In Medieval Castilian Drama, Charlotte Stern summarizes a variety of references to non-extant spectacle and drama. With regards to church drama, the Concilio de Valladolid (1228-1229) refers to and condemns "joglares et trashechadores"(minstrels and performers) in the church. Libro de los estados (Juan Manuel, 13thC) states:" ...all [durante vigilias] se dicen cantares et se taen estrumentos et se fablan palabras et se ponen posturas que son todas al contrario de aquello para que las vigilias fueran ordenadas"(there [during vigils] they sing, and play instruments, and say words, and put themselves in postures that are contrary to that for which the vigils were ordained). In Libro de confesiones (Martn Prez, 1312/1317) chapter 137 attacks actors who disguise themselves as devils and animals and take off their clothes and blacken themselves "e fazen torpes saltos e torpes gestos" (and make irreverent jumps and gestures). Chapter 140 accepts those actors who sing, play instruments, relate the deeds of kings and princes, and perform in reputable places. It condemns those who sing dirty songs and jump and dance and convort and distort their bodies. The Concilio de Valladolid (1322) condemns the invitation of Jews and Moors into the churches to perform on Saints Days. The Concilio Provincial de Toledo (1324) criticizes soldaderas who dance to entertain bishops. The Snodo de Culler (1325) says, "Otros, en las iglesias non se deuen fazer juegos si non sean juegos de las fiestas as como de las Maras e del monumentos pero an de catar los clrigos que por tales juegos non distrayan el divinal oficio" (In churches they ought not do plays if they are not plays about the festival days such as that of the Marys and the monuments but the clergy ought to sing those plays that do not distract from the Divine Office). The Concilio de Aranda (1473) again forbids lewd spectacles in the church but encourages honest religious works. Finally, and most interestingly, the Libro de cuentos y de Cabildo (Toledo, second half of the 15thC) records the names of 31 plays used during the Corpus Christi celebration in Toledo. It describes the materials purchased to perform them, the route the pageant followed and where it stopped to enact the plays, and the carts' decorations. It also contains 2 fragments of the autos.