The dramatic evolution is now within measurable distance of the ‘cosmic’ type finally presented by the English Corpus Christi plays. Two further steps are necessary: the juxtaposition of the Nativity and Passion scenes behind their common Old Testament prologue, and the final winding up of the action by the extension of it from the Ascension to the second coming of the Christ in the Last Judgement. The eschatological scenes of the _Sponsus_ and the _Antichristus_ are already available for such an epilogue. That the whole of this vast framework was put together by the beginning of the fourteenth century may be inferred from the notices of two performances, in 1298 and 1303 respectively, at Cividale[268]. The first included the Passion, Resurrection, Ascension, Advent of the Holy Spirit, and Advent of Christ to Judgement: the second added to these the Creation, Annunciation, Nativity, with much else, and the Antichrist. Any further development could now be merely episodic. The text could be amplified at the fancy of the individual writer, or upon the suggestion of the great epic narratives, such as the _Cursor Mundi_, the _Passional_, the _Erlösung_[269]. An infinity of new scenes could be added from the Old Testament[270], from the apocryphal gospels and acts, from the historic narratives of the vengeance of the Crucified One upon Rome and Jewry[271]. But beyond the limits of the fixed _cadre_ it was now impossible to go, for these were coincident with the span of time and eternity.