The novice has now bathed, approved himself to the searching eyes of Prowess, and been accepted by Humility. After the bath, it was customary for him to spend a night in vigil; and this among the Teutons should have taken place in church, alone before the altar.
But the Italian poet, after his custom, gives a suave turn to the severe discipline. His donzel pa.s.ses the night in bed, attended by Discretion, or the virtue of reflection. She provides fair entertainment for the hours of vigil, and leaves him at the morning with good counsel. It is not for nothing that he seeks knighthood, and it behoves him to be careful of his goings. The last three lines of the sonnet are the gravest of the series, showing that something of true chivalrous feeling survived even among the Cavalieri di Corredo of Tuscany.
Then did Discretion to the squire draw near, And drieth him with a fair cloth and clean, And straightway putteth him the sheets between, Silk, linen, counterpane, and minevere.
Think now of this! Until the day was clear, With songs and music and delight the queen, And with new knights, fair fellows well-beseen, To make him perfect, gave him goodly cheer.
Then saith she: "Rise forthwith, for now "tis due, Thou shouldst be born into the world again; Keep well the order thou dost take in view."
Unfathomable thoughts with him remain Of that great bond he may no more eschew, Nor can he say, "I"ll hide me from this chain."
The vigil is over. The mind of the novice is prepared for his new duties. The morning of his reception into chivalry has arrived. It is therefore fitting that grave thoughts should be abandoned; and seeing that not only prowess, humility, and discretion are the virtues of a knight, but that he should also be blithe and debonair, Gladness comes to raise him from his bed and equip him for the ceremony of inst.i.tution.
Comes Blithesomeness with mirth and merriment, All decked in flowers she seemeth a rose-tree; Of linen, silk, cloth, fur, now beareth she To the new knight a rich habiliment; Head-gear and cap and garland flower-besprent, So brave they were May-bloom he seemed to be; With such a rout, so many and such glee, That the floor shook. Then to her work she went; And stood him on his feet in hose and shoon; And purse and gilded girdle "neath the fur That drapes his goodly limbs, she buckles on; Then bids the singers and sweet music stir, And showeth him to ladies for a boon And all who in that following went with her.
At this point the poem is abruptly broken. The ma.n.u.script from which these sonnets are taken states they are a fragment. Had the remaining twelve been preserved to us, we should probably have possessed a series of pictures in which the procession to church would have been portrayed, the invest.i.ture with the sword, the accolade, the buckling on of the spurs, and the concluding sports and banquets. It is very much to be regretted that so interesting, so beautiful, and so unique a monument of Italian chivalry survives thus mutilated. But students of art have to arm themselves continually with patience, repressing the sad thoughts engendered in them by the spectacle of time"s unconscious injuries.
It is certain that Folgore would have written at least one sonnet on the quality of courtesy, which in that age, as we have learned from Matteo Villani, identified itself in the Italian mind with liberality. This identification marks a certain degradation of the chivalrous ideal, which is characteristic of Italian manners. One of Folgore"s miscellaneous sonnets shows how sorely he felt the disappearance of this quality from the midst of a society bent daily more and more upon material aims. It reminds us of the lamentable outcries uttered by the later poets of the fourteenth century, Sacchetti, Boccaccio, Uberti, and others of less fame, over the decline of their age.
Courtesy! Courtesy! Courtesy! I call: But from no quarter comes there a reply.
They who should show her, hide her; wherefore I And whoso needs her, ill must us befall.
Greed with his hook hath ta"en men one and all, And murdered every grace that dumb doth lie: Whence, if I grieve, I know the reason why; From you, great men, to G.o.d I make my call: For you my mother Courtesy have cast So low beneath your feet she there must bleed; Your gold remains, but you"re not made to last: Of Eve and Adam we are all the seed: Able to give and spend, you hold wealth fast: Ill is the nature that rears such a breed!
Folgore was not only a poet of occasion and compliment, but a political writer, who fully entertained the bitter feeling of the Guelphs against their Ghibelline opponents.
Two of his sonnets addressed to the Guelphs have been translated by Mr. Rossetti. In order to complete the list I have made free versions of two others in which he criticised the weakness of his own friends. The first is addressed, in the insolent impiety of rage, to G.o.d:--
I praise thee not, O G.o.d, nor give thee glory, Nor yield thee any thanks, nor bow the knee, Nor pay thee service; for this irketh me More than the souls to stand in purgatory; Since thou hast made us Guelphs a jest and story Unto the Ghibellines for all to see: And if Uguccion claimed tax of thee, Thou"dst pay it without interrogatory.
