plays, the 'Virgin Martyr' (in which he was assisted by Dekker), is simply a dramatic version of an ecclesiastical legend. Though it seems to have been popular at the time, the modern reader will probably think that, in this case at least, the religious element is a little out of place. An angel and a devil take an active part in the performance; miracles are worked on the stage; the unbelievers are so shockingly wicked, and the Christians so obtrusively good, that we--the worldly-minded--are sensible of a little recalcitration, unless we are disarmed by the simplicity of the whole performance. Religious tracts of all ages and in all forms are apt to produce this ambiguous effect. Unless we are quite in harmony with their assumptions, we feel that they deal too much in conventional rose-colour. The angelic and diabolic elements are not so clearly discriminated in this world, and should show themselves less unequivocally on the stage, which ought to be its mirror. Such art was not congenial to the English atmosphere; it might be suitable in Madrid; but when forcibly transplanted to the London stage, we feel that the performance has not the simple earnestness by which alone it can be justified. The sentiment has a certain unreality, and the _naïveté_ suggests affectation. The implied belief is got up for the moment and has a hollow ring. And therefore, the whole work, in spite of some eloquence, is nothing better than a curiosity, as an attempt at the assimilation of a heterogeneous form of art.