The stage was crowded with figures, Christ in the centre, fully extended on the cross, with no signs whatever of support to disturb the illusion--the thieves on one side and the other, with arms over the cross, as frequently represented; the group at the foot of the cross so touchingly tender--the soldiers, the priests, the people--all grouped with such consummate skill, such harmony of colors, such appropriateness and vigor of expression, as have never, to my thinking, been excelled in the greatest pictures of the greatest masters. Here was most remarkably shown the wonderful artistic talent and feeling of these simple people. There was nothing repulsive in any way, scarcely painful, except tenderly so. You breathlessly gazed on this wondrous scene, and when, after three minutes, the curtain fell, you were speechless with admiration and emotion. A lovely air by the soprano accompanied this tableau, and after the curtain fell a grand chorus completed the fifth part.
The sixth part--_Durch Dunkel zum Lichte_ (through Darkness to Light)--ended the programme. The play represented Joseph, with all his honors upon him, receiving his old father and his brothers--prefiguring the Ascension of Christ.
After the prelude by the orchestra the curtain rises and discovers old Jacob, surrounded by his sons in various groups. The scene and costumes were admirable and appropriate. In the midst of a discourse Joseph bursts in in fine attire, followed by a great train, among which are two darkies, taken bodily from Flemish pictures. After much embracing and blessing and forgiveness, the curtain falls as Jacob with outstretched arms thanks the Lord and prophesies all good things.
Then again the orchestra, and again our Chorus enters on the scene, and after the epilogue, "At last all woe is ended," they divide and kneel, as the curtain rises on the scene of the Ascension. This was most simply represented. Christ ascends from the tomb, standing on it, surrounded by angels, while figures appropriately grouped around make a picture which recalled Perugino. The basso sings an aria, and a grand chorus, "Alleluja!" ends this most remarkable performance.
There was no delay nor interruption throughout. Not the sound of a hammer nor the whisper of a prompter was ever heard. There was no applause whatever from the audience until the end, and then it seemed to come from the strangers. The three hours--for the end was precisely at twelve--seemed not more than one, so filled was the mind with the simple, grand beauty and the artistic completeness of the whole thing. No personality appears for an instant. There are no bills to tell the names of the actors, nor did any actor or actress at any time look toward the audience.