886, loc. cit. 
 
1 62 ENGLISH PAGEANTRY 
 
 Robin Hood play was chosen; the march before the crowd gathered in the open- 
 air arena even the preliminary service in the Cathedral all these show it 
 to be half-way between the older and newer pageantry, combining features of 
 both. It is interesting to see a " folk-play " revived, with Robin Hood as one 
 of the characters; for the older folk-play, or sword dance, is rarely connected 
 with a pageantic procession. 1 
 
 THE PEACE CELEBRATION OF 1814 
 
 Fireworks, " allegorical transparent Paintings," and allegorical statues 
 formed part of the Peace Jubilee at London in i8i4. 2 A fleet of boats on the 
 Serpentine commemorated the Battle of the Nile; 3 a "revolving Temple of 
 Concord " in Green Park was illuminated, 4 as were a Chinese bridge and pagoda. 
 The fleet on the Serpentine took part in a mock fight 6 with ships flying American 
 colors, which were, naturally, defeated; the British fleet subsequently attacked 
 a French fleet, and again proved its superiority. Afterwards some of the ships 
 were burnt, and fireworks concluded the show. 
 
 This exhibition recalls history, and reflects a national pride in the feats of 
 British bravery. In this, it is connected with modern pageantry, even though 
 the history recalled is recent. The allegorical paintings and the Temple of 
 Concord echo the older pageantry of the seventeenth-century Lord Mayor s 
 Show. 
 
 The celebration of peace was combined with welcomes to visiting royal per 
 sonages, which seem to have been without pageantry. 6 Various illuminations 
 were shown, however, and some of these transparencies were pageantic for 
 instance, those exhibited by H. Watson, at 35 Old Bond Street: in the center, 
 one including Astraea, Britannia, Prudence, Victory, Marlborough, and Welling 
 ton; on the right, one representing The Liberation of Spain, and on the left, The 
 Magnanimous Emperor of all the Russians. 1 Peace, Britannia, Ceres, and many 
 
 1 Robin Hood, mounted on a hobby horse, is one of the figures in the Horn Dance at 
 Abbot s Bromley one of the few surviving folk-dances of the present day. Cf . Stone, 
 Festivals, Ceremonies, and Customs, (1906), p. 18. 
 
 2 This is described in the illustrated pamphlet recorded in the Bibliography under the 
 heading Peace Jubilee. 
 
 3 See the pamphlet referred to, plate 2. 
 
 4 See ibid., plate 4. The allegorical paintings described ibid., pp. 49 f. were in this temple. 
 
 5 Which is described, ibid., pp. 54 f. 
 
 6 I have mentioned the entry of Louis XVIII on 20 April, 1814, above, vol. i, p. 255; cf. 
 for further description, England s Triumph (London, 1814; in Gh.), p. 34 ff. The visit of 
 the Emperor of Russia and the King of Prussia, who arrived at Dover on 6 June, 1814, is 
 described, ibid., p. 89 f . This visit of the Allied Sovereigns to London, is " B " in scene vii of 
 Part III of the London Pageant of 1911. (See The Festival of Empire, p. 132.) 
 
 7 England s Triumph, p. 200. Cf. for other transparencies, ibid., p. 197 f. These seem 
 to have been exhibited on 9 June. 
 
SURVIVALS AND REVIVALS 163 
 
 other characters, symbolical, allegorical, and mythological, whom we have met 
 in pageantry, were represented on transparencies; but one deserves special 
 mention : 
 
 Among the various curious exhibitions in the streets during the late illuminations, there 
 was one called the Agricultural Car, decorated with laurel, &c. ; it displayed most of the im 
 plements used in husbandry. The reapers were within the car, with their scythes and sickles; 
 their flags were supported on hay rakes, forks, &c. bearing this motto, We have cut down the 
 Corn Bill. We never remember to have seen so much joy and satisfaction expressed on all 
 sides by honest John Bull; hats and handkerchiefs, huzzas and bravoes, gave the reapers a 
 fine treat. 1 
 
 1907 LIVERPOOL S ANNIVERSARY PAGEANT 
 
 Although given two years after Mr. Parker s Sherborne Pageant, the pro 
 cession at Liverpool reminds us rather of the Ripon celebration, or of such 
 shows as that of Lichfield, than of what we have come to regard as a " pageant " 
 nowadays. But there is a suggestion of the Parkerian work in the underlying 
 unity, which focussed the minds of the spectators on the city s history. 
 
 " Liverpool celebrated its seven hundredth birthday with a pageant which 
 traced the development of the town from the year 1207 . . . The pageant was 
 rather processional than dramatic, and its method differed somewhat from that 
 of the accepted pageant ritual. 2 The history of the town was outlined in a great 
 procession of symbolic cars which portrayed the commercial rise of the city, 
 and its chief political events. The procession closed with the grand car of Liver 
 pool which bore the goddess of the city, supported by Britannia, Erin, and char 
 acters symbolic of Science, Art, Music, Trades and Industries." 3 
 
 FOREIGN PAGEANTIC PROCESSIONS OF RECENT YEARS 
 
 I shall not here attempt to trace any connection between such pageantic pro 
 cessions as that of Liverpool and those on the Continent; let me merely call 
 attention to a couple of the latter, that we may not forget that such " occasional " 
 pageants are not confined to England. In 1910, at Amsterdam, there was an 
 " historical procession " in honor of the Princess Juliana, in which nine hundred 
 people took part, and which included seven "chariots." 4 One of the features 
 of the millenary celebration at Rouen, in June, 1911, was an historical procession, 
 
 1 England s Triumph, p. 213. If these figures were not alive, the " treat " was not relished. 
 
 2 What this is, we shall find out in the next chapter. Already, two years after Mr. Parker s 
 first show, there was " an accepted pageant ritual "! 
 
 3 Illits. Lond. News for 10 August, 1907, p. 191. Besides this car are illustrated here: 
 " The Car with the Episode of the Surrender of Liverpool "; " Early Shipping a Vessel of 
 the Sixteenth Century"; "The Banner of Liverpool"; "The Car Commemorating the 
 Slave Trade," and " Early Industries the Everstan Windmill." 
 
 4 Cf. the Illus. Lond. News for 4 June, 1910, p. 857. One feature of the " pageant " is 
 pictured. 
 
1 64 ENGLISH PAGEANTRY 
 
 which included " les chars des arts et des industries normands "; the " drakar " 
 of Rollo and his vikings was reproduced, among other things. 1 
 
 " Un grand cortege historique . . . reconstituant 1 histoire de la Normandie, 
 et reunissant 1,200 personnages dont 400 cavaliers, a defile dans les rues de Rouen 
 au milieu d une foule enorme. A une heure de Papres-midi, Rollon, figure par 
 un negotiant rouennais, etait arrive par le Seine dans son drakar. Son costume 
 et celui des guerriers vikings qui 1 entouraient avaient ete compose avec une 
 grande exactitude documentaire," says the writer in L> Illustration. The pro 
 cession awoke great popular enthusiasm. 
 
 The attempt to reproduce Rollo s costume with exactness, seems to point to 
 an influence from the newer pageantry of England; and we may consider that 
 this procession, as well as that at Liverpool in 1907, combines the spirit of the 
 Parkerian work with the technique of the older pageants. We have seen at 
 Ripon in 1886, and shall see at Boston in i88o, 2 stirrings of the newer spirit which 
 finds in a civic anniversary a fit occasion for recalling the glories of the past. 3 
 
 3. TRADE-PAGEANTRY 
 
 Closely connected with folk-pageantry, are various trade processions with 
 pageantic features. Examples of these may be found in Preston, Edinburgh, 
 and Coventry. I have already mentioned the guilda mercatoria of Preston 4 which 
 is said to date from the reign of Henry II; and we have discussed the 1802 and 
 1822 processions. In 1842, there were " floats " or pageants representing various 
 trades when the " Preston Guild " was celebrated. 5 
 
 The Preston " Guild " was not connected with the investiture of the mayor, 
 which took place in October; 6 it has been held pretty regularly every twenty 
 years from the middle of the sixteenth century, 7 usually in August or September, 
 
 1 Cf. the Don de Dieu at Quebec in 1908, and the Half -Moon and the Clermont of the 
 Hudson-Fulton Pageant of 1909, (below, pp. 241 and 242). For this Rouen procession, see 
 U Illustration for 17 June, 1911, p. 505: a photograph of the drakar landing on the banks of 
 the Seine is reproduced. 
 
 2 Cf. below, p. 239. 
 
 3 Another French celebration of an historical event by means of pageantry more closely 
 united to the older sort, is seen in the festival at Orleans for Joan of Arc. That on 6, 7, and 
 8 May, 1912, is pictured in. U Illustration for n May, 1912, p. 413. On the fete at Compiegne, 
 see below, p. 187. 
 
 4 See above, vol. i, p. 34. 
 
 5 Cf. the picture in the Illus. Lond. News for 3 September, 1842, p. 276. 
 
 6 Hist. Preston, p. 10. On p. 43 is given the list of years on which the Guild has been 
 held: 1329, 1397, 1418, 1429, 1458, 1501, 1543, 1562, 1582, 1602, 1622, 1643, l662 > l682 > *7 O2 i 
 1722, 1742, 1762, 1782, 1802, and 1822. 
 
 fe t 7 Ibid., pp. 9, 68, 96, 103. The Guild for 1762 (p. 104 f.), that for 1782 (109 f.) 1802 (nof.) 
 and the plan of that for 1822 (119 f.) are described. The names of the aldermen and grand 
 
SURVIVALS AND REVIVALS 165 
 
 " commencing on the Monday after the decollation of St. John." 1 The Guild 
 was held in 1882, and again in 1902, but without any great emphasis on pag 
 eantry. 2 
 
 The " Shrewsbury Show," - which appears to have its origin in the Corpus 
 Christi procession has also been mentioned. 3 It lasted well into the nine 
 teenth century. 
 
 EDINBURGH TRADE PROCESSION IN 1832 
 
 A trade procession, which seems to have been " occasional " and political as 
 well, took place in Edinburgh, on 10 August, i832. 4 Seventy-one guilds and 
 other associations marched to celebrate " the triumph of the Great Cause of 
 Reform " through the streets of the capital of Scotland. Most of the marchers 
 carried only banners, but some showed examples of their workmanship as well; 
 and the St. Crispin Society " are to turn out in all the splendour of the craft, 
 with the king, his pages, and the various ministers of state, together with the 
 British and Indian Princes, and their attendants, the Champion, &c." 5 With 
 
 seneschals on " guild years " from 1397 on, are given (ibid., p. 97 f.). The institution may 
 date from the time of Henry II, Duke of Normandy in 1172 (p. 68), but holds a charter from 
 temp. Henry III (p. 9). 
 
 1 Ibid., pp. 9 and 71. 
 
 2 Various triumphal arches of the " Guild Merchant " of 1882 are pictured in the Illus. 
 Lond. News, of 9 September, 1882, p. 281. The municipal procession, and other celebrations 
 are described, ibid., p. 282. Among the scheduled entertainments, were " a grand tournament, 
 or assault-at-arms, joined by soldiers of the cavalry and infantry," and a sham-fight, follow 
 ing a review of four thousand volunteers and other troops. 
 
 In the Illus. Lond. News of 1902, are pictured: the " Clerk proclaiming the Guild," on 
 23 August (30 August, p. 307); one arch, and the " State Progress of Earl Derby, the Guild 
 Mayor, to church," on 31 August (6 September, p. 340); three cars in the procession of the 
 combined trades in which about ten thousand people took part, and every craft was repre 
 sented: the exhibit of the Tin Platers and Wire Workers, that of the Textile Trades, and the 
 living pictures (in frames) shown by the Picture-Framers. (13 September, 1902, p. 376.) 
 
 3 See above, vol. i, pp. 32 f. 
 
 4 There are two copies of the Order of Procession in the Brit. Mus. [1882. d. 2 (17) and 
 808. m. 16 (57)]. An account of the procession, printed n August, 1832, is on a broadside 
 also in the Brit. Mus. [808. m. 16 (63)]. 
 
 5 So the Order of Procession. The broadside says: " This body presented a most imposing 
 spectacle in the magnificent pageant of King Crispin which was got up in a style of splen 
 dour hitherto unequalled." Does this imply that the procession was an annual, or, at any 
 rate, a periodic affair ? 
 
 Just as St. George became King George in many a later version of the mummers play, 
 so St. Crispin seems to have become King Crispin even without the aid of the Hanoverians. 
 This may have been due to the Presbyterians dislike for Romish saints; for St. Crispin 
 figured at Shrewsbury in 1845. (Cf. above, vol. i, p. 33, n. i.) 
 
 The " champion " is evidently a " knight in armor "; whether adapted from a trade- 
 figure or an earlier chivalric representation, it is impossible to say. The chances are, that 
 he can claim the former origin, if he does not show a survival of the civic muster. 
 
1 66 ENGLISH PAGEANTRY 
 
 the Printers, rode a " man on horseback working a Portable Press, and distribut 
 ing the impressions to the surrounding spectators." Two cars followed one, 
 drawn by a horse, carried printers at work; the other, drawn by six devils, 1 
 showed a man working at a press. The Bookbinders exhibited a model of a 
 standing-press " with a parcel of elegant bindings "; a Champion in armor, on 
 horseback, supported by two Highland chiefs, accompanied the Wallace Youths 
 Society; the Highland Societies wore their full Highland costume; and five 
 boys drew a car on which was a large Thistle, nearly ten feet high. 
 
 THE COVENTRY PAGEANT LADY GODIVA 
 
 What may be a survival or revival of folk-pageantry, to which a memory 
 of the distant past has been added, and into which a strong element of trade has 
 been infused, is the procession which is often a feature of Coventry Fair. 2 
 
 " The first record of a procession in which Lady Godiva was represented," 
 writes the Town Clerk of Coventry, Mr. George Sutton, 3 " was in 1678, and the 
 early processions appear to have been organized more or less under the auspices 
 of the Corporation. 4 It has been held at intervals of a few years, more or less 
 regularly ever since, though of later years the intervals have tended to become 
 
 1 Probably these were printers devils, and had not even a punning connection with the 
 devils of the sixteenth-century Lord Mayor s Shows. 
 
 2 On this, see Ditchfield, p. 245; Mary D. Harris, The Story of Coventry (in Dent s Mediae 
 val Town Series) [London, 1911] pp. 19 f.; her Life in an Old English Town (in the Social 
 England Series) [London, 1898] p. 10; Benjamin Poole, History of Coventry (1852); his 
 Coventry: its History and Antiquities (1870); and the Pamphlet recorded in the Bibliography 
 s.v. COVENTRY. Chambers, ii, p. 163, notes that Godiva was added to the Corpus Christi 
 procession; he further suggests the possibility of the root of " the Godiva processions " 
 being in the pre-Christian perambulations of the fields in spring (cf. above, vol. i, p. 25). Cf . 
 also, on this procession, Fairholt, Civic Garland, p. xiv f. 
 
 3 In a letter dated 19 January, 1914. " It was not . . . until the time of Charles II that 
 the Godiva procession became a feature of Coventry fair. In 1678, we are told Lady Godiva 
 rode before the mayor to proclaim the fair and the custom thus inaugurated obtains to this 
 day." Harris, The Story of Coventry, pp. 19 f. Miss Harris gives no authority for her state 
 ment; but in her Life in an Old English Town, p. 10, she uses the same words, citing Poole 
 (1870) pp. 57-66. Poole, p. 58 cites (from Matthew of Westminster and Dugdale) the his 
 torical sources of the Godiva story; in neither is there mention of Peeping Tom, who seems 
 to be a later fictitious addition. Poole reprints various treatments of the story in verse (pp. 
 60-64). 
 
 4 " In this year (1677-8), in the Mayoralty of Mr. Michael Earle, there was a new show 
 on the Summer, or Great, Fair, of followers that is, boys sent out by the several companies, 
 and each Company having new Streamers, and Lady Godiva rode before the Mayor to pro 
 claim the Fair." Poole, p. 64, citing the Corporation Records. He notes that the fair had 
 been established by a charter of Henry III early in the twelfth century (c. 1217 or 1218); it 
 began on the feast-day of the Holy Trinity and continued for eight days; it was proclaimed 
 with considerable parade by the civic authorities, even before Lady Godiva appeared. 
 
SURVIVALS AND REVIVALS 167 
 
 greater. The last procession was in connection with the Coronation Festivities 
 of 1911. I do not know when there is likely to be another, but it is usual to have 
 a procession on the occasion of any general public celebration, such as the Coro 
 nation, or a Jubilee. . ." 
 
 As the show, during the nineteenth century, seems to have had more downs 
 than ups, it may be interesting to examine its history, bearing the contemporary 
 development of the London Lord Mayor s Show in mind the while. The pro 
 cession of 1826 is described in a pamphlet which may be found in the British 
 Museum. 1 The effigy of Peeping Tom is described : it is somewhat larger than 
 life-size, and is of "considerable antiquity"; it is made of oak, and, in its 
 original state, represented a man in armor. Some changes in painting, altera 
 tions in the fashion of its garments, and the loss of its hands have modified it 
 considerably. 2 It is " to be seen at the corner of Hertford Street, in an opening 
 at the upper part of the house." 3 
 
 In 1826,* after the City Guards, came St. George, armed cap-a-pie; Lady 
 Godiva followed the High Constable ; then came the mayor and his attendants, 
 and the aldermen and sheriffs. Various Companies and Societies followed; and 
 the procession came to an end with the Wool-Combers, a shepherd and shep- 
 
 1 The History of Coventry Show Fair, with a Particular Account of Lady Godiva and Peeping 
 Tom, and an Interesting Description of the Grand Procession; (see the Bibliography, s.v. 
 COVENTRY.) An engraving of the effigy of Peeping Tom is opposite p. 7. 
 
 2 The writer of the pamphlet seems to think that the effigy dates from before 1678. One 
 may hazard the guess that it was an earlier St. George, or some other chivalric man in armour, 
 from an older show, to whom the individuality of Peeping Tom was attached. 
 
 On Peeping Tom, see Life in an Old English Town, p. 7, n. 3. " The name . . . occurs in 
 the city accounts, June n, 1773, when a new wig was obtained for the effigy." Miss Harris 
 refers, on the origin of the character, to D. N. B., s.v. GODIVA. 
 
 As recently as 1710 no less than forty armed men attended the mayor and aldermen at 
 the Fair. (Pamphlet, p. 15, n. i ; Poole (1870) p. 66). " The City Guards, or men in armour 
 who led the way, are intended to represent the armoured men provided by the ancient guilds 
 and city companies, with each of which guilds or companies it was customary to send out 
 their guards to accompany the mayor in making proclamation of the fair." (Poole, p. 66). 
 " Their armour consisted of corselets, with and without skirts, back pieces and morions, and 
 their offensive weapons either the characteristic English long-bow, or the variously formed 
 bill . . . the whole assemblage being an interesting display of ancient armour, of which there 
 are now but few remains." (Pamphlet, p. 15 ; cf . ibid., n. 2 : " This Armour has recently been 
 very judiciously cleaned and restored.") 
 
 3 Pamphlet, pp. 7!.; see also Poole (1870) p. 59; The Story of Coventry, p. 342; Poole 
 (1852) pp. n f. Baedeker s Great Britain (1910) p. 272, remarks that " Peeping Tom is 
 pilloried in a bust at the corner of Hertford Street." 
 
 4 Both the pamphlet and Poole (1870) pp. 65 f., print the order of the 1826 procession, 
 which took place on 26 May. The latter remarks that this " is the last procession but one in 
 which the mayor and corporation appeared in their gorgeous civic costume . . . their final 
 participation in the pageant being in 1829." 
 
1 68 ENGLISH PAGEANTRY 
 
 herdess with dog and lamb; Jason, with the Golden Fleece; five wool-sorters, 
 and Bishop Blaize. 1 
 
 " The City Followers, whose original characters, probably, were those of 
 pages or trainbearers . . . are habited in antique dresses, the singular costume of 
 which produces a remarkable contrast to the shewy and tasteful style generally 
 used in the decoration of this most interesting portion of the procession." 2 
 Concerning Lady Godiva, the pamphlet says: "The female representing the 
 fair patroness of Coventry is usually habited in a white cambric dress, closely 
 fitted to the body, and a profusion of long flowing locks ... On some few recent 
 occasions, indeed, changes of a most ridiculous nature have been made, by the 
 addition of a sort of petticoat, thus destroying all the illusion of the personifica 
 tion, and sacrificing consistency at the shrine of mock-delicacy." 3 
 
 After 1835, the civic element gave way to history. " Since the passing of the 
 Municipal Act of 1835, the make-up of the procession has borne comparatively 
 
 1 These last four are evidently either trade pageants, or characters from trade pageants. 
 The pamphlet (p. 22) records that the shepherd and shepherdess rode on horseback before 
 1824, in which year they " were first displayed underneath a large bower; ... a living lamb 
 supplied the place of the former artificial lamb " (held formerly in the lap of the shepherdess) 
 " the dog attending upon the shepherd as usual; an alteration which gave such general satis- 
 action that it was repeated in 1826, and is likely to become the regular practice in future." 
 
 From the description in the pamphlet (pp. 22 f.) Jason and the Bishop, we may presume, 
 were alive. St. George appears because some authorities assert he was born in Coventry, or, 
 at any rate, lived there. " In Percy s Reliques of Antient English Poetry it is recorded of him, 
 that after his wonderful adventures abroad, he returned to England: 
 
 " Where being in short space arrived 
 Unto his native dwelling place, 
 Therein with his dear love he lived 
 And fortune did his nuptials grace. 
 
 They many years of life did see, 
 
 And led their lives at Coven tre. 
 
 Much of Poole s material seems to come from the pamphlet, from which he differs but slightly 
 in his account of this pageant. The latter, on p. 16, quotes from The Birth of St. George 
 " printed by Bishop Percy," and adds the authority of the History of the Seven Champions of 
 Christendom which records St. George s birthplace as Coventry. On p. 17, the above stanza 
 is quoted from " another ballad printed in the same [Percy sl collection." 
 
 The characters mentioned in the text above, were, through inadvertence, attributed to 
 Preston (above, vol. i, p. 35). The reader can make the necessary correction. 
 
 2 Pamphlet, p. 18. Poole (1870) p. 66, says: " The little children denominated followers 
 . . . are supposed to have some affinity to the children introduced into the religious mystery 
 plays in the character of angels. Great pains are still bestowed upon them by their parents 
 and patrons in attiring them richly and tastefully, so as to make them appear as angelic as 
 possible wherever the grand opportunity is presented." It should be remarked that children 
 were commonly seen in the Lord Mayor s Show, and that the miracle-plays were nearly dead 
 in 1678. 
 
 3 Pamphlet, pp. 18-19. Already in 1827 the Victorian era had begun! 
 
SURVIVALS AND REVIVALS 169 
 
 small resemblance to what it has previously been, 1 and it is always appointed to 
 take place on the Fair Monday, instead of on Friday, the first day, as was the 
 ancient practice." 2 
 
 Dissatisfaction with the procession was voiced about the middle of the cen 
 tury. " Although a strenuous effort was made so lately as the year i845, 3 by 
 the whole clergy of the City, and the major part of the municipal authorities, 
 backed up by a remonstrance from the Bishop of the Diocese, against the con 
 tinuance of an usage alleged to be of so questionable a character, and so much 
 at variance with the spirit of the age all this resistance failed to defeat the 
 popular resolution which had been taken to enforce the procession as usual. On 
 this occasion, however, the style of the procession was so good as to afford no 
 reasonable ground for objection to the observance of this ancient usage." 4 
 
 1 A pamphlet entitled Peeping Tom and Lady Godiva; a Brief Account of the Origin and 
 Mode of Conducting the Show Fair at Coventry. (Coventry, 1839) in the Brit. Mus. (12431. 
 aa. 4), gives the order of procession of the 1678 Fair, that of 1829, and says that the proces 
 sion of 1836 differed but little from them. 
 
 2 Poole (1870), p. 67. He continues: " The new corporation never took any part in it, 
 and, consequently, it lost from that time all the brilliancy of the civic costume, the fine ancient 
 regalia, and the stamp of authoritative sanction. The withdrawal of these, of course made 
 the introduction of something else necessary, to fill up the void; and accordingly Godiva 
 was now accompanied by the representatives of various personages whose names are histori 
 cally connected with the city ... so that, upon the whole, a very imposing and gorgeous 
 procession is still provided whenever the undertaking is entered upon, which is much more 
 seldom than in former years . . . first, on account of the expense, which amounts to a large 
 sum, but which, since the withdrawal of the corporation from it [i. e. the show ?] devolves 
 on very uncertain resources: and secondly, on the question of taste or propriety in reference 
 to the representation of the chief personage, the Lady Godiva . . . and there can be no doubt 
 that it [the opposition] has had the effect of causing more circumspection to be exercised than 
 heretofore, in the selection of the person appointed to represent the great heroine, and also 
 in bringing into use a decent costume in lieu of the former imitation of entire nudity. More 
 than once, under the popular management of the pageant, females of professional reputation 
 in the metropolis, have not hesitated to become the public representative of the far-famed 
 countess. . . 
 
 " In the catalogue for the sale of the effects left by the late corporation, which were sold 
 in the month of July, 1836, the following articles connected with the procession, are enu 
 merated: namely Lady Godiva s cap; Lady Godiva s pages cap; Lady Godiva s side 
 saddle, cover and three girths; three city flags; four pair of fasces; two pairs of fasces, gilt 
 head; fourteen fasces used in procession, in lots; two staves; six swords; six saddle-cloths, 
 embroidered with silver; ten ancient vests, worn in procession; two followers dresses; six 
 ancient belts; two city followers caps; four black horse-cloths, used in procession. : 
 
 3 Poole (1852), pp. 13 f. 
 
 4 An engraving, (opposite p. 14 in Poole s 1852 volume,) published by David Lewin, of 
 Coventry, resembles that in the 1827 pamphlet (published by Meridew and Son). Both show 
 the procession passing the City Hotel, and both include Peeping Tom in the house on the 
 opposite corner. W. F. Taunton s drawing, made in 1868 for Poole s 1870 volume (opposite 
 p. 56), is a copy of one of the earlier illustrations. 
 
170 ENGLISH PAGEANTRY 
 
 The 1848 show is described in a contemporary publication; l it took place 
 on 26 June. Lady Godiva was represented by Madame Warton of the Walhalla, 
 London. Edward the Confessor (Mr. Warton) ; Henry VI and Queen Margaret, 
 Sir John Falstaff, William and Adam Bottener, Sir Thomas White, and Sir 
 William Dugdale appeared. 2 " An elegant sylvan car or bower, in which played 
 a fountain," closed the procession: Strephon and Phyllis, with dog and flock, 
 made up the pastoral scene. 3 
 
 " After an interval of eleven years," the show was revived on 23 June, i862. 4 
 The procession was led by two heralds; following them came a detachment of 
 the First Life Guards ; then the City Arms ; 5 then, after the band of the me 
 nagerie, "St. George, the canonised pork butcher of Cappadocia, arrived cap-a-pie 
 with feathers in his helmet . . . following the twelve men with tureens and por 
 ringers. St. George s attendant was dressed in the costume of a Templar." 
 Members of various city guilds came next, the " followers "of the companies 
 being represented by richly-dressed children. After the yeomen, came a fire 
 engine, with members of the volunteer fire brigade ; the Ancient Order of For 
 esters ; Robin Hood and Maid Marian, with Will Scarlet, Friar Tuck, and other 
 merry men, preceded the Black Prince in black armor. After more bands and 
 companies came Lady Godiva on a white oharger; there were in the procession, 
 also, Richard II, Henry IV, Henry VI and Margaret, Henry VIII, and Queen 
 Elizabeth. After Sir John Falstaff and more soldiers, came " last of all, on a 
 lurry (sic) and four, a youth and a maiden, a handsome Florizell and a 
 pretty Perdita, -- dressed as a shepherd and shepherdess, seated in a sylvan 
 bower, and at their feet a sheepdog and a lamb." 7 The procession was over a 
 
 1 See the Era for 2 July 1848, p. 6, col. 3. 
 
 2 Poole (1870), p. 67, tells how these figures are appropriate. Falstaff was identified with 
 Coventry by Shakspere; William and Adam Botoner (sic) were intimately connected with 
 St. Michael s Church; Sir Thomas White was a great benefactor of the city; Dugdale was 
 the eminent county historian of Warwickshire. 
 
 3 Era, loc. cit. This pastoral scene evidently descends from the Wool-Combers. 
 
 The Godiva procession of 1851 is pictured and described in the Illus. Lond. News for 5 
 July, 1851, pp. i and 2. It included St. George and a May Queen. 
 
 4 On this, see the London Times for 30 April, 1862, p. 12, col. 2; for n June, p. 6, coL 6; 
 25 June, p. 12, col. 2; the Era for 29 June, 1862, p. 15, col. 4; the Morning Star for 25 June, 
 1862, p. 6, col. 6. The latter (disagreeing with the Times for 25 June, p. 12, which, citing the 
 Express, notes that on the 23 d the procession was revived " after an interval of eleven years ") 
 says " Eight years have passed since this famous Lady Godiva pageant was exhibited at 
 Coventry." Cf also Fairholt s Civic Garland, pp. xiv f.; Fun, for 28 June, 1862, p. 144. 
 
 5 A real elephant with a pasteboard castle on his back. Cf. above, vol. i, p. 68, n. 2 (on 
 p. 69) and the drawing opposite p. 68. 
 
 6 Morning Star, issue cited. 
 
 7 Morning Star. Fairholt includes Jason and Bishop Blaize; the Times for n June, 
 1862, tells of plans to include Leofric, Earl of Mercia, the husband of Lady Godiva; a car 
 emblematic of the Seasons, William and Adam Bottmer (sic) former mayors of Coventry, 
 
w 
 u 
 
 o 
 
 
 PH 
 
 Q 
 2 
 
 i-3 
 
SURVIVALS AND REVIVALS 171 
 
 mile in length, and was made possible by subscriptions about 200 had been 
 raised by the end of April. 1 The Committee spent nearly 300, and it is 
 interesting to note that the costumes were all made in Coventry. Fourteen 
 city guards, clad in suits of old armor in the possession of the Corporation, were 
 a feature of the show. 
 
 The latest appearance of Lady Godiva was in 1911 ; " it has been decided to 
 follow the precedent of the last Coronation festivities with regard to the costume 
 to be worn by the representative of Lady Godiva in the procession on this occa 
 sion. Lady Godiva will be represented in silk fleshings, with a gauze cape carried 
 under the left arm to the right shoulder, and having a long flowing wig covering 
 the greater part of her figure." 
 
 This procession seems to have its root in the Fair, though the latter may have 
 attracted an earlier Corpus Christi procession; it soon took unto itself trade 
 elements; and these have persisted, in spite of the emphasis on history which 
 has grown since the civic authorities departed from the show in 1829. There 
 is a tendency toward the carnival in the figures from fiction; but the pageant 
 serves to keep the past of the city fresh in the minds of the inhabitants, and 
 resurrects the worthies of civic history in much the same way as did the Lord 
 Mayor s Show of the seventeenth century. 
 
 4. POLITICAL PAGEANTRY 
 
 Every procession with an effigy to which a political signification has been 
 given is, strictly speaking, a political pageant; from the multitude of such 
 shows it will be sufficient to select, as representatives, the " Pope-burnings " of 
 1679-82, and the Orange processions of Belfast. We have already seen 3 that 
 foreign sailors carried the image of Judas Iscariot through the streets of English 
 ports, before they flogged it. A wickerwork representation which replaced the 
 human victim of early sacrifices gave rise, folk-lorists say, to the folk-giant on 
 one hand, and the saint s image on the other; and the change from religion to 
 politics is made as soon as the effigy receives a political signification. 
 
 Brayley 4 notes that the Pope-procession " arose in Queen Elizabeth s reign, 
 
 and Sir William Dugdale, the antiquarian, besides those we have mentioned. The Era for 
 29 June, 1862, adds further notice of Sir Thomas White, a merchant temp, Henry VIII, and 
 Mr. John Hales, a merchant temp. Edward VI. (Poole (1870), p. 67, notes that Hales founded 
 the Free School.) All the royalties and celebrities were connected with Coventry history. 
 
 1 Times for 30 April, 1862, p. 12, col. ?. 
 
 2 The London Times for 10 March, 1911, p. n, col. 3. On 14 February, p. n, col. 5, the 
 Times recorded (in an obscure paragraph) the decision to celebrate the coronation by means 
 of a procession at Coventry. 
 
 3 Above, vol. i, p. 16. Cf. above, p. 156, and n. 5. 
 
 4 Londiniana, iv, p. 74. 
 
172 ENGLISH PAGEANTRY 
 
 and it was occasionally observed on the anniversary of her birth, 1 (viz. November 
 the 17 th ,) till after the commencement of the last century, although not always 
 with a similar degree of pomp and uproariousness . . . The most famous of these 
 processions were those of 1679, 1680 and i68i." 2 Evelyn, in his Diary under 
 date of 5 November, i673, 3 says that the Pope was burned in effigy, after being 
 paraded in triumph in the streets, to show the people s displeasure that the 
 Duke of York altered his religion and married the Catholic Mary d Este, daugh 
 ter of the Duke of Modena. 
 
 A contemporary account of the Pope-burning of 1679 i s reprinted by Brayley ; 4 
 the show consisted of a long procession with the Pope s image on a pageant. 5 A 
 song, sung by " Cardinal Norfolk " and " Plebians " preceded the burning. 
 
 1680 A POPE BURNT AT LONDON AND AT EDINBURGH 
 
 The following year, there was an elaborate Pope-burning at London, of which 
 Settle was in charge. 6 In the procession were nine pageants, with representatives 
 
 1 Meaning her accession; she was born on 6 September see Lord Herbert s Henry VIII, 
 p. 510. D. A. B., s.v. Elizabeth, dates her birth 7 September. 
 
 2 I have found no mention of this kind of thing before 1673; but it is quite likely that the 
 religious feeling of England in the hundred years before that date had received pageantic 
 expression. 
 
 Various descriptive pamphlets dealing with these ceremonies (1679-82) are listed in the 
 Bibliography, s.v. POPE-BURNING; the same sort of thing is fjound in Boston (Massachusetts) 
 in the following century. See p. 176, below. 
 
 In Fairholt s copy of London s Defiance to Rome (preserved in SA) occurs this MS. note, 
 inter alia: " In the Letters to & from the Earl of Derby (Lond. 1710) is an account of the 
 Pope-burning in 1678, when Mr. Mountagu, a French agent, was in London. It was the 
 next Pope-burning day, he made me promise to show him the burning of the Pope. He came 
 with a gentleman, that spoke English pretty well, to the Palsgrave head Tavern at five, 
 where I stayed for him, and carried him within Temple Bar, to a Friend s house of mine; 
 when he saw the Shew, and the great concourse of people which was very great at that time, 
 to his great Amasement ... At my return he seemed frighted, being afraid that some body 
 that had been in the room had known him, for then he might have been in some danger, for 
 had the Mob had the least intimation of him they had torn him to pieces ... he wondered 
 when I told him no manner of mischief was done, not so much as a head broke; but in 3 
 or 4 hours were all quiet as at other times. " (I have not seen a copy of the book cited here; 
 it is not in Gh., BM., SA., or Bodl.) 
 
 3 Cited by Brayley, iv, p. 88. 
 
 4 Op. cit., iv, p. 73; cf. Scott s Dryden (ed. Saintsbury, 18 vols., Edinburgh, 1882-93) vi, 
 pp. 237 f. A pamphlet entitled Londons Defiance to Rome [in SA and Bodl. (though, Midds. 
 32)] recounts this show. F. C. Brown, p. 61, notes Settle s part in preparing this pageantry. 
 
 6 Fairholt, pt. i, p. 92, n. 2, mentions prints illustrating the Pope-burnings of 1679 and 
 1680, and notes that the former is reproduced by Brayley. 
 
 6 On this, see The Solemn Mock Procession, (London, 1680) recorded in the Bibliography, 
 s.v. POPE-BURNING; North s Examen, pp. 571 f. (cited by Brayley, iv, p. 80, and in Saints- 
 bury s Scott s Dryden) describes the shows of 1680, 1681, and 1682 which North witnessed. 
 
SURVIVALS AND REVIVALS 173 
 
 of various Catholic dignitaries on each. The parade was led by the captain of 
 the Pope s guard; then came ten " Pioneers in Red Caps and Coats," who were 
 followed by a " Bellman ringing, and saying in a loud doleful Voice, Remember 
 Justice Godfrey." Then came a "dead Bloody Corps, representing Sir Edm. 
 Ber. Godf." supported by a Jesuit with a bloody dagger. There followed a 
 banner showing Jesuits hanging on a gibbet with Mrs. Cellier, 1 " and all her 
 other Presbyterian Plot-forgers." 
 
 Then came the first pageant, on which were figures of Mrs. Cellier, leaning 
 on a meal-tub, and four Protestants in masquerade; after which rode an " Ab- 
 horrer " facing the tail of his horse. Four Franciscans occupied the second 
 pageant; Augustine and Dominican friars, the third; Jesuits, the fourth. On 
 the fifth were Bishops; on the sixth, Patriarchs, and the Pope s Master of Cere 
 monies selling Indulgences. The Pope himself occupied the seventh pageant, 
 with the Devil at his elbow and the Emperor Frederick sprawling under his 
 feet two banners bore these inscriptions : This is the King of Kings and Thou 
 art our God the Pope. On the eighth pageant rode the Empress Donna Olympia, 
 with nuns; an inscription labelled them Curtezans in Ordinary. The ninth 
 pageant bore a Bishop- Judge, surrounded by Monks, before whom a victim of 
 the Inquisition was tied to a stake; round about were scattered racks and other 
 instruments of torture. 
 
 From a pamphlet in the Fairholt Collection, we get these added details: A 
 " vast Bonfire being prepared just over against the Inner-Temple-Gate, his Holi 
 ness after some Compliments and Reluctancies, was decently Toppled from all 
 his Grandeur into the Impartial Flames; The crafty Devil leaving his Infalli 
 bility-ship in the lurch, and laughing as heartily at his deserv d Ignominious end, 
 as subtile Jesuits do at the mine of Bigotted Lay-Catholicks . . . This Justice was 
 attended with a Prodigious Shout, that might be heard far beyond Somerset- 
 House; and twas believ d the Eccho . . . reached Scotland, France, and even 
 
 Cf. also London s Defiance, p. 4; F. C. Brown, pp. 62 f., (citing Saintsbury s Scott s Dryden, 
 vi, pp. 237 f.). North records that these processions were managed by the King s Head 
 Club, or Green Ribbon Club. 
 
 Illustrations of the 1680 procession may be found in Fairholt s collection in the Society of 
 Antiquaries; in the Brit. Mus. (C. 20. /. 6 [26]) is a copperplate engraving (advertised at the 
 end of The Solemn Mock Procession) accompanied by a description. This is reproduced in 
 F. C. Brown s Elkanah Settle, p. 62. 
 
 A ballad, entitled London s Drollery (in the Roxburghe collection, ii, no. 292) describes 
 the nine pageants on this occasion. 
 
 1 Brayley, Lond., iii, p. 205, gives an account of " the Meal-tub Plot," discovered at the 
 house of Mrs. Cellier, a midwife. " The people were rendered so indignant by the detection 
 of the Meal-tub Plot, that they determined to express their feeling against the Papists in a 
 marked way. Accordingly, on the seventeenth of November, the Anniversary of Queen 
 Elizabeth s Accession, which at that time was a popular holy-day, the annual solemnity of 
 Burning the Pope was performed with additional ceremonies of mock grandeur." 
 
174 ENGLISH PAGEANTRY 
 
 Rome itself . . . The same evening there were large Bonfires generally in the Streets 
 and universal Acclamations, Long live King CHARLES, and let Popery perish, and 
 Papists with their Plots and Counter-plots ever (as hitherto) be confounded, To 
 which, every honest Englishman will readily say Amen" 1 
 
 The enmity against Catholics, which was particularly strong in 1680, seems 
 to have spread to Edinburgh, where the University authorities tried without 
 success to prevent the students from burning a Pope. 2 The undergraduates 
 " took a Conceit in Imitation, as is supposed, of your Famous City of London, 
 to Burn the Pope in Effigie . . ." The " cavalcade " of " his Holiness " (who was 
 " attyred after his Antichristian Manner, with his Miter, Keys, &c. and settled 
 in his Throne ") accompanied him: and the youths put " heresy " (i. e. gun 
 powder) in his belly, so that when the fire reached it, he blew all to bits. 
 
 The students who carried out this pageant were arrested and charged with 
 disloyalty and rebellion. Their defence was published in a pamphlet dated 
 February, 1681, and signed " N. M "; 3 the students did not mean rebellion, 
 treason, or "an affront upon any person whatsoever other than the Pope." 4 
 Encouragement for the burning came from England: " the very same manner 
 of expressing a detestation of Popery by Burning the Pope, has been practised 
 in London, and in other places of England, without any Imputation of Disloyalty 
 or Sedition that ever we heard of." 5 
 
 LONDON BURNS OTHER POPES 
 
 In 1681, London repeated the show on 17 November. In this procession 
 appeared " Sir Edmundbury Godfrey," besprinkled with blood, with a twisted 
 napkin round his neck, and his head hanging on one side; there were effigies of 
 
 1 Londons Defiance, p. 4. At the Lord Mayor s banquet, this year, the first song was called 
 The Protestant s Exhortation, and the second was called The Plotting Papist s Litany; it began, 
 
 " Though our Plot be betray d, 
 
 Let us pursue it, 
 We need not be dismay d, 
 
 We will renew it; " etc. 
 
 No suggestion of unfriendliness to Papists occurred in the Show itself; see Jordan s 
 descriptive pamphlet, which is outlined by Fairholt, pt. i, pp. 92 f . 
 
 2 See " A letter from Edenbrough to a Friend in London, containing the Manner of Burn 
 ing the Pope there in Effigie on C/?m/-Mass Day, &c." which is no. 4 in a collection entitled 
 Tracts Relating to the Popish Plot, 1679-82. [B.M. 8133. h. 5 (i-io)]. 
 
 3 A Modest Apology for the Students of Edenburgh Burning a Pope, December 25, 1680, 
 Humbly Rescuing the Actors from the Imputation of Disloyalty and Rebellion, with which they 
 were charged in a Letter, &*c. . . (London, 1681); this may be found on p. 114 of a volume of 
 tracts in the Brit. Mus. \T. 2. *(28)]. 
 
 4 A Modest Apology, p. 10. 
 
 6 Ibid., p. 8. On p. 12, the explosion of the Pope s effigy is recounted; and the rest of the 
 letter is taken up with the account of the arrest of the students and of their defence. 
 
SURVIVALS AND REVIVALS 175 
 
 friars, Jesuits, Cardinals, and the Pope, all of which with the exception of 
 Godfrey were to be burned at Temple Bar, " according to the old laudable 
 custom." l With the effigies were several painted " pieces " and fireworks. 
 North 2 describes the Pope-burning of 1682, at which the statue of Elizabeth, 
 " in the Nich of Temple-Bar " was " set out like an Heathen Idol." 
 
 As late as 1711, the 17 November was to have been celebrated by a Pope- 
 burning; but the government seized the images, on which the Whigs had " laid 
 out " iooo. 3 The processions lasted on this side of the Atlantic much longer. 
 A ballad entitled Plot upon Plot 4 contains a notice of these political processions : 
 
 " You for your Bonefires Hawkins drest 
 On good Queen Bess s Day, 
 Whereby much Treason was express d, 
 As all true Churchmen say, 
 
 Against the Demi and the Pope, 
 
 The French our new Allie, 
 
 And Perkin too, that Youth of Hope, 
 
 On whom we all rely." 
 
 With the beginning of the eighteenth century, these processions, having no 
 civic ties (as had the Lord Mayor s Shows) passed from existence. Since then 
 whatever political pageantry there has been, in England, has been incorporated 
 with civic shows, or with such " occasional " pageants as we have examined 
 here. 
 
 1 On this, see The Procession, &c., recorded in the Bibliography, s.v. POPE-BURNING. 
 (This is no. 8 in the Tracts Relating to the Popish Plot, and is also in the Bodl. (Gough, Midds. 
 32-) 
 
 2 Examen, pp. 577 f. 
 
 3 Swift, Journal to Stella, letter xxxv (17 November, 1711). See Scott s Swift (19 vols., 
 Edinburgh, 1814), ii, pp. 409, 410. Cf. Political Merriment (1714), pp. 207 f. for a song (" to 
 the Tune of Bonny Dun-dee ") entitled: "Queen Elizabeth s Day: or, the Downfall of the 
 Devil, Pope and Pretender." It is followed (p. 212) by an account of the " Mock Procession 
 of Burning the Pope and the Chevalier de St. George, intended to be performed on the i7th 
 Instant, being the Anniversary of Queen Elizabeth of Pious and Glorious Memory." On 
 p. 214 is an explanation by one " Captain Tom " of the prevention of the " annual Protesta 
 tion procession due to the memory of the glorious Queen Bess " scheduled for 1 7 November, 
 1711. It was intended to include in this a figure of the Cardinal Gualteri, various Friars, 
 Jesuits, and Cardinals; and the Pope, " accompany d by the Chevalier St. George on the 
 Left, and his Counsellor the Devil on his Right." Also various link-men, watchmen, bag 
 pipes, &c., &c. The effigies were to have been burned in front of Elizabeth s statue at Temple 
 Bar. " After the proper Ditties were sung, the Pretender was to have been committed to 
 the Flames, being first absolv d by the Cardinal Gualteri. After that, the said Cardinal was 
 to be absolv d by the Pope, and burnt. And then the Devil was to jump into the Flames 
 with his Holiness in his Arms. . ." 
 
 4 Which is preserved in Political Merriment (1714) p. 82. (See Bibliography, s.v. 
 BRINSDEN [BM. 238. g. 45]). (I may note that the ballad contains an interesting allusion 
 to Dean Swift.) 
 
176 ENGLISH PAGEANTRY 
 
 " POPE-BURNINGS " IN NEW ENGLAND 
 
 Much resembling these " Pope-burnings " of London, were the eighteenth- 
 century processions at Boston, Massachusetts, in which effigies of the Pope 
 and Devil were carried through the streets of the city, and then burned. 1 There 
 is little doubt that these processions were connected with those of England: 
 they seem to have lasted in some parts of New England until recent times, 
 though the origins were forgotten, the customs changed, and the name corrupted 
 almost beyond recognition. 
 
 In 1752, the General Court of Massachusetts enacted " that if any Persons 
 to the Number of three or more, between Sun-setting and Sun-rising, being 
 assembled together in any of the Streets or Lanes of any town within this Prov 
 ince, shall have any kind of Imagery or Pageantry for a Publick Shew, altho 
 none of the Company so assembled shall be arm d or disguis d, or exact, demand 
 or ask any Money or Thing of Value, every Person being of such Company shall 
 forfeit and pay the Sum of forty Shillings or suffer imprisonment not exceeding 
 one Month, or if the offender shall be a Negro Servant, in Lieu of the Imprison 
 ment he may be whip d not exceeding ten Stripes, at the Discretion of the Justice 
 before whom the Trial shall be. 2 
 
 This act was passed because " many and great disorders have of late years 
 been committed by tumultuous companies of men, children and negroes carry 
 ing about with them Pageants and other shews through the streets ... of Boston 
 . . . and besides the horrid profaneness, Impiety and other gross Immoralities 
 usually found in such Companies a Person has lately been killed when orderly 
 walking in the streets . . . and the aforesaid practices have been found by ex 
 perience to encourage and cultivate a mobbish Temper and Spirit in many of 
 the Inhabitants, and an Opposition to all Government and Order." 3 
 
 Before 1752, both the North and South Ends of the town had their effigies; 
 the marchers would meet and fight, the victors burning not only their own 
 "pageants," but also those of the vanquished foe. In 1763, these processions 
 
 1 Publ. Col. Soc. Mass., xii, pp. 288 f. I am indebted to Professor Kittredge for this refer 
 ence. Mr. Cunningham, in his paper on the Diary of the Rev. Samuel Checkley, there printed, 
 further says that " Pope Night " was celebrated at Portsmouth, New Hampshire, as late as 
 1892 ; but that through a loss of the images, and changes in the customs, the origins had been 
 forgotten, and the name corrupted to " Pork Night." 
 
 2 Massachusetts Laws, 26 George II, chap. 6. (Boston, 1755-62, p. 104.) I am indebted 
 to Professor Kittredge for this reference. 
 
 Because bonfires had been sometimes kindled in the streets and lanes of several towns, 
 an act was passed making the building of bonfires in a street or lane, or within ten rods of 
 any house or building, punishable by the same fine of forty shillings, or imprisonment. This 
 act was to run for three years, and in 1758 was continued to i April, 1763, (ibid., p. 348). 
 
 3 Temporary Acts and Laws of his Majesty s Province of the Massachusetts Bay (1736-1774), 
 (Boston, 1763-74), p. 83; cf. ibid., (1736-1762), (Boston, 1755-62). 
 
SURVIVALS AND REVIVALS 177 
 
 were revived; but the accident of 1764, when a boy was killed, united the two 
 processions, and the fights ended. In 1765, a Stamp-man joined the Devil and 
 the Pope ; and just before the Revolution, effigies of unpopular officers such 
 as Governor Hutchinson and General Gage were added. 1 
 
 I am indebted to Mr. Albert Matthews for the following information concern 
 ing early American pageantry. There was a procession of trades in Boston on 
 24 October, 1789, in honor of Washington s third and last visit to this town; 2 
 and the word pageantry was used in describing the Stamp Act riots which took 
 place in Boston on 14 August, 1765. Early that morning were discovered hang 
 ing from a tree 
 
 two Effigies, one of which by the Labels appeared to be designed to represent a Stamp-Officer 
 [Andrew Oliver, Secretary of the Province], the other a Jack-Boot, with a Head and Horns 
 peeping out of the Top, said by some of the Printers, to be the Devil or his Imp; but, as we 
 are not acquainted with that Species of Gentleman, we cannot so well determine whether it 
 was an exact Resemblance or not; . . . The Report of these Images soon spread through the 
 Town, . . . About Dusk the Images were taken down, placed on a Bier, (not covered with a 
 Sheet, except the Sheet of Paper which bore the Inscription,) supported hi Procession by six 
 Men, followed by a great Concourse of People, some of the highest Reputation, and in the 
 greatest Order, ecchoing forth Liberty and Property! No Stamp! &c Having passed 
 through the Town-House, they proceeded with their Pageantry down Kingstreet, ... to the 
 top of Fort-Hill; where a fire was soon kindled, in which one of them was burnt; we can t 
 learn whether they committed the other to the Flames, or if they did, whether it did not sur 
 vive the Conflagration, being its said like the Salamander conversant with that Element. 3 
 
 Another prohibition was made in 1797, when, on 10 March, An Act for keep 
 ing Watches and Wards in towns, and for preventing disorders in streets and public 
 places was passed; the ninth section of the act reads: " Be it further enacted, 
 That if any three or more persons . . . shall assemble together, having any imagery 
 or pageantry as a public shew, . . . shall . . . demand or ask any money, . . . 
 every person . . . shall, for each offence, forfeit and pay eight dollars, or be im 
 prisoned not exceeding one month." 4 
 
 1 See Cunningham, in Publ. Col. Soc. Mass, for March, 1909 the article cited above. 
 
 It is interesting to compare the Devil in these processions with those of the sixteenth- 
 century Lord Mayor s Show (see above, p. i4f.). It is, however, probably not connected with 
 that figure, being rather a copy of the political Devil who accompanied the Pope in the London 
 processions we have just been considering. 
 
 2 Mr. Matthews refers to the description of this in the Massachusetts Centinel of 28 October 
 [1789] xii, 51/3. 
 
 3 Boston News Letter, 22 August, 1765, p. 2/2. It is to be noted how discreetly the re 
 porter conveys the information that the Stamp-Officer s effigy was that burnt. No treason 
 is obvious here. 
 
 4 Laws of the Commonwealth of Massachusetts, passed at several Sessions of the General 
 Court H olden in Boston, iii, (n. d.), pp. 99-101. (The ninth section is on p. 101.) For this 
 reference, I am indebted to Mr. Albert Matthews, who sent the information in a letter to 
 Professor Kittredge. 
 
178 ENGLISH PAGEANTRY 
 
 REMARKS ON EFFIGIES, ILLUMINATIONS, AND PAGEANTIC FIREWORKS 
 
 The burning and flogging of effigies 1 suggest the popular superstition which 
 plays such a large part in Rossetti s ballad of Sister Helen: this may be another 
 development of the folk-custom which apparently lies behind the effigy and saint s 
 image, if these come from the giant, which seems to have been a substitute for 
 the human sacrifice. The bonfires become pageantic, when the figures burnt 
 have a significance, and if the emotion expressed appeals to the witnessing crowd. 
 The silent figures in a Lord Mayor s pageant appear to have foreshadowed the 
 tableau vivant, which, in turn, led to such " illuminations " as that which cele 
 brated Admiral Vernon s victory at Portobello, on 12 November, 1740 the 
 Admiral s birthday. Mr. J. G. Nichols 2 records a " pageant," with bonfires 
 and illuminations, " representing Admiral Vernon and a Spaniard on his knee, 
 offering him a sword; a view of Porto Bello, &c." 3 This seems to have been 
 a painting, or perhaps, a feu d artifice. The celebration of Vernon s birthday 
 seems to have been widespread, 4 and to have consisted chiefly of bonfires and 
 illuminations. 
 
 An example of what might easily have become pageantic feux d artifice, I 
 quote from a family letter, written from Newport, Rhode Island, in July, 1881: 
 
 1 Cf., for further remarks on this subject, vol. i, p. 10, n. 5; p. 16; p. 51, n. 2; p. 56, n. 3 ; 
 p. 229 (the 1606 burning of the Deadly Sins) and p. 241. 
 
 2 Lond. Pag., p. 120, n. 2. 
 
 3 He adds: " It will from this be perceived that the modern successors of Pageants are 
 the transparencies exhibited on nights of Illumination." What he means is, that the feux 
 d artifice (of which we have already made mention see above, vol. i, p. 240 f.) developed 
 from pageantry; the " successors " of the pageant are, of course, the " floats " of our own 
 processions. 
 
 4 See the London Evening Post, from Saturday, i November to Tuesday, 4 November, 
 1740 (no. 2023) which contains an account of the celebration, in the " Extract of a Letter from 
 Bath, Saturday, Nov. i." Effigies of Don Blass were burnt, " which afforded great Diversion 
 to the Populace, among whom were generously bestow d several Hogsheads of strong Beer ..." 
 At London and Lewisham, in Kent, the celebrations took the form of illuminations; bells 
 were rung, bonfires were lighted, and fireworks set off. Warwick also celebrated the occasion 
 (see ibid., from 4 Nov. to 6 Nov. no. 2026) in much the same manner; Essex and Peter 
 borough celebrated later. 
 
 [On the possibility of God Save the King having been first sung by Henry Carey this year 
 (1740) in a tavern on Cornhill, at a dinner given to celebrate Admiral Vernon s victory at 
 Portobello, see W. H. Cummings, in the Musical Times for July, 1878 (vol. xix), p. 379. 
 Mr. Cummings does not consider the evidence that Carey composed this song, reliable. We 
 may refer to a letter, reprinted from the St. James s Chronicle by the London Magazine for 
 November, 1761 (vol. xxx, pp. 597-601) in which the writer describes the banquet following 
 the Lord Mayor s Show of that year, at which " the latter part of Mr. Handell s coronation 
 anthem, God Save the King, &c." was played while the mayor drank the king s health. On 
 p. 608 of the same issue, the speech of the Christ s Hospital boy to the king is printed; at the 
 end of the speech, " the boys in a grand chorus chanted, God save the King. Amen."] 
 
SURVIVALS AND REVIVALS 179 
 
 " The latest novelty is day fireworks . . . At the Casino, four mortars were 
 placed in the ground, in an upright position. They threw bombs seven hundred 
 feet into the air, where they exploded, showering paper balloons of various colors; 
 gorgeous, air-filled men and women, butterflies and fish, some of which floated 
 far away, while others came near enough for the boys to catch. At the same time, 
 other bombs would explode into beautiful cloud-like figures, more resembling 
 airy devil-fish against the clear blue of the sky, than anything else I can think 
 of." Had these figures been given a significance, we might consider them related 
 to such inanimate pageantry as the images which " did rise by a vice " in I522, 1 
 or the painted Worthies of 1554? And these are not unlike the images of the 
 Deadly Sins, burned (as part of the entertainment) in i6o6, 3 or the various 
 tableaux suggested in the Advis Necessaires pour la Conduite des Feux d Artifice 
 of i66o. 4 From these to effigies which were burned as a spectacle for the enter 
 tainment of a crowd out of sympathy with the ideas held by the person repre 
 sented, is but a step. 
 
 GUY FAWKES DAY AFTER THE WAR EFFIGIES NAMED 
 
 That dying customs have not been killed completely by the war, is shown by 
 the following paragraph concerning Guy Fawkes Day: 5 
 
 During the war, Guy Fawkes Day was a suspended festival. Regulations bound up with 
 national defence made a discharge of a squib or the soaring of a rocket a serious offense. 
 Tradition this year was restored to its proper place, and young people, paying little heed to 
 the chill, damp air, built their bonfires, exploded their crackers, and burned their effigies with 
 old-time enthusiasm. Fireworks were dearer than in 1914, but purchases had been heavy, 
 and the smell of gunpowder was pungent in many suburbs of London in the later hours of 
 the day. 
 
 The choice of a subject for last week s effigy was curious. A year ago, the Kaiser would 
 have been the children s selection for their Guy Fawkes Day figure, but the Kaiser seems to 
 have been forgotten. Youngsters exhorted pedestrians in the streets " to remember the guy," 
 but, where their processions escorted a scarecrow dummy, in three cases out of four the effigy 
 in the chair was labelled " Pussyfoot." 6 
 
 It was a matter for comment and for reflection on the high price of clothes that some of 
 the effigies chaired through the streets were not life-like in size, and that in more than one 
 instance " Pussyfoot " was a doll, camouflaged for the occasion, and probably guaranteed 
 against a fiery destruction later in the day. 
 
 Effigies have long been burned on this anniversary, but they have a political 
 significance rather than a folk origin. There is, however, a possible connection 
 between such a mode of showing one s displeasure and the old belief expressed in 
 Rossetti s Sister Helen, though the connection has doubtless long been forgotten. 
 
 1 See above, vol. i, p. 177. 3 See above, vol. i, p. 229. 
 
 2 See above, vol. i, p. 191. * See above, vol. i, p. 240 f. 
 
 5 London Times weekly edition, 14 November, 1919, p. 1065, col. 3. 
 
 6 The nickname of an American agent of the Anti-Saloon League, at the time in England. 
 
l8o ENGLISH PAGEANTRY 
 
 THE ORANGE PROCESSIONS OF IRELAND 
 
 As an example of modern political pageantry, we may glance at the Orange 
 Processions of Ireland. The Orange Order was founded in 1795, after the Battle 
 of the Diamond, 1 and the following year saw the first Twelfth of July Procession. 
 " The Anti-Procession Act," continues Mr. Mac Arthur, " long ago imprisoned 
 men for taking part in these July Processions, but of course this law has long 
 since been repealed." 
 
 The anniversary of the Battle of the Boyne was celebrated by means of pro 
 cessions at various places during the nineteenth century; and these occasions 
 served to keep alive the memory of past glories, as well as to strengthen Protes 
 tantism and political solidarity in the northern counties of Ireland. 2 In July, 
 1914 less than a month before the beginning of the Great War, when it 
 appeared as if England were facing a civil strife, which the European conflict 
 averted monster processions were held in various Orange districts. I shall 
 here confine myself to that which, headed by the Unionist leader Sir Edward 
 Carson, marched from Belfast to Drumbeg, where an enthusiastic meeting was 
 held. 3 
 
 The city of Belfast was decorated with flags and triumphal arches, with pic 
 tures of King William crossing the Boyne, Sir Edward Carson, and other his- 
 
 1 My authority is a letter of Mr. William MacArthur, of Dublin, from whom I have re 
 ceived much information. He refers to The Select Parliamentary Report on Irish Orangeism 
 (1835) which I have not been able to see. Mr. James Davidson, writing from the Grand 
 Secretary s office of the Grand Lodge of Ireland, refers to the investigation at Castlewellan 
 in 1849 in connection with an Orange Procession, attacked at Dolly s Brae which is 
 treated by Richard Niven, in Orangeism as it was and is. He adds a reference to the report 
 of the special committee of the Grand Orange Lodge, appointed to inquire into the matter, 
 as well as to Sir W. Verner, A Short History of the Battle of the Diamond (London, 1863) neither 
 of which have I had an opportunity to examine. 
 
 2 Cf. Niven, Orangeism, p. 19: " Although it may be admitted on the part of any candid 
 enquirer that the Orange Institution was justifiable and necessary, yet many, both those who 
 are friendly to the Institution and those who are otherwise, think that the annual procession 
 which takes place each isth of July is in itself a cause for provoking angry collisions and keep 
 ing up an animosity that were better allayed. It may be so, still I think that the Orangemen 
 are not to be blamed in the matter. They only perpetuate a memorable epoch in the history 
 of our country which gave to all the inhabitants of the British Islands civil and religious 
 liberty. Besides, before 1795 far more angry collisions occurred between the two parties. . ." 
 
 3 Full details of various Orange processions of July, 1914, may be found in the Belfast 
 Weekly News for Thursday, 16 July, 1914, which is my authority for the following remarks. 
 Cf. also the London Daily Sketch of 14 July, 1914, for illustrations of the celebration which 
 the 1 2th being Sunday this year took place on the 13 th . " Today s procession was the 
 first in which Unionists took as great a part as Orangemen," records this journal (p. 5). And 
 again: " In other years the Twelfth has been a festival. To-day it is a ceremony which 
 combined a celebration of the past with a declaration of duty for the future." (Ibid., loc. cit.) 
 
SURVIVALS AND REVIVALS 181 
 
 torical figures, living and dead. Such inscriptions as, " We prefer death rather 
 than submit to Pope and Popery," " Ulstermen refuse to be sold by Asquith 
 & Co. to the rebels of College Green," and " No Surrender and No Home Rule," 
 were in prominent positions. 
 
 The only pageantic feature of the procession and that was the most ele 
 mentary of pageantry were the banners which pictured historical scenes con 
 nected with the past of Protestantism. 
 
 The banners furnished a fine splash of colour, and in the brilliant, and broiling, sunshine 
 which prevailed they were seen to excellent advantage. The designs symbolise the ideals and 
 achievements of Protestantism. The picture of Queen Victoria presenting a copy of the Bible 
 to one of her Indian subjects and telling him that it is the secret of England s greatness is one 
 of the most popular subjects. Other designs relate to various phases in the life of Martin 
 Luther, the burning of Latimer and Ridley, with the injunction of the former to his fellow- 
 martyr " Be of good comfort, Master Ridley, and play the man "; the landing of William 
 at Torbay and Carrickfergus; the breaking of the boom by the Mountjoy; and the signing 
 of the Ulster Covenant in the Belfast City Hall two years ago. The memory of many men 
 now, alas! no more who served their day and generation faithfully is honoured in the 
 Orange Institution, as the portraits on many of the banners show. Amongst those commemo 
 rated in this way are the late Marquis of Salisbury, Lord Beaconsfield, Colonel Saunderson, 
 M.P.; Sir Daniel Dixon, Bart., M.P.; Sir Edward J. Harland, Bart., M.P.; Sir James Haslett, 
 M.P.; Sir James Henderson, D.L.; Mr. R. J. M Mordie, M.P.; Mr. William Johnston, M.P.; 
 Rev. Dr. Kane, Rev. Dr. Cooke, Rev. S. M Comb, and Mr. W. S. Baird, J.P. On the top of 
 one flagpole a very neat model of the Mountjoy was placed. The Union Jack was prominent, 
 and no patriotic emblem could have been more appropriate at this juncture. Nearly every 
 body one met with on Monday wore an Orange lily as a buttonhole, and the banner poles and 
 drums which were carried in the procession were decorated with bunches of that much- 
 esteemed flower. 
 
 During the three or four weeks preceding " The Twelfth " it is customary for many 
 lodges to purchase new banners, and this year the number unfurled was, if anything, above 
 the average. Amongst the new banners borne on Monday s procession were the following: . . 
 life-size portrait of William III, in armour, with inscription " In glorious and immortal 
 memory," in background scene representing the Battle of the Boyne, and medallions in four 
 corners with portraits of Dr. Cooke, Dr. Kane, Mr. Wm. Johnston, and Colonel Saunderson; 
 reverse side, life-size portrait of Oliver Cromwell in armour, with inscription " Trust in God 
 and keep your powder dry," scene in background representing ships of the British fleet, with 
 portraits as on obverse side. . . Portrait of the late Br. John Forsythe, and a representation 
 of Castlereagh Presbyterian Church. . . Landing of William III. at Torbay. and " The secret 
 of England s greatness."; . . . representation of the Battle of the Boyne in gold, five-pointed 
 star. . . King William III. and the Relief of Derry; . . . William III. on horse, and the sign 
 ing of the Ulster Covenant at the City Hall; . . . King William III. on horse, and representa 
 tion of Britannia, with warship in the background; . . . Ruth and Naomi, representing Ulster s 
 appeal to England, with motto, " In treat me not to leave thee," reverse side shield set with 
 diamonds, and representation of King William III; . . . William III. crossing the Boyne, sur 
 rounded with orange lilies, with mottoes " Civil and Religious Liberty," " Aughrim, Derry, 
 Boyne; " above portraits of the late Prince Albert and Queen Victoria, a portrait of the late 
 Mr. R. J. M Mordie, M.P., Lord Mayor of Belfast, surmounted with crossed Union Jacks 
 and rose, thistle, and shamrock; portraits above of Mr. Geo. S. Clark and Sir Edward Carson. 
 
1 82 ENGLISH PAGEANTRY 
 
 . . . Life-size portrait of late Field-Marshal Sir George White, V.C., with inscription, " Thank 
 God, we have kept the old flag flying." . . . 
 
 The size of the procession may be judged from the fact that, although a fairly good pace 
 was kept on the march, the brethren occupied over two hours in passing a given point. 1 
 
 Here we have the " ghost " of pageantry; mere shadows of such historical 
 events as were often reproduced by figures on moving cars. The " body " of 
 pageantry is absent; the " spirit " is only suggested yet the past is recalled 
 and used as a spur to encourage the present. It is useless to multiply examples 
 of this kind of procession ; we mention the type merely because it is of interest 
 to see what lies on the outskirts of this form of art itself (until the Parkerian 
 pageant) on the outskirts of the drama. 
 
 5. PAGEANTIC TOURNAMENTS OF MODERN DAYS 
 
 This chapter would not be complete without some mention of the chivalric 
 revivals of the nineteenth century; and, as tournament has played its part not 
 only in the development of the masque, but also though more indirectly 
 of the early pageant, it is only just to note the influence of the pageant on the 
 later revivals of the tournament. One of the most famous, as well as the earliest, 
 of these revivals was that at Eglinton, or Eglintown, Castle, Ayrshire, in i83Q. 2 
 Rehearsals of the participants took place every Tuesday and Saturday at the 
 Eyre Arms Tavern in St. John s Wood, for some time preceding the great day; 3 
 but it cannot be said that these pageanters were regarded with respect. " We 
 
 1 Belfast Weekly News for 16 July, 1914, p. 5. 
 
 2 See for mention of this in fiction, Endymion, by the author of Lothair (3 vols. London, 
 1880), ii, chapters xxiii and xxiv (pp. 219-250). Montfort Castle is the name which Disraeli 
 gives to Eglinton. Reference to the tournament is also made by George W. E. Russell, in 
 Collections and Recollections, chapter xxxii, Letter-Writing. Cf. also various items in the 
 London Times, as cited. 
 
 Regarding this affair, Mr. Russell says that Beaconsfield " conceding something to the 
 requirements of art, ignores the fact that the splendid pageant was spoilt by rain. Two 
 years preparation and enormous expense were thrown away. A grand cavalcade, in which 
 Prince Louis Napoleon rode as one of the knights, [while Louis took part in the sword play, 
 he did not (unless under an assumed name) " ride as one of the knights," whose names are 
 given in the Times for 31 August, 1839, p. 3, col. 4,] left Eglinton Castle on the 28 th of August 
 at two in the afternoon, with heralds, banners, pursuivants, the knight-marshal, the jester, 
 the King of the Tournament, the Queen of Beauty, and a glowing assemblage of knights and 
 ladies, seneschals, chamberlains, esquires, pages, and men-at-arms, and took their way in 
 procession to the lists, which were overlooked by galleries in which nearly two thousand 
 spectators were accomodated; but all the while the rain came down in bucketfuls, never 
 ceased while the tourney proceeded, and brought the proceedings to a premature and igno 
 minious close . . . The Queen of Beauty, elected to that high honour by unanimous acclama 
 tion, was Jane Sheridan, Lady Seymour . . ." (Op. cit. y pp. 316 f.) 
 
 3 See the London Times for 9 July, 1839, p. 5, col. 4; ibid., for 10 July, p. 5, col. 5., &c. 
 
SURVIVALS AND REVIVALS 183 
 
 believe," says the reporter of the Times, 1 " next Saturday will ... be the last 
 day of the exhibition of the mimic knights and esquires . . . though if these 
 doughty men at arms are not a little more au fait when the tournament is 
 to take place, they will be miserably defective in their imitation of the knights 
 of olden times/ All of the combatants " appeared in full suits of armour, 
 very grand/ and almost as fierce as the men in armour who ride in the Lord 
 Mayor s Show . . . There were no serious accidents yesterday, and the whole 
 business went off as such things usually do, somewhat dull and altogether silly. 
 There were (sic) a group of attendants dressed like the buffoons at St. Bar 
 tholomew-fair, who were no doubt intended to represent the retainers of the 
 jousting knights." The exercise consisted in running at a " dummy " knight 
 " a sort of iron scarecrow " mounted on a wooden horse, and placed on small 
 truck wheels on an inclined plane. " Dummy, however, proved in the long 
 run the best man of the lot, and sat with imperturbable patience whilst all the 
 chivalry of the Eyre-arms attacked him in turn. There were many ladies present 
 whose bright eyes encouraged the knights to the contest." 
 
 A contributor to the Times 3 calls the attention of Lord Eglintown and " the 
 noblemen and gentlemen who have engaged with him " to hold the tourna 
 ment, that a tilt or tournament is an unlawful act, and if a participant be killed, 
 " such killing is felony of manslaughter." 
 
 " Now," wrote the correspondent, " I beg leave to remind the noble lords and gentlemen 
 who seek to revive this antiquated and barbarous usage, that supposing death to ensue from 
 their sport, and that they should be convicted of manslaughter, they would be liable to be 
 transported for life, or for not less than seven years, or to be imprisoned with or without hard 
 labour in the gaol or house of correction, not exceeding four years, or to be fined, by stat. 9 
 George IV, c. 31, 89. . . 
 
 " I am strongly inclined to think, that it is clear law that the Queen of Beauty, and all 
 the noble dames and demoiselles, who, as spectators, may be aiding and abetting at this 
 illegal passage of arms, will be guilty of a misdemeanour, and liable, in consequence, to the 
 punishment of fine or imprisonment, one or both." 
 
 Another communication 4 recalls that " on the ceiling of the corridors in the 
 Townhall at Nuremberg is a representation of a tournament, in which all the 
 tilters are habited as Court fools. Allow me to suggest this to the heroes of St. 
 John s Wood, as pointing out an appropriate costume for the approaching tour 
 nament at Eglintoun Castle." 
 
 As the time drew nearer, the encouragement became no greater. " The 
 Duke and Duchess of Cambridge . . . have finally declined the Earl of Eglin- 
 town s invitation to be present at the tournament, the eclat of which has com 
 pletely evaporated; indeed, entre nous, it is expected to be a very grand failure. 
 
 1 10 July, 1839, p. 5, col. 5. 2 Ibid., loc. cit. 
 
 3 Whose letter in that paper, n July, 1839, p. 5, col. 2, is signed " no tilter." 
 
 4 Signed " Robin Hood " in the Times for 8 August, 1839, p. 5, col. 3. 
 
1 84 ENGLISH PAGEANTRY 
 
 Lord Hillsborough and one or two champions, from whose prowess much sport 
 was expected, will not be present; indeed, the authorities have given so many 
 grave cautions respecting a breach of the peace, that the knights will not be 
 allowed to bethwack one another in good earnest, even if they had the incli 
 nation; so far as tilting goes, it will be what the ladies whispered the rehearsal 
 was viz. child s play. As a tournament the whole affair will be a mere farce, 
 but as a pageant l it will, doubtless, be very splendid, if it happens to be fine 
 weather: but if it should rain, an enterprising speculator might realize some 
 thing handsome by forwarding a good supply of umbrellas ... for the use of the 
 Knights and Squires." 2 
 
 A " Glasgow paper," quoted by the Times, 3 says: " while it is requested that 
 ladies and gentlemen will dress in costumes of the i4th and i$th centuries, 4 and 
 that farmers and others will appear in Scotch bonnets and plaids, it is announced 
 at the same time that no one will be refused admittance by the regular approaches. 
 The lists is an enclosure 600 yards by 250 yards, with a barrier in the centre, 
 where the combatants meet, 300 yards in length. There is a grand pavilion for 
 the Queen of Beauty, and the distinguished Company connected with the amuse 
 ments; while on each side seats are erected to hold 1,000, intended for the public, 
 who will obtain admission to them by gratis tickets. The Queen of the Tourna 
 ment, with her maids of honour and body guards, composed of ladies . . . equipped 
 as archers, and the Irvine Toxophilite Society, are first in the procession; then 
 follow Lord Eglintoun and the other knights, with their esquires and retainers. 
 To give variety to the sports, 12 of the Irvine archers are to compete at butt- 
 shooting within the lists . . . The arrangements are on the most costly and mag 
 nificent scale . . ." 5 
 
 A long letter from Eglinton Castle, dated 27-28 August, appeared in the 
 Times of the 3ist; 6 it gave an account of the preparations for the event, and 
 described the procession which left the Castle in mid-afternoon, and marched 
 to the lists in the rain. A second letter, under date of 30-31 August, 7 relates 
 
 1 I. e., " spectacle." 2 The London Times for 13 August, 1839, p. 5, col. 4. 
 
 3 For 23 August, 1839, p. 5, col. 2. 
 
 4 This suggests the " revel." 
 
 5 The Times for 29 August, 1839 (p. 3, col. 4) cites the Glasgow Chronicle and Constitu 
 tional, which papers correct some of the details given above. The space inside the lists is 
 650 feet long and 250 feet wide; the barrier is 300 feet long and 4 feet 6 inches high. The 
 " Queen of Love and Beauty ... it is still said, is to be the Lady Seymour." The two smaller 
 stands are to hold 600 each, and on account of the immense number of applications 
 the Earl ordered another built to hold 1,000. Sixty or eighty thousand people could find 
 places on the lawn, and, " if the weather prove fine," the Constitutional would not be surprised 
 to see that number present. " Never, since the visit of George IV to Scotland in 1822, has 
 anything taken place wherein the people of Scotland have displayed so great an interest as 
 the present." 
 
 6 See p. 3, col. 3. 7 See the Times for 3 September, 1839, p. 5, col. 6. 
 
SURVIVALS AND REVIVALS 185 
 
 how on the 29th, the weather forced a postponement of the tournament, and in 
 door swordplay to which the public was not admitted was indulged in. 
 Prince Louis Napoleon " exhibited considerable skill in the use of his weapon " 
 on this occasion. On the 3oth, promise of fine weather drew great crowds to 
 Eglinton; by one o clock in the afternoon over 10,000 were assembled, and 
 more continued to crowd in. About two o clock the procession started from 
 the Castle; " it was certainly a gorgeous and most splendid pageant." There 
 was but one slight accident in the jousting; and after the tournament there was 
 riding at the ring and the quintain ; the melee closed the labors of the day, which 
 were followed by a ball. At dinner, " Lord Eglintoun made a short speech . . . 
 in which he expressed his hopes that tournaments would become fashionable 
 amongst the nobility and gentry of the country ; he had shown that they could 
 be revived, and that tilting could be practised without danger. His lordship s 
 address was received with great satisfaction by his numerous guests." 1 It is 
 not apparent, however, that any of them adopted his suggestion, for these festi 
 vals did not become a common pastime of the English gentry. 
 
 At Ripon, in 1886, there was tilting at the ring and at the quintain, after the 
 play of Robin Hood and the Curtal Friar; and following this, was a mock tourna 
 ment between armed knights on " armoured hobbies " which caused " much 
 merriment." 2 This may be like the fight at Scarva an adaptation of an 
 old folk-custom. 
 
 THE "ELIZABETHAN TRIUMPH" OF 1912 
 
 Tournaments occasionally appear in the modern historical pageant as we 
 shall see and it may be under the influence of these that the " Elizabethan 
 Triumph " of 1912 took shape. 3 
 
 " The organizers . . . made every effort to reproduce the full splendours of the mediaeval 
 tournament, as practiced in the early years of Queen Elizabeth. Ancient chronicles and other 
 archives were carefully studied in order to preserve historical accuracy in every detail. The 
 arrangements were based on the ordinances for the royal jousts drawn up for Edward IV by 
 John Tiptoft, Earl of Worcester, and ordered by Elizabeth to be observed at tournaments 
 held in her reign. The pageant began with the commynge into the Felde of various gor 
 geous processions the Parade of the Knight Martiall, the Parade of the Queen of Beauty, 
 the Parade of the Princess Errant, the Parade of the Knights, and the Ballet des Chevaux, 
 Mr. F. R. Benson, as Herald of the Tournament and general producer, aimed at represent 
 ing a tournament as it was about 1580, when jousting had become a picturesque pastime . . ." 
 The Ballet des Chevaux was foUowed by the actual jousts, announced by the Herald in the 
 
 1 It was planned to continue the tournament on the Saturday (31 August), but the rain 
 descended in torrents, and the wind blew a gale, so that the idea was given up. 
 
 2 See above, p. 161. " Mock fights " are, apparently, not yet dead: cf. the " sham fight 
 at Scarva," below, p. 186 f. and the American tournaments noted on p. 286. 
 
 3 This is pictured in the Illus. Land. News for 13 July, 1912, pp. 48 and 49. The Vis 
 countess Curzon was chosen Queen of Beauty. (Ibid., p. 58.) 
 
1 86 ENGLISH PAGEANTRY 
 
 time-honored form: " Oyez! oyez! oyez! Be it known, Lords, Knights, and Esquires, 
 Ladyes and Gentlewomen: You are hereby acquainted that a superb achievement of arms 
 and a grand and noble tournament will now be held . . . We proclaim that six knights of 
 blood and of name have great desire to serve their ladyes, and say that they will juste at the 
 tilt against all comers ..." 
 
 This is a detached episode, or " interlude," of a modern pageant such as 
 that at Oxford; l or, more exactly, perhaps, a revival like that of Eglinton, done 
 with the historical accuracy which modern pageant-masters, following the lead of 
 Mr. Parker, have come to insist on. This accuracy was shown chiefly in matters 
 of costume for even the Elizabethan " barrier " had an element of danger 
 which no one, of course, would care to duplicate. 
 
 THE " MOCK FIGHT " AT SCARVA 
 
 The " historic sham fight " at Scarva, of 13 July, 1914, may be the descendant 
 of some folk-custom, to which a political significance has been given. I quote a 
 contemporary account : 2 
 
 Thousands of Loyalists from every corner of Ulster assembled at Scarva to participate 
 in the celebrations connected with the historic sham fight. The i2th and i5th of July are 
 recognised as the great Orange holidays of the year, but there is a seriousness about the cele 
 brations of the " Twelfth " which is lacking on the day following. " Scarva Day " is a day 
 set apart for enjoyment and recreation, and the little village on the borders of Counties Down 
 and Armagh, with its memories and associations dear to the hearts of Orangemen, is the venue 
 each year of a great gathering of holiday makers. Yesterday s celebrations were in accord 
 with those of previous years, and were carried out with the utmost enthusiasm. From early 
 morning special trains brought visitors from far and near, and towards noon a dense mass of 
 people packed the village and the roadway leading from the station to Scarvagh demesne, in 
 which the event of the day takes place. The procession of members of the Royal Black Pre- 
 ceptories was one of the largest on record, and a noticeable feature of it was the number of 
 artistic banners displayed. Many fine bands were in evidence . . . 
 
 Each year the extensive and beautiful grounds surrounding Scarvagh House, the residence 
 of Mr. Henry Thomson, D.L., are thrown open, and in them the sham fight is enacted . . 
 He has . . . with his usual forethought and consideration, made arrangements that, no matter 
 who may in the future occupy Scarvagh House, the privilege of holding the sham fight each 
 year will be retained by the Orangemen . . . 
 
 In the afternoon the rival armies, clad in orange and green uniforms, and armed with 
 muskets and blank ammunition, were marshalled in front of the house, and the " fight " com 
 menced on the terrace, in the presence of a vast multitude. After a short encounter here for 
 the benefit of the house party, an adjournment was made to a large field adjoining, where the 
 battle proper was begun. For the next half-hour or so nothing could be heard but the roll 
 of musketry, whilst from the outskirts of the dense crowd one could catch an odd glimpse of 
 the waving plumes in the helmets of the leaders representing King William and King James, 
 as they engaged each other in a sabre combat. The issue of the contest was in doubt for some 
 time, first one side seeming to prevail, and then the other, but eventually William emerged 
 victorious, his enemies captive, and the green flag hanging in ribbons from its standard. 
 
 1 See below, p. 222 f. 2 Belfast Weekly News for 16 July, 1914, p. 12, col. 8. 
 
SURVIVALS AND REVIVALS 187 
 
 LE TOURNOI DE COMPIEGNE 
 
 In England these tournaments are usually isolated; an example of a recur 
 ring tournament (like that, apparently, at Scarva) in France is seen in connection 
 with the festival at Compiegne in honor of Jeanne d Arc. 1 This has pageantic 
 features; it includes knights and ladies in mediaeval costume, a tournament, 
 running at the quintain, and a procession. " La noblesse ici n est pas simulee, 
 car tous ces convives sont les descendants des vielles maisons dont ils portent 
 les armoiries." 2 
 
 It is obvious that such shows must tend to limit themselves like the earlier 
 tournament and the masque to the court circle. Common folk have neither 
 the skill nor the leisure to indulge in such sports, though the many thousand 
 spectators of the Eglinton tournament indicate the interest of the people in these 
 exhibitions. The history which is preserved in the festival at Compiegne tends 
 to lift it toward true pageantry; the lack of any central figure or historical back 
 ground tends to depress such tournaments as the 1912 " Elizabethan Triumph " 
 to carefully planned " revels." 
 
 " THE ROYAL NAVAL AND MILITARY TOURNAMENT " 
 
 Somewhat apart from these purely artistic tourneys stands the " Royal Naval 
 and Military Tournament " which has taken place at London, practically with 
 out interruption, since its inception in 1879, when it was organized for the benefit 
 of the military charities. Every year, for several weeks in May and June, the 
 show is held two "performances" are given daily and various drills, 
 military sports, and other contests, for which prizes are offered, are decided. 
 The performers are, of course, limited to one class the military but the 
 annual performances have a wide popular appeal. During recent years, the 
 pageantic element has become more marked. 
 
 In 1887, the taking of a fortress was graphically presented; in 1888, a camp 
 was surprised and attacked and usually a picture of a soldier s duties in time 
 of war, as well as of his tasks in time of peace, was part of these army exhibitions. 
 In 1891, displays of fencing were given by maitres d armes of the French army; 
 and Royal Engineers constructed a pontoon bridge " across a river of real water, 
 in addition to the usual spar bridge." A Victorian team was this year sent from 
 Australia to take part in the " tournament." In 1892, " representative instruc 
 tors of the Italian army " fenced with foil and sabre; Indians and Victorians 
 
 1 On this see the Illus. Land. News for 29 May, 1909, p. 772, where photographs of the 
 knights tilting at a barrier, Joan entering the town and riding through the streets, are pub 
 lished. Cf. also the Paris Illustration for 3 June, 1911, pp. 464 and 465, for pictures and 
 a description of the show. " Nous sommes en plein quinzieme siecle . . . Le programme va 
 s executer suivant toutes les formes en usage au moyen age . . ." 
 
 2 L Illustration, loc. tit. 
 
1 88 ENGLISH PAGEANTRY 
 
 took part in 1893, and a detachment of Danish army gymnasts was expected, 
 but they did not appear. The usual imitation of a battle was given the scene 
 of the fight being the Fort of Gilgit, taken some eighteen months before by a 
 British colonel; the " hill-men " were British soldiers, dressed up to represent 
 the enemy. 
 
 In 1897 the Jubilee anniversary were further Colonial representatives, 
 " significant of the Imperial character of the year." The Dyaks and their 
 savage dance formed a sharp contrast to the musical drill of the Third Dragoon 
 Guards. 
 
 1897 AN ARMY " PAGEANT " 
 
 ]t is worthy of remark that the central feature of this year s spectacle was 
 " The Pageant: Our Army, 1704-1882." This is outlined in the Times: " . . .Dif 
 ficult as it is to devise a new pageant for every year, the organizers of 1897 may 
 be congratulated on producing one . . . never excelled. First the assembly looked 
 upon types of the British Army as it appeared under Marlborough s command 
 at Blenheim, special attention having been given to selecting the regiments 
 which really were engaged . . . From the glorious era of Blenheim we passed to 
 that of Waterloo . . . Next came representatives of the regiments which fought 
 at Inkerman . . . And last came the men who fought and won at Tel-el-Kebir . . . 
 On the whole, this was, and will be, recognized as a pageant of the first order; 
 and the charge of the cavalry of four eras which ends it is stirring and effective." l 
 
 
 
 1910 " BRITANNIA S MUSTER " 
 
 This " pageant " furnishes an interesting parallel to the Army Pageant of 
 1910 which is not, of course, a modern " folk-play." It is interesting to observe 
 that in the latter year, the Tournament again became pageantic. " The Royal 
 Naval and Military Tournament opened at Olympia on Monday last ... To 
 quote the official description : Britannia s Muster is no mere pageant.* It is 
 the militant spirit of our Empire translated into flesh and blood . . . India, 
 Canada, Australia and South Africa grouped around Britannia, with the Navy 
 and Army of all our lands formed into a square about them, speak of the alle 
 giance of the Commonwealths and Dominions and Empires of our race to the 
 Mother Country. In the photograph may be seen the cars emblematical of 
 India, Canada, Britannia, South Africa and Australia." 3 Where the 1897 P a S" 
 
 1 The London Times for 27 May, 1897, p. 6, col. 6. The early tournaments were, for the 
 most part, held at the Agricultural-hall in Islington; of late years they have been held at 
 Olympia. My information for the above paragraphs has been gathered from contemporary 
 issues of the Times; the reader who is anxious to pursue the subject in more detail is referred 
 to Palmer s Index to the TIMES, under Military and Royal Military. 
 
 2 That is, spectacle. 
 
 3 Illus. Lond. News for 25 June, 1910, p. 1007. 
 
SURVIVALS AND REVIVALS 189 
 
 eant was historic, this was allegorical; and the cars added another pageantic 
 element. After various drill " events " came the piece de resistance the Muster. 
 
 ... Of the various displays that I have seen in the arena of the Naval and Military Tour 
 nament this is the most dignified and suggestive . . . Britannia, in the person of a young and 
 pretty woman, mounted on a car, and supported by a lion, is drawn into the arena by a team 
 the postillions of which are dressed in the costume of John Bull. Halted in the centre of 
 the open, Britannia s heralds summon with the trumpet the various units that hold inviolate 
 her Empire. First come the representatives of the Home Military Forces. A car with an 
 ostrich and a Kaffir heads the columns of Colonial Troops and Volunteers with whose names 
 the South African War made us familiar. Then Australia answers call to the arms. Australia 
 has a car with a gold-miner supported by a kangaroo at the head of its contingent. New 
 Zealand follows Australia behind its own flag. The demand upon Canada produces a car in 
 Arctic dressing. It is followed by a magnificent show of uniforms. The last demand that 
 Britannia makes is upon the Indian Army. India is represented by a Maharajah reclining 
 in State beneath a gorgeous canopy. He is followed by 18 detachments in the brilliant uni 
 forms of the Indian Army. 
 
 This great muster is then marshalled in the arena round these triumphal cars. Then it is 
 that the great thought that underlies Colonel Nugent s conception breaks upon the spectator. 
 This huge arena is packed full . . . with the troops of our great Empire. Yet there are only 
 five men from each unit. The immensity of our resources flashes upon one . . - 1 
 
 In 1911, among the usual famous visitors to the Tournament, were King 
 George V and Kaiser Wilhelm II of Germany. One of the features of this year s 
 spectacle was " A Frontier Incident " - which showed tribesmen of North- 
 West India stealing rifles, and the punitive expedition " whose main feature is 
 the attack on and assault of a fort." This was not pageantry; it was rather a 
 scene of expository drama. 
 
 1914 A " ROMAN PAGEANT " 
 
 In 1914, however, there was a pageantic parenthesis inserted in the exercises 
 of the Tournament. This was an " historical spectacle " which had a flavor of 
 allegory; it consisted of 
 
 a prologue and three scenes. In the former a Roman tragedian discourses pleasantly through 
 a megaphone with the Spirit of Luxury, and from their dialogue we learn, if we are close 
 enough to hear, what is about to happen. Scene i transports us to Rome and before us passes 
 the Imperial Triumph of Claudius, who has returned with his victorious troops after the con 
 quest of Britain. The two consuls of the year, lictors, magistrates, senators, models of the 
 captured city of Colchester and of Stonehenge, captured Britons much derided by the Im 
 perial buffoon, the Emperor, the Empress, the Court, and lastly the troops of the victorious 
 
 1 The London Times for 21 June, 1910, p. 10, col. 3. Cf. ibid., col. 2: " The main object 
 of the . . . Tournament is not to acquire funds for the enrichment of naval and military char 
 ities . . . The real object ... is to encourage skill-at-arms in the Naval and Military Services . . . 
 It is, therefore, a necessary and patriotic institution, apart from the fact that during the past 
 decade it has handed over to the authorities many thousands of pounds for distribution 
 amongst deserving naval and military charities." 
 
190 ENGLISH PAGEANTRY 
 
 army, all pass across the arena. In Scene 2 the Spirit of Luxury, whose appearance and evi 
 dent appreciation of the good things of this world has caused him to be regarded with much 
 favour by the audience, is awaked from sleep by the opposing megaphone and told that 300 
 years have passed, and that he is now on Hadrian s wall in the vicinity of Brampton. 
 
 The daily routine of Roman troops is shown, including some very striking drill carried 
 out by a century of heavy infantry, in which modern guardsmen execute the most compli 
 cated movements to Latin words of command. The scene closes with an intimation that the 
 legions are required in Germany, and a small party is alone left to guard the wall. Shrieks 
 from terrified females now announce the approach of vast barbarian hordes, and the unhappy 
 victim of good living has to fly for his life, while a great combat ensues in which the Roman 
 soldiers fall gallantly at the post of duty unequal to the rush of the ancestors of our race. 
 Space forbids a detailed description of the armament, which has been most accurately repro 
 duced and which by itself is of sufficient interest to bring people to Olympia; but such pieces 
 of ordnance as the carro-ballista, the ballista, and the onager surely the first howitzer ever 
 seen may be mentioned as showing the research of the authors of the spectacle. 1 
 
 This shows clearly an influence from the Parkerian pageant in its attempt at 
 historical accuracy. The military character of these displays is, of course, al 
 ways uppermost; and an example of the adaptation of the older pageantic 
 material cars and symbolism to this spectacle is best seen in Britannia s 
 Muster of 1910. A certain amount of historical instruction was furnished in 
 1897; these special celebrations are undoubtedly responsible for the pageantic 
 additions to a show which lends itself readily to such interpolations. It can 
 hardly be doubted that these exhibitions have played their part in developing 
 the Services for the more serious work which they were soon called on to perform. 2 
 
 1 The London Times for 15 May, 1914, p. 14, col. 3. The arrangement of the scenes 
 was made by Lieut.-Colonel Sir Mark Sykes, M.P.; special music was composed for the 
 spectacle by Sir Charles Stanford. 
 
 See the London Daily Telegraph of 10 April, 1914, p. n, col. 3, for the announcement of 
 the " notable departure in regard to the chief spectacle " of the Tournament. This article 
 notes Imogene and Cymbeline among " the captive royalties of the period," and says that 
 " the last stand of the Romans will be shown with the death of Centurion Ausonius before 
 the onslaught of the barbarian king . . . The rise of the Anglo-Saxons to power is indicated 
 in the final setting, which shows the birth of a nation which was destined to build the greatest 
 Empire since Rome ..." 
 
 2 An additional feature of interest was the appearance, at this 1914 " tournament," of a 
 primitive "tank," which, two years later, perfected, created such havoc on the battlefields of 
 France and Belgium. Had the spectators been able to see the future, the ungainly machine, 
 looking not unlike a steam-roller, which laboriously clambered over all sorts of obstacles, 
 would not have excited the thoughtless laughter it provoked. 
 
 There is no reason to suppose that the era of Peace will see a diminution of interest in 
 these exercises, which are rendered none the less effective by the introduction of a pageantic 
 element. 
 
SURVIVALS AND REVIVALS 191 
 
 6. CHRISTINA ROSSETTI S " PAGEANT OF THE MONTHS " 
 
 As an example of the kind of thing called " pageant," without having any 
 right to the name, let us consider Christina Rossetti s Pageant of the Months. 1 
 The foundation of this composition is the dance, and poetic song is the super 
 structure. The scene a cottage with its grounds remains unchanged 
 throughout the act. Symbolism plays a considerable part in the poem but 
 that alone does not, of course, make a pageant; nor does the personification of 
 the Months, whom we have met in more than one Lord Mayor s Show. The 
 thing is, in reality, a masque : it is meant to take place on a stage, which is set 
 to represent a room in a comfortable cottage; a fire burns on the hearth; the 
 passage of a year is shown by the boys and girls, each of whom, as he comes in, 
 displaces his predecessor. At the end, " while December sings his song, all the 
 other months troop in from the garden, or advance out of the background. The 
 Twelve join hands in a circle, and begin dancing round to a stately measure as 
 the curtain falls." Under no definition of either modern or ancient pageantry 
 can this composition find a place; the only suggestion of pageantic technique 
 being the " march " of the characters, as each displaces his predecessor through 
 the play. 2 The masque and the pageant have a common " soul "; but the stage- 
 setting, the technique, and the spirit of this play remove it from pageantry in 
 spite of its symbolical characters. 
 
 The four Seasons appeared at Knutsford in 1913; in Jordan s London in 
 Luster (1679) the first pageant was called " The Triumph of Time " - and on 
 the extreme top sat Time himself, surrounded by the Months and Opportunity; 
 in Heywood s Londini Status Pacatus (1639) we find Janus and " foure Persons 
 representing the foure Seasons; Spring, Summer, Autume, Winter; every one 
 habited agreeable to his propriety and condition." 3 Again, in the .third pageant 
 of Jordan s Show for 1677, " stood Time, attended by the four Quarters of the 
 year, and next to him and round about him sit six persons, representing a 
 Minute, and Hour, a Day, a Week, a Month, a Year. " 4 These figures, how- 
 
 1 See Poems by Christina G. Rossetti (Boston, 1899), pt. ii, pp. 13-32. Cf. MacKenzie 
 Bell, Christina Rossetti: a Biographical and Critical Study (London, 1898), pp. 224!.: " A 
 Pageant and other poems was published by Messrs. Macmillan in August, 1881 . . . The 
 title-poem called The Months: A Pageant runs to twenty-two pages, and is in the form 
 of a masque, in which the personifications of January, March, July, August, October and 
 December are assumed by boys, and February, April, May, June, September and November 
 by girls. The stage directions are ample and interesting, and, properly mounted, it should 
 be a very picturesque little play for children ... It is cheerful throughout, with not a single 
 note reminding the reader of sorrow." 
 
 a The same desire to call a masque a pageant was shown in the welcome of Professor Du- 
 quesne by the Harvard architects in 1911. On this, see p. 287, below. 
 
 3 Works (1874) v, p. 363. 4 Fairholt, pt. i, pp. 88 f. Cf. above, p. 74. 
 
192 ENGLISH PAGEANTRY 
 
 ever, are not in themselves pageantic; in the civic shows they are the texts for 
 sermons preached by Opportunity and Janus; at Knutsford, they are merely 
 characters in a revel. In Miss Rossetti s masque, the Months act out, in their 
 dances, their own symbolism, which is made clearer by their songs. 
 
 7. CONCLUSION 
 
 We have, in this chapter, discussed various kinds of pageantry, most of which 
 is still alive. 1 It must be kept in mind that the Lord Mayor s Show travelled 
 beside these others; and while it is hard to give definite examples of cross- 
 influences, it would be impossible to say that they did not exist. No connection 
 is apparent between the " armed men " of the early nineteenth-century show and 
 the tournament at Eglinton; or between Britannia s Muster and any show be 
 tween 1907 and 1910; but it would be hard to prove that there was no memory 
 of any symbolical float in the minds of those who planned the 1910 " Tourna 
 ment." 
 
 The tradition of the older pageantry is kept up in such shows as we have 
 seen at Salisbury, Coventry, Lichfield, and Knutsford. The 1907 Liverpool 
 celebration seems rather to have drawn on this older form, though the Parkerian 
 pageant, which arose in 1905, has affected many subsequent festivals. The 
 spirit which animates the newer form is forecast in the Ripon anniversary pro 
 cession of 1886; but the technique of this celebration is that of the old pageant. 
 The Corpus Christi pageantry, which may have been the source of that later 
 attached to the Coventry Fair, probably goes back itself to such folk-customs as 
 were revived in Knutsford, and have survived in the attenuated forms of Hal 
 lowe en and Guy Fawkes Day mumming. Even the political pageantry in 
 sofar as it is confined to the burning of an efligy may have a deep root in the 
 credulity of folk that would burn a waxen image of an enemy to harm him; and 
 the effigy itself may not be unrelated to the folk-figure which lies behind the 
 civic giant. The need for national defence makes necessary the training of forces, 
 and military exercises; these " musters " lie at the root of Midsummer Show, 
 " Courts of Array," and indirectly of the " Tournaments " of our own day. 
 The difference between a pageant and a pageantic revel we have seen to con 
 sist in the central idea; in the former, history, symbolism, and allegory all point 
 to one thing the mayor who is being installed, or the guild which is providing 
 the spectacle; the holiday which is being observed, or the event which is being 
 recalled. A revel has no such unifying idea; and in proportion as the pageant 
 admits distractions, by so much does it tend to drift to the revel. Shaksperian 
 characters grouped around Shakspere are pageantic; but thrown wildly into a 
 
 1 For the political pageantry of the seventeenth-century " Pope-burning/ has a modern 
 parallel in the July processions of the north of Ireland though the pageantry is reduced 
 to symbolical banners. 
 
SURVIVALS AND REVIVALS 193 
 
 procession with other costumed figures unconnected with the dramatist, they 
 become mere revellers. 1 
 
 In 1905, at Sherborne School in Dorsetshire, under the guiding hand of Mr. 
 Louis Parker, the modern pageant, or " folk-play," came into being. As this 
 is a distinct form of art, we shall discuss it in the next chapter. We shall not 
 find float, pageant-car, or giant; the procession through the streets gives way 
 to one across a stage usually (in England practically always) out-of-doors. 
 Allegory is largely done away with, but we do not wholly lose sight of symbolism, 
 in this new genre; and history is the breath of its life. 
 
 1 It is, of course, unnecessary that each car of a pageant be closely connected with the 
 others though the closer the relation is, the higher is the art. 
 
CHAPTER VIII 1 
 
 THE PARKERIAN PAGEANT 
 
 INTRODUCTION 
 
 " \ N^ 7 " review of the uses of pageantry in past ages and of its development in 
 A~\. recent time," writes Mr. William Orr, 2 " must recognize that, while certain 
 elements are constant, the form of presentation and the manner of acting the 
 scenes have varied greatly. The factors essential to true pageantry are the use 
 of the costumes and practices of other days and the representation of important 
 events in history as expressions of the manifold activities and aspirations of the 
 human soul." 
 
 However true this may be of modern pageantry, I have ill done my task if 
 the reader of the foregoing pages feels it to be true of the shows and triumphs 
 we have been studying. Something of that spirit, to be sure, we have found in 
 the Lord Mayor s Shows since 1884, and in a pageant like that of Ripon in 1886; 
 at times, flashes of this emphasis on history more or less recent are seen 
 in the later shows at Lichfield, Coventry, and Knutsford. But the older and 
 newer pageantry are so different from each other, that to include the modern 
 work in a consideration of the early, is almost like adding an appendix about 
 fire-dogs to a treatise on the habits of the canine to adopt the humorously 
 exaggerated figure of Mr. W. C. Langdon. 3 
 
 THE OLDER AND NEWER PAGEANTRY COMPARED 
 
 And yet the differences are not so great as at first appears; for, though the 
 " body " and " technique " of the two have nothing in common, the " soul " 
 and " spirit " of the two are much the same. It is true that there is, in the Par- 
 kerian work, little allegory, no mythology, and much less symbolism than in 
 the older Lord Mayor s Show; but there is an increased emphasis on history, 
 to make up for it. Though some of the Lord Mayor s Shows included historical 
 
 1 For much material in this chapter I am indebted to Louis N. Parker, Esq., F. R. A. M., 
 Officier de 1 Instruction Publique; I take great pleasure in acknowledging my gratitude. The 
 reader will find his papers in the Journ. Soc. Arts (22 Dec., 1905), liv, pp. 142 f., and in New 
 Boston (Nov., 1910), pp. 296 f., mentioned in the Bibliography. Cf. also my Manual of Pag 
 eantry, Indiana University Bulletin, vol. xiii, no. 7. (15 June, 1915.) 
 
 2 In the introduction to Bates and Orr, Pageants and Pageantry (Boston, and New York, 
 1912). 
 
 3 In a letter, dated 28 January, 1913. 
 
p 
 
 pq 
 
 W M 
 
 W - 
 
 B 
 H 
 
THE PARKERIAN PAGEANT 195 
 
 characters, and placed a certain emphasis on the glorious past of the chief magis 
 trate s Company, this was done rather to glorify the present than to draw in 
 struction from history. The presence of former renowned Lord Mayors, and 
 the rehearsal of royal or noble names that appeared on the roster of the guilds, 
 awoke feelings analogous to those with which a man reviews his distinguished 
 ancestry. 
 
 It is for this reason that the pageantry of the past may be called " aesthetic," 
 while that of the present is " educational." The first existed primarily to 
 entertain ; the second seeks rather to instruct. I would not imply that there is 
 no entertainment in modern pageantry, any more than I would suggest there 
 was no instruction in the earlier; there were often moral, as well as historical, 
 lessons given in the seventeenth-century Lord Mayor s Shows to those who 
 could hear the speakers; but the chief emphasis is as I have said. 1 
 
 THE AIMS OF THE PARKERIAN PAGEANT 
 
 Besides this aim the education of a community in its own past Parkerian 
 pageantry is a protest against " modernity ". " This modernising spirit, which 
 destroys all loveliness and has no loveliness of its own to put in its place, is the 
 negation of poetry, the negation of romance . . . This is just precisely the kind 
 of spirit which a properly organized and properly conducted pageant is designed 
 to kill," writes Mr. Parker. 2 Something of this spirit is seen in the more recent 
 Lord Mayor s Shows, in the Ripon celebration, and we may catch reflections of 
 it in the tournaments of 1839 and 1912. Insofar as the nineteenth-century civic 
 shows aimed to preserve the romantic aspect of life, they prepared the way for 
 the Parkerian work. 
 
 PAGEANT AND DRAMA 
 
 Another difference between the early and the modern pageant is seen in their 
 relations to the drama. At first a processional entertainment, quite undramatic, 
 the pageant grew slowly into form; through the mists which usually surround 
 the birth of a literary genre, we have seen folk-customs, with their attendant 
 plays, dances, and games; the moving platforms and Biblical characters of the 
 
 1 I must caution the reader not to confuse " modern pageant " with " pageant given in 
 modern times." Owing to the poverty of our vocabulary, I must run the risk of being mis 
 understood; but I do not consider the Lord Mayor s Show of 1913 or the Lichfield Bower of 
 1914 " modern pageants." Rather are they survivals of the older pageants which have lasted 
 to our days; and such revivals as we discussed in the last chapter are influenced by them. 
 By " modern pageant," I mean the historical folk-play which came into being in 1905, and 
 which forms the subject of this chapter. It is in order to avoid a confusion that I have named 
 it after its founder; the reader will understand that " modern " and " Parkerian " pageantry 
 are synonymous. 
 
 2 Journ. Soc. Arts, liv, p. 143. 
 
196 ENGLISH PAGEANTRY 
 
 guild-plays; allegory, and the elaborate symbolism of tournament and " Court 
 of Love "; the flattery and ingenious lavishness of the Lord Mayor s Shows 
 all, in one way or another, absorbed by the pageant. We have seen the inter 
 change of influence between pageant, masque, and interlude the masque, 
 standing with luxurious feet where pageant and the drama meet. 
 
 But the new pageantry is drama. Mr. Parker, in the Foreword to the Book 
 of the York Pageant, writes: " Dilettantes and quidnuncs prate about the Na 
 tional Drama. Here it is. Drama covering all English history from 800 B.C. to 
 the Great Rebellion; written by Englishmen, set to music by Englishmen, 
 costumed and acted by English men and women acted by thirteen thousand 
 of them and listened to by over half-a-million spectators in twelve weeks. 
 Drama lifting our souls to God, and our hearts to the King is not that Na 
 tional Drama ? " 1 
 
 i. THE BIRTH OF MODERN PAGEANTRY 
 
 It is generally recognized that Mr. Parker is " the inventor and founder of 
 modern pageantry," 2 which came into being at Sherborne, in Dorsetshire, in 
 1905. As far back as the seventies or eighties the idea of giving a musical 
 " folk-play " in the old courtyard of Sherborne School had appealed to Mr. 
 Parker, who was then teaching there; but it was not until thirteen years after 
 
 1 We must leave to a future study a consideration of the effect of pageant- writing on the 
 technique of those dramatists who have planned pageants. The work of Dekker, Heywood, 
 and Middleton must have been affected; Mr. Parker has told me that his own technique 
 has been much influenced but it must not be forgotten that he gave the pageant a dra 
 matic quality it lacked. 
 
 Mr. Parker s own dramatic work before 1905 included plays which like Rosemary and 
 The Cardinal dealt with the more or less distant past; and since 1905, he has composed 
 such plays as Drake, and Joseph and his Brethren, which he calls " pageant-plays." 
 
 Mr. Nugent Monck s work with the exception of his Norwich pageant, which was his 
 torical is rather the production of plays on pageantic lines. He admits the debt of all 
 pageant-masters to Mr. Parker, but told me that he was drawn into the work through his 
 interest in reproducing miracle-plays and masques. A discussion of his work as a whole will 
 have to be made elsewhere; his Books of Words are not easily accessible, and his departure 
 for the front left me without a promised collection. Episodes in the life of King Arthur, 
 which he wove into a " pageant-play," were produced under his direction in the grounds of 
 "Abbey Lodge," Hanover-gate, Regent s Park, London, on the 8 and 9 July, 1914; this 
 performance I attended and while it was divided into episodes, given out-of-doors, and 
 had other pageantic characteristics, the subject, and the limited audience, prevent its being 
 considered true pageantry. 
 
 We shall discuss the " pageant-plays " of other recent writers in later section see below, 
 p. 229 f.; see also p. 208 for remarks on the pageant and the stage. 
 
 2 Bates and Orr, Pageants and Pageantry, p. iv. Cf. Mr. Parker s Foreword to the Book 
 of the York Pageant: " In 1905 I invented a new form of dramatic art with the Sherborne 
 Pageant. After developing it at Warwick in 1906, at Bury St Edmunds in 1907, at Dover 
 
THE PARKERIAN PAGEANT 197 
 
 he had left the school that the opportunity came for realizing his plan. The 
 twelve-hundredth anniversary of school, bishopric, and town was to be cele 
 brated in 1905; and Mr. Parker suggested that a " folk-play " be given to bring 
 back the past glories of a see which antedated Salisbury. 1 The idea was re 
 ceived with approbation, and a year before the celebration was scheduled, 
 preparations were begun. From a modest beginning, the scheme grew, so that 
 starting with a hundred performers it ended with nine hundred. 
 
 It is important to note that this modern pageantry is not a development 
 from the older ; Mr. Parker is emphatic in saying he was not influenced by the 
 Lord Mayor s Show, and that he does not approve of such street processions. 
 While it is undeniably true that many of them are now inartistic have, per 
 haps, survived their usefulness still they have preserved the past, and have, 
 very possibly, paved the way for an appreciation of the newer, and much higher, 
 form of pageantry. 2 However that may be, Mr. Parker got his idea of a folk- 
 play originally from such Fest- and Erinnerungsspiele as that of Tell at Altdorf , 
 Luther at Worms, and the Meistertrunk at Bavarian Rothenburg. 3 
 
 THE SHERBORNE PAGEANT or 1905 
 
 The Sherborne entertainment was originally called a " folk-play," 4 but the 
 name was not understood, and the idea of a folk-play awoke no enthusiasm. 
 
 in 1908, and at Colchester in the present year, I close my pageanting career at York. That 
 is as it should be ... 
 
 " An enormous amount of pessimistic nonsense is talked about our undemonstrative 
 nature, our depraved taste in art, our contempt for the drama, our ignorance in music, our 
 commercial spirit, and so on. Let the acting that has been seen in these pageants, the cos 
 tumes, the astonishing properties, the arms and armour, the dances, the music, and all the 
 self-sacrifice, self-effacement, surrender of leisure, on the part of thousands of voluntary 
 workers, unnamed, unrewarded, often even unthanked, be the answer." 
 
 1 Mr. W. B. Wildman was writing the history of the place, so that many historical details 
 were accessible. 
 
 2 Mr. Parker characterized the " pageant " at Coventry (in which as he put it 
 a circus-rider takes the part of Lady Godiva, and is followed in her ride through the town by 
 various motors, and tradesmen s floats) as a " distressing, ghastly affair." We should not 
 whack our great-grandmothers over the head because they are toothless and wandering in 
 their minds. 
 
 3 Professor Baker, in a short article published in New Boston, (Nov., 1910), p. 295, calls 
 this modern pageant " the revival of an old popular amusement that from the moment of its 
 revival has been developing into something different from its origins." We have seen how 
 the older pageantry, in the more recent Lord Mayor s Show, had been preparing the way for 
 the newer form; we have Mr. Parker s word for the fact that there is really no connection at 
 all between the forms, other than the mere accident of name. It is this unfortunate accident 
 which has caused much confusion; there are, however, certain elements in common even 
 if the later is not derived directly from the earlier. 
 
 4 With no reference to the earlier folk-plays or sword-dances. 
 
198 ENGLISH PAGEANTRY 
 
 So Mr. Parker sought for another name a word that would appeal to every 
 one; and revived the old term which meant nothing very definite to anybody, 
 but which suggested delightful masquerading to the players. All their apathy 
 vanished. 
 
 The Lord Mayor s Show had degenerated into fustian; it was given by hired 
 performers, and had lost much of its old meaning. 1 The " pageant " at Sher- 
 borne the first of a long line was something new; it met with opposition and 
 ridicule from outsiders; given in a small out-of-the-way town, under a pageant- 
 master who himself hardly knew what he meant to do, the first modern pageant 
 struggled into life. 
 
 As the preparations for the festival went on, great difficulty was found in 
 interesting the press. The grandstand was erected, yet everything seemed to 
 have been done for nothing, because no audience was in prospect. Ten days 
 before the performance, the dress rehearsal took place; and by accident two 
 newspaper men were present. Their notices brought fifty thousand people to 
 the little Dorset village. All England took fire. 2 
 
 2. PRODUCING A PAGEANT 3 
 
 Mr. Parker has insisted that all his pageants be done by voluntary labor. 
 The " episodes " were written by local dramatists and poets wherever possible, 
 and the music composed by local musicians. 4 All the costumes and all proper 
 ties were produced by the inhabitants, voluntarily, without exception; 5 the 
 poorer people were indemnified, but they were not paid a profit. The profes 
 sional orchestras were the only people connected with Mr. Parker s pageants 
 who were paid for their services. 
 
 1 I quote Mr. Parker. The reader will soon see his dislike of " hired performers " always 
 part of the Lord Mayor s Shows. (" Degenerated into fustian " are hard words!) 
 
 2 For pictures of the Sherborne pageant see the Illus. Lond. News, for 10 June, 1905, 
 pp. 814, 815; and Stone, pp. 62 f. 
 
 3 Many of the matters mentioned here are touched upon in my Manual of Pageantry. 
 
 4 The choruses of all of Mr. Parker s pageants were written by James Rhoades, " a fin 
 ished, though not a popular, poet." Especially noteworthy are the chorus in the Dover 
 Pageant, preceding the entrance of Henry VIII, and that introducing the seventh episode 
 of the York Pageant (see the Book of Words of the York Pageant, p. 113; another fine chorus 
 is the Triumph Song of York [ibid., pp. 126 f.]). Mr. Parker himself planned the pageants, 
 chose the episodes, and edited the MSS. submitted in one case, a five-act tragedy, offered 
 by a local writer, was cut to a ten-minute episode. 
 
 It will be recalled that, in 1574, a Bristol schoolmaster became angry because local talent 
 was slighted. (See above, vol. i, p. 207.) 
 
 6 Mr. Parker demanded that each player furnish his own costume, as far as possible. 
 
THE PARKERIAN PAGEANT 199 
 
 THE ARENA: WITH REMARKS ON THE SITE 
 
 Another important feature of these productions was that the arena, where 
 the action took place, was kept like a first-class stage. The orchestra was con 
 cealed, and none of the " machinery " of the pageant was shown. The per 
 formances were directed by means of electric bells; some of the entrances 
 those at Warwick, for instance took place a quarter of a mile from the grand 
 stand. Everything ran like clockwork; and this was possible only because the 
 arena which varied between five and ten acres in extent was strictly kept. 
 
 Mr. Parker has " rejected " from thirty to fifty towns, which applied to him 
 for pageants, because they lacked suggestive backgrounds. He insisted always 
 on finding the centre of historical interest in a town, and that was the site of the 
 pageant. 1 While not presuming to criticize Mr. Parker s attitude and no 
 one will deny that the founder of pageantry as we know it has a right to speak 
 authoritatively many cannot help feeling that too strict a line may be drawn 
 here. Conditions vary somewhat, it is true, between England and America; 
 we have not got, for instance, charming old Abbey courtyards, around which 
 our towns have grown up, and which have seen many, if not all, of the historical 
 happenings our pageants celebrate. The impossibility of giving a pageant be 
 fore, let us say Faneuil Hall, has driven American pageant-masters to country 
 nooks on the outskirts of our cities; and this has had a slight effect, perhaps, 
 on our pageants. No one will deny that if the site of a pageant be the scene of 
 even one event reproduced, a great advantage is gained; that it is a necessity, 
 is not universally admitted. Perhaps this is due to the fact that American 
 pageants are not so strictly historical as are the English; to this point we shall 
 return. 
 
 But even in England, pageant-masters do not all share Mr. Parker s views. 
 " In selecting Cheltenham as the home of the Gloucestershire Historical Pag- 
 
 1 In this connection, we may note the Pageant of Wales at Cardiff (pictured in the Ittus. 
 Land. News for 31 July, 1909, supplement, pp. i and iv). Says that weekly: " The whole of 
 the romantic history of Wales has been drawn upon for picturesque episodes and spectacles. . . 
 The chief scenes are laid at Cardiff itself, at Agincourt and at Ludlow. We see the crowning 
 of King Arthur, and the crowning on the battlefield of Bosworth of Henry Tudor; we see 
 King Henry at the field of Agincourt, and, according to the programme, the Chief Constable 
 of Glamorgan as Chief of the Ruffians! The good people of Wales have foregathered in the 
 historic environment of Cardiff to celebrate the mighty heroes of a bygone tune/ and they 
 are particularly anxious to impress upon all beholders that this is a national, not a local, 
 pageant; not a Pageant of Cardiff, but a Pageant of Wales . . ." 
 
 I may remind the reader that the play of Robin Hood and the Curtal Friar, at Ripon in 
 1886, was given on " the traditional site of the famous event it recalled "; (see above, p. 161). 
 
 On this matter of site, see also T. H. Dickinson, The Pageant, in The Play-book for Sep 
 tember, 1914 (ii, 4), pp. 25 f., and Davol, Am. Pag., pp. 145 f. (chapter ix). 
 
200 ENGLISH PAGEANTRY 
 
 eant," writes Hawtrey, 1 " some difficulty was felt, because the town is not one 
 that possesses many historical associations. In each episode we have to assume 
 that the scene represents a different locality. This demands a certain amount of 
 imagination on the part of the audience . . . " and imagination, it may be 
 remarked, is a quality that audiences are usually very ready to give. 
 
 At York, the Dean urged the use of the space in front of the Cathedral for 
 the pageant, and Lord Halifax warmly seconded him; but Mr. Parker wisely 
 refused the site. Humor enters historical pageants, for it is in history; and one 
 cannot present humorous scenes near a Cathedral, which was to be used as en 
 trance and exit for appropriate characters. The offer, however, showed the 
 spirit which lay behind the whole pageant a spirit which was again shown in 
 the final march, during which the cheers of the audience drowned the affectionate 
 farewells of the actors to each other farewells which showed the solidarity 
 engendered by the pageant. 
 
 The English Church Pageant of 1909 which was divided into two parts 2 
 had a total number of nineteen " scenes "; the different episodes took place in 
 various districts of England: for instance, the first scene was laid at " the Roman 
 town of Calleva, now Silchester, in Hampshire " ; the third, at " a Pictish village 
 on the island of Hy, afterwards known as lona "; the fourth showed " the open 
 country a few miles from Canterbury "; the sixth, " the Frater or dining hall 
 of the Old Minster at Winchester "; the ninth, " the island in the Thames by 
 Runnymead." The fifth scene of the second part showed the coronation pro 
 cession of Edward VI from Westminster Hall to the Abbey. Many of the scenes 
 are laid in or near London ; but it is not often that a pageant allows itself such 
 latitude as we find here. 3 
 
 THE PAGEANT-MASTER 
 
 The personality of a pageant-master counts for a great deal; for the modern 
 pageant is carried through by force of personal magnetism. Mr. Parker met 
 indifference, discouragement, and opposition at the beginning; but each pageant 
 ended in enthusiasm. Six thousand people took part in the York Pageant alone ; 
 
 1 In the Foreword to the Book of Words of the Gloucestershire Pageant. 
 
 ? One beginning at three, and the other at eight o clock; the first part consisted of ten 
 "scenes," and the second of nine. (See the program of the Pageant for details.) 
 
 3 It may be added that Mr. Parker disapproves of having the audience itself form the 
 background for another part of the audience sitting across the stage an ineffective prac 
 tice not uncommon in America. Nor would he admit any artificial scenery in his pageants. 
 Mr. Davol (Am. Pag., p. 148) bids us " remember that little artificial scenery can be safely 
 used in the open-air." 
 
 One American pageant of recent years not only used artificial scenery, but (when forced 
 to change it) sent up a curtain of steam between spectators and stage, on which colored lights 
 played, to make it opaque. (A clever way of solving one difficulty.) 
 
THE PARKERIAN PAGEANT 2OI 
 
 and every one of them had to come in contact with the pageant-master. It will 
 easily be seen that his position is no sinecure. It is true that Mr. Parker has 
 created a new profession; but there is little danger that it will be overcrowded. 
 Besides the genius of personality, the pageant-master must have a genius for 
 organizing ; l he must be able to do historical research, and turn the results of 
 his scholarship into literary form; he must be able to make others work, and 
 while he leaves much to committees he must never get out of touch with de 
 tails ; he must have the ability to assert his authority, and the tact to calm the 
 quarrels of his subordinates without offending either of the offended; he must 
 be versatile enough to do quickly whatever others have left undone; and he 
 must have a constant supply of good-humor to meet the attacks of the pessi 
 mists, nor must he ever allow himself to get discouraged. 
 
 THE VALUE OF ACCURACY 
 
 In all of Mr. Parker s pageants the details of history were carefully copied, 
 so that the pageants became of great educational value. Precise words and 
 music of old songs were dug out by antiquarian research; and not only were 
 the audiences educated, but the performers as well. They had to search among 
 old books to find out about flint weapons, Roman armor, and mediaeval cos 
 tumes; and all of this required much study. The work on a pageant began 
 sometimes eighteen months before the production; the things collected and re 
 produced for the York Pageant costumes, weapons, armor, horse-trappings, 
 carriages, etc., made a remarkable museum of real historical value; they were 
 on exhibition weeks before the performance took place. 
 
 If pageantry is to have any influence as an educational force, it is clear that 
 historical accuracy must be insisted on. Once let the public feel that they are 
 being deceived, and you lessen their faith in the educational value of every 
 pageant. The responsibility of pageant-masters in this respect is obvious. 2 
 
 1 A Graphic Chart of a Pageant Organization Scheme, supplementing Bulletin n of the 
 American Pageant Association, is reprinted in my Manual of Pageantry (1915), p. 4. 
 
 2 Mr. Gilbert Hudson, who has served as pageant-master in several Yorkshire pageants, 
 does not agree with this point of view. In a letter, under date of 30 November, 1918, he 
 writes: "... Too much labour may be expended upon endeavouring to obtain accuracy of 
 costume, &c. To put on a scene in so-called accurate costume is both impossible and wrong. 
 For in all periods there are survivals and anticipations of fashion ; and in old days garments 
 were handed down (by will) from father and mother to son and daughter, as a common prac 
 tice. The desire of gorgeous effect also leads to false impressions of a period; for no crowds 
 of people at any time (except on definitely ceremonial occasions) were ever arrayed in all 
 their best at once . . ." 
 
202 ENGLISH PAGEANTRY 
 
 3. CHARACTERISTICS OF THE NEW PAGEANTRY 
 
 The earlier triumphs were, as we have seen, given for the sake of entertain 
 ment. If the sovereigns or chief magistrates were not always amused by the 
 shows provided for them, the populace crowded the streets in wonder and drank 
 at the flowing conduits with gratitude, from the time of Perkin Revelour down. 
 The new pageantry of our own day does not seek, primarily, to amuse. Perhaps 
 it is an unconscious development of the Puritan conscience, which will not admit 
 pure enjoyment, but seeks to find joy in edification. There are other character 
 istics of modern pageantry which are also characteristic of the times. It is, in 
 the first place, essentially democratic. 
 
 THE DEMOCRATIC ASPECT OF THE MODERN PAGEANT 
 
 This democratic aspect of pageantry is, perhaps, more noticeable in England 
 than in America. When Mr. Parker first undertook the Sherborne " folk-play," 
 the headmaster of the School, Canon Westcott, agreed to take part in the per 
 formance. Mr. Parker thereupon insisted that everyone he asked should per 
 form in the pageants he directed; he would take no refusal from anyone. All 
 classes were called on, and all responded amazingly. Every kind of person, from 
 peer to day-laborer, and even tramp, played together on a footing of absolute 
 equality. High dignitaries of the Church of England joined ministers of other 
 denominations; l and the pageants created a spirit of good-fellowship, sympathy, 
 and brotherhood which did not fade from the community, long after the pageant 
 was a thing of the past. 2 The German Festspiele are given by the tradesman- 
 class ; 3 but the English pageant brings all classes together, and gives each a 
 chance to get the others point of view, which arouses an understanding and 
 sympathy between the classes. 
 
 THE PAGEANT AND THE COMMUNITY 
 
 Mr. Parker feels that the small place is the only fit place for a pageant. 4 
 There are so many interests in a big city, that everyone cannot give his atten 
 tion and energy to it; and unless a town gives its whole life to a pageant, the 
 
 1 Some non-conformist clergymen donned the robes of Romanist prelates with reluctance, 
 to remove them with real regret. 
 
 2 Mr. Parker possesses a beautiful illuminated address, expressing the gratitude and affec 
 tion of those who participated in the Sherborne Pageant. Everyone who took part in the 
 pageant signed it, including some old folks from the Almshouses, who not being able to 
 write were obliged to " make their mark." 
 
 3 There are, however, some exceptions, especially in the smaller towns, where everyone 
 takes part. 
 
 4 It is to be observed, however, that in December, 1905, he was looking forward to a great 
 National Pageant of England, to be given at Windsor, or some other suitable site; the matter 
 
THE PARKERIAN PAGEANT 203 
 
 pageant is nothing. It is obvious that it is much harder to develop community 
 spirit in a metropolis than in a village; there are too many interests to weave 
 together. And the solidarity which the pageant leaves behind it, is one of its 
 chief gifts. 
 
 Many pageant-masters agree with Mr. Parker on this point. Not that a 
 pageant can t be given in a large city; it has been often done (in America, per 
 haps, more frequently than in England) and been done successfully. But the 
 fullest measure of success comes when everyone enters into the spirit of the occa 
 sion, and this is possible only in a smaller town. Pageants in cities are too apt 
 to become the affair of one section or of one class ; it is obviously impossible to 
 make every inhabitant of a large center feel the personal interest in and respon 
 sibility for the pageant, which, in the town or village, helps the individual in 
 many ways, and draws the whole community together. 1 
 
 Mr. Gilbert Hudson, pageant-master of various Yorkshire pageants, writes 
 that he regards the following as the chief social objects of a Pageant, or Folk- 
 Play: 2 
 
 1. The uniting of all classes and sorts of people in a task which all enjoy, and, by the 
 healthy excitement arising from participation in dramatic scenes and in poetic utterance, the 
 dissolving of artificial restraints and enmities among them, which the ordinary affairs of life 
 seem inevitably to create. 
 
 2. The awakening or creation of a communal historical sense, which, however latent at 
 times, shall yet persist as a general atmosphere of social life. 
 
 3. The instructing of people how to entertain themselves in each others company, and 
 as communities, in a rational artistic manner. The subservient benefits that spring herefrom 
 need not enumeration. 
 
 Now it is much easier to achieve these objects in a small old-fashioned town (such as 
 Thirsk or Pickering) than in a larger and more commercialized may I say politicalized ? 
 
 to be made up of various episodes from other more local pageants. (See Journ. Soc. Arts, 
 liv, pp. 145 f.). Scotch and Welsh National Pageants there have been since that day; but 
 the English is yet to come. 
 
 1 What throws the Masque of Learning out of the strict field of pageantry, is that it does 
 not deal with Edinburgh or even Scottish history, but with that of Education : a sub 
 ject which of necessity must appeal to a limited set. The Scottish National Pageant of 1908 
 (see below, p. 214) has many non-Parkerian characteristics; but it is much nearer the ideal 
 of Mr. Parker than is the Masque of Learning. 
 
 A Pageant of English Literature was given in the Town Hall of Oxford, during the week of 
 28 April, 1914, in aid of Home Missions. The ten episodes took the history of literature from 
 Caedmon to Addison and Steele; various University people assisted; but the affair was far 
 from having the community-appeal of the Oxford Pageant of 1907 nor, indeed, was it so 
 ambitious. (For a short notice of this, see the London Times of 27 April, 1914, p. 15, col. 6.) 
 
 We shall return to the " festival," or " restricted pageant," in the next chapter (see below, 
 p. 281 f.). On the effect of pageantry upon the individual and the town, see the article already 
 referred to in Journ. Soc. Arts, liv, p. 143. My material here is largely from conversations 
 with Mr. Parker. 
 
 2 In a letter of 25 November, 1918. 
 
204 ENGLISH PAGEANTRY 
 
 place like York or Scarborough. In the former cases, there is a better preservation of the 
 old social traditions a remnant even of the more philanthropic aspects of feudal conditions, 
 which enables the best-fitted, best-educated people to take the lead and set the example 
 in matters of taste and organization, than in the latter, where modern industrial, political, and 
 educative influences have upset the old social ideas, and have not yet produced any unifying 
 idea in their place and, I must fear, do not seem likely to, for the simple reason that they 
 are founded not on any religion of human affections, but upon notions of mere worldly and 
 economical advancement. . . . The commercialized town, besides, finds it difficult to under 
 take an artistic enterprise for its own, or a purely social sake, without any admixture of baser 
 aims. At Scarborough the Pageant, in spite of all endeavors to the contrary, became con 
 tinually involved with stupid designs of advertising the town, and of wishing to emulate other 
 places in mere gorgeousness of exhibition. 
 
 But, putting all this aside, the social and moral results of a Pageant have always been to 
 me a matter for satisfaction. People who take part in them seem to look back on them as 
 among the great events of their lives, and to see their town ever after in a new light of historical 
 and poetical illustration. 
 
 A semi-ironic, semi-appreciative, view of pageantry may be found in Sir A. 
 T. Quiller-Couch s Brother Copas, the scene of which is laid in Merchester (Win 
 chester) at the time of the pageant there. " Here, after all, thousands of people 
 were met in a common pride of England and her history. Distort it as the per 
 formers might, and vain, inadequate, as might be the words they declaimed, an 
 idea lay behind it all. These thousands of people were met for a purpose in itself 
 ennobling because unselfish. As often happens on such occasions, the rite took 
 possession of them, seizing on them, surprising them with a sudden glow about 
 the heart, sudden tears in the eyes. This was history of a sort. Towards the 
 close, when the elm shadows began to stretch across the green stage, even care 
 less spectators began to catch this infection of nobility this feeling that we 
 are indeed greater than we know." l 
 
 INTERNATIONAL GOOD-WILL DEVELOPED 
 
 Since these English pageants have always fallen in the holiday season, many 
 Americans have attended them; American towns have been represented as 
 at Sherborne, Dover, and York and a feeling of international good-will has 
 been developed. 2 The articles in the American press have spread abroad the 
 news of these amenities, and both countries have profited as the bonds between 
 them have been strengthened. 
 
 1 I am indebted to Mr. Francis W. Butler-Thwing for calling my attention to this book. 
 The passage cited occurs in chapter xxiv. The Winchester Pageant was produced by Mr. 
 F. R. Benson in June, 1908; pictures of it may be found in the Illus. Land. News for 27 June 
 of that year, pp. 956, 957. (" A Rehearsal " is illustrated, ibid., for 23 May, p. 741.) 
 
 It is interesting to note that Sir A. T. Quiller-Couch had a hand in composing the Win 
 chester Pageant see below, p. 226, n. i. 
 
 2 Of course this aspect, though a common one, is not an essential of pageantry. It will 
 be recalled that the more recent Lord Mayor s Shows symbolized allied and friendly Powers 
 frequently. 
 
THE PARKERIAN PAGEANT 205 
 
 In the Dover Pageant, 1 the episode of the coming of Henrietta Maria was 
 written by a Frenchman, M. Louis Tiercelin, and played by a group of French 
 teachers, who rehearsed at Douai. They went back from Dover full of enthu 
 siasm, and wanted to give a pageant at St. Malo; but they ran up against po 
 litical and social difficulties. Only in England, thinks Mr. Parker, can one get 
 such a complete mingling of all classes as that seen in his pageants. 2 
 
 THE PAGEANT AND THE INDIVIDUAL 
 
 Not only does the modern pageant educate, and bring about a more solid 
 community-spirit, and even develop international good-will, but it also brings 
 to light latent and sometimes undreamed-of talents in the individual. 
 All the costumes are made as cheaply as possible; and the inventiveness dis 
 played is sometimes amazing. A young woman of Dover turned rejected "bow 
 ler " hats into splendid " steel " helmets, at a cost of twopence-halfpenny apiece; 
 " chain armor " was made from thick twine, knitted and " metalized " at a very 
 small cost. The average price of costumes, for the ordinary performer, was from 
 one to two dollars; and the costumes were not only beautiful in themselves, but 
 historically accurate. Many people were directed to arts and crafts owing to 
 the incentive got in the pageants; to some a calling was given by their partici 
 pation in these entertainments; new abilities were discovered, and the lives of 
 a great number made the richer thereby. 
 
 REPETITION OF PERFORMANCES 
 
 Although the idea of modern pageantry came from the German Festspiele, 
 which are usually repeated once a year, if not oftener, 3 Mr. Parker thinks that 
 the modern civic pageant cannot be repeated with advantage oftener than once 
 every ten years; and he seems inclined to doubt whether any repetition is ad 
 visable. As most of these shows were planned to celebrate a particular anni 
 versary, there has not been a tendency observable, as yet, to turn them into any 
 such institution as the Passion Play at Oberammergau has become. 
 
 1 See the Book of the Dover Pageant, pp. 54 f . 
 
 2 He suggests that perhaps American pageantry suffers less, indeed, in the smaller 
 communities than in the cities from the fact that the performers are apt to be of one social 
 stratum. In England, the classes mix for the moment and as they mix, a lasting sympathy 
 may spring up; but as soon as the pageant is over, class lines are recognized, and the lower 
 does not seek to presume on the upper, as it might, or, rather, as the upper might fear it 
 likely to, hi a republic like France or the United States. 
 
 Those pageants which are given by one class or group have been called " festivals" 
 in a new and specific sense of the word. 
 
 3 The Meistertrunk at Rothenburg was, before the War, regularly given on Whitmonday, 
 and sometimes once or twice a year in addition. The Oberammergau Passion Play is like 
 the early miracle plays of England not pageantry. 
 
206 ENGLISH PAGEANTRY 
 
 THE COST OF A MODERN PAGEANT 
 
 Regarding the cost of a modern pageant, it may be noted that Mr. Parker s 
 have varied from 5000 to 15,000. His guarantee funds covered all initial 
 expenses office-hire, advertisement in the press, circulars, etc. and a 
 possible deficit. As soon as the plan of the grandstand was ready, he opened his 
 box-office. The stands usually seated about six thousand; the money began to 
 come in even while the performers were working on the pageant, and a month 
 before the first performance everything was sold. 
 
 The Accounts of the York Pageant are added in an appendix. They show 
 total receipts of 14,439, 185. yd., of which 11,612, 125. came from the sale of 
 grandstand tickets. The expenses amounted to 13,677, qs. 2d., of which the 
 largest items were : grandstand, dressing-rooms, cloak-rooms, hire of exhibition, 
 alteration at Museum Gardens, etc., 2,151, 65. 8>d.; costumes, 1,496, is. $d. , 
 advertising, printing, etc., 1,556, 6s. yd.; the retaining-fee, royalty and ex 
 penses of the pageant-master, 1,744, 2S. $d. The subscriptions were returned, 
 and there was a balance of 762, 95. yd. in the treasurer s hands on 7 October, 
 1909. 
 
 Mr. Parker states * that the Sherborne Pageant made a profit of $5,000; that 
 at Warwick, $15,000; one he wrote for the Duchess of Albany, $10,000 in only 
 two performances ; and that at Bury St. Edmunds, $7,000. The Dover Pageant 
 - in many respects the finest spectacle of all resulted in a loss, for various 
 reasons. Mr. Parker strongly deprecates giving a pageant for any definite 
 charitable object, 2 or to make money. 
 
 THE BLIGHT OF COMMERCIALISM 
 
 Though the movement is so new in England, Mr. Parker points out that, 
 even in 1914, it had already begun to decline. This, he says, is largely due to 
 commercialism. The towns giving pageants usually made money, so other 
 
 1 In New Boston (Nov., 1910), p. 298. 
 
 2 The Church Pageant of 1909 was, according to Mr. Parker, a contradiction, for it was 
 given by one class: the Army Pageant of 1910 was given under the auspices of the Army 
 Charity. The profits of the Gloucestershire Pageant were to go to the Veterans Relief Fund 
 (see title-page of the Book of Words). 
 
 In the appendix to Pageants and Pageantry, Miss Bates estimates the cost of a school 
 pageant (or " festival ") with from a hundred and fifty to two hundred characters to be about 
 $230 for two performances (op. cit., p. 277). Mr. W. C. Langdon tells me that the cost varies 
 with each place; at Warwick, Massachusetts, where everything was given, the cost was $10. 
 Of course much depends on how carefully the pageant-master strives after historical accuracy, 
 and how much material he has at hand. 
 
 We have mentioned the expenses of some of the earlier pageants in a former chapter. As 
 a matter of comparison, it is interesting to recall that in 1617, Middleton received 282, out 
 of which he apparently had to provide the show; that in 1685, the four pageants cost 175, 
 
THE PARKERIAN PAGEANT 207 
 
 towns were anxious to have them. Mr. Parker emphatically declares that pag 
 eants should never be given for an object outside themselves; he always made 
 it a condition of assuming charge of one, that the pageant should not be given 
 for an " object," or charity. For either the entertainment is starved for the 
 sake of profit, or there may be no profit and then you are ridiculous. If, by 
 any chance, there should be a profit at the end, and the people could all agree 
 on a cause, the money could be turned over to it; sometimes the profits from 
 his own pageants were used to make permanent memorials of the occasions. 1 
 
 " War seldom enters, but where wealth allures "; and it is quite possible 
 that thoughts centred on the box-office would kill any esprit de mile (if I may 
 coin a phrase) which the pageant tends to develop; certain it is, that pageants 
 exploited by ticket-agents and starved for the sake of a profit do not reach as 
 high a plane as those managed with no thought of profit. The Scottish National 
 Pageant of 1908 2 was given " in aid of the Scottish Children s League of Pity," 
 yet it has many features which show an influence from the Parkerian pageant. 3 
 
 Whether we can rule an entertainment out of the field of pageantry purely 
 because it is given avowedly for a charitable object, or even for the profit of the 
 community (as the older pageants often were) is doubtful. The ideal pageant, 
 perhaps, has no aim of this kind does not even seek to pay expenses but 
 if the show is, in other ways, characteristic of pageantry, it has a right to con 
 sideration; even if the performers are paid, we can only deny that the produc 
 tion fulfils the high ideals of Mr. Parker. It may have what (for want of better 
 terms) we have called the " body " and " soul " and " technique " of pageantry; 
 if it lacks only the " spirit," it lacks what is not the least important element 
 of modern pageantry. 
 
 the flag and streamers, 140, and the poet received 10 the total cost of the show being 
 473, ^d. In the days when the only pageantic feature of the Lord Mayor s Show was the 
 " men in armor," the cost averaged a hundred guineas. Evans, p. xxix, n. 2., says that the 
 average cost of production of a masque at the time of James I was 1400 (or 6000 of our 
 money) ; but Shirley s Triumph of Peace, performed at Whitehall 3 February, 1633-4, by 
 the Inns of Court, cost much more. " The Charge of the whole Masque which was born by 
 the Societies, and by the particular Members of it, was accounted to be above one hundred 
 and twenty thousand Pounds." Whitelocke, p. 22. (Cf. above, vol. i, p. 118.) 
 
 1 An account of the Army Pageant, which was opened at Fulham Palace on 20 June, 
 1910, by Lord Roberts, may be found in the Times for 21 June, p. 10, col. i. The main ob 
 ject of this pageant seems to have been to raise funds for the Soldiers and Sailors Help 
 Society: but " Lord Roberts hopes that the high ideals of the promoters of the Pageant will 
 instil a sense of patriotism into the minds of the people, and cause them to do something, 
 however small, for the good of their country." (Ibid., col. 2.) 
 
 2 See Bibliography, s.v. SCOTLAND. 
 
 3 The legendary, mythical, elements are mixed with considerable Scottish history. From 
 the program it is impossible to tell how much speaking there was; it is equally impossible 
 to tell how much patriotic fervor was aroused by the view of former rulers and their courtiers. 
 We do not know what proportion of the population not of Scotland, but of Edinburgh 
 
208 ENGLISH PAGEANTRY 
 
 4. THE PAGEANT AND THE STAGE 
 
 I have already said that pageantry has revealed many latent talents among 
 the participants; but of the thousands of people who passed through Mr. 
 Parker s hands in connection with his pageants, only two sought to go on the 
 stage. This seems surprising; but the reason is fairly obvious for the pageant, 
 although dramatic, is far removed from stage conventions. The individual actor 
 is merged in the effect produced by the whole cast ; there is no opportunity for 
 conceit; all are working together for one aim. 1 Histrionic ability counts for 
 little: many who said shyly that they " couldn t act," proved invaluable be 
 cause they caught the spirit of an historical character, and presented him simply 
 and naturally. 
 
 JOHN PALMER ON PAGEANTRY 
 
 Mr. John Palmer 2 tells us that " much pious expectation has been aroused 
 in the minds of many excellent people by local revivals of the masque or pageant. 
 Arguing from these, and from one or two conspicuously successful efforts to raise 
 crops of dramatic genius in villages of the countryside, it has been rashly prophe 
 sied that thither we must look for the true revival of the English theatre." And 
 again: 3 " As to the masques and pageants which in the last few years have 
 swept the country like an epidemic, no one who has borne a part in these enter 
 prises is seriously able, on their behalf, to proclaim a national revival of dramatic 
 art." Nor do they; Mr. Palmer seems to be unable to divorce the drama from 
 the theatre ; and he has quite missed the real significance of the interest in these 
 historical pageants. " The greater number of these," he continues, " were 
 country meetings of fashionable people playing the perennially delightful game 
 known to children of all ages as dressing-up. At best they were an elaborate 
 fancy-dress ball." This, of course, is untrue of the Parkerian work; it is hardly 
 true of even such celebrations as that of Ripon though it is, quite likely, a 
 just characterization of such festivals as that at Grimston which preceded it. 
 
 took part in the production of this " pageant "; it is obviously less of a " festival " than 
 The Masque of Learning, in that it makes a more general appeal, and makes it through the 
 history of the nation, rather than through that of an art. The fact that it has an ulterior 
 aim to make money for a charity is not enough to rule it from pageantry. 
 
 1 In England and, to a certain extent in America, the names of the actors do not 
 appear on the program. This tends to subordinate the individual, as well as to emphasize 
 the historical character he represents. The audience does not laugh to see the greengrocer in 
 the garb of a Roman general, or make audible comments when Mary Ann appears as Queen 
 Elizabeth. The identity of the neighbor is sunk in that of the personage he represents: 
 many who are mute and inglorious become Miltons for an hour. Is it a wonder that life is 
 never quite so humdrum for them after that? 
 
 2 The Future of the Theatre, p. 167. 
 
 3 Ibid,, pp. 172 f. 
 
THE PARKERIAN PAGEANT 209 
 
 Had Mr. Palmer had the pleasure as I did at York of falling into con 
 versation with a shopkeeper as he took the air in front of his shop, he would 
 have seen as I did enthusiasm kindle as the talk came round to the pag 
 eant; he would have been taken inside, as I was, to see the spiked club which 
 my interlocutor had, as an " ancient Briton," wielded five years before; he 
 would have heard eulogies from the burly dealer in antiquities which would have 
 made Mr. Parker s kind heart beat a little faster than usual... Here was no 
 " fashionable " person talking about a " fancy-dress ball "! Of course, he liked 
 the " dressing-up "; who doesn t ? But his chief joy was in the new spirit the 
 pageant had brought to York; he never for a moment considered himself an 
 actor, or expressed a desire to go on the stage, or even connected the pageant 
 with the theatre in his mind. 
 
 To return to Palmer: "At worst they were conspicuous instances of pre 
 cisely that deliberate cult of innocence and simplicity which is the last possible 
 quarter whither we should look for a revival of the arts. They correspond with 
 the activities of a large class of people who imagine they can recapture the six 
 teenth century by writing Merrie Englande upon invitations to a contest of 
 brass bands people . . . who imagine they are putting back the clocks of his 
 tory by measuring time with a sundial." l They are rather the result of a popular 
 interest in the history of England or of such of it as centres about a given 
 town. At their best, they are given by the townsfolk for the benefit of their 
 fellow-citizens as well as of themselves ; and civic pride and solidarity follow the 
 lesson. At their worst, these pageants still teach a lesson in some kind of history 
 (perhaps not always accurate, because some charity or business corporation is 
 seeking to make money) and bring people together with a common aim. They 
 are not a fad, but a legitimate form of entertainment and instruction they 
 are local chronicle-histories, given by the people and for the people; they are not 
 training grounds for theatrical recruits, as Mr. Palmer hints ; nor do they seek 
 to "put back the clocks of history." 
 
 PAGEANT AND THEATRE 
 
 I should add that Mr. Parker has told me that managing a pageant is a great 
 education, especially for stage-managerial work and play- writing. One gets an 
 ability to turn almost anything into dialogue; he learns to save time, to cut out 
 irrelevant matter, and to write crisp speeches. In a later section, we shall return 
 to the subject of " pageant-plays "; here it will be sufficient to note that the 
 accuracy of the historical pageant has not been unfelt on the stage. 
 
 Mr. Parker produced Henry VIII, from the pageantic point of view, for Sir 
 Herbert Tree, and it had a long run; we shall refer later to his own Drake, and 
 Joseph (which, as I have noted, he calls " pageant-plays "). Mr. Ambrose Lee, 
 
 1 Op. cit., p. 173. 
 
210 ENGLISH PAGEANTRY 
 
 the York Herald, directed " all the ceremonial of the monarch s crowning," and 
 " the historical exactness in armour and heraldry of the knights and nobles 
 present in Rheims Cathedral," when, in the autumn of 1913, Raymond Roze 
 produced at London his opera, Joan of Arc. 1 " The coronation of Charles VII, 
 perhaps the most notable of the splendid * living pictures in the opera, compels 
 enthusiastic applause by the gorgeousness of its many characters . . ." Every 
 thing was reproduced as accurately as possible, even to " those little hesitancies 
 in the ceremonial on the stage upon which some of the critics have commented," 
 which were perfectly in the picture since no rehearsal of the ceremony took place. 
 " In the prologue of Mr. Raymond Roze s opera there is an accurate representa 
 tion of Joan s birthplace and home." 2 
 
 This accuracy, sometimes seen in plays of a " pageantic " character, is un 
 doubtedly due to the growth of interest in a careful reproduction of the past 
 which owes its origin to the historical pageant. 
 
 5. THE STRUCTURE OF THE PAGEANT 
 
 Unlike the peripatetic shows of earlier years, the cars of which were rarely 
 related to each other, this modern procession of events across an out-door arena 
 is bound together by a central idea. Each scene, which relates some past event 
 in the history of the place, is called an " episode " 3 it is not unlike an act in 
 a play, the plot of which is the history of the town. 4 Of course the dramatis 
 persona change with the centuries ; the place is the one thing which gives con 
 tinuity to the performance; the " acts " are frankly episodic hence their 
 name. 
 
 There are eleven episodes in the Sherborne Pageant, all of which are, of course, closely 
 connected with the history of the place. The first is " The Coming of Ealdhelm," 705; the 
 second, " The Defeat of the Danes," 854; the third, " The Death of Ethelbald, and the Com 
 ing of Alfred," 860; the fourth, " The Benedictine Rule introduced at Sherborne," 998; the 
 fifth, " William the Conqueror removes the See to Sarum," 1075; the sixth, " Roger of Caen 
 lays the Foundation-Stone of the Castle," 1107; the seventh, "The Quarrel between the 
 Town and the Monastery," 1437; the eighth, "The Foundation of the Almshouse," 1437. 
 This is preceded by a Morris Dance, in which Robin Hood, Maid Marian, and their band take 
 part; they play a small part in the action of the seventh episode. The ninth, " The Ex 
 pulsion of the Monks," takes place in 1539; the tenth, " The School Receives its Charter," 
 in 1550; and the eleventh, " Sir Walter Raleigh comes to Sherborne," in 1593. 
 
 1 See the London Standard of 5 November, 1913, for " The York Herald s Explanation 
 of the Pageants " as the headline-writer calls the " living-pictures " of this opera. 
 
 2 Ibid. 
 
 3 In Mr. Lascelles s Quebec Pageant these scenes are called " pageants " as if they 
 were the successors of earlier cars or platforms; but most " pageanters " call them " epi 
 sodes." Sometimes they are divided into scenes cf. Mr. Parker s York Pageant. 
 
