THE

HE survival in a few remote villages of eastern or southern Europe of the religious miracle plays and passion plays of the middle ages, has seemed too curious an anomaly to outlive the nineteenth century. The very causes, however, which seemed at one time destined to bring these performances to an end may in fact secure for them a new lease of life. Modern facilities of travel are providing so many spectators for every such perpetuation of olden customs as the passion plays, that the new motive of profit for the church, the village or the performers seems to be leading to the production of the plays with greater care and elaboration than ever before.

As every one knows, the Oberammergau play is produced only one season in ten, and it cannot be seen again until the end of the century. Two years ago

at Selzech, a Swiss hamlet of 1,500 inhabitants, a representation of the passion play was given with very considerable acceptance. It is therefore worth while that American travelers who are to spend the present summer in Europe should make note in their memorandum books of the fact that the Selzech play will be given twice in June, four times in July and five times in August. The dates are June 23 and 30; July 7, 14, 21 and 28: and August 4, 11, 15, 18 and 23. Two hundred of the natives of the village take part in the performance. The Selzech theatre will accommodate 1,200 persons, and the admission prices are moderate.

Still more interesting will be the passion play performances in the Bohemian village of Höritz. Inasmuch as the Höritz representations are to occur at stated intervals this season until October, some

account of the play will just now have particular timeliness. The following brief description is furnished us by one who has witnessed the Höritz spectacle :

If any one desires to witness a passion play with every modern effect introduced into the " staging," let him make tracks for Nürnberg, and then go viâ Eger and Pilsen (the great beer emporium) to Budweis; or he may take another route to the same destination, journeying by Munich, Simbach and Linz; and yet a further variation is possible, for, taking the Vienna express to Passau via Nürnberg, a pleasant trip down the Danube may be made as far as Linz, and by rail thence to Budweis. Arrived at Budweis, the traveler finds a town of considerable importance, housing a mixed population, half Czech, the remainder being German-speaking Bohemians. There is a very strong spirit of rivalry between these two distinct parties. They hold aloof from each other, and there is a very manifest desire on the part of the German-speaking Bohemians to rule the roast.

The Deutscher Böhmerwaldbund (Bohemian Forest German Speaking Association) exists for furthering the interests of the German-speaking population of that beautiful but little known part of the world. The Höritz play is promoted by this society.

The district in the neighborhood abounds in graphite mines-in fact, the lead from here is of the very finest quality, and many a lead-pencil owes its origin to the industry of Schwarzbach. But this of the setting, now for the stone. A railway of comparatively recent construction conducts from Budweis to Salnau, opening up this district; and after passing the old ducal town of Krummau, Höritz, the scene of the Bohemian passion play, is reached. Differing in many ways from the great representation of Oberammergau, both as regards the present conditions and its origin, the play at Höritz is nevertheless well worthy of notice.

From Whitsunday up to the end of September, at stated intervals, the performance will again this year take place, and this fact may render a short notice of the subject acceptable. The village of Höritz lies at a short distance from the railway; a few primitive "einspanner" vehicles await the arrival of each train, or a quarter of an hour on foot will bring one to the village. Here the accommodation arrangements are more or less similar to those at Oberammergau. As with the Scriptural scenes dealt with in the play, so even in the nomenclature of their houses and streets, the Höritzers do not hesitate to take ample liberties. For example, there is one part of the village which is called "Der Hölle" (the hell), and near there is situated the Hotel "zur Hölle; " there is a restaurant zum Paradies," also other houses-" zum Pilatus," 66 zum Teufel" (the devil), etc.

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One may stay at one of the hotels, or, as did the writer of this, lodge with one of the families. The play commences about 10.30 and goes on till noon. There is an ample interval for feeding time, and then the performance proceeds till about 5.30. The whole is very much shorter in duration of time, though the

THE CHRISTUS OF HÖRITZ.

scope of the ground dealt with exceeds that of the Ammergau representation. The theatre is built on Bayreuth principles, the auditorium being in absolute darkness during the performance. The stage is illuminated by electric light and all the accessories are thoroughly up to date. The scenery is very good, likewise the costumes.