Ah, well I wot they know thee! and have stolen St. Martin from thee, Altopascio, St. Michael, and the treasure thou hast lost; And thou that rotten rabble so hast swollen That pride now counts for tribute; even so Thou"st made their heart stone-hard to thine own cost.
About the meaning of some lines in this sonnet I am not clear. But the feeling and the general drift of it are manifest. The second is a satire on the feebleness and effeminacy of the Pisans.
Ye are more silky-sleek than ermines are, Ye Pisan counts, knights, damozels, and squires, Who think by combing out your hair like wires To drive the men of Florence from their car.
Ye make the Ghibellines free near and far, Here, there, in cities, castles, huts, and byres, Seeing how gallant in your brave attires, How bold you look, true paladins of war.
Stout-hearted are ye as a hare in chase, To meet the sails of Genoa on the sea; And men of Lucca never saw your face.
Dogs with a bone for courtesy are ye: Could Folgore but gain a special grace, He"d have you banded "gainst all men that be.
Among the sonnets not translated by Mr. Rossetti two by Folgore remain, which may be cla.s.sified with the not least considerable contributions to Italian gnomic poetry in an age when literature easily a.s.sumed a didactic tone. The first has for its subject the importance of discernment and discrimination. It is written on the wisdom of what the ancient Greeks called [Greek: Kairos], or the right occasion in all human conduct.
Dear friend, not every herb puts forth a flower; Nor every flower that blossoms fruit doth bear; Nor hath each spoken word a virtue rare; Nor every stone in earth its healing power: This thing is good when mellow, that when sour; One seems to grieve, within doth rest from care; Not every torch is brave that flaunts in air; There is what dead doth seem, yet flame doth shower.
Wherefore it ill behoveth a wise man His truss of every gra.s.s that grows to bind, Or pile his back with every stone he can, Or counsel from each word to seek to find, Or take his walks abroad with d.i.c.k and Dan: Not without cause I"m moved to speak my mind.
The second condemns those men of light impulse who, as Dante put it, discoursing on the same theme, "subject reason to inclination."[1]
What time desire hath o"er the soul such sway That reason finds nor place nor puissance here, Men oft do laugh at what should claim a tear, And over grievous dole are seeming gay.
He sure would travel far from sense astray Who should take frigid ice for fire; and near Unto this plight are those who make glad cheer For what should rather cause their soul dismay.
But more at heart might he feel heavy pain Who made his reason subject to mere will, And followed wandering impulse without rein; Seeing no lordship is so rich as still One"s upright self unswerving to sustain, To follow worth, to flee things vain and ill.
The sonnets translated by me in this essay, taken together with those already published by Mr. Rossetti, put the English reader in possession of all that pa.s.ses for the work of Folgore da San Gemignano.
[1] The line in Dante runs:
"Che la ragion sommettono al talento."
In Folgore"s sonnet we read:
"Chi sommette rason a volontade."
On the supposition that Folgore wrote in the second decade of the fourteenth century, it is not impossible that he may have had knowledge of this line from the fifth canto of the _Inferno_.
Since these words were written, England has lost the poet-painter, to complete whose work upon the sonnet-writer of mediaeval Siena I attempted the translations in this essay. One who has trodden the same path as Rossetti, at however a noticeable interval, and has attempted to present in English verse the works of great Italian singers, doing inadequately for Michelangelo and Campanella what he did supremely well for Dante, may here perhaps be allowed to lay the tribute of reverent recognition at his tomb.
_THOUGHTS IN ITALY ABOUT CHRISTMAS_
What is the meaning of our English Christmas? What makes it seem so truly Northern, national, and homely, that we do not like to keep the feast upon a foreign sh.o.r.e? These questions grew upon me as I stood one Advent afternoon beneath the Dome of Florence. A priest was thundering from the pulpit against French scepticism, and exalting the miracle of the Incarnation. Through the whole dim church blazed altar candles. Crowds of men and women knelt or sat about the transepts, murmuring their prayers of preparation for the festival. At the door were pedlars selling little books, in which were printed the offices for Christmas-tide, with stories of S.