 4 See below, p. 291. 
 
THE PARKERIAN PAGEANT 21 1 
 
 Between every two episodes is a selection by the orchestra, followed by a few 
 lines from the Narrative Chorus, who tell briefly what has happened since the 
 last " act," or prepare for the scene to come. 1 At the end of the last episode, 
 " the chorus rise from their seats and sing the Triumph Song," 2 and while they 
 sing, a Maypole has been set up immediately behind them. The Dramatic 
 Choir march on, and with them, a troop of children dressed as shepherds and 
 shepherdesses; the choir sings " With a Laugh as we go round," from The May 
 Queen, to which the children dance a Maypole Dance. 3 
 
 Then comes the Final Picture. 
 
 A stately Figure symbolical of Sherborne has been raised on a pedestal in the centre of 
 the Quadrangle. In one hand she bears a model of Sherborne Abbey; the other reposes on 
 a shield bearing the arms of the School. On her right stands her daughter, the American 
 Sherborn, bearing in her hand the model of a caravel, and resting the other on the arms of 
 the State of Massachusetts. Now the School marches through the crowd, singing the Car 
 men Saculare (the Sherborne School song) . . . Then the combined Orchestras and Choirs 
 play and sing the march in Tannhauser, while all the characters of the previous episodes 
 assemble round the pedestal. All the Performers together with the audience sing the first 
 verse of the Hundredth Psalm . . . Now the Herald steps forward, and in a loud voice reads 
 a Message of Greeting from Sherborn, Massachusetts, after which Performers and Audience 
 sing the National Anthem. 4 
 
 This is followed by the final processional march. 
 
 This pageant is an important one, for it was the model on which Mr. Parker 
 built his others, and after which to a greater or less extent his fellow pag 
 eant-masters in England constructed theirs, though, as we shall see, there is 
 considerable latitude in details. It combines drama, procession, and dance; 
 each episode tells a complete, if simple, story; 6 though the procession does not 
 wend its way through the streets of the town, it is none the less a procession; 
 and the masque-features of music and dancing, which are scattered through the 
 entertainment, give variety. 
 
 As the performance takes place on one spot, before the same audience, it 
 allows the use of narrative dialogue; but the acting and speaking are of the 
 simplest, the effects coming rather from the mass than the individual. The 
 
 1 Mr. Parker has explained that the Narrative Chorus in his pageants has the function 
 of the Greek chorus to a certain extent. It fills up the space between episodes suggesting 
 the passage of time as well as introducing each one and commenting upon it. 
 
 2 Book of the Pageant, p. 37; Mr. Parker wrote the music; Mr. Rhoades the poem. 
 
 3 This serves to connect the modern pageant with such May -day festivals as that at 
 Knutsford. The suggestion of folk-revels here and in the Morris Dance of Robin Hood recall 
 other celebrations, not in themselves pageantic. 
 
 4 Book of the Sherborne Pageant, pp. 38 f. In later pageants, the representatives of 
 American cities were commonly delegates from America. 
 
 6 In their relation to the whole, these " acts " remind us of the single plays that go to 
 make up a miracle-play cycle; indeed, pageantry is in much the same stage of its existence 
 as the drama in the days of the miracle-play. 
 
212 ENGLISH PAGEANTRY 
 
 " body " of the older pageantry has disappeared; but the " soul " remains, as 
 does the wide, popular appeal which was the " spirit " of the earlier pageant. 
 As for " technique," the modern work has drawn on dance, procession, and the 
 drama itself, and so is a mixture of masque, the older pageant, and the play; and 
 in this mixture the last element is the strongest. 
 
 A common, but not essential, accompaniment of the modern pageant, is the 
 commemorative service often held in connection with it, not only in England, 
 but also in America. Writing in 1910,, Mr. Parker had called a pageant, " part 
 of the great Festival of Thanksgiving to Almighty God for the past glory of a 
 city and for its present prosperity. Such an interpretation removes the whole 
 thing at once to a high plane and out of the atmosphere of the mere spectacular 
 entertainment. The actual pageant should be in the case of my pageants 
 it always has been opened and closed by great commemorative services on 
 the previous and concluding Sundays in all the places of worship." x 
 
 6. THE ELEMENTS OF THE PAGEANT 
 THE QUALITY, THE TYPE, AND THE INDIVIDUAL 
 
 There is a certain amount of symbolism in modern pageantry, and it would 
 be hard to prove there was no connection between it and that of the older show. 2 
 The allegory which we found in the earlier pageant has, naturally enough, al 
 most entirely disappeared from these historical " folk-plays "; in the former, 
 every character remained symbolic because he could not, under the circumstances 
 
 1 New Boston, for November, 1910, p. 296. In 1905, Mr. Parker had said (in the Journal 
 Soc. Arts, liv, p. 144) : " I confess I cannot conceive a pageant except as an incident in a great 
 act of praise and thanksgiving ..." 
 
 Quite the opposite view is held by Mr. Gilbert Hudson, the master of several Yorkshire 
 pageants, who writes, in a letter of 2 December, 1918: "... In some of the Pageants, stress 
 was laid by the person or persons in command on the theory that the Undertaking and Per 
 formance should be regarded as a Religious Civic affair; and in one case at least the proceed 
 ings were ushered in by a special cathedral service. 
 
 " This strikes me as profane nonsense, indicating (dare I suggest it ?) some solemn quack 
 ery on the part of the Instigator (perhaps of the Pageant Master in the first instance) and 
 an unwise enthusiastic credulity in the people. I agree that a reverent and lofty ideal is to be 
 held and worked for, but to mix up the methods of a Pageant Play with the ceremonies of a 
 Church, seems an undesirable reversion to the grotesque pietism (which now affects us almost 
 as sheer blasphemy) of the worser medieval Mystery plays. 
 
 " Therefore, as far as direct religious expression was concerned, I favored only the singing 
 of a hymn by audience and performers at the end of the performance. And no hymn is fitter 
 for all denominations to join in than O, God, our help in ages past. : 
 
 2 I do not mean that Mr. Parker took it directly from the Lord Mayor s pageants. It 
 may well have been an unconscious borrowing, or even an indirect one; it is also possible, 
 of course, that the same forces which were responsible for its earlier birth gave it an inde 
 pendent life one entirely unconnected with the earlier symbolism. 
 
THE PARKERIAN PAGEANT 213 
 
 of the presentation, be individualized. Fame, Honor, Envy, and Error must re 
 main, in a street procession, qualities rather than persons. Even in Jordan s 
 interludes, the characterization was so slight, that the countryman Hoyden and 
 the citizen Freeman suggest rather Rus and Urbs than Tony Lumpkin and Simon 
 Eyre. 1 
 
 Was not this the case with the interludes of John Heywood ? The Pedlar 
 and the Pothecary are types, rather than individuals; and the abstractions of 
 the morality-play were types. As soon as they became individuals, we ceased to 
 have either morality-play or interlude (for the latter is, after all, only a morality- 
 play with the moral aim left out) ; we ceased to deal with abstractions or types 
 and got straight drama. No play can tell more of a story than a morality like 
 The Nice Wanton; the difference between the play and the morality being that 
 in the former the story is told by individuals; in the latter, by types. It is ob 
 vious that the more the characters are individualized, the higher is the form of 
 art the further it is from farce or melodrama. 
 
 REASONS FOR THE DISAPPEARANCE OF ALLEGORY 
 
 From modern pageantry allegory has practically disappeared; this is due to 
 three reasons. First, the pageant is given on one spot, so that all the onlookers 
 can see everything that happens. This gives a chance for characterization which 
 the Lord Mayor s Show did not have. In the second place, the emphasis is on 
 history; and to make history live, the historical characters must be alive. This 
 was known to the writers of the seventeenth-century civic shows, who presented 
 historical characters to their public, rather than allegorical abstractions, when 
 they wished to recall the glorious past of the Mayor s Company. Even these 
 historical characters, however, were usually little more than appropriately 
 dressed and labelled lay-figures; the technique of the modern pageant enables 
 us not merely to see the famous men of the past ride through the streets: we 
 can see them doing something which their prototype had done; we can assist 
 at the reproduction of an historical moment. 
 
 In the third place, the episodes of a modern pageant are dramatic, and a 
 character hi the drama is an individual. The more dramatic the Lord Mayor s 
 Shows became, the more the characters drew away from allegory. Consider, 
 for instance, the 1613 Show of Middleton s: there is a certain amount of drama 
 in the strife between Truth and Error between Envy and Zeal ; and as they 
 fight, these characters tend to get away from pure allegory. 2 They didn t, it is 
 true, get far; but we must remember that conditions were such that they couldn t. 
 
 1 Of course I use these names merely as representatives of countryman and citizen who 
 are alive as antitheses to Rus and Urbs. 
 
 2 What they are called makes no difference. You can name a character Worldly Shame, 
 or Pecunius Lucre, or Charles Marlow it is all the same. What matters, is what he does 
 or rather, what he is. Error may be an individual; Audrey a type. 
 
214 ENGLISH PAGEANTRY 
 
 The modern English pageant is not a morality-play. Even in the days of 
 the morality-play, the types tended to become individuals the natural tend 
 ency on the stage. But Zeal and Envy, in 1613, were not on the stage. In the 
 older pageantry, the types remained types because action was systematically 
 shut out, and speech rigidly restricted to conventional flattery. 
 
 The little allegory and symbolism which survive in modern pageants are con 
 fined to the final picture, or to the narrative chorus the parts of the pageant 
 where action is in its lowest terms. 1 It is interesting here to note the strange 
 assortment of characters which appeared in the Scottish National Pageant of 
 1908, to which I have before alluded. We find here such figures as the River 
 Forth, Edinburgh with Divinity, Law, Learning, Medicine, Valor, Commerce, 
 Agriculture, Science, and various Arts accompanied by a Monk, a Nun, 
 Doctors of Divinity and Medicine, a Judge, Justice, Drama, and Music; and 
 the Burghs of Scotland. There were also Celtic gods, Spirits of Light, Life and 
 Joy, Demons, Goblins, Mortals, the Cuchulainn Cycle, the Ossianic Cycle, the 
 Arthurian Legend, Romans, Vikings, and a group representing the Early Church. 
 Then came historical groups from Malcolm III to " the Jacobite group of the 
 1745, " including various English sovereigns between James I and George II. 
 What these figures did, is not clear from the program; they may not have done 
 more than march on or across the stage, though it is more likely that each 
 group took part in some kind of dance. At all events, there was no historical 
 play here : the cast suggests a cross between the masque and the older pageant. 2 
 The influence of the Parkerian pageantry seems slight. 3 
 
 SYMBOLISM IN THE PARKERIAN PAGEANT 
 
 In the so-called " futuristic pageants " of the United States, which we shall 
 treat anon, there is much more allegory than in the English historical pageants; 
 but in the latter a certain amount of symbolism persists. The figures personi 
 fying the towns in the Final Pictures lack individuality; these have come down 
 from the London and Britannia of the older " triumphs." After the historical 
 scenes, which give the audience a personal touch with the past through the indi 
 viduals they have seen in each episode, comes the final symbolism. We have 
 already mentioned the figure of Sherborne ; 4 Hope and Colcestria have a short 
 dialogue just before the " Final Tableau " of the Colchester Pageant; 5 at the 
 
 1 In the narrative chorus of the York Pageant to cite an example semi-chorus I 
 represents Memory and semi-chorus II, Hope (Book of Words, p. 3). We shall return to sym 
 bolism in a moment. 
 
 2 The Masque of the Seasons, which was part of this pageant, will be treated later, (see 
 below, p. 223 f.). 
 
 3 Perhaps it was to shows of this kind that Mr. Palmer s remarks which I have cited, 
 applied. 
 
 4 See above, p. 211. 6 Book of Words, pp. 65 f. 
 
THE PARKERIAN PAGEANT 215 
 
 end of the Dover Pageant, " Enter Dover with the forty-four American and 
 Colonial Dovers "; * at Warwick, " now enter the fourteen Colonial and Ameri 
 can Warwicks, represented by young girls in appropriate costume. Lastly, enter 
 a Stately Figure representing Warwick." 2 Here we have pure symbolism; and 
 it is exactly like that which we find in the Lord Mayor s Show for the year 1631, 
 when London was surrounded by Westminster, York, Bristol, Oxford and Exeter. 
 With the exception of this personification which, after all, is symbolism, in 
 sofar as it stands for cities Mr. Parker does not favor inserting symbolical 
 figures into historical pageants. We shall discuss, in the next chapter, the " fu 
 turistic pageant " so common in the United States; Mr. Parker, maintaining, 
 as he does, that history is the most important element of pageantry, cannot 
 advocate a substitution of allegory or symbolism. 3 
 
 RIVERS PERSONIFIED AND INDIVIDUALIZED 
 
 Rivers, especially the Thames, were personified often enough in the seven 
 teenth-century Lord Mayor s Shows ; 4 we find them in the historical pageants 
 of the twentieth century. Thames and Tide, who spoke the narrative links in 
 the Chelsea Pageant, were characterized very slightly; and hi the Introduction 
 to the Chester Pageant which " contains a good deal that was written by 
 Jqhn Milton " 5 the " persons " represented were Chester, the Gates, the Pin 
 nacles, the Walls, Attendants on Chester, the Dee, with nymphs, Tritons, and 
 fairies of the banks ; here also there is little characterization. 
 
 1 Book of the Dover Pageant, p. 69. 
 
 2 Book of the Warwick Pageant, p. 60. Thirty American girls took part in this pageant. 
 At Bath, the American girls, " special envoys from the United States," represented towns in 
 Maine, New York, Illinois, New Hampshire, the Carolinas, South Dakota , Ohio, Kentucky, 
 Missouri, Pennsylvania, and Michigan. " Two maidens representing the Canadian Baths . . . 
 make their way towards the Mother Bath " (Book of the Bath Pageant, pp. 70 f.). 
 
 New York and Yorks situated in Tasmania, Alabama, Maine, Illinois, Nebraska, Pennsyl 
 vania, Queensland, Minnesota, North Dakota, Kentucky, Sierra Leone, Virginia, Ohio, and 
 Ontario besides Toronto, once called York were represented at the York Pageant 
 (see Solloway s volume, p. 73, n.). 
 
 3 Both, or all three, elements were hospitably received by the older pageantry. Cf. above, 
 vol. i, p. 220, for the account of Maria de Medici s reception at Avignon in 1600. On this 
 occasion we find the past of the city happily linked to its royal guests, by the introduction 
 of those ancestors of both king and queen who played a part in the history of the town: and 
 we noted a touch of " futurism." (It is rare that the future is suggested by anything except 
 allegory or symbolism. Can one call the little Henri V " history " ?) 
 
 4 It is enough to recall the Thames, Severn, and Humber in 1605; the Boyne, Shannon, 
 Rhine, and Danube (" signifying the present seats or scenes of war, of which the entire pageant 
 is an emblem ") in 1691; the Thames, Tiber, and Indus in 1694; Neptune with the Thames, 
 Danube, Rhine, and Tiber in 1701; the Thames in 1585, and in the 1604 "royal-entry." 
 Cf. also the Forth at Edinburgh in 1908. (See above, p. 214.) 
 
 5 Mr. Hawtrey s Foreword: see the Book of the Chester Pageant, p. n. 
 
21 6 ENGLISH PAGEANTRY 
 
 THE RIVERS AND STREAMS OF GLOUCESTERSHIRE 
 
 But the Gloucestershire Pageant demands more attention. Here the Chorus 
 is made up of the Rivers and Streams of the county. They were rowed in boats 
 upon the lake which stretched along the foot of the grandstand ; and they came 
 to and fro between the episodes, singing their songs and making the necessary 
 explanations. 1 It matters not so much whether or not Mr. Hawtrey were di 
 rectly influenced by the personification of rivers in the older show; for here the 
 Rivers are characterized, and therefore tend away from the symbolism which 
 pervaded it. 
 
 The four principal Rivers the Thames, Sabrina, Avona, and the Chelt 
 are attended by various other Rivers and Streams of the shire, grouped in large 
 boats. Father Thames speaks the opening words; and as he says, " We are the 
 streams and rivers that do flow through Gloucestershire," the Chelt interrupts 
 importantly - 
 
 " I am the Chelt. 
 
 Thames: Peace, unimportant brook! 
 
 Chelt: I unimportant! Isn t Cheltenham on the Chelt ? 
 Thames: This is Sabrina . . . 
 And this Avona . . . 
 
 I m Father Thames ... a true-born son of Gloucestershire. 
 This little fellow is the Chelt. 
 Chelt: All right! 
 
 I told them that. You don t think they forget. 
 Thames: All these around us are our tributaries; 
 Whose tuneful flow of rippling harmonies 
 Will soothe the ear with sweet old English songs. 
 Chelt: They are the small fry. 
 Sabrina: Silence, little Chelt." 
 
 Here is characterization obvious in the dialogue; we see the dignified figure 
 of the Thames, and the pert Chelt, full of his own importance, hardly bigger 
 than a tributary. This characterization is kept up between each episode; one 
 or two more citations will suffice to show how far from symbolism we are taken. 
 
 Before the sixth episode, which is an " abbreviated scene " from Comus, 
 Thames reads : 
 
 "Sabrina: an abbreviated scene from Comus/ by John Milton 
 Chelt: Who was he ? 
 
 Sabrina: You ignorant, uneducated boy! 
 
 1 Mr. Hawtrey, in his Foreword, says: " The task of explaining the subject of each episode 
 in its turn is usually entrusted to a Narrative Chorus. I have ventured to make a slight 
 change. The Chorus sing old English songs, or glees, not necessarily bearing on the following 
 episode: while the explanation of what is to come is undertaken by representatives of Glouces 
 tershire rivers who tell their tale in spoken dialogue." 
 
THE PARKERIAN PAGEANT 217 
 
 Avona: Oh, Chelt! You ve not read Comus ? 
 Chelt: No. Have you? 
 
 Avona: Have I ? How dare you ask ? Please, Father Thames, 
 
 Unfold the tale, in case there should be any 
 
 Beside this infant here, who know it not. 
 Thames: . . . Sabrina, beauteous stream, whom Milton loved, 
 
 She, she alone, has power to give release. 
 Chelt: I wonder Milton never thought of me. 
 Avona: Conceited little Chelt, I don t suppose 
 
 He ever heard of you. 
 Chelt: He must have been 
 
 An ignorant, uneducated man." 1 
 
 And again, introducing Episode viii the visit of George III to Cheltenham 
 in 1788- 
 
 " Thames: Now comes the reign of George the Third, a King 
 Whose memory we in Cheltenham hold dear. 
 Chelt, you shall tell the reason why. 
 Chelt: All right. 
 
 King George the Third together with his Queen and their three daughters 
 Came to this town when he was ill and drank the Cheltenham waters, 
 And to these waters George the Third declared himself a debtor, 
 Because he very soon became considerably better." 2 
 
 Here is characterization which has killed symbolism: we do not see rivers, 
 but four inhabitants of the county, acting as chorus. The Chelt, with his roguish 
 conceit and impertinent interruptions, is akin to the morality " Vice "; and the 
 Vice was one of the first characters in the morality-play to become human. 
 
 In the various figures of the cities, we have symbolism preserved; and some 
 of the rivers remind us of predecessors in the Lord Mayor s Shows. All this 
 symbolism is, however, confined to the Narrative Chorus or the Final Picture; 
 and in the Gloucestershire Pageant the characterization which has taken history 
 from the hands of lay-figures, has crept into the narrative chorus and banished 
 symbolism. 
 
 THE HISTORICAL ELEMENT IN THE PARKERIAN PAGEANT 
 
 We have already mentioned the part which early British history played in 
 the " royal-entry " and Lord Mayor s Show of past centuries; in the Parkerian 
 pageant it is, obviously, important. 3 If some of the history here made vivid is 
 
 1 Book of the Gloucestershire Pageant, pp. 60 f . 
 
 2 Ibid., pp. 74 f. 
 
 3 The Warwick Pageant is introduced by Druids; the Roman occupation of York forms 
 the matter for the second episode of that pageant, in which Cartismandua and Caradoc ap 
 pear; Caractacus appears in the Gloucestershire Pageant; Cymbeline and Caradoc (or 
 Caractacus) appear in the first episode of the Warwick Pageant, and, with Gwyddyr, in the 
 
21 8 ENGLISH PAGEANTRY 
 
 not strictly accurate, we can hardly blame the pageant-masters; for, since the 
 days of Geoffrey of Monmouth, we have almost adopted the mythical history 
 of Britain as if it were fact. 1 
 
 The Colchester Oyster makes its first appearance in the first episode of the 
 pageant of that city, when the Britons discover the bivalve, and that it is good 
 to eat. 2 The story of the Bear and the Ragged Staff is dramatically told in the 
 second episode of the Warwick Pageant, 3 and Gwar says: " Now, look you, this 
 . . . shall henceforth be our escutcheon, that all men seeing it shall dread War 
 wick s fist." How Dover got the motto Invicta is told in the second episode of 
 the Dover Pageant. 4 Thus is history vivified. 
 
 THE PAGEANT is A MODERN CHRONICLE-PLAY 
 
 Modern pageants bear much the same relation to us that the chronicle-play 
 bore to the Elizabethan audience. 5 The " historical exposition " is the soul of 
 the Parkerian pageant; and, this being the case, the dialogue is important. 
 Some there are, in America, who maintain that a pageant should be wordless, 
 because hi many cases it is impossible for the audience to hear; the Englishman 
 feels that speech is so important that the audience should be restricted to those 
 who can get within earshot. 
 
 In the Sherborne Pageant, Ealdhelm asks the chieftain, pointing to the spring, 
 " My son, by what name is this water known ? " And the chieftain replies, 
 " Sir, in our ancient tongue we call this water the Scir Burn the clear stream. 
 It is a holy place." Thus the audience gets an etymological lesson with its 
 history. It is obvious that the dialogue is important. 
 
 OLDER CHRONICLE-PLAYS MAKE CONTRIBUTIONS TO THE NEW 
 
 Many of the older chronicle-plays are drawn upon by the modern pageant. 
 In the York Pageant a condensed version of the Chandlers play of the Angels 
 
 Colchester Pageant which also includes, in a later scene, Boadicea, who is shown in the 
 first episode of the Bury Pageant. 
 
 I may note that Taliesin appears before the Knights of the Round Table in Mr. Monck s 
 pageant-play of King Arthur, before alluded to. 
 
 1 The Trojans under Ebrauc appeared in the first episode of the York Pageant. (See 
 Solloway s volume, p. 6, and the Book of Words, pp. 10 f.) Bladud appeared in the Bath 
 Pageant of 1909 as a character in a masque. (See the Book of the Bath Pageant, pp. 41 f.) 
 
 * Book of Words, pp. 9 f. The oysterbeds, (" fisheries ") play a considerable part in the 
 pageant; " The Song of the Oyster " (Book of Words, p. 51) written by the Mayor of 
 Colchester was introduced while Queen Elizabeth is at the Oyster Feast. 
 
 3 Book of the Warwick Pageant, pp. n f. 4 Book of the Dover Pageant, pp. 15 f. 
 
 5 Professor Baker, writing in New Boston (Nov. 1910) p. 296, remarks that modern 
 pageantry " seems likely to be for us (in America) a combination of the Chronicle Play and 
 the Morality." In England, the emphasis is on history; as we shall see, America permits 
 much more allegory. 
 
 6 Book of the Sherborne Pageant, p. 14. 
 
O ~c 
 
 o 
 
 u 
 
 w 
 
 fi 
 
THE PARKERIAN PAGEANT 219 
 
 and the Shepherds was given in the closing scene of the fifth episode; the text 
 was made from Miss Smith s York Mystery Plays, 1 and the scene was presented 
 on a reproduction of a miracle-play pageant. This interesting union of the old 
 and new pageants is noteworthy. 2 
 
 One of the episodes of the Warwick Pageant, " based on scenes from Marlowe s 
 Edward the Second" tells the story of Piers Gaveston in five pages; 3 episode v 
 of the Dover Pageant is " compressed " from Henry V; 4 episode iv of the 
 Gloucestershire Pageant is 3 Henry VI, v, 5; 5 and episode vi of the Bury Pag 
 eant is a " greatly condensed " version of 2 Henry VI, iii, i. 6 No clearer evidence 
 could be desired, of the fact that the English pageant-masters feel that they are 
 doing the task of a chronicle-playwright. 
 
 The reason that these pageants cannot be called " chronicle-plays " - allow 
 ing for a change in the method of presentation is that they deal with a place, 
 whereas the chronicle-play presents the history of a person. The method of 
 treatment is the same, but the matter treated is different. And it might be 
 confusing to class them together, especially as there is such a divergence in the 
 manner of presentation; though both have the " noble Patriotism " which 
 Carlyle attributes to the one. 
 
 COMEDY AND HISTORY COMBINED 
 
 Just as Shakspere mingled comedy and history in Henry IV, so Parker, in 
 the second episode of the Dover Pageant combines with history a dash of comedy : 
 
 " Odo: . . . Wherefore, Seneschal, summon the Cinque Ports. 
 Zack: What s cinque ? 
 Hob: How many fingers hast thou on the right hand? 
 
 1 See the Book of Words, pp. 98 f., and T. P. Cooper s article on the Armorial bearings of 
 the craft guilds and companies in the Book of the pageant (mentioned in the Bibliography, 
 s.v. YORK). 
 
 It may be noted that the tenth scene of the first part of the English Church Pageant, 
 showed a " Miracle Play and Pilgrimage Scene, c. 1350." The episode was divided into two 
 parts, the first of which pictured " the market place of a country town, crowded with people. 
 A band of pilgrims, on their way to the shrine of St. Thomas, are among them, and while 
 they talk a cart enters, drawn by two oxen, bearing the curtained stage of a miracle play. 
 The curtains are soon drawn and the Chester Miracle Play of the Shepherds is performed. 
 At the end the cart is drawn off, and the pilgrims go out singing." (Program of the pageant, 
 p. n.) 
 
 2 A rare post-card photograph of this scene has been given by Mr. Fred Arey of York to 
 the Harvard Library. It is reproduced as the frontispiece of this volume. 
 
 3 Episode vi. See the Book of the Warwick Pageant, pp. 27 f. " Piers de Gaveston in 
 Scarborough Castle " is the seventh episode of the Scarborough Pageant (1912): some lines 
 in this scene are taken from Marlowe s play. (See Book of Words, p. 25.) 
 
 4 Book of the Dover Pageant, pp. 37 f. 5 Book of the Gloucestershire Pageant, pp. 45 f. 
 6 Book of Words of the Bury St. Edmunds Pageant, p. 48. The Foreword notes that the 
 
 scene is " drastically compressed." 
 
220 ENGLISH PAGEANTRY 
 
 Zack: Four. For one I cut off by mistake 
 Hob: (disgusted) Oh ! 
 
 Flourish of Trumpets 
 
 Seneschal: All Mayors, Bailiffs and Barons of the Five Ports and their members, draw ye 
 near and answer to your names as you shall be called, and give your attendance here at the 
 Bredenstone upon the peril that shall fall of.it. 
 
 As they are called, ENTER THE MAYORS, etc., each with a BANNER-BEARER and banner 
 and two ATTENDANTS. They form a great semicircle round the Bredenstone. ENTER 
 the CROWD of MEN, WOMEN and CHILDREN. 
 
 Seneschal: Dover Sandwich Romney Hastings Hythe These be the Cinque 
 Ports. Rye Winchelsea the two ancient towns. Now certain of the Limbs or Mem 
 bers. Folkestone Feversham Margate Fordwick Deal Walmer Ramsgate 
 Lydd Pevensey Seaford Tenterden. 
 Odo: Are all here ? 
 
 Mayor of Hastings: All are here, my lord. 
 
 Odo: (at the Bredenstone) Hear now what rights and privileges our Sovereign Lord the 
 King intends towards you, and what service he requires in return." 1 
 
 And so the history lesson goes on. It makes an impression on us because we 
 hear it, imaginatively, through the ears of those who are themselves taking part 
 in it. The principle is the same as that used by the writers of the Elizabethan 
 chronicle-play, whose audiences knew, for instance, that Richard III had lost 
 the Battle of Bosworth Field when they heard him cry, " My kingdom for a 
 horse! " They realized his defeat through his own realization of it. And this 
 is what makes the history we learn by means of fiction impress us, and stay 
 with us, long after the facts we have read in books have gone. Through our 
 sympathy for, and interest in, the characters, we gain an interest in events. 
 
 In these pageants, history is made alive for us by the same method. They 
 have an emotional appeal which is rarely equalled in the theatre. It would be 
 a great play which could hold an audience for four hours, and leave such an im 
 pression that members of that audience became enthusiastic at the mention of 
 the play five years later. Yet more than one pageant has accomplished this feat. 
 
 One can readily see that dialogue is important in these pageants. Although 
 the action is built on broad lines, suitable for the open-air performances, the 
 words of the historical episodes should be easily audible. 
 
 The Oxford Pageant of 1907 consisted of fifteen scenes and an Interlude or 
 Masque; and of these sixteen parts, nine are dramatic scenes with words, and 
 the rest spectacular only. " It is, perhaps, advisable to point out," says the 
 prefatory note, " that a modern Pageant, like an historical play of Shakespeare, 
 is often compelled, by reasons of space, time, and suitability for representation, 
 to foreshorten history. The critic must not murmur if persons and events are 
 found in a juxtaposition for which there is no absolute warrant in the chronicles, 
 
 Book of the Dover Pageant, p. 16. 
 
PH 
 
THE PARKERIAN PAGEANT 221 
 
 or if fancy sometimes bodies forth possibilities which may never have been 
 realities." l 
 
 This seems to be the only attitude to take regarding the use of history in the 
 pageants. "Be accurate: but, if you can t be accurate, be as accurate as you 
 can." Even Mr. Parker, whose insistence on the importance of historical accu 
 racy in pageants is founded on the belief that laxity in this respect weakens them 
 as educational vehicles, has allowed himself a certain margin. One does not, 
 indeed, presume documentary evidence for Hob and Zack; but one wonders if 
 Queen Elizabeth really attended the Oyster Feast at Colchester... 
 
 What is obviously unhistorical can do no harm; what is not obviously in 
 accurate should in an historical pageant be indicated, on the program or 
 elsewhere. 2 
 
 WHERE TO STOP THE HISTORICAL SURVEY 
 
 The ostensible aim of pageantry is to revive or maintain a memory of the 
 past, giving the history of the town, and honoring its great men. One result of 
 this is the education and development of the town s inhabitants (and the pill is 
 not the less effective because it has a sugar coating!); but this is, after all, only 
 a by-product. 
 
 In this historical survey, Mr. Parker stops at the time of the Civil War, or 
 earlier. 3 He considered this necessary, as the Whig and Tory camps still exist 
 in England, and feeling still runs high. It is unsafe, he believes, to come nearer 
 than the middle of the seventeenth century; and he had to " skate rather care 
 fully over Cromwell." At Colchester, where the siege was vital to the history 
 of the town, he tried an experiment from a dispassionate point of view he 
 reproduced the shooting of the Royalists by the Roundheads in a scene strictly 
 
 1 The Book of Words, p. 6. Cf. also the last paragraph of Mr. Langdon s foreword in the 
 Book of Words of the St. Johnsbury Pageant, p. 5. 
 
 2 It is, for example, unlikely that Dr. Johnson, Smollett, Boswell, and Goldsmith ever 
 attended a fete at Ranelegh Gardens with George II although such a thing would have 
 been possible. 
 
 In Episode v of the Bath Pageant, the young Shakspere, who with Marlowe and others 
 had been acting before the Queen, was presented to her. (Surely an unhistorical scene!) 
 See Book of Words, esp. pp. 39 f. 
 
 3 The Sherborne Pageant (1905) ends with Sir Walter Raleigh; the Warwick Pageant 
 (1906) with the Fire of Warwick, (1694); the Dover Pageant (1908) with the arrival of 
 Henrietta Maria, (1625); the Bury Pageant (1907) with " The New Age " (1533-1578); the 
 Colchester Pageant (1909) with the siege of the town (1648); the York Pageant (1909) with 
 the siege and surrender of York, to the Parliamentarians, " with all the honours of war," in 
 1644. The St. Albans Pageant (1907) ended with Elizabeth at Gorhambury, July, 1572; 
 the Pickering Pageant (1910) with the defeat of the Armada (1588), and the Hertford Pag 
 eant (1914) with the visit of the Queen to the Castle in 1561. (None of the last three was Mr. 
 Parker s.) 
 
222 ENGLISH PAGEANTRY 
 
 accurate, as well as amazingly dramatic and tragic. 1 The very words used at 
 the trial and execution were repeated; and yet though the people took the 
 scene well the episode did arouse feeling on both sides which, while not un 
 pleasantly expressed, was obvious. Partly for this reason, and partly because 
 the costumes of the Georgian period seemed dull and unromantic after those of 
 earlier times, Mr. Parker deemed it best to emphasize the remoter past. Not 
 all the other English pageant-masters, however, agree with him in this respect; 
 but it is to be noted that when history was brought down to later times, con 
 tention is avoided, as Mr. Parker avoided it at Warwick. 2 
 
 7. MASQUE, INTERLUDE, AND JOUST IN THE 
 MODERN PAGEANT 
 
 " THE MASQUE OF THE MEDIAEVAL CURRICULUM " AT OXFORD IN 1907 
 
 An interesting feature of many of the modern pageants is the " interlude." 
 
 In the Oxford Pageant of 1907 we find The Masque of the Medieval Curriculum 
 
 - which is not a masque at all, but a modern attempt at a morality-play. This 
 
 " masque " contains little dancing, though there is plenty of singing. The 
 
 1 This final episode, the sixth, may be found in the Book of Words, pp. 54 f. " Every 
 incident in the Pageant is based either on local tradition or on authentic history," says Mr. 
 Parker in the Foreword, " and in many cases the characters repeat the actual words spoken 
 by their prototypes. This is especially the case in Episode vi." 
 
 Concerning this scene (Book of Words, pp. 61 f.) Mr. Parker told me that the shooting 
 was horrible in its realism. Regular soldiers who often, by the way, acted in his pageants 
 took the parts of Cavalier and Puritan. The cavalry charges of this pageant were done 
 by cavalrymen, and the effect was splendid. 
 
 2 The Oxford Pageant (1907) included the visit of George III to Oxford in 1785; the 
 Chelsea Pageant (1908) included a Royal Fete at Ranelegh Gardens in 1749, which was 
 attended by George II, Dr. Johnson, Bos well, Smollett and Goldsmith, among others; the 
 Gloucestershire Pageant (1908) showed the visit of George III to Cheltenham in 1788; the 
 Winchester Pageant (1908) included the " Merry Monarch." The Bath Pageant (1909) 
 showed the visit of Queen Charlotte to Bath in 1817; the Army Pageant (1910) included 
 Badajos, 6 April, 1812; the West Dorset Pageant (1911) included the visit of Charles II to 
 Bradpole in 1651, and the London Pageant (The Festival of Empire, 1911) showed " The Allied 
 Sovereigns in London," 18 June, 1814. The English Church Pageant (1909) ended with the 
 acquittal of the Seven Bishops in 1688, but contained groups representing eighteenth- and 
 nineteenth-century Churchmen. 
 
 The Scarborough Pageant (1912) included several episodes after Queen Elizabeth s time: 
 Episode x, " Surrender of the Castle to the Parliamentary Forces, 164.5 "; episode xi, " Dis 
 covery of Spa Waters, about 1620; " episode xii, " Release of George Fox from Imprison 
 ment in the Castle," 1666; episode xiii, " Mr. Mayor is tossed in a blanket," 1688; and 
 episode xiv, " A Miscellany, introducing: Gablers Fair, Amusements, The Press-gang, 
 Smugglers, Pirates, Fashionable Visitors, Local Celebrities and Eccentrics etc.; Time 
 the latter end of the eighteenth century (chiefly 1780-90)." 
 
THE PARKERIAN PAGEANT 223 
 
 characters include a Pr selector, a Vain Student and a Wise Student, the Court 
 of Learning, with Divinity, Medicine, and Law and their trains, the Seven Arts 1 
 and the rout of Folly and Pleasure. These two, at the end, beckon luringly to 
 the Vain Student; " he, hesitating for a little while, goeth to them. Turning 
 him round with garlands they do drag him out singing, and then may one per 
 ceive Time following after them silently . . . When they have passed away, 
 Time following, shall the Arts and Sciences, particularly Divinity, since he 
 hath chosen her for his mistress, conduct the Wise Student forth in the opposite 
 direction, preceded by the Praelector, who, when they are approaching the exit, 
 shall let them pass him by, and then follows them out, and as they go they shall 
 sing . . ." 2 
 
 Another interlude, played before the Henry VIII and the Wolsey of this same 
 pageant, showed a Knight (Youth) who slew the Dragon (Ignorance) and freed 
 a maiden (Knowledge) whom the latter bore a prisoner on his back. A mimic 
 castle, borne by four men within, appeared before the Spirit of the Age, attended 
 by a number of dancing nymphs. 3 This entertainment omitted in the per 
 formance because of lack of time is a better imitation of a masque than was 
 the other; for it has (besides song) dance, a moving castle, and a mock-fight 
 the roaring Dragon was killed with a goose-quill. The allegory tends, however, 
 to give it a strong morality flavor. 
 
 " THE MASQUE OF THE SEASONS," IN THE SCOTTISH NATIONAL PAGEANT 
 
 Included in the Scottish National Pageant was a " Masque of the Seasons," 
 the Argument of which reads as follows : 
 
 " Time leadeth in the masque; He enthroneth Queen Nature and placeth Pity and 
 Valour on her right hand; Love and Beauty on her left. 
 
 " He surroundeth her with her Courtiers, and Attendants, Dawn, Day, and Night, the 
 Stars, the Golden Hours, the Angels of Pity and the Babes they guard. 
 
 " He summoneth the Seasons in due order, Spring, Summer, Autumn, Winter, that they 
 may present their gifts to Nature, and delight her heart with Song and Dance and Gaiety 
 and set forth the Triumph of Good St. George over the Horrible Dragon of Cruelty. " At 
 the end comes, " The masque of Christmas and St. George and the Dragon," with Hestia, 
 Father Christmas, Waits, Jesters, the Princess, 4 the Dragon, Mercy, Pity and St. George, the 
 Horse, the Doctor, Turkish and True Knights. It is noteworthy that allegory is here com 
 bined with what is apparently a revival of the old folk-dance, although it is called " a play." 
 
 1 Who appeared in 1432 (see above, vol. i, p. 145) and in 1547 (ibid., p. 186); also in 
 Dekker s Show for 1612, Jordan s for 1676, Taubman s for 1678. Cf. above, p. 77, n. 3. 
 
 2 Book of Words of the Oxford Pageant, p. 62. This " Masque " was written by Professor 
 Sir Walter Raleigh. 
 
 3 Ibid., pp. 74 f. J. B. Fagan was the author of this interlude. 
 
 4 Presumably the figure of the maiden so often rescued by St. George in earlier days 
 as, for instance, in 1461 at Bristol (cf. above, vol. i, p. 152) and at Coventry in 1474 (ibid., 
 P. iS4). 
 
224 ENGLISH PAGEANTRY 
 
 Given in six scenes, it shows the princess, fastened to a stake, attacked by the dragon and 
 rescued by St. George, after which the " Ancient Mummers play St. George and the Dragon 
 which is presented with quaint ceremony and circumstance by them. After which these and 
 the whole Company with Nature and her Court form in procession and march out to brave 
 music." l 
 
 It is interesting to observe that, whereas, in the Lord Mayor s Show when 
 there were interludes the interludes tended away from the allegory which 
 permeated the rest of the pageant, here the interludes tend toward allegory. 
 
 FOLK-REVELS OF THE PAST REVIVED IN MODERN PAGEANTS 
 
 But not all of the interludes in modern pageants are allegorical. That of 
 the Winchester Pageant, called "St. Giles Fair " is really a formless episode, 
 giving a picture of a town fair in the time of Henry I. 2 The second part of the 
 seventh episode of the Chester Pageant which deals with the visit of James I 
 to Chester in 1617 shows "The Midsummer Revels" about i62o. 3 The 
 revellers include the Waits, the Dragon, Elephant and Castle, 4 Maypole chil 
 dren, the Antelope, Ass and Unicorn, the Ship, the Merchants Mount, 5 Morris 
 Dancers, Jack o the Green, 6 the City Giants, Guild Boys with banners, the 
 Luce, the Camel, Hobby Horses, a Merry Andrew and Dairymaids, Elves and 
 Fairies. In this episode, the revels consist almost entirely of dances: "enter 
 the procession, which makes its way down to the front. Maypoles are set up 
 on each side of the arena. The Revels open with a Maypole Dance . . . This is 
 followed by a Morris Dance. Then comes a Dance of Dairy Maids. Then the 
 Maypole Ribbons are unwound . . . Following this comes the Dance of the Elves 
 and Fairies. The Revels then close with the Charge of the Hobby Horses." 7 
 
 1 From the program of the Scottish National Pageant. 
 
 2 See Book of the Words and Music of the Winchester Pageant, pp. 35 f. The last episode 
 of the Scarborough Pageant included the " Gablers Fair." Cf. the Book of Words, p. 68. 
 
 3 Book of the Chester Pageant, pp. 70 f. (A. E. Lovell, M.A., is the author of the entire 
 episode.) 
 
 " May Day Revels " constitute scene v of part ii of the Festival of Empire the London 
 Pageant of 1911. 
 
 4 See above, vol. i, pp. 66 f., and p. 170, and n. 5 of this volume. 
 8 See above, vol. i, pp. 44-46, and notes. 
 
 6 See above, vol. i, p. 70. 
 
 7 Book of the Chester Pageant, p. 71. I may mention a few more examples of the masque- 
 episodes in modern pageants: both gypsy and morris dances were included in the Potter 
 Heigham Pageant of 1907; morris dancers appeared in the Colchester Pageant (see the Book, 
 p. 30); and a Roman dance followed the Triumph of Claudius (ibid., p. 13). Episode iv 
 ended with a dance of the fishermen (ibid., p. 41); a " stately dance " was performed in epi 
 sode v, scene i (ibid., p. 44); a " Rigadoon " was danced by children, after they had acted 
 out the song of " Old King Cole " who was brought on "in state " for the entertain- 
 
THE PARKERIAN PAGEANT 225 
 
 THE MASQUE IMPERIAL OF THE " FESTIVAL OF EMPIRE " 
 INCLUDES ALLEGORY 
 
 The Festival of Empire ended with a " Masque Imperial," wherein the " alle 
 gory of the advantages of Empire " was shown. This, it is necessary to observe, 
 gives a morality-play flavor to the whole pageant. The Genius of the World, 
 the Voice of the World, Queen Need of Knowledge, with many Queen Needs of 
 other things, Britannia, with the Spirits of her Meadows, Forests, Lakes, Mists, 
 and Mountains (to name a few out of many) and the Queen of Wisdom were 
 characters in this masque, which also included the Colonies. 
 
 Many of these masque-like episodes were mere revels ; others contained alle 
 gory, with a morality-play flavor in some cases; and some prefaced a joust. In 
 the second part of episode vi in the Winchester Pageant showing the recep 
 tion of the Emperor Charles V by Henry VIII a morris dance entered, with 
 Fool and Maid Marian, dragging a huge wooden horse. 1 After a dance, during 
 which the morris men sang King Henry s song, " Pastime with good Companye," 
 a grave man, crowned, stepped forward, in the dress of King Priam. 
 
 A JOUST-LIKE MASQUE AT WINCHESTER 
 
 . . . With his sceptre he strikes the horse. It snorts flame; opens, and a number of little 
 Cupids with drums come pouring forth, beating an alarm. Other Cupids run with a band of 
 silk, which they strain and set up as a tennis net ... They toss balls to and fro across it, 
 but scurry away as a trumpet sounds and from either entrance L and R six knights come rid 
 ing, armed for the joust. Six are Greeks Menelaus, Ulysses, Ajax, Pyrrhus, Sthenelus, 
 Neoptolemus: six, Trojans Paris, Deiphobus, ^Eneas, Pantheus, Hypanis, Polites. They 
 pass the thrones to music, salute, and wheeling in two semi-circles ride back to their barriers. 
 Then, at the sound of another trumpet, they gallop forward. 
 
 ment of Elizabeth (ibid., p. 53). A " Stately Dance " and a morris dance welcomed Mary 
 Tudor to Bury St. Edmunds (Book of that pageant, p. 57). Many dances occur in the York 
 Pageant a Roman dance (Book of Words, p. 27); a morris dance and a sword-dance (ibid., 
 p. 86) ; a dance by the children of York (ibid., p. 100) and a " stately dance " by the Lords 
 and Ladies of the Court before Anne, consort of James I, (ibid., p. 112). Tymbesteres danced 
 before King John of France and David Bruce of Scotland in the Hertford Pageant of 1914 
 (Book, p. 30) ; and there was a Pavane as well as a country-dance (" Bessy and the Clown 
 on Plough Monday ") before Queen Elizabeth in the last episode (Book, pp. 38-39). In the 
 latter was a dragon and a hobby-horse. 
 
 " A Masque of Prince Bladud " forms a part of episode v of the Bath Pageant depict 
 ing the visit of Queen Elizabeth to Bath in 1590. Hobby-horses, fairies, etc., take part. 
 (Book of the Bath Pageant, pp. 41 f.) " The Faery Queen Masque " was performed before 
 Elizabeth in episode vii of the Chelsea Pageant. (See the Book of that pageant, pp. 83 f., 
 and the illustration opposite p. 77.) 
 
 1 Pictured in the Ittus. Lond. News for 27 June, 1908, p. 956, (picture 9). 
 
226 ENGLISH PAGEANTRY 
 
 A Joust. The Greeks prevail, and chase their opponents around the lists. At a sudden 
 roll of drums, the king stands and lowers his warder, whereat all the knights form up and cross 
 their lances. 1 
 
 While many of these are not, strictly speaking, " interludes," they are akin 
 to the formless episode, like the St. Giles s Fair of the Winchester Pageant. 
 They give us pictures of the Court and folk life of the past, which need not be 
 closely related to the life of one particular place. There were, it is true, revels 
 at Chester in 1610 but they were not confined to that year, nor were they con 
 fined to that place. Nor is there anything characteristic of the history of any 
 town in a masque or joust. 
 
 THE MODERN " INTERLUDE " 
 
 It is clear, then, that an " interlude " has as far as modern pageantry is 
 concerned become something different from the dialogues that either John 
 Heywood or Thomas Jordan wrote. Insofar as it breaks the slender plot 2 of 
 a pageant, it has a right to the name. But the word is confusing when it can 
 cover anything from a joust to what is practically a morality-play. 
 
 A PAGEANTIC MASQUE AT EDINBURGH 
 
 In the reign of Henry VII, as we have seen, the pageant car was adopted by 
 the masque ; but it influenced only the setting not the technique of that 
 form of art. In 1634, we found a masque with a pageant-attachment, as it were; 3 
 in 1912, we find a masque which seems to have been influenced by the modern 
 pageant. The Masque of Learning, by Professor Patrick Geddes, was prepared 
 to celebrate the twenty-fifth anniversary of the foundation of University Hall, 
 Edinburgh, and was performed at the Synod Hall, in that city, on the 14, 15, 16, 
 and 19, March 191 2. 4 As Professor Geddes says in his Foreword, this Masque 
 
 1 Book of Words and Music of the Winchester Pageant, p. 65. Sir A. T. Quiller-Couch is 
 the author of this part of the episode. 
 
 Episode iv of the Bath Pageant the visit of Henry VII to Bath in 1497 ends with a 
 joust. (See the Book of that pageant, pp. 28 f.) 
 
 2 If we may use this word to suggest the story of a town. 
 
 3 See above, vol. i, pp. 117 f. 
 
 4 I am indebted to Mr. S. J. Hume for the Book of Professor Geddes s masque. A clip 
 ping from a Glasgow paper which I found in the copy he lent me, contains an account of the 
 extension of the masque by the addition of new episodes. " Two masques have thus arisen 
 first, that of ancient learning, up to Celtic civilisation inclusive, and second that of mediaeval 
 and modern learning; and these will be given in successive weeks. . . Yet with this increase 
 of spectacular interest, the main ideas of the whole, its historical interpretations, its educa 
 tional suggestiveness, also, will, it is hoped, be all the clearer." This pageant, the same clip 
 ping asserts, led to the formation of the " Edinburgh Masquers." 
 
 The whole masque or pageant both terms are very loosely used is more of a " festi 
 val " than a real pageant; in spirit it recalls the Boston Normal School " Pageant," which 
 
THE PARKERIAN PAGEANT 227 
 
 of Learning " consists of an historical pageant of characteristic scenes illustrative 
 of the development of Higher Education, and of the origins and history of the 
 University each in its widest sense . . . The main presentment begins with 
 the Oriental civilisations, and proceeds through Greek and Roman times, through 
 Celtic and Mediaeval periods to the Renaissance and the Encyclopaedic age ; and 
 thence to the present day . . . Each sequence of scenes, with its typical and his 
 toric figures, is ... in principle itself a pageant, expressing the essential genius 
 of a race, or commemorating the main achievements of an epoch of civilisation . . . 
 The final scene attempts to shadow forth the Opening Future of Education and 
 Citizenship; and to suggest how Edinburgh and her many students may take 
 an increasing part in this; City and University, Life and Learning, again, as of 
 old, advancing hand in hand." 
 
 THE MASQUE OF CHARTERHOUSE 
 
 Akin to this pageantry which can appeal only to a small part of the commu 
 nity, and which, for this reason, has been more properly given another name, is 
 the celebration of the tercentenary of the Charterhouse School in 1911, by the 
 Masque of Charterhouse, performed on 8 July of that year. This set forth his 
 torical scenes from the past of the old school, and seems to have resembled, in 
 several ways, the Pageant of Hollis Hall, presented at Harvard University in 
 June, 1913. l Every incident of this masque " was concerned with the Charter 
 house and her intimate life, and represented by men and boys to whom Charter 
 house is a living reality." 2 This seems to have been rather a pageant than a 
 masque; perhaps it was given the latter name because it appealed only to a 
 small part of the community, rather than to the community as a whole. 
 
 A WORD ON THE INVESTITURE OF THE PRINCE OF WALES 
 
 Mr. Parker thinks that the proclamation of the present Prince of Wales at 
 Carnavon in which careful attention was paid to past procedure is an 
 outcome of the love of the past developed by the educational pageant in Eng 
 land. It is, perhaps, more likely that both are the results of forces set in motion 
 in the nineteenth century, though the historical pageant may have stimulated 
 the Investiture of the Prince directly. 3 
 
 is treated in the next chapter. The characteristically American " futuristic " element is 
 also to be found in it, with the symbolism and allegory that are inseparable from a treatment 
 of the age that is to come. 
 
 1 On this, see below, p. 272. As far as I know there is no connection between these two 
 pageants. 
 
 2 A few ladies in " walking parts " appeared in the second scene; (the Hollis Pageant 
 showed none). An account of the celebration in connection with this anniversary was pub 
 lished in the London Times for 10 July, 1911, p. 6, col. i; a notice of it appeared in the 
 same paper for 20 May, 1911, p. 6, col. 5. 
 
 3 For pictures of this ceremony see the Ittus. Lond. News for 22 July, 1911, especially 
 
228 ENGLISH PAGEANTRY 
 
 8. PAGEANTIC TENDENCIES IN ENGLAND THE 
 " PAGEANT-PLAY " 
 
 Even before the war, pageantry seemed to be losing popularity in England; 
 the years from 1911 to 1914 were not so prolific in historical pageants as had 
 been those during the period 1905-1911; this is, it has been suggested, due in 
 part to the commercializing of the pageant, but it is also due to a development 
 in other lines of the forces which pageantry has put in motion. At first, England 
 seized upon the historical pageant as a child seizes upon a new toy; then, the 
 novelty having worn off, she threw it aside. But there are signs that it will be 
 come a cherished possession, none the less valued because kept less in evidence. 
 
 Already a revival if one may revive what is not dead seemed to be be 
 ginning in the summer of 1914, when, hardly a month before the war broke out, 
 Hertford celebrated her thousandth anniversary. It is impossible to foretell 
 the effect on pageantry which peace will have; but one can imagine the pa 
 triotism and national pride which will demand expression and one sees the 
 means of expression at hand. 1 
 
 The pageantic spirit has been kept alive, in the years since 1911, in various 
 ways. We have already noted the pageantry which has appeared in the Royal 
 Naval and Military Tournament, and the tendency to " pageantize " the fancy- 
 dress ball, by giving it a central idea. Such shows as the " Children s Welfare 
 Festival," which was given at Olympia in April, 1914, and included the " Makers 
 of England," 2 keep alive if it needs keeping alive the " soul " of pageantry. 
 The historical characters in this last festival gave a pageantic flavor to what 
 would otherwise have been merely a children s masque. 3 These shows reflect 
 
 pp. 164, 165. This occasion was recognized in the Lichfield Bower of 1911 (which took place 
 before the actual event). 
 
 We may note, in passing, " The renewal of a ceremony in abeyance for two and a half 
 centuries: the King and Queen leaving St. George s Chapel for the return open-air procession 
 after the special Garter Service at Windsor," which is pictured in the Illus. Land. News for 
 6 July, 1912 (American edition), p. 7. " A special service for the Knights of the Garter was 
 held in St. George s Chapel at Windsor on June 15, before their Majesties left for Harrow. 
 The open-air procession was a novel feature of the ceremonies. It was revived last year, at 
 the Investiture of the Prince of Wales at Carnavon, for the first time in the history of the 
 Order since the days of Charles II . . ." (Ibid,, loc. cit.) 
 
 1 In both England and America pageantry was used, to a certain extent, and in various 
 forms, not only as a means of raising money for war-charities, but as propaganda. 
 
 2 Among whom were Boadicea, William I, Richard I, Elizabeth, Marlborough, Nelson, 
 Wolfe, and Victoria. 
 
 3 With the exception of the historical characters, the affair was a series of dances lightly 
 related to each other in that they were all inspired by toys or fairy-tales; historical accuracy 
 was not of primary importance, nor did the entertainment seek to awaken a patriotic pride 
 in the past. 
 
 Another example of these children s entertainments is described in the London Daily 
 
THE PARKERIAN PAGEANT 229 
 
 pageantry, applying it, as it were, to private or charitable ends, depriving it of 
 its popular " spirit " and sometimes reducing it to its old form of tableau vivant, 
 (though without the pageant-car and street-procession). 
 
 It is to be remarked that at the " Children s Welfare Festival " we see a 
 pageantic interlude in a children s masque, reversing the commoner masque- 
 interlude in the historical pageant. 
 
 THE " PAGEANT-PLAY " AND THE " PLAY-PAGEANT " 
 
 There have long been spectacular plays, with large casts; but since the Par- 
 kerian pageant arose, the term " pageant-play " has come into being. This is 
 still rather a vague term it is used to cover many kinds of performances. The 
 late Sir Herbert Tree s production of Henry VIII was an interesting perform 
 ance which had a long run; Mr. Parker s more recent Joseph and his Brethren 1 
 was even more pageantic ; his Drake dealing with a national hero was revived 
 during the early days of the recent war, and awoke much patriotic enthusiasm. 
 These plays show a tendency to bring the stage nearer the pageant, than the 
 pageant toward the stage; in the first two, the method of production was pag 
 eantic but Drake shows pageantic material as well. It is almost straight 
 Elizabethan chronicle-history. 2 
 
 " THE LAST DAYS OF ST. BENET S ABBEY " AT POTTER HEIGHAM 
 
 An interesting bridge between the historical pageant and the pageant-play 
 is The Last Days of St. BeneCs Abbey, which Mr. Parker wrote for the Norfolk 
 town of Potter Heigham in 1907. This resembles an episode in a pageant, but 
 it has a small love-story woven into it; the Narrator (a woman who takes the 
 part of Chorus) gives prologue and epilogue, and interrupts at times to explain 
 the progress of the story. The interest here is not confined to history; the germ 
 of a plot is visible and this makes it noteworthy, as a play given in the pageant 
 manner. 
 
 Telegraph for 5 March, 1914: " A pageant entitled Children through the Centuries, com 
 piled by the Rev. C. V. R. Scott, will be given in connection with the Children s Union, Waifs 
 and Strays Society, at the Royal Court Theatre on Thursday afternoon, June 25. There will 
 be a series of scenes portraying historic and traditional incidents in connection with child-life 
 including a symbolical scene arranged by Lady Beatrix Wilkinson, president of the Chil 
 dren s Union, and a patriotic scene, Children of the Empire, arranged by Lady Muriel 
 Herbert." 
 
 1 Based on the Biblical story, this play had over forty speaking-parts, and hundreds of 
 people in the cast. 
 
 2 From the little I know of Mr. Nugent Monck s work, I should say that he applied the 
 technique of the pageant to material not always pageantic. I have referred to his Legends of 
 King Arthur the only one of his " pageants " I have seen (above, p. 196, n. i). A good 
 deal of his work lay in the revival of the masque which lies outside our field. 
 
230 ENGLISH PAGEANTRY 
 
 THE PLAYS OF THE REV. MR. PERKINS OF YORK 
 
 As an outgrowth of the historical pageant we may note the work of the Rev. 
 Mr. F. L. Perkins, of York. He has written several " pageant-plays " or " play- 
 pageants," either with the purpose of raising money for charitable objects, or 
 as with Disinherited ? to spread certain propaganda. The first, given at 
 Thirsk in Yorkshire, on 25 and 26 June, 1907, owed its existence to the Sher- 
 borne Pageant as much as to anything; * all the parts were taken by the towns 
 folk, 2 and the matter of the " play " was the history of the town, scenes from 
 which, to Elizabeth s time, were presented. Mr. Perkins prefers to call his pro 
 ductions " plays " rather than " pageants," because, as he says, the dialogue is 
 important ; but so is that of the Parkerian pageant as we have seen which 
 is really a " chronicle-play of a town." 
 
 Up the Heights, a " play with a purpose," is really not a pageant at all; the 
 only flavor of pageantry being an historical parenthesis showing Wolfe and the 
 capture of Quebec. The play is a plea for missionary work in the Colony he 
 conquered. In Old Northumbria, " an open-air play," was given at York in the 
 summer of 1912; it showed four scenes of history which took place between 
 650 and 680 one of which was re-enacted on the spot, outside the Minster, 
 where the original happening took place. 
 
 On 17, 18, and 19, February, 1914, in the Festival Concert Rooms at York 
 was presented Disinherited ? :" a play-pageant in aid of the Church in 
 Wales." I quote from the " Author s note ": 
 
 " This play has been written in order to present to the eye (as well as to the ear and mind 
 and heart) some of those facts with regard to the past and present work of the Church in 
 Wales, upon which we base our urgent claim that the Church shall not be dismembered, and 
 four of its Dioceses disestablished and disendowed. 
 
 " The limitations of a stage-play have compelled the Author ... to abbreviate and con 
 dense matter of much historical importance. Lighter touches have been introduced here and 
 there in order to counterbalance the dullness that might result from the scrupulous care that 
 has been taken to suppress all references, however attractive, to persons or parties in the 
 treatment of a subject which is at present, unhappily, part of a political programme." 3 
 
 After " a reveille in aid of the Church in Wales " and a " prologue, to be spoken by the 
 Angel of Wales," comes scene i "A Point of Law " which takes place in the library of 
 Sir Richard Juxon, a Liberal Member of Parliament. To this defender of the Welsh Church 
 Bill whose wife has begged him in vain not to vote for the measure the Angel of Wales 
 appears in a dream, after he has fallen asleep with the reveille echoing in his ears. The Angel 
 reveals to him the history of the Welsh Church, from 530 to 1914 in a series of episodes 
 which are not so called. 
 
 First, St. David blesses King Arthur " at early dawn "; the next scene shows " how the 
 Church received lands Guidnerth s gift, A.D. 590 "; the third, " Gerald, the Welshman," 
 
 1 My authority here is Mr. Perkins himself. (Mr. Gilbert Hudson " conducted, and 
 partly wrote " this " pageant," he says, in a letter of 16 August, 1918.) 
 
 2 Non-conformists as well as Church people. 
 
 3 That is, the Welsh Church Disestablishment Bill, a policy of the Liberal Government. 
 
THE PARKERIAN PAGEANT 231 
 
 c 1185 which is based partly on Giraldus Cambrensis Itinerary through Wales); the next, 
 "A Measure of Disendowment. The Selling of the Monasteries, 1537," followed by "An 
 other Measure of Disendowment, 1651-1653. The Puritan Failure." Finally we see " St. 
 Teilo s Clergy House, Llanclwyd, 1914 " a scene in a Welsh parish of the present. After 
 this series of pageantic episodes, the scene returns to the M.P. s library; Sir Richard, aroused 
 by a message from the House, goes to vote against the Disestablishment of the Welsh Church. 
 " And I shall vote that the Church, which has done so much and suffered so much, shall not 
 be disturbed." Then, after an appeal by the Angel of Wales to the audience, the actors in 
 the various episodes appear and all sing " O God, our help in ages past. . ." 
 
 This " play-pageant " was given by Church people in York, and it was planned 
 to have others give it in various parts of England, in order to influence public 
 opinion before the bill against which it was directed should be passed. Techni 
 cally, it is not unlike Mr. Knoblauch s My Lady s Dress; though the material 
 which lay between the first and last acts of the latter play was not pageantic. 
 
 The historical pageant has a well-defined technique, which is capable, it is 
 true, of certain variations; and on the outskirts of this new art lie many possi 
 bilities plots, masques, interludes which may be combined into enter 
 tainments more or less pageantic. The spirit of the Parkerian work is also 
 well-defined, but is capable of being diluted to almost any weakness; and in 
 determining what is, or what is not, a pageant, both elements must be taken 
 into account. 
 
 9. CONCLUSION 
 
 This survey of the modern historical pageant in England makes clear two 
 things: first, that Mr. Parker is not aware of any debt to the older pageantry; 
 and secondly, that while Mr. Parker s productions may be considered the norm 
 of the modern pageant, if you will, there may be a considerable variation from 
 that norm. Of the older pageantry, only the " soul " exists in the newer and 
 that is somewhat modified; the " technique," and " spirit " have changed: the 
 former is more that of the masque (or even of the theatre), and the latter is 
 " popular," not only because given for the people, but by them, as well. 
 
 The older pageant was a procession in which symbolism, history, allegory, 
 and mythology grew up, and had to be explained; the pageant itself was the 
 platform or wagon on which these characters appropriate to the occasion 
 stood. It always remained, even when, in the seventeenth century, speech was 
 an important part of it, the least dramatic of all dramatic forms. Modern pag 
 eantry differs much from this, in that it is essentially dramatic. Like the masque, 
 one episode follows another across the stage a " procession of events " 
 while the audience remains seated in one place, and looks upon one arena. Each 
 episode tells a story, but is more than purely expository; and the older allegory 
 has largely given way to historical individuals. 
 
 Because each episode has a connected story to tell, the words are important; 
 and the audience is often restricted especially in England to those who can 
 
232 ENGLISH PAGEANTRY 
 
 hear what is said. Sometimes music and dancing are allowed to break the nar 
 rative chain l but these two elements are more important in America as 
 we shall see than in England. 
 
 Mr. Parker is, as we have noted, distinctly opposed to street-processions, 
 and his pageants broaden the " popular " element, characteristic of the older 
 shows. Not only was the first performance open to all free of charge, 2 so that 
 the townspeople could see their pageant as easily as they saw their street pa 
 rades; but a much larger proportion of the community took part in the Show. 
 This awoke a local pride (almost of ownership) in the past of the town which 
 the older pageant had failed to awaken. 3 
 
 The earlier triumph was built around a person or an office, and aimed to 
 amuse; in the modern pageant, the attention which, in former times was fastened 
 on king or mayor, is focussed on the town and the people are instructed, as 
 well as entertained. There was symbolism and allegory in the earlier work; and 
 a morality-element appeared in the " Be good and you ll be famous " of An 
 tiquity, Time, or Fame to the Lord Mayor. This preaching mixed with 
 flattery as it was did not affect the populace whose attention was held by 
 the various " inventions " of the show; but the preaching and the allegory were 
 there. In the modern work, lessons in history are presented with a dramatic 
 effectiveness which is comparable to that of the Elizabethan chronicle-play, 4 and 
 which impresses not only the local performer and auditor, but also the stranger 
 from afar. 
 
 The modern pageant, then, shows the same progress over the earlier, that the 
 chronicle-history showed over the morality. 
 
 ENGLISH AND AMERICAN PAGEANTRY 
 
 American pageantry differs from the English, in that it is less dramatic, more 
 symbolic as a rule and seems to be freer to take some subject not strictly 
 historical. In England, the emphasis of a pageant is on the past of the town that 
 gives it; yet a strong community spirit is aroused, and the civic pride engen 
 dered is expected to bear some fruit in civic betterment. This result of pageantry 
 
 1 It is hard to tell, from the account of the Quebec Pageant, just how large a part speech 
 played in the presentation of the historic scenes; there was plenty of music and dancing in 
 many of the episodes. (Of course the importance of speech does not determine whether or 
 not a given entertainment is a pageant; it is merely a detail of technique.) 
 
 2 His pageants usually " ran " for a week, and the first performance was, he tells me, 
 open to all without charge. The whole town could thus see its pageant for nothing; the 
 performance made a good " dress-rehearsal, and nothing was lost by the omission of street 
 parades. 
 
 3 Unless, perhaps, in the case of those shows whose annual recurrence made a civic holiday. 
 Any established institution must awaken a sense of the past, even if it is subconscious. 
 
 4 " Marlborough, you recollect, said, he knew no English History but what he had learned 
 from Shakespeare." Carlyle, The Hero as Poet. 
 
THE PARKERIAN PAGEANT 233 
 
 is, as we shall see, emphasized in America, so that what is almost a " by-product " 
 of the English work, becomes the raison d etre of many American pageants. 
 Hence the term " futuristic " pageant; hence, also, one reason for the increase 
 of symbolism in the work done on this side of the ocean. 1 
 
 England is not dead, and we are not wholly without a past; in the main, 
 the difference between the pageants in England and America is due to the mental 
 attitude of the two countries. As Mr. Parker says, England talks of the " good 
 old times," and America of " the good times that are to come." 
 
 There are, of course, plenty of historical pageants given on this side of the 
 water; but, whereas in England " the York Pageant " means a pageant giving 
 the history of York, we cannot be sure whether " the New York Pageant " 
 sets forth the history of that town or not. 2 In any case, we may be sure that the 
 American pageant is likely not to confine itself to history, though this generaliza 
 tion like every other has its many exceptions. In America, we are more 
 apt to build a pageant around an idea than a town. 
 
 Like many other things in this country, the pageant which came to us from 
 oversea has become naturalized, and is changed to suit American conditions. 
 But, like the modern English pageantry, its underlying spirit is educational. 
 When we do not give dramatic expositions or expository dramas we fall 
 back on symbolism; more often we combine the two, using, in the process, a 
 considerable amount of allegory. 
 
 The new form of dramatic expression, which came into being with Mr. Par 
 ker s Sherborne Pageant of 1905, is, probably, the result of various forces which 
 in the last century began to turn men s minds to the past. It owes no direct 
 influence, however, to the pageants we have been studying at least, it owns 
 no debt. It has been a potent educational force, and has stimulated community- 
 spirit; and now that the war is over, bids fair to spring into a new life voicing an 
 enthusiastic patriotism. 
 
 The forms which this new mode of artistic expression is taking in America, 
 we shall leave to the next chapter. 
 
 1 In this connection, " futuristic " has no relationship with present-day movements in 
 art and music. I mean simply " looking to the future." 
 
 2 As a matter of fact, both in England and America, those pageants which officially bear 
 the name of a place usually lay most of their emphasis on the his ory of that place. It will 
 be recalled that there was much beside Scotch history in the Scottish National Pageant at 
 Edinburgh. 
 
YORK HISTORIC PAGEANT, 1909 
 EXECUTIVE COMMITTEE 
 
 ACCOUNT OF RECEIPTS AND PAYMENTS TO yra OCTOBER, 1909 
 
 j 00 O *O O O O fO O O 1 O t*^ O\ 1*0 O O O ^ O O O O* **J" *"O w O V O 
 
 " M MM 
 
 \O O t^ 00 PO t**- M co O O^O oics M v} 10 OO^O^OOOOOOO 
 
 C/> M M W IH 
 
 C+^ 10 O fO c^ ^O fO O^ *^ *o f) 10 O ^ l o cs M t-. to^O w o* rj* ^ c^ w O> 
 
 13,677 9 2 
 Treasurer s Hands 762 9 7 
 
 14,439 18 9 
 
 ve Committee of the York Historic Pageant and prepared therefrom the foregoing statement which 
 (Signed) BARRON & BARRON, Chartered Accountants. 
 
 )TE BY THE AUDITORS. 
 
 es not represent the final balance, as a few costumes and properties have still to be disposed of, and 
 ill have to be paid. In addition, certain Honoraria and Commission have to be paid in accordance 
 
 T3 O O 
 
 
 
 80 
 
 
 
 g ^ a tf 1 
 
 S jf ^ ga 
 
 :9 ^ d a 8 ", ^ 
 
 *S uT >3 ^^* ^ -^ 
 
 "H r M oj- H S 
 
 *-i 5 *.8 *_i 5 * * is^ .... 
 
 O. .. . f 4).T3.2 -C^-l .. .... 
 
 H 4>. .. . ,-S . . . .Pn.rt B. . d 2. 
 
 
 i^ uT "c^ig S^ 1 " 
 
 < uf .i: l >^ 2 jS S ** 
 
 -Srt-- c.c22 IiS^.a 2 
 
 <>a fliS8n3 
 
 ^ e" . . . 1 M . S, . "" -!S tf . 5 1H B-9 
 
 gS |.| 1 "* "a" J*SS 
 Q ^ c3 ^ 1 J? S 1 5 ^ S^ a * 
 
 c 3 ^ 13 c 2" r 2^ r S* J 5 o^- t cj > 2o a rt ^ 
 
 I 
 
 Wi! 1 
 
 s Ijgs sa Illi^llil^ sl^ lllrtl^ll l 
 
 j i 11 in i 
 
 vO O MO^ OOOt-t t^-^O fO 
 
 (fl HI M MM MM 
 
 v> ^O ^O M oa r*^ M 
 i-T M" 
 
 M 
 
 00 
 
 M 
 
 H 
 
 ^ 
 
 We certify that we have examined the Books and Accounts of the Executi 
 we certify to be correct, 
 i, MINSTER GATES, YORK, 2oth October, 1909. 
 
 N( 
 
 The amount of 762 95. 7d., in the hands of the Honorary Treasurer, do 
 a few accounts, including the expenses in connection with the final meetings, \\ 
 with Agreements, and Bank Interest will be received. 
 
 T-j vO O VO O w O 
 
 
 M M 
 
 
 M <N PO 
 
 2 M , _, 
 
 |3 
 
 
 a ^ 8 
 
 -CQ 
 ,a~ . 
 
 S-2 . 
 
 
 ^ o a S 
 
 u^^S -g OT O p^- 
 
 III ps 
 
 ^ o g S 6"^ 
 a s o ^ci3 ocs 
 wO w UPn aj UPQ 
 
 234 
 
CHAPTER IX 
 
 PAGEANTRY IN THE UNITED STATES 
 
 ALMOST every American thinks he knows what a pageant is, and most of 
 us have seen if we have not taken part in at least one. Here is no 
 attempt to give directions for producing a pageant, 1 nor a list of all the pageants 
 which have been produced in this country. Hardly a day goes by that one does 
 not see in the daily papers accounts of a pageant just given or about to be given. 
 The whole country is in a fair way to become pageant-mad ; and in this madness 
 pageantry has taken on many different shapes. 
 
 What I plan to do in this chapter is to divide pageantry into its three main 
 classes, giving examples of each kind not always from the best-known pag 
 eants. Perhaps when this survey has been made, we shall be able to define 
 pageantry; at least the reader should be able to classify any pageant in which 
 he has been particularly interested. 
 
 Strict rules for pageant- writing cannot be laid down. As a living language 
 is constantly changing, and the rules thereof can never be absolutely fixed, 2 so 
 pageantry cannot be strictly defined, for it is still in the making. It is a sign 
 of the speed at which we live, that we demand definitions of this form of artistic 
 expression when it is still in its infancy; but many tentative definitions have 
 already been made. 
 
 It is possible that the reader may not be able to find, in the illustrative ex 
 amples I shall give, any pageant which exactly conforms to the one he is trying 
 to classify. But such a pageant must fall into one of two big classes: it was 
 either peripatetic, or it was given in one place. These are the two great divisions; 
 and we shall begin our survey of American pageantry with the pageantic pro 
 cession. 
 
 i. PROCESSIONAL PAGEANTRY 
 
 Historically, as we have seen, a pageant is a procession with floats or images 
 carried about the streets, or a procession which marched from one stationary 
 platform to another. On these platforms were various symbolic, or historical, 
 allegorical, or mythological personages so that even without speech, we find 
 the " body " and " soul " of the older pageantry already joined. These pro- 
 
 1 The interested reader may rind hints on this subject in Bates and Orr s Pageants and 
 Pageantry, Davol s Handbook of American Pageantry, Constance Mackay s Plays of the Pi 
 oneers, pp. 161 ff ., my Manual of Pageantry, and Crawford and Beegle s volume. 
 
 2 Greenough and Kittredge, Words and Their Ways, pp. 76, 77. 
 
 235 
 
236 ENGLISH PAGEANTRY 
 
 cessions have been, and still are, extremely common in America; although we 
 have nothing which exhibits the continuity of the London Lord Mayor s Show. 
 
 The " Pope " processions in Boston l remind us of the earlier folk-processions 
 with giants, although they are more " sophisticated "; 2 the Puritan s attitude 
 toward the Pope, and that of the Revolutionary toward the royal governor are 
 clearly marked. 
 
 At Boston, on 8 February, 1 788, in celebration of the ratification of the Federal 
 Constitution by the Massachusetts Convention, a big trade procession was held. 3 
 In the same year, " on Friday the fourth day of July, 1788, the citizens of Phila 
 delphia in commemoration of the great event of AMERICAN INDEPENDENCE . . . 
 presented the most brilliant and interesting spectacle that ever occurred in the 
 annals of the new world, and which has scarcely been surpassed by the splendor 
 of the ancient or modern triumphs of Asia or of Europe." 4 An historic event 
 was reproduced on the site of the actual happening in New England, early 
 in the nineteenth century. 
 
 EARLY HISTORICAL PAGEANTRY THE FESTIVAL AT PLYMOUTH IN 1801 
 
 On 22 December, 1801, Forefathers Day was celebrated at Plymouth, 
 Massachusetts, by an " interesting piece of pageantry," which was preceded by 
 a procession, headed by Captain Turner s independent company in complete 
 uniform. The line of march led around the town; the procession escorted the 
 clergyman to the meeting-house; and after divine service the company dined 
 at Old Colony and Freedom Halls. During this celebration, " an Indian, dressed 
 in the habiliments of a Sachem, met Capt. TURNER in the place where Massasoit 
 was first discovered, and the emblems of peace and friendship, which were inter- 
 
 1 Cf. above, p. 176 f. 
 
 2 That is to say, no survival of the " human sacrifice " is seen here nor is the effigy the 
 descendant of any fertilization divinity. Massachusetts undoubtedly, as has been pointed 
 out, inherited the custom from England. 
 
 3 See the Massachusetts Centinel of 9 February, (viii, p. 169), of 13 February (viii, p. 174), 
 cited by Albert Matthews, " The Term Pilgrim Fathers, " in PuU. Col. Soc. Mass., for 
 December, 1914, p. 313, n. 5. (The Massachusetts Spy of 7 August, 1788, calls this the first 
 of many processions to demonstrate joy.) 
 
 4 Cited, from the Columbian Magazine (ii, pp. 391-400) for July, 1788, in Publ. Col. Soc. 
 Mass., for December, 1914, p. 313, n. 5. 
 
 The same note contains a passage from R. Davol, Handbook of American Pageantry (1914), 
 pp. 27, 31: "A procession through the streets of floats on which historic occasions are rigidly 
 impersonated by live people trying to look like dead ones is commonly called a pageant in 
 America, for example at Philadelphia, or the Hudson-Fulton celebration . . . Research as to 
 the beginning of modern American Pageants indicates that the spirit was manifest as early 
 as 1627 at the Merry Mount revels . . ." The student of pageantry must be careful not to 
 confuse the revel with the pageant though the former, whether processional or not, con 
 tains the germ of the latter. 
 
PAGEANTRY IN THE UNITED STATES 237 
 
 changed, brought into view, an interesting scene, that existed soon after the 
 arrival of our ancestors. A sprightly ball at Old Colony Hall, in which the ladies, 
 by their participation, heightened the social enjoyment, crowned the anniversary 
 festival." : 
 
 PAGEANTIC PROCESSION AT ST. Louis IN 1847 
 
 The anniversary of the founding of St. Louis was celebrated 15 February, 
 1847, an d included a pageantic procession. 2 Among the marchers " were four 
 Indians, dressed in full costume, and mounted on horses, after the manner of the 
 aboriginal tribes of this country. They very appropriately constituted the guard 
 of honor, for the venerable President 3 had witnessed the day when the presence 
 of friendly Indians had been, in fact, a guard and a protection to him. 
 
 " Succeeding the invited guests, came an admirable representation of the 
 Gen. Pike, the first steam boat which arrived at St. Louis. . . . 4 Next followed a 
 model, drawn on wheels, of that noble boat which boasts not only the name of 
 the founder of St. Louis, but also that she was built in the city by St. Louis 
 mechanics, and of St. Louis materials the Laclede. In no way could the 
 contrast between the pioneer boat, and those of the present day, have been more 
 strikingly presented . . . 
 
 " Following, came the Mayor and city officers, two and two. 
 
 1 From the Columbian Centinel for 30 December, 1801, pp. 2, 3, cited by Mr. Matthews 
 in the Publ. Col. Soc. Mass, for December, 1914, pp. 314 f. I am indebted to Professor Kit- 
 tredge for calling the paper to my attention. 
 
 2 A full account of this event may be found in a pamphlet entitled Report of the Celebration 
 of the Anniversary of the Founding of St. Louis on the fifteenth day of February, A.D. 1847. Pre 
 pared for the Missouri Republican. Printed by Chambers and Knapp. 1847. [H. L., US 
 25390.7.5]. This is my authority for the following remarks. 
 
 3 M. Pierre Chouteau, the President of the day, was " the only survivor of those who 
 landed at this spot, with Laclede, on the is th February, 1764." He rode in a carriage in the 
 procession. 
 
 May we assume that these Indians were real ones not men dressed up to represent the 
 aborigines ? 
 
 4 Cf. the Welcome at Philadelphia (1882), the Don de Dieu at Quebec, (1908), and the 
 Half-Moon and Clermont at New York, (1909). Cf. also the viking-ship at Rouen in 1911 
 (above, p. 164), and the Argo of the London Shows of 1615 and 1623 (above, p. 73 and n. 4) 
 where trade-symbolism was linked with mythology. Cf. also the boats in more recent Lord 
 Mayor s Shows, e. g., that of 1891 (above, p. 126). These are, perhaps, developments of the 
 " folk-ships " (cf. above, vol. i, p. n f.) to which an historical meaning has been given; if 
 there be not an independent development, this connection is probably not consciously recog 
 nized. " This miniature representation was about 20 feet long; the hull, that of a barge, 
 and the cabin, on the lower deck, run up inside of the running board. The wheels were ex 
 posed, being without a wheel house she was propelled by a low pressure engine, with a 
 single chimney, and a large walking beam ... It was mounted on wheels, and drawn by eight 
 white horses. The boat was manned by a crew of steam boat captains, who appeared in the 
 dress usually worn by the officers and men, in their various stations . . ." 
 
238 ENGLISH PAGEANTRY 
 
 " To them succeeded the Fire Department, in the order of incorporation, and 
 in all the splendor of their rich, but useful regalia .... Following this, 1 were a 
 number of Indians, in full costume, who played well their characters. . ." 2 
 
 After various other marching clubs and societies, " came a large company 
 dressed in masques, in carriages and on horseback. This portion of the pageant 
 excited no little amusement, from the grotesqueness of the dresses, and the va 
 riety of the characters. It would be impossible, in this place, to attempt a 
 description of the various male and female, white and black, old and young, 
 Yankee, French and other characters, presented and generally well sustained. 
 Everywhere, they called forth the repeated cheers of the crowd." This sugges 
 tion of revels in the midst of the procession is not an uncommon feature of such 
 parades, though it appears oftener in those celebrating a holiday such as 
 Mardi Gras or May Day than an historical anniversary. 3 All this kind of 
 thing needs to become pageantry is a central idea, and a weeding-out of those 
 characters which do not fit it. 
 
 " M. Sutter, who was the first to establish an omnibus in the city, followed, 
 with one of his omnibuses, drawn by four horses, filled with citizens. 
 
 " Henry Dolde s car, on which there was a profusion of bread, came next. 
 
 " Then came the Public Schools ... In the line of Public Schools, was a ban 
 ner which was prepared for the occasion, and presented to the schools, by the 
 Board of School Directors. It was happily conceived and beautifully executed. 
 On the one side, is Minerva, the Goddess of Wisdom, pointing with her left 
 hand to the Temple of Science, placed on the top of a rugged mountain, with the 
 Temple of Fame in the back ground her right hand is resting on a shield. At 
 her feet is a globe, and a telescope, levels, and various mathematical scientific 
 instruments. Over this device, is the motto, Knowledge is Power. Surround 
 ing this device are the words, St. Louis Public Schools. 
 
 " On the reverse, is a view of St. Louis from the Illinois shore over which 
 is placed the word Excelsior. . ." 
 
 Then came Masons, Odd Fellows, and other fraternal organizations the 
 Odd Fellows with a banner on which Charity was represented " dispensing bless 
 ings to the orphan." Such banners are worth noting only because they seem to 
 show a development from the tableau vivant on the pageant-car; there have been, 
 as we have remarked, painted scenes on pageants from very early times. 
 
 " Following these, came a large deputation of Brewers, ist, a mammoth 
 cask, sufficiently capacious to hold about eighteen barrels of beer, mounted on 
 
 1 The banner of one of the companies. It may be remarked that the banner of the Wash 
 ington Hose Company bore the likeness of the General and that of the Phoenix, the landing 
 of Laclede; cf. the banners in the modern Ulster processions (above, p. 181). 
 
 2 These were evidently white men, disguised. 
 
 3 Attention may, however, be called to the centenarian procession at Bournemouth, 
 pictured in the Illus. Lond. News for 16 July, 1910, pp. 90-91. It had various " satirical " 
 features, and included many " chars," rivalling " Nice in gaiety." 
 
PH 
 
 W 
 
 H 
 
 o 
 
 =2 
 
PAGEANTRY IN THE UNITED STATES 239 
 
 a car, drawn by four gray horses. On this car, was a representation of the King 
 of Flanders and Brabant, fancifully said to be the inventor of beer, dressed in 
 his royal robes, and bearing in his out-stretched hand an overflowing pitcher of 
 the beverage . . . Then another cask of equal size, drawn by four gray horses. 
 This cask was filled with beer, and around and on the car were the implements 
 of brewing ..." Others followed and " on each car were a number of brewers 
 and ... a good, round, portly representation of a hearty jolly beer-drinker . . . 
 
 " Immediately after these came the Coopers. They were preceded by a large 
 new cask . . . drawn on a car by four horses. A master cooper, with his compass, 
 sat astride of the cask, whilst several coopers walked by the side, holding ribbons 
 attached to it ..." 
 
 Other school children and University students followed with banners; " after 
 the schools, came a printing press, in a car, and several boys engaged in working 
 off, and distributing to the crowd, the following ode, composed for the occasion " 
 by John P. Shannon. 
 
 Other trade societies followed, some of which bore banners showing various 
 implements of their callings. The various exercises which took place after the 
 procession had disbanded are described at length in the pamphlet from which 
 I have cited. 
 
 THE BOSTON CELEBRATION OF 1880 
 
 The two hundred and fiftieth anniversary of the settlement of Boston was 
 celebrated with two " pageants," or processions with floats. 1 A " Civic, Military 
 and Trades " procession was followed by an " Evening Procession " of two 
 divisions the first dealing with " History and Tradition," the second with 
 " Allegory." Between each two cars marched torch-bearers, and the " floats " 
 were lighted in various ways. 
 
 THE PENNSYLVANIA BICENTENARY IN 1882 
 
 " The foundation of the Colony of Pennsylvania . . . was commemorated on 
 Oct. 22, and on three or four days following, with a Bicentenary Festival which 
 drew great numbers of visitors to the city of Philadelphia . . . The festival pro 
 ceedings . . . after a special Quaker religious service on Sunday, the 22nd, began 
 next day with a rehearsal of this scene [Penn s landing at Chester, 22 October, 
 1682] in which Penn and his suite, represented in old-fashioned costume by the 
 Chester Dramatic Company, landed at Penn-street wharf, Chester, the spot of 
 the original landing; and the Governor of Pennsylvania received him, the United 
 States squadron in the river saluting with its guns. After an address of welcome, 
 with other services, 2000 school children sang patriotic songs, and Penn was 
 escorted through Chester by a procession composed of civic and trade societies. 
 
 1 See the Celebration of the 2$o th Anniversary of the Settlement of Boston, printed by order 
 of the City Council; Boston, 1880; cf. esp. pp. 109-149, 153-162. The tableaux, or "floats," 
 are illustrated. 
 
240 ENGLISH PAGEANTRY 
 
 In the procession was carried a model of Penn s original house at Upland, built 
 in 1683, which still exists. Fire works closed the Chester celebration at night, 
 and the city of Philadelphia took up the course of festive performances and ex 
 hibitions in the ensuing days. There was a second landing from the old ship 
 Welcome, 1 at the foot of Dock-street, where Penn actually came ashore, in that 
 part of the river, at his first visit to America. His representative in this cele 
 bration was conducted to the landing place by Admiral Cooper, with the North 
 Atlantic Squadron of the United States Navy, amid salvoes of artillery and the 
 cheers of the populace. There was a grand parade, representing all the indus 
 tries and trade societies of Philadelphia, to escort Penn through the streets. 
 The subsequent nights were given up to illuminations and fireworks and the 
 days to a succession of parades . . . Ships and locomotives were drawn through 
 the streets, looms were shown in operation, and iron forges in active work. The 
 mimic William Penn met with a gorgeous reception, not to forget the appear 
 ance of multitudes of Red Indians, for which sundry bands of city youths were 
 attired in savage guise. It should be observed that in 1682, before the advent 
 of the English Quakers, there were a few Dutch and Swedish settlers, the descend 
 ants of Protestant refugees from Europe, already dwelling on those Transatlantic 
 shores. 2 The masquerading figures in the commemorative performance shown 
 in our illustration 3 therefore include both Dutchmen and Swedes . . . the burly 
 Dutch burgomaster, with other leading men of the community, proffers a friendly 
 welcome to the founder of Pennsylvania in front of the Blue Anchor Tavern." 4 
 
 PROCESSIONAL FEATURES or THE QUEBEC CELEBRATION, JULY, 1908 
 
 Although Quebec is not in the United States, we may, perhaps, be permitted 
 to call attention to the processional features of her tercentenary celebration. 
 On Sunday, 19 July, 1908, there was a procession to the monument of Cham- 
 plain; Quebec s usually quiet streets were alive with " men dressed in the mili 
 tary garb of Wolfe and Montcalm, courtiers of old France and primitive settlers 
 of New France, her off-spring." 5 When the marchers arrived at the monument, 
 a poem was read and various addresses delivered. 6 On the next day, Heralds- 
 at-Arms, with watchmen in armor, marched through the city, "as in the days 
 of Frontenac . . . proclaiming to the citizens the events of the day and the occur 
 rences of the morrow." 7 British, French, and American warships met in the 
 
 1 Cf. St. Louis, 1847; Quebec, 1908, New York, 1909. 
 
 2 " The meek shall inherit the earth! " 
 
 3 Cf. p. 520 of this number of the Illus. Lond. News; the source of the drawing is not i n- 
 dicated. It is, of course, not a photograph; but is it entirely fanciful ? 
 
 4 Illus. Lond. News for 18 November, 1882, p. 519. 
 
 5 Carrel, Quebec Tercentenary History, p. 17. A triumphal arch, called " The Tower of 
 Welcome," was erected in front of the archepiscopal palace. This is illustrated, ibid., p. 19. 
 
 6 Op. tit., pp. 19-24. 7 Ibid., p. 25. 
 
PAGEANTRY IN THE UNITED STATES 241 
 
 harbor, and the " acute struggles " of the past " were now marked but by pleas 
 ant friendship and common rejoicings." l 
 
 The other features of the tercentenary celebration will be noted later. 2 In 
 connection with the Don de Dieu which appeared at Quebec, and the Welcome, 
 at Philadelphia in 1882, the following paragraph is of interest: "The great 
 pioneer s [Champlain s] first landing at St. John, New Brunswick, was repro 
 duced on St. John s Day in 1904, at St. John. Our photograph . . . represents 
 this ceremony, where an exact copy of Champlain s ship was used, as at Quebec 
 this year." 3 
 
 On 23 July, 1908, at Quebec, the Prince of Wales [George V] reviewed an 
 " historical procession " 4 which included mounted heralds, men of the watch, 
 Cartier and his soldiers, Francois I and his Queen, and many others. These 
 seem to have been the characters of the " historical pageant," of which we shall 
 make mention below; there were, apparently, no cars in this procession. 6 
 
 SPRINGFIELD STREET-PAGEANT or 4 JULY, 1908 
 
 A Parade of Nations, " while of the float type, and civic rather than historical 
 in character, was nevertheless the first parade possessing any notable civic 
 value," was given under the direction of Mr. William Orr at Springfield (Massa 
 chusetts) on 4 July, 1908. It was listed by the American Pageant Association 
 as particularly noteworthy " because of what it accomplished in arousing pageant 
 spirit and introducing civic interest into other float parades, and in its own com 
 munity." 6 
 
 1 Op. tit., p. 29. 
 
 2 See below, pp. 262 f. 
 
 3 Illus. Land. News for 25 July, 1908, p. 125. 
 
 4 Described in Carrel, pp. 69 f . 
 
 5 On the morning of the 23 d " Champlain Day " " once again the hardy explorer 
 sailed up the St. Lawrence River, held a palaver with the Indians, and anchored before the 
 rocks of Quebec." (Carrel, p. 53). He came in a model of the Don de Dieu, his original ship; 
 the model was perforce made from a French merchant ship temp. Henri IV there being no 
 model or picture of the original Don de Dieu in existence (Carrel, p. 54). She sailed under her 
 own sails; and Champlain and his crew were, of course, in the costume of 1608. Indians in 
 their canoes escorted him ashore (cf. the illustrations in Carrel, pp. 56, 59, and 109). 
 
 On the 25 th , the Prince attended the State Performance of the " pageants," or historical 
 play; and the Don de Dieu was stationed on the river near Wolfe s cove, where she was 
 plainly visible from the pageant grounds above. (Carrel, p. 86.) 
 
 6 American Pageant Association, Bulletin 10, 15 November, 1914. The pageant-parade 
 of Philadelphia, 9 October, 1908, which was " historical in character," "clearly featuring 
 the history of Philadelphia and the development of the community," is listed, ibid. It was 
 prepared for Founders Week by Dr. Ellis P. Oberholtzer. 
 
242 ENGLISH PAGEANTRY 
 
 THE HUDSON-FULTON PAGEANT AT NEW YORK IN 1909 
 
 A few more modern instances of processional pageants or pageantic pro 
 cessions will suffice to show how this form of celebration has developed. The 
 Hudson-Fulton parade 1 was one feature of a celebration " whose purpose was 
 the honoring of two world leaders of discovery and invention, who, in scatter 
 ing the darkness of an unknown land and an unknown power have left something 
 of profit for all men of all nations and of all times." This purpose links the cele 
 bration to the modern pageant which honors great men of the past rather than 
 mayors of the present; but the chief emphasis is not on purely local history. 
 
 The military and naval parade another feature of the festivities was 
 made up of the crews of " a thousand ships doing the marine honors to the resur 
 rected Half -Moon and Clermont," 2 and expressed spontaneously " the brother 
 hood of men and the brotherhood of nations." 3 Historical and artistic exhibits, 
 " admitted to be the largest and most significant of their kind ever offered to 
 the student " were contributed by twenty-one public and semi-public institu 
 tions of the city. 
 
 The two leading features of the shore program were the historical and military pageants. 
 The first was probably the most ambitious assemblage of floats ever undertaken in this coun 
 try, and as an example of decorative art and character portrayal, has never been surpassed. 4 
 
 1 On this, see Hugh C. Weir, " The Hudson-Fulton Pageant," in The World Today, for No 
 vember, 1909, pp. 1204 f. A collection of postcards illustrating floats in this parade may be 
 found in the Harvard Library. The Half-Moon is illustrated in Davol, p. 40, and part of the 
 line of march, ibid., p. 51. A car is pictured, ibid., p. 215. 
 
 2 Cf. above, p. 240, and n. i. 
 
 3 One may suspect that this bit of symbolism is read into the parade by Mr. Weir. But 
 if it made this impression on the spectators, we see how the modern pageant has educated 
 them to find for themselves the symbolism that lies dormant in everything. 
 
 The procession did give a flavor of the " international element " of which I have already 
 spoken in connection with some of the English pageants. In the New York parade, foreign 
 soldiers and sailors were greeted with American cheers; for the first time since 1783, British 
 soldiers marched in the streets of New York; German military bands played American airs 
 to the delight of the crowds, and much international good-feeling resulted, no one looking 
 forward to August, 1914. 
 
 The parade of battleships another feature of the celebration has been loosely called 
 a " pageant." Cf. also The World Today for September, 1909, p. 900, for an illustration of 
 " England s great naval pageant on the Thames." Here, of course, the word means simply 
 an "impressive, or spectacular, parade." The only pageantic features of the New York 
 battleship parade, were the reproductions of the Half-Moon and the Clermont. 
 
 There were " military pageants " or parades of soldiers at Quebec in 1908. 
 
 4 I am quoting Mr. Weir. The writer shows, it may be remarked, the Anglo-Saxon dis 
 position to " understatement," which the rhetoricians call litotes. This is a characteristic of 
 writers who describe pageants both ancient and modern; for they are usually overcome 
 with modesty in viewing the work of their own pen or the labors of their fellow townsmen. 
 But the enthusiasm which pageantry arouses in the spectator is not one of its least valuable 
 gifts. 
 
PAGEANTRY IN THE UNITED STATES 243 
 
 Many of the floats were thirty feet long and forty feet high, the cost of the parade mounting 
 to more than one hundred thousand dollars. The pageant was divided into four historical 
 groups, the first dealing with the Dutch period, and the third with the seventeenth-century l 
 life of the colonists. The fourth section was confined to the first fifty years of the past cen 
 tury. 
 
 The first float of the line, termed " The New York Title Car," endeavored to epitomize 
 the three hundred years growth of the city in picture form. The figure of the Goddess of 
 Liberty was shown, with a monster record-book open in her lap. Before her were the models 
 of an Indian canoe and a modern ocean greyhound. At the rear of her chair were an Indian 
 wigwam and a twentieth-century sky-scraper. 
 
 In the Indian section there were floats showing the totems of the five nations: the deer, 
 snake, tortoise, beaver, and otter; cars devoted to the methods and products of Indian 
 field cultivation, others picturing the Indian seasons and dances, and one devoted to scenes 
 from " Hiawatha." 
 
 One of the most interesting designs of the Dutch section showed the purchase of Man 
 hattan Island from the Indians. Another showed the Huguenots receiving their title-deeds. 
 A third pictured Bronck s treaty with the red men, while a fourth showed scenes on the old- 
 fashioned bowling-green. Other floats were devoted to chapters in the life of Governor 
 Stuyvesant. The last car in the section pictured the old Holland legend of St. Nicholas, with 
 one hundred and fifty Dutch children marching behind, carrying toys. 
 
 In the colonial division, the subjects included " Old-time Punishments," " The Old 
 Manor Hall in Yonkers," " The Trial of John and Peter Zenger," z " Pulling Down the Statue 
 of George III," " Nathan Hale," " Washington Taking the Oath of Office," " Hamilton s 
 Harangue," 3 " Washington s Coach," " Publishing the Constitution of the State of New 
 York," and " The Legend of Ichabod Crane." 
 
 In the last division, devoted to latter-day history, one of the most pretentious floats was 
 termed " The Fire of Knowledge," showing a pedestal holding a caldron of blazing coals, 
 while around it were grouped the seals of the thirteen original states. The final car showed a 
 huge figure of Father Knickerbocker receiving the great powers of the earth. 
 
 Reference to the Lieder Collection of postcards illustrating the floats in this 
 pageant, shows another group which Mr. Weir s article does not mention. It 
 is introduced by a " title-car " called " Carnival Pageant." " This car," reads 
 the description on the reverse of the card, " is an ornamental car ... It takes 
 the fantastic shape of a dragon spouting flames, and surrounded by fire. 4 It 
 
 1 Mr. Weir means, I think, the eighteenth century; or perhaps both were combined. 
 The scenes from the seventeenth century were probably included under the Indian and Dutch 
 periods. 
 
 2 Mr. Weir means John Peter Zenger, who " edited a little paper called the Weekly Journal, 
 in which he freely criticized the arbitrary acts of the royal government. In 1735 he was tried 
 for libel, but acquitted in a verdict which is commonly said to have been the establishment 
 of the principle of the free press." (Information printed on the back of the postcard (no. 26) 
 illustrating this float; see the Lieder Collection in the Harvard Library.) 
 
 3 On 18 July, 1795, at a mass-meeting to discuss the proposed Jay Treaty with Great 
 Britain. 
 
 4 We may compare without claiming a direct connection between them the dragons 
 of 1487 and 1572 (see above, vol. i, pp. 161 and 205). 
 
244 ENGLISH PAGEANTRY 
 
 is simply fantastic in design, and is meant to prophesy the unconventional 
 character of the floats which are to follow." 1 This section suggests such pag- 
 eantic revels as those at St. Louis in 1847; ft seems to be " carnivalistic " if 
 we may use the word with an emphasis rather on amusement than on edu 
 cation. 2 The chief emphasis of the whole pageant, however, is on local history; 
 and it has the aim of the modern " pageant-play " - to stir civic pride, and stim 
 ulate a desire for civic betterment. 
 
 Like the more recent Lord Mayor s Shows, this procession combines what we 
 may call the " Parkerian spirit " with the technique of the older pageantry. It 
 undoubtedly gave pleasure to the multitude which witnessed it; but it did 
 more than that it awakened an interest in the past, and an ambition for the 
 future. 3 
 
 1 Among these floats are Germania, " an idealization of Germany . . . Germania, the 
 central figure, holds the Imperial Crown in her hand. Beside her are the eagles, draped with 
 the German colors. The nine figures represent the different states which make up United 
 Germany"; William Tell; Lohengrin; The Death of Fafner; Ceres presiding over the float 
 called " Harvesting"; Orpheus before Pluto; Father Rhine; Arion; Cinderella; the mythi 
 cal Frost King; Humor; the ^Eolian Harp which " is an idealization of the ^Eolian harp . . . 
 one of the oldest musical instruments . . . The large figure holding the harp represents out 
 door music." Other floats show gnomes, fairies, Europa; Egyptian literature and music; 
 Tannhauser, etc. The list includes foreign history, classical and Germanic mythology, fiction, 
 and symbolism in such figures as Germania, Europa, and Father Rhine and it empha 
 sizes the presence of foreign representation at the celebration. 
 
 2 Granting, as some seem inclined to do, that the two are antithetical. 
 
 3 Says Mr. Weir in his article already cited: " Behind the tinsel and the glitter of march 
 ing men and waving flags, the Hudson-Fulton celebration has struck a deeper and a graver 
 note in American civilization than the entertainment of the moment. We have come to 
 accept much as a matter of course the announcement that our great carnivals and great ex 
 positions are commemorative of an epoch of progress . . . Now that the Hudson-Fulton pag 
 eant is an event of the past, the vessels and soldiers have dispersed, the tinsel and bunting 
 have been stored away, and the spectacle . . . has become a memory, are we to view it like a 
 great conflagration that has dwindled to a heap of charred debris and dead ashes ? 
 
 " Unless we have shown the nation and the citizen how better to use that power which 
 the river of Hudson s discovery and the steamboat of Fulton s invention have given us, the 
 recalling of that power and the exultation in its might have meant nothing. Unless a quicken 
 ing of national pride shall come from the blare and the glitter of the marching regiments . . . 
 unless we shall be spurred as a nation to guard better and use better the great national 
 resources typified by such a river as the Hudson, and the great mechanical inventions 
 typified by such a craft as the steamboat, the fortnight of New York s pomp will be but a 
 mockery. 
 
 " Has the Hudson-Fulton celebration left such a lesson and such an impetus in its wake ? 
 I think it has." 
 
 Time alone can answer this question positively; the influence direct and indirect 
 of such a show can never be measured. 
 
PAGEANTRY IN THE UNITED STATES 245 
 
 THE BOSTON COLUMBUS DAY PARADE OF 1912 
 
 Although but recently established, Columbus Day may become, in many 
 places, the occasion for an annually recurring pageant. One such parade at 
 Boston approached the spirit of the Lord Mayor s Show more closely than 
 American parades usually do; but he would be rash who should attempt to 
 define the debt that it owes to the London civic " triumph." 
 
 The procession which, on 12 October, 1912, marched through the streets of 
 the Massachusetts capital, took three hours to pass a given point. With the 
 exception of the " town crier," who led the way, and shouted at intervals, there 
 was no speaking. Preceding the rest of the procession by some fifteen minutes, 
 this " prelude " to the parade passed over the route; the crier, dressed in Colonial 
 costume, was followed by twentieth-century newsboys " illustrating the modern 
 method of imparting information to the public." 
 
 Every so often the town-crier stopped, rang his bell, and shouted: 
 
 "Hear ye! Hear ye! Good People! The Grand Parade and Pageant in 
 honor of the great discoverer Christopher Columbus approacheth. Give earnest 
 attention thereto in decent and peaceable manner, and thereafter peaceably 
 depart unto your homes. 
 
 " The Twentieth Century newsboys follow! 
 
 " God save the Commonwealth of Massachusetts! " 
 
 And as he walked on, the street became filled, with the energetic " newsies " 
 who cried " Papers! Extra! " with as much enthusiasm as if they were really 
 trying to sell their journals. 
 
 After this bit of symbolism, the parade proper began. The first division was 
 led by a group of real Indians 2 on horseback: then came various detachments 
 of United States troops, State militia and veterans of the Civil War those 
 who were too old to march riding in motor-barges. 3 Behind them came the first 
 float, entitled " One Country one Flag." This was followed by the Sons of 
 Veterans, the Spanish War Veterans, the Prince Heinrich Veteran Society, and 
 the British Naval and Military Veterans. With the German and British flags 
 came the first hint of one of the dominant notes of the parade its cosmopolitan 
 ism; the other note sounded was patriotism; and the " melting-pot motif " was 
 emphasized by the fact that beside every foreign ensign and there were many 
 was borne the American 
 
 1 For further details than I give here, the reader is referred to the Boston press for 12 
 October, 1912. It is preferable, in looking up matters of this kind, to take the accounts which 
 appear after the event, rather than those which recount the proposed program, not all of 
 which materializes. 
 
 2 Cf. the Indians at St. Louis in 1847, at New York in 1909, etc. 
 
 3 Cf. the veterans in the Lord Mayor s Shows of 1890, 1906, and 1909. 
 
 4 Incidentally, this blending of the two dominant notes of the parade fulfilled the require- 
 
246 ENGLISH PAGEANTRY 
 
 The second division was almost entirely made up of the Knights of Columbus, 
 many of whom were Irishmen. An interesting group was that wearing the uni 
 forms of soldiers of important periods in the nation s history 1776, 1812, 1861, 
 1898 and I9I2. 1 The banners of the various councils of the Knights of Colum 
 bus lent variety and color to the procession; and one could not help feeling the 
 patriotic fervor here as marked as anywhere else in the parade with which 
 the recent anarchistic outrages in Lawrence were rebuked. 
 
 The Boston Equal Suffrage Association furnished a float showing " Isabella s 
 Part in the Discovery of America." Here an historical interest was linked to 
 present-day politics by the plea of equal rights for women which accompanied 
 it. 2 Six horses drew the pageant-car representing " The Landing of Columbus," 
 which had been provided by a large dry-goods firm of the city; and the same 
 number of horses drew that of the Dorchester Historical Society, representing 
 " The First School in America." Other floats in this division were: " General 
 Washington Reviews the first Stars and Stripes "; 3 " Washington Unfurls the 
 first Stars and Stripes at Dorchester Heights," 4 and " The Evacuation of 
 Boston." 5 
 
 Great enthusiasm was awakened in the crowd by the passage of a man on 
 stilts. Towering above everything as he strode down the street, he reminded 
 one of the London giants. The banner of the Order of the Sons of St. George, 
 which depicted that saint slaying the dragon, added another reminiscence of the 
 pageantry we have already studied, but it is probable that there is no direct 
 connection between these things and the older English shows. 
 
 Children dressed in red, white, and blue, waving American flags, passed by 
 in three motor-barges. These representatives of the Mission Church evoked a 
 patriotic response from the crowd, in whose minds an anarchistic outbreak at 
 Lawrence was still fresh. Indeed, much of the enthusiasm at the parade was 
 undoubtedly due to this memory; but it was none the less stirring or impressive 
 on this account. 
 
 merits of the law. No foreign flag can be carried by a procession without an American flag 
 beside it. 
 
 1 Cf. the Cape Volunteers of 1853 in the Lord Mayor s Show of 1895; and the historical 
 naval exhibition in that of 1902. Past uniforms of the British Army and Navy were shown 
 in the Lord Mayor s Show of 1911, together with various great generals and admirals. 
 
 2 Many of the crowd appreciated the unconscious humor of the band which preceded this 
 float, in playing a popular song entitled " You Great, Big, Beautiful, Doll " as they marched 
 before the City Hall. 
 
 3 Provided by the Betsy Ross Club, Civic Service House. 
 
 4 Furnished by a large mercantile firm of the city; it was an " autofloat," (motor-pageant) 
 and carried the thirteen original States, represented by girls in Colonial costume. 
 
 5 This was also an " autofloat," and was furnished by the Citizens Association of South 
 Boston. 
 
PAGEANTRY IN THE UNITED STATES 247 
 
 The third division closed with a float showing a " Children s Playground," 
 contributed by the Park Department of the city. " Ancient and Modern Count 
 ing House " - the float of the Library Bureau was little more than a trade- 
 pageant. 
 
 Italians made up the fourth division of the parade; many secular and re 
 ligious societies took part some of them in the costume of Garibaldi s soldiers. 
 A humorous illustration of contemporary European history was furnished by a 
 Turkish prisoner who was led firmly by two uniformed Italians; his sheepish 
 smile si ggested that he did not find captivity irksome. Among the floats in this 
 division was one provided by the New England Telephone Company in honor 
 of the two discoverers, Columbus and Bell; the telephone poles, instruments 
 and switchboard emphasized the fact that history was linked to trade. Another 
 float, furnished by the Italian societies of the North End, represented " Marconi 
 and the Wireless Telegraph " linking together the nations of the earth, which 
 were represented by their coats-of-arms around the car. 
 
 The fifth division was truly cosmopolitan. The " feature," or chariot which 
 opened it, was called " The World s Contribution to Boston." A few Indians 
 were followed by Italians, Germans, and the Swedish Singing Society; then 
 came the Armenians, with a float entitled " Armenian Rug-Making." Russians 
 and Syrians followed; then came members of the " newest republic," with their 
 new flag. " Old China and New " was succeeded by three gorgeous floats: the 
 first was a Chinese Garden ; the second contained a Chinese band ; and the third 
 was filled with Chinese women and children in the elaborate costumes of their 
 land. The Scotch, in picturesque Highland dress, followed the Lithuanians, 
 and preceded their floats which contained Scotch dancers, and a representa 
 tive from many clans, in plaid and bonnet. The Charitable Irish Society fur 
 nished a jaunting-car, in which was Uncle Sam with his own children and those 
 whom he had adopted. The Canadian representatives, the Finnish societies, a 
 barge containing the Germania Singing Society; "Greek Janissaries" and Polish 
 Societies brought up the rear. 
 
 The work against the " white plague " was shown by a float which the Con 
 sumptives Home exhibited; " Pere Marquette and the Indians," was the subject 
 of the Young Men s Catholic Association float; the modern fire apparatus 
 including a motor fire-engine preceded the old " hand- tub " dragged by mem 
 bers of the Firemen s Veteran Association of Charlestown; 1 floats representing 
 the ringing of an alarm, and " A Fire Breeder " z had their educational value; 
 a gigantic cigar-box on a motor truck advertised a local tobacco house; and 
 
 1 Cf. the fire-engines in the Lord Mayor s Shows of 1889, 1890, 1891, etc., also the fire 
 brigades at St. Louis in 1847. Cf. especially, p. 127, above. 
 
 2 This showed a mass of inflammable waste material piled high; and beneath it a placard 
 " Does your cellar look like this ? " 
 
248 ENGLISH PAGEANTRY 
 
 from another trade-pageant, provided by a well-known firm of bakers, loaves of 
 bread were tossed to the crowd. 1 Various " public work " wagons, representing 
 the departments of the city, brought the parade to a close. 
 
 I have not enumerated every float in this parade, but I have given enough 
 to show the complexity of the pageant. Its primary aim was, like that of the 
 older triumphs, to entertain; it was planned with the help of the director of 
 public celebrations, 2 and was witnessed by a holiday crowd. Although Colum 
 bus had no direct connection with Boston, the occasion was made not only an 
 opportunity to recall his courage and our debt to him, but also as in the 
 Hudson-Fulton pageant an opportunity to represent some scenes from the 
 history of the city. There were lessons taught by the parade and not the 
 least forcible appeal was that which awakened patriotism. Few could fail to 
 be impressed by the sight of so many races marching under one flag. Lessons 
 that we learn unconsciously are apt to linger the longest; so the impression 
 made on a crowd which does not realize it was being edified will probably bear 
 more fruit than that caused by a loud trumpeting of some educational aim. 
 Here was history, which did not merely evoke past glories; trade-symbolism 
 there was, too; and bands and soldiers and thousands of marching civilians. 
 In such a parade as this we see the " melting-pot " itself, in which a new nation 
 is being formed from the people that come to us from over-sea. Such a pageant 
 furnishes a " snap-shot " of the process, as it were: and having seen it, we turn 
 away not merely entertained, not educated solely but inspired. Though the 
 material here is largely old, the spirit is that of the newer pageantry; and the 
 procession itself symbolizes America e pluribus unum. 
 
 THE NOKRISTOWN PAGEANT or 1912 
 
 More closely related to such processions as those of St. Louis in 1847, and 
 of Philadelphia in 1882, is the Historical Pageant of Norristown (Pennsylvania) 
 held to celebrate the centennial of the borough. 3 The celebration began on 
 Sunday, 5 May, 1912, with special services in all the churches; on the Monday 
 was a " public school pageant, with the thousands of children in costumes varied 
 and historic . . . Civic Day was observed on Tuesday, Industrial on Wednesday, 
 and Firemen s on Thursday. This last was the largest parade of the week s 
 celebration, which closed with Military Day. Friday, the most beautiful day 
 of all so far as the weather was concerned, was Historical Day . . . The Historical 
 
 1 Cf. various seventeenth-century Lord Mayor s Shows e. g., those of 1616, 1672, 1692, 
 and the printers at St. Louis in 1847. 
 
 2 I was unaware that such an officer existed in Boston, until I read of him in this connection; 
 see the afternoon edition of the Boston Traveler-Herald for 12 October, 1912, p. 2, col. 8. 
 
 3 This is fully described in an illustrated volume by the Rev. Theodore Heysham, Ph.D., 
 (Norristown, 1913) which is my authority for the following remarks. 
 
PAGEANTRY IN THE UNITED STATES 249 
 
 Pageant was the feature of the afternoon. It was then that Norristown saw 
 herself for the first time in pageantry ..." 
 
 This historical procession was divided into five parts, consisting of thirty- 
 two " scenes "; Early Inhabitants and Settlers showed Indians, 2 Dutch, Swedish, 
 Welsh, and English Quakers, 3 German, Scotch and Irish settlers. Colonial 
 Norristown opened with a float reproducing an old Log Cabin; 4 a float called 
 " Indian Trail " was followed by " Trappers and Traders," and a living-picture 
 represented the Norris and Trent Purchase, 1 704. 5 Then came a float or pageant- 
 car, showing " The Public Sale of Norriton Plantation, 1771." Other historical 
 scenes were represented on floats furnished for the most part by local business 
 houses ; 6 many of these pageants are illustrated in Dr. Heysham s book. 
 
 The third part dealt with the Revolution, and showed Continental and British 
 soldiers, the French Allies, " The Spirit of 76," and a float with Betsy Ross. 7 
 Among the historical figures were Washington, General Clinton, and General 
 Peter Muhlenberg. The fourth part showed Norristown after 1812; and in 
 cluded such floats as " Governor Snyder signing the charter," which made 
 Norristown a borough on 31 March, 1812; 8 a float appealing for women suf 
 frage, models of the Old Academy and various churches; the " old Pat Lyon " 
 fire-engine built in 1812 the first fire-engine owned by the town; " Old 
 Ironsides," the first engine built by the founder of the Baldwin Locomotive 
 
 1 Heysham, p. n. He continues: "Pageantry is unintentionally presumptuous, con 
 sciously spectacular, always dramatic. It deals with history as though it were something that 
 could be handed out in chunks. It asks society to line up in a sort of historical bread line 
 that it may satisfy its hunger for reality as the historical fragments are passed along the line. 
 
 " Pageantry, however, is not to be criticized because of its presumption nor yet because 
 of its spectacular and dramatic characteristics. It must of necessity repeat the methods of 
 the kindergarten and the stage. The purpose of the pageant, as of the kindergarten and the 
 stage, is the same to please and to instruct. In the pageant the living must impersonate 
 the dead and the dead must appear to live again." 
 
 We shall return to a definition of pageantry later (see below, p. 291) ; one may be per 
 mitted to question how dramatic a street-procession, even if pageantic, is in the ordinary 
 sense of the word dramatic. 
 
 2 " Impersonated and equipped by the Beaver, the Tecumseh, and the Minne Kaunee 
 Tribes of Red Men." 
 
 3 " A model of the old Plymouth meeting house, contributed by members of the Friends 
 Meeting of Norristown, appeared in the pageant. This model is now preserved at Plymouth 
 Meeting House." A model of Old Norriton Church was also carried in the pageant. 
 
 4 Illustrated in Heysham, opp. p. 23, as is the Trapper s Hut. Cf. " Raising the first 
 Meeting House " a float in a night pageant at Cadillac, (Michigan) illustrated, Davol, 
 
 P-54- 
 
 5 Illustrated, in Heysham, opp. p. 25. 
 
 6 Churches, schools, business men and their employees took part in the different living 
 pictures; men of the National Guard marched as Revolutionary soldiers. 
 
 7 These are illustrated, op. tit., opp. p. 37. 
 
 8 Illustrated, ibid., opp. p. 41. 
 
250 ENGLISH PAGEANTRY 
 
 Works, which was also the first to run from Philadelphia into Norristown (15 
 August, I835). 1 The Sons of Veterans appeared in a scene entitled " Mexican 
 War." 
 
 Rebellion and Later was the title of the fifth part, which began with " Re 
 sponding to the call of Father Abraham/ 1861-64, "and " Departure of the 
 Troops." A float representing " Abolition " followed; 2 then came veterans of 
 the Civil War, and a scene representing the Spanish- American War of 1898. 
 The final float 3 corresponded to the symbolical end of many a community drama ; 
 it was called " The Holy City " and " represented the three great ideals of hu 
 man society and modern civilization religious peace, industrial peace, and 
 national peace. The three virtues, faith, hope, and charity, or love, are sym 
 bolized by the three ladies clad in Grecian costumes on the throne. The chil 
 dren point the way to the representatives of Religion a Jewish High Priest, 
 a Roman Catholic Cardinal, and a Protestant clergyman. Their prayer is that 
 all may be one. Just beyond are symbolized Capital and Labor; Peace and 
 War, with the goddess of peace presenting the symbol of peace, the olive wreath. 
 It is the prophecy of the future as it was the song of the angels . . ." 4 
 
 This pageant is noteworthy as an example of those which combine the tech 
 nique of the older triumph with the spirit of the new which centre around 
 the history of the community. It is to be observed that there is no suggestion 
 of the carnival ; that the only touch of allegory or symbolism is in the final car. 
 All elements of the town cooperated, making this a pageant given by the com 
 munity; it dealt entirely with local history, and was, therefore, a pageant of the 
 community; it took place on the streets, and was distinctly a pageant for the 
 community; but the technique is that of the Lord Mayor s Show. What drama 
 may be found in the representation of the past, was here in living-pictures; but 
 the procession was an expository setting-forth of history rather than a dramatic 
 performance in the true sense of the word. 
 
 Sports and the raw-material of pageantry were combined at Little Compton, 
 Rhode Island, in 1914, as described in a pamphlet preserved in the Harvard 
 Library. 6 The important element of community-effort makes this worth noting, 
 although the central idea which gives artistic unity to a pageantic show, was not 
 emphasized. Each section of the township furnished a group " any sort of 
 group that should bring to the parade grounds a brilliant bit of color." 6 The 
 parade included floats, some of which were appropriate e. g. the first group, 
 representing " The Sea," which included Neptune, the Spirit of the Sea, with 
 eight little girls to personate the waves: a whale-boat on wheels, " manned by 
 stout urchins in oilers, hauling in seines . . . 
 
 1 The engine is pictured, ibid., opp. p. 49. 3 Illustrated, ibid., opp. p. 55. 
 
 2 Illustrated, ibid., opp. p. 53. 4 Op. cit., p. 55. 
 6 Georgiana B. Withington, A Children s Parade (1915). 
 
 8 A Children s Parade, p. 4. 
 
w 
 
 CO 
 
 w 
 
 w 
 
 H 
 
 o 
 H 
 
PAGEANTRY IN THE UNITED STATES 251 
 
 " In sharp contrast to these Toilers of the Sea/ were the Playfellows of the 
 Sea, on the next float . . . This group ended with a Marconi apparatus . . . and 
 [was] called the peaceful Conqueror of the Sea. 
 
 " With war-whoop and prancing came the next group. Chief Assowan and 
 Queen Sachem Awashonks, with their Braves, their Squaws, and their wig-warn 
 bearers . . ." * These had an historical connection with the town: but the Early 
 Settlers (one of whom wore the wedding suit of his great-grandfather) were un 
 named; types, rather than individuals. The Mother Goose characters, the Rain 
 bow, with a Pot of Gold, Captain Kidd, a Circus Group, and other like figures, 
 suggested the carnival: Uncle Sam, Columbia, a reproduction of " The Spirit 
 of 76 " and " the tiny Angel of Peace/ who took the prize in the baby-carriage 
 group," furnished the patriotic and allegorical figures necessary for all good 
 pageants. Another parade was held the next year, and the occasion was appar 
 ently to become an annual celebration when interrupted first by epidemics, and 
 then by the war. Possibly with the advent of peace, the parade will revive 
 perhaps with a unity of plan which will bring it indubitably into the field of 
 pageantry. 
 
 After all, it was the aim, rather than the technique, of this parade, which was 
 important. " It was pretty, later, to see these classic figures dancing on the green, 
 outlined against the setting sun, but fairer was it by far to see the sweet courtesy 
 of the descendants of the Pilgrims, towards the children of the recent immigrants, 
 who were mingled in this pretty group. 
 
 " The wonderful afternoon lights, and long shadows on the beautiful upland 
 meadow, the shaded village street, the gay groups and happy faces, the prancing 
 horses and mild oxen, the sweet music and merry laughter, what a memory- 
 picture it is ! 
 
 " More lasting, even, than this attractive picture will be the remembrance of 
 the spirit of helpfulness and neighborly kindness, which pervaded the town dur 
 ing the weeks of preparation . . ." ! Summer cottagers and the all-year-round 
 inhabitants, prominent citizens and recently-arrived immigrants, all took part; 
 and the occasion did much to bring the community, as a whole, together. 
 
 A WAR-TIME FOURTH IN NEW YORK 
 
 That the war did not dampen pageantic enthusiasm in New York City, is 
 shown by the following item from the Paris edition of the London Daily Mail, 
 of 10 July, 1918, published under the heading: JULY 4 PAGEANT WINNERS. 
 First Prize Won by Poles: 
 
 New York, Monday. The gold medal for the most artistic floats [tableaux] and the best 
 arranged pageant in New York s Fourth of July parade has been awarded to the Poles. The 
 silver medal goes to Syria, and the bronze medal to Portugal. The committee selected for 
 
 A Children s Parade, p. 6 f. 2 Ibid., p. 9. 
 
252 ENGLISH PAGEANTRY 
 
 special praise the Navy float entitled " Help your country." This represented a shipload of 
 survivors pulling away from a submarined liner. 
 
 Diplomas of merit were awarded to Chinese, French, British, Italian, and Swiss represen 
 tations, and honorable-mention diplomas to Czecho-Slovaks, Greeks, Americans of Hun 
 garian origin, Japanese, Norwegians, Russians, Spanish, and Ukrainians. 
 
 This shows not only the value of pageantry for propaganda, but also that 
 the " melting-pot motif " of such parades as the Columbus Day pageant at 
 Boston in 1912 is bearing fruit. There must have been some central idea under 
 lying the New York pageant of 1918; varied as the contributions seem to have 
 been, the show was not, evidently, a revel like the " grotesque " section of 
 the St. Louis procession of 1847, or tne " carnival pageant " in connection with 
 the Hudson-Fulton celebration of 1909. 
 
 A WORD ON " PAGEANTIC REVELS " IN AMERICA 
 
 Turning to examples of pageantic processions which suggest rather revels 
 than true pageantry, let us mention very briefly a few. The circus-parade, 
 usually a glittering show which includes moving wagons, lies outside our field 
 because it does not soften a commercial appeal with even a semblance of allegory 
 or symbolism. " The Quaker City s Curious Carnival New Year s Eve Pa 
 rade in Philadelphia ; one of the oddest and most brilliant pageants in the United 
 States," l and the Mardi Gras celebrations at New Orleans and elsewhere, illus 
 trate the processions with cars and disguising that seek only to entertain. Body 
 and soul of pageantry are both here but there is apt to be little coherence in 
 the show, the unifying spirit of which is not as in the London Lord Mayor s 
 Shows, and such as we have been examining in this chapter a civic occasion; 
 rather an annually recurring holiday to which little deeper meaning is given. A 
 May-day procession with floats, which bids fair to become an annual show, was 
 started at Indianapolis in 1914; in Canada, various towns celebrate the 24 May 
 (the Queen s Birthday) or i July (" Dominion Day ") with " callithumpian " 
 processions, 2 which are parades of " horribles " with a trade-element added. 3 In 
 many Canadian towns, the Orangemen celebrate the 12 July with a procession 
 which includes the pageantic figure of William III usually mounted on a white 
 horse. Historical accuracy of costumes, however, plays no part in these shows, 
 which seem to be rather popular celebrations of an historic date than more de- 
 
 1 Illustrated in Leslie s Weekly for 18 January, 1912, p. 69. 
 
 2 The word is derived from a humorous combination of KdXXos and thump (cf . the Webster 
 and Century Dictionaries). Mr. J. M. Kerrigan, of Dublin, tells me that there is a club in 
 that city called the " Noble Order of the Callithumpians," which does not, however, give 
 processions. 
 
 3 At Woodstock, Ontario, they occur on 24 May, and have been in existence about fifty 
 years; in several small Nova Scotian towns they occur on i July. I am indebted to various 
 Canadian graduate-students at Harvard for this information. 
 
PAGEANTRY IN THE UNITED STATES 253 
 
 veloped pageants, such as the pageantic processions with which Springfield 
 (Massachusetts) and other towns have, of late years, been celebrating Inde 
 pendence Day. 
 
 THE " VEILED PROPHET " AT ST. Louis 
 
 As an example of the pageantic revelry which is so common in this country, 
 as well as abroad, let us consider the processions which precede the St. Louis 
 " Veiled Prophet " balls. 1 Since the autumn of 1878, " the Veiled Prophet and 
 his faithful followers have appeared on the streets of St. Louis in a pageant of 
 magnificence and splendor, casting sunshine and flowers to the multitude." 
 In 1878, the " Festival of Ceres " was given, showing seventeen floats; 2 twenty- 
 two floats illustrated " The Progress of Civilization " in 1879; 3 the same num 
 ber " The Four Seasons " in 1880. In 1886, " Scenes from American History " 
 were exhibited, 4 and in 1887, twenty- two floats showing " The History of the 
 Bible." " Children s Lore," in 1888, contained various floats which we have 
 seen at Knutsford, Lichfield and elsewhere. 6 In 1892, twenty-two floats gave 
 the " History of Louisiana Territory " 6 and in 1897, " Old Time Songs " were 
 
 1 For more details than I shall give here, see Frank Gaiennie s article in the Encyclo 
 paedia of the History of St. Louis by William Hyde and Howard L. Conrad (New York, Louis 
 ville, and St. Louis, 1899), pp. 2370 f . I am indebted to Mr. Charles A. Cox of St. Louis for 
 a typewritten copy of the article, the original of which I have not seen. " The organization 
 has gone on in the same manner since 1897," wrote Mr Cox in 1913. 
 
 2 Enumerated by Mr. Gaiennie as follows: i, Glacial Period of Winter; 2, Chariot of the 
 Sun; 3, Primitive Animals; 4, Fiends of Darkness; 5, The Centaur; 6, Flora; 7, Proserpine 
 and Pluto; 8, Golden Globe; 9, Demeter; 10, Triptolemus; n, Plowing; 12, Fruits; 13, 
 Bacchus; 14, Industry; 15, Wealth; 16, " The Veiled Prophet," and 17, Silenus. 
 
 3 Various trades and industries were symbolized. 
 
 4 The twenty-one floats showed more coherence than is usual in a pageantic revel; but 
 the history was not confined to St. Louis. Symbolism was there, in America," " Missouri," 
 and " King Cotton "; among the other floats were: the Discovery of the Northmen; the 
 Landing of Columbus; Columbus received by Ferdinand and Isabella; Ponce de Leon and 
 the Fountain of Youth; Meeting of Cortez and Montezuma; King Nezahualcoyotl at Tez- 
 coco; de So to discovering the Mississippi; Pocahontas and John Smith; Hendrik Hudson; 
 Burning of the Dutch Village; Landing of the Pilgrims; Washington Crossing the Delaware; 
 The Heroes of 76; Daniel Boone; Hunting the Buffalo; Statue of General Jackson; West 
 ward Ho! and the invariable " Veiled Prophet." 
 
 5 Little Red Riding Hood; Bluebeard; Aladdin in the Cave; Humpty-Dumpty s Mis 
 fortune; various floats showing scenes from Alice in Wonderland; Uncle Remus s Tar Baby 
 Story; Santa Claus on the Roof Tops; Mother Goose; Old King Cole, and Cinderella were 
 among the floats that year. Cf. the pictures of the " Mother Goose " pageant at Greensboro 
 (North Carolina) in Davol, p. 57. 
 
 6 Some of the floats were: America; Europe; Asia; Africa; Mexico; South America; 
 Oceania; Missouri; Veiled Prophet; Father of Waters; Death of deSoto; Arrival of Pontiac; 
 Reception of Pere Marquette and Joliet; LaSalle taking possession of Louisiana Territory; 
 Founding of the city of St. Louis; Visit of Lafayette to St. Louis; Native Missourian in 
 augurated President of the United States. 
 
254 ENGLISH PAGEANTRY 
 
 illustrated with the same number of cars. There is no need to go into detail 
 here of the shows which run in unbroken sequence from 1878 to 1897,* nor need 
 we discuss here the masked ball which follows them. 
 
 In spite of the allegory, symbolism, and even history which can be found in 
 these processions, they lie on the outskirts of pageantry, because they have no 
 connection with the town, and are given by a social organization. Insofar as 
 the subject of the triumphs approaches local history, they tend towards pag 
 eantry in its higher forms; the fact that the shows are not given by the com 
 munity as a whole puts a barrier between this and a pageant like that of Norris- 
 town. The tendency toward the carnival is shown by the fact that a Queen is 
 chosen at the masked ball which follows the parades. 2 
 
 A " CARNIVAL " AT REVERE IN SEPTEMBER, 1912 
 
 To illustrate the formless " raw material " of pageantry, I may allude to a 
 " carnival " which took place at Revere (Massachusetts) early in September, 
 191 2. 3 This apparently had a trade-origin. " Ten artistic floats will be features 
 of the grand carnival parade, or pageant, to take place each night during the 
 Mardi Gras celebration at Revere Beach from Tuesday to Saturday of next 
 week. The royal float will convey the King and Queen of the carnival. A dif 
 ferent royal couple will be picked for each night. Other floats will represent 
 Fame, Beauty and the Beast, the Flying Dutchman, the Man in the Moon, 
 Robinson Crusoe, the Martians, Slumberland, the Sun Princess, and Revere 
 Beach." 4 
 
 PAGEANTRY " WITH A PURPOSE " 
 
 Another development of pageantic material in processions deserves a word. 
 Just as the pageant-play has been turned to political uses as in Disinherited ? 5 
 - so the pageantic procession occasionally takes unto itself a political com 
 plexion. Allegory, or symbolism, was used by the Socialists of Boston during 
 the campaign of 1912, when a figure, richly dressed in silk hat and furs, repre- 
 
 1 And, as far as I know, to the present day. 
 
 2 Since 1800, tableaux have been a feature of several balls. 
 
 3 I cite a paragraph from the Boston Herald of 30 August, 1912 ; the heading reads: " Ten 
 Floats to Appear in Revere Carnival Different King and Queen for each Night of F$te." 
 On carnivals, see the Theatre Magazine for February, 1911, p. 43. 
 
 4 It is worth calling attention to the phenomenon which permits the use of Mardi Gras 
 in the paragraph quoted above. The phrase is hardly appropriate for a parade that is to be 
 repeated five nights of the first week in September; but it shows the influence which is be 
 hind such an entertainment. 
 
 6 See above, p. 230 f. (The " Pope-burnings," both in England and America, may be con 
 sidered political pageantry of a kind, as are the Orange processions.) This is not far removed 
 from propaganda. 
 
PAGEANTRY IN THE UNITED STATES 255 
 
 senting Capital, was drawn through the streets by the Elephant, Donkey, and 
 Bull-Moose emblems of the Republican, Democratic, and Progressive parties. 
 The implied political doctrine was emphasized by the transparencies of the torch 
 light parade which followed. In the woman-suffrage procession at New York 
 on 9 November, 191 2, l there were chariots and floats representing the States 
 where women vote; " Our Plank " - a float intended to convey the idea that 
 the vote is for the benefit of all sorts and conditions of women contained 
 woman-physician, college-girl, trained-nurse, tenement-house mother and " rich 
 butterfly," each in appropriate costume. Another float showed " China, the 
 land where women vote "; it contained twenty-five women in Chinese costume, 
 with lanterns. Men helmeted, dressed in silver armor and carrying shields em 
 blazoned with the name of the State each represented, walked by the horses 
 heads; and many thousand people, some of them in costume, accompanied the 
 procession. 2 
 
 A " pageant-procession," followed by an " allegory," made up the suffragette 
 " show " in Washington on 3 March, 1913. 3 The following year, " the greatest 
 suffrage demonstration that Washington has ever seen filled Pennsylvania 
 avenue and other streets leading from Lafayette Park to the Capitol, where an 
 army of women and girls besieged Congress . . . Every State of the Union was 
 represented in the parade. The petition brigade numbered 531, and marching 
 with them were a hundred girls with garlands, a chorus of a thousand, ten bands, 
 divisions of suffrage cavalry, and girl heralds, besides the rank and file of the 
 women s suffrage organisations and a delegation from Pennsylvania of the Men s 
 League for the Suffrage, swelling the total to about five thousand . . . 
 
 " Then came colour-bearers and behind them a Pageant of Spring with its 
 white-robed girls typifying spring, youth and hope. The cavalry section, with 
 brilliant banners of purple, white and gold, was headed by Miss Elsie Hill, of 
 Connecticut. In contrast with the Amazonian pomp of mounted suffragists 
 were the more sober and business-like ranks of the women workers, in bodies 
 according to then: callings writers, actresses, doctors, stenographers, farmers, 
 waitresses, milliners, and, as if to defy the taunts of the Antis, home makers 
 marching under their banner." 4 
 
 1 See the New York Tribune of that date, p. 6. 
 
 2 Cf. the Suffragettes London march, pictured in the Illus. Land. News for 25 June, 1910, 
 p. ion. Picture 2 emphasized " the fact that many suffragettes have been in prison as a 
 result of their political beliefs "; it showed " Miss Howey in prison dress on the only car in 
 the procession." 
 
 3 On the " allegory," see below, p. 284 f. 
 
 4 The London Observer, for 10 May, 1914, p. n. Cf. the " Pageant of Spring " with the 
 masques mentioned above, p. 191, and below, p. 284. 
 
2$6 ENGLISH PAGEANTRY 
 
 " PAGEANTRY FOR RETURNING HEROES " 
 
 Under this title, the Literary Digest for 12 April, 1919, records with illus 
 trations the welcome planned by New York City for her troops returning from 
 overseas service. Here the pageantry recalls the Elizabethan triumphal arch 
 the structures erected at London in I559 1 and at Norwich in 1 5 78, 2 for instance. 
 The troops themselves were not pageantic : like those of war-time Lord Mayor s 
 Shows, they were history itself, not a representation of historical characters, nor 
 symbolical figures representing History. An observer, quoted from the New 
 York Times by the Literary Digest, remarks: " The three phases of the decora 
 tions were evident last night. At the Public Library with the Court of the Heroic 
 Dead, a mourning note was struck, while victory was the motif at the Victory 
 Arch, and joy and thankfulness at the Arch of Jewels, at Sixtieth Street. Thou 
 sands and thousands of crystal prisms gave out the colors of the rainbow last 
 night at the jeweled portal, which consists of an arch of two shafts, each eighty 
 feet high, the portal itself being a hundred and thirty feet wide. About thirty- 
 two thousand pieces of prisms in ruby, jonquil, olivin, and ultramarine blue sur 
 round a sunburst of nine thousand pieces to bring out the coats-of-arms of the 
 Allies ..." An interesting discussion of the effectiveness of the architectural 
 features of these " pageants " is summarized in the same issue of the Literary 
 Digest. A selection from a letter which appeared in the New York Tribune, I 
 quote : 
 
 Street pageantry and decoration, being for an occasion, are not architecture, which is for 
 continual and daily use and enjoyment. Therefore, such decoration should not be made even 
 remotely to resemble architectural art, for if it does so, it immediately and inevitably enters 
 into competition with the surrounding architecture, with which it cannot hope to compete, 
 but which it may nevertheless outrival by reason of its gaiety, its brilliance, and by a beauty 
 of an entirely different sort. 
 
 Instead of being treated to an exhibition of pageantry and decoration as an art in itself, 
 we were confronted with imitation architecture of an ancient, uninspired, cumbersome sort; 
 false in fact, false in taste, and actually obstructive to the aim and end of it all, which was 
 to enhance and adorn the spectacle of marching troops. 
 
 It was false in fact because it was lath and plaster made to imitate enduring stone. It 
 was false in taste because it echoed the taste of imperial Rome by way of imperial France. 
 It was obstructive because it actually obstructed the movement of the troops and the vision 
 of the spectators. 
 
 The trump-cards in the decorator s pack, color and movement, were played scarcely at 
 all. . . 
 
 It is encouraging for the future of pageantry in the United States, to know that 
 public interest can be aroused enough to discuss matters of beauty in con 
 nection with triumphal arches erected for street parades. The Dewey recep 
 tion of 1899 also a " military pageant " - is compared (by a writer in the 
 
 1 Cf. above, vol. i, p. 200. 2 Cf. above, vol. i, p. 211. 
 
PAGEANTRY IN THE UNITED STATES 257 
 
 New York Evening Sun, who is quoted in the Literary Digest} with the return 
 of the New York troops; he finds a loss of the picturesque in the olive-drab 
 uniforms of the present day. The Dewey Arch, on the site of which the Victory 
 Arch was erected, is pictured in the same number of the Literary Digest. 
 
 This survey incomplete as it is is sufficient to show us the range of 
 processional pageantry. In its least developed form, it is the carnival procession 
 pure and simple. Sometimes it takes on a suggestion of history, either national 
 or local, but being given by a small group is not of the community. Some 
 times it is used for propaganda; sometimes it combines history with an ill- 
 assorted carnivalistic melange; sometimes it approaches the Parkerian work, 
 as at Norristown, where the community furnished scenes (which were practi 
 cally speechless " episodes ") dealing with one exception with the history 
 of the community; and the exception included symbolism, frequently found at 
 the end of the " community drama." It is obvious that the greater the unity 
 of the underlying plan in these proceessions, the larger the share of the com 
 munity in preparing and producing them, the more care that is given to get 
 historical accuracy, the greater the civic pride and the desire for civic better 
 ment awakened by them the higher they rise in the scale of pageantry. It 
 may not be fair to judge the Lord Mayor s Show by these standards ; but they 
 may be applied with justice both to the processional pageant and the " com 
 munity drama " in the United States. 
 
 2. THE COMMUNITY DRAMA 
 
 We have seen that Mr. Parker wanted to call his pageants " folk-plays," but 
 that this name did not awaken enthusiasm. As the German Erinnerungsspiele 
 serve to keep alive some episode in the history of a town, so the old " folk-plays " 
 of England recall some pre-Christian festival the Robin Hood plays are 
 supposed to go back to a fight between Winter and Summer; or some event 
 in the past of the community the Hox Tuesday play of Coventry, for ex 
 ample, is thought to commemorate a victory over the Danes. 
 
 When, early in the eighteenth century, speech died out of the Lord Mayor s 
 Show, the characters in these triumphs were, presumably, wheeled through the 
 streets silent on their pageant-cars. 1 In 1783, as we have seen, figures from the 
 Lord Mayor s Show appeared on the stage of a London theatre; the transfer 
 was not difficult. Probably although more evidence is needed to prove the 
 matter conclusively the silent group which portrayed an historical event on 
 some pageant-car in a street procession, lies behind the group which did the 
 same thing in a hall. 
 
 1 Only one in each group had delivered speeches in the days when the services of a poet 
 were required; even in the days of the " royal-entry," the groups on the pageants had never 
 been far removed from the tableau mvant. 
 
258 ENGLISH PAGEANTRY 
 
 In 1882, William Penn was the chief figure in a pageantic procession at Phila 
 delphia; in 1888, scenes from the early history of the colony were presented in 
 Centennial Hall, at Marietta, Ohio. 1 
 
 THE MARIETTA PAGEANT OF 1888 
 
 Ten " tableaux " made up this pageant, 2 most of them, apparently, nothing 
 more than " living pictures " of scenes from the early history of the new colony. 
 It is hard to tell just how much speaking there was; but there seems to have 
 been some. 3 Musical selections separated the tableaux. The first scene showed 
 the landing of the French at the mouth of the Muskingum on 16 August, 1749; 
 the last was a minuet at Blennerhassett s, in which Aaron Burr and various 
 other historical characters took part. There was no symbolical or allegorical 
 character in this pageant. 
 
 THE PLYMOUTH "HISTORIC FESTIVAL" OF 1896 
 
 At the end of the nineteenth century, these " historic festivals " or " pag 
 eants " were common enough. The rarity of the program of that given on the 
 last week of July, 1896, and again in 1897, at Plymouth, Massachusetts, warrants 
 its reprinting. " The performances were given in a large hall which was used as 
 an armory, and would easily accommodate fifteen hundred people," writes Mr. 
 
 1 It must be borne in mind that Mr. Parker recognizes no debt to the " living pictures " 
 of the street procession; and that, while American pageantry of the twentieth century recog 
 nizes its debt to the Parkerian work, there was no direct influence from America on the modern 
 pageant in England. The origin of, and influences upon, the German Erinnerungsspiele can 
 not be taken up here; these provide a fruitful field for further research. 
 
 2 A full account of this pageant (the " manager " of which was Mrs. Edward E. Phillips) 
 is given in the Report of the Commissioners of the National Centennial Celebration of the early 
 Settlement of the Territory Northwest of the River Ohio, which is recorded in the Bibliography, 
 s. v. MARIETTA. The celebration was held there 15-19 July, 1888; the "pageant" (the 
 word is used in the Report) was produced on 17 July, in Centennial Hall. 
 
 Cf. also for mention of this pageant, Bates and Orr, Pageants and Pageantry, pp. 12, 13, 
 and Davol, Am. Pag., pp. 31 f.; on p. 33 a scene is illustrated. Mr. Davol notes that the 
 pageant was repeated at Cincinnati the October following. 
 
 3 E. g., in tableau iv: " General St. Clair . . . enters the ( bowery near by and his com 
 mission as Governor is read." (Report, p. 29); in tableau viii, scene 2: "A woman with 
 children, . . . Mrs. Moulton, (was) missing. Is she killed ? No, said Lydia, mother 
 has stopped to put things a little to rights. " (Report, p. 31.) "In this tableau," the pro 
 gram continues, " the original Campus Martius bell, which rang the alarm in 1791, will be 
 used." 
 
 Historical accuracy was sought for, and the community drawn upon for actors and heir 
 looms. An historical loan-collection (with which may be compared those at York and New 
 York in 1909) was a part of the celebration, and indicates the " educational " spirit which is 
 so prominent in the modern work. 
 
PAGEANTRY IN THE UNITED STATES 259 
 
 Lord. 1 " There were no speeches. . . . The affair was planned principally by 
 Miss Margaret MacLaren Eager of New York, who at that time had charge of 
 many historical pageants, as they were called. She arranged the tableaux, se 
 lected the persons, determined the costumes, and had the entire responsibility 
 for the preparation of the scenes, and acted as stage manager. 
 
 " The general management of the affair was in the hands of a large committee 
 of which I was chairman. The nominal purpose of the pageant was to secure 
 funds to provide a new bell for the First Church, the old one having been in 
 jured in the fire which destroyed the church, and sufficient funds were raised 
 to recast the old bell and place it in position. The pageant, as the program shows, 
 involved no writing as the actors had no speaking parts ..." 
 
 The character of this entertainment is shown by the program; the thing was 
 called an " historic festival," and entitled Old Plymouth Days and Ways. 
 
 WEDNESDAY AND FRIDAY EVENINGS 
 
 Scene i. Scrooby, Farewell of Gov. Bradford. 
 
 2. Festivities of Holland Peasants. Tableau, the Embarkation of the Pilgrims from 
 
 Delft Haven. 
 Scene 3. Indian life. An Indian Hunt Dance. Tableau, the Landing of the Pilgrims on 
 
 Plymouth Rock. 
 
 Scene 4. A service in the Old Fort. 
 Scene 5. A Pilgrim Wedding. 
 Scene 6. A Ball of 1760. The Flag Dance. 
 
 THURSDAY AND MONDAY EVENINGS AT 8 
 
 Tableau, the Embarkation from Delft-Haven. 
 
 Scene i. Indian Life. An Indian Hunt Dance. Tableau, the Landing of the Pilgrims. Tab 
 leau, the Treaty with Massasoit. Tableau, home of John and Priscilla. 
 
 Scene 2. David Alden s family. (Descendants of John and Priscilla.) 
 
 Scene 3. A Tea Party of 1770. The Flag Dance. 
 
 The Civil War Scene i, Departure of troops. Scene 2, A camp scene. Scene 3, Return of 
 troops. 
 
 SATURDAY MATINEE AT 2:30 
 
 Scene i. Scrooby. The farewell of Wm. Bradford. 
 
 2. Festival of Holland Peasants. The Embarkation from Holland. 
 Scene 3. Indian Life. An Indian Hunt Dance. Tableau, the Landing of the Pilgrims. 
 Scene 4. A Pilgrim wedding. A drum dance. 
 
 5. A Ball of 1760. The Flag dance. 
 
 1 I am indebted to Mr. Arthur Lord, of Plymouth and Boston, for the opportunity of 
 transcribing the program of this festival. My quotations are from a letter of his dated 25 
 February, 1915. 
 
260 ENGLISH PAGEANTRY 
 
 SATURDAY EVENING AT 8 
 
 Scene i. Scrooby. The farewell of Gov. Bradford. 
 
 Tableau. The Embarkation. An Indian Scene. Indian Hunt Dance. Tableau, The Landing. 
 
 A Pilgrim wedding. Tableau, Home of John and Priscilla. David Alden s family. 
 
 A Tea party of 1770. A Flag dance. Return of the troops. 
 
 THURSDAY, FRIDAY AND MONDAY AT 2 145 
 
 Scene i. A dancing school of the olden time. 
 
 2. The flags of all nations. 
 
 3. A quilting party of 1812. A drum dance. 
 
 4. A sailor dance. 
 
 Here were living pictures, dances, and perhaps scenes acted in dumb-show. 
 Symbolism may have played a part in such a scene as " the Flags of all Nations " ; 
 and there may have been a stirring of local pride due to the historical scenes 
 portrayed most of which, it will be remarked, emphasized the customs of the 
 people, although Governor Bradford, Massasoit, John and Priscilla Alden, and 
 other historical characters, appeared. But the purpose of the " festival " was 
 not to awaken civic pride; it was to get a bell for the church... 
 
 THE BOSTON " HISTORICAL FESTIVAL " OF 1897 
 
 Miss Eager directed the " Historical Festival " which was given in Music 
 Hall, Boston, 22-30 April, 1897, under the auspices of the Boston Teachers 
 Mutual Benefit Association. 1 This consisted of various scenes or living pic 
 tures 2 given by different groups as follows: " Boston, England. St. Botolph s 
 Church where John Cotton preached. English villages and their Merry-makings. 
 John Cotton. Thomas Dudley and others enter and discuss the matter of trans 
 ferring the Charter and Company of New England to New England . . . 3 Cam 
 bridge, England. Meeting of the twelve men chosen to weigh and consider the 
 matter of transferring the Charter and Company to New England . . ." 4 Then 
 came " The wharves at Southampton, England. Tableau. Departure of the 
 Puritans. " 5 Students of the English High and Latin Schools gave the next 
 scene, which was entitled " Indian Home Life," and showed " Blaxton wel- 
 
 1 The souvenir program of this with the names of those who took part, and the char 
 acters each represented is in the Harvard Library (Thr. 1211.70). This pamphlet is my 
 authority for the following remarks. 
 
 2 It is impossible to tell from the program how great a part was played by speech. . 
 
 3 This was " under the auspices of Boston Art Students." The characters included Puri 
 tans and Villagers, a May Queen, Gregory and Jester, together with the historical figures. 
 
 4 This scene was " under the auspices of members of the Tavern Club "; the cast of 
 characters included some well-known names. (Cf. program, p. 23.) 
 
 6 This was " under the auspices of the Gov. Thomas Dudley Family Association "; Mr. 
 Sanford H. Dudley took the part of Governor Thomas. 
 
