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 emblematical representations of moral qualities, were variously designated as Scriptural Plays, Miracles, and Moralities and, from the festivals on which they were very generally performed, Corpus Christi and Whitsun Plays.

The theories which have been advanced to elucidate the origin of these theatrical exhibitions of scripture histories are various; one supposes them so have been fist exhibited at the public maris or fairs, held at certain periods, in differerent paris of Europe; another conjectures that they had their rise at Constantinople; and a third believes them to have been introduced into the west by the pilgrims of the middle ages.

In erecting their buildings, as well as orna- menting their chuches and shrines, they generally employed the most skilful women that were to be found in Europe, and taught and preserved many arts, which without their care, would have been entirely lost The frequent visits which the clergy and monies made to the court of Rome, were the means of importing all the arts of civilized life, and gaining instructions in com- merce, manufactures, and agricylture.

The religious houses were a kind of fortresses, to which the neighbouring inhabitants retired in times of public danger, and lodged their most valuable effects. So that, if they sometimes pro- tected such as fled from justice, they secured others from violence and oppression. Such as resorted hither on these accounts were commonly retained by the abbots, and employed in the capacity of labourers or soldiers. In the abbey of Croyland the number of these fugitives once amounted to two bundled. And the power which the abbots possessed, of imprisoning and trying offenders within their jurisdiction, enabled them to keep such a numerous and licentious body in some degree of order. The power of the clergy in those times, was usually laid out for their own aggrandizement, was in this instance of public service, and by opening sanctuaries, afforded a place of refuge to the distressed commons. It as been observed, that the church has someiimes restrained the violence of the monarch, and put bounds to his tyranny; and in those barbarous ages, the right of sanctuary most have been of equal utility, and almost necessary.

1385. In the will of the celebrated citizen of London, Sir William Walworth, amongst other bequests is the following "Books of Divinity to three several religious communities, and some law books to his brother."

1390. In the accounts of the treasurer of Charles VI., King of France, the following article occurs:—"Paid fifty-six shillings of Paris, to Jaquenin Griengonneur the painter, for three packs of cards, gilded with gold, and painted with divers colours and divers devices, to be carried to the king for his amusement."

There is abundant proof that playing cards were used in Italy, Spain, and Germany, for at least a century preceding the reign of Charles VI. and at this period, had, no doubt become the common amusement of the noble and wealthy. The cards, like the missals, called forth the art of the limner; and the king, the knight, and the knave, (the characters of the early cards) were rich with crimson and purple, oftentimes painted on a golden ground. Gambling, like many other vices and follies, descend from the great to those below them in the social scale; and it is easy, therefore, to conceive that the followers of courts and of camps, and the artisans and dealers in the towns, seeing the amusement which their superiors derived from these painted bits of paper or parchment, would be anxious to possess the same means of excitement in their hours of idle- ness. The art of wood engraving was ready to supply the extended demand for playing-cards. The outline of the figure was cut in relief upon a block; and the coloured parts were afterwards added by the pencil. In Mr. Singer's elaborate and interesting work, entitled Researches into the History of Playing Cards, there are man; fac similies of the early cards. Subjoined is t specimen of the knave of bells.

The argument which has been drawn from this fact, in support of their having been engraved, is grounded upon the prices paid being wholly in- adequate, even in those days, unless they were first printed from outline engravings, and after- wards gilt and coloured by hand; although no doubt, with more than an ordinary degree of care, as they were for the king's use.

Heinecken, and some other writers, ascribe the invention of engraving to the manufacture of playing cards; but this opinion is not supported by any satisfactory or conclusive evidence.

Mr. Ottley argues, that we received the art