should be made with deliberation and dignity and so thoroughly rehearsed
that keeping time to the music becomes instinctive, that the actor's
mind may be on the expressing of the emotions of assurances that his
gift will ring the chimes, and later disappointment that the chimes do
not ring.

When it comes Holger's turn to offer the pennies, the music begins again
as with the others and accompanies the action through to the moment when
the priest holds the pennies high above his head,--here the organ and
singing break off abruptly, the chimes ring out and keep pealing for a
moment, without other music.

On the first note of the chimes the priest wheels swiftly and with a
commanding gesture signals the people grouped about the altar to their
knees. He kneels also. The organ begins again, softly playing the final
Alleluia. The angel enters from the right side, stands on the step of
the altar, the central figure,--all about still kneeling awestruck. As
the music continues the angel half sings, half chants the speeches, and
underneath her voice, which should be as lovely as possible, come in the
voices of the other singers very softly at first, like an echo from
afar. As the angel's voice stops, those of the other singers grow into
the great triumphant crescendo of the finale. Do not be afraid of
holding this tableau while the music finishes.--Indeed none of the
chancel scene should be hurried. Take it with great deliberation and
give whatever element is holding the scene at the moment, (whether the
action or the music) plenty of time to make its effect. The Alleluia is
played through twice, once softly during the angel's singing the second
time in the triumphant climax. As this second singing ends, the lights
on the chancel are blotted out, the back wall of the hut is replaced,
the old woman disappears, the lights in the hut go up again revealing