Felix and S. Catherine, whose devotion to the infant Christ had wrought them weal, and promises of the remission of four purgatorial centuries to those who zealously observed the service of the Church at this most holy time. I knew that the people of Florence were preparing for Christmas in their own way. But it was not our way. It happened that outside the church the climate seemed as wintry as our own--snowstorms and ice, and wind and chilling fog, suggesting Northern cold. But as the palaces of Florence lacked our comfortable firesides, and the greetings of friends lacked our hearty handshakes and loud good wishes, so there seemed to be a want of the home feeling in those Christmas services and customs. Again I asked myself, "What do we mean by Christmas?"
The same thought pursued me as I drove to Rome: by Siena, still and brown, uplifted, mid her russet hills and wilderness of rolling plain; by Chiusi, with its sepulchral city of a dead and unknown people; through the chestnut forests of the Apennines; by Orvieto"s rock, Viterbo"s fountains, and the oak-grown solitudes of the Ciminian heights, from which one looks across the broad lake of Bolsena and the Roman plain. Brilliant sunlight, like that of a day in late September, shone upon the landscape, and I thought--Can this be Christmas? Are they bringing mistletoe and holly on the country carts into the towns in far-off England? Is it clear and frosty there, with the tramp of heels upon the flag, or snowing silently, or foggy with a round red sun and cries of warning at the corners of the streets?
I reached Rome on Christmas Eve, in time to hear midnight services in the Sistine Chapel and S. John Lateran, to breathe the dust of decayed shrines, to wonder at doting cardinals begrimed with snuff, and to resent the open-mouthed bad taste of my countrymen who made a mockery of these palsy-stricken ceremonies. Nine cardinals going to sleep, nine train-bearers talking scandal, twenty huge, handsome Switzers in the dress devised by Michelangelo, some ushers, a choir caged off by gilded railings, the insolence and eagerness of polyglot tourists, plenty of wax candles dripping on people"s heads, and a continual nasal drone proceeding from the gilded cage, out of which were caught at intervals these words, and these only,--"Saecula saeculorum, amen." Such was the celebrated Sistine service. The chapel blazed with light, and very strange did Michelangelo"s Last Judgment, his Sibyls, and his Prophets, appear upon the roof and wall above this motley and unmeaning crowd.
Next morning I put on my dress-clothes and white tie, and repaired, with groups of Englishmen similarly attired, and of Englishwomen in black c.r.a.pe--the regulation costume--to S. Peter"s. It was a glorious and cloudless morning; sunbeams streamed in columns from the southern windows, falling on the vast s.p.a.ce full of soldiers and a mingled ma.s.s of every kind of people. Up the nave stood double files of the Pontifical guard. Monks and nuns mixed with the Swiss cuira.s.siers and halberds. Contadini crowded round the sacred images, and especially round the toe of S. Peter. I saw many mothers lift their swaddled babies up to kiss it. Valets of cardinals, with the invariable red umbrellas, hung about side chapels and sacristies.
Purple-mantled monsignori, like emperor b.u.t.terflies, floated down the aisles from sunlight into shadow. Movement, colour, and the stir of expectation, made the church alive. We showed our dress-clothes to the guard, were admitted within their ranks, and solemnly walked up toward the dome. There under its broad canopy stood the altar, glittering with gold and candles. The choir was carpeted and hung with scarlet. Two magnificent thrones rose ready for the Pope: guards of honour, soldiers, attaches, and the elite of the residents and visitors in Rome, were scattered in groups picturesquely varied by ecclesiastics of all orders and degrees. At ten a stirring took place near the great west door. It opened, and we saw the procession of the Pope and his cardinals. Before him marched the singers and the blowers of the silver trumpets, making the most liquid melody.
