The miracle play was a theatrical representation of scenes in the Scriptures, and it seemed to be popular in mediæval times, and the monks took part in it as active promoters. But there were some of these in every century after the third. In times when reading was impossible, and the fancy of the public was kept alive chiefly by the pictures and images in churches, it was natural that this cognate representation by means of actors on a stage should occur to those who catered for something like a recreation. Chaucer and Piers Plowman allude to this as a frequent indulgence. In the eleventh and twelfth centuries religious plays were acted in England, France, and Spain. Bishops and canons and monks all supported them, and they were acted in churches and on Sundays, as was said to be the case in St. Paul's until the time of Charles I. At length it was found that they degenerated into buffoonery and indecency. Some have said that the practice arose out of the lively spirits of the troops of pilgrims returning from the shrines of Compostella or St. Michael or Canterbury, and chanting or reciting sacred songs and hymns. The plays went out in England soon after the Reformation, and they became thereafter mere secular amusements. THE PASSION PLAYS OF THE AMMERGHAU. Dean Milman says he was present at one of the performances of the last of the ancient mysteries which still linger in Europe, the _Passion Spiel_ by the peasants of the Ammerghau. He never saw even in leading theatres finer scenic effects, more rich and harmonious decorations, and dresses more brilliant with blended colours. All was serious, solemn, and devout; actors and audience were equally in earnest. The Saviour was represented with a quiet gentle dignity, admirably contrasting with the wild life and tumult, the stern haughty demeanour of the Pharisees and rulers in their secret plottings and solemn council, and the frantic agitation of the Jewish people. There were one or two comic touches and rude jests, as in the greedy grasping of Judas after the pieces of silver, and the eager quarrelling of the Roman soldiers throwing dice for the seamless coat. The theatre was not roofed, but was erected at the bottom of a green valley flanked by picturesque mountains. The effect of all this on the peasants was said to be excellent. No one was permitted to appear even in the chorus unless of unimpeachable character. THE FESTIVAL OF THE ROSE AT SALENCY.