366 THE GERMAN PASSION-PLA Y 



the Sun; 1 the shoemakers, the Massacre of the Inno- 

 cents ; the journeymen-tailors, the Triumphal Entry ; 

 the brotherhood of burnishers, the Last Supper ; the 

 bricklayers and carpenters, the Mount of Olives ; the 

 journeyman-shoemakers, the Scourging ; the guild of 

 coopers, the Ecce Homo ; the butchers, the Bearing of 

 the Cross ; the goldsmiths, the Crucifixion ; and the 

 clothmakers, the Eesurrection. Meanwhile the guild of 

 pedlars performed Saint George ; that of the barbers, 

 Saint Ursula ; the smiths, the Virgin with the children 

 under her mantle, 2 and afterwards the Day of Judg- 

 ment. 3 Somewhat later we find the tanners giving 

 Twelve Angels bearing the Arms of Christ. 4 In a 

 somewhat similar processional play which was given at 

 Lobau at the beginning of the sixteenth century, we 

 find the members of the monastery still taking part 

 with the guilds, a remnant of the rapidly disappearing 

 influence of the Church over the religious drama. 



Clearly the method of folk-representation indicated 

 in the processional play could not even preserve con- 

 tinuity in the acting of any single part which appeared 



1 We have already referred, in dealing with the Star in the East (p. 325), to this 

 mediaeval interpretation of the apocalyptic woman with the moon beneath her 

 feet. The Greeks had a similar interpretation (see Mount Atlas in Manuel 

 d'Iconographie chrdtienne, p. 249). There are pictures in the Cologne Gallery 

 (Kos. 95, 375) : special prayers were used before such pictures, see for example 

 Hprtulus Animae (Dillingen(?), 1560, fol. 208). The imprisoned Cellini, praying 

 to see the sun, saw Our Lady in the sun, Vita, ed. Colonia, p. 173. 



2 On the wide-spreading mantle of grace, sheltering many sinners, we have 

 remarked above (p. 350). Compare also Holbein's Solothurn and his Meyer 

 Madonnas (Woltmann, pp. 181, 313). It was a favourite bit of symbolism with 

 the Cologne School, and used for Saint Ursula as well as the Virgin (compare 

 the Cologne Gallery pictures, for Virgin, Nos. 186, 230 ; for Saint Ursula, Nos. 

 124, 307). Benvenuto Cellini even adopted a like notion for a figure of God 

 (see Vita, ed. Colonia, p. 61). s g ee K> ^ 194> 



1 The symbols of the passion arranged as a coat-of-arms, a representation 

 which will be familiar to students of mediaeval miniatures and engravings. 