Then came his Cap of Maintenance, and three tiaras; then a company of mitred priests; next the cardinals in scarlet; and last, aloft beneath a canopy, upon the shoulders of men, and flanked by the mystic fans, advanced the Pope himself, swaying to and fro like a Lama, or an Aztec king. Still the trumpets blew most silverly, and still the people knelt; and as he came, we knelt and had his blessing. Then he took his state and received homage. After this the choir began to sing a ma.s.s of Palestrina"s, and the deacons robed the Pope. Marvellous putting on and taking off of robes and tiaras and mitres ensued, during which there was much bowing and praying and burning of incense. At last, when he had reached the highest stage of sacrificial sanct.i.ty, he proceeded to the altar, waited on by cardinals and bishops. Having censed it carefully, he took a higher throne and divested himself of part of his robes. Then the ma.s.s went on in earnest, till the moment of consecration, when it paused, the Pope descended from his throne, pa.s.sed down the choir, and reached the altar. Every one knelt; the shrill bell tinkled; the silver trumpets blew; the air became sick and heavy with incense, so that sun and candle light swooned in an atmosphere of odorous cloud-wreaths. The whole church trembled, hearing the strange subtle music vibrate in the dome, and seeing the Pope with his own hands lift Christ"s body from the altar and present it to the people. An old parish priest, pilgrim from some valley of the Apennines, who knelt beside me, cried and quivered with excess of adoration. The great tombs around, the sculptured saints and angels, the dome, the volumes of light and incense and unfamiliar melody, the hierarchy ministrant, the white and central figure of the Pope, the mult.i.tude--made up an overpowering scene. What followed was comparatively tedious. My mind again went back to England, and I thought of Christmas services beginning in all village churches and all cathedrals throughout the land--their old familiar hymn, their anthem of Handel, their trite and sleepy sermons. How different the two feasts are--Christmas in Rome, Christmas in England--Italy and the North--the spirit of Latin and the spirit of Teutonic Christianity.
What, then, const.i.tutes the essence of our Christmas as different from that of more Southern nations? In their origin they are the same. The stable of Bethlehem, the star-led kings, the shepherds, and the angels--all the beautiful story, in fact, which S. Luke alone of the Evangelists has preserved for us--are what the whole Christian world owes to the religious feeling of the Hebrews. The first and second chapters of S. Luke are most important in the history of Christian mythology and art. They are far from containing the whole of what we mean by Christmas; but the religious poetry which gathers round that season must be sought upon their pages.
Angels, ever since the Exodus, played a first part in the visions of the Hebrew prophets and in the lives of their heroes. We know not what reminiscences of old Egyptian genii, what strange shadows of the winged beasts of Persia, flitted through their dreams. In the desert, or under the boundless sky of Babylon, these shapes became no less distinct than the precise outlines of Oriental scenery. They incarnated the vivid thoughts and intense longings of the prophets, who gradually came to give them human forms and t.i.tles. We hear of them by name, as servants and attendants upon G.o.d, as guardians of nations, and patrons of great men. To the Hebrew mind the whole unseen world was full of spirits, active, strong, and swift of flight, of various aspect, and with power of speech. It is hard to imagine what the first Jewish disciples and the early Greek and Roman converts thought of these great beings. To us, the hierarchies of Dionysius, the services of the Church, the poetry of Dante and Milton, and the forms of art, have made them quite familiar.
Northern nations have appropriated the Angels, and invested them with attributes alien to their Oriental origin. They fly through our pine-forests, and the gloom of cloud or storm; they ride upon our clanging bells, and gather in swift squadrons among the arches of Gothic cathedrals; we see them making light in the cavernous depth of woods, where sun or moon beams rarely pierce, and ministering to the wounded or the weary; they bear aloft the censers of the ma.s.s; they sing in the anthems of choristers, and live in strains of poetry and music; our churches bear their names; we call our children by their t.i.tles; we love them as our guardians, and the whole unseen world is made a home to us by their imagined presence.
All these things are the growth of time and the work of races whose myth-making imagination is more artistic than that of the Hebrews.
Yet this rich legacy of romance is bound up in the second chapter of S. Luke; and it is to him we must give thanks when at Christmas-tide we read of the shepherds and the angels in English words more beautiful than his own Greek.