The orchestra is concealed, as at Bayreuth, and there is a good organ, which occasionally is used alone to accompany some of the tableaux. The music is conducted by Jaraslov Jungmann, director of the Cathedral orchestra in Budweis. The stage manager is Ludwig Deutsch, theatre director from Budweis. The part of the Christus is taken by Johann Bartl, the schoolmaster and organist of the village, while the junior schoolmaster, Franz Scopek, acts as choragus, the explanatory portions being spoken rapidly (apparently read from a scroll), and not sung as at

acted again at Höritz till 1899; at any rate, this was spoken of last year, at the conclusion of the performances, as being most probable.

The picture of the tableau of the Crucifixion on a preceding page is from a photograph, not of the Höritz play but of a representation which last year had great vogue in Germany. Herr Schmitz of Düsseldorf hit upon the happy idea of utilizing the churches of the Fatherland for the display of tableaux of scenes in sacred history. It is a new, popular and useful form of church work. The leading people in a parish place themselves in Mr. Schmitz's hands; he provides the dresses, etc., and tableaux which deeply impress the beholder are the result.

The "Passion Oratorio," by Dechant H. Fidelis Müller, the celebrated composer of sacred oratorios, has enjoyed a triumphant reception in over one hundred and twenty towns already. During its most recent representation at Salzburg, under the active presidency of the Archbishop, Dr. Katchthaler, and the co-operation of the leading townspeople and the local choirs, the gigantic dimensions of the celebrated Marble Hall of the Imperial Palace proved inadequate to accommodate all applicants for admission to the six performances. The tableaux vivants, with their scenic accessories illustrating the principal epochs of the oratorio, are chaste, dignified, and of highest artistic merit. Thoughts and feelings interpreted through the language of Dechant Müller's sweet, pathetic music are free from any shortcomings

of individual expression, defects so frequently marring the harmony in passion plays. Amidst the elevating strains of glorious music, in the production of which the heart guided the composer's pen, the tableaux appear before the gaze of the spellbound audience like visions from higher spheres, producing an overwhelming and indelible impression upon every heart. The Grand Ducal Court at Darmstadt honored with its presence the representation of Dechant Müller's oratorio, "St. Elizabeth," performed by members of the highest Darmstadt society.

To introduce Dechant Müller's oratorios into England, the same plan will be adopted which was worked so admirably on the Continent, upheld their high standard, increased their fame, and extended their sphere of practical usefulness. The best local talent is to be enlisted, to be assisted by professional aid whenever found requisite. The tableaux will be arranged by the well known specialist, Dr. H. W. Schmitz, historical painter, of Düsseldorf. With the aid of his unique collection of costumes and appropriate scenic accessories, he will produce ensembles hitherto unattained. The net proceeds of all performances are destined for church, school or charitable requirements, which throughout the Continent have been benefited by these means to the extent of many thousand pounds already. It would be worth while for Americans to note the success of this experiment in England with a view to bringing Dr. Schmitz to the United States.

"COIN'S FINANCIAL SCHOOL."

"COIN

OIN'S FINANCIAL SCHOOL," in which little treatise is gathered together and persuasively presented the chief argument of those who advocate the free and unlimited coinage of silver by the United States, without international agreement, and which seems to be accepted as their text book, has provoked replies from perhaps all the leading newspapers in the land which do not agree editorially with the opinions expressed by the precocious Coin, and has called forth numerous answers in pamphlets and book form. The ablest reply that has so far appeared in the monthly periodicals is an article in the Banker's Magazine for May, in which the writer adopts the fair method of controversy by giving Coin's statements in full before making answer. We quote as follows from this article in the Banker's Magazine, giving the statements by Coin in smaller type:

GOLD AND SILVER COINAGE-1792 TO 1873.

