THE STAGE OF THE PASSION-PLAY 319 



even more partitions carried right across the choir, not 

 to mention a possible apse-chapel cut off by the altar- 

 screen from the body of the church. These partitions 

 were not merely nominal divisions, but frequently sub- 

 stantial screens of lattice -work containing doors for 

 ingress and egress. The presbyterium, with the altar, 

 was divided from the main body of the choir, and the 

 choir itself from the nave. In some cases a portion of 

 the nave in front of the choir was inclosed, and in this 

 inclosure pulpit and reading-desks were placed. 1 It is 

 clear that the scenic ritual would have to pay attention 

 to these partitions ; the altar, the sepulchre, the ' usual 

 place' for the rood, and the seats of the officiating 

 clergy, would not necessarily fall into one division. 

 The door of one screen may have represented that of 

 heaven, while a second door may have been conveniently 

 used as hell-gate. 



If we examine the flat form of the passion-play 

 stage, we find its plan a long rectangle, trisected by two 

 barriers with gates. These barriers appear to serve no 

 useful purpose in the development of the scenic action, 

 nor do the three divisions, as in the elevated stage, 

 correspond to heaven, earth, and hell. We are com- 

 pelled to regard them as fossils of the primitive stage, 

 and from this standpoint the choir-screens naturally 

 suggest themselves. The so-called ' houses ' or stations 

 to which unoccupied actors retire are scattered about 

 these divisions in a manner convenient for the suc- 

 cessive incidents of the play, but having no relation to 

 the barriers. Attached to the manuscript of the Donau- 



1 Bauriss des Klosters St. Gallen, pp. 16, 18. 



