In the Beauvais "Flight into Egypt" at one point the choir sang an old song, half Latin and half French, before the ass, clothed in a cope.
"Hez, sire Asnes, car chantez! Belle bouche rechignez; Vous aurez du foin assez Et de l'avoine a plantez." This refrain was changed after each stanza of the Latin.

The people of Limoges, in their yearly festival, sang: "San Marceau, pregas per nous, E nous epingarem per vous." In the seventeenth century these good people of Limoges were still holding a festival in honor of the patron saint of their parish, and singing: "Saint Martial, priez pour nous, Et nous, nous danserons pour vous!" This choral dance formed in the church, and continued to the middle of the nave, and thence to the square before the edifice, or even into the cemetery.

At a period later than that first mentioned these dances had instrumental accompaniment and became animated even to the verge of hysteria.

Thus unwittingly the people of the medieval church were gathering into a loose, but by no means unformed, union the same materials as the ancients used in the creation of their drama.
The earnest Lewis Riccoboni[5] holds that the Fraternity of the Gonfalone, founded in 1264, was accustomed to enact the Passion in the Coliseum, and that these performances lasted till Paul III abolished them in 1549.

Riccoboni argues that not the performance was interdicted, but the use of the Coliseum.