These Umbrian _Divozioni_ form a link between the Laud of the thirteenth and the _Sacra Rappresentazione_ of the fifteenth century. They still--in form at least, if not in sacred character--survive in the _Maggi_ of the Tuscan peasantry, which are yearly acted among the villages of the Lucchese and Pistojese highlands.[399] It is difficult to say how far we are justified in regarding them as wholly different in type from the Northern Miracle-plays. That they originated in the oratories of lay brotherhoods, and that they retained the character of Lauds to be sung after they had assumed dramatic shape, may be reckoned as established points. Moreover, they lack the cyclical extension and the copious admixture of grotesquely comic elements which mark the French and English Mysteries. Yet we have already seen that such Mysteries were not entirely unknown in Italy, and that the liturgical drama, performed by ecclesiastics, had been from early times a part of Church ceremonial on holy days. We are, therefore, justified in accepting the _Divozioni_ as the Italian species of a genus which was common to the medieval nations. The development of Gothic architecture in Central Italy might furnish an illustration. Its differentiation from the grander and more perfect type of French and English Gothic does not constitute a separate style.
To bridge the interval between the _Divozione_, used in Umbria, and the _Sacra Rappresentazione_, as it appeared at Florence, is rendered impossible by the present lack of documents. Still there seems sufficient reason to believe that the latter was evolved from the former within the precincts of the confraternities. In the _Sacra Rappresentazione_ the religious drama of Italy reached its highest point of development, and produced a form of art peculiar to Florence and the Tuscan cities. Though it betrays certain affinities to the Northern Miracle-play, which prove familiarity with the French _Mystères_ on the part at least of some among the playwrights, it is clearly a distinct kind. As in the case of the Umbrian _Divozioni_, so here the absence of grotesque episodes is striking; nor do we find connected series of _Sacre Rappresentazioni_, embracing the Christian history in a cyclical dramatic work. This species flourished for about fifty years, from 1470 to 1520. These dates are given approximately; for though we know that the Sacred Drama of Florence did not long survive the second decade of the sixteenth century, we cannot ascertain the period of its origin. The _Sacre Rappresentazioni_ we possess in print, almost all written within the last thirty years of the fifteenth century, present so marked a similarity of style and structure that they must have been preceded by a series of experiments which fixed and conventionalized their form. Like the _Divozioni_, they were in the hands of confraternities, who caused them to be acted at their own expense. Since these Companies were wealthy, and included members of the best Florentine families, their plays were put upon the stage with pomp. The actors were boys belonging to the brotherhoods, directed by a Chorodidascalus called _Festajuolo_. S. Antonino, the good archbishop, promoted the custom of enrolling youths of all classes in religious Companies, seeking by such influences to encourage sound morality and sober living. The most fashionable brotherhoods were those of San Bastiano or Del Freccione, Del Vangelista or Dell'Aquila, Dell'Arcangelo Raffaello or Della Scala--the name of the saint or his ensign being indifferently used. Representations took place either in the oratory of the Company, or in the refectory of a convent. Meadows at Fiesole and public squares were also chosen for open-air performances.[400] The _libretti_ were composed in octave stanzas, with passages of _terza rima_, and were sung to a recitative air. Interludes of part-songs, with accompaniment of lute and viol, enlivened the simple _cantilena_; and there is no doubt, from contemporary notices, that this music was of the best. The time selected was usually after vespers. The audience were admitted free of cost, but probably by invitation only to the friends and relatives of the young actors. _Sacra Rappresentazione_ was the generic name of the show; but we meet with these subordinate titles, _Festa_, _Mistero_, _Storia_, _Vangelo_, _Figura_, _Esemplo_, _Passione_, _Martirio_, _Miracolo_, according to the special subject-matter of the play in question.