In his first lecture Mr. Coin said, among other things, that The Constitution gave the power to Congress to coin money and regulate the value thereof. Congress adopted silver and gold as money. It then proceeded to fix the unit. Congress fixed the monetary unit to consist of 3714 grains of pure silver, and provided for a certain amount of alloy (baser metals) to be mixed with it to give it greater hardness and durability. This was in 1792, in the days of Washington and Jefferson and our revolutionary forefathers, who had a hatred of England. Gold was made money, but its value was counted from these silver units or dollars. The ratio between silver and gold was fixed at 15 to 1, and afterward at 16 to 1, when the latter (gold) was changed from 24.7 grains to 23.2 grains pure gold, thus making it smaller. This occurred in 1834. In 1837 (p. 20) it was changed from 23.2 to 23.22 for convenience in calculation.

The silver dollar still remained the unit, and continued so till 1873. Both were legal tender in the payment of all debts, and the mints were open to the coinage of all that came. So that up to 1873 we were on what was known as a bimetallic basis, but what was in fact a silver basis, with gold as a companion metal, enjoying the same privileges as silver, except that silver fixed the unit, and the value of gold was regulated by it. This was bimetallism. Our forefathers showed much wisdom in selecting silver, of the two metals, out of which to make the unit. Much depended on this decision. For the one selected to represent the unit would thereafter be unchangeable in value. That is, the metal in it could never be worth less than a dollar, for it would be the unit of value itself. The demand for silver in the arts or for money by other nations might make the quantity of silver in a silver dollar sell for more than a dollar, but it could never be worth less than a dollar. Less than itself (p. 8).

"Prior to 1873," said Coin, "there were one hundred and five millions of silver coined by the United States, and eight millions of this was in silver dollars. About one hundred millions of foreign silver had found its way into this country prior to 1860. It was principally Spanish, Mexi

can and Canadian coin. It had all been made legal tender in the United States by Act of Congress." Here Coin picked up a copy of the laws of the United States relating to coinage, etc., and read from page 240, as follows:

"And be it further enacted, That from and after the passage of this act, the following foreign silver coins shall pass current as money within the United States, and be receivable by tale, for the payment of all debts and demands, at the rates following, that is to say: the Spanish Pillar dollars, and the dollars of Mexico, Peru, and Bolivia, etc....'

"So that we had, prior to 1873, one hundred and five millions of silver coined by us, and about one hundred million of foreign silver coin, or about two hundred and five millions dollars in silver in the United States, and were doing all we could to get more and to hold on to what we had. Thus silver and gold were the measure of values. It should be remembered that no silver or gold was in circulation between 1860 and 1873. Two hundred and five millions were in circulation before 1861."

The writer in the Banker's Magazine answers: "There is no objection whatever to Coin's general statements about the silver dollar being the standard (or unit, as he calls it) of value up to 1873, nor to the world-famous truth that silver and gold for years prior to 1873 had remained approximately near the same value at a ratio of 15% to 1. But Coin, as usual, fails to emphasize the main truth-viz.: that this equilibrium of values had only been maintained because the mints of all the world, except England, were open to coinage, and silver could practically be exchanged for gold, or gold for silver, in France. He says the mints were open to silver, but he cunningly avoids saying the mints of the world, except England. There is no argument here for unlimited free coinage by the United States alone; the argument is all against it.

"Take the next statement above: Up to 1873 we were on what was known as a bimetallic basis, but what was in fact a silver basis.' Could anything be more false than this bold statement, that prior to 1873 (or prior to 1860) the United States was on a silver basis? He endeavors to convey the idea to workingmen and persons unlearned in finance, that the dreaded silver basis' which has been talked of so much, and would come with free coinage if undertaken by this country alone, together with the immediate depreciation of one-half in all dollar values, would be the same basis that the United States was on for years before 1860, when all dollars, both gold and silver, were practically interchangeable and kept near a parity only through the international consensus as to coinage.

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Again, the statement is false and misleading that because the silver dollar was made the unit of value, the metal in it could never be worth less than a dollar.' Certainly Coin assumes that he is talking to babes in finance if he expects any one to believe