PAGEANTRY IN THE UNITED STATES 261 
 
 coming Winthrop and his followers to Shawmut." An early Town Meeting 
 (1633) was next presented " under the auspices of Boston Masters," and then 
 the Colonial Dames showed " Puritan Home Life. The welcome given to 
 Margaret Winthrop and John Eliot," and " Copley s Studio," which " tableau 
 represents a lady of the period sitting for the artist in his studio in Boston. A 
 few of her friends accompany her." A social gathering in provincial days, with 
 old-time dances, made up the next episode; after which members of Battery A 
 gave " The Boston Massacre," and " The Removal of the Troops." 1 The " In 
 terior of the Green Dragon Tavern Meeting of the Sons of Liberty " was 
 produced under the auspices of the Old South Historical Society, who also gave 
 " The Old South the Tea Meeting, " and "On Board the Dartmouth - 
 the Boston Tea Party." The Mary Draper Chapter, D.A.R., gave " On the 
 Road to Roxbury. Mary Draper s Home. The Eve of the Battle," and a com 
 pany of the English High School regiment showed Paul Revere and the minute- 
 men at Lexington. " Washington s Entrance into Boston " was presented by 
 members of the Ancient and Honorable Artillery Company; z and the reception 
 at Governor Hancock s mansion, on 10 August, 1790 (on the arrival of the 
 Columbia, the first American ship to sail round the world) was under the charge 
 of " ladies of the William H. Prescott Club." The Daughters of the Revolution 
 gave " the Lafayette Reception, 1824," and the State Department of the Wo 
 man s Relief Corps and the G.A.R. showed the departure and return of troops 
 in the tune of the Civil War. With the Flag Dance and three " Children s 
 Scenes," 3 the festival came to an end. 
 
 As at Plymouth, there was some dancing in this pageant, but the emphasis 
 was more on history and the whole show seems to have been given at every 
 performance. The " flag dance " may have been the same as that of Plymouth, 
 and the quilting party may have been another " stock scene " ; but the important 
 thing to note here is that, although given for an object, many different groups 
 historical, educational, and social took part in the festival, thus tending to 
 link the community together. 
 
 1901 HISTORICAL SCENES AT YALE 
 
 In his account of the Yale Bicentennial, 4 Professor Henry S. Canby recalls 
 that in October, 1901, "five thousand Yale men, costumed to represent the 
 historic ages of the University, marched . . . from the campus aglow with orange 
 
 1 This latter scene was laid in the Governor s Council Chamber, and included Lieutenant- 
 Governor Hutchinson, Samuel Adams, citizens, officers, and the council. 
 
 2 An off-shoot of the London Honourable Artillery Company, which figured in more than 
 one Lord Mayor s Show. 
 
 3 Which showed " Master Tileston and his School of ye Olden Time," " A Quilting Party," 
 and " Ye Miniature Navy." 
 
 4 The Book of the Yale Pageant, pp. 105 ff. The second scene of the fourth episode was 
 planned to represent the academic procession of the Bicentennial. 
 
262 ENGLISH PAGEANTRY 
 
 lanterns, and set about with great bowls blazing with burning rosin, through the 
 streets of New Haven ... On Tuesday evening, the graduates filled an amphi 
 theatre built about a stage upon which the undergraduates presented scenes from 
 the history of Yale. This was the first open air presentation of historical scenes 
 under modern conditions, and may earn for Yale the name of Mother of Pag 
 eants. Classes were grouped together, and in the waits between the scenes each 
 introduced its favorite old-time songs ... At the end of the evening, the audi 
 ence of nine thousand stood bareheaded singing the Doxology, as at the end of 
 Chapel service, while bombs burst overhead and stars of fire rained through the 
 elm tops thus, so said an observer afterward, praising God and raising hell/ 
 in good Yale fashion." 
 
 Perhaps because this was overshadowed by " the more formal aspects of the 
 Bicentennial," or perhaps because it was exclusively for a Yale audience, this 
 " pageant " seems not to have exercised much direct influence on others. There 
 were historical scenes (though not out-of-doors) at Marietta in 1888, and at 
 Boston in iSgj. 1 And history had been reproduced out-of-doors at Plymouth, in 
 i8oi. 2 
 
 QUEBEC PAGEANT OF JULY, 1908 
 
 With the birth of the Parkerian pageant in England, new influences began to 
 be felt. No longer were living pictures and pantomimic scenes illustrating his 
 torical events the kind of pageant which developed in America at the end of 
 the nineteenth century sufficient. The Sherborne Pageant of 1905 had been 
 three years a memory when one of the first of the more elaborate shows was 
 produced on this continent that which took place at Quebec in i9o8. 3 
 
 Mr. Frank Lascelles, the master of the pageant which celebrated the ter 
 centenary anniversary of the founding of Quebec in July, 1908, had been the 
 master of the Oxford Pageant of 1907; the connection between this and the Par 
 kerian work in England is, therefore, not hard to trace. At five o clock on the 
 afternoon of 21 July, the first regular performance of this part of the celebration 
 began; 4 the technique is in general like the English pageants, but we may go 
 
 1 See above, pp. 258 and 260 f. 2 See above, p. 236 f. 
 
 3 Although this chapter deals chiefly with pageantry in the United States, we may, per 
 haps, be allowed to cross the frontier without offending our northern neighbors. I have al 
 ready mentioned various pageantic processions which accompanied this tercentenary cele 
 bration, (see above, p. 240 f.). 
 
 4 For further details than I give here, see the Historical Souvenir and Book of the Pageants 
 of the sooth Anniversary of the Founding of Quebec, the Ancient Capital of Canada, 20-31 July, 
 1908 (illustrated). (Montreal [1908]); Carrel, The Quebec Tercentenary Commemorative His 
 tory (illustrated). (Quebec, 1908); Les Fetes du Troisieme Centenaire de Quebec, 1608-1908. 
 (illustrated). (Quebec, 1911), where Les Spectacles Historiques are fully described on pp. 
 
 369 ff- 
 
 Besides the illustrations in these volumes, I may note that the Don de Dieu is reproduced 
 
PAGEANTRY IN THE UNITED STATES 263 
 
 into some detail, in view of the historical importance of this one. It will be 
 observed that some freedom is allowed in the matter of site; 1 that speech is 
 not so important as in some of the English pageants; 2 but that the spirit of the 
 Parkerian work is kept. 
 
 The first episode dealt with Jacques Cartier, and the founding of Quebec, 
 1534-6. Much of this though not all appears to have been in pantomime 
 and song. The second scene Cartier at the court of Francois I seems also 
 to have been largely pantomime; what words may have been spoken were not, 
 probably, very important. The second " pageant " - or episode took place 
 at the Louvre ; Henri IV gave Champlain a commission to set out for la Nouvelle 
 France. Again trumpets, music, song, and dance seem to play more important 
 a part than dialogue. The second scene of this " pageant ": "1620 Samuel 
 de Champlain brings to Quebec his young wife, and is received by the Garrison 
 of the Fort, and the friendly Indians who perform the Calumet dance in their 
 honour." The third episode, 3 " 1639: Mere Marie de 1 Incarnation reaches 
 Quebec with the Ursulines and Jesuits and is received by the Governor," - was 
 followed by one which showed how in 1660 Adam Bollard, Sieur des Ormeaux, 
 and his companions in arms at Long Sault kept the fort against the Iroquois. 
 The fifth episode was the reception by Mgr. de Laval of the Marquis de Tracy, 
 the Lieutenant-General of Louis XIV; the sixth, " Daumont de Saint-Lusson 
 takes possession of the country of the West, in the name of the King of France." 
 Phips appeared in the seventh episode; and the " Battles of the Plains of Abra 
 ham " 4 followed; the last " pageant " or episode was the " march past " of 
 characters and a final chorus. 
 
 As the two armies of Montcalm and Wolfe stood facing each other, " from a 
 thick bush in the centre of the field were seen to emerge a cluster of white doves 
 emblems of peace. They were released, but uncertain of their freedom, hesi 
 tated, then soared overhead, as if cementing the unity of the two armies below." 5 
 
 in the Illus. Land. News for 25 July, 1908, p. 125, and by Davol, in Handbook Am. Pag., p. 40. 
 The pavane danced in this pageant is illustrated, ibid., p. 197. 
 
 1 E.g., the " second pageant " (or episode) takes place at the Louvre; and though " c est 
 a Montreal que Jacques Cartier lut 1 evangile selon saint Jean aux sauvages groupes autour 
 de lui," (Les Fetes, p. 371) it was thought good, to show the Christian spirit of the discoverer, 
 to introduce the scene as if it had happened at Quebec. 
 
 2 E. g. " II est arrive qu a la scene Ton dut couper certains dialogues, abreger certains 
 discours; nous les citerons aussi integralement que possible." (Les Ftes, p. 376.) Cf. Carrel, 
 pp. 131 f., for a description of the pageant in scenario form. On pp. 154 f. some of the dia 
 logue (between the English and Frontenac) is reprinted. Dialogue in English, Latin, French, 
 and even in the Indian tongue, seems to have been delivered; we may suppose that the mean 
 ing of the scenes was largely brought out by action. 
 
 3 Illustrated in Les Fetes, opp. p. 400. 
 
 4 Wolfe against Montcalm (1759) and Levis against Murray (1760). 
 
 5 Carrel, p. 86. 
 
264 ENGLISH PAGEANTRY 
 
 With the laying of wreaths on the monument " to the honor of Wolfe " by 
 one of Montcalm s men, and " to the honor of Montcalm " by one of Wolfe s 
 the pageant came to an end. 1 
 
 The pageant given at Lancaster (Massachusetts) on 4 July, 1912, was a de 
 velopment of the " tableau pageant." It consisted of four scenes from the his 
 tory of the town, presented on the village green. It was not entirely without 
 speech, although that played a very minor part. 2 
 
 THE PETERBOROUGH PAGEANT OF 1910 
 
 Turning from the purely historical pageant, like that of Quebec, we find that 
 although it was the affair of the whole town the Peterborough (New Hamp 
 shire) Pageant was " a tribute to Edward MacDowell." 3 It " tried for the first 
 time to express a town s history in music written by a former citizen, and aimed 
 to bind the different episodes in a closer unity than is common," says Professor 
 Baker, the master of the pageant. 4 The emphasis is, perhaps, more on the im 
 personal element of history what may be called its social side than is com 
 mon with historical pageants. The attention which music and dancing received 
 seems to place this much nearer the masque than the historical " folk-play " 
 usually gets; but the " popular " quality of the pageant saves it. There is, 
 perhaps, a good deal of masque-technique; but the fact that the townspeople 
 took a personal pride in the pageant separates it from such shows as the Bo 
 hemian Club " Jinks." 5 
 
 The pageant opens with an invocation, in which Muses and Dreams appear. 
 An Indian idyl follows; and then we have an episode dealing with " the con 
 ditions in North Ireland compelling the emigration of the settlers." In this we 
 see the impersonality of the history; Boy, Old Woman, Young Woman, Old 
 Man, Pedlar, Peasants, Puritan, Children, Soldiers the list shows us that we 
 are dealing largely with the supernumeraries of history. In these episodes, Sir 
 William Tenney, Lady Tenney, and Horton are the only individuals named. 
 
 " The Departure " and " The Landing " are followed by " The Burial of the 
 
 1 Carrel, p. 88. A "pageant ball " or "historical ball" seems to have been little more 
 than a fancy-dress ball, though most of the costumes were " historic." " Everything else 
 was of today, but the spirit was that of history the history of the times and peoples that 
 made the Dominion the history which one is pleased to think of the history whose 
 thoughts are studied and the garb of whose period is worn. In a thankful manner the spirit 
 of the age was imbued and its garb donned. 
 
 ;< The spirit of pageantry and history rilled Quebec and even in their enjoyments Que- 
 becers learned, for the ball was a lesson and a pleasant one." (Carrel, p. 122.) 
 
 2 The program of this pageant may be found in the Harvard Library. 
 
 3 Book of the Peterborough Pageant, p. 5. 
 
 4 In New Boston for November, 1910, p. 295. 
 8 On this, see below, p. 286. 
 
PAGEANTRY IN THE UNITED STATES 265 
 
 Chieftain." 1 "A Colonial Wedding" -again with unnamed characters 2 
 shows " a custom of these early settlers at weddings . . . The scene illustrates 
 also the essential part spinning played in the daily life of the time. It is a fact 
 that the women carried their wheels with them even to festivities." 3 
 
 A dance illustrating an old legend concerning a whimsical negro who was the 
 village cow-herd, forms episode viii; this is followed by "The Call to Arms, 
 April 18-19, I 775-" " Working the Hand-Looms, 1810," recalls the building 
 of the first cotton mill, a hundred years before the pageant; " The Deserted 
 Farm " 4 again deals with nameless characters. Then comes a " Dance in 
 Autumn." 
 
 The final episode is the welcome of Peterborough to its returning soldiers in 
 1865: then a dance " Peterborough welcomes People of other Nations and 
 the Muses to her Woods and Hills " - after which Peterborough reviews the 
 historical groups Settlers, Indians, Colonials, Revolutionary figures, the 
 Milling group, the people of the Civil War period, and the Foreign Races - 
 and receives the English, Canadian, and New York Peterboroughs. 5 
 
 This pageant combines history, mythology, and symbolism ; it employs dance 
 and music, as well as dialogue; it portrays the past of the town, and uses in the 
 portrayal the musical utterance of a great man. We can see that in certain 
 details it differs from the Parkerian norm; but it does not lose its right to the 
 name of pageant for all that. 
 
 " FROM CAVE LIFE TO CITY LIFE " - AT BOSTON IN 1910 
 
 A pageant which combines history and allegory which has, one might 
 say, a symbolic structure built on a foundation of history is the Boston 
 " Civic Pageant " of 1910, entitled From Cave Life to City Life. We may ex 
 amine this somewhat at length, because it differs from the Parkerian pageant 
 widely. 6 
 
 1 It looks from the program, or Book of the pageant, as if each scene were made up of 
 pantomime and singing the music based of course on MacDowelPs compositions, 
 which were arranged by Mr. Chalmers D. Clifton. Mr. Baker tells me there was more speak 
 ing than would appear from the Book; the dialogue has not been published. 
 
 2 Save for " Old Black Baker." 
 
 3 Cf. the illustration (from another pageant) in Davol, p. 125. Pictures of " Dreams " 
 (on p. 19) and of a solo-dancer in this pageant (on p. 168) may be found in Davol. 
 
 4 Cf. episode ix of the Thetford Pageant, (the Book of that pageant, pp. 50 f.). 
 
 5 This ending with its symbolism and " march past " is more Parkerian than is 
 usual in America. The song which the cliorus sings during the final march expresses the hope 
 characteristic of the " futuristic " pageant. 
 
 6 The program of this pageant was published in the " pageant number " of New Boston 
 (November, 1910), i, no. 7, pp. 273 f. Miss Lotta A. Clark was " Director of the Pageant." 
 Besides the illustrations in this pamphlet, the Knights of Economy, and other pictures, may 
 be found in Davol. 
 
266 ENGLISH PAGEANTRY 
 
 Although this " Pageant of the Perfect City " - to give it its subtitle was 
 not arranged to celebrate any civic anniversary, it was given by a thousand 
 citizens of " greater Boston " as part of the " civic advance campaign " to 
 awaken municipal pride, to quicken a public spirit of cooperation, and to stir 
 the community life to better things. The pageant was given in the Boston 
 Arena on the evenings of 10, n, and 12 November. 
 
 A Prologue, in which Father Time invites Labor, Progress, Success, and Pros 
 perity, Peace, and Happiness to assist man in his work, was followed by episode i 
 - the Cave Dweller at the first hearthstone. 1 An " interlude " - which was a 
 dance symbolic of the welcome which Vineland extended to the Norsemen 
 separated the first and second episodes; then followed " Life in the Indian Vil 
 lage." Another solo-dance the Dance of the Waves introduced the third 
 episode, which showed, in three scenes, " The Colonists and their Settlement for 
 Freedom in the new Land "; scene i, the struggle for existence including a 
 fight with the Indians; scene ii, " Strength and Progress. An early Thanks 
 giving "; and scene iii, " The Resistance to Tyranny," with " The Governor s 
 Reception," 2 at which a minuet was danced. 
 
 After a five-minute interval, episode iv " Present Success and Future Im 
 provement " - was introduced by a solo-dance entitled " The Passing of the 
 Indian." In the fourth episode, there were four scenes dealing with the past, 
 present, and future, together with " the assimilation of the nations." The char 
 acters here were symbolical personifications. The pageant came to an end with 
 a solo-dance, and the singing of a patriotic hymn. 
 
 " The present Boston Pageant works by contrasts," says Professor Baker, 3 
 " aiming to suggest future possibilities by placing in juxtaposition that in the 
 past which was inept and uncomfortable, and the commonplaces of life today 
 undreamed of by our forefathers." The illustrated evolution is meant to stimu 
 late a demand for realities which might seem ideal, he continues, by showing 
 that the commonplace of today was undreamed of even a hundred years ago. 
 
 Much which the program of the pageant contains was, it should be remarked, 
 omitted in the actual production; and much of the symbolism of the final assem 
 bly was not clearly brought out. 
 
 1 While the majority of the episodes did not contain speeches, they were not living- 
 pictures in the sense of being presented by people who remained motionless. The spectators 
 sat on three sides of the Arena, and the acting took part on the floor in the middle; when 
 scenery was needed it was placed at the far end, under the musicians. 
 
 2 Until the second scene of this episode, when Jonathan Edwards, the minister, reads the 
 Thanksgiving proclamation, no historical figure appears. As at Peterborough, many of the 
 characters have no names, being designated simply as " the Captain," " the Minister," 
 " Colonists," etc. With the " Town Crier " and " Minister " (named Jonathan Edwards on 
 p. 284 of the program; without a name on p. 290) in the second scene of episode iii, appeared 
 " The New England Conscience "; "the Dance of the Devil and the New England Con 
 science " of the Taunton Pageant of 1911 is illustrated in Davol, p. 168. 
 
 3 In the number of New Boston already cited, p. 295. 
 
PAGEANTRY IN THE UNITED STATES 267 
 
 The fact that the spectators sat on three sides of the hall, tended to destroy 
 much of the effect for more than two-thirds of the people had no background 
 against which to see the pageant, save that furnished by their fellow-citizens 
 across the " stage." The first two episodes, given in pantomime, were effective; 
 but the solo-dances, which were highly symbolic, meant little to many of the 
 on-lookers, who soon wearied of the gliding figure of the dancer, graceful as it 
 was. The first scene of the third episode with its fight between settlers and 
 Indians was effective ; * but the second scene (where inaudible speech was 
 introduced) contained too much material, 2 and divided the attention of the spec 
 tators in much the same way as does a four-ring circus. The fourth episode - 
 a review by Boston and the suburban cities, of present success and future im 
 provement was nothing but a kermess. The Town Crier was jostled out of 
 the way by newsboys; pillions, Sedan chairs, and coaches were distanced by an 
 electric motor-car which whirled about the hall until the spectators grew dizzy, 
 and bore before us the name of the manufacturer with a commercial zeal worthy 
 of the Lord Mayor s Show at its worst. 
 
 The " present city " included in its historic past the Indians and Colonists 
 who had appeared in earlier episodes; the " future city " showed " Dust Clouds 
 bringing Disease Germs," " Flames " (extinguished by the " Knights of Econ 
 omy ") and other symbolical figures represented by children, appropriately 
 dressed, who danced as in a ballet. The final scene, " The Assimilation of the 
 Nations," was frankly a ballet, in which each group dressed in the national 
 costumes of Scandinavia, Scotland, Ireland, Holland, Russia, Hungary, Italy, 
 and Greece joined, dancing, as best they could, the peasant dances of each 
 country. A final solo-dance " Aspiration " - brought the pageant to an end; 
 the friends of the pageanters swarmed from their seats to the floor of the arena, 
 the band struck up a waltz, and the rest of the spectators, on their way to the 
 doors, looked down on a fancy-dress ball. 
 
 This pageant combined history and symbolism; but the historical characters 
 were as has been noted types rather than real men. Some actual char 
 acters were, of course, presented; but few of the men who live in the history of 
 Boston appeared. Peter Faneuil, John Hancock, Samuel Adams, James Otis, 
 Cotton Mather, and many others were conspicuous by their absence; " Colonist 
 Captain," " Ezra," " Minister," " Jotham," " Sally," " the Rev. Arthur Brown," 
 " Lord Marrington," and other equally well-known characters took then: place. 
 " The New England Conscience " appeared in the first two scenes of the third 
 episode, and the combination of history and symbolism was not a happy one. 
 
 1 This recalls such musters as that held at Bristol in 1574, and the fight between cavaliers 
 and Puritans at Colchester in 1909. 
 
 2 " The party now breaks up into four separate groups: i. The Dame School. 2. A spin 
 ning school. 3. A quilting party. 4. The singing school . . ." (New Boston, p. 285.) 
 
268 ENGLISH PAGEANTRY 
 
 From Ab to the Governor s Reception we had history of a sort ; but it was 
 " typical " rather than actual. Then the pageant became a huge ballet; the 
 vast floor was covered with moving figures in gay costumes, reviewed by Boston 
 and her suburbs. The " Spirit of America," a gauze-clad figure with waving 
 arms, was, perhaps, the quintessence of symbolism; but just what idea she was 
 intended to illustrate, a large proportion of the spectators could not easily have 
 told, had they lost their programs. There is a danger in being too subtle before 
 an assembly not carefully chosen many of whom were more interested in 
 John and Mary than in the Disease Germs or Dust Clouds they were supposed 
 to represent ; and this danger was not avoided in From Cave Life to City Life. 
 
 The failure if failure there were to arouse a civic pride and a desire for 
 civic betterment, is easily accounted for. Many groups from Boston and its 
 suburbs were herded together in this affair ; but when a community has a popu 
 lation of a million and a half, it is impossible to arouse in each individual a 
 keen interest in, and a sense of responsibility for, the pageant; and this feeling is 
 necessary for the complete success of a modern civic pageant. Mr. Parker 
 maintains that pageantry should be limited to the smaller communities; when 
 it is transported to the metropolis it becomes a kind of " festival " or " group- 
 pageant," even if the subject-matter is of general civic interest. 
 
 Another reason for the weakening of the civic appeal if, indeed, it were 
 weakened is that the great moments of Boston s history and the great men 
 of Boston s past were not reproduced. Instead, were typical scenes, which might 
 - in most cases have happened anywhere in New England ; and personified 
 abstractions, 1 which surely belong to no one place. Undoubtedly more civic 
 spirit was aroused by this Boston pageant among the performers than among 
 the spectators and it would be hard to prove that none was awakened in 
 those who witnessed this pageant. Here is a matter which only time can settle; 
 and no one in America should condemn even an abortive attempt to foster this 
 needful, and all too rare, desire to improve our civic conditions. 
 
 Assuming that civic betterment did not result from this pageant, and that 
 it gave birth to no tightening of community ties, can we deny it a right to the 
 name ? What is the sine qua non of pageantry ? Is there one ? These ques 
 tions we must try to answer later; here it is enough to point out that although 
 the distinction made between " pageant " and " festival " is arbitrary, this is 
 an example of the kind of thing that is between the two. The group that gave 
 it was not " exclusive " - many associations, historical, religious, and educa 
 tional, united; 2 but it is hard to get a group that is " inclusive " in any large 
 city. Technically, this drew much from the masque ; and the amount of allegory, 
 
 1 With the " futuristic " pageant we shall deal later. Here I wish merely to point out 
 that there is not the inspiration in a dancing figure called " Dust Cloud " that there is, for 
 instance, in the representation of General Washington. 
 
 2 The Indians were a professional troupe of real Indian actors. 
 
PAGEANTRY IN THE UNITED STATES 269 
 
 characteristic of many American pageants, tends as we shall see to relate 
 them to the morality-play. 
 
 THE PAGEANTS OF LAWRENCE AND TAUNTON, 1911 
 
 " The Lawrence Pageant of Progress was modelled on the Pageant of Educa 
 tion," writes Mrs. Dallin, the author of the pageant. 1 " It was a great deal 
 bigger in conception. Its central figure was Lawrence, represented as an In 
 dustrial City. Her attendants were the Civic Virtues; and the history of the 
 city and its activities was symbolically represented. Thus there was a dance of 
 river maidens and foam sprites; and other elements connected with Lawrence 
 were introduced. 
 
 " Then followed by means of various groups symbolic and picturesque 
 - the story of the progress of the world, industrially, educationally, etc., giving 
 especial prominence to industrial progress, because the city of Lawrence is an 
 industrial city ..." 
 
 This seems to have been a pageant dealing with history rather through sym 
 bolism than in terms of historical characters. More historical and yet with 
 a good deal of symbolism and allegory is the Taunton (Massachusetts) 
 Pageant of July, 191 1. 2 This was entitled A Pageant of American History 
 a Living Lesson in Patriotism; it opened with Father Time and dancing fairies ; 
 the first episode presented " American Indians at home," and " the Landing of 
 Columbus." Episode ii showed Cavaliers and Puritans in Taunton, England; 
 then came an interlude the " Dance of the Waves " - which recalls the Boston 
 Civic Pageant of 1910; 3 after which a second scene showed the beginnings of 
 Taunton in New England. The first scene of episode iii took us to the Court of 
 George III; but the second brought us back to Taunton Green on the eve of the 
 Revolution. An interlude (" the Devil and the New England Conscience " - the 
 latter of whom was, it will be recalled, a character in the Boston Civic Pageant) 
 introduced the last episode scene i, the return of the soldiers at the end of the 
 
 1 In a letter dated 3 August, 1912. I have not seen the program of this pageant, which 
 was given in 1911. The Pageant of Education, to which she refers, was that given in 1908 at 
 the Boston Normal School; this we shall consider later see below, p. 281 f. 
 
 Am. Pag. Assoc., Bulletin 22, 15 July, 1915, records the pageants produced in America 
 during 1911. That of Lawrence is characterized as "a pageant dealing more particularly 
 with educational and industrial progress, with most of the participants chosen from the higher 
 school grades. In form it differed from the ordinary pageant in that it opened with a pro 
 cessional [sic] disclosing all the pageant groups, and in that the episodes were not of a local 
 historical character." 
 
 2 The program of this pageant is in the Harvard Library, bound as an appendix to chap 
 ter ix in the second volume of my MS. thesis. Various illustrations of the pageant are in 
 Davol, pp. 10, 62, 76, 101, 131, i68,and 185. Cf. also, for a short characterization, Am. Pag. 
 Assoc., Bulletin 22, 15 July, 1915. 
 
 3 Cf. above, p. 266. It will be noted that the unity of place is not kept. 
 
270 ENGLISH PAGEANTRY 
 
 Civil War, with the " Prophecy of the New America "; scene 2, folk-dances by 
 local nationalities French-Canadians, Irish, Scotch, Italians, Portuguese, and 
 " Polanders." The final dance the " Spirit of America " recalls the Boston 
 Civic Pageant again. 
 
 We may note the " futuristic " quality of this pageant, as well as the latitude 
 in history which the author allowed himself. Neither Columbus nor George III 
 had much to do with Taunton directly. 1 If the pageant failed to awaken as 
 much community-spirit as it would have done if all the scenes had been taken 
 from purely local history, yet surely such a pageant, given on the national holi 
 day, must have aroused a sense of patriotism which undoubtedly bore fruit. 2 
 
 THE PAGEANTS or THETFORD (1911) AND ST. JOHNSBURY (1912) 
 
 As other examples of pageants which are both historical and symbolical, we 
 may mention those which Mr. W. C. Langdon produced at Thetford and St. 
 Johnsbury in Vermont. 3 In both, the histories of the towns make up the main 
 part; and both contain, in addition, symbolical characters. 
 
 The pageant of Thetford, which was given in August, 1911, opened with " a 
 dramatic dance symbolic of the three nature-elements of Thetford the moun 
 tains, the river, and the intervale." Mingled with these three Spirits, Indian 
 braves and squaws danced until the White Man arrived. Historical episodes 
 some of which contained dialogue, and others of which were pantomimic 
 followed; and the pageant was brought to an end by the Spirit of Thetford, the 
 Spirit of Pageantry, America, Vermont, and the neighboring States. 
 
 " The Power of the Wilderness " - a figure which recalls the early " wild- 
 man," and the Sylvanus of Elizabethan entertainments opened the St. 
 Johnsbury Pageant. 4 The Spirits of Mountains, Forests, Rivers, and Valleys 
 joined him, and the group was put to flight by the Spirit of Civilization. Dia 
 logue and pantomime rather more of the former than at Thetford, I think 
 were used in the historical scenes which followed; and, at the end, America, 
 Vermont, and the surrounding States appeared again. But instead of a personi 
 fication of St. Johnsbury, we have the figures of St. John de Crevecceur and the 
 Knight of St. Johnsbury, with his train of the Knights of St. John. 5 
 
 1 Undoubtedly, the fact that the pageant was given on 4 July, was responsible for the 
 inclusion of much American history which had little local significance. 
 
 2 There is nothing in the program to tell us what part speech played in the pageant, which 
 contained a considerable amount of dancing. 
 
 3 The Books of both are in the Harvard Library. 
 
 4 This took place in August, 1912. I may note that a picture illustrating the Thetford 
 Pageant is in Davol, p. 210, and that illustrations of the St. Johnsbury Pageant may be found, 
 ibid., pp. 150, 1 86. 
 
 6 Which represented the various towns of Caledonia County and of the Passumpsic 
 River and upper river valley. Two squires on foot represented the two villages of St. Johns- 
 bury Centre and East St. Johnsbury. 
 
PAGEANTRY IN THE UNITED STATES 271 
 
 Both of these pageants may be termed " futuristic," in that they view the 
 past with an eye on the present, and the present in a hopeful mood. Mr. Lang- 
 don tells me that he has tried to show the people not only what they have, but 
 how to use it; and at Thetford the pageant committee is still in existence - 
 the centre of much effort for local improvement. 
 
 THE PAGEANT OF KEENE, 1913 
 
 Living-pictures, pantomime, and speech were all used in the historical pageant 
 which was given in the City Hall of Keene (New Hampshire) in February, igis, 1 
 under the auspices of Ashuelot Chapter, D.A.R. A hundred and fifty per 
 formers took part, including a number of school children. 2 
 
 After the overture and a " processional " by the school children, " the In 
 dians in the Forest " - " which . . . gave an excellent and necessary picture of 
 the wilderness to which the first settlers came " - was followed by a dance, 
 " The Spirit of the forest, heralding the pioneer." Various historical scenes, 
 called " acts," followed; they were separated from each other by musical selec 
 tions more or less appropriate. " Act 8 " - which preceded that showing the 
 departure of the first regiment for the Civil War, and followed the tableau en 
 titled " The Minute Man " - was an " allegorical picture " representing Keene 
 and her industries. " Keene, seated in a graceful chariot, was splendidly per 
 sonified . . . and the dances of the Elements . . . were of rare beauty and excel 
 lence and all of them typical to a marked degree. The costumes of the dancers 
 were a splendid feature . . . The dancers, each typical of the impersonation 
 sought, were the embodiment of grace, beauty and skill . . . 4 
 
 " A recessional or march around the hall by all the characters of the even 
 ing . . . came next, after which all who had taken part reassembled on the stage 
 and were grouped for a final tableau of unusual scope and detail because of the 
 
 1 I am indebted to Professor Rudolph Altrocchi of the University of Chicago for a copy 
 of the Keene Evening Sentinel of Friday, 21 February, 1913, where a full account of the pag 
 eant is printed. 
 
 2 " The historian, Rev. J. L. Seward, D.D., who selected and wrote out a historic story 
 from which pictures of notable events in the history of the town, from its beginning, could 
 be pictured, did his part well. The director, Mrs. Robert P. Hayward, ... the stage manager, 
 Mr. Fred E. Howe, and several who assisted him, were particularly efficient ..." Keene 
 Evening Sentinel, loc. cit. 
 
 3 " The allegorical and historic scenes which follow," says the program printed in the 
 Evening Sentinel, " were announced and explained, in several instances with brief quotations 
 from early records, by the prolocutor, Mrs. W. H. Prentiss." 
 
 4 The figures were: Keene, Water Power, Monadnock, Fire, Agriculture, Fur, and Pine. 
 To quote the program: " In this scene Keene and her attendants formed the central group, 
 while the industries of Keene, personified by six graceful dancers typifying the elements of 
 her productions, in turn enter, dance around the stage and present to Keene the elements 
 which they represent." 
 
272 ENGLISH PAGEANTRY 
 
 large number [of] the impersonators of the scenes of the evening entering into 
 it. The Goddess of Liberty . . . was the central figure, standing on a high pedestal 
 in the rear ... As the curtain went up, the orchestra and children struck up 
 The Star-Spangled Banner/ the audience rising, and joining in the chorus." l 
 
 Allegory, history, symbolism, dancing, and tableau all contributed their share 
 to this pageant. 
 
 " AN DHORD FHIANN " IN NEW YORK, 1913 
 
 As an example of an historical pageant which interests a part of the com 
 munity only not merely because it was given in a metropolis, but also be 
 cause it does not deal with the history of the place let us note the Irish His 
 toric Pageant, entitled An Dhord Fhiann, which was produced under the aus 
 pices of the American Committee of the Gaelic League of Ireland in New York 
 on 7 and 8 May, igis. 2 The matter treated is Irish history from the Feis at 
 Tara (mid-third century) to the Convention of Dromceatt (at the end of the 
 sixth century) ; there is little symbolism, and though the history may be con 
 sidered legendary, the pageant is historical. It is interesting to note that the 
 history deals in no way with New York; its limited appeal makes this produc 
 tion as much a " festival " as is The Masque of Learning or the Boston Normal 
 School pageant; at best, this is on the line between pageant and festival despite 
 its historical material. 
 
 THE HOLLIS HALL PAGEANT or 1913 
 
 Another pageant, historical in material, but with an appeal to a compara 
 tively small body of the community even of the Harvard community is 
 the Hollis Hall Pageant which was given, under the direction of Professor George 
 P. Baker, on 14 June, I9i3, 3 to celebrate the hundred and fiftieth anniversary of 
 the Harvard dormitory. The subject-matter dealt with the history of the hall, 
 rather than of the college; a small proportion of the undergraduates took part 
 in the pageant though the opportunity to do so was shared by all; but the 
 number of participants was not confined to those rooming in Hollis itself. The 
 University community did not feel a personal interest in, or responsibility for, 
 the success of the pageant, which was produced primarily for Hollis men past 
 and present; but many of the college public witnessed the performance. 4 
 
 This stands on the line between " festival " and a pageant dealing with the 
 history of a community. Technically it was the latter; as regards the spirit of 
 its production it belongs rather to the " festival." Harvard history crept into 
 the pageant; but the chief emphasis was on Hollis history. 
 
 1 Evening Sentinel, as cited. 3 The program of this pageant is in the Harvard Library. 
 
 2 The program is in HCL. This pageant was by Anna T. Craig. 
 
 4 Cf. with this, the Charterhouse tercentenary, of 8 July, 1911 (mentioned above, p. 227). 
 The celebration included a " masque " which was, like this one, rather a pageant or festival. 
 
PAGEANTRY IN THE UNITED STATES 273 
 
 One unusual feature deserves to be mentioned: it was given by men pri 
 marily for men (though women were allowed to witness it). No female char 
 acter appeared allegory, symbolism, and history were all expressed by mas 
 culine characters, who told the story of the college dormitory, and what the life 
 there has meant to generations of college men, to a college audience. 
 
 THE ST. Louis PAGEANT OF 1914 
 
 In the Pageant and Masque which were given at St. Louis in May, 1914, we 
 find allegory and history separated. 1 The pageant began " with an imaginary 
 realistic scene in the life of the Mound-Builders " and carried continuously " the 
 actual local history down to the Doniphan expedition ; 2 while the masque was 
 a wholly independent poetical and symbolical drama designed to show the inner 
 significance of the existence of the city and its humanity, in their broadest cosmic 
 relations, and to indicate its destiny and the quality of its influence in the future. 
 The pageant began in the daylight and concluded in the evening dusk with some 
 assistance from the very remarkable and effective electric lighting system em 
 ployed, while the masque, beginning after dark, was wholly dependent upon 
 artificial light, through which effects of the most beautiful and striking char 
 acter were obtained." 3 
 
 As there was no " exclusiveness " in cast or audience, and as dancing seems 
 to have played almost no part in this " masque " of Mr. MacKaye s, one may 
 feel that, strictly speaking, it has no right to the name, the use of which tends 
 to confuse. Rather than a masque, it is a poetical " morality-play " or " alle 
 gorical drama "; and this production is particularly noteworthy in that it shows 
 a tendency to keep apart the two elements of the American pageant, which often 
 is as we shall point out 4 a combination of chronicle-history and morality- 
 play. 
 
 1 On this, see The Book of Words of the Pageant and Masque of Saint Louis, The Words of 
 the Pageant by Thomas Wood Stevens; the words of the Masque by Percy MacKaye. (St. Louis, 
 1914) ; also Arthur Farwell, The Pageant and Masque of St. Louis; a People s Drama on a 
 National Scale (illustrated), in the American Review of Reviews for August, 1914, pp. 187-193; 
 scenes from the masque are illustrated in Davol, pp. 15 and 39. 
 
 2 There were three " movements " or episodes; a Prophet separated the first and second, 
 and a Watchman, the second and third like members of a " chorus." The " Pierre Chou- 
 teau," who figured in the second episode of the pageant which included the landing of 
 Laclede was the Pierre Chouteau, who the last survivor of Laclede s party rode in 
 the pageantic procession at St. Louis in 1847. (See above, p. 237, n. 3.) 
 
 3 Farwell, article cited, p. 190. It may be mentioned that a knight chosen by St. Louis 
 overcomes Gold in a tournament (see Book of the Words, pp. 93 f.). We find here much the 
 same union of allegory and tournament as in 1581, when the Foster-Children of Desire as 
 saulted the Queen s heart; but then, allegory was approached through the tournament, while 
 in this " masque," the tournament is approached through allegory. 
 
 4 See below, p. 291. 
 
274 ENGLISH PAGEANTRY 
 
 THE YALE PAGEANT OF 1916 
 
 The Yale Pageant of 1916 is noteworthy as being perhaps the most important 
 American pageant in which an institution was joined by the larger community 
 surrounding it, to produce that which, but for such collaboration, must have 
 been technically, at all events a "festival." The occasion was the two 
 hundredth anniversary of the removal of the College to New Haven from Say- 
 brook, where Yale had been founded in 1701 ; the history reproduced was chiefly 
 Yalensian, though the city figured in " The Founding of New Haven," the 
 " Kansas Volunteers," and in various other episodes, such as the Governor s 
 Foot Guard of 1775, and the Town and Gown Riots of the early nineteenth 
 century, where citizens and collegians fought with and against each other. 1 
 
 1 See the Book of the Yale Pageant, edited by George H. Nettleton. This contains the 
 episodes of the pageant (each of which was by a different author) and numerous essays on 
 Yale achievement. Mr. F. H. Markoe, a Yale graduate, was the master of the pageant. 
 
 An outline of the pageant shows the relation of history and symbolism the latter being 
 chiefly confined to the " interludes." 
 
 Prelude. The scene is laid in Wales, and shows the wedding of Margaret ap lenkyn 
 (grandmother of John Yale, the founder of the family) in 1485. 
 First, or Colonial, Episode. 
 
 Scene i. The Founding of New Haven. 
 
 Scene ii. The Founding of the College. 
 
 Scene iii. The Removal of the Books from Saybrook. 
 
 Scene iv. The First Commencement at New Haven. 
 First Interlude. 
 
 The Passing of the Arts and Sciences from the Old World to the New. 
 Second, or Revolutionary, Episode. 
 
 Scene i. The Demanding of the Keys to the Powder House, and the March to 
 Cambridge, 1775. 
 
 Scene ii. The British Invasion of New Haven in 1779. 
 
 Scene iii. The Martyrdom of Nathan Hale. 
 
 Scene iv. President Washington s Visit to New Haven in 1789. 
 Second Interlude. 
 
 An allegory of War and Peace. 
 Third, or Early Nineteenth Century, Episode. 
 
 Scene i. Town and Gown Riot. 
 
 Scene ii. The Burial of Euclid. 
 
 Scene iii. The Kansas Volunteers. 
 
 Scene iv. The Death of Theodore Winthrop. 
 Third Interlude. 
 
 The Wooden Spoon Prom. 
 Fourth, or Modern, Episode. 
 
 Scene i. Panels of Modern Yale. 
 
 Scene ii. The Yale Bicentennial. 
 
 Scene iii. The Yale Battery. 
 Finale. Yale, the Mother of Colleges and Men. 
 
SCENES FROM THE PAGEANT OF BLOOMINGTON AND INDIANA UNIVERSITY 1916 
 [An example of the pageant in which, as in the Yale Pageant, the past of an educational institution is 
 combined with that of the community in which it is situated, and of which it is a part. The two men 
 kneeling at the altar (in the lower picture) are the Governor of the State and the President of the 
 University; it is not uncommon to find cit^ and state officials taking part in pageants.] 
 
PAGEANTRY IN THE UNITED STATES 275 
 
 Yale, like many another institution of learning, is in spirit a community: and 
 it is often difficult to separate such a community from the larger one about it. 
 The pageant was produced in the Yale Bowl, but all the scenes were not laid in 
 New Haven: the Prelude, for instance, took place in Wales; " The Founding of 
 the College," at Branford; " The Removal of the Books," at Saybrook, the 
 early seat of the College; the execution of Nathan Hale (Yale, 1773) at New 
 York. 
 
 The fourteen " panels," with which the fourth episode opens, are tableaux 
 vivants; l and the mock-funeral of Euclid is an academic parallel to the earlier 
 Pope-burnings. Such pageantry as this student-ceremony included, between 
 the late eighteen- twenties and 1860, was reproduced in the second scene of the 
 third episode of this pageant recalling the mediaeval pageant-car which re 
 appeared in the York Pageant of 1909. 
 
 The first two interludes are allegorical: the third reproduces a " prom of by 
 gone days, when ladies built a yard around themselves, and gentlemen wore 
 tight trousers of incredible length." 2 It is worthy of note that the performers 
 of the Civil War scene - - " The Death of Theodore Winthrop " - were veterans. 
 " These are no dressed-up mummers, but the very men themselves : Grand Army 
 men, some two hundred of them; their old blue uniforms hanging loose over 
 shrunken shoulders and their rusty old Springfields at the carry . . . And 
 then something happens. For ten minutes those two hundred or so old gentle 
 men of our fathers time have been going through what for them was not play 
 acting but the very truth itself. For ten minutes they have stood there remem 
 bering; and their memory reaches out and strikes the watching multitude like 
 an invisible wave. As the long column plods toward the stands, the grim gray 
 heads held high and the thin fife piping a cracked hymn tune, thirty thousand 
 people are on their feet and uncovered, not knowing why or how; and the ap 
 plause rises and swells and crackles into one deep roar! Someone whispers: 
 God! look at their faces! And we look, and read things written there. These 
 men did not keep us out of war. They faced it, and brought us through on the 
 right side. They were too proud to fight with words alone. They fought with 
 more than words; and the fire of things we cannot understand shines on their 
 steady faces. In all the Pageant there has been nothing like this; for the rest 
 was allegory and reminiscence; but this is resurrection." 3 
 
 The final tableau, for which Mr. Lawrason Riggs wrote verse far above the 
 commonplace, included a " symbolic float of the University (occupied by Repre- 
 
 1 They were evidently not produced for lack of time; see Brian Hooker s account of the 
 pageant, p. 14. 
 
 2 Brian Hooker s description of the Pageant, in the (illustrated) supplement to the Yale 
 Alumni Weekly of 27 October, 1916, gives a full account of every episode. This one is pic 
 tured on the cover. 
 
 3 Hooker, loc. cit., pp. n f. 
 
276 ENGLISH PAGEANTRY 
 
 sentatives of the three Official Departments . . .) " 1 on which " Mother Yale " 
 was the chief figure. This combination of the older and newer pageantry is not 
 often seen. " Then into the Bowl pours in procession of multitudinous move 
 ment and color the whole Pageant at once : all places and times together, spirit 
 and substance, hero and jester, history and tradition and dream ..." 
 
 AN INTERNATIONAL PAGEANT 
 
 Closely allied to the " community pageant " in spirit although the com 
 munity in question includes the English-speaking nations is the celebration 
 of the three-hundredth anniversary of the voyage of the Mayflower, scheduled 
 for the summer of 1920. We have noted international features in the Lord 
 Mayor s Show, and international participation in at least one Parkerian pag 
 eant; 3 but hitherto there has been no "international pageant." The one 
 planned for 1920 will begin in England, and the Mayflower will repeat her trip 
 across the Atlantic. The celebration will be continued at Provincetown and 
 Plymouth; and if the plans are carried out the observance of the anni 
 versary will include " all English-speaking peoples," the Colonies joining the 
 United States and the mother-country in honoring the Pilgrims. 
 
 An account of the proposed plans from the New York Times will give some 
 idea of the scale on which the occasion will be celebrated : 
 
 A nation-wide celebration commemorating the landing of the Pilgrims three hundred 
 years ago will mark the present year. But, indicating its deeper importance, is the fact that 
 the United States alone will not celebrate this important event in her early history. All 
 English-speaking peoples will participate, in official, institutional and community exercises, 
 and Great Britain, Canada, and Australia will take part in commemorating what the Pilgrims 
 stood for. 
 
 Beginning with the ist of May in England, according to the plans of the Sulgrave Insti 
 tution, the activities will commence later at the old port of Leyden, Holland, and then in the 
 United States. Again the Mayflower will sail from England, following the route of the Pil 
 grims of old, touching at Leyden and next at Provincetown, Mass., which, in August, will be 
 the scene of celebrations. Later Plymouth, Mass., will hold the centre of the stage. 
 
 It is expected that the events marking this tercentenary will be distributed throughout 
 all parts of the United States, and will touch all sections and classes of people, from highest 
 officialdom down to little private groups of people, social clubs, embracing in that downward 
 sweep institutions, schools, organizations, and societies. 
 
 Boy Scouts and Girl Scouts will naturally make a rush for the Indian drama, Indian games 
 and dances with native songs. Schools and colleges will devote themselves to impressive 
 pageants. . . . 
 
 Celebrations in England are being arranged by the Sulgrave Institution, which takes its 
 name from the ancient seat of the Washington family, Sulgrave Manor, North Hants, Eng 
 land. At this manor a special celebration will mark the Tercentenary. The English committee 
 includes the Archbishop of Canterbury, Viscount Bryce, Viscount Grey, David Lloyd George, 
 Cardinal Bourne and the Lord Mayor of London. 
 
 1 Illustrated in the Yale Alumni Weekly, before referred to, p. 20. 
 
 2 Hooker, loc. cit., p. 14. 3 Cf. above, p. 205. 
 
PAGEANTRY IN THE UNITED STATES 277 
 
 John A. Stewart is chairman of the New York Board of Governors,which includes, among 
 others, Brand Whitlock, James M. Beck and Charles W. Eliot. The Advisory Committee 
 includes J. P. Morgan, Samuel Gompers, the Rev. Dr. William T. Manning, Cardinal Gibbons, 
 Gen. John J. Pershing, Major Gen. Leonard Wood, Franklin K. Lane, and William Howard 
 Taft. 
 
 The plan is a vast one, and in order to achieve good results patriotic and dramatic societies, 
 organizations and institutions everywhere will have to start ahead of time, and put forth 
 serious effort. Community Service officials have already done some work in this connection, 
 and through the department of pageantry and dramatics, they plan to offer still further 
 assistance to communities undertaking celebrations . . . - 1 
 
 Having examined various kinds of " community-drama," and seen how it is 
 capable of variation from the norm of the Parkerian work, let us, before we con 
 clude this section, take note of some pageants which are not successful. 
 
 "FROM KINGDOM TO COLONY" AT MARBLEHEAD IN 1912 
 
 From Kingdom to Colony was presented at Marblehead (Massachusetts) 6 
 and 7 August, 1912; it was given " for the benefit of the Marblehead Historical 
 Society." 2 This, though breaking one of Mr. Parker s cardinal rules that a 
 pageant should never be given to make money is not enough to take it from 
 the field of pageantry. 
 
 The Prologue opens with the arrival of John and Anne Devereux 3 from Berwick Castle, 
 England. Scene i (1649) is laid in the camp of the Naumkeag Indians, near Forest River. 
 Characteristic Indian dances introduce the " drama," which begins with scene ii, at the house 
 of John Devereux. Part ii consists of a " Ribbon Ballet "; and so the Prologue ends. 
 
 Part iii begins with "Act i: time 1774." The first scene shows " The Beginning of the 
 Revolutionary War. Home of Joseph Devereux. Miss Helen True will sing Flow Gently, 
 Sweet Alton, and The Last Rose of Summer. " 4 After the cast of characters comes the 
 announcement that " Mrs. R. M. Cook as The Spirit of the Night, will sing The Fairy 
 Lake. (By courtesy of White, Smith Co., Publishers.)." 
 
 Part iv is "The Old Time Darky Jubilee"; Part v: "Actn. Scene i. Dorothy s visit 
 to Nurse Lecrow s cottage. Scene 2. Meeting of Dorothy and Cornet Southern in the woods." 
 Part vi consists of the Dance of the Seven Star Sisters, 5 and with Part vii we return to the 
 play: "Act III. Scene i. Home of Mistress Horton. Wedding of Mary Broughton and 
 
 1 New York Times, Sunday, 7 March, 1920, (editorial section, p. 4). Professor George 
 P. Baker, of Harvard University, has been commissioned to write the book on which the 
 Pilgrim Tercentenary Pageant will be based. (Harvard Alumni Bulletin for 26 February, 
 1920, p. 499.) This pageant will be given at Plymouth in 1921. (This is not the celebra 
 tion planned for the summer of 1920, which commemorates rather the voyage of the May 
 flower, and the coming of the Pilgrims, than the settlement of Plymouth.) 
 
 2 My authority for the following remarks is the program of the "pageant" which is in 
 the Harvard Library: " The Historical Pageant and Drama From Kingdom to Colony. 
 Book by Mary Devereux; dramatized by Mrs. Marie J. Morgan; produced by George 
 Lowell Tracy." 
 
 3 Qy.: ancestors of the authoress of the book ? 4 Cf. below, p. 280. 
 6 Allegory or symbolism suggesting vaudeville... 
 
278 ENGLISH PAGEANTRY 
 
 Jack Devereux. Dancing of Minuet . . . Scene 2. Abduction of Dorothy by Sou thorn. 
 Marriage of Dorothy to Southern by strategy. Scene 3. Arrest of Southorn as English Spy 
 at Grey Horse Inn (just inside the American Lines). Scene 4. Arrival of Dorothy and Mary 
 at Grey Horse Inn. Dorothy pleads with Gen. Washington for Sou thorn s life. Scene 5. 
 Dorothy and Southern s departure for England. 
 
 Part viii. Flower Festival and Maypole Dance. 1 The Marriage of Cornet Southorn 
 and Dorothy. General Washington and his Staff. The Floats. " Yankee Doodle," " Signing 
 the Declaration of Independence," " The Thirteen Original States." 
 
 " The chorus will sing Ode on Science, Revolutionary Tea, The Ship of State, . . . 
 and Hail Columbia. " 
 
 This " pageant " has, apparently, several different elements. 2 Dancing plays 
 a considerable part in it, 3 as does music. A thread of connected story seems to 
 run through the performance, in spite of numerous interruptions (without which 
 it would be considered a melodramatic " costume-play " 4 ) telling the story of a 
 group of figures. At all events, the place is not the hero; 5 it is not clear from 
 the program just what part Marblehead plays in all this; it seems rather to be 
 a pageant of the Devereux family ! There is a certain amount of can one say 
 fantasy ? in the persons of " The Spirit of Night " and the " Seven Star 
 Sisters "; they seem to have no connection with what has gone before or what 
 comes after. There is symbolism, or personification, in the Thirteen States; 
 and history in the Declaration of Independence. These are surely pageantic, 
 and it is, perhaps, with these in mind that the authors added pageant to the 
 drama of their title. 6 
 
 As we have already seen in the case of Taunton, the history in a pageant need 
 not be a part of the actual town history, so long as the town is affected by it. 7 
 This is clear enough in those scenes which deal with the departure of the colonists 
 before the town was founded examples of which are seen in the Pageants of 
 
 1 Here, as during the Minuet, the chorus sang. 
 
 2 It is always difficult to judge a performance of this kind from the program. 
 
 3 Cf . e. g. Parts ii, iv, vi, and viii. 
 
 4 Which appears to be the dramatization of an historical novel. Surely pageant and 
 drama are growing close together! 
 
 5 Cf. below, p. 291. 
 
 6 I should, perhaps, add that the program does not state how much of the " drama " was 
 pantomime if any was. The program is disfigured with advertisements a necessary 
 accompaniment of the commercial spirit which " benefits " usually have. 
 
 As Norristown gave history in a procession, so here we find elements of the carnival on 
 the stage. The program does not state whether this performance took place indoors or out; 
 but that makes no difference as far as we are concerned. Plenty of pageants have been given 
 under roofs cf., e.g., that of Marietta in 1888 and that of Keene in 1913. 
 
 7 The tie between the history portrayed and the place of its portrayal is almost too slight 
 in the case of the Irish Pageant at New York to give the performance the right to the name of 
 pageant. Yet the material thereof is history; and as the scenes given extended over three 
 centuries, one cannot well call the production a " chronicle-play." 
 
PAGEANTRY IN THE UNITED STATES 279 
 
 Peterborough, and Lancaster (Massachusetts). This seems to be an American 
 development; in England pageant-masters confine themselves more closely to 
 scenes which took place in the town itself. 1 
 
 If the historian may become critic, he must maintain that this " pageant," 
 From Kingdom to Colony, is not a pageant in the strict sense of the word, because 
 it does not deal with Marblehead history first and foremost; because the his 
 torical characters introduced are subordinated to fiction; because the " inter 
 ludes " are interruptions which tend to destroy the unity of the work. 2 Criti 
 cisms have been made regarding anachronisms and other inaccuracies in the 
 costuming and production of this affair; we have noted the importance of ac 
 curacy in historical pageants, in order to keep the confidence of the audience, 
 and the educational value of these productions. 
 
 " How NOT TO Do IT " 
 
 " An approach to the ideal pageant was given in a humble way at Warwick, 
 Massachusetts, (1912). To celebrate the i5oth anniversary the town appro 
 priated ten dollars; the townspeople did the rest and returned two dollars to 
 the treasury." 3 The " ideal " conditions of which Mr. Davol speaks seem to 
 be confined to the financial, and perhaps the aesthetic, side the educational 
 left much to be desired. 
 
 " Funeral Honors for General Washington before the Continental Troops " 
 furnished a scene in the Pageant of Oxford (Massachusetts) ; 4 and one wonders 
 when any town in the State received the body of the late President. Such in 
 accuracies as these are common enough in American pageants, which are never 
 theless hailed as a great educational force. While some undoubtedly are edu 
 cational, it must be confessed that many more have that aim; too often, how 
 ever, well-meaning but busy school-teachers or church- workers plan shows like 
 that described in the opening chapters of Booth Tarkington s Penrod, which do 
 more harm than good. 
 
 In this connection, we may note a letter by Mr. J. C. L. Clark, dated at 
 Lancaster (Massachusetts) on 7 September, and printed in the Boston Herald 
 for 12 September, 1912 : 
 
 From press notices I learn that the coming historical pageant at Warwick, Massachusetts, 
 is to include a scene entitled " The naming of Mount Grace." This episode is to represent 
 
 1 Though some, as has been shown, allow themselves more latitude in this matter. 
 
 2 Were the Devereux characters historically important in early Marblehead, the above 
 criticism of the " pageant " would still hold, because they are not shown in connection with 
 the development of the town. The pageant-writer ought not to produce an episode dealing 
 with the private affairs of any historical personage he may wish to represent. This should be 
 fairly obvious. 
 
 3 Davol, pp. 37 f. A scene from the pageant is given, ibid., p. 89. 
 
 4 Illustrated in Davol. p, 120. 
 
280 ENGLISH PAGEANTRY 
 
 " the burial of Grace Rowlandson, who, with her mother, has been captured by the Indians. 
 The child dies on the march and is carried for two days in her mother s arms," etc. In view 
 of the publicity of the matter, will you allow me to point out that this derivation of the name 
 " Mount Grace," and, indeed, the whole incident so far as Warwick is concerned, is so utterly 
 baseless that it is hard to see how such a belief originated ? It is true that when Mrs. Row 
 landson was taken captive at Lancaster, February 10, 1676, she carried in her arms her little 
 daughter, a child of six, who had been wounded in the fighting. The child s name was not 
 Grace, but Sarah. It is also true that eight days later, February 18, the child died. But this * 
 occurred while the Indians and their prisoners were camped at Menameset, or Wenimesset, 
 as Mrs. Rowlandson calls it. This " Wenimesset " was a stronghold of the savages in what 
 is now the town of New Braintree. Far from being permitted to carry away the body of her 
 child, the distracted mother in her wonderfully vivid and pathetic " Narrative " the sole 
 authority for the details of her captivity tells of its burial near the spot where it died: 
 " I went to take up my dead child in my arms to carry it with me, but they bid me let it 
 alone; there was no resisting, but go I must and leave it. When I had been at my master s 
 wigwam, I took the first opportunity I could get, to go look after my dead child; when I 
 came I askt them what they had done with it ? Then they told me it was upon the hill; 
 then they went and shewed me where it was, where I saw the ground was newly digged, and 
 there they told me they had buried it." It was more than a fortnight later, between March 3 
 and 5, that the party passed through the southwestern part of the present town of Warwick. 
 In short, " Grace " Rowlandson never existed; she is simply an eponymous heroine, and as 
 mythical as Romulus . . . 
 
 A correspondent of mine who has made a study of the whole subject of pageants and folk- 
 festivals declared that a whole book might be written on how not to give pageants. Some 
 instances of how not to do it occurred in a recent much-lauded spectacle, given under the 
 dignified auspices of an historical society, in which a Puritan divine of (I believe) the year 
 1649 appeared in a stove-pipe hat, a negro house-servant of the Revolutionary period wore 
 modern trousers and the duck jacket affected by barbers and bar-tenders of the present day, 
 and a fair maiden sang " The Last Rose of Summer " in 1774, five years before Tom Moore, 
 the author of that song, was born ! 
 
 But bad as are anachronisms like these, the case is far worse when the imaginings of an 
 " adventurer in historic disquisition," as H. S. Nourse scoffingly termed the inventor of the 
 Mount Hope story, are actually made the basis of a dramatic representation before the eyes 
 of the people. And this because a thing so presented takes on an added reality forever, and 
 because the great value of popular pageantry is educational the imparting of a knowledge 
 of, and an enthusiasm for, the noble past of one s home region. If the promoters of the War 
 wick Pageant regard their responsibilities, this episode of " The Naming of Mt. Hope " will 
 be dropped in toto from their program. One foresees in the near future a time when serious 
 lovers of history may well sigh, O Pageantry, what crimes are committed in thy name ! 
 
 One wonders sometimes if modern pageants in America are fostered in a 
 spirit of true respect for history. Too often, it may be feared, the carnival spirit 
 enters into them a spirit, by the way, perfectly legitimate if it doeS not hide 
 itself behind history, or behind an incompetent pageant-master who has not had 
 Wolf s " scientific teaching," l and is easily led from the path of accuracy. If 
 
 1 " I call all teaching scientific, says Wolf, the critic of Homer, which is systematically 
 laid out and followed up to its original sources . . . " [cited by Arnold, in Literature and Science 
 (Discourses in America, ii.)]. 
 
PAGEANTRY IN THE UNITED STATES 281 
 
 this tendency toward the presentation of pseudo-history continues, the " com 
 munity drama " in America will cease to be an educational force; and no com 
 munity can be tied together or inspired to progress and civic betterment by the 
 production of a carnival. 
 
 Many pageant-masters hold that folk-lore material and local legends may 
 be admitted as integral parts of a pageant. The figures of Gogmagog and Corin- 
 eus, of Ebrauc and Bremmius and Gurgunt, show that this was the case in the 
 past; but those who emphasize the importance of the educational appeal in 
 pageantry maintain that what is real should be clearly separated from the 
 legendary. 
 
 3. THE " FESTIVAL " 
 
 Beside the community-drama, various forms of which we have mentioned, 
 lies a vast body of so-called pageantry which does not occupy the community 
 as a whole, and yet which is given under conditions more or less pageantic. To 
 this has been given the name of " festival." The line between the two is some 
 times hard to draw; although dealing with historical material, both the Irish 
 Pageant of New York and the Hollis Hall Pageant at Harvard had, as we have 
 seen, an element of restricted interest characteristic of the " festival." The 
 celebration of the three-hundredth anniversary of the Charterhouse School, in 
 1911, furnishes as we have pointed out an English parallel to the pageant 
 of Hollis Hall. 1 
 
 NORMAL SCHOOL PAGEANT AT BOSTON, 1908 
 
 There is a kind of pageant which deals with the history of an art or science 
 rather than of a community; one of the best as well as the earliest ex 
 amples of this is the Pageant of Education, with which the State Normal School 
 dedicated its new building at Boston in June, 1908. This was, in no sense, a 
 civic or community affair, but rather the production of a limited circle; an 
 English or more strictly, a Scottish parallel may be found in Professor 
 Geddes s Masque of Learning which we have already discussed. 2 
 
 1 The Oxford Pageant of 1907 had a wider appeal; that at Oxford in 1914, was a " festi 
 val." (See above, pp. 203, n. i, and 227.) 
 
 2 See above, p. 226 f. For three illustrations, and mention, of this Boston festival, see 
 Bates and Orr, Pageants and Pageantry, pp. 1 7, etc. A picture may also be found in Davol, 
 p. 79. 
 
 Mrs. Dallin, the author of this festival, writes me that Mr. Percival Chubb was respon 
 sible for interesting the Twentieth Century Club of Boston in pageants, and through it, in 
 directly, the committee at the Normal School who were charged with providing some enter 
 tainment to present at the dedication of the new building. 
 
 " To complete this record, it might be stated that the Pageant of Education was actually 
 undertaken before American pageantry began to be influenced by the English historical pag- 
 
282 ENGLISH PAGEANTRY 
 
 Mrs. Colonna Murray Dallin was entrusted with the task of planning " some 
 sort of procession or tableaux suitable to present on such an occasion. My first 
 thought," she writes, 1 " was to try to represent the fresco of Education by 
 Puvis de Chavannes at the Sorbonne, and let the figures in it form a procession; 
 but on examining the picture, that seemed, of course, impracticable without too 
 great modifications of costume, etc. Then the idea came to me, as the air was 
 full of echoes of English pageants, that the history of education might be pre 
 sented in pageant form." 
 
 Technically, this festival had a processional element, for the characters in 
 each episode marched across the improvised stage in the courtyard of the new 
 building; the procession was broken by " interludes " - dances, rites, and 
 choruses the purpose of which was " not only to add rhythm, charm, and 
 variety to the spectacle, but to mark by forcible contrasts the changes in ideals 
 from era to era. They aim to suggest that education is development not only 
 of the intellect but of the emotional nature and of the body." 2 
 
 Historical characters, from Moses to Pestalozzi, represented the different 
 epochs ; such symbolical characters as Alma Mater and the Foreign and Ameri 
 can Universities, joined allegorical figures Knowledge, Inspiration, Truth, 
 Science, History, Learning, Peace, Prosperity, and Happiness. The Vernacular, 
 followed by Shakspere, Dante, Racine, Goethe, and Cervantes; the Classics, 
 
 eant from which type this particular pageant radically differed." Am. Pag. Assoc., Bulletin 
 22, 15 July, 1915. Miss Lotta A. Clark was " Chairman of the Festival Committee," and 
 Mrs. Dallin, " Designer of the Pageant," on this occasion, (ibid). 
 
 1 In a letter, dated 3 August, 1912. She continued: " This idea was gradually worked 
 out, and the process was very delightful. Naturally, in trying to give the broadest idea of 
 educational development, the song, the dance, and the religious rite wove themselves into 
 the scheme. 
 
 " Then, too, after once dividing the pageant into episodes, the interludes were needed to 
 give contrasts and reliefs; and the songs, rites, and dances were found to express certain 
 phases of life and thought more effectively than any other element that could be used in 
 pageantry. 
 
 " I had never seen a pageant anywhere, so that the structure of the Normal School pag 
 eant was original, in a way." Mrs. Dallin attempted " to represent the development of an 
 idea from its earliest expression through its manifold changes throughout the ages. This I 
 tried," she continues, " to present in both the Pageant of Education at Boston, and the Pag 
 eant of Progress, presented at Lawrence." 
 
 Regarding symbolism, Mrs. Dallin says: " I was forced into this in the work on the Pag 
 eant of Education, because I was obliged to use women for members of various groups. For 
 instance, instead of representing Scholasticism and Theology in the Middle Ages by repre 
 sentative schoolmen and theologians, I used symbolic figures ..." It is interesting to note 
 that symbolism and allegory grew spontaneously in Mrs. Dallin s pageants, though they are 
 common enough in the earlier shows. It should be remarked, however, that a considerable 
 number of men took part in the festival, and that historical figures appeared as well as the 
 symbolical. 
 
 2 Cited from the program of the " festival." 
 
PAGEANTRY IN THE UNITED STATES 283 
 
 accompanied by Erasmus and Melancthon; the Seven Liberal Arts, 1 adapted 
 from the frescoes of Simon Memmi in the Spanish Chapel of Santa Maria; 
 Scholasticism, Theology, Romance, Poetry, and Music appeared. There were 
 also types, such as the Dame-school teacher; Knight, Lady, and Page, repre 
 senting Chivalry; and troubadours, representing Minstrelsy. One symbolical 
 group consisted of wood-nymphs, whose dance based on regular kindergarten 
 games was meant to suggest the transition from autumn to spring a school 
 year. 
 
 OTHER PAGEANTS or LIMITED APPEAL 
 
 This suggests, both in spirit and technique, the masque, rather than the pag 
 eant. Dancing occupied a large part of the attention of the audience; and the 
 festival was given by a limited group. A similar entertainment Mr. Thomas 
 Wood Stevens s Pageant of the Italian Renaissance, which took place at Chicago, 
 26 and 27 January, 1909 may be noted as another example of a group which 
 soon became numerous. This " festival " has been characterized as "an un 
 usual pageant, performed by the art students in Statuary Hall of the Art Mu 
 seum; and although localized to the backgrounds of Italian architecture there 
 provided, it nevertheless clearly displayed community development. It is one 
 of the finest pieces of pageant writing yet accomplished in America or England, 
 and is perhaps the first of a type that might be termed Epic Pageants - al 
 though so far as it dealt with periods of civilization or culture, it became related 
 to the Pageant of Education, of which because of this added epic quality it 
 was a more literary development." 
 
 The Cayuga Indian Feast, given on the north shore of Beebe Lake " at sun 
 set in the time of Strawberries, May 27, 1914," seems to have been a festival; 
 indeed, in the descriptive pamphlet 3 it shares the name with that of pageant. 
 Various manners and customs of the Indians were illustrated; the action was 
 in pantomime; and while the scenes were based on historical events (the spring 
 of 1737 is the time chosen) the show is at best one episode in a larger pageant 
 which was not given. What the relation of the performers to the community 
 may have been, it is impossible to tell from the pamphlet. 
 
 The bulletins of the American Pageant Association contain mention of many 
 of these " Pageants of Ideas," and it is not necessary here to dwell on them. 
 Suffice it to say that, as they are usually given by a group in a community, rather 
 than by the community as a whole, they fall into the class of " festivals." 
 
 Technically the " festival " is nearer the masque than the drama; it makes 
 its appeal through the symbolical dance, rather than through the historical epi 
 sode. This is, indeed, not unexpected; for as soon as we get drama, the symbol- 
 
 1 Already found more than once in early " royal-entries " and the Lord Mayor s Show. 
 
 2 American Pageant Association, Bulletin 12, 15 December, 1914. 
 
 3 Which is preserved in the Harvard Library. 
 
284 ENGLISH PAGEANTRY 
 
 ism tends to fade, as it did from the morality-play, the more dramatic they be 
 came. As long as pageant-masters put an emphasis on allegory and symbolism, 
 they are bound to see that the shows do not become so dramatic that these 
 qualities are imperilled. 
 
 Such performances as the symbolical Pageant of the Year given by the students 
 of the Brookline (Massachusetts) High School are reminiscent of Christina 
 Rossetti s Pageant of the Months which we have already considered. 
 
 A somewhat similar production is described in the Boston Herald, 1 under the 
 heading: " 150 Women to Take Part in Cambridge Pageant Y. W. C. A. to 
 Give Festival of the Seasons on Thursday Night Spectacle will Resemble 
 1 Caliban. " 
 
 A novelty, entitled " The Festival of the Seasons," is to be given by the Cambridge Young 
 Women s Christian Association at the association grounds Thursday evening, which will re 
 semble in some respects the famous " Caliban." 
 
 Over 150 women will take part in the performance, most of them members of the associ 
 ation . . . The production starts with old Mother Earth sending out two babies, to typify 
 life. Spring is the first episode, which starts with homage to Isis . . . Miss Ethel Vincent and 
 Miss Ada Rahn represent the old year being banished. Then comes the awakening of Spring. 
 The powers of the earth and sky are called upon to arouse the sleeping flowers. Thus the 
 pageant starts, with singing, dancing, verse, and tableaux, one season making way for another. 
 Youths and lassies, the May Queen, the villagers, the foresters, Maypole dancers, lords and 
 ladies, Little Boy Blue, Mother Goose, and April Fool are represented in this first season. 
 
 Summer brings the pantomime of the Sun Goddess, the Japanese dancers, the philosophers, 
 the Sleeping Beauty, the Flowers and Bees, the Haymakers, and patriotic features. Autumn 
 brings forth Grain and Fruit Bearers, Autumn Leaves, the Flight of the Birds, the Dance of 
 the Winds, and the Whirlwind Pantomime. Winter has its Snow Flakes, its Skaters, Christmas 
 with Santa Claus, Red Cross Demonstration, and Carol Singers . . . 
 
 This affair will close the entertainment activities of the association for the season. 
 
 This, like the other shows we have just mentioned, is rather a masque than 
 a true pageant ; it includes many characters which we have seen at Lichfield and 
 Knutsford, but these alone cannot bring it into pageantry. There is, apparently, 
 enough unity to keep it from being a mere carnival; but it is given by a limited 
 group in the community, and must have appealed to a limited audience. 
 
 THE WOMEN-SUFFRAGE MASQUE AT WASHINGTON, 3 MARCH, 1913 
 
 What should have been called a " masque," given by a group in the commun 
 ity as propaganda for women-suffrage, took place on the steps of the Treasury 
 Building at Washington on 3 March, 1913. The plan of this entertainment was 
 announced as follows: 2 
 
 1 Boston Herald for Monday, 2 June, 1919, p. 6. 
 
 2 I quote from the Boston Transcript of 6 February, 1913: an eye-witness of the event 
 tells me that it is a very good account of what happened. 
 
 For illustrations of this masque, see Davol, pp. 29, and 61. 
 
PAGEANTRY IN THE UNITED STATES 285 
 
 . . . The Show on the Treasury steps is technically an " allegory," while the rest of the 
 demonstration is technically called the " pageant-procession." The story told in the proces 
 sion itself will show the actualities of much that woman has struggled against and is still 
 struggling to achieve, as well as what she has attained, while the ceremonies at the Treasury 
 Building will symbolize the ideals toward which both men and women have been struggling . . . 
 
 The southern steps of the Treasury Building are a flight mounting some twenty or thirty 
 feet and broken by a landing, easily fifty feet square, on which the evolutions of the characters 
 in the tableaux will take place. Surmounting the steps are the lofty columns of the Treasury 
 Building. The audience will be seated on stands erected on the little park about the Sherman 
 statue just across the street from the steps. Between the audience and the steps the pageant 
 will pass. 
 
 When the pageant starts, a mile or two away down Pennsylvania avenue, a trumpet will 
 be sounded, and this note will be taken up at intervals along the line of march until it reaches 
 the two trumpeters dressed in purple and gold who are stationed on the plaza of the Treasury 
 Building. These trumpeters announce in a fanfare that the ceremonies are about to begin, 
 and immediately, while the band plays The Star-Spangled Banner, the commanding figure of 
 Columbia emerges from behind the shadows of the great columns. On each side of the 
 great platforms which flank the steps an American flag is unfurled. Columbia slowly descends 
 and takes a stand on the plaza below. The allegory then proceeds as described by Miss 
 MacKaye, as follows: 
 
 Again the trumpets are sounded, and Columbia, turning toward the massive columns from 
 which she has just emerged summons to her presence the first of her followers, Justice. Obey 
 ing this command Justice and her attendants appear in robes of purple and violet lightened 
 by the faintest touch of blue. To the majestic strains of the Pilgrims Chorus they formally 
 descend and make their obeisance to Columbia. 
 
 Columbia then turns again and summons Charity. The serene and benignant strains of 
 Handel s Largo announce her coming. Gently and nobly she descends the steps, preceded by 
 two little children who strew her path with roses. Following her closely comes a group of 
 youths and maidens in tender grays and blues, and, enfolding some of these in her simple 
 mantle of deeper blue, Charity takes her place. 
 
 With the crashing of cymbals and brass in the Triumph March from A ida, a flying figure 
 in glowing crimson appears Liberty unfettered and free. She poises for an instant at 
 the top of the steps and then, with swift running feet she sweeps on to the plaza below, beckon 
 ing her attendants to follow her. Thereupon a company of gay and brave young girls troop 
 out from between the columns and with floating scarfs of crimson, rose, and gold, weave a 
 glorious dance of joy and freedom. 
 
 This last tumultuous and breathless entrance is followed by a moment s silence, to be 
 broken by the clear note of the horn the only sound to intrude upon the stillness. Presently, 
 to soft and tender strains of music, a serene and beautiful figure in white and silver appears 
 bearing in her hands her emblem, the Dove of Peace. Halting at the head of the steps, she 
 releases the bird and watches its flight as it mounts to the heavens. Then she descends 
 always to the strains of softest music surrounded by another group of girls with golden 
 cornucopia, laden with glowing fruits Plenty follows Peace. And now it is Columbia who 
 makes obeisance, and, with reverent gesture, welcomes this beneficent and longed-for follower 
 to her place. 
 
 One more figure is still to come Hope, bearing the promise of the future. Peering shyly 
 from behind the columns, her gauzy veil falling between her and the world, a tender girl looks 
 forth. With increasing courage she ventures out, only to disappear again and reappear, like 
 a bright spirit. At last she boldly leaves her hiding place and springs lightly down the steps, 
 
286 ENGLISH PAGEANTRY 
 
 followed by a group of laughing girls, in softest greens and rainbow colors. Together they 
 chase and elude each other, and swing and sway until their dance is broken in upon by a joy 
 ous troop of children Hope s dear reliance. Following her radiant figure the young girls 
 weave the mazes of their dance, while the happy children toss their golden and iridescent 
 balls, till they, too, join the others in the final tableau to greet the great procession, which 
 with band and banner, sweeps by triumphant. 
 
 " A PAGEANT OF PROGRESS " 
 
 A Pageant of Progress, which celebrated the seventy-fifth anniversary of 
 Mount Holyoke College, represented the liberal arts and sciences. Each depart 
 ment of the college produced a section of the show. 1 With some historical char 
 acters, there were many from fiction, and much personification Radium, 
 Helium, the Telegraph, Flora and the emphasis was not primarily on history. 
 Like the Hollis Hall Pageant, this was given by one sex; z but the material was 
 not taken directly from the history of the college, and the technique was more 
 closely related to that of the masque. Thus this falls under the head of " festival." 
 
 On the borderland we find many shows which resemble the pageantic festival 
 somewhat, and yet, for one reason or another, are outside the pale. The revels 
 at Merry Mount show the germ of pageantry which may be found in almost 
 every folk-celebration ; the tournament at Philadelphia during the Revolution, 3 
 together with the tournaments of the Southern States before the war, 4 reflect the 
 same germ among a higher class. The Bohemian Club " Jinks," which began in 
 1878, are invented and performed by a limited circle for audiences restricted by 
 privilege; 8 as Mr. Garnett says: " Although the drama and the opera were the 
 progenitors of the Bohemian grove-play, in its ultimate form it bears a greater 
 resemblance to the masque than to either ... It may be safely said that no con 
 structor of a midsummer high jinks, no writer of a grove-play, ever used a masque 
 for his model. We find, therefore, in California, in the first years of the twentieth 
 century, an independent occurrence of the masque type brought about by an 
 entirely different set of conditions from those that produced the original ex 
 amples of this genre nearly four hundred years earlier." 6 
 
 1 This occasion is described in an illustrated article by Elizabeth C. Porter in the Outlook 
 for 23 November, 1912, pp. 653 f. 
 
 2 A much larger proportion, however, of the undergraduate body took part in it, than 
 was the case at Harvard. 
 
 3 Illustrated on the cover of Davol s volume: for mention of this, see Davol, p. 31. 
 
 4 For mention of these see T. H. Dickinson, The Pageant in the Wisconsin Play-book for 
 September, 1914, p. 13. According to Professor Dickinson, that which took place near Balti 
 more in 1840 was directly due to the tournament at Eglinton, which we have already dis 
 cussed (see above, p. 182 f.); one of the last of these tournaments was given at Front Royal 
 (Virginia) in 1866. 
 
 6 On the Bohemian Club " Jinks " see Porter Garnett s volume, The Bohemian Jinks, 
 published by the Club at San Francisco, 1908; also the Am. Pag. Assoc. Bulletin 8, 15 
 October, 1914. 6 Garnett, pp. 33, 34. 
 
PAGEANTRY IN THE UNITED STATES 287 
 
 THE DUQUESNE "PAGEANT" or 1911 
 
 When the Harvard architects welcomed, in April, 1911, Professor Duquesne 
 who had come from the ficole des Beaux Arts to the chair of architectural design 
 at the Massachusetts institution, they called their entertainment a " pageant." 
 Given in the big living-room of the Harvard Union, before an audience of in 
 vited guests, the affair lacked the " popular " element which we have seen to be 
 necessary to pageantry in its truer sense. While there was an attempt made to 
 show the development of architecture by means of symbolic figures such as 
 the Spirits of Gothic, Renaissance, and Byzantine Architecture the dance was 
 at the heart of the entertainment, which was more exactly a masque with an 
 interlude, and was more closely related to the revels of artists and students, 
 which take place on both sides of the Atlantic, than to pageantry. There was 
 no educational aim to this entertainment; the symbolism was appropriate, but 
 neither the distinguished guest of honor nor the audience, made up largely of 
 architects and professors, derived much information from the masque. This, in 
 itself, is, perhaps, not enough to throw the entertainment out of the realm of 
 pageantry; but the fact that it was given before an invited audience, by a 
 limited number of students from one department of an institution of learning, 
 and consisted largely of dancing, brings it into the field of the masque. 
 
 A performance wherein history and dance were almost inextricably mixed, 
 and which combined a " Kirmess " with scenes at the Court of Spain, among 
 American Indians, in Colonial Days, and before the Civil War, was given for the 
 benefit of the Home for Incurables at Cincinnati in the Emery Auditorium, 16, 
 17, and 18 April, I9I4. 1 This has little right to be called a pageant; it stands 
 half way between the masque and the carnival, and is interesting only as an 
 example of what often lays claim to the title of pageant. 
 
 An example of the " pageant of limited appeal " is that " depicting the cele 
 bration of Our Lady s Feast in Ireland, Italy, France, and America," which was 
 presented at ^Eolian Hall, New York City, by a hundred members of the Young 
 Women s Catholic Patriotic Club, on 16 May, 1919, in honor of the organiza 
 tion s first anniversary. 2 Not only is this a " pageant " based on religious ma 
 terial, but it apparently substituted distance in place for the distance in time 
 characteristic of the episodes of the historical pageant. Both the subject-matter 
 and the fact that it was presented by an association, membership in which is 
 limited, put this production in the field of the so-called " festival." 
 
 1 The souvenir program of this occasion may be found in the Harvard Library [Thr. 
 1211.80}. 
 
 2 An item announcing the event appeared in the New York Times for 16 May, 1919. 
 The tickets were on public sale, but the entertainment did not affect the community life of 
 the metropolis. 
 
288 ENGLISH PAGEANTRY 
 
 MASQUE AND PAGEANT IN AMERICA 
 
 As masque and pageant differ chiefly in spirit and technique, we find, in Amer 
 ica, a confusion arising between the two as the difference in technique diminishes. 
 The modern American pageant allows considerable dancing, and singing plays 
 a large part in the entertainment; there are some who would exclude speech, 
 and get all their effects from song and pantomimic action. The modern " pag 
 eant " (not of the processional type) is given in one place either indoors or 
 out ; the masque admits allegory and symbolism, and there is no reason why it 
 should exclude historical characters provided, of course, that they are not 
 out of place in a dance. The modern pageant is founded on history, and a cer 
 tain amount of this element is necessary. Mr. Parker represents one school 
 which insists on the spoken word, a maximum amount of history, with little 
 symbolism and little dancing. In America, there is a tendency to replace speech 
 by the " broader effects " of music and dancing; but music and dancing alone - 
 even if symbolic, and " popular " - show the technique of the masque on which 
 the spirit of pageantry has been imposed. 
 
 Although, broadly speaking, the " soul " of both is the same, yet the tech 
 nique of the masque absorbs allegory and symbolism more readily, while the 
 modern pageant being dramatic deals almost entirely with historical char 
 acters. It is clear why this must be so; for when we show an historical scene, we 
 must use historical characters. Were we to replace the Puritan and Indian by 
 Civilization and the Wilderness, the scene would cease to be historic and would 
 be symbolic. History is, perhaps, the flesh that covers the bones of symbolism; 
 but the pageant in its strict form deals with that flesh, and only suggests the 
 bones that lie beneath. 
 
 The " Victory Pageant " which was given by the Rhode Island Normal School 
 on 29 May, 1919, shows an interesting combination of pageantic material with 
 the spirit and technique of the masque. It is really rather a patriotic festival 
 than a pageant: for, like the Boston Normal School "pageant" of 1908, it 
 appealed to a limited group in the community; it expressed itself rather by the 
 dance than by the historical " episodes " characteristic of the Parkerian pag 
 eantry. The material had no particular connection with the school producing 
 it and was not appropriate to any special locality or field of activity such as 
 " education," which formed the background of the Boston Normal School festival. 
 This is not, of course, saying that it could not have been a very effective spectacle. 
 The " Synopsis of Scenes " gives a good idea of the matter treated, and one can 
 see that it could be easily adapted to any other place or group. 1 
 
 1 The program of this " pageant " from which I quote is in the Harvard Library. The 
 show was adapted from The March of Democracy, a masque for Victory Day celebrations, by 
 Charles B. McLinn, in the Historical Outlook for January, 1919, pp. 29 f. The pageant " is 
 not original, but is adapted, with new headings, from a play written for a western institution 
 
PAGEANTRY IN THE UNITED STATES 289 
 
 After the March, and the Prologue, comes Part I, " Our Allies before the World-War," 
 in which England, Russia, Italy, Belgium, Serbia, and France are represented by Folk- 
 Dances. 1 Part II, "Autocracy Dominant," shows a Herald preceding Autocracy, who 
 drives before him frightened refugees: in his train follow War, Fire, Famine, Rapine, Terror, 
 Death, and Greed. An " Interpretation of the Grief of the World " was given in a dance. 
 
 Part III America s Crusade for Democracy. Soldiers and Sailors escort the States of 
 the Union. America enters with her train: Humanity, Red Cross workers, Liberty, Food 
 Supply, War Gardens, Mines, Miners, Liberty Loan, Liberty Bonds, War Savings Stamps. 
 America recalls her Past: Roger Williams, The Spirit of 76, War of 1812, Civil War, Spanish- 
 American War, Immigration. America summons her Resources: Food Supply and War Gar 
 dens, Mines and Miners, Liberty Loan, Liberty Bonds, and War Savings Stamps. America 
 Proclaims her Ideals: Democracy, Truth, Light, Law, Justice, Equality, Fraternity, Freedom 
 of Thought, Opportunity, Suffrage, International Faith, Peace. 
 
 Part IV Democracy Triumphant. Victory. Chorus: "The Star-Spangled Banner." 
 March. 
 
 The history here with the exception of the Rhode Island figure of Roger 
 Williams is universally American : propaganda is not lacking (Suffrage) and 
 would have been stronger had there been at the time, a campaign for Liberty 
 Bonds or food conservation. The marches introduce and close a show in which 
 dancing apparently plays a large part. The whole school was generally repre 
 sented in the cast. 
 
 The more successful pageants in America keep the two elements separate; 
 no scene can be wholly satisfactory when the two are mixed. And a pageant at 
 its best should include the whole community; when fewer participate, the 
 celebration, even if it deals with history, tends to become a " festival." 
 
 THE "PAGEANT-PLAY" 
 
 The " pageant-play " - like the political pageantry of the Pope-burnings 
 is not likely to be local in its appeal; we have seen that the Pope was burned at 
 London, at Edinburgh, and at Boston. In such a category would fall produc 
 tions like Mr. Percy MacKaye s Caliban, which was less concerned with local 
 history than with drawing a community together; it was produced in the Stadium 
 of the City College of New York in 1916, and the next year, shortly after the 
 United States had associated herself with the Allies in the Great War, was re 
 peated in the Harvard Stadium, for the benefit of the American Red Cross and 
 the Harvard R. O. T. C. 2 This, Mr. MacKaye called a " community masque," 
 
 and published in an educational magazine . . ." From a letter written by Miss M. L. Brown 
 of the Rhode Island Normal School. 
 
 1 This scene is based on The Drama of the Powers, a " dialogue " by Douglas Horton, in 
 the Historical Outlook for March, 1919, pp. 132 ff. 
 
 2 See Community Drama, pp. 51 ff., and p. 62. Mr. MacKaye applies the term " com 
 munity masque " to his spectacle, and most of the writers of the press-notices included in the 
 appendix to the volume cited, use the same term, which is more appropriate for a show based 
 on Shaksperian material, and in which the community effort was of chief importance. 
 
290 ENGLISH PAGEANTRY 
 
 objecting to the use of pageantry, as a misleading term ; l the motive and method 
 behind it " the Christian motive of efficient neighborliness, and the art 
 method of dramatic organization " 2 are intended to distill the organized, con 
 structive imagination which peace lacks. War, holds Mr. MacKaye, organizing 
 for competition, creates a national mind: the Community Drama, organizing for 
 cooperation, harmonizing community with community, nation with nation, may 
 create an international mind. There are many who believe, with Mr. Parker, 
 that local history is the best, if not the only, material capable of uniting solidly 
 a community, which shares the past in common heritage ; that too much sym 
 bolism fails, and that it is not enough to join in giving a show, but that the show 
 must be worth giving, and have the particular appeal which only one s own show 
 can have. This Mr. MacKaye recognizes when he says: " The difference is be 
 tween mine and ours . . . My pageant is inconceivable. Our show is the 
 typical vernacular of every civic festival." 3 
 
 Such a feeling must weaken, if it does not entirely disappear, before pageants 
 written for any community which lacks the energy or the originality to bring 
 forth its own. " Books of historical pageant-plays " 4 the characters of which 
 are of necessity types (sometimes combined with allegory or symbolism) re 
 mind us of machine-made goods, which drive out the better hand-made products, 
 with a gain in efficiency and convenience hardly equivalent to the loss in quality 
 and art. Closely allied to this kind of thing is the " pageant-ceremony " devised 
 by Mr. MacKaye at the request of the Citizenship Day Committee of New York 
 to welcome newly naturalized citizens in the City College Stadium, and " de 
 signed to be at the service of whatever American community, committee, school, 
 or civic society may desire to use it." 5 Here the historical characters are limited 
 to national figures " chosen not from one era but out of the total tradition of our 
 liberties"; symbolical figures, such as Liberty and America, and types, such 
 as new citizens and folk-dancers, join them. The " ritual " may be applied to 
 any American community; and may be repeated as often as occasion arises. 
 
 While pageantry is a powerful weapon of propaganda, and may be a strong 
 tool in the hand of the sociologist who seeks to develop community-spirit by its 
 aid, there is a danger that, in seeking to " educate," pageant-masters in Amer 
 ica may forget the value of local history, which, in some pageants, is almost 
 crowded out to make way for nameless types or purely allegorical figures, char 
 acteristic of the older masque. 
 
 1 Community Drama, p. 39. 2 Ibid., Preface, p. xii. 3 Community Drama, p. 20 f. 
 
 4 Such as Plays of the Pioneers, by Constance d Arcy Mackay. In this volume, The Pio 
 neers " forms the lyric interlude in the Pageant of Pioneers now in rehearsal in some of the 
 smaller farming communities of the Dakotas and other Western states. This pageant is not 
 a pageant of a given place, but of a movement the Pioneer Movement with episodes 
 adaptable and applicable to any locality that has witnessed the coming of the pioneers, their 
 vicissitudes, and final triumphs." (Op. cit., p. 12.) 
 
 6 The New Citizenship, p. 8. 
 
a 
 
 
 
 o 
 U 
 
PAGEANTRY IN THE UNITED STATES 291 
 
 4. DEFINITIONS OF " PAGEANT," AND CLASSIFICATION 
 OF PAGEANTIC SHOWS 
 
 We are, perhaps, ready now to define a pageant. Several definitions have 
 been made, and some of these we shall cite. To begin with Mr. Parker s : " Let 
 me say here what a pageant is not. It is not a circus. It is not a procession. It 
 is not in any sense a display of professionalism ... It is the representation of the 
 history of a town, in dramatic form, from the earliest period to some later point, 
 forming a fitting climax. This is set forth in verse and prose of the most direct 
 sort, and is embellished with choruses, songs, dances, marches, and every legiti 
 mate spectacular adjunct. It is acted in some beautiful and historical spot, 
 which is left without any artificial embellishment whatever. It is acted by the 
 citizens of the town themselves, their wives, their children and their friends . . . 
 It is acted in a spirit of simplicity and reverence, and the audience must bring 
 the same spirit in watching its progress. It is not a stage play. It is a lofty and 
 dignified panorama of the town s history. And it is ... an act of local patriotism. 
 And out of local patriotism grows that wider patriotism which binds the sons of 
 England together . . . But it is more still. I confess I cannot conceive a pageant 
 except as an incident in a great act of praise and thanksgiving . . ." l And 
 again 
 
 " It is a great drama representing the history of a city ... It is a powerful, 
 historical object lesson." 2 
 
 These passages show what the Parkerian standard is; and, indeed, most of 
 the English pageants not directed by Mr. Parker strove toward these ideals. 
 As I have already stated, the pageant in England is a chronicle-play; it awakens 
 civic pride by portraying history. But these definitions do not apply to all the 
 American pageants we have been studying; here, the art has undergone certain 
 changes, as we have seen. " Pageantry," says Professor Baker, " seems likely 
 to be for us [in America] a combination of the Chronicle-Play and the Morality, 
 a free dramatic form which teaches, though not abstractly, by stimulating local 
 pride for that in the past which makes the best incentive to future civic endeavor 
 and accomplishment. Already in the communities where it has been tried, it 
 has quickened patriotism, strengthened civic pride, and stimulated or revealed 
 latent artistic powers." 3 
 
 Mr. W. C. Langdon, subsequently president of the American Pageant Asso 
 ciation, wrote in 1912: "I feel very strongly that the word pageant is used for 
 so many different kinds of festal activities that it has but little definitive value 
 left it. My definition of a real pageant is a drama in which the place is the hero 
 and the development of the community is the plot. It is community drama, as 
 
 1 Journ. Soc. Arts, liv, p. 144. z New Boston, for November, 1910, p. 296. 
 
 3 New Boston, November, 1910, p. 296. 
 
292 ENGLISH PAGEANTRY 
 
 distinguished from individual drama." l Mr. Davol z notes that American pag 
 eants lean more towards symbolism and prophecy than do the English, and con 
 tinues: " Two types of standard pageantry now in vogue are: First, what we 
 may call the academic pageant, 3 given in schools and colleges as a means of 
 visualizing history and of Americanizing the foreign-born element of the popu 
 lation by a dramatic appeal. 
 
 " Secondly, in a larger way, comes the community, or anniversary, pageant. 
 . . . the community pageant, as a whole, never failed to inspire finer fellowship 
 or make for life more abundant." 
 
 Good as these definitions are for the historical pageant of modern times, which 
 came into being with that at Sherborne in 1905, none of them seems quite in 
 clusive enough. " Logically, for the benefit of the public, it is essential that some 
 discussion should clear the atmosphere and decide just what we do mean by a 
 Pageant" writes Miss Mary P. Beegle. 4 " This distinction in the use of the term 
 is not a mere matter of terminology, but it rather becomes a question of the en 
 tire purpose of pageantry. Just what are we trying to do with the pageant in 
 the community ? This question requires a definite answer, because the commer 
 cial pageant, for instance, even when a beautiful artistic production, still re 
 mains a commercial venture in distinction from the type of community drama 
 which it is the object of the [Association] to foster. 
 
 " Yet, so far as the public can see, the commercial pageant apparently fulfills 
 the superficial aspects of the true pageant, and it is only through education and 
 publicity that the many individuals composing the public may be made to realize 
 the significance of pageantry as a new and possible art for the people, of which 
 the final aim is Social Service .... 
 
 "It is not right to assume that the highest social value of the pageant may 
 only be gained from a spirit of loyal cooperation. If the pageant is lacking 
 either in artistic or dramatic qualities it is a failure, for the reason that such a 
 pageant does not establish a true standard . . . No slovenly or inartistic per 
 formance may be excused on the ground of the splendid spirit aroused through 
 the work, or by the fact that the people have had a chance to express themselves. 
 Pageantry must set a high standard of production. It may be simple; but it 
 must be well done, or it cheats not only the audience but the performers .... 
 
 " The question, it would seem, is one of purpose; if the purpose is to bring 
 into the lives of the people a new form of recreation that awakens a sense of 
 
 1 I quote from a letter. Cf. Am. Pag. Assoc. Bulletin n, i December, 1914. 
 
 2 Handbook of Am. Pag., p. 28. 
 
 3 Practically what we have called the " festival " for want of a better name. 
 
 4 Am. Pag. Assoc., Bulletin 7, 15 September, 1914. Cf. Am. Pag. Assoc., Bulletin 53, 
 i December, 1917, for " a set of tentative definitions of the principal types of modern com 
 munity celebrations." These include pageant, community drama, masque, festival, and pro 
 cessional. 
 
PAGEANTRY IN THE UNITED STATES 293 
 
 beauty and pride in the community, it is necessary that we have a clear idea of 
 what we mean that new art to be called." 
 
 THE AIM OF PAGEANTRY 
 
 Mr. Parker has very clearly stated the purpose of the English pageant; does 
 that of the American differ ? It may, I think, be agreed that the aim of pag 
 eantry is to interest and educate the people; to arouse a civic pride and a com 
 munity spirit, patriotism, humility, and a love of the beautiful; and to show 
 the community what it can itself accomplish toward this end. Unless the desire 
 to give a pageant comes from the community itself perhaps aroused by the 
 work of a neighboring town no really successful pageant can result. 
 
 " FUTURISM " IN PAGEANTRY 
 
 It is not my purpose here to discuss the methods by which pageantry can 
 best accomplish these aims. Professor Dickinson has touched upon the matter: 
 " Too easily assuming a lack of glories in the past, some directors are centering 
 their attention in the present, and throwing into high relief the wonders of present 
 achievement. To me the glorification of the present comes with a bad grace. 
 And with even poorer grace comes the custom of some of presenting the past as 
 a crude and shameful background for presenting enlightenment and progress. 
 Aside from the poor taste of this attitude, it is quite lacking in truthful perspec 
 tive. 1 Without reverence there can be no art. And in self- vaunting there can 
 be neither art nor social welfare. The good pageant is one that strives to make 
 us worthy of our yesterdays by enriching then 1 promise. 
 
 " There is a theory that the future can be effective material for pageantry. 
 For this theory William Chauncy Langdon makes himself responsible when he 
 speaks of the drama of the community being carried down to the present and 
 on into the future to reflect in advance the gleam of those ideal conditions which 
 the new country-life movement is so successfully bringing into realization. A 
 theory so idealistic as this needs respectful consideration. But it is clear that if 
 there is any value in the theories we have been working out for the pageant, 
 episodes of the type suggested by Mr. Langdon would fall to the ground through 
 their extra-dramatic character. It is greatly to be doubted whether the future 
 could be so realistically treated as to be interesting. Put to such a use, the pag 
 eant becomes the vaguest kind of symbolism, dealing with no clutches or soul- 
 stirring contests, or reminiscent ceremonies, but done up in the white mist of a 
 future that the more sceptically-minded of us would fear as we fear the heaven 
 of our youth." z 
 
 1 Professor Dickinson here refers to American pageantry. 
 
 2 The Play-book for September, 1914, p. 28. 
 
294 ENGLISH PAGEANTRY 
 
 PAGEANTS CLASSIFIED 
 
 Three kinds of pageants are indicated in Pageants and Pageantry the pa 
 rade, the out-door performance, and the indoor entertainment, " made up of 
 scenes so related as to possess unity." l I have classified pageants differently. 
 It makes little difference whether a pageant be given outdoors or in; the chief 
 question is, is it " popular," or of limited appeal ? Assuming that the theme 
 shows unity, 2 does it have the popular element which lies in " the freedom of the 
 people of the community to take part in it ? " 3 If not, it is a " festival," 4 no 
 matter how easily the public may get tickets. This is a fundamental distinction 
 between the dramatic pageant and the " festival." The production of a limited 
 group naturally draws a selected audience; and it makes no great difference 
 whether this audience sits in the open air or in a hall. The " popular " element 
 is the " spirit " of pageantry; the masque has always appealed to a limited circle. 
 In early times, the " technique " of the pageant was the procession now it is 
 the procession of events dramatically presented; while the " technique " of the 
 masque has always been the dance. The " festival " shows the spirit of the 
 masque combined with the technique of the pageant, as the older " folk-play," 
 or mumming, suggests the spirit of the pageant joined to the technique of the 
 masque. The production of a community appeals to the community, and has 
 the true " popular " quality necessary for a pageant. 
 
 Then, of course, there is the second type of pageant that which is not 
 given against a stationary background. At one time this included speech: 
 speech may in time come back to it. If it is given merely to entertain, using no 
 history and little symbolism even if it shows frank commercialism it is 
 still a pageant. It may not be a high form of pageantry, 5 but nothing can take 
 from it the name that belongs to it by right of inheritance. This kind is, even 
 today, capable of great things; at its worst, it is carnivalistic hodge-podge. 
 
 1 Bates and Orr, p. 5. 
 
 2 The theme may be the growth of national spirit, the struggle of a people for liberty, the 
 progress of a science or of education (to cite Pageants and Pageantry, p. 5). " Naturally such 
 an instrument [as the pageant] does not pass unnoticed by those who have a program to 
 promulgate. Already people are using it to establish a number of cases from the right of 
 women to the vote to the necessity of swatting the fly. " Dickinson, op. cit., p. 27. 
 
 The larger the theme, the less likely it is to appeal to a limited group. Every pageant is, 
 of course, given by a group; but the members of such a group should be chosen from as large 
 a field as possible. The more representative it is of the community, the nearer it comes to 
 fulfilling the ideal conditions of a pageant. 
 
 3 As Mr. Langdon phrases it, in a letter dated 28 January, 1913. 
 
 4 This is what Professor Dickinson (op. cit., p. 28) calls " the Pageant of Idea "; it deals 
 with that which may be greater than the community, but which interests only a part of the 
 community, not being a common interest of all. 
 
 5 A melodrama may be rough and uncouth, but it still belongs to the drama. 
 
PAGEANTRY IN THE UNITED STATES 295 
 
 These, then are the two classes of modern pageants the processional and 
 the dramatic. 1 The division may be graphically represented as follows: 
 
 A. 
 
 Street processions with 
 floats containing fig 
 ures of allegorical, 
 symbolical, and his 
 torical significance. 
 
 B. Related episodes given in one place 
 
 i 
 Of the town; by the town; 
 a main element being 
 history 
 
 2 
 
 Of a science or art; by a 
 restricted group 
 
 In this table, A represents the oldest branch of the family one that has, 
 perhaps, seen better days, but which does not deserve to be snobbishly frowned 
 upon. Bi represents the " historical pageant " or " community drama," while 
 62, representing the " festival," is an offshoot from it, and really is not entitled 
 to be called pageant at all. It is sometimes hard to tell whether a given produc 
 tion should be placed in Bi or 2 ; An Dhord Fhiann and the Hollis Hall Pageant 
 dealt with historical episodes of interest to a small part of the community; the 
 Pageant of Progress dealt with science and art, yet interested all of an isolated 
 collegiate community; From Cave Life to City Life treated history in terms 
 largely symbolic, and failed to appeal to an entire metropolitan population. All 
 so-called " pageants " given in large cities tend to become " festivals " - es 
 pecially when any other subject than the history of the community is dealt with. 
 
 Although sometimes called " pageants," such productions as the Bohemian 
 Club " Jinks," and the Harvard masque in honor of Professor Duquesne, are 
 outside of the field altogether. They show a further development of the ten 
 dencies indicated by the " festival." 
 
 In the definitions of Mr. Parker, Professor Baker, and Mr. Langdon which I 
 have cited, history plays an important part. That it is an essential for those 
 pageants which fall into group Bi will be readily admitted and accuracy is, 
 as I have said, of prime importance where historical episodes are concerned. 
 Unless the allegory and symbolism common in the American pageants are rigidly 
 kept to the interludes, the pageants will go over the line to the " festival "; for, 
 as has been pointed out, allegory and symbolism are naturally expressed in the 
 dance, and militate against history unless they are kept subordinate to it. 
 
 Because a carnival procession contains no unity of any sort, historical or 
 symbolic, it has only the " raw-material " of pageantry. The emotions aroused 
 
 1 Professor Dickinson, in the Play-book (from which I have already cited), p. 14, divides 
 pageantry into two main classes: the " so-called Continental or Processional type in which 
 the event and the ceremony are presented in a moving procession of floats and symbolic 
 figures in costume," and " the English or dramatic type, in which the action takes place on 
 one spot, or on a series of related spots, in the form of a plot loosely constructed of a series of 
 authentic episodes in dramatic form, usually comprising speech, action, and suggestive setting." 
 
296 ENGLISH PAGEANTRY 
 
 by such a show are transitory. The same inborn desire for spectacular display 
 underlies the " educational " pageant; but here we have come to look for some 
 thing more. If our pageantry is more than mere entertainment, it is because 
 we like to feel that we are not simply amusing ourselves; this is an age which 
 cannot fully enjoy Niagara because it thinks of the unharnessed power going to 
 waste. 
 
 With the development of history an element which has been growing in 
 importance in recent Lord Mayor s Shows pageantry has become a new force. 
 In America, we have linked history to morality-play abstractions a danger 
 ous thing to do if we wish to keep the educational value of the pageant. But, as 
 Professor Kittredge has said, this is an age of symbolism and abstraction; we 
 no longer talk of " learning a trade " we create an abstract Vocational Edu 
 cation; we speak of Efficiency as if he were an intimate friend. A few years ago 
 we personified Gold and Silver in a political campaign. Pageantry readily adapts 
 itself to this state of mind; and that is one reason why, in America, it is a mix 
 ture of chronicle-history and the morality-play. The other is, as I have already 
 stated, because we wish to portray the future, and can do so only by means of 
 abstractions. But the tendency must be kept under control, or the new form of 
 artistic expression, which seems so vigorous now, is doomed. 
 
CHAPTER X 
 
 CONCLUSION 
 
 HERE, then, we end our survey of English pageantry. We have traced its 
 course through details monotonous in their repetition, from the mists of 
 folk-custom to the chaotic conditions of the contemporary pageantry in the 
 United States. We have seen how, in pre-Christian times, the folk marched 
 with images of animals, and figures of men survivals of the human-sacrifice 
 practiced by primitive peoples. This is the basis of the pageantry which was 
 so common in the middle ages, and is not yet dead. The Church made use of 
 the figures, turning them into saints images; and the guilds used the animals 
 as trade-symbols. In 1298, both saint and fishes accompanied a London guild 
 when it celebrated the victory of Falkirk. 
 
 The common misapprehension concerning the importance of the miracle- 
 plays in the history of the pageant we have helped to dispel. It is true that these 
 performances would be pageants, were they not something more; but they must 
 be considered dramatic productions given, if you will, under pageantic con 
 ditions. Pure pageantry arose in the folk-celebrations and the " royal-entry ": 
 often enough, in the provincial towns especially, the pageant-car of the guild 
 miracle-play was pressed into service to furnish a suitable platform from which 
 some appropriate Biblical character could address the visiting sovereign. Only 
 then did the miracle-play element become pageantic. 
 
 The folk-giant, who lasts to this day in the figures of Gog and Magog and 
 the Salisbury St. Christopher, seems to have occasionally taken the form of a 
 champion. At least once the giants appeared in a " royal-entry " with the ap 
 propriate names of Hercules and Samson. Perhaps the Bruce, who greeted a 
 Scottish queen early in the sixteenth century, was a folk-giant under an his 
 torical disguise; history was first attached to the London giants in 1554, when 
 Gogmagog and Corineus welcomed Philip of Spain to his wife s capital. 
 
 From the " Court of Love " literature perhaps by way of the pageantic 
 tournament came the castle, which we find in an English " royal-entry " in 
 1377; in 1432, Lydgate introduced allegory into the pageant, and early in the 
 sixteenth century, mythological characters made their appearance. 
 
 The habit of masking, common alike to court and folk, showed itself in the 
 tournament which earlier than 1300 had begun to grow less serious. Allegory 
 soon developed, and the seed from which grew the Elizabethan tilt and barrier 
 was planted. It was not long before the informal masquerades of the court were 
 elaborated into more formal entertainments built around the dance, which, in 
 the reign of Henry VII, had borrowed the car from the pageantic procession. 
 
 297 
 
298 ENGLISH PAGEANTRY 
 
 This developed into the elaborate background against which the later Tudor 
 and Stuart masques took place, and which, in its turn, became the chief source 
 of our modern scenery. 
 
 Perhaps the pageant gave allegory to the morality-play, though this point 
 needs further investigation. It is possible that, having received allegory from 
 literature at the hands of John Lydgate at a time when the morality-play was 
 in its infancy the pageant showed how the qualities could be personified, and 
 gave a hint to the morality-play writers. 1 It seems quite clear that The Castle of 
 Perseverance and Mary Magdalene owe something to the " materialized love 
 allegory " of the tournament, but I do not press the matter of the morality- 
 play s debt to the pageant. 
 
 Mythological characters are first found in Scotland just after 1500; I sug 
 gest that they came from France. In 1 5 2 2 , Jason and Medea welcomed Charles V 
 to London; and in 1533, Udall and Leland employ Mercury, Paris, and the three 
 goddesses in the reception to Anne Boleyn. Pageantry, like every other form of 
 artistic expression in the early sixteenth century, reflects the Renaissance spirit. 
 
 Between the end of the thirteenth century and the reign of Elizabeth, pag 
 eantry was chiefly developed in the " royal-entry." Perhaps this development 
 was aided by influence from the " groote Ommeganck " of Antwerp, and similar 
 shows on the Continent; but one may suggest that there was an influence also 
 in the opposite direction. It is not the purpose of this work to trace connections 
 between the pageantry of England and that of Belgium, France, and Italy; 
 that such existed is plain, but details of this exchange must be left to future 
 studies. 
 
 After the middle of the sixteenth century, when the " Midsummer Show " 
 a survival of old folk-custom began to die out, the pageants were transferred 
 to the Lord Mayor s Day " riding," which had been going on annually since 1209. 
 In 1422, the mayor first made the journey to Westminster by water; and this 
 method of transportation gradually became with some interruptions the 
 rule until 1856. The pageants of the " Midsummer Show " were combined with 
 the " water-triumph " and thus the Lord Mayor s Show grew up. 
 
 George Peele wrote the words for the first Lord Mayor s Show of which the 
 speeches have come down to us. Among the poets who followed him were Mun- 
 day, Dekker, Heywood, Middleton, Webster, Jordan, Tatham, Taubman, and 
 Settle, with whose Show for 1708 which was not presented, owing to the 
 death of the Prince of Denmark, Queen Anne s husband speech departed 
 from the triumphs of the Lord Mayor. 
 
 By the end of the eighteenth century, and during the first half of the nine 
 teenth, the civic show at London consisted of little pageantry beyond the " armed 
 men "; but of late years there has been an attempt to revive the older glories; 
 
 1 It is, of course, also possible that the morality-play and the allegorical pageant are in 
 dependent developments of the same tendency. 
 
CONCLUSION 299 
 
 and allegory, symbolism, and history have reappeared on pageant-cars, or floats. 
 In the first years of the war, the Show was used to stimulate recruiting, and the 
 regiments which marched therein themselves historical replaced figures 
 dressed up to represent historical characters. 
 
 In 1783, figures from the Lord Mayor s Show appeared on the stage of a 
 London theatre; and thus the tableaux vivants were, for the first time, transferred 
 from the street-pageants to a hall. The material dealt with was chiefly history; 
 and it is not difficult to see the connection between the pageantic procession and 
 such living-pictures of history which appeared in the United States at Marietta 
 in 1888. 
 
 These make a convenient link between the old and newer pageantry. Of the 
 old the technique of which is the procession there are survivals not only 
 in the Lord Mayor s Show, and the celebrations at Knutsford, Lichfield, Coven 
 try, and other towns in England, but revivals in America at Boston, Spring 
 field (Massachusetts), Philadelphia (in 1908) and Norristown (in 1912), to name a 
 few of many examples. The carnival processions of many places show the " raw 
 material " of pageantry, without the unity which is essential for the higher forms 
 of art. 
 
 The new " pageant," however, is something quite different. With the ex 
 ception of the final march at the end, it has kept none of the processional fea 
 tures we have come to associate with the pageant. It is a chronicle-play, differ 
 ing from the Elizabethan chronicle-play only in the fact that the hero is a town, 
 not an individual. Just as John Lydgate may be called the " father of pag 
 eantry," because he brought the form into the field of art, so Mr. Louis N. 
 Parker is the " father of the modern pageant," which came into being at Sher- 
 borne hi 1905. 
 
 This new form of pageantry traces its ancestry not from the old, but from the 
 German Erinnerungsspiele. We have noted how the more recent Lord Mayor s 
 Shows, by emphasizing not the history of some guild but the history of the city, 
 prepared the public for this " historical community-drama " which is now called 
 " pageantry." These plays for they are really plays tell the history of a 
 community in episodes; they are produced by the members of a community, 
 and have a great educational value, care being taken to make the reproductions 
 historically accurate. 
 
 This modern " folk-play " is to our time what the chronicle-play was to the 
 people of Shakspere s England. It vitalizes history. From the mother-country, 
 it spread to the American continent; and in the United States, it absorbed the 
 historical tableaux vivants, giving them pantomimic action, in many cases speech, 
 and often an open-air setting. 1 
 
 1 As has been shown, there is more emphasis on symbolism and allegory in the American 
 work than in the English. This is due to several causes, and has resulted in giving us the 
 " futuristic pageant," or pageant which looks to the future, rather than to the past. 
 
300 ENGLISH PAGEANTRY 
 
 A further development has taken place on this side of the ocean; for the 
 " pageant " given by a school, or small group in a community, instead of by 
 the people as a whole, has lost its " popular " aspect. These entertainments 
 the subject of which is usually of less general interest to the majority of the people 
 than would be the history of their town, and which frequently trace the develop 
 ment of some art or science which interests the group producing them have 
 been called " festivals." They have the spirit which underlies the masque 
 which is given by and for a restricted circle and at times their technique ap 
 proaches that of the masque. 
 
 Professor A. Chaurand, of the Lyce"e Ampere, Lyons, in a letter of 28 May, 
 1918, wrote: "... A Lyon, nous avons une nouvelle creation de la Croix Rouge 
 americaine: un asile pour les enfants des refugies, 6tabli dans la maison tres 
 somptueuse, mais assez laide, de 1 ancien consul Allemand. J ai vu une demoiselle 
 americaine, fille d un professeur de Princeton, qui fait partie de cette mission. 
 Elle m a dit que Ton procederait d abord par une ceremonie : the rite of cleansing 
 the uns home with lustral water. Mais tout cela est vide de sens; et je pense 
 que vous devez passer de bien mauvais moments, et qu il est hors de saison d 
 essayer de rire. Je crois bien, cependant, que vous avez du remarquer que le 
 Frangais aime beaucoup rire, meme dans les ombres de la vallee de la mort ..." 
 
 It is interesting to observe that this Frenchman does not take the symbolism 
 of the ceremony which the Red Cross had planned, as seriously as the Americans 
 do. That such a rite seems trivial, given the sufferings of the French, cannot 
 be denied: " lustral water " could not cleanse France from the Huns! Perhaps 
 there is an excuse for those who were for so long in actual contact with the real 
 ities of War, if they felt the absurdity of such a ceremony at that time. One 
 does not dance in a house of mourning: but one could not condemn dancing 
 itself, if a few misguided individuals were to attempt it. 
 
 In America, then, we have three types of pageantry or, rather, two, one of 
 which is subdivided. We share with England and the Continent, the procession 
 with moving platforms on which historical and symbolical figures are carried 
 through the streets; we share with England the historical " community-drama," 
 modified on Parkerian lines from the German Erinnerungsspiele; and the more 
 restricted " festival " (less commonly found in England) which approaches 
 sometimes the masque, and at others the " pageant-play." 
 
 Broadly speaking, there is pageantry whenever people dress up to represent 
 something they are not, in real life. Thus, we find pageantry in a Lord Mayor s 
 Show of 1913, which includes Sir Thomas Middleton : we do not find pageantry 
 in a civic procession of 1915, which includes heroes back from the Flanders front. 
 In the first, we have someone representing an historical character; in the second, 
 we have history itself. 
 
 But the above definition, taken alone, would admit a carnival procession, or 
 a fancy-dress ball, into the realm of pageantry. I have already called these the 
 
CONCLUSION 301 
 
 " raw-material " of the pageant, and have stated that what kept them out of 
 our field was the lack of unity exhibited by such a spectacle. Some of the Lord 
 Mayor s Shows when that procession was at its lowest artistic level sug 
 gested a carnival ; the final tableau of a Parkerian pageant would suggest a fancy- 
 dress ball, had there not been preceding scenes, which found a unity in the town, 
 the history of which had just been set forth. The primary aim of the Parkerian 
 work was to depict this history; but the discovery was made that in so doing, a 
 community solidarity was developed, which, like many by-products, became 
 almost as important as the main product. 
 
 In America, sociologists, and propagandists of all sorts, have seized upon the 
 by-product as a fulcrum from which to apply their " uplift." Placing a strong 
 emphasis on the necessity of imagination in dealing with present-day problems 
 of American life, and intent on distributing as much imagination as possible 
 among the population of our country, many pageant-masters and pageant- 
 writers show a tendency to exchange history for symbolism, allegory, and name 
 less type-figures. The danger of this development is, that fact may become so 
 diluted with imagination, that it will fail to awaken a community spirit. When 
 we show an historical scene, we must use historical characters; when we replace 
 the Puritan and the Indian by Civilization and the Wilderness, the scene, ceas 
 ing to be historic, becomes symbolic. Symbolism and allegory tend to express 
 themselves by the dance, and no community can be spurred to civic endeavor 
 by frisking figures of Faith, Hope, and Charity ! Unless the symbolism is kept 
 subordinate, the interest in the pageant will wane, and the production will be 
 come a " festival " - given only by a small group in the community. 
 
 Important as the spectacular element in pageantry is, it is by no means the 
 most important. Mr. Percy MacKaye lays great stress on " the handsomeness 
 of war " in his suggestion that community drama could prove a substitute for 
 war. 1 " Statesmen and military leaders," he writes, " utilize the full potency 
 of the imaginative arts born of the theatre, and employ for their ends the ecstasy 
 and pomp of music and pageantry with a perfection of stage management 
 that would stagger a Reinhardt. Symbolism they call to their aid, to provide 
 for patriotism her radiant flags and uniforms. The art of the music-maker peals 
 in brass to the multitude. Poetry and dance stride forth, like strange colossi, in 
 the public squares, exhorting the populace with rhythms of marching regiments, 
 that leap forth like glorious stanzas on the breath of the rhapsodist. A choral 
 shout as old as the chanting of Homer invokes and unifies the nation." 
 The armies of peace, as he calls the social workers, " have, with few exceptions 
 no adequate symbols of their service no banners, uniforms, fighting hymns, 
 rhythmic marches, pageantry of spiritual meanings made sensuous .... Drab 
 that is their disease." 2 . As a " moral equivalent " of war, Mr. MacKaye 
 suggests the community drama: " The present time is peculiarly auspicious for 
 
 1 A Substitute for War, pp. 26 ff. 2 A Substitute for War, p. 35. 
 
302 ENGLISH PAGEANTRY 
 
 this widened civic scope of the theatre s art. On the one hand, that art itself 
 rekindled from within by the constructive discoveries of its creative artists in 
 production, architecture, music, and the dance stands at the threshold of a 
 splendid renascence. On the other hand stirred from within by the porten 
 tous menace of world war civic ardor has never been more deeply roused than 
 now to discover effectual means for combating the enemies of society poverty, 
 disease, unemployment, political corruption, and all the hosts of embattled ig 
 norance. To this war against all social and economic causes of war dramatic art 
 offers a popular symbolism of magnificent scope and variety; it offers a new 
 method of social science." 1 Mr. MacKaye s aim is that of Mr. Parker per 
 haps carried to a further development but his method differs : for Mr. Parker, 
 basing his pageants on history, sought to give an artistic performance which 
 would leave the town better for having taken part in it; Mr. MacKaye, empha 
 sizing symbolism, seeks to give an artistic performance which will not only leave 
 the community more closely knit, but will also organize militant social service 
 as an effectual substitute for war. The future alone can show whether history 
 or symbolism will prove the more potent force. 
 
 The greatest change between the older and newer forms of pageantry 
 greater even than that of technique is this change in purpose. The pageantry 
 of the past existed chiefly to entertain the crowds; it was as innocent of an ul 
 terior motive as were the early folk-plays, which unconsciously kept alive pre- 
 Christian customs. There was, however, in these old shows, a certain allegorical 
 and historical element which indicates that the pageantic " dressing-up " was 
 not wholly purposeless. Often it was appropriate in the case of the " royal- 
 entries "; often it recalled the past, in the case of the Lord Mayor s Shows. 
 But its chief aim was not instruction. 
 
 That of the present mingles with its entertainment a desire to educate, to 
 spur on to better things. It seeks to inspire a greater community spirit, to 
 awaken a local patriotism. Being a form of art very close to the people, it re 
 flects the spirit of the age closely, and for this reason, if for no other, is it worth 
 studying. The instincts to which pageantry appeals are deep-rooted; and it is 
 instructive to watch the development of these instincts in a people. There is, it 
 must be admitted, a tendency, in the United States, at any rate, to take from 
 pageantry the spontaneous and unconscious charm of folk-custom, and render 
 it too sophisticated and unnatural under the chaperonage of pageant associations 
 and similar conventionalizing groups; but perhaps this, also, is in the spirit 
 of the age. 
 
 Dangerous as it is (from the point of view of pageantry) to produce those 
 shows which can be fitted or adapted to any place as the Canterbury Pilgrims 
 were made applicable to Gloucester, Massachusetts Mr. MacKaye s article 
 
 1 A Substitute for War, pp. 42 ff. 
 
CONCLUSION 303 
 
 on The New Fourth of July, in the Century Magazine for July, 1910 (pp. 394 ff.), 
 has some interesting suggestions for fitting pageantry to an Independence Day 
 celebration in any community. Taking the Pittsburgh celebration as a basis, 
 the writer advocates an application to other cities of the processional pageant, 
 a children s parade, an historical military parade, folk- and pantomime pageants, 
 etc., all of which are described and outlined. It is worthy of note that Mr. 
 MacKaye emphasizes the desirability of attaching to such a celebration what 
 ever of local history or custom would tend to give it individuality: and urges 
 each community to " make much of the tradition of your own locality." In 
 these days of standardization for the sake of efficiency, it is, perhaps, to be ex 
 pected that pageants will tend to be machine-made. 
 
 Pageantry is nothing new, though the modern pageant is not a revival of the 
 earlier. Both are only different expressions of the same desires. The modern 
 pageant is a higher form of art, having unity; but it lacks the spontaneity of 
 folk-custom. The community, not the guild, is the center around which it is 
 built; its history and symbolism deal with the town, not with the craft. The 
 fact that people look to it for education and inspiration, puts a responsibility 
 on the modern pageant-master which the writers of the earlier shows did not 
 bear. Yet these processions of older times played an important part in the life 
 of England from the days of Chaucer to those of Dryden. 
 
 Pageantry, both of the past and of the present, has been connected with the 
 celebration of some event. At first, this event was a folk-festival, or a Church 
 holy-day; the welcome of a sovereign, or the installation of a mayor; now it is 
 a national holiday or some civic anniversary. In addition, pageantry is more 
 and more being used to give publicity to some idea as a form of propaganda. 
 Our review of the subject has been chiefly a review of the centuries in holiday 
 mood; and, as Bacon has said, " such shews . . . are not to be neglected." 
 
 At all times from the earliest " Midsummer Show " down pageantry has 
 been, to use Mr. Percy MacKaye s phrase, " poetry for the masses." 
 
BIBLIOGRAPHY 
 
BIBLIOGRAPHY 
 
 ABBREVIATIONS 
 
 B Bodleian, Oxford. 
 
 BM British Museum Library, London. 
 
 C Library of Cambridge University. 
 
 Gh Guildhall Library, London. 
 
 HL Library of Harvard University. 
 
 RS Rolls Series. 
 
 SA Library of the Society of Antiquaries, London. 
 
 Adams, Elizbeth D. "A Fragment of a Lord Mayor s Pageant," in Modern Language Notes 
 
 for May, 1917. 
 [Agincourt]. See Nicolas. 
 
 American Pageant Association. Bulletins, 1913, et seq. 
 Amerie [Amory], Robert, see Davies. 
 An Dhord Fhiann, see Irish Historic Pageant. 
 Annales Londonienses, see Stubbs. 
 Annales Paulini, see Stubbs. 
 [Anne]. See Campion. 
 Antiquarian Repertory, see Grose. 
 A qua Triumphalis, see Tatham (sub anno 1662). 
 
 Arber, Edward. An English Garner. (8 vols.), Westminster, 1877-96. 
 ArchcBologia. Published by the Society of Antiquaries. London, 1770 in progress. 
 Arlington Pageant. 6, 7, 13 June, 1913. By Mrs. Colonna (Murray) Dallin. [Program in HL]. 
 Army Pageant, Book of. Edited and arranged by F. R. Benson and A. T. Craig. London, 1910. 
 
 [The pageant was held at Fulham Palace, 20 June-2 July, 1910.] 
 Arundell, Thomas. Historical Reminiscences of the City of London and its Livery Companies. 
 
 London, 1869. 
 Ashdown, see Hertford. 
 Ashton, John. Lord Mayor s Show in the Olden Times. Compiled from various authentic 
 
 drawings and ancient MSS. The drawings are by F. C. Price. London [1883]. 
 Astle, see Grose. 
 Athenceum, The. London, 3 November, 1860 [no. 1723, pp. 581-585], " A Full and Particular 
 
 Account of the Lord Mayor s Procession by Land and Water." (Street Boy.) [A sprightly 
 
 essay, full of entertaining gossip.] 
 Aungier, G. J. Chroniques de Londres, depuis Van 44 Hen. Ill jusqu a Van 17 Edw. III. 
 
 Edited from Cotton MS. Cleop. A. vi. for the Camden Society (xxviii), London, 1844. 
 Avesbury, Robert de. Chronica. Edited by E. M. Thompson. (RS 93) London, 1889. 
 Axon, W. E. A. Chester Gleanings. Manchester, 1884. 
 Baker, David E., see Jones. 
 
 Baker, George P. " Pageantry," in New Boston for November, 1910. [HL] 
 Baker, George P., see Hollis Hall, and Peterborough. 
 Bannatyne Club, see Edinburgh. 
 
 1 This does not pretend to be a complete bibliography of the subject; and I have made no attempt to list 
 the modern English and American pageants. This list is rather to elucidate the references in the footnotes. 
 
 307 
 
308 BIBLIOGRAPHY 
 
 Barber-Surgeons, see Young. 
 
 Barriffe, William. Mars, his Triumph: or the Description of an Exercise performed the xviii 
 
 of October, 1638, in Merchant-Taylors Hall by certain Gentlemen of the Artillery Garden, 
 
 London. London, 1661. [Gh, A. i. 5.] 
 
 Bates, E. W., and Orr, W. Pageants and Pageantry. Boston and New York, 1912. 
 Bateson, Mary, see Leicester. 
 
 Bath, (celebration of Charles II s Coronation.) See William Smith. 
 Bath Historical Pageant. Frank Lascelles, Master. 19-24 July, 1909. Book of Words. Bath, 
 
 1909. 
 Beatty, Arthur. " The Saint George, or Mummers Plays: a study in the Protology of the 
 
 Drama," in Trans. Wisconsin Acad. Sci. Arts and Letters (October, 1906), vol. xv, part ii, 
 
 pp. 273 f. 
 
 Beaven, Alfred B. The Aldermen of the City of London. (2 vols.), London, 1908-13. 
 Beegle, Mary P., see Crawford. 
 Benson, F. R., see Army, and Winchester. 
 
 Besant, Sir Walter. Mediaeval London. (2 vols.), London, 1906. 
 Bickley, F. B., see Bristol. 
 
 Bieling, Hugo. Zu den Sagen von Gog und Magog. Berlin, 1882. 
 Blomefield, Francis. An Essay towards a typographical History of the County of Norfolk, &c. 
 
 (6 vols.), London, 1805-07. Continued by Parkin (vols. 7-11), London, 1807-10. 
 Blomefield, Reginald T. " Inigo Jones," in The Portfolio for May, 1889 (pp. 88 f.), and 
 
 June, 1889 (pp. ii3f.). 
 Bond, E. A., see Chronica de Melsa. 
 [Boston, Massachusetts]. Celebration of the 2fjoth Anniversary of the Settlement of Boston. 
 
 Boston, 1880. [HL, US. 13176. 25. 5.] See especially pp. 109-149, 153-162. Various 
 
 " floats," or tableaux, are illustrated. 
 [Boston, Massachusetts]. Historical Festival. Music Hall, April 22-30, 1897 (under the 
 
 auspices of the Boston Teachers Mutual Benefit Association). Margaret M. Eager, 
 
 director. Boston, 1897. [HL, Thr. 1211. 70.] 
 [Boston, Massachusetts]. See New Boston (for the " Civic Pageant " of 1910, entitled, 
 
 " From Cave Life to City Life "). 
 Bourbon, Etienne de. [Stephanus de Borbone.] Anecdotes, &c. (Edited by Albert Lecoy de 
 
 la Marche.) Paris, 1877. 
 
 Brand, John. Observations on Popular Antiquities. Newcastle-upon-Tyne, 1777. 
 Brand, John. Ibid., edited, with large corrections and additions, by W. C. Hazlitt. (3 vols.), 
 
 London, 1870. 
 [Brand, John]. Dictionary of Faiths and Folk Lore. [Built on Brand and Ellis, Pop. Antiq.] 
 
 (2 vols.), W. Carew Hazlitt. London, 1905. 
 Brayley, Edward W. Londiniana. (4 vols.), London, 1829. 
 Brewer, E. C. Dictionary of Phrase and Fable. London, 1895. 
 Brewer, J. S., and J. Gairdner. Letters and Papers, Domestic and Foreign, of the Reign of 
 
 Henry VIII. (21 vols.), London, 1862-1910. 
 Bridport, see West Dorset. 
 [Brinsden]. Political Merriment: or Truths told to some Tune. Faithfully Translated from the 
 
 Original French of R. H. S. H. H. S. F. A. G. G. A. M. M. P. and Messieurs Brinsden and 
 
 Collier, the State Occulist, and Crooked Attorney. ... By a Lover of his Country. 
 
 London, 1714. [BM, 238. g. 45.] 
 Bristol, The Little Red Book of. Edited by Francis B. Bickley. (2 vols.), Bristol and London, 
 
 1900. 
 
BIBLIOGRAPHY 309 
 
 Brittannia s Honor, see Dekker (sub anno 1628). 
 
 Broadley, see West Dorset. 
 
 Brotanek, R. Die Englischen Maskenspiele. Vienna and Leipzig, 1902. 
 
 Brown, Carleton F. " Lydgate s Verses on Queen Margaret s Entry into London," in The 
 Modern Language Review for April, 1912. 
 
 Brown, F. C. Elkanah Settle, his Life and Works. (Illustrated.) Chicago, 1910. 
 
 Brown, P. Hume. History of Scotland. Cambridge (England), 1899. 
 
 Bruce, John, see Hayward. 
 
 Buck, Sir George. The History of the Life and Reigne of Richard the Third. London, 1646. 
 
 Bullen, see Middleton, and Peele. 
 
 B[ulteel] J[ohn]. (Show for 1656.} London s Triumph; or the solemn and magnificent recep 
 tion of ... Robert Tichburn, Lord Major, after his return from taking his oath at West 
 minster . . . October 29, 1656. London, 1656. [Sig. B. 3 verso slightly mutilated in the 
 BM copy (C. 33. e. id)]. 
 
 Burckhardt, Jacob. Die Cultur der Renaissance in Italien. (Fifth edition, " unveranderter 
 Abdruck der vierten Auflage, besorgt von Ludwig Geiger," 2 vols.), Leipzig, 1896. 
 
 Ibid., see Middlemore. 
 
 Bury St. Edmund s Pageant. Louis N. Parker, Master. 8-13 July, 1007. Book of Words. 
 Bury [1907] 
 
 Also: Pageant Souvenir, 1907. (Illustrated.) [This volume contains, among others, 
 articles on " Bury St. Edmund s " (L. Willoughby); " Organizing the Pageant " (F. T. 
 Carter); "Costumes" (Arthur Hood); and "Art-Work and Craftmanship " (A. R. 
 Christopherson). Mr. Parker wrote the Introduction.] 
 
 Butchers, see Daw. 
 
 Calendar of Close Rolls preserved in the Public Record Office. (29 vols.), London, 1892 (in 
 progress). 
 
 Calendar of Letter Books, see Sharpe. 
 
 Cambridge History of English Literature. (14 vols.), Cambridge (England) and New York, 
 1907-17. 
 
 Campion, Thomas. A Relation of the late Royal Entertainment given by ... the Lord Knowles 
 . ... to our most Gracious Queene, Queene Anne, in her Progresse toward the Bathe, vpon the 
 seuen and eight and twentie dayes of April, 1613. London, 1613. 
 
 Carpenter, John, see MacCracken. 
 
 Carrel, Frank, see Quebec. 
 
 Cavendish, George. Life of Wolsey. (Third edition; Morley s Universal Library.) London, 
 1890. 
 
 [Cavendish, W., Duke of Newcastle]. The Country Captaine, and the Varietie. Two Comedies, 
 Written by a person of honor. Lately presented by His Majesties Servants, at the 
 Black-Fryers. London, 1649. The Covntry Captaine, A Comoedye . . . The Hague, 1649. 
 
 Cayuga Indian Festival. Beebe Lake, 27 May, 1914. The Story of the Pageant. [Ithaca, 
 1914.] [HL] 
 
 Ceremonies observed by the Lord Mayor of London, 1824-25. [Gh, MS. 510] 
 
 Chambers, E. K. The Medieval Stage. (2 vols.), Oxford, 1903. 
 
 Chambers, Robert. The Book of Days. (2 vols.), London and Edinburgh, 1863-64. 
 
 [Charles I]. Ovatio Carolina. The Triumph of King Charles, or the Triumphant Man 
 ner and Order of Receiving his Maiesty into his City of London on Thursday the 
 25th Day of November, Anno Dom. 1641, upon his safe and happy Return from 
 Scotland . . . London, 1641. [Gh. Reprinted in Earl. Misc., v, p. 86.] See also John 
 Taylor. 
 
310 BIBLIOGRAPHY 
 
 [Charles II]. SeeTatham; Ogilby; England s Joy, in Arber, i, pp. 25!.; and, A True Relation 
 of the Reception of His Majestie and Conducting him through the City of London . . . on 
 Tuesday the 2Qth of this instant May, being the Day of his Majesties Birth. London, 1660. 
 [B]. Also, The Cities Loyalty Displayed, London, 1661. [B]. Cf. vol. i, p. 243, n., above. 
 
 [Charles V]. See Dupuys. 
 
 Chelsea Historical Pageant. J. H. Irvine, Master. 25 June-i July, 1908. Old Ranelagh 
 Gardens, Royal Hospital. Book of Words, &c. Chelsea, 1908. 
 
 Cheltenham, see Gloucestershire. 
 
 Chester Historical Pageant. G. P. Hawtrey, Master. 18-23 July, 1910. Book of Words. 
 Chester, 1910. 
 
 Chester, see Morris, and Ormerod. 
 
 Chester s Triumph, see Davies. 
 
 Chestre, Thomas. Chestre Launfal. Edited by Joseph Ritson. Edinburgh, 1891. 
 
 [Christian IV]. See H. Robarts; also, The King of Denmarkes welcome: Containing his arriual, 
 abode and enter tainement, both in the Citie and other places. London, 1606. [BM, C. jj. 
 
 e. 7 (5)]- 
 
 Chronica Monasterii de Melsa. Edited by E. A. Bond. (RS 43) London, 1866-68. 
 [Cincinnati]. Grand Kirmess and Historical Pageant, under the supervision of Lila Agnew 
 
 Stewart . . . April 16, 17, 18 [1914]. [HL, Thr. 1211. 80] 
 Citizen s Pocket Chronicle . . . for the use of Citizens, Merchants, Lawyers, and Strangers. 
 
 [Introduction signed " J. S. F."], London, 1827. 
 Civic Honours; or a Succinct Historical Display of the Origin, Establishment, Prerogative 
 
 and Mode of Election of the Chief Magistrate of the City of London; together with some 
 
 particulars of his inauguration and Show (both by Land and Water) . . . London, 
 
 1816. [Gh,Ai. 5.] 
 
 Civitatis Amor, see Middle ton (sub anno 1616). 
 Clark, Lotta A., see New Boston. 
 
 Clode, C. M. Early History of the Merchant Taylors Company. (2 vols.), London, 1888. 
 Cocheris, H. Entrees de Marie d Angleterre, femme de Louis XII, a Abbeville et a Paris. Paris, 
 
 1859. 
 Colchester Pageant. Louis N. Parker, Master. 21-26 June, 1909. Souvenir and Book of 
 
 Words. Norwich and London [1909]. 
 Cole, C. A., see Elmhami Liber. 
 Collier, J. P. The History of English Dramatic Poetry to the Time of Shakespeare, and Annals of 
 
 the Stage to the Restoration. London, 1879. 
 Commelinus, see Monmouth. 
 Conder, Edward, Jr. Records of the Hole Crafte and Fellowship of Masons. (Illustrated.) 
 
 London, 1894. 
 
 Cooke, John. " Green s Tu Quoque," in Dodsley, Old Plays, vii, pp. i f. London, 1825. 
 Coopers, see Firth. 
 [Coronations]. For information regarding coronations between the times of James I and 
 
 William and Mary, see the collections of broadsides and pamphlets in the Bodleian 
 
 Library. [Wood, 398 and Ashmole G. 10 (3-19).} 
 Country Captain, see W. Cavendish. 
 Courthope, W. J. History of English Poetry. (6 vols.), New York and London, 1895- 
 
 1910. 
 
 Coventry Leet Book. Edited for EETS by Mary D. Harris. (3 vols.), London, 1907-09. 
 [Coventry]. See Harris, Poole, Sharp; and, 
 
 The History of Coventry Show Fair, with a particular account of Lady Godiva and Peeping 
 
BIBLIOGRAPHY 311 
 
 Tom, and an interesting Description of the Grand Procession. (Illustrated.) Coventry, 
 n.d. [?i827.] 
 
 Craig, Algernon Tudor, see Army Pageant. 
 
 Craig, Anna Throop, see Irish Historical Pageant. 
 
 Craig, Hardin. Two Coventry Corpus Christi Plays. Edited for EETS by H. Craig. London, 
 1902. 
 
 Crawford, J. R., and Mary P. Beegle. Community Drama and Pageantry. New Haven 
 (Connecticut), 1916. 
 
 [Croke, Sir George]. The Reports of Sir George Croke, Knight, Late one of the Justices of the 
 Court of Kings-Bench ... of such Select Cases as were adjudged . . . the time that 
 he was Judge . . . Collected and written in French by Himself; revised and published 
 in English by Sir Harebotle Grimston, Baronet . . . London, 1657. 
 
 Cummings, W. H. " God Save the King," in the London Musical Times (xix), 1878. 
 
 Cunningham, F., see Jonson. 
 
 Cunningham, Henry W. " Diary of the Rev. Samuel Checkley, 1735," in the Publ. of Colonial 
 Society of Massachusetts for March, 1909. 
 
 Cunningham, Peter. " Extracts from the Accounts of the Revels at Court," &c. [Publ. Shaks. 
 Soc.] London, 1842. 
 
 Current Newspapers. The contemporary accounts of pageants in the London Post-Boy , Daily 
 Post, Evening-Post, Standard, Times, Graphic, Illustrated London News, City Press, Era, 
 Morning Star, Pictorial News, &c.; the Paris Illustration, the New York Evening Post, 
 Times, the Boston and other American papers, give much interesting information on the 
 subject. I have indicated, at various points in the text, my indebtedness to these sources. 
 
 Dallin, Mrs. Colonna (Murray), see Arlington. 
 
 Dana, R. H., Jr. Two Years before the Mast. New York, 1841. 
 
 Davey, Richard. The Pageant of London. (2 vols.), London, 1906. 
 
 [This book, illustrated by John Fulleylove, is a history of London, giving much infor 
 mation about the city at second hand.] 
 
 Davidson, Charles. English Mystery Plays. New Haven, 1892. 
 
 Davies, R. Extracts from the Municipal Records of the City of York. London, 1843. 
 
 Davies, Richard. Chester s Triumph in honor of her Prince. As it was performed upon S. 
 George s Day, 1610. Reprinted by the Chetham Society. Manchester, 1844. [Cf. Prog. 
 James, ii, p. 291.] 
 
 Davol, Ralph. Handbook of American Pageantry. (Illustrated.) Taunton, Massachusetts 
 [1914]. 
 
 Daw, Joseph. A Sketch of the Early History of the Worshipful Company of Butchers of London. 
 [London], 1869. 
 
 Deering, Charles. An Historical Account of Nottingham. Nottingham, 1751. 
 
 Dekker, Thomas. 
 
 The Magnificent Entertainment, given to King James, Queene Anne his wife, and 
 Henry Frederick the Prince, vpon the day of his Majesties Tryumphant Passage (from 
 the Tower) through his Honourable Citie (and Chamber) of London, being the 15. of 
 March 1603. As well by the English as by the Strangers: With the speeches and Songes 
 deliuered in the seuerall Pageants . . . Tho. Dekker. London, 1604. [Gh, B, BM] 
 
 [A second edition (entitled The Whole Magnify cent Entertainment, etc., " printed at 
 London by E. Allde for Tho. Man the yonger, 1604 ") is in B (Gough Lond. 122. 3 and 
 Douce D. 206); this is reprinted in Somers, Tracts (1751) third collection, i, p. 116; ibid., 
 (1810), iii, p. i; Prog. James, i, p. 337 f. Another edition was printed at Edinburgh in 
 1604; this is in BM (C. 33. d. 26). On the fly leaf of the BM copy is a pencilled note: 
 
312 BIBLIOGRAPHY 
 
 "This Edinburgh edition is of the greatest rarity," and opposite the title page are the 
 two words in pencil, "Very rare"]. 
 
 (Show for 1612}. Troia Nona Triumphans. London Triumphing, or the Solemne . . . 
 Receiuing of ... Sir John Swinerton . . . into the Citty of London . . . the 29. of 
 October, 1612. All the Showes, Pageants, Chariots of Triumph, with other Deuices (both 
 on the Water and Land) here fully expressed. By Thomas Dekker. London, 1612. 
 [BM, B. Reprinted in Fairholt, Lord Mayor s Pageants, pt. ii, p. 7; cf. J. G. Nichols, 
 Lond. Pag., p. 101; Greg, p. 7; Gent. Mag., for August, 1824, p. 114.] 
 
 (Show for 1628). Brittannia s Honor: Brightly Shining in seuerall Magnificent Shewes 
 or Pageants, to celebrate the Solemnity of ... Richard Deane, At his Inauguration into 
 the Majoralty ... on Wednesday, October the zgth. 1628. At the particular Cost and 
 Charges of the ... Skinners . . . Inuented by Tho. Dekker. [London, 1628.] [BM] 
 
 (Show for 1629). Londons Tempe, or the Feild [sic] of Happiness. In which Feild are 
 planted seuerall Trees of Magnificence, State and Bewty, to celebrate the Solemnity of 
 . . . James Campebell, At his Inauguration into the Honorable Office of Praetorship, or 
 Maioralty of London, on Thursday the 29 of October, 1629. All the particular Inuentions, 
 for the Pageants, Showes of Triumph, both by Water and land being here fully set downe, 
 At the sole Cost and liberall Charges of the . . . Ironmongers. Written by Thomas 
 Dekker. [London, 1629.] [BM, B. Reprinted in Fairholt, pt. ii, pp. 37 f. ; Nicholl, p. 206; 
 cf. Malcolm, ii, p. 43; Greg, p. 8; J. G. Nichols, p. 104.] 
 
 The BM copy is not perfect; after 14 pp. of print come four of MS, preceded by a 
 pencilled note: " Written by the late Mr. Rhodes & to be implicitly trusted." On the 
 fly leaf: " Given to me by the Duke of Devonshire after I had procured him a perfect 
 copy of this Pageant. J. Payne Collier. 13 Nov. 1847." 
 
 Delpit, J. Collection generate des documents franqais qui se trouvent en Angleterre. Paris, 1847. 
 
 Descensus Astrcece, see Peele (sub anno 1591). 
 
 Dickinson, Thomas H. " The Pageant: a Study of its History, Principles, Structure and 
 Social Uses," in The Play-Book for September, 1914. Madison (Wisconsin), 1914. 
 
 Dictionary of Faiths and Folk-Lore, see Brand. 
 
 Ditchfield, P. H. Old English Customs Extant at the Present Time. London, 1896. 
 
 Dodsley, see Cooke. 
 
 Douet-d Arcq, see Monstrelet. 
 
 Dover Pageant. Louis N. Parker, Master. 27 July-i August, 1908. Book of Words. Dover, 
 1908. 
 
 Drake, Francis. Eboracum; or, the History and Antiquities of the City of York, &c. London, 
 1736. 
 
 Drake, Nathan. Shakespeare and his Times. (2 vols.), London, 1817. 
 
 [Dublin]. See Gilbert, and Molloy. 
 
 Dugdale, Gilbert. The Time Triumphant, Declaring in briefe, the ariual of our Soueraigne 
 Hedge Lord, King lames into England, His Coronation at Westminster: Together with 
 his late royal progresse, from the Towre of London through the Cittie, to his Highnes 
 manner of White Hall. Shewing also, the Varieties and Rarieties of al the sundry Tro 
 phies or Pageants, erected aswel, by the worthy Cittizens of the honorable Cittie of 
 London: as also by certaine of other Nations ... By Gilbert Dugdale. London, 1604. 
 [B. Reprinted in Prog. James, i, pp. 408 f.; Arber, Eng. Garner, v, pp. 648 f.] 
 
 Dunbar, William. Poems. [Ed. Laing.] (2 vols.), Edinburgh, 1834. 
 
 Dupuys, Remy. La Triomphante et Solennelle Entree de Charles-Quint en sa mile de Bruges, 
 le 18 Avril 1515. (Illustrated.) Bruges, 1850. [Reprinted from a contemporary volume 
 by the Societe d emulation de Bruges.] [SA] 
 
BIBLIOGRAPHY 313 
 
 Dybdynne, Thomas. A Ryghte Sorroweful Tragyke Lamentacyonne for ye Losse of My Lorde 
 Mayor, hys Daye . . . London, [1830]. [Gh] 
 
 Dyce, see Middleton, Peele, and Webster. 
 
 Eager, see Boston. 
 
 [Edinburgh]. Extracts from the Records of the Burgh of Edinburgh, 1403-1589. (With index, 
 5 vols.), Edinburgh, 1869-92. 
 
 Documents relative to the Reception at Edinburgh of the Kings and Queens of Scotland, 
 A.D. MDLXI-A.D. MDCL. Published by the Bannatyne Club. [The documents are 
 chiefly taken from the Registers of the Privy Council of Scotland, and the records of the 
 City of Edinburgh.] Edinburgh, 1822. 
 
 Elder, John. The Copie of a Letter sent in to Scotlande, of the ariuall and landynge, and most 
 Noble Marryage of the most Illustre Prynce Philippe, Prynce of Spaine, to the most excellente 
 Princes MaryeQuene of England . . . (Black Letter.) London, 1555. [Gh, A. i. 5] 
 
 [Elizabeth]. See Hayward, J. Nichols, Furnivall, and Garter. Also, 
 
 The Honorable Entertainment gieuen to the Queenes Maiestie in Progresse, at Eluetham 
 in Hampshire by . . . the Earle of Hertford. 1591. London, 1591. [BM, C. 33. e. 7. (p)] 
 The Passage of our most drad soueraigne lady Quene Elyzabeth through the Citie of London 
 to Westminster the daye before her coronacion. (Black Letter.) London, 1558. [Gh] 
 
 The Roy all Passage of her Maiesty from the Tower of London, to her Police of Whitehall 
 with all the Speaches and Deuices, both of the Pageants and otherwise, together with her 
 Maiesties Seuerall Answers and most pleasing Speaches to them all. London [1558-59.] 
 [BM, C. 33. e. 7 (//)]; another edition [BM, C. 33. e. 7 (75)] is dated 1558. A 1604 
 edition may be found in B [Wood, 557] ; for reprints, or other mention of these pamphlets, 
 see Arber, iv, pp. 2i7f.; pp. 224f.; Prog. Q. Eliz., i, pp. 38f.; Greg, p. ix; Chambers, ii, 
 p. 172. 
 
 Ellis, Sir Henry, editor. Ceremonial of the Marriage of Mary, Queen of Scots . . . with the 
 Dauphin of France. (Roxburghe Club publ.) London, 1818. 
 
 Elmham, Thomas de. Vita et Gesta Henrici Quinti. Edited by Thomas Hearne. Oxford, 1727. 
 
 Elmhami Liber Metricus de Henrico Quinto. Edited by C. A. Cole. (RS n) London, 1858. 
 
 Emerson, O. F. " Legends of Cain," in Publ. Mod. Lang. Assoc. for December, 1906. 
 
 Encyclopaedia Britannica. (Eleventh edition.) Arts. "Drama," "Masque," and " Pageant." 
 
 England s Comfort and London s Joy, see Taylor, J. 
 
 England s Triumph: being an account of the Rejoicings, 6*c., which have lately taken place in 
 London and elsewhere. Including the Restoration of Louis XVIII, the Proclamation of 
 Peace, and the Visit of the Emperor of Russia, and the King of Prussia, &c., &c. London, 
 1814. [This is in Gh (A .8.4); an account of the visit of the royal guests to the Guildhall, 
 in June, 1814, was printed for the Corporation, and may be found in the Guildhall Li 
 brary (A. 4. 5). No pageantry, in the technical sense, accompanied this visit.] 
 
 English Church Pageant. Hugh Moss, Master. (This pageant was held at Fulham Palace, 
 10-16 June, 1909.) Handbook, edited by C. R. Peers. (Illustrated.) [London, 1909]. 
 Official Handbook. (Illustrated.) London [1909]. 
 
 Epervier d Or, see Rosny. 
 
 Evans, H. A. English Masques. London, 1897. 
 
 Evelyn, John. Diary. Edited by William Bray. (4 vols.), London, 1879. 
 
 Ewing, W. C. Notices and Illustrations of the Costume, Processions, Pageantry, &c., formerly 
 displayed by the Corporation of Norwich. (Illustrated.) Norwich, 1850. [This volume is 
 usually cited under the name of its publisher, Charles Muskett. A MS. note in the Nor 
 wich Museum copy of this work shows that it was prepared by W. C. Ewing, who was a 
 well-known antiquary of Norwich in the nineteenth century.] 
 
