THE COSTUME OF THE PASSION-PLA Y 329 



not been able to discover any published account of these 

 dresses, and they have by this time probably perished. 

 The library at Luzern also contains much informa- 

 tion, but this is not yet accessible in print. Probably 

 the best idea of the passion-play costume is to be 

 obtained from a study of mediaeval pictures and wood- 

 cuts of the Passion, the then current notion being 

 that all the world in Christ's day (and before it) 

 dressed like mediaeval men and women. I may note 

 a few particulars, which have been gleaned from 

 a variety of sources, as an addition to the dress 

 rubrics already cited when we were considering the 

 early rituals. 



In the Easter ritual 1 Christ appears dalmaticatus 

 Candida dalmatica, Candida infula infulatus, phy- 

 lacteria pretiosa in capite, crucem cum labaro in 

 dextra, textum auro paratorium in sinistra Jiabens. 

 He would thus have a very priestly aspect. Eorbach 

 tells us that at Frankfurt, in 1498, the parson of 

 Obern - Eschersheim, who had previously played God 

 the Father, put on a grey coat and a diadem and 

 began, as Christ, the passion-play with the choice of 

 the disciples. Christ was represented with golden 



1 G, p. 81 ; see also Christ's costume in the Tours Mystery (G, p. 102). God 

 the Father in pontifical robes occurs as miniature xxiii. of the Metz fforae, 

 already referred to (footnote, p. 326). It is a common form of representation with 

 Albrecht Diirer ; God appears as pope in a coronation of the Virgin by a Cologne 

 artist in the Munich Pinakothek (No. 625). He is represented as an emperor 

 in the Schatzbehalter (Cuts 2 and 23). In the famous Heller altarpiece of Albrecht 

 Diirer, representing the Maria Himmelfahrt, Christ with a papal crown and God 

 the Father with an imperial crown place an imperial crown upon the Virgin. In 

 Diirer's Allerheiligenbild at Vienna God the Father and the emperor down below 

 have the same crowns. As to God as pope and emperor see Didron, Iconographie 

 chrttienne, pp. 205 et seq. ; his localisation of the two modes of representation is, 

 however, incorrect. 



