ed man makes himself everywhere felt in the delicacy of his
feeling for harmonies of color.

At the beginning of the play the leader of the chorus addresses the
audience as friends and brothers who are present for the same reason as
the actors themselves--namely, to assist devoutly at the mystery to be
set forth, the story of the redemption of the world. The purpose is,
as far as may be, to share the sorrows of the Saviour and to follow him
step by step on the way of his sufferings to the cross and sepulcher.
Then comes the prologue, solemnly intoned, of which the most striking
words are these:

"Nicht ewig zuernet Er
Ich will, so spricht der Herr,
Den Tod des Suenders nicht."

"He will not be angry forever. I, saith the Lord, will not the death
of the sinner. I will forgive him; he shall live, and in my Son's
blood shall be reconciled."

When its part is finished the chorus retires, and the Passion Play
begins with the entry of Christ into Jerusalem. Far in the distance we
hear the music, "Hail to thee, O David's son!" Then follows a
seemingly endless procession of men, women, and children who wave
palm-leaves and shout hosannas. One little flaxen-haired girl, dressed
in blue, and carrying a long, slender palm-leaf, is especially striking
in her beauty and naturalness.

At last He comes, riding sidewise upon a beast that seems too small for
his great stature. He is dressed in a purple robe, over which is a
mantle of rich crimson. Beside him, in red and olive-green, is the
girlish-looking youth, Peter Rendl, who takes the part of Saint John.
Behind him follow his disciples, each with the pilgrim's staff. Two of
these are more conspicuous than the others. One is a white-haired,
eager old man, wearing a mantle of olive-green. The other, younger,
dark, sullen, and tangle-haired, dressed in a robe of saffron over dull
yellow, is the only person in the throng out of harmony with the
prevailing joyousness.

[Illustration: Peter Rendl as Saint John.]

Followed by the people, who stand apart in reverence as he passes among
them, Christ approaches the temple. His face is pale, in marked
contrast to his abundant black hair. His expression is serious, or
even care-worn, less mild than in the usual pictures of Jesus, but
certainly in keeping with the scenes of the Passion Play. A fine,
strong, masterful man of great stature and immense physical strength is
the wood-carver, Josef Mayr, who now for three