314 BIBLIOGRAPHY 
 
 Fabert, Abr. Voyage du Roy a Metz, I occasion d iceluy. (Illustrated.) Metz, 1610. [SA] 
 Fabyan, Robert. New Chronicle of England and France, &c. Edited by Henry Ellis. London, 
 
 1811. 
 [Fairholt, F. W.]. A catalogue of a collection of works on Pageantry, bequeathed to the Society 
 
 of Antiquaries of London, by the late F. W. Fairholt. London, Somerset House, 1869. 
 Fairholt, F. W. Gog and Magog. (Illustrated.) London, 1859. 
 Fairholt, F. W. Lord Mayors Pageants. (Percy Society publ.) London, 1843-44. [In the 
 
 second part of Lord Mayors Pageants (referred to in the text as Fairholt) are reprinted 
 
 Dekker s Shows for 1612 and 1629; Heywood s Show for 1638; Tatham s for 1660; and 
 
 Jordan s for 1671 and 1678.] 
 
 Fairholt, F. W. The Civic Garland. (Percy Society publ.) London, 1845. 
 Farmer, J. S. See Marriage between Wit and Wisdom. 
 Farwell, Arthur. " The Pageant and Masque of St. Louis," in The Review of Reviews for 
 
 August, 1914. Illustrated. 
 Festival of Empire, see London. 
 [Fiennes, Celia]. Through England on a Side Saddle in the Time of William and Mary. Being 
 
 the Diary of Celia Fiennes. London, 1888. 
 [Firth, James F.]. Historical Memoranda, Charters, Documents and Extracts from the Records of 
 
 the Corporation and the Books of the [Coopers ] Company, 1396-1848. London, 1848. 
 Fitch, R., see Grocers Play of Norwich. 
 
 Fleay, F. G. Chronicle History of the London Stage, 1559-1642. New York, 1909. 
 Folk-Lore, see Ordish. 
 
 Folk-Lore Journal, see Rowell, and Sawyer. 
 Fordun, Johannis de. Scotichronicon. Edinburgh, 1759. 
 Founders, see W. M. Williams. 
 
 Foxe, John. Acts and Monuments. Edited by S. R. Catley. London, 1838. 
 Frazer, Sir J. G. The Golden Bough. (5 vols.), London, 1911. 
 Froissart, John. Chronicles. Translated by J. Bourchier; reprinted from Pynson s editions 
 
 of 1523 and 1525. (Ed. Johnes), London, 1812. 
 From Cave Life to City Life, see New Boston. 
 From Kingdom to Colony, see Marblehead. 
 
 From Dartmouth to the Dardanelles. A Midshipman s Log. London, 1916. 
 Furnivall, F. J. Ballads from Manuscripts. Edited for the Ballad Society. London, 1868-72. 
 Furnivall, F. J., and R. E. G. Kirk. The Account of W(illiam) Combes and Richard Rychefor 
 
 putting up Lists and Scaffolds for Jousts in West Smithfield, 30 January, 1442. [Chaucer 
 
 Society publ. 2nd Series, 36.] London, 1903. See also Manning. 
 Gaiennie, Frank, see St. Louis. 
 Gairdner, James, see Brewer, Paston, and Stow. 
 Garnett, Porter. The Bohemian Jinks. San Francisco, 1908. 
 Garfter], Ber[nard]. The loyfvll receyuing of the Queenes most Excellent Maiestie into her 
 
 Highnesse Citie of Norwich, The things done in the time of hir abode there: and the 
 
 dolor of the Citie at hir departure. Wherein are set downe diuers Orations in Latine . . . 
 
 and certaine also deliuered to hir Maiestie in writing: euery of the[m] turned into English. 
 
 London, n. d. [There is no name on the title-page; the dedication, however, is signed by 
 
 " Ber. Gar. citizen of London." Reprinted in Prog. Q. Eliz., ii, pp. i36f.; cf. Greg, p. 8.] 
 Gatfield, George. Guide to Printed Books and Manuscripts, relating to English and Foreign 
 
 Heraldry and Genealogy: being a classified catalogue of works of those branches of literature. 
 
 London, 1892. [BM, B. B. T. d. 15; pp. 268-284 give titles on ceremonials, processions 
 
 and tournaments.] 
 
BIBLIOGRAPHY 315 
 
 Gayton, Edmund. (Show for 1655.} Chanty Triumphant, or the Virgin-Shew: Exhibited on 
 the 2Qth of October, 1655. Being the Lord Mayor s Day. London, 1655. [Gh, BM. The 
 three-page dedication is signed by Emd. Gayton; the other three pages consist of nar 
 rative verse, describing the show. Reprinted in Fairholt, pt. i, p. 170; cf. also, ibid., 
 p. 64; J. Nichols, in Gent. Mag. for December, 1824, p. 514; Hone, p. 249; J. G. Nichols, 
 p. 106.] 
 
 Geddes, Patrick. The Masque of Learning. Edinburgh and Chelsea, 1912. 
 
 Gentleman s Magazine. London, 1731-1907. 
 
 Geoffrey, see Monmouth. 
 
 [George II]. A Particular Account of the Solemnities used at the Coronation of his Sacred Maj 
 esty King George II (Our late most Gracious Sovereign) and of his Royal Consort Queen 
 Carolina. On Wednesday the nth of October, 1727. Also ... an account of their Majesties 
 Entertainment at Guildhall on the Lord Mayor s Day following. London, 1760. [SA] 
 See Guide, below. 
 
 [George IV]. Historical Account of his Majesty s Visit to Scotland. Fourth edition. Edinburgh 
 1822. [SA] 
 
 This volume includes illustrations of the King s landing at Leith (15 August); the 
 Royal Procession passing Picardy Place (on the same day) ; view of the Grand Procession 
 to the Castle (22 August) ; and the banquet given to the King (with plan of the same) on 
 24 August. The visit was made in 1822. 
 
 Gesta Henrici Quinti. Edited for the English Historical Society by Benjamin Williams. 
 London, 1850. 
 
 Gifford, William, see Jonson. 
 
 Gigantick History of the Two famous Giants and other Curiosities in Guildhall. (2 vols.) , London, 
 1741. [These two small volumes, which are kept in the Guildhall Library safe, are very 
 rare. What is apparently the first edition of volume 2, is dated 1740; the third edition, 
 " corrected," of volume i, and the second edition of volume 2, were published in 1741.] 
 
 Gilbert, Sir John T., editor. Calendar of Ancient Records of Dublin, in the possession of the 
 Municipal Corporation of that City. (7 vols.), Dublin, 1889-98. 
 
 Giles, Rev. J. A. See Paris, Matthew of, and Monmouth, Geoffrey of. 
 
 [Gillespy, Thomas]. Some Account of the Worshipful Company of Salters. London, 1827. 
 
 Gloucester, Robert of. Chronicle. Edited by W. A. Wright. (RS 86) London, 1887. 
 
 Gloucestershire Historical Pageant. G. P. Hawtrey, Master. Cheltenham, 6-n July, 1908. 
 Book of Words. Cheltenham, 1908. 
 
 Godefroy, Theodore. Le Ceremonial de France. Paris, 1619. [SA] 
 
 Godwin, George. Suggestions for the Improvement of the Lord Mayor s Show. A letter ad 
 dressed to the Lord Mayor-elect, Mr. Alderman Musgrove. London, i October, 1850. 
 
 Goldsmiths, see Prideaux. 
 
 Goldwell, Henry. "A briefe declaratio[n] of the Shews," &c., 1581. [Reprinted in Prog. 
 
 Q. Eliz., ii, p. 310. Cf. Greg, p. 9.] 
 Goodwin, Alfred T. Court Revels. [Reprint of Harl. MS. 69 an account of the 1501 " dis 
 
 guising." Shaks. Soc. Papers, i, pp. 47 f.] [London], 1844. 
 Gough, Richard. Anecdotes of British Topography. London, 1768. 
 " Greenhill Bower," see Lichfield. 
 Graf ton, Richard. Chronicle or History of England. To which is added his table of the Bailiffs, 
 
 Sheriffs and Mayors of the City of London, from the year 1189 to 1558 inclusive. London, 
 
 1809. 
 Greg, W. W. A List of Masque, Pageants, &v. London, 1902. 
 
316 BIBLIOGRAPHY 
 
 Grego, Joseph. "The Artistic Aspect of Lord Mayor s Shows," in Gems of Art, pp. 8f. (Illus 
 trated.) New York [Cassell Publ. Co.] n. d. 
 
 Grocers, see Heath, and Kingdon. 
 
 [Grocers Company]. Why the Car of the Grocers Company in the Lord Mayor s Pageant of 
 igoi represented ancient modes of weighing. (With an illustration of the car.) London, 
 1902. [Gh, Broadsides 7. 66.} 
 
 Grocers Play of Norwich. From a MS. in the possession of Robert Fitch, Esq. Norwich, 
 1856. [Cf. also, Norfolk Archceology, v, p. 29.] 
 
 Grose, F., and Astle, T. Antiquarian Repertory. Compiled by F. Grose and T. Astle. (4 
 vols.), London, 1807-09. 
 
 Grosley, Pierre Jean. Londres. (3 vols.), Lausanne, 1770. 
 Ibid., translated by Thomas Nugent, q. v. 
 
 Gross, C. The Gild Merchant. (2 vols.), Oxford, 1890. 
 
 Groot, J. J. M. de. Religion of the Chinese. New York, 1910. 
 
 Guide to the Lord Mayor s Show: or, the Gentleman and Lady s Companion to that Magni 
 ficent Procession ... To which is added A particular account of their most Sacred 
 Majesties [George II and Queen Caroline] Entertainment at Guildhall on October 29, 
 1727 . . . London, 1761. [SA] 
 
 H., W. H. Prologue and Epilogue to the Lord Mayor s Show of 1867. London, 1867. (A 
 humorous satire on the reported abolition of the Show, and a lament for its past glories.) 
 [Gh,A.i. 5.] 
 
 Hall, Edward. Chronicles, &c. [Henry VI to Henry VIII.] London, 1809. 
 
 Halliwell-Phillipps, J. O., editor. John Lydgate s Minor Poems. Percy Soc. Publ. London, 
 1840. 
 
 Hamilton, see Wriothesley. 
 
 Hammond, E. P. "Lydgate s Mumming at Hertford," in Anglia, for June, 1899, pp. 364 f. 
 
 Handbook of Ceremonials, &c. A revised edition of the Book of Ceremonials of the City of 
 London, as reprinted in proof in 1882. Issued under the direction and with the approval 
 of the Privileges Committee of the Court of Aldermen, For the Guidance of the Lord 
 Mayor, the Aldermen, the Sheriffs and the Corporation officers, &c. Guildhall, 1906. 
 [Gb,A.8. 3 .] 
 
 Earleian Miscellany, vol x [London, 1813] contains Peele s Show for 1591 (pp. 68 f.); Peele s 
 Show for 1585 (pp. 351 f.); Petowe s England s Casar [1603] (pp. 342 f.). [See Oldys.] 
 
 Harris, Mary D., see Coventry Leet Book. 
 
 Also: Life in an Old English Town. " A history of Coventry from the earliest times 
 compiled from official records." Social England Series. London, 1898. 
 
 Harris, Mary D. The Story of Coventry. [In Dent s Mediaval Town Series.] London, 
 1911. 
 
 Harrison, Stephen. Illustrations of the Pageants in the 1604 Coronation Procession of James I. 
 Together with two odes, by Thomas Dekker and John Webster, and the Speeches of 
 Gratulation. [London, 1604.] [Gh.] The copy of this rare pamphlet preserved in the 
 Guildhall lacks the title-page and one plate: on the cover is written in pencil what is 
 probably a copy of the title-page: 
 
 " The Arches of Triumph Erected in honor of the High and Mighty Prince James the 
 first of that name King of England and the sixt of Scotland at his Maiesties Entrance 
 and Passage through his Honorable Citty & Chamber of London upon the i5th day of 
 March, 1603." [Cf. Dekker (sub anno 1604)]. 
 
 Harrod, Henry. "A few Particulars concerning early Norwich Pageants," in Norfolk Archae 
 ology, iii, pp. 3 f. Norwich, 1852. 
 
BIBLIOGRAPHY 317 
 
 Harwood, Thomas. The History and Antiquities of the Church and City of Lichfield. Glouces 
 ter, 1806. 
 
 Haslewood, Joseph, and Sir E. Brydges, Bart. British Bibliographer. (4 vols.), London, 1810. 
 Hasted, Edward. History and Topographical Survey of Kent. Canterbury, 1800. 
 Hatton, Edward. New View of London. (2 vols.), London, 1708. 
 Hayward, Sir John. Annals of the first four years of the reign of Queen Elizabeth. Edited from 
 
 Harl. MS. 6021 (3) by John Bruce for the Camden Society. London, 1840. 
 Hazlitt, W. C. Livery Companies of the City of London, &c. London, 1892. Also, see Brand, 
 
 and Warton. 
 
 Hearne. See Elmham, and Sprott. 
 Heath, John Benjamin. Some Account of the Worshipful Company of Grocers. [First edition, 
 
 1829; second edition, 1854; third edition, 1869.] London. 
 [Henley, John], The Lord Mayor s Show: or, the City in its Glory. Now first published from 
 
 an Original Manuscript of the late ingenious and facetious Orator John Henley, M.A. 
 
 " Surely every Man walketh in a vain Shew." Psalm xxxix: 6. London, n. d. [BM, 
 
 605. d. 29 (7).] 
 [Henri IV]. See Fabert. 
 
 [Henry V]. See Cole, Elmham, Kingsford, and B. Williams. 
 [Henry VI]. See MacCracken. 
 
 [Henry VIII]. See Brewer, and Baron Edward Herbert. 
 Herbert, Edward, first Baron Herbert of Cherbury. Life and Reign of Henry VIII. Reprinted 
 
 from Rennet s folio edition of 1719. London, 1870. 
 Herbert, William. History of the Livery Companies. (2 vols.), London, 1834-36. [Referred 
 
 to in the text as Herbert.] 
 Hertford Pageant in connection with the Millenary Celebration, 914-1914. 29 June-4 July, 
 
 1914. Book of the Words and Lyrics, by Charles H. Ashdown, Master. Hertford, 1914. 
 Heysham, see Norristown. 
 Heywood, Thomas. Dramatic Works. (6 vols.), London, 1874. 
 
 (Show for 1631}. Londons lus Honorarium. Exprest in sundry Triumphs, pagiants and 
 
 shews: At the Initiation or Entrance of ... George Whitmore, into the Mayoralty of 
 
 the . . . City of London. All the charge and expence of the laborious proiects, and 
 
 obiects both by Water and Land, being the sole vndertaking of the . . . society of 
 
 Habburdashers. London, 1631. [B; Heywood s name does not appear on the title-page, 
 
 but he signs the Epistles Dedicatory to Mayor and Sheriffs. The show is reprinted in his 
 
 Works, iv, pp. 263 f.; cf. Greg, p. 10; J. G. Nichols, p. 104; Fairholt, pt. i, p. 54; J. Nichols 
 
 in Gent. Mag., for November, 1824, p. 412.] 
 
 (Show for 1632). Londini Artium et Scientiarum Scaturigo. [I have not seen a copy of 
 
 this pamphlet. Cf. Greg, p. 10; J. G. Nichols, p. 105; J. Nichols, in Gent. Mag., for 
 
 November, 1824, p. 412; Fairholt, pt. i, p. 57; Hone, p. 267.] 
 
 (Show for 1633). Londini Emporia, or London s Mercatura. [I have not seen a copy 
 
 of this pamphlet, either. These shows are not reprinted in the 1874 edition of Heywood s 
 
 Works; but cf. Greg, J. Nichols, J. G. Nichols, and Fairholt, as cited above and 
 
 Herbert, ii, p. 659.] 
 
 (Show for 1635). Londini Sinus Salutis. [Reprinted in Works, iv, pp. 283 f.; cf. Greg, 
 
 p. 10 ; J. G. Nichols, p. 105 referring to Malcolm, ii, p. 45 Fairholt, pt. i, p. 58; Gent. 
 
 Mag., for November, 1824, p. 413.] 
 
 (Show for 1637}. Londini Speculum: or, Londons Mirror, Exprest in sundry Triumphs, 
 
 Pageants and Showes, at the Initiation of ... Richard Fenn into the Mairolty of ... 
 
 London. All the Charge and Expence of these laborious projects both by Water and 
 
318 BIBLIOGRAPHY 
 
 Land, being the sole undertaking of the . . . Habberdashers. Written by Tho. Heywood. 
 London, 1637. [Gh, B. Reprinted in Works, iv, pp. 301 f.; cf. Greg, p. 10; J. G. Nichols, 
 p. 106; Fairholt, pt. i, p. 59; Gent. Mag., for November, 1824, p. 413.] 
 
 (Show for 1638). Porta Pietatis, or The Port or Harbour of Piety, Exprest in Sundry 
 Triumphes, Pageants, and Shewes, at the Initiation of ... Sir Maurice Abbot, Knight, 
 into the Mayoralty of ... London. All the Charge and expence of the laborious Pro 
 jects both by water and Land being the sole undertaking of the . . . Drapers. Written 
 by Thomas Heywood . . . London, 1638. [SA, Gh, B, BM. Reprinted in Fairholt, 
 pt. ii, p. 57; in Works, v, pp. 259^ Cf. Greg, p. n; J. G. Nichols, p. 106; Fairholt, pt. i, 
 p. 60, and Gent. Mag., for November, 1824, p. 413.] 
 
 (Show for 1639). Londini Status Pacatus: or, Londons Peaceable Estate. Exprest in 
 sundry Triumphs, Pageants, and Shewes, at the Innitiation of ... Henry Garvvay, 
 into the Majoralty of ... London. All the the Charge and Expence, of the laborious 
 Projects both by Water and Land being the sole undertakings of the . . . Drapers. 
 Written by Thomas Heywood. London, 1639. [BM, B, Gh. Reprinted, Works, v, 
 pp. 355 f.; cf. Greg, p. n; J. G. Nichols, p. 106; Fairholt, pt. i, p. 60; Gent. Mag., for 
 November, 1824, p. 413.] 
 
 Historical Account of his Majesty s Visit to Scotland, see George IV. 
 
 [Hoare, Richard], A Journal of the Shrievalty of Richard Hoare, Esq., in the years 1740-41. 
 Printed from a MS. in his own handwriting. Bath, 1815. 
 
 Holinshed, Raphael. Chronicles. (6 vols.), London, 1808. 
 
 Hollis Hall Pageant. George P. Baker, Author and Master. 14 June, 1913, at Hollis Hall, in 
 the Harvard College Yard. Cambridge (Massachusetts), 1913. [HL]. 
 
 Hone, William. Ancient Mysteries Described. London, 1823. 
 
 Hooker, Brian. The Pageant," in the (illustrated) supplement to The Yale Alumni Weekly 
 for 27 October, 1916. (New Haven, Connecticut.) 
 
 Horton, D. " The Drama of the Powers," in The Historical Outlook (Philadelphia) for 
 March, 1919. 
 
 Hotton, John C., see Larwood. 
 
 Howes, E., see Stow, Annals. 
 
 Hudson, Gilbert, see Pickering and Scarborough. 
 
 Hudson, Rev. William, and J. C. Tingey, editors. Records of the City of Norwich. (2 vols.), 
 Norwich and London, 1906-10. 
 
 Hudson-Fulton Celebration. New York, 1909. [Post-card illustrations of floats in HL. For 
 a description of this pageant, see Wier s article, listed below.] 
 
 Humpherus, Henry. History of the Origin and Progress of the Company of Watermen and 
 Lightermen. (3 vols.), London, n. d. 
 
 Irish Historic Pageant. An Dhord Fhiann. Anna T. Craig. Produced at New York, 7 and 
 8 May, 1913. [New York, 1913.] 
 
 Ironmongers, see Nicholl. 
 
 Irvine, J. H, see Chelsea. 
 
 Ives, John. Select Papers, &c. London, 1773. [Reprints of MSS. in the possession of the 
 editor.] 
 
 Jackson, John, Jr. The History of the City and Cathedral of Lichfteld. (2 vols.), Lichfield 
 
 [i79S-] 
 
 [James I]. See Dugdale, Dekker, Jonson, Harrison, Millington, and J. Nichols. 
 
 [James II]. An Account of the Ceremonial at the Coronation of their Most Excellent Majesties 
 King James II and Queen Mary At Westminster the 23 of April, 1685 . . . London, 1685 
 [A broadside in B (Gough Midd. 32) ; no pageantry was connected with this ceremony.] 
 
BIBLIOGRAPHY 319 
 
 Jarman, Herbert, see St. Albans. 
 
 Jeffrey, see Preston. 
 
 Jones, Stephen. Biographic Dramaiica. [Originally compiled by David E. Baker.] London, 
 1812. 
 
 Jonson, Ben. Works. Edited by William Gifford and F. Cunningham. (3 vols.), London, 
 n.d. 
 
 Jon[son], B[en]. His part of King James his Royatt and Magnificent Entertainement through 
 his Honorable Cittie of London, Thursday the 15. of March, 1603; so much as was presented 
 in the first and last of their Triumphall Arch s . . . London, 1604. [Gh, B.] 
 
 Jordan, Thomas. 
 
 (Show for 1671). London s Resurrection to Joy and Triumph, Expressed in Sundry 
 Shews, Shapes, Scenes, Speeches and Songs in Parts, Celebrious to the much-meriting 
 Magistrate Sir George Waterman Knight, Lord Mayor of ... London. At the Peculiar 
 and Proper Expences of the . . . Skinners. The King, Queen and Duke of York and 
 most of the Nobility being present. Written by Tho. Jordan. London, MDCLXXI. 
 [Gh, HL, BM, B (4 copies); reprinted in Fairholt, pt. ii, p. 113. Cf. Fairholt, pt. i, p. 74; 
 J. G. Nichols, p. no; Wadmore, p. 148.] 
 
 (Show for 1672). London Triumphant: or the City in Jollity and Splendour: Ex 
 pressed in various Pageants, Shapes, Scenes, Speeches and Songs. Invented and per 
 formed for Congratulation and Delight of ... Sir Robert Hanson, Knight, Lord Mayor 
 of ... London. At the Cost and Charges of the . . . Grocers. His Majesty Gracing 
 the Triumphs with His Royal Presence. Written by Tho. Jordan. London, 1672, [Gh, 
 BM (2 copies); B (2 copies); reprinted in the appendix of Heath (3d edition), pp. 488 f. 
 Cf. Fairholt, pt. i, pp. 74 f.; J. G. Nichols, p. no.] 
 
 (Show for 1673). London in its Splendor: consisting of Triumphant Pageants, whereon 
 are Represented many Persons Richly Arrayed, Properly Habited, and significant to the 
 Design. With several Speeches, and a Song, Suitable to the Solemnity. All prepared for 
 the Honour of the Prudent Magistrate, Sir William Hooker, Kt, Lord Mayor of ... 
 London: at the Peculiar Expences of the . . . Grocers. As also, a Description of His 
 Majesties Royal Entertainment at Guildhall, by the City, in a plentiful Feast, and a 
 glorious Banquet. Written by Tho. Jordan. London, 1673. [Gh, B (2 copies, one 
 imperfect); reprinted by Heath (3d edition, appendix, pp. 507 f.) Cf. Fairholt, pt. i, 
 pp. 79 f.; J. G. Nichols, p. in.] 
 
 (Show for 1674). The Goldsmiths Jubile: or London s Triumphs: Containing a Des 
 cription of the several Pageants: on which are Represented Emblematical Figures, 
 Artful Pieces of Architecture, and Rural Dancing: with the Speeches spoken on each 
 Pageant. Performed Octob. 29, 1674 for the Entertainment of ... Sir Robert Vyner, 
 Kt. and Bart., Lord Mayor of ... London: At the proper Costs and Charges of the 
 . . . Goldsmiths. The Kings Most Sacred Majesty and his Royal Consort . . . honour 
 ing the City with Their Presence. Composed by Tho. Jordan. London, 1674. [SA, B. 
 In the BM are two, and in the Gh, one, of the 1835 reprints. Cf. Fairholt, pt. i, pp. 8if.; 
 pt. ii, p. vi; J. G. Nichols, p. in.] 
 
 (Show for 1675). The Triumphs of London, Performed on Friday, Octob. 29, 1675, 
 for the Entertainment of ... Sir Joseph Sheldon, Kt., Lord Mayor of ... London. 
 Containing a true description of the several Pageants, with the Speeches spoken on each 
 Pageant. Together with the Several Songs sung at this Solemnity. All set forth at the 
 proper Costs and Charges of the . . . Drapers. Designed and Composed by Tho. 
 Jordan, Gent. London, 1675. [Gh, B (2 copies), BM (3 copies one lacking the title- 
 page). Cf. Fairholt, pt. i, pp. 84 f.; J. G. Nichols, p. in.] 
 
320 BIBLIOGRAPHY 
 
 (Show for 1676). London s Triumphs: Express d in sundry Representations, Pageants 
 and Shows, performed on Monday, Octob. 30. 1676, at the Inauguration and Instalment 
 of ... Sir Thomas Davies, Kt., Lord Mayor of ... London. Containing a true 
 Description of the Several Scenes and Habits of the Representers, with the Speeches 
 spoken on each Pageant. All the Charge and Expences of the Industrious Designs being 
 the sole Undertakings of the . . . Drapers, being the Second Year without Intermission. 
 Devised and Composed by Tho. Jordan. London, 1676. [Gh. Cf. Fairholt, pt. i, 
 pp. 85 f.; J. G. Nichols, p. 112.] 
 
 (Show for 1677). London s Triumphs: Illustrated with many Magnificent Structures 
 & Pageants. On which are orderly advanced Several Stately Representations of Poetical 
 Deities, sitting and standing in great Splendor on several Scenes in Proper Shapes, with 
 Pertinent Speeches, Jocular Songs (sung by the City Musick) and Pastoral Dancing. Per 
 formed October 29, 1677, for the Celebration, Solemnity and Inauguration of ... Sir 
 Francis Chaplin, Knight, Lord Mayor of ... London. All the Charges and Expences 
 of the Industrious Designs, being the sole Undertaking of the . . . Clothworkers. De 
 signed and Composed by Tho. Jordan, Gent. London, 1677. [Gh, BM (2 copies, one 
 imperfect), B. Cf. Fairholt, pt. i, pp. 87f.; J. G. Nichols, p. 112.] 
 
 (Show for 1678}. The Triumphs of London. Performed on Tuesday October xxix 
 1678 for the Entertainment of ... Sir James Edwards, Knight, Lord Mayor of ... 
 London. Containing a true Description of the several Pageants, with the Speeches 
 spoken on each pageant. Together with the Songs sung in this Solemnity. All set forth 
 at the Costs and Charges of the . . . Grocers. London, 1678. [Gh (copy badly 
 trimmed around the edges), HL, BM (2 copies, one imperfect). B (2 copies). Reprinted 
 in Fairholt, pt. ii, p. 141; Heath (3d edition), appendix, pp. 518 f. Cf. also Fairholt, pt. i, 
 p. 90; J. G. Nichols, p. 112.] 
 
 (Show for 1670). London in Luster; projecting Many bright Beams of Triumph: dis 
 posed into Several Representations of Scenes and Pageants. Performed with great 
 Splendor on Wednesday, October xxix, 1679. At the Initiation and Instalment of ... 
 Sir Robert Clayton, Knight, Lord Mayor of ... London. Dignified with divers 
 delightful Varieties of Presenters, with Speeches, Songs, and Actions, properly and 
 punctually described. All set forth at the proper Cost and Charges of the . . . Drapers. 
 Devised and Composed by Tho. Jordan, Gent. London, 1679. [Gh, HL, BM (2 copies), 
 B (2 copies). Cf. Fairholt, pt. i, p. 90; J. G. Nichols, p. 112.] 
 
 (Show for 1680). London s Glory, or the Lord Mayor s Show: Containing an Illus 
 trious Description of the several Triumphant Pageants, on which are represented Em 
 blematical Figures, Artful pieces of Architecture, and Rural Dancing, with the Speeches 
 spoken in each Pageant; Also Three New Songs, the first in praise of the Merchant- 
 Taylors, the second the Protestants Exhortation, and the third the plotting Papists 
 Litany, with their proper Tunes either to be Sung or Play d. Performed on Friday 
 October xxix. 1680. For the Entertainment of ... Sir Patience Warde, Knight, Lord 
 Mayor ... At the proper Costs and Charges of the . . . Merchant-Taylors. Invented 
 and Composed by Tho. Jordan, Gent. London, 1680. [Gh, HL, BM, B (3 copies); cf. 
 Fairholt, pt. i, pp. 92 f.; Hone, pp. 250 f.] 
 
 (Show for 1681). London s Joy, or the Lord Mayor s Show: Triumphantly Exhibited 
 in Various Representations, Scenes, and splendid Ornaments, with divers pertinent 
 Figures and Movements: Performed on Saturday, October xxix. 1681. At the Inaugura 
 tion of ... Sir John Moore, Knight, Lord Mayor . . . With the several Speeches and 
 Songs which were spoken on the Pageants in Cheapside, and sung in Guild-Hall during 
 Dinner. All the Charges and Expences of the Industrious designs being the sole under- 
 
BIBLIOGRAPHY 321 
 
 taking of the . . . Grocers. Devised and Composed by Tho. Jordan, Gent. London, 
 1681. [Gh, BM (2 copies, one imperfect), B (2 copies). Reprinted in Heath (3d edition, 
 pp. 536 f.); cf. Fairholt, pt. i, p. 95; J. G. Nichols, pp. 112 f.] 
 
 [ ? Jordan, Thomas]. The Lord Mayor s Show: being a Description of the Solemnity at the 
 Inauguration of ... Sir William Pritchard, Kt, Lord Mayor of the City of London; 
 President of the Honourable Artillery-Company, and a member of the Worshipful Com 
 pany of Merchant-Taylors. Perform d on Monday, September xxx. 1682. With several 
 new Loyal Songs and Catches. London, 1682. (6 pp.) [B (Gough London 122.24). 
 Cf. Fairholt, pt. i, p. 97; there seems to have been no pageantry on this occasion.] 
 
 It is doubtful whether Jordan is the author of this pamphlet, or the songs therein; 
 at any rate, he does not claim the authorship on the title-page, nor is there any " epistle 
 dedicatory " which he might have signed. 
 
 (Show for 1683, see Triumphs of London.) [Jordan seems to have planned the festivi 
 ties for Sir Henry Tulse, the King s appointee to the Mayoralty in 1683; but there was 
 no pageantry, and it is not clear that Jordan wrote more than a couple of songs for the 
 Mayor s banquet.] 
 
 (Show for 1684). London s Royal Triumph for the City s Loyal Magistrate: In an 
 Exact Description of several Scenes and Pageants, Adorned with many Magnificent 
 Representations. Performed on Wednesday October xxix. 1684. At the Instalment and 
 Inauguration of ... Sir James Smith, Knight, Lord Mayor . . . Illustrated with 
 divers Delightful Objects of Gallantry and Jollity, Speeches and Songs, Single and in 
 Parts. Set forth at the proper Costs and Charges of the . . . Drapers. Devised and 
 Composed by Tho. Jordan, Gent. London, 1684. [Gh, BM, B. Cf. J. G. Nichols, 
 p. 115; Gillespy, p. 64; Fairholt in Gent. Mag. for April, 1854, p. 380.] 
 
 Journal d un Bourgeois de Paris, see Tuetey. 
 
 Journal. The MS. minutes of the Court of Common Council of the Corporation of London. 
 In the Guildhall Archives. 
 
 Jupp, Edward Basil. An Historical Account of the Worshipful Company of Carpenters. (26. 
 edition, with a supplement by W. W. Pocock.) London, 1887. 
 
 Jusserand, J. J. " A Note on Pageants and Scaffolds Hye, " in the Furnivall Miscellany, 
 (pp. 183 f., with two illustrations.) Oxford, 1901. 
 
 Kelly, William. Notices, 6^c., of Leicester. London, 1865. 
 
 Kelly, William. Ancient Records of Leicester. Read before the Literary and Philosophical 
 Society, Leicester, on 24 February, 1851, and printed in a selection of papers ... in 
 June, 1855. [See pp. 31-103.] Leicester and London, 1855. 
 
 Kelly, William. Royal Progresses and Visits to Leicester, from the reputed foundation of the 
 City by King Leir, B.C. 844, to the present time. Leicester, 1884. 
 
 Kemp, Thomas. The Black Book of Warwick. Warwick [1898.] 
 
 [King, Daniel, publisher]. The Vale Royall of England, &c. Performed by William Smith and 
 William Webb, gentlemen . . . London, 1656. [See Ormerod.] 
 
 Kingdon, John Abernethy. Facsimile of the First Volume of MS. Archives of the Worshipful 
 Company of Grocers of the City of London, A.D. 1345-1463. . . . (2 vols.) [London,] 1886. 
 
 Kingsford, C. L. Chronicles of London. Oxford, 1905. 
 
 Kingsford, C. L. English Historical Literature. Oxford, 1913. 
 
 Kingsford, C. L. Henry V. London, 1901. 
 
 Kingsford, C. L., see Stow, Survey. 
 
 Kirk, R. E. G., see Furnivall. 
 
 Kittredge, George L. " Who was Sir Thomas Malory ? " in Harvard Studies and Notes in 
 Philology and Literature [v, pp. 85 f.] Boston, 1896. 
 
322 BIBLIOGRAPHY 
 
 Knight on, Henry. Chronicles. Edited by J. R. Lumby. (RS 92) (2 vols.), London, 1895. 
 
 Kraus, Carl. " Das gotische Weihnachtsspiel," in Paul-Braune s Beitrage [xx, pp. 224 f.] 
 Halle, 1895. 
 
 Lancaster, Massachusetts, Pageant. Joseph L. Smith, Master. 4 July, 1912. [Program in 
 HL]. 
 
 Langdon, William C. See St. Johnsbury, and Thetford. 
 
 Langford, C. F., see West Dorset. 
 
 Larwood, Jacob, and John C. Hotton. The History of Signboards. London, 1867. 
 
 Lascelles, Frank. See Bath, London, Oxford, and Quebec. 
 
 Lawrence, W. J. " The Mounting of the Stuart Masques," in the English Illustrated Maga 
 zine, November, 1903 [illustrated]. Revised and reprinted, under the title: "The 
 Mounting of the Carolan Masques," in The Elizabethan Playhouse and Other Studies. 
 Philadelphia and Stratford-upon-Avon, 1912. 
 
 Leather, Ella M. The Folk-Lore of Herefordshire. Hereford and London, 1912. 
 
 [Leicester]. Records of the Borough of Leicester. Being a series of Extracts from the Archives of 
 the Corporation of Leicester, 1103-1327. Edited by Mary Bateson. Revised by W. H. 
 Stevenson and J. E. Stocks. (3 vols.), London, 1899-1901. See also Kelly, and J. Nichols. 
 
 Leland, John. Collectanea. (6 vols.), London, 1770. 
 
 Leland, John, see Udall. 
 
 Letter Books, see Sharpe. 
 
 Liber Albus. Edited by H. T. Riley. (RS 12) London, 1859-62. 
 
 [Lichfield]. See Harwood, and Jackson. 
 
 Lichfield Greenhill Bower. Official Programs for the years 1893, 1895, 1904-09, 1911-14 in 
 HL. [Gift of Mr. Councillor William A. Wood of Lichfield.] 
 
 [Lille]. See Rosny. 
 
 [Little Compton, Rhode Island]. See Georgiana B. Withington. 
 
 Littlehales, H., editor. The Mediaeval Records of a London City Church (St. Mary at Hill), A.D. 
 1420-1559. [EETS. 125.128.] London, 1905. 
 
 Liverpool s 7ooth Anniversary Celebrations. Words and Music. August, 1907. Great His 
 torical Pageant and Tableaux in Wavertree Park and Grounds . . . Liverpool, 1907. 
 
 [Lloyd, Lod.]. Hilaria: or the Triumphant Feast for the. fift of August. London, 1607. [Dedi 
 cated to the King by Lod. Lloyd.] 
 
 Loftie, W. J., see Torkington. 
 
 Logan, W. H., see Tatham. 
 
 Lomas, Sophie C., see London, Pageant of. 
 
 London Magazine. (10 vols.), London, 1820-24. New Series. (10 vols.), London, 1825-28. 
 
 [London, Pageant of]. The Festival of Empire. Frank Lascelles, Master. May, 1911, at the 
 Crystal Palace. Souvenir, containing 29 Coloured pictures; with Historical Presentment 
 of the Scenes. Edited by Sophie C. Lomas. London, 1911. 
 
 [Lord Mayor s Coach]. Chromolithograph of the coach, with description. Made in 1872. 
 [Gh, Broadsides 5.20.} 
 
 Lord Mayor s Minute Book of Ceremonials, 1791-1800. [Gh, MS. 1121.] 
 
 [Lord Mayor s Show]. See Fairholt; J. G. Nichols; and also Ashton. 
 
 " The Lord Mayor s Show," in Bentley s Miscellany (1854), pp. 577-80. [A light essay 
 on the subject, reflecting an opinion held by some today.] London, 1854. [Gh, L. P. 53.16] 
 
 Lord Mayor s Shows, see Official Programs. 
 
BIBLIOGRAPHY 
 
 323 
 
 Lord Mayor s Shows : 
 
 A CHRONOLOGICAL LIST OF THE AUTHORS OF THE SHOWS, 1585-1708 
 (The descriptive pamphlets are recorded under the names of the writers in the bibliography) 
 
 1588- 
 I590- 
 1591 
 1605. 
 1609. 
 1611 . 
 1612. 
 1613. 
 1614. 
 1615. 
 1616. 
 1617. 
 1618. 
 1619. 
 1620. 
 1621. 
 1622. 
 
 1623. 
 
 1624. 
 1626. 
 1628. 
 1629. 
 1631. 
 1632. 
 
 1633- 
 1634. 
 
 1635- 
 1637. 
 1638. 
 1639. 
 
 Peele. 
 
 Peele. 
 
 Nelson. 
 
 Peele. 
 
 Munday. 
 
 Munday. 
 
 Munday. 
 
 Dekker. 
 
 Middleton. 
 
 Munday. 
 
 Munday. 
 
 Munday. 
 
 Middleton. 
 
 Munday. 
 
 Middleton. 
 
 Squire. 
 
 Middleton. 
 
 Middleton. 
 
 Munday and 
 
 Middleton. 
 
 Webster. 
 
 Middleton. 
 
 Dekker. 
 
 Dekker. 
 
 Heywood. 
 
 Heywood. 
 
 Heywood. 
 
 Taylor. 
 
 Heywood. 
 
 Heywood. 
 
 Heywood. 
 
 Heywood. 
 
 1655 Gayton. 
 
 1656 Bulteel. 
 
 1657 Tatham. 
 
 1658 Tatham. 
 
 1659 Tatham. 
 
 1660. . . .Tatham. 
 
 1661 Tatham. 
 
 1662 Tatham. 
 
 1663 Tatham. 
 
 1664 Tatham. 
 
 1671 Jordan. 
 
 1672 Jordan. 
 
 1673 Jordan. 
 
 1674 Jordan. 
 
 1675 Jordan. 
 
 1676 Jordan. 
 
 1677 Jordan. 
 
 1678 Jordan. 
 
 1679 Jordan. 
 
 1680 Jordan. 
 
 1681 Jordan. 
 
 1682 Jordan. 
 
 1683 Jordan. 
 
 1684 Jordan. 
 
 1685 Taubman. 
 
 1686 Taubman. 
 
 1687 Taubman. 
 
 1688 Taubman 
 
 1689 Taubman. 
 
 1691 Settle. 
 
 1692 Settle. 
 
 1693 Settle. 
 
 1694 Settle. 
 
 1695 Settle. 
 
 1698 Settle. 
 
 1699 Settle. 
 
 1700 Settle. 
 
 1701 Settle. 
 
 1702 Settle. 
 
 1708 Settle. 
 
 Luard, H. R., editor. See Paris and Westminster. 
 
 Lydgate, John. See C. F. Brown, Halliwell-Phillipps, Hammond, and MacCracken. 
 
 [Lyons]. Entree Magnifique de Bacchus avec Madame Dimanche Grasse, sa Femme, faicte en la 
 
 ville de Lyon, le i4feburier 1627. . . . Lyons, 1838. 
 Lysons, Daniel and Samuel. Magna Britannia, [vol. Cheshire.] London, 1810. 
 
324 BIBLIOGRAPHY 
 
 MacCracken, H. N. The Minor Poems of Lydgate. [EETS. ES. 107.] London, 1911. 
 
 MacCracken, H. N. " King Henry s Triumphal Entry into London. Lydgate s Poem and 
 Carpenter s Letter," in Herrig s Archiv. [cxxvi, pp. 75!.] Braunschweig, 1911. 
 
 Machyn, H. Diary. Edited by J. G. Nichols, for the Camden Society, [xlii.] London, 
 1848. 
 
 Mackay, Constance d Arcy. Plays of the Pioneers. A book of Historical Pageant-Plays. New 
 York and London, 1915. 
 
 MacKaye, Percy. The Civic Theatre. New York and London, 1912. [Especially ch. vi, 
 pp. 161-177; app. iii, pp. 280!; app. iv, pp. 2881".; and app. v, pp. 3o6f.] 
 
 MacKaye, Percy. Community Drama; Its Motive and Method of N eighborliness . Boston and 
 New York, 1917. 
 
 MacKaye, Percy. The New Citizenship: a Civic Ritual. New York, 1915. 
 
 MacKaye, Percy. A Substitute for War. New York, 1915. 
 
 MacKaye, Percy. " The New Fourth of July," in the Century Magazine for July, 1910. 
 
 McLinn, C. B. "The March of Democracy a Masque for Victory Day Celebrations," 
 in The Historical Outlook for January, 1919. (The Rhode Island Normal School "Vic 
 tory Pageant " was based on this masque and on the " drama " listed under D. 
 Horton s name.) 
 
 Madden, Sir F., editor, see Paris, Matthew of. 
 
 Magnin, C. Histoire des marionnettes en Europe. (2d ed.), Paris, 1862. 
 
 Magnus, Olaus. A Compendious History of the Goths, Swedes &* Vandals, and other Northern 
 Nations. Written by Olaus Magnus, Archbishop of Upsall . . . London, 1658. 
 
 Maidment, J., see Tatham, Works. 
 
 Maidstone, Richard de. " De Concordia inter Regem Ric II et Civitatem London." In 
 Political Poems and Songs, edited by Thomas Wright. (RS 14) (2 vols.) London, 
 1859-61. 
 
 Maitland, William. The History of Edinburgh from its Foundation to the Present Time. Edin 
 burgh, 1753. 
 
 Maitland, William. The History and Survey of London from its Foundation to the Present Time. 
 (2 vols.) ^d edition]. London, 1760. 
 
 Malcolm, James P. Londinium Redivivum. (4 vols.), London, 1803-07. 
 
 Manning, Robert, of Brunne. Ye Story of Inglande. Edited by F. J. Furnivall. (2 vols.), 
 (RS 87) London, 1887. 
 
 Manly, J. M. Specimens of pre-Shaksperian Drama. (2 vols.), Boston and London, 1897. 
 
 [Marblehead Pageant]. From Kingdom to Colony. 6 and 7 August, 1912. Produced by 
 G. L. Tracy; book by Mary L. Devereux; dramatized by Mrs. M. J. Morgan. [Program 
 inHL.) 
 
 [Margaret]. See C. F. Brown, and Withington. 
 
 [Marietta, Ohio, Pageant]. Report of the Commissioners of the National Centennial Celebra 
 tion of the Early Settlement of the territory Northwest of the River Ohio. [The pageant 
 was held at Marietta, Ohio, in July, 1888.] Columbus, 1888. 
 Markoe, Francis H., see Yale Pageant. 
 
 Marriage between Wit and Wisdom. Tudor Facsimile Texts. Edited by John S. Farmer. 
 London and Edinburgh, 1909. Cf. also vol. ii of J. O. Halliwell-Phillipps, A Supplement 
 to Dodsley s Old Plays. (4 vols.), Shaks. Soc. Publ. London, 1853. 
 Mars his Triumph, see Barriffe. 
 [Mary]. See Cocheris. 
 [Mary, Queen of Scots]. See Ellis. 
 Masons, see Conder. 
 
BIBLIOGRAPHY 325 
 
 Massachusetts, Temporary Acts and Laws of (1736-62). Boston, 1755-62. 
 
 Matthew Paris, see Paris, Matthew of. 
 
 Matthew of Westminster, see Westminster, Matthew of. 
 
 Matthews, Albert. " The Term Pilgrim Fathers," in Publ. Colonial Society of Massachusetts, 
 for December, 1914. 
 
 Melsa, see Chronica. 
 
 Menestrier, Claude Francois. Traite des Tournois, loustes, Carrousels, et Autres Spectacles 
 Publiques. Lyons, 1669. [SA] 
 
 Merchant-Taylors, see Clode. 
 
 Middlemore, S. G. C., translator. J. Burckhardt, The Civilisation of the Period of the Renais 
 sance in Italy. (2 vols.), London, 1878. 
 
 Middleton, Thomas. Works. Edited by A. H. Bullen. (8 vols.), London, 1886. 
 
 Middleton, Thomas. Works. Edited by the Rev. Alexander Dyce. (5 vols.), London, 1840. 
 
 (Middleton) 
 
 (Show for 1613). The Triumphs of Truth: A Solemnity vnparaleld for Cost, Art, and 
 Magnificence, at the Confirmation and Establishment of ... Sir Thomas Middleton, 
 Knight; in the Honorable Office of his Maiesties Lieuetenant, the Lord Maior of ... 
 London . . . October 29. 1613. All the Showes, Pageants, Chariots; Morning, Noone, 
 and Night-Triumphes. Directed, Written, and redeem d into Forme, from the Ignor 
 ance of some former times, and their Common Writer, By Thomas Middleton. London, 
 1613. [Gh, BM (2 copies), B. Reprinted in Dyce, v, pp. 2i3f.; Bullen, vii, pp. 229^; 
 Heath (3d edition) appendix, pp. 443f . ; Prog. James, ii, pp. 679^ Cf. Bullen, i, p. xxxviii; 
 Greg, p. 15; Fairholt, pt. i, p. 32; J. G. Nichols, p. 101; Gent. Mag., for August, 1824, 
 
 P- H4-] 
 
 Civitatis Amor. The Cities Loue. An entertainement by water, at Chelsey and White 
 hall. At the ioyfull receiuing of that Illustrious Hope of Great Britaine, the High and 
 Mighty Charles To bee created Prince of Wales, Duke of Cornewall, Earle of Chester, &c. 
 London, 1616. [Gh, BM. Reprinted in Bullen, vii, p. 269; Dyce, v, p. 249; Prog. James, 
 iii, p. 208. Cf. Greg, p. 16.] 
 
 (Show for 1617). The Tryumphs of Honor and Industry. A Solemnity performed 
 throughout the City, at Confirmation and Establishment ot . . . George Bowles, In the 
 Office of his Maiesties Lieuetenant, the Lord Mayor of the famous Citty of London. 
 Taking beginning at his Lordships going, and proceeding after his Returne. . . . October 
 29, 1617. London, 1617. [Written for the Grocers Company. In Gh and BM (im 
 perfect copy); reprinted in Bullen, vii, p. 293; Dyce, v. p, 607; Heath (3d edition) 
 appendix, p. 459. Cf. Fairholt, pt. i, p. 43; Greg, p. 16; J. G. Nichols, p. 103; Gent. 
 Mag., for August, 1824, p. 116.] 
 
 (Show for 1619). The Triumphs of Loue and Antiquity. An Honourable Solemnitie 
 performed ... at the confirmation of ... Sir William Cockayn, Knight, in the office 
 of ... Lord Maior of the Famous Citie of London ... By Tho. Middleton, Gent. 
 London, 1619. [BM, B. Reprinted in Bullen, vii, p. 311; Dyce, v, p. 271; Prog. James, 
 iii, p. 570. Cf. Greg, p. 17; Fairholt, pt. i, p. 45; J. G. Nichols, p. 103; Gent. Mag., for 
 August, 1824, p. 1 1 6.] 
 
 (Show for 1621). The Svnne in Aries. A Noble Solemnity performed through the Citie 
 at the sole cost and charges of the . . . Drapers, at the confirmation and establishment of 
 their most Worthy Brother . . . Edward Barkham in the high office of ... Lord 
 Maior . . . the 29. of October. 1621. By Tho. Middleton, Gent. London, 1621. [BM. 
 Reprinted in Bullen, vii, p. 335; Dyce, v, p. 291 ; Prog. James, iv, p. 724. Cf. Greg, p. 17; 
 Fairholt, pt. i, p. 48; J. G. Nichols, p. 103; Gent. Mag. for August, 1824, p. 116.] 
 
326 BIBLIOGRAPHY 
 
 [Cf. Bullen, i, p. Iviii: "Among the Conway papers in the Record Office is a MS: 
 Inventions by Thomas Middleton being a musical allegory, performed for the service of 
 Edward Barkham, Lord Mayor of London, when he entertained his brother aldermen at 
 a feast in the Easter holidays, Apr. 22, 1622. I have reprinted it for the first time; it has 
 little merit." This is, of course, not the Lord Mayor s Show for this year; and is a 
 masque rather than a pageant. It may be found in Bullen, vii, pp. 369 f.] 
 
 (Show for 1622). The Triumphs of Honor and Verlue. [BM (lacking title-page). 
 Reprinted by Bullen, vii, p. 353, and by James L. Pearson in Shaks. Soc. Papers, ii (1845), 
 p. 93. Cf. Greg, p. 1 8. It is not mentioned by Dyce, Fairholt or J. G. Nichols. The 
 show was written for the inauguration of Peter Proby of the Grocers Company.] 
 
 (Show for 1623). The Triumphs of Integrity. [Reprinted from Dyce, v. p. 303, by Bul 
 len, vii, p. 381. This show was written for the inauguration of Sir Martin Lumley, of the 
 Drapers Company. I have not seen a copy of the original pamphlet. Cf. Greg, p. 18; 
 Fairholt, pt. i, p. 49, and below, Munday (sub anno 1623.) On the relationship between 
 Munday and Middleton in this show, see Withington, " The Lord Mayor s Show for 
 1623," in Publ. Mod. Lang. Assoc., for March, 1915.] 
 
 (Show for 1626). The Triumphs of Health and Prosperity. A Noble Solemnity per 
 formed through the City at the sole Cost and Charges of the Honourable Fraternity of 
 Drapery, at the Inauguration of ... Cuthbert Hacket, Lord Major ... By Tho. 
 Middleton, Gent. London, 1626. [Gh. Reprinted in Dyce, v, p. 319; Bullen, vii, p. 399. 
 In the Gh copy is noted: " Perhaps the rarest of ah 1 the City Pageants; no copy but 
 Garrick s was known to Loundes." Cf. Greg, p. 18; Fairholt, pt. i, p. 52; J. G. Nichols, 
 p. 104; Gent. Mag., for November, 1824, p. 412.] 
 
 Mfillington], T[homas]. The True Narration of the Entertainment of his Royall Maiestie, 
 from the time of his departure from Edenbrough; till his receiuing at London: with all 
 or the most speciall Occurrences. Together with the names of those Gentlemen whom his 
 Maiestie honoured with Knighthood. At London, printed by Thomas Creede for Thomas 
 Millington, 1603. [The preface " to the Reader " is signed T. M. The pamphlet, which 
 is preserved in B., is reprinted in Arber, viii, p. 485, and in Prog. James, i, p. 53. Nichols 
 seems to have used another edition, for there are slight textual differences between his 
 version and the pamphlet in the Bodleian.] 
 
 Minute Book, see Lord Mayor. 
 
 Minutes of Committees for conducting the Entertainment at Guildhall on Lord Mayor s Days, 
 see Proceedings. 
 
 Molloy, J. F. Romance of the Irish Stage. (2 vols.), London, 1897. 
 
 Monck, Nugent. The Pageant-Play of King Arthur. [London, 1914.] 
 
 [Monk, General]. For broadsides containing speeches addressed to General Monk at various 
 dinners given him by the London Companies in March and April, 1660, see the collection 
 in the Bodleian. [Wood, 398 (4-9).] 
 
 Monmouth, Geoffrey of. Histories Regum Britannia in Rerum Britannicarum. Edited by 
 Hieronymus Commelinus. Heidelberg, 1637. 
 
 Monmouth, Geoffrey of. Hist. Reg. Brit. Edited by J. A. Giles for the Caxton Society. 
 London, 1844. 
 
 Monstrelet, Euguerrand de. Chronique. Edited for the Societe de 1 Histoire de France by L. 
 Douet-d Arcq. (6 vols.), Paris, 1857-62. Ibid., " continued by others ... to the year 
 MDXVI," translated by T. Johnes, and printed " At the hafod press." 
 
 Morris, Rupert H. Chester in the Plantagenet and Tudor Reigns. Chester, [?i894.] 
 
 Moss, Hugh, see English Church. 
 
 Mount Holyoke, see Porter. 
 
BIBLIOGRAPHY 327 
 
 Munday, Anthony. 
 
 (Show for 1605) . The Trivmphes of re-united Britania. Performed at the cost and 
 charges of the ... Merchants-Taylors, in honor of Sir Leonard Holliday, Kni. to solem 
 nize his entrance as Lorde Mayor of the Citty of London, on Tuesday the 29. of October. 
 1605. Deuised and written by A. Mundy, Cittizen and Draper of London. London, 
 [1605], [BM, B. Reprinted in Prog. James, i, p. 564. Cf. Greg, p. 21; Fairholt, pt. i, 
 p. 29; J. G. Nichols, p. 100; Gent. Mag., for August, 1824, p. 114.] 
 
 (Show for 1609). In BM [C. 33. e. 7 (23)} are to be found the last four leaves of the 
 description of the 1609 Show, to which is prefixed the following pencilled title-page: 
 " Camp-bell; or the Ironmongers Faire Field (a Pageant at the installation of Sir Thomas 
 Campbell in the office of Lord Mayor of London, 29 October 1609)." In pencil, on the 
 margin of the first sheet, this is attributed to Munday. 
 
 London s Love, to the Royal Prince Henrie, meeting him on the River of Thames, at his 
 returne from Richmonde, with a Worthie Fleete of her Cittizens, on Thursday the last 
 of May, 1610. With a breife [sic] reporte of the Water Fight, and Fireworkes. London, 
 Printed by Edw. Allde for Nathaniel! Fosbrooke, and are to be solde at the West-end of 
 Paules, neere to the Bishop of Londons gate, 1610. [Gh, BM. This is by Munday; see 
 Dr. C. W. Wallace, in the London Times, 28 March, 1913, p. 6 col. i.] 
 
 (Show for 1611). Chryso-thriambos, the triumphes of Golde. [Cf. Greg, p. 20; Fair- 
 holt, pt. i, p. 32; J. G. Nichols, p. 100; Gent. Mag., for August, 1824, p. 114. I have not 
 seen a copy of this pamphlet.] 
 
 (Show for 1614). Himatia-Poleos. The Trivmphs of olde Draperie, or the rich Cloath- 
 ing of England. Performed ... at the charges of the . . . Drapers at the enstalment 
 of Sir Thomas Hayes ... in the high office of Lord Maior of London . . . the 29. day of 
 October. 1614. Deuised and written by A. M. Citizen and Draper of London. London, 
 1614. [BM. Cf. Greg, p. 20; Fairholt, pt. i, pp. 37 f.; J. G. Nichols, p. 102; Gent. Mag., 
 for August, 1824, p. 115.] 
 
 (Show for 1615). Metropolis Coronata, the Trivmphes of Ancient Drapery: or, Rich 
 Cloathing of England, in a second Yeeres performance. In Honour of the aduancement 
 of Sir lohn lolles, Knight, to the high office of Lord Maior ... on Monday, being the 
 30. day of October, 1615 . . . Deuised and written by A. M. Citizen and Draper of 
 London. London, 1615. [Gh, B, BM. Reprinted in Prog. James, iii, p. 107; cf. Greg, 
 p. 20; Fairholt, pt. i, pp. 38f.; J. G. Nichols, p. 102; Gent. Mag., for August, 1824, p. 115.] 
 
 (Show for 1616). Chrysanaleia: The Golden Fishing: Or, Honour of Fishmongers. 
 Applauding the aduancement of Mr. lohn Leman, Alderman, to the dignitie of Lord 
 Maior of London ... on Tuesday, being the 29. day of October, 1616 . . . Deuised 
 and written by A. M. Citizen and Draper of London. London, 1616. [Gh, B, BM. 
 Reprinted, Prog. James, iii, p. 195; cf. Greg, p. 20; Fairholt, pt. i, p. 40; J. G. Nichols, 
 and Gent. Mag., he cit.} 
 
 The Fishmongers Pageant, on Lord Mayor s Day, 1616. Chrysanaleia, the Golden 
 Fishing, devised by Anthony Munday, Citizen and Draper. Represented in twelve plates 
 by Henry Shaw, F. S. A., from Contemporary Drawings in the possession of the . . . 
 Fishmongers. Accompanied with various illustrative documents, and an historical intro 
 duction by John Gough Nichols, F. S. A., Citizen and Stationer. Printed for the Wor 
 shipful Company of Fishmongers. [London], 1844. [Gh, BM, HL.] 
 
 (Show for 1618} . Sidero-Thriambos. Or Steele and Iron Triumphing. Applauding 
 the aduancement of Sir Sebastian Haruey ... to the dignitie of Lord Maior ... on 
 Thursday . . . the 29. day of October, 1618. Performed ... at the charges of his 
 kinde Brethren, the ... Ironmongers. Deuised and written by A. M. Citizen and 
 
328 BIBLIOGRAPHY 
 
 Draper of London. London, 1618. [BM. Cf. Greg, p. 20; not mentioned by Fairholt or 
 
 J. G. Nichols.] 
 
 (Show for 1623). See Middleton (sub anno 1623). The Triumphs of the Golden Fleece. 
 
 Performed at the cost and charges of the Auncient and Honourable Societie of the Drapers. 
 
 For the enstaulment of their Worthy Brother, Mr. Martin Lvmley in the Maioralty of 
 
 London. On Wednesday ... the nine and twentieth day of October, 1623. Written 
 
 by A. Mundy, Citizen and Draper of London. London, 1623. [BM. (C. 33. E. 7(6}}} 
 [Miinchausen, Baron]. The Surprising Travels and Adventures of Baron Munchausen . . . 
 
 A new and complete edition. . . . London, 1823. 
 A Sequel to the Travels and Adventures of Baron Munchausen. [Printed as vol. ii of the 
 
 above.] London, 1823. 
 Murimuth, Adam. Continuatio Chronicarum. Edited by Edward M. Thompson. (RS 93) 
 
 London, 1889. 
 
 Muskett, Charles, see Ewing. 
 Neilson, William A. " Origins and Sources of the Court of Love," in Harvard Studies and 
 
 Notes in Philology and Literature (vi), Boston, 1899. 
 Nelson, Thomas. (Show for 1590}. The Device of the Pageant: Set forth by the Worshipfull 
 
 Companie of the Fishmongers, for the right honorable lohn Allot: established Lord Maior 
 
 of London, and maior of the Staple for this present yeere of our Lord 1590. By T. Nelson. 
 
 London, 1590. Black-letter. [BM (C. 38. d. 25.} See also Withington, "The Lord 
 
 Mayor s Show for 1590," in Mod. Lang. Notes for January, 1918.] 
 Nettleton, G. H., see Yale. 
 New Boston. From Cave Life to City Life. Pageant Program Number, November, 1910. 
 
 Lotta A. Clark, Mistress of the Pageant. [HL] 
 Newcastle, Duke of, see W. Cavendish. 
 Nicholl, John. Some Account of the Worshipful Company of Ironmongers. Compiled from 
 
 their own Records, and other authentic sources of information. London, 1866. 
 Nichols, John. History and A ntiquities of the County of Leicester. (4 vols. bound in 8) , London, 
 
 1795-1811. 
 Nichols, John. Progresses, &c., of Queen Elizabeth. (3 vols.), London, 1823. [Abbreviated: 
 
 Prog. Q. Eliz] 
 
 Nichols, John. Progresses, 6*c., of King James the First. (4 vols.), London, 1828. [Abbre 
 viated: Prog. James] 
 Nichols, John. Various articles on the Lord Mayor s Shows of the seventeenth century, in the 
 
 Gent. Mag., from August, 1824 to May, 1825. 
 Nichols, John Gough. London Pageants. London, 1831. [Referred to in the text as J. G. 
 
 Nichols.] 
 
 See also Machyn, and Munday (sub anno 1616). 
 Nicolas, Sir Nicholas Harris. History of the Battle of Agincourt. (Second edition), London, 
 
 1832. 
 
 Norfolk Archeology. Norwich, 1847 et seq. 
 Norman, Philip, see W. Rendle. 
 [Norristown, Pennsylvania]. History of the Centennial Celebration, &c. (1812-1912.) By the 
 
 Rev. Theodore Heysham, Ph.D. (Illustrated.) [Norristown] 1913. 
 North, Roger. Examen . . . London, 1740. 
 
 [Norwich]. See Ewing, Fitch, B. Garter, W. Hudson, and Norf. Arch. 
 [Nottingham]. See Deering. 
 Nugent, Thomas, translator. A Tour to London, or new Observations on England and its 
 
 Inhabitants. (2 vols.), London, 1772. [See Grosley.] 
 
BIBLIOGRAPHY 329 
 
 Oberholtzer, E. P. " The Philadelphia Historical Pageant of 1912," in the Alumni Register 
 of the University of Pennsylvania for January, 1913. 
 
 Oberholtzer, E. P. " Historical Pageants in England and America," in the Century Magazine 
 for July, 1910. 
 
 O Curry, Eugene. On the Manners and Customs of the Ancient Irish. Edited by W. K. 
 Sullivan. (3 vols.), London and New York, 1873. 
 
 Official Programs of nineteenth- and twentieth-century Lord Mayor s Shows. [The collection, 
 given by Bernard Kettle, Esq., J. Dixon Taylor, Esq., and D. J. Hile, Esq., of the Guild 
 hall, to HL, includes the programs of the shows for 1850, 1884, 1889-92, 1895-96, 1901, 
 1902, 1904-11, 1913 et seq. Many of the programs are illustrated. (HL, Thr. 1211.61.}] 
 
 Ogilby, John. The Relation of His Majestie s Entertainment, Passing through the city of London 
 to his Coronation: with a description of the Triumphal Arches, and Solemnity. By John 
 Ogilby. London, 1661. [Gh, B (2 copies.)] 
 
 Ogilby, John. The Entertainment of . . . Charles II in his passage through the City of London 
 to his Coronation . . . To these is added A Brief Narrative of his Majestie s Solemn Corona 
 tion ... By John Ogilby. (Illustrated.) London, 1662. [Gh] 
 
 Ogilby, John. The King s Coronation: Being an Exact Account of the Cavalcade, with a 
 Description of the Triumphal Arches, and Speeches prepared by the City of London for 
 his late Majesty Charles the Second . . . Also the Narrative of his Majesties Corona 
 tion . . . Published by William Morgan, his Majesties Cosmographer. London, 1685. 
 [Gh, B (2 copies.)] 
 Ibid., reprinted by the heir of Andrew Anderson. Edinburgh, 1685. [Gh] 
 
 Oldys, William, and Thomas Park. The Harleian Miscellany. (10 vols.), London, 1808, etc. 
 
 Ordish, T. F. "English Folk Drama," in Folk-Lore (ii, 3, p. 314; iv, 2, p. 149), September, 
 1891 and June, 1893. 
 
 Ormerod, George. History of the County Palatine and City of Chester. (With a republication of 
 Sir Peter Leycester s Cheshire Antiquities and Daniel King s Vale Royal.} Second edition, 
 revised and enlarged by Thomas Helsby. (3 vols.), London, 1882. 
 
 Orr, William, see Bates. 
 
 Orridge, B. B. Some Account of the Citizens of London and their Rulers. London, 1867. 
 
 Ovatio Carolina, see Charles I. 
 
 Overall, W. H., editor. Accounts of the Churchwardens of the Parish of St. Michael, Cornhill . . . 
 from 1456 to 1608. [London, 1871.] 
 
 Overall, W. H., and H. C. Overall. Analytical Index to the series of records known as the Re- 
 tnembrancia, Preserved among the Archives of the City of London. A .D. 1579-1664. London, 
 1878. 
 
 Oxford Pageant. Frank Lascelles, Master. July, 1907. The Book of Words. (Illustrated.) 
 [Oxford, 1907.] 
 
 Pageants, see Lord Mayor s Shows. 
 
 Palmer, John. The Future of the Theatre. London, 1913. 
 
 Parker, Louis N. " Historical Pageants," in Journ. Soc. Arts for 22 December, 1905 (liv, 
 p. 142.) London. 
 
 Parker, Louis N. " What is a Pageant ? " in New Boston for November, 1910. Boston. 
 
 Parker, Louis N. See Sherborne, Dover, Warwick, Bury St. Edmunds, Colchester, and York. 
 Also: Last Days of St. Benet s Abbey. A Village Pageant-play. Given on 7 and 8 
 August, 1907, at Potter Heigham (Norfolk). 
 
 Paris, Matthew of. Chronica Majora. Edited by H. R. Luard. (RS 57) (7 vols.), London, 
 1880. 
 Ibid., translated by the Rev. J. A. Giles. London, 1852. 
 
330 BIBLIOGRAPHY 
 
 Paris, Matthew of. Chronica Minora. Edited by Sir F. Madden. (RS 44) (3 vols.), Lon 
 don, 1866. 
 
 Paris, Journal d un Bourgeois de, see Tuetey. 
 
 Paston Letters. 1422-1509. A new edition, &c., edited by James Gairdner. (3 vols.), Lon 
 don, 1872-75. 
 
 Paul, Sir J. B. " Processions," in the Scottish Review (xxx, p. 217), 1897. [This essay deals 
 with the processional customs of man, and includes a passing reference to several mediaeval 
 pageants.] 
 
 [Peace Jubilee of 1814]. An Historical Memento, representing the different scenes of public 
 rejoicing, which took place the first of August, in St. James s and Hyde Parks, London, 
 in celebration of the Glorious Peace of 1814, and of the Centenary of the Accession of the 
 Illustrious House of Brunswick. . . . (Illustrated.) London, 1814. [SA] 
 
 Peele, George. Works. Edited by the Rev. Alexander Dyce. Second edition. (3 vols.), 
 London, 1829-39. 
 Ibid., edited by A. H. Bullen. (2 vols.), London, 1888. 
 
 Peele, George. 
 
 (Show for 1585). The Device of the Pageant borne before Woolstone Dixi Lord Maior 
 of the Citie of London. An. 1585. October 29. Imprinted at London by Edward Allde, 
 
 1585- 
 
 Under the Latin " Verses written vnder the Armes of England " at the end of the 
 pamphlet, stands: " Donne by George Peele Maister of artes in Oxford." [B (Gough Lond. 
 122.1} : on the fly-leaf, in Farmer s MS. : " This is probably the only copy remaining. It 
 was given up to me, as a Favour, at Mr. West s Auction for o, 85. od. I have seen a 
 fine wooden print of Sir Wolstan at Christ s Hospital. See Stow by Strype." (This 
 note is printed in Earl. Misc., x, p. 351.)] 
 
 The pamphlet is reprinted in Dyce (1829), ii, p. 147; Bullen, i, p. 351; Price, p. 199: 
 Prog. Q. Eliz., ii, p. 446; Hist. Leicestershire, iv, p. 496; Strype s Stow s Survey (1720), ii, 
 p. 136; Harl. Misc. (1813) x, p. 351. Cf. Greg, p. 22; Fairholt, pt. i, p. 24; J. G. 
 Nichols, p. 100; Gent. Mag., for August, 1824, p. 113. 
 
 (Show for 1588). " Ye device of the Pageant borne before the Righte honorable Martyn 
 Calthrop, lord Maiour . . . George Peele the author," was entered on the Stationers 
 Register 28 October, 1588. See Arber, The Stationers Register, ii, p. 504. Fleay, Bio 
 graphical Chronicle of the English Drama, 1559-1642. (2 vols.), London, 1891, ii, p. 154, 
 assigns the " device " to Peele; cf. ibid., p. 402. Greg, p. 20; Fairholt, pt. i, p. 26, and 
 Gent. Mag., for August, 1824, p. 113, record the show. 
 
 (Show for 1591). Descensus Astracz. The Device of a Pageant borne before M. Wil 
 liam Web, Lord Maior of the Citie of London, on the day he tooke his oath, beeing the 
 29. of October. 1591. Wherevnto is annexed A Speech deliuered by one clad like a Sea 
 Nymph, who presented a Pinesse on the water brauely rigd and mand, to the Lord Maior, 
 at the time he tooke Barge to go to Westminster. Done by G. Peele Maister of Arts in 
 Oxford. Printed for William Wright. [London, 1591.] [Gh.] Reprinted in Bullen, i, 
 p. 361; Dyce (1829), ii, p. 155; Harl. Misc., x, p. 68, and Gillespy, p. 66. Cf. Fair- 
 holt, pt. i, p. 27; J. G. Nichols, p. 100; Greg, p. 22; Gent. Mag., for August, 1824, 
 p. 113. 
 
 Pepys, Samuel. Diary. Edited by H. B. Wheatley, with Lord Braybrooke s notes. (iovols.), 
 London, 1893-99. 
 
 Perkins, Rev. F. L. Up the Heights. A Play with a Purpose. York, n. d. 
 
 Perkins, Rev. F. L. Disinherited ? A Play-Pageant in aid of the Church in Wales. 
 York [1914]. 
 
BIBLIOGRAPHY 331 
 
 [Perry, Micajah]. A Transcript of the Diary of the Proceedings, Habits [costumes] and Cere 
 monials observed in the Office of Lord Mayor of the City of London, in the Mayoralty of 
 Micajah Perry, 1738-39. Made in 1833, and presented to the London Corporation 
 Library by the Town Clerk. [Gh, MS. 15.} 
 
 Another copy of the same MS. made " from one on vellum formerly in the possession 
 of Mr. Woodthorpe, and which was destroyed by Fire at the Royal Exchange on the night 
 of the loth of January, 1838," is also in the Gh. [MS. 16] A third, copied in 1787, is in 
 the Gh [MS. 267 (no. 3.)]. 
 
 Peterborough, New Hampshire, Pageant. George P. Baker, Master. Book of Words. [Peter 
 borough] 1910. 
 
 Petowe, Henry. England s Casar. His Maiesties most Royall Coronation. Together with 
 the manner of the Solemne shewes prepared for the honour of his entry into the Cittie of 
 London. Eliza, her Coronation in Heauen. And Londons Sorrow for her visitation. By 
 Henry Petowe. London, 1603. [BM. Reprinted in Harl. Misc., x, p. 342.] 
 
 Pewterers. See Welch. 
 
 [Philip II]. See Elder. 
 
 [Pickering Pageant. (Yorkshire.)] Gilbert Hudson, Master. The Book of the Pickering 
 Pageant (or Historical Play). Arranged by Gilbert Hudson. August 10, n, 12, 13, 1910. 
 Pickering [1910.] 
 
 Political Merriment, see Brinsden. 
 
 Pollard, A. F., see Tudor Tracts. 
 
 Pollard, A. W. English Miracle Plays, Moralities and Interludes. Oxford, 1890. 
 
 Poole, Benjamin. The History of Coventry. . . . (" Embellished with numerous engravings.") 
 Coventry, 1852. 
 
 Poole, Benjamin. Coventry: its History and Antiquities. Compiled . . . from authentic 
 publications, ancient manuscripts and charters, corporation records, &c. (Illustrated by 
 W. F. Taunt on.) London and Coventry, 1870. 
 
 [POPE-BURNING.] 
 
 Londons Defiance to Rome, a Perfect Narrative of the Magnificent Procession, and 
 solemn Burning of the Pope at Temple Barr, Nov. i7th 1679 (Being the Coronation Day 
 [sic] of that Never-to-be-forgotten Princess, Queen Elizabeth.) With a Description of the 
 Order, Rich Habits, Extraordinary Fire-works, Songs, and General Tryumphs attending 
 that Illustrious Ceremony, [n. p., n. d.] [SA, B.] 
 
 (Cf. Tracts relating to the Popish Plot, 1679-82, in BM [8133. h. 5 (i-io)\ of which the 
 fourth pamphlet is entitled: 
 
 The Scots Demonstration of their Abhorrence of Popery, -with all its Adherents. In a 
 letter from Edenbrough to a Friend in London, containing the Manner of Burning the 
 Pope there in Effigie on Christ-Mass Day, &c. [ ? 1680].) 
 
 The Solemn Mock Procession: or the Tryal and Execution of the Pope and his Min 
 isters, on the 17. of Nov. at Temple-Bar; where, being brought before the Figure of Q. 
 Elizabeth, he receiveth his first Sentence; and afterwards led before the Statue or Tri 
 bunal of K. Charles the Second: on the other side he receives his Final Doom and Down- 
 fal, viz., to be burnt with all his Fry into Ashes, and the same to be scattered about, that 
 thence might never spring hereafter in England one Popish Phenix. London, 1680. 
 (Illustrated.) [BM. Cf. Fairholt, pt. i, p. 92, n. 2; Saintsbury s ed. of Scott s Dryden 
 (18 vols., Edinburgh, 1882-93), vi, p. 237; North, Examen (cited ibid., x, p. 370); Scott s 
 Swift (19 vols., Edinburgh, 1814), ii, p. 408-10; Brayley, Lond., iv, p. 80; Hone, 
 p. 242.] 
 
332 BIBLIOGRAPHY 
 
 A Modest Apology for the Students of Edenburgh Burning a Pope, December 25, 1680, 
 Humbly Rescuing the Actors from the Imputation of Disloyalty and Rebellion, with 
 which they were charged in a Letter, &c. . . . London, 1681. [19 pp. Cf. BM, T. 2 * 
 (28) a collection of tracts p. 114.] 
 
 The Procession: or, the Burning of the Pope in Effigie at Temple Bar, or in Smith- 
 field, on the iyth of November, 1681, being Queen Elizabeth s Birthday. Describing 
 the several Pageants, and rare Devices of the Pope, Cardinals, Jesuits, Friers, and 
 many others. As likewise a Pageant of several Effigies in a Pillory drawn by Horses upon 
 a Sledge. Several painted Pieces, and Fire-works, &c. Far exceeding whatever has been 
 exposed in this nature. With the signification of the several Hieroglyphicks. Humbly 
 dedicated to his Holiness. [4 pp. 1681.] [BM, B.] 
 
 [This pamphlet is numbered 8 in the BM collection of Tracts Relating to the Popish 
 Plot, and is also in the Bodl. (Gough Midds. 32.)] 
 
 A Dialogue upon the Burning of the Pope and Presbyter in Effigie at Westminster, Novem. 
 5, 1681. London, 1682. [B] 
 
 (Cf. Brayley, Londiniana, iii, p. 205; iv, p. 73; Brinsden; Massachusetts Laws, and 
 chapter vii of the text, for a discussion of this pageantry.) 
 
 Porta Pietatis, see Heywood (sub anno 1638). 
 
 Porter, Elizabeth C. " A Pageant of Progress," in the Outlook for 23 November, 1912, p. 653. 
 (Illustrated.) [The writer describes the Mount Holyoke Pageant, which celebrated the 
 seventy-fifth anniversary of the founding of the College.] 
 
 Potter Heigham, see Parker. 
 
 Pouncy, H., see West Dorset. 
 
 Presentation in the Temple, The. A Pageant as originally presented by the Corporation of 
 Weavers in Coventry . . . Edinburgh, printed for the Abbotsford Club, 1836. 
 
 [Preston]. The History of Preston in Lancashire; together with the Guild Merchant, &c. (Illus 
 trated by 1 8 plates.) [E. Jeffrey.] London, 1822. 
 See also J. Taylor. 
 
 Price, J. E. A Descriptive Account of the Guildhall of the City of London: its History and 
 Associations. London, 1886. 
 
 Prideaux, Sir Walter S. Memorials of the Goldsmiths Company. (2 vols.), London, n. d. 
 
 Proceedings, or Minutes, of Committees for Conducting the Entertainment at Guildhall on Lord 
 Mayor s Days (with accounts of expenses in some cases). Gh, MSS. 
 
 For 1790, MS. 25; 1794, MS. 26; 1795 and 1801, MS. 25; 1809 (with " Expences at 
 Guildhall" on Lord Mayor s Day, 1815), MS. 148; 1821, MS. 27; two contemporary 
 copies of the Minutes for 1822, MSS. 28 and 149; for 1823, MS. 29; for 1825, MS. 30; 
 1833, MS. 32; 1839, MS. 33; the accounts for 1847 (bound with the 1822 Minutes), 
 MS. 149; the Minutes for 1848, MS. 34; 1849, MSS. 35 and 899; 1879, MS. 517. For 
 1824-25, see above, under Ceremonies. 
 
 Procession of the Lord Mayor s Show. London, n. d. (A colored panorama, folded in a cover. 
 [HL.]) 
 
 Puttenham, George. The Arte of English Poesie. London, 1589. 
 
 [Quebec]. Les Files du Troisieme Centenaire de Quebec, 1608-1908. (Illustrated.) Quebec, 
 1911. 
 
 Quebec Pageant. Frank Lascelles, Master. Historical Souvenir and Book of the Pageants of the 
 jooth Anniversary of the Founding of Quebec, the Ancient Capital of Canada. 20-31 July, 
 1908. (Illustrated.) Montreal [1908], 
 
 The Quebec Tercentenary Commemorative History. (Illustrated.) By Frank Carrel (and 
 others.) Quebec, 1908. (This volume is cited as Carrel.) 
 
BIBLIOGRAPHY 333 
 
 Quenson, le Conseiller. Gayant, le Geant de Douai; sa Famille et sa Procession. (Illustrated.) 
 
 Douai, 1839. [SA] 
 Raine, J., Jr. A Volume of English Miscellanies. Published by the Surtees Society (Ixxxv), 
 
 1890. 
 
 Remembrancia, see Overall. 
 
 Rendle, William, and Philip Norman. Inns of Old Southwark. London, 1888. 
 Repertory. The MS. records of the Court of Aldermen of the Corporation of London. In the 
 
 Guildhall Archives. 
 
 Reyher, Paul. Les Masques anglais. Paris, 1909. 
 Reynolds, George F. " Some Principles of Elizabethan Staging," in Modern Philology for 
 
 April and June, 1905. Chicago. 
 
 Rhode Island Normal School. A Victory Pageant, 29 May, 1919. [Program hi HL] 
 Riley, H. T. Memorials of London and London Life. London, 1868. 
 
 See also: Liber Aldus, and Walsingham. 
 Ritson, Joseph, see Chestre. 
 [Robarts, Henry]. The Most royall and Honourable entertainment, of the famous and renowmed 
 
 [sic] King, Christiern the fourth, King of Denmarke, &c. . . . With the royall passage on 
 
 Thursday the 31. of July, thorough the Citty of London, and honorable shewes there 
 
 presented them, and maner of their passing. By H. R. At London, printed for H. R. . . . 
 
 1606. [Gh] 
 
 Robert of Brunne, see Manning. 
 Robert of Gloucester, see Gloucester. 
 
 Rockwell, Ethel T. Historical Pageantry: a Treatise and a Bibliography. [The State His 
 torical Society of Wisconsin, Bulletin of Information no. 84, July, 1916]. (Illustrated.) 
 
 [A six-page essay with an incomplete bibliography on pageantry.] 
 Rosny, Lucien de. L Epervier d Or, ou description historique des Joutes et des Tournois, cele- 
 
 bres d Lille au Moyen-Age. (Illustrated.) Paris and Lille, 1839. [SA] 
 Rowell, G. A. " Notes on some old-fashioned English Customs: The Mummers, the Morris 
 
 Dancers," &c., in F oik-Lore Journal for April and June, 1886. 
 Royal Oak, see Tatham (sub anno 1660). 
 Saddlers, see Sherwell. 
 [St. Albans]. St. Albans and its Pageant. The official souvenir of the Pageant held in July, 
 
 1907. (Produced under the direction of Herbert Jarman.) Various contributions ar 
 ranged by E. W. Townson. London and St. Albans, 1907. 
 St. Johnsbury, Vermont, Pageant. W. C. Langdon, Master. Held on 15-17 August, 1912. 
 
 Book of Words. St. Johnsbury, 1912. 
 [St. Louis]. The Book of Words of the Pageant and Masque of St. Louis. The words of the 
 
 Pageant by Thomas Wood Stevens; the words of the Masque by Percy MacKaye. 
 
 St. Louis, 1914. [HL, Thr. 1211.74.] 
 [St. Louis]. Report of the Celebration of the Anniversary of the Founding of St. Louis. 15 
 
 February, 1847. [St. Louis], 1847. [HL, US. 25390.7.5.] 
 [St. Louis]. " The Veiled Prophet." Frank Gaiennie, in the Encyclopedia of the History of 
 
 St. Louis, by William Hyde and Howard L. Conrad, (vol. iv, p. 2370.) New York, 
 
 Louisville, and St. Louis, 1899. 
 Salters, see Gillespy. 
 Saltmarshe, Colonel, see Solloway. 
 
 Sawyer, F. E. " The Sussex Tipteerers Play," in Folk-Lore Journal for January, 1884. 
 Scarborough Historical Pageant and Play. Scarborough Castle Yard. July 9th to i3th, 1912. 
 
 Gilbert Hudson, Master. Book of Words. Scarborough, 1912. 
 
334 BIBLIOGRAPHY 
 
 Schelling, Felix E. The Elizabethan Drama. (2 vols.), Boston and New York, 1908. 
 [Chapter xv treats the history of the masque.] 
 
 Schenck, Frederic. Foreign Chivalry at the Court of Edward III. [Unpublished dissertation.] 
 
 Scherm, C. W. " Das Wesen der neuen Maske unter Heinrich VIII von England," in Germ.- 
 Rom. Monatschrift for August-September, 1912. Heidelberg, 1912. 
 
 Scherm, C. W. " Englishe Hofmaskeraden bis 1550," in Koch, Studien zur vergleichenden 
 Literaturgeschichte (ix, p. 406). Berlin, 1909. [This paper deals with the origins of the 
 masque, and its development in the reign of Henry VIII.] 
 
 [Scotland]. The Scottish National Pageant of Allegory, Myth and History. To be held in the 
 Grounds of the Scottish National Exhibition, Saturday, i3th June, 1908. . . . Edin 
 burgh [1908]. [Program in HL.] 
 
 Scott, Sir Walter. See Somers; and his editions of Swift and Dryden, listed under Pope- 
 burning. 
 
 Segar, Sir William. Honor Military and CiuUl. London, 1602. [BM, 9917. i. 5.] 
 
 Settle, Elkanah, see F. C. Brown. 
 
 (Show for 1691}. The Triumphs of London, Performed on Thursday, Octob. 29. 1691 
 for the Entertainment of ... Sir Thomas Stamp, Kt. . . . Containing a true descrip 
 tion of the several Pageants, with the Speeches spoken on each Pageant. All set forth at 
 the proper Costs and Charges of the . . . Drapers. By E. S. (Epistle dedicatory signed 
 " E. Settle.") London, 1691. [Gh, B (2 copies), HL, BM. Cf. Fairholt, pt. i, p. 109; 
 J. G. Nichols, p. 117.] 
 
 (Show for 1692). The Triumphs of London. Performed on Saturday, Octob. 29, 1692 
 for the Entertainment of ... Sir John Fleet, Kt. . . . Containing a True Description 
 of the Several Pageants; with the Speeches spoken on each Pageant. All set forth at the 
 proper Costs and Charges of the . . . Grocers. Together with an exact Relation of the 
 Most Splendid Entertainments, prepared for the Reception of Their Sacred Majesties. 
 By E. S. London, 1692. [Gh, B, BM. Reprinted in Health (3d ed.) appendix, p. 551. 
 Cf. Fairholt, pt. i, p. in; J. G. Nichols, p. 117; Gough, Brit. Top., p. 342.] 
 
 (Show for 1693). The Triumphs of London. Performed on Monday, Octob. 3oth, 
 1693, for the Entertainment of ... Sir William Ashurst, Knight . . . Containing a 
 True Description of the several Pageants; with the Speeches spoken on each Pageant. 
 All set forth at the proper Costs and Charges of the . . . Merchant-Taylors. Together 
 with the Festival Songs for his Lordship and the Companies Diversion. By E. S. Lon 
 don, 1693. [BM. Cf. Fairholt, pt. i, p. 112; J. G. Nichols, p. 117.] l 
 
 (Show for 1694). The Triumphs of London, Prepared for the Entertainment of ... 
 Sir Thomas Lane, Knight . . . Containing a full Description of the Pageants, Speeches, 
 Songs, and the whole Solemnity of the Day. Performed one [sic] Monday the 29 of 
 October, 1694. Set forth at the Proper Cost and Charges of the . . . Clothworkers. 
 London, 1694. [Gh, BM. Cf. Fairholt, pt. i, p. 113; J. G. Nichols, p. 118.] 
 
 (Show for 1695}. The Triumphs of London. Performed on Tuesday, Octob. 29. 1695 
 for the Entertainment of ... Sir John Houblon, Kt. . . . Containing a True Descrip 
 tion of the Several Pageants; with the Speeches spoken on each Pageant. All prepared, 
 at the proper Costs and Charges of the . . . Grocers. To which is added a New Song 
 
 1 In a letter of 13 July, 1918, Mr. Bernard Kettle, Librarian of Guildhall, London, writes: 
 "... In the recent Huth sale were three of Settle s pageants. Two we already had, but the third, 
 Ashurst s pageant of 1693, we were anxious to secure. The Committee s limit of twenty-five guineas 
 was, however, outbid by one of 28, IDS. a good price for poor Settle s tosh! How he would have 
 jumped at such a price for the original MS., when it is remembered he only received 6 for one of his 
 efforts." 
 
BIBLIOGRAPHY 335 
 
 upon His Majesty s Return. By E. S. Published by Authority. London, 1695. 
 B, BM. Cf. Fairholt, pt. i, p. 113; J. G. Nichols, p. 118.] 
 
 (Show for 1698). Glory s Resurrection; being the Triumphs of London Revived, for the 
 Inauguration of ... Sir Francis Child, Kt. . . . Containing the Description (and also 
 the Sculptures) of the Pageants, and the whole Solemnity of the Day. All set forth at the 
 proper Cost and Charges of the . . . Goldsmiths. Publish d by Authority. London, 
 1698. (Illustrated.) [Gh, BM. Cf. Fairholt, pt. i, p. 114; J. G. Nichols, p. 118. The 
 illustrations are: The Amphitheatre of Union; the Goldsmiths Laboratory; a Trium 
 phant Chariot of Gold, and the Temple of Honour; they are reproduced in Brown, opp. 
 pp. 122, 124, and 126.] 
 
 (Show for 1699). The Triumphs of London, For the Inauguration of ... Sir Richard 
 Levett, Kt. . . . Containing a Description of the Pageants, together with the Publick 
 Speeches, and the whole Solemnity of the Day. Performed on Monday, the 3oth Day of 
 October, Anno 1699. All set forth at the proper Cost and Charges of the . . . Haber 
 dashers. London, MDCXCIX. [Gh, BM. (The prefaces are signed "E. Settle.") Cf. 
 Fairholt, pt. i, p. 115; J. G. Nichols, p. 119.] 
 
 (Show for 1700). The Triumphs of London, for the Inauguration of ... Sir Thomas 
 Abney, Kt. . . . Containing a Description of the Pageants together with the Publicke 
 Speeche[s] and the whole Solemnity of the Day. Performed on Tuesday the 29th of 
 October, 1700. All set forth at the proper Cost and Charges of the . . . Fishmongers. 
 Published by Authority. London, 1700. [Gh. Cf. Fairholt, pt. i, p. 116; J. G. Nichols, 
 p. 119.] 
 
 (Show for 1701}. The Triumphs of London, For the Inauguration of ... Sir William 
 Gore, Kt. . . . Containing a Description of the Pageants, together with the Publick 
 Speeches, and the whole Solemnity of the Day. Performed on Wednesday the 2gth of 
 October, 1701. All set forth at the proper Cost and Charge of the . . . Mercers. Pub 
 lished by Authority. London, 1701. [Gh, B. Cf. Fairholt, pt. i, p. 117; J.G.Nichols, 
 p. 119.] 
 
 (Show for 1702). The Triumphs of London, At the Inauguration of ... Sir Samuel 
 Dashwood, Kt. . . . Containing a Description of the Pageants, the Speeches, and the 
 whole Solemnity of the Day. Perform d on Thursday the 2gth of October. All set 
 forth at the Cost and Charges of the . . . Vintners. Together with the Relation 
 of Her Majesty s Reception and Entertainment at Dinner in Guild-hall. Publish d by 
 Authority. London, 1702. [Gh. Cf. Fairholt, pt. i, p. 118; J. G. Nichols, pp. 84 and 
 119.] 
 
 (Show for 1708). The Triumphs of London for the Inauguration of ... Sir Charles 
 Duncombe, Knight. Containing the Description (and also the Sculptures) of the Pag 
 eants, and the whole Solemnity of the Day. Performed on Friday the 29th of October, 
 Anno 1708. All set forth at the proper Cost and Charge of the . . . Goldsmiths. Pub 
 lished by Authority. London, 1708. [Gh, B, BM. The Chariot of Justice which is 
 the same as the 1698 Chariot of Gold forms the frontispiece of Fairholt s Civic Gar 
 land. The illustrations are: the Temple of Apollo; St. Dunstan; The Chariot of Justice. 
 Cf. on this show, Fairholt, pt. i, p. 122; J. G. Nichols, pp. 119 f. F. C. Brown, p. 126, n. 5, 
 points out that " the Guildhall copy has lost the sculptures, " but that the BM and B 
 copies have the cuts.] 
 Sharp, Thomas. Dissertation on Pageants or Mysteries at Coventry. (Illustrated.) Coventry, 
 
 1825. 
 
 Sharpe, Reginald R., editor. Calendar of Letter-Books, preserved among the archives of the 
 Corporation of the City of London, (n vols.), London, 1899 et seq. 
 
336 BIBLIOGRAPHY 
 
 Sharpe, Reginald R. London and the Kingdom. (3 vols.), London, 1894-95. 
 
 Shaw, Henry, see Munday (sub anno 1616). 
 
 Sherborne, Dorsetshire, Pageant. Louis N. Parker, Master. In celebration of the twelve 
 hundredth Anniversary of the Founding of the Town of Sherborne, &c. By Louis N. Parker. 
 (12-15 J un e, 1905)* Sherborne, 1905. 
 
 Sherwell, John W. A Descriptive and Historical Account of the Guild of Saddlers. [London,] 
 1889. 
 
 Shirley, John. The Triumph of Peace. A Masque presented by the Foure Honourable Houses, 
 or Innes of Court ... a/ White Hall, February the third, 1633. . . . London, 1633. 
 
 Skinners, see Wadmore. 
 
 Smith, J. L., see Lancaster. 
 
 Smith, Lucy Toulmin. The York Plays. Oxford, 1885. 
 
 Smith, Toulmin. English Gilds. [EETS. xl.] With an introductory essay on guilds and 
 trades-unions by Dr. L. Brentano. London, 1870; reprinted, 1902. 
 
 Smith, William, see King. 
 
 [Smith, William]. Of a celebration of the King s Coronation-Day in the famous City of Bathe. 
 A true Narrative in a Letter sent from thence to Dr. Charleton, Physician to his Majestie. 
 London, 1661. [B (Wood, 537.17.)] 
 
 Solemn Mock Procession, see Pope-burning. 
 
 Solloway, Rev. J., and Colonel Saltmarshe, editors. The Historic and Heraldic Guide to the 
 York Pageant. York, 1909. 
 
 Somers, Lord. A Collection of Scarce and Valuable Tracts, &c. Second edition, revised, aug 
 mented and arranged by Sir Walter Scott. (13 vols.) London, 1809-15. 
 
 Songs, Duets, &c. t in the New Pantomine called Lord Mayor s Day, or a Flight from Lapland. 
 As performed at the Theatre-Royal in Covent-Garden. With the Grand Procession, &c. 
 London, printed for T. Cadell, in the Strand, 1783. [Gh] 
 
 Sorgel, A. Die Englischen Maskenspiele. Halle, 1882. 
 
 Spenser Society s collection of Taylor s works " not included in the folio volume of 1630." 
 Five collections (vols. 7, 14, 19, 21, and 25 of the Society s Publications, 1870-78). 
 
 Sprott, Thomas. Chronica. Edited by Thomas Hearne. Oxford, 1719. 
 
 Squire, John. (Show for 1620.) Tes Irenes Trophaa, or the Tryumphs of Peace. That Cele 
 brated the Solemnity of ... Sir Francis lones, Knight, at his Inauguration into the 
 Maioraltie of London, on Monday being the 30. of October 1620. At the particular cost 
 and charge of the . . . Haberdashers. With explication of the seuerall shewes and 
 deuices by I. S. London, 1620. [Gh. Reprinted in Prog. James, iii, p. 619. (The 
 " Epistle Dedicatory " to the Mayor is signed lo. Squire.) Cf. Greg, p. 24; Fairholt, 
 pt. i, p. 46; J. G. Nichols, p. 103; Gent. Mag., for August, 1824, p. 116.] 
 
 Stevens, Frank. " The Giant and Hob Nob and their Story," in the Salisbury Festival Book. 
 Salisbury, 1914. 
 
 Stevens, T. W., see St. Louis. 
 
 Stewart, Horace. History of the Worshipful Company of Gold and Silver Wyre-Drawers. (Illus 
 trated.) London, 1891. 
 
 Stewart, Lila A., see Cincinnati. 
 
 Stone, Sir Benjamin. Festivals, Ceremonies and Customs. Records of National Life and 
 History reproduced from the collection of photographs made by Sir Benjamin Stone, M. P. 
 London, 1906. 
 
 Stow, John. Annales, or a Gener all Chronicle of England. (Black-letter.) London, 1600. 
 Ibid., continued and augmented by Edmund Howes. London, 1615. 
 Ibid., London, 1631. 
 
BIBLIOGRAPHY 337 
 
 Stow, John. Survey of London. Corrected and enlarged by A[nthony] M[unday]. (Black- 
 letter), London, 1618. 
 
 Ibid., corrected and enlarged by John Strype. (2 vols.), London, 1720. 
 Stow s Survey (from the text of 1603) with introduction and notes by C. L. Kingsford. 
 (2 vols.), Oxford, 1908. 
 
 [Stow, John]. Three Fifteenth-Century Chronicles, with historical memoranda by John Stow. 
 Edited by James Gairdner for the Camden Society. [London], 1880. 
 
 Stmtt, Joseph. Horda Angel-cynnan, or, a compleat view of the Manners, Customs &c., of the 
 English people. (3 vols.) Illustrated by 158 plates. London, 1774-76. 
 
 Strutt, Joseph. Sports amd Pastimes of the People of England, &c. London, 1801. 
 Ibid., enlarged and corrected by J. Charles Cox. London, 1903. 
 
 Strype, John, see Stow, Survey. 
 
 Stubbs, Rt. Rev. William, editor. Chronicles of Edward I and II. [Vol. i, includes the Annales 
 Londonienses and the Annales Paulini.] (RS 76) London, 1882-83. 
 
 Sullivan, see O Curry. 
 
 Symonds, John A. Shakespeare s Predecessors. London, 1884. 
 
 Tatham, John. Dramatic Works. Edited by J. Maidment and W. H. Logan. Edinburgh, 
 1879. 
 
 (Show for 1657). London s Triumphs, Celebrated the Nine and twentieth day of this 
 present Month of October, 1657: in Honour to ... Richard Chiverton, Lord Major . . . 
 At the Costs and Charges of the . . . Skinners. By John Tatham, Gent. . . . London 
 [1657, obliterated in the BM copy.] [BM. Cf. Fairholt, pt. i, p. 65; J. G. Nichols, p. 107; 
 Gent. Mag., for December, 1824, p. 514.] 
 
 (Show for 1658.} Londons Tryumph, Presented by Industry and Honour: with Other 
 Delightfull Scaenes, appertaining to them: Celebrated in Honour of . . . Sir John Ireton, 
 Knight, ... on the 2gth day of October, 1658, and done at the Cost and Charges of the 
 . . . Clothworkers. J. Tatham. London, 1658. [Gh, B (2 copies), BM. Cf. Fairholt, 
 pt. i, p. 66; J. G. Nichols, p. 107; Gent. Mag., for December, 1824, p. 514.] 
 
 (Show for 1659). London s Tryumph, celebrated the Nine and Twentieth day of 
 October, in the year 1659. In Honour of the much Honoured Thomas Allen, Lord Mayor. 
 . . . Presented and personated by an Europian, an Egyptian , and a Persian. And done 
 at the Costs and Charges of the ... Grocers. By J. Tatham. London, 1659. [B. Re 
 printed in Heath (3rd edition) appendix, p. 466. Cf. Fairholt, pt. i, p. 67; J. G. Nichols, 
 p. 107; Gent. Mag., for December, 1824, p. 515.] 
 
 (Show for 1660). The Royal Oake, with Other various and delightfull Scenes presented 
 on the Water and the Land, Celebrated in Honour of ... Sir Richard Brown . . . The 
 29th day of October in the 12 Year of his Majesties most happy, happy, Reign, An. Dom. 
 1660. And performed at the Costs and Charges of the ... Merchant-Taylors, Being 
 twice as many Pageants and Speeches as have been formerly showen, by John Tatham. 
 London, 1660. [BM, B. Reprinted, Fairholt, pt. ii, p. 87; cf. ibid., pt. i, p. 68; Gent. 
 Mag., for December, 1824, p. 515, and J. G. Nichols, p. 108.] 
 
 The Several Speeches made to the Honorable Sir Richard Brown, Lord Mayor . . . 
 on Monday the Twenty Ninth Day of October, in the Twelfth Year of His Majesties most 
 happy Reign, Anno Dom. 1660. With the manner of the Celebration of this Triumphant 
 Day; and the various Scenes, Figures and Pageants; Representing the Royal Oak and its 
 Pendant Leaves, that preserv d and enshadow d our Gracious Lord and Sovereign King 
 Charles, from the hands of his Blood-thirsty Enemies. London, 1660. [Gh, C.] 
 
 Londons Glory, Represented by Time, Truth, and Fame: at the Magnificent Triumphs 
 and Entertainment of His most Sacred Majesty Charles the II ... at Guildhall on 
 
338 BIBLIOGRAPHY 
 
 Thursday being the 5th day of July 1660 and in the i2th Year of His Majestie[s] most 
 happy Reign. Together with the Order and Management of the Whole Day s Business. 
 London, 1660. [Gh, B, BM (3 copies), SA, C. Reprinted in his Works, p. 293.] 
 
 (Show for 1661). London s Tryumphs, Presented in several delightfull Scoenes, both 
 on the Water and Land, and Celebrated in Honour to ... Sir John Frederick, Knight 
 and Baronet, Lord Mayor ... At the Costs and Charges of the . . . Grocers. John 
 Tatham. London, 1661. [BM, Gh. Reprinted in Heath (3d edition) appendix, p. 475; 
 cf. Fairholt, pt. i, p. 68; J. G. Nichols, p. 108; Gent. Mag., for December, 1824, p. 516.] 
 
 Aqua Triumphalis; being a True Relation of the Honourable the City of London s 
 Entertaining Their Sacred Majesties upon the River of Thames, and Wellcoming them 
 from Hampton Court to White-hall. Expressed and set forth in several Shewes and 
 Pageants the 23. day of August 1662. Written by John Tatham, Gent. London, 1662. 
 [Gh, BM, B (3 copies).] 
 
 (Show for 1662). London s Triumph: Presented In severall Delightfull Scaenes, both 
 upon the Water and Land: and celebrated in Honour of ... Sir John Robinson . . . 
 Lord Mayor ... at the Costs and Charges of the . . . Cloth workers. London, 1662. 
 [BM, B. Cf. Fairholt, pt. i, p. 71; J. G. Nichols, p. 109; Gent. Mag., for December, 1824, 
 
 P- 5I7-] 
 
 (Show for 1663). Londinum Triumphans. London s Triumphs, Celebrated in Honour 
 of the truly Deserving Sir Anthony Bateman, Knight, Lord Maior . . . and done at the 
 Costs and Charges of the . . . Skinners, the zgth of October, 1663. By John Tatham. 
 London, 1663. [Gh. Cf. Fairholt, pt. i, p. 71; Gent. Mag., for December, 1824, p. 517; 
 J. G. Nichols, p. 109; Wadmore, p. 145.] 
 
 (Show for 1664). London s Triumphs, Celebrated the 2gth of October, 1664. In Honour 
 to the truely Deserver of Honour Sir lohn Lawrence, Knight, Lord Maior . . . and 
 Performed at the Costs and Charges of the . . . Haberdashers. . . . Written by John 
 Tatham, Gent. London, 1664. [BM, B, Gh. Cf. Fairholt, pt. i, p. 71; J. G. Nichols, 
 p. 109; Gent. Mag., for December, 1824, p. 517.] 
 Taubman, Matthew. 
 
 (Show for 1685). London s Annual Triumph: Performed on Thursday Octob. 29. 1685. 
 For the Entertainment of ... Sir Robert Jeffreys, Kt. Lord Mayor . . . With a de 
 scription of the several Pageants, Speeches and Songs, made proper for the occasion. All 
 set forth at the proper Costs of the . . . Ironmongers. Composed by Matt. Taubman. 
 London, 1685. [BM, B. Cf. Malcolm, ii, p. 45; Fairholt, pt. i, pp. 100 f., and p. 174; 
 J. G. Nichols, p. 115. The pamphlet is reprinted from the Bodleian copy by Nicholl, 
 pp. 306 f.] 
 
 (Show for 1686). London s Yearly Jubilee: Perform d on Friday, October xxix. 1686. 
 For the Entertainment of ... Sir John Peake, Knight, Lord Mayor . . . With a 
 Description of the several Pageants, Speeches and Songs, made proper for the Occasion. 
 All set forth at the proper Costs and Charges of the ... Mercers. Composed by M. 
 Taubman. London, 1686. [Gh, B (2 copies), BM. Cf. Fairholt, pt. i, p. 102; J. G. 
 Nichols, p. ii5f.] 
 
 (Show for 1687}. London s Triumph, or the Goldsmiths Jubilee: Performed on Saturday, 
 October xxix, 1687, For the Confirmation and Entertainment of ... Sir John Shorter, 
 Kt., Lord Mayor . . . Containing a Description of the several Pageants and Speeches 
 made, proper for the occasion. Together with a Song, for the Entertainment of His 
 Majesty, who, with His Royal Consort . . . honour his Lordship, this year, with their 
 Presence. All set forth at the proper Costs and Charges of the ... Goldsmiths. By M. 
 Taubman. London, 1687. [Gh (2 copies), B (2 copies), BM. On the title-page of the 
 
BIBLIOGRAPHY 339 
 
 BM copy is a pencilled " excessively rare " ; also the following MS. note a propos of Shorter: 
 " He had a new Quarter to his Arms giuen him by K. lames 2d. for receiving the Pope s 
 nunc[io]. He was Grandfather] to Catherine first wife of Sir R. Walpole Earl of Or- 
 ford." On this show see also, Hone, pp. 257 f. ; Fairholt, pt. i, p. 103 ; J. G. Nichols, p. 116.] 
 (Show for 1688). London s Anniversary Festival, Performed on Monday, October the 
 29th, 1688. For ... Sir John Chapman, Kt. Lord Mayor . . . Being Their Great Year 
 of Jubilee. With a Panegyrick upon the Restoring of the Charter. And a Sonnet pro 
 vided for the Entertainment of the King. By M. Taubman. . . . London, 1688. [B (2 
 copies). Cf. Hone, p. 260; Fairholt, pt. i, p. 105; J. G. Nichols, p. 116.] 
 
 (Show for 1689). London s Great Jubilee; Restor d and Perform d on Tuesday, 
 October the 2gth, 1689. For the Entertainment of ... Sir Thomas Pilkington, Kt. 
 Lord Mayor . . . Containing a Description of the several Pageants and Speeches, To 
 gether with a Song, For the Entertainment of Their Majesties, who . . . Honour his 
 Lordship with their Presence. All set forth at the proper Cost and Charges of the . . . 
 Skinners. By M. T. London, 1689. [BM (2 copies, one imperfect), B (2 copies one 
 incomplete), Gh. The BM has three subsequent editions of the pamphlet, which was 
 reprinted in Somers Tracts (1751) Third Coll., iii, p. 33; ibid. (2d edition, 1814), xi, p. 584. 
 Cf. also Fairholt, pt. i, p. 107; J. G. Nichols, pp. 116 f.] A reprint of this show was made 
 in 1761: 
 
 A Description of the Several Pageants Exhibited on the 29th Day of October, 1689, 
 Being the Day on which the late Sir Thomas Pilkington, Knt. Entered a Second Time on 
 his Mayoralty . . . also two Songs, One to their then Majesties and the other to the Lord 
 Mayor. The Whole being design d for the Entertainment of King William and Queen 
 Mary . . . was done at the sole Expense of the . . . Skinners: And is now published for 
 the perusal of the several Companies of London, agreeable to the Recommendation of 
 ... Sir Matthew Blackiston, Knt. Lord-Mayor, and the Court of Common Council, held 
 on Saturday the 3d of October, 1761, to the Livery Companies of the said City, for the 
 Entertainment of their present Majesties, on Monday the gth Day of November next, 
 being the Day on which Sir Samuel Fludyer, Knt. and Bart. Lord Mayor elect will enter 
 on his Mayoralty. [London, 1761.] [BM, SA] 
 
 Taylor, Arthur. The Glory of Regality. London, 1820. 
 
 [Taylor, John]. A Brief Description of the Burrough and Town of Preston, and its Government 
 and Guild, originally composed between the years 1682 and 1686. With occasional notes by 
 John Taylor. Preston, 1818. 
 
 Taylor, John, see Spenser Society. 
 
 (Show for 1634). Triumphs of Fame and Honour [for Robert Parkhurst of the Cloth- 
 workers Company. This is mentioned in Greg, p. 25; J. G. Nichols, p. 105; Gent. Mag., 
 for November, 1824, p. 413, and Fairholt, pt. i, p. 57. It is not included in the Spenser 
 Society collections of Taylor s works " not included in the folio volume of 1630." I have 
 not seen a copy of this pamphlet, nor had Fairholt.] 
 
 England s Comfort and London s Joy, &c. London, 1641. [8 pp., including "Verses 
 presented to the King s own Hand by John Taylor." Illustrated with three woodcuts, 
 showing the entry of Charles I from Scotland on 25 November, 1641.] [B (2 copies); 
 reprinted in the Spenser Society s collection, iv, no. 7.] 
 
 Taylor Collection of Broadsides. In the Guildhall Library. 
 
 Ten Brink, Bernard. Geschichle der Englischen Liter atur. (2 vols.), i, Berlin, 1877; ii, S trass- 
 burg, 1893. [See ii, p. 306, for mention of pageants.] 
 
 Thetford, Vermont, Pageant. W. C. Langdon, Master. 12, 14, and 15 August, 1911. Book of 
 Words. White River Junction, 1911. 
 
340 BIBLIOGRAPHY 
 
 Thomas of Chester, see Chestre. 
 
 Thompson, E. M., editor. See Chronica Roberti de Avesbury [s. v. Avesburyj; and Murimuth. 
 
 Thomson, Richard. Chronicles of London Bridge. London, 1827. 
 
 Tingey, J. C., see W. Hudson. 
 
 Toland, John. Miscellaneous Works. (2 vols.), London, 1747. 
 
 [Torkington, Sir Richard]. Ye oldest Diarie of Englysshe Travell: Being the hitherto unpub 
 lished narrative of the pilgrimage of Sir Richard Torkington to Jerusalem in 1527 . . . 
 Edited, from Addl. MSS. 28561 and 28562, by W. J. Loftie. London [1884]. 
 
 Tracy, G. L., see Marblehead. 
 
 Trevelyan, Marie. Folk-Lore and Folk-Stories of Wales. With an introduction by E. Sidney 
 Hartland. London, 1909. 
 
 Triumphs of London, the. Performed on Monday October xxix, 1683. for the entertainment 
 of ... Sir Henry Tulse, Knight . . . London, 1683. [Gh, B. In pencil on the title- 
 page of the Gh copy is written " by Thomas Jordan, city poet." The pamphlet is not 
 attributed to Jordan in the catalogue of the Bodleian. See Jordan (sub anno 1683.)] 
 
 Troia Nova Triumphans, see Dekker (sub anno 1612.) 
 
 Tudor Tracts, 1532-88. With an introduction by A. F. Pollard. Westminster, 1903. 
 
 Tuetey, Alexandre, editor. Journal d un Bourgeois de Paris (1405-49). Edited for the Societe 
 de 1 Histoire de Paris. Paris, 1881. 
 
 Tyrrell, Edward, editor. A Chronicle of London from 1089 to 1483. London, 1827. 
 
 Udal, J. S. " Christmas Mummers in Dorsetshire," in F oik-Lore Record (for 1880, pp. 87 f.). 
 
 Udall, Nicholas, and John Leland. Verses for the entry of Anne Boleyn in 1533, reprinted in 
 Arber, Eng. Garner, ii, pp. 52 f.; Ballads from MSS. (edited by Furnivall), i, pp. 364 f.; 
 Tudor Tracts, 1532-1588, pp. 20 f . 
 
 Underbill, Edward. His account of the progress through London of Queen Mary before her 
 Coronation is printed in Arber, English Garner, iv, pp. 84 f. 
 
 Unwin, George. The Gilds and Companies of London. London, 1908. 
 
 Veiled Prophet, The, see St. Louis. 
 
 [Victoria]. The Visit of Queen Victoria to the City of London on ... 9 November, 1837. Col 
 lected by F. Hobler, 1836. [Gh, MS. 36.} 
 
 Vulson, Marc de. Le Vray Theatre d Honneur el de Chevalerie. (2 vols.), Paris, 1648. [SA] 
 
 Wadmore, James F. Some Account of the Worshipful Company of Skinners of London. . . . 
 London, 1902. 
 
 Walker, Joseph C. " An Historical Essay on the Irish Stage," in Trans. Royal Irish Academy 
 [ii, 3, PP- 75 f -l Dublin, 1788. 
 
 Wallace, C. W. " The Evolution of the English Drama up to Shakespeare," in Schriften der 
 Deutschen S hakes peare-Gesellschaft. [Vol. iv.] Berlin, 1912. 
 
 Walpole, Horace. Miscellaneous Antiquities, &c. (No. i.), Strawberry Hill, 1772. [BM, 188. 
 a. 15.} 
 
 Walsingham, T. Historia Anglicana. Edited by H. T. Riley. (RS 28) London, 1863. 
 
 Ward, Sir A. W. The History of English Dramatic Literature. (2 vols.), London, 1875. 
 Ibid. (3 vols.), London, 1899. 
 
 Ward, Edward. The London Spy. Fourth edition. London, 1709. 
 
 Warton, T. The History of English Poetry. Edited by W. Carew Hazlitt. (4 vols.), London, 
 1871. 
 
 Warwick Pageant. 2-7 July, 1906. Louis N. Parker, Master. In Celebration of the Thou 
 sandth Anniversary of the Conquest of Mercia by Queen Ethelfleda. Invented and arranged 
 by Louis N. Parker. Warwick [1906]. 
 
 Watermen, see Humpherus. 
 
BIBLIOGRAPHY 341 
 
 Webb, William, see King. 
 
 Webster, John. Works. Edited by Rev. Alexander Dyce. (4 vols.), London, 1830. 
 Dramatic Works. Edited by William Hazlitt. (4 vols.), London, 1857. 
 (Show for 1624). Monuments of Honor. [For John Gore, of the Merchant-Taylors 
 
 Company. I have not seen a copy of this pamphlet, which is reprinted in his Works 
 
 (1857, iii, p. 225.) Cf. Greg, p. 25.] 
 Weir, Hugh C. "The Hudson-Fulton Pageant," in The World To-Day, for November, 
 
 1909. 
 Welch, Charles. The History of the Worshipful Company of Pewterers of the City of London, 
 
 based upon their own Records. (2 vols.), London, 1902. 
 West Dorset Historical Pageant. Rev. C. F. Langford, Master. Bradpole, near Bridport, 
 
 Dorset, 20-22 July, 1911. Book of Words. (A. M. Broadley and H. Pouncy.) Bridport, 
 
 1911. 
 Westminster, Matthew of. Flores Historiarum. Edited by H. R. Luard. (RS 95) London, 
 
 1890. 
 
 Wheatley, H. B., see Pepys. 
 Whitelocke, Bulstrode. Memorials of the English Affairs during the Reign of King Charles the 
 
 First, &c. London, 1732. 
 [William III]. An Account of His Most Excellent Majesty s Splendid Reception into the famous 
 
 City of London; together with His Royal Entertainment in and through the said City on 
 
 Tuesday the i6th of this Instant November, 1697. [Gh, Broadsides 7.17.] 
 Williams, Benjamin, editor, see Gesta Henrici Quinti. 
 Williams, William M. Annals of the Worshipful Company of Founders of the City of London. 
 
 [London, 1867.] 
 Winchester National Pageant. F. R. Benson, Master. Wolvesey Castle, 25-30 June, 1908. 
 
 The Book of the Words and Music. Winchester, 1908. 
 Withington, Georgiana B. A Children s Parade, n. p., n. d. [1915] [HL] 
 Withington, Robert. " The Lord Mayor s Show for 1623," in Publ. Mod. Lang. Assoc. for 
 
 March, 1915. 
 Withington, Robert. " Queen Margaret s Entry into London, 1445," in Modern Philol. for 
 
 May, 1915. 
 Withington, Robert. A Manual of Pageantry. Indiana University Bulletin [xiii, no. 7.] 
 
 Bloomington (Indiana), June, 1915. 
 Withington, Robert. " After the Manner of Italy," in Journ. Eng. Germ. Philol. for July, 
 
 1916. 
 Withington, Robert. " The Early Royal-Entry," in Publ. Mod. Lang. Assoc. for December, 
 
 1917. 
 Withington, Robert. " The Lord Mayor s Show for 1590," in Mod. Lang. Notes for January, 
 
 1918. 
 
 Withington, Robert. " A Civic Triumph circa 1700," in Journ. Eng. Germ. Philol. for Janu 
 ary, 1918. 
 Withington, Robert. " A Note on A Fragment of a Lord Mayor s Pageant, " in Modern 
 
 Language Notes for December, 1919. See the paper by Elizabeth D. Adams in Modern 
 
 Language Notes for May, 1917, pp. 285 ff. 
 
 Wolgemuth, Fritz. Riesen und Zwerge in der altfr. Erzahlenden Dichtung. Stuttgart, 1906. 
 Wright, Thomas, editor, see Maidstone. 
 Wriothesley, Charles. A Chronicle of England during the Reigns of the Tudors. (1485-1559.) 
 
 Edited for the Camden Society by William D. Hamilton. (2 vols.), London, 1875-77. 
 Wy re- Drawers, see Stewart. 
 
342 BIBLIOGRAPHY 
 
 [Yale Pageant], The Book of the Yale Pageant. 21 October, 1916. In Commemoration of the 
 Two Hundredth Anniversary of the Removal of Yale College to New Haven. Edited 
 by George Henry Nettleton. New Haven, 1916. 
 
 [Yale Pageant]. The Yale Alumni Weekly for 27 October, 1916. (New Haven.) [Francis H. 
 Markoe was the Pageant Master.] 
 
 [Yale Pageant]. See Brian Hooker. 
 
 York. See Davies, F. Drake, L. T. Smith, and Solloway. 
 
 York Historical Pageant. Louis N. Parker, Master. 26-31 July, 1909. Book of the Words. 
 [York, 1909.] 
 
 [York]. The Book of the York Pageant. Containing: C. E. Pascoe s description of the Pag 
 eant; " The Music of the Pageant," by R. S. Rose; " The Genesis and Evolution of 
 Christianity," by the Rev. Dr. Solloway; " Ecclesiastical Costumes," by the Right Rev. 
 Prior Cummins; " Sources of Costume Design," by Major and Mrs. Lindberg; " The 
 Armorial Bearings of the Old Craft Guilds," by T. P. Cooper; " Norman and Plantage- 
 net Armour and Arms, and Heraldry of the Pageant," by Colonel Saltmarshe. York, 
 1909. 
 
 Young, Sidney. The Annals of the Barber-Surgeons of London, compiled from their Records and 
 other sources. . . . London, 1890. 
 
 NOTE : Recent English Pageants are pictured in the Illustrated London News (English 
 
 edition) as follows: 
 
 Army (1910): 25 June, pp. 1016-19; 1021. 
 Bath (1909): 24 July, p. iv (supplement). 
 Bury St. Edmunds (1907): 6 July, pp. 18-19. 
 Cardiff (Wales) (1909): 31 July, pp. i and iv (supplement). 
 Chelsea (1908): 27 June, pp. 952-953. 
 
 Chester (1910): 16 July, p. 99; (" Behind the Scenes," 23 July, p. 144). 
 Colchester (1909): 19 June, pp. ii-iv (supplement). 
 Dover (1908): 25 July, p. 117. 
 English Church (1909): 5 June, p. 809; 12 June, p. 843; 19 June, p. i (supplement); 
 
 p. 880 (G. K. Chesterton as Dr. Johnson.) 
 Gloucestershire (1908): n July, p. 43. 
 Liverpool (1907): 10 August, p. 191. 
 London (1911): 13 May, pp. 682-683; 20 May, p. 740. 
 Oxford (1907): 6 July, p. 3. 
 Pevensey (1908): 18 July, p. 79. 
 Porchester (1907): 6 July, p. 17. 
 St. Albans (1907): 13 July, p. 70; 20 July, pp. 98-99. 
 Sherborne (1905): 10 June, pp. 814-815. 
 Wales, see Cardiff. 
 
 Warwick (1906): 30 June, pp. 974-975. 
 
 Winchester (1908) : 27 June, pp. 956-957. ("A Rehearsal" is pictured 23 May, p. 741.) 
 York (1909): 31 July, pp. ii, iii (supplement). 
 
INDEX 
 
INDEX 
 
 THE NAMES OF CHARACTERS IN PAGEANTS ARE IN ITALICS 
 
 Ab, the Cave Dweller (Boston, 1910), ii, 266; ii, 268. 
 
 Abbey Gates (Chester), i, 162. 
 
 Abbeville, Mary, Queen of Louis XII at, (1513), i, 
 
 171. 
 
 Abbot of Melrose (Ripon, 1886), ii, 160. 
 Abbot with model of Westminster Abbey (London, 
 
 1907), ii, 133- 
 
 Abbot s Bromley, Horn Dance at, ii, 162, n. i. 
 Abel, Lord Kelly, music by, in the 1783 panto 
 mime, ii, 101. 
 Aberdeen, pageantic processions at, i, 33 ; Bruce 
 
 at, i, 57; i, 79; i, 170; Margaret at, (1511), i, 
 
 170. 
 
 "Abhorrer," an (London, 1680), ii, 173. 
 Abney, Sir Thomas, Mayor of London (1700), ii, 
 
 68. 
 
 Abolition (Norristown, 1912), ii, 250. 
 Abraham, an historical figure, i, 78; Battles of 
 
 the Plains of (Quebec, 1008), ii, 263. 
 Abraham in Whitsun plays at Chester, i, 44, n. 6; 
 
 (Paris, 1408), i, 163. 
 Abstractions personified in the 1585 Show, ii, 24; 
 
 the susceptibility of the age to, ii, 296. 
 Abundance (Stuttgart, 1609), i, 99. 
 Academic costume in a Paris "entry" (1498), i, 
 
 164. 
 
 "Academy of Sciences" (1681), ii, 83. 
 Accident at tournament, (1331) i, 91. 
 Accuracy of detail, the value of, in the modern 
 
 pageant, ii, 201, and n. 2; in reproducing 
 
 history essential, ii, 279 f ; historical, in the 
 
 Marietta Pageant, ii, 258, n. 3. 
 Achilles of Iceland (London, 1522), i, 177. 
 Acrobat at St. Paul s (1547), i, 186 f.; i, 187, n. i. 
 
 (i553), i, 188; i, 189; (1554), i, 193 f.; i, 
 
 194, n. i. 
 
 Acrobatic "wild-men" (Paris, 1431), i, 139. 
 Activity of the London guilds, i, 150, n. 5; i, 154 f. 
 Acts against pageantry in Massachusetts, ii, 176 f. 
 Adam (Aberdeen, 1511), i, 170; (Bruges, 1468), 
 
 i, 152; (Dublin, 1528), i, 179; at Preston, 
 
 i, 34, andn. 7; i, 78. 
 Adams Hill (Knutsford), ii, 154, n. 4. 
 Adams, Samuel (Boston, 1897), ii, 261, n. i. 
 Adams, Sir Thomas, on a civic committee, i, 247. 
 Addison (Oxford, 1914), ii, 203, n. i. 
 Adelaide at Leicester (1839), i, 256. 
 Admiral, An (Knutsford, 1913), ii, 154. 
 Adrian, horse of, hired, at Norwich, i, 26, n. 5. 
 
 Adulation (London, 1559), i, 201. 
 Adventure (London, 1622), ii, 75. 
 ^Eneas, great-grandfather of Brutus, i, 58. 
 JEneas (London, (1908), ii, 135; (Winchester, 
 
 1908), ii, 225. 
 
 ^Eolian Hall (New York), ii, 287. 
 ^Eolian Harp, the, idealized (New York, 1909), ii, 
 
 244, n. i. 
 F^Eschirol, Mr., organist of Cathedral of Avignon, 
 
 i, 220. 
 
 "aesthetic" pageant, the, ii, 195. 
 Africa (Knutsford, 1913), ii, 153; London, 
 
 1657), ii, 47; (London, 1658), i, 82, n. 2; ii, 75; 
 
 (London, 1661), 1,245; (London, 1671), 1,82, 
 
 n. 2; (London, 1674), i, 82, n. 2; (London, 
 
 1850), ii, 115; (London, 1919), ii, 141; 
 
 (St. Louis, 1892), ii, 253, n. 6. 
 Agility (London, 1684), ii, 62. 
 Agincourt, Henry V returns from, i, 132 f.; a 
 
 scene in the Pageant of Wales at, ii, 199, n. i. 
 Aglaia (London, 1591), ii, 26; (London, 1533), 
 
 1,183- 
 
 Agnites (London, 1605), ii, 29, n. 2. 
 Agreement ("Bon Accord", Paris, 1513), i, 171. 
 Agricultural Car (London, 1814), ii, 163. 
 Agriculture (Antwerp, 1803), i, 255; (Edin 
 burgh, 1908), ii, 214; (Keene, 1913), ii, 271, n. 4. 
 Aims, the, of modern pageants see purpose. 
 Aix, St. Christopher at, i, 55, n. 2. 
 Aix-en-Provence, " Jeux de la Fte-Dieu," at, 1474, 
 
 i, 94, n. 7. 
 
 Ajax (Winchester, 1908), ii, 225. 
 "Aladdin in the Cave" (St. Louis, 1888), ii, 253, 
 
 n. 5. 
 Albania personified, (London, 1605), i, 82, n. 2; ii, 
 
 28; ii, 75. 
 Albany, Duchess of, pageant given by, makes a 
 
 profit, ii, 206. 
 
 Albert, Prince, pictured at Belfast (1914), ii, 181. 
 Albion (London, 1605), i, 82, n. 2; (London, 
 
 (1691), ii, 75. 
 
 Albmusard (London, 1432), i, 145. 
 Albyna and her "demon brood," i, 58, n. 2. 
 Alden, David, his family (Plymouth, 1896), ii, 259; 
 
 ii, 260; John, (Plymouth 1896), ii, 259; ii, 
 
 260; Priscilla (Plymouth, 1896), ii, 259; ii, 
 
 260. 
 Aldermanic records, items from, (1676-1679), ii, 
 
 55 f- 
 
 345 
 
INDEX 
 
 Aldermen represented by lamps (1619), ii, 81. 
 
 Aldgate, (London), i, 37; i, 188; i, 244. 
 
 Aldrich, John, Mayor of Norwich, i, 35, n. 2; 
 prepares a pageant in 1563 at Norwich, ii, 19, 
 and n. 5. 
 
 Ale/rid, Prince (Ripon, 1886), ii, 160. 
 
 Alexander III of Scotland, i, 103; VII, Pope, 
 i, 17, n. 6. Alexander (image of), in a triumph at 
 Alexandria, i, 17, n. 6; personified (Bruges, 
 1515), i, 173; (Coventry, 1456), i, 150; 
 (London, 1621), ii, 73; ii, 79, n. 5; (Paris, 
 1431), i, 138, n. 4; (Stuttgart, 1609), i, 99. 
 
 Alexander, see also Worthies. 
 
 "Alexander s wedding " shown at Bruges (1468),!, 
 152. 
 
 Alexandria, triumphs at, i, 17, n. 6; i, 72, n. 5. 
 
 Aleyn, Sir Thomas, on a civic committee, i, 247. 
 
 Alfonso the Great at Naples, (1443) i, 147, n. 2. 
 
 Alfred, King, in Christmas plays, i, 7, n. i; 
 (Ripon, 1886), ii, 161; (Sherborne, 1905) ii, 
 210. 
 
 "Alice in Wonderland" (Knutsford, 1913), ii, 154; 
 
 scenes from (St. Louis, 1888), ii, 253, n. 5. 
 Allegorical characters, i, xvi; explanation of 
 
 Scriptures, i, 80; figures in pageants, i, 80 ff.; 
 
 "picture," an, at Keene, ii, 271; signifi 
 cance given former mayors by Middleton, ii, 78, 
 and n. 4; "transparencies" (London, 1814), 
 ii, 162. 
 
 Allegory, i, xvii; i, xviii; i, 14, n. i; i, 58, n. i; 
 i, 80; i, 107; i, 108; i, 109; i, no; i, 115 f.; i, 
 136, n. i; i, 141 f., and notes; i, 143; i, 144; i, 
 159, n. 3; i, 207; ii, 25; ii, 77 f.; ii, 78 f.^ ii, 79, 
 n. 2; ii, 84, n. 6; ii, 100; ii, 115; ii, 130; ii, 161; 
 ii, 188; ii, 189; ii, 212; ii, 213; ii, 214; ii, 222; 
 ii, 223; ii, 239; ii, 251; ii, 253, notes; ii, 255; 
 ii, 273; ii, 274, n. i; ii, 275; ii, 282, and n. i; 
 ii, 284; ii, 285; in the "royal-entry," chs. 
 iii, iv, and v, passim; in the civic shows, ch. vi, 
 passim; in American pageants, ch. ix, passim. 
 See also the names of the qualities personified. 
 
 L Allegro (London, 1908), ii, 135. 
 
 Allen, "servant to the young prince," takes part 
 of Genius (1604), i, 224, and n. 2. 
 
 Allen, John (London, 1783), ii, 100. 
 
 Allen, Richard, paid by Ironmongers (1534), i, 41, 
 n. i. 
 
 Allied Sovereigns at London (1814), ii, 162, n. 6. 
 
 Allied States personified (London, 1919), ii, 141; 
 represented by folk-dances, ii, 289. 
 
 All Saints Day, mayor s pageants shown on (1605), 
 ii, 29. 
 
 Alma, veterans of, in the 1890 Show, ii, 125. 
 
 Alma Mater (Boston, 1908), ii, 282. 
 
 Aloth of Denmark (London, 1522), i, 177. 
 
 Alphonso (London, 1501), i, 167, and n. 5; (Lon 
 don, 1522), i, 178. 
 
 Alsopp, William, paid because the George was not 
 ridden (Leicester, 1543), i, 30. 
 
 Alteration of Lord Mayor s Day to 9 November, 
 
 ii, 93- 
 
 Altdorf, play of Tell at, ii, 197. 
 
 Amador, in a romantic tournament, i, 75, n. 3. 
 
 Amazons at Lille, (1436) i, 88; in a tilt (1594), 
 i, 218, n. 7. 
 
 Ambition (London, 1618), ii, 38. 
 
 America, pageantry in, ch. ix (ii, 235 ff.); pag 
 eantry of, compared with that of England, ii, 
 232 f. 
 
 America (Knutsford, 1913), ii, 153; (London, 
 1657), ii, 47; (London, 1661), i, 245; (Lon 
 don, 1672), ii, 53; (London, 1674), i, 82, n.2; 
 
 (London, 1850), ii, 115; (London, 1919), 
 ii, 141; (St. Johnsbury, 1912), ii, 270; (St. 
 Louis, 1886), ii, 253, n. 4; (St. Louis, 1892), 
 ii, 253, n. 6; (Thetford, 1911), ii, 270; 
 Spirit of (Boston, 1910), ii, 268; (Taunton, 
 
 1911), ii, 270. 
 
 American committee on the Pilgrim Tercentenary 
 named, ii, 277; fleet defeated in a mock-fight 
 (1814), ii, 162; history, scenes from, (St. 
 Louis, 1886), ii, 253, and n. 4; pageants, alle 
 gory in, i, 80; ii, ch. ix; town, a, represented 
 in the first "modern pageant," ii, 204; ii, 211; 
 towns, represented in English pageants, ii, 215, 
 and n. 2. 
 
 American Universities (Boston, 1908), ii, 282. 
 
 Americas, the, represented by savages (1853), u > 
 117. 
 
 Amicus (Stuttgart, 1609), i, 99. 
 
 Amity (London, 1671), ii, 51; (Paris, 1513), i, 
 171. 
 
 Amory, Robert, planner of the Chester (1610) 
 Show, i, 229, n. 2; i, 230, n. i. 
 
 Amphion (London, 1561), ii, 18, n. 2; ii, 19, n. i; 
 ii, 73, n. 2; (London, 1610), i, 231. 
 
 Amphitrite in Grays Inn masque (1594), i, 218; 
 (London, 1605), ii, 28; (London, 1628), ii, 39; 
 
 (London, 1685), ii, 63. 
 
 Amsterdam, pageantic procession at, (1910), ii, 
 
 163. 
 
 Anachronisms, J. C. L. Clark on, ii, 280. 
 Ancestors of Henri IV in a pageantic reception at 
 
 Avignon (1600), i, 220. 
 Ancient armor displayed at Coventry, ii, 167, n.a; 
 
 Herald (London, 1822), ii, 108; (London, 
 1828), ii, 109; (London, 1843), ii, 112, n. i; 
 (London, 1847), ii> I3[ 3> Knights (London, 
 1822), ii, 108; (London, 1828), ii, 109; 
 (London, 1833), ii, no; (London, 1841), ii, 
 in; (London, 1843), ii> II2 > n - *> (London, 
 1844), ii, 113, n. i; (London, 1847), "> JI 3J 
 of 1850, ii, 115, n. 2; ridiculed (1850), ii, 115; 
 and the old soldier, ii, 126. See also "men in 
 armor," and "armed men." 
 
 Andher of Orkney (London, 1522), i, 177. 
 "An Dhord Fhiann" (New York, 1913), ii, 272; ii, 
 2QS- 
 
INDEX 
 
 347 
 
 Androgeus (London, 1783), ii, 98. 
 
 Angel, an (Paris, 1596), i, 219; and falcon (Lon 
 don, 1533), i, 182 f., and n. 6; in pageant of 
 St. Thomas at Canterbury, i, 34; of Peace, the 
 (Little Compton, 1914), ii, 251. 
 
 Angels, "raw material" of allegory, i, xvi, in 
 "royal-entries," i, 195, represent de Medici 
 cardinals (Avignon, 1600), i, 220, (Bristol, 
 1461), i, 152, Coventry "followers" perhaps 
 originally, ii, 168, n. 2, (Coventry, 1456), i, 
 149; (Coventry, 1511), i, 170; (Edinburgh, 
 1503), i, 169; (Edinburgh, 1908), ii, 223; 
 (London, 1392), i, 130; i, 131; (London, 
 1421), i, 138; with St. Margaret (London, 
 1445), i, 148; (London, 1487), i, 161; 
 (London 1501), i, 167; i, 168; (London, 
 1522), i, 178; (London, 1661), i, 243, n.i; 
 in St. George procession at Norwich, i, 26, n. 4; 
 i, 27, and n. 3; (Paris, 1437), i, 141, n. i;- 
 (Reggio, 1453), i, 148, n. 4; (Valenciennes, 
 1330), i, 94J (Venice, 1517), i, 22, n. 6;- 
 in castles (London, 1415), i, 132, n. 4; i, 134; i, 
 I35> n - 3; mechanical, (London, 1377), i, 128; 
 
 (London, 1392), i, 130; (London, 1415), i, 
 I35> n. 3; (London, 1553), i, 188; (York, 
 1486), i, 159, n. 3. 
 
 "Anglo-Japanese Alliance, The," an emblematic 
 float (1902), ii, 129. 
 
 d Angoulesme, Monsieur, takes part in a wedding 
 masque, i, 98. 
 
 Anhalt, Prince of, at civic show (1610), ii, 30. 
 
 Animals, i, xvi; i, xix; ch. i, 6; of Antwerp, 
 the, i, 255; used with political significance 
 (Boston, 1912), ii, 255; boys dressed as, in 
 folk-plays, i, 17; pageantic and heraldic (Bru 
 ges, 1468), i, 152; in Chester midsummer 
 shows, i, 44 ff., and notes; pageantic, revived 
 at Chester (1910), ii, 224; of chivalric fiction 
 in "royal-entries," i, 196; combined with 
 heraldry, i, 196; from arms of Companies 
 often represented, ii, 72 and n. 2; in court 
 disguisings i, 101 f.; i, 102 and note i; in 
 church processions, i, 64; in Continental pro 
 cessions, i, 64, n. 4; in folk-celebrations, i, 64; 
 
 folk-custom, and heraldry, i, 121; influ 
 ences of romances, pageantry, and the masque 
 on, i, 121 ; in Italy, i, 64, n. 4; at Kenil- 
 worth (1575), i, 69; i, 209 and n. i; (London, 
 1298), i, 124; with St. John the Baptist on a 
 Grocers pageant (London, 1392), i, 131; 
 (London, 1415), i, 133; draw a pageant into 
 the hall at a wedding masque (1501), i, 113; 
 of lead (London, 1501), i, 168; draw a pag 
 eantic forest at court (1511),!, 115; ina pag 
 eantic forest (1511), i, 115; mechanical (Lon 
 don, 1522), i, 177; tamed by Orpheus (London, 
 1554), i, 193; (London, 1610), i, 230; in 
 water- triumph (1616), i, 233 f.; with Orpheus 
 (1619), ii, 73; (fur-bearing) in the 1628 Show, 
 
 ii, 39 f.; in the 1656 Show, ii, 46; (1657), ii, 
 47; pageantic, in "boscage" (London, 1661), 
 i, 246; (London, 1662), i, 248; .protected 
 by a lion (London, 1664), ii, 84; for a Skinner 
 (1671), ii, 51; represent the continents, (Lon 
 don, 1850), ii, 115; at May-day, i, 65, and n. i; 
 
 in Midsummer Shows, i, 44 f . ; i, 47 ; i, 64f ; 
 
 (Munich, 1662), i, 118; in pageant and 
 romance, ch. i, 6, (i, 64 ff.); in romances, i, 
 66; (Paris, 1498), i, 164; (Rouen, 1558), i, 
 98; primitive (St. Louis, 1878), ii, 253, n. 2; 
 (Stuttgart, 1617), i, 234; with trade-significa 
 tion, i, 196; "raw material" of trade-sym 
 bolism, i, 64. 
 
 Anjou (London, 1509), i, 170. 
 
 Anne of Bohemia received with pageantry at Lon 
 don (1382), i, 129; pleads for the citizens 
 (1392), i, 130; Boleyn, at London (1533), i, 
 81; i, iSoff.; ii, 10; greeted by 200 children 
 ( x 533)1 i> J 84; jousts following the coronation 
 of, i, 97; subtleties for (1533), i, 84; (Lon 
 don, 1559) i, 200; of Cleves at London (1540), 
 i, 185; of Denmark at Edinburgh, 1590, i, 
 215; spectator at a tilt (1594), i, 218, n. 7; 
 received at Cawsome House (1613), i, 209, n. 6; 
 
 (Ripon, 1886), ii, 161; (York, 1909), ii, 
 224, n. 7; Queen, and her consort invited to 
 dine with the mayor (1702), ii, 69, n. 3; at 
 Guildhall (1702), i, 253. 
 
 "Annunciation" (Paris, 1431), i, 140. 
 
 Antelope, i, 45, n. 5; (Chester, 1910), ii, 224; 
 (London, 1432), i, 144; and lion (London, 
 1415), i, 133; in 1511 joust, i, 115. 
 
 Antigonus, i, 55, and n. 2. 
 
 "Antiopa Justificata," i, 118. 
 
 "Antiques and horribles," i, xv; ii, 252. 
 
 Antiquity (London, 1619), ii, 81; (London, 
 1621), ii, 78, n. 4; (London, 1622), ii, 79. 
 
 Antwerp, Antigonus at, i, 55, and n. 2; "Groote 
 Ommeganck" of, i,24, n. 2; i, 55, n. 2; i, 64, n.4; 
 i, 254; founding of, the legend concerning, i, 
 254, n. 4; Napoleon at (1803), i, 254 f.; 
 older pageantry at, i, 255 ; Victoria and Albert 
 at (1843), ^ 256. 
 
 Apollo usually accompanied by minstrels, ii, 84; 
 (Avignon, 1600), i, 220; (Edinburgh, 1633), 
 i, 237; (London, 1533), i, 182, and n. 5; in 
 a 1572 masque, at Whitehall, i, 117; i, 205, n.i; 
 
 (London, 1661), i, 243, n. i; (London, 
 1672), ii, 53; (London, 1685), ii, 63; or 
 Cupid (London, 1761), ii, 95; with the Mu 
 sicians (London, 1783), ii, 99; (London, 1904), 
 ii, 130; (Paris, 1596), i, 219; (Stuttgart, 
 1617), i, 234; (Sudeley, 1592), i, 218. 
 
 Apostles, martyrdom of the, (Dublin, 1528), i, 179; 
 
 in Leicester Whitmonday procession, i, 16; 
 (London, 1415), i, 134; (London, 1421), i, 
 138; (London, 1522), i, 178; (Norwich, 1461), 
 i, 153- 
 
348 
 
 INDEX 
 
 Apothecaries with Esculapius (London, 1783), ii, 99- 
 
 Appreciation, Elizabeth s, of popular welcome, i, 
 199 f. 
 
 Arabia-Britannica (London, 1604), i, 224. 
 
 Arabs in the 1901 Show, ii, 129. 
 
 Aragon, a tumbler from, at St. Paul s, i, 186. 
 
 Arbor, at the Little Conduit (1604), i, 225; at the 
 Conduit in Cheap (1606), i, 227; of the Fish 
 mongers (1616), ii, 80, (London, 1628), ii, 39; 
 with Moors and beasts (London, 1662), i, 
 248; (London, 1663), ii, 49; resembling 
 Apollo s temple (Paris, 1596), i, 219. 
 
 "Arbre sec," the, at Lyons (1627), i, 77, n. i. 
 
 d Arc, Jeanne, honored by festival at Compiegne, 
 ii, 187, and n. i. 
 
 "Arcadian Plain," the, in civic shows, ii, 65, n. 3. 
 
 Arch, the Dewey (1899), ii, 257; of Jewels, the 
 (New York, 1919), ii, 256; of Loyalty (Lon 
 don, 1685), ii, 63; the Victory (New York, 
 1919), ii, 256; ii, 257. 
 
 "Arches," pageantic (Antwerp, 1843), i, 256, and 
 n. 6; (Avignon, 1600), i, 220; (Brussels, 1843), 
 i, 256, and n. 6; (London, 1553), i, 188; (Lon 
 don, 1559), i, 200, and n. 4; i, 201; (London, 
 1661), i, 243, n. i; i, 2441!.; (London, 1685, ii, 
 63; (London, 1863), i, 257, n. i; (Metz, 1604), 
 i, 226, (New York, ii, 256 ff.; (Norwich, 1578), 
 i, 211; (Paris, 1549), i, 187; (Swansea, 1881), i, 
 
 257- 
 
 Archery at Eglinton (1839), ii, 184. 
 
 Archideclyne, i, 146; i, 152. 
 
 Architectural features of the New York arches, 
 discussed, ii, 256. 
 
 Arena, the Boston, a pageant at, ii, 266; the, of 
 the modern pageant, remarks on, ii, 199 f. 
 
 Arete (London, 1612), ii, 32. 
 
 Argentein, Egedius, i, 75. 
 
 "Argo," the, in the London Shows of 1615 and 
 1623, ii, 73, and n. 4; ii, 237, n. 4. 
 
 Argurion (London, 1618), ii, 38. 
 
 Argus in a 1572 masque, i, 117; i, 205, n. i. 
 
 Arion (Edinburgh, 1594), i, 219; (Kenilworth, 
 ( I 575), i, 69; i, 209; (London, 1561), ii, 18, 
 n. 2; ii, 19, n. i; ii, 73, n. 2; (New York, 1909), 
 ii, 244, n. i. 
 
 Aristotle (London, 1432), i, 79; i, 145; (London, 
 (1681), ii, 83. 
 
 Arithmetic (London, 1661), i, 245; and see Ars- 
 metryk. 
 
 Ark of the Covenant, the, i, 17. 
 
 Armada, destruction of the, celebrated at St. 
 Paul s, i, 214 f. 
 
 "Armed Knights" called St. George and St. An 
 drew (London, 1604), i, 223; "Armed Knight " 
 represents Vulcan, (Preston 1802), i, 34; i, 81; 
 with Walworth (1616), ii, 80; (1700), ii, 80. 
 
 "Armed Man," origin and development into a trade 
 figure, of the, ii, 91, and n. 2; "Armed Men" at 
 tend Mayorof Coventryat the Fair (1710), ii, 167, 
 
 n. 2; personify Companies (London, 1641), i, 
 238; surround a fort in a masque (Elvetham, 
 1591), i, 216; at Lichfield, ii, 149 f; (Lich- 
 field, 1893), ii, 150; (Lichfield, 1911), ii, 152; 
 (Knights) in an Ironmonger s show (1618), ii, 
 38; (London, 1815), ii, 104; in 1833, ii, 
 109 f. See also "Men in Armor," and "An 
 cient Knights." 
 
 Armenian rug-making (Boston, 1912), ii, 247. 
 
 Armor , not loaned by War Office (1879), ii, 120; 
 "authentic," used in the 1914 "Bower" at Lich 
 field, ii, 152; in the 1862 procession at Coven 
 try, ii, 170, ii, 171; from the Tower (1822), ii, 
 108. 
 
 Armorers and "man in armor," at London, i, 48; 
 
 trade-figure of the (1761), ii, 95, and n. 3; ii, 
 96; (London, 1783), ii, 99. 
 
 Arms of London, error in the interpretation of the, 
 ii, 25, n. i. 
 
 Army and Navy, history of (1911), ii, 136 f. 
 
 Army Pageant, the (1910), ii, 222, n. 2; the 
 aims of the, ii, 207, n. i ; given for a charity, ii, 
 206, n. 2; ii, 207, n. i; opened by Lord 
 Roberts, ii, 207, n. i. 
 
 Army "Pageant" of 1897, the, ii, 188. 
 
 Aromatoria (London, 1684), ii, 62. 
 
 Arsaces (London, 1623), ii, 79. 
 
 Arsmetryk (London, 1432), i, 145. 
 
 Art (Lichfield, 1909), ii, 151; (Liverpool, 1907) 
 ii, 163; (London, 1604), i, 224. 
 
 Art Students, Boston, give a scene in the Boston 
 "festival" (1897), ii, 260, n. 3. 
 
 Artegall, Sir (London, 1908), ii, 135. 
 
 van Artevelde, James (London, 1907), ii, 134. 
 
 Arthur created Prince of Wales (1489), i, 161; 
 at Coventry (1498), i, 164 f ; marries Kather- 
 ine of Spain (1501), i, i66f.; pageants at 
 wedding masque of (1501), i, 113 f. 
 
 Arthur, King (Cardiff, 1909), ii, 199, n. i; con 
 tributed to pageantry by the romance, i, 58, n. i. 
 
 (Coventry, 1456), i, 150; (Coventry, 1498), 
 i, 79; i, 164; (Dublin), i, 22; i, 23; (Diis- 
 seldorf, 1852), ii, 147; heirs of, at Kenilworth 
 (i57S), i> 5i, n. 3; (London, 1501), i, 167, n.6; 
 
 and the Round Table (London, 152 2), i, 177; 
 (London, 1908), ii, 135; episodes in the life of, 
 presented at London (1914), ii, 196, n. i; 
 (Paris, 1431), i, 138, n. 4; (York, 1914), ii, 
 230; one of the Worthies, i, 195; and see 
 Worthies. 
 
 Arthurian Legend, the, (Edinburgh, 1908), ii, 214; 
 "round table" influences that of 1344, i, 93. 
 
 Artificers v. poets, ii, 35, n. 3. 
 
 Artificial horses in a wedding masque at Rouen 
 (1558), i, 98; Artificial animals see mechanical. 
 
 Artificial scenery, remarks on the use of, in pag 
 eants, ii, 200, n. 3. 
 
 Artillery Company, the exercises of, at Merchant 
 Tailors Hall (1638), i, 237 f.; receives mayor 
 
INDEX 
 
 349 
 
 (1679), ii, 58; salutes the mayor (1682), ii, 
 60; parades in 1683, ii, 61 ; in the 1700 Show, 
 ii, 68; in the 1739 procession, ii, 89; (c 1740), 
 ii, 91; in many shows, ii, 61, n. 2; and 
 other troops, in the 1914 Show, ii, 140; the 
 Ancient and Honorable, members of, give scene 
 in the Boston "festival" of 1897, ii, 261. 
 
 Artisan-strangers pageant, the, (Norwich, 1578), 
 i, 210. 
 
 Artists festivals or revels, ii, 147 f. and notes. 
 
 Arts, the, (Edinburgh, 1908), ii, 214; represented 
 (1850), ii, 115; ii, 116; represented by a car 
 (1890), ii, 126; represented at Lichfield in 
 1912, ii, 152; the Seven (Oxford, 1907), ii, 
 223; of Greece represented in 1904 Show, ii, 
 130; and Sciences, the passing of, from the 
 Old World to the New (New Haven, 1916), ii, 
 274, n. i. 
 
 Arts, the Liberal and see Liberal. 
 
 Arundel, Earl of, in a tourney (Paris, 1431), i, 96; 
 in a tilt (1581), i, 213. 
 
 Ascanius (London, 1908), ii, 135. 
 
 Ascension Day, perambulation at, i, ii, n. 2; i, 14. 
 
 Ascham, Roger (London, 1907), ii, 134. 
 
 Ashton-under-Lyne, i, 16. 
 
 Ashuelot Chapter, D. A. R., gives a pageant, ii, 
 271. 
 
 Asia (London, 1657), "> 475 (London, 1658), ii, 
 75; (London, 1661), i, 245; (London,i674), 
 i, 82, n. 2; (London, 1850), ii, 115; (Lon 
 don, 1919), ii, 141; (St. Louis, 1892), ii, 253, 
 n. 6. 
 
 Ashton, John, his description of the 1850 Show, ii, 
 
 115 f- 
 
 Ass, the (Chester, 1910), ii, 224. 
 Ass, Feast of, the, i, 15; i, 64. 
 Asses, i, 15, and n. i; i, 44, n. 8; i, 64. 
 " Assimilation of the Nations, the " (Boston, 1910), 
 
 ii, 266; ii, 267. 
 Associated and neutral peoples, the, represented in 
 
 a New York pageant (1918), ii, 251 f. 
 Assowan (Little Compton, 1914), ii, 251. 
 "Assumption of our Lady, the" (Chester, 1497), i, 
 
 162; (London, 1522), i, 40, and n. 3; i, 175; 
 
 (1540), ii, n, and n. 2; (York, 1486), i, 159. 
 Asteley, John, jousts at London (1442), i, 96. 
 Astley s, "Men in Armor" from, (1857), ii, 118. 
 Astraa (London, 1591), ii, 26; (London, 1604), 
 
 i, 225; on a transparency (1814), ii, 162. 
 Astronomy (London, 1432), i, 145; (London, 
 
 1661), i, 245. 
 
