by the power of faith, or the help of the theatrical machinery; and the Holy Virgin and St. Augustin descend from heaven to meet him.[374] In the third act the scene is transferred to Rome, where two cardinals exhibit the holy sere cloth to the people by torch light. Music performed on clarionets adds to the solemnity of this ceremony, during which pious discourses are delivered. St. Nicolas is next discovered embroidering the habit of his order; and the pious observations which he makes, while engaged in this occupation, are accompanied by the chaunting of invisible angels. The music attracts the devil, who endeavours to tempt St. Nicolas. The next scene exhibits souls in the torments of purgatory. The devil again appears attended by a retinue of lions, serpents, and other hideous animals; but in a scene, which is intended for burlesque, (_graciosamente_) a monk armed with a great broom drives off the devil and his suite.[375] At the conclusion of the piece the saint whose beatification is now complete, descends from heaven in a garment bespangled with stars. As soon as he touches the earth, the souls of his father and mother are released from purgatory and rise through a rock; the saint then returns hand-in-hand with his parents to heaven, music playing as they ascend. The _Autos Sacramentales_ of Lope de Vega must have been far less attractive than his Lives of the Saints. Compared with the latter, their construction appears very simple, and they are executed in a style of theological refinement which could not have been perfectly intelligible to the multitude. But the allegorical characters, which are the most prominent in these pieces, produce an imposing effect. The dramas themselves are in general short. In one which represents the fall, Man disputes with Sin and the Devil, and Earth and Time take part in the dialogue. Next are discovered Justice and Mercy seated beneath a canopy, and at a table furnished with writing materials. Man is interrogated before this tribunal. The Prince of heaven, or Saviour, enters. Reflection, or Care, (_Cuidado_) kneels and delivers a letter to him. The Saviour, who takes his station behind a grating, makes Man undergo another judicial examination, and pardons him.[376] But the devil re-appears and protests against the pardon.[377] Man has next to contend with Vanity and Folly, who are introduced as allegorical characters. Christ again appears with the crown of thorns. In conclusion, the heavens open and Christ ascends to his celestial throne, with the usual accompaniment of music. Direct allusions to the sacrament of the altar were seldom necessary in the Autos, as the whole tendency of the allegorical action was directed to that object.