temptation, but clutches them with a miser's grasp and hurries off to
intercept the Master on his way through the Garden of Gethsemane.
Meanwhile, after a tender farewell from his mother, Christ leaves the
house of Simon of Bethany, and, with his disciples, takes the road to
Jerusalem.

The part of Mary the mother of Christ is admirably taken by Rosa Lang.
In dress and mien, she seems to have stepped down from some
picture-frame of Raphael or Murillo. The Mary of Rosa Lang is in every
respect a worthy companion of Mayr's Christus.

[Illustration: Rosa Lang as Mary.]

The various scenes in which the Apostles appear are modeled more or
less after the great religious paintings, especially those of the
Bavarian artist, Albrecht Dürer. The Last Supper is a living
representation of the famous painting of Leonardo da Vinci in the
refectory at Milan. Peter and Judas are here brought into sharp
contrast. Next to Christ, is the slender figure of the beloved
disciple. The characters of the different Apostles are placed in bold
relief. We are at once interested in the fine face of Andreas Lang,
the Apostle Thomas, critical and questioning, but altogether loyal.
The Apostle Philip looks for signs and visions, and would see the
Father coming in His glory from the skies, not in the common every-day
scenes of life into which the Master led them. "Have I been so long
time with thee, and yet hast thou not known me, Philip?"

Next comes the night scene in the Garden of Gethsemane on the Mount of
Olives. The tired Apostles rest upon the grassy bank, and one by one
they fall asleep. Even Peter, who is nearest the Master, can keep