 Ath, Goliath at, i, 55, and n. 2. 
 Athelstan (Ripon, 1886), ii, 161. 
 Atlas, statue of (London, 1661), i, 243, n. i; i, 
 
 245; (Munich, 1662), i, 118. 
 Attack, an, on the Godiva procession (1845), u > 
 
 169; on the London Shows, ii, 117 f.; on 
 
 the Eglinton tournament, ii, 183. 
 " Aucassin and Nicolette," giant-herdsman in, i, 53. 
 
 Auditus (London, 1613), ii, 34. 
 
 Augusta [London personified] in London Lord 
 Mayor s Shows, i, 82, n. 2; ii, 75; (London, 
 1700), ii, 80, n. 7. 
 
 Augustine friars (London, 1680), ii, 173. 
 
 Augustus II crowned King of Poland (1698), i, 
 252. 
 
 d Aumalle, Monsieur, son of, in a wedding masque, 
 i, 98. 
 
 Aurifera (London, 1684), ii, 62. 
 
 Ausonius, theCenturion (London, 1914), ii, i9O,n. i. 
 
 Auster (London, 1661), i, 246. 
 
 Australasia (London, 1919), ii, 141. 
 
 Australia represented by a float (London, 1883), ii, 
 122; car emblematic of (1901), ii, 128; 
 represented by a car in "Britannia s Muster," 
 ii, 188; ii, 189. 
 
 Australia (Knutsford, 1913), ii, 153; (Lichfield, 
 1911), ii, 152; (London, 1853) i, 256; ii, 116, 
 n. 3; (London, 1890), ii, 75, n. 6; ii, 126; 
 (London, 1919), ii, 141. 
 
 Autocracy (Providence, 1919), ii, 289. 
 
 "Autofloats" [motor-pageants], at Boston (1912), 
 ii, 246, notes 4 and 5. 
 
 Automata in romances, i, 54. 
 
 Autumn (Cambridge, 1919), ii, 284; (Edin 
 burgh, 1908), ii, 223; (London, 1677), ii, 74; 
 
 [expressed by a dance] (Peterborough, 1910), 
 ii, 265; (Stuttgart, 1617), i, 234. 
 
 Avona in the Gloucestershire Pageant (1908), ii, 75, 
 
 n. 7; ii, 216 f. 
 
 Avignon, Marie de Medici at (1600), i, 220. 
 Awashonks (Little Compton, 1914), ii, 251. 
 Aylmer, Sir Laurence, i, 39; ii, 10, n. 2; ii, 24. 
 Aymon, the four sons of, i, 55; i, 77, n. i. 
 
 Bablake, (Coventry), i, 149; i, 153. 
 
 "Baby" [or effigy] at the "Greenhill Bower," ii, 
 
 148. 
 
 Bacchantes at Alexandria, i, 72, n. 5. 
 Bacchus, the feast of, i, 5; figure of, found at 
 
 Caister, i, 72, n. 5. 
 Bacchus at Alexandria, i, 17, n. 6; in a 1427 
 
 mumming, i, 107; car of, at Vevey, ii, 147, 
 
 n. 4; entry of, into Lyons (1627), ii, 147, n. 4; 
 
 (Dublin, 1528), i, 179; (Dublin, 1665), i, 
 251; (Edinburgh, 1579), i, 213, and n. i; 
 (London, 1661), i, 246; with the Vintners 
 (London, 1702), ii, 73; (London, 1783), ii, 99; 
 -(Paris, 1513), i, 171; (St. Louis, 1878), ii, 
 253, n. 2. 
 
 Bachelors Barge, the (1487), i, 161. 
 Backgrounds for the modern pageant, remarks on, 
 
 ii, 199 f.; ii, 200, n. 3. 
 Bacon, Francis, on the pageantic features of jousts, 
 
 tourneys, and barriers, i, 115; writes prose 
 
 speeches for a tilt (1595), i, 219. 
 Bacon, Francis (London, 1889), ii, 124. 
 Badger, Mr., author of verses (1575), i, 208, n. 2. 
 
350 
 
 INDEX 
 
 Baker, G. P., "pageant" defined by, ii, 291; 
 on the "revival" of pageantry, ii, 197, n. 3; 
 master of the Peterborough Pageant (1910), ii, 
 264; on the Boston Pageant of 1910, ii, 266; 
 
 director of the Hollis Hall Pageant (1913), ii, 
 272; appointed to write the Plymouth Pag 
 eant of 1921, ii, 277, n. i; notes elements of 
 the chronicle-history and morality in American 
 pageants, ii, 218, n. 5. 
 
 Baker, Peter, paid for device of a pageant (1569), 
 
 ii, 21. 
 
 Baker, Richard, pageant-maker (1566), ii, 20. 
 Bakers of Dublin, the, show the "comedy of 
 
 Ceres," (1528), i, 179. 
 
 Bakers, the, with Ceres (London, 1783), ii, 99. 
 Bakhowse, paid for pageants (1534), i, 41, n. i. 
 Bailiff (London, 1783), ii, 08. 
 Baird, W. S., pictured at Belfast (1914), ii, 181. 
 Balaam at Chester, on Midsummer Eve (1602), i, 
 
 44, n. 6. 
 Balaklava, veterans of, in the 1890 Show, ii, 125; 
 
 in 1910, ii, 136. 
 Balder, i, 5. 
 
 Baldwin, Count (Bruges, 1515), i, 172. 
 
 Baldwin Locomotive Works, the first engine to be 
 
 built by the founder of, ii, 249. 
 "Ball, a pageant," or "historical," at Quebec (1908) 
 
 ii, 264, n. i. 
 Ball and Cross, symbolism of the, at coronations, 
 
 i, 155- 
 
 Ballet, one of the City Waits (1801), ii, 102. 
 Ballet and pageant in Italy (1465), i, 14, n. i; 
 
 in the Boston Pageant of 1910, ii, 267; " des 
 
 Chevaux" at the 1912 tournament, ii, 185; 
 
 in a Marblehead "pageant," ii, 277, and n. 4; 
 "Balls and Pageants" in London, (1914) ii, 146 f. 
 Baltimore, a tournament near, ii, 286, n. 4. 
 Bampton, a Jack at, i, 70. 
 Banard Castle see Barnard. 
 Bankside, the, ii, 6. 
 Banner, a symbolic (Ripon, 1886), ii, 159; s, 
 
 picture historical scenes (Belfast, 1914), ii, 181 f.; 
 
 in the Boston procession of 1912, ii, 246; 
 in the St. Louis procession of 1847, ii, 238, and 
 n. i ; on Scarva Day, ii, 186. 
 
 Banquet, the civic, at the end of the xviii century, 
 ii, 101 f.; cost of (1727), ii, 88. 
 
 Barabas (London, 1908), ii, 135. 
 
 Barbarism (London, 1613), ii, 34. 
 
 Barbarian, a (London, 1617), ii, 76. 
 
 Barbarians, victims of the, in the 1914 "Tourna 
 ment", ii, 190. 
 
 Barbary, Ambassador from, received at London 
 (1637), i, 237. 
 
 Barber, John, Mayor of London, (1732), ii, 89. 
 
 Barber-Surgeons ranked as the seventeenth Com 
 pany, ii, 56; records of the, show precautions 
 against plague (1603), ii, 28; the, take part in 
 
 the civic progress of 1785, ii, 101; the, in the 
 1890 procession, ii, 125. 
 
 Barclay, David, receives the royal family (1727), 
 ii, 88, n. 5; (1761), ii, 96; entertainer of Royalty 
 ii, 96. 
 
 Barclewch, Lord of, as an Amazon, i, 218, n. 7. 
 
 Bard, W., declaims verses to Monk (1660), ii, 57, 
 n. i. 
 
 Bard, an ancient British (London, 1618), ii, 38- 
 s, (London, 1891), ii, 126. 
 
 Barge, a, in 1591, ii, 26; in 1602, ii, 27, n. 4; 
 to be kept at the Three Cranes Wharf, ii, 45 ; 
 of Grocers used by Goldsmiths (1643), ii, 43; 
 of Goldsmiths used for the last time, ii, 113; 
 the last, built in 1807, ii, 118, n. i; the may 
 or s, disposal of, ii, 119, n. i; plans for tow 
 ing of (1849), ii, 114; of the Skinners (1761), 
 ii, 95; a tow for the, offered (1839), ii, in ; 
 left by the tide (1740), ii, 92. 
 
 Barges in 1553, ii, 13; of the citizens meet Eliz 
 abeth (1559), i, 199; in the 1561 Show, ii, 
 19; of Goldsmiths and Skinners, i, 255. 
 prevented from landing by tide and wind (1653), 
 ii, 43 ; Companies attend the mayor in, (1656), 
 ii, 45 f.; of Companies described, ii, 67; 
 Mayor and Companies go to Westminster in 
 (1667, 1668), ii, 50; used by Mayor and Com 
 panies (1679), ii, 57; prepared for the 1680 
 Show, ii, 59; in 1700, ii, 68; in 1822, ii, 108; 
 
 towed in 1842, ii, 112; in 1842, ii, 112, n. i; 
 
 in 1856 for the last water procession, ii, 117 f.; 
 
 not used in 1857, ii, 118. 
 Barker, Granville, i, 121. 
 
 Barkers pageant, the, (Coventry, 1498), i, 164. 
 
 Barkham, Sir Edward, on a committee to view 
 pageants (1626), i, 235; ancestor of Walpole, 
 ii, 124, and n. 2; William, pageant near house 
 of (Norwich, 1556), ii, 17. 
 
 Barlow, Hugh, paid because the George was not 
 ridden (1543), i, 30. 
 
 Barnard Castle (London) i, 173, n. 4; ii, 13; ii, 
 138, and n. i. 
 
 Barnard Castle, Ward of, ii, 92. 
 
 Barnardo s Homes, boys from the, in the 1913 
 Show, ii, 138. 
 
 Barons of the Cinque Ports (London, 1907), ii, 133. 
 
 Barons of the Exchequer can receive mayor s oath, 
 ii, 4- 
 
 Barrier, the, in the pageant, i, in; Bacon on 
 the pageantic features of, i, 115; "masque," 
 and "entertainment," distinguished, i, 115; 
 in the Winchester Pageant (1908) ii, 225 f. 
 
 Bartlethet, deviser of pageants, (1554), i, 189, n.i. 
 
 Bartholomew Fair proclaimed (1680), ii, 58. 
 
 Barton, Sir Henry (London, 1619), ii, 81, n. 2. 
 
 Basinghall Street (London), ii, 114. 
 
 Batavia (London, 1691), i, 82, n. 2; ii, 75. 
 
 Bates, Miss E. W., on the cost of school pag 
 eants, ii,2o6, n. 2. 
 
INDEX 
 
 351 
 
 Bat[e]s, Richard, pageant near the house of (Nor 
 wich, 1556), ii, 16. 
 
 Bateman, Sir Anthony, Mayor of London (1663), 
 ii, 49, n. i. 
 
 Bath, American and Canadian Baths at, ii, 215, 
 n. 2; celebration of the coronation at (1661), 
 i, 243, n. i; effigies of Don Blass burnt at, 
 (1740), ii, 178, n. 4; Pageant, the (1909), i, 
 215, n. 4; i, 162, n. 2; ii, 221, n. 2; ii, 222, n. 2; 
 ii, 224, n. 7 ; ii, 226, n. i ; stories of the founda 
 tion of, i, 78, n. i. 
 
 Bath (Bath, 1909), ii, 215, n.2. 
 
 Battery A, members of, give a scene in the Boston 
 "festival" of 1897, ii, 261. 
 
 Battle, mock, at Bristol (1574), i, 206 f.; at 
 Sandwich, (1573), i, 206; at Warwick (1572), 
 i, 205; i, 206, n. 2; at Scarva, ii, 186 f. 
 
 Battleships, the parade of, (New York, 1909), ii, 
 242, n. 3. 
 
 Bavaria, tree-spirit in, i, 51, n. 2. 
 
 Bayard, the gigantic horse, i, 55. 
 
 Baynard, Castle see Barnard. 
 
 Beaconsfield, Lord, pictured at Belfast (1914), ii, 
 181. 
 
 Bear and the Ragged Staff, the, at Warwick, ii, 218. 
 
 Bears, (London, 1656), ii, 46. 
 
 Beatitudes personified (London, 1559), i, 201; 
 the Eight (London, 1623), ii, 82. 
 
 Beau Slasher, champion of winter, i, 5. 
 
 Beauty discussed in connection with arches of 
 triumph, ii, 256. 
 
 Beauty (Edinburgh, 1008), ii, 223; (London, 
 1684), ii, 62; and the Beast (Lichfield, 1914), 
 ii, 152; (Revere, 1912), ii, 254; the Queen 
 of, at Eglinton, ii, 182. n. 2; liable to arrest and 
 punishment, ii, 183; pavilion for, ii, 184; the 
 Queen of, at the 1912 tournament, ii, 185. 
 
 Becher, Sir Edward, Mayor of London (1727), ii, 88. 
 
 Beck, Christopher, to find "wild-men" (1566), ii, 
 21, n. 2. 
 
 Bedford, Duchess of, receives Henry VI at the 
 h6tel des Tournelles (1431), i, 140. 
 
 Beebe Lake, ii, 283. 
 
 Beegle, Miss Mary P., on the term pageant, ii, 292. 
 
 Beelzebub, in Christmas plays, i, 7, n. i. 
 
 Beer-drinker, a (St. Louis, 1847), ii, 239. 
 
 Behourt, roi de, at Lille, i, 88. 
 
 Bel, Druidical worship of, i, 7. 
 
 Belfast, Orange procession at (1914), ii, 180 f. 
 
 Belgia, the seventeen provinces of, personified 
 (London, 1604), i, 224. 
 
 Belgians pageant, the (1604), i, 224. 
 
 Belgium, influence of processions in, on the Lord 
 Mayor s Show, ii, 116. 
 
 Belial, in the " Castle of Perseverance," i, no. 
 Bell, MacKenzie, on the "Pageant of the Months," 
 
 ii, 191, n. i. 
 
 Bell and Columbus linked with trade (Boston, 
 1912), ii, 247. 
 
 Belle Sauvage Yard, Cutlers sign in the, i, 68. 
 
 Bellman, a (London, 1680), ii, 173 [cf. the Town 
 Crier at Boston (in 1910 and 1912)]. 
 
 Bellona (London, 1628), ii, 39. 
 
 "Benedictine Rule at Sherborne, the," in the 
 Sherborne Pageant, ii, 210. 
 
 Benson, F. R., master of the Winchester Pageant, 
 ii, 204, n. i; "producer" of the 1912 tourna 
 ment, ii, 185. 
 
 Beowulf, a hero of great strength, i, 53, n. i. 
 
 Berry and Barker, coach builders, complain (1767), 
 
 ii, 93 f- 
 
 Berwick Castle, scene at, at Marblehead, ii, 277. 
 
 Bessy, the, in the sword-dance, i, 5; in the 
 Plough- Monday play, i, 12; and the Clown 
 (Hertford, 1914), ii, 224, n. 7. 
 
 Betsy Ross Club, the, a float provided by, (Boston, 
 1912), ii, 246, and n. 3. 
 
 Betsy Ross (Norristown, 1912), ii, 249. 
 
 Beverley, Saints guilds at, i, 17. 
 
 Bible, the, and history, i, 195; given Elizabeth 
 by Truth (1559), i, 202; a bogus, in the Pack 
 Monday Fair, ii, 156; History of the, (St. 
 Louis, 1887), ii, 253; pioneer exponents of 
 the, named in the 1904 Show, ii, 130; Victoria 
 presenting a, to an Indian subject, a popular 
 picture (Belfast, 1914), ii, 181. 
 
 Biblical characters, i, xvi; i, 58, n. i; linked 
 with those of local history (Bruges, 1515), i, 
 172 f.; in the civic shows, ii, 82 f.; in pag 
 eantry, i, 77 f.; in the "royal-entry," i, 195. 
 
 Biblical element, the, in the "royal-entry" (Lon 
 don, 1445), i, 148; (London, 1559), i, 202, and 
 n. 2; in French "feux d artifice," i, 241; 
 and mythology, ii, 82. 
 
 Biblical and historical material at Bruges (1515), 
 i, 76, n. 2. 
 
 Biblical and romantic elements combined (1486), 
 i, 160. 
 
 Biblical subjects suggested in pageantic cavalcade 
 (Stuttgart, 1617), i, 234. 
 
 Biblical and trade elements combined (London, 
 
 1392), i, 131- 
 
 Bill Hart in Brooklyn mumming, ii, 158. 
 Billers, Sir William, Mayor of London (1733), ii, 
 
 89. 
 
 Billet in 1671 "interlude," ii, 51; ii, 76. 
 Birch, Samuel (London, 1895), ii, 127. 
 Birds in "royal-entries" i, 134; i, 139, and n. 3; 
 
 i, 144, and n. 3; released at a festival (Valen 
 ciennes, 1330), i, 94. 
 Bisham, Elizabeth at, (1592) i, 217 f.; Syhanus 
 
 at, i, 73, n. 5. 
 
 Bishops (London, 1680), ii, 173. 
 Bishops Palace (London), i, 157. 
 Bishopsgate Street (London), i, 173. 
 Bissari, P. P., i, 118. 
 Black Bear, the, Barclay receives his royal guests 
 
 at (1727), ii, 88, n. 5. 
 
352 
 
 INDEX 
 
 Blackfriars Bridge and Stairs, i, 63; ii, 55; ii, 58; 
 
 ii, 60; ii, 69, n. 3; ii, 88; ii, 89; ii, 91; ii, 95, 
 
 n. 3; ii, 97; ii, no; ii, 112, ii, 113, n. 5; ii, 114; 
 
 ii, 117. 
 
 Blackheath, (London), i, 132; i, 142; i, 143; i, 148. 
 "Black Lad, riding the," i, 16. 
 Black Prince, the (Coventry, 1862), ii, 170. 
 Blacksmiths with Cyclops (London, 1783), ii, 99. 
 Blackstone (Boston, 1897), ii, 260. 
 Blackwell Hall, i, 253, n. i; ii, 21. 
 Bladud, the founder of Bath, i, 78, n. i. 
 Bladud (Bath, 1909), ii, 218, n. i; ii, 224, n. 7. 
 Blaise, Bishop (Coventry, 1826), ii, 168, and n. i ; 
 
 (Coventry, 1862), ii, 170, n. 7; at Preston, i, 
 
 34, and n. 7; with the Woolmen (London, 
 
 1783), ii, 99. 
 
 Blake, Admiral (London, 1911), ii, 137. 
 Blake, Robert, with the Barbary Ambassador 
 
 (1637), i, 237. 
 Blakiston, Sir Matthew, Mayor of London (1761), 
 
 ii, 94, n. i. 
 Blanke, Sir Thomas, Mayor of London in 1582, ii, 
 
 22. 
 
 Blass, Don, effigies of, burnt at Bath (1740), ii, 
 
 178, n. 4. 
 
 Blenheim, era of (London, 1897), ii, 188. 
 Blennerhassett s, a minuet at, (Marietta, 1888), 
 
 ii, 258. 
 
 Blie, place for tournament near, i, 89. 
 Blight of commercialism, the, ii, 206 f. 
 Bloomington, Indiana, Hallowe en mumming at, 
 
 ii, 159- 
 
 Blow, John (London, 1908), ii, 135. 
 Blue Anchor Tavern (Philadelphia), ii, 240. 
 Bluebeard (St. Louis, 1888), ii, 253, n. 5. 
 Blue-coat boy gives Latin oration to Elizabeth 
 
 (1559), i, 202. 
 Blunderbore, in the Christmas mummers play, i, 
 
 7, n. i. 
 Boadicea (Bury St. Edmunds, 1907, Colchester, 
 
 1909), ii, 217, n. 3; (London, 1914), ii, 228, 
 
 n. 2. 
 Boat, a Viking, with Norsemen (Ripon, 1886), ii, 
 
 1 60. See also Ship. 
 Boat-jousts (1536, 1539), i, 98. 
 Boethius (London, 1432), i, 145; (London, 1501), 
 
 i, 167 and n. 5. 
 
 "Body" of pageantry, the, i, xvii; i, 85. 
 Bohemia, mock death of "wild-man" in, i, 51, n. 2. 
 Bohemian Club "Jinks," the, ii, 264; ii, 286, and 
 
 n. 5; ii, 295. 
 Bologna, tournament and pageantry at, 1628, i, 
 
 67, n. i. 
 Bonaparte, statue of, to greet Napoleon (Antwerp, 
 
 1803), i, 254. 
 Bonfires, i, 36, n. 5; at Coventry, i, 46; at 
 
 London, i, 37; i, 173; ii, 174; in streets, acts 
 
 against, in Boston (1755-63), ii, 176, n. 2. 
 Bon espoir (1511), i, 97; i, 116. 
 
 Bonvaleir, i, 97. 
 
 Bon voloire (1511), i, 97; i, 116. 
 
 Bookbinders, exhibit of the (Edinburgh, 1832), ii, 
 166. 
 
 Boone, Daniel (St. Louis, 1886), ii, 253, n. 4. 
 
 Booth, a, of three storeys erected for City of 
 London School boys (1837), ii, in, n. 2. 
 
 Boreas (London, 1661), i, 246. 
 
 Borso, Duke, at Reggio (1453), i, 148, n. 4. 
 
 Boscawen, Admiral (London, 1911), ii, 137. 
 
 Boscobel in a civic pageant (1660), ii, 48. 
 
 Boston, anniversary celebrated by pageantry in 
 1880, ii, 239 and n. i; celebration of Colum 
 bus Day at, (1912), ii, 245 f.; effigies burned 
 at, i, 16; i, 51, n. 2; ii, 176 f.; "From Cave 
 Life to City Life," at, ii, 265 f.; "Historical 
 Festival," the, of 1897, ii, 260 f.; honors 
 Washington with a procession of trades (1789), 
 ii, 177; Massacre, the (Boston, 1897), ii, 261; 
 Normal School Pageant, the, ii, 226, n. 4; ii, 
 281 f.; political pageantry at, ii, i76f.; in 
 1912, ii, 254 f.; Tea Party, the, (Boston, 
 1897), ii, 261; trade procession at (1788), ii, 
 236. 
 
 Boston and the suburban cities personified (Boston, 
 1910), ii, 267; ii, 268. 
 
 Bosworth Field, celebrated, i, 157; Henry VII 
 crowned on (1909 ii, (199), n. i. 
 
 Bottener, Adam (Coventry, 1848), ii, 170, and n. 2; 
 (Coventry, 1862), ii, 170, n. 7. 
 
 Bottener, William (Coventry, 1848), ii, 170, and 
 n. 2; (Coventry, (1862), ii, 170, n. 7. 
 
 Boucke, Mr., schoolmaster, composer of speeches 
 (i556),ii, 16. 
 
 Bounty (London, 1623), ii, 78. 
 
 Bourges, an " Eselturnier " at, i, 99, n. i. 
 
 Bourne, W., takes the part of Zeal (1604), i, 225. 
 
 Bournemouth, centenarian procession at (1910), 
 ii, 238, n. 3. 
 
 Bowater, Sir Thomas V., Mayor of London (1913), 
 ii, 139, n. i. 
 
 Bow Church (London), ii, 88, n. 4, and n. 5; ii, 
 96; model of, in the 1884 Show, ii, 122, n. 3; ii, 
 123. 
 
 Bower, a, for the Coventry shepherd and shep 
 herdess, ii, 168, n. i; ii, 170; on Fleet Con 
 duit, i, 228, n. 2; of the Fishmongers (1616), 
 ii, 80. 
 
 Bowles, George, Mayor of London (1617), ii, 37, 
 n. 4. 
 
 Bowling-green, scenes on the old, (New York, 
 1909), ii, 243. 
 
 Boy (Peterborough, 1910), ii, 264; addresses 
 Queen Adelaide (Leicester, 1839), i, 256; 
 addresses William III (London, 1697), i, 252; 
 impersonates St. Elene at Beverley, i, 17; 
 Morris dancers (Lichfield, 1914), ii, 152; 
 presents keys of city to James VI (Edinburgh, 
 1579), i, 212; i, 213, n. i. 
 
INDEX 
 
 353 
 
 Boyne, anniversary of the Battle of the, observed, 
 ii, 180; Battle of the, pictured at Belfast 
 (1914), ii, 181. 
 
 Boyne, the (London, 1691), ii, 75. 
 
 Boyl, Philip, of Aragon, jousts at London (1442), 
 i, 96. 
 
 Boys as animals, i, 17; in the "Bower" pro 
 cession (Lichfield, 1893), u , 15; dressed in 
 leaves in Vevey festival, ii, 147, n. 4; from 
 various institutions in the 1913 Show, ii, 138; 
 "naked," in Chester Shows, i, 44-46 and notes; 
 
 representing Scotland and England (London, 
 1662), i, 249; speak from Worcester pageants 
 (1575), i, 210; take part in Bristol reception to 
 Elizabeth, i, 206; boy scouts (Knutsford, 1913), 
 ii, 154; at Lichfield, (1909) ii, 151; in the 
 1910 Show, ii, 136; in the 1913 Show, ii, 138; 
 
 to observe the Pilgrim Tercentenary, ii, 276. 
 Brabant, Duke of, wedding of the (1853), i> 2 56- 
 Brabo, founder of Brabant, i, 254, n. 4. 
 Brackenbury, Richard, his letter to Lord Talbot 
 
 describing the 1590 tilt, i, 215, n. 4. 
 
 "Bradford, Farewell of Governor," (Plymouth, 
 1896), ii, 259; ii, 260. 
 
 Brakely, place for tournament near, i, 89. 
 
 Brampton, a scene in the 1914 "Tournament" 
 near, ii, 190. 
 
 Bran, founder of Bristol, i, 79, n. i. 
 
 Brand, J., on parochial perambulations, i, 13 ff. 
 
 Brand, Right-hitting (London, 1615), ii, 144, n. i. 
 
 Brandamore, a giant "in Guildhall," i, 60, n. 3. 
 
 Branford, scene at (New Haven, 1916), ii, 275. 
 
 Braytoft, Richard, i, 153. 
 
 Bread Street (London), i, 169 f.; Ward of, ii, 92. 
 
 Bread tossed to the crowd, (Boston, 1912), ii, 248. 
 
 Bredenstone, the (Dover, 1908), ii, 220. 
 
 Bremmius (Bristol, 1486), i, 79 and n. i; i, 158, 
 n. 3; i, 160. 
 
 Bremo, in " Mucedorus," i, 76. 
 
 Brennus, founder of Bristol, i, 79, n. i. 
 
 Brewers trade-car of the (Ripon, 1886), ii, 
 i59f.; records of the, show the first water- 
 procession [in 1422] ii, 6; trade-pageantry of 
 the, (St. Louis 1847), ii, 238 f. 
 
 Bribery (London 1559), i, 201. 
 
 Bride-ale at Kenilworth (1575), i, 208. 
 
 Bridewell, model of, in the 1907 Show, ii, 134. 
 
 Bridge Gate (London), i, 241, n. 3. 
 
 Bridge Street (London), ii, 108; ii, 114. 
 
 Bristol, Bremmius at, i, 79, and n. i; i, 158, n. 3; 
 i, 1 60; Corpus Christi at, i, 21; Christmas 
 mumming prohibited at, i, 104; Edward IV 
 at (1461), i, 151 f.; Elizabeth at (1574), i, 
 206 f.; guilds at, [Corpus Christi], i, 21 ff.; 
 Henry VII at (1486), i, 160. 
 
 Bristol personified (1574), i, 81; i, 206; (Lon 
 don, 1631), ii, 75. 
 
 Britain (London, 1904, 1910), ii, 75, n. 6. See also 
 Britannia. 
 
 "Britain, Isle of," (London, 1606), i, 228, n. i. 
 
 "Britain s Mount," the principal pageant in the 
 1605 Show, ii, 28. 
 
 Britain s power symbolized, i, 258. 
 
 Britannia (Knutsford, 1913), ii, 153; (Lichfield, 
 1911), ii, 152; (Liverpool, 1907), ii, 163; 
 personified, (London, Lord Mayor s Shows) i, 
 82, n. 2; (London, 1605), ii, 28; ii, 75; 
 (London, 1628), ii, 39; (London, 1850), ii, 
 115; ii, 116; (London, 1904), ii, 130; 
 (London, 1905), ii, 75, n. 6; ii, 131; (London, 
 1910), ii, 189; (London 1911), ii, 225; 
 (London 1919), ii, 141. 
 
 Britannia pictured at Belfast (1914) ii 181; on 
 a transparency (London, 1814), ii, 162. 
 
 "Britannia s Muster" of 1910, ii, 188 f. 
 
 "Britannia s Watch Tower" (1628) ii, 39. 
 
 Britannica (London, 1604), i, 223; ii, 75. 
 
 British Isles, the, on Guy Fawkes s Day at Hamp- 
 stead, i, 10; Naval and Military Veterans 
 (Boston, 1912), ii, 245; Navy, rise and pro 
 gress of, shown by cars (1902), ii, 129; in the 
 New York Pageant of 1918, ii, 252; Princes 
 (Edinburgh, 1832), ii, 165; soldiers on the 
 streets of New York, ii, 242, n. 3. 
 
 British Soldiers (Norristown, 1912), ii, 249. 
 
 Briton, an ancient, in the York Pageant, ii, 209. 
 
 Britons, ancient, in Guy Fawkes s pageantry at 
 Folkestone, i, 10; discover the Colchester 
 Oyster, ii, 218; Early, captured by Romans 
 (1914), ii, 189; (London, 1783), ii, 98; 
 "wild-men" representing (Ripon, 1886), ii, 160. 
 
 Broad Gate, the (Coventry), i, 170. 
 
 Broad Street (London), ii, 37. 
 
 "Bronck s treaty with the Indians," (New York 
 1909), ii, 243. 
 
 Brontes (London, 1685), ii, 63. 
 
 Brookline, "The Pageant of the Year" at, ii, 284. 
 
 Brooklyn, mumming at, ii, 158. 
 
 "Brother Copas," mention of a pageant in, ii, 204. 
 
 Brown, Alderman, i, 175. 
 
 Brown, the Rev. Arthur (Boston, 1910), ii, 267. 
 
 Brown, F. C., on "City Poet," ii, 69 f.; ii, 70, 
 n. 2. 
 
 Brown, Miss M. L., on the "Victory Pageant" 
 given at the Rhode Island Normal School, ii, 
 288, n. i. 
 
 Brown, Sir Richard, Mayor of London (1660), ii, 
 48, n. i. 
 
 Browne, Walter, provides porters for the 1566 
 Show, ii, 20. 
 
 Brownshank, Thomas, paid by the Ironmongers 
 (iS34), i, 4i, n. i. 
 
 Bruce, David (Hertford, 1914), ii, 224, n. 7. 
 
 Bruce (Aberdeen, 1511), i, 575 *> 795 i, I75 
 suggests the "giant champion," i, 195. 
 
 Bruges, Charles V at (1515) i, 76; i, 172 f.; 
 Charles V at, with his Electors (1515), i, 173; 
 the Holy Blood comes to, i, 172; subtleties at 
 
354 
 
 INDEX 
 
 (1468), i, 83; wedding of the Duke of Bur 
 gundy at (1468), i, 152. 
 
 Brussels, the funeral car of Charles V at (1559), i, 
 195, n. i; the giants of, i, 55, n. 2; "his 
 torical procession" at (1853), i, 256; Victoria 
 and Albert at (1843), i, 256. 
 
 Brute, (London 1605), ii, 28; (London, 1783), 
 ii, 98. 
 
 Brutus, i, 58; i, 78. 
 
 Bubbewith, Nicholas, i, 83, n. 4. 
 
 Bucentaur, the (Venice, 1491), i, 161, n. 6. 
 
 Bucephalus (Bruges, 1515), i, 173. 
 
 Buckhurst, Lord, gives mayor a cold banquet 
 (1700), ii, 68. 
 
 Buckingham, Duke of, his barge at the reception of 
 Katharine (1501), i, 166. 
 
 Buckingham Palace, ii, in, n. 2. 
 
 Buckle, Sir Cuthbert, no Show for (1503), ii, 26. 
 
 Buffalo Bill (Lichfield, 1893), ii, 150; ii, 153. 
 
 Buffoons in an Adrianople show (1717), ii, 87. 
 
 Buffoon, a, in Irish mummings, i, 73, n. 3. 
 
 "Building the Guy," i, 10, n. 5. 
 
 Butt, John (London, 1908), ii, 135. 
 
 Bull-Moose, the, representing the Progressive 
 Party (Boston, 1912), ii, 255. 
 
 Bulls, with the Golden Fleece (London, 1522), i, 
 176; spouting fire, (London, 1547) i, 186. 
 
 Bullen, Sir Geoffrey, ancestor of Elizabeth, ii, 124. 
 
 Bulteel, John, describes a civic giant (1656), i, 60. 
 
 Bulteel s "London s Triumph" (1656), ii, 45 f. 
 
 Bungay, Corpus Christi procession at, i, 23. 
 
 Bunyan, John, "chaplain" of Sir John Shorter, 
 died the same year, ii, 63, n. 7. 
 
 Burbage, Mr., paid for his part in the 1610 water- 
 triumph, i, 231. 
 
 Burgavenny, Lord, in charge of the banquet for 
 Katherine (1501), i, 166, n. 6. 
 
 Burgesses summoned for Parliament of 1295 (Ripon, 
 1886), ii, 161. 
 
 Burghley, Lord, receives letter from Fleetwood, ii, 
 21. 
 
 Burghers and tournaments, i, 92. 
 
 Burghs of Scotland (Edinburgh, 1908), ii, 214. 
 
 Burgomaster (Philadelphia, 1882), ii, 240. 
 
 Burgundy, Duke of, marries English princess at 
 Bruges (1468), i, 152. 
 
 Burney, Fanny (London, 1914), ii, *47, n - 2 - 
 
 Burnham Beeches purchased by the Corporation, 
 
 ii, 120. 
 
 Burning, the, of an effigy at Llantwit, i, 56, n. 3; 
 of effigies, i, 10; i, 16; i, 51, n. 2; ii, 178 f., and 
 see Boston and London; Guy Fawkes, i, 10, 
 n. 5; ii, 179; of religio-political effigies (Lon 
 don, 1680), ii, 173; of the Deadly Sins, i, 229; 
 of pageantic images, i, 241. 
 
 Burke, Edmund, invited to the dinner of 1790, ii, 
 101. 
 
 Burr, Aaron (Marietta, 1888), ii, 258. 
 
 Bury St. Edmunds, Corpus Christi at, i, 23; 
 
 Henry VI at (1433), i, *47; tournament at 
 (1348), i, 94; Pageant, the (1907), i, 211, n. 2; 
 ii, 219; ii, 221, n. 3; ii, 224, n. 7; Pageant, 
 the, profits of, ii, 206. 
 
 Butchers, records of, show no barge used in 1592, ii, 
 26; with sacrificial ox (London, 1783), ii, 99. 
 
 Butt shooting at Eglinton (1839), ii, 184. 
 
 "By Gog and Magog," i, 61, and n. i. 
 
 Bynning, Walter, painter, paid for pageantry at 
 Edinburgh (1558) i, 194. 
 
 Byrd, Mr., pays part of charges for Chester ele 
 phant, i, 45, n. 5. 
 
 Byzantine Architecture (Cambridge, 1911), ii, 287. 
 
 Cadillac, night pageant at, ii, 249, n. 4. 
 
 Cador of Little Britain (London, 1522), i, 177. 
 
 Cadwar of South Wales (London, 1522), i, 177. 
 
 Caerlud see Caier Lud. 
 
 Cadmon (Oxford, 1914), ii, 203, n. i. 
 
 Cizsar (Coventry, 1456), i, 150; (London, 1621), 
 ii, 73; ii, 79, n. 5; (London, 1904), ii, 130; 
 (Naples, 1443), i, 147, n. 2; (Paris, 1431), i, 138, 
 n. 4; (Reggio, 1453), i, 148, n. 4; (Stuttgart, 
 1609), i, 99; and see Nine Worthies. 
 
 Caier Lud, i, 58, n. 2; i, 78, n. i. 
 
 Cain, father of giants, i, 53 and n. 4. 
 
 Cakes see "subtleties." 
 
 Calcos (London, 1618), ii, 38. 
 
 Caledonia (Edinburgh, 1633), i, 236. 
 
 "Caliban," a "community masque," i, xx; ii, 
 289!., and n. 2. 
 
 Calidore, Sir (London, 1908), ii, 138. 
 
 California, a recurrence of the masque-type in, ii, 
 286. 
 
 Callahan, Mr., paid for "Men in Armor" (1825), 
 ii, 109. 
 
 Calleva (Sil Chester), scene in the English Church 
 Pageant laid at, ii, 200. 
 
 " Callithumpian " processions in Canada, ii, 252. 
 
 Calthrop, Martin, Mayor of London (1588), ii, 25. 
 
 Calumet dance, the, performed at Quebec (1908), 
 ii, 263. 
 
 Calumny (London, 1612), ii, 32. 
 
 Cambal, Sir (London, 1908), ii, 135. 
 
 Cambria (London, 1605), i, 82, n. 2; ii, 28; ii, 75. 
 
 Cambridge, Duke and Duchess of, decline invita 
 tion to be present at the Eglinton tournament, 
 ii, 183. 
 
 Cambridge, Duke of (Lichfield, 1893), ii, 150. 
 
 Cambridge, Elizabeth at (1564), i, 203. 
 
 Cambridge, England, scene at, in the Boston "fes 
 tival" of 1897, ii, 260. 
 
 Cambridge, May-day doll at, i, 70. 
 
 "Cambridge, the March to, 1775" (New Haven, 
 1916), ii, 274, n. i. 
 
 Cambridge, "The Festival of the Seasons," at, ii, 
 284. 
 
 Camel (1556), ii, 16; (1602), ii, 27; ii, 72; 
 from which negro boy distributes spices and 
 
INDEX 
 
 355 
 
 fruits in 1672 and 1673 Shows, ii, 53; (Chester, 
 1910), ii, 224. 
 
 Camels, i, 44, n. 8; i, 45, n. 5; i, 46; i, 64; (Lon 
 don, 1662), i, 248; in the 1901 Show, ii, 129. 
 
 Camels replace lions (1639), ii, 72. 
 
 Campbell, Alderman, on a committee to view pag 
 eants (1626), i, 235. 
 
 Campbell, James, Mayor of London (1629), ii, 41. 
 
 Campbell, Sir Thomas, Mayor of London (1609), 
 ii, 30. 
 
 Campion, Thomas, writer of verses, i, 218, n. 6. 
 
 "Campus Martius," origin of the "Bower" in a, 
 ii, 149. 
 
 Campus Martius bell, the (Marietta, 1888), ii, 
 258, n. 3. 
 
 Canada (Knutsford, 1913), ii, 153; (Lichfield, 
 1911), ii, 152; (London, 1919), ii, 141. 
 
 Canada, callithumpian processions in, ii, 252; 
 Orange celebrations in, ii, 252. 
 
 Canada represented by a car in "Britannia s Mus 
 ter", ii, 188; ii, 189; represented by a float 
 (London,i883), ii, 122. 
 
 Canadian Agriculturalist (1905), ii, 131. 
 
 Canadian "tableaux" (Knutsford, 1913), ii, 153. 
 
 Canadians in the Boston procession of 1912, ii, 
 247. 
 
 Canby, H. S., on the Yale scenes presented in 1901, 
 ii, 261 f. 
 
 Cander, Earl of Cornwall (London, 1522), i, 177. 
 
 Candlemas, the Sunday before (1377), i ; 104. 
 
 Cannon, the first, a model of (1907), ii, 134. 
 
 Cannon Street (London), ii, 115, n. 2. 
 
 Canonicus (London, 1679), ii, 83. 
 
 Canterbury, Archbishop of, in the coronation pro 
 cession of Anne Boleyn, i, 181 ; rents his barge 
 to the Drapers, ii, 10. 
 
 Canterbury, Charles Vat (1520),!, 174; founded 
 by Rudhudibras, i, 78, n. i; St. Thomas at, 
 i, 34; scene near, in the English Church Pag 
 eant, ii, 200. 
 
 "Canterbury Pilgrims, the," at Gloucester, ii, 302. 
 
 Canterbury Pilgrims (London, 1908), ii, 135. 
 
 Canute, King (Knutsford, 1913), ii, 153. 
 
 "Cap of Maintenance," the ii, 67. 
 
 Cape Volunteers in the uniform of 1853 (1895), ii, 
 127. 
 
 Capital (Boston, 1912), ii, 255; (Norristown, 
 1912), ii, 250. 
 
 Capitol, the, at Washington, ii, 255. 
 
 Capper s subtleties at Coventry, i, 82, n. 9. 
 
 Captain, the (Boston, 1910), ii, 266, n. 2; ii, 267. 
 
 Captain Slasher, in the Christmas mumming pliys, 
 i, 7, n. i. 
 
 Captured guns stimulate recruiting in 1915, ii, 
 140 f. 
 
 Car, i, xix; at Guy Fawkes celebration, i, 10; 
 of Bacchus at Vevey, ii, 147, n. 4; of Brewers 
 Guild (Ripon, 1886), ii, 159; of Europe (Ant 
 werp, 1803), i, 255; of Justice (London, 1853), 
 
 i, 256; ii, 116, n. 3; of Neptune (Antwerp, 
 1803), i, 254; with Harvest group (Ripon, 
 1886), ii, 161; with political significance (Lon 
 don, 1814), ii, 163; representing the Arts 
 (1890), ii, 126; representing a barge (1850), 
 ii, 115; representing the Colonies (1890), ii, 
 126; in the 1907 Show, ii, 133; ii, 134; or 
 "trolley," with group showing duties of Boy 
 Scouts (1913), ii, 138. See Cars and Float. 
 
 Caractacus or Caradoc: 
 
 Caradoc (Cheltenham, 1008, Colchester, 1009, War 
 wick, 1906, York, 1909), ii, 217, n. 3. 
 
 Cardiff, Pageant of Wales at, ii, 199, n. i. 
 
 Cardinal, a, represents Religion (Norristown, 
 191 2), ii, 250. 
 
 "Cardinal Norfolk," song by (1679), ii, 172. 
 
 "Cardinal, The," a play dealing with the past, ii, 
 196, n. i. 
 
 Cardinals, effigies of (London, 1681), ii, 175; 
 (London, 1711), ii, 175, n. 3. 
 
 Cardinals, Knights disguised as, i, 92 ; in a mum 
 ming (1377), i, 104; in a water-triumph 
 
 Cardinals of the Medici family represented by 
 angels (Avignon, 1600), i, 220. 
 
 Cardinal Virtues, the, see Virtues. 
 
 Carey, Henry, sang "God Save the King" (1740), 
 ii, 178, n. 4. 
 
 Carlisle founded by Leil, i, 78, n. i. 
 
 Carnavon, Investiture of the Prince of Wales at 
 (1911), ii, 227. 
 
 Carnival, i, 12, n. 3 ; excesses at, i, 104; at Rome, 
 i, 14, n. i; i, 161, n. 6; and pageantry, ii, 153; 
 ii, 159; ii, 192; elements of the, in the Mar- 
 blehead "pageant" (1912), ii, 277; ii, 278, and 
 n. 6; floats (New York, 1909), ii, 243 f.; ii, 
 244, n. i; procession at Lyons (1910), ii, 147, 
 n. 4; "raw-material" of the pageant in the, 
 ii, 295 f.; at Revere (1912), ii, 254; sug 
 gested in the 1913 "Bower" of Lichfield, ii, 152; 
 
 suggested at Little Compton (1914), ii, 251; 
 
 suggestions of the, in civic processions cele 
 brating anniversaries, ii, 238, and n. 3; tend 
 ency toward the, in the Veiled Prophet proces 
 sions, ii, 254. 
 
 Carnival, the, drowned or buried, i, 51, n. 2. 
 Carnivals with floats, i, xv; in America, ii, 252. 
 Carnivalistic suggestions in the Boston "festival" 
 
 of 1897, ii, 260, and n. 3. 
 Carpenters expenses for 1588 visit of Elizabeth, 
 
 i, 214, n. 4. 
 
 Caro, in the "Castle of Perseverance," i, no. 
 Carpenter, John, his narrative of 1431 "entry," i, 
 
 141, n. 2. 
 Carpenters of Dublin present the story of Joseph 
 
 and Mary (1528), i, 179. 
 Carpenters barge, the (1455, 1460, 1471), ii, 8, 
 
 and n. 3. 
 Can, Philip, plans the 1910 Show, ii, 136. 
 
356 
 
 INDEX 
 
 Carriage of the 1629 pageants by land and water, ii, 
 40; of the 1635 pageants arranged for, ii, 42. 
 
 Carrickfergus, the landing of William at, pictured 
 at Belfast (1914), ii, 181. 
 
 Carrus navalis, i, 12, n. 3. 
 
 Cars at Amsterdam (1910), and Rouen (1911), ii, 
 163 f., at artists festival in Dusseldorf (1852), 
 ii, 147 ; in the Boston procession of 1912, ii, 
 245, in the 1893 "Bower", ii, 150; in 
 an Edinburgh procession (1832), ii, 166; em 
 blematic of the City Markets (1890), ii, 125; 
 emblematical, in the 1891 Show, ii, 126; in 
 the 1910 "Tournament," ii, i88f.; in the 
 historical procession at Ripon in 1886, ii, 160 f.; 
 
 in the Hudson-Fulton Pageant of 1909, ii, 
 243 f.; introduced into the "Bower," ii, 149, 
 n. 4; at Knutsford (1913), ii, 153; in 
 the Liverpool Pageant (1907), ii, 163, n. 3; 
 in the Lichfield "Bower" (1909), ii, 151; in 
 the New York Pageant of 1918, ii, 251 f.; at 
 Norristown (1912), ii, 249; in the Preston 
 Guild of 1902, ii, 165, n. 2; in the 1862 pro 
 cession at Coventry, ji, 170, and n. 7; in the 
 1892 Show, ii, i26f.; in the 1895 Show, ii, 
 127; in the 1896 Show, ii, 128; in the 1901 
 Show, ii, 128; in the 1902 Show, ii, 129, 
 in the 1904 Show, ii, 130; in the 1905 Show, 
 ii, 131; in the 1906 Show, ii, 132; in the 
 St. Louis "Veiled Prophet" processions, ii, 
 253 f. See also Float. 
 
 Carson, Sir Edward, in the 1914 Orange procession 
 at Belfast, ii, 180. 
 
 Cartier, Jacques (Quebec, 1908), ii, 241; ii, 263, 
 andn. i. 
 
 Cartismandua (York, 1909), ii, 217, n. 3. 
 
 Casino, "day-fireworks" at the Newport (1881), 
 ii, 179. 
 
 Cassibelaunus, brother of Lud, i, 78, n. i. 
 
 Castle Gate, Dublin, i, 251. 
 
 "Castle" the gift of chivalry to the pageant, i, 
 196. 
 
 "Castle," a mechanical (London, 1522), i, 177. 
 
 Castle of Envy (London, 1612), ii, 32. 
 
 "Castle of Fame or Honour," (1617), ii, 81. 
 
 Castle (Norwich, 1556), ii, 16. 
 
 Castle, a mimic, in an Oxford interlude (1907), ii, 
 223. 
 
 Castle (Bristol, 1461), i, 152; (Bruges, 1468), i, 
 152; (London, 1415), i, 132, n. 4; i, 134, and 
 n. 5; (London, 1421), i, 138, [with genea 
 logical tree] (London, 1432), i, 146; with 
 St. George at a court disguising (London, 
 1494), i, 112; [at a wedding masque] (London, 
 1501), i, 1 13 f.; (London, 1522), i, 177; 
 (London, 1533), i, 182; in a Midsummer Show 
 (London, 1534), i, 41; of Mars (London, 1635), 
 ii, 42 ; with Kings (London, 1661), i, 243, n. i ; 
 
 (London, 1913), i, 128, n. 3; at Valen 
 ciennes (1330), i, 85; i, 94; (York, 1486),!, 
 
 159, and n. 3; of Swansea reproduced (Swan 
 sea, 1881), i, 257; ("une ville sur un charriot, 
 avec sept tours et cresteaux") (Lille, 1438), i, 
 75, n. 4; attacked with flowers (1581), i, 214; 
 
 in chess, i, 67; i, 68, and n. i; in a pag- 
 eantic forest (1511) i, 115; in the 1613 Show, 
 ii, 33, n. 2; in the 1913 Show, ii, 138. 
 
 Castle of Beauty in a tilt (1581), i, 213. 
 
 Castle of Care, in "Piers Plowman," i, 80; i, no; 
 
 of cloth of gold in a Hatfield House disguising 
 (1556), i, 198; of gold (Paris, 1431), i, 140; 
 of Goldsmiths Company (London, 1377), i, 80; 
 i, 128 f.; of Goldsmiths (London, 1382), i, 
 129; of Lady Peace in a 1572 masque, i, 117; 
 i, 205, n. i; of Pallas at the coronation of 
 Henry VIII, i, 96 f. 
 
 "Castle of Perseverance, The," i, no. 
 
 Castle, Turkish, in a pageantic water-fight (Lon 
 don, 1610), i, 232; of the Virgin, in the " Chas- 
 teau d Amour," i, 80, n. 2. 
 
 Castle Street, Dublin, i, 251. 
 
 Castle Bailey Street (Swansea), i, 257. 
 
 Castles (Bruges, 1515), i, 173; (Munich, 1662), 
 i, 118; source of, in pageantry and the masque, 
 i, xix; i, 85; i, no. See also fort. 
 
 Castles on conduits in "royal-entries," i, 195. 
 
 Castles with moral-allegorical significance, i, no. 
 
 Castlereagh Presbyterian Church pictured at Bel 
 fast (1914), ii, 181. 
 
 Catalans (Naples, 1443), i, 147, n. 2. 
 
 Cateaton Street (London), ii, 43. 
 
 Cater and "his children" play and sing in a pag 
 eant (1534), i, 41, n. i. 
 
 Catherine see Katherine. 
 
 Catherine of Valois, subtleties with scriptures at 
 coronation of (1421), i, 82. 
 
 Catholicity of the pageant, i, 165. 
 
 Catholics, Roman, enmity against, ii, 171 f. 
 
 Catworth, Thomas, Sheriff, ii, 7. 
 
 Cavalcades, i, 13, n. i. 
 
 "Cavalcade" of 1688, ii, 64; of 1700, ii, 68; 
 of 1703, ii, 69, n. 3. 
 
 Cavalier costumes in the 1914 "Bower," ii, 152. 
 
 Cavaliers (Lichfield, 1893), ii, 150; (Taunton, 
 1911), ii, 269. 
 
 Cave, Goodman, paid for setting the pageant in 
 the Ironmongers hall, ii, 21. 
 
 Cave Dweller, the (Boston, 1910), ii, 266. 
 
 Cawsome House, Anne received at (1613), i, 209, 
 n.6. 
 
 Canton, William (London, 1902), ii, 129; (Lon 
 don, 1908), ii, 135. 
 
 "Cayuga Indian Feast, the," of 1914, ii, 283. 
 
 Celebration of the past in the Orange processions, 
 ii, i8of.; combined with a declaration of 
 duty for the future, ii, 180, n. 3; of the Pil 
 grim Tercentenary at Sulgrave Manor, ii, 276. 
 
 Cellier, Mrs. (London, 1680), ii, 173, and n. i. 
 
 Celtic gods (Edinburgh, 1908), ii, 214. 
 
INDEX 
 
 357 
 
 Celtic influence on French romances, i, 52; 
 period, the, in "The Masque of Learning," ii, 
 227. 
 
 "Centaur, the" (St. Louis, 1878), ii, 253, n. 2. 
 
 Centaurs (Munich, 1662), i, 118; (Stuttgart, 
 i6i7),i, 2.34. 
 
 Centennial Hall (Marietta), ii, 258, n. 2. 
 
 Ceremonies of 1653, ii, 43, renewal of old, 
 (1912), ii, 227, n. 3. 
 
 Ceremony of 1643, u > 43; of Crossing the Line, 
 ii, 157, and notes 2 and 3. 
 
 Ceres (Bisham, 1592), i, 217; comedy of (Dub 
 lin, 1528), i, 179; (Dublin, 1665), i, 251; 
 (Edinburgh, 1594), i, 218; (London, 1604), i, 
 225, n. i; (London, 1661), i, 246; (New 
 York, 1909), ii, 244, n. i , in a 1427 mumming, 
 i, 107; with the Bakers (London, 1783), ii, 99; 
 
 on a transparency (1814), ii, 162. 
 
 "Ceres, Festival of " (St. Louis, 1878), ii, 253, and 
 n. 2. 
 
 Cervantes (Boston, 1908), ii, 282. 
 
 Chalons-sur Marne, cavalcades at, in connection 
 with the Feast of Fools, i, 13, n. i. 
 
 Chamberlain, Mr. (Lichfield, 1893), ii, 150. 
 
 Chambers, E. K., on civic pageantry and origin of 
 the Lord Mayor s Show, ii, iof.; on Lyd- 
 gate s part in the development of the masque, i, 
 106 f . ; on mumming, disguising, and inter 
 lude, i, 105; i, 106; on Plough Monday, i, ii; 
 
 on St. George Day ridings, i, 25; on source 
 of pageantic allegory, i, 109, and n. i ; on 
 "subtleties" of 1416, i, 82, and n. 4; on the 
 origin of the Godiva procession, ii, 166, n. 2. 
 
 Champion, Sir Richard (London, 1623), ii, 78. 
 "Champion" (Edinburgh, 1832), ii, 165, and n. 5; 
 
 ii, 166; (Knutsford, 1914), ii, 154; (Lon 
 don, 1432), i, 143, and n. 6; (London, 1591), 
 
 ii, 26. 
 
 Champion, "man in armor" considered as, i, 48. 
 Champions of Truth and Error suggest chivalry 
 
 joined to morality, ii, 33, and n. 3. 
 Champions of Christendom (London, 1681), ii, 82, 
 
 and n. 7. 
 de Champlain, Samuel (Quebec, 1908), ii, 241, n. 5; 
 
 ii, 263. 
 Champlain s landing reproduced at St. John (1904), 
 
 ii, 241. 
 
 Chancery Lane, (London), i, 117. 
 Chandlers play of Angels and Shepherds (York, 
 
 1909), ii, 218 f. 
 Chandos, Lord, Elizabeth s host at Sudeley (1592), 
 
 i, 217, n. 2. 
 
 Change, the (London) see Exchange. 
 Changes in Lord Mayor s Show received with 
 
 favor (1850), ii, 115, and n. i. 
 Characteristics of the "modern pageant," ch. viii, 
 
 3 (ii, 202 f.). 
 Characterization in the older and more modern 
 
 pageantry, ii, 212 f.; in interlude, morality- 
 
 play, and drama, ii, 213; of rivers in the 
 Gloucestershire Pageant, ii, 216 f. 
 
 Characters on ship at Malines (1825), i, 12, n. 3. 
 
 "Chariot of Fame" (1622), ii, 79; of Honour 
 (London, 1621), ii, 73; ii, 79, n. 5; (1626), ii, 78, 
 n. 4; (1700), ii, 80, and n. 7; of Industry 
 (1684), ii, 61; of Justice, or "Honour," of 
 1698 and 1708, ii, 65, n. 3; painted on glass 
 (1753) preserved at York, ii, 65, n. 3; of Time 
 (1660), ii, 77. 
 
 Charities, Three (London, 1604), i, 224. 
 
 Charity (Brussels, 1559), i, 195, n. i; (London, 
 1501), i, 168; (London, 1547), i, 186; (Lon 
 don, 1591), ii, 26; (London, 1623), ii, 78; 
 (London, 1662), i, 248; [or Love] (Norristown, 
 1912), ii, 250; (Ripon, 1886), ii, 161 ; 
 (Washington, 1913), ii, 285; on a banner (St. 
 Louis, 1847), ii, 238; the aim of some modern 
 pageants, ii, 206, n. 2; ii, 207, and n. i; pag 
 eantry used to raise money for, ii, 228, and notes 
 i and 3. 
 
 Charlemagne (Avignon, 1600), i, 220; (Coventry, 
 1456), i, 150; (London, 1522), i, 79; i, 176; 
 (Paris, 1431), i, 138, n. 4; one of the Worthies, 
 
 i, 195- 
 
 Charles I made Prince of Wales (1616), i, 233 f.; 
 visits Madrid (1623), i, 99; returns from Spain 
 (1623), i, 234; wife of, received (1626), i, 235; 
 
 at Edinburgh (1633), i, 236 f.; at Guildhall 
 (1641), i, 239; at London (1641), i, 238 f.; 
 welcome planned for (1625), stopped by the 
 plague, i, 234. 
 
 Charles I (Lichfield, 1893), ii, 150; painted (Lon 
 don, 1661), i 245; statue of (London, 1661), 
 i, 243, n. i. 
 
 Charles II at Edinburgh (1650), i, 239; in Hol 
 land (1660), i, 241; at London (1660), i, 241 f.; 
 (1661), i, 243 f.; (1679), i, 251; and the 
 mayoralty, ii, 59; ii, 60; and Sir Robert 
 Vyner, ii, 54; appoints a mayor (1683), ii, 
 61; watches water-procession of 1683, ii, 61, 
 n. i. 
 
 Charles II painted (London, 1661), i, 245; statue 
 of (London, 1661), i, 243, n. i. 
 
 Charles V at Bruges (1515), i, 76; i, 172 f.; i, 173; 
 
 at Canterbury (1520), i, 174; at Dover 
 (1520), i, 174; masquerade given by Henry 
 VIII for, (1522), i, 121; preparations for Lon 
 don visit of, i, 39; i, 174 f.; his visit to London 
 (1522), i, 40; 1,79; i, 97; i, 175 f.; sees pag 
 eantic representation of himself (London, 1522), 
 
 i, 795 i, 177; i, 178. 
 
 Charles V (London, 1522), i, 177; i, 178; pic 
 tured (Paris, 1498), i, 163; i, 164; (Win 
 chester, 1908), ii, 225. 
 
 Charles VI masked as a "wild-man " (1393), i, 73, 
 n. 5; i, 102, n. 3. 
 
 Charles VII received at Paris (1437), i, 141, n. i. 
 
 Charles DC at Paris (1571), i, 204. 
 
358 
 
 INDEX 
 
 Charles, Duke of Orleans pictured (Paris, 1498), i, 
 
 163 f. 
 Charles, Duke of Valois, pictured (Paris, 1498), i, 
 
 164. 
 
 Charles M artel (Avignon, 1600), i, 220. 
 Charles, Palatine of the Rhine, at Heidelberg 
 
 (1672), i, 251. 
 Charleton, Dr., physician to Charles II, i, 243, 
 
 n. i. 
 
 Charlie Chaplin in Brooklyn mumming, ii, 158. 
 Charter returned (1688), ii, 64; the City s first, 
 
 in fac-simile (1884), ii, 123. 
 Charterhouse, The Masque of (1911), ii, 227; ii, 
 
 272, n. 4. 
 "Chase," a, for "drolls" and trade-figures (1676), 
 
 ii, 84, n. 6. 
 
 Chase, the, in the 1889 Show, ii, 124. 
 "Chasteau d Amour" of Grosseteste, i, 80. 
 Chastity in a masque at Norwich (1578) i, 211; 
 (London, 1613), ii, 34. 
 Chatelet, i, 140; i, 163. 
 Chatham, Earl of (London, 1889), ii, 125. 
 Chaucer, Geoffrey (London, 1907), ii, 134; with 
 
 the Canterbury Pilgrims (London, 1908), ii, 135. 
 Chaurand, A., on a bit of Red Cross symbolism, ii, 
 
 300. 
 
 Chauvenci, tournaments at, i, 88. 
 Cheap, Ward of, ii, 92. 
 Cheapside, i, 38; i, 90; i, 91; i, 95; i, 126, n. i; 
 
 i, 128; i, 129; i, 132, n. 4; i, 134; i, 146; i, 148; 
 
 i, 154, n. 2; i, 160; i, 165; i, 167, and n. 6; i, 169; 
 
 i, 170; i, 173; i, 175; i, 177; i, 178; i, 182; i, 
 
 183; i, 186; i, 188; i, 189; i, 192; i, 193; i, 201; 
 
 i, 225; i, 227; i, 228, notes i and 4; ii, 22; ii, 32; 
 
 ii, 345 ii, 475 ii, 48; ii, 495 ii, Si; ii, 555 ", 58; 
 
 ii, 77; ii, 88; ii, 90; ii, 91; ii, 96; ii, in, n. 2; 
 
 ii, 114; ii, 115, n. 2. 
 Checkley, the Rev. Samuel, his "Diary", ii, 176, 
 
 n. i. 
 
 Cheke, Sir John (London, 1907), ii, 134. 
 Chelsea, i, 231; i, 233; i, 248, i, 249. 
 Chelsea Pageant, the (1908). i, 218, n. i; ii, 215; 
 
 ii, 222, n. 2; ii, 224, n. 7. 
 Chelt, the, in the Gloucestershire Pageant (1908), 
 
 ii, 75, n. 7;ii, 216 f. 
 Cheltenham, Gloucestershire Pageant at, ii, 199; 
 
 ii, 216 f.; Jack at, i, 70. 
 Chenonceau, triumphs at (1559), i, 202. 
 Cherwell (London, 1661), i, 245. 
 Cheshire "Champion" (Knutsford, 1914), ii, 154. 
 Chess, the castle in, i, 67; i, 68, and n. i. 
 Chester, Thomas, tells of burghers at a tourna 
 ment, i, 92; Mayor of London (1560), ii, 17; 
 
 forbids "open shows," i, 203, n. 3. 
 
 Chester (Chester, 1610), i, 82, n. 2; i, 230; ii, 75; 
 
 ii, 215. 
 Chester, animals at, i, 44 ff.; i, 64; elephant and 
 
 castle at, i, 45, n. 5; i, 46; giants at, i, 57, n. 2; 
 
 unnamed giants in Midsummer Shows at, i, 
 
 45; unnamed giants at (1661), i, 57, n. 2; 
 God and the doctors at, i, 43 ff.; i, 44, n. 2; i, 78; 
 
 hobby-horses at, i, 44; i, 45, and n. 5; Jack 
 at (1908), i, 70; "man in armor" at, i, 44; i, 
 47 ; Midsummer Shows at, i, 43 ff . ; mys 
 tery plays at, i, 57, n. 3. 
 
 Chester Pageant, the (1910), ii, 215; ii, 224. 
 
 Chester, Prince Arthur at (1497), i, 162; Prince 
 Henry at (1610), i, 229 f.; St. George s Day 
 at, i, 25, n. 3; St. George at, i, 32. 
 
 Chester Whitsun plays, i, 20, n. 3. 
 
 Chester (Pennsylvania), Penn s landing repro 
 duced at, (1882), ii, 239. 
 
 "Chestre Launfal," interest of burghers in tourna 
 ments, shown in, i, 92. 
 
 Chevalier Vert, Earl of Warwick as, i, 75, n. 3. 
 
 Chicago, "the Pageant of the Italian Renaissance" 
 at, ii, 283. 
 
 Chichester, Elizabeth at (1591), i, 216. 
 
 Chichley, Robert (London, 1783), ii, 100. 
 
 Child, H. H., on origin of disguise in folk-dances, 
 i, 5; on origin of May-games, i, 7. 
 
 Child, our, in Chester Midsummer Show, i, 44, and 
 n. 2. 
 
 Children (Peterborough, 1910), ii, 264. 
 
 Children of Israel (Coventry, 1474) i, 153. 
 
 Children in Antwerp pageant (1803), i, 254, and 
 n. 5; in the Boston procession of 1912, ii, 
 246 f.; in Chester Midsummer Shows, i, 44 
 and notes; i, 45, n. 5; in the Coventry Godiva 
 procession, ii, 168, n. 2; ii, 170; in Grimston 
 revels, ii, 159; in the Hudson-Fulton Pageant, 
 ii, 243; in the Keene Pageant (1913) ii, 271; 
 
 receive Anne near St. Paul s School (London, 
 1533), i, 184; in the 1556 Show, ii, 16; in 
 the 1 5 59 "en try, "i, 200 ff.; in the 1561 Show 
 ii, 18; in the 1566 Show, ii, 20; in the 1585 
 Show, ii, 24; in the 1591 Show, ii, 26; in 
 the 1604 "entry," i, 224 f.; in the 1605 Show, 
 ii, 28; in the 1609 Show, ii, 30; in the 1611 
 Show, ii, 31 ; in the 1629 Show, ii, 40; ii, 41 ; 
 in the 1635 Show, ii, 42; in the 1914 "Bower" 
 of Lichfield, ii, 152; in the 1914 May-day 
 festival at Knutsford, ii, 154, and notes 2 and 4; 
 
 in a Metz pageant (1604), i, 226; in Nor 
 wich pageantry (1578), i, 211; in a wedding 
 masque at Rouen (1558), i, 98; in a Sandwich 
 trade-pageant (1573), i, 206; in the Sherborne 
 Pageant, ii, 211; in a Stuttgart pageantic 
 cavalcade (1617), i, 234; and mumming, ii, 
 148; ii, 158 f.; and Maypole (Chester, 1910), 
 ii, 224; escort Penn through Chester (1882), ii, 
 239; in the Washington Masque, ii, 285 f. 
 
 "Children Through the Centuries" (1914), ii, 228, 
 
 n. 3. 
 Children, school, in the Lawrence Pageant, ii, 269, 
 
 n. i. 
 "Children s Lore" (St. Louis, 1888), ii, 253, and 
 
 n. 5. 
 
INDEX 
 
 359 
 
 Children s parades at Little Compton (1914 and 
 
 1015), ii, 250 f. 
 "Children s Playground, a" (Boston, 1912), ii, 
 
 247. 
 "Children s scenes" (Boston, 1897), ii, 261, and 
 
 n. 3. 
 Children s Union, Waifs and Strays Society, 
 
 "festival" given in connection with, ii, 228, n. 3; 
 
 Welfare Festival, the, of 1914, ii, 228. 
 China represented in a political pageant (New 
 
 York, 1912), ii, 255. 
 Chinaman, a (Lichfield, 1893), ii, 150. 
 Chinese chessmen, the "rook" in, i, 68, n. i; 
 
 in the Boston procession of 1912, ii, 247; in 
 
 the New York Pageant of 1918, ii, 252; puppet 
 
 attendants for the dead, i, 50, n. 4. 
 Chiualers de la Forrest saluigne, i, 116. 
 Chivalric pageants in France, i, 85; i, 88; i, 94 ff.; 
 
 allegory combined with religious, i, 80. 
 Chivalry, i, xvii gifts of, to the pageant, i, 196; 
 
 and morality combined (1612), ii, 32, and 
 n. 3 ; and trade united, i, 48, and n. i ; 
 represented by Knight, Lady, and Page (Boston, 
 1908), ii, 283; skeleton of, in the pageant, ii, 
 104. 
 
 Chiverton, Richard, Mayor of London (1657), ii, 
 
 47; 
 
 Choir, the Dramatic, in the Sherborne Pageant, ii, 
 211. 
 
 Chorus, a, in the St. Louis Pageant, ii, 273, n. 2; 
 the Narrative, in the Sherborne Pageant, ii, 211, 
 and n. i ; in the Gloucestershire Pageant, ii, 
 216, n. i; at Potter Heigham (1907), ii, 229. 
 
 Chouteau, Pierre (St. Louis, 1914), ii, 273, n. 2. 
 
 Chouteau, Pierre, in the St. Louis procession of 
 1847, ii, 237, and n. 3. 
 
 Christ, i, 44, n. 2; i, 80, n. 2. 
 
 Christchurch gate (Norwich), ii, 12. 
 
 "Christe in Stringes" at Chester, i, 45. 
 
 Christian of Anhalt at the civic show (1610), ii, 30. 
 
 Christian IV at London, (1606) i, 227. 
 
 Christian ecclesiastical feasts fixed on pagan festi 
 vals, i, 3 ff. 
 
 Christian Knights in a tilt with Turks and Ama 
 zons (1594), i, 218, n. 7. 
 
 Christians vs. Saracens in military exercises (1638), 
 i, 238. 
 
 Christmas, Gerard, i, 135, n. 3; and the 1626 
 pageants, i, 235; artificer, ii, 40, and n. 2; 
 ii, 41; and Dekker collaborate (1629), ii, 40. 
 
 Christmas, John, artificer, ii, 40; ii, 42, and n. 5; 
 and Thomas Heywood get the 1635 contract, ii, 
 42. 
 
 Christmas, Mathias, associated with John (1635), 
 ii, 42, n. 5. 
 
 Christmas, celebrated by the Court at Wells (1332), 
 i, 127; masque of, at Edinburgh (1908), ii, 
 223; and Kalends celebrations, i, 101; a 
 Court, i, 102; mummers, i, 4; mumming in 
 
 Wales, i, 17 ; play, i, 7, n. i ; i, 10, n. i ; and 
 Roman Saturnalia, i, 13. 
 
 Christ s Hospital, senior scholar of, addresses 
 Victoria (1837), ii, uof.; represented in the 
 1907 Show, ii, 134. 
 
 Chronicle-history, element of, in the 1884 Show, 
 ii, 123; and morality-play, ii, 232; and 
 morality-play elements kept apart at St. Louis, 
 ii, 273; and "mythical-founder," i, 158, and 
 n. 2; and Parkerian pageant compared, i, 196. 
 
 Chronicle-play, the pageant a modern, ii, 218 f. 
 
 Chronicle-plays, passages from the old, in modern 
 pageants, ii, 218 f. 
 
 Chrusos (London, 1618), ii, 38. 
 
 Chubb, P., responsible, indirectly, for the Boston 
 Normal School Pageant, ii, 281, n. 2. 
 
 Church, the, represented in a Burgundian festival 
 (i4S3), i, 67, n. i ; (Paris, 1498), i, 164; per 
 sonified by a Prelate (London, 1501), i, 1 68, and 
 n. 3 ; the Early (Edinburgh, 1908), ii, 214. 
 
 Church, the, modification of folk-custom by, i, 3 ; 
 "giants" at London, i, 57, n. 2; "images" at 
 London, i, 57, n. 2; processions, animals in, 
 i, 64; Schools, origin of the Knutsford pro 
 cession in the, ii, 154, n. 4; sharing folk-cus 
 tom, i, 16. 
 
 Churchill, Lord Randolph (Lichfield, 1893), ii, 150. 
 
 Churchyard, Thomas, planned devices for Eliza 
 beth s entertainment (Norwich, 1578), i, 211. 
 
 Chylderly, John, churchwarden, (1535) i, 57, n. 2. 
 
 Chyne, Nicholas, haberdasher, i, 189, n. i 
 
 Cicely, a character in the Revesby sword-play, i, 
 
 10, n. i. 
 
 Cicero (London, 1432), i, 79; i, 145; represent 
 ing Government (1676), ii, 79, n. 2. 
 Cicropes, father of Albyna, i, 58, n. 2. 
 Cincinnati, the Marietta Pageant reproduced at, 
 
 11, 258, n. 2; a Kirmess at (1914) ii, 287. 
 Cinderella (Lichfield, 1893), ii, 150; (Lichfield, 
 
 1914), ii, 152; (New York, 1909), ii, 244, n. i; 
 (St. Louis, 1888), ii, 253, n. 5. 
 
 Cinque Ports, Barons of the (London, 1907), ii, 133. 
 
 Cinque Ports, the, lesson concerning (Dover, 1908), 
 ii, 220. 
 
 Cipriani, painter, ii, 93, n. 4. 
 
 Circumspection (London, 1604), i, 224, and n. 5. 
 
 Circus group, a, at Little Compton (1914), ii, 251. 
 
 Circus-parade, the; why it is not pageantry, ii, 252. 
 
 Cities personified, i, 17, n. 6; i, 82, n. 2; ii, 74 f.; 
 (Avignon, 1600), i, 220; 7 (Boston, 1910), ii, 
 267; ii, 268; (London, 1614), ii, 36; in the 
 modern pageant, ii, 214 f. 
 
 Citizen, a, in a 1671 "interlude," ii, 52. 
 
 Citizens [temp. George III] (London, 1889), ii, 125. 
 
 Citizen-mummers visit the king (1377), i, 104. 
 
 Citizens aroused (1392), ii, 4 f.; (1425), ii, 6 f.; 
 bid George IV farewell in state (182 2), i, 255; 
 receive sovereigns at London and in the prov 
 inces, chs. iii, iv, and v, passim; round-table 
 
360 
 
 INDEX 
 
 of the, at Paris (1330), i, 94; regain the king s 
 favor (1392), i, 130; welcome Phillip II (1554), 
 i, 191 ; wives of the, invited to Windsor 
 tournament, i, 92. 
 
 Citizens Association, the, of South Boston, a float 
 provided by (Boston, 1912), ii, 246, and n. 5. 
 
 Citizenship, a ritual of, ii, 290. 
 
 "City castles," the, referred to in "The Country 
 Captain," i, 67, n. i. 
 
 City Guards of Coventry attend mayor at the 
 Fair, ii, 167, and n. 2 ; Hall (Keene), ii, 271 ; 
 history of the, emphasized (1884), ii, 123; 
 Hotel (Coventry), ii, 169, n. 4; the, and the 
 modern pageant, ii, 202 f.; ii, 268; ii, 295; 
 Poet, the, remarks on the term, ii, 69 f.; 
 poets and their employers, ii, 64, n. 4; ii, 65. 
 
 City (personified) (Bristol, 1574), i, 206. 
 
 City officials in garb of the xvii century (London, 
 1913), ii, 138. 
 
 Civic authorities in a tourney (1360), i, 95; 
 dignitaries in the procession (Ripon, 1886), ii, 
 1 6 1 ; dignitaries in the Coventry procession of 
 1826, ii, 167, and n. 4; history joined to that 
 of the nation in a 1783 pantomime, ii, 100; 
 officials in the 1893 "Bower," ii, 151 ; officials, 
 the, in St. Louis procession (1847), ii, 237; 
 officials summoned to attend mayor on his 
 "ridings" (1680), ii, 58; pageant at Ripon 
 (1886), ii, 160; pageant of 1499, i, 165; 
 perambulations, i, 35 ff.; societies march at 
 Chester (Pennsylvania), ii, 239; tournaments 
 in Florence, i, 99, n. i ; triumph linked with 
 "living pictures" of history, ii, 101. 
 
 Civil Government (London, 1628), ii, 39. 
 
 Civil War (the American), scenes before the days 
 of the (Cincinnati, 1914), ii, 287; a scene from 
 the, at Keene, ii, 271; scenes at Norristown 
 of the (1912), ii, 250; a scene from the (Peter 
 borough, 1910), ii, 265; scenes of the (Ply 
 mouth, 1896), ii, 259; ii, 260; (Providence, 
 1919), ii, 289; return of the soldiers from the 
 (Taunton, 1911), ii, 269 f.; scene, a, in the 
 Yale Pageant, ii, 275. 
 
 Civil War (the English), the London Shows stop 
 during the, ii, 43 ; incidents of the, illustrated 
 at Lichfield (1908), ii, 151, n. 3; Parkerian 
 pageants usually stop before the, ii, 221. 
 
 Civilization (St. Johnsbury, 1912), ii, 270. 
 
 "Civilization, the Progress of" (St. Louis, 1879), 
 ii, 253, and n. 3. 
 
 Clarence, Duke of (London, 1907), ii, 134. 
 
 Clarendon, Henry VII at (1496), i, 162. 
 
 Clariodus, i, 75, n. 3. 
 
 Clark, George S., pictured at Belfast (1914), ii, 181. 
 
 Clarke, G. W., organizer of the May-Day festival 
 of Knutsford, ii, 153. 
 
 Clark, J. C. L., on the Warwick (Massachusetts) 
 Pageant, ii, 279 f.; on "how not to do it," ii, 
 279 f. 
 
 Clark, Miss Lotta A., chairman of the Festival 
 Committee of the Boston Normal School Pag 
 eant (1908), ii, 281, n. 2; director of the "pag 
 eant" (Boston, 1910), ii, 265, n. 6. 
 
 Class, the merchant, and pageantry, i, xviii; ch. vi. 
 
 Classes, mixture of, in the English pageants, ii, 
 202; ii, 205, n. 2. 
 
 Classical element, the, in the civic shows, ii, 83 f.; 
 
 in French "feux d artifice," i, 240 f.; in a 
 London "entry" (1432), i, 145; i, 147 . 
 mythology at Avignon (1600), i, 220; at 
 Edinburgh (1503), i, 169; at London (1533), 
 i, 183; in a Court masque (1594), i, 219; 
 at Paris (1513), i, 171: at Paris (1596), i, 219; 
 
 hi pageantry, i, 196. 
 Classics, the (Boston, 1908), ii, 282. 
 Classification of pageantic shows, ii, 294 f. 
 Claudius, triumph of (Colchester, 1909), ii, 224, 
 
 n. 7; (London, 1914), ii, 189. 
 Claudius and his Empress, ii, 189. 
 Clayton, Sir Robert, Mayor of London (1679), ii, 
 
 575 u, 58. 
 
 Clear Conscience (London, 1622), ii, 77. 
 
 Cleere, Richard, carver, has a hand in the 1662 
 "triumph," i, 250. 
 
 Clemency (London, 1432), i, 146. 
 
 Cleremont, Earl of, injured in a tournament, i, 87. 
 
 Clergy attack the Godiva procession (1845), ii, 169. 
 
 Clergyman, a bogus, in the Pack Monday Fair, ii, 
 156, and n. 3. 
 
 Clergyman, a, represents Religion (Norristown, 
 1912), ii, 250. 
 
 "Clermont," the, (New York 1909), ii, 164, n. j; 
 ii, 237, n. 4; ii, 242, and n. 3. 
 
 Clifton, Chalmers D., director of the music (Peter 
 borough, 1910), ii, 265, n. i. 
 
 Clinton, General (Norristown, 1912), ii, 249. 
 
 Clive, Lord (London, 1911), ii, 137. 
 
 Clockmakers in the 1890 procession, ii, 125. 
 
 Clopton, Robert, sheriff, ii, 7. 
 
 Close, the, (Norwich), i, 210. 
 
 Cloten, grandfather of Brennius, i, 79, n. i. 
 
 Clothing of citizens and participants in the "royal- 
 entries," given an allegorical significance, i, 143; 
 i, 144; i, 159, n. 3. 
 
 Clothing (London, 1614), ii, 36. 
 
 Clothworkers, the, can useunder-galleryof Gresham 
 College for preparing 1662 pageants, ii, 48, n. 5; 
 
 car of the, in the Ripon procession (1886), ii, 
 1 60; represented by Lanaria (1684), ii, 62; 
 triumphs (1633), ii, 41, n. 6; (1634), ii, 42. 
 
 Clowes, the Miss, organizers of the Knutsford festi 
 val, ii, 153. 
 
 Clown in the Christmas play, i, 7, n. i. 
 
 Club-bearer with St. George at Norwich, i, 73. 
 
 Clughtt, Christopher, not to ride the George at 
 Leicester, i, 30. 
 
 Coach, the first lord mayor s, used in 1712, ii, 86; 
 the present city, built 1757, ii, 93; the mayors , 
 
INDEX 
 
 361 
 
 drawn by six horses (1740), ii, 92; Fund, the, 
 ii, 93; Lord Mayor s, the (1761), ii, 96; 
 the Royal, ii, 93, n. 4. 
 
 Coats of arms and banners represent characters in 
 1688, ii, 64. 
 
 Cceur, Jacques, i, 99, n. i. 
 
 Coke, Sir Thomas, ancestor of Bacon, ii, 124. 
 
 Colbrant, a giant "in Guildhall," i, 60, n. 3. 
 
 Colchester Pageant, the (1909), i, 211, n. 2; ii, 214; 
 ii, 221, and n. 3; ii, 224, n. 7; Elizabeth at 
 (1578), i, 211, n. 2; model of, in the 1914 
 "Tournament", ii, 189; Oyster discovered 
 by the Britons, ii, 218. 
 
 "Cole, Old King" (Colchester, 1909), ii, 224, n. 7. 
 
 Colecester, Castle of, inhabited by Yoton, i, 51, 
 n-3- 
 
 Cokcestria (Colchester, 1909), ii, 214. 
 
 Coleman Street (London), i, 48. 
 
 College and community join in giving a pageant, 
 ii, 274. 
 
 Colleges to observe the Pilgrim Tercentenary, ii, 
 276. 
 
 Colne (London, 1661), i, 245. 
 
 Cologne, Isabel of England meets Frederick II at, 
 i, 12, n. 3; merchants of, at London, i, 180, 
 n. 2; ship at, i, 12, n. 3. 
 
 Cologne, the three kings of, i, 24, n. i. 
 
 Colonial Dames, the, give a scene in the Boston 
 "festival" (1897), u > 261; Days, scenes from 
 (Cincinnati, 1914), ii, 287; participation in 
 the "Royal Naval and Military Tournament," 
 ii, 187 f.; section, the, of the Hudson-Fulton 
 Pageant, ii, 243. 
 
 Colonies, the, group representing (London, 1904), 
 ii, 130; represented in Guy Fawkes Day 
 Pageant at Hampstead, i, 10; represented 
 in "Britannia s Muster," ii, 188 f. repre 
 sented by floats (London, i883),ii, 122; repre 
 sented by a car (1890), ii, 126; represented 
 on a car (1905), ii, 131; (London, 1910), 
 ii, 75, n. 6. 
 
 Colonists (Boston, 1910), ii, 266; (London, 
 1890), ii, 126. 
 
 Colonna, Vittoria (London, 1914), ii, 147, n. 2. 
 
 "Columbia, the arrival of the" [1790] (Boston, 
 1897), u , 261. 
 
 Columbia (Little Compton, 1914), ii, 251; 
 (Washington, 1913), ii, 285. 
 
 Columbus Day celebrated at Boston (1912), ii, 
 245 f. 
 
 "Columbus, the Landing of" (Boston, 1912), ii, 
 246; (St. Louis, 1886), ii, 253, n. 4; (Taun- 
 ton, 1911), ii, 269; ii, 270; received by Ferdi 
 nand and Isabella(St. Louis, 1886), ii, 253, n. 4. 
 
 Columbus and Bell linked with trade (Boston, 
 191 2), ii, 247. 
 
 "Columna Rostrata" (1904), ii, 130. 
 
 Combatants disguised in romantic tournaments, 
 i,8 9 . 
 
 Combes, William, puts up lists and scaffolds for 
 jousts (1442), i, 96. 
 
 Combination, a, of "woodman" and forester (1663), 
 i, 77; ii, 49. 
 
 Comedy and history combined, ii, 219 f. 
 
 Commerce, the, of London in the xii century (1901), 
 ii,i28; suggested by marine figures and negro, 
 from a distant continent (1685), ii, 63. 
 
 Commerce (Edinburgh, 1908), ii, 214; (London, 
 1622), ii, 75; (London, 1783), ii, 100; (Lon 
 don, 1850), ii, 115; ii, 116; (London, 1892), 
 ii, 127. 
 
 "Commerce and the Port of London" (1892), ii, 
 127. 
 
 Commercialism, the blight of, ii, 206 f. 
 
 Common-weal, Decayed (London, 1559), i, 81; i, 
 202; Flourishing (London, 1559), i, 81 ; i, 202. 
 
 Commonwealth (London, 1590), ii, 25; the, 
 represented by Sir William Walworth (London, 
 1 590), ii, 25. 
 
 Commonwealth of the City (Norwich, 1578), i, 211; 
 ii, 74. 
 
 Community drama, the, i, xx; ii, 143; in the 
 United States, ch. ix, 2 (ii, 257 f.); and war, 
 ii, 290. 
 
 Community, the, and the Boston "festival" of 
 1897, ii, 261 ; and college join in giving a pag 
 eant, ii, 274; effort in the Little Compton 
 parade, ii, 250; ii, 251; interest aroused by 
 a street parade, ii, 241 ; takes part in the 
 Norristown pageant, ii, 249, n. 6; ii, 250; 
 masque discussed by Mr. MacKaye, ii, 289 f . ; 
 service officials and the Pilgrim Tercentenary, 
 ii, 277; and the Hollis Hall Pageant, ii, 272; 
 and the modern pageant, ii, 202 f. 
 
 Companies, the, called on to pay debt for 1626 
 pageants (1629), i, 236, and notes 1-3; re 
 ceive General Monk (1660), ii, 57, n. i; march 
 in the 1862 procession at Coventry, ii, 170; 
 marching, in the Show (1910), ii, 136; order 
 of, on "ridings" established (1515), ii, 9, 
 pageants (1761), ii, 95; paid authors for the 
 shows, ii, 70, and n. i; and pageant-expenses 
 (163/3), ii, 41; personified (1612), ii, 32; 
 personified by "armed-men" (London, 1641), i, 
 238 f.; personified (1684), ii, 61; in the 
 1890 procession, ii, 125; represented by livery 
 men (London, 1783), ii, 99; represented by a 
 twelve-branched tree (1628), ii, 39; repre 
 sented by their arms (1613), ii, 34; refuse to 
 march in the 1682 procession, ii, 60; stands of 
 the (c 1740), ii, 91, n. i; symbolically repre 
 sented, ii, 73 f. 
 
 Competition among the poets, ii, 70; won by 
 Middleton over Dekker and Munday (1617), ii, 
 
 37- 
 Compiegne, tournament at, in honor of Joan of Arc, 
 
 ii, 187, and n. i. 
 Composers, busts of, in the 1800 Show, ii, 126. 
 
362 
 
 INDEX 
 
 "Comus," a scene from, in the Gloucestershire 
 Pageant, ii, 216. 
 
 Comus (London, 1908), ii, 135. 
 
 Concord (Edinburgh, 1594), i, 218; (London, 
 1606), i, 228, notes i and 4; (London, 1661), 
 i, 245; i, 246; (London, 1685), ii, 63; Tem 
 ple of (London, 1814), ii, 162. 
 
 Conduct (London, 1685), ii, 63; (London, 1700), 
 ii, 80, n. 7. 
 
 Conduits flowing with wine, passim. 
 
 Conduit, the Great, in Cheap, i, 37, n. 3 ; i,"i32, n. 4; 
 i, 134; i, 146 and n. 7; i, 148; i, 167; i, 177; i, 
 179; i, 183; i, 186; i, 188; i, 189; i, 192; i, 224, 
 n. 5; i, 227; i, 241, n. 3; i, 242; i, 245; Little 
 (in Cheap), i, 37; i, 165; i, 168, and n. 3; i, 173; 
 i, 174; i, 178; i, 180; i, 183; i, i86;i, 18951, 201; 
 i, 202; i, 225; i, 227; i, 228, n. 4; i, 241, n. 3; i, 
 246; ii, 32; ii, 34; ii, 78; ii, 79; in Cornhill, 
 i, 132, n. 4; 1,145; i,i77; 1,183; 1,185; i, 188; 
 i, 189; i, 192; i, 241, n. 3; i, 245; in Fleet 
 Street, i, 184; i, 187; i, 189; i, 184; i, 202; i, 
 225; i, 228, and n. 4; i, 241, n. 3; i, 242; i, 246; 
 at St. Paul s London, i, 131; i, 132, n. 4; i, 
 JSS, n - 3; i, J 36; i, 146; to be repainted 
 (1559), i, 199. 
 
 Confections see "subtlety." 
 
 Confederation (Paris, 1513), i, 171. 
 
 Confessors (London, 1415), i, 134, and n. 3; (Lon 
 don, 1421), i, 138. 
 
 Confidence, in "The Triumphs of Peace" (1634), i, 
 118. 
 
 Conflict between citizens and Bishop s servants, 
 ii, 4 f . ; ii, 6 f . 
 
 Confusion (London, 1661), i, 244. 
 
 "Conjunction of the Planets" (Edinburgh, 1579), 
 
 1,213. 
 
 "Conqueror of the Sea," the, (Little Compton, 
 1914), ii, 251. 
 
 Constable of England, the, in the Coronation pro 
 cession of Anne Boleyn (1533), i, 182; of 
 the tower, receives mayor s oath (1392), ii, 5. 
 
 Constantinople, King of, and Charlemagne (London, 
 1522), i, 176. 
 
 Constitution, ratification of the, celebrated at 
 Boston (1788), ii, 236. 
 
 Construction of St. Paul s necessitates a change in 
 landing (1676), ii, 55; necessitates discon 
 tinuance of the "riding to St. Paul s," ii, 59. 
 
 Consumptives Home, float furnished by the 
 (Boston, 1912), ii, 247. 
 
 Contest, the, between winter and summer, i, 4 f ., 
 
 i, Si- 
 
 Continental giants, i, 55 ff., and n. 2; proces 
 sions of recent years, ii, 163 f . ; influence of the, 
 on civic shows, ii, 116; tournaments of modern 
 times, ii, 187. 
 
 Continental Soldiers (Norristown, 1912), ii, 249. 
 
 Continents, the, given trade-symbolism (London, 
 245. 
 
 Continents, the Four (London, 1694), ii, 75; the 
 Five, personified (London, 1919), ii, 141; often 
 personified in the civic shows, ii, 75. 
 
 Continual Success (London, 1533), i, 183. 
 
 Contrast between fire-engines of 1666, 1852, and 
 1892, ii, 127; between ancient and modern 
 counting-houses, a trade-pageant (Boston, 1912) 
 ii, 247 ; between early vehicles and a modern 
 motor-car (Boston, 1910), ii, 267; between 
 fire-engines old and new (Boston, 1912), ii, 
 247 ; between Indian canoe and ocean liner 
 (New York, 1909), ii, 243; between the 
 "pioneer boat" and the steamer of 1847, ii> 
 237 ; between stage-coach and motor-car, ii, 
 128; ii, 129; between Town Crier and news 
 boys (Boston, 1910), ii, 267; (Boston, 1912), 
 ii, 245 ; between wigwam and sky-scraper 
 (New York, 1909), ii, 243; between past and 
 present emphasized at Boston (1910), ii, 266; ii, 
 267. 
 
 Contemporary European history echoed at Boston 
 in 1912, ii, 247. 
 
 Contributions for 1626 pageants levied in 1629, i, 
 236, and notes 1-3. 
 
 Contributors to the "Times" on the Eglinton 
 tournament, ii, 183. 
 
 Conventional phraseology in the shows, ii, 64, n. 4. 
 
 Conye, Thomas, witnesses gift of pageant to 
 "commonalty" of Norwich, ii, 12. 
 
 Conyeux [Conyng, Coney] Street, at York, i, 159, 
 and n. i. 
 
 Cooke, Mr. W., of Astley s Amphitheatre, helps 
 arrange the 1853 Show, ii, 116; ii, 117. 
 
 Cooke, the Rev. Dr., pictured at Belfast (1914), 
 ii, 181. 
 
 Cooke, Sir Anthony (London, 1907), ii, 134. 
 
 Cook, Sir Thomas (London, 1783), ii, 100. 
 
 Cooper, Admiral, receives a pageantic Penn (Phila 
 delphia, 1882), ii, 240. 
 
 Coopers expenses for the 1588 visit of Elizabeth, 
 i, 214, n. 4; trade-pageant of the (St. Louis, 
 1847), ii, 239. 
 
 "Copley s Studio," a scene at (Boston, 1897), ii, 
 261. 
 
 Copy of Champlain s ship (St. John, 1904), ii, 241. 
 
 Cordalle, a participant in, or author of, a pageant 
 (Norwich, 1556), ii, 17. 
 
 Cordwainer, the ward of, ii, 92. 
 
 Cordwainers, the, with Crispin and Crispianus (Lon 
 don, 1783), ii, 99. 
 
 Corinea (London, 1610), i, 231. 
 
 Corineus receives Cornwall from Brutus, i, 59; 
 and Gogmagog in history, i, 58, n. 2; i, 59; 
 in Geoffrey of Monmouth s history, i, 59; i, 78, 
 n. i; i, 79. 
 
 Corineus (London 1554), i, 57, . 2; i, 57, n. 3; i, 
 58 f.; i, 60; i, 191; i, 195; (London, 1559), 
 i, 202; (London 1605), ii, 28; ii, 281; ii, 
 297. 
 
INDEX 
 
 363 
 
 Corinth personified at Alexandria, i, 17, n. 6; i, 81, 
 n. 7. 
 
 Corisca (London, 1684), ii, 62. 
 
 Cornhill, i, 37; i, 132, n. 4; i, 134; i, 145; i, 160; 
 i, 165; i, 167, and n. 5; i, 169; i, 173; i, 1775 i 
 182; i, 183; i, 185; i, 188; i, 189; i, 192; i, 200; 
 i, 245; ii, 68; ii, 114; ii, 178, n. 4. 
 
 Corn Market, (Dublin), i, 251. 
 
 Cornwall represented by Corinea (London, 1610), 
 i, 231; ii, 75, n. i. 
 
 Cornwall (London, 1509), i, 170. 
 
 Cornish miners in the 1906 Show, ii, 132. 
 
 " Coronation of the Virgin, the, " at Aberdeen, i, 33. 
 
 Coronations of recent sovereigns, i, 257 f. 
 
 Coronation year at Lichfield (1911), ii, 152. 
 
 Corpus Christi at Bungay, i, 23; Bury St. Ed 
 munds, i, 23; Coventry, i, 22 ff.; Dublin, i, 22 ff.; 
 Edinburgh, i, 23; Leicester, i, 18, n. i; York, i, 
 18, n. i ; guilds, the, i, 19 ff.; institution of, 
 i, 19; plays of Coventry given for Elizabeth, 
 (1565), i, 204, n. i; processions, i, 18 ff. - 
 ship in procession of, at Plymouth, i, 12, and 
 0.3. 
 
 Corrie, C. J., introduced cars into the "Bower," 
 ii, 149, n. 4. 
 
 "Cortez, Meeting of, and Montezuma" (St. Louis, 
 1886), ii, 253, n. 4. 
 
 Cosimo de Medici, tournaments of (1459), 1,99, n. i. 
 
 Cosmopolitan element in the Boston procession of 
 1912, ii, 245; ii, 247. 
 
 Cost, the, of the Hudson-Fulton Pageant (1909), 
 ii, 243; of mayor s feast (c 1575), ii, 22; 
 of a modern pageant, ii, 206, and n. 2; ii, 234; 
 of the Warwick (Massachusetts) Pageant, ii, 
 279. See also Expenses. 
 
 Costumes of civic officials described, ii, 66 f. ; of 
 earlier centuries requested of spectators at the 
 Eglinton tournament, ii, 184; in Mr. Parker s 
 pageants provided by each actor, ii, 198, and 
 
 n. 5- 
 
 Cotton, Sir Allen, Mayor of London (1625), ii, 38. 
 Cotton, John (Boston, 1897), ii, 260. 
 "Cotton, King" (St. Louis, 1886), ii, 253, n. 4. 
 Councell of the City (London, 1604), i, 224. 
 Council of the City (London, 1783), ii, 100. 
 Counsel (London, 1618), ii, 38. 
 Countries personified often, ii, 75; various repre 
 sented in the 1853 Show, ii, 117; in the 1892 
 
 Show, ii, 127. 
 
 Country, the (London, 1585), ii, 24; ii, 75, n. 8. 
 "Country Captain, The", reference to Whiffler in, 
 
 i, 71 ; reference to City Castles in, i, 67, n. i. 
 Country-fellow, a, in a 1634 masque and pageant 
 
 ("The Triumph of Peace"), i, 118. 
 Countryman in the 1671 "interlude," ii, 52. 
 Courage (London, 1618), ii, 38; (London, 1685), 
 
 ii, 63. 
 "Court of Array" at Lichfield, the, i, 9; ii, 149; 
 
 of the Heroic Dead, the (New York, 1919), ii, 
 
 256; of Learning, the (Oxford, 1907), if, 
 223; of Love, the, and the 1377 castle, i, 128, 
 and n. 6; influence of the, in a masque with a 
 pageantic background (1501), i, 114; influ 
 ence of the, on the morality-play, i, no. 
 
 Court, masquerades at, i, 85. 
 
 Court of Rome in the 1914 "Tournament," ii, 189. 
 
 Court of Spain, scenes at the, (Cincinnati, 1914), ii, 
 287. 
 
 Courthope, W. J., on monastic and chivalric alle 
 gory, i, 1 10. 
 
 Courtiers (Knutsford, 1913), ii, 153. 
 
 Courts moved back to London (1392), i, 129; of 
 Justice visited (1679), ii, 58, of Justice, 
 mayors presentation at, the origin of the civic 
 procession, ii, 3. 
 
 Co vent- Garden Theatre, a pantomime of the civic 
 show at, (1783) ii, 97 f. 
 
 Coventry, the arms of, i, 68, n. 2; the (reputed) 
 birthplace of St. George, ii, 168, n. i; Corpus 
 Christi at, i, 22 f.; Edward IV at, (1461), i, 
 151; Elizabeth at, (1565), i, 204; Godivaat, 
 i, 25, n. i; ii, 166 f.; ii, 167; ii, 192; ii, 197, n. 2; 
 guilds (Trinity, Corpus Christi, St. Nicholas) 
 i, 22 ff., and n. 9; Henry VIII and Katherine 
 at (1511), i, 170; King Arthur welcomes 
 Prince Arthur to (1498), i, 79; i, 164; Mary 
 at (1525), i, 179; Margaret of An jou at (1456), 
 i, 149 f. ; Midsummer Show at, i, 46; Mid 
 summer Watch at, i, 36; minstrels at, i, 49; 
 mystery plays at, i, 57, n. 3; Prince Arthur at 
 (1498), i, 79; i, 164 f.; Prince Edward at 
 (1474), i, 153 f.; "Shearmen and Taylors pag 
 eant," the, at, i, 20, n. 3; subtleties at (1527), 
 i, 82, n. 9. 
 
 Cowboys in Brooklyn mumming, ii, 158. 
 
 Cowdray, Elizabeth at (1591), i, 216. 
 
 Cox, Richard [Bishop of Ely], (London, 1907), ii, 
 
 134- 
 
 "Cozmoz Neoz" (London, 1604), i, 225, n. 2. 
 Crab in a 1678 "interlude", ii, 56. 
 Craig, Anna T., author of "An Dhord Fhiann," ii, 
 
 272, n. 2. 
 
 Craig, Gordon, i, 121. 
 Craft-guild plays, the, i, 20. 
 "Crane, Ichabod, the Legend of," (New York, 
 
 1 909), ii, 243. 
 
 "Cranford" recalled at Knutsford (1914), ii, 154. 
 Cranmer, account of 1533 "entry" by, i, 181, n.2, 
 
 and n. 3. 
 Craven, Sir W., Mayor of London, (1610) ii, 30, 
 
 n. 2. 
 
 Craven, Sir William (London, 1889), ii, 125. 
 "Creed play" at York, the (1446), i, 21; (1483), 
 
 i, 155; i, 156, and n. 3. 
 "Cressett lights" (1518), i, 173. 
 Cressets in Corpus Christi parades, i, 22, n. 7; 
 
 in Midsummer Watch, i, 37; i, 38, n. 5; i, 41, and 
 
 n. i; i, 42, and n. 2. 
 
INDEX 
 
 Cresset-bearers of the Midsummer Show, i, 72. 
 de Crevecaeur, St. John (St. Johnsbury, 1912), ii, 
 
 270. 
 Cricketers (Knutsford, 1913), > *54- 
 
 Cripplegate grounds, ii, 45; within, Ward of, ii, 
 92. 
 
 Crimea, veterans of, in the 1800 Show, u, 125; 
 in the 1906 Show, ii, 132; in the 1910, Show, 
 ii,i36. 
 
 Crispin and George Saint and King, ii, 165, n. 5. 
 
 Cromwell [Oliver] attacked in paintings (London, 
 1661), i, 244; at Guildhall (1653), i, 239; 
 pictured at Belfast (1914), ii, 181; saluted by 
 the citizens (1656), ii, 46. 
 
 Cromwell, Oliver (Lichfield, 1893), ii, 150; (Lon 
 don, 1889), ii, 124. 
 
 Cromwell [Thomas] and the king s minstrels, i, 180. 
 
 Crosby, Brass (London, 1895), ii, 127. 
 
 Cross, the, at Aberdeen runs wine (1511), i, 170; 
 in Cheapside, i, 130; i, 132, n. 4; i, 134; i, 148; 
 i, 160; i, 166, n. 6; i, 175; i, 183; i, 188; i, 189; 
 i, 190, and n. 12; i, 193; i, 201; i, 225; i, 235; 
 i, 242; ii, 34; ii, 47; at Coventry, the, i, 204, 
 andn. i; "stage play" at (1511), i, 170; the 
 (Edinburgh), i, 236; the, at the market place 
 of Hereford, i, 159. 
 
 Crosschepyng (Coventry), i, 153; i, 154; i, 164; 
 i, 179. 
 
 Crossing the Line, the ceremony of, i, 9 f.; ii, 157, 
 andn. 2. 
 
 Crouched Friars (London), i, 244. 
 
 Crowd at Lord Mayor s Show, reference to descrip 
 tions of, by Jordan and Ward, ii, 57. 
 
 Crown Bearer, the, in early Knutsford processions, 
 ii, 154, n. 4. 
 
 Crown of Thorns given to Charlemagne (London, 
 1522), i, 176. 
 
 Crowns given to Charles V and Henry VIII (Lon 
 don, 1522), i, 176. 
 
 "Crown and Rays" (1832, 1833), ii, no. 
 
 " Cruxifbdon, the," at Aberdeen, i, 33; (Bruges, 
 1468), i, 152; (Paris, 1498), i, 163. 
 
 Cruelty in the guise of a dragon (Edinburgh, 1908), 
 ii, 223. 
 
 Crusader, small boy as, personates the Genius of 
 London (1913), ii, 138. 
 
 Cuchulainn Cycle, the (Edinburgh, 1908), ii, 214. 
 
 Cumberland, the Earl of, in a tilt (1590), i, 215. 
 
 Cummings, W. H., on "God Save the King," ii, 
 178,0.4. 
 
 Cunthrope, William, to attend committee to view 
 pageants (1626), i, 235. 
 
 Cupid at Chester, i, 44, n. 2; i, 46, and n. 2; at 
 Dublin, i, 23, n. 3; (Edinburgh, 1579), i, 213, 
 n. i; (London, 1629), ii, 72; [or Apollo] 
 (London, 1761), ii, 95; in masque at Norwich, 
 (1578), i, 211; at Valenciennes, (1330), i, 94. 
 
 Cupids (London, 1685), ii, 63; in a joust (Win 
 chester, 1908), ii, 225. 
 
 Cure loial (1511), i, 97; i, 116. 
 
 Currus Neptuni in a Belgian triumph, i, 195, n. i. 
 
 "Curtana," the, signifying mercy, i, 154; i, 155, 
 and n. i; carried by Mercy (London, 1547), i, 
 186. 
 
 Curzon, the Viscountess, chosen Queen of Beauty 
 in 1912, ii, 185, n. 3. 
 
 Customs of early days shown at Boston (1897), ii, 
 260; of the early settlers shown at Peter 
 borough, 1910, ii, 264; of the early settlers 
 shown at Plymouth (1896), ii, 259; ii, 260. 
 
 Cutlers crest, the, i, 67, n. i; i, 68. 
 
 Cutsatt, Earl of Chester (London, 1522), i, 177. 
 
 Cutter of Cootsholde, the, (Sudeley, 1592), i, 218. 
 
 Cyclops (Dublin, 1665), i, 251; (London, 1618), 
 ii, 38; with the Blacksmiths (London, 1783), 
 ii, 99; forging an alliance (Antwerp, 1803), i, 
 
 254- 
 
 Cymbeline, grandson of Lud, i, 78, n. i. 
 
 Cymbeline (Colchester, 1909), ii, 217, n. 3; (Lon 
 don, 1914), ii, 190, n. i; (Warwick, 1906), ii, 
 217, n. 3. 
 
 Czecho-Slovaks in the New York Pageant of 1918, 
 ii, 252. 
 
 Dagger of St. Paul, the, on City shield, ii, 25, n. i. 
 
 Dairymaids (Chester, 1910), ii, 224. 
 
 Dalkeith, George IV at (1822), i, 255; i, 256. 
 
 Dallin, Mrs. Colonna M., designer of the Boston 
 Normal School Pageant (1908), ii, 281, n. 2; 
 on the Boston Normal School Pageant (1908) 
 ii, 282, and n. i ; on the Lawrence Pageant of 
 1911, ii, 269; ii, 282, n. i. 
 
 Dalyngrigge, Sir Edward, made "Warden" of Lon 
 don (1392), ii, 5. 
 
 Damage done by pageants repaired (1662), i, 247. 
 
 Dame-School teacher, the, (Boston, 1908), ii, 283. 
 
 Dana, R. H., on the hanging of Judas, ii, 156, n. 5; 
 
 on the ceremony of Crossing the Line, ii, 157, 
 n. 2. 
 
 Dance, the folk-play, and tournament, i, 105; 
 in the Boston Normal School Pageant (1908), ii, 
 282, and n. i; ii, 283; in the Boston Pageant 
 of 1910, ii, 266; in a Cambridge "pageant," 
 ii, 284; of the Dyaks (London, 1897), ii, 188; 
 
 in the Duquesne Masque, ii, 287; in the 
 Keene Pageant (1913), ii, 271, and n. 4; in the 
 Lawrence Pageant, ii, 269; in modern pag 
 eants, ii, 85; in the Peterborough Pageant, ii, 
 264; ii, 265; in the Quebec Pageant, ii, 263 ; 
 in the Rhode Island Normal School "pageant," 
 ii, 288 f.; in the Taunton Pageant, ii, 269; 
 in Vermont pageants, ii, 270; in a masque at 
 Washington (1913), ii, 285 f. 
 
 Dance (Edinburgh, 1908), ii, 223. 
 
 Dancers, infant hornpipe (Knutsford, 1913), ii, 
 
 153; hi the Ripon procession, ii, 161. 
 Dances, old time, hi the Boston "festival" of 1897, 
 
 ii, 261; and history combined in a London 
 
INDEX 
 
 365 
 
 "festival" (1914), ii, 228, n. 3; Indian, shown 
 on floats (New York, 1909), ii, 243; in a 
 Marblehead "pageant," ii, 277!.; in modern 
 pageants, ii, 222 f.; ii, 224, n. 7; in the Ply 
 mouth "festival" of 1896, ii, 259; ii, 260. 
 Dancing of animals to melody of Orpheus (London, 
 1554), i, 193; in the civic shows, ii, 84 f.; 
 in connection with Brooklyn mumming, ii, 158; 
 
 at court, i, in f.; of court and folk, i, 105; 
 
 in country houses, i, in, n. 7; on the 
 Heath (Knutsford), ii, 154, and n. 2; mock- 
 fighting, and speech combined in folk-plays, i, 
 105; in the Sherborne Pageant, ii, 211. 
 
 Dane, a (London, 1617), ii, 76. 
 
 Danger at the feet of Safety (London, 1604), i, 
 
 225. 
 
 "Dangerus Fortrees, The" (1511), i, 116. 
 Danish music in honor of Anne (1604), i, 224; 
 
 occupation of York, a relic of, i, 159, n. i. 
 Dante (Avignon, 1600), i, 220; (Boston, 1908), 
 
 ii, 282. 
 
 Danube (London, 1691, 1701), ii, 75. 
 Darcey, Henry (London, 1783), ii, 99. 
 Daphne (Sudeley, 1592), i, 218. 
 Dartford, Tournament at, (1330), i, 90. 
 "Dartmouth, on board the," (Boston, 1897), ii, 
 
 261. 
 Dashwood, Sir Samuel, Mayor of London (1702), 
 
 ii, 153- 
 
 Date, the, of Lord Mayor s installation, ii, u, and 
 n. i;ii, 93. 
 
 Daughters of the American Revolution, a chapter 
 of, gives the Keene Pageant, ii, 271. 
 
 Daughters of the Revolution, members of, give 
 a scene in the Boston "festival" of 1897, ii, 261. 
 
 "Daumont de Saint-Lusson takes possession of the 
 West," (Quebec, 1908), ii, 263. 
 
 Dauphin, the, weds Mary, Queen of Scots (1558), 
 i, 98; i, 194 f. 
 
 Davenant on scenery, i, 120, n. 2. 
 
 David (Bruges, 1515), i. 172; (Coventry, 1456), 
 i, 150; (London, 1561), ii, 18, and n. 2; ii, 19, 
 n. i; ii, 73, n. 2; ii, 82; (London, 1679), ii, 
 83; (Paris, 1431), i, 138, n. 4; (York, 1486), 
 i, 159, and n. 3; [in genealogical table (London, 
 1432)], i, 146. 
 
 Davidson, Charles, on Church processions, i, 16; 
 on Corpus Christi, i, 19. 
 
 Davidson, James, on the Castlewellan investiga 
 tion (1849), ii, 180, n. i. 
 
 Davies, Richard, poet of the Chester (1610) Show, 
 i, 229, n. 2. 
 
 Davis, Evan, porter, ii, 18. 
 
 Davol, R., on processional pageants, ii, 236, n. 4; 
 on types of standard pageants, ii, 292; on the 
 Warwick (Massachusetts) Pageant, ii, 279. 
 
 Davy, Mayor of Norwich, (1563) i, 35, n. 2; ii, 19. 
 
 Dawn (Edinburgh, 1908), ii, 223. 
 
 "Dawn of Printing, The" (1902), ii, 129. 
 
 Dawson, Mr., refers request for troops to Peel 
 (1822), ii, 107. 
 
 Dawtrey, Augustin, author of "Robin Hood and 
 the Curtal Friar," ii, 161, n. 2. 
 
 Day (Edinburgh, 1908), ii, 2235 (London, 
 1677), ii, 74; ii, 191. 
 
 "Day fireworks" (Newport, 1881), ii, 178 f. 
 
 Deacons, with St. Wilfred (Ripon, 1886), ii, 160. 
 
 Deadly Sins, the, burned in pageantic fireworks 
 (Gravesend, 1606), i, 229; in a Hessian tilt, 
 (1596), i, 219; in"The Castle of Perseverance," 
 i, no; represented by giants, in "Piers Plow 
 man," i, no. 
 
 Dean of York Cathedral, and Lord Halifax sug 
 gest site for the York Pageant, ii, 200. 
 
 Deane, Richard, Mayor of London, (1628), ii, 39. 
 
 Death (Providence, 1919), ii, 289; at a marriage 
 feast in Scotland (1285), i, 103; or Winter, 
 origin of sword-dance in the expulsion of, i, 5. 
 
 Debat, the, in the masque, i, in ; in pageantry, 
 i, 184 ; reasons for its lack of influence in pag 
 eantry, i, in; suggested in the 1684 Show, 
 ii, 62; tourney, masque, and pageant-car, 
 (1528), i, ii6f. 
 Debats d amour, i, 80; in literature, i, 80. 
 
 Deborah (London, 1559), i, 202; (Norwich, 
 1578), i, 82; i, 211. 
 
 Decay of folk-customs, the, i, 8 ff. 
 
 Decayed Commonweal, the (London, 1559) i, 81; 
 i, 202. 
 
 "Declaration of Independence, the signing of the " 
 (Marblehead, 1912), ii, 278. 
 
 Dee, the, (Chester, 1910), ii, 215; (London, 
 1616), i, 233; i, 234. 
 
 Deepdesire (Kenilworth, 1575), i, 209. 
 
 "Defeat of the Danes," an episode in the Sher 
 borne Pageant, ii, 210. 
 
 Definitions of "pageant," ii, 291 f.; tentative, 
 of various terms made by the American Pageant 
 Association, ii, 292, n. 4. 
 
 Deiphille (Paris, 1431), i, 138, n. 4. 
 
 Deiphobus (Winchester, 1908), ii, 225. 
 
 Dekker, Thomas, collaborates in the 1604 "entry," 
 i, 222, and n. i ; i; 225, and n. 5; "Troia Nova 
 Triumphans" by (1612), i, in; ii, 31 f.; 
 paid for unsuccessful project, ii, 37; a satire 
 by (1606), combines morality "spirit" and pag 
 eant "technique," ii, 35, n. 4; "Britannia s 
 Honor" by, (1628), ii, 39; and Christmas 
 collaborate (1629), ii, 40; "London s Tempe" 
 by (1629), ii, 40 f.; and Heming collaborate 
 in 1612, ii, 31 f. 
 
 Dele, King and Queen of, i, 31; i, 79, n. 6. 
 
 Demeter (St. Louis, 1878), ii, 253, n. 2. 
 
 Democracy (Providence, 1919), ii, 289. 
 
 Democratic aspect of the modern pageant, ii, 202. 
 
 Democratic Party, the, represented by a Donkey 
 (Boston, 1912), ii, 255. 
 
 Demons (Edinburgh, 1908), ii, 214. 
 
366 
 
 INDEX 
 
 Denham, William, i, 41, notes i and 2. 
 
 Denmark, King of, attended by the Companies 
 (1768), ii, 97; prince of, sees the 1662 Show, ii, 
 48. 
 
 Deptford, Charles V received near, i, 175; Kath- 
 erine of Spain received at, i, 166. 
 
 Derby, Earl, at the Preston Guild (1902), ii, 165, 
 n. 2. 
 
 Deny, Relief of, pictured at Belfast (1914), ii, 181. 
 
 Descendant of Governor Dudley, a, takes the part 
 of his ancestor (Boston, 1897), ii, 260, n. 5. 
 
 Desdemona (Lichfield, 1909), ii, .151. 
 
 Desert, or forest, a trade-pageant (1675), ii, 55. 
 
 Desire (London, 1612), ii, 32; and Hope in a 
 wedding masque (1501), i, 114; foster children 
 of, in a tilt, (1581), i, 97j i, 213 f.; ii, 273, n. 3. 
 
 Detractio (London, 1604), i, 224, and n. 6. 
 
 "Deux Nethes" (Antwerp, 1803), i, 254. 
 
 Development of the dance to the masque, i, 112. 
 
 Devereux, Mary, author of "From Kingdom to 
 Colony," ii, 277, n. 2. 
 
 "Device called Londinium" (1604), i, 224, n. i. 
 
 Devil, dance of the, and the New England Con 
 science (Taunton, 1911), ii, 266, n. 2, ii, 269; 
 the, in the London civic shows, i, 73, n. 3; i, 74, 
 n. 2; in the 1553 Show, ii, 14, and n. 4; in 
 the 1554 Show, ii, 15; relation between wild- 
 man and, i, 74; [with the Pope] (London, 
 1680), ii, 173; (London, 1711), ii, 175, n. 3; 
 effigy of, at Boston, ii, 176; ii, 177; (Diissel- 
 dorf, 1852), ii, 147. 
 
 Devils at Chester, i, 44; i, 45; in the 1832 pro 
 cession at Edinburgh, ii, 166, and n. i. 
 
 Devonport, a ship at, i, ii, n. 4; i, 12. 
 
 Dewey reception, the, of 1899, compared with the 
 1919 reception of troops, ii, 256 f. 
 
 Dialogue in a Chester pageant (1610), i, 230, and 
 n. 2; importance of, in the modern pageant, 
 ii, 218 f.; in the modern pageant, ii, 211; ii, 
 231 f.; hi the Quebec Pageant, ii, 263, and 
 notes; in the 1684 Show, ii, 62; suggestion 
 of (1604), i, 225, n. 4; in 1533, i, J 83, and 
 notes 5 and 6. 
 
 Diamond, Battle of the, ii, 180. 
 
 Diana (Avignon, 1600), i, 220; Knights, ser 
 vants of, at the coronation of Henry VIII, i, 
 96; hi Gascoigne s masque (1575), i, 209, n. 
 i; (London, 1661), i, 243, n. i; (Paris, 
 1513), i, 171; park of, at the coronation of 
 Henry VIII, i, 97. 
 
 Dick-fools, at Norwich, i, 28, n. 3; i, 71; i, 74, n. 2. 
 
 Dickinson, T. H., on "futurism" in American 
 pageants, ii, 293 ; on propaganda in pageantry, 
 ii, 294, n. 2. 
 
 Didactic quality of Jordanian "interludes," the, ii, 
 76; of shows grows weaker when speech dis 
 appears, ii, 78. 
 
 Differentiation between "masque" and "pageant," 
 i, 85; ii, 288. 
 
 Difficulty about getting soldiers for the 1821 Show, 
 ii, 105 f. 
 
 Digger, a, in cart, represents Australia (1853), ii, 
 116, n. 3; ii, 117. 
 
 Dignity, "subtlety" of, i, 83, n. 7. 
 
 Diligence (London, 1677), ii, 84, n. 6. 
 
 Dimanche Grasse, Madame, (Lyons, 1627), i, 77, 
 n. i; ii, 147, n. 4. 
 
 Dinner, cost of (1663), reported by Pepys, ii, 49; 
 (1664), reported by Evelyn, ii, 49; the, of 
 1674 described by the "Spectator," ii, 54; at 
 Guildhall (1700), ii, 68; at Guildhall, cost of 
 the, (c 1575), ii, 22; mayor and sheriffs share 
 the cost of, ii, 22; at mayor s house (1665), 
 ii, 49. 
 
 Diogenes (London, 1681), ii, 83. 
 
 Diotema (London, 1681), ii, 83. 
 
 "Director of public celebrations," the (Boston), 
 ii, 248, and n. 2. 
 
 Discord in a 1572 masque, i, 117; i, 205, n. i. 
 
 Disdain (London, 1612), ii, 32. 
 
 Disease Germs (Boston, 1910), ii, 267; ii, 268. 
 
 Disguise in tournaments, i, 94 ff. 
 
 "Disguises" at Court (mid-fourteenth century), i, 
 101 f. 
 
 Disguising, the, i, xvii; i, 8; against a back 
 ground of pageantry (1494), i, 112; for 
 Charles V at Canterbury (1520), i, 174; at 
 Hatfield House (1556), i, 198; in tourna 
 ments, i, 85; i, 101; the, ancestor of the mas 
 que, ch. ii, 2, (i, 101 f.); at court, temp. 
 Henry VII, i, 85; and mumming, i, 105 f.; 
 hi Scotland, (1285) i, 103. 
 
 "Disinherited ? " a play-pageant of propaganda, 
 ii, 230. 
 
 le Dispenser, Hugh (London, 1907), ii, 134. 
 
 Disscntion (Bristol, 1574), i, 206. 
 
 Ditchfield, P. H., on Minehead May Day, i, 12; 
 on "Pace-egging," i, 5; on "riding the Black 
 Lad,"i, 16. 
 
 Ditch-side, the (London), ii, 91. 
 
 Divine Concord (London, 1606), i, 228, n. 4; 
 Speculation (London, 1622), ii, 77; Wisdom 
 (London, 1604), i, 223. 
 
 Divinity (Edinburgh, 1908), ii, 214; (Oxford, 
 1907), ii, 223. 
 
 Dixie, Sir Wolstone, Mayor of London, (1585), ii, 
 23; ii, 25, n. 2. 
 
 Dixie, Sir Wolstone (London, 1619), ii, 81, n. 2. 
 
 Dixon, Sir Daniel, pictured at Belfast (1914), ii, 181. 
 
 Dock Street (Philadelphia), ii, 240. 
 
 Doctor of law, a subtlety of, i, 83, n. 4. 
 
 Doctor of Laws (Lichfield, 1909), ii, 151. 
 
 Doctors in Midsummer Shows at Chester, i, 43 ff., 
 and notes; i, 78; of Divinity and Medicine 
 (Edinburgh, 1908), ii, 214; of Music with the 
 Musicians (London, 1783), ii, 99. 
 
 Dolde, Henry, furnishes a trade-pageant (St. Louis, 
 1847), ii, 238. 
 
INDEX 
 
 367 
 
 Dollard, Adam (Quebec, 1908), ii, 263. 
 
 Dolphin, the, of the Fishmongers (1761), ii, 95; ii, 
 96; a (Kenilworth, 1575), i, 69; i, 2(39, and 
 n. i; (London, 1610), i, 230; i, 231. 
 
 Dolphins, at Antwerp, i, 255; (London, 1612), 
 ii, 32; (London, 1661), ii, 48; (London, 
 1662), i, 250; (London, 1700), ii, 69. 
 
 Dominicans (London, 1680), ii, 173. 
 
 "Dominion Day" celebrated in Canada, ii, 252. 
 
 Don Blass, effigies of, burnt at Bath (1740), ii, 178, 
 n.4. 
 
 "Don de Dieu," the, (Quebec, 1908), ii, 164, n. i; 
 ii, 237, n. 4; ii, 241, and n. 5. 
 
 "Doniphan Expedition, the" (St. Louis, 1914), ii, 
 
 273- 
 Donkey, the, representing the Democratic party 
 
 (Boston, 1912), ii, 255. 
 
 Don Quixote, tournaments in the time of, i, 99. 
 "Doomsday," Drapers pageant of (Coventry), i, 
 
 204, n. i. 
 
 Dorane, Patrick, i, 195. 
 Dorchester Historical Society, float of the, (Boston, 
 
 1912), ii, 246. 
 
 Dorinda (London, 1684), ii, 62. 
 Dorset, Earl of, his son entertains the mayor 
 
 (i7oo),ii,68. 
 
 Dorsetshire giant, i, 51, n. 3. 
 Dorset Stairs (London), ii, 68. 
 Douai, the giants of, i, 55, n. 2; rehearsals of an 
 
 episode in the Dover Pageant at, ii, 205. 
 Dave of Peace, the (Washington, 1913), ii, 285. 
 Doves, emblems of peace, released at Quebec 
 
 (1908), ii, 263. 
 Dover, Charles V at (1520), i, 174; Pageant, the 
 
 (1908), ii, 218; ii, 219 f.; ii, 221, n. 3; French 
 
 players in, ii, 205; the motto of ["Invicta"], 
 
 ii, 218. 
 
 Dover (Dover, 1908), ii, 215. 
 Dowgate (London), i, 174, n. 6; ii, 47. 
 Downes, William, Lord of the manor of Earlham, 
 
 i, 210, n. 3. 
 
 " Downs of Delight " (1684), ii, 62. 
 Dragon, allegorical significance given to a (Edin 
 burgh, 1908), ii, 223; (Oxford, 1907), ii, 223; 
 
 and other animals at Chester Midsummer 
 Show, i, 44, n. 8; i, 45, n. 5; i, 46, n. 2; gilt, at 
 Sandwich, (1573), i, 205; Old, in the Christ 
 mas plays, i, 7, n. i; origin of the, i, 24, n. 2; 
 
 a, representing Ignorance (Oxford, 1907), ii, 
 223; of St. George, i, 57, n. 3; St. George 
 on a (1609), ii, 30; with St. George, in a 
 masque (Edinburgh, 1908), ii, 223; w ; th St. 
 Margaret (Antwerp, 1520), i, 24, n. 2; Coven 
 try, 1456), i, 150; of saints legend in pag 
 eantry, i, 196; spouting flames (London, 1487) 
 i, 161; ii, 10, n. i; spouting flames (Munich, 
 1662), i, 118; spouting flames (New York, 
 1909), ii, 243, and n. 4; spouting flames 
 (Warwick, 1572), i, 205; spouting fire (Ches 
 
 ter, 1610), i, 230; spouting fire (London, 
 1533), i, 181; a, (Bristol, 1461), i, 151; at 
 Dublin, i, 22; i, 23; at Hertford (1914), ii, 
 224, n. 7; at [Leicester, i, 30; at Norwich, 
 i, 26-29; (1537-38), i, 27, n. 3; (Warwick, 
 1572), i,i6i,n.4;i, 205; (Chester, 1910), ii, 224. 
 
 Dragons of lead (London, 1501), i, 168. 
 
 "Drakar," the, of Rollo (Rouen, 1911), ii, 164. 
 
 Drake, Nathan, on Plough-Monday, i, 12; on 
 New Year s mumming, i, 8. 
 
 "Drake," a "pageant-play," ii, 196, n. i; ii, 209; 
 ii, 229; resembles Elizabethan chronicle- 
 history, ii, 229. 
 
 Drake, Sir Francis (London, 1623), ii, 78; (Lon 
 don, 1626), ii, 78, n. 4; (London, 1911), ii, 
 136; and the Golden Fleece (1626), ii, 78, n. 4. 
 
 Drama, the, and characterization, ii, 213; in 
 fluenced by pageantry, i, 196, and n. 2; and 
 the modern pageant, ii, 195 f.; the, repre 
 sented at Lichfield (1909), ii, 151; repre 
 sented at Lichfield in 1912, ii, 152; v. Sym 
 bolism, ii, 283 f. 
 
 Drama (Edinburgh, 1908), ii, 214. 
 
 Dramatic technique influenced by mechanical pag 
 eants, i, 178. 
 
 Draper, Sir Christopher, Mayor of London (1566), 
 ii, 20; ii, 25, n. 2. 
 
 Draper, Sir John Norman the first, to go by water 
 to Westminster, ii, 7 f. 
 
 Drapers, the, accompany sheriffs by water (1422), 
 ii, 6; books of the, mention water-procession 
 (1481), ii, 8; giant of the, i, 40; i, 56, n. 3; 
 named in 1522, i, i9S,n. 2; hire Archepiscopal 
 barge (1533), ii, 10; pageant of the, at Coven 
 try, (1565), i, 204, and n. i; pageant of the, 
 in the 1662 "triumph," i, 248; pageant of the, 
 at London (1522), i, 81; i, 176, n. 2; record 
 the election of Sir William Roche (1540), ii, ii; 
 represented by Pannaria (1684), ii, 62; 
 Shows of the, of 1623 and 1626, ii, 78, and n. 4; 
 trade of the, linked with mythology, ii, 72; 
 trade-pageants of the, ii, 72; (1621), ii, 73; 
 (1623), ii, 73; (1638), ii, 72; (1675), ii, 54 f.; 
 
 (1679),", 58. 
 
 Drapers, the (London, 1783), ii, 99. 
 
 Dreams (Peterborough, 1910), ii, 264; ii, 265, n. 3. 
 "drolls," or "antics "(Dublin, 1665), i, 251; of 
 the seventeenth-century shows, i, 76, n. i; i, 77; 
 
 in the 1675 Show, ii, 55; in the 1676 Show, 
 ii, 84, n. 6; of the 1677 Show, ii, 84, n. 6; 
 (London, 1684), ii, 62; connected with trade 
 (London, 1660), i, 242; given trade-com 
 plexion, ii, 72; reflect trades of mayors Com 
 panies, ii, 66; dance and perform acrobatic 
 tumbling in the shows, ii, 84; songs of the, ii, 
 84; suggested by laughter evoked in 1853 
 personification, ii, 117; suggested by Paris 
 "wild-men" (1431), i, 139, n. 5; suggested in 
 the 1663 Show, ii, 49; of Watermen and Sea- 
 
368 
 
 INDEX 
 
 men (London, 1662), i, 249; and "wild-men," 
 ii, 84, n. 6; ii, 85; in a "wilderness" (1672 
 and 1673), ii, S3- 
 
 Dromceatt, the, Convention of (New York, 1913), 
 ii,272. 
 
 Dromedaries at Chester, i, 44, n. 8. 
 
 Druidical Period, the (Ripon, 1886), ii, 160. 
 
 Druidical worship of Bel, the, i, 7. 
 
 Druids Order, the, in the Ripon procession (1886), 
 ii, 160. 
 
 Druids (London, 1891), ii, 126; (Warwick, 
 1906), ii, 217, n. 3. 
 
 Dublin, Corpus Christi at, i, 22; Duke of Or- 
 mond at (1665), i> 251; Earl of Kildare at 
 (1528), i, 179 f.; Emperor and Empress at, 
 i, 3i; i, 32; i, 79; guild-plays at, i, 22;- 
 "men in armor" at, i, 31; i, 48, n. 2; peram 
 bulation at, i, 35 ff., and n. 5; St. George at, 
 i, 31 f.; tableaux, i, 23; the Noble Order of 
 the Callithumpians at,ii, 252, n. 2. 
 
 Duchess of Bedford, the, i, 140. 
 
 Dudley, Sanford H., takes the part of his ancestor 
 (Boston, 1897), ii, 260, n. 5. 
 
 Dudley, Thomas (Boston, 1897), ii, 260, and n. 5. 
 
 Dugdale, William (Coventry, 1848), ii, 170, and 
 n. 2; (Coventry, 1862), ii, 170, n. 7. 
 
 Duke of Lancaster, pageant of the (London, 1522), 
 i, 174; i, 177. 
 
 Dunbar, William, i, 170. 
 
 Dunmow Flitch of Bacon, the, i, 9, and n. 3 ; ii, 148. 
 
 Dunstable, tournament at, i, 91. 
 
 Dunwallo, father of Brennius, i, 79, n. i. 
 
 Duquesne, Professor, Harvard masque in honor of 
 (1911), ii, 191, n. 2; ii, 287; ii, 295. 
 
 Durbar, George V at the, i, 258. 
 
 Dilrer, Albrecht (Hamburg, 1852), ii, 147, n. 4. 
 
 Dust Clouds (Boston, 1910), ii, 267; ii, 268. 
 
 Diisseldorf, revels at (1852), ii, 147. 
 
 "Dutch Courtezan," reference to city giants in, i, 
 60, n. 3. 
 
 Dutch group, a (Boston, 1910), ii, 267. 
 
 Dutch (Philadelphia, 1882), ii, 240. 
 
 Dutchmen, pageant of the (1604), i, 224, n. 4. 
 
 Dutch peasants, festivities of the (Plymouth, 
 1896), ii, 259; ii, 260. 
 
 Dutch section in the Hudson-Fulton Pageant, ii, 
 
 243- 
 
 Dutch Settlers (Norristown, 1912), ii, 249. 
 "Dutch Village, Burning of the" (St. Louis, 1886), 
 
 ii, 253, n. 4. 
 
 Dyaks, the, and their savage dance, ii, 188. 
 Dyamond, Mr., a "tumbler" in the 1660 Show, ii, 
 
 84. 
 
 Dybdynne s "Lament" (1830), ii, 109. 
 Dyers, the, at Coventry, i, 22, n. 7. 
 Dyers with Iris (London, 1783), ii, 99. 
 Dyfnwal, father of Bryn, i, 79, n. i. 
 Dyos, Mr., to send gratuities to court officials, i, 
 
 233- 
 
 Eager, Miss M. MacL., planner of the Plymouth 
 "festival" of 1896, ii, 259; director of the 
 Boston "festival" of 1897, ii, 260. 
 
 Eagle (London, 1618), ii, 38; subtlety of, i, 84, 
 n. 4. 
 
 Ealdhelm (Sherborne, 1905), ii, 210; ii, 218. 
 
 Earle, Michael, Mayor of Coventry (1678), ii, 166, 
 n. 4. 
 
 Earlham, Lord of the Manor of, delivers verses to 
 Elizabeth, i, 210, n. 3. 
 
 Early Inhabitant, i, 51 ff. ; regarded as gigantic, 
 i, 51, and n. 3. 
 
 Early Inhabitants (Norristown, 1912), ii, 249. 
 
 Early inhabitants considered gigantic in New Eng 
 land, i, 53. 
 
 Early Settlers (Little Compton, 1914), ii, 251; 
 (Peterborough, 1910), ii, 264; and ch. ix, passim. 
 
 Earth, Mother (Cambridge, 1919), ii, 284. 
 
 East Gate at Leicester rented by Corpus Christi 
 Guild, i, 21. 
 
 East India Company alluded to (1613), ii, 33, n. 2; 
 founder of, hi the 1895 Show, ii, 127; sym 
 bolized by a sea-lion (1629), ii, 72. 
 
 East India Volunteers in the 1895 Show, ii, 127. 
 
 East Port (Edinburgh), i, 213. 
 
 Easter, and the Aryan Spring Festival, i, 13 ; and 
 the sacrifice of hares, i, 64, n. 3. 
 
 Easter Monday, i, 16. 
 
 Easter week, civic processions on three days of, 
 (1696), ii, 66, n. 3. 
 
 Easterlings, the, hi a London civic welcome, i, 143; 
 the, contribute pageant in 1553, i, 188. 
 
 Eastfelde, Sheriff (1422), ii, 5. 
 
 "Eastward Hoe," use of pageant in, ii, 29. 
 
 Ebedon, i, 172. 
 
 Ebrancus (see Ebraucus), founder of York, i, 78, 
 n. i. 
 
 Ebraucus [Ebrauc, Ebrauk], i, 78, n. i; i, 158, and 
 notes i and 2; i, 159; i, 170; a figure from 
 early history, ii,28i. 
 
 Ebrauc (York, 1009), ii, 218, n. i; and the per 
 sonified city, i, 196; (York, 1486), i, 78; of 
 1486, a symbol of York, i, 81. 
 
 Eccentrics (Scarborough, 1912), ii, 222, n. 2. 
 
 Echo (Kenilworth, 1575), i, 208. 
 
 Eckhard (Dusseldorf, 1852), ii, 147. 
 
 Eckhof, petit, the Antwerp giant, i,254,n.4; 1,255. 
 
 Edelfleda, Queen (Ripon, 1886), ii, 160. 
 
 Edinburgh (Edinburgh, 1908), ii, 214. 
 
 Edinburgh, Anne of Denmark received at (1590), 
 i, 215; Charles I at (1633), i, 236 f.; Charles 
 LI at (1650), i, 239; christening of Prince 
 Henry at (1594), i, 218 f.; Corpus Christi at, 
 i, 23; George IV at (1822), i, 255 f.; James 
 I at (1617), i, 234, and n. 3; James VI at 
 ( 1 579)>i>2i2 f.; Margaret of England at (1503), 
 i, 81; i, i68f.; Mary of Guise at (1538), i, 
 185; Mary of Scotland received at (1561), i, 
 203; perambulation at, i, 35; a "pageantic 
 
INDEX 
 
 369 
 
 masque" at (1912), ii, 226!.; Pope-burning 
 at (1680), ii, 174; procession of St. Giles at, 
 i, 16, n. 6; Scottish National Pageant at, ii, 
 202, n. 4; ii, 203, n. i; ii, 207, and n. 3; ii, 214; 
 
 trade-procession at (1832), ii, 165 f.; wed 
 ding of Mary and the Dauphin at, i, 194 f. 
 
 "Edinburgh Masquers," the, ii, 226, n. 4. 
 
 Editorial opinion of the Show in 1913, ii, 137 f.; 
 in 1914, ii, 139 f. 
 
 Edmund, son of Edward III, in a tourney, i, 95. 
 
 Education, development of, shown in a "masque," 
 ii, 226 f.; history of, in the " Masque of Learn 
 ing," ii, 203, n. i. 
 
 "Education, the Pageant of" (Boston, 1908), ii, 
 281 f. 
 
 Educational appeal in pageantry based on accu 
 racy, ii, 281; element, the, in the Marietta 
 Pageant, ii, 258, n. 3 ; emphasis of the modern 
 pageant foreshadowed in the 1884 Show, ii, 122; 
 
 pageant, the, ii, 195; ii, 232; value of the 
 pageants in the Boston procession of 1912, ii, 
 247; u ,248. 
 
 Educative force of the modern pageant, ii, 201. 
 Edward, the Black Prince (London, 1907), ii, 134. 
 Edward, the Black Prince, brings King John of 
 
 France to London, i, 127. 
 Edward the Confessor (Coventry, 1848), ii, 170; 
 
 (London, 1547), i, 186; (London, 1628), ii, 39; 
 
 (London, 1907), ii, 133. See also St. Ed 
 ward. 
 
 Edward, Prince, at Coventry (1474), i, 153 f. 
 Edward, first Prince of Wales (London, 1891), ii, 
 
 126; (London, 1907), ii, 133. 
 Edward I presenting the first Prince of Wales to 
 
 the chiefs (London, 1891), ii, 126. 
 Edward I (London, 1907), ii, 133. 
 Edward II (London, 1907), ii, 134; (London, 
 
 1908), ii, 135. 
 Edward II at London, (1308) i, 125 f.; at Paris 
 
 (1313), i, 19, n. 7. 
 "Edward the Second " provides a Warwick episode, 
 
 ii, mg; and part of a scene in the Scarborough 
 
 Pageant, ii, 219, n. 3. 
 Edward III (London, 1554), i, 193; (London, 
 
 1907), ii, 134. 
 Edward III vs. Mayor of London, in a tourney, i, 
 
 95; narrow escape of, i, 90; tournaments in 
 
 the reign of, i, 90 ff . 
 Edward IV and his Queen (London, 1902), ii, 129; 
 
 (London, 1907), ii, 134. 
 
 Edward IV at Bristol (1461), i, 151 f.; at Lon 
 don and York, i, 154. 
 
 Edward V (London, 1907), ii, 134; (London, 
 1910), ii, 136. 
 
 Edward V at London, i, 154. 
 
 Edward VI (English Church Pageant of 1909), ii, 
 200; (London, 1907), ii, 134; represented 
 in a pageant for that king, i, 186; a "Worthy" 
 (i554), i, 80; i, 191. 
 
 Edward VI at London (1547), i, 185 f.; (1549), 
 
 1,187. 
 Edward VII, curtana at coronation of, i, 155, n. i; 
 
 reign of, symbolized by a car (1907), ii, 134; 
 
 at London (1902), i, 257. 
 Edward, son of Edward III, in a tourney, i, 95. 
 Edwards, Sir James, Mayor of London (1678), ii, 
 
 56, n. 2; ii, 58. 
 
 Edwards, Jonathan (Boston, 1910), ii, 266, n. 2. 
 Edwards, Richard, his "Palamon Arcyte" played 
 
 before Elizabeth at Oxford, (1566), i, 204. 
 "Edwards of England, the" (1907), ii, 133 f. 
 Effigies at festivals, i, 54.; burned and flogged, 
 
 i, 10; i, 16; i, 51, n. 2; i, 56, n. 3; i, 229; i, 241; 
 
 burned on Guy Fawkes s Day, ii, 179; burnt 
 at Rye, i, 10; in Boston processions, ii, 176 f.; 
 
 of noble men and women (Edinburgh, 1579), 
 i, 213; religious and political, i, 16; re 
 marks on, ii, 178 f.; ii, 192; of the supporters 
 of Grocers arms in the Shows of 1672 and 1673, 
 u , 53 with religious or political significance, ii, 
 171. 
 
 Effigy burned at Llantwit, i, 56, n. 3; of the 
 Pope burned at Edinburgh and London, ii, 172 f. 
 
 Effigy-burning in America (1917), i, 51, n. 2. 
 
 Egedius Argentein, i, 75. 
 
 Egfried, King (Ripon, 1886), ii, 161. 
 
 Eglinton, Lord, in the 1839 tournament, ii, 184. 
 
 Eglinton, tournament at (1839), ii, 182 f.; 
 tournament arouses more interest than any 
 show since the visit of George IV, ii, 184, n. 5; 
 the tournament at, reflected in American tourna 
 ments, ii, 286, ji. 4. 
 
 Egypt (London, 1904), ii, 75, n. 6; Princess of 
 (Bruges, 1468), i, 152. 
 
 Egypt, ancient, represented by a car (1904), ii, 130. 
 
 Egyptian, an (London, 1659), i, 82, n. 2; ii, 76.- 
 
 Elder, Abraham, deals with the Lord Mayor s 
 Show in a story, ii, 112. 
 
 Elder, John, his account of 1554 "entry," i, 190, 
 n. 12; i, 191 f. 
 
 Eleanor of Provence at London (1236), i, 124. 
 
 Electro (London, 1604), i, 225, n. 5; i, 226. 
 
 Elements, the, of the "royal-entry" reviewed, i, 
 195 f.; of pageantry in the masque, i, 85; 
 of the Coventry "entry" of 1456, i, 150; of 
 the Sherborne Pageant, ii, 211 ; of the London 
 "entry" of 1415, i, 136; of the London "en 
 try" of 1432, i, 147 f.; of the pageant, ch. i, 
 {,3-84; of the Paris " entry " of 1431, i, 141; 
 of the Parkerian pageant, ch. viii, 6 (ii, 212 f.); 
 
 of the "royal-entry" reviewed, i, 165 f.; 
 of the xvii century shows, ii, 71 ff. 
 
 Elephant of Antwerp, i, 255. 
 
 Elephant and Castle (Bologna, 1628), i, 67, n. i; 
 (Bristol, 1486), i, 160; in Burgundy (i4S3) i> 
 67, n. i; at Chester, i, 45, n. 5; i, 46, and n. 2; 
 
 at Coventry, (1862), i, 68, n. 2 ; a romantic 
 element in "royal-entries," i, 196; in medi- 
 
370 
 
 INDEX 
 
 aeval representations, i, 68, n. i ; subtlety of, 
 at Bruges (1468), i, 83; i, 66 ff.; at Chester 
 (1910), ii, 224; (Coventry, 1862), ii, 170, and 
 n. 5. 
 
 "Elephant and Castle" an inn-sign, i, 68, and n. i. 
 
 Elephant and castle in romances, i, 66, and n. 4; 
 in Dickens, i, 69 and n. i ; used by Cutlers, i, 
 68. 
 
 Elephant, the, representing the Republican Party 
 (Boston, 1912), ii, 255. 
 
 Eleutheriotes (London, 1605), ii, 29, n. 2. 
 
 Elias (London, 1432), i, 146. 
 
 Eliot, John (Boston, 1897), ii, 261. 
 
 Elizabeth, wife of Henry VII (London, 1559), i, 200. 
 
 Elizabeth, Queen of Henry VII, crowned (1487), 
 i, 160 f.; subtleties at coronation of, i, 83. 
 
 Elizabeth, Queen (Bath, 1909), ii, 224, n. 7; (Chel 
 sea, 1908), ii, 224, n. 7; (Colchester, 1909), ii, 
 224, n. 7; ii, 218, n. 2; Coventry (1862), ii, 
 70; (Hertford, 1914), ii, 224, n. 7; (London, 
 1884), ii, 123; (London, 1889). ii, 124; per 
 sonified in a pageant to greet Elizabeth (London, 
 1559), i, 200; personified with four Virtues 
 (London, 1559), i, 200; (London, 1914), ii, 
 228, n. 2. 
 
 Elizabeth at Bisham and Sudeley (1592), i, 217 f.; 
 
 at Bristol (1574), i, 206 f.; at Cambridge, 
 (1564), i, 203; at Coventry, (1565) i, 204; 
 at Cowdray and Elvetham (1591), i, 216 f.; 
 at Kenilworth (1575), i, 69; i, 207 f.; at Lon 
 don (1559), i, 199 f.; at London (1588), i, 
 2i4f.; at London (1591), i, 214, n. 4; at 
 Norwich (1578), i, 210 f.; at Oxford (1566), 
 i, 204; at Sandwich (1573), i, 205 f; in 
 Suffolk,!, 210, n. 3; at Warwick (1572), i, 205; 
 
 at Westminster (1597), and at Whitehall 
 (1598), i, 219; at Worcester (1575), i, 210; 
 goes to London on Mary s death, i, 198; 
 greeted by giants at Kenilworth (1575), i, 51, 
 n. 3 ; influence of popular reception on, sug 
 gested, i, 201; jousting in honor of (1599), i, 
 219; receives English Bible from Truth (Lon 
 don, 1559), i, 202; statue of, at Temple Bar 
 (i68i),ii, 175. 
 
 Elizabeth s learning renders her appreciative of 
 poets efforts, i, 198; progress through London 
 (1559), i, 1 99 ff.; provincial tour, (1572)^,205; 
 
 reply to the Recorder s address (1559), i, 201. 
 Elizabeth Woodville at Norwich (1469), i, 152 f. 
 Elizabethan gentlemen (London, 1889), ii, 124. 
 Elizabethan costumes in the 1914 "Bower," ii, 152; 
 
 dress, the "master of the revels" in (Ripon, 
 1886), ii, 159, Pageantry, ch. iv, i, 198-222. 
 
 "Elizabethan Triumph," the, of I9i2,.ji, 185. 
 Elizabethan Yeomen (London, 1889), ii, 124. 
 Elliston, Mr., grants use of his armor in 1823, ii, 
 
 108, owner of armor (1822), ii, 108. 
 Elne, i, 13, n. i. 
 Elswitha, Queen (Ripon, 1886), ii, 161. 
 
 Eltham, Hastilude at, (1347-48), i, 93, n. 4; 
 Queen escorted toward (1313), i, 126; tourna 
 ment at (1342), i, 91. 
 
 Elves (Chester, 1910), ii, 224. 
 
 Elvetham, Elizabeth at (1591), i, 216 f. 
 
 Elivyn (Ripon, 1886), ii, 161. 
 
 Ely House, Holborn, pageantic masque starts at, 
 i, 117. 
 
 Emerson on the use of history cited in a Times 
 leader, ii, 138. 
 
 Emery Auditorium, the (Cincinnati), ii, 287. 
 
 Emperor [Charles V], and Electors (Bruges, 1515), 
 i, 173; and Empress at Dublin, i, 31; i, 32; 
 
 i, 79- 
 
 Emperor of the Russians representedjm a trans 
 parency (1814), ii, 162. 
 
 Empire troops in the Show for the first time (1914), 
 
 ii, 139- 
 
 Encyclopaedic age, the, in "The Masque of Learn 
 ing," ii, 227. 
 
 Everaldus (London, 1522), i, 177. 
 
 "Engine" with dancers, i, 4; i, 112, n. 7. 
 
 England (London, 1509), i, 170; (London, 1604), 
 i, 225; (London, 1662), i, 249; (London, 
 1919), ii, 141; (Paris, 1513), i, 171; repre 
 sented by a king (London, 1661), i, 243, n. i; 
 island of, at the Stocks (London, 1522), i, 177. 
 
 England Charles V visits (1520), i, 174. 
 
 "England and her Heroes" (1896), ii, 128. 
 
 England represented by Britannia at Lichfield 
 (1911), ii, 152; Pageant of, suggested, ii, 202, 
 n.4. 
 
 English and American pageants compared, ii, 232 f. 
 
 English Church Pageant, the (1909), ii, 222, n. 2; 
 miracle-play in the, ii, 219, n. i; scenes in, 
 ii, 200; ii, 206, n. 2. 
 
 English committee on the Pilgrim Tercentenary 
 named, ii, 276; High School, students of, give 
 scenes in the Boston "festival" (1897), ii, 260; 
 ii, 261; Literature, a Pageant of (Oxford, 
 1914), ii, 203, n. i; pageantry, no influence 
 of, on the Normal School Pageant (Boston, 1908), 
 ii, 281, n. 2. 
 
 English Settlers (Norristown, 1912), ii, 249. 
 
 English-speaking peoples, the, join to commemo 
 rate the voyage of the "Mayflower," ii, 276. 
 
 English sports in the Grimston revels, ii, 159. 
 
 "English villagers and their merry-making" (Bos 
 ton, 1897), ii, 260. 
 
 Englishman, a (London, 1617), ii, 76. 
 
 Enoch (London, 1432), i, 146. 
 
 L Entente Cordiale (Lichfield, 1906), ii, 151, n, 3. 
 
 "L Entente Cordiale" in the 1905 Show, ii, 131. 
 
 Entertainment, masque, and barriers distinguished, 
 i, 115; and visor, i, 103, and n. 2. 
 
 "entremets" like subtleties, i, 82 ff. 
 
 Entry into Jerusalem, travesty on (1706), i, 15, 
 n. i. 
 
 "Entry," the, of 1522 discussed, i, 178 f. 
 
INDEX 
 
 371 
 
 Envy (Chester, 1610), i, 230. (Elvetham, 1591), 
 i, 216; (London, 1604), i, 225; (London, 
 1613), ii, 33; ii, 34; in chains, cruelly tor 
 mented at Napoleon s successes (Antwerp, 1803), 
 i, 2 S5; i n Dekker s 1612 Show, i, in. 
 
