of pantomime spring up to-night, and the statue of the Commander may emerge to-morrow night, the scenes that would not run smoothly in the grooves, and the stiff stereotyped exits and entrances. Everything was of the stage, stagey. One could not get rid of the notion that Caiaphas had dined on puchero with its flavour heightened by garlic. It was very palpable that the Apostle Peter wore a wig and a beard of tow. Mary Magdalen had an air of operatic resignation, and was troubled with the arrangement of her drapery. There was a layer of pearl-powder on the Virgin's cheeks. I shall not bore the reader with an essay on mysteries and miracle-plays; neither, as I have said, shall I attempt to analyse this sacred drama, in seven acts, of "The Passion and Death of Jesus;" but I shall take the liberty of giving an epitome of some notes, pencilled on the spot, in the intervals of interruption by that loud prompter. The _Pasion y Muerte de Jesus_ (that is the Spanish title) is written by Don Enrique Zumel, who appears to have fathered as many pieces as Lope de Vega, but whose pieces are not quite so well known. It was brought out for the first time in this self-same Teatro Martin on the 3rd of March, 1871. It is in verse, and has some literary merit. In the main incidents it resembles the Bavarian play, which does not deviate noticeably from the Bible narrative. It is unnecessary, therefore, to go over the incidents of its various acts. The Greek chorus to be remarked at Ober-Ammergau is absent. The tableaux from the Old Testament prefiguring events in the New are absent also. The first Act opens with a dialogue between Magdalen and some women of Jerusalem. The Saviour, with the Apostles, enters on the scene almost immediately after. Magdalen's garments are rich with spangles; her mantle is scarlet; she has flowers in her luxuriant tresses, and looks a vain creature. The Saviour is personified by an actor with a singular likeness to Joseph Mayer, the Bavarian Christus. Pale, clean-chiselled face, long black locks smoothed over, downcast eyes, a meek demeanour generally--the characteristics are identical. The voice of this man, who essayed so awful a _rôle_, was low and sweet; and, to give him his due, he moved as if he was filled with respect for his dangerous part. The Virgin comes on the scene in the same Act. She is clad in blue nun-like raiment. The people who filled up the background wore sandals, and had white towels, swathed in folds like those of the turban, round their raven-black hair. The entry into Jerusalem was shown, the Saviour being mounted on a white ass. The orchestra here woke up, and played a joyous strain to a chorus commencing-- "Con palmas y oliva Y alegre cantar Y pintados florea De lindos colores Hijas de Judá Llegad! Llegad!"