And this is the great gain of the Passion Play. It takes us clear back across the ages to the standpoint of those who saw Jesus, the Galilean, as merely a man among men. It compels us to see him without the aureole of Divinity, as he appeared to those who knew him from his boyhood, and who said, "Are not his brethren still with us?" It is true that it is still not real enough. The dresses are too beautiful--everything is conventional. We have here not the real Christ, the Jew, the outcast and the vagabond. For him we must wait till Vereschagin or some other realist painter may bring us reality. But even behind all the despisers of conventional Christian art, we have at least a sufficiently human figure to elicit sympathy, compassion and love. We get near enough to Christ to hear the blows that fall upon his face, to appreciate the superior respectability of the high priests, and to understand the contempt of Herod for the "king of fools." Not until we start low enough do we understand the heights to which the crucified has risen. It is only after realizing the depths of his humiliation we can even begin to understand the miracle of the transformation that he has wrought. Nor is that all. It is the greatest thing, but it does not stand alone. For besides enabling us to realize the story which transformed the world, it enables us to understand the agency by which that story effected its beneficent revolution. I learned more of the inner secret of the Catholic church in Ober-Ammergau than ever I learnt in Rome. Yet there is nothing distinctively Roman about the Passion Play. With the exception of the legend of St. Veronica with which Gabriel Maxs' picture has familiarized every Protestant who looks into a photograph shop and sees the strange face on the handkerchief, whose eyes reveal themselves beneath your gaze, there is nothing from first to last to which the Protestant Alliance could take exception. And yet it is all there. There, condensed into eight hours or less, is the whole stock-in-trade of the Christian church. It was in its effort to impress that story upon the heart of man that there came into being all that is distinctively Roman. To teach truth by symbols, to speak through the eye as much as the ear, to leave no gate of approach unsummoned by the bearer of the glad tidings of great joy, and above all in so doing to use every human element of pathos, of tragedy, and of awe that can touch the heart or impress the imagination--that was the mission of the church; and as it got further and further afield and had to deal with rude and ruder barbarians the tendency grew to print in still larger capitals. The Catholic church, in short, did for religion what the new journalism has done for the press. It has sensationalized in order to get a hearing among the masses.