pastorale is always in honour of Christianity and the Roman Catholic religion, and the wicked are the heathen, the Turks, the English, etc. Red is the colour of the wicked, that of the good is blue; in this respect no change is ever made. The good always walk slowly and solemnly, but when the wicked come on the stage the music is immediately changed to a lively air, and they never remain long quiet, their movements continuing quick and agitated. The acting is very simple; a journey, for instance, is represented by walking up and down the stage several times. The characters are usually taken exclusively by men and boys, but there are a few pastorales acted by women only; the sexes are never mingled. Strange and amusing anachronisms abound. In the pastorale entitled _Abraham_, Abraham appears in high boots and felt hat; Sarah in a modern, bright-coloured dress, with hat, veil, and fan; Isaac carries one or two sticks on his shoulder for the sacrifice; the Angel is a little boy in white. Then there are the heathen and the Christian kings, the former dressed in red, with high crowns arrayed with plumes and ribbons, the latter in blue with crowns of gold. In the middle of the play one of the Christian kings leaves the stage, and presently appears above the curtain and speaks with Abraham. He represents the “Eternal Father.” The verses are spoken in a loud monotonous chant, each verse being literally measured out by motion up and down the stage, the only change being when the music becomes faster or slower. The music is composed of the two Basque instruments the _churula_, a shrill pipe, and the _tamboril_, a kind of guitar with six strings, played by the same person. The strangeness of the scene, the loud chanting of the actors as the tone rises and falls, the fantastic costumes, the dances of the “Satans,” the prayers of the Christians, and especially the slow march and action of the blues, dignified and majestic, and the turbulent, restless movements of the reds, are not soon forgotten.