by them in this manner; and on Palm Sunday an image of the Saviour seated on an ass is paraded through the principal streets of the town or village.[106] In Brazil we find on Hallelujah Saturday (between Good Friday and Easter Sunday) the popular ceremony of burning effigies of Judas Iscariot, the traitor, in company with dragons, serpents and demons; and there are besides several other religious celebrations in which music is employed in combination with fire-works and dramatic representations. Comic scenes were not excluded from the old Mysteries of mediaeval time. On the contrary, they appear to have been highly relished by the worshippers, and contributed much to the popularity of the entertainments. In Paris a building was erected, in the year 1313, principally for dramatic performances relating to the Passion of Christ and the Resurrection, enacted with music and dancing. Soon, attempts were made to vary these entertainments by the occasional introduction of some play founded on a myth, or on a wonderful event recorded in secular history, or also by the admission of profane comedies and farces. Although music, instrumental as well as vocal, did not constitute the chiefest point of attraction in these plays, it certainly contributed much to the impressiveness of the whole.[107] During the second half of the thirteenth century, Adam de la Hale wrote dramatic plays with songs, founded on secular subjects. These plays, called Gieux (_jeux_), might perhaps be called operettas, since they contained dialogues interspersed with songs. In fact, although our opera may be said to date from about the year 1600, secular plays in which music and poetry were intimately associated were known long before that time. The ancient Greeks used in their dramas the vocal music of choruses and the instrumental accompaniment of flutes and other instruments, in close connection with the poetry. The latter art was, however, the principal one, while in our present opera _music_ is the principal art.