The angels in the stable of Bethlehem, the kings who came from the far East, and the adoring shepherds, are the gift of Hebrew legend and of the Greek physician Luke to Christmas. How these strange and splendid incidents affect modern fancy remains for us to examine; at present we must ask, What did the Romans give to Christmas? The customs of the Christian religion, like everything that belongs to the modern world, have nothing pure and simple in their nature. They are the growth of long ages, and of widely different systems, parts of which have been fused into one living whole. In this respect they resemble our language, our blood, our literature, and our modes of thought and feeling. We find Christianity in one sense wholly original; in another sense composed of old materials; in both senses universal and cosmopolitan. The Roman element in Christmas is a remarkable instance of this acquisitive power of Christianity. The celebration of the festival takes place at the same time as that of the Pagan Saturnalia; and from the old customs of that holiday, Christmas absorbed much that was consistent with the spirit of the new religion. During the Saturnalia the world enjoyed, in thought at least, a perfect freedom. Men who had gone to bed as slaves, rose their own masters. From the _ergastula_ and dismal sunless cages they went forth to ramble in the streets and fields. Liberty of speech was given them, and they might satirise those vices of their lords to which, on other days, they had to minister. Rome on this day, by a strange negation of logic, which we might almost call a prompting of blind conscience, negatived the philosophic dictum that barbarians were by law of nature slaves, and acknowledged the higher principle of equality. The Saturnalia stood out from the whole year as a protest in favour of universal brotherhood, and the right that all men share alike to enjoy life after their own fashion, within the bounds that nature has a.s.signed them. We do not know how far the Stoic school, which was so strong in Rome, and had so many points of contact with the Christians, may have connected its own theories of equality with this old custom of the Saturnalia. But it is possible that the fellowship of human beings, and the temporary abandonment of cla.s.s prerogatives, became a part of Christmas through the habit of the Saturnalia. We are perhaps practising a Roman virtue to this day when at Christmas-time our hand is liberal, and we think it wrong that the poorest wretch should fail to feel the pleasure of the day.
Of course Christianity inspired the freedom of the Saturnalia with a higher meaning. The mystery of the Incarnation, or the deification of human nature, put an end to slavery through all the year, as well as on this single day. What had been a kind of aimless licence became the most enn.o.bling principle by which men are exalted to a state of self-respect and mutual reverence. Still in the Saturnalia was found, ready-made, an easy symbol of unselfish enjoyment. It is, however, dangerous to push speculations of this kind to the very verge of possibility.
The early Roman Christians probably kept Christmas with no special ceremonies. Christ was as yet too close to them. He had not become the glorious creature of their fancy, but was partly an historic being, partly confused in their imagination with reminiscences of Pagan deities. As the Good Shepherd, and as Orpheus, we find him painted in the Catacombs; and those who thought of him as G.o.d, loved to dwell upon his risen greatness more than on the idyll of his birth. To them his entry upon earth seemed less a subject of rejoicing than his opening of the heavens; they suffered, and looked forward to a future happiness; they would not seem to make this world permanent by sharing its gladness with the Heathens. Theirs, in truth, was a religion of hope and patience, not of triumphant recollection or of present joyfulness.
The Northern converts of the early Church added more to the peculiar character of our Christmas. Who can tell what Pagan rites were half sanctified by their a.s.sociation with that season, or how much of our cheerfulness belonged to Heathen orgies and the banquets of grim warlike G.o.ds? Certainly nothing strikes one more in reading Scandinavian poetry, than the strange mixture of Pagan and Christian sentiments which it presents. For though the missionaries of the Church did all they could to wean away the minds of men from their old superst.i.tions; yet, wiser than their modern followers, they saw that some things might remain untouched, and that even the great outlines of the Christian faith might be adapted to the habits of the people whom they studied to convert. Thus, on the one hand, they destroyed the old temples one by one, and called the idols by the name of devils, and strove to obliterate the songs which sang great deeds of b.l.o.o.d.y G.o.ds and heroes; while, on the other, they taught the Northern sea-kings that Jesus was a Prince surrounded by twelve dukes, who conquered all the world. Besides, they left the days of the week to their old patrons. It is certain that the imagination of the people preserved more of heathendom than even such missionaries could approve; mixing up the deeds of the Christian saints with old heroic legends; seeing Balder"s beauty in Christ and the strength of Thor in Samson; attributing magic to S. John; swearing, as of old, b.l.o.o.d.y oaths in G.o.d"s name, over the gilded boar"s-head; burning the yule-log, and cutting sacred boughs to grace their new-built churches.
The songs of choirs and sound of holy bells, and superst.i.tious reverence for the ma.s.s, began to tell upon the people; and soon the echo of their old religion only swelled upon the ear at intervals, attaching itself to times of more than usual sanct.i.ty. Christmas was one of these times, and the old faith threw around its celebration a fantastic light. Many customs of the genial Pagan life remained; they seemed harmless when the sense of joy was Christian. The Druid"s mistletoe graced the church porches of England and of France, and no blood lingered on its berries. Christmas thus became a time of extraordinary mystery. The people loved it as connecting their old life with the new religion, perhaps unconsciously, though every one might feel that Christmas was no common Christian feast.