 "Epic Pageant," an, ii, 283. 
 
 Epicurus (Edinburgh, 1503), i, 169. 
 
 Epimelia (London, 1605), ii, 29, n. 2. 
 
 Epiphany at Court (1347, 1348), i, 102. 
 
 "Episodes" in modern pageants, ii, 210. 
 
 Epping Forest Keepers in the 1895 Show, ii, 127; 
 in 1879, ii> I2 - 
 
 Equal Suffrage Association, the float of the (Bos 
 ton. 1912), ii, 246. 
 
 Equality (London, 1622), ii, 77; (Providence, 
 1919), ii, 289. 
 
 Equator, ceremonies of crossing the, i, 9 ff.; ii, 157, 
 and n. 2. 
 
 Equitas (London, 1554), i, 194. 
 
 Erasmus (Boston, 1908), ii, 283. 
 
 Erin (Liverpool, 1907), ii, 163. 
 
 "Erinnerungsspiele," the, of Germany, lie behind 
 the Parkerian pageant, ii, 197 ; given by one 
 class, ii, 202, and n. 3. 
 
 Ernald de Munteinni, i, 89. 
 
 Eros (London, 1605), ii, 29, n. 2. 
 
 Error (London, 1613), i, in; ii, 33; ii, 34; ii, 35. 
 
 Esculapius with the Apothecaries (London, 1783), 
 ii, 99. 
 
 Essex, celebration of Vernon s birthday at (1740), 
 ii, 178, n. 4; combines "devices" and "tri 
 umphs" with a tilt (1595), i, 210*. 
 
 Estates, the Three (Paris, 1431), i, 139; (Paris, 
 1498), i, 164. 
 
 d Este", Mary, displeasure at marriage of Duke of 
 York to, ii, 172. 
 
 Esther (Norwich, 1578), i, 82; i, 211. 
 
 Estridge (London, 1629), ii, 40. 
 
 Estridges (London, 1618), ii, 38. 
 
 Etgeir, a romantic giant, i, 53, n. 3. 
 
 Ethelbald, the Death of (Sherborne, 1905), ii, 210. 
 
 Ethelbert, King (Hereford, 1486), i, 159. 
 
 Euclid (London, 1432), i, 79; i, 145. 
 
 "Euclid, the Burial of" (New Haven, 1916), ii, 
 274, n. i; ii, 275. 
 
 Eulenspiegel, Till (Hamburg, 1852), ii, 147, n. 4. 
 
 Euphrosyne (London, 1533), i, 183; (London, 
 1591), ii, 26; (London, 1604), i, 224, n. 5. 
 
 Europa (New York, 1909), ii, 244, n. i. 
 
 Europe (London, 1657), ii, 47; (London, 1661), 
 i, 245; (London, 1674), i, 82, n. 2; (London, 
 1850), ii, 115; (London, 1919), ii, 141; 
 (St. Louis, 1892), ii, 253, n. 6. 
 
 European, a (London, 1659), i, 82, n. 2. ii, 76; 
 
 Eurus (London, 1661), i, 246. 
 
 "Evacuation of Boston, the" (Boston, 1912), ii, 
 246. 
 
 Evangelia (London, 1679), ii, 83. 
 
 Evans, David, Mayor of London (1891), ii, 126. 
 
 Evans, H. A., on source of allegory in disguisings, i, 
 109, and n. 2; defines pageant, i, 119, n. 2; 
 on entertainment, masque, and barriers, i, 115; 
 on the origin of mask, i, 102, and n. 5. 
 
 Eve (Aberdeen, 1511), i, 170; (Bruges, 1468), i, 
 152; (Dublin, 1528), i, 179; at Preston, i, 
 34, andn. 7; i, 78. 
 
 Evelyn, John, on the 1660 Show, ii, 47 f.; re 
 counts return of Charles II, i, 241 f.; on the 
 1661 "entry," i, 246; on the 1662 "triumph," 
 i, 247; on the 1664 Show, ii, 49; on the 1661 
 Show, ii, 48; on the 1662 Show, ii, 48; - 
 on the 1686 Show, ii, 63; dines at head table 
 (1664), ii, 49; records the Pope-burning of 
 1673, u > !7 2 ; his and Pepys attitude toward 
 the civic triumphs, compared, ii, 35, n. 4. 
 
 Everstan Windmill, early industries represented 
 by the (Liverpool, 1907), ii, 163, n. 2. 
 
 Evrawc, p. 78, n. i. 
 
 Example (London, 1619), ii, 81. 
 
 Excess (London, 1613), ii, 35. 
 
 Exchange, the (London), i, 61; i, 224; i, 235; i, 
 241, n. 3; i, 245. 
 
 Exchequer Bar, the, ii, 49. 
 
 Exeter (London, 1631), ii, 75. 
 
 Exhibits, historical and artistic, in connection with 
 the Hudson-Fulton Pageant, ii, 242. 
 
 Exhibitions of soldiers duties at the London 
 "Royal Naval and Military Tournament," ii, 
 187 f. 
 
 "Exmouth," boys of the, in the 1879 Show, ii, 120; 
 
 in the 1883 Show, ii, 122. 
 Expectation (London, 1618), ii, 38. 
 
 Expense of banquet (1727), ii, 88; of banquets 
 at the end of the xviii century, ii, 101 ; of 
 "knights" (1847), ii, 113; of 1634 masque, 
 i, 118; of "men in armor" (1815), ii, 104, n. 5; 
 
 (1821), ii, 105 f.; (1822), ii, 107; (1825), 
 ii, 109; (1833), , 109 f.; (1839), ii, in; 
 (1848), ii, 113; (1849), ii, 113, n. 10; of the 
 1382 pageantry, i, 129; of Sir Laurence 
 Aylmer s pageant (1516), i, 39. 
 
 Expenses of Carpenters (1554), i, 190, n. 12; of 
 Carpenters (1606), i, 227, n. i; of the 1815 
 celebration, ii, 104, n. 5; of Chester Mid 
 summer Shows, i, 43 ff., and notes; connected 
 with city coach, ii, 93, and n. 4; of city in 
 connection with 1610 water-triumphs, i, 231 
 ff; of city for 1626 pageants, i, 235; i, 236, 
 and notes 1-3; of 1822 entertainment, ii, 107, 
 n. 6; of 1823 entertainment, ii, 108, n. 3; 
 of 1825 entertainment, ii, 109, n. 5; of 1839 
 entertainment, ii, in, n. 6; of 1848 enter 
 tainment, ii, 113, n. 5; of 1849 entertainment, 
 ii, 114, n. 3; of the Goldsmiths in 1611, ii, 31; 
 
 of Lord Mayor s Day celebration of 1794, ii, 
 102; of Merchant-Taylors for All Saints Day 
 show (1605), ii, 29; for music (1821), ii, 105, 
 n. 3; for 1612 pageants, ii, 32; of pageantry 
 
372 
 
 INDEX 
 
 (1630), ii, 41; of 1822 procession, ii, 107, 
 and n. 6; of past shows not all liquidated 
 (1675), ii, 54; of the 1602 Show, ii, 27, n. 4; 
 of the 1617 Show, ii, 37, and n.; ii, 206, n. 2; 
 of the 1629 Show, ii, 40; of the 1685 Show, ii, 
 62; ii, 206, n. 2; of the 1689 Show borne by 
 Skinners, ii, 64, n. 5; of Lord Mayor s Shows 
 compared with cost of modern pageants, ii, 206, 
 n. 2; of Skinners pageants (1535-36), i, 38, 
 n. 5; of the 1 6 10 water-triumph, i, 231; i, 232. 
 
 Exposition, history taught by means of, ii, 218 f. 
 
 Expository drama, a bit of, in the 1911 "Tourna 
 ment," ii, 189. 
 
 "Expository history" in 1896, ii, 128. 
 
 Eyre Arms Tavern (London), ii, 182; ii, 183. 
 
 Eyre, Sir Simon (London, 1623), ii, 78; (London, 
 1626), ii, 78, n. 4. 
 
 Ezra (Boston, 1910), ii, 267. 
 
 Fabor, the (London), i, 143. 
 
 "Fabrick of Fate" (London, 1684), ii, 62. 
 
 "Faery Queene Masque, the" (Chelsea, 1908), ii, 
 
 224, n. 7. 
 "Fafner, the Death of" (New York, 1909), ii, 244, 
 
 n. i. 
 Fagan, J. B., author of an interlude in the Oxford 
 
 Pageant, ii, 223, n. 3. 
 Fair at Coventry established temp. Henry III, ii, 
 
 1 66, n. 4. 
 Fairholt, F. W., on the historical element in the 
 
 civic shows, ii, 81 ; on the rise of the merchant 
 
 in the Low Countries, i, 55; on Taubman, ii, 
 
 64, n. 4. 
 Fairies (Bath, 1909), ii, 224, n. 7; (Chester, 
 
 1910), ii, 224; (New York, 1909), ii, 244, n. i; 
 
 (Taunton, 1911), ii, 269; at Valenciennes, 
 (1330), i, 94- 
 
 Fairs proclaimed by mayor in state (1680), ii, 58. 
 
 Fairy Queen, in a masque at Elvetham (1591), i, 
 217, n. i. 
 
 Fairy-tales and history combined in a children s 
 "festival" (London, 1914), ii, 228, and n. 3; 
 characters from (Little Compton, 1914), ii. 251; 
 
 (St. Louis, 1888), ii, 253, n. 5. 
 Fairlop Boat engaged (1849), ii, 113. 
 
 Faith (Brussels, 1559), i, 195, n. i; (Edinburgh, 
 1594), i, 218; (London, 1501), i, 168; (Lon 
 don, 1547), i, 187; (London, 1591), ii, 26; ii, 
 77; (London, 1662), i, 248; (Norristown, 
 1912), ii, 250; (Reggio, 1453), i, 148, n. 4. 
 
 Fakke, a singer at Norwich (1469), i, 153. 
 
 Falcon and angel (London, 1533), i, 182 f., and 
 n. 6. 
 
 Falconbridge (London, 1907), ii, 134. 
 
 Falkirk, Battle of, celebrated (1298), i, 124. See 
 also Fishmongers; "round table" (1302), i, 90. 
 
 Falsehood (London, 1613), ii, 34. 
 
 Falstaf, Sir John (Coventry, 1848), ii, 170, and 
 n. 2; (Coventry, 1862), ii, 170; and his 
 
 companions of the Boar s Head (London, 1910), 
 ii, 136. 
 
 Fame (Bristol, 1574), i, 206; (Chester, 1610), i, 
 230; (Lichfield, 1909), ii, 151; (London, 
 1590), ii, 25; (London, 1604), i, 224, and n. 5; 
 
 (London, 1605), ii, 29; (London, 1612), ii, 
 81; (London, 1613), ii, 34; (London, 1618), 
 ii, 38; (London, 1621), ii, 78, n. 4; ii, 79; 
 (London, 1628), ii, 39; (London, 1657), ii, 47; 
 
 (London, 1660), i, 242; (London, 1662), 
 i, 248; (London, 1671), ii, 51; (London, 
 1685), ii, 63; (London, 1700), ii, 80, n. 7; 
 (Paris, 1431), i, 138; i, 140; i, 141; (Paris, 
 1596), i, 219; (Revere, 1912), ii, 254; 
 (Stuttgart, 1609), i, 99; "subtlety" of (the 
 Hague, 1746) i, 83, n. 7. 
 
 "Fame, the Temple of," on a banner (St. Louis, 
 
 1847), ii, 238. 
 
 Famine (Providence, 1919), ii, 289. 
 "Famous men and women" in a pageantic ball, ii, 
 
 147- 
 Fancy in a 1634 masque and pageant, i, 118; 
 
 (London, 1684), ii, 62. 
 Fancy cakes at Paris, (1431), i, 83. 
 "Farm, the Deserted" (Peterborough, 1910), ii, 
 
 265. 
 Farmer, Canadian, (Knutsford, 1913), ii, 153; 
 
 with his wife on a pillion (Ripon, 1886), ii, 161. 
 Farm-laborers (1890), ii, 125. 
 Farrington (London, 1611), ii, 31. 
 Farringdon, Nicholas [should be Sir John Gisors, 
 
 Pepperer, who was mayor hi February, 1313], i, 
 
 126, n. i. 
 Farringdon, Within, Ward of, ii, 92; Without, 
 
 Ward of, ii, 92. 
 "Fastyngonge Tuesday," i, 8. 
 Father Christmas, i, 7, n. i; (Edinburgh, 1908), 
 
 ii, 223. 
 Father of Heaven (London, 1501), i, 167; image 
 
 of, in gold (London, 1522), i, 177. 
 "Father of Waters, the" (St. Louis, 1892), ii, 253, 
 
 n.6. 
 Faults of the 1609 Show brought to Munday s 
 
 attention, ii, 30. 
 
 Fauns, in Christmas mumming (1348), i, 74. 
 Faunus (London, 1663), i, 77; (London, 1663), 
 
 ii, 49. 
 
 Faustus, Doctor (London, 1908), ii, 135. 
 Fear (London, 1618), ii, 38. 
 Feast of the Ass, the, i, 15; i, 64; of Fools, i, 
 
 101, andn. 4. 
 
 Fecundity (Edinburgh, 1594), i, 218. 
 Feeble Policy (Bristol, 1574), i, 206, n. 5. 
 Feis, the, at Tara, (New York, 1913), ii, 272. 
 Felicity (London, 1604), i, 225. 
 "Female Worthies" (Paris, 1431), i, 138, and n. 4. 
 Feminine influence on tourneys, i, 100. 
 Femme sauvage (Bruges, 1515), i, 76, n. 2; 
 
 (Paris, 1431), i, 76; i, 139, and n. 5. 
 
INDEX 
 
 373 
 
 Fenchurch (London), i, 200. 
 
 Fenchurch Street (London), i, 37; i, 182; i, 201; 
 
 i, 223; i, 227, n. i;ii, 115, n. 2. 
 Fenn, Robert, paid for angels at Norwich, i, 27, n. 3. 
 Fenton, Frederick, of Sadler s Wells Theatre, 
 
 plans the 1853 Show, ii, 117. 
 Ferdinand, Elector, celebrates birth of a son, i, 
 
 118; and Isabella receive Columbus (St. 
 
 Louis, 1886), ii, 253, n. 4. 
 Fergus I (Edinburgh, 1633), i, 236. 
 Ferraria (London, 1684), ii, 62. 
 Ferrers, Mr., author of verses (1575), i, 208, n. 3; 
 
 i, 209, n. i; masque-writer, i, 218, n. 6. 
 Ferris, Darcy, "master of the revels" at Ripon, ii, 
 
 159. 
 
 "Fertilization spirits," i, 54, n. 7. 
 "Feste du Prince de Plaisance" at Valenciennes, 
 
 (1348), i, 94, n. 7. 
 "Festival," i, 7; the, ch. ix, 3 (ii, 281 f.); 
 
 and "pageant," an arbitrary distinction, ii, 268; 
 
 shows a combination of the "spirit" of the 
 masque and the "technique" of the pageant, 
 ii, 294; or "restricted pageant," the, ii, 203, 
 n. i; ii, 205, n. 2; ii, 227; ii, 228, and n. 3. 
 
 "Festival of Empire," the, i, 132, 0.4; (1911), 
 ii, 222, n. 2; ii, 224, n. 3; ii, 225. 
 
 "Festival of the Seasons, the," at Cambridge, ii, 
 284. 
 
 Festivals, children s, at London (1914), ii, 228 f., 
 and notes 2 and 3. 
 
 "Festspiel," i, xx; the German, given by one 
 class, ii, 202, and n. 3; repetition of perform 
 ances of, ii, 205, and n. 3. 
 
 "Fete des Syres de la Joye," i, 88. 
 
 Fetter Lane end (London), ii, 92. 
 
 "Feux d artifice" and pageantry, ii, 178, and n. 3; 
 
 directions concerning (1660), i, 240 f. with 
 classical, Biblical, historical, mythological, and 
 symbolical elements, i, 240 f. 
 
 Fiction, characters of, in the Hudson-Fulton Pag 
 eant, ii, 244, n. i; in a Marblehead "pag 
 eant," ii, 277 ff. 
 
 Fictional element in the Mount Holyoke "pag 
 eant," ii, 286. 
 
 Fidelity (Paris, 1498), i, 163. 
 
 Fido, Pastor (London, 1684), ii, 62. 
 
 Field of the Cloth of Gold, the (1520), i, 173 f. 
 
 "Fiends of Darkness" (St. Louis, 1878), ii, 253, 
 n. 2. 
 
 Fiennes, Celia, describes a Lord Mayor s Show 
 temp. William and Mary, ii, 66 f.; describes a 
 Norwich civic show, ii, 67 f.; her description 
 of the Lichfield "Bower," ii, 148. 
 
 Figgins, Mr., on the 1833 Committee, ii, 109. 
 
 Figures in Jordanian "interludes" are types, tend 
 ing toward symbolism, ii, 76; symbolizing 
 trading interests of mayor, or lands with which 
 he deals, ii, 75. 
 
 Final Picture, the, at Sherborne, ii, 211. 
 
 "Final picture, the, "keeps allegory and symbolism, 
 ii, 214. 
 
 Finns in the Boston procession of 1912, ii, 247. 
 
 Fire (Keene, 1913), ii, 271, n. 4; (Providence, 
 1919), u, 289. 
 
 Fire, animals spouting, i, 118; i, i6i;i, 181; i, 186. 
 
 "Fire-Breeder, a, " (Boston, 1912), ii, 247, and n. 2. 
 
 Fire-department, members of the companies of the, 
 in the St. Louis procession, ii, 238. 
 
 Fire-engine (Coventry, 1862), ii, 170; a modern, 
 contrasted with the old, (Boston 1912), ii, 247; 
 a, one hundred years old, (Norristown 1912), ii, 
 249; in the Ripon procession of 1886, ii, 160. 
 
 Fire-engines in the 1891 Show, ii, 126; in 1906, 
 ii, 132; in the 1910 Show, ii, 136; types of 
 (1892), ii, 127. 
 
 Firemen in the 1879 Show, ii, 120; in the 1881 
 Show, ii, 121; in the 1883 Show, ii, 122; in 
 the 1895 Show, ii, 127; and engines in 1890 
 Show, ii, 125; from France and the provinces 
 (1889), ii, 124. 
 
 Firemen s Veteran Association of Charlestown, 
 the, "hand-tub " dragged by members of (Boston, 
 1912), ii, 247. 
 
 "Fires of St. John," i, 36, n. 5. 
 
 Fireworks (Antwerp, 1803), i, 254; at Chester 
 pageant, i, 229; i, 230, and n. 3; at Dublin 
 (1665), i, 251; (Edinburgh, 1822), i, 256; 
 (London, 1612), ii, 32; at London (1697), i, 
 252; (London, 1814), ii, 161; (Swansea, 
 1881), i, 257; at end of water-fight (1610), i, 
 232; close celebration of bicentennial (Ches 
 ter, 1882), ii, 240; in connection with the bi 
 centennial (Philadelphia, 1882), ii, 240; in 
 the 1629 Show, ii, 40; in the 1635 Show, ii, 
 42; fatal, at Norwich (1611), ii, 30 f.; of a 
 pageantic nature (1606), i, 229; orders 
 against (1858), ii, 119; pageantic (Elvetham, 
 1591), i, 217, n. i; precepts concerning, ii, 14, 
 n. i; remarks on, ii, i78f.; with burning 
 of effigies (1681), ii, 175. 
 
 First Church, Plymouth, the, ii, 259. 
 
 "Fish, Game, and Poultry" (1890), ii, 125. 
 
 Fish Street (London), i, 37. 
 
 Fisher, Jane, leased "Elephant and Castle" inn 
 (1818), i, 68, n. 2. 
 
 Fisherman Canadian (Knutsford, 1913), ii, 153. 
 
 Fishermen (1890), ii, 125. 
 
 Fishes (London, 1298), i, 81; i, 124; (London, 
 
 Fishmongers (London, 1783), ii, 99. 
 
 Fishmongers, the, celebrate Falkirk with pag 
 eantry (1298), i, 19, n. 3; i, 57; i, 64 f.; i, 78; 
 i, 81; i, 124; ii, 71; ship of (1313), i, ii, n. 4; 
 i, 126; a descendant of the 1313 ship (1501), 
 i, 114; arbor of (1616), ii, 80; take part in 
 the 1643 ceremony, ii, 43 ; represented by 
 Piscaria (1684), ii, 62; trade-pageant of 
 (1700), ii, 68; (1761), ii, 955 ii, 96. 
 
374 
 
 INDEX 
 
 Fitz-Alwin, Sir Henry (London, 1614), ii, 36; 
 (London, 1615), ii, 78, n. 4; (London, 1623), 
 ii, 78; (London, 1626), ii, 78, n. 4; (London, 
 1783), ii, 99; (London, 1889), ii, 125; (Lon 
 don, 1906), ii, 132; (London, 1913), ii, 138. 
 
 Fitz-Alwin, Sir Henry, first Mayor of London, ii, 
 3, and n. i. 
 
 Fitzwilliams, Sir William (London, 1783), ii, 100. 
 
 Five Nations, totems of the (New York, 1909), ii, 
 
 243- 
 
 "Fixed stage", the, of the masque, i, 85. 
 "Fixed" pageants in "royal-entry," i, 19, and n. 4; 
 
 i, 137- 
 
 "Flag Dance, a" (Boston, 1897), ii, 261; 
 (Plymouth, 1896), ii, 260; ii, 261. 
 
 Flag of the United States displayed in the 1881 
 Show, ii, 121. 
 
 Flags used as symbolic decorations (1905), ii, 131; 
 used in the Plymouth "festival" of 1896, ii, 
 259; ii, 260. 
 
 Flamen at "Temple of Janus" (1604), i, 225, n. 4. 
 
 Flames (Boston, 1910), ii, 267. 
 
 Flanders (Bruges, 1515), i, 173. 
 
 Flanders, Charles II comes from (1679), i, 251. 
 
 Flanders and Brabant, King of (St. Louis, 1847), 
 ", 239- 
 
 Flecknoe, Richard (cited by Reyher), on scenery 
 (1600), i, 1 20. 
 
 Fleet Bridge (London), i, 202; ii, 55. 
 
 Fleet Ditch, ii, 67. 
 
 Fleet Street (London), i, 48; i, 184, and n. 4; i, 
 187; i, 189; i, 194; i, 202; i, 242; i, 243, n. i; 
 i, 246; ii, 92. 
 
 Fleetwood, Recorder, on the 1573 Show, ii, 21 f. 
 
 Flemish Weavers (London, 1907), ii, 134. 
 
 Fleur-de-lis crowned, cake showing, at Paris, 
 (1431), i, 83. 
 
 "Float," a, in the Cadillac pageant mentioned, ii, 
 249, n. 4. 
 
 "Floats" at Revere carnival procession (1912), ii, 
 254; historical scenes on, at Norristown 
 (1912), ii, 249; in a Boston procession (1880), 
 ii, 239; in a Marblehead "pageant" (1912), 
 ii, 278; in the Hudson-Fulton Pageant (1909), 
 ii, 243 f.; in the New York Pageant of 1918, 
 ii, 251 f. ; in the Veiled Prophet processions, 
 ii, 253 f.; see also cars. 
 
 Flora (London, 1661), i, 246; (St. Louis 1878) 
 ii, 253, n. 2; (London, 1890), ii, 125; 
 (Mount Holyoke, 1912), ii, 286. 
 
 Floral Car" of 1902, ii, 129. 
 
 Floralia, the, origin of May games in, i, 7. 
 
 Florence, Civic tournaments in, i, 99, n. i; pag 
 eants at, i, 14, n. i. 
 
 Florentine "hommes doctes" (Avignon, 1600), i, 
 220; merchants exhibit pageant at London, 
 ( I 553), i, 1 88; warned to contribute to wel 
 come of Charles V (1522), i, 174. 
 
 Florentines in civic procession (London, 143^), i, 
 
 143- 
 
 Florio, Captain, i, 4. 
 
 Florizell (Coventry, 1862), ii, 170. 
 
 Flourishing Commonweal (London, 1559), i, 81; i, 
 
 202. 
 
 Flower Girls (Knutsford, 1913), ii, 153. 
 
 "Flying Dutchman, the" (Revere, 1912), ii, 254. 
 
 Fog of Error, the (1613), ii, 34. 
 
 Folk-animals given trade-signification, i, 196. 
 
 Folk-celebrations, animals in, i, 64. 
 
 Folk- and court -dancing, i, 105. 
 
 Folk-custom and animals, i, 121; behind mum 
 ming, i, 105; shared by the Church, i, 16. 
 
 Folk-customs absorbed by the Church, i, 12 ff.; 
 decay of, i,8ff. 
 
 Folk-dances, origin of, i, 5; by different national 
 ities (Boston, 1910), ii, 267; by different 
 nationalities (Taunton, 1911), ii, 270; in 
 Brooklyn mumming, ii, 158; used to represent 
 our Allies, ii, 289. 
 
 Folk-dancing at "royal-entries" (1308), i, 125; 
 (1313), i, 126; (1330), i, 127; revival of, i, 10. 
 
 Folk-giant, origin of, ii, 171. 
 
 Folk-giants and saints images, i, 51. 
 
 Folk-lore material in modern pageants, ii, 281. 
 
 "Folk-masques", i, 105. 
 
 Folk-mumming, ch. i, i (i, 4ff.); and the 
 court, i, 85; and masque, i, 105. 
 
 Folk-pageantry, survivals and revivals of, in 
 modern times, ch. vii, i (ii, 146 f.). 
 
 Folk-pageants revived at Chester (1910), ii, 224. 
 
 "Folk-play," i, xix, xx; early and later mean 
 ings of, ii, 133, n. 2; ii, 197, and n. 4; the name 
 first suggested for the pageant at Sherborne, ii, 
 197; tournament, and dance, i, 105. 
 
 "Folk-plays," i, 7 and n. i. 
 
 Folk-revels at Knutsford, ii, 153; revived in 
 modern pageants, ii, 224. 
 
 "Folk-ships," developments of the, suggested in 
 later historical reproductions, ii, 237, n. 4. 
 
 Folk-sports for Elizabeth at Kenilworth, (1575), i, 
 208. 
 
 Folkestone, Guy Fawkes Day at, i, 10. 
 
 "Followers," the City (Coventry, 1826), ii, 168, 
 and n. 2; (1862), ii, 170. 
 
 Folly (London, 1559), i, 201; (Oxford, 1907), ii, 
 223. 
 
 Food Supply (Providence, 1919), ii, 289. 
 
 Fool, the, i, 7, n. i ; i, 10, n. i ; i, 12; (Winchester, 
 1908), ii, 225; in Irish folk-festivals, i, 73, 
 n. 3; in St. George plays, i, 73. 
 
 Fool, April (Cambridge, 1919), ii, 284. 
 
 Fools at Norwich, i, 27; i, 28, and n. 3. 
 
 Football, origin of, i, 6, n. i. 
 
 Force by sea and land represented in the 1585 
 Show, ii, 24. 
 
 Ford, John, son of Sir Richard, in the 1661 "en 
 try," i, 244, n. 3. 
 
INDEX 
 
 375 
 
 Ford, Sir Richard, on a civic committee, i, 247; 
 
 sons of, in 1661 " entry," i, 244,^3; daughter 
 
 of, in 1662 "triumph," i, 247. 
 Ford, Samuel, in the 1661 "entry," i, 244, n. 3. 
 Fore Street (London), ii, 114. 
 Foreign legates in a mumming, i, 104. 
 Foreign merchants greet king (London, 1432), i, 
 
 143 ; refuse to prepare pageants for Charles V 
 
 (London, 1522),!, 174. 
 Foreign soldiers march in parade, in connection 
 
 with the Hudson-Fulton celebration, ii, 242, n. 3. 
 Foreign Universities (Boston, 1908), ii, 282. 
 Forerunner of tableaux vivanls, ii, 97 f.; ii, 257, and 
 
 n. i. 
 Forest, a pageantic (1511), i, 115; spirit of the 
 
 (Keene, 1913), ii, 271; with hunters (Paris, 
 
 1431), i, 140; with animals for a Skinner 
 
 (1671), ii, 50 f.; with grazing sheep, a trade- 
 pageant (1675), ii, 55. 
 Forester, Orson and, i, 79, n. 7; (Bruges, 1515) 
 
 i, 76, and n. 2; and wood-man in London, 
 
 (1663),!, 77; ii, 49. 
 Foresters (Knutsford, 1913), ii, i53;ii, 154; in 
 
 a pageantic forest at court (1511), i, 115; in a 
 
 1522 masquerade, i, 121. 
 Foresters , Order of, in the Coventry procession of 
 
 1862, ii, 170; in the Ripon procession of 1886, 
 
 ii, 160. 
 "Foresters," relation of, to "wild-men," i, 74; i, 
 
 77; ",49- 
 
 Foresters costumes in the 1914 "Bower," ii, 152. 
 
 Forests, Spirits of (London, 1911), ii, 225; Spirits 
 of the (St. Johnsbury, 1912), ii, 270. 
 
 Forrest, Sir George, on Indian "elephant and 
 castle," i, 67; suggests resemblance between 
 Church processions and Muharram, i, 17. 
 
 Forsythe, John, pictured at Belfast (1914), ii, 181. 
 
 Fort at Bristol, (1574), i, 206; at Sandwich 
 (1573), i, 206, n. 2; at Warwick (1572), i, 205; 
 in a masque (Elvetham, 1591), i, 216. 
 
 Fort Hill (Boston), ii, 177. 
 
 Forth (Edinburgh, 1908), ii, 214. 
 
 Fortitude (London, 1501), i, 168; (London, 
 1522), i, 178; (London, 1618), ii, 38; (Stutt 
 gart, 1609), i, 99; treads on Holof ernes (Edin 
 burgh, 1503), i, 169; in a funeral pageant at 
 Rome, i, 17, n. 6, in Lydgate s London dis 
 guising,!, 107. 
 
 "Fortress of Perfect Beauty," the (1581), i, 97. 
 
 Fortune (London, 1432), ii, 77; (London, 1432), 
 i, 144; (London, 1547), i, 186; (London, 
 1591), ii, 26; (London, 1684), ii, 62; (Nanles, 
 1443), i> *47> n - 2 m Lydgate s London dis 
 guising, i, 107 ; in Lydgate s mumming for 
 the London Goldsmiths, i, 106, n. 4; Queen of 
 (Coventry, 1498), i, 164. 
 
 Foster-children of Desire (1581), i, 97; i, 213 f.; ii, 
 273, n. 3. 
 
 Foster lane (London), i, 242. 
 
 "Fount of Virtue" (London, 1604), i, 224, n. 6. 
 
 "Fountain of Hippocrene" (Edinburgh, 1633), i, 
 237- 
 
 Fountains Abbey (Ripon), ii, 161, and n. 3. 
 
 Four Foster-children of Desire. See Foster. 
 
 Four Spouts (London), i, 241, n. 3. 
 
 Fourth of July celebrated at Lancaster with his 
 torical scenes (1912), ii, 264; at New York 
 (1918), ii, 251 f.; at Philadelphia (1788), ii, 
 236; at Springfield (1908), ii, 241; at 
 Taunton with pageantry (1911), ii, 270, n. i; 
 celebration of with pageantry, suggested by 
 Mr. MacKaye, ii, 303 ; pageantry at Pitts 
 burgh, ii, 303. 
 
 Fox, George (Scarborough, 1912), ii, 222, n. 2. 
 
 Foxe, Bishop, contriver of 1501 " entry," i, i66,n. 6. 
 
 Foxe bitter at parallel between Philip and Orpheus, 
 i, i93- 
 
 Foxe s unfriendly account of the 1554 "entry," i, 
 190, n. 12; i, 191 f. 
 
 France (Avignon, 1600), i, 220; (London, 1509), 
 i, 170; (London, 1604), i, 225; (London, 
 1853), ii, 116, n. 3; (London, 1905), ii, 75, 
 n. 6; ii, 131; (Paris, 1513), i, 171- 
 
 France, Ambassador of, in Anne Boleyn s corona 
 tion "entry" (1533), i, 181; influence of pro 
 cessions in, on the Lord Mayor s Show, ii, 116; 
 influence of 1661 "entry" on, i, 247; King of, 
 founds a "round table," i, 92; personified by a 
 gigantic figure (1905), ii, 131. 
 
 Francis II at Chenonceau (1559), i, 202 f. 
 
 Franciscans (London, 1680), ii, 173. 
 
 Francois I (Quebec, 1908), ii, 241; ii, 263. 
 
 Fraternity (Providence, 1919), ii, 289. 
 
 Frederick, Emperor (London, 1680), ii, 173. 
 
 Frederick, Sir John, Mayor of London (1661), ii, 
 48. 
 
 Freedom Hall (Plymouth), ii, 236. 
 
 Freedom of Thought (Providence, 1919), ii, 289. 
 
 Freeman in a 1671 "interlude," ii, 51; ii, 76. 
 
 Freeman, Ralph, Mayor of London (1633), ii, 41, 
 n. 6. 
 
 Freeport, Sir Andrew, a picture of Sir Gilbert 
 Heathcote, ii, 86, n. 2. 
 
 Free School, Coventry, founder of, ii, 170, n. 7. 
 
 French King in the Midsummer Show (London, 
 1534), i, 41; people [personified] (Paris, 1498), 
 i, 163; soldiers (Norristown, 1912), ii, 249; 
 (Quebec, 1908), ii, 263 f. 
 
 French admiral at London (1546), i, 185; fleet 
 defeated in a mock-fight (1814), ii, 162; in 
 the New York Pageant of 1918, ii, 252; land 
 ing of the (Marietta, 1888), ii, 258; players 
 in the Dover Pageant, ii, 205; sapeur-pompiers 
 in the 1889 Show, ii, 124; speech planned 
 (1628), ii, 39; trumpeters at Temple Bar 
 (1547), i, 187. 
 
 French-Canadian group, a (Taunton, 1911), ii, 270. 
 
 Frenchman, a (London, 1617), ii, 76. 
 
376 
 
 INDEX 
 
 Friar Tuck (Coventry, 1862), ii, 170; (Lichfield, 
 1893), ii, 150, (London, 1615), ii, 144, n. i; 
 in May-Day mummings, i, 65, n. i. 
 
 Friars, effigies of (London, 1681), ii, 175. 
 
 Friction between the Honourable Artillery Com 
 pany and the mayor (1779), referred to, ii, 61, 
 n. 2. 
 
 Friday Street (London), i, 168, n. 3. 
 
 Friedrich II, pageants at the wedding of, i, 12, n. 3. 
 
 Friends Meeting, a float contributed by (Norris- 
 town, 1912), ii, 249, n. 3. 
 
 "Fringes," i, 23, n. 3. 
 
 "From Cave Life to City Life," ii, 265 f. 
 
 "From Kingdom to Colony," ii, 277 f., ii, 295. 
 
 Front Royal (Virginia) tournament at (1866), ii, 
 286, n. 4. 
 
 "Frontier Incident, a," in the 1911 "Tournament," 
 ii, 189. 
 
 Frost King, the (New York, 1909), ii, 244, n. i. 
 
 Fruiterers, car of the (1892), ii, 12 6; (1895), ii, 
 127. 
 
 "Fruits" (St. Louis, 1878), ii, 253, n. 2. 
 
 "Fruits and Flowers" (1890), ii, 125. 
 
 Funeral car of Charles V at Brussels (1559), i, 19S> 
 n. i; "giants" at Shanghai, i, 50, n. 4; 
 "machine" for obsequies of Alexander VII; 
 car, for obsequies of Charles V, i, 17, n. 6. 
 
 Fur (Keene, 1913), ii, 271, n. 4. 
 
 Fur-clad dignitaries (1628), ii, 39. 
 
 Fustigo, i, 132, n. 2. 
 
 "Future city, the " (Boston, 1910), ii, 267. 
 
 Future, the, suggested (Avignon, 1600), i, 220. 
 
 "Futurism" in pageantry, ii, 293. 
 
 "Futuristic" pageant, the, ii, 233; allegory in, 
 ii, 214; ii, 215; quality of the Taunton Pag 
 eant of 1911, ii, 270; qualities in the Vermont 
 pageants, ii, 271; suggestion, a, in an Edin 
 burgh masque, ii, 227. 
 
 G. A. R., members of the, give scenes in the Boston 
 "festival" of 1897, ii, 261. 
 
 Gabitt, pageant designer (1561), ii, 18. 
 
 Gablers Fair (Scarborough, 1912), ii, 222, n. 2. 
 
 Gabriel (London, (1522), i, 178, (Norwich, 1469;, 
 i, 1535 (Paris, 1513), i, 172. 
 
 Gaelic League, American Committee of, gives his 
 toric pageant, ii, 272. 
 
 Gage, General, effigy of, at Boston, ii, 177. 
 
 Gaiety (Edinburgh, 1908), ii, 223. 
 
 Galatea (London, 1661), ii, 48; (London, 1685), 
 ii,63. 
 
 Galley-foist, ii, 10, and n. 5. 
 
 "Galye sotylties," i, 83, n. 5. 
 
 Gamble, John, composer of music for a 1662 "tri 
 umph," i, 250. 
 
 Gamekeepers (1890), ii, 125. 
 
 Ganymedes (Bruges, 1515), i, 76, n. 2. 
 
 Garden, a mechanical (London, 1522), i, 177. 
 
 "Garden of France" (Paris, 1513), ["Vergier de 
 
 France"], i, 172. 
 
 "Garden of Hope" (1516), i, 116. 
 "Garden of Plenty" (London, 1604), i, 225; 
 
 (London, 1661), i, 246. 
 Gardeners (1890), ii, 125; "in costume" (1902), 
 
 ii, 129. 
 
 Gardeners trade-pageantry (1902), ii, 129. 
 Garibaldi (London, 1914), ii, 147, n. 2. 
 Garibaldi, uniforms of the time of (Boston, 1912), 
 
 2,847- 
 
 Garlands in Lichfield "Bower," ii, 148; ii, 149. 
 
 Garnett, P., on the Bohemian Club "Jinks," ii, 
 286. 
 
 Garrard, Sir John, to advise about 1606 "entry," 
 1,227. 
 
 Garrick, David (Lichfield, 1909), ii, 151. 
 
 Garter, Bernard his farewell speech to Eliza 
 beth (Norwich, 1578), i, 211; his verses at 
 Norwich, (1578), i, 211, and n. i. 
 
 Garter King of Heralds, deviser of pageants (1522), 
 i, 174, n. 6. 
 
 Garter, Order of the, and the 1344 "Round Table," 
 i, 93; represented in the 1907 Show, ii, 134; 
 service, a special, at Windsor (1912), ii, 227, 
 n.3- 
 
 Gascoigne acts his play (1575), i, 208; as Syl- 
 vanus, i, 209. 
 
 Gascoigne s masque not given (1575), i, 209, n. i. 
 
 Gascony (London, 1509), i, 170. 
 
 Gate at Bulwark [of the Tower], ii, 49. 
 
 Gates, the (Chester, 1910), ii, 215. 
 
 Gates, gentleman, drowned in a water-" triumph," 
 (1536), i, 98. 
 
 Le Gaullon, Auguste, ensign of children s com 
 pany (Metz, 1604), i, 226. 
 
 Gaunt, John of (London, 1522), i, 177. 
 
 Gaveston, Piers (London, 1907), ii, 134. 
 
 Gaveston, Piers, story of, told at Warwick (1906), 
 ii, 219; at Scarborough (1912), ii, 219, n. 3. 
 
 Gayant, of Douai, i, 55, n. 2. 
 
 Gayton s "Charity Triumphant" (1655), ii, 44. 
 
 Geddes, Professor Patrick, his "Masque of Learn 
 ing" (1912), ii, 226 f., and n. 4. 
 
 Geffrey, William, entertains royalty (1501), i, 168, 
 n. 2. 
 
 Genealogical table of Scottish kings (Edinburgh, 
 1579), i, 213, and n. i; (London, 1533), i, 
 183; (London, 1554), i, 193; trees (London, 
 1432), i, 146; (London, 1522), i, 177; i, 178. 
 
 "General Pike," model of the (St. Louis, 1847), ii, 
 
 237- 
 
 Genii on a transparency (1801), ii, 102. 
 
 Genius (Lichfield, 1909), ii, 151; of Amphion 
 (London, 1610), i, 231; of the "Arabian 
 Nights" related to monsters of romance, i, 54, 
 n. 3; of the City [London], (London, 1604), i, 
 223, and n. 3; i, 224, and n. i; i, 225, and notes 
 4 and 5; ii, 75; (London, 1606), i, 228, n. i; 
 
INDEX 
 
 377 
 
 ii, 75; (London, 1616), ii, 80; (London, 1783), 
 ii, 100; (Ripon, 1886), ii, 161; of the City, 
 a step between the "angel" and personification, 
 i, 81; of Corinea (London, 1610), i, 231; 
 of Fortune (Naples, 1443), i, 147, n. 2; of 
 Justice (Reggio, 1453), i, 148, n. 4; of London 
 (1616, 1639), i, 82, n. 2; (London, 1913), ii, 
 138; of the World, the (London, 1911), ii, 225. 
 "Geniuses" of Henri IV and Marie de Medici 
 
 (Avignon, 1600), i, 220. 
 Genoese Merchants (London, 1907), ii, 134. 
 Genoese Merchants, contribute a pageant (1553), 
 
 i, 188; in a civic welcome (1432), i, 143. 
 Geometry (London, 1432), i, 145; (London, 
 1661), i, 245; represented with Euclid (Lon 
 don, 1432), i, 79; i, 145. 
 George, King (in "folk- plays"), i, 7, n. i. 
 George (Saint) see Saint George. 
 George (Saint or Prince), i, 7, n. i. 
 George and Dragon, the, an inn-sign, i, 69. 
 George I at London (1714), i, 253. 
 George II (Edinburgh, 1908), ii, 214; (Lichfield, 
 
 1893), ii, 150. 
 
 George III (Cheltenham, 1908), ii, 217; (Lich 
 field, 1893), ii, 150. 
 "George III, court of" (Taunton, 1911), ii, 269; 
 
 ii, 270. 
 "George III, pulling down the statue of," in the 
 
 Hudson-Fulton Pageant, ii, 243. 
 George IV at Edinburgh (1822), i, 255 f.; starts 
 for Edinburgh i, 77, n. i ; visit of, referred to, 
 in 1839, ii, 184, n. 5. 
 
 George V at the Durbar, i, 258; at the 1911 
 "tournament," ii, 189; at the Quebec Pag 
 eant (1908), ii, 241; coronation of, celebrated 
 at Salisbury (1911), i, 258. 
 
 George and Crispin Saint and King, ii, 165, n. 5. 
 Georgian farmer, with his wife (Ripon, 1886), ii, 161. 
 Gerald, the Welshman (York, 1914), ii, 230. 
 German see Jarman. 
 German military bands in a New York parade 
 
 (1909), ii, 242, n. 3. 
 
 German Settlers (Norristown, 1912), ii, 249. 
 German veterans (Boston, 1912), ii, 245. 
 Germania (London, 1691), i, 82, n. 2; ii, 75; 
 
 (New York, 1909), ii, 244, n. i. 
 Germanic influence on French romances, i, 52. 
 Germans entertained at Guildhall (1610), ii, 30; 
 
 in the Boston procession of 1912, ii, 247. 
 Germany (London, 1853), u> I][ 6, n. 3. 
 Germany, Roman troops depart for (London 
 1914), ii, 190; ship processions in, i, ii, n. 4 
 "Ghostly gifts" (London, 1432), i, 144. 
 Giant (Antwerp, 1803), i, 254; (Belgium), i, 195 
 n. i; (Bristol, 1461), i, 151; of Barking, i 
 40, n. 5; in a Burgundian masque (1453), i, 67 
 n. i; (London, 1415), i, 58, n. i; i, 133, and 
 notes i and 2; i, 195; (London, 1432), i, 58 
 n. i; i, 143; (London, 1522), i, 40, and n. 5 
 
 i, 56, and n. 3; i, 195, n. 2; (London, 1656), i, 
 57, n. 2; i, 60; ii, 46; (London, 1685), ii, 63; 
 (London, 1913), i, 63; ii, 36; ii, 138; the 
 Salisbury, in modern times, ii, issf.; and 
 "wild-man" combined, i, 70. See also giants. 
 iant- champion (London, 1432), i, 143, and n. 6. 
 iiant-champion, relation of, to the "armed man," 
 i, 4 8. 
 
 Hant-hero, i, 53 f. 
 
 Giant-herdsman," connection of the, and "wild- 
 man," i, 74.; in romances, i, 53. 
 Giantess of Antwerp, i, 255. 
 
 riants, i, xvi; i, xix; i, n; ch. i, 5 (i, 506".); 
 (Antwerp, 1843), i, 256, and n. 6; of London 
 recalled by a man on stilts (Boston, 1912), ii, 
 246; at the Chester Midsummer Show, i, 44 f., 
 and notes; revived in the Chester Pageant, ii, 
 224; in the Coventry Midsummer Show, i, 
 46; on the Continent, i, 50 f., and notes; i, 
 55, notes; in England and on the Continent, 
 i, 54 f.; connected with civic history, i, 56; 
 [mechanical] (London, 1421), i, 137^; (Lon 
 don, 1522), i, 176; (London, 1534), i, 41, and 
 notes; (London, 1554), i, 191; i, S7j n . 2;- 
 (London, 1559), i, 202; (London, 1605), ii, 
 28; (London, 1606), i, 57, n. 2; i, 228, n. i; 
 (London, 1672),:, 57, n. 2; i, 60, andn. 3; ii, 53; 
 (London, 1685), i, 51, n. 2; (London, 1708), 
 i, 61, and n. 4; in early xviii century shows, 
 ii, 86, n. i; ii, 89; at Guildhall, i, 59, and 
 n. 4; ironically described (c 1700), i, 61; 
 (London, 1827), i, 63; ii, 109; (London, 
 1905), ii, 131; (in the Midsummer Watch), i, 
 375 i,4, andn. 5; i, 41, and n. 3; (Munich, 
 1662), i, 1 18; (Norwich, 1469), i, 152; 
 polycephalic, i, 54; represent the Deadly 
 Sins in "Piers Plowman," i, no; in romances, 
 i, 53 ff.; satirized in the xix century, i, 62, 
 n. 2; and saints names, i, 57; funeral, at 
 Shanghai, i, 50, n. 4. 
 
 "Giants Graves" in Lancashire, i, 51, n. 3. 
 "Giant s leap," the, i, 59. 
 Gibbs," Fiddler, "i, 70, n. i. 
 Gibbons, Orlando (London, 1908), ii, 135. 
 Gibson, Richard, master of the revels (1522), i, 97; 
 prepares pageant-cars in masques, i, 115, n. 4. 
 Gifts from Roman gods and goddesses given Eliz 
 abeth (Kenilworth, 1575), i, 208. 
 Gigantic animals in Italian "trionfi," i, 14, n. i ; 
 figure of Father Knickerbocker (New York, 
 1909), ii, 243; figures in the 1905 Show per 
 sonify France and England and Peace, ii, 131. 
 "Gigantick History, The," i, 47 ff.; account of 
 
 Lord Mayor s Day in, ii, 89 f. 
 Gilding of the Cross in Cheapside (1522), i, 175. 
 Gilgit, Fort of, stormed in a mock-fight (1893), ii> 
 
 188. 
 
 Gillome, Hugh, paid for dancing at Midsummer at 
 Chester, i, 43, n. 5. 
 
378 
 
 INDEX 
 
 Girl Scouts to observe the Pilgrim Tercentenary, 
 ii, 276. 
 
 Gladman s Insurrection at Norwich, i, 8; i, 104. 
 
 Gladness (London, 1604), i, 224. 
 
 Gladstone, Mr., guest at Guild-hall (1883), ii, 122, 
 n. i ; (Lichfield, 1893), u , ^3- 
 
 Glasgow paper, notice of the Eglinton tournament 
 in a, ii, 184, and n. 5. 
 
 Glaucus (Elvetham, 1591)) i> 216; (London, 
 1685), ii, 63. 
 
 "Globe, the Golden" (St. Louis, 1878), ii, 253, n. 2. 
 
 "Globe of Honour," the (London, 1622), ii, 77. 
 
 Globe, mechanical (Edinburgh, 1579), i, 212. 
 
 "Glory of Furs" (London, 1628), ii, 39. 
 
 Gloucester, "The Canterbury Pilgrims" at, ii, 302. 
 
 Gloucester, Duke of, statue of (London, 1661), i, 
 243, n. i; (London, 1907), ii, 134; (London, 
 1910), ii, 136. 
 
 Gloucester, Duke of, heads citizens, ii, 6. 
 
 Gloucester, Henry VII at (1486), i, 160. 
 
 Gloucestershire Pageant, the, of 1908, i, 218, n. 
 i; ii, 219; ii, 222, n. 2; characterization of 
 rivers in the, ii, 216 f.; at Cheltenham, ii, 
 199 f.; given for a charity, ii, 206, n. 2. 
 
 Gnomes (New York, 1909), ii, 244, n. i. 
 
 Goblins (Edinburgh, 1908), ii, 214. 
 
 God at Chester, i, 43 ff.; i, 44, n. 2; i, 78; in 
 Midsummer Shows at Chester, i, 43 ff., and 
 notes; (London, 1392), i, 131, and n. i; 
 (London, 1501), i, 168, and n. i; in the "royal- 
 entry," i, 195. 
 
 "God Save the King," i, 186; sung in 1740, and 
 in 1761, ii, 178, n. 4. 
 
 "God Save the Queen" sung to Victoria (1837), ii, 
 in, n. 2. 
 
 Goddess of Liberty (New York, 1909), ii, 243. 
 
 Godfrey of Bouillon see Nine Worthies. 
 
 Godfrey of Bouillon (Coventry, 1456), i, 150; 
 (Paris, 1431), i, 138, n. 4. See also Nine 
 Worthies. 
 
 Godfrey, Justice, a corpse representing (London, 
 1680), ii, 173; an effigy of (London, 1681), ii, 
 174. 
 
 Godfrey with first Charter of London (London, 
 1783), ii, 98. 
 
 Godiva at Coventry, i, 25, n. i; i, 34; (Coven 
 try, 1826), ii, 167; (Coventry, 1848), ii, 170; 
 (Coventry, 1862), ii, 170; (Coventry, 1911), 
 ii, 171; in Coventry processions, ii, 168, f. 
 
 Godiva, Lady, procession of, at Coventry, ii, 166 f.; 
 
 procession attacked (1845), ii, 169. 
 Gods and genii at Venice, i, 14, n. i. 
 God s Truth (London, 1590), ii, 25. 
 
 Godshall, Sir Robert, Mayor of London (1741), ii, 
 
 93- 
 
 Godwin, George, his letter of 1850, ii, 114. 
 Godwine (London, 1907), ii, 133. 
 Godyn, John, paid for minstrels and their hoods, 
 
 and barge hire, ii, 7. 
 
 Goethe (Boston, 1908), ii, 282. 
 
 Gog and Magog, i, 59 ff. ; in Bible and romances, 
 i, 59, n. 5. 
 
 Gogmagog, i, 54; i, 57, notes 2 and 3; i, 58 ff.; i, 
 60; i, 78, n. i; i, 79; (London, 1554), i, 191; 
 i, 195; (London, 1559), i, 202; (London, 
 1605), ii, 28; ii, 281; ii, 297; and Corineus 
 in history, i, 58, n. 2; i, 59. 
 
 Gold (St. Louis, 1914), ii, 273, n. 3. 
 
 Gold and Silver Wyre Drawers in the 1885 Show, 
 ii, 123; show men in emblematical costumes 
 (1889), ii, 124; trade-pageant of (1892), ii, 
 126. 
 
 Golden Fleece, the, i, 40; (Coventry, 1826), ii, 
 168; (London, 1522), i, 81; i, 176; i, 196; 
 (London, 1547), i, 186; (London, 1614), ii, 
 36; a trade-pageant of the Drapers (London, 
 1621), ii, 73; connected with Drapers (1626), 
 ii, 78, n. 4; (London, 1675), ii, 55. 
 
 Gold-miner (London, 1910), ii, 189. 
 
 Goldingham, Henry, author of verses (1575), i, 209, 
 n.i. 
 
 Goldingham s masques (Norwich, 1578), i, 211, 
 and n. 2. 
 
 Goldsmiths accompany mayor (1643), ii, 43; 
 barge (1822), i, 255; in 1842, ii, 112, n. i; 
 castle of 1377, descendant of (1501), i, 114; 
 castle of 1377, i, 128; castle (1382), i, 129; 
 desired to prepare for Margaret of Anjou s re 
 ception, i, 148; Hall, i, 253, n. 2; Pageant 
 in 1662 "triumph," i, 248; employ Munday 
 (1611), ii, 31; go to Westminster by river 
 (1721), ii, 88; represented by Aurifera (1684), 
 ii, 62; resolve not to join procession (1845), 
 ii, 113; trade-pageant of the (1892), ii, 127; 
 represented by Moorish kings (1913), ii, 138, 
 and n. 2; show old costumes (1804), ii, 103. 
 
 Goldsmiths (London, 1783), ii, 99. 
 
 Goliath, i, 57, n. 3; the giant of Ath, i, 55, and 
 n. 2. 
 
 "Golldyn Arber in the Archeyerde of Plesyer" 
 (iSii),i, 116. 
 
 Good Counsel (Paris, 1498), i, 164. 
 
 Good Fortune (London, 1684), ii, 62. 
 
 Good Shepherd, The, (Paris, 1498), i, 163. 
 
 Good ["great"] Shepherd (Paris, 1513), i, 171. 
 
 Good Will (Paris, 1498), i, 163. 
 
 Goodman, Richard, Mayor of Chester (1497), i, 162. 
 
 " Gorboduc," wild-men in, i, 76. 
 
 Gore, John, Mayor of London (1624), ii, 38, n. 8. 
 
 Gothic Architecture (Cambridge, 1911), ii, 287. 
 
 Government (London, 1623), ii, 78; (London, 
 1626), ii, 78, n. 4; represented by Cicero 
 (1676), ii, 79, n. 2. 
 
 Gov. Thomas Dudley Family Association, the, 
 give a scene in the Boston "Festival" (1897), 
 ii, 260, n. 5. 
 
 Governor of Pennsylvania receives a pageantic 
 Penn (1882), ii, 239. 
 
INDEX 
 
 379 
 
 Governor, reception of the (Boston, 1910), ii, 266, 
 
 ii, 268. 
 Gown, mayor requested to provide a new, at the 
 
 City s charge, (1727), ii, 88. 
 Grace (London, 1432), i, 144; i, 146, and n. 3; ii, 77; 
 
 (London, 1547), i, 186; the "Chauncelor 
 de Dieu" (London, 1445), i, 148. 
 
 Gracechurch Street (London), i, 37; i, 165; i, 167; 
 i, 169; i, 173; i, 176; i, 182, and n. 5; i, 189; i, 
 190; i, 191; i, 192; i, 200; i, 224, and n. 3; i, 
 241, n. 3; ii, 68; ii, 114; ii, 115, n. 2. 
 
 Grace Darling (Lichfield, 1904), ii, 151, n. 3; 
 and her Father (Knutsford, 1913), ii, 154. 
 
 Grace Darling s life boat in the 1883 Show, ii, 121. 
 
 Graces, the Three (London, 1533), i, 183; (Lon 
 don, 1604), i, 224. 
 
 Graces, the (Avignon, 1600), i, 220; (Elvetham, 
 1591), i, 216; i, 217, n. i; (London, 1609), ii, 
 20; (London, 1613), ii, 34. 
 
 Grafton, Duke of, i, 155, n. i. 
 
 Grafton, supervisor of pageants, i, 190. 
 
 Grammar (London, 1432), i, 145. 
 
 Granby, General Marquis of (London, 1889), ii, 125. 
 
 "Grand Pageant, The," in a pantomime (1783), 
 ii, 100. 
 
 Grass Cross, Worcester, i, 210. 
 
 Grasschurch [Gracious] Street, see Gracechurch. 
 
 Gratulation (Bristol, 1574), i, 206. 
 
 Gravesend, Sir Thomas of, part purchaser of 
 saints images (1509-10), i, 57, n. 2. 
 
 Gravesend, pageantic fireworks at (1606), i, 229. 
 
 Gray, Thomas, master of St. Christopher s Guild, 
 i, 156, n. 3. 
 
 Grays Inn, Gentlemen of, give "shows" at Green 
 wich (1588), i, 214. 
 
 Great Britain (London, 1902), ii, 129. 
 
 Great Britain represented by a car (1904), ii, 130. 
 
 "Great Harry," model of the (London, 1902), ii, 
 129. 
 
 Grebert, Jehan, at Lille, i, 75, n. 4; i, 81. 
 
 Greece, ancient, represented by a car (1904), ii, 
 130. 
 
 Greece (London, 1904), ii, 75, n. 6. 
 
 Greed (Providence, 1919), ii, 289. 
 
 Greek cities personified, i, 17, n. 6. 
 
 Greek civilization, the, in the "Masque of Learn 
 ing," ii, 227; group, a (Boston, 1910), ii, 267; 
 
 Janissaries in the Boston procession of 1912, 
 ii, 247 ; Testament given Elizabeth at Sand 
 wich, 1573, i, 205. 
 
 Greeks, ancient, attend the Arts (1890), ii, 126; 
 v. Trojans (Winchester, 1908), ii, 225 f. 
 
 Greeks in the New York Pageant of 1918, ii, 252. 
 
 Green v. Orange at Scarva (1914), ii, 186. 
 
 Green, huntsmen dressed in, at Worksop (1603), i, 
 222, n. i. 
 
 "Green Dragon Tavern, Sons of Liberty meet at 
 the" (Boston, 1897), ii, 261. 
 
 Green Knight, Earl of Warwick as, i, 75, n. 3; i, 89. 
 
 Green Park (London), ii, 162. 
 
 " Greenhill Bower," i, 9; i, 10; i, 47; i, 48, n. 2;ii, 
 148 f.; ii, 192. 
 
 "Green man," i, 40, n. 5; i, 72 ff.; in 1617, ii, 37, 
 n. 5 ; (Adrianople, 1 7 1 7) , ii, 87 ; an inn-sign, 
 i, 69; i, 77, n. i ; see also Wild-man, devil, and 
 forester. 
 
 "Green-men" at London (1553), i, 74, n. 2; ii, 14; 
 (1602), ii, 27, n. 4; ii, 28; (1629)^,40; (1635), 
 ii, 42; (1686), i, 74, n. 2; ii, 63, n. 6; ii, 85; 
 (1687), i, 74, n. 2; ii, 63, n. 8; ii, 85, n. 2; at 
 the mayor s feast in "Promos and Cassandra," 
 i, 72; with fireworks, i, 72; i, 73, n. i; i, 229; 
 
 connected with the "wild-man," i, 72; 
 resembling the "wild-man" (Chester, 1610), i, 
 73, n. i; i, 229. 
 
 Greens on the Brewers car (Ripon, 1886), ii, 160. 
 
 Greensboro, "Mother Goose" pageant at, ii, 253, 
 n-5- 
 
 Greenwich, i, 116; i, 154, n. 2; i, 161; i, 173, n. 4; 
 i, 181; i, 184; i, 185, n. 3; i, 203; i, 214; i, 227; 
 i, 255; pageantic jousts at, i, 116; Anne 
 Boleyn escorted from (1533), ii, 10. 
 
 Greenwich (London, 1662), i, 249. 
 
 Greenyard, the, ii, 92; given as workrooms for 
 pageants (1633 and 1634), ii, 41; no pageants 
 to be made in (1635), ii, 42. 
 
 Greeting, a message of, from Sherborn (Massa 
 chusetts) read at the Sherborne Pageant, ii, 211. 
 
 Gregory (Boston, 1897), ii, 260, n. 3. 
 
 Grendel, i, 54, n. 3. 
 
 Gresham, Sir John (London, 1889), ii, 125; 
 (London, 1895), ii, 127. 
 
 Gresham, Sir Richard (London, 1906), ii, 132. 
 
 Gresham, Thomas (London, 1783), ii, 100; (Lon 
 don, 1907), ii, 134. 
 
 Gresham College, workshop in, or near, for 1617 
 pageants, ii, 37; workshop in, for 1659 pag 
 eants, ii, 47 ; workshop under gallery of, for 
 1662 pageants, ii, 48, n. 5. 
 
 Gresham Street (London), ii, 114; ii, 115, n. 2. 
 
 Greville, Master Fulke, in a tilt, (1581), i, 213. 
 
 Grey, Lady Jane (London, 1914), ii, 147, n. 2. 
 
 Grey Horse Inn, scene at the, at Marblehead (1912) 
 ii, 278. 
 
 Greyhounds of lead (London, 1501), i, 168. 
 
 Griffin, Mr., a preacher at Warwick (1572), i, 205, 
 n. 2. 
 
 Grimston, revels at (1884), ii, 159; ii, 208. 
 
 Grinkin [John] prepares pageants (1611), ii, 31; 
 makes pageants (1613), ii, 35, n. 3. 
 
 de Grise, Jehan, illuminations of, showing animal 
 head-dresses (1344), i, 102, n. i. 
 
 Grocers, Jordan writes two shows for (1672 and 
 1673), ii, 52 f.; and funeral of Henry V, ii, 6; 
 
 connected with Diogenes (1681), ii, 83; ex 
 penses at Sheriffs ridings (1427-32), ii, 7; ex 
 penses of, on vigil of St. John the Baptist (1386), 
 i, 38 ; hire of boats to accompany mayor and 
 
INDEX 
 
 sheriffs, ii, 6 and n. 4; ii, 7; ii, 8, n. i; lend 
 their barge to the Goldsmiths (1643), ii, 43; 
 pageant (London, 1392), i, 131; pageant of 
 Norwich used on a civic occasion, ii, 19; pag 
 eants prepared by Jarman (1659), ii,47; "Par 
 adise" or "tree," of Norwich, i, 19, n. 8; i, 
 35; records show facilities given pageant- 
 makers, ii, 33, n. i; represented by Aroma- 
 tot ia (1684), ii, 62; to make their shows "on 
 the bankside of Gresham College" (1617), ii, 37; 
 trade linked with mythology (1692), ii, 73; 
 trade-pageant (1622), ii, 75; trade-pageant 
 (1901), ii, 128 f., and n. 3. 
 
 Grocers (London, 1783), ii, 99. 
 
 "Groote Ommeganck," the, i, 24, n. 2; i, 55, n. 
 2; animals in, i, 64, n. 4; in 1803, i, 254. 
 
 Grosley, Pierre Jean, on civic giants, (1765), i, 62. 
 
 Grosseteste s "castle of love," i, 80. 
 
 Grotesque boy-dogs (Ripon, 1886), ii, 159. 
 
 "Grotesques" in the St. Louis procession of 1847, 
 ii, 238. 
 
 "Grotto," unfinished, at Metz (1604), i, 226. 
 
 Growth of allegory, i, 108. 
 
 Growth of the Masque, ch, ii. 3, (i, in f.) 
 
 Growth of "royal -entry "before the days of Eliza 
 beth reviewed, i, 195 f. 
 
 Gruthuse, Lord, received by Edward IV, i, in, 
 n. 9; i, 112. 
 
 Gryphons (Stuttgart, 1617), i, 234; (London, 
 1672 and 1673), ii, 53. 
 
 Gualteri, Cardinal, effigy of, planned for the 1711 
 Pope-burning, ii, 175, n. 3. 
 
 Guides for the 1629 pageant, ii, 41. 
 
 Guiennc (London, 1509), i, 170. 
 
 "Guild Day," Procession of, at Norwich, i, 28. 
 
 Guild expenses at Chester Midsummer Shows, i, 
 43 ff., and notes; for the watch, i, 38 ff., and 
 notes. 
 
 Guildford, Christmas at (1347), i, 102, n. i. 
 
 Guildhall see passim. 
 
 Guildhall, history of the, sketched in a Times edi 
 torial (1914), ii, 139 f- 
 
 "Guild Merchant, the," at Preston, i, 34, and 
 notes; ii, 164, and notes 5 and 6; ii, 165, and 
 notes i and 2. 
 
 Guilds act at Dublin (1528), i, 179; and City of 
 London Institute, emblematical car of (1891), ii, 
 126; of Corpus Christi, i, 19, n. 8: [York 
 Leicester, Bristol, and Ipswich]; of London 
 often called on to meet sovereigns, i, 150, n. 5; 
 i, 154 f., civic shows of, ch. vi, passim. 
 
 Guillaume le Berger [acts the part of St. Francis?], 
 (Paris, 1431), i, 138, n. 4. 
 
 de Grise, Jehan, i, 102, n. i. 
 
 de Guise, Monsieur, i, 98. 
 
 Gunivado of Norway (London, 1522), i, 177. 
 
 Gurgunt (Norwich, 1578), i, 79; i, 81; i, 158, n. 3; 
 i, 210; ii, 281. 
 
 Gustus (London, 1613), ii, 34. 
 
 Guy Fawkes, i, 10; day of (1919), ii, 179. 
 "Guy Fawkes" mumming plus history, ii, 148. 
 Guyloin of North Wales (London, 1522), i, 177. 
 Guyon, Sir (London, 1908), ii, 135. 
 Gwar (Warwick, 1906), ii, 218. 
 Gwendolen, daughter of Corineus, i, 78, n. i. 
 Gwyddyr (Colchester, 1909), ii, 217, n. 3. 
 Gypsies at Knutsford (1913), ii, 153. 
 
 Haberdashers, the, in the 1902 Show, ii, 129; 
 
 barge of, at Anne Boleyn s entry, ii, 10; repre 
 sented by Minutaria (1684), ii, 62. 
 Haberdashers (London, 1783), ii, 99. 
 Hackett, Alderman, on a committee to view pag 
 eants (1626), i, 235. 
 Hadrian (Ripon, 1886), ii, 160. 
 Hadrian s Wall in the 1914 "tournament," ii, 190. 
 Hagar allegorically explained, i, 80. 
 Hague, the, subtleties at (1746), i, 83; William 
 
 III at (1688), i, 252. 
 Hainault, chivalric pageants at, i, 94; influence 
 
 from, on tournaments, i, 94 f. 
 Halberdiers in the 1893 "Bower," ii, 150; at 
 
 Ripon (1886), ii, 160; in the 1890 Show, ii, 
 
 126. 
 Hale, Nathan (New Haven, 1916), ii, 274, n. i; ii, 
 
 275; (New York 1909), ii, 243. 
 Hales, John (Coventry, 1862), ii, 170, n. 7. 
 "Half-Moon," the (New York, 1909), ii, 164, n. i; 
 
 ii, 237, n. 4; ii, 242, and notes i and 3. 
 "Haliblude Play," the, at Aberdeen, i, 33. 
 Halifax, Lord, suggests site for the York Pageant, 
 
 ii, 200. 
 Hall, Edward, passages in his history examined, i, 
 
 121 f.; ii, 10; Jacob, and his troupe in the 
 
 1671 Show, ii, 51, n. 2; ii, 84; Richard, i, 
 
 41, n. i. 
 
 Halliday, Walter (London, 1008), ii, 135. 
 Hallowe en, mumming at, in America, i, 10, n. 5; 
 
 ii, 148; ii, is8f. 
 Halls, pageants brought into, i, xix; chs. ii and iv 
 
 passim. 
 
 Hamburg, artists festival at (1852) ii, 147, n. 4. 
 Hamilton, Sir Patrick, participator in a pageantic 
 
 joust, i, 96. 
 "Hamilton s Harangue" (New York, 1909), ii, 
 
 243, and n. 3. 
 
 Hamlet (Lichfield, 1909), ii, 151. 
 Hampden, John (London, 1889), ii, 124. 
 Hampstead, Guy Fawkes celebration at, i, 10. 
 Hampton Court, i, 247. 
 "Hancock, reception at the mansion of Governor" 
 
 (Boston, 1897), ii, 261. 
 Handel, music by, in the 1783 pantomime, ii, 
 
 101. 
 Handel s anthem "God Save the King" (1761), ii, 
 
 178, n. 4. 
 Hand-looms, a community industry suggested by, 
 
 ii, 265. 
 
INDEX 
 
 381 
 
 "Hand-squirt" used in the Great Fire of 1666, in 
 
 the 1892 Show, ii, 127. 
 "Hand-tub" drawn by veteran firemen (Boston, 
 
 1912), ii, 247. 
 
 "Handwerpen," the legend of, i, 254, n. 4. 
 Hanoverian "improvements" in folk-play, i, 7, n.i. 
 Happiness (Boston, 1908), ii, 282; (Boston, 
 
 1910), ii, 266; (London, 1850), ii, 115; ii, 116. 
 "Harbor of Happiness," the (London, 1635), ii, 42. 
 Hardell, Sir Richard (London, 1623), ii, 78. 
 Hardware, Henry, Mayor of Chester, i, 44. 
 Harland, Sir Edward J., pictured at Belfast (1914), 
 
 ii, 181. 
 
 Harold, (London, 1907), ii, 133. 
 Harper, Sir W., Mayor of London (1561), ii, 18; 
 
 ii, 73, n. 2. 
 
 Harpers in the 1561 Show, ii, 18, and n. 2. 
 Harris, Mary D., on origin of the Godiva procession, 
 
 ii, 166, n. 3. 
 
 Harrison, Stephen, collaborates in the 1604 "en 
 try," i, 222 f., and notes. 
 Hart, Mr., makes a suggestion regarding the 1879 
 
 Show, ii, 120. 
 Harvard Stadium, the, ii, 289; Union, the, ii, 
 
 287 ; University, masque for Professor Du- 
 
 quesne at, ii, 287 ; pageant of Hollis Hall at, ii, 
 
 272. 
 Harvest group, a, symbolizing the prosperity of the 
 
 town (Ripon, 1886), ii, 161; Queen, in Grim- 
 
 ston revels, ii, 159. 
 
 Harvest painted (London, 1661), i, 246. 
 "Harvest of the Peacemaker," the, (1907) ii, 134. 
 Harvest Wain in Grimston revels (1884), ii, 159; 
 
 with the Continents (London, 1919), ii, 141. 
 "Harvesting" (New York, 1909), ii, 244, n. i. 
 Harvey, Sir Sebastian, Mayor of London (1618), 
 
 ii, 38. 
 Harwood, Thomas, his account of the origin of the 
 
 " Bower," ii, 149. 
 Haslett, Sir James, pictured at Belfast (1914), ii, 
 
 181. 
 
 Hasselt, giants at, i, 55, n. 2. 
 Hastiludia, i, 86. 
 
 Hatfield House, a "disguising" at (1556), i, 198. 
 Hault, Jaques, appointed to devise disguisings 
 
 (1501), i, 113. 
 Havelock, i, 53, n. i. 
 Haverfield, Col., refers request for troops to Peel 
 
 (1822), ii, 107. 
 
 Hawking Party of 1200 (1889), ii, 124. 
 Hawkwood, Sir John (London, 1680), ii, 79, and 
 
 n. 7; (London, 1693), ii, 80. 
 Hawthornden, Drummond of, wrote speeches for 
 
 the 1633 "entry," i, 237, n. i. 
 Hawtrey, G. P., his remarks on the chorus of the 
 
 Gloucestershire Pageant, ii, 216, n. i; on the 
 
 site of the Gloucestershire Pageant, ii, 199 f. 
 Hay, John, greets James I at Edinburgh (1617), i, 
 
 234,11.3. 
 
 Hayes, artificer of the 1689 Show, ii, 64, n. 5. 
 Hayes, Sir Thomas, Mayor of London (1614), ii, 
 
 36, n. 4. 
 
 Hayne, John, "qualified" to sing (1809), ii, 104. 
 Hayward, Mrs. R. P., director of the Keene Pag 
 eant, ii, 271, n. 2. 
 Hazard, Professor, on giants of Northern France, 
 
 i, 55, n- 2. 
 Headsman, symbolical figure of a (London, 1907), 
 
 ii, 134- 
 Heathcote, Sir Gilbert, Mayor of London (1711), 
 
 ii, 86; the reported original of Sir Andrew 
 
 Freeport, ii, 86, n. 2. 
 
 Heathwaite, "Giants Graves" at, i, 51, n. 3. 
 Hearty Gladness (London, 1533), i, 183. 
 Heavenly Jerusalem (London, 1445), i, 148. 
 Heaven, a (London, 1501), i, 167, n. 6; (London, 
 
 1547), i, 186. 
 Hector (Coventry, 1456), i, 150; (Paris, 1431), 
 
 i, 138, n. 4; (Stuttgart, 1609), i, 99; and 
 
 see Nine Worthies. 
 
 Heidelberg, a triumphal arch at (1672), i, 251. 
 "Helicon, the Fountain of" (London, 1533), i, 182, 
 
 n. 5. 
 
 Helium (Mount Holyoke, 1912), ii, 286. 
 "Hell," at Antwerp, i, 255. 
 "Help your Country" (New York, 1918), ii, 252. 
 Hely, father of Lud, i, 78, n. i. 
 Heming and Dekker collaborate in 1612, ii, 31 f. 
 Henderson, Sir James, pictured at Belfast (1914), 
 
 ii, 181. 
 
 Hengist-bury head, i, 51, n. 3. 
 Henley, his account of the show mentioned, ii, 86, 
 
 n. i; ii, 89. 
 
 Henri II at Paris (1549), i, 187. 
 Henri IV at Metz (1604), i, 226. 
 Henri IV (Quebec, 1908), ii, 263. 
 Henri V (Avignon, 1600), i, 220; ii, 215, n. 3. 
 Henrietta Maria (Dover, 1908), ii, 205. 
 Henry III (London, 1628), ii, 39. 
 Henry IV at London (1399), i, 132; an attempt 
 
 on (1400), i, 104. 
 Henry IV (Coventry, 1862), ii, 170; and his 
 
 Queen (Ripon, 1886), ii, 161. 
 Henry V returns from Agincourt (1415), i, 132 f.; 
 
 returns to London with Katherine (1421), i, 
 
 !37 f-; death of, ii, 5 f. 
 Henry V (Cardiff, 1909), ii, 199, n. i; return 
 
 from Agincourt of (London, i9io),ii, 136. 
 "Henry V" in the Dover Pageant, ii, 219. 
 Henry VI expresses gratitude for the 1432 Show, 
 
 i, 148; at Paris (1431), i, 76; i,82; i, 138 f.; 
 
 jousts at Paris in honor of, i, 96. 
 Henry VI (Coventry, 1848), ii, 170; (Coventry, 
 
 1862), ii, 170; (London, 1522), i, 178; repre 
 sented to greet the real Henry VI (Paris, 1431), 
 
 i, 140; (Worcester, 1486), i, 159, n. 4. 
 "Henry VI" in the Gloucestershire and Bury St. 
 
 Edmunds Pageants, ii, 219. 
 
382 
 
 INDEX 
 
 Henry VII at Bristol (1486), i, 160; at Claren 
 don (1496), i, 162; coronation tournament of, 
 i, 96; at Gloucester (1486), i, 160; at Here 
 ford (1486), i, 159; at London and in the 
 provinces (1485-1486), i, 157 f.; at London, 
 i, 154; at Salisbury (1496), i, 162; at 
 Worcester (1486), i, 159. 
 
 Henry VII (Bath, 1909), ii, 226, n. i; (Cardiff, 
 1909), ii, 199, n. i; (London, 1559), i, 200; 
 (London, 1660), ii, 81. 
 
 Henry VIII at London (1509), i, 169 f.; at the 
 "Midsummer Watch" (1510), i, 39, n. i; and 
 Katherine at Coventry (1511), i, 170; at Lon 
 don (1522), i, 79; dances at a masque with 
 pageantic background (1528), i, 117; gives a 
 masquerade for Charles V (1522), i, 121; 
 pageantic jousts of, i, ii5f.; and the pag 
 eantic tournament, i, 97 f.; sees pageantic 
 representation of himself (1522), i, 177; i, 178; 
 writes the citizens concerning Anne s entry, ii, 
 10; welcomes Charles V to London (1522), 
 i, 175 ff. 
 
 Henry VIII (Coventry, 1862), ii, 170; (Lich- 
 field, 1893), ii, 150; (London, 1522), i, 177; 
 i, 178; a "Worthy" (London, 1554), i, 80; i, 
 191 f.; (London, 1559), i, 200; (London, 
 1910), ii, 136; (Oxford, 1907), ii, 223; 
 (Winchester, 1008), ii, 225. 
 
 "Henry VIII" produced on pageantic lines, ii, 209; 
 ii, 229. 
 
 Henry, Prince, at Chester (1610), i, 229 f.; 
 christened at Edinburgh (1594), i, 218 f.; 
 with James I and Christian IV, at London 
 (1606), i, 227; at London (1610), i, 230 f. 
 
 Henry of Navarre (London, 1908), ii, 135. 
 
 Henryson, Robert, surgeon, i, 212. 
 
 Her Majesty s Revels, a child of, takes the part of 
 Thames in 1604, i, 224. 
 
 Heraclius (Bruges, 1515), i, 172. 
 
 Herald, a (Providence, 1919), ii, 289; in the 
 Sherborne Pageant (1905), ii, 211; 1912 
 tournament proclaimed by a, ii, 185 f. 
 
 Herald of Peace, the (London, 1919), ii, 141. 
 
 Heraldic animals, ii, 72, and n. 2. 
 
 Heraldry, influence of, on "royal- entry" and mas 
 que, i, 121; in pageantic animals, i, 196. 
 
 Heralds (Coventry, 1862), ii, 170; (Knutsford, 
 1913), ii, 154; lead the pageantic interlude of 
 1908, ii, 135; of the Four Realms (London, 
 1890), ii, 126; of Britannia (London, 1910), 
 ii, 189; (Quebec, 1908), ii, 240; ii, 241; 
 (Ripon, 1886), ii, 160. 
 
 Herbert, Francis, bailiff, at Dublin (1528), i, 179; 
 Lady Muriel, patriotic scene in a children s 
 festival arranged by (1914), ii, 228, n. 3. 
 
 Hercules, i, 54. 
 
 Herculcs(Bruges, 1468), i, 152; (London, 1522), 
 i, 56; i, 58, n. i; i, 176; i, 195; (London, 
 1621), ii, 73; ii, 79, n. 5. 
 
 Herd, Harry, part purchaser of saints images 
 (1509-10), i, 57, n. 2. 
 
 Hereford, Henry VTI at (1486), i, 159; Palm 
 Sunday at, i, 15, n. i ; tableaux at, i, 23. 
 
 Heresy symbolized by gunpowder (Edinburgh, 
 1680), ii, 174. 
 
 Hermit, a, at Valenciennes, (1330), i, 94. 
 
 Herod at Coventry, i, 20, n. 3; i, 23. 
 
 Heroes, gigantic, i, 51, n. 3. 
 
 "Heroes of 76, the" (St. Louis, 1886), ii, 253, n. 4. 
 
 "Heroic Dead, the Court of the" (New York, 
 1919), ii, 256. 
 
 Herrick, Robert (London, 1908), ii, 135. 
 
 Hertford, Earl of, entertains Elizabeth at Elve- 
 tham (1591), i, 216 f. 
 
 Hertford, Earl of (London, 1907), ii, 134. 
 
 Hereford, Lydgate s disguising at, i, 107; Pag 
 eant, the (1914), ii, 221, n. 3; ii, 224, n. 7; ii, 228. 
 
 Hesse, Landgrave of, tilt at court of (1596), i, 219. 
 
 Hestia (Edinburgh, 1908), ii, 223. 
 
 Heysham, Theodore, on the purpose of the pag 
 eant, ii, 249, n. i. 
 
 Heywood, John, characterization in the inter 
 ludes of, ii, 213; in a pageant (1553), i, 189, 
 andn. i. 
 
 Heywood, Thomas, and John Christmas get the 
 1635 contract, ii, 42; on the "drolls," ii, 84 f. 
 
 Heywood s "Londini Emporia" (1633), ii, 41, 
 n. 6; "Londini Sinus Salutis" (1635), ii, 29; 
 ii, 42, n. 5; "Londini Status Pacatus" (1639), 
 
 ii, 43- 
 
 "Hiawatha," scenes from, in the Hudson-Fulton 
 Pageant, ii, 243. 
 
 Hibberd, "Boosey," i, 70, n. i. 
 
 Hickathrift, i, 53, n. i. 
 
 Hicks, Sir Baptist, ancestor of Granby, ii, 125. 
 
 "High Constable of Cotsholde," i, 218, and n. 3. 
 
 High Cross, the (Bristol), i, 206; (Chester), i, 162. 
 
 High Street (Edinburgh), i, 236; i, 237; (Leices 
 ter), i, 256. 
 
 Highland Chiefs (Edinburgh, 1832), ii, 166. 
 
 Highland Societies, in costume (Edinburgh, 1832), 
 ii, 166. 
 
 High Priest, a, represents Religion (Norristown, 
 1912), ii, 250. 
 
 Hill, Mr., Ironmonger, paid for a frame of timber 
 (1566), ii, 21. 
 
 "Hill," or "Mountain," a, a pageant in a wedding 
 masque (1501), i, 114. 
 
 Hill-men (London, 1893), ii, 188. 
 
 Himatia (London, 1614), ii, 36. 
 
 Hippocrene see Hypocrene. 
 
 Hippolyta (Paris, 1431), i, 138, n. 4. 
 
 Hippolyte, Cardinal, Archbishop of Avignon (Avig 
 non, 1600), i, 220. 
 
 Hispania (London, 1691), i, 82, n. 2; ii, 75. 
 
 "Historic Festival" (Plymouth, 1896), ii, 258!. 
 
 Historical accuracy emphasized in the 1908 Show, 
 ii, 135, n. i. 
 
INDEX 
 
 383 
 
 Historical characters, i, xvi; in pageants, i, 
 78 ff., and chapters iii, vi, viii, passim; con 
 spicuous by their absence (Boston, 1910), ii, 
 267; faced by their pageantic representatives, 
 (Antwerp, 1803), i, 254; (London, 1522), i, 
 177; i, 178; (London, 1547), i, 186; (Lon 
 don, 1554), i, 194; (London, 1559), i, 2,00;- 
 (London, 1661), i, 243, n. i; i, 245; (Paris, 
 1431), i, 140, and n. 4; with fictional, at 
 Marblehead, ii, 278; ii, 279, n. 2; in street 
 procession (Quebec, 1908), ii, 241. 
 
 Historical element in French "feux d artifice," i, 
 240 f.; in the Mount Holyoke "pageant," ii, 
 286; in the Peterborough Pageant, ii, 264 f.. 
 
 Historical events shown in "The Cayuga Indian 
 Feast," ii, 283; in modern pageants, ch. viii, 
 ch. ix, passim. 
 
 Historical groups in the Hudson-Fulton Pageant, 
 ii, 243 f.; "living picture" in the 1891 Show, 
 ii, 126. 
 
 "Historical pageant" in 1906, ii, 132; at Norris- 
 town (1912), ii, 248 f. 
 
 Historical pamphlet published in connection with 
 the 1884 Show, ii, 122, and n. 2. 
 
 Historical procession at Brussels (1853), i, 256; 
 at Ripon (1886), ii, 160. 
 
 Historical processions on the Continent, ii, 163 f.; 
 
 scenes at Lancaster (1912), ii, 264; at Yale 
 (1901), ii, 262. 
 
 Historical spectacle, an, in the 1914 "Tournament," 
 ii, 189. 
 
 History, i, xvi, xvii; and allegory in the "royal- 
 entry," ii, 79, n. 2; and allegory in the Boston 
 (1880) procession ii, 239; and allegory sepa 
 rated in the St. Louis Pageant and Masque, ii, 
 2 73; and allegory combined, ii, 25; ii, 78 f.; 
 in the Boston Normal School Pageant, ii, 282 f.; 
 
 civic, in 1611, ii, 31; in civic shows pre 
 pares the way for the Parkerian pageant, ii, 
 128; change in emphasis of, in the Lord 
 Mayor s Shows, ii, 132; 11,141; ii, 142; in the 
 Charterhouse "masque" (1911), ii, 227; and 
 comedy combined, ii, 219 f.; in Compiegne 
 festival, ii, 187, and n. i ; of contemporary 
 Europe echoed at Boston in 1912, ii, 247; 
 emphasis on, in the 1884 Show, ii, i22f.; 
 and fairy-tales combined in a children s "festi 
 val" (London, 1914), ii, 228, and notes 2 and 3; 
 
 foreign, in the Hudson-Fulton Pageant, ii, 
 244, n. i; in the Hollis Hall Pageant, ii, 272; 
 ii, 273; an important element in pageantry, ii, 
 295; inaccurate, in the Warwick (Massachu 
 setts) Pageant, ii, 280; Irish, given in New 
 York (1913), ii, 272; in the Keene Pageant 
 (1913), ii, 271; linked with Biblical material 
 (Bruges, 1515), i, 172 f.; linked with pro- 
 ganda (Boston, 1912), ii, 246; and literature 
 in early xx century Shows, ii, 136; in the 
 Liverpool Pageant of 1907, ii, 163; in the 
 
 Marietta Pageant, ii, 258, and n. 3; from 
 Malcolm III to 1745 and from James I to George 
 II, shown at Edinburgh, (1908) ii, 214; in the 
 military "tournaments" at London, ii, 187 f.; 
 in the modern pageant, ch. viii, passim; esp. ii, 
 217 f.; and the morality element, ii, 79; 
 in Munday s Show for 1605, ii, 29; ii, 81; 
 mythology, and allegory in the 1904 Show, ii, 
 130; and mythology combined (1621), ii, 79, 
 n. 5; mythology, and symbolism (1626), ii, 
 78, n. 4; in the older and more modern pag 
 eant, ii, 213; at Norristown (1912), ii, 248 f.; 
 
 in the Orange processions, ii, i8if.; in a 
 pantomime on the "Lord Mayor s Show" (1783), 
 ii, 98 f.; in a parade at Philadelphia (1908), 
 ii, 241, n. 6; of the present personified in the 
 1914 Show, ii, 142, n. 2; personified by the 
 troops welcomed at New York, (1919), ii, 256; 
 and personification of cities, i, 158; replaces 
 the civic element in the Coventry procession, ii, 
 168; ii, 169, n. 2; revived at Plymouth (1801), 
 ii, 236 f.; in the Rhode Island Normal School 
 "festival" of 1919, ii, 289; in the "ritual" of 
 citizenship, ii, 290; in "royal-entries," ii, 79, 
 n. 4; at Scarva, ii, 186; in the 1889 Show, 
 ii, 123 f.; in the 1895 Show, ii, 127 f.; in 
 the 1896 Show, ii, 128; and symbolism in 
 masque and pageant, ii, 288; and symbolism 
 combined (Boston, 1910), ii, 267; and sym 
 bolism in Vermont pageants, ii, 270; sug 
 gested in 1804, ii, 103; suggestions of, in 
 Brooklyn mumming, ii, 158; symbolism and 
 allegory in a "masque" (1912), ii, 226 f., and 
 n. 4; with a touch of "futurism" (Avignon, 
 1600), i, 220; ii, 215, n. 3; in the Taunton 
 Pageant (1911), ii, 269; and trade combined 
 (Boston, 1912), ii, 246, and n. 4; ii, 247; 
 and trade combined (Norristown, 1912), ii, 249; 
 
 and trade (Ripon, 1886), ii, 161 ; and trade 
 combined, in the 1885 Show, ii, 123; and 
 trade combined in the 1889 Show, ii, 124; and 
 trade in 1902, ii, 129; and trade, remarks on 
 the combination of, ii, 130; "typical" (Bos 
 ton, 1910), ii, 268; value of, in the civic shows 
 ii, 137 f.; the, of the Knutsford festival, ii, 
 153; ii, 154, n. 4; in the Veiled Prophet pro 
 cession, ii, 253, notes; in the Yale Pageant 
 (1916), ii, 274, and n. i. 
 
 History (Boston, 1908), ii, 282. 
 
 Histrionic ability and the modern pageant, ii, 
 208. 
 
 Hoare, Richard, his account of the 1740 Show, ii, 
 92. 
 
 Hob (Dover, 1908), ii, 219 f. 
 
 Hobby-horse, i, 7, n. i; origin of, i, 24, n. 2; 
 revived at Grimston (1884), ii, 159; (Hertford, 
 1914), ii, 224, n. 7; (Ripon, 1886), ii, 159; 
 in the "historical procession "at Ripon, ii, 160; 
 
 at Salisbury, {,65. 
 
384 
 
 INDEX 
 
 Hobby-horses, i, 65, and n. i; (Bath, 1909), ii, 
 224, n. 7; at Chester, i, 45, and n. 5; (Ches 
 ter, 1910), ii, 224; in the Gloucestershire Pag 
 eant (1908), i, 218, n. i. 
 
 Hob-Nob at Salisbury, i, 65; i, 70, n. i; i, 162. 
 
 Hock-day see Hoke-day. 
 
 Hockey, origin of, i, 6, n. i. 
 
 "Hodening," $,65. 
 
 Hogarth, mayor s coach pictured by, ii, 86, n. 4. 
 
 Hoggin-green (Dublin), i, 179. 
 
 Hogmanay night, i, 6, n. 3. 
 
 Hoke-day at Worcester, i, 33. 
 
 Hoke-Tuesday, Coventry play of, presented at 
 Kenilworth, (1575), i, 208, and n. 7. 
 
 Holland, Duke of, at London (1416), i, 137. 
 
 Holliday, Sir Leonard, Mayor of London (1605), 
 ii, 28; ii, 29; receives James I and Christian 
 IV at London (1606), i, 227. 
 
 HollisHall, the Pageant of (1913), ii, 227; ii, 272 f.; 
 ii, 281; ii, 286; ii, 295. 
 
 Holmby, giants at, i, 60, n. 3. 
 
 Holmes, owner of Chester Midsummer "models," 
 i,46,n.3. 
 
 Holofernes (Edinburgh, 1503), i, 169. 
 
 "Holy City, the" (Norristown, 1912), ii, 250. 
 
 Holy Family with mummers, i, 17. 
 
 "Holy Mary," i, 17. 
 
 Holy Thursday, perambulations before, i, 14. 
 
 Holyrood House, Abbot of, as an Amazon in a tilt 
 (1594), i, 218, n. 7; (Edinburgh), i, 213; i, 
 
 215- 
 
 H ombre Sahagio (Kenilworth, 1575), i, 208; of 
 Kenilworth recalled at Bisham, i, 217. 
 
 Hommes sauvages (Paris, 1431), i, 76; i, 139, and 
 n. 5. 
 
 Hone, William, on the Palm Sunday ass, i, 15; 
 and the cabman s oath, i, 61 ; on contemporary 
 shows (1823), ii, 94, n. i. 
 
 Honor (London, 1501), i, 168, and n. 3, (Lon 
 don, 1591), ii, 26; ii, 77; (London, 1623), ii, 
 78; ii, 79; (London, 1626), ii, 78, n. 4; 
 (London, 1628), ii, 39; (London, 1662), i, 248; 
 (London, 1684), ii, 62; (London, 1685), ii, 
 
 63- 
 
 Honor of Kyng (London, 1432), i, 146. 
 
 Honor, Nine Children of (London, 1509), i, 170. 
 
 "Hooden," at Salisbury, i, 65. 
 
 Hooker, B., on the Civil War episode in the Yale 
 Pageant, ii, 275. 
 
 Hooper, John [Bishop of Gloucester and Worcester] 
 (London, 1907), ii, 134. 
 
 Hope (Brussels, 1559), i, 195, n. i; (Colchester, 
 1909), ii, 214; (London, 1501), i, 168; 
 (London, 1591), ii, 26; ii, 77; (London, 1616), 
 i, 234; (London, 1618), ii, 38; (London, 
 1662), i, 248; (Norristown, 1912), ii, 250; 
 (Washington, 1913), ii, 285; (Washington, 
 1914), ii, 255; (York, 1909), ii, 214, n. i; 
 and Desire in a wedding masque (1501), i, 114. 
 
 Horn, i, 53, n. i. 
 
 Horn-blower in a chariot (Ripon, 1886), ii, 160. 
 Horn Dance at Abbot s Bromley, ii, 162, n. i. 
 "Horribles," processions of, in Canada, ii, 252. 
 Horses disguised as beasts by mummers at Lille, i, 
 
 75, n. 4; mechanical, at Rouen, i, 98 at 
 
 Naples (1443), i, 147, n. 2. 
 Horton (Peterborough, 1910), ii, 264. 
 "Hortus Euporiae" (London, 1604), i, 225. 
 Hostility (London, 1618), ii, 38. 
 Hour, an (London, 1677), ii, 74; ii, 191. 
 Hours (Elvetham, 1591), i, 216; i, 217, n. i; 
 
 Three (London, 1604), i, 224; twelve children 
 
 represent the (Stuttgart, 1617), i, 234; the 
 
 Golden (Edinburgh, 1908), ii, 223. 
 House of Unity, the, in "Piers Plowman," i, no. 
 "How not to do it," ii, 279 f. 
 Howard, Lord, of Effingham, entertainment of 
 
 Elizabeth by, in the Chelsea Pageant (1908), i, 
 
 218, n. i. 
 Howe, F. E., stage-manager of the Keene Pageant, 
 
 ii, 271, n. 2. 
 Howey, Miss, in prison dress, in a suffragettes 
 
 parade (London, 1910), ii, 255, n. 2. 
 Howman, Richard, paid for pageant of the Assump 
 tion (1522), i, 175. 
 Hox-Tuesday see Hoke-Tuesday. 
 Hoyden in a 1671 "interlude," ii, 51, ii, 76. 
 Hudibras, the father of Bladud, i, 78, n. i. 
 Hudson Bay Trader (London, 1905), ii, 131. 
 Hudson^Fulton dragon, the (1909),!, 161, n. 4; 
 
 Pageant, the, at New York (1909), ii, 242 f. 
 Hudson, G., on the commemorative services held 
 
 in connection with pageants, ii, 212, n. i; on 
 
 the social objects of the modern pageant, ii, 
 
 203 f.; on the value of accuracy in details, ii, 
 
 201, n. 2. 
 
 Hudson, Hendrik (St. Louis, 1886), ii, 253, n. 4. 
 "Huguenots, the, receiving their title-deeds" 
 
 (New York, 1909), ii, 243. 
 Hull, ship processions at, i, n, n. 4. 
 Human sacrifices, i, 6; i, 50, and n. 4. 
 Humanity (Paris, 1498), i, 162; (Providence, 
 
 1919), ii, 289. 
 Humanum Genus in the "Castle of Perseverance," 
 
 i, no. 
 Humber (London, 1605), ii, 29; ii, 75; (London, 
 
 1628), ii, 39. 
 Hume, Sam, i, 121. 
 
 Humor (New York, 1909), ii, 244, n. i. 
 "Humorous and comical characters," in the 1893 
 
 "Bower," ii, 151. 
 Humphries paid for "men in armor" (1823), ii, 
 
 108. 
 "Humpty-Dumpty s Misfortune" (St. Louis, 
 
 1888), ii, 253, n. 5. 
 
 Hungarian group, a (Boston, 1910), ii, 267. 
 Hungarians in the New York Pageant of 1918, ii, 
 
 252. 
 
INDEX 
 
 385 
 
 Hunnes, Mr., author of verses (1575), i, 209, n. i. 
 "Hunting the Buffalo" (St. Louis, 1886), ii, 253, 
 
 n. 4. 
 
 Huntsmen in green at Worksop, (1603) i, 222, n. i. 
 Husee, John, writes to Lord Lisle, i, 41; i, 42, 
 
 n. 3. 
 Hutchinson, Lieutenant-Governor (Boston, 1897), ii, 
 
 261, n. i. 
 
 Hutchinson, Governor, effigy of, at Boston, ii, 177. 
 Hutchinson, coach painter (1764), ii, 93. 
 Hutchinson, Michael, paid for mending Norwich 
 
 dragon, i, 28, n. 6. 
 Hutton, Dean, protests against The Creed Play at 
 
 York, i, 21. 
 Hyde, Edward, on the masque committee from the 
 
 Middle Temple (1634), i, 118. 
 Hydra (London, 1661), i, 244. 
 Hypanis (Winchester, 1908), ii, 225. 
 Hypomene (London, 1605), ii, 29, n. 2. 
 
 Identity of the individual kept subordinate in 
 English pageants, ii, 208, n. i. 
 
 Idolatry (Reggio, 1453), i, 148, n. 4. 
 
 Ignorance (London, 1559), i, 200; (London, 
 1612), ii, 32; (London, 1613), ii, 34; (Lon 
 don, 1591), ii, 26; ii, 77; [a dragon] (Oxford, 
 1907), ii, 223. 
 
 Illuminations (1727), ii, 88, n. 6; pageantic, 
 remarks on, ii, 178 f. 
 
 Illustrations of seventeenth-century shows in the 
 Pepysian Library, ii, 65, n. 3. 
 
 Images in the "feux d artifice" of 1660, ii, 179; 
 mechanical (London, 1522), i, 177; for the 
 Pope-burning of 1711 seized by the Government, 
 ii, 175; replaced by living representatives of 
 famous characters, i, 77; at Alexandria, i, 17, 
 n. 6; at Rome, i, 17, n. 6. [See also effigies 
 and giants.] 
 
 "Immigration" (Providence, 1919), ii, 289. 
 
 Immortality (Avignon, 1600), i, 220. 
 
 Imogene (London, 1914), ii, 190, n. i. 
 
 Impartiality (London, 1622), ii, 77. 
 
 "Imperial Canopy," the (1623), ii, 82. 
 
 "Imperial Triumphant Chariot" (1686), ii, 83. 
 
 Imperial Unity (Lichfield, 1907), ii, 151, n. 3. 
 
 Impersonal element of history, the, stressed at 
 Peterborough, ii, 264. 
 
 Impersonality, the, of the coronation pageantry, 
 i, 180. 
 
 Impudence (London, 1613), ii, 34. 
 
 Inaccuracies in historical scenes noted, ii, 279 f. 
 
 "Inanimate pageantry," ii, 179. 
 
 Incledon, Mr., sings in 1801, ii, 103. 
 
 Independence, celebration of the American, at 
 Philadelphia (1788), ii, 236. 
 
 India, car emblematical of (1895), ii, 127; repre 
 sented by a car in "Britannia s Muster," ii, 188; 
 ii, 189; "trophy" of (1884), ii, 123. 
 
 "India Past and Present" (1895), "> I2 7- 
 
 India (Knutsford, 1913), ii, 153; (Lichfield, 1911), 
 ii, 152; (London, 1622), ii, 75; represented 
 by a float (London, 1883), ii, 122; (London, 
 1884), ii, 75, n. 6; ii, 123; (London, 1919), ii, 
 141. 
 
 Indian Emperor (London, 1672), ii, 53, n. i. 
 
 Indian, an, in a Plymouth celebration (1801), ii, 
 236; chessmen; the "castle," in, i, 68; 
 cities "represented" (London, 1678), ii, 75; 
 Empire Trophy (1884), ii, 122, n. 3; ii, 123. 
 
 "Indian Feast, the Cayuga" (1914), ii, 283. 
 
 "Indian Home Life" (Boston, 1897), ii, 260. 
 
 Indian idyl, an (Peterborough, 1910), ii, 264. 
 
 Indian Princes (Edinburgh, 1832), ii, 165. 
 
 Indian section, the, in the Hudson-Fulton Pag 
 eant, ii, 243. 
 
 Indian Trapper (London, 1905), ii, 131. 
 
 "Indian Trail, the " (Norristown, 1912), ii, 249. 
 
 Indian Warrior presented by the Armourers (1761), 
 
 ii, 95- 
 
 Indianapolis, May day celebrations at, ii, 252. 
 
 Indians, the, of New England thought gigantic, i, 
 53; (Boston, 1910), ii, 266; ii, 268, n. 2; 
 fight between Colonists and the (Boston, 1910), 
 ii, 266; ii, 267; on horseback (Boston, 1912), 
 ii, 245; ii, 247. 
 
 Indians in Brooklyn mumming, ii, 158; (Cin 
 cinnati, 1914), ii, 287; (Keene, 1913), ii, 271; 
 (Little Compton, 1914), ii, 251; (London, 
 1661), i, 244; (Marblehead, 1912), ii, 277; 
 Norristown, 1912), ii, 249; (Philadelphia, 
 1882), ii, 240; in the tableaux at Plymouth 
 (1896), ii, 259; ii, 260; (Quebec, 1908), ii, 
 263; receive Champlain (Quebec, 1908), ii, 
 241, n. 5; (St. Louis, 1847), ii, 237; ii, 238; 
 (Stuttgart, 1617),!, 234; (Taunton, 1911) ,ii, 
 269; (Thetford, 1911), ii, 270. 
 
 Individual, the, and the modern pageant, ii, 205; 
 ii, 209; identity of the, kept subordinate in 
 English pageants, ii, 208, n. i; type, and 
 quality, ii, 212 f. 
 
 Indulgences sold by the Pope s Master of Cere 
 monies (London, 1680), ii, 173. 
 
 Indus (London, 1694), ii, 75. 
 
 Industries personified at Keene (1913), ii, 271, 
 n. 4; of Wales displayed (1891), ii, 126. 
 
 Industries (Liverpool, 1907), ii, 163. 
 
 Industry, suggestions of (Peterborough, 1910), ii, 
 265. 
 
 Industry (Antwerp, 1803), i, 254; (London, 
 1612), ii, 32; (London, 1628), ii, 39; (Lon 
 don, 1660), i, 242; (London, 1783), ii, 100; 
 (London, 1850), ii, 115; (London, 1853), ii, 
 116; (London, 1904), ii, 130; chariot of 
 (1684), ii, 73. 
 
 "Industry" (St. Louis, 1878), ii, 253, n. 2. 
 
 "Infanta of Castile," an inn-sign, p. 68, n. 2. 
 
 Influence, the, of Continental shows suggested, ii, 
 116; of the Hudson-Pulton Pageant, ii, 244, 
 
3 86 
 
 INDEX 
 
 n. 3; of pageantry on the drama, i, 196, and 
 
 n. 2. 
 Influences and similarities, the danger of confusing, 
 
 ii, 144, n. i. 
 Inkerman, veterans of, in the 1890 Show, ii, 125; 
 
 (London, 1897), ii, 188. 
 Injustice (Paris, 1498), i, 164- 
 Inner Temple Gate (London), ii, 173. 
 Innocent III, decretal of, concerning Feast of Fools 
 
 1207),!, 101. 
 
 Innocents (Paris, 1431), i> J 4- 
 Inn-signs and pageantry, i, 69; i, 77, n. i. 
 Inns of Court Masque, an (1634), i, 117 f- 
 "In Old Northumbria" (1912), shows historical 
 
 scenes ii, 230. 
 Inquisition, "tableau" of the (London, 1680), ii, 
 
 173- 
 
 Insolence (London, 1559), i, 200. 
 Inspiration (Boston, 1908), ii, 282. 
 Instruction added to advertisement and divertise- 
 
 ment in the London Shows, ii, 130. 
 Insurrection trampled under foot by Richard II 
 
 (1700), ii, 80, n. 7. 
 Integrity (London, 1622), ii, 77. 
 Interest in mediae valism, i, xviii. 
 "Interlude" at a banquet really a masque, i, 219; 
 
 distinct from "mumming" and "disguising," 
 i, 106; a musical, during the banquet (1671), 
 ii, 51 f.; at the 1678 banquet, ii, 56 f.; the 
 modern, in pageants of the present, ii, 222 f.; 
 ii, 226. 
 
 "Interludes" at receptions to General Monk 
 (1660), ii. 57, n. i; at civic banquets, i, in; 
 of Jordan, characterization in, ii, 213; moral 
 ity flavor of, ii, 76; music in the, ii, 76; in 
 the Boston Normal School Pageant, ii, 282, and 
 n. i ; in the Boston Pageant of 1910, ii, 266; 
 in the Taunton Pageant of 1911, ii, 269; 
 tending toward allegory, ii, 224; ii, 225; in 
 the Yale Pageant, ii, 274, n. i. 
 
 International amity symbolized (Quebec, 1908), ii, 
 264; aspects of the modern pageant, ii, 204 f.; 
 
 aspect of the New York Pageant of 1918, ii, 
 251 f.; courtesy in the 1881 Show, ii, 121; 
 element in the Hudson-Fulton pageant, ii, 242, 
 and n. 3 ; element in the Peterborough Pag 
 eant, ii, 265; friendliness emphasized at 
 Quebec (1908), ii, 240 f.; pageant, an, planned 
 for 1920, ii, 276; participation in the Dover 
 Pageant, ii, 205; suggestions in a Boston float 
 (1912), ii, 247; symbolism (1902), ii, 129. 
 
 International Faith (Providence, 1919), ii, 289. 
 Intervale, the Spirit of the (Thetford, 1911), ii, 270. 
 Investiture, the, of the Prince of Wales (1911), ii, 
 
 227. 
 
 "Invicta," how Dover got the motto, ii, 218. 
 lona (Hy), scene in the English Church Pageant 
 
 laid at, ii, 200. 
 Ipomedon, victor in a three-day tournament, i, 89. 
 
 Ireland, North of, a scene in the (Peterborough, 
 1910), ii, 264; Orange processions of, ii, 180 f. 
 
 Ireland (Lichfield, 1911), ii, 152; (London, 
 1509), i, 170; (London, 1604), i, 225;- 
 represented by a king (London, 1661), i, 243, 
 n. i; (London, 1919), ii, 141. 
 
 Iris, with the Dyers (London, 1783), ii, 99. 
 
 Irish group, a (Boston, 1910), ii, 267; (Taunton, 
 1911), ii, 270; in the Boston procession of 
 1912, ii, 246; Historic Pageant, the (New 
 York, 1913), ii, 272; ii, 281. 
 
 Irish Settlers (Norristown, 1912), ii, 249. 
 
 Irishman, an (London, 1617), ii, 76. 
 
 Ironmongers send "men in armor" to Greenwich 
 May-games (1559), i, 203; to attend the 
 Queen (1560), i, 203; the barge of the (1540), 
 ii, u; Midsummer Show of 1534, the, i, 41, 
 and notes; i, 79; records of the, concerning 
 the 1566 Show, ii, 20 f., and notes; records of 
 the, concerning the 1569 Show, ii, 21; records, 
 items from the, regarding the 1609 Show, ii, 30; 
 the 1629 Show of the, ii, 40 f.; the, repre 
 sented by F err aria (1684), ii, 62; trade linked 
 with mythology, ii,7i f.; trade-pageant (1629) 
 ii, 71; trade-pageant (1761), ii, 95. 
 
 Ironmongers (London, 1783), ii, 99. 
 
 Iroquois, fight with the (Quebec, 1908), ii, 263. 
 
 Irvine Toxophilite Society in the Eglinton pro 
 cession, ii, 184. 
 
 Isaac allegorically explained, i, 80. 
 
 Isaac at Chester, i, 44, n. 6; (Paris, 1498), i, 163. 
 
 Isaacson, Paul, of Painter-Stainers company, com 
 plains of bad workmanship (1626), i, 235. 
 
 Isabel of England at Cologne, i, 12, n. 3. 
 
 Isabella at Paris (1313), i, 19, n. 7; welcomed at 
 London (1327), i, 126. 
 
 Isabella (St. Louis, 1886), ii, 253, n. 4. 
 
 "Isabella s Part in the Discovery of America" 
 (Boston, 1912), ii, 246. 
 
 Isaiah (Coventry, 1456), i, 149. 
 
 Ishmael allegorically explained, i, 80. 
 
 Isis, the ship of, i, 12, n. 3. 
 
 Isis (Cambridge, 1919), ii, 284; wife of Thames 
 (London, 1662), i, 249. 
 
 "Island," an, with lion and unicorn (London, 1662) 
 i, 249. 
 
 "Islands" in a water-show (1613), ii, 33, n. 2; 
 appear on land, ii, 34. 
 
 "Isle of Britain", the (London, 1606), i, 228, n. i. 
 
 Islington, early military "tournaments" at, ii, 
 188, n. i. 
 
 Italian group, an (Boston, 1910), ii, 267; (Taun 
 ton, 1911), ii, 270; influence on masque, i, 
 121 f.; i, 123, and n. 2; merchants prepare 
 for 1522 reception, i, 174; religious proces 
 sions, i, 14, n. i; shows of the end of the xv 
 century, i, 161, n. 6. 
 
 Italian nobles (Knutsford, 1913), ii, 153, 
 
 Italians pageant, the (1604), i, 224. 
 
INDEX 
 
 387 
 
 Italians in the Boston procession of 1912, ii, 247; 
 in the New York Pageant of 1918, ii, 252; in 
 the "Royal Naval and Military Tournament" 
 (1892), ii, 187. 
 
 Italy, tournaments and caricatures of them in, i, 
 99, n. i; tournament in, (1628), i, 67, n. i. 
 
 Italy (London, 1853), ii, 116, n. 3. 
 
 Ivy-clad Syhans (London, 1604), i, 224; wild- 
 men (Chester, 1610), i, 229. 
 
 Ivy, Simon, writes music for 1634 masque, i, 118. 
 
 "Jack-Boot," or Devil, hanged at Boston (1765), 
 ii, 177. 
 
 Jack-in-the-Green, the, ch. i, 7 (i, 70); (Chester 
 1908), i, 70; (Chester, 1910), ii, 224; (Knuts- 
 ford,^i9i3), ii, 153; (Knutsford, 1914), i. 70; 
 Lichfield (1913) i, 70; ii, 152. 
 
 Jack the Giant Killer, i, 51, n. 3. 
 
 Jackson, George, pageant-maker (1612), ii, 32. 
 
 Jackson, John, Jr., his account of the Lichfield 
 "Bower," ii, 149. 
 
 "Jackson, Statue of General" (St. Louis, 1886), ii, 
 253, n. 4. 
 
 Jacob s sons (Coventry, 1474), i, 153. 
 
 "Jaiants,"i, 52. See also giants. 
 
 James I at London (1603-04), i, 222; at York 
 (1603), i, 222, n. i; at York (1617), i, 234; 
 at Edinburgh (1617), i, 234, and n. 3, enter 
 tained at Worksop (1603), i, 222, n. i ; honored 
 in the 1605 Show, ii, 28 f . ; sonnets in honor of, 
 by Petowe, i, 222, n. i; with Prince Henry 
 and Christian IV, at London (1606), i, 227. 
 
 James I (Chester, 1910), ii, 224; (Edinburgh, 
 1908), ii, 214; (Ripon, 1886), ii, 161; 
 statue of (London, 1661), i, 243, n. i. 
 
 James II crowned (1685), i, 252; and his con 
 sort present at the Show for 1685, ii, 63, n. i, 
 and n. 4; lauded by Taubman, ii, 64; 
 represented in the Scarva fight (1914), ii, 186; 
 
 rewards Shorter for receiving Papal Nuncio, 
 ii, 63, n. 8. 
 
 James IV of Scotland marries (1503), i, 168 f. 
 James VI at Edinburgh (1579), i, 212 f.; son of, 
 
 christened (1594), i, 218. 
 
 Janitor ad Januam (Worcester, 1486), i, 159, n. 4. 
 "Janus, Temple of" (Avignon, 1600), i, 220. 
 Janus (London, 1639), ii, 74; ii, 191; (London, 
 
 1687), ii, 77, n. 3; (Stuttgart, 1617), i, 234. 
 Japan (Lichfield, 1904), ii, 151, n. 3; (London, 
 
 1902), ii, 129. 
 
 Japanese in the New York Pageant of 1918, ii, 252. 
 Japanese girls (Knutsford, 1913), ii, 153. 
 Jarman, artificer (1656), ii, 45; ii, 46; (1657), 
 
 ii, 47, and n. 3; (1659), ii, 47. 
 Jason at Coventry, i, 35; (Coventry, 1826), ii, 
 
 168, and n. i; (Coventry, 1862), ii, 170, n. 7; 
 
 (London, 1522), i, 176; (London, 1522), a 
 trade-figure, i, 196; (London, 1621), ii, 73; 
 (London, 1621), ii, 79, n. 5. 
 
 Jaunting-car, an Irish, with Uncle Sam and his 
 
 children (Boston, 1912), ii, 247. 
 Jaurar Ben Abdella, Alkaid, received at London 
 
 (1637), i, 237. 
 
 Jeanne d Arc (Compiegne, 1909), ii, 187, n. i. 
 Jedburgh Abbey, a disguising at (1285), i, 103. 
 Jeffreys, Sir Robert, Mayor of London (1685), ii, 
 
 62. 
 
 Jehan, bastard of St. Pol, i, 96. 
 Jehan Grebert, carries the banner of Valenciennes 
 
 at Lille, i, 75, n.4; i, 81. 
 Jenkins, Mr., provides music for the 1790 ball, ii, 
 
 101, n. 4; provides music hi 1795, ii, 102. 
 Jenkyn, Margaret ap (New Haven, 1916), ii, 274, 
 
 n. i. 
 
 Jeremiah (Coventry, 1456), i, 149. 
 Jerman see Jarman. 
 Jerusalem see "Heavenly Jerusalem." 
 "Jerusalem receives the Holy Cross" (Bruges, 
 
 1515), {,172. 
 Jerusalem, Patriarch of, and Charlemagne (London, 
 
 1522), i, 176. 
 
 Jesemina (London, 1684), ii, 62. 
 Jesse [in genealogical table], (London, 143 2) ,i, 146; 
 
 [genealogical tree?], (Coventry, 1456), i, 149. 
 Jester, a (Boston, 1897), ii, 260, n. 3; in the 
 
 Gloucestershire Pageant (1908), i, 218, n. i; 
 
 (Lichfield, 1893), ii, 150; (Ripon, 1886), ii, 
 
 1 60. 
 
 Jesters in a masque at Edinburgh (1908), ii, 223. 
 Jesuits (London, 1680), ii, 173; effigies of (Lon 
 don, 1681), ii, 175; (London, 1711), ii, 175, 
 
 n. 3; (Quebec, 1908), ii, 263. 
 Jesus, in Christmas mumming in Wales, i, 17; 
 
 [in genealogical table], (London, 1432), i, 146. 
 " Jeux de la Fete Dieu" at Aix-en-Provence, (1474), 
 
 i, 94, n. 7. 
 
 "Jeux de la Tarasque," at Tarascon, ii, 156, n. 2. 
 Jew, a (London, 1617), ii, 76. 
 "Jewels, the Arch of" (New York, 1919), ii, 256. 
 "Jinks," the, of the Bohemian Club, ii, 264; ii, 
 
 286, and n. 5, ii, 295. 
 "Joan of Arc," opera of, produced on pageantic 
 
 lines, ii, 210. 
 
 Job (London, 1501), i, 167, and n. 5. 
 Jockey, a, in a 1634 masque and pageant, i, 118. 
 John (London, 1628), ii, 3, n. i; ii, 39. 
 John, King of France, a prisoner at London (1357), 
 
 i, 127 f. 
 
 John, King of France (Hertford, 1914), ii, 224, n. 7. 
 John [King of France] pictured (Paris, 1498), i, 164. 
 John, son of Edward III, in a tourney, i, 95. 
 John the Baptist see St. John. 
 John Bull, postillions of Britannia dressed in cos 
 tume of (1910), ii, 189. 
 John Bull (Knutsford, 1913), ii, 153; (Lichfield, 
 
 1893), ii, 150. 
 
 John Frederick, Duke of Wiirttemberg, tourna 
 ment at wedding of (1609), {,99. 
 
3 88 
 
 INDEX 
 
 John of Gaunt (London, 1522), i, 177. 
 
 Johnson, Alderman, on a committee to view pag 
 eants (1626), i, 235. 
 
 Johnson, Dr. Samuel, honored at Lichfield (1909) , 
 ii, 151; his etymology of pageant, i, xvi, n. 2. 
 
 Johnston, William, pictured at Belfast (1914), ii, 
 181. 
 
 Johnstone, Sir Charles, Mayor of London (1914), 
 
 ii, 139- 
 
 Joleta of Dreux, marriage of, i, 103. 
 
 "Joliet, reception of" (St. Louis, 1892), ii, 253, 
 n. 6. 
 
 Jolley, Mr., to provide music (1848), ii, 113, n. 5. 
 
 Jollity, in a 1634 masque and pageant, i, 118. 
 
 Jonah s Whale, i, 57, n. 3. 
 
 Jones, Inigo, i, 119; i, 121; i, 135, n. 3; i, 178; 
 drawing of a chariot by (1634), i, 117, n. 3; 
 stage machinery of, i, 120, and n. 5. 
 
 Jones, Richard, license for the 1588 Show to, ii, 
 24, n. 4; ii,05. 
 
 Jonson, Ben, i, 102; i, 119; called "City Poet," 
 ii, 69; the aim of his symbolism (1604), i, 
 226; writes part of 1604 "entry," i, 222, and 
 n. i; i, 225, and n. 5; i, 226. 
 
 Jonson, Ben (London, 1908), ii, 135. 
 
 Jopas (London, 1561), ii, 18; ii, 19, n. i; ii, 73, 
 n. 2. 
 
 Jordan, Thomas, "City Poet," ii, 70, n. 2; 
 
 describes city giants, (1672), i, 60, and n. 3; 
 
 "interludes" of, ii, 51 f.; ii, 56 f.; ii, 76; ii, 213; 
 
 perhaps not the author of the 1682 pamphlet, 
 
 ii,6o, n. i. 
 
 Jordan Well (Coventry), i, 170. 
 
 Jordan s description of "drolls" prepared for the 
 1676 Show, ii, 84, n. 6; last civic show (1684), 
 ii, 61 f.; "London s Glory," ii, 59; "Lon 
 don s Resurrection" (1671), ii, 50 f.; speeches 
 written for Monk (1660), ii, 57, n. i; "Tri 
 umphs of London" (1675), ii, 54 f. 
 
 "Joseph and his Brethren," a "pageant-play," ii, 
 196, n. i; ii, 209; ii, 229. 
 
 Joseph, in Christmas mumming in Wales, i, 17; 
 (Dublin, 1528), i, 179; (Edinburgh, 1503), i, 
 169. 
 
 Joshua (Bruges, 1515), i, 76, n. 2; i, 172; (Cov 
 entry, 1456), i, 150; (Paris, 1431), i, 138, 
 n. 4. 
 
 Jotenheim, giants of, i, 51, n. 3. 
 
 Jotham (Boston, 1910), ii, 267. 
 
 Joust, a, in the Bath Pageant, ii, 226, n. i; the, 
 in the modern pageant, ii, 222 f.. 
 
 Joust-like Masque, a, at Winchester (1908), ii, 
 225 f. 
 
 Jousting between Lille and Valenciennes, i, 75, 
 n. 4. 
 
 Jousts, Bacon on pageantic features of, i, 115; 
 and triumphs on 17 November, 1599, i, 2 i9J~ 
 at coronation of Henry VI at Paris, (1431), i, 96; 
 at London, temp. Richard II, i, 95; with 
 
 allegorical features temp. Henry VIII, i, nsf. 
 See also Tournament. 
 
 Jouy, rue de (Paris), i, 140. 
 
 Jove (London, 1629), ii, 72. 
 
 Joy (Edinburgh, 1908), ii, 214; ["resiouys- 
 sance"], (Paris, 1438), i, 163. 
 
 Judas, effigy of, hanged and keelhauled by sailors, 
 ii, 156, n. 5; flogged, i, 16. 
 
 Judas Maccabeus, a giant -hero, i, 53, n. i. 
 
 Judas Maccabeus (Coventry, 1456), i, 150; 
 (Paris, 1431), i, 138, n. 4. See also Nine Wor 
 thies. 
 
 Judases at Norwich, i, 26, n. 4; i, 27, and n. 2. 
 
 Judge (Knutsford, 1913), ii, 154; a (Edinburgh, 
 1908), ii, 214. 
 
 "Judgment, the" (London, 1445), i, 148. 
 
 "Judgment of Paris," the (Edinburgh, 1503; 
 London, 1533), i, 81; i, in, and n. 3; i, 169, 
 and n. i; i, 183. 
 
 "Judgment of Solomon," the, (Edinburgh, 1579), 
 i, 213, n. i. 
 
 Judith (Norwich, 1578), i, 82; i, 211. 
 
 Juliana, Princess, historical procession in honor of 
 (Amsterdam, 1910), ii, 163. 
 
 [Juno] (Edinburgh. 1503), i, 169, n. i. 
 
 Juno (London, 1533), i, 183; (London, 1635), ii, 
 42; in a 1427 mumming, i, 107. 
 
 Jupiter (Avignon, 1600), i, 220; (London, 1618), 
 ii, 3 8. 
 
 Justice, at funeral pageant of Pope Alexander VII, 
 i, 17, n. 6; (Bristol, 1486), i, 160; treads on 
 Nero (Edinburgh, 1509), i, 169; (Edinburgh, 
 1579), i, 212; i, 213, n. i; (Edinburgh, 1908), 
 ii, 214; (London, 1501), i, 168; (London, 
 1522), i, 178; (London, 1547), i, 186; i, 187; 
 (London, 1554), i, 104; (London, 1559), i, 
 200; (London, 1604), i, 224; (London, 
 1611), ii, 31; (London, 1618), ii, 38; (Lon 
 don, 1623), ii, 78; (London, 1628), ii,39; 
 (London, 1662), i, 248; (London, 1671), ii, 51; 
 (London, 1708), ii, 78; (London, 1853), i, 
 256; ii, 116; (Paris, 1498), i, 164; (Paris, 
 1513), i, 172; (Providence, 1919), ii, 289; 
 (Reggio, 1453), i, 148, n. 4; (Stuttgart, 1609), 
 i, 995 (Washington, 1913), ii, 285. 
 
 Justice to regicides shown in paintings (London, 
 i66i),i, 244. 
 
 Juxon, Sir Richard, a character in a play of propa 
 ganda, ii, 230. 
 
 Kaffir (London, 1910), ii, 189. 
 
 Kaiser, the, forgotten by the London children 
 
 (1919), ii, 179. 
 
 Kalends, celebration of the, and Christmas, i, 101. 
 Kane, the Rev. Dr., pictured at Belfast (1914), ii, 
 
 181. 
 
 Kangaroo with gold-miner (1910), ii, 189. 
 "Kansas Volunteers, the" (New Haven, 1916), ii, 
 
 274, and n. i. 
 
INDEX 
 
 389 
 
 Kar, Robert, baillie, i, 211. 
 
 Katharine of Braganza, citizens welcome (1662), i, 
 247 f.. 
 
 Katharine of France comes to London with Henry 
 V (1421), i, 137 f- 
 
 Katherine of Spain marries Prince Arthur (1501), 
 i, 113 f.; at London (1501),!, 166; wife of 
 Henry VIII, at London (1509), i, 169 f. 
 
 Kayn, founder of Carlisle [Kayrlil], i, 78, n. i. 
 
 Kayrlil, founded by Kayn, i, 78, n. i. 
 
 Keene, Pageant of (1913), ii, 271 f. 
 
 Keene (Keene, 1913), ii, 271, and n. 4. 
 
 Kelly, William, on Leicester Whit-Monday pro 
 cession, i, 1 6. 
 
 Kendale, John, writes York Corporation to pre 
 pare for reception of Richard III, i, 155. 
 
 Kenilworth, Elizabeth at (1575), i, 207 f.; ani 
 mals at (1575), i, 69; giants greet Elizabeth 
 at, i, 51, n. 3; Hombre Salvagio at, i, 73, n. 5; 
 i, 208; place for tournament near, i, 89; 
 Round Table at (1280), i, oo. 
 
 Kenning, George, furnishes a trade-pageant for the 
 1885 Show, ii, 123. 
 
 Kent, Earl of, at coronation of Richard III, i, 
 155- 
 
 Kidd, Captain (Little Compton, 1914), ii, 251. 
 
 Kildare, Earl of, at Dublin (1528), i, 179 f. 
 
 "King Canute s ford," ii, 153, n. 4. 
 
 King (of) Christmas, the, i, 8. 
 
 King see Alfred, William, George, Richard, etc. 
 
 King Cole in the Christmas mumming play, i, 7, 
 n. i. 
 
 "King Edward VII," model of H.M.S., (1902), ii, 
 129. 
 
 King Street (Boston), ii, 177; (London), i, 48; 
 i, 61, and n. 4; ii, 58; ii, 90; ii, 91; ii, 114; ii, 
 H5,n. 2. 
 
 King vs. Mayor in a tourney, (1360), i, 95. 
 
 King, a, imaged in a cake (Paris, 1431), i, 83. 
 
 "King play," applied to pageant of "Kings of 
 Cologne," i, 24,11. i. 
 
 King (nameless) (Paris, 1513),!, 172. 
 
 King of Dele, the,a.t Dublin, i, 31. 
 
 King of Denmark at London Midsummer Show 
 (1522), i, 40, andn. 3. 
 
 King and Queen (Bristol, 1461),!, 152; (Coven 
 try, 1474), i, 154- 
 
 King of the Flesh, the, in "Mary Magdalene," i, 
 108. 
 
 King of the Moors, the, at Midsummer, i, 40; in 
 Bavarian Whitsuntide processions, i, 40, n. 5; 
 with wild-fire, i, 72, n. 3. 
 
 King s Bridge (London), i, 161. 
 
 Kings of Cologne (Coventry, 1474), i, 153, and n. 6; 
 [of Cologne], (Paris, 1431), i, 140. 
 
 "Kings, the Three" (Lyons, 1627), i, 77, n. i. 
 
 "Kings, the Three, of Cologne," the name "King 
 game" applied to pageant of, i, 24, n. i. 
 
 Kings [Martyrs and Confessors of England], (Lon 
 
 don, 1415), i, 134, and n. 3; (London, 1421), 
 1,138; represent four kingdoms of Britain 
 (London, 1661), i, 243, n. i. 
 
 Kingsford, C. L., on the authorship of the 1432 
 "entry," i, 141, n. 2. 
 
 Kingsland, Shrewsbury, i, 33. 
 
 Kirkgate (Ripon), ii, 160. 
 
 Kirmess, a, at Cincinnati (1914), ii, 287. 
 
 Kittredge, G. L., reference to Brema suggested by, 
 i, 76, and n. 5; on "co es," ii, n, n. 3; on 
 Richard, Earl of Warwick, disguised as Green 
 Knight, i, 75, n. 3; on the susceptibility of the 
 age to symbolism and abstraction, ii, 296. 
 
 Knaves of the four suits of playing cards, trade 
 figures in the 1889 Show, ii, 124. 
 
 Knevets, Master , servant of, drowned (1536), i, 98. 
 
 Knickerbocker, Father, gigantic figure of (New 
 York, 1909), ii, 243. 
 
 Knight (Edinburgh, 1832), ii, 165, and n. 5; ii, 
 166; (Knutsford, with the May Queen), ii, 
 154, and n. 4; Martial, the parade of the 
 (London, 1912), ii, 185; a, overcomes Gold 
 (St. Louis, 1914), ii, 273, n. 3; representing 
 Chivalry (Boston, 1908), ii, 283; representing 
 Youth (Oxford, 1907), ii, 223; of See, the, in 
 the Revesby sword-play, i, 10, n. i ; a trade- 
 figure at Warrington (1914), ii, 155. [See also 
 Knights, Ancient Knights, Man in Armor, 
 Armed Men, and Champion.] 
 
 Knights in armor, the, of the civic shows, unpag- 
 eantic, ii, 148; of Economy (Boston, 1910), ii, 
 267; at Coventry (1862), ii, 170; of the 
 Round Table (Diisseldorf, 1852), ii, 147; of 
 Eglinton, compared with those of the Lord 
 Mayor s Show, ii, 183; called "Heroes of St. 
 John s Wood," ii, 183; (Lichfield, 1893), ii, 
 150; (Lichfield, 1914), ii, 152; (London, 
 1298), i, 124; in a pageantic forest at court 
 (London, 1511), i, 116; with Walworth (Lon 
 don, 1616), i, 80; (London, 1618), i, 38; 
 (London, 1700), ii, 80; (London, 1815), ii, 
 104; (London, 1851), ii, 116; with St. 
 George (London, 1895), ii, 127, and n. 4; 
 from Spain, Cyprus, and Armenia (London, 
 1907), ii, 134; with Walworth (London, 1913), 
 ii, 138; (Munich, 1662), i, 118; with 
 Pharaoh at Norwich, ii, 12, n. 3; at Ripon 
 (1886), and in the 1912 tourney, ii, 185; of 
 St. John (St. Johnsbury, 1912), ii, 270. [See 
 also Man in Armor, Armed Men, Ancient 
 Knights, etc.] 
 
 Knights disguised (1331), i, 90; representing 
 Dukes of Normandy and Guienne (1533), i, 
 181 f.; of Columbus, the, in the Boston pro 
 cession of 1912, ii, 246. 
 
 "Knowledge, the Fire of" (New York, 1909), ii, 
 
 243- 
 
 Knowledge (Boston, 1908), ii, 282; (London, 
 1613), ii, 34; (Oxford, 1907), ii, 223. 
 
 \\ 
 
390 
 
 INDEX 
 
 Knowles, Lord, receives Queen Anne (1613), i, 
 209, n. 6. 
 
 Knowles, Thomas (London, 1783), ii, 100. 
 
 Knutsford, morris-dancers at (1914), i, i5 
 Jack at (1914), i, 70; "Royal" May-Day 
 Festival, ii, 153 f.; ii, 192. 
 
 Kornyche, William, deviser of revels (1522),!, 121. 
 
 "Kynge Johan," the mixture of allegory and his 
 tory in, suggested by the 1590 Show, ii, 25. 
 
 Labor "Knight," a trade-figure (Warrington, 
 
 1914), ii, 155. 
 Labor (Boston, 1910), ii, 266; (London, 1604), 
 
 i, 224; (London, 1677), ii, 84, n. 6, (Norris- 
 
 town, 1912), ii, 250. 
 "Laclede, the landing of," (St. Louis, 1914), ii, 
 
 273, n. 2; pictured on the banner of the 
 
 Phoenix Hose Company (1847), ii, 238, n.i. 
 "Laclede," model of the (St. Louis, 1847), ii, 237. 
 Ladies leading horsemen by golden threads (1330), 
 
 i, 94; leading knights (1375), i, 95; (*494)i 
 
 i, 96; led by nobles (1331), i, 91; in the 
 
 Charterhouse "masque," ii, 227, n. 2. 
 Lady-Fair, the, at Southward, proclaimed (1680), 
 
 ii, 5 8. 
 "Lady" in a group representing Chivalry (Boston, 
 
 1908), ii, 283. 
 "Lady of the Sun," the, in a 1375 tournament, i, 
 
 95; of the Lake (Kenilworth, 1575), i, 208; 
 
 i, 209; in a Sedan (Knutsford, 1913), ii, 153. 
 Lady, a, and a peacock, imaged in a cake (Paris, 
 
 1431), i, 83; and a swan, imaged in a cake 
 
 (Paris, 1431), i, 83. 
 
 Lafayette, reception to (Boston, 1897), ii, 261. 
 Lafayette Park (Washington), ii, 255. 
 Lakes, Spirits of (London, 1911), ii, 225. 
 Lamb, a, at Norwich (i537-3 8 )> i, 27, n. 3; and 
 
 lion draw the chariot of Time (1660), ii, 77; 
 
 maiden with a, and St. George, i, 152; i, 154; i, 
 
 186. 
 
 Lambeth, i, 248; i, 249. 
 Lament, a, for Snap, i, 29. 
 "Lament of the Man in Brass" (1850), ii, 116. 
 Lampheto (Paris, 1431), i, 138, n. 4. 
 Lanaria (London, 1684), ii, 62. 
 Lancashire, "Giants Graves" in, i, 51, n. 3. 
 Lancaster, Mr., bearer of Kendale s letter (1483), 
 
 i, 155- 
 
 Lancaster, the Duchy of, with Westminster, pro 
 vides a pageant (1604), i, 225. 
 
 Lancaster and York, the union of, shown by his 
 torical figures (London, 1559), i, 200. 
 
 Lancaster [Massachusetts], the Pageant of, ii, 279; 
 historical scenes at (1912), ii, 264. 
 
 Lancaster, Duke of, pageant of (London, 1522), i, 
 
 174; i, 177- 
 
 Lancelot, Sir (London, 1908), ii, 135. 
 Landon, Mark, takes the part of the Friar in the 
 
 Ripon play, ii, 161, n. 2. 
 
 Langbane, i, 53. 
 
 Langdon, W. C., master of the Thetford and St. 
 Johnsbury Pageants, ii, 270; "pageant" de 
 fined by, ii, 291 f.; on the cost of pageants, ii, 
 206, n. 2; on the modern pageants, ii, 143. 
 
 Langoemagog, i, 59. 
 
 Laon, cavalcades at, in connection with the Feast 
 of Fools, i, 13, n. i. 
 
 Larvae in the Feast of Fools, i, 101. 
 
 "La Salle taking possession of the Louisiana Terri 
 tory" (St. Louis, 1892), ii, 253, n. 6. 
 
 Lascelles, F., master of the Quebec and Oxford 
 pageants, ii, 262. 
 
 "Last Days of St. Benet s Abbey, The," ii, 229. 
 
 "Last Judgment," the, at Antwerp, i, 255. 
 
 Lateran Council (1179), tournaments forbidden by, 
 1,87. 
 
 Latimer, the burning of, pictured at Belfast (1914), 
 ii,j8i. 
 
 Latimer, Hugh [Bishop of Worcester], (London, 
 1907), ii, 134. 
 
 Latin oration (London, 1604), i, 225; School, 
 Boston, students of, give a scene in the Boston 
 "festival" (1897), ii, 260; speeches and songs 
 (London, 1606), i, 228, n. i; i, 228, n. 4; 
 words of command given in the 1914 "Roman 
 Pageant," ii, 190. 
 
 Laud, Archbishop, uncle of, mayor in 1591, ii, 25. 
 
 Lauder, William, paid for producing a play at the 
 "triumph" at Edinburgh (1558), i, 194. 
 
 Laughter, in a 1634 masque and pageant, i, 118. 
 
 de Laval, Mgr., received by Marquis de Tracy, ii, 
 263. 
 
 Law (Edinburgh, 1908), ii, 214; (Oxford, 1907), 
 ii, 223; (Providence, 1919), ii, 289. 
 
 Lawder, Henry, welcomes Mary of Guise to Edin 
 burgh (1538), i, 185. 
 
 Lawrence, Sir John, Mayor of London (1664), ii, 
 49. 
 
 Lawrence, the Pageant of (1911), ii, 269, and n. 2; 
 ii, 282, n. i. 
 
 Lawrence (Lawrence, 1911), ii, 269. 
 
 Laws, Old and New, pageants of, at Venice (1517), 
 i, 22, n. 6. 
 
 Laws (the musician), writes music for "The Tri 
 umph of Peace," i, 118. 
 
 Lea, Sir Henry, in a tilt (1590), i, 215. 
 
 Lea, the (London, 1661), i, 245. 
 
 Leadenhall (London), i, 37; i, 124; i, 148; i, 173; 
 i, 174; i, 177; i, 180; i, 182, and n. 6; i, 189; i, 
 244; i, 245; ii, 33, n. i; ii, 42, and n. i; ii, 47; 
 [Street], ii, 115, n. 2. 
 
 League of Nations, the, in the 1919 Show, ii, 141. 
 
 Lear, son of Bladud, founder of Leicester, i, 78, 
 n. i. 
 
 "Learning, Court of," the (Oxford, 1907), ii, 223. 
 
 Learning (Boston, 1908), ii, 282; (Edinburgh, 
 1908), ii, 214; (London, 1628), ii, 39. 
 
 Leat, Mr., to deal with Munday, ii, 30. 
 
INDEX 
 
 391 
 
 Leathersellers, car of the (1895), ii, 127. 
 
 "Leavelookers," i, 45, n. 5; i, 46, and notes i and 2. 
 
 Leavitt, Sir Richard, Mayor of London, (1699), ii, 
 68. 
 
 Lechery in "Mary Magdalene," i, 108. 
 
 Lee, Ambrose, directs the ceremonies in "Joan of 
 Arc," ii, 209 f . 
 
 Lee, Robert, Mayor of London (1602), ii, 27. 
 
 Leere, Mr., Schoolmaster of St. Anthony s (1556), 
 ii, 16. 
 
 Legendary history of Ireland at New York, ii, 272. 
 
 Legends, local, in modern pageants, ii, 281. 
 
 Leicester, Adelaide at (1839), i, 256; Victoria 
 and Albert at (1843), i, 256; Corpus Christi 
 at,, i, 18, n. i ; Corpus Christi guild of , i, 21 ; 
 founded by Lear, i, 78, n. i; passion-play at, 
 i, 18, n. i ; St. George at, i, 29 ff.; St. Mar 
 garet, guild of, at, i, 21; i, 31; Whit-Monday 
 at, i, 16. 
 
 Leicester, Earl of, asks Gascoigne to devise a fare 
 well entertainment (1575), i, 209. 
 
 Leicester, Earl of (Lichfield, 1893), ii, 150. 
 
 Leigh, Sir Thomas, ancestor of Marlborough, ii, 
 124; ancestor of Chatham, ii, 125. 
 
 Leil, grandson of Ebrauk, i, 78, n. i. 
 
 Leith, George IV at (1822), i, 255, and n. 3; i, 256. 
 
 Leman, Sir John, Mayor of London (1616), ii, 37; 
 on a committee to view pageants (1626), i, 
 235- 
 
 "Lemnian Forge", the (1629), ii, 40; ii, 71. 
 
 Lemnos (1618), ii, 38. 
 
 "Lemon tree" of 1616, the, ii, 37. 
 
 Lendores, Lord of, as an Amazon, i, 218, n. 7. 
 
 Lent, man disguised as, i, 8, and n. 4. 
 
 Lenton, a character in "Gladman s Insurrection," 
 i,8. 
 
 Leofric (Coventry, 1862), ii, 170, n. 7. 
 
 Leogria (London, 1605), i, 82, n. 2; ii, 28; ii, 75. 
 
 Leopard, a (London, 1618), ii, 38. 
 
 Leopards draw chariot of two kings (i6n),ii,3i; 
 ridden by Moors (London, 1656), ii, 46. 
 
 Lep stone (London, i6n),ii, 31. 
 
 de Lesseps, Count, guest at Guildhall (1883), ii, 
 122, n. i. 
 
 Levis (Quebec, 1908), ii, 263, n. 4. 
 
 Lewisham, celebration of Vernon s birthday at 
 (1740), ii, 178, n. 4. 
 
 Lewyn, Thomas, warden of the Ironmongers 
 (i534), i, 4i, n. i. 
 
 "Lexington, minute men at" (Boston, 1897), ii, 
 261. 
 
 Ley den, celebration of the "Mayflower" voyage 
 at, ii, 276. 
 
 Liberal Arts, or Sciences, the Seven (Boston, 1008), 
 ii, 283; in a Hessian tilt (1596), i, 219; 
 (London, 1432), i, 795 i, 1455 in pageants 
 after 1432, i, 145, n. 2; (London, 1547), i, 
 186; (London, 1604), i, 225, n. i; (London, 
 1612), ii, 32; ii, 77; (London, 1629), ii, 40; 
 
 (London, 1676), ii, 77, n. 3; (London, 1687), 
 ii, 63, n. 8; ii, 77, n. 3; (Oxford, 1907), ii, 223. 
 
 Liberality (Edinburgh, 1594), i, 218; (London, 
 1613), ii, 34; (Paris, 1498), i, 163. 
 
 Liberation of Spain, the, represented on a trans 
 parency (1814), ii, 162. 
 
 Liberty (London, 1604), i, 225; (London, 1684), 
 ii, 62; (Providence, 1919), ii, 289; (Wash 
 ington, 1913), ii, 285; Goddess of (Keene, 
 1913), ii, 272; Goddess of (New York, 1909), 
 ii, 243; Loan (Providence, 1919), ii, 289; 
 Statue of (London, 1905), ii, 131, and n. 4. 
 
 Library Bureau, the float of the, a trade-pageant 
 (Boston, 1912), ii, 247. 
 
 Lichfield, the "Greenhill Bower" at, i, 9; i, 10; i, 
 47; i, 48, n. 2; ii, 148 f.; ii, 192; "Jack" at 
 (i9i3),i, 70. 
 
 Lictors (1686), ii, 83; (1687), ii, 85, n. 2; 
 (1702), ii, 83, n. 3; ii, 153; with Roman Pre 
 fect (London, 1783), ii, 98; in the 1914 "Tour 
 nament," ii, 189. 
 
 Lideric, Liederic see Lyderic. 
 
 Lieder, Miss Helen L., her account of mumming in 
 Brooklyn, ii, 158. 
 
 Lieutenant of the Tower, the, receives mayor s 
 oath (1665), ii, 49. 
 
 Life (Edinburgh, 1908), ii, 214. 
 
 Lifeboat in the 1883 Show, ii, 121; in the 1891 
 Show, ii, 126; in the 1901 Show, ii, 129; 
 in the 1906 Show, ii, 132; in the 1913 Show, 
 ii, 138; (Knutsford, 1914), ii, 154, n. i; 
 (Lichfield, 1904), ii, 151, n. 3. 
 
 Light Brigade, veterans of the charge of the, in the 
 1906 Show, ii, 132. 
 
 Light, artificial, at out-door performances at St. 
 Louis, ii, 273. 
 
 Lighting of the 1629 Show, provision for the, ii, 
 41. 
 
 Light (Edinburgh, 1908), ii, 214; (Providence; 
 1919), ii, 289. 
 
 Lille, the giant of, i, 55, n. 2; "hommes sau- 
 vages" at, i, 75, n. 4; -- "Monsieur Saint 
 Georges" prayed to at, i, 88; Roi de I Epi- 
 nette at, i, 75, and n. 4; i, 88; i, 135, n. i; 
 pageantic tourneys at,, i, 75, n. 4; i, 88; 
 Valenciennes citizens at, with banners, and dis 
 guised, i, 75, n. 4; i, 81; warlike amusements 
 at, i, 87 f. 
 
 Lily, symbolism of the Orange (Belfast, 1914), ii, 
 181. 
 
 Lime Street (London), i, 244. 
 
 Limited appeal of tourneys, the, ii, 187. 
 
 Lincoln (London, 1631), ii, 75. 
 
 Lion (London, 1602), ii, 27; ii, 72; (London, 
 1605), ii, 28; [signifying vengeance] (1606), i, 
 229; (London, 1662), i, 249; gilt, at Sand 
 wich (1573), i, 205; and an antelope, (London, 
 1415), i, 133; and antelope in 1511 joust, i, 
 115; with Britannia (1910), ii, 189; and a 
 
392 
 
 INDEX 
 
 lamb draw chariot of Time (1660), ii, 77; and 
 a leopard (Bruges, 1468), i, 152; born of a 
 lion and a phoenix (London, 1547), i, 186; 
 with St. John the Baptist (1554), ii, 15. 
 
 Lions (London, 1623), ii, 78; (London, 1626), ii, 
 78, n. 4; (London, 1656), ii, 46; (London, 
 1684), ii,62; of lead (London, 1501), i, 168, 
 mechanical (London, 1421), i, 138; (London, 
 i547),i, 186. 
 
 Lionel, son of Edward III, in a tourney, i, 95. 
 
 Lisbon, St. George at, i, 24, n. 2. 
 
 Lisle, Lord, John Husee writes to, i, 41 ; i, 42, n. 3, 
 
 at coronation of Richard III, i, 154. 
 Lists, plan of, the, at Eglinton, ii, 184. 
 Literature, characters from, in the 1908 Show, ii, 
 
 135; and history in early xx century shows, 
 
 ii, 136. 
 
 Literature (Lichfield, 1909), ii, 151. 
 Lithuanians in the Boston procession of 1912, ii, 
 
 247. 
 
 Little Boy Blue (Cambridge, 1919), ii, 284. 
 Little Compton, children s parades at (1914 and 
 
 1915), ii, 250 f. 
 Little Jack, character in Christmas mumming play, 
 
 i, 7, n. i. 
 Little John (Lichfield, 1893), ii, 150, (London, 
 
 1615), ii, 144, n. i. 
 
 Little Park Street, (Coventry), i, 204. 
 Little Red Riding Hood (Lichfield, 191 4), ii, 152; 
 
 (St. Louis, 1888), ii, 253, n. 5. 
 Liverpool s Anniversary Pageant (1907), ii, 163; 
 
 ii, 192. 
 
 Liverpool (Liverpool, 1907), ii, 163. 
 "Living pictures," i, xix, xx; in frames given a 
 
 trade signification (Preston, 1902), ii, 165, n. 2; 
 
 in an opera, called "pageants" (1913), ii, 
 210, n. i; see also "tableaux." 
 
 Lizards, the, of the Ironmongers crest (1618), ii, 
 
 38. 
 Llantwit, capture of the pirate O Neil celebrated 
 
 at, i, 56, n. 3. 
 
 "Llantwit s Anwyl," i, 56, n. 3. 
 Lloyd, Lod., dedicates verses to the king (1607), 
 
 i, 149, n. 3. 
 Loan -collection, a, in connection with the pageant 
 
 (Marietta, 1888), ii, 258, n. 3. 
 Local history and French kings (Avignon, 1600), 
 
 i, 220. 
 Local talent insisted on by Mr. Parker, ii, 198; 
 
 slighted at Bristol (1574), i, 207; ii, 198, n. 4. 
 Lochner, G. W. K., records Nuremberg tourneys, 
 
 i ^ - i CQ 
 
 1, 07 , 1) oo. 
 
 Locomotive, the first, to run from Philadelphia to 
 Norristown (Norristown, 1912), ii, 249 f. 
 
 Locomotives, models of, at Philadelphia (1882), ii, 
 240. 
 
 Locrine, the son of Brute, i, 78, n. i. 
 
 Lo[d]ge, Master, sheriff of London (1559), ii, 17. 
 
 "Log Cabin, a" (Norristown, 1912), ii, 249. 
 
 Logic represented with Aristotle (London, 1432), i, 
 
 79; i, 145- 
 
 Lohengrin (New York, 1909), ii, 244, n. i. 
 
 Lombard Street (London), ii, 115, n. 2. 
 
