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ese plays spared； at all events in the larger towns； no trouble and expense to render them as perfect and artistic as possible。 The same was no doubt the case at the great court festivals； when Mysteries were acted as well as pantomimes and secular dramas。 The court of Pietro Riario and that of Ferrara were assuredly not wanting in all that human invention could produce。 When we picture to ourselves the theatrical talent and the splendid costumes of the actors； the scenes constructed in the style of the architecture of the period； and hung with garlands and tapestry； and in the background the noble buildings of an Italian piazza； or the slender columns of some great courtyard or cloister； the effect is one of great brilliance。 But just as the secular drama suffered from this passion for display； so the higher poetical development of the Mystery was arrested by the same cause。 In the texts which are left we find for the most part the poorest dramatic groundwork； relieved now and then by a fine lyrical or rhetorical passage； but no trace of the grand symbolic enthusiasm which distinguishes the 'Autos Sacramentales' of Calderon。
In the smaller towns； where the scenic display was less； the effect of these spiritual plays on the character of the spectators may have been greater。 We read that one of the great preachers of repentance of whom more will be said later on； Roberto da Lecce； closed his Lenten sermons during the plague of 1448； at Perugia； with a representation of the Passion。 The piece followed the New Testament closely。 The actors were few； but the whole people wept aloud。 It is true that on such occasions emotional stimulants were resorted to which were borrowed from the crudest realism。 We are reminded of the pictures of Matteo da Siena； or of the groups of clay…figures by Guido Mazzoni； when we read that the actor who took the part of Christ appeared covered with welts and apparently sweating blood； and even bleeding from a wound in the side。
The special occasions on which these mysteries were performed； apart from the great festivals of the Church； from princely weddings； and the like； were of various kinds。 When； for example； St。 Bernardino of Siena was canonized by the Pope （1450）； a sort of dramatic imitation of the ceremony （rappresentazione） took place； probably on the great square of his native city； and for two days there was feasting with meat and drink for all comers。 We are told that a learned monk celebrated his promotion to the degree of Doctor of Theology by giving a representation of the legend about the patron saint of the city。 Charles VIII had scarcely entered Italy before he was welcomed at Turin by the widowed Duchess Bianca of Savoy with a sort of half…religious pantomime； in which a pastoral scene first symbolized the Law of Nature； and then a procession of patriarchs the Law of Grace。 Afterwards followed the story of Lancelot of the lake； and that 'of Athens。' And no sooner had the King reached Chieri than he was received with another pantomime； in which a woman in childbed was shown surrounded by distinguished visitors。
If any church festival was held by universal consent to call for exceptional efforts； it was the feast of Corpus Christi； which in Spain gave rise to a special class of poetry。 We possess a splendid description of the manner in which that feast was celebrated at Viterbo by Pius II in 1462。 The procession itself； which advanced from a vast and gorgeous tent in front of San Francesco along the main street to the Cathedral； was the least part of the ceremony。 The cardinals and wealthy prelates had divided the whole distance into parts； over which they severally presided； and which they decorated with curtains； tapestry； and garlands。 Each of them had also erected a stage of his own； on which； as the procession passed by； short historical and allegorical scenes were represented。 It is not clear from the account whether all the characters were living beings or some merely draped figures； the expense was certainly very great。 There was a suffering Christ amid singing cherubs； the Last Supper with a figure of St。 Thomas Aquinas； the combat between the Archangel Michael and the devils； fountains of wine and orchestras of angels； the grave of Christ with all the scene of the Resurrection； and finally； on the square before the Cathedral； the tomb of the Virgin。 It opened after High Ma s and Benediction； and the Mother of God ascended singing to Paradise； where she was crowned by her Son； and led into the presence of the Eternal Father。
Among these representations in the public street； that given by the Cardinal Vice…Chancellor Roderigo Borgia； afterwards Pope Alexander VI； was remarkable for its splendor and obscure symbolism。 It offers an early instance of the fondness for salvos of artillery which was characteristic of the house of Borgia。
The account is briefer which Pius II gives us of the procession held the same year in Rome on the arrival of the skull of St。 Andrew from Greece。 There； too； Roderigo Borgia distinguished himself by his magnificence； but this festival has a more secular character than the other； as； besides the customary choirs of angels； other masks were exhibited； as well as 'strong men；' who seem to have performed various feats of muscular prowess。
Such representations as were wholly or chiefly secular in their character were arranged； especially at the more important princely courts； mainly with a view to splendid and striking scenic effects。 The subjects were mythological or allegorical； and the interpretation commonly lay on the surface。 Extravagances； indeed； were not wanting gigantic animals from which a crowd of masked figures suddenly emerged； as at Siena in the year 1465； when at a public reception a ballet of twelve persons came out of a golden wolf； living table ornaments； not always； however； showing the tasteless exaggeration of the Burgundian Court and the like。 Most of them showed some artistic or poetical feeling。 The mixture of pantomime and drama at the Court of Ferrara has been already referred to in the treating of poetry。 The entertainments given in 1473 by the Cardinal Pietro Riario at Rome when Leonora of Aragon； the destined bride of Prince Hercules of Ferrara； was passing through the city； were famous far beyond the limits of Italy。 The plays acted were mysteries on some ecclesiastical subject； the pantomimes； on the contrary； were mythological。 There were represented Orpheus with the beasts； Perseus and Andromeda； Ceres drawn by dragons； Bacchus and Ariadne by panthers； and finally the education of Achilles。 Then followed a ballet of the famous lovers of ancient times； with a troop of nymphs； which was interrupted by an attack of predatory centaurs； who in their turn were vanquished and put to flight by Hercules。 The fact； in itself a trifle； may be mentioned as characteristic of the taste of the time； that the human beings who at all festivals appeared as statues in niches or on pillars and triumphal arches； and then showed themselves to be alive by singing or speaking； wore their natural complexion and a natural costume； and thus the sense of incongruity was removed； while in the house of Riario there was exhibited a living child； gilt from head to foot； who showered water round him from a spring。
Brilliant pantomimes of the same kind were given at Bologna； at the marriage of Annibale Bentivoglio with Lucrezia of Este。 Instead of the orchestra； choral songs were sung； while the fairest of Diana's nymphs flew over to the Juno Pronuba； and while Venus walked with a lion which in this case was a disguised manamong a troop of savages。 The decorations were a faithful representation of a forest。 At Venice； in 1491； the princesses of the house of Este were met and welcomed by the Bucentaur； and entertained by boat…races and a splendid pantomime； called 'Meleager；' in the court of the ducal palace。 At Milan Leonardo da Vinci directed the festivals of the Duke and of some leading citizens。 One of his machines； which must have rivalled that of Brunellesco； represented the heavenly bodies with all their movements on a colossal scale。 Whenever a planet approached Isabella； the bride of the young Duke； the divinity whose name it bore stepped forth from the globe； and sang some verses written by the court…poet Bellincioni （1490）。 At another festival （1493） the model of the equestrian statue of Francesco Sforza appeared with other objects under a triumphal arch on the square before the castle。 We read in Vasari of the ingenious automata which Leonardo invented to welcome the French kings as masters of Milan。 Even in the smaller cities great efforts were sometimes made on these occasions。 When Duke Borso came in 1453 to Reggio； to receive the homage of the city； he was met at the gate by a great machine； on which St。 Prospero； the patron saint of the town； appeared to float； shaded by a baldachin held by angels； while below him was a revolving disc with eight singing cherubs； two of whom received from the saint the scepter and keys of the city； which they then delivered to the Duke； while saints and angels held forth in