On its eve strange wonders happened: the thorn that sprang at Glas...o...b..ry from the sacred crown which Joseph brought with him from Palestine, when Avalon was still an island, blossomed on that day.
The Cornish miners seemed to hear the sound of singing men arise from submerged churches by the sh.o.r.e, and others said that bells, beneath the ground where villages had been, chimed yearly on that eve. No evil thing had power, as Marcellus in "Hamlet" tells us, and the bird of dawning crowed the whole night through. One might multiply folklore about the sanct.i.ty of Christmas, but enough has been said to show that round it lingered long the legendary spirit of old Paganism. It is not to Jews, or Greeks, or Romans only that we owe our ancient Christmas fancies, but also to those half-heathen ancestors who lovingly looked back to Odin"s days, and held the old while they embraced the new.
Let us imagine Christmas Day in a mediaeval town of Northern England.
The cathedral is only partly finished. Its nave and transepts are the work of Norman architects, but the choir has been destroyed in order to be rebuilt by more graceful designers and more skilful hands. The old city is full of craftsmen, a.s.sembled to complete the church. Some have come as a religious duty, to work off their tale of sins by bodily labour. Some are animated by a love of art--simple men, who might have rivalled with the Greeks in ages of more cultivation. Others, again, are well-known carvers, brought for hire from distant towns and countries beyond the sea. But to-day, and for some days past, the sound of hammer and chisel has been silent in the choir. Monks have bustled about the nave, dressing it up with holly-boughs and bushes of yew, and preparing a stage for the sacred play they are going to exhibit on the feast day. Christmas is not like Corpus Christi, and now the market-place stands inches deep in snow, so that the Miracles must be enacted beneath a roof instead of in the open air. And what place so appropriate as the cathedral, where poor people may have warmth and shelter while they see the show? Besides, the gloomy old church, with its windows darkened by the falling snow, lends itself to candlelight effects that will enhance the splendour of the scene. Everything is ready. The incense of morning ma.s.s yet lingers round the altar. The voice of the friar who told the people from the pulpit the story of Christ"s birth, has hardly ceased to echo. Time has just been given for a mid-day dinner, and for the shepherds and farm lads to troop in from the country-side. The monks are ready at the wooden stage to draw its curtain, and all the nave is full of eager faces. There you may see the smith and carpenter, the butcher"s wife, the country priest, and the grey cowled friar. Scores of workmen, whose home the cathedral for the time is made, are also here, and you may know the artists by their thoughtful foreheads and keen eyes. That young monk carved Madonna and her Son above the southern porch. Beside him stands the master mason, whose strong arms have hewn gigantic images of prophets and apostles for the pinnacles outside the choir; and the little man with cunning eyes between the two is he who cuts such quaint hobgoblins for the gargoyles. He has a vein of satire in him, and his humour overflows into the stone. Many and many a grim beast and hideous head has he hidden among vine-leaves and trellis-work upon the porches. Those who know him well are loth to anger him, for fear their sons and sons" sons should laugh at them for ever caricatured in solid stone.
Hark! there sounds the bell. The curtain is drawn, and the candles blaze brightly round the wooden stage. What is this first scene? We have G.o.d in Heaven, dressed like a Pope with triple crown, and attended by his court of angels. They sing and toss up censers till he lifts his hand and speaks. In a long Latin speech he unfolds the order of creation and his will concerning man. At the end of it up leaps an ugly buffoon, in goatskin, with rams" horns upon his head.
Some children begin to cry; but the older people laugh, for this is the Devil, the clown and comic character, who talks their common tongue, and has no reverence before the very throne of Heaven. He asks leave to plague men, and receives it; then, with many a curious caper, he goes down to h.e.l.l, beneath the stage. The angels sing and toss their censers as before, and the first scene closes to a sound of organs. The next is more conventional, in spite of some grotesque incidents. It represents the Fall; the monks hurry over it quickly, as a tedious but necessary prelude to the birth of Christ. That is the true Christmas part of the ceremony, and it is understood that the best actors and most beautiful dresses are to be reserved for it. The builders of the choir in particular are interested in the coming scenes, since one of their number has been chosen, for his handsome face and tenor voice, to sing the angel"s part. He is a young fellow of nineteen, but his beard is not yet grown, and long hair hangs down upon his shoulders. A chorister of the cathedral, his younger brother, will act the Virgin Mary. At last the curtain is drawn.