 London, Anne of Bohemia at (1382), i, 129; 
 Anne Boleyn at (1533), i, i8of.; Anne of 
 Cleves at (1540), i, 185; birth of Edward III 
 celebrated at (1313), i, 126; birth of the 
 prince celebrated at (1330), i, 127; Bridge, i, 
 130; i, 133, and n. i; i, 143; i, 148; i, 154, n. 2; 
 i, 165; i, 166; i, 167; i, 176; i, 100, and n. 12; i, 
 191, and n. i; i, 191; ii, 112, n. i; ii, 114; 
 [Thames crowned with (London, 1661), i, 245]; 
 
 celebration of Vernon s birthday at (1740), 
 ii, 178, n. 4; Charles I at (1641), i, 238 f.; 
 Charles II at (1660), i, 241 f.; (1661), i, 243 f.; 
 
 (1679), i, 251; CharlesVat (1522), i, 174 f.; 
 
 Christian IV at (1606), i, 227 f.; Christmas 
 mumming prohibited at, i, 103 f., and n. 2; 
 Church "giants" and images at, i, 57, n. 2; 
 disguisings at, by Lydgate, i, 107; Duke of 
 Holland at (1416), i, 137; Edward II at 
 (1308), i, 125 f.; Edward IV at (1461), i, 150; 
 -(1475), i, 154; Edward VI at (1547), i, 
 185 f.; (1549), i, 187; Edward VII at 
 (1902), i, 257; effigies burned at, i, 16; 
 Elizabeth, queen of Henry VII, crowned at 
 (1487), i, i6of.; Elizabeth at, ch. iv, passim 
 (i, 198-219); (1559), i, 199 f.; (1581), i, 
 213 f.; (1588), i, 214 f.; (1591), i, 214, n. 4; 
 
 Falkirk celebrated at (1298), i, 124; French 
 admiral at (1546), i, 185; George I at (1714), 
 i, 2 S3; Prince Henry at (1610), i, 230 f.; 
 Henry of Lancaster at ( 1 3 99) , 1,132; Henry V 
 returns from Agincourt to (1415), i, 132 ff.; 
 Henry V and Katharine at (1421), i, 137 f.; 
 Henry VI at (1432), i, 141 f.; Henry VII at 
 (1485),!, 157; Henry VIII at (1509), i, 169 f.; 
 
 Isabella at (1327), i, 126; James I at 
 (1604), i, 222 f.; John of France a prisoner at 
 ( J 357)> i> 127 f.; Lord Mayor s Shows of, see 
 Lord Mayor s Show; Louis XVIII at (1814), 
 i> 255; Margaret of France at (1300), i, 125; 
 Margaret of Anjou at (1445), i, 148; Mary 
 at (i553), i, 188 f; Midsummer Watch at, i, 37 
 ff.; muster of crafts at, i, 47; a "pageant" 
 at (1499), i, J 6s; the Pageant of (1911), i, 132, 
 n. 4; ii, 162, n. 6. [See also "Festival of Em 
 pire."] Peace Celebration at (1814), ii, 162 f.; 
 
 Philippa of Hainault at (1327), i, 127; Phi 
 lip II at (i554), i, 189 f.; plague at (1563), 
 i, 203; political propaganda at (1910), ii, 255, 
 n. 2; Pope-burnings at, i, 16; i, 51, n. 2; ii, 
 i72f.; Queen of Scots received at (1516), i, 173; 
 - Richard II at (1377), i, 128 f.; Richard II 
 moves his capital back to (1392), i, 129 f.; 
 Roman Ambassadors at (1518), i, 173; "royal- 
 entries "at, chs. iii, iv, v, passim , Royal Family 
 at (1536), i, 184 f.; " Royal Naval and Military 
 
INDEX 
 
 393 
 
 Tournament" at, ii, i87f.; Sigismund at 
 (1416), i, 137; tableaux at, i, 23; three kings 
 visit (1363), i, 128; tournaments at, temp. 
 Richard II, i, 95; (1360), i, 95; (1494), i, 96; 
 (1536), i, 98. [See also Cheap, Smithfield.] 
 wedding of Arthur and Katherine at (1501), i, 
 i66f.; Whifflers at (1539), i, 71; William 
 III at (1697), i, 252. 
 
 London personified, i, 81; i, 82, n. 2; ii, 75, 
 (London, 1585), ii, 24; ii, 74; (London, 1613) 
 ii, 335 ii, 345 ii, 355 ii, 74; and her daughters 
 (the Companies), (1615), ii, 73 f.; (London, 
 1616), i, 233; i, 234; (London, 1628), ii, 39; 
 ii, 40; (London, 1631), ii, 74; (London, 
 1919), ii, 141. 
 
 London, Citizen of (London, 1661), i, 245. 
 
 "London s Tempe" (1629), ii, 72. 
 
 Lollards accused of cloaking sedition in a mumming 
 (1414), i, 104. 
 
 Long Life (London, 1684), ii, 62. 
 
 Long Sault, the fight at (Quebec, 1908), ii, 263. 
 
 Lord, Arthur, on the Plymouth Pageant of 1896, 
 ii, 258 f. 
 
 Lord Chamberlain (Knutsford, 1913), ii, 154. 
 
 Lord, a, in fufs (1628), ii, 39. 
 
 Lord Chief Baron warns against Romish plots 
 (1679), ii, 58. 
 
 "Lord Mayor," title of, at London, ii, 12 f. 
 
 Lord Mayor s coach, ii, 86; ii, 90; ii, 92; ii, 93 f.; 
 
 Day altered from 30 October to 9 November, 
 ii, 93; Day, c 1740, described in a contem 
 porary volume, ii, 89 f. 
 
 "Lord Mayor s Day, or, a Flight from Lapland" 
 (1783), ii, 97f.,andn. 4. 
 
 Lord Mayor s Show, the, i, xv; i, xviii; i, 82, n. 2; 
 ii, ch. vi, passim. , the beginnings of (1209- 
 1585), ii, 3-23; the decline of (1708-1858), ii, 
 86-119; the height of (1585-1708), ii, 23-86; 
 
 influence of, on the masque suggested, i, 216, 
 n. 4; i, 217; in a pantomime (1783), ii, 97 f.; 
 
 and the Parkerian Pageant, i, 196; renais 
 sance of (1858-1919), ii, 119-145; satirized 
 (1823), i, 62, n. 2; whifflers at (1566, 1575, 
 
 1913), i, 7i- 
 
 [The particular shows mentioned are recorded 
 chronologically under Show.] 
 
 Lord of Misrule, pageant of, connected with folk- 
 pageantry, i, 24, n. i; (London, 1889), ii, 124. 
 
 Lord Moryspyks, i, 40; i, 56, n. 3. 
 
 Lords [temp. Anne], (London, 1889), ii, 124. 
 
 Lords of the Five Ports, bear the canopy over Anne 
 Boleyn (1533), i, 182. 
 
 Lormerye, men of, at Valenciennes (1330), i, 94. 
 
 Louis VIII (Avignon, 1600), i, 220. 
 
 Louis XII at Paris (1498), i, 162 f. 
 
 Louis XII portrayed in a pageant for himself 
 (Paris, 1498), i, 163. 
 
 Louis XIII at Paris (1628), i, 235, n. 5. 
 
 Louis XVIII at London (1814), i, 255; ii, 162, n. 6. 
 
 Louis, Duke of Origans pictured (Paris, 1498), i, 
 
 164. 
 "Louisiana Territory, the History of the" (St. 
 
 Louis, 1892), ii, 253, and n. 6. 
 Louvre, scene at the (Quebec, 1908), ii, 263, and 
 
 n. i. 
 Love (Chester, 1610), i, 230; (Edinburgh, 1908), 
 
 ii, 223; (London, 1604), i, 224; (London, 
 
 i66i),i, 246. 
 
 Love of Subjects (London, 1559), i, 200. 
 "Love s Labours Lost," the Worthies in, i, 150, n. 
 
 2. 
 
 "Love s Mistake," with scenery (1636), i, 120. 
 Lovel, Viscount, at the coronation of Richard III, 
 
 i, 155- 
 
 Loving Affection (London, 1604), i, 224. 
 Lowen, John, takes a part in the 1611 Show, ii, 31. 
 Loyalty (London, 1585), ii, 24; ii, 75, n. 8; ii, 77 ; 
 
 (London, 1661), i, 244; (London, 1662), i, 
 248; (London, 1685), ii, 63; (Ripon, 1886), 
 
 ii, 161. 
 Luces, i, 44, n. 8; i, 45, n. 5; i, 46; i, 64; i, 124; 
 
 ii, 224. 
 
 Lucinus, Marcus Julius (London, 1623), ii, 79. 
 Lud, son of Hely, rebuilder of London, i, 78, n. i. 
 Lud, King, with his two sons (London, 1783), ii, 98. 
 Ludgate, i, 48; i, 78, n. i; i, 184; i, 189; i, 202; 
 
 i, 241, n. 3; ii, 56; ii, 91; [Hill], ii, 114. 
 Ludlow, a scene in the Pageant of Wales at, ii, 199, 
 
 n. i. 
 
 Lud s town, i, 58, n. 2; [Caerlud], i, 78, n. i. 
 "Ludus regis" (1388), i, 102. 
 Lumberman, Canadian (Knutsford, 1913), ii, 153. 
 Lumnow paid for "stuff" on pageants (1522), i, 
 
 175- 
 
 Lumley, Sir Martin, on a committee to view pag 
 eants (1626), i, 235. 
 
 Luna (London, 1612), ii, 32; (London, 1657), 
 ii,47. 
 
 Luther, Martin, scenes from the life of (Belfast, 
 
 1914), ii, 181. 
 
 Luther, play of, at Worms, ii, 197. 
 
 Luxury, Spirit of (London, 1914), ii, 189; ii, 190. 
 
 Luzerns, i, 44, n. 8; ii, 23, and n. 3; ii, 39. 
 
 Lyderic i, 55, and n. 2; i, 76, n. 2; i, 172. 
 
 Lydgate, John, i, xviii; and allegory, i, 58, n. 
 i^-8eri,-xo7 f.; i, 195; author of the pag 
 eant for Margaret of Anjou, i, 148; not the 
 author of the 1415 "entry," i, 136; HKbats by, 
 Vi_w-; and the 1432 "entry," i, 141, and n. 
 27 and Middleton (1432 and 1613), ii, 33, 
 n. 2; and the mumming, i, 106 f., and n. 
 4; and the Paris "entry" of 1431, i, 140, 
 and n. 6. 
 
 Lyly, master of Colet s School, paid for writing 
 speeches (1522), i, 175; work of, i, 179. 
 
 Lyons, Master, Mayor of London (1554), ii, 15. 
 
 Lyons, student carnival at (1910), ii, 147, n. 4; 
 feux d artifice at (1660), i, 240; inn-signs per- 
 
394 
 
 INDEX 
 
 sonified at (1627), i, 77, n. i; peace celebrated 
 at (1660), i, 240; symbolism planned by 
 Americans at, ii, 300. 
 
 Mac Arthur, William, on the Orange processions, 
 ii, 180, and n. i. 
 
 McComb, the Rev. S., pictured at Belfast (1914), 
 ii, r8i. 
 
 MacCracken, H. N., on Lydgate s use of allegory, 
 i, 1 08; on the authorship of the 1432 "en 
 try," i, 141, n. 2. 
 
 MacDowell, Edward, a tribute to, ii, 264. 
 
 McMordie, R. J., pictured at Belfast (1914), ii, 
 181. 
 
 Mace and sword borne before mayor, ii, 67. 
 
 Machine-made pageants, ii, 290. 
 
 Machyn, Henry, describes London Shows (1553- 
 1561), ii, 13 f.; notes wodyn or wodys in 1553 
 and 1554, i, 77. 
 
 MacKaye, Miss Hazel, describes the Washington 
 masque of 1913, ii, 285. 
 
 MacKaye, Percy, author of the St. Louis masque 
 (1914), ii, 273, n. i; his "ritual" of citizen 
 ship, ii, 290; on "Caliban," ii, 289; on 
 Fourth of July pageantry, ii, 303; on "a 
 substitute for war," ii, 301 f.; on war and the 
 community drama, ii, 290; and Parker, the 
 aims and methods of, ii, 302. 
 
 Madad of Ireland (London, 1522), i, 177. 
 
 "Mad Morion," i, 7, n. 3. 
 
 Madrid, a tournament at (1623), i, 99. 
 
 Magi, the (Aberdeen, 1511), i, 170. 
 
 Magistrates Room, the, in Guildhall used by Mr. 
 Marriott (1822), ii, 107. 
 
 Magistrate (London, 1662), i, 248. 
 
 Magnanimity (London, 1585), ii, 24; ii, 77; 
 (London, 1628), ii, 39; habited like a Roman 
 general (1664), ii, 84. 
 
 Magnus, Olaus, i, 4; i, 112, n. 7. 
 
 Magi, the, at Coventry (1474), i, 153, and n. 6; 
 at Paris (1431), i, 140. 
 
 Magog, i, 59 ff. See also Gogmagog. 
 
 Maguin, Nicholas, captain of children s company 
 (Metz, 1604), i, 226. 
 
 Maharajah, a (London, 1910), ii, 189. 
 
 Mahouts, Indian (London, 1890), ii, 126. 
 
 Maid Marian, in May-Day mummings, i, 7, and 
 n - 3; i, 65, n. i; (Coventry, 1862), ii, 170; 
 (Knutsford, 1913), ii, 154; (Sherborne, 1905), 
 ii, 210; (Winchester, 1908), ii, 225. 
 
 Maidstone, Richard, his account of the 1392 "en 
 try," i, 130, notes i and 2; i, 131, and notes i 
 and 2. 
 
 "Makers of England, the" (1914), ii, 228. 
 
 Malcolm III (Edinburgh, 1908), ii, 214. 
 
 Malin, water-bailiff, has a hand in the 1662 "tri 
 umph," i, 250. 
 
 Malines, giants at (1838), i, 55, n. 2; ship at 
 (1838), i, 12, n. 3. 
 
 Malory, Sir Thomas (London, 1908), ii, 135. 
 Mamelukes, band dressed as (Antwerp, 1803), i, 
 
 254- 
 
 Mamertus, Bishop of Vienna, i, 14. 
 
 Man, a, a "subtlety" of i, 83. 
 
 "Man in armor" and "champion," i, 48; at 
 Chester, i, 44; i, 47 ; the origin of the effigy of 
 Peeping Tom, ii, 167, and n. 2; in the 1773 
 procession, ii, 97, and n. 3; a trade-figure 
 (1761), ii, 95, and n. 3. See also Armed man and 
 Knight. 
 
 "Man in brass" pictured (1844), ii, 113, n. 2. 
 
 "Man in the Moon, the" (Revere, 1912), ii, 254. 
 
 "Men in Armor," ch. i, 3 (i, 47 f.); (knights) 
 at Dublin, i, 31; i, 48, n. 2; at Greenwich 
 May games (1559), i, 203; attend the Queen 
 (1560), i, 203; at Lichfield, i, 48, n. 2; at 
 Preston, i, 34; a trade figure, i, 48; [watch 
 men], (Quebec, 1908), ii, 240; ii, 241; ["har 
 ness"], (not probably, pageantic), in 1518, i, 173; 
 (1700), ii, 68; and the military (1821), ii, 
 105 f.; dispensed with (1821), ii, 106; re 
 appear (1822), ii, io6f.; (1823), ii, 108; 
 (1824), ii, 109; (1825), ii, 109; in 1839, ii, 
 in; one of the, hurt in 1842, ii, 112; 
 (1843), ii, 112, n. i; (1844), ii, 113, n. i; 
 (1847), ii, 113; (1848), ii, 113; (1849), ii, 
 113; displacement of, suggested (1850), ii, 
 114; (1857), ii, 118; (1879), ii, 120, and 
 n. 4; personify states (New York, 1912), ii, 
 
 255- 
 
 "Manhattan Island, the Purchase of," (New 
 York, 1909), ii, 243. 
 
 Mann, John, his servant paid for riding to borrow 
 for the Mary (1534-35), i, 26, n. 5. 
 
 Manners, Sir John, knighted at Worksop, i, 222, 
 n. i. 
 
 Manufactures represented (1850), ii, 115; ii, 116. 
 
 Marblehead, "From Kingdom to Colony," given 
 at (1912), ii, 277; Historical Society, ii, 277. 
 
 Marching clubs in the St. Louis procession of 1847, 
 ii, 238. 
 
 Marching Watch, the, i, 36 ff. 
 
 "Marconi and the Wireless Telegraph" (Boston, 
 1912), ii, 247. 
 
 Mardi Gras, a suggestion of, in the St. Louis pro 
 cession, ii, 238; carnival, the, at, ii, 252; 
 celebration at Revere in September, ii, 254, and 
 n.4. 
 
 Marfin, Sir Thomas, ancestor of Cromwell, ii, 124. 
 
 Margaret of Anjou at London, i, 148; of Eng 
 land, at Edinburgh (1503), i, i68f.; enter 
 tained by pageantic tournament (1503), i, 96; 
 of France at London (1300), i, 125; of Scot 
 land at Aberdeen (1511), i, 170. 
 
 Margaret, Queen (Coventry, 1848), ii, 170; 
 (Coventry, 1862, ii, 170. 
 
 "Mari Llwyd," i, 17. 
 
 Mariane (Avignon, 1600), i, 220. 
 
INDEX 
 
 395 
 
 Marie of Austria marries the Duke of Brabant 
 (i853), i, 256. 
 
 Marie de V Incarnation, Mere (Quebec, 1908), ii, 
 263. 
 
 Maries, the three (London, 1533), i, 183. 
 
 Marietta Pageant, the, of 1888, ii, 258. 
 
 Marine boys in the 1833 Show, ii, no; in the 
 1839 Show, ii, in; in the 1849 Show, ii, 114. 
 
 Market-place of Salt, the (Edinburgh), i, 213. 
 
 Markets, the City, represented by cars (1890), ii, 
 125- 
 
 Markoe, F. H., master of the Yale Pageant, ii, 
 274, n. i. 
 
 Marlborough, the Duke of, received at Goldsmiths 
 Hall (1704), i, 253, n. 2; at Vintners Hall 
 (1706), i, 253, n. 2; troops of, in the 1897 
 "tournament," ii, 188; on a transparency 
 (1814), ii, 162. 
 
 Marlborough, Duke of (London, 1889), ii, 124; 
 (London, 1911), ii, 137; (London, 1914), ii, 
 228, n. 2. 
 
 Marlowe, Christopher (London, 1908), ii, 135. 
 
 Marlowe s "Edward the Second^" drawn on for a 
 Warwick episode, ii, 219; provides part of a 
 scene in the Scarborough Pageant, ii, 219, n. 3. 
 
 "Marquette, Pere, and the Indians" (Boston, 1912), 
 ii, 247; reception of (St. Louis, 1892), ii, 253, 
 n. 6. 
 
 "Marriage between Wit and Wisdom," the, i, 104. 
 
 Marrington, Lord (Boston, 1910), ii, 267. 
 
 Marriott, [Henry], and "Men in armor" (1815), ii, 
 104, n. 5; and "men in armor" (1821), ii, 
 105 f.; and the Committee (1821), ii, 105 f.; 
 (1822), ii, 107; owner of armor (1822), ii, 108; 
 in charge of 1822 procession, ii, 108; con 
 sulted in 1823, ii, 108; called on for "men in 
 armor" (1825), ii, 109; and "armed men" 
 (1833), ii, 109 f.; called on for "men in ar 
 mor" in 1839, ii, in; and Smith paid for 
 "knights" (1847), u , 113; and "men in ar 
 mor" (1848), ii, 113, and n. 6; and "men in 
 armor" (1849), ii, 113. 
 
 Mars (Avignon, 1600), i, 220; grovelling at the 
 feet of Peace (London, 1604), i, 225; castle of 
 (London, 1635), ii, 42; painted (London, 
 1661), i, 245; (London, 1691), i, 145, n. 3. 
 
 Martia (Norwich, 1578), i, 82; i, 211. 
 
 Martians, the (Revere, 1912), ii, 254. 
 
 Marten, Master, sheriff of London (1559), ii, 17. 
 
 Martin, Humphrey, recipient of Laneham s letter 
 (1575), i, 207, n. 4. 
 
 "Martyrs" (London, 1415), i, 134, and n. 3: 
 (London, 1421), i, 138. 
 
 Mary Draper Chapter, D. A. R., the, gives scene in 
 the Boston "festival" of 1897, ii, 261. 
 
 Mary of Guise at Edinburgh (1538), i, 185; 
 Princess, at Coventry (1525), i, 179; dances 
 at a masque with pageantic background (1528), 
 i, 117; Queen, at London (1553),!, i88f.; 
 
 received with Philip II at London (1554), i, 189 f. 
 
 grateful for the 1554 reception, i, 194, n. 2; 
 death of (1558), i, 198; Queen of Louis XII, 
 at Abbeville and Paris (1513), i, 171 f.; Queen 
 of Scots, wedding of (Rouen, 1558), i, 98; at 
 Edinburgh, i, 194 f.; at Chenonceau (1559), 
 i, 202 f.; at Edinburgh (1561), i, 203. 
 
 "Mary Magdalene," i, 108; i, no. 
 
 Mary and Joseph (Dublin, 1528), i, 179; Tudor 
 (Bury St. Edmunds, 1907), ii, 224, n. 7; in 
 cluded among the Worthies (1554), i, 191, and 
 n. 2; personified (London, 1554), i, 194. 
 
 Maschararum, i, 4. 
 
 "Mask" and "masque," i, 102, n. 5. 
 
 "Masonic Pavilion" (Swansea, 1881), i, 257. 
 
 Masons, expenses of, for Lord Mayor s Day dinner, 
 (1722), ii, 88; expenses of the, in 1688, ii, 64, 
 n. 4; expenses of, in 1695, ii, 66, n. 3; the, 
 in the St. Louis procession (1847), ii, 238. 
 
 Masons Hall Tavern, ii, 114. 
 
 "Masque", "barriers," and "entertainment" dis 
 tinguished, i, 115. 
 
 Masque, the, after the christening banquet of a 
 Scottish prince (1595), i, 218; at Court, i, 
 ioif.; with debat, tourney, and pageant 
 (1528), i, ii6f.; early (1285), i, 103; (1377), 
 i, 104; features of, in the Sherborne Pageant, 
 ii, 211; fixed stage of, i, 85; and folk- 
 mumming, i, 105; growth of, ch. ii, 3 (i, 
 in f.; i, 119, n. 2); influence of, on scenery, 
 i, 120; influence of Italy on, i, 121 f.; 
 metamorphoses pageantic material, i, 121; 
 in the modern pageant, ii, 222 f.; a natural 
 growth, i, 103; and the pageant, i, 105; i, 119; 
 
 differentiated, i, 121; and pageant in 
 America, ii, 288; the "soul" of pageantry in, 
 i, 85; the spirit of, i, xviii; i, 85; ii, 283; ii, 
 294; suggestion of an influence from the 
 London civic shows on, i, 216, n. 4; i. 217; a 
 suggestion of, in the Peterborough Pageant, ii, 
 264; the "technique" of, i, 85, ii, 283; ii, 288; 
 the "technique of," combined with the 
 "spirit" of pageantry, i, 7, ii, 294; at White 
 hall (1572), i, 117; i, 205, n. i. See also Dis 
 guising. 
 
 "Masque of Charterhouse," the, ii, 227; Im 
 perial, the, of the "Festival of Empire," in 
 cludes allegory, ii, 225; of Learning, the, ii, 
 226 f., and n. 4; ii, 281; of Learning, the 
 subject of the, ii, 203, n. i; compared with 
 the Scottish National Pageant, ii, 207, n. 3; 
 of the Mediaeval Curriculum, the (Oxford, 1907), 
 i, 145, n. 2; ii, 222 f.; the, at St. Louis, re 
 sembles a "morality play," ii, 273; of the 
 Seasons, the, at Edinburgh (1908), ii, 223!; 
 the woman-suffrage (Washington, 1913), ii, 
 284 f. 
 
 Masques reproduced by Nugent Monck, ii, 196, 
 n. i; cost of, temp. James I, i, 118; ii, 206, 
 
396 
 
 INDEX 
 
 n. 2; early ones at Court, i, 102 f.; at 
 
 Greenwich (1588), i, 214. 
 "Masquerade" develops into "masque," i, 106. 
 Masquerades and pageants, ii, 146 f. See Revels. 
 Masquerading, a popular pastime, i, 103. 
 "Massacre, the Boston" (Boston, 1897), ii, 261. 
 Massachusetts, General Court of, enacts bills 
 
 against pageants (1752-1797), ii, 176 f. 
 Massasoit, scene of the discovery of, the site of 
 
 history revived (Plymouth, 1801), ii, 236. 
 "Massasoit, the Treaty with" (Plymouth, 1896), 
 
 ii, 259- 
 
 Massianello, ghost of, at reception to Monk, ii, 57, 
 n. i. 
 
 Massinger, Philip (London, 1908), ii, 135. 
 
 "Master of the revels" (Ripon, 1886), ii, 159; ii,i6o. 
 
 Masters, the Boston, give scene in the Boston 
 "festival" (1897), ii, 261. 
 
 Mawfield, Gilbert, sheriff (1392), ii, 5. 
 
 Maxim gun in the 1896 Show, ii, 128. 
 
 May-day, animals at, i, 65, and n. i; "Jack-in- 
 the-Green," at, i, 70; in Ireland, i, 73, n. 3 ; 
 at Knutsford, i, 10; ii, 153 f.; procession sug 
 gested in a section of that at St. Louis in 1847, 
 ii, 238; revels antedating 1867, ii, 159; 
 revels in the Chester Pageant, (1910) ii, 224; 
 revels in the "Festival of Empire" (London, 
 1911), ii, 224, n. 3; at Salisbury, i, 65; 
 ships, on, i, 12. 
 
 "Mayflower," a reproduction of the, planned 
 (1920), ii, 276; tercentenary celebration of the 
 voyage of the, planned, ii, 276. 
 
 May-games at Greenwich (1559), i, 203; and St. 
 George, i, 24, n. i; i, 65. 
 
 Maying, 1300 (in the 1889 Show), ii, 124. 
 
 Mayne, John, writes verses for the 1822 "entry," 
 i, 255, n. 5. 
 
 Mayor and Aldermen in a tournament at London, 
 (1360), i, 95. 
 
 "Mayor of the Bull Ring," the, i, 22. 
 
 Mayor in the Coventry procession of 1826, ii, 167, 
 and n. 4; feast of the, omitted on account of 
 plague at London, (1563), i, 203, n. 5; granted 
 London citizens by John, ii, 3; guest at a 
 tourney (1533), ii, 975 to be presented to king 
 or royal justices, ii, 3; in Ripon procession, ii, 
 160; and sheriffs deposed (1392), ii, 4 f. 
 
 Mayors, former, representations of, in civic shows: 
 (1590), ii, 25; (1614), ii, 36; (1615), ii, 78, n. 4, 
 (1616), ii, 80; (1617), ii, 81; (1623), ii, 78; 
 (1626), ii, 78, n. 4; (1680), ii, 79; (1693), ii, 80; 
 (1700), ii, 68, and 80; [in the 1783 pantomime, 
 ii, 99 f.]; (1884), ii, 123; (1889), ii, 125; (1895), 
 ii, 127; (1906), ii, 132 i.; (1913), ii, 138, in 
 civic shows, representations of, see also under 
 the individual names of the Mayors. 
 
 Mayors, former, in the Coventry processions of 
 1848 and 1862, ii, 170, and notes 2 and 7; 
 given allegorical significance, ii, 78, and n. 4. 
 
 Mayor s wife, the, as the Genius of the City (Ripon, 
 1886), ii, 161. 
 
 " Mayor s Mount " at Chester, i, 44 ff., and notes. 
 
 "Maypole," a, or Cedar, in the Strand (London, 
 1661), i, 243, n. i. 
 
 Maypole dance, a, at Marblehead (1912), ii, 278; 
 dances (Chester, 1910), ii, 224; dancers in 
 Ripon procession (1886), ii, 161; dancing, i, 
 10. 
 
 Maypole, a (Lichfield, 1913), ii, 152; a, in the 
 Sherborne Pageant, ii, 211. 
 
 Maypoles in various cities, ii, 155. 
 
 May Queen, (Boston, 1897), ii, 260, n. 3; (Cam 
 bridge, 1919), ii, 284; (Coventry, 1851), ii, 
 170, n. 3; (Lichfield, 1913), ii, 152; (Milton, 
 1914), ii, 154; of Knutsford in the fiftieth 
 aniversary procession (1914), ii, 154. 
 
 "May Queen, the," song from, at Sherborne (1905), 
 ii, 211. 
 
 Meadows, Spirits of (London, 1911), ii, 225. 
 
 "Meal-tub plot, the," ii, 173, n. i. 
 
 Mechanical angel (London, 1392), i, 130; (Lon 
 don, 1415), i, 135, n. 3; (London, 1553), i, 188; 
 (Reggio, 1453), i, 149, n. 4; animals in 
 "royal-entries," i, 138; i, 196; beasts (Lon 
 don, i522),i, 177; device, a, [the Wounds of 
 Christ running], (Paris, 1498), i, 163; devices 
 at Bristol (1486), i, 160; devices (signs of the 
 Zodiac), (London, 1501), i, 167, notes 5 and 6; 
 devices (London, 1522), i, 177; devices 
 at York (1486), i, 159, notes i and 3; giant, a 
 (London, 1421), i, 137 f.; globe (Edinburgh, 
 1579), i, 212; hearts (Paris, 1431), i, 139; 
 lions (London, 1547), i, 1 86; pageants, influ 
 ence of, on stage (London, 1522), i, 178; rose 
 (London, 1522), i, 177; wonders of the 1613 
 Show, ii, 34 f.; wonders of a pageant (1622), 
 ii, 77- 
 
 Medea (London, 1522), i, 176. 
 
 de Medici, Cosimo, tournaments in the time of, at 
 Florence, i, 99, n. i ; Marie, at Avignon (1600), 
 i, 220; Pietro, tournaments in the time of, at 
 Florence, i, 99, n. i. 
 
 Medici family, characters of the, at Avignon 
 (1600), i, 220. 
 
 Medicine (Edinburgh, 1908), ii, 214; (Oxford, 
 1907), ii, 223. 
 
 "Mediaeval Curriculum, the Masque of the," 
 (Oxford, 1907), ii, 222 f. 
 
 Mediaeval period, the, in "The Masque of Learn 
 ing," ii, 227. 
 
 Medway (London, 1661), i, 245. 
 
 Meekness (London, 1613), ii, 34. 
 
 Meister singer, a (Hamburg, 1852), ii, 147, n. 4. 
 
 "Meistertrunk," play of the, at Rothenburg, ii, 
 197; ii, 205, n. 3. 
 
 Melancthon (Boston, 1908), ii, 283. 
 
 Meliades, the master of Bonvaleir, i, 97. 
 
 Melibaeus (Sudeley, 1592), i, 218. 
 
INDEX 
 
 397 
 
 Melrose, Abbot of, with model of the Monastery, 
 
 (Ripon, 1886), ii, 160. 
 
 "Melting-pot, motif, the," (Boston, 1912), ii, 245. 
 Melton William, divides procession and play at 
 
 York Corpus Christi celebration (1426), i, 21. 
 Memory (London, 1623), ii, 79; (York, 1909), ii, 
 
 214, n. i. 
 "Men in armor," see Man in armor, also 
 
 Armed men, and Ancient knights. 
 Men of Kent, with Falconbridge (London, 1907), 
 
 ii, 134- 
 
 Menalippe (Paris, 1431), i, 138, n. 4. 
 
 Menameset, ii, 280. 
 
 Menelaus (Winchester, 1908), ii, 225. 
 
 "Mensa Rotunda" see Round Table. 
 
 Mephistophilis (Lichfield, 1893), ii, 150; (Lon 
 don, 1908), ii, 135. 
 
 Mercatura (London, 1684), ii, 62. 
 
 Mercers, the, accompany sheriffs by water (1422), 
 ii, 6; bear the charge of the 1688 Show, ii, 64; 
 barge, the, meets Elizabeth (1559), i, 199! 
 represented by Mercatura (1684), ii, 62 ; school 
 of, [St. Paul s school], i, 225; i, 228; Virgin, 
 the, ii, 82, and n. 8; Virgin (1655), ii, 44; 
 Virgin of the, in the 1662 "triumph," i, 248; 
 Virgin in 1686, and "greenmen," ii, 63, n. 6; ii, 
 85; Virgin described by Celia Fiennes, ii, 67. 
 
 Mercers (London, 1783), ii, 99. 
 
 "Merchant-mount," the, at Chester, i, 45, n. 5; 
 ii, 224. 
 
 Merchants (pageantic), (London, 1533), i, 182, n. 4. 
 
 Merchants, rise of, in the Netherlands, i, 55. 
 
 Merchant Seamen s Orphanage, the Royal, boys 
 from the, in the 1913 Show, ii, 138. 
 
 Merchant ships engage with Turkish Pirate (Lon 
 don, i6io),i, 232. 
 
 Merchant-strangers to contribute pageants (Lon 
 don, 1554), i, 190; of the Steelyard (1554), i, 
 192. 
 
 Merchants trade, the, symbolized by a ship (1638), 
 ii,72. 
 
 Merchant-Taylors arms on streamers (1553), ii, 
 13; dispute with Skinners, ii, 9; history of, 
 recounted (1605), ii, 29; pageant of the, in 
 the 1662 "triumph," i, 248; provide cresset- 
 bearers for Midsummer Eve muster (1567), i, 
 42; in the 1822 procession, ii, 108; the 
 1602 properties of the, used in 1605, ii, 28 f.; 
 records of the, concerning the 1561 Show, ii, 18 f., 
 and notes; ruling about breakfast and smok 
 ing (1768), ii, 97; represented by Vestiaria 
 (1684), ii, 62; Show of the (1602) ii, 27 f. 
 
 Merchant-Taylors (London, 1783), ii, 99. 
 
 "Merchester," the Pageant of, ii, 204. 
 
 Mercury (Avignon, 1600), i, 220; (Chester, 
 1610), i, 230, and n. 3; (Edinburgh, 1503), i, 
 169, and n. i; (Edinburgh, 1633), i, 236; 
 (London, 1533), i, 183; (London, 1612), ii, 
 32; (London, 1692), ii, 73. 
 
 Mercy, in the " Chasteau d Amour," i, 80; (Edin 
 burgh, 1908), ii, 223; (London, 1432), i, 145; 
 i, 146, and n. 3; (London, 1547), i, 186; 
 (London, 1554), i, 194. 
 
 "Mermaid," pageant of the, given to "common 
 alty" of Norwich, ii, 12. 
 
 Mermaids (London, 1612), ii, 32; (London, 
 1616), ii, 80, n. 6; (London, 1628), ii, 39. 
 
 Mermen and Mermaids (1700), ii, 69; (1761), ii, 
 95; ii,96. 
 
 Merry Andrew i, 7, n. i; (Chester, 1910), ii, 
 224. 
 
 Merry Mount, revels at, ii, 236, n. 4; ii, 286. 
 
 [Meschianza, the] a tournament during the Revo 
 lution, ii, 286. 
 
 Metrical romances, i, xvii; tournament in, i, 
 89. 
 
 Metropolis (London, 1684), ii, 61. 
 
 Metz, Henri IV at (1604), i, 226. 
 
 Mexican Joe (Lichfield, 1893), ii, 150. 
 
 "Mexican War, the," scene entitled (Norristown, 
 1912), ii, 250. 
 
 Mexico (St. Louis, 1892), ii, 253, n. 6. 
 
 "Mi-careme" carnivals of students in France, ii, 
 147, n. 4. 
 
 Middies (Knutsford, 1913), ii, 154. 
 
 Middleton, Hugh, and the 1913 giant, {,63. 
 
 Middleton, Sir Thomas, Mayor of London (1613), 
 
 ii,33- 
 
 Middleton, Thomas, contributes a speech to the 
 1604 "entry," i, 222, n. i; i, 223; i, 225; and 
 Munday collaborate (1623), ii, 38; gives alle 
 gorical significance to former mayors, ii, 78, and 
 n. 4; paid to provide the pageants in 1617, 
 ii, 37, n. 5; ii, 206, n. 2; wins theVi6i7 Show 
 from Dekker and Munday, ii, 37; writes 
 "Civitatis Amor," i, 233; and the 1626 pag 
 eants, i, 235. 
 
 Middleton s "Triumphs of Truth" (1613), i, in; 
 ii, 33 f.; ii, 213 f.; "Triumphs of Health and 
 Prosperity" (1626), ii, 39, n. i. 
 
 Middleton, Hugh (London, 1913), ii, 36; ii, 138, and 
 n. 2. 
 
 Middleton, Sir Thomas (London, 1895), ii, 127; 
 (London, 1906), ii, 132; with his immediate 
 predecessor (London, 1913), ii, 139. 
 
 Midsummer Eve, the muster on; (1567), i, 42; 
 giant of the Drapers named (1522), i, 195. n. 
 2 ; Show transferred to Mayoralty proces 
 sion, ii, H; cresset- or torch-bearers of, i, 
 41, and n. i; i, 42, and n. 2; i, 72; i, 73. 
 Shows in the Provinces, i, 43-47; at Chester, 
 i, 43 ff; i, 50; i, 64; Watch, i, 32; i, 36 ff.; - 
 decay of, at London, i, 41 ff . 
 
 Milbourne, Sir John (London, 1623), ii, 78. 
 
 Military State (Antwerp, 1803), i, 254. 
 
 Milkmaid and cow in early Knutsford processions, 
 ii, 154, n. 4. 
 
 Milk Street end (London,) ii, 51, n. 2. 
 
398 
 
 INDEX 
 
 Millbrook May Day, i, 12. 
 
 Millers car in the Ripon procession (1886), ii, 160. 
 
 Mills, Peter, surveyor of the city, engineer of the 
 1 66 1 pageantry for Charles II, i, 243; an 
 engineer of the 1662 "triumph," i, 250. 
 
 Milner, Miss Edith, arranged revels at Grimston 
 
 (1884), ii, 159- 
 
 Milton, procession at, a revival of May-Day festiv 
 ities ii, 154. 
 
 Milton, John, on pageantic tournaments, i, 100, 
 n. i; the introduction of the Chester Pageant 
 draws on, ii, 215. 
 
 Milton, John (London, 1908), ii, 135. 
 
 Minehead, May-day ship at, i, u, n. 4; i, 12. 
 
 Miner, a Canadian (Knutsford, 1913), ii, 153. 
 
 Minerva (Avignon, 1600), i, 220; (London, 
 1628), ii, 39; (London, 1676), ii, 77, n. 3; 
 (London, 1676), ii, 79, n. 2; (Paris, 1513), i, 
 171; on a banner (St. Louis, 1847), ii, 238. 
 
 Mines and Miners (Providence, 1919), ii, 289. 
 
 Mining, School of, represented in the 1906 Show, 
 ii, 132. 
 
 Minister, the, (Boston, 1910), ii, 266, n. 2; ii, 267. 
 
 Minneburg, the, i, 115, n. 3. 
 
 Minstrels, ch. i, 4 (i, 49 ff.); at Coventry, i, 49; 
 
 at Leicester, i, 16; in London "ridings," 
 i, 49, n. 4. 
 
 Minstrel, a (Hamburg, 1852), ii, 147, n. 4. 
 
 Minstrelsy represented by troubadours (Boston, 
 1908), ii, 283. 
 
 Minutaria (London, 1684), ii, 62. 
 
 Minute, a (London, 1677), ii, 74; ii, 191. 
 
 Miracle-play and modern pageant, technical de 
 velopment of, ii, 211, n. 5. 
 
 Miracle-plays, old, reproduced in modern pageants, 
 ii, 219, and n. i; reproduced by Nugent 
 Monck, ii, 196, n. i; not pageants, i, xvi, and 
 n. 4; movable wagons from, i, xix. 
 
 Mirfin, Mayor of London (1518), i, 173, n. 5. 
 
 Mirtillo (London, 1684), ii, 62. 
 
 Mission Church children from the (Boston, 1912), 
 ii, 246. 
 
 "Miss Matty s Tea Party" (Knutsford, 1914), ii, 
 
 IS4- 
 Missouri (St. Louis, 1886), ii, 253, n. 4; (St. 
 
 Louis, 1892), ii, 253, n. 6. 
 "Missourian, a native, inaugurated President of 
 
 the United States" (St. Louis, 1892), ii, 253, n. 6. 
 Mists, Spirits of (London, 1911), ii, 225. 
 Mixelburgh, place for tournament near, i, 89. 
 Mock assault of a castle at a masque (1501), i, 114; 
 
 battle (Bristol, 1574), i, 206 f.; or fighting 
 show (London, 1638), i, 237 f., (Sandwich, 
 iS73)> i, 206; (Warwick, 1572), i, 206, and 
 n. 2. 
 
 "Mock-execution" of tree-spirit in Bavaria, i, 51, 
 
 n. 2; i, 72. 
 Mock-fight between English and foreign fleets 
 
 (1814), ii, 162 ; between characters in out-door 
 
 masque (Elvetham, 1591), i, 216; between 
 Envy and Virtue (1612), ii, 32; at Naples 
 (1443), i, 147, n. 2; in civic water-progress 
 (1656), ii, 45 f.; in an Oxford interlude, ii, 
 223; in revels at Diisseldorf (1852), ii, 147; 
 at Scarva (1914), ii, 186. 
 
 Mock-fighting, dance, and speech, in folk-plays, i, 
 105. 
 
 Mock-fights at London "Royal Naval and Mili 
 tary Tournament," ii, 187 f. 
 
 "Mock sacrifices," i, 51, n. 2. 
 
 Mock-struggle between Truth and Error (1613) 
 has a moral flavor, ii, 34 f.; tournament at 
 Ripon (1886), ii, 161; ii, 185. 
 
 Model of Melrose in the Ripon procession (1886), 
 ii, 160; the "Mountjoy" (Belfast, 1914), ii, 
 181; Penn s house at Upland carried in pro 
 cession (Chester, 1882), ii, 240; a Thistle 
 (Edinburgh, 1832), ii, 166. 
 
 Models in the 1907 Show, ii, 133 f.; of canoe and 
 ocean liner (New York, 1909), ii, 243; of cap 
 tured cities in the 1914 "Tournament," ii, 189; 
 
 of churches and the "Old Academy" in the 
 Norristown procession of 1912, ii, 249, and n. 3; 
 
 printing-press and ships (1902), ii, 129; 
 ships (St. Louis, 1847), ii) 237; ships and loco 
 motives (Philadelphia, 1882), ii, 240. 
 
 Modena, Duke of, his daughter marries the Duke 
 
 of York, ii, 172. 
 
 "Modernity," a Parkerian protest against, ii, 195. 
 Modern pageant, the, see pageant. 
 "Modern pageant, the," and "pageant of modern 
 
 times," ii, 195, n. i. 
 Modesty in a masque at Norwich, (1578),!, 211; 
 
 (London, 1613), ii, 34; (London, 1618), ii, 38. 
 Monodnock (Keene, 1913), ii, 271, n. 4. 
 Monarchic, (London, 1604), i, 223. 
 Monarchy, Britain s, (London, 1661), i, 244. 
 Monck, Nugent, and his work, ii, 196, n. i; ii, 229, 
 
 n. 2. 
 Monk, General, received by the Companies (1660), 
 
 ii, 57, n. i. 
 
 Monk, General (London, 1911), ii, 137. 
 Monk, a (Edinburgh, 1908), ii, 214. 
 Monks with St. Wilfred (Ripon, 1886), ii, 160. 
 Monologues, i, xix. 
 
 Monotony of shows explained, ii, 65 f. 
 Mons, giants at, i, 55, n. 2. 
 Monsters, related to giants, i, 54. 
 Montagu, Lady Mary Wortley, describes show at 
 
 Adrianople (1717), ii, 87 f. 
 Montcalm, soldiers of, (Quebec, 1908), ii, 240. 
 Montcalm (Quebec, 1908), ii, 263, and n. 4; ii, 
 
 264. 
 
 "Mont de Parnasse" at Lyons (1627), i, 77, n. i. 
 Montacute, William of, keeps a tournament in 
 
 Cheap (1331), i, 90. 
 Montedute, Lord, entertains Elizabeth at Cowdray 
 
 (1591), i, 216. 
 
INDEX 
 
 399 
 
 "Montezuma, meeting of, and Cortez" (St. Louis, 
 1886), ii, 253, n. 4. 
 
 Montfort Castle, ii, 182, n. 2. 
 
 Montfort, Simon of (London, 190*7), ii, 133. 
 
 Month, a (London, 1677), ii, 74; ii, 191. 
 
 "Months, Pageant of the," ii, 191 f. 
 
 Months, the, personified, in Miss Rossetti s 
 
 masque, ii, 191. 
 
 Months personified (1679), ii, 74; ii, 191. 
 
 Montmorency, masque in honor of the Duke of, 
 (1572), i, 117. 
 
 Moor hi Peek s 1585 Show, i, 40, n. 5; ii, 23; 
 image of a (Norwich, 1556), ii, 16. 
 
 Moore, Sir John, Mayor of London (1681), ii, 59. 
 
 Moorgate Street (London), ii, 114. 
 
 Moorish Kings, representing the Goldsmiths Com 
 pany, ii, 138, and n. 2. 
 
 Moors, developed from "wild-men," i, 73; 
 "drolls "representing (167 2 and 1673), ii, 53; 
 (Edinburgh, 1590), i, 215; in a tilt (1594), i, 
 218, n. 7; King of, converted by example of 
 English merchants (London, 1613), ii, 34; on 
 leopards (London, 1656), ii, 46; (London, 
 1662), i, 248; Queen of (London, 1613), ii, 34; 
 relation of, to foresters, wild-men, devils, 
 etc., i, 74; (Stuttgart, 1609), i, 99; (Stutt 
 gart, 1617), i, 234; on unicorns (1611), ii, 
 
 3i- 
 
 Moral allegory and chivalric combined, i, no; 
 element connected with Orpheus (1671), ii, 51. 
 
 "Moral equivalent," a, for war, suggested by Mr. 
 MacKaye, ii, 301 f. 
 
 Moral significance hi mock-fight (1612), ii, 32; 
 suggestion given Orpheus (1656), ii, 46. 
 
 "Morality" and "pageant" cross-influences, i, 
 196, n. 2; and "disguising," i, 107 f.; "pag 
 eant," and allegory, i, 136, n. i. 
 
 Morality element attached to history, ii, 79; 
 element attached to mythology, ii, 77, n. 2; 
 flavor of the Jordanian "interlude," ii, 76. 
 
 Morality-play, i, xviii, characterization in the, 
 ii, 213; and chronicle-history, ii, 232; 
 figures from the, in a tournament (Hesse, 1596), 
 i, 219; flavor in the 1613 Show, ii, 35; fla 
 vor in the older civic shows, ii, 232; flavor of 
 the Shows due to allegory, ii, 77; influence of, 
 on 1432 "entry," i, 141, n. 2; the Masque at 
 St. Louis resembles a, ii, 273; a modern, at 
 Oxford (1907), ii, 222 f.. 
 
 "Moral meaning" in christening pageantry (1594) 
 i, 219. 
 
 More, Mr., paid for hire of harps and his child 
 playing in the pageant (1561), ii, 19. 
 
 More, Sir John (London, 1895), ii, 127, and n. 3. 
 
 More, Sir Thomas, rewarded for suggestions re 
 garding pageants (1522), i, 175; makes oration 
 of welcome to Charles V, i, 175. 
 
 Morgan, Mrs. Marie J., dramatized "From King 
 dom to Colony," ii, 277, n. 2. 
 
 Morions, with darts and targets (Norwich, 1556), 
 
 ii, 16; ii, 17. 
 de Morle[y], Robert, in a three-day tournament 
 
 (1331), i, 90; in another tournament (1343), 
 
 i, 92, n. i. 
 Morley, Lady, Christmas disguisings forbidden by, 
 
 i, iii, n. 7. 
 Morris-dance at coronation of Augustus II, i, 252, 
 
 n. 5; at Kenilworth (1575), i, 208; (London, 
 
 1661), i, 243, n. i. 
 Morris dancers (Bury St. Edmunds, 1907), ii, 224, 
 
 n. 7; (Chester, 1910), ii, 224; (Colchester, 
 
 1909), ii, 224, n. 7; at Knutsford (1913), ii, 
 
 153; (Lichfield, 1893), ii, 150; (Lichfield, 
 
 1914), ii, 152; (Potter Heigham, 1907), ii, 
 
 224, n. 7; (Sherborne, 1905), ii, 210; ii, 211, 
 
 n - 3; (Winchester, 1908), ii, 225; (York, 
 
 1909), ii, 224, n. 7; at Revesby, i, 7, n. i; - 
 
 at Salisbury (1496), i, 162. 
 "Morrismen," i, 7, n. i. 
 Mortals (Edinburgh, 1908), ii, 214. 
 Mortimer, Roger, founds a "Round Table" at 
 
 Kenilworth, i, 90; Roger, of Wigmore, i, 90. 
 Morwidus, Earl of Gloucester (London, 1522), i, 177. 
 Moses, the blind bell-man of Knutsford, ii, 154, 
 
 n.4. 
 Moses (Boston, 1908), ii, 282; (Bruges, 1468), 
 
 i, 152; (Bruges, 1515), i, 172. 
 Moses and Aaron at Norwich, ii, 12, n. 3. 
 "Mother Goose" pageant at Greensboro, ii, 253, 
 
 n. 5. 
 
 Mother Goose (Cambridge, 1919), ii, 284. 
 Motor-car and stage-coach (1896), ii, 128; 
 
 (1901), ii, 129; (1910), ii, 267. 
 Moulton, Lydia (Marietta, 1888), ii, 258, n. 3; 
 
 Mrs. (Marietta, 1888), ii, 258, n. 3. 
 Mound-Builders, the (St. Louis, 1914), ii, 273. 
 "Mount," or movable pageant, in a tilt (1581), i, 
 
 213 f. 
 
 Mountagu, a French agent, at the 1678 Pope- 
 burning, ii, 172, n. 2. 
 "Mount of Love" in a wedding masque (1501), i, 
 
 114. 
 
 Mountain, "subtlety" of a, i, 83, n. 3. 
 Mountains, Spirits of (London, 1911), ii, 225; 
 
 Spirits of the (St. Johnsbury, 1912), ii, 270; 
 
 Spirits of the (Thetford, 1911), ii, 270. 
 "Mount Grace," the derivation of the name of, ii, 
 
 280; Royal, the (London, 1623), ii, 79. 
 Mount of fame (London, 1618), ii, 38. 
 Mount Holyoke College, a "Pageant of Progress" 
 
 at, ii, 286. 
 
 Mount triumphant (1613), ii, 34 f. 
 Mountague, Mr., arranges for transparencies 
 
 (1801), ii, 102. 
 "Mountjoy, the," pictured at Belfast (1914), ii, 
 
 181. 
 Movable islands with nymphs (Kenilworth, 1575), 
 
 i, 208; pageants, i, 19, n. 4; i, 20, n. 3; 
 
400 
 
 INDEX 
 
 scenery ^1636 and 1637), i, 120, and n. 5; 
 
 wagon, i, xix. 
 
 Moving pageant, a, at banquet (1594)1 i> 218 f- 
 Mowbray, Andrew, his yard damaged, i, 195. 
 " Mucedorus," Bremo in, i, 76. 
 Mucedorus (London, 1684), ii, 62. 
 Much Park Street (Coventry), i, 204. 
 Much, the Miller s son (London, 1615), ii, 144, n. i. 
 Muharrum, the, i, 17. 
 
 Muhlenberg, Peter (Norristown, 1912), ii, 249. 
 Mulcaster, Mr., author of verses (i575)> i> 2o8 > n - 5! 
 
 scholar of, delivers oration to James (1604), 
 
 1,225. 
 Mulciber (London, 1606), i, 228, n. i; (London, 
 
 "Mummer s play," i, xvii. 
 
 Mummers plays, i, 6 f., and notes 2 and 3. 
 
 [Esquimaux; Canadian Indians; Zurich; Wales; 
 Gothland; Berkshire; Oxfordshire; Hereford 
 shire; Dorsetshire; Lutterworth; Scotland.] 
 
 Mummers at Court (1377), i, 104; at Midsum 
 mer, i, 41; at Ripon (1886), ii, 160. 
 
 " Mumming," i, 8 ff. 
 
 Mumming at Christmas in Wales, i, 6, n. 2; i, 17, 
 and n. i; cloaks sedition, i, 8; i, 104; de 
 rived from folk-custom, i, 105; in Brooklyn 
 on Thanksgiving Day, ii, 158; prohibited, i, 
 103 f. 
 
 Mumford, John, son of, in Norwich pageant (1469), 
 
 i, 153- 
 
 "Mumming" and "disguising", i, 105 f. 
 
 Munday, A., alludes to London giants (1605), 
 i, 60; furnished characters and porters for the 
 1613 pageants, ii, 35, n. 3; and Middleton 
 collaborate (1623), ii, 38; paid for his part in 
 the 1610 water-triumph, i, 231; paid "in 
 benevolence" for unsuccessful project, ii, 37; 
 reproved by the Ironmongers (1609), ii, 30. 
 
 Munday s unsuccessful suit, ii, 30; "Camp-bell; 
 or the Ironmongers Fair Field (1609), ii, 29 f.; 
 "Chrysanaleia" (1616), ii, 37; "Chryso- 
 Thriambos" (1611), ii, 31; " Himatia-Poleos " 
 (1614), ii, 36; "Sidero-Thriambos" (1618), 
 ii, 38; "Triumphs of Reunited Britannia" 
 (1605), ii, 28 f. 
 
 Mundus in "Mary Magdalene," i, 108; in 
 "The Castle of Perseverance," i, no. 
 
 Munich, pageantry at (1662), i, 118 f. 
 
 Munificence (London, 1623), ii, 78; (London, 
 1626), ii, 78, n. 4. 
 
 de Munteinni, killed at a "Round Table," (1252), 
 1,89. 
 
 Murimuth notes tournaments at Smithfield, i, 92. 
 
 Murray (Quebec, 1908), ii, 263, n. 4. 
 
 Muscovian, a (London, 1617), ii, 76. 
 
 Muse of poetry (Lichfield, 1009), ii, 151. 
 
 Muses, the (Edinburgh, 1633), i, 237; (in a 
 Hessian tilt, 1596), i, 219; (London, 1533), 
 i, 182, and n. 5; (London, 1554), i, 192 f.; 
 
 (London, 1604), i, 225, and n. i; bower of 
 (London, 1606), i, 228, n. 4; (London, 1890), 
 ii, 126; (Stuttgart, 1617), i, 234; burned in 
 France (1629), i, 241; in a (1572) masque at 
 Whitehall, i, 117; i, 205, n. i; (Peterborough, 
 1910), ii, 264. 
 
 Musgrove, Alderman, the example of, followed, ii, 
 116. 
 
 Music for the 1801 dinner, ii, 103; Hall (Boston), 
 ii, 260; in 1839, ii, in, n. 4; in the Peter 
 borough Pageant, ii, 264 f.; ii, 265, n. i; in 
 the shows, ii, 84; not harmony (1823), ii, 
 1 08, n. 3; represented at Lichfield in 1912,0, 
 152. 
 
 Music, Dame, and her Scholars (Edinburgh, 1579), 
 i, 2121. 
 
 Music (Boston, 1908), ii, 283; (Edinburgh, 
 1908), ii, 214; (Liverpool, 1907), ii, 163; 
 (London, 1432), i, 145; (London, 1890), ii, 
 126; Outdoor (New York, 1909), ii, 244, n. i. 
 
 "Musical dialogues," ii, 52; ii, 62; ii, 84. 
 
 Musicians with Doctors of Music (London, 1908), 
 ii, 135; with Apollo and Doctors of Music 
 (London, 1783), ii, 99. 
 
 Muskingum, the landing of the French at the 
 mouth of the (Marietta, 1888), ii, 258. 
 
 Muster and allegory, i, 207; of citizens, i, 42, 
 n.3. 
 
 "Muster of the crafts" at London, (1469) i, 47. 
 
 "My Lady s Dress," technical resemblance of 
 "Disinherited ?" to, ii, 231. 
 
 Mystery plays, old, in modern pageants, ii, 219, 
 andn. i. 
 
 "Mythical-founder," i, 158, and notes i, 2, and 3. 
 
 "Mythical-founders" and symbolism, i, 81. 
 
 Mythical history of Britain in the 1605 Show, ii, 
 28 f.; in the modern pageant, ii, 217, n. 3; 
 ii, 218, and notes. 
 
 Mythological characters at Paris (1596), i, 219; 
 in the pageant, i, 81 ; element in French "feux 
 d artifice," i, 240 f.; history of Antwerp giant, 
 i, 254, n. 4. 
 
 Mythology, i, 14, n. i; allegory, and history in 
 the 1904 Show, ii, 130; and Biblical element, 
 ii, 82; in a court masque (1594), i, 218 f.; 
 and history combined, ii, 79, n. 5; history, 
 and symbolism (1626), ii, 78, n. 4; in the 
 Hudson-Fulton Pageant (1909), ii, 244, n. i; 
 in the Lord Mayor s Show first instance of 
 (1561), ii, 18, and n. 2; and morality element, 
 ii, 77, n. 2; in pantomime on the "Lord 
 Mayor s Show" (1783), ii, 99; in the Peter 
 borough Pageant, ii, 264; ii, 265; and trade 
 (1890), ii, 125; and trade combined (1685), 
 n. 63; and trade-symbolism united, ii, 71 f.; 
 and "wild man" combined (1663), ii, 49. 
 
 "Naked boys" at Chester, i, 44, n. 8; i, 45, n. 5; 
 i, 46, and n. 2. 
 
INDEX 
 
 401 
 
 Nameless characters (Boston, 1910), ii, 266, and 
 n. 2; (Peterborough, 1910), ii, 264 f.; ii, 266, 
 andn. 2. 
 
 Naming of giants, i, 56 ff., and i, 57, n. 2; Lon 
 don giants in 1522, i, 58, n. i. 
 
 "Naming of Mt. Hope," [or Mt. Grace] episode of, 
 in the Warwick (Massachusetts) Pageant, ii, 
 279; ii, 280. 
 
 Naples, Alfonso the Great, at (1443), i, 147, n. 2. 
 
 Napoleon at Antwerp (1803), i, 254 f. 
 
 Napoleon, Prince Louis, in the Eglinton tourna 
 ment (1839), ii, 182, n. 2; ii, 185. 
 
 Narrative Chorus in the modern pageant, ii, 211, 
 and n. i; ii, 216, n. i. 
 
 Narrator (Potter Heigham, 1907), ii, 229. 
 
 Nash, one of the City Waits (1801), ii, 102. 
 
 National Drama, L. N. Parker on the, ii, 196. 
 
 National Guard, members of the, as Revolutionary 
 soldiers (Norristown, 1912), ii, 249, n. 6. 
 
 National history linked with civic, hi the 1783 
 pantomime, ii, 100; in recent civic shows, 
 ii, 119; ch. vi, 4, passim. 
 
 National Pageants, mention of, ii, 202, n. 4. 
 
 National Service League tableau (Lichfield, 1909), 
 ii, 151. 
 
 "Nations, flags of all" (Plymouth, 1896), ii, 260. 
 
 "Nations linked together by the wireless" (Boston, 
 1912), ii, 247. 
 
 Nations personified (London, 1853), ii, 116, n. 3; 
 represented by their coats-of-arms (Boston, 
 1912), ii, 247; symbolized by their inhabi 
 tants (1617), ii, 76; symbolized in the Lord 
 Mayor s Show of 1853, i, 256; symbolized in 
 the Lord Mayor s Shows, ii, 204, n. 2. 
 
 "Nativity, the" (Edinburgh, 1579), i, 213, n. i; 
 -(Paris, I43i),i,i39f. 
 
 Nature (London, 1432), i, 144; ii, 77; (London 
 1547), i, 186; (London, 1591), ii, 26; (Lon 
 don, 1591), i, 77. 
 
 Nature, Queen (Edinburgh, 1908), ii, 223. 
 
 "Naumkeag Indians, camp of the" (Marblehead, 
 1912), ii, 277. 
 
 Naval history in the 1911 Show, ii, 136 f. 
 
 Naval officers in uniforms of 1808 (London, 1895), 
 ii, 128. 
 
 "Naval Pageant on the Thames" (1909), ii, 242, 
 
 n. 3 
 Navigation (London, 1661), i, 245; (London, 
 
 1004), ii, 130. 
 
 Navy, the, at play, ii, 157, and n. 3. 
 Navy float, the, wins praise in New York pageant 
 
 (1918), ii, 252. 
 "Navy, the Miniature" (Boston, 1897), ii, 261, 
 
 n. 3. 
 Naylor, Sir George, Garter King at Arms (1833), 
 
 ii,no. 
 
 Need of Knowledge, Queen (London, 1911), ii, 225. 
 Negro "from India" (1684), ii, 62. 
 Negroes on panthers (London, 1671), ii, 51. 
 
 Neilson, W. A., on "Court of Love," i, 100, n. 3; 
 on masque at Norwich (1578), i, 211; on the 
 Sudeley pastoral, i, 218, n. 2. 
 
 Nelson, George, late mayor (1767), ii, 94. 
 
 Nelson, Admiral Lord (London, 1911), ii, 137; 
 (London, 1914), ii, 228, n. 2. 
 
 Nelson s Show for 1590, ii, 25. 
 
 Neoptolemus (Winchester, 1908), ii, 225. 
 
 Neptune in the ceremony connected with crossing 
 the Equator, i, 9; ii, 157. 
 
 Neptune (Antwerp, 1803), i, 254; (Edinburgh, 
 1594), i, 218; (Elvetham, 1591), i, 216; 
 (Little Compton, 1914), ii, 250; (London, 
 1605), ii, 28; (London, 1606), i, 228, n. i; 
 (London, 1610), i, 230; (London, 1612), ii, 
 32; (London, 1616), i, 233; i, 234; (Lon 
 don, 1657), ii, 47; painted (London, 1661), i, 
 245; (London, 1685), ii, 63; (London, 
 1691), i, 145, n. 3; (London, 1692), ii, 73; - 
 (London, 1701), ii, 75; (London, 1890), ii, 
 125- 
 
 Neptune s car, in a Belgian triumph, i, 195, n. i; 
 Throne (London, 1612), ii, 32. 
 
 Nereus (Elvetham, 1591), i, 216; i, 217, and n. i. 
 
 Nero (Edinburgh, 1503), i, 169. 
 
 Neara (Elvetham, 1591), i, 216, i; 217. 
 
 Netherlands, rise of merchants hi the, i, 55. 
 
 "Netley," boys from the, in the 1881 Show, ii, 121. 
 
 Neutral countries personified (London, 1919), ii, 
 141. 
 
 New England, belief that early inhabitants were 
 gigantic in, i, 53. 
 
 New England Conscience (Boston, 1910), ii, 266, 
 n. 2; ii, 267; (Taunton, 1911), ii, 266, n. 2; 
 ii, 269. 
 
 New Hall, (Dublin), i, 251. 
 
 New Haven, historical scenes acted by Yale men 
 at (1901), ii, 262; scenes at, in the Yale Pag 
 eant of 1916, ii, 274, and n. i. 
 
 New Orleans, Mardi-Gras celebrations at, ii, 252. 
 
 New River, opening of (1613), ii, 36. 
 
 New River symbolized in the 1913 Show, ii, 75, n. 7. 
 
 "New Troy," a name for London, i, 58, n. 2. 
 
 "New Troy s Tree of Honor" (1628), i, 82, n.2; 
 ii, 39, and n. 4. 
 
 New Year s Eve, mumming on, i, 8. 
 
 New York (York, 1909), ii, 215, n. 2. 
 
 New York, the Hudson-Fulton Pageant at (1909), 
 ii, 242 f. 
 
 "New York, Publishing the Constitution of the 
 State of" (New York, 1909), ii, 243. 
 
 New York, scene at (New Haven, 191 6), ii, 275. 
 
 "New York Title Car, the" (New York, 1909), ii, 
 
 243- 
 New York, woman suffrage procession at (1912), 
 
 u > 255; a war-time Fourth of July pageant at 
 
 (1918), ii, 251 f. 
 New Zealand represented by a float (London, 
 
 1883), ii, 122. 
 
402 
 
 INDEX 
 
 New Zealand Agriculturalist (1905), ii, 131. 
 Newenton, Thomas, sheriff (1392), ii, 5. 
 Newfoundland (London, 1919), ii, 141. 
 Newington Butts, inn of Elephant and Castle at, 
 
 i, 68, and n. 2. 
 
 Newsboys of the present (Boston, 1912), ii, 245. 
 Newspapers scorn "men in armor" (1850), ii, 115. 
 "Nezahualcoyotl, King, at Tezcoco" (St. Louis, 
 
 1886), ii, 253, n. 4. 
 
 Nicolas, Sir N. H., on the Round Table, i, 93. 
 Nicholas, Thomas, at Norwich, ii, 12, and n. 3. 
 Nicholls, Robert, horses of, carry pageant of King 
 
 Solomon (Norwich, 1546), ii, 12. 
 Nichols, Humphrey, maker of fireworks (1613), ii, 
 
 35, n. 3. 
 Nichols, J. G., defines "wodyn," i, 77; ii, 13, 
 
 n. 13. 
 Night, Spirit of the (Marblehead, 1912), ii, 277; 
 
 ii, 278. 
 
 Night (Edinburgh, 1908), ii, 223. 
 Nile, Battle of the, commemorated (1814), ii, 
 
 162. 
 
 Nile Expedition Boat (1884), ii, 122, n. 3; ii, 123. 
 Nile, Statue of the God of the (1904), ii, 130. 
 Nine Worthies see Worthies; also Alexander, 
 
 Arthur, Caesar, Charlemagne, David, Godfrey 
 
 of Bouillon, Hector, Joshua, Judas Maccabaeus. 
 Nisa (Sudeley, 1592), i, 218. 
 Niven, Richard, on the Orange processions, ii, 180, 
 
 n. 2. 
 "Noah s Ark" (London, 1445), i, 148; with the 
 
 Shipwrights (London, 1783), ii, 99. 
 Nobles in mock-battle (Bristol, 1574), i, 206; 
 
 (Warwick, 1572), i, 206, n. 2. 
 Nobility, descendants of the old, in the Compiegne 
 
 tourney, ii, 187. 
 
 Nobility ["Noblesse"], (Paris, 1498), i, 162. 
 Nobility, The, personified (Paris, 1498), i, 164. 
 "Noel," as cry of joy, i, 134 f.; i, 135, and n. i. 
 Norfolk, Duke of, is asked if the clergy will attend 
 
 Anne Boleyn, i, 180. 
 Norman, Sir John, goes to Westminster by water 
 
 (1453), ii, 7 f.; not the first mayor to journey 
 
 by water to Westminster, ii, 4. 
 Norman, Sir John (London, 1614), ii, 36; (Lon 
 don, 1623), ii, 78; (London, 1626), ii, 78, n. 4; 
 
 (London, 1783), ii, 99. 
 Norman, Robert, and John Taylor underbid in 
 
 1635, ii, 42, and n. 5. 
 Norman period, the (Ripon, 1886), ii, 161; 
 
 (Rouen, i9ii),ii, 164. 
 Normandy (London, 1509), i, 170; (Paris, 1596), 
 
 i, 219. 
 Norris, Lord, Elizabeth s host at Ricorte (1592), 
 
 i, 217, n. 2. 
 "Norris and Trent Purchase, the" (Norristown, 
 
 1912), 11,249. 
 Norriton Church, model of the (Norristown, 1912), 
 
 ii, 249, n. 3. 
 
 "Norriton Plantation, Public Sale of the" (Norris 
 town, 1912), ii, 249. 
 
 Norristown, the Pageant of (1912), ii, 248 f. 
 
 Norroy, William Le Neve, his MS. recounting the 
 1547 "entry," i, 185, n. 6. 
 
 Norsemen (Ripon, 1886), ii, 160; (Rouen, 1911), 
 ii, 164. 
 
 Northampton, tournament at (1342), i, 91. 
 
 "Northmen, the Discovery of the" (St. Louis, 
 1886), ii, 253, n. 4. 
 
 Northumberland, Earl of, at the Coronation of 
 Richard III, i, 154. 
 
 Norton, the Hon. Mrs. (London, 1914), ii, 147, n. 2. 
 
 Norwegians in the New York Pageant of 1918, ii, 
 252. 
 
 Norwich, civic pageantry at, ii, ii f.; civic 
 pageantry at (1556), ii, 16 f.; Corpus Christi 
 at, i, 19, n. 8; dragon of, i, 26, n. 3 ; i, 27, n. 6; 
 i, 28; (and see "Snap"); Elizabeth at 
 (1469), i, 152 f.; Elizabeth at (1578); i, 81 f.; 
 i, 210 f.; "Fools" at, i, 27, 28; giants at 
 (1469), i, 57, n. 2; Guild of St. George at, i, 
 25, n. 3; i, 26; guild of St. Luke, i, 18, n. i; 
 guild of St. William, i, 17; Gurgunt at, i, 79; 
 i, 210; "insurrection" at, i, 8; jousts at, 
 exempted from prohibition of tourneys, i, 91; 
 Judases at, i, 26, n. 4; i, 27, and n. 2; Mayor 
 of, elected i May, ii, 12, n. 6; Mayoralty 
 Show described by Celia Fiennes, ii, 67 f.; 
 Midsummer Show at, i, 47, n. i, and n. 3; 
 Nugent Monck s pageant at, ii, 196, n. i; 
 pageantry at (1563), ii, 19; pageantry at 
 (1611), ii, 30 f.; "paradise," i, 19, n. 8; i, 35; 
 perambulation at, i, 35; plague at (1578), 
 i, 212; procession at, on Guild Day, i, 28; 
 Richard III at (1483), i, 156; St. George at, i, 
 25, n. 3; i, 26; i, 78; St. Margaret at, i, 26; 
 Waits at, i, 28; whifflers at, i, 71 ; Whitsun 
 pageants, i, 19, n. 8; Whitsun plays ,i, 27. 
 
 Norwich (Norwich, 1578) i, 82; i, 211; ii, 74. 
 
 Notre Dame (Paris), i, 164; i, 171. 
 
 "Notre Dame," a cake in the image of, i, 83. 
 
 Notre Dame d Answick, i, 12, n. 3. 
 
 Nottage, Charles G., compiles the pamphlet pub 
 lished in connection with the 1884 Show, ii, 122, 
 n. 2. 
 
 Nottage, George S., Mayor of London (1884), ii, 
 122, n. 2. 
 
 Nottingham, Midsummer Show at, i, 47, and n. 2. 
 
 "Nova Felix Arabia" (London, 1604), i, 224. 
 
 Nugent, Colonel, planner of the 1910 "muster," 
 ii, 189. 
 
 Numa Pompilius, worship of Terminus in the time 
 of, i, 14. 
 
 Nun, a (Edinburgh, 1908), ii, 214. 
 
 Nuncio received by Sir John Shorter, ii, 63, n. 8. 
 
 Nuns (London, 1680), ii, 173. 
 
 Nuremberg, tourney at (1197), i, 87; "turnier- 
 hof" at (1441), i, 88; tournament of fools 
 
INDEX 
 
 403 
 
 at, cited as parallel to the Eglinton tourney, ii, 
 183. 
 
 Nursery tales represented on cars (Lichfield, 1893), 
 ii, 150. 
 
 Nymphs with Ceres (Bisham, 1592), i, 217; 
 (Chester, 1910), ii, 215; in Gascoigne s 
 masque (1575), i, 209, n. i; in Gray s Inn 
 masque (1594), i, 218; representing Green 
 wich and Windsor, i, 249; on a movable 
 island (Kenilworth, 1575), i, 208; (London, 
 1585), ii, 24; (London, 1591), ii, 26; 
 (London, 1606), i, 228, n. i; (London, 1618), 
 ii, 38; (London, 1628), ii, 39; (London, 
 1638), ii, 72; (London, 1657), ii, 47; (Lon 
 don, 1661), i, 245; i, 246; attending Thetis 
 (London, 1662), i, 250; (London, 1671), ii, 
 S 1 ? (Oxford, 1907), ii, 223; representing 
 tributary rivers (London, 1662), i, 249. 
 
 "Nyse," image of, on a car (Alexandria), i, 17, n. 6. 
 
 Obedience (London, 1708), ii, 78. 
 
 Obedient Good Will (Bristol, 1574), i, 206. 
 
 Oberammergau, Passion Play at, ii, 205, and n. 3. 
 
 Oberholtzer, E. P., prepared the pageantic pro 
 cession for Founders Week (Philadelphia, 1908), 
 ii, 241, n. 6. 
 
 Objections to the Show voiced in the Times, ii, 
 117. 
 
 Oblivion (London, 1604), i, 224, and n. 6. 
 
 "Occasional" pageantry of recent years, ch. vii, 
 2, (ii, 1591.). 
 
 Oceanus (Elvetham, 1591), i, 216. 
 
 Odd Fellows, the, in the St. Louis procession 
 (1847), ii> 238; display of the (Lichfield, 1893), 
 ii, 151; lodges of the, in the Ripon procession 
 (1886), ii, 160. 
 
 Odin, horse frequently sacrificed to, i, 65. 
 
 Odo (Dover, 1008), ii, 219 f.; (Ripon, 1886), ii, 
 161. 
 
 Offley, Sir Thomas, Mayor of London (1556), ii, 15. 
 
 Officers, Old English (Knutsford, 1913), ii, 153. 
 
 Ogilby, John, poet for Charles II s progress (1661) , 
 
 i, 243- 
 
 Ogres (Ripon, 1886), ii, 159. 
 Old Black Baker (Peterborough, 1910), ii, 265, 
 
 n. 2. 
 Oldcastle, Sir John, accused of cloaking sedition 
 
 in a mumming, i, 104. 
 
 Old Change (London), i, 170; i, 228, n. i; ii, 46. 
 Old Colony Hall (Plymouth), ii, 236; ii, 237. 
 "Old Ironsides" (Norristown, 1912), ii, 249. 
 Old Jury (London), i, 242. 
 Old King Cole (St. Louis, 1888), ii, 253, n. 5. 
 Old Man (Peterborough, 1910), ii, 264. 
 "Old Plymouth Days and Ways," ii, 259. 
 Old South Historical Society, scenes given by the 
 
 (Boston, 1897), ii> 261. 
 "Old Time Punishments" (New York, 1909), ii, 
 
 243- 
 
 Old Woman (Peterborough, 1910), ii, 264. 
 
 Old Woman who lived in a Shoe (Lichfield, 1893), 
 ii, 150. 
 
 Olfactus (London, 1613), ii, 34. 
 
 Oliver, Mr., commissioned to find a standing for 
 the Stationers, (1678), ii, 56; to rank the 
 Barber-Surgeons as the seventeenth Company, 
 ii, 56; to enforce rule keeping the streets clear 
 (1677), ", 55- 
 
 Oliver, Andrew, hanged in effigy and burned 
 (1765) ii, 177. 
 
 Oliver (London, 1522), i, 79; i, 176; ii, 76. 
 
 Oliver Faction in a 1671 "interlude," ii, 52. 
 
 Olympia, Empress Donna (London, 1680), ii, 173. 
 
 Olympia, more recent military "tournaments" at, 
 ii, 188, n. i. 
 
 "One Country, One Flag" (Boston, 1912), ii, 245. 
 
 O Neil, the Irish pirate, capture of, celebrated, i, 
 56, n. 3. 
 
 "Open shows" forbidden by Mayor of London, 
 1560, i, 203, n. 3. 
 
 "Opening Future of Education and Citizenship, 
 the," in the "Masque of Learning," ii, 227. 
 
 Ophelia (Lichfield, 1909), ii, 151. 
 
 Opinion, in a 1634 masque and pageant, i, 118. 
 
 Opportunity (London, 1679), ii, 74; ii, 191; 
 (Providence, 1919), ii, 289. 
 
 Oppression (London, 1612), ii, 32. 
 
 "Oracle of Apollo" (London, 1661), i, 243, n. i. 
 
 Orangemen celebrate 12 July in Canada, ii, 252. 
 
 Orange v. Green at Scarva (1914), ii, 186. 
 
 Orange holidays celebrated in July, ii, 186; 
 processions of Ireland, ii, 180 f. 
 
 Orator addressed Mayor (Norwich, 1556), ii, 17. 
 
 Order of companies established (1515), ii, 9. 
 
 Order of the Garter and the 1344 "Round Table," 
 i, 93; origin of, i, 93, and notes. 
 
 Oriental civilizations in the " Masque of Learning," 
 ii, 227. 
 
 Origin of Continental giants, i, 55 ff.; of folk- 
 dances, i, 5; of the "Greenhill Bower," ii, 
 148, and n. i; ii, 149; of scenery, i, 112; i, 
 119 f., and notes. 
 
 Orlando (Lichfield, 1909), ii, 151. 
 
 Orleans, festival at, for Joan of Arc, ii, 164, n. 3. 
 
 d Orleans, Due, and a Paris tragedy (1393), i, 102, 
 n-3. 
 
 d Orleans, Monsieur, at the wedding of Mary, 
 Queen of Scots (1558), i, 98. 
 
 Ormeaux, Sieur des (Quebec, 1908), ii, 263. 
 
 Ormond, Duke of, at Dublin (1665), i, 251. 
 
 "Orpherie" (London, 1611), ii, 31. 
 
 Orpheus (London, 1554), i, 190; i, 192; i, 193; 
 (London, 1561), ii, 18, n. 2; ii, 19, n. i; ii, 73, 
 n. 2; (London, 1619), ii, 73; (London, 
 1656), ii, 46; (London, 1671), ji, 51; ii, 52; 
 ii, 73, n. 2; before Pluto (New York, 1909), 
 ii, 244, n. i; usually accompanied by min 
 strels, ii, 84. 
 
404 
 
 INDEX 
 
 Orr, William, director of the Springfield street- 
 pageant (1008), ii, 241 ; on the essential factors 
 of pageantry, ii, 194. 
 
 Orson (London, 1547), i, 79, and n. 7; i, 186; i, 
 196. 
 
 Orthodoxus (London, 1679), ii, 83. 
 
 Ossianic Cycle, the (Edinburgh, 1908), ii, 214. 
 
 Ostrich with Kaffir (1910), ii, 189. 
 
 Oswius, reputed founder of the Lichfield "Bower," 
 ii, 148. 
 
 Othello (Lichfield, 1909), ii, 151. 
 
 Otley, Robert, warden of Grocers Company, ii, 6. 
 
 Ottford, mumming at, i, 74. 
 
 "Our Lady s Feast" as celebrated in different 
 countries (New York, 1919), ii, 287. 
 
 "Our Plank" (New York, 1912), ii, 255. 
 
 Ouranos, father of giants, i, 51, n. 3. 
 
 Ouse bridge, at York, i, 158. 
 
 Outgrowths from pageantry, ii, 147. 
 
 Overseas troops in the 1914 and 1915 Shows, ii, 
 139; ii, 140; ii, 141. 
 
 Oxford, Elizabeth at (1566), i, 204; (1592), i, 
 218; "Jack" at, i, 70. 
 
 Oxford Pageant, the, of 1907, i, 145, n. 2; i, 204, 
 n. 2; ii, 220; ii, 222, n. 2; masque in the, 
 ii, 222 f.; interlude in the, ii, 186. 
 
 Oxford (Massachusetts) Pageant, a scene from the, 
 ii, 279. 
 
 Oxford (London, 1631), ii, 75. 
 
 "Pace-egg" play, the, i, 5. 
 
 Pack Monday Fair in Dorset, ii, 156. 
 
 Pagan giants, i, 52. 
 
 Page, a, in a group representing Chivalry (Boston, 
 1908), ii, 283. 
 
 "Pageant," "allegory," and morality-play, i, 136, 
 n. i; ceremony,the, ii, 200; change of 
 meaning of, from car to spectacle, ii, 24; ii, 29. 
 
 "Pageant-committee," the, and local improve 
 ment at Thetford, ii, 271. 
 
 "Pageant," definition of, by Sir A. W. Ward, i, 3; 
 by Professor Baker, ii, 291 ; by Miss Beegle 
 ii, 292 ; by H. A. Evans, i, 1 19, n. 2 ; by Mr. 
 Langdon, ii, 291 f.; by Mr. MacKaye, ii, 303; 
 by Mr. Parker, ii, 196; ii, 291; equivalent 
 of "show" or "scene" (1533), i, 183, n. 5; 
 etymology of, i, xvi, and n. i ; loose use of the 
 word, i, 258; ii, 242, n. 3; original meaning of, 
 i, xvi, and n. 2; and "festival," an arbitrary 
 distinction ,ii, 268 ; forms of the word, i, xv; 
 no French form of, i, 3, n. i ; generalization of 
 the word, i, xix. 
 
 "Pageant of modern times" and "modern pag 
 eant, "ii, 195, n. i. 
 
 "Pageant," the name, applied to Parkerian "folk- 
 play," ii, 198; the Parkerian, i, xix; i, xx; ii, 
 144; ch. viii (ii, 146 f.); pronunciation of, i, 
 xv; and "masque," i, 85; i, nzf.; i, 119; i, 
 221; and masque in America, ii, 238. 
 
 Pageants in a 1501 masque, i, 113; in a 1594 
 masque, i, 219. 
 
 Pageant, the aesthetic, i, xv; allegorical element 
 in the, i, 80 ff. ; Biblical element in the, i, 
 77 ff.; "body" of, i, xvii; i, 85; a, broken 
 during a court dance, i, 116, and n. 2; burned 
 (Bruges, 1515), i, 173; characters in, i, xvi; 
 (ch. i, 8-9), i, 72-84; with dancers (1503), 
 i, 114; development of, by church and guild, 
 i, xviii; educational, i, xv; historical ele 
 ment in the, i, 78 ff . ; legendary element in 
 the, i, 776.; unfinished, at Metz (1604), i, 
 226; and miracle-play, i, xvi, n. 4; i, 77; 
 the modern characteristics of, ch. viii, 3 (ii, 
 202 f.); the modern, a chronicle-play, ii, 209; 
 ii, 218 f.; ii, 232; the modern and the com 
 munity, ii, 202 f.; ii, 268; the modern, cost 
 of, ii, 206, and n. 2; ii, 234; the modern, 
 democratic aspect of, ii, 202; the modern, 
 disappearance of allegory in, ii, 212 f; rea 
 sons therefor, ii, 213 f.; the modern, and the 
 drama, ii, 195 f.; the modern, includes folk- 
 revels, ii, 211, and n. 3; ii, 224, and notes; the 
 modern, history in, ch. viii, passim; esp. ii, 217 f. 
 the modern, and the individual ,ii, 205; the 
 modern, its influence on the investiture of the 
 prince in 1911, ii, 227; the modern, has lost 
 the "body," but kept the "soul" and "spirit" 
 of the earlier pageantry, ii, 212; the modern, 
 masque, interlude, and joust in, ch. viii, 7 (ii, 
 222 f.); the modern, connected with May-day 
 festivals, ii, 211, and n. 3; ii, 224, and notes; 
 the modern, not a morality-play, ii, 214; the 
 modern, purpose of, ii, 195; ii, 232; the mod 
 ern, the "spirit" and "technique" of, ii, 294; 
 the modern, and the stage, ch. viii, 4 (ii, 208 f.) ; 
 ii, 229; the modern, structure of, ch. viii, 5 
 (ii, 2iof.); the modern, "technique" of, 
 combines masque, earlier pageant, and play, ii, 
 212; the modern, and the theatre, ii, 209 f.; 
 the modern, usually performed for a week, ii, 232, 
 n. 2; and morality cross influences, i, 196, 
 n. 2; mythological element in, i, 81; out 
 door production of, i, xviii; the, and the 
 pageant-play, a bridge between, ii, 229; a, 
 planned for both sides of the Atlantic, ii, 276; 
 "popular" quality of, i, xvii, xviii, i, 85; 
 romantic element hi, i, xvii; i, 79 ff.; "soul" 
 of, i, xvii; i, 85; "spirit" of, i, xvii; i, 85; 
 standard types of the, named by Mr. Davol, ii, 
 292; classified, ii, 294 f;. symbolism in, i, 
 xvi; i, 8iff.; techinque of, i, xvii; i, 85; 
 with thoroughfares, as a gate: see "arches"; 
 in a tilt (1581), i, 213; at wedding masque 
 (1503), i, 114. 
 
 Pageant-car and disguising united (1494), i, 112; 
 with "geniuses " of the king and queen (Avignon, 
 1600), i, 220; with masque, debat, and tour 
 ney (1528), i, 116 f.; in masque at Whitehall 
 
INDEX 
 
 405 
 
 (1572), i, 117; i, 205, n. i; in masques, i, 85; 
 i, 112 f.; i, 117; i, 118 f.; i, 205, n. i; i, 207 f.; 
 i, 218 f.; relation of, to scenery, i, xviii, ch. 
 ii, 3 (i, inf.). 
 
 Pageant-cars at Brussels (1853), and London 
 (1853), i, 256; in the coronation tournament 
 of Henry VII, i, 97. 
 
 Pageant-master, the, remarks on the position of, 
 ii, 200 f . 
 
 "Pageant-play," the, ii, 228 f.; in America, ii, 
 289 f. 
 
 "Pageant-plays" of modern times, ii, 196, n. i; 
 ii, 229 f. 
 
 "Pageant of American History, the" (Taunton, 
 (1911), ii, 269; of Education, the (Boston, 
 1908), ii, 281 f.; of Progress, a, at Mount 
 Holyoke College, ii, 286; ii, 295; of Progress, 
 the (Lawrence, 1911), ii, 269; Spring, a 
 (Washington), 1914, ii, 255; of the Year, the 
 (Brookline, Massachusetts), ii, 284. 
 
 "Pageant house" in Leadenhall used for pre 
 paring pageants (1657), ii, 47. 
 
 Pageantic animals in literature, i, 67, n. i ; 
 characters face the historical ones they repre 
 sent, i, 79; i, 140, and n. 4; i, 177; i, 178; i, 186; 
 i, 194; i, 200; i, 243, n. i; i, 245; i, 254; - 
 chivalry, skeleton of, ii, 104; features of 
 jousts, tourneys, and barriers, discussed by 
 Bacon, i, 115; features of the Kenilworth 
 Show (1575), i, 207 f.; features of mock- 
 battle at Bristol (1574), i, 206 f.; fireworks 
 (1606), i, 229; "machines" (Lyons, 1660), i, 
 240; masque at Munich (1662), i, n8f.; 
 material metamorphosed by masque, i, 121; 
 processions at Rouen, i, 98; ii, 164; proces 
 sion precedes Shirley s masque (1634), i, 117 f.; 
 
 production of plays and operas, ii, 209 f . ; 
 
 revels at Ripon (1886), ii, 159 f.; in Amer 
 ica, ii, 252 f.; revels at St. Louis, ii, 253 f.; 
 
 show, at Adrianople (1717), ii, 87 f.; soldiers 
 at Metz (1604), i, 226; tilt (1590), i, 215 f.; 
 tilt at Whitehall (1581), i, 213 f; tournament 
 (1503), i, 96; tournaments at Nuremberg and 
 Lille, i, 87; tourneys after 1350, i, 95 ff.; 
 tourneys in France, i, 94. 
 
 Pageantry, the aim of, ii, 293; and carnival, ii, 
 153; ii, 159; ii, 192; ii, 252; at christening 
 banquet (1594), i, 218 f.; "futurism" in, ii, 
 293; influence of, on the drama, i, 196, and 
 n. 2; and masque, i, 105; the older and the 
 Parkerian meet (1907), ii, 133; processional, 
 the range of, reviewed, ii, 257; punishment 
 for showing (Massachusetts, 1759-1797), ii, 
 176 f.; reappears (1841), ii, inf.; and 
 social service, ii, 292 ; ii, 301 f . ; spirit of, com 
 bined with technique of masque i, 7; still in 
 the making, ii, 235; tendency to exploit, for 
 profit, ii, 207. 
 
 Pageantry (Thetford, 1911), ii, 270. 
 
 "Pageantry for Returning Heroes," ii, 256 f. 
 Pageants lacking in 1682, ii, 60; in 1683, ii, 61; 
 
 in 1688, ii, 64; not provided for 1762, ii, 
 96 f.; at Avignon (1600), i, 220; in Corpus 
 Christi processions, i, 19 ff.; damage done by, 
 repaired (1662), i, 247; of limited appeal in 
 America, ii, 281 f.; for Midsummer Shows at 
 Chester, i, 43 ff., and notes; movable and 
 stationary, i, 19, and n. 4; at Norwich, ii, 12, 
 notes; older civic, revived in the Chester 
 Pageant of 1910, ii, 224; the origin of scenery, 
 i, 120; at Paris (1571), i, 204; in a pond 
 (Elvetham, 1591), i, 216; in Pope-burnings, 
 ii, 172 f.; prepared for Charles I and his bride, 
 removed (1626), i, 235; in processions, i, 16; 
 
 replaced by transparency (1801), ii, 103; 
 revived (1761), ii, 94 f . ; in Roman processions, 
 i, 17, n. 6; in "royal-entries" often fixed, i, 19, 
 and n. 4; i, 137; at a royal wedding masque 
 (1501), i, 113 f.; at a show described by Celia 
 Fiennes, ii, 67. 
 
 "Pageants of Ideas," ii, 283. 
 
 "Pagina," used in Carpenter s letter, i, 144, n. i. 
 
 Painted characters (London, 1554), i, 191 f.; 
 (London, 1661), i, 243, n. i; i, 245; i. 246, and 
 n. 2; (Paris, 1498), i, 163 f. 
 
 Painting, represented at Lichfield in 1912, ii, 152. 
 
 Painters, gate of the (Paris), i, 163. 
 
 Palace, Bishops, at London, i, 157. 
 
 "Palace of Honour" (1631), ii, 83; of Pleasure 
 (London, 1671), ii. 51. 
 
 Palais Royal (Paris), i, 164. 
 
 "Palamon Arcyte" played before Elizabeth at 
 Oxford, 1566, i, 204. 
 
 Palexis, i, 75, n. 3. 
 
 Pallas (Chenonceau, 1559), i, 203; (Edinburgh, 
 1503), i, 169, n. i; (London, 1533), i, 183; 
 (London, 1635), ii, 42; (London, 1673), ii, 53, 
 n. i; (London, 1692), ii, 73; with "schol 
 ars" and castle, at coronation tournament of 
 Henry VH, i, 96 ff. 
 
 Palm Sunday, i, 15, and n. i. 
 
 Palmer, J., on pageantry, ii, 208 f. 
 
 Palsgrave head tavern, the, ii, 172, n. 2. 
 
 Pan (Bisham, 1592), i, 217; (London, 1656), ii, 
 46. 
 
 "Panels," or "tableaux" in the Yale Pageants, ii, 
 274, n. i, ii, 275. 
 
 Pannaria (London, 1684), ii, 62. 
 
 Panthers (London, 1671), ii, 51. 
 
 Pantheus (Winchester, 1908), ii, 225. 
 
 Pantomime, a, based on the Lord Mayor s Show 
 (1783), ii, 97 f.; in the Keene Pageant (1913), 
 ii, 271. 
 
 "Parade of Nations, a" (Springfield, 1908), ii, 
 241. 
 
 Parade preceding the 1912 tournament, ii, 185. 
 
 Parades in connection with Norristown s centennial 
 celebration (1912), ii, 248. 
 
406 
 
 INDEX 
 
 Parading of effigies, obsolescent, i, 10, n. 5. 
 
 "Paradise," of 1432, i, 146, and n. 5; in a civic 
 pageant at Norwich (1563), ii, 19; of Norwich 
 Grocers, i, 19, n. 8; i, 35; development of, 
 ii, 71; at York (1486), i, 158. 
 
 Paradise suggested by music (Paris, 1498), i, U3- 
 
 Paris, Show of 1313, at, i, 19, n. 7; "Round 
 Table" at (1330), i, 94; Henry VI at (1431), i> 
 138 f.; jousts at (1431), i, 96; "subtleties , 
 at (1431), i, 82 ff.; wild-men at (1431),$, 76; 
 Charles VII at (1437), i> I 4 I n - r > jousts at 
 (1498), i, 96; Louis XII at (1498), i, 162 f.; 
 Mary, queen of Louis XII, at (1513),!, 171 f.; 
 Henry II at (1549), i, 187; Charles IX at 
 (1571), i, 204; French King welcomed at 
 (1596), i, 219; Louis XIII at (1628), i, 235, 
 n. 5; theologians, letter of, concerning Feast 
 of Fools (1445), i> IO1 - 
 
 Paris at Edinburgh and London, i, 81; i, 169; i, 
 183, (Winchester, 1908), ii, 225. 
 
 "Paris, the Judgment of" (Edinburgh, 1503), i, 
 169; (London, 1533), i, 183. 
 
 Park Department, the, furnishes a float (Boston, 
 1912), ii, 247. 
 
 Parker, Louis N., i, xix, xx; on the National 
 Drama, ii, 196; on the pageant and the 
 drama, ii, 196, and n. 2; on the Coventry 
 procession, ii, 197, n. 2; his part in the com 
 position of his pageants, ii, 198, n. 4; on the 
 advisability of repeating performances of a pag 
 eant, ii, 205; on the relation of the pageant 
 and the theatre, ii, 209; on pageants given for 
 profits, ii, 206 f.; produced "Henry VIII" 
 on pageantic lines, ii, 209; on the commem 
 orative services held in connection with modern 
 pageants, ii, 212, and n. i; on symbolism and 
 history in the modern pageant, ii, 215; on 
 where to stop the historical survey in English 
 pageants, ii, 221 f.; ii, 221, n. 3; ii, 222, n. 2; 
 on the investiture of the Prince of Wales, ii, 
 227; "pageant" denned by, ii, 291. 
 
 Parker and MacKaye, aim and methods of, ii, 302. 
 
 Parkerian pageant, the, and Elizabethan chronicle- 
 history compared, i, 196; and Lord Mayor s 
 Shows of today, i, 196; the, i, xix; ii, 144; 
 ch. viii (ii, 194 f.); ii, 299; influence of the, on 
 the "Royal Naval and Military Tournament," 
 ii, 190; the aims of the, ii, 195; not a de 
 velopment from the older pageantry, ii, 197; 
 source of the inspiration for the, ii, 197. 
 
 Parkerian pageantry not influenced by the civic 
 Shows, ii, 128, n. 2; influence of the, on Lord 
 Mayor s Shows, ii, 136; effect of, on the Lich- 
 field "Bower" (1908), ii, 151, n. 3. 
 
 Parker s "The Edwards of England" (1907), ii, 
 *33 f-5 "London s Welcome to Peace" (1919), 
 ii, 141; "The Press, the Poets, and the Mu 
 sicians from Chaucer to Milton" (1908), ii, 135 f. 
 
 Parkhurst, Robert, Mayor of London (1634), ii, 42. 
 
 Parliament not invited to dine with mayor (1702), 
 
 ii,69,n.3. 
 
 "Parliament of Honour," the (1619), ii, 81. 
 
 "Parnassus" (Edinburgh, 1633), i, 237; (Lon 
 don, 1533), i, 182, and n. 5; parodied at Lyons 
 (1627), i, 77, n. i. 
 
 Parochial perambulations, i, 13 ff. 
 
 Parry and Rocke, woolstaplers at Swansea (1881), 
 1,257. 
 
 "Passing of Old-Time Celebrations," i, 10, n. 5. 
 
 "Passion Play" at Leicester, i, 18, n. i. 
 
 Passion Play at Oberammergau, ii, 205, and n. 3. 
 
 "Passion of our Savior" (Dublin, 1528), i, 179; 
 (Paris, 1437), i, 141, n. i. 
 
 "Pastime with good Companye" sung at Win 
 chester (1908), ii, 225. 
 
 Paston, Margery, on Christmas plays, i, in, n. 7. 
 
 Pastor Fido (London, 1684), ii, 62. 
 
 Pastora (London, 1684), ii, 62. 
 
 "Pastoral" performed at Sudeley (1592), i, 218. 
 
 "Pat Lyon", the old (Norristown, 1912), ii, 249. 
 
 Paternoster Row (London), i, 246. 
 
 Patience (London, 1677), ii, 84, n. 6. 
 
 Patriarchs (Coventry, 1474), i, 153; (London, 
 1415), i, 134; (London, 1680), ii, 173; 
 (Norwich, 1469), i, 153- 
 
 Patriotic appeal in a children s festival (June, 
 1914), ii, 228, n. 3; element in the Boston 
 procession of 1912, ii, 245; element, the, in 
 the Little Compton parade (1914), ii, 251; 
 emphasis in the Keene Pageant (1913), ii, 272; 
 features in a Cambridge "pageant," ii, 284. 
 
 Patriotism an aim of the Army Pageant, ii, 207, 
 n. i. 
 
 "Patriotism, a Living Lesson in," (Taunton, 1911), 
 ii, 269. 
 
 Patron saints of Companies represented, ii, 82 f. 
 
 Pattenmakers in the 1890 procession, ii, 125. 
 
 Pattrick, Mr., provides transparency (1825), ii, 
 109. 
 
 Paul s Chain, i, 242; ii, 33. 
 
 Paul s, a chorister of, takes part of Circumspection 
 (1604), i, 224; boys of, take part as Muses in 
 "entry" of 1604, i, 225; a scholar of, greets 
 Philip II, i, 193; School, ii, 55; Wharf, ii, 
 19; ii, 22; ii, 55. See also St. Paul s. 
 
 Pavane, a (Hertford, 1914), ii, 224, n. 7. 
 
 Pavilion erected at the corner of Royal Exchange 
 Avenue (1881), ii, 121. 
 
 "Pavilion" representing a temple (1590 tilt), i, 
 215. 
 
 "Pavilion of the Parlous Place" (1515), i, 116. 
 
 Pawne, William, appointed to devise 1501 "mo- 
 risques,"i, 113. 
 
 Paynton, Alderman, on a committee to view pag 
 eants (1626), i, 235. 
 
 Peace on a transparency (1814), ii, 162. 
 
 Peace, Angel of (Little Compton, 1914), ii, 251; 
 (Boston, 1908), ii, 282; (Boston, 1910), ii, 
 
INDEX 
 
 407 
 
 266; (Bristol, 1574), i, 206; (Chester, 1610), 
 i, 230; (Edinburgh, 1579), i, 212; i, 213, n. i; 
 
 (Lichfield, 1907), ii, 151, n. 3; (London, 
 1604),!, 224; i, 225, and n. i; (London, 1616), 
 i, 234; (London, 1628), ii, 39; (London, 
 1660), ii, 77; (London, 1660), ii, 78; (Lon 
 don, 1661), i, 245; (London, 1671), ii, 51; 
 (London, 1685), ii, 63; (London, 1850), ii, 
 115; (London, 1853), i, 256; ii, 116, and n. 3; 
 
 (London, 1907), ii, 134; (New Haven, 
 1916), ii, 274, n. i; (Norristown, 1912), ii, 
 250; (Paris, 1498), i, 163; i, 164; (Paris, 
 1513), i, 171; (Providence, 1919), ii, 289; 
 (Stuttgart, 1609), i, 99; (Washington, 1913), 
 ii, 285; Celebration of 1814, the, ii, 162 f.; 
 in the " Chasteau d Amour," i, 80; of England 
 (London, 1590), ii, 25; of Heart (London, 
 1622), ii, 77; represented by a gigantic figure 
 (1905), ii, 131; on a transparency (1801), ii, 
 102; Lady, in a 1572 masque at Whitehall, i, 
 117; i, 205, n. i. 
 
 Peace, products of (Lichfield, 1912), ii, 152. 
 
 Peacock, Sir Stephen, Mayor (1533), ii, 10. 
 
 Peasants (Peterborough, 1910), ii, 264. 
 
 Peck, Sir William, Mayor of London (1667), ii, 50. 
 
 Peckett, William, painted the " Chariot of Honour" 
 in 1753, ii, 65, n. 3. 
 
 Pecksniff, i, 69. 
 
 Pecunia (London, 1673), ii, 53. 
 
 Pedlar (Peterborough, 1910), ii, 264. 
 
 Peele, "Descensus Astraese" (1591), ii, 25 f.; 
 Show for 1585, i, 40, n. 5; i, 81; ii, 23 f.; 
 Show for 1588, ii, 24 f.; verses for 1590 tilt 
 alluded to, i, 215, n. 4; James, paid for device 
 of a pageant (1569), ii, 21; paid for his "de 
 vice and paynes in the paggent " (1566), ii, 21 ; 
 provides gloves for children in 1656 Show, ii, 20; 
 
 relationship of, to George Peele, discussed, ii, 
 20, n. 4. 
 
 Peel, Robert, refuses troops for the Show (1822), 
 ii, 107. 
 
 Peeping Tom, effigy of, ii, 167. 
 
 Pelicula (London, 1684), ii, 62. 
 
 Pembroke, Earl of, notifies mayor to remove pag 
 eants erected for Charles I and his bride (1626), 
 i, 235. 
 
 Penelope, with the Weavers (London, 1783), ii, 
 99. 
 
 Penn, William, landing of, reproduced (1882), ii, 
 239; (Philadelphia, 1882), ii, 240; ii, 258. 
 
 Pennsylvania Avenue (Washington), ii, 255. 
 
 Pennsylvania bicentenary celebrated (1882), ii, 
 239 f. 
 
 "Penrod," a "pageant" described in, ii, 279. 
 
 Penseroso, II (London, 1008), ii, 135. 
 
 Pentecost at Norwich, i, 18, n. i. 
 
 Penthasillee (Paris, 1431), i, 138, n. 4. 
 
 People, The, personified (Paris, 1498), i, 164. 
 
 Pepys, Samuel, on the 1662 "triumph," i, 247 f.; 
 
 on the 1660 Show, ii, 48; on the 1663 dinner, 
 ii, 49; on scenery, i, 120, n. 2; servants 
 of, see the 1664 Show, ii, 49. 
 
 Perambulations, civic, i, 3Sff.; at Norwich, i, 
 35; at Edinburgh, i, 35; at Dublin, i, 35 f. 
 
 Percival (Diisseldorf, 1852), ii, 147. 
 
 Percy, ballad in the "Reliques" of, shows Coven 
 try the birthplace of St. George, ii, 168, n. i. 
 
 Perdita (Coventry, 1862), ii, 170. 
 
 Peredur, son of Evrawc, i, 78, n. i. 
 
 "Perfect City, Pageant of the" (1915), ii, 266. 
 
 Perfect Lone (London, 1613), ii, 34; ii, 35. 
 
 Performances, repetition of, of the modern pag 
 eant, inadvisable, ii, 205; number of, usually 
 given, ii, 232, n. 2. 
 
 Performers, the, effect of the modern pageant on, 
 ii, 204; in the Hollis Hall Pageant confined to 
 men, ii, 273; in a Y. W. C. A. "pageant" con 
 fined to women, ii, 284; in the Mount Hoi- 
 yoke "pageant" confined to women, ii, 286. 
 
 Perfumed shot from the wooden cannons of Castle 
 of Beauty (1581), i, 213 f. 
 
 Perkin Revelour, the temptation of, i, 132. 
 
 Perkins, the Rev. F. L., and his plays, ii, 230 f. 
 
 Perrers, Dame Alice, as "Lady of the Sun," (1375), 
 
 i,95- 
 Perry, Micajah, his account of the procession of 
 
 1739, ii, 89. 
 
 Perseverance (Edinburgh, 1594), i, 218. 
 
 Persian, a (London, 1659), ii, 76. figuring 
 Persia (London, 1659), i, 82, n. 2. 
 
 Personification, examples of, ii, 74 f.; of cities 
 and the figure of the "mythical founder," i, 196; 
 of cities (Avignon, 1600), i, 220; in the Mount 
 Holyoke "pageant," ii, 286; of London con 
 nected with the " mythical founder," ii, 24; in 
 Lord Mayor s Shows, i, 82, and n. 2; returns 
 to the Lord Mayor s Show in 1853, ii, 116; of 
 rivers in the modern pageant, ii, 21 5 f.; of 
 subject realms (London, 1509), i, 170; of 
 towns in the modern pageant, ii, 214 f . 
 
 Persse [Pierce?] Mr., pageant near the house of 
 (Norwich, 1556), ii, "16. 
 
 Persuasion (Bristol, 1574), i, 206. 
 
 Pertinax (London, 1623), ii, 79. 
 
 Peryam, Sir William, Lord Chief Baron (1594), ii, 
 27, n. 2. 
 
 Pessimistic views of the Eglinton tournament, ii, 
 
 183 f. 
 
 Pestalozzi (Boston, 1908), ii, 282. 
 Peter, a Dutchman (1553), i, 189, and n. 3. 
 Peterborough, celebration of Vernon s birthday at 
 
 (1740), ii, 178, n. 4; Pageant, the, of 1910, ii, 
 
 264 f.; ii, 279; (Peterborough, 1910), ii, 265., 
 Petrarch (Avignon, 1600), i, 220. 
 Pewterers barge hire (1532), ii, 10. 
 Pharaoh, with his "Knights" at Norwich, ii, 12, 
 
 n. 3. 
 Pheme (London, 1605), ii, 29, n. 2. 
 
408 
 
 INDEX 
 
 Philadelphia, celebration of American Independ 
 ence at (1788), ii, 236; the first locomotive to 
 run from, into Norristovra (Norristown, 1912), 
 ii, 250; New Year s Carnival at (1912), ii, 
 252; pageantic parade at (1908), ii, 241, n. 6; 
 Pennsylvania bicentenary celebration at 
 (1882), ii, 240. 
 
 Philip of Spain welcomed to London by giants, i, 
 
 195- 
 
 Philip [King of France], pictured (Paris, 1498), i, 
 164; of Valois pictured (Paris, 1498), i, 164; 
 of Spain personified (London, 1554), i, 194. 
 
 Philip II at London (1554), i, 189 f.; likened to 
 Orpheus, i, 1 93. 
 
 Philip II pictured (London, 1554), i, 192; i, 194- 
 
 Philippa of Hainault welcomed to London (1327), 
 1,127. 
 
 Philips, four, famous in history (London, 1554), i, 
 192: (of Macedonia, Rome, Burgundy [Philip 
 the Bold and Philip the Good]). 
 
 Phillips, Mrs. E. E., manager of the Marietta Pag 
 eant, ii, 258, n. 2. 
 
 Philosopher, in a masque and pageant (London, 
 1634), i, 118; in masque at Norwich (1578), 
 i, 211. 
 
 Philpot, John (London, 1783), ii, 99; (London, 
 1906), ii, 132. 
 
 Phips, Sir William (Quebec, 1908), ii, 263. 
 
 Phoebus (Paris, 1513), i, 171. 
 
 Phorcus (Elvetham, 1591), i, 216. 
 
 Phyllis (Coventry, 1848), ii, 170. 
 
 Physician, in a 1634 masque and pageant, i, 118; 
 symbolical figure of a (London, 1907), ii, 134. 
 
 Picard, Henry (London, 1783), ii, 99. 
 
 Picardy Place (Edinburgh), i, 255, n. 3. 
 
 Pickering Pageant, the (1910), ii, 221, n. 3. 
 
 Pickle-Herring, i, 10, n. i. 
 
 Picture-Framers show living pictures in frames 
 (Preston, 1902), ii, 165, n. 2. 
 
 "Piers Plowman," i, 7; i, 80; i, no. 
 
 Piety (London, 1623), ii, 78; (London, 1626), ii, 
 78, n. 4. 
 
 Pilgrim Tercentenary, the, to be observed by all 
 classes in America, ii, 276. 
 
 Pilgrim (London, 1657), ii, 47; representing St. 
 John (London, 1662), i, 248. 
 
 Pilgrims in a pageantic procession (Rouen, 1558), 
 i, 98; (c 1350), in the English Church Pag 
 eant, ii, 219, n. i. 
 
 "Pilgrims, Embarkation of the, from Delft" 
 (Plymouth, 1896), ii, 259; ii, 260; the Land 
 ing of the (St. Louis, 1886), ii, 253, n. 4; the 
 Landing of the (Plymouth, 1896), ii, 259; ii, 
 260. 
 
 Pilkington, Sir Thomas, Mayor of London (1689), 
 ii, 64; (1690), ii, 65. 
 
 Pilsen, a "King" beheaded at, i, 51, n. 2. 
 
 Pinch, Tom, i, 69, n. i. 
 
 Pine (Keene, 1913), ii, 271, n. 4. 
 
 Pinnacles, the (Chester, 1910), ii, 215. 
 
 Pinnock, Mr., ready to explain expenses con 
 nected with the coach (1767), ii, 94. 
 
 Pioneers in red caps and coats (1680), ii, 173. 
 
 Pirates in Brooklyn mumming, ii, 158; (Scar 
 borough, 1912), ii, 222, n. 2. 
 
 Piscaria (London, 1684), ii, 62. 
 
 Pitt at the 1761 Show, ii, 95. 
 
 Pittsburgh, Fourth of July celebration at, ii, 
 303- 
 
 Pity (Edinburgh, 1908), ii, 223; (London, 1432), 
 i, 146. 
 
 Plague at London, (1563), i, 203; in London 
 (1592 and 1593), ii, 26; in London (1603), ii, 
 28; in London (1665), ii, 49; at Norwich, 
 (1578), i, 212; at Norwich (1665), ii, 49; 
 stops citizens welcome to Charles I (1625), i, 
 
 234- 
 
 Plan for the 1635 Show, ii, 42. 
 
 Plans of the lists at Eglinton, ii, 184. 
 
 Plato (London, 1681), ii, 83. 
 
 "Playfellows of the Sea" (Little Compton, 1914), 
 ii, 251. 
 
 Playing Cards, trade figures of the makers of 
 (1889), ii, 124. 
 
 Plays at the Edinburgh wedding of Mary, Queen 
 of Scots, i, 195. 
 
 "Pleasure, antique pageant for" (1635), ii, 42; 
 Boat of 1684, ii, 61. 
 
 Pleasure (London, 1684), ii, 62; (Oxford, 1907), 
 ii, 223. 
 
 "Plebians," chorus by (1679), ii, 172. 
 
 Plenty (Chester, 1610), i, 230; (Edinburgh, 
 1579), i, 212; i, 213, n. i; (London, 1604), i, 
 225, n. i; (London, 1660), ii, 77; (London, 
 1661), i, 246, and n. 2; (London, 1671), ii, 51; 
 (London, 1685), ii, 63; (Washington,i9i3), 
 ii, 285; an artificial figure as well as a living 
 one (London, 1661), i, 246; Lady, in a masque 
 (1572),!, 117; i, 205, n. i. 
 
 "Plot" of six pageants (1629), submitted to Iron 
 mongers, ii, 40. 
 
 Plot, a, in the Show for 1613, remarks on, ii, 35. 
 
 Plough-Monday, i, 4; i, 5; in north of England, 
 i, 12; Monday dance (Hertford, 1914), ii, 
 224, n. 7. 
 
 Ploughs and ships in folk-festivals, i, n ff. 
 
 Plowboys performance at Revesby, i, 7, n. i. 
 
 "Plowing" (St. Louis, 1878), ii, 253, n. 2. 
 
 Plumb, Samuel, letter of coach-builders to, ii, 94. 
 
 Pluto (New York, 1909), ii, 244, n. i. 
 
 "Pluto and Proserpine" (St. Louis, 1878), ii, 
 253, n. 2. 
 
 Plymouth, i, n, n. 4; i, 12; celebration of the 
 "Mayflower" voyage at, ii, 276; "Historic 
 Festival" of 1896, the, ii, 258 f.; history re 
 produced at (1801), ii, 236 f.; meeting-house, 
 the, model of (Norristown, 1912), ii, 249, n. 3; 
 Pageant for 1921 planned, ii, 277, n. i. 
 
INDEX 
 
 409 
 
 "Pocahontas and John Smith" (St. Louis, 1886), 
 ii, 253, n. 4. 
 
 Poet, boy dressed as a (London, 1559), i, 202. 
 
 Poet vs. Engineer, i, 119. 
 
 Poetry (Boston, 1908), ii, 283; (Lichfield, 1909), 
 8,151. 
 
 "Poetry for the masses," ii, 303. 
 
 Poets regard Companies as their employers, or 
 patrons, ii, 70; vs. artificers, ii, 35, n. 3. 
 
 Pointed swords, symbolism of, i, 155. 
 
 Pointless sword, symbolism of, i, 154 f. 
 
 Poland, Augustus II crowned King of (1698), i, 
 252. 
 
 Pole, a (London, 1617), ii, 76. 
 
 Poles, the, win prize at New York Pageant (1918), 
 ii, 251. 
 
 Policia (Stuttgart, 1609), i, 99. 
 
 Policy (Edinburgh, 1579),!, 212; (London, 1590), 
 ",25. 
 
 Polish group, a (Taunton, 1911), ii, 270; so 
 cieties in the Boston procession of 1912, ii, 247. 
 
 P elites (Winchester, 1908), ii, 225. 
 
 Political allegory combined with muster at Bristol, 
 i, 207, and n. 2; effigies, i, 16; excitement 
 (1679 f.), ii, 59 ff . ; "guys," i, 10; mumming 
 i, 8; i, 104; pageantry, (1539), i, 98; pag 
 eantry, ch. vii, 4 (ii, 171 f.); significance of 
 1533 pageant, i, 180; significance given to 
 Ruth and Naomi (Belfast, 1914), ii, 181; 
 solidarity strengthened by Orange processions, 
 ii, 180, and notes 2 and 3. 
 
 Polycephalic giants, i, 54. 
 
 Polyphemus (London, 1685), ii, 63. 
 
 Pomona (London, 1604), i, 225, n. i; (London, 
 1661), i, 246, (London, 1673), ii, 53; (Lon 
 don, 1890), ii, 125. 
 
 Ponceau, fountain of (Paris), i, 163. 
 
 Ponce de Leon (St. Louis, 1886), ii, 253, n. 4. 
 
 "Pontiac, arrival of" (St. Louis, 1892), ii, 253, n. 6. 
 
 Poole, Thomas, paid for dressing mayor s mount 
 for Midsummer (1589-90), i, 44. 
 
 Pope-burnings of the years following 1679 referred 
 to, ii, 59; at London and Boston, i, 16; i, 51, 
 n. 2. an academic parallel to the, at New 
 Haven, ii, 275; burning of 1673, ii, 172; 
 
 of 1678, ii, 172, n. 2; of 1679, ii, 172; of 
 1680, ii, 172 f.; of 1681, ii, 174 f.; of 1682, 
 ii, 175; of 1711, ii, 175, and n. 3; of the 
 xviii century, ii, 176. 
 
 "Pope Night" at Portsmouth, ii, 176, n. i. 
 
 Pope-processions, ii, 171 f. 
 
 Pope, Sir Thomas, rebuked by Mary for his "dis- 
 guisings," i, 198. 
 
 Pope and Charlemagne (London, 1522), i, 176; 
 with the Devil (London, 1680), ii, 173; effigy 
 of the, burned at Boston, ii, 176; ii, 177; ii, 236; 
 
 effigy of the, burned at Edinburgh and Lon 
 don, ii, 172 f. 
 
 Pope s Guard, captain of the (1680), ii, 173. 
 
 Pope in a water-triumph (1539), i, 98; in a mum 
 ming (1377), i, 104; knight disguised as 
 (i343), i, 92. 
 
 "Popular element "a necessity in the pageant, ii, 
 294; quality of pageants, i, xvii; i, xviii. 
 
 Popular element in "royal-entries," i, 180; joy, 
 influences of, on Elizabeth, suggested, i, 201; 
 ovation to Elizabeth (1559), i, 199 f. 
 
 Popularity of the Show in 1913, ii, 138. 
 
 "Pork Night," a corruption of "Pope Night," ii, 
 176, n. i. 
 
 Portia (Lichfield, 1893), ii, 150; ii, 153; (Lich 
 field, 1909), ii, 151; ii, 153. 
 
 Porto Bello, "illumination" representing (1740), 
 ii, 178. 
 
 Portreve (London, 1783), ii, 98. 
 
 Portsmouth, Peace of, suggested in the 1905 Show, 
 ii, 131, and n. 4; "Pork Night" at, ii, 176, 
 n. i. 
 
 Portuguese group, a (Taunton, 1911), ii, 270; 
 the, win prize at New York pageant (1918), ii, 
 251- 
 
 "Pot of Gold, a" (Little Compton, 1914), ii, 251. 
 
 Potter Heigham Pageant, the (1907), ii, 224, n. 7; 
 ii, 229. 
 
 Poulteney, Sir John (London, 1623), ii, 78. 
 
 Poulterers precede Stationers in civic processions, 
 ii, 17; to be followed by Stationers, i, 203, n. 3. 
 
 Poulters in the 1890 procession, ii, 125. 
 
 Poultry, the (London), i, 154, n. 2; i, 224; ii, 68. 
 
 Power (London, 1623), ii, 78; (London, 1626), 
 ii, 78, n. 4; (London, 1708), ii, 78; (Paris, 
 1498), i, 163; i, 164. 
 
 Poyure, rue du (Bruges), i, 76, n. 2. 
 
 Pr cdector, a (Oxford, 1907), ii, 223. 
 
 Praillon, Francois, lieutenant of children s com 
 pany (Metz, 1604), i, 226. 
 
 Precaria (London, 1679), ii, 83. 
 
 Precept for the 1816 Show, ii, 104 f.. 
 
 Precepts concerning fire-works and squibs, ii, 14, 
 n. i ; for Lord Mayor s Day, (1704), ii, 69, n. 
 3; regarding civic "ridings" (1680), ii, 58 f. 
 
 Precyane (London, 1432), i, 145. 
 
 Prefect, a Roman (London, 1783), ii, 98. 
 
 Prelacy (London, 1501), i, 168, n. 3. 
 
 Prentiss, Mrs. W. H., "prolocutor" at Keene 
 (1913), ii, 271, n. 3. 
 
 Preparations for the 1740 Show, ii, 92; the 
 Eglinton tournament, ii, 182 f.; 11,184; Eliza 
 beth s passage through London, i, 199. 
 
 Press, attitude of the, toward the Show in 1913, 
 ii, 137 f.; in 1914, ii, 139 f. ; opinions of, 
 concerning the civic show (1850), ii, 115; 
 (1853), ii, u6f.; (1856), ii, 118; opinions 
 of the, concerning the Eglinton tournament, ii, 
 182 f. 
 
 Press-gang, the (Scarborough, 1912), ii, 222, n. 2. 
 
 Prescott, William H., Club, members of the, give 
 scene in the Boston "festival" of 1897, ii, 261. 
 
410 
 
 INDEX 
 
 "Presentation in the Temple" at Aberdeen, i, 33; 
 
 Weavers Pageant (Coventry), i, 204, n. i. 
 Preston, Adam and Eve at, i, 34, and n. 7 , i, 78; 
 
 "armed man" at, i, 34; "guilda mercatoria" 
 at, i, 34, and notes; ii, 164, and notes 5 and 6; 
 ii, 165, and notes i and 2; Guilds of 1882 
 and 1902, ii, 165, n. 2; Vulcan at, i, 34; i, 81. 
 
 Pretty and his tumblers (London, 1660), i, 242. 
 
 "Preuses" (Paris, 1431)- i. ^S, and n. 4. 
 
 "Preux" (Paris, 1431)) i> ^S, and n. 4. 
 
 Priam (Winchester, 1908), ii, 225. 
 
 Pride, in "Piers Plowman," i, no. 
 
 Priests of the Nile (London, 1904), ii, 130. 
 
 Primislaus of Bohemia (London, 1623), ii, 79. 
 
 "Prince" George (in "folk-plays"), i, 7, n. i. 
 
 Prince Heinrich Veteran Society (Boston, 1912), 
 ii, 245. 
 
 Prince and Princess in furs (1628), ii, 39. 
 
 Princes Street (London), ii, 114; ii, 115, n. 2. 
 
 Princes, pageantic (Edinburgh, 1832), ii, 165. 
 
 Princess (Bristol, 1461), i, 152; (Coventry, 
 1474), i, 154- 
 
 Princess Errant the, in the 1912 tournament, ii, 
 
 185. 
 Princess, a, with St. George, in an Edinburgh 
 
 masque (1908), ii, 223. 
 Printers and printing-press (1908), ii, 135; 
 
 trade-pageant of the (Edinburgh, 1832), ii, 166; 
 
 trade-pageant of the (St. Louis, 1847), ii> 
 
 239- 
 
 Printing-press, model of the first English (1902), ii, 
 129. 
 
 Prison for Discord in a 1572 masque, i, 117; i, 
 205, n. i. 
 
 Pritchard, Sir William, Mayor of London (1682), 
 ii, 60, and n. i. 
 
 Proby estimates cost of mayor s dinner (1663), ii, 
 49. 
 
 Processions, i, xvi; i, 3f.; ch. i, 2; of deco 
 rated wagons, ii, 155; pageantic elements in, 
 i, 3 ; pageantic character of, i, 77; state in 
 the early, ii, 5 ; with images, or dolls, " i, 1 1 ; 
 pageants, i. 16. 
 
 Procession of Guild Day at Norwich, i, 28; 
 mayoralty, inaugurated, ii, 3 ; omitted in 
 1791, .ii, 102; omitted in 1817, ii, 105; at 
 Ripon opens the millenary celebration (1886), 
 ii, 159; of 1750 referred to, ii, 93 ; the root 
 of pageantic "royal-entry," i, 197; on three 
 days of Easter week, (1696), ii, 66, n. 3; 
 street, characterization in a, ii, 213; with 
 feasting, at Lichfield, ii, 148 f. 
 
 Processional element in the Boston Normal School 
 Pageant, ii, 282; element in the "royal-entry," 
 i, 137; pageantry in America, ch. ix, i (ii, 
 I 3Sf-); pageant at Liverpool (1907), ii, 163; 
 "ridings" as a prelude to "hastiludia," i, 95. 
 
 Producing a pageant, notes on, ch. viii, 2 (ii, 
 198 f.). 
 
 Professional "troupe" in the 1853 Show, ii, 117. 
 
 Profits of various pageants, ii, 206; in modern 
 pageants, ii, 207. 
 
 "Progress, a Pageant of" (Mount Holyoke Col 
 lege), ii, 286; ii, 295; the Pageant of (Law 
 rence, 1911), ii, 269. 
 
 Progress (Boston, 1910), ii, 266. 
 
 Progressive Party, the, represented by a Bull-Moose 
 (Boston, 1912), ii, 255. 
 
 Prohibition of Christmas masquerading at London, 
 i, 103 f., and n. 2; at Bristol, i, 104. 
 
 "Promos and Cassandra," pageantry in, i, 49, n. i. 
 
 Promptitude (London, 1604), i, 223. 
 
 Propaganda in the Boston procession of 1912 
 linked with history, ii, 246 ; masque for, at 
 Washington (1913), ii, 284, in the New York 
 Pageant of 1918, ii, 252; pageantry as, ii, 
 254 f. ; pageantry used as, during the war, ii, 
 228, n. i; plays for, with pageantic material, 
 ii, 230; in the Rhode Island Normal School 
 "festival" of 1919, ii, 289. 
 
 "Properties" of Godiva procession sold (1836), ii, 
 169, n. 2. 
 
 "Prophecy of the New America, the" (Taunton, 
 1911), ii, 270. 
 
 Prophet, a (St. Louis, 1914), ii, 273, n. 2. 
 
 Prophets (Coventry, 1474), i, 153; four (London, 
 1501), i, 168. 
 
 "Proserpine and Pluto" (St. Louis, 1878), ii, 253, 
 n. 2. 
 
 "Prosperite du Pays" (Malines, 1838), i, 12, n. 3. 
 
 Prosperity (Boston, 1908), ii, 282; (Boston, 
 1910), ii, 266; (London, 1853), i, 256; 
 (London, 1853), ii, 116, and n. 3; ["bon 
 temps"], (Paris, 1498), i, 163. 
 
 Protestantia (London, 1679), ii, 83. 
 
 Protestants (London, 1680), ii, 173. 
 
 Protests against the Show (1853), ii, 117. 
 
 Proteus in Gray s Inn masque (1594), i, 218; 
 (Kenilworth, 1575), i, 209; (London, 1610), 
 i) 2 335 (London, 1638), ii, 72; (London, 
 1685), ii, 63. 
 
 Providence [Foresight], (London, 1618), ii, 38; 
 (London, 1622), ii, 77; (London, 1628), ii, 39. 
 
 Provincetown, celebration of the "Mayflower" 
 voyage at, ii, 276. 
 
 Provincial Midsummer Shows, i, 43 ff. 
 
 Prudence on a transparency (1814), ii, 162. 
 
 Prudence (Bristol, 1486), i, 160; (Coventry, 
 1456), i, 149; treads on Sardanapalus (Edin 
 burgh, 1503), i, 169; (London, 1501), i, 168; 
 (London, 1522), i, 178; (London, 1700), 
 ii, 80, n. 7 ; in Lydgate s London disguising, 
 i, 107; (Stuttgart, 1609), i, 99; in funeral 
 pageant at Rome, i, 17, n. 6. 
 
 Prussia, the King of, at London (1814), ii, 162, 
 n. 6. 
 
 Pseudo-history, a tendency towards, in the "com 
 munity drama," ii, 281. 
 
INDEX 
 
 411 
 
 Ptolemy (Edinburgh, 1579), i, 213; image of, in 
 a triumph at Alexandria, i, 17, n. 6. 
 
 Ptolemy Philadelphus, at Alexandria, i, 17, n. 6. 
 
 Public Library, the (New York), ii, 256 ; Schools, 
 the, with banners, (St. Louis 1847), ii, 238. 
 
 "Public work" wagons (Boston, 1912), ii, 248. 
 
 Punch s "Lament of the Man in Brass" (1850), 
 ii, 116. 
 
 Punishment for pageantry or any kind of public 
 show decreed in Massachusetts, ii, 176 f. 
 
 Punning allusions, ii, 37. 
 
 Puppet attendants for the dead, in China, i, 50, n. 4. 
 
 Purcell, song by Mr. (1682), ii, 60, n. 3. 
 
 Purcell, Henry (London, 1908), ii, 135. 
 
 Pure Religion (London, 1559), i, 200. 
 
 "Purification of the Virgin," at Beverley, i, 17; 
 i, 19, n. 5. 
 
 "Puritan Home Life" (Boston, 1897), ii, 261. 
 
 "Puritans, the Departure of the" (Boston, 1897), 
 ii, 260. 
 
 Puritans (Boston, 1897), ii, 260, n. 3; (London, 
 1889), ii, 124; (Taunton, 1911), ii, 269. 
 
 Purpose, a, in the 1884 Show, ii, 122; the, of the 
 Boston Pageant of 1910, ii, 266; of the Boston 
 procession of 1912, ii, 248; of "From Kingdom 
 to Colony," ii, 277; of the Hudson-Fulton 
 Pageant (1909), ii, 242; ii, 244, and n. 3; 
 of the Little Compton parade, ii, 251; of the 
 pageant, the, ii, 293; pageantry with a, ii, 
 254 f.; of pageantry, Miss Beegle discusses 
 the, ii, 292; the, of the Parkerian pageant, ii, 
 195 ; plays with a, ii, 230; of the Plymouth 
 Pageant of 1896, ii, 259. 
 
 "Pussyfoot," effigies of (London, 1919), ii, 179. 
 
 Putney, i, 248. 
 
 Puttenham, George, on Midsummer Show, i, 40; 
 on "giants," i, 40. 
 
 Pyracmon (London, 1685), ii, 63. 
 
 "Pyramid," unfinished, at Metz (1604), i, 226. 
 
 Pyrrhus (Winchester, 1908), ii, 225. 
 
 Pythagoras (London, 1432), i, 145; (London, 
 1637), ii, 83. 
 
 Quaker Settlers (Norristown, 1912), ii, 249. 
 
 Quality, type, and individual, ii, 212 f.. 
 
 Quarters of the Earth, the Four (London, 1907), ii, 
 134; of the Globe personified (London, 1694), 
 i, 82, n. 2; of the World personified often, ii, 
 75 ; on a transparency (1801), ii, 102 ; of the 
 Year (London, 1677), ii, 74; ii, 191. 
 
 Quarter-staff, Tilting at the Ring, the Quintain, 
 1300 (in the 1889 Show), ii, 124. 
 
 "Quatre Chiualers de la Forrest saluigne" (1511), i, 
 97; "fits Aymon" (Lyons, 1627), i, 77, n. i. 
 
 Quebec, processional features of the tercentenary 
 celebration at (1908), ii, 240 f.; Pageant of, 
 (1908), ii, 262 f.; Pageant, the, "pageants" 
 in, ii, 210, n. 3 ; Pageant, speech in the (1908), 
 ii, 232, n. i. 
 
 Queen of Beauty (London, 1889), ii, 124. 
 
 Queen of Beauty (1912), ii, 185, and n. 3; at 
 
 Eglinton, ii, 182, n. 2; ii, 183; ii, 184. 
 Queen of Chastity [Elizabeth regarded as], (Sudeley, 
 
 1592),!, 218. 
 
 " Queen of Dele," at Dublin, i, 31. 
 Queen of the Harvest (Grimston, 1884), ii, 159; 
 
 (Ripon, 1886), ii, 161. 
 Queen (nameless), [Ceres?] (Paris, 1513), i, 171; 
 
 (Paris, 1513), i, 172; Need of Knowledge, 
 
 (London, 1911), ii, 225; of Sheba, at Dublin 
 
 i, 23, n. 3; (Paris,i5i3), i, 171; of Wisdom, 
 
 (London, 1911), ii, 225. 
 Queen Street (London), ii, 68; ii, 92; Victoria 
 
 Street (London), ii, 138. 
 
 Queenhithe, emblematical car of (1891), ii, 126. 
 Queen s Birthday, the, celebrated in Canada, ii, 
 
 252. 
 
 Querne, see St. Michael s. 
 Quiet (London, 1604), i, 225. 
 Quiller- Couch, Sir A. T., treats a pageant in fiction, 
 
 ii, 204, and n. i; his part in the Winchester 
 
 Pageant, ii, 226, n. i. 
 "Quilting Party, a" (Boston, 1897), ii, 261, n. 
 
 3; (Boston, 1910), ii, 267, n. 2; (Ply 
 mouth, 1896), ii, 260. 
 Quintain, running at the, at Kenilworth, (1575) i, 
 
 208. 
 
 Racine (Boston, 1908), ii, 282. 
 
 Radington, Sir Baldwin, made "warden" of Lon 
 don (1392), ii, 5. 
 
 Radium (Mount Holyoke, 1912), ii, 286. 
 
 Ragged Staff, the, and the Bear, ii, 218. 
 
 Ragusan merchants warned to contribute pag 
 eants (1522), i, 174. 
 
 Rain at the Eglinton tournament, ii, 182, n. 2; ii, 
 184; ii, 185, n. i; on the Lord Mayor s Day 
 (1605), ii, 29. 
 
 "Rainbow, the" (Little Compton, 1914), ii, 251. 
 
 "Raising the First Meeting-House," a float at 
 Cadillac, ii, 249, n. 4. 
 
 Rajah, a (London, 1895), u > I2 7- 
 
 Raleigh, Professor Sir Walter, author of a "mas 
 que" in the Oxford Pageant, ii, 223, n. 2. 
 
 Raleigh, Sir Walter (Sherborne, 1905), ii, 210. 
 
 Range, the, of processional pageantry reviewed, ii, 
 
 257- 
 Raphael, angel of marriage (London, 1501), i, 167, 
 
 and n. 5. 
 
 Rapine (Providence, 1919), ii, 289. 
 Rastall, deviser of a pageant (London, 1522), i, 
 
 174. 
 
 Rathbone, Mr., to furnish music (1849), "> IZ 4- 
 " Raw material " of allegory, i, 137 ; of pageantry 
 
 in the carnival, ii, 295 f. 
 
 Realms of King Henry VIII personified, i, 170. 
 Reapers with political significance (1814), ii, 163. 
 Reasons for monotony of shows, ii, 65 f. 
 
412 
 
 INDEX 
 
 Rebellion (London, 1559), i, 200; (London, 
 i66i),i, 244. 
 
 Recorder presents Elizabeth with the City s gift; 
 her reply, i, 201; Sir Cuthbert Buckle to the 
 Queen (1593), ii, 26; speech of, to Cromwell 
 (1653), i, 239. 
 
 "Recruiting Lord Mayor s Show, the" (1915), ii, 
 140 f.. 
 
 Recruiting stimulated by the 1914 Show, ii, 142, 
 n. 2. 
 
 Red Cross, a symbolical ceremony planned by the, 
 ii, 300; costumes in Brooklyn mumming, ii, 
 158- 
 
 Red Cross, Knight of the (London, 1908), ii, 135; 
 Workers (Providence, 1919), ii, 289. 
 
 Red Men, Tribes of the, impersonate Indians 
 (Norristown, 1912), ii, 249, n. 2. 
 
 Red Riding Hood (Lichfield, 1893), ii, 150. 
 
 Reform, triumph of, celebrated at Edinburgh, 
 (1832), ii, 165 f. 
 
 Refreshment for children in the 1629 Show pro 
 vided, ii, 41; provided for the porters (1566), 
 ii, 21. 
 
 Reggio, Duke Borso at (1453), i, 148, n. 4. 
 
 Reinhardt, Max, i, 121. 
 
 de Reischach, Baron, celebrates coronation of 
 Francis I (1746), i, 83, n. 7. 
 
 Rejoicing of citizens at Philip s welcome (1554), i, 
 194. 
 
 Religion (Antwerp, 1803), i, 254; (London, 
 1613), ii, 34; (London, 1628), ii, 39; repre 
 sented by Jewish High Priest, Roman Catholic 
 Cardinal, and Protestant clergyman (Norris 
 town, 1912), ii, 250; Dame (Edinburgh, 1579), 
 i, 213, and n. i. 
 
 Religious and chivalric allegory, i, 80; guild 
 processions, i, 20; "ridings," i, 13 ff.; 
 tableaux at Paris (1431), i, 140; (1437), i, 
 141, n. i. 
 
 Renaissance, the, in "The Masque of Learning," 
 ii, 227. 
 
 Renaissance Architecture (Cambridge, 1911), ii, 287. 
 
 "Renaissance, the Pageant of the Italian," (Chi 
 cago, 1909), ii, 283. 
 
 Repetition of incident in the 1613 Show, ii, 35, n. 2; 
 of the Plymouth Pageant of 1896 in 1897, ii, 
 258. 
 
 Republican Party, the, represented by an elephant 
 (Boston, 1912), ii, 255. 
 
 Resume of xv century "royal-entries," i, 165 f.. 
 
 "Resurrection" at Aberdeen, i, 33; (Bristol, 
 1486), i, 1 60; and "Judgment" (London, 
 1445), i, 148; of history in the Yale Pageant, 
 ii, 275; of Wai-worth (1616), ii, 80. 
 
 Revels, characters of the, in a Cambridge "pag 
 eant," ii, 284; combined with masque at 
 Edinburgh (1908), ii, 223; of the folk re 
 called in the Sherborne Pageant, ii, 210; ii, 211, 
 and n. 3; at Grimston, ii, 159; of Merry 
 
 Mount (1627), ii, 236, n. 4; ii, 286; in 
 modern pageants, ii, 224; pageantic, in 
 America, ii, 252!.; pageantic, at St. Louis, 
 ii, 253 f.; with pageantic features, ii, 147, 
 and notes; and pageants, ii, 146 f.; a 
 suggestion of, in the Hudson-Fulton Pageant, 
 ii, 244, and n. i; a suggestion of, in the St. 
 Louis procession of 1847, ii, 238. 
 
 Revere, Paul (Boston, 1897), ii, 261. 
 
 Revere, carnival at (1912), ii, 254. 
 
 "Revere Beach" (Revere, 1912), ii, 254. 
 
 Revesby sword-play, i, 7, n. i; i, 105; at 
 Agassiz House, i, 10, n. i. 
 
 Revetor, William, bequeaths the "Creed Play" to 
 the York Corpus Christi Guild (1446), i, 21. 
 
 Revival of folk-dancing, i, 10; of folk-revels in 
 the modern pageant, ii, 224; of older civic 
 pageantry in the Chester Pageant of 1910, ii, 
 224; of pageants (1761), ii, 94 f. 
 
 Revolt from the Pope recognized in the 1533 
 pageant, i, 180, and n. i. 
 
 Revolution, scene from the (Peterborough, 1910), 
 ii, 265. 
 
 Revolutionary scene (Taunton, 1911), ii, 269; 
 scenes in a Marblehead "pageant," ii, 277; 
 War, scenes of the (Boston, 1897), ii, 261. 
 
 Reward of an acrobat (1553), i, 189, n. 3; (1554), 
 i, 194, n. i. 
 
 "Rex de Vertbois," i, 75; i, 90; i, 95; i, 97; 
 de viridi bosco, i, 75, n. 2. 
 
 Reyher, P., on Lydgate s mummings, i, 106, n. 4.; 
 
 on scenery, i, 119, notes 3 and 4; i, 120. 
 Rhetoric represented with Cicero (London, 1432), 
 
 i, 79; i, 145. 
 
 Rhine (London, 1691), ii, 75; Father (New 
 York, 1909), ii, 244, n. i. 
 
 Rhoades, James, his part in Mr. Parker s pageants, 
 ii, 198, n. 4; ii, 211, n. 2. 
 
 Rhode Island Normal School, a Victory Pageant at 
 the, ii, 288 f. 
 
 Rice, John, paid for his part in the 1610 water- 
 triumph, i, 231. 
 
 Rich, Richard, put up lists for jousts in Smithfield 
 (1442), i, 96. 
 
 Richard, King (Coventry, 1474), i, 153. 
 
 Richard I (London, 1614), ii, 36; (London, 1628), 
 ii, 39; (London, 1884), ii, 123; (London, 
 1914), ii, 228, n. 2; and tournaments, i, 88 ff. 
 
 Richard II appoints a military " triumph," i, 95 ; 
 and mummers (1377), i, 104; partisans of, in 
 political mumming (1400), i, 104; received 
 with pageantry at London (1377), i, 128 f.; 
 enters London (1392), i, 129 ff. 
 
 Richard II (London, 1590), ii, 25; (London, 
 1616), ii, 80, n. 6; (London, 1700), ii, 80, n. 7; 
 
 (London, 1884), ii, 123; (Coventry, 1862), 
 ii, 170. 
 
 Richard III crowned, i, 154; at Norwich (1483), 
 i, 156; at York (1483), i, 155 f. 
 
INDEX 
 
 413 
 
 [Richard of Gloucester] Lord Protector, prepares 
 for the coronation of Edward V, i, 154, n. 5. 
 
 Richard of Warwick, as Green Knight, i, 75, n. 3. 
 
 Richards, Mr., his part in the 1783 pantomime, ii, 
 101. 
 
 Richardson, Mr., on a sub-committee for 1823 
 "armed men," ii, 108. 
 
 Riches (London, 1684), ii, 62; (Paris, 1498), i, 
 163; god of (London, 1673), ii, 53. 
 
 Richmond, i, 114; i, 168; mayor presented to 
 Elizabeth at (1582), ii, 22. 
 
 "Riding," i, xix; the annual, not pageantic in 
 early years, ii, 5. 
 
 "Riding the Black Lad" at Ashton-under-Lyne, i, 
 16. 
 
 "Riding," the, to St. Paul s discontinued during 
 time needed for rebuilding the church, ii, 59. 
 
 Ridings of the mayor (1680), ii, 58 f.; precede 
 jousts, and grow mimetic, i, 95. 
 
 Ridley, Nicholas [Bishop of Rochester and London], 
 (London, 1907), ii, 134. 
 
 Ridley, the burning of , pictured at Belfast (1914), 
 ii, 181. 
 
 "Rigadoon," a, danced by children (Colchester, 
 1909), ii, 224, n. 7. 
 
 Riot (London, 1612), ii, 32. 
 
 Riggs, L., verse by, in the Yale Pageant, ii, 275. 
 
 Righteousness, in the "Chasteau d Amour," i, 80; 
 in Lydgate s London disguising, i, 107; 
 (Coventry, 1456), i, 149. 
 
 Ripley, Hugh, last wakeman of Ripon (Ripon, 
 1886), ii, 151. 
 
 Ripon, millenary celebration of (1886), ii, 159 f.; 
 ii, 208; tilting at, in 1886, ii, 185; "wild- 
 men" at (1886), i, 74, n. 2. 
 
 Ritual, a, of citizenship, ii, 290. 
 
 River, the Spirit of the (Thetford, 1911), ii, 270. 
 
 River God represented by a giant in 1913, i, 63; 
 ii, 36; ii, 138. 
 
 Rivers, Earl (London, 1902), ii, 129. 
 
 Rivers often personified in the civic shows, ii, 75; 
 personified, examples of, ii, 75, and n. 7. 
 
 Rivers personified and individualized in the modern 
 pageant, ii, 21 5 f.; Spirits of the (St. Johns- 
 bury, 1912), ii, 270. 
 
 Robarts, Henry, his account of the 1606 "entry," 
 i, 227 f., and notes (228). 
 
 Robert, Earl of Cleremont, injured in a tourney, i, 
 87. 
 
 Roberts, Lord, opened the Army Pageant of ^910, 
 ii, 207, n. i. 
 
 Robin a Wood, i, 7. 
 
 Robin Hood, i, 7; i, 74; (Coventry, 1862), ii, 
 170; (Grimston, 1884), ii, 159; (Knuts- 
 ford, 1913), ii, 154; (Lichfield, 1893), ii, 150; 
 ii, 153; (London, 1615), ii, 144, n. i; (Lon 
 don, 1913), ii, 138; ii, 144, n. i; (Ripon, 
 1886), ii, 161; (Sherborne, 1905), ii, 210; ii, 
 211, and n. 3. 
 
 "Robin Hood and the Curtal Friar," played on 
 
 traditional site of the event it recalled (1886), ii, 
 
 161, and n. 3; ii, 199, n. i. 
 Robin Hood men in a dance (1613), i, 206, n. 6; 
 
 in May-day mumming, i, 65, and n. i. 
 Robin Hood plays, i, 7, n. i ; i, 10, n. i ; i, 85; i, 105. 
 Robinson, Sir John, on a civic committee, i, 247 ; 
 
 Mayor of London (1662), ii, 48, n. 5. 
 Robinson Crusoe (Revere, 1912), ii, 254. 
 Roche, Sir William (mayor, 1540), ii, ii. 
 Rockesby, Sir Gregory de (London, 1889), ii, 125. 
 Rod, symbolism of the, at coronations, i, 155. 
 Rogation Day, at Salisbury, i, 65; week, i, 14. 
 Roger of Caen (Sherborne, 1905), ii, 210. 
 Rogers, Dr., music by, in the 1783 pantomime, ii, 
 
 101. 
 Roi du Behourt, at Lille, i, 88; de VEpinette at 
 
 Lille, i, 75; i, 88; i, 135, n. i. 
 Roland (London, 1522), i, 79; i, 176. 
 Rotto (Rouen, 1911), ii, 164. 
 Roman Ambassadors at London (1518), i, 173; 
 
 civilization, the, in the "Masque of Learning," 
 
 ii, 227; dance (Colchester, 1909), ii, 224, n. 7; 
 
 - (York, 1909), ii, 224, n. 7. 
 Roman Magistrate (London, 1662), i, 248. 
 Roman occupation of the city shown at York 
 
 (1909), ii, 217, n. 3. 
 "Roman Pageant," a, in the 1914 "Tournament," 
 
 ii, 189 f. 
 
 Roman period, the (Ripon, 1886), ii, 160; tri 
 umphs with pageantic features, i, 17, n. 6; 
 
 troops, routine of, in the 1914 "tournament," 
 
 ii, 190. 
 
 "Romance," i, xix. 
 Romance (Boston, 1908), ii, 283. 
 Romance, gifts of, to the pageant, i, 196; shade 
 
 of, in the pageant, ii, 104. 
 Romances, animals in, i, 66; giants in, i, 52; 
 
 influences on animals in the masque from, i, 121; 
 
 tournament in, i, 89; and tournament; 
 cross-influences, i, 196 f. 
 
 Romans (Edinburgh, 1908), ii, 214; (London, 
 
 1783), ii, 98. 
 
 Romantic aspect of life, aim to preserve the, ii, 
 195; and Biblical elements combined, i, 160; 
 
 characters in pageants, i, 79 ff.; fiction, 
 influence of, greater on the masque than on the 
 pageant, i, 196. 
 
 "Romantic giants," types of, i, 52. 
 Rome (London, 1904), ii, 75, n. 6; ii, 130. 
 Rome, ancient, represented by a car (1904), ii, 
 
 130; carnival at, i, 14, n. i; i, 161, n. 6; 
 
 "subtlety" at, (1473). i, 83, n. 3. 
 Romish plots, echoes of (1679), ii, 58. 
 Rooke, Sir George (London, 1911), ii, 137- 
 Roose [Stayner], makes dragon at Norwich (1534- 
 
 35), i, 26, n. 5. 
 Rorke s Drift, veterans of, asked for (1879), ii, 
 
 1 20. 
 
INDEX 
 
 Rosalind (Lichfield, 1909), ii, 151. 
 
 Rosam, i, 4. 
 
 Rose, a mechanical (London, 1522), i, 177. 
 
 "Rosemary," a play dealing with the past, ii, 
 
 196, n. i. 
 de Rosny, Lucien, records Lille tourney, i, 87 ; 
 
 describes the "Roi de 1 Epinette," i, 88. 
 Ross, Betsy (Norristown, 1912), ii, 249; Club 
 
 provides a float (Boston, 1912), ii, 246, n. 3. 
 Rossetti, Christina, her "Pageant of the Months," 
 
 ii, 191 f. 
 Rothenburg, play of the Meistertrunk at, ii, 197; 
 
 ii, 205, n. 3. 
 Rouen, millenary celebration of (1911), ii, 163 f.; 
 
 pageantic procession at (1558), i, 98. 
 Round Table, i, 89 ff . 
 
 "Round Table" founded in France, i, 92, and n. 4; 
 
 of Parisian citizens (1330), i, 94; in "royal- 
 entry" (London, 1522), i, 177. 
 
 Round Table and Wace, i, 95. 
 
 "Round Table" founded at Windsor (1344), i, 92. 
 
 Round Table, Knights of the (Diisseldorf, 1852), ii, 
 
 147. 
 Round Table, Knights of the, in Monck s "King 
 
 Arthur," ii, 217, n. 3. 
 Roundheads (Lichfield, 1893), ii, 150. 
 Roundheads [soldiers of the Commonwealth], 
 
 (London, 1889), ii, 124. 
 Roussillon, disguising in, i, 13, n. i. 
 Route of 1849 procession, ii, 114; of the 1850 
 
 procession, ii, 115, n. 2. 
 Rowe, Sir Thomas, Mayor of London (1568), ii, 21 ; 
 
 ii, 27. 
 
 Rowlandson, Grace, in the Warwick (Massachu 
 setts) Pageant, ii, 280. 
 Royal characters, portraits of (Edinburgh, 1633), 
 
 i, 236; statues of (London, 1661), i, 243, n. i; 
 
 pictures of (Paris, 1498), i, 163 f. [See also 
 historical characters, and the names of individual 
 sovereigns.] 
 
 "Royal-Entries" see also places visited and 
 sovereigns visiting; of the fifteenth century re 
 viewed, i, 165 f.; have the continuity of an 
 institution, i, 180; impersonal quality of, i, 
 180; popular element in, i, 180. 
 
 "Royal-entry," trade-pageantry in (1298), i, 124; 
 -(1313), i, 126; (1377), i, 128 f.; (1392), 
 i, 131; (1432), i, 146; (1445), i, 148; 
 before the days of Elizabeth reviewed, i, 195 f.; 
 of the seventeenth and subsequent centuries, 
 ch. v, (i, 222 258) ; the, ch. iii, (i, 124-198.) 
 
 Royal Exchange see also Exchange ; scene of 
 1678 "interlude" laid at the, ii, 56. 
 
 "Royal Exchange," ship named the (1605), ii, 28. 
 
 "Royal May Day Festival," i, 10; at Knuts- 
 ford,ii, i53f. 
 
 "Royal Naval and Military Tournament, the," 
 ii, 187 f.; Oak, of 1660 described by Evelyn, ii, 
 47 f.; Oak, pictured (London, 1661), i, 243, 
 
 n. i; Pageant on the Thames (1919), ii, 
 141, and n. i; Slave with scenes (1637), i, 
 120. 
 
 Royalty (London, 1547), i, 186. 
 
 Royalty at the 1664 banquet, ii, 49; at the 
 1671 Show, ii, 52; invited to the 1673 ban 
 quet, ii, 53, n. 2; at the 1685 Show, ii, 63, 
 n. i; at the 1687 banquet, ii, 63; at the 
 1689 banquet, ii, 64; at the 1692 banquet, ii, 
 66, n. 2; invited to dine with the mayor 
 (1702), ii, 69, n. 3; at Guildhall (1727), ii, 
 88, and n. 4; at the 1761 Show, ii, 95; ii, 96; 
 
 at Guildhall (1822), ii, 108; at the 1837 
 banquet, ii, no; at the Knutsford festival 
 (1887), ii, 153; at the 1911 "Tournament," 
 ii, 189; at the 1919 pageant on the Thames, 
 ii, 141, n. i. 
 
 Roze, Raymond, his pageantic production of an 
 opera, ii, 210. 
 
 Rubens, P. P., and the Antwerp giant, i, 254, and 
 n.3. 
 
 Rudhudibras, founder of Canterbury and Win 
 chester, i, 78, n. i. 
 
 Rudstone, Alderman, to provide livery for the 
 1522 "entry," i, 174; Sheriff, to have two 
 pageants at Midsummer (1522), i, 40, n. 3. 
 
