beginning of the missionary life of Christ, giving the Marriage at Cana, the Baptism, and the Temptation. It also includes a Harrowing of Hell. Certain forms of the Passion play, as the conjoint Passion and Resurrection may now be termed, show an approximation to the type of the Christmas play. It is obvious that the Fall and the _Prophetae_ would be as proper a prologue to the Passion which completes the Atonement as to the Nativity which begins it. And the presence of Adam and other Old Testament characters in the Harrowing of Hell would be the more significant if in some earlier scene they had visibly been haled there. The first trace of these new elements is in the St. Gall play, where the Augustine of the _Prophetae_ is introduced to speak a prologue. A long Frankfort play of the fourteenth century, of which unfortunately only the stage directions and actors’ cues are preserved, carries the process further[266]. Again Augustine acts as presenter. A _Prophetae_ begins the performance, which ends with the Ascension, a _Disputatio Ecclesiae et Synagogae_ and the baptizing of the incredulous Jews by Augustine. On the other hand, the Fall forms the first part of an early fourteenth-century Passion play from Vienna[267]. Both the Fall of Lucifer and that of Adam and Eve are included, and there is a supplementary scene in hell, into which the souls of a usurer, a monk, a robber, and a sorceress are successively brought. Lucifer refuses to have anything to do with the monk, an early use of the Tomlinson motive.