 Rugg, Robert, Mayor of Norwich (1550), ii, 16, 
 n.3. 
 
 Rules for pageant writing, strict, cannot be made, 
 ii, 235. 
 
 Running at the ring (London, 1616), i, 234, n. i. 
 
 Runnymead, scene at, in the English Church Pag 
 eant, ii, 200. 
 
 Rus, ii, 76. 
 
 Russell, Lady, receives Elizabeth at Bisham (1592) , 
 i, 217, n. 2; G. W. E., on Disraeli s description 
 of the Eglinton tournament, ii, 182, n. 2. 
 
 Russia (Lichfield, 1904), ii, 151, n. 3; (London, 
 1853), ii, 116, n. 3. 
 
 Russia, the Emperor of, at London (1814), ii, 162, 
 n.6. 
 
 Russian, a (London, 1617), ii, 76. 
 
 Russian group, a (Boston, 1910), ii, 267. 
 
 Russian prince and princess (London, 1628), ii, 39. 
 
 Russians in the Boston procession of 1912, ii, 247; 
 
 in the New York Pageant of 1918, ii, 252. 
 Ruth and Naomi given a political significance (Bel 
 fast, 1914), ii, 181. 
 
 "Ryche Mount" (1513), i, 116. 
 Rycot, Elizabeth at, i, 217, n. 2; i, 218. 
 Rye, effigies burned at, i, 10. 
 
 Sabrina (Cheltenham, 1908), ii, 2i6f.; in the 
 Gloucestershire Pageant (1908), ii, 75, n. 7. 
 
 Sacchetti, Franco, his picture of a septuagenarian 
 in a tournament, i, 99, n. i. 
 
 Sachem, a (Plymouth, 1801), ii, 236. 
 
 Sacred Memory (London, 1623), ii, 78. 
 
 Sacrifice, ground-work of sword-dances, i, 6; 
 
INDEX 
 
 415 
 
 the origin of the "attack" in folk-plays, i, 5; 
 
 pagan, connected with religious festivals, i, 64, 
 
 n-3- 
 
 Saddlers (London, 1783), ii, 99. 
 Saddletree Makers car in the Ripon procession 
 
 (1886), ii, 160. 
 
 Safety (London, 1604), i, 225. 
 "Sagettary" (London, 1635), ii, 42. 
 Sailor (London, 1585), ii, 24. 
 Sailors (Knutsford, 1913), ii, 154; in the 1850 
 
 Show, ii, 115; ii, 116. 
 St. Albans Pageant, the (1907), ii, 221, n. 3; 
 
 Street, Worcester, i, 210. 
 St. Andrew (London, 1604), i, 223; (London, 
 
 1609), ii, 30; ii, 82; (London, 1681), ii, 82, 
 
 n. 7; "subtlety" of, i, 83, n.4. 
 St. Andrew Hubbard, accounts of, i, 38; i, 57, n. 2. 
 St. Andrew s, parish of (Norwich), ii, 17. 
 St. Anne (London, 1533), i, 183. 
 St. Anthony (London, 1681), ii, 82, n. 7. 
 "St. Benet s Abbey, The Last Days of," ii, 229. 
 St. Benet s Gates, Norwich, i, 211. 
 "St. Botolph s Church at Boston, England" 
 
 (Boston, 1897), ii, 260. 
 St. Catherine see St. Katherine. 
 St. Christopher at Aix, i, 55, n. 2; at Salisbury, 
 
 i, 56, n. 3; i, 57, and n. 3; i, 162; i, 258; ii, 
 
 155 f- 
 
 St. Clair, General (Marietta, 1888), ii, 258, n. 3. 
 [St.] Crispianus with the Cordwainers (London, 
 
 1783), ii, 99. [Cf. Crispinian.] 
 St. Crispin, i, 33; i, 34, n. 7; i, 57, n. 2; (Dublin, 
 
 1528), i, 179; (Edinburgh, 1832), ii, 165, and 
 
 n. 5; with the Cordwainers (London, 1783), 
 
 ii,99- 
 
 St. Crispin, Society of, shows the "king" (Edin 
 burgh, 1832), ii, 165. 
 
 St. Crispinian, i, 33; i, 34, n. 7; i, 57, n. 2; 
 (Dublin, 1528), i, 179. [Cf. Crispianus.] 
 
 St. David (London, 1681), ii, 82, n. 7; (York, 
 1914), ii, 230. 
 
 St. Denis (London, 1681), ii, 82, n. 7; (Paris, 
 1431), i, 140. 
 
 St. Denis, gate of, i, 139; i, 162; i, 171; i, 187; 
 rue, (Paris), i, 139. 
 
 St. Dona (Bruges, 1515), i, 172. 
 
 St. Dunstan (London, 1522), i, 178; in Lord 
 Mayor s Shows at the end of the xvii century, i, 
 78; (London, 1611), ii, 31; ii, 83, n. 4; 
 (London, 1674), ii, 83; (London, 1687), ii, 
 83, n. 4; (London, 1708), ii, 83, n. 4. 
 
 St. Dunstan s Church (London), i, 202; i, 228. 
 
 St. Edmund (King), (London, 1522), i, 178. 
 
 St. Edward (King and Confessor), (Coventry, 
 1456), i, 149; (Coventry, 1474), ^153; [in 
 genealogical table (London, 1432)], i, 146; 
 (London, 1522), i, 178; (London, 1547), i, 
 186. 
 
 St. Elene, guild of, at Beverley, i, 17. 
 
 St. Elene, impersonated at Beverley, i, 17. 
 
 St. Elizabeth (London, 1534), i, 41; i, 78. 
 
 St. Erkenwolde (London, 1522), i, 178. 
 
 St. Francis (Paris, 1431), i, 138, n. 4. 
 
 St. George, i, xvii; i, 7, and n. i; i, 23-32; i, 57. 
 
 St. George in folk-mumming, i, 23 ff.; in pag 
 eantry from folk-custom, i, 24; "riding," i, 
 24 ff.; pageant of, i, 24, n. i; at Mons, i, 
 24, n. i ; in Bavaria, i, 24, n. i ; in Russia, 
 i, 24, n. 2; in Portugal, i, 24, n. 2; at Nor 
 wich, i, 26 ff.; i, 78; at Leicester, i, 29 ff.; 
 at Aberdeen, i, 33 ; an "armed knight," i, 47 ; 
 i, 48; (Bristol, 1461), i, 151; at Chester, i, 
 32; (Chester, 1610), i, 230; chevalier de, in 
 the 1711 Pope-burning, ii, 175, n. 3; (Coven 
 try, 1474), i, 154; (Coventry, 1498), i, 164; 
 (Coventry, 1826), ii, 167; ii, 168, n. i; (Co 
 ventry, 1851), ii, 170, n. 3; (Coventry, 1862), 
 ii, 170; and the dragon on a banner (Boston, 
 1912), ii, 246; and the dragon in "royal- 
 entries," i, 196; (Dublin), i, 22;!, 23; i, 31 ff.; 
 i, 79; and the dragon in a "triumph" (Edin 
 burgh, ioo8),ii, 223. 
 
 St. George (Hereford, 1486), i, 159; (London, 
 1415), i, 133, n. 2-, (London, 1522), i, 178; 
 (London, 1604), i, 223; (London, 1609), ii, 
 30; ii, 82; (London, 1681), ii, 82, n. 7; 
 (London, 1895), ii, 127; (London, 1913), i, 
 63; with maiden and lamb (Bristol, 1461), i, 
 152; (Coventry, 1474), i, 154; (London, 
 1547), i, 186; and May games, i, 24, n. i. 
 
 St. George, Guild of, i, 18 f.; i, 25 f.; i, 32 n. 3. 
 
 St. George and the Order of the Garter, i, 93, n. 3; 
 
 Order of the Sons of (Boston , 1 9 1 2) , ii , 246 ; 
 in a pageant at a Court disguising (1494), i, 112; 
 
 plays, i, 5; i, 6, notes 2 and 3; i, 7, n. i; i, 
 105; plays, Fool in, i, 73; reputed a native 
 of Coventry, ii, 168, n. i. 
 
 St. George, rescuing king s daughter from dragon, 
 i, 152; i, 154; accompanied by Snap, at Nor 
 wich, i, 70, n. i; a "subtlety," (1416), i, 82. 
 
 St. George s bar (London), i, 133, n. 2; i, 175; 
 Day at Chester (1610), i, 229^; Day at 
 Salisbury, i, 65. 
 
 "St. Giles Fair" (Winchester, 1908), ii, 224. 
 
 St. Giles procession, (Edinburgh), i, 16, n. 6. 
 
 St. Helen s Church, (Worcester), i, 210. 
 
 St. James (London, 1681), ii, 82, n. 7. 
 
 St. James s palace, ii, 88, n. 6. 
 
 St. John at Aberdeen, i, 33 ; (London, 1662), i, 248. 
 
 St. John, Champlain s landing reproduced at 
 (1904), ii, 241; night of, i, 42; vigil of, i, 
 
 375 i,38; i, 47- 
 
 St. John the Baptist (London, 1553, 1554), i, 78; 
 in a "desert" (London, 1392), i, 131; (Lon 
 don, 1522), i, 178; in the "royal-entry," i, 
 195; pageant of, in the 1553 Show, ii, 14; 
 in 1554, ii, 15; in 1568 Show, ii, 21; (1553, 
 1554, 1568), ii, 82. 
 
416 
 
 INDEX 
 
 St. John the Evangelist (Coventry, 1456), i, H95 
 pageant of (London, 1535-36), i, 38, n. 5. 
 
 St. John s Church, (Coventry), i, 204; gate, 
 Bristol, i, 160; pageant at (Norwich), ii, 16 
 f.; Wood (London), ii, 182; ii, 183. 
 
 St. Johnsbury, Pageant of (1912), ii, 270 f. 
 
 St. Johnsbury, the Knight of (St. Johnsbury, 1912), 
 ii, 270. 
 
 St. Katharine at Hereford, i, 23; (London, 1501), 
 i, 167; 1620, 1631, 1637, 1699), ii, 83; 
 (Malines, 1838), i, 12, n. 3. 
 
 St. Laurence at Aberdeen, i, 33. 
 
 St. Laurence Lane, ii, 35; ii, 435 "> 48; ii, 53 ) ii 
 55; ii, 81; ii, 84, n. 6. 
 
 St. Louis [in genealogical table], (London, 1432), *> 
 146; pictured (Paris, 1498), i, 164; (St. 
 Louis, 1914), ii, 273, n. 3. 
 
 St. Louis, a pageantic procession at (1847), ii, 
 237 f.; Pageant, the, of 1914, ii, 273; the 
 Veiled Prophet at, ii, 253 f. and notes. 
 
 "St. Louis, View of, from the Illinois Shore," pic 
 tured on a banner (St. Louis, 1847), ii, 238. 
 
 St. Luke, guild of, at Norwich, i, 18, n. i. 
 
 de Saint-Lusson, see Daumont. 
 
 St. Magnus (London, 1298), i, 19, n. 3; i, 57; i, 78; 
 i, 124. 
 
 St. Magnus corner (London), i, 173. 
 
 St. Malo, pageant projected at, ii, 205. 
 
 St. Margaret (Antwerp, 1520), i, 24, n. 2; (Coven 
 try, 1456), i, 150; (London, 1445)) i> H8; 
 and the dragon in "royal- entries," i, 196; at 
 Norwich, i, 26. 
 
 St. Margaret, guild of, at Leicester, i, 21; i, 31. 
 
 St. Maria Novella (Florence) Chapel of, i, 145, 
 n. 2; ii, 283. 
 
 St. Martin at Aberdeen, i, 33; (London, 1702), 
 
 ii, 83; ii, 153- 
 
 St. Martin s Church (London), i, 184, n. 3. 
 
 St. Mary, guild of, at Beverley, i, 17. 
 
 St. Mary-at-Hill, records of, i, 57, n. 2. 
 
 St. Michael (London, 1522), i, 178. 
 
 St. Michael s Church (Coventry), ii, 170, n. 2; 
 in Querne (London), i, 148; i, 185. 
 
 St. Mildred s Church (London), i, 224. 
 
 St. Nicholas at Aberdeen, i, 33. 
 
 St. Nicholas, Dutch legend of, in the Hudson- 
 Fulton Pageant, ii, 243. 
 
 St. Patrick (London, 1681), ii, 82, n. 7. 
 
 St. Paul, vigil of, i, 37; i, 38. 
 
 St. Paul s (London, i, 130; i, 131; i, 135, and n. 3; 
 i, 136; i, 147; i, 157; i, 160; i, 161; i, 166, and 
 n. 6; i, 168; i, 175; i, i?6; i, i?8; i, 186; i, 188; 
 i, 190, n. 12; i, 193; i, 194; i, 214, and n. 4; i, 
 225; ii, 14; ii, 32; ii, 34; ii, 35; ii, 41; ii, 55; 
 Churchy ard,i, 48; i, 184; i, 198; i, 190, n. 12; 
 i, 202; i, 228; i, 242; ii, 13; ii, 15; ii, 19; ii, 34; 
 ii, 48; 11,58; ii, 79; ii,8o; ii, 91; ii, 114; ii,ns, 
 n. 2; Gate, i, 184; [dean of Paul s gate], i, 
 189. 
 
 St. Peter, night of, i, 42; i, 46; vigil of, i, 37; i, 
 38; i, 42, n. 2. 
 
 St. Peter, statue of, (London, 1761), ii, 96. 
 
 St. Peter s Church (London), i, 201; i, 241, n. 3; 
 of Houndgate (Norwich), ii, 16. 
 
 St. Pol, hotel of, jousts in, i, 96. 
 
 St. Prospero (Reggio, 1453), i, 148, n. 4. 
 
 St. Rumold, martyrdom of, honored at Malines, 
 i, 12, n. 3. 
 
 St. Sebastian at Aberdeen, i, 33. 
 
 St. Stephen at Aberdeen, i, 33. 
 
 St. Stephen s, Norwich, i, 210. 
 
 St. Thomas of Acres (London), i, 173. 
 
 St. Thomas at Canterbury, i, 34; of Canterbury 
 (London, 1522), i, 178. 
 
 St. Ursula (London, 1501), i, 167; pageant of 
 (1522), ii, ii, n. 2; (London, 1522), i, 40, and 
 n. 3 . 
 
 St. Wilfred (Ripon, 1886), ii, 160; car of (Ripon, 
 1886), ii, 161. 
 
 St. William, guild of, at Norwich, i, 17. 
 
 Saints images, i, xvi; and folk-giants, i, 51. 
 
 Saints in the civic shows, ii, 82 ff . ; in the " royal- 
 entry," i, 195. 
 
 Sale of "properties" at Coventry in 1836, ii, 169, 
 n. 2. 
 
 Salina (London, 1684), ii, 62. 
 
 Salisbury, Bishop of, a yeoman of the, starts 
 trouble (1392), ii, 4; court (London), i, 48; 
 Henry VII at (1496), i, 162; Hob Nob at, i, 65; 
 i, 70, n. i; i, 162; Marquis of, pictured at Bel 
 fast (1914), ii, 181; May Day at, i, 65; 
 Rogation Day at, i, 65; St. Christopher at, i, 
 56, n. 3; i, 57; i, 162; i, 258; St. George s 
 Day at, i, 65. 
 
 Salisbury, Lord (Lichfield, 1893), ii, 150. 
 
 Sally (Boston, 1910), ii, 267. 
 
 Salter, Mayor of London (1740), ii, 92. 
 
 Sailers (London, 1783), ii, 99. 
 
 Salters, early sixteenth-century "show" of, dis 
 cussed, ii, 9; represented by Sabina (1684), 
 ii, 62. 
 
 Salutation (Bristol, 1574), i, 206. 
 
 "Salutation of Mary and Elizabeth" (Norwich, 
 1469), i, 153; of the Virgin (Aberdeen, 1511), 
 i, 170; (Edinburgh, 1503), i, 169; (Paris, 
 1513), i, 172. 
 
 Sampson, Louis, paid for carrying Douai giants, 
 i, 55, n. 2. 
 
 Samson, i, 54; i, 56; i, 57, n. 3; i, 58, n. i; i, 78; 
 (Coventry, 1461), i, 151; (London, 1522), i, 
 176; i, 195. 
 
 "Sanctuary of Fame " (1619), ii, 81 ; of Prosper 
 ity (1626), ii, 78, n. 4. 
 
 Sandowne Gate (Sandwich), i, 205. 
 
 Sandwich, Elizabeth at (1573), i, 205 f. 
 
 Sanger, Mr., provides elephants for the 1884 Show, 
 ii, 123; and son furnish "men in armor" 
 (1879), ii, 120. 
 
INDEX 
 
 417 
 
 Santa Claus (St. Louis, 1888), ii, 253, n. 5. 
 
 Sapience (London, 1432), i, 145; (London, 
 154.7), i,i86, 
 
 Sapientia (London, 1554), i, 194. 
 
 Saracens in military exercises (1638), i, 238. 
 
 Sarah allegorically explained, i, 80. 
 
 Sardanapalus (Edinburgh, 1503), i, 169. 
 
 Sarum, place for tournament near, i, 89. 
 
 Satire against the show (1867), ii, 119!.; a, 
 combining qualities of pageant and morality 
 (1606), ii, 35, n. 4; by Ned Ward, i, 61; ii, 
 86, and n. i. 
 
 "Satirical features" in the Bournemouth celebra 
 tion of 1910, ii, 238, n. 3. 
 
 Satyr (London, 1657), ii, 47. 
 
 Satyrs, i, 17, n. 6; i, 74; i, 77; [painted (London, 
 1661)], i, 246; (London, 1663), ii, 49; 
 (London, 1671), ii, 51; (1687), ii, 85, n. 2; 
 with St. Martin (1702), ii, 83, n. 3; ii, 153; 
 (Ripon, 1886), ii, 159. 
 
 Saul, contemporary of Ebraucus, i, 78, n. i. 
 
 Saunders, Mr., received 3 (1704), i, 253, n. 2. 
 
 Saunderson, Colonel, pictured at Belfast (1914), 
 ii, 181. 
 
 "Sauvage," at Lyons (1627), i, 77, n. i; of the 
 romances, in "Don Quixote," i, 74, n. 3. 
 
 Savages represent North and South America 
 (1853), ii, 117. 
 
 "Sauny," tune of, ii, 60, n. 2. 
 
 Saxon, a (London, 1783), ii, 98. 
 
 Saxon period, the (Ripon, 1886), ii, 160. 
 
 Saxony, mock death of "wild-man" hi, i, 51, n. 2. 
 
 Saybrook, bicentenary of Yale s removal from, 
 celebrated, ii, 274. 
 
 "Saybrook, the Removal of the Books from" 
 (New Haven, 1916), ii, 274, n. i; ii, 275. 
 
 Scandinavian folk-dances, i, 4f.; influence of 
 Greece or Rome on, i, 5; group, a (Boston, 
 1910), ii, 267. 
 
 Scarborough Pageant, the (1912), ii, 219, n. 3; ii, 
 222, n. 2. 
 
 Scarfs and ribbons (1629), ii, 41. 
 
 Scarva, mock fight at (1914), ii, 186. 
 
 Scarvagh House, sham fight on the grounds of, ii, 
 186. 
 
 Scathlocke (London, 1615), ii, 144, n. i. 
 
 Scene, unity of, not always kept in English pag- 
 geants, ii, 199 f.; unity of, not kept in the 
 Quebec Pageant, ii, 263, and n. i; unity of, 
 not kept at Taunton, ii, 269, and n. 2; no 
 unity of, in the Yale Pageant, ii, 275. 
 
 Scenery, i, xviii; movable, i, 120, and n. 5; 
 origin of, i, 119 f., and notes; prepared for, 
 by pageant-car, i, 112. 
 
 Sceptre Bearer in early Knutsford processions, ii, 
 iS4,n.4. 
 
 Schenck, F., notes influence of Hainault on tourna 
 ments, i, 94. 
 
 Scholasticism (Boston, 1908), ii, 282, n. i; ii, 283. 
 
 "School, the First, in America" (Boston, 1912), 
 ii, 246; a public, pageant (Norristown, 1912), 
 ii, 248; pageants, cost of, ii, 206, n. 2. 
 
 School-house yard (Sandwich), i, 206. 
 
 Schools to observe the Pilgrim Tercentenary, ii, 
 276. 
 
 Science (Boston, 1908), ii, 282; (Edinburgh, 
 1908), ii, 214; (Liverpool, 1907), ii, 163; 
 (London, 1585), ii, 24; ii, 75, n. 8; ii, 77. 
 
 "Science, the Temple of," on a banner (St. Louis, 
 1847), ii, 238. 
 
 Sciences, Liberal, see Liberal. 
 
 Scir Burn, the, origin of Sherborne, ii, 218. 
 
 Scotch in the Boston procession of 1912, ii, 247. 
 
 Scotch Highlanders (Knutsford, 1913), ii, 153; 
 Settlers (Norristown, 1912), ii, 249. 
 
 Scotland, (Lichfield, 1911), ii, 152; (London, 
 1604), i, 225; (London, 1662), i, 249; 
 (London, 1919), ii, 141 ; represented by a king 
 (London, 1661), i, 243, n. i. 
 
 Scotland, the National Pageant of, ii, 202, n. 4; 
 ii, 203, n. i; ii, 207, and n. 3; ii, 214; masque 
 in, ii, 223 f. 
 
 Scott, Alexander, "Ane new zeir gift," i, 203; 
 the Rev. C. V. R., author of a children s "pag 
 eant," ii, 228, n. 3; Sir Walter, writes verses 
 for 1822 "entry," i, 255, n. 5. 
 
 Scottish group, a (Boston, 1910), ii, 267; (Taun 
 ton, 1911), ii, 270; jigs with classical char 
 acters (Elvetham, 1591), i, 216. 
 
 Scottish Kings, portraits of (Edinburgh, 1633), i, 
 236. 
 
 Scottish National Pageant, the, of 1908, given for 
 a charity, ii, 207; Queen at London (1516), 
 
 i,i73- 
 
 Scriptures, explaining personified virtues and vices 
 (London, 1559), i, 201. 
 
 "Scriptures" in London civic shows, i, 145, n. 3; 
 at Paris (1596), i, 219. 
 
 "Scrooby, Bradford leaves" (Plymouth, 1896), ii, 
 259; ii, 260. 
 
 Sculpture represented at Lichfield in 1912, ii, 152. 
 
 Scylla and Charybdis (1631), ii, 77, n. 2. 
 
 "Sea, the" (Little Compton, 1914), ii, 250. 
 
 Sea-chariot (London, 1612), ii, 31; (1638), ii, 
 72; (London, 1657), ii, 47; (London, 1661), 
 ii, 48; (London, 1685), ii, 63; (London, 
 170x3), ii, 69; with Isis (London, 1662), i, 
 249; with Thetis (London, 1662), i, 250; 
 Consort (London, 1628), ii, 39. 
 
 Sea-gods vs. wood-spirits (Elvetham, 1591), i, 
 216 f.; horses (London, 1612), ii, 32; horses 
 (London, 1629), ii, 40; horses (London, 1662), 
 i, 249; horses of the Fishmongers (1761), ii, 
 96; lion (London, 1629), ii, 40; lion (Lon 
 don, 1685), ii, 63; lion representing the East 
 India Company (1629), ii, 72; lions (London, 
 1661), ii, 48; unicorn (London, 1616), i, 233. 
 
 Seaman, in a 1634 masque and pageant, i, 118. 
 
418 
 
 INDEX 
 
 Searle, Mr., Bargemaster (1849), ii, 114. 
 
 Seasons, the (Coventry, 1862), ii, 170, n. 7; 
 (Edinburgh, 1908), ii, 223; (Knutsford, 1913), 
 ii, 1535 (London, 1628), ii, 39; (London, 
 1639), ii, 74; (London, 1677), ii, 74; (Lon 
 don, 1673), ii, 53. 
 
 "Seasons, the Festival of the" (Cambridge, 1919), 
 ii, 284. 
 
 Seasons, the Four artificial figures [?], (London, 
 1661), i, 246. 
 
 "Seasons, the Four" (St. Louis, 1880), ii, 253; 
 Masque of, at Edinburgh (1908), ii, 223 f.. 
 
 Seasons, the, personified in various pageants, ii, 
 191. 
 
 Seat of Worthy Governance (London, 1559), i, 200. 
 
 Sebright, Mayor, forbids the 1603 Show on account 
 of the plague, ii, 28. 
 
 Secular developments in religious ridings, i, 32 ff. 
 
 Sedan, Lady in a (Knutsford, 1913), ii, 153. 
 
 Sedition in a 1671 "interlude," ii, 52. 
 
 Sedulity (London, 1604), i, 224. 
 
 Segar, Sir William, describes the 1590 tilt, i, 215. 
 
 Seger, paid for armor and child (1534), i, 41, n. i 
 and 2. 
 
 Self in a 1678 "interlude," ii, 56. 
 
 Selove, Thomas, Warden of Grocers Company, ii, 6. 
 
 Semiramis (Paris, 1431), i, 138, n. 4. 
 
 "Senate House", ii, 33. 
 
 Senses, the Five (London, 1604), i, 224; (London, 
 1613), ii, 34. 
 
 Sensuality in "Mary Magdalene," i, 108. 
 
 Seriousness the keynote of the 1914 Show, ii, 140. 
 
 Serpent spouting fire (London, 1547), i, 186. 
 
 Serpentine, fleet on the (1814), ii, 162. 
 
 Service, commemorative, in connection with 
 modern pageants, ii, 212, and n. i; at Ripon 
 Cathedral opens millenary celebration (1886), 
 ii, 159; special, begins Pennsylvania bicen 
 tennial (1882), ii, 239. 
 
 Services in connection with the Norristown pag 
 eant of 1912, ii, 248. 
 
 Servitude at the feet of Liberty (London, 1604), i, 
 225. 
 
 Settle, Elkanah, in charge of the Pope-burning of 
 1680, ii, 172; "last of the City Poets," ii, 
 65 f.; called "City Poet," ii, 69; ii, 70, n. 2. 
 
 Settlers (Norristown, 1912), ii, 249. 
 
 Settlers, early, reproduced at Philadelphia (1882), 
 ii, 240. 
 
 Settle s "Glory s Resurrection" (1698), ii, 66; 
 Shows, 1698-1702, ii, 68; 1708 Show not pro 
 duced, ii, 69. 
 
 Sevastopol, veterans of, in the 1890 Show, ii, 125. 
 
 Seven Deadly Sins see Deadly. 
 
 Seven-hundredth anniversary of the mayoralty 
 celebrated in 1889, ii, 3, n. i; ii, 123 f. 
 
 Seven Liberal Arts (or Sciences) see Liberal. 
 
 "Seven Star Sisters, the" (Marblehead, 1912), ii, 
 277; ii, 278. 
 
 Severn (London, 1605), ii, 29; ii, 75; (London, 
 
 1628), ii, 39. 
 Seward, J. L., historian for the Keene Pageant, ii, 
 
 271, n. 2. 
 Seymour, Lady, Queen of Beauty at Eglinton, ii, 
 
 182, n. 2; ii, 184, n. 5. 
 Shaa, Mayor (1502), i, 39. 
 Shaftsbury, founded by Hudibras, i, 78, n. i. 
 Shakspere, characters of (Lichfield, 1909), ii, 151. 
 Shakspere (Boston, 1908), ii, 282; a character 
 
 in the Warwick Pageant of 1906, i, 205, n. 3 ; 
 
 with characters from his plays (London, 1908), 
 
 ii, 135- 
 Shakspere s chronicle-histories drawn on for 
 
 modern episodes, ii, 219; London plays of, 
 
 characters from (1910), ii, 136. 
 Sham-fight at Preston (1882), ii, 165, n. 2. See also 
 
 Mock-fight. 
 
 Shanghai funeral "giants," i, 50, n. 4. 
 Shannon (London, 1691), ii, 75. 
 Shannon, John P., ode by, distributed by the 
 
 printers (St. Louis, 1847), ii, 239. 
 Shaw, Sir Edmund (London, 1889), ii, 125; John 
 
 (London, 1783), ii, 100. 
 Shawmut, Blackstone welcomes Winthrop to 
 
 (Boston, 1897), ii, 260 f.. 
 Shearmen and Taylors, stage-direction in pageant 
 
 of, i, 20, n. 3. 
 
 Sheba, Queen of see Queen of Sheba. 
 Sheet Metal Workers Union represented by a 
 
 "knight in armor" (Warrington, 1914), ii, 155. 
 Sheldon, Sir Joseph, Mayor of London (1675), ii, 
 
 54- 
 
 Shene in Sotheraye, citizens pardoned at, i, 130. 
 Shepherd on a Drapers trade-pageant (London, 
 
 1638), ii, 72; (Sudeley, 1592), i, 218, and n. i; 
 
 with Golden Fleece (London, 1614), ii, 36; 
 and shepherdess (1890), ii, 125; and shep 
 herdess (Coventry, 1826), ii, 167; ii, 168, n. i; 
 (Coventry, 1848), ii, 170; (Coventry, 1862), 
 ii, 170; and shepherdess (Ripon, 1886), ii, 161 ; 
 
 and shepherdess in bower (London, 1606), i, 
 228, n. 2. 
 
 Shepherdesses with Pan (Bisham, 1592), i, 217. 
 
 Shepherds (Paris, 1513), i, 172; "drolls" as 
 (1675), ii, 55; and shepherdesses (London, 
 1684), ii, 62. 
 
 Sherborn, the American (Sherborne, 1905), ii, 211. 
 
 Sherborne, i, xix. 
 
 Sherborne (Sherborne, 1905), ii, 211; ii, 214. 
 
 Sherborne House, visit of Elizabeth to (1574) in 
 Gloucestershire Pageant (1908), i, 218, n. i; 
 Pageant, the (1905), ii, 144, n. i; ii, 196, and 
 n. 2; ii, 197 f.; ii, 218; ii, 221, n. 3; ii, 230; ii, 
 233; ii; 262; the episodes in, ii, 210; the, 
 profits of, ii, 206; School represented in the 
 1907 Show, ii, 134. 
 
 Sheridan, Jane, Lady Seymour, Queen of the 
 Eglinton tournament, ii, 182, n. 2; ii, 184, n. 5; 
 
INDEX 
 
 419 
 
 R. B., fails to answer his invitation to dinner 
 (1809), ii, 104. 
 
 Sheriffs, former, in Lichfield procession (1909), ii, 
 151; go to Westminster by water (1422), ii, 
 
 5 1- 
 
 Shields, music by, in the 1783 pantomime, ii, 101. 
 
 Ship of Champlain reproduced at St. John (1904), 
 ii, 241; model of an Elizabethan (1891), ii, 
 126; a folk, revived at Chester (1910), ii, 
 224; of the xvi century (Liverpool, 1907), ii, 
 163, n. 3; of the Vikings at Rouen (1911), ii, 
 164; model of, in Thames s arm (1661) i, 245; 
 -(Reggio, 1453), i, 148, n. 4; (Antwerp, 
 1803), i, 254; (Antwerp, 1843), i, 256, and 
 n. 6; (Bristol, 1486), i, 160; at Chester, i, 
 45, n. 5 ; i, 46, and n. 4; at a christening feast 
 (Edinburgh, 1594), i, 218; development of 
 the, ii, 71; carried by Fishmongers (London, 
 1313), i, 126; a, trade-pageant of the Fish 
 mongers, (London, 1700), ii, 68; the Mer 
 chant-Taylors (1612), ii, 32; symbolising 
 merchants trade (1638), ii, 72; with Moorish 
 king, queen, and attendants (1613), ii, 345 
 of silver (Paris, 1431), i, 139; of silver (Paris, 
 1513), i, 171; upper deck of (London, 1661), 
 i, 245; of war (Bruges, 1515), i, 173; at a 
 wedding masque (London, 1501), i, 113 f.; of 
 Isis, i, 12, n. 3; Isle (Elvetham, 1591), i, 216; 
 
 for the 1602 Show, ii, 27; of 1602 with 
 heraldic animals, ii, 72; in 1605 Show called 
 the "Royal Exchange," ii, 28; (London, 
 1614), ii, 36; in 1661 Show, ii, 48; of 1687, 
 ii, 71; of 1841 on a car, ii, in. 
 
 Shipley, received for music 56, 5$. (1704), i, 253, 
 n. 2. 
 
 "Ships," folk-custom centers around, i, ii ff. 
 
 Ships, historical, reproduced in modern pageants, 
 ii, 237, n. 4; ii, 276; models of (London, 1902), 
 ii, 129; models of, at Philadelphia (1882), ii, 
 240; reproductions of (St. Louis, 1847), ii, 
 2 37; m a wedding masque (Rouen, 1558), 1,98. 
 
 Shipwright (London, 1628), ii, 39. 
 
 Shipwrights with Noah s Ark (London, 1783), ii, 
 99. 
 
 Shipwrights Pageant (Bristol, 1486), i, 160. 
 
 Shirley, John, a pageantic masque for the Inns of 
 Court by (1634), i, 117; on pageantic "wild- 
 men" (1652), ii, 21, n. 2; and Pepys voice 
 later attitude toward the show, ii, 35, n. 4. 
 
 Shirley s "Triumph of Peace," cost of, i, 118; ii, 
 206, n. 2. 
 
 Shobman, Mr., hired to "attend upon " David s 
 pageant (1561), ii, 18. 
 
 Shoemakers of Dublin, i, 179. 
 
 Shooting at the Butt, 1300 (in the 1889 Show), ii, 
 124. 
 
 Shoreditch (London), i, 157 . 
 
 Shorter, Sir John, Mayor of London (1687), i, 63, 
 and notes 7 and 8. 
 
 Show for 1540, ii, n, and n. 2; 1553, ii, 13 f.; 
 1554, ii, 1551556, ii, 151.; 1557-60, ii, 17; 
 -i56i,ii, i8f.; 1562, ii, 19; 1566, ii, 20 f.; 
 
 1568, ii, 215 1569, planned, but not given, 
 ii, 215 1573, ii, 215 1574, ii, 225 ^1575], 
 ii, 22; 1582, abandoned, because of the 
 plague, ii, 22 ; 1585, ii, 23 f . ; 1588, ii, 24 f . ; 
 
 1590, ii, 255 1591, ii, 25 f.; 1602, ii, 27 f. 
 
 1605, ii, 28 f. ; 1609, ii, 29 f. ; 1610, ii, 
 30; 1611, ii, 31; 1612, i, in; ii, 31 f.; 
 1613, i, in ; ii,33f.; ii, 213 f.; 1614,^,36 ; 
 1616, ii, 3751617, ii, 37 f.; ii, 206, n. 25 
 1618, ii, 385 1623, ii, 385 1624, ii, 385 
 1625, omitted, ii, 395 1628, ii; 395 1629, 
 ii, 40 f. 5 1633, ii, 41, n. 651634, ii, 425 
 1635, ii, 4251643-53, unpageantic, ii, 435 
 1655, ii, 4451656, ii, 45 f. ; 1657, ii, 475 
 1660, ii, 47 f.; 1661, river part of, ii, 485 
 1663, ii, 49; 1671, ii, 50 f.; 1672 and 1673 
 compared, ii, 52^5 1675, ii, 54^51679, ii, 
 57 f.; 1680, ii, 595 1681, ii, 595 1682, ii, 
 605 1684, ii, 6if.; 1685, ii, 62 f.; ii, 206, 
 n. 2; 1688, ii, 64; 1689-1698, ii, 65 f.; 
 temp. William and Mary, ii, 66 f.; 1700, ii, 
 68 f. ; of the early xviii century, ii, 86 f. ; 
 1727-1740, ii, 88 f.; 1740, ii, 91 f.; 1761, 
 ii, 94 f-; 1804, ii, 103; 1809, ii, 1045 
 1815, ii, 104; 1821, ii, 105 f.; 1822, ii, 106 f.; 
 1823, ii, 108; 1839, ii, in; 1841, ii, in f.; 
 1842, ii, 112; 1842-49, ii, ii2f.; 1849, 
 
 ii, 113; 1850, ii, 115 f.; 1852 omitted, ii, 
 11651853, i, 2565 ii, n6f.; 1858, ii, 119, 
 and n. i; 1881, ii, 121; 1883, ii, 121 f.; 
 1884, ii, 122 f.; 1885, ii, 12351889, ii, 123 f.; 
 
 1890, ii, 125 f.; 1891, ii, 126; 1892, ii, 
 126 f. ; 1895, ii, 127 f. ; 1896, ii, 128; 
 1901, ii, 128; 1902, ii, 129; 1904, unity in, 
 ii, 130 f.; 1905, ii, 131 f.; 1906, ii, 132 f.; 
 1907, ii, 133 f. ; 1908, ii, 1355 1910, ii, 136; 
 
 1913, ii, 365 ii, 137 f.; ii, 138; 1914,^,139; 
 ii, 142, n. 2; 1915, ii, 140 f.; 1919, ii, 141. 
 
 Shows interrupted (1695-98), ii, 66; become mere 
 
 processions, ii, 86 f . 
 Shrewsbury, Earl of, entertains James I (1603), i, 
 
 22 2, n. i; Show, the, i, 32 ff.; i, 57, n. 2; ii, 165. 
 Shrine of St. Edmund, model of (1907), ii, 133. 
 Shute, John, pageant-maker (1561), ii, 18. 
 Shylock (Lichfield, 1893), ii, 150; ii, 153; (Lich 
 field, 1909), ii, 151; ii, 153. 
 Sibyls (Kenilworth, 1575), i, 208. 
 Sideros (London, 1618), ii, 38. 
 Sidmouth, Viscount, protests against return from 
 
 Westminster by land (1816), ii, 105; refuses 
 
 the military (1821), ii, 106. 
 Sidney, Alderman, Mayor of London (1853), ii, 
 
 116; Master Philip, in a tilt, (1581), i, 97; i, 
 
 213. 
 
 Sidney, Sir Philip (London, 1911), ii, 136. 
 Siege of Lichfield recalled (1908), ii, 151, n. 3. 
 
420 
 
 INDEX 
 
 Siena, "royal-entry," at (1465), i, 14, n. i. 
 
 Sigismund at London (1416), i, 137. 
 
 Significance of coronation pageant of Anne Boleyn, 
 i, 180. 
 
 Signs in streets authorized (1657), ii, 47. 
 
 Silchester, scene in the English Church Pageant 
 laid at, ii, 202. 
 
 Silenus, head of, found at Colchester, i, 72, n. 5. 
 
 Silenus drives a car showing the vintage (Alexan 
 dria), i, 17, n. 6; painted (London, 1661), i, 
 246; (St. Louis, 1878), ii, 253, n. 2. 
 
 Silver Street (London), ii, 46. 
 
 Simeon, at Beverley, i, 17. 
 
 Similarities and influences, ii, 144, n. i. 
 
 Similarity of shows explained, ii, 65. 
 
 Simon of Montfort (London, 1907), ii, 133. 
 
 Simplicity (London, 1613), ii, 34. 
 
 Sinclair, Patrick, participates in a tourney (1503), 
 1,96. 
 
 Singing Societies, Swedish and German (Boston, 
 1912), ii, 247. 
 
 Sins see Deadly. 
 
 Sir Brown defeated by Clariodus, i, 75, n. 3; 
 Gareth appears in different colored armor, i, 89; 
 
 Gowther fights in a three-day tournament, i, 
 89; Lancelot in different colored armor, i, 89; 
 
 Thomas of Gravisend, i, 57, n. 2; Valen 
 tine of gigantic height, i, 53, n. i. 
 
 Sirens (Antwerp, 1803), i, 254; (London, 1631), 
 ii, 77, n. 2; (London, 1661), ii, 48; (Paris, 
 1431), i, 139; with the 1594 ship at Edin 
 burgh christening banquet, i, 219. 
 
 "Sister Helen," superstition in, ii, 178; ii, 170. 
 
 Site of discovery of Massasoit the scene of history 
 revived (Plymouth, 1801), ii, 236; for the 
 York Pageant discussed, ii, 200. 
 
 Sixtieth Street (New York), ii, 256. 
 
 Skevington, Alderman, to provide livery at the 
 1522 "entry," i, 174. 
 
 Skinners assessed for pageants (1522), i, 174, n. 6; 
 
 barge of (1761), ii, 95; (1822), i, 255;- 
 disposal of, ii, 119, n. i; dispute of, with 
 Merchant-Taylors, ii, 9; expenses of, for 
 1689 pageants, ii, 64, n. 5; Midsummer pag 
 eants of (London, 1535-36), i, 38, n. 5; 1628 
 pageant of, ii, 39; 1656 pageant of, ii, 46; 
 in 1657, ii, 47; represented by Pelicula (1684), 
 ii, 62; suggested by luzern, ii, 23, and n. 3; 
 trade-pageant for (1671), ii, 50 f.; trade- 
 pageantry of the (1761), ii, 95; ii, 96. 
 
 Skinners (London, 1783), ii, 99. 
 
 Skinners Hall, Show of 1671 ends at, ii, 52. 
 
 Slasher see Beau and Captain. 
 
 Slater of Scotland (London, 1522), i, 177. 
 
 Slave trade, car representing the (Liverpool, 1907), 
 
 ii, 163, n. 3. 
 Sleeping Beauty (Cambridge, 1919), ii, 284; 
 
 (Lichfield, 1893), ii, 150; (Lichfield, 1914), ii, 
 
 152. 
 
 Sloth (London, 1612), ii, 32. 
 
 " Slumberland " (Revere, 1912), ii, 254. 
 
 Small town, the, and the pageant, ii, 202 f. 
 
 Smirk, Mr., painter, his part in the 1783 panto 
 mime, ii, 101; painter of a transparency 
 (1801), ii, 102. 
 
 Smith, Adam, paid for damage done by pageants 
 (Edinburgh, 1 558), i, 195; Sir James, Mayor 
 of London (1684), ii, 61, n. 4; Lucy T., on 
 Corpus Christi at York, i, 21; William, 
 writes account of Bath festivities (1661), i, 243, 
 n. i; William, his account of a show (c 1575), 
 ii, 22; and Marriott paid for "knights" 
 (1847), ii, 113. 
 
 Smithers, J., to furnish music (1849), ii, 114. 
 
 Smithfield, jousts and tournaments at (1334), i, 
 
 9i; (i343), i>92; (i375)i if 95J (i442),i, 
 96. 
 
 Smithford Street (Coventry), i, 149. 
 
 Smiths of Dublin, i, 179. 
 
 Smiths Pageant at Coventry, 1565, i, 204, and 
 n. i. 
 
 Smoking not allowed in the barge (1768), ii, 97. 
 
 Smugglers (Scarborough, 1912), ii, 222, n. 2. 
 
 Smyth, Sir Thomas (London, 1895), ii, 127. 
 
 Snail Mount (Elvetham, 1591), i, 216. 
 
 "Snap," the dragon, i, 26, n. 3; i, 27, and n. 6; i, 
 28, and notes; i, 29; i, 65; i, 70, n. i. 
 
 Snape, provider of costumes for early Knutsford 
 processions, ii, 154, n. 4. 
 
 Snatch shows rascality covered by mumming, i, 
 104. 
 
 "Snyder, Governor, signing the Charter" (Norris- 
 town, 1912), ii, 249. 
 
 Soame, Sir Stephen, to advise about 1606 "entry," 
 i, 227. 
 
 Social and moral results of pageantry in our day, 
 ii, 203 f., service and pageantry, ii, 292; ii, 
 301 f . ; side of history stressed at Peter 
 borough, ii, 264. 
 
 Socialists, the, use animals with political signifi 
 cance (Boston, 1912), ii, 255. 
 
 "Society of the Garter," i, 93. 
 
 Socrates (London, 1681), ii, 83. 
 
 Sol (London, 1628), ii, 39; ii, 40. 
 
 Soldier-senator (London, 1585), ii, 24; (London, 
 1660), ii, 81. 
 
 Soldiers of Russia and Japan clasp hands (1905), 
 ii, 131; and sailors of France and England 
 (1905), ii, 131; welcomed with pageantry 
 (1919), ii, 256 f. 
 
 Soldiers (Peterborough, 1910), ii, 264; of the 
 Revolution impersonated by the National Guard 
 (Norristown, 1912), ii, 249, n. 6; of Wolfe 
 and Montcalm (Quebec, 1908), ii, 240. 
 
 Solemn days used (1680), ii, 58. 
 
 Solo-dances (Boston, 1910), ii, 266; ii, 267. 
 
 Solomon in the Dublin "Fringes," i, 23, n. 3; 
 (Edinburgh, 1579), i, 213, n. i; (Paris, 1513), 
 
INDEX 
 
 421 
 
 i, 171, n. 4; (York, 1486), i, 158; pageant 
 of (London, 1535-36), i, 38, n. 5. 
 
 Somerset House, London, i, 228; ii, 173. 
 
 Song, the, in the Boston Normal School Pageant 
 (1908), ii, 282, and n. i; in Cambridge "pag 
 eant," ii, 284; suggesting a "debat" (1682), 
 ii, 62. 
 
 Song (Edinburgh, 1908), ii, 223; (Lichfield, 
 1909), ii, 151. ^ 
 
 Songs in the civic shows, ii, 84; by Jordan 
 (1683), ii, 61; in the Marblehead "pageant" 
 of 1912, ii, 278; in the 1682 pamphlet, ii, 60. 
 
 "Songs, Old Time" (St. Louis, 1897), ii, 253 f. 
 
 Soothfaslness in "Chasteau d Amour," i, 80. 
 
 Soper lane (London), i, 167, and n. 6; i, 190; i, 
 201; i, 224; end (London), ii, 33; ii, 46; ii, 
 
 77- 
 
 Sophrosyne (London, 1605), ii, 29, n. 2. 
 "Soteltye" see "subtlety." 
 Sotherne, Nicholas, pageant-maker (1612), ii, 32. 
 Sotherton, John, stores Norwich pageant, i, 35, 
 
 n. 2; witnesses gift of pageant to "commonal 
 ty" of Norwich, ii, 12. 
 "de Soto, death of" (St. Louis, 1892), ii, 253, n. 6; 
 
 discovering the Mississippi" (St. Louis, 1886), 
 
 ii, 253, n. 4. 
 "Soul," the, of masque and pageant, ii, 288; 
 
 of the older in the more modem pageant, ii, 
 
 212; ii, 231; of pageantry, i, xvii; of pag 
 eantry in the masque, i, 85. 
 South Africa, car emblematical of (1895), ii, 127; 
 
 represented by a car in "Britannia s Muster," 
 
 ii, 188; ii, 189. 
 South Africa (Lichfield, 1911), ii, 152; (London, 
 
 1919), ii, 141. 
 
 South America (St. Louis, 1892), ii, 253, n. 6. 
 Southampton, England, scene at, in the Boston 
 
 "festival" of 1897, ii, 260. 
 South wark Bridge, ii, 117. 
 Southwerke (London), i, 190, n. 12; i, 191. 
 Sower, The (Paris, 1431), i, 140. 
 Spaniard, a (London, 1617), ii, 76. 
 Spaniards, Company of, to answer concerning 
 
 their pageant in 1554, i, 190. 
 " Spanish- American War, the" (Providence, 1919), 
 
 ii, 289. 
 Spanish-American War, a scene of the (Norristown 
 
 1912), ii, 250. 
 Spanish, the, in the New York Pageant of 1918, ii, 
 
 252. 
 
 Spanish girls (Knutsford, 1913), ii, 153. 
 Speakers furnished for 1629 pageants, ii, 40; 
 
 in the 1635 Show, ii, 42. 
 Spectacle, a, in connection with Philadelphia s 
 
 celebration of American Independence (1788), 
 
 ii, 236. 
 Spectacle-makers, trade-pageant of the, in the 
 
 1902 Show, ii, 129. 
 "Spectator," the, on the 1674 dinner, ii, 54. 
 
 Spectators, the, effect of the modern pageant on, 
 ii, 204; at Eglinton tournament requested to 
 wear costumes of earlier centuries, ii, 184. 
 
 Speech of explanation with a Norwich pageant 
 (1469), i, 153.; in the Taunton Pageant of 
 1911, ii, 270, n. 2; in the Quebec Pageant of 
 1908, ii, 263, and n. 2; in the Peterborough 
 Pageant, ii, 265, n. i ; and pantomime at Thet- 
 ford, ii, 270; in the Marietta Pageant of 1888, 
 ii, 258, and n. 3; none, in the Plymouth 
 "festival" of 1896, ii, 259; in the Lancaster 
 Pageant of 1912, ii, 264; dance, and mock- 
 fighting in folk-plays, i, 105; in the Boston 
 "festival" of 1897, ii, 260, and n. 2. 
 
 Speeches in 1609 Show badly learned, ii, 30, 
 the 1585 Show, ii, 23 f., in 1561 Show, ii, 18; 
 hi 1566 Show, ii, 20; in the 1553 Show, ii,i4; 
 in 1415 "entry," i, 136, and n. 2. 
 
 Spencer, Sir John, Mayor of London (1594), ii, 27. 
 
 Spenser, Edmund (London, 1908), ii, 135. 
 
 Spirit of America, the (Boston, 1910), ii, 268; 
 (Taunton, 1911), ii, 270; of the Age (Oxford, 
 1907), ii, 223; of Civilization (St. Johnsbury, 
 1912), ii, 270; of the Night (Marblehead, 1912), 
 ii, 277; ii, 278; of the Sea (Little Compton, 
 1914), ii, 250. 
 
 "Spirit" of the Parkerian combined with "tech 
 nique " of the older pageantry, ii, 244, and n. 3 ; 
 of pageantry, i, xvii; of the modern, and 
 "technique" of the older pageantry combined 
 at Norristown in 1912, ii, 250; of the masque, i, 
 84; of the earlier in the modern pageant, ii, 
 212; ii, 232; of the newer pageantry mirrored 
 in the xx century Lord Mayor s Shows, ii, 142 ; 
 shown by participants in the York Pageant, ii, 
 200. 
 
 "Spirit of 76, the" (Providence, 1919), ii, 289; 
 (Norristown, 1912), ii, 249; (Little Compton, 
 1914), ii, 251. 
 
 Spirits of mountains, river, and the intervale 
 (Thetford, 1911), ii, 270; of the Mountains, 
 Forests, Rivers, and Valleys (St. Johnsbury, 
 1912), ii, 270; of Light, Life, and Joy (Edin 
 burgh, 1908), ii, 214; of Gothic, Renaissance, 
 and Byzantine Architecture (Cambridge, 1911), 
 ii, 287. 
 
 Spirits of nature in "The Festival of Empire" 
 (1911), ii, 225. 
 
 Spirling, Gilbert, exhibits pageant (Norwich, 
 1469), i, 153. 
 
 "Splayed Eagle" (inn), i, 192. 
 
 Sponstreet gate (Coventry), i, 164. 
 
 Sports and Pastimes illustrated (1889), ii, 124. 
 
 Sportsmen with trophies (1890), U, 125. 
 
 Spring (Washington, 1914), ii, 255; (Stuttgart, 
 1617), i, 234; (London, 1677), ii, 74; (Edin 
 burgh, 1908), ii, 223; (Cambridge, 1919), ii, 
 284. 
 
 Springfield, street-pageant at (1908), ii, 241. 
 
422 
 
 INDEX 
 
 Springtime (Lichfield, 1913), ii, 152. 
 
 Spurriers guild, car of (Ripon, 1886), ii, 161. 
 
 Squibs, rules against (1674), ii, 53; precepts con 
 cerning, ii, 14, n. i; precepts against, ii, 14, 
 n. i; ii, 88; precept against (1857), ii, 118; 
 precept against (1856), ii, 117; forbidden 
 (1816), ii, 104; (1826, 1827, 1830), ii, 104, 
 n. 7. 
 
 Squire, John, bailiff of Dublin (1528), i, 179. 
 
 Stable Honor (London, 1533), i, 183. 
 
 Stadium, the Harvard, ii, 289; of the College of 
 the City of New York, ii, 289; ii, 290. 
 
 Stafford, John, banquet of (1425), i, 83, n. 4. 
 
 Stag, " subtlety" of, i, 83. 
 
 Stage-managing in Mr. Parker s pageants, ii, 199; 
 
 coach and motor car (1901), ii, 129; coach 
 and motor-car (1896), ii, 128; [with towers] 
 at Fleet Street Conduit (1559), i, 202; the, 
 and the modern pageant, ch. viii, 4 (ii, 208 f.), 
 ii, 229; the original pageant," i, xvi. 
 
 "Stage-play" at Coventry (1511), i, 170. 
 Stamford, place for tournament near, i, 89. 
 Stamitz, music by, in the 1783 pantomime, ii, 101. 
 Stamp-man, effigy of burned (Boston, 1765), ii, 
 
 177. 
 Standard, in Cheapside, i, 165; i, 167, i, 168; i, 
 
 173, i, 178; i, 180; i, 188; i, 189; i, 190; i, 201; 
 
 i, 241, n. 3; i, 245; ii, 35. 
 Standing of stationers and Turners determined 
 
 (1678), ii, 56. 
 
 Standon, William, chosen mayor (1392), ii, 5. 
 Stanford, Sir Charles, composed music for the 1914 
 
 "Tournament," ii, 190, n. i. 
 Stanley hi the Lichfield "Bower," ii, 149, n. 4. 
 "Star," the 1839 transparency, ii, in, n. 4. 
 "Star-Spangled Banner, the," sung at Providence 
 
 masque, ii, 289; (Washington, 1913), ii, 285; 
 
 (Keene, 1913), ii, 272; played in the 1881 
 Show, ii, 121. 
 
 Stars, the (Edinburgh, 1908), ii, 223. 
 
 State Coach of the king, ii, 93, n. 4; in early pro 
 cessions, ii, 5. 
 
 States represented in political pageant (New York, 
 1912), ii, 255. 
 
 States adjoining Vermont personified (St. Johns- 
 bury, 1912, and Thetford, 1911), ii, 270; per 
 sonified (Providence, 1919), ii, 289; the, per 
 sonified (Washington, 1914); the Thirteen 
 (Boston, 1912), ii, 246, n. 4. 
 
 "States, the Thirteen Original" (Marblehead, 
 1912), ii, 278. 
 
 Stationers assigned place in London processions, 
 ii, 17; to follow Poulterers, i, 203, n. 3; 
 and Turners (1678), ii, 55 f. 
 
 Stations of pageants at Coventry (1565), i, 204; 
 of pageants (London, 1518), i, 173. 
 
 Statuary Hall (Chicago Art Museum), ii, 283. 
 
 Statue of Liberty (1905), ii, 131, and n. 4. 
 
 Staynegate (York), i, 159, n. i, and n. 3. 
 
 Steam-boat captains on the model of the "General 
 Pike," ii, 237, n. 4; Company, the London 
 and Westminster Iron, offers to tow the State 
 Barge (1839), ii, in; Company, the Iron, 
 Superintendent of, summoned to 1849 Com 
 mittee, ii, 114. 
 
 Steele (Oxford, 1914), ii, 203, n. i. 
 
 Steelyard, the, i, 180, and n. 2; i, 182, n. 5; i, 190; 
 i, 192. 
 
 Steeple-climber casting fire delights spectators 
 (Chester, 1610), i, 230, and n. 3; (London, 
 1553), i, 189; (London, 1554), i, 193 f. 
 
 Stella Marls (Paris, 1513), i, 171. 
 
 Stepney, tourney at (1305), i, 90; (1309), i, 75; 
 (133). i> 127; (1331), i, 90. 
 
 Steropes (London, 1685), ii, 63. 
 
 Stevens, Frank, on origin of Salisbury s St. Christo 
 pher, i, 57; on "Old Snap" or "Hob-Nob," i, 
 65; i, 70, n. i; T. W., his "Pageant of the 
 Italian Renaissance," ii, 283; author of the 
 St. Louis Pageant (1914), ii, 273, n. i. 
 
 Stevenson, Andrew, treasurer of Edinburgh (1579) 
 i, 212. 
 
 Steward, Augustine, Mayor of Norwich (1556), 
 ii, 16, n.3. 
 
 Stewart, William [interpreter?] at Edinburgh 
 (1579), i, 212. 
 
 Sthenelus (Winchester, 1908), ii, 225. 
 
 Stilts, a man on, recalls the London giants (Bos 
 ton, 1912), ii, 246. 
 
 Stock-riders (London, 1901), ii, 128. 
 
 Stocks, the (London), i, 37; i, 174; i, 177; i, 189; 
 i, 245. 
 
 Stocks-Market, ii, 92. 
 
 Stokes, Mr., to furnish music for 1821 procession, 
 ii, 105, n.3. 
 
 Stondon, William, Mayor of London (1392), i, 131; 
 
 ii, 5- 
 Stone, Edward, paid for riding to meet the king 
 
 (1461), i, 150; Stairs (London,) ii, 45. 
 Stonehenge, model of, in the 1914 "Tournament," 
 
 ii, 189. 
 Story, a connected, in the Marblehead "pageant" 
 
 (1912), ii, 278. 
 
 Stow, John, describes setting of London Mid 
 summer Watch, i, 37. 
 Strand (London), i, 223; i, 225, and n. 5; i, 226; 
 
 i, 243, n. i. 
 
 Straw, Jack (London, 1590), ii, 25. 
 Straw-hats, i, 22, n. 7; i, 38, n. 5; i, 42. 
 Street-pageantry and decoration discussed, ii, 
 
 256. 
 Streets to be cleansed (1702), ii, 69, n. 3; to be 
 
 kept clear (1677), ii, 55; to be kept clear 
 
 (1858), ii, 119; to be cleared of traffic (1740), 
 
 ii, 92. 
 Strength (Coventry, 1456), i, 149; (London, 
 
 1684), ii, 62. [See also Fortitude.] 
 Strephon (Coventry, 1848), ii, 170. 
 
INDEX 
 
 423 
 
 Structure, the, of the pageant, ch. viii, 5 (ii, 
 
 210!.). 
 Struggle between Winter and Summer, i, pp. 4, 5, 
 
 6, andn. 2. 
 Strutt, Joseph, defines "subtlety," i, 84; Joseph, 
 
 on "tournament," i, 87; i, 100. 
 Stuart, Robert, Bishop of Caithness, i, 190, n. 12. 
 Students of Edinburgh University burn the Pope 
 
 in effigy (1680), ii, 174. 
 Stuttgart, tournament at (1609), i, 99; Duke 
 
 of Wurttemberg at (1609), i, 99; (1617), i, 
 
 234- 
 
 Stuyvesant, scenes from the life of (New York, 
 1909), ii, 243. 
 
 Subscriptions for the Coventry procession of 1862, 
 2,171. 
 
 "Subtleties," ch. i, 10; (i, 82 ff). 
 
 Success (Boston, 1910), ii, 266. 
 
 Sudeley, Elizabeth at, i, 218. 
 
 Suffolk, Duke of, in Anne Boleyn s coronation- 
 procession (1533), i, 182; Elizabeth in, i, 210 
 n.3. 
 
 Suffrage (Providence, 1919), ii, 289. 
 
 Suffragettes march has a hint of pageantry (Lon 
 don, 1910), ii, 255, n. 2. 
 
 Sulgrave Institution, the, to take part in the 
 "Mayflower" tercentenary, ii, 276. 
 
 Summer (Cambridge, 1919), ii, 284; (Edin 
 burgh, 1908), ii, 223; (London, 1677), ii, 74; 
 contest with Winter, i, 4 f . ; i, 51; i, 72, and 
 
 n-5- 
 "Sun, Chariot of the" (St. Louis, 1878), ii, 253, 
 
 n. 2. 
 
 Sun Goddess, the (Cambridge, 1919), ii, 284. 
 "Sun Princess, the" (Revere, 1912), ii, 254. 
 "Sun s Bower" (1628), ii, 39. 
 Supernumeraries of history, the, ii, 264. 
 Superstition (London, 1559), i, 200; a friar 
 
 (London, 1591), ii, 26; ii, 77. 
 Surbutt, Thomas, churchwarden (1535), i, 57, n. 2. 
 Surrender of Liverpool, car illustrating the (1907), 
 
 ii, 163, n. 3. 
 Survey, where to stop the historical, in English 
 
 pageants, ii, 221 f.; ii, 221, n. 3; ii, 222, n. 2. 
 Survival of folk-animals, i, 70. 
 Survivals and revivals, i, 9 ff.; ii, ch. vii; and 
 
 revivals in modern times, ch. vii (ii, 146 f.). 
 Sutler, M., in one of his omnibuses (St. Louis, 
 
 1847), ii, 238. 
 
 Sutton, George, on the Godiva procession at Coven 
 try, ii, 166 f . 
 
 Swab, ii, 76; in a 1678 "interlude," ii, 56. 
 Swansea, Prince and Princess of Wales at (1881), 
 
 1,257. 
 
 Swedes (Philadelphia, 1882), ii, 240. 
 Swedes in the Boston procession of 1912, ii, 247. 
 Swedish settlers (Norristown, 1912), ii, 249. 
 "Sweep" in early Knutsford processions, ii, 154, 
 
 n.4. 
 
 Swift, Jonathan, a satire reminiscent of, i, 62, n. 2. 
 Swinerton, Sir John, Mayor of London (1612), ii, 
 
 127, n. 3; John, Sheriff (1602), ii, 27. 
 Swiss girls (Knutsford, 1913), ii, 153. 
 Swiss in the New York Pageant of 1918, ii, 252. 
 Sword in the City shield, the, ii, 80, n. 7. 
 Sword-dance, a, in the York Pageant (1909), ii, 
 
 224, n. 7. 
 "Sword-dance," or "sword play," i, 4f.; i, 6; i, 
 
 10, n. i; dancers (Ripon, 1886), ii, 161. 
 Swords, symbolism of, at coronations, i, 154 f. 
 Swynegale (York), i, 159, n. i, and n. 3. 
 
 Sykes, Sir Mark, planner of the 1914 "Tourna 
 ment," ii, 190, n. i. 
 
 Sylvans (London, 1671), ii, 51. 
 
 Sylvanus (Elvetham, 1591), i, 216; i, 217, and n. i; 
 (Kenilworth, 1575), i, 209; (London, 
 1604), i, 224; i, 225, n. i; a development of 
 the "wild-man," i, 73, and n. 5; in a masque 
 (1613), i, 206, n. 6; recalled by the Power of 
 the Wilderness, ii, 270. 
 
 Sylvia (London, 1684), ii, 62. 
 
 Symbolical characters in pageantry, i, 8 iff., 
 dance, the, in the "festival," ii, 283; element 
 in French "feux d artifice," i, 241; represen 
 tation of the Companies, ii, 73 f. 
 
 Symbolism, i, xvi, xvii; in the American pag 
 eant, ii, 233 ; in the Boston Normal School 
 Pageant, ii, 282, and n. i; ii, 283; in the 
 Boston Pageant of 1910, ii, 266; ii, 267; ii, 268; 
 
 in a children s festival (June, 1914), ii, 228, 
 n. 3, in the committee s wands (1801), ii, 103; 
 
 considered trivial by a Frenchman, ii, 300; 
 at coronations, i, 1541.; in the Duquesne 
 masque, ii, 287 ; brought inside the Guildhall 
 in 1801, ii, 103; and history (Brussels, 1853), 
 i, 256; and history in masque and pageant, 
 
 11, 288; and history in Vermont pageants, ii, 
 270; in the Holh s Hall Pageant, ii, 273; 
 suggested in the Hudson-Fulton festivities, ii, 
 242, and n. 3; in the Hudson-Fulton Pageant, 
 ii, 244, n. i; in the Keene Pageant, ii, 271; 
 killed by characterization (Cheltenham, 1908), 
 ii, 217; in the Lawrence Pageant, ii, 269; 
 in the Liverpool Pageant of 1007, ii, 163; 
 of manufactures, agriculture and the arts sug 
 gested (1850), ii, 114; in mayoralty shows, 
 ii, 71 f.; in the "Military Tournament" 
 (1910), ii, i88f.; and "mythical founders," 
 i, 81; mythology, and history (1626), ii, 78, 
 n. 4; in the Norristown street-pageant of 
 1912, ii, 250; in the "Pageant of the Months," 
 ii, 191; in the Peterborough Pageant, ii, 265; 
 
 in the Plymouth "festival" of 1896, ii, 260; 
 and poetry in the St. Louis Masque, ii, 273; 
 as propaganda, ii, 254 f.; revived (1850), ii, 
 115; in the "ritual" of citizenship, ii, 290; 
 in the Sherborne Pageant, ii, 211; in the 
 modern pageant, ii, 212, and n. 2; ii, 214 f.; 
 
424 
 
 INDEX 
 
 in the 1605 Show, ii, 28 f.; of the 1662 "tri 
 umph" explained, i, 250; in a street pageant 
 (Boston, 1912), ii, 245; the susceptibility of 
 the age to, ii, 296; in the Veiled Prophet pro 
 cession, ii, 253, notes; in a Washington 
 Masque, ii, 285; in the Yale Pageant (1916), 
 ii, 274, and n. i; ii, 276. 
 
 Synod Hall, Edinburgh, masque performed at, ii, 
 226. 
 
 Synope (Paris, I43 1 ), i> *&, n. 4. 
 
 "Syredelajoye,"i, 88. 
 
 Syrians in the Boston procession of 1912, ii, 247; 
 the, win prize at New York Pageant (1918), ii, 
 251. 
 
 Tabard used in 1848, ii, 113. 
 
 Tabards, discontinuance of, requested (1833), ii, 
 no. 
 
 "Table Round" see Round Table. 
 
 "Tableaux,"!, xix; i, xx; i, 10; i, 19; i, 23; i, 140; 
 i, 141, n. i; in the Boston "festival" of 1897, 
 ii, 260 f.; in a Cambridge "pageant," ii, 284; 
 
 groups on the pageant-cars not far removed 
 from, ii, 257, and n. i; ii, 258, n. i; in the 
 Hudson-Fulton Pageant, ii, 243 f.; at Keene 
 (1913), ii, 271 f.; at Marietta (1888), ii, 258; 
 
 in the Plymouth Pageant of 1896, ii, 259 f.; 
 in a Washington masque, ii, 285; in the Yale 
 Pageant, ii, 275. 
 
 Tactus (London, 1613), ii, 34. 
 
 Tailors of Dublin give Adam and Eve (1528), i, 
 
 179. 
 
 Tailors giant, the, at Salisbury, i, 56, n. 3. 
 Talamond, Sir (London, 1908), ii, 135. 
 Talbot, Lord, letter from Brackenbury to, i, 215, 
 
 n.4. 
 
 "Tale of a Tub" (Jonson), i, 150, n. 2. 
 Talents of the individual brought to light by the 
 
 modern pageant, ii, 205. 
 Taliesin hi Monck s pageant-play of "King 
 
 Arthur," ii, 217, n.3. 
 "Tall-men" in 1553, ii, 13; in 1555, ii, 15; 
 
 (porters), ii, 18. 
 Tamburlaine (London, 1623), ii, 79; (London, 
 
 1676), ii, 79, n. 2; (London, 1908), ii, 79, n. 2; 
 
 , 135- 
 
 Tank, prototype of the, at the 1914 "Tourna 
 ment," ii, 190, n. 2. 
 
 Tanners Pageant at Coventry (1565), i, 204, and 
 n. i. 
 
 Tannhauser (Diisseldorf, 1852), ii, 147. 
 
 Tapeinotes (London, 1605), ii, 29, n. 2. 
 
 Tarasque, animals like the, in England, i, 70, n. i. 
 
 Tarascon, "les Jeux de la Tarasque" at, ii, 156, 
 n. 2. 
 
 "Tar Baby Story, the" (St. Louis, 1888), ii, 253, 
 
 n.5- 
 
 Tatars, knights disguised as (1331), i, 90. 
 Tatham "City Poet," ii, 70, n. 2. 
 
 Tatham s apologetic preface (1662), ii, 48; 
 description of his 1662 "triumph," i, 248 f.; 
 "London s Glory" describes the welcome to 
 Charles II (1660), i, 242; "London s Tri 
 umphs" (1657), ii, 47; "Royal Oak" (1660) 
 ii, 47 f.; ii, 48, n. i; Show for 1663, i, 77. 
 
 Tattersall, sheriff (1422), ii, 5. 
 
 Taubman, " City Poet," ii, 70, n. 2; rejoices over 
 the Revolution (1689), ii, 64 f. 
 
 Taubman s first show (1685), ii, 62; "London s 
 Great Jubilee" (1689), (reprinted, 1761), ii, 94, 
 n. i; remarks on the 1688 Show, ii, 64, and 
 n.4. 
 
 Taunton, England, scene at (Taunton, 1911), ii, 
 269; Pageant, the, of 1911, ii, 266, n. 2; ii, 
 269. 
 
 Tavern Club, the, members of, give a scene in the 
 Boston "festival" (1897), ii, 260, n. 4. 
 
 Tax on tourneys, i, 88. 
 
 Taylor, John, master of Westminster School, pro 
 vides children for the 1561 Show, ii, 18; for 
 the 1566 Show, ii, 20; John, describes wel 
 come of Charles (1623), i, 234; not officially 
 appointed "City Poet," ii, 70, n. 2; John, and 
 Norman underbid in 1635, ii, 42, and n. 5; 
 Sir Herbert, transmits orders refusing troops 
 (1820), ii, 107; William, requested to sing 
 (1809), ii, 104. 
 
 Taylor s Show for 1634 ["Triumphs of Fame and 
 Honor"] ii, 42. 
 
 "Taziya" a "pageant," i, 17. 
 
 Teachers Mutual Benefit Association, the, of 
 Boston, ii, 260. 
 
 Technique, the effect of pageant-writing on dra 
 matic, ii, 196, n. i, ii, 209; of the "festival," 
 the, ii, 283 f.; the, of Jordan s "interludes," 
 ii, 57; the, of masque and pageant, difference 
 in, ii, 288; of the masque, i, 85; the, of the 
 modern pageant, ii, 212; ii, 294; of older, and 
 "spirit" of modern pageantry combined at 
 Norristown in 1912, ii, 250; of the older com 
 bined with the "spirit" of the Parkerian pag 
 eant, ii, 244, and n. 3; the, of older pageantry 
 prevents individualization of types, ii, 76; 
 of pageantry, i, xvii. 
 
 Tel-el-Kebir, veterans of (London, 1897), ii, 188. 
 
 Telegraph, the (Mount Holyoke, 1912), ii, 286. 
 
 Tell, play of, at Altdorf, ii, 197; William (New 
 York, 1909), ii, 244, n. i. 
 
 "Tempe, or the Field of Happiness" (1629), ii, 40. 
 
 Temperance (Coventry, 1456), i, 149; treads on 
 Epicurus (Edinburgh, 1503), i, 169; (London, 
 1501), i, 168; (London, 1522), i, 178; mix 
 ing water and wine (London, 1661), i, 246; 
 (London, 1671), ii, 51; (London, 1700), ii, 
 80, n. 7; in masque at Norwich, (1578),!, 211; 
 in a funeral pageant at Rome, i, 17, n. 6. 
 
 Templar, a, with St. George (Coventry, 1862), ii, 
 170. 
 
INDEX 
 
 425 
 
 Temperley, H. V. W., on Dorset Pack Monday 
 Fair, ii, 156. 
 
 Temple Bar, i, 131; i, 137; i, 184; i, 187; i, 188; 
 i, 189; i, 194; i, 202; i, 214; i, 223; i, 225; i, 
 228, and n. 2; i, 241, n. 3; i, 242; i, 246; ii, 
 95; ii, no; ii, 172, n. 2; ii, 175, and n. 3. 
 
 Temple, Earl, at the 1761 Show, ii, 95. 
 
 Temple Lane (London), ii, 96. 
 
 Temple (London, 1501), i, 167; of Concord 
 (London, 1661), i, 245; (1814), ii, 162; of 
 Fame, on a banner (St. Louis, 1847), ii, 238; 
 of Janus (1604), i, 225, and n. 4; of Pallas 
 (1692), ii, 73; of Vestal Virgins, in a tilt (1590) 
 i, 215; of Science, on a banner (St. Louis, 
 1847), ii, 238; of Time (London, 1677), ii, 74. 
 
 Templemars, at Lille, i, 88. 
 
 Tendencies, pageantic, in England, ch. viii, 8 
 (ii, 228 f.). 
 
 Tenney, Lady (Peterborough, 1910), ii, 264; 
 Sir William (Peterborough, 1910), ii, 264. 
 
 Tennyson, i, xv; i, xvi. 
 
 Tercentenary of the Charterhouse celebrated by 
 a masque, ii, 227; of the Pilgrims, celebration 
 of the, planned, ii, 276 f. 
 
 Terminalia, i, 14. 
 
 Terminus, worship of, i, 14. 
 
 Termonde, giants at, i, 55, n. 2. 
 
 Terror (Providence, 1919), ii, 289. 
 
 Textile Trades, the, exhibits of, (Preston, 1902), ii, 
 165, n. 2. 
 
 Thalia (London, 1591), ii, 26. 
 
 Thaleia (London, 1533), i, 183. 
 
 Thamaris (Paris, 1431), i, 138, n. 4. 
 
 Thames Street, (London), i, 37; Upper (Lon 
 don), ii, 138. 
 
 Thames (Chelsea, 1908), ii, 215; (Cheltenham, 
 1908), ii, 216 f.; in the Gloucestershire Pag 
 eant (1908), ii, 75, n. 7; (London, 1585), ii, 
 24; (London, 1585, 1605, 1694, 1701), ii, 75 
 and n. 8; (London, 1604), i, 224; i, 225, n. 5; 
 (London, 1605), ii, 29; (London, 1616), i, 
 233; i, 234; (London, 1661), i, 245; (Lon 
 don, 1662), i, 249; (London, 1783), ii, 100. 
 
 Thamesis in a Grays Inn masque (1594), i, 218. 
 
 Thanksgiving Day mumming at Brooklyn, ii, 158. 
 
 "Thanksgiving, an Early" (Boston, 1910), ii, 266. 
 
 Tharbis (Bruges, 1468), i, 152. 
 
 Theatre, the, and the modern pageant, ii, 209 f.; 
 Royal, Covent Garden, pantomime at, ii, 97 f. 
 
 Thenca (Paris, 1431), i, 138, n. 4. 
 
 Theology (Boston, 1908), ii, 282, n. i; ii, 283. 
 
 Theomanticus (London, 1783), ii, 98. 
 
 Thetford, Pageant of (1911), ii, 270 f.. 
 
 Thetford (Thetford, 1911), ii, 270. 
 
 Thetis (Antwerp, 1803), i, 254; (Edinburgh, 
 1594), i, 218; (London, 1662), i, 250; 
 (London, 1685), ii, 63; (London, 1692), ii, 73. 
 
 Thirsk, a "pageant-play" at, (1907) ii, 230, and 
 n. i. 
 
 Thistle, gigantic model of a (Edinburgh, 1832), 
 
 ii, 166. 
 Thomas Hickathrift, a hero with gigantic strength, 
 
 i, 53, n. i. 
 Thomson, Henry, provides for the permanence of 
 
 Scarva Day celebration, ii, 186. 
 Thor, against the giants of Jotunheim, i, 51, n. 3 ; 
 
 contest of, with Balder, i, 5. 
 Thornley, R., paid for painting the Chester ele 
 
 phant (1633), i, 45, n. 5. 
 Three Cranes (Wharf), ii, 43; ii, 45; ii, 60; ii, 68; 
 
 ii, 90; ii, 92. 
 "Three-gated arches" erected for Elizabeth, i, 
 
 200; i, 201; (Norwich, 1578), i, 211. [See 
 
 arch.] 
 "Three Kings of Cologne," "King game" applied 
 
 to pageant of, i, 24, n. i. 
 Three Estates represented in a pageant (London, 
 
 1559), i, 202; Kings, the (Lyons, 1627), i, 77, 
 
 n. i; (Paris, 1431), i, 140. 
 "Throne of Virtue" (1612), ii, 73; ii, 77; (Lon 
 
 don, 1622), ii, 77. 
 Thru[m]pton, Mr., Barkers pageant before door 
 
 of (1498), i, 164- 
 
 Tiber (London, 1694, 1701), ii, 75. 
 Tichburn, Sir Robert, Mayor of London (1656), 
 
 ii, 45, and n. 6. 
 Tide (Chelsea, 1908), ii, 215. 
 Tiercelin, L., author of an episode in the Dover 
 
 Pageant, ii, 205. 
 Tigers (London, 1656), ii, 46. 
 "Tileston, Master, and his school" (Boston, 1897), 
 
 ii, 261, n. 3. 
 Tilting followed by water-fight (1610), i, 232; 
 
 at Ripon (1886), ii, 161. 
 Tilts between disguised knights (1594), i, 218, and 
 
 n. 7. 
 Time (Boston, 1910), ii, 266; (Edinburgh, 
 
 1908), ii, 223; (London, 1559), i, 201; i, 202; 
 
 (London, 1591), ii, 26; (London, 1604), i, 
 
 224; (London, i6n),ii, 31; (London, 1612) 
 
 ii, 32, (London, 1613), ii, 34; (London, 
 
 1660), i, 242; ii, 77; (London, 1677), ii, 74; 
 
 ii, 191; (London, 1679), ii, 74; ii, 191; 
 
 (Norwich, 1556), ii, 16; (Oxford, 1907), ii, 
 
 22 35 (Taunton, 1911), ii, 269. 
 Times, contrast of old and new, hi 1896, ii, 128. 
 Tin Platers, the, exhibit of (Preston, 1902), ii, 165, 
 
 n. 2. 
 
 "Tin Arch" (Swansea, 1881), i, 257. 
 Tiptoft, John, his ordinances copied in 1912, ii, 
 
 185- 
 
 Titans, i, 51, n. 3. 
 "Toilers of the Sea" (Little Compton, 1914), ii, 
 
 Tolbooth (Edinburgh), i, 212; i, 236. 
 TollseU (Dublin), i, 251. 
 "Tomb" of Wai-worth (1616), ii, 80. 
 Tombland (Norwich), pageant at (1611), ii, 30. 
 
426 
 
 INDEX 
 
 Torbay, the landing of William at, pictured at 
 
 Belfast (1914), U, 181. 
 Torchbearers (Ripon, 1886), ii, 159; bearers, 
 
 prototypes of "wild-men," i, 72; i, 73. 
 Torches illumine an evening procession (Boston, 
 
 1880), ii, 239. 
 
 Torchlight, citizens receive Elizabeth by, i, 219. 
 Toreador, a (Lichfield, 1893), ii, 150. 
 Toronto (York, 1909), ii, 215, n. 2. 
 Tortoise with symbolical meaning (1638), ii, 72. 
 Tostig (London, 1907), ii, 133. 
 Totems, Indian, shown on floats (New York, 1909), 
 
 ii, 243. 
 Touraine, Viscount of, dances at a masque with 
 
 pageantic background (1528),!, 117. 
 Tournament, i, xvii, xix; and allegory united 
 
 (London, 1581), ii, 273, n. 3; (St. Louis, 1914), 
 
 ii, 273, and n. 3; at Bologne (1628), i, 67, n. i; 
 
 at Bury (1348), i, 94; caricatures of, in 
 Italy, i, 99, n. i; characters in a, in the 1889 
 Show, ii, 124; in Cheap (1331), i, 90; a, at 
 Compiegne in honor of Jeanne d Arc, ii, 187, and 
 n. i; at Dartford (1330), i, oo; at Dun- 
 stable (1344), i, 9 1 ; at Eltham (1342), i, 9 1 , 
 at Eltham (1347-48), i, 93, n. 4; and early 
 masque, ch. ii, i, 85 ff.; in England, temp. 
 Richard I, i, 88 ff.; figurds from morality- 
 play in (1596), i, 219; at Falkirk (1302), i, 90; 
 
 at Kenilworth (1280), i, 90; knights of the 
 (Ripon, 1886), ii, 161, ii, 185; at Lille (1436), 
 i, 88; at London (1360), i, 95; at London 
 (1494), i, 96; at London, (1536) i, 98; at 
 Madrid (1623), i, 99; and metrical romance 
 cross-influences, i, 196 f.; at Northampton 
 (1342), i, 91; origin and growth of, ch. ii, i, 
 (i, 86 ff.); pageantic, at Rouen (1558), i, 98; 
 at Paris (1498), i, 96; at Preston (1882), ii, 
 165, n. 2; in romances, i, 89; a, at St. Louis 
 (1914), ii, 273, n. 3; at Smithfield (1334), i, 
 91; in Smithfield (1375), i> 95J at Smith- 
 field (1442), i, 9 6 ; at Stepney (1305), i, 90; 
 at Stepney (1309), i, 75; at Stepney (1330), 
 i, 127; at Stepney (1331), i, 90; at Stutt 
 gart (1609), i, 99; at Windsor (1344), i, 92; 
 at Windsor (1348), i, 93; i, 94; folk-play and 
 dance, i, 105; the Royal Naval and Military, 
 at London, ii, 187 f . 
 
 Tournaments in America, ii, 286, and n. 4; at 
 Nuremberg (1197), i, 87; (1441), i, 88;- 
 revivals of, in modern days, ch. vii, 5 (ii, 182 f.) ; 
 
 disguising in, i, 85; disguised participants 
 in, i, 94 ff.; forbidden (1179), i, 87; loca 
 tions of, appointed by Richard I, i, 89; origin 
 of, in France and Germany, i, 87. 
 
 Tourneamentum, i, 86. 
 
 Tourney, pageant, debat, and masque (1528), i, 
 
 n6f. 
 Tourneys, Bacon on pageantic features of, i, 115; 
 
 forbidden, (1341), i, 91. 
 
 "Tournoi d Anchin" (1096), i, 88. 
 
 Tower, armor from the, i, 48; armor from the 
 (1822), ii, 108; Constable of the, can receive 
 mayor s oath (when the Exchequer is not at 
 London), ii, 4; Gate, i, 160; ii, 26; Hill 
 (London), i, 227; Lieutenant of the, receives 
 mayor s oath (1665), ii, 49; of London, i, 161 ; 
 i, 181; i, 185, n. 6; i, 188; i, 191, and n. i; i, 199; 
 i, 244; i, 253; procession takes boats at the 
 ( X 833), ii, no; Stairs (London), i, 63; 
 Wharf (London), i, 181; i, 227. 
 
 "Tower" see also "castle." 
 
 "Tower," or castle (London, 1432), i, 144; with 
 King and Queen (Coventry, 1474), i, 154; or 
 "temple" (London, 1700), ii, 69; of Learning 
 with the Liberal Sciences, i, 145, n. 2; (illus. opp. 
 i, 144); with the Four Virtues (Naples, 1443), 
 i, 147, n. 2; of Virtue, (1621), ii, 79; of 
 Welcome (Quebec, 1908), ii, 240, n. 5. 
 
 "Towers" on a stage at the Fleet Street Conduit 
 (1559), i, 202. 
 
 Towns represented by "knights" (St. Johnsbury, 
 1912), ii, 270, n. 5. 
 
 "Town Meeting, a [1633]," (Boston, 1897), ii, 
 261; and Gown Riots (New Haven, 1916), 
 ii, 274, and n. i. 
 
 Town Crier (Boston, 1910), ii, 266, n. 2; ii, 267; 
 (Boston, 1912), ii, 245. 
 
 "Towrells" (Edinburgh, 1503), i, 169. 
 
 Tracy, G. L., producer of "From Kingdom to 
 Colony," ii, 277, n. 2. 
 
 de Tracy, Marquis, receives Laval (Quebec, 1908), 
 ii, 263. 
 
 Trade combined with civic and military elements 
 (Boston, 1880), ii, 239; element in parades of 
 "horribles," ii, 252; exhibits in the "Bower," 
 ii, 149, n. 4; figure, a Labor "knight," a, ii, 
 155; figures at Adrianople (1717), ii, 86; 
 figures in the Coventry procession, ii, 167 f.; 
 figures with saints, ii, 83 ; figures with "drolls," 
 ii, 66; ii, 84, n. 6; floats in the 1914 Lichfield 
 "Bower," ii, 152; guilds, i, xvii; origin of 
 Revere carnival (1912), ii, 254; pageant 
 (London, 1606), i, 227, and n. 3; pageant at 
 Sandwich, 1573, i, 206; pageant for Skinners 
 (1628), ii, 39; pageant for Skinners (1656), ii, 
 46; (1657), ii, 47; pageant for Skinners 
 (1671), ii, 50 f.; pageant of 1678, ii, 71; 
 pageants developed by the court, i, 114; i, 121; 
 pageants of 1672 and 1673, ii, 53; pageants 
 of the Drapers (1679), ii, 58; pageants in 
 Milton celebration, ii, 154; pageants at Pres 
 ton (1902), ii, 165, n. 2; pageants at Ripon 
 (1886), ii, i$9f.; pageants in the St. Louis 
 procession of 1847, ii, 238 f.; pageants in the 
 (London) 1891 Show, ii, 126; in the 1892 
 Show, ii, 126 f.; in the 1895 Show, ii, 127; 
 in the 1902 Show, ii, 129. 
 
INDEX 
 
 427 
 
 Trade-pageantry, ch. vii, 3 (ii, 164 f .) ; (Bos 
 ton, 1912), ii, 247 f.; in civic shows (1611), ii, 
 31; combined with music (1685), ii, 63; 
 at Dublin, i, 23, n. 3; i, 36; (London, 1604), 
 i, 224; (London, 1660), i, 242; (London, 
 1661), i, 244; at Norwich, i, 35; at Nor 
 wich (1578), i, 2 10 f.; at Preston, i, 34; in 
 "royal-entry" (York, 1486), i, 158; in "royal- 
 entry" (London, 1522), i, 176, and n. 2; in 
 "royal-entries," see also "royal-entry"; at 
 Shrewsbury, i, 33; (Swansea, 1881), i, 257. 
 
 Trade-procession at Boston (1788), ii, 236; at 
 Philadelphia (1882), ii, 240. 
 
 Trade-significance of folk-animals, i, 196; of 
 the "Golden Fleece," i, 196; of "man in 
 armor," i, 48; of pageantic elephant and castle 
 i, 67, n. i. 
 
 Trade Societies march at Chester (Pennsylvania), 
 ii, 239. 
 
 Trade-symbolism combined with miracle-play 
 material, i, 195; combined with miracle-play 
 pageant on a civic occasion (Norwich, 1563), ii, 
 19; and mythology united, ii, 7 if.; in 
 1684, ii, 62; drawn from folk-animals, i, 64; 
 in the 1602 Show, ii, 27. 
 
 Trade symbolized by horsemen, ii, 124; and 
 chivalry united, i, 48, and n. i ; and history 
 combined (1885), ii, 123; (1889), ii, 124; 
 (1901), ii, 128; (Boston, 1912), ii, 246, and 
 n. 4; ii, 247; (Norristown, 1912), ii, 249; 
 and history remarks on the combination of, ii, 
 130; and history (Ripon, 1886), ii, 161; 
 and history in the 1902 Show, ii, 129; and 
 miracle-play combined (1461), i, 151; and 
 mythology (1890), ii, 125. 
 
 Trader and Trapper ii, 131; ii, 153. 
 
 Trades of mayors companies indicated by " drolls," 
 ii, 66. 
 
 Trades procession (Lichfield, 1893), ii, 151; 
 (Lichfield, 1911), ii, 152; in honor of Wash 
 ington (Boston, 1789), ii, 177. 
 
 Trades (Liverpool, 1907), ii, 163. 
 
 Tradition combined with history (Boston, 1880), 
 
 ii, 239- 
 
 Traditions in civic shows , ii, 66. 
 
 Traffic regulations for the Lord Mayor s Day 
 (1740), ii, 92; rules to prevent blocking of 
 streets (1702), ii, 69, n. 3. 
 
 Traffic (London, 1622), ii, 75. 
 
 "Trained Bands" line the streets (1727), ii, 88, 
 n.6. 
 
 Transparencies, allegorical (London, 1814), ii, 
 162; used in 1832 and 1833, ii, no; and 
 illuminations (Edinburgh, 1822), i, 256. 
 
 Transparency at Guildhall (1801), ii, 102 f.; 
 provided by Mr. Patrick (1825), ii, 109; pro 
 vided in 1839, ii, in, n. 4. 
 
 Trapper and Trader (1905), ii, 131; Canadian 
 (Knutsford, 1913), ii, 153. 
 
 "Trappers and Traders" (Norristown, 1912), ii, 
 
 249. 
 
 Traveller (London, 1657), ii, 47. 
 Treason (London, 1618), ii, 38. 
 Treasury Building, masque on the steps of the, ii, 
 
 284 f. 
 Tree, Sir Herbert, his production of "Henry VIII," 
 
 ii, 209; ii,229. 
 Tree "subtlety" of a, i, 83. 
 Trent (London, 1628), ii, 39. 
 Trevelyan, M., on Mari Llwyd, i, 17. 
 "Trial, Condemnation, and Crucifixion of Christ," 
 
 Smiths Pageant (Coventry), i, 204, n. i. 
 Trig Stairs (London), i, 48. 
 "Trinity, the," at Antwerp, i, 255. 
 Trinity, Church of the, at Paris, i, 163; i, 171. 
 Trinity, the (London, 1432), i, 146. 
 Trinity Sunday, "triumph" at Norwich on (1545), 
 
 ii, 12. 
 Trino van turn, old name of London, i, 58, n. 2; i, 
 
 So- 
 "Trionfi," secular and religious, i, 14, n. i; (at 
 
 Alexandria), i, 17, n. 6. 
 Triptolemus (St. Louis, 1878), ii, 253, n. 2. 
 Triton (Edinburgh, 1594), i, 219; (Kenilworth, 
 
 1575), i, 209; with whale (Antwerp, 1803), i, 
 
 254- 
 
 Tritons (Chester, 1910), ii, 215; (London, 1610), 
 i, 231; (London, 1612), ii, 32; (London, 
 1616), i, 233 ; i, 234; (London, 1657), ii, 47; 
 (London, 1661), ii, 48; (London, 1662), i, 
 250; (London, 1685), ii, 63. 
 
 "Triumph," i, xix; at Canterbury (disguising), 
 i, 174; in a masque, at Edinburgh (1908), ii, 
 223. 
 
 "Triumph of Peace" (1633-34), i, 117 f.; of 
 "Time," the (London, 1679), u , iQ 1 - 
 
 "Triumph" of 1662, influence of Lord Mayor s 
 Show on, i, 250. 
 
 Triumph (London, 1685), ii, 63. 
 
 Triumphal arches (1881), ii, 121; in 1882, ii, 
 121; in Belgium (1843), i, 256; at Belfast 
 (1914), ii, 180; at Leicester (1839, 1843), i, 
 256; at London, (1863), i, 257, n. i; at 
 Preston (1882), ii, 165, n. 2; for returning 
 troops (New York, 1919), ii, 2 56 f.; (Ripon, 
 1886), ii, 159; ii, 160; at Scotland (1842), i, 
 256; at Swansea (1881), i, 257. See also arch. 
 
 Triumphal chariots in the procession preceding 
 Shirley s masque (1634), i, 117 f. 
 
 Triumphant Mount (1613), ii, 34 f. 
 
 Troia Nova, old name of London, i, 59. 
 
 Troia Nova personified (London, 1605), i, 82, n. 2. 
 
 "Trois Mores" at Lyons (1627), i, 77, n. i. 
 
 Trois Rois at Lyons (1627), i, 77, n. i. 
 
 Trojan, a (London, 1783), ii, 98. 
 
 Trojans v. Greeks (Winchester, 1908), ii, 225 f., 
 with Ebrauc (York, 1909), ii, 218, n. I. 
 
 Tron, the (Edinburgh), i, 236. 
 
428 
 
 INDEX 
 
 Trooper of the Northwest (Knutsford, 1913), ii, 
 
 153- 
 
 Troops applied for (1849), ii, 113, and "men in 
 armor" (1821), ii, 106, (1822), ii, 107, in 
 the 1915 Show, ii, 140 f.; take part in the 
 1914 Show, ii, 139; in a street-pageant (Bos 
 ton, 1912), ii, 245. 
 
 Troubadours represent Minstrelsy (Boston, 1908), 
 ii, 283. 
 
 Troya Nova (London, 1605), ii, 29. 
 
 "Troy game," i, 86 
 
 Troy-Novant, old name of London, i, 58, n. 2; i, 
 78, n. i. 
 
 Trumpeters who sounded the charge at Balaklava 
 (1890), ii, 125. 
 
 Truro, School of Mining at, represented in the 
 1906 Show, ii, 132. 
 
 Truth (Boston, 1908), ii, 282; (Lichfield, 1909), 
 ii, 151; (London, 1432), i, 146; (i547)> i, 
 186; i, 187; (1554), i, 194; daughter of 
 Time (London, 1559), i> 202; (1591), ii, 26, 
 and n. i; (1604), i, 224; (1613), i, in; ii, 
 34; ii, 35; (1660), i, 242; ii, 77; (1661), i, 
 245; i, 246; (1662), i, 248; (1685), ii, 63; 
 (Paris, 1513), i, 172; (Providence, 1919), ii, 
 289. 
 
 Truth s Angel (London, 1613), ii, 33. 
 
 T serclaes, giants at, i, 55, n. 2. 
 
 Tubal Cain, ii, 72. 
 
 Tully (London, 1432), i, 145. 
 
 Tulse, Sir Henry, Mayor of London (1683), ii, 61. 
 
 Tumbler at Kenilworth (1575),!, 208; at St. 
 Paul s (London, 1547), i, 186 f. 
 
 Tumblers (London, 1662), i, 249; in welcome to 
 Charles II (1660), i, 242. 
 
 Tumbling in the civic shows, ii, 84 f . 
 
 Tumult grovelling at the fleet of Quiet (London, 
 1604), i, 225. 
 
 Tun in Cornhill, the, i, 148. 
 
 Turk, a (London, 1617), ii, 76; (Knutsford, 
 
 1913), ii, 153- 
 Turks at Madrid, (1623), i, 99; in mock-fight 
 
 (1443), i, 147, n. 2; at Stuttgart, (1609) i, 99; 
 
 in a tilt (1594), i, 218, n. 7. 
 Turkey (London, 1853), ii, 116, n. 3. 
 Turkish equivalents of "wild-men" or "drolls" 
 
 (Adrianople, 1717), ii, 87; prisoner in the 
 
 hands of uniformed Italians (Boston, 1912), ii, 
 
 247- 
 
 Turkish Champion in "folk-play," i, 7, n. i; 
 Pirate (London, 1610), i, 232. 
 
 Turner, Captain, in a Plymouth celebration (1801), 
 ii, 236; Sir William, Mayor of London (1668), 
 ii,5o. 
 
 Turners v. Stationers (1678), ii, 55 f. 
 
 Twentieth Century Club, interest of the, in pag 
 eants, ii, 281, n. 2. 
 
 Tykehill, place for tournament near, i, 89. 
 
 Tyler, Wat, head of (1616), ii, 80; (1700), ii, 68; 
 
 ii, 80; the slain, with Walworth (London, 
 1 884), ii, 123. 
 
 Tymbesteres (Hereford, 1914), ii, 224, n. 7. 
 
 Type, the, and the individual, ii, 212 f. 
 
 Type-figures in the Boston Normal School Pageant, 
 ii, 283; in the Peterborough Pageant, ii, 
 264 f.; in the "ritual" of citizenship, ii, 290. 
 
 Types and individuals in the "interludes," ii, 57 ; 
 between allegory and the individual, ii, 76; 
 tending toward symbolism in the Jordanian 
 "interludes," ii, 76; which are almost ab 
 stractions, ii, 75, n. 8. 
 
 Typical and historical figures in "The Masque of 
 Learning," ii,, 227. 
 
 Tytero (London, 1684), ii, 62. 
 
 Udall, Nicholas, i, 81; i, 180; i, 183, and n. 5, and 
 n.6. 
 
 Ukranians in the New York Pageant of 1918, ii, 
 252. 
 
 Ulster Covenant, the signing of the, pictured at 
 Belfast (1914), ii, 181, 
 
 Ulysses (London, 1631), ii, 77, n. 2; (Win 
 chester, 1908), ii, 225. 
 
 Unanimity (London, 1604), i, 224. 
 
 "Unborn soul" of pageantry in the revels, ii, 159. 
 
 Uncle Remus (St. Louis, 1888), ii, 253, n. 5; 
 Sam (Boston, 1912), ii, 247; (Little Compton, 
 1914), ii, 251. 
 
 Undramatic break in characterization, i, 183, and 
 notes 5 and 6. 
 
 Underbill, Edward, account of 1553 "entry" by, 
 i, 188. 
 
 Unhappiness at the feet of Felicity (London, 1604), 
 i, 225. 
 
 Unicorn (Chester, 1910), ii, 224; (London, 
 1662), i, 249; (Reggio, 1453), i, 148, n. 4; 
 St. Andrew on a (1609), ii, 30. 
 
 Unicorns, i, 44, n. 8; i, 45, n. 5; i, 46; i, 64; 
 ridden by Moors (1611), ii, 31. 
 
 Unified scheme in the 1904 Show, ii, 130. 
 
 Uniforms of the past (Boston, 1912), ii, 246; of 
 Garibaldi s soldiers worn by Italians (Boston, 
 1912), ii, 247; of the past (London, 1896), ii, 
 128; of the past (London, 1897), ii, 188; of 
 the past (London, 1902), ii, 129; of the past 
 (London, 1911), ii, 136; of the present in 
 Brooklyn mumming, ii, 158. 
 
 Union of civic and national history in 1783 pan 
 tomime, ii, 100. 
 
 Union (London, 1685), ii, 63; (Paris, 1498), i, 
 164; [Confederation], (Paris, 1513), i, 171. 
 
 United Germany, States of, personified (New York, 
 1909), ii, 244, n. i. 
 
 United States, effigy-burning in the (1917), i, 51, 
 n. 2; Hallowe en disguisings in the, i, 10, n. 5; 
 flag of,, displayed in the 1881 Show, ii, 121 ; 
 mumming of children hi the, ii, 158; pag 
 eantry in the, ch. ix (ii, 235 ff.); pageants of, 
 
INDEX 
 
 429 
 
 compared with English pageants, ii, 232 f. See 
 also America. 
 
 Unity of design in the 1904 Show, ii, 130!.; of 
 idea in modern pageants, ii, 210; of plan lack 
 ing in Little Compton parades, ii, 250; lacking 
 in carnival processions, ii, 295. 
 
 Universities personified (Boston, 1908), ii, 282. 
 
 University Faculties greet Louis XII (Paris, 1498), 
 i, 164; Hall, Edinburgh, founding of, celebrate 
 ii, 226. 
 
 University doctor in furred robes (1628), ii, 39. 
 
 Unlawfulness of tournament at Eglinton noted, ii, 
 183. 
 
 Unnamed giants, i, 57, n. 2; giants at London, 
 in 1415, and 1432, i, 58, n. i. 
 
 Upland, model of Penn s house at, carried in pro 
 cession (Chester, 1882), ii, 240. 
 
 "Up the Heights," a "play with a purpose," ii, 
 230. 
 
 Urbino, chariots in ballets at (1513), i, 123, n. 2. 
 
 Urbs, ii, 76. 
 
 Ursulines (Quebec, 1908), ii, 263. 
 
 Usher, Arland, Mayor of Dublin (1528), i, 179. 
 
 Usurpation painted, flying before Charles II (Lon 
 don, 1661), i, 244. 
 
 Vainglory (London, 1559), i, 201. 
 Vain Student, a (Oxford, 1907), ii, 223. 
 Valenciennes, angels at, i, 94; banner of, at Lille, 
 
 i, 75, n. 4; castle at (133), i, 94; giant of, 
 
 i, 65, n. 2; pageantic tourneys at, i, 94, and 
 
 n. 7; symbolized, i, ,81. 
 Valentine (London, 1547), i, 79; i, i86;i, 196. 
 Valiaunt desire (1511), i, 97; i, 116. 
 Valleys, spirits of the (St. Johnsbury, 1912), ii, 
 
 270. 
 Valor (Edinburgh, 1908), ii, 214; (Edinburgh, 
 
 1908), ii, 223. 
 Vanasselt, constructor of the Antwerp giant, i, 
 
 254- 
 
 Varney, Sir Richard (Lichfield, 1893), ii, 150. 
 
 Vauxhall, i, 248; i, 249. 
 
 Veiled Prophet, the, at St. Louis, ii, 253 f., and 
 notes. 
 
 Venator (Stuttgart, a6o9), i, 99. 
 
 Veneration (London, 1604), i, 223. 
 
 Venice, Ambassador of, i, 181; Ascension Day 
 at, compared with 1662 "triumph" by Evelyn, 
 i, 247; Corpus Christi, at i, 22, n. 6; and 
 London compared by Prince of Anhalt (1610), 
 ii, 30; merchants of, in the 1432 "entry," i, 
 143; subtleties at (1517), i, 83; water- 
 procession at (1491), i, 14, n. i; i, 161, n. 6. 
 
 Venus (Avignon, 1600), i, 220; in the Dublin 
 "Fringes," i, 23, n. 3; (Diisseldorf, 1852), ii, 
 147; [Venus], (Edinburgh, 1503), i, 169, n. i; 
 (London, 1533), i, 183; (London, 1635), 
 ii, 42; in masque at Norwich (1578), i, 211. 
 
 Venusberg, the (Dusseldorf, 1852), ii, 147. 
 
 Verbum Dei in Henry s hand (1554), i, 191 f.; 
 painted out, i, 192; in Truth s hand, i, 194. 
 
 "Vergier de France" (Paris, 1513), i, 172. 
 
 Vermandois, squire of, masque at the wedding of 
 (i393), i, 102, n. 3; i, 73, n. 5. 
 
 Vermont (St. Johnsbury, 1912), ii, 270; (Thet- 
 ford, 1911), ii, 270. 
 
 Vernacular, the (Boston, 1908), ii, 282. 
 
 Vernon, Admiral, birthday of, celebrated with 
 "illumuiations" (1740), ii, 178, and notes 3 and 
 4; Dorothy, husband of, knighted by James I, 
 i, 222, n. i. 
 
 Verses dedicated to the mayor in 1732, ii, 89, n. 3. 
 
 Vertbois, rex de, i, 75. 
 
 Vertumnus (London, 1604), i, 225, n. i. 
 
 " Vestal Virgins, Temple of" (in a tilt, 1590), i, 215. 
 
 Vestiaria (London, 1684), ii, 62. 
 
 Veterans of Balaklava (1910), ii, 136; of British 
 and German origin in a Boston procession, ii, 
 245; of the Civil War give scenes in the 
 Boston "festival" of 1897, ii, 261; of the 
 Civil War in the Norristown Pageant of 1912, 
 ii, 250; of the Civil War in the Yale Pageant, 
 ii, 275; of the Crimean War in the 1890 Show, 
 ii, 125; of the Crimean War in the 1906 Show, 
 ii, 132; in the London Military Tournament 
 of 1897, ii, 188; of Rorke s Drift asked for 
 (1879), ii, 120; the sons of, take part in the 
 Norristown pageant, ii, 250; in a street- 
 pageant (Boston, 1912), ii, 245. 
 
 Vevey, "Winzerfest" at, ii, 147, n. 4. 
 
 "Vice," the, akin to Chelt in the Gloucestershire 
 Pageant, ii, 217. 
 
 Vices, trodden on by Virtues (London, 1559), i, 
 200 f . 
 
 Victoria pictured at Belfast (1914), ii, 181; at 
 Guildhall (1837), ii, no; and Albert at Ant 
 werp (1843), i, 256; at Brussels (1843), i, 256; 
 and Albert in Scotland (1842), i, 256; at 
 Leicester (1843), i> 2 56- 
 
 Victoria, Queen (London, 1914), ii, 228, n. 2. 
 
 Victorian Era antedates Victoria, ii, 168, and n. 3. 
 
 "Victory," model of H. M. S., (1902), ii, 129. 
 
 "Victory Arch, the" (New York, 1919), ii, 256; ii, 
 257; Pageant, a, at the Rhode Island Nor 
 mal School, ii, 288. 
 
 Victory, Statue of (1904), ii, 130; on a trans 
 parency (1814), ii, 162. 
 
 Victory (London, 1623), ii, 78; (London, 1628), 
 ii, 39; (London, 1685), ii, 63; (Providence, 
 1919), ii, 289. 
 Vidrick Verlandson, victorious over Langbane, i, 
 
 53- 
 
 View of Lord Mayor s Show voiced by Shirley and 
 Pepys, ii, 35, n. 4. 
 
 Vigilance (London, 1604), i, 224; (London, 
 1618), ii, 38; (London, 1685), ii, 63; (Lon 
 don, 1700), ii, 80, n. 7. 
 
 Vigilius (London, 1679), ii, 83. 
 
430 
 
 INDEX 
 
 Viking period, the (Ripon, 1886), ii, 160. 
 Vikings (Edinburgh, 1908), ii, 214; at Rouen 
 
 in 191 1, ii, 164. 
 
 Villagers (Boston, 1897), ii, 260, n. 3. 
 Villages represented by "squires," (St. Johnsbury, 
 
 1912), ii, 270, n. 5. 
 Vinitioria (London, 1684), ii, 62. 
 Vintners of Dublin present Bacchus (1528), i, 179; 
 
 Hall (London), i, 253, n. 2; represented by 
 Vinitioria (1684), ii, 62. 
 
 Vintners Show for 1702 includes Bacchus, ii, 73; 
 ii, 153; trade linked with mythology (1702), ii, 
 
 73- 
 Vintners with Bacchus (London, 1783), ii, 99. 
 
 Vintry, Ward of, ii, 92. 
 
 Virgin, the, i, 16; i, 17; i, 19, n. 5; i, 33; i, 41; i, 
 78; i, 80, n. 2; i, 83; (Edinburgh, 1503), i, 
 169; (Hereford, 1486), i, 159; ("maiden 
 queen"), of Mercers described by Celia Fiennes, 
 ii, 67; of the Mercers, ii, 44 f.; of the 
 Mercers, in the 1662 "triumph," at London, i, 
 248; (Paris, 1513), i, 172; in the York 
 "entry" (1485), i, 159. and n. 3. 
 
 Virgin, Purification of the, celebrated at Beverley, 
 i, 17; i, 19, n. 5. 
 
 Virgins, Wise and Foolish (London, 1445), i, 148. 
 
 Viriat (London, 1623), ii, 79. 
 
 Viridi bosco, rex de, i, 75, n. 2. 
 
 Virtue in Dekker s 1612 Show, i, in; [Eliza 
 beth regarded as] (Elvetham, 1591), i, 216; 
 image of, before image of Ptolemy at Alexandria, 
 i, 17, n. 6; (London, 1612), ii, 32; ii, 73; ii, 
 77; (London, 1623), ii, 79; Throne of 
 (1612), ii, 32; ii, 73; ii, 77. 
 
 Virtue s Throne (London, 1612), ii, 32; ii, 73; ii, 77. 
 
 Virtues, the, see also Prudence, Justice, Forti 
 tude, and Temperance; the Civic (Lawrence, 
 1911), ii, 269; the (London, 1533), i, 184, n. 4; 
 
 treading contrary vice underfoot (London, 
 1559), i, 200; (Naples, 1443), i, 147, n. 2; 
 the, in pageantry, i, 108; the, in "Promos and 
 Cassandra," i, 49, n. i; tread on historical 
 characters representing their opposites (Edin 
 burgh, 1503), i, 169; Four (Coventry, 1456), 
 i, 149; Four (Edinburgh, 1503), i, 169; the 
 Four in a funeral pageant at Rome, i, 17, n. 6: 
 Four Cardinal, in a Hessian tilt (1596), i, 219; 
 Four (London, 1522), i, 178; the (London, 
 1613), ii, 34; Four Cardinal (London, 1604), 
 i, 225; Four Cardinal (London, 1661), i, 245; 
 
 Four Cardinal (Norwich, 1556), ii, 17; 
 Four (Paris, 1513). i> J 7i- 
 
 Virtues, the Four, represented by pillars (1626), ii, 
 78, n. 4. 
 
 Virtues, the Seven, in the "Castle of Perseverance," 
 i, no; the Seven (London, 1432), i, 144, and 
 n. 3; the Seven (London, 1501), i, 168; the 
 Seven (Reggio, 1453), i, 148, n. 4; the Three 
 (Norristown, 1912), ii, 250. 
 
 "Viseres" at Yuletide, i, 101. 
 
 "Visor" and "entertainment," i, 102, and n. 5. 
 
 Visors prohibited, i, 103 f. 
 
 Visus (London, 1613), ii, 34. 
 
 Voice of the World, the (London, 1911), ii, 225. 
 
 Vulcan (Antwerp, 1803), i, 254; in a black 
 smiths shop (1629), ii, 71; ii, 72; in the Dub 
 lin "Fringes," i, 23, n. 3; (Dublin, 1528), i, 
 179; (Dublin, 1665), i, 251; at Preston, 
 i, 34; i, 81 ; a trade-figure (1685), ii, 63. 
 
 Vyner and Charles II, ii, 54; Sir Robert, Mayor 
 of London (1674), ii, 53. 
 
 Wace and the Round Table, i, 95. 
 
 Waddington, M. r guest at Guildhall (1883), ii, 122, 
 n. i. 
 
 Wade, Edmund, Archepiscopal bargeman, ii, 10, 
 n.4. 
 
 Waithman, Mr., on a sub-committee for 1823 
 "armed men, "ii, 108. 
 
 Waithman, Robert (London, 1906), ii, 133. 
 
 Waits, i, 49 ff., and notes; in a masque at Edin 
 burgh (1908), ii, 223; at Norwich, i, 28; 
 City, described by Ward, i, 50, n. 2 ; of Nor 
 wich (1578), i, 210; of Norwich give installa 
 tion pageant (1556), ii, i6f.; paid for music 
 in 1790, ii, 101; provide music for the pro 
 cession and ball of 1794, ii, 102; provide 
 music in 1801, ii, 102; the, in revels (Chester, 
 1910), ji, 224. 
 
 Wakelyn, John, i, 40. 
 
 Walderne goes by water to Westminster in 1422, 
 ii, 4; ii, 6. 
 
 Wales, cars emblematical of (1891), ii, 126; 
 Christmas mumming in, i, 17; effigies in, i, 
 56, n. 3; Pageant of, at Cardiff (1909), ii, 199, 
 n. i; ii, 202, n. 4; Palm Sunday in, i, 15; 
 Prince of, the investiture of the present (1911), 
 ii, 227; Prince and Princess of, at Guildhall 
 (1901), i, 257; Prince and Princess of, at 
 Knutsford (1887), ii, 153; Prince and Prin 
 cess of, at Swansea (1881), i, 257; Prince 
 Henry created Prince of (1610): triumphs in 
 connection with the ceremony, i, 230-233; 
 Prince Charles created Prince of (1616): water- 
 triumphs in connection with the ceremony, i, 
 2 33 f-5 represented by Amphion (London, 
 1610), i, 231; scene in, in the Yale Pageant, 
 ii, 274, n. i; ii, 275; typified by tableau repre 
 senting the Investiture of the Prince of Wales 
 (Lichfield, 1911), ii, 152. 
 
 Wales, Angel of, in a play for propaganda (1914), 
 ii, 230; personified by one of the "children of 
 honour," (London, 1509), i, 170; (London, 
 1610), ii, 75, n. i ; (London, 1919), ii, 141 ; 
 Prince of (Lichfield, 1893), ii, 150; repre 
 sented by a king (London, 1661), i, 243, n. i. 
 
 le Waleys, Henry, first M.P. for London (London, 
 1907), ii, 134. 
 
INDEX 
 
 431 
 
 Walganus of Jutland (London, 1522), i, 177. 
 
 Walhalla, Madame Warton of the, takes the part 
 of Lady Godiva (1848), ii, 170. 
 
 Wallace, C. W., on the text of "London s Love,"i, 
 230; n. 4; Youths Society in the Edinburgh 
 procession of 1832, ii, 166. 
 
 Wallingford, Christmas at (1326), i, 126; place 
 for tournament near, i, 89. 
 
 Walls, the (Chester, 1910), ii, 215. 
 
 Walpole, Sir Robert (London, 1889), ii, 124. 
 
 Walpole, Sir R., first wife of, grand-daughter of Sir 
 John Shorter, ii, 63, n. 8. 
 
 Walworth, Sir William represents the Common 
 wealth (London, 1590), ii, 25; his 1616 resur 
 rection, ii, 80; (London, 1700), ii, 68; ii, 80; 
 (London, 1783), ii, 99; (London, 1884), ii, 
 123; (London, 1913), ii, 138. 
 
 Wantage, Lord, outdoor fUe given by (1884), ii, 159. 
 
 War (Bristol, 1574), i, 206; (New Haven, 1916), 
 ii, 274, n. i; (Norristown, 1912), ii, 250; 
 (Providence, 1919), ii, 289. 
 
 War and the Community Drama, ii, 290. 
 
 War Gardens (Providence, 1919), ii, 289; Savings 
 Stamps (Providence, 1919), ii, 289. 
 
 War, the, does not interrupt the Show, in 1914, ii, 
 139- 
 
 "War of 1812" (Providence, 1919), ii, 289. 
 
 War Office, the, refuses armor for the 1879 Show, 
 ii, 1 20. 
 
 Ward, Sir A. W., defines pageant, i, 3 ; Sir A. W., 
 on growth of moralities, i, 107; i, 108; Sir A. 
 W., suggests influence of "royal-entry" on 
 chronicle plays, i, 196; Edward, describes 
 waits of London, i, 50, n. 2; describes Lon 
 don giants, i, 61 ; Sir Patience, Mayor of Lon 
 don (1680), ii, 59. 
 
 Wards levied on for pageants (1522), i, 174, n. 6. 
 
 Ward s "London Spy," the account of a civic show 
 in, mentioned, ii, 86. 
 
 Wards of the City, Constables of the (i74o),ii, 92. 
 
 Warham, Archbishop, inthroned (1504), i, 82; 
 Archbishop, waits on King Henry VIII and 
 Charles V, i, 174. 
 
 Warlike Force of the City (London, 1604), i, 224; 
 (London, 1783), ii, 100. 
 
 Warren, Mr., provides music in 1809, ii, 104; 
 Ralph ancestor of Hampden, ii, 124. 
 
 Warrington, May-day celebration of Laborites at 
 (1914), ii, 155. 
 
 Warships of various nations at Quebec (1908), ii, 
 240 f . 
 
 "Warspite," boys of the, in the 1889 Show, ii, 124; 
 in the 1890 Show, ii, 125; in the 1895 Show, 
 ii, 127; in the 1901 Show, ii, 129; in the 
 1906 Show, ii, 132; in the 1913 Show, ii, 138. 
 
 Warton, Madame, of the Walhalla takes the part 
 of Godiva (1848), ii, 170; Mr., appears as 
 Edward the Confessor (1848), ii, 170; [T.] on 
 influence of pageantry on the drama, i, 196, n. 2. 
 
 Warwick (Warwick, 1906), ii, 215. 
 
 Warwick, celebration of Vernon s birthday at 
 (1740), ii, 178, n. 4; Earl of, as "Green 
 Knight," i, 75, n. 3; cf. illus. opp. i, 88. 
 
 Warwick, Earl of ["the kingmaker"] (London, 
 1907), ii, 134. 
 
 Warwick, Elizabeth at (1572), i, 205; (Massa 
 chusetts) cost of the pageant at, ii, 206, n. 2; 
 (Massachusetts), the Pageant of, ii, 279 f.; 
 (England), Pageant, the (1906), i, 205, n. 3; ii, 
 199; ii, 218; ii, 218; ii, 219; ii, 221, n. 3; ii, 
 222; Pageant, profits of the, ii, 206; place 
 for tournament near, i, 89. 
 
 Washington (Marblehead, 1912), ii, 278; George 
 (Norristown, 1912), ii, 249; and the early 
 flag (Boston, 1912), ii, 246. 
 
 "Washington s Coach" (New York, 1909), ii, 243. 
 
 "Washington Crossing the Delaware" (St. Louis, 
 1886), ii, 253, n. 4. 
 
 "Washington s Entrance into Boston" (Boston, 
 1897), ii, 261. 
 
 "Washington, Funeral Honors for," in the Oxford 
 (Massachusetts) Pageant, ii, 279. 
 
 "Washington taking the Oath of Office" (New 
 York, 1909), ii, 243. 
 
 "Washington s Visit, 1789" (New Haven, 1916), 
 ii, 274, n. i. 
 
 Washington honored with a trade-procession at 
 Boston (1789), ii, 177; portrait of, on the 
 banner of the Washington Hose Company 
 (1847), ii, 238, n. i. 
 
 Washington, a masque at (1913), ii, 284 f.; pag- 
 eantic propaganda at, ii, 255. 
 
 Watch prepared for the 1740 Show, ii, 92. 
 
 Watchfulness (London, 1622), ii, 77. 
 
 Watchman, a (St. Louis, 1914), ii, 273, n. 2. 
 
 Water-fight with pageantic features (1610), i, 
 232 f.; tournaments (1536, 1539), i, 9$; 
 mock-fight, ii, 45 f. 
 
 232 f.. 
 
 Water, mock-battle on the (Bristol, 1574), i, 206. 
 
 Water-Power (Keene, 1913), ii, 271, n. 4. 
 
 Water processions, progresses, shows, or triumphs: 
 
 growth of, ii, 6; splendor of, increases, ii, 10; 
 
 (1536),!, 184; (1536, 1539), i, 98; (1574), i, 206; 
 
 (i575), i, 208; i, 209, and n. i; (1591), i, 216; 
 
 ii, 26; (1602), ii, 27 f.; (1609), ii, 30; (1610), i, 
 
 230 f.; ii, 30; (1613), ii, 33, n. 2; (1616), i, 
 
 233 f-J (1623), ii, 38; (1628), ii, 39; (1655), ii, 
 44; (1656), ii, 45 f.; (1657), ii, 47; (1661), ii, 
 48; (1662); i, 247 f.; (1664), ii, 49; (1667), ii, 
 50; (1668), ii, 50; (1679), ii, 575 (1680), ii, 59; 
 (1683), ii, 61, and n. i; (1686), ii, 63; (1721), 
 ii, 88; (c 1740), ii, 9 f-5 (i773), ", 97! ~ at the 
 end of the xviii century, ii, 102; (1824), ii, 108 f.; 
 (1842), ii, 112, n. i; (1843), ii, 112, n. i; 
 omitted (1850), ii, 115, n. 2; the last civic 
 (1856), ii, 117; (1919), ii, 141- 
 
 Waterloo, era of (London, 1897), ii, 188; spoils 
 
432 
 
 INDEX 
 
 of, worn in the 1815 Show, ii, 104; spoils of, 
 
 in the 1822 Show, ii, 108. 
 Waterman, Sir George, Mayor of London (1671), 
 
 ii, 51, n. i. 
 Watson, H., shows pageantic transparencies 
 
 (1814), ii, 162. 
 Watts, Hugh, to find "wild-men" (1566), ii, 21, 
 
 n. 2; [Mr.] keeper of Blackwell Hall, i, 253, 
 
 n. i. 
 
 "Waytes" in the 1913 Show, ii, 138. 
 "Wealth" (St. Louis, 1878), ii, 253, n. 2. 
 Weapons, Roman, used in the 1914 "Tournament" 
 
 ii, 190. 
 Weavers Pageant at Coventry (1565), i, 204, and 
 
 n. i. 
 
 Weavers with Penelope (London, 1783), ii, 99. 
 Webb, Sir William, Mayor of London (1591), ii, 
 
 25- 
 
 Webster s Monuments of Honor" (1624), ii, 38. 
 Week, a (London, 1677), ii, 74; ii, 191. 
 Wedurby, John, prepares for 1456 "entry" at 
 
 Coventry, i, 149, and n. 2. 
 Weighing, the history of (1901), ii, 128, andn. 3. 
 Weir, H. C., on the Hudson-Fulton Pageant of 
 
 1909, ii, 242 f., and notes; ii, 244, n. 3. 
 "Welcome," the (Philadelphia, 1882), ii, 237, n. 4; 
 
 ii, 240; ii, 241. 
 Welcome of citizens of London to Philip II, i, 191; 
 
 of Elizabeth by the people, i, 199. 
 "Welcome, Tower of," the (Quebec, 1908), ii, 
 
 240, n. 5. 
 
 Wellington, Duke of (London, 1911), ii, 137. 
 Wellington, Duke of, the death of, prevents the 
 
 1852 Show, ii, 116; on a transparency (1814), 
 
 ii, 162; troops of, in the 1897 "tournament, 
 
 ii, 188. 
 Wellow, paid for King William 1 s armor (1534), i, 
 
 41, n. i. 
 Wells, John, Grocer, Mayor of London (1432), i, 
 
 142; i, 146, n. 4; Sir John, his "pageant" to 
 
 Henry VI mentioned, ii, 33, n. 2; king at, 
 
 for Christmas (1332), i, 127. 
 Welsh costume, knitters in (Swansea, 1881), i, 
 
 2 575 singers in (Swansea, 1881), ii, 257. 
 Welsh Settlers (Norristown, 1912), ii, 249. 
 Wenimesset, ii, 280. 
 West Bow (Edinburgh), i, 236; Cheap (London) 
 
 i, 37, and n. 3; i, 193. 
 Welstcott, Canon, Headmaster of the Sherborne 
 
 School, took part in the pageant, ii, 202. 
 West Dorset Pageant, the (1911), ii, 222, n. 2. 
 West Indian "Cacick" (London, 1684), ii, 62. 
 West, Piers, paid for barges by Grocers, ii, 6. 
 West Port (Edinburgh), i, 215. 
 Westminster, i, 98; i, 112; i, 126, and n. i; i, 129; 
 
 i, 130; i, 131; i, 135; i, 147; i, 154, n. 5; i, 155, 
 
 n. i; i, 160; i, 161; i, 181; i, 184; i, 185, and 
 
 notes 3 and 6; i, 187; i, 189; i, 202; i, 215; i, 
 
 219; i, 225; i, 253; ii, 3; ii, 4; ii, 5; ii, 6; 
 
 ii, 7; ii, 8; ii, 9; ii, 10; ii, ii; ii, 13; ii, 15; 
 
 11,17; ii, 19; ii, 23; ii, 26; ii, 27; ii, 33; ii, 43; 
 
 ii/44; ii,45; ii, 48; ii, 5; ii, 55! ii, 57! ii, 60; 
 
 ii, 67; ii, 68; ii, 69, n. 3; ii, 88; ii, 89; ii, 90; 
 
 ii, 92; ii, 93; ii, 97; ii, 99; ii, 102; ii, 105, and 
 
 n. 3; ii, 108; ii, no; ii, 112, n.i; ii, 115, n. 2; 
 
 ii, 120, n. 4; ii, 121; ii, 139. 
 Westminster (London, 1631), ii, 75. 
 Westminster Abbey, model of (1907), ii, 133; 
 
 Hall, i, 61; i, 112; i, 113, n. 2; i, 116; i, 161; 
 
 i, 182, n. i; Hall, last trip to, in 1882, ii, 121; 
 
 the road to, ji, 4; scene at, in the English 
 
 Church Pageant, ii, 200; School, children of, 
 
 in the 1561 Show, ii, 18; in the 1566 Show, 
 
 ii, 20; Stairs, ii, 46; ii, 67; ii, 90. 
 "Westward Ho!" (St. Louis, 1886), ii, 253, n. 4. 
 Westwyk Gates (Norwich), i, 152. 
 "Whale fountain" (Antwerp, 1843), i, 256, and 
 
 n. 6. 
 Whale, mechanical (Antwerp, 1803), i, 254; 
 
 (London, 1610), i, 230; i, 231. 
 Whifflers, i, 26, n. 3; i, 28, and notes; i, 71, and 
 
 notes; i, 99; i, 203 ; i, 218, n. i ; at Greenwich 
 
 (1560), i, 203; (1566), ii, 21; (c 1575), ii, 
 
 22; (1609), i, 99; (1688), ii, 64, n. 4; 
 
 (c 1740), ii, 90; (1913), ii, 138; in the 
 
 Gloucestershire Pageant (1908), i, 218, n. i. 
 Whigs Pope-burning of 1711 suppressed, ii, 175, 
 
 and n. 3. 
 White, Sir George, pictured at Belfast (1914), ii, 
 
 182. 
 White, Sir Thomas (Coventry, 1848), ii, 170, and 
 
 n. 2; (Coventry, 1862), ii, 170, n. 7. 
 White, Sir Thomas, Mayor of London (1553), ii, 
 
 13, n. 5. 
 
 Whitef riars (London), i, 246. 
 Whitehall, i, 115; i, 116; i, 117; i, 118; i, 194; i, 
 
 205, n. i; i, 213; i, 219; i, 231; i, 233; i, 234; 
 
 i, 242; i, 243; i, 244; i, 247; i, 248; i, 249; i, 
 
 250; ii, 46; ii, 52; ii, 60; pageantic jousts 
 
 at, i, 115 f. 
 Whitehorse Hanoverian Regiment, soldiers of the 
 
 (London, 1889), ii, 125. White Horse, the, in 
 
 Wiltshire, i, 51, n. 3. 
 Whitelocke, Bulstrode, on Middle Temple masque 
 
 committee (1634), i, 118. 
 "White plague," work against the, shown in 
 
 Boston procession (1912), ii, 247. 
 Whiting, Thomas, joiner, has a hand in the 1662 
 
 "triumph," i, 250. 
 Whitmonday at Leicester, i, 16. 
 Whitsun pageant used on a civic occasion (Nor 
 wich, 1563), ii, 19; plays at Chester, i, 20, 
 
 n. 3; i, 43, and n. 4; i, 44, n. 6; plays at 
 
 Norwich, i, 27. 
 Whit-Tuesday, Chester Midsummer Show moved 
 
 to (1670), i, 44, n. 9. 
 Whittaker, Mr., on a sub-committee for 1823, 
 
 "armed men," ii, 108. 
 
INDEX 
 
 433 
 
 Whittington, Sir Richard (London, 1783), ii, 100; 
 as boy and mayor (London, 1884), ii, 123; 
 (London, 1889), ii, 125; (London, 1895), ii, 
 127; (London, 1906), ii, 132; as an appren 
 tice (London, 1913), ii, 138. 
 
 Widja (or Vidrick), a romantic hero, i, 53, n. 3. 
 
 Wigmore, Roger Mortimer of, holds Round Table 
 in 1328, i, oo. 
 
 Wilder, H. H., on belief that early inhabitants were 
 gigantic,!, 53. 
 
 "Wilderness, the" (1392), i, 131; (1501), i, 114; 
 (1619), ii, 73; (1628), ii, 39 f.; (1656), 
 ", 46; (1657), ii, 47; (1660), ii, 47*-; 
 (1661), i, 246; (1672 and 1673), ii, 53; the 
 Power of the (St. Johnsbury, 1912), ii, 270. 
 
 "Wild-fire," i, 40, and n. 5; i, 72, n. 3; in the 
 1561 Show, ii, 18; in the "Snail Mount" (El- 
 vetham, 1591), i, 216. 
 
 Wildman, W. B., historian of Sherborne, ii, 197, 
 n. i. 
 
 "Wild-man," the, i, 40, n. 5; i, 51, n. 2; i, 70; i, 
 72 f. [ch. i, 8]; i, 73, and notes i and 5; i, 74, 
 n. 2; i, 75, n. 4; i, 76; i, 79, n. 7; i, 99; i, 102, 
 and notes; i, 115; 1,121; i, 139, and n. 5; i, 209, 
 n. i; i, 217; i, 229; ii, 13 f., and n. 13; ii, 15; 
 ii, 16; ii, 18; ii, 21; ii, 22; ii, 49; ii, 84, n. 6; ii, 
 85, and n. 2; ii, 160; recalled by "The Power 
 of the Wilderness," ii, 270. See also wodewose, 
 wodyn, wodys, wood-man, woodwases, and 
 forester. 
 
 Wilhelm II at the "Royal Naval and Military 
 Tournament" (1911), ii, 189. 
 
 Wilkes, John (London, 1889), ii, 125; (London, 
 1906), ii, 133. 
 
 Wilkinson, Lady Beatrix, symbolical scene in a 
 children s festival arranged by (1914), ii, 228, 
 n. 3 . 
 
 William, King, i, 7, n. i. 
 
 William of Montacute, a tournament in Cheap 
 keptby(i33i),i,9o. 
 
 William I (London, 1914), ii, 228, n. 2. 
 
 William III and his consort at the mayor s dinner 
 (1689), ii, 64; (1692), i, 252; ii, 66, n. 2. 
 
 William III in Canadian Orange processions, ii, 
 252; at Scarva (1914), ii, 186. 
 
 William III at the Hague, i, 252; at London 
 (1697), i, 252; pictured at Belfast (1914), ii, 
 i8of. 
 
 William the Conqueror, i, 41 ; (Bristol, 1461), i, 
 795 i, 151; (London, 1534), i, 79; (London, 
 1884), ii, 123; (London, 1907), ii, 133. 
 
 "William the Conqueror removes the See to Sar- 
 um" (Sherborne, 1905), ii, 210. 
 
 Williams, Roger (Providence, 1919), ii, 289. 
 
 Will Scarlet (Coventry, 1862), ii, 170; (Knuts- 
 ford, 1913), ii, 154. 
 
 Wilton, place for tournament near, i, 89. 
 
 Wiltshire, White Horse in, i, 51, n. 3. 
 
 Winchester, Bishop of, objects to Verbum Dei, i, 
 
 191 f.; Bishop of, servants of the, start trouble 
 (1425), ii, 6f.; founder by Hudibras, i, 78, 
 n. i; Pageant of 1908, i, 190, n. 12; ii, 222, 
 n. 2; ii, 224; ii, 225 f.; Pageant of, in fiction, 
 ii, 204; scene at, in the English Church Pag 
 eant, ii, 200. 
 Winds (London, 1612), ii, 32; The Four (Paris, 
 
 I5i3)>i, 171- 
 
 Windsor, Lord, in a tilt, (1581), i, 213. 
 Windsor, national pageant at, suggested, ii, 202, 
 
 n. 4; "round-table" at (1344), i, 92 ff.; 
 
 special Garter Service at (1912), ii, 227, n. 3; 
 
 Lydgate s disguising at, i, 107; tournament at 
 
 (1344), i, 92 ; tournament at (1348), i, 93 , i, 94- 
 Windsor (London, 1662), i, 249. 
 Wine flowing from conduits passim. 
 "Winter, Glacial Period of" (St. Louis, 1878), ii, 
 
 253, n. 2. 
 Winter (Cambridge, 1919), ii, 284; (Edinburgh, 
 
 1908), ii, 223; (London, 1677), ii, 74; and 
 
 Summer, contest between, i, 4 f.; i, 51 ; i, 72, and 
 
 n.s. 
 " Winthrop, Theodore, the Death of" (New Haven, 
 
 1916), ii, 274, n. i; ii, 275. 
 Winthrop (Boston, 1897), ii, 26l J ~ Margaret 
 
 (Boston, 1897), ii, 261. 
 "Winzerfest" at Vevey, ii, 147, n. 4. 
 Wire Workers, the, exhibit of (Preston, 1902), ii, 
 
 165, n. 2. 
 Wisdom (London, 1559), i, 200; (London, 1590), 
 
 ii, 25; Queen of (London, 1911), ii, 225. 
 Wise Student, a (Oxford, 1907), ii, 223. 
 Witches tricks, memory of, recalled in Hallowe en 
 
 mumming, ii, 158. 
 Withington, Mrs. G. B., on the Little Compton 
 
 parade, ii, 250 f . 
 Witney, "Jack" at, i, 70. 
 
 "Wits, The," acted with scenes (1661), i, 120, n. 2. 
 "Wodeman,"i,73. 
 Woden, personification of, perhaps at the root of 
 
 Robin Hood and May-games, i, 7. 
 "Wodewose," i, 73, n. 5; in Christmas mum- 
 
 mings at court, i, 74. See also Wild-man. 
 Wodewoses at court, i, 102. 
 "Wodmen" of London shows suggested by "wild- 
 man " at Bisham (1591), i, 217. 
 "Wodyn," in London civic shows, i, 74, n. 2; i, 77. 
 "Wodys," in 1554 at London, i, 77. 
 Wolfe, soldiers of (Quebec, 1908), ii, 240; ii, 263. 
 Wolfe (London, 1914), ii, 228, n. 2; (Quebec, 
 
 1908), ii, 263, and n. 4; ii, 264; in "Up the 
 
 Heights," ii, 230. 
 Wolsey, Cardinal (Lichfield, 1893), ii, 150; 
 
 (London, 1910), ii, 136; (Oxford, 1907), ii, 
 
 223. 
 Wolsey, Cardinal, receives Charles V and Henry 
 
 VIII (1520), i, 174- 
 Woman-suffrage masque, the, at Washington, 11, 
 
 284 f.; pageantic appeals for, ii, 246; ii, 249; 
 
434 
 
 INDEX 
 
 pageant at Washington in 1913, ii, 255; 
 procession at New York (1912), ii, 255. 
 
 Woman s Relief Corps, the, gives scenes in the 
 
 Boston "festival" of 1897, ii, 261. 
 Wombwell and Bailey s menagerie at Lichfield 
 
 (1893), ii, 150. 
 
 WombwelTs Show at Coventry (1862), i, 68, n. 2. 
 Women in a "Festival of the Seasons," at Cam 
 bridge, ii, 284. 
 Wood, William A., on the Lichfield "Bower," ii, 
 
 149, n. 4. 
 
 Wood Street (London), i, 245; ii, 82. 
 Wood, a, with the "royal oak" (1660), ii, 47; 
 
 nymphs, symbolical dance of (Boston, 1908), ii, 
 
 283. 
 
 "Wooden Engine" in early dances, i, 4; i, 112, n. 7. 
 Wooden horse, the, of Troy (Winchester, 1908), 
 
 11,225. 
 
 "Wood-houses" (wild-men), ii, 18. 
 "Woodland play" called "The High Constable of 
 
 Cotsholde" (1592), i, 218, and n. 3. 
 "Wood-man" and forester in 1663, i, 77; and 
 
 forester combined (1663), ii, 49; at Worksop 
 
 (1603), i, 222, n. i. 
 
 "Woodmen" in the 1566 Show, ii, 21. 
 "Wooden Spoon Prom, the" (New Haven, 1916), 
 
 ii, 274, n. i; ii, 275. 
 "Woodwards" (wild-men) in the 1556 Show, ii, 16; 
 
 (wild-men) in 1561 Show, ii, 18. 
 Wood-spirits vs. sea-gods (Elvetham, 1591), i, 
 
 216 f. 
 
 "Wood-wases" at Paris, i, 76, n. i. 
 
 Wood-nymphs (London, 1671), ii, 51. 
 
 Woodstock, Elizabeth at (1592), i, 217, n. 2. 
 
 Woodward, family name of, i, 73, n. 5. 
 
 "Woodwos" in 1522, i, 121. 
 
 "Wool Arch" (Swansea, 1881), i, 257. 
 
 Wool-Combers in the Coventry procession of 
 1826, ii, 167; suggestion of, in the 1848 pro 
 cession, ii, 170, and n. 3; in the 1862 pro 
 cession, ii, 170, and n. 7. 
 
 Woolmen with Bishop Blaise (London, 1783), ii, 
 99. 
 
 Worcester, Elizabeth at (1575), i, 210; Henry 
 VH at (1486), i, 159; Hokeday at, i, 33; 
 Midsummer Show at, j, 47. 
 
 Worksop, James I at (1603), i, 222, n. i. 
 
 Worms, play of Luther at, ii, 197. 
 
 "World s Contribution to Boston, The" (Boston, 
 1912), ii, 247. 
 
 Worth, R. N., on Millbrook May Day, and on 
 the Plymouth Corpus Christi, i, 12. 
 
 Worthies descended from civic dignitaries in the 
 1889 Show, ii, 124 f.; painted, of 1554, ii, 179. 
 
 Worthies (Coventry, 1456), i, 79; i, 150; (Co 
 ventry, 1408), i, 79; i, 164; in Corpus Christi 
 procession at Dublin, i, 22; i, 23; in Hainault 
 (1326), i, 04; (London, 1554), i, 191, and n. 2; 
 i, 192; include Henry VIII and Edward VI 
 
 (1554), i, 80; (London, 1554), include Henry 
 VIII, Edward VI, and Mary, i, 191, and n. 2; 
 (London, 1621), ii, 73; Nine, in "royal-en 
 tries," i, 195; at Paris (1431), i, 80; (Stutt 
 gart, 1609), i, 99; [male and female] (Paris, 
 1431), i, 138, and n. 4; i, 140. 
 
 Worthy Governance, Seat of (London, 1559), i, 200. 
 
 Wright, Andrew, repairs the "Assumption" and 
 makes a new pageant of St. Ursula" (1522), i, 40, 
 n. 3 ; John, part-owner of Chester Midsummer 
 pageants, i, 45, n. 5; i, 46, n. 3. 
 
 Wriothesley, Charles, notes "subtleties" in 1536, 
 i,8 4 - 
 
 Wiirttemberg, Duke of, marriage of (1609), i, 99; 
 Duke of, at Stuttgart (1617), i, 234. 
 
 "Yale Battery, the" (New Haven, 1916), ii, 274, 
 n. i; Bicentennial, the, ii, 261 f.; repro 
 duced, ii, 274, n. i. 
 
 Yale Bowl, the (New Haven), ii, 275. 
 
 "Yale, the Founding of" (New Haven, 1916), ii, 
 274, n. i. 
 
 Yale, Historical scenes at (1901), ii, 261 f.; Pag 
 eant, the, of 1916, ii, 274 f. 
 
 Yale (New Haven, 1916), ii, 274, n. i; ii, 276. 
 
 "Yankee Doodle" (Marblehead, 1912), ii, 278. 
 
 Yankees (Knutsford, 1913), ii, 153. 
 
 "Year, the Pageant of the," at Brookline, ii, 284. 
 
 Year, a (London, 1677), ii, 74; ii, 191. 
 
 Yeaton, Thomas, paid for gunpowder for Chester 
 Show (1564), i, 43; n - 5- 
 
 Yellow Dwarf (Lichfield, 1893), ii, 150. 
 
 Yeokney, Walter, addressed speeches to General 
 Monk (1660), ii, 57, n. i. 
 
 "Yonkers, the old Manor Hall in" (New York, 
 1909), ii, 243. 
 
 York, the capital at, i, 129; Corpus Christi at, 
 i , 1 8 , n . i ; Corpus Christi processions , i , 2 1 ; 
 "Disinherited ?" produced at (1914), ii, 230; 
 Ebraucus at, i, 78; i, 158, and notes; ii, 218, 
 n. i; Edward IV at (1478), i, 154; Henry 
 VII at (1486), i, 157; James I at (1603), i, 
 222, n. i; James I at (1617), i, 234; Pageant, 
 the (1909), i, 158, n. 2; ii, 218; ii, 219; ii, 221, 
 n. 3 ; ii, 224, n. 7 ; Pageant, the, allegory in the 
 chorus of, ii, 214, n. i; Pageant, the accounts 
 of the, ii, 206; ii, 234; Pageant, site of the, 
 ii, 200; painting of "Chariot of Honour" 
 (or "Justice") in Guildhall at, ii, 65, n. 3; 
 Richard III at (1483), i, 155 f.; Yule pro 
 claimed at, i, 17, n. 5; Herald, the, directs 
 the "ceremonies" in an opera at London in 1913, 
 ii, 210; Archbishop of, accompanies Anne 
 Boleyn hi 1533 "entry" i, 181; Duke of, 
 popular displeasure at marriage of, ii, 172. 
 
 York, Duke of, statue of (London, 1661), i, 243, 
 n. i ; Duke of, [brother of Edward V], (London, 
 1907), ii, 134; (London, 1910), ii, 136; 
 and Lancaster, union of, shown by historical 
 
INDEX 
 
 435 
 
 figures (London, 1559), i, 200; (London, 
 1631), ii, 75- 
 
 Yorks, the American and Colonial, personified at 
 York, ii, 215, n. 2. 
 
 York Place, Westminster, i, 184; 1,194. ["Other 
 wise called the White Hall," i, 194.] 
 
 Yorkshire, mummers in, i, 10, n. 5; sword-dance 
 performed at Ripon (1886), ii, 161. 
 
 Young, John, Somerset Herald, describes recep 
 tion of Margaret at Edinburgh, (1503) i, 168. 
 
 Young, Sir John (London, 1783), ii, 100. 
 
 Young Men s Catholic Association, the, float fur 
 nished by (Boston, 1912), ii, 247. 
 
 Young Women s Catholic Patriotic Club, a "pag 
 eant" given by, ii, 287; Christian Association, 
 a festival given by the (Cambridge, 1919), ii, 284. 
 
 Yoton, a giant lived at Colchester, i, 51, n. 3. 
 
 "Youth, the Fountain of" (St. Louis, 1886), ii, 
 253, n. 4. 
 
 Youth (Oxford, 1907), ii, 223; (Washington, 
 
 1914), ii, 255. 
 
 Young Woman (Peterborough, 1910), ii, 264. 
 "Ypolite," one of the Preuses (Paris, 1431), i, 138, 
 
 n. 4. 
 Yule, counterpart of Midsummer feast, i, 36, n. 5; 
 
 proclaimed at York, i, 17, n. 5. 
 "Ywain," giant-herdsman in, i, 53. 
 
 Zack (Dover, 1908), ii, 219 f. 
 
 Zeal (London, 1604), i, 225, and n. 2; (London, 
 
 1613), ii, 33; ii, 34; ii, 35. 
 "Zenger, the Trial of John Peter" (New York, 
 
 1909), ii, 243, and n. 2. 
 Zephyrus (London, 1661), i, 246. 
 Zodiac, the signs of, painted on pageants (London, 
 
 1501), i, 167, notes 5 and 6. 
 Zorobabel, winner of a debat, i, 80. 
 
CORRIGENDA ET ADDENDA 
 
 VOLUME I 
 
 PAGE 1 9, n. 8 [on p. 20]. For Ispwich read Ipswich. 
 
 34, n. 2. For 1882 read 1822. 
 
 35, 1. i. For Preston read Coventry. 
 
 44, n. 2. Delete the apostrophe after Doctors . 
 
 51, n. 2. For Judas-burning read Judas-flogging. 
 
 54, n. 2. For Lebeaus read Libeaus. 
 
 58, n. 2. For Mathew read Matthew. 
 
 59, n. 2. For Gigantic read Gigantick. 
 63, n. i. For Faitholt read Fairholt. 
 
 63, n. 2. Add: Cf. the giants at Antwerp in 1803 (below, p. 254) and in 1843 (below, 
 
 p. 256). 
 77, n. i. For februrier read feburier. 
 
 80, 1. 3. For 1553 read 1554. 
 
 81, 1. 6. For twenty read thirty. 
 81, 1. 7. For this read mythology. 
 
 81, n. 4. For in read 169. 
 
 82, 1. 21. For Anne read Catherine of Valois. 
 
 83, 1. ii. For 1469 read 1468. 
 91, 1. ii. For 1432 read 1342. 
 91, n. 4. For 1541 read 1341. 
 
 109, n. i. For Gynewulf read Cynewulf. 
 
 123, 1. i. For latter read later. 
 
 124, 1. 14. For 3 read 4. 
 
 125, n. i. Mr. C. L. Kingsford (Eng. Hist. Rev., April, 1919, p. 270) notes that William 
 
 Packington "was the author of one of the French originals of the Brut." 
 
 126, n. i. The mayor in February, 1313 (whose second term began in 1312) was Sir 
 
 John Gisors, Pepperer. (See Stow, Survey [1618], p. 925; Gregory s 
 Chronicle [ed. Camden Society] pp. 74 and 252.) 
 126, n. i. For Augier read Aungier. 
 159, 1. 9. For Minister read Minster. 
 162, 1. 15. For an read au. 
 174, 1. 4. For London read England. 
 
 190, n. 12. Add: Mr. Kingsfbrd records "an account of the pageant for Philip of Spain in 
 1554 ... in the Chronicle printed in Camden Miscellany, xii, 38." 
 (Eng. Hist. Review, April, 1919, p. 270.) 
 For Campian read Campion. 
 Delete the comma after annis. 
 Delete the comma after Bacon. 
 
 For fols. read f ol. 
 For London Love read London s Love. 
 
CORRIGENDA ET ADDENDA 
 
 PAGE 231, 1. 31. Insert quotation-marks, ending the citation, after behalf. 
 
 252, n. i. Add: Cf. p. 51, n. 2, for mention of the burning of the giants, 24 April, 1685. 
 
 255, n. 3. For Faitholt read Fairholt; for contans read contains. 
 
 255 ff. On this royal-entry, see my paper: "Scott s Contribution to Pageantic De 
 
 velopment a Note on the Visit of George IV to Edinburgh in 1822," in 
 Studies in Philology for April, 1920. 
 
 256, n. 4. For Lond. Illus. News read Illus. Lond. News. 
 256, n. 7. For Lord, read Lond. 
 
 VOLUME II 
 
 NOTE: In the 1783 pantomime, and in the 1907 Show, Sir Thomas Gresham, who founded the 
 Royal Exchange, was represented. He was not a mayor of London, but was the son of Sir Richard 
 Gresham, mayor in 1537. He laid the foundation of the Royal Exchange in 1566. [See Three Fif 
 teenth Century Chronicles (edited by James Gairdner for the Camden Society, London, 1880), 
 p. 135, and the biography of Sir Thomas in the DNB.] Sir Richard appeared in the 1906 Show (see 
 his biography in the DNB) and Sir John, his younger brother, who was sheriff the same year 
 that his brother was mayor (1537) and who was mayor himself, ten years later, appeared in the 
 Shows for 1889 and 1895. 
 
 PAGE 109. Add: I am indebted to Professor Kittredge for calling my attention, while this 
 volume was in press, to a song entitled " Gog and Magog in Danger," published in 
 The Melodist (London, 1828), ii, 201 f.; and to "The Lord Mayor s Show," a 
 humorous monologue, with verses [to the air of "The Dog s-meat Man"] written 
 by J. S. Wyburn, and sung by Mr. T. Jones, at the Rotunda, (ibid., iii [London, 
 1829] 102 f;) 
 190. Add: 
 
 THE ROYAL TOURNAMENT [1920] 
 
 When a name grows too long it is often blue-pencilled. The Royal Naval, Military, and Air Force 
 Tournament had become cumbrous by additions. In future it is to be known as the Royal Tourna 
 ment, which is quite comprehensive. This year s exhibition will open at Olympia on May aoth, and 
 will run until June 5th, during which time it will be seen by the King, the Queen, and other mem 
 bers of the Royal Family. Whereas last year s show was largely concerned with giving an idea of 
 the war, this year s will return to colour and pageantry. The military history of Britain is to be 
 illustrated. Grenadiers will appear in the uniforms of three centuries, and that they may appear 
 correctly every armoury and military centre in the country has been searched. Of course, the war 
 cannot be forgotten. The Royal Engineers will reconstruct a thrilling incident of bridge-building 
 under fire; while Jerusalem and the Dardanelles will enter largely into the decoration of the great 
 hall. From the London Times [weekly edition, 7 May, 1920], no. 2262, p. 369. 
 
 222, n. 2. Add: Mr. G. K. Chesterton, as Dr. Johnson in the English Church Pageant 
 at Fulham Palace, is pictured in the Illus. Lond. News for 19 June, 1909, p. 880. 
 As an actor in a pageant, he has something to say about pageantry (ibid.). 
 
PRINTED AT 
 
 THE HARVARD UNIVERSITY PRESS 
 CAMBRIDGE, MASS., U. S. A. 
 
RETURN CIRCULATION DEPARTMENT 
 
 198 Main Stacks 
 
 LOAN PERIOD 1 
 HOME USE 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS. 
 
 Renewls and Recharges may be made 4 days prior to the due date. 
 
 Books may be Renewed by calling 642-3405. 
 
 DUE AS STAMPED BELOW 
 
 SLP 3 1 199< 
 
 JUL 3 Q 2QQ4 
 
 FORM NO. DD6 
 
 UNIVERSITY OF CALIFORNIA, BERKELEY 
 BERKELEY, CA 94720-6000