A person in the procession enters the chancel, walks to the center before the altar, kneels and presents his gift to the priest.  The priest accepts the gift, turns, goes up the steps to the altar, and raises the offering high above his head holding it there a moment waiting for the chimes to ring, then brings his arms down, lays the gift on the altar, turns back to the kneeling figure, and raises his hand in blessing.  The person then rises, and steps back to his appointed place to the left or right of the altar, coming to a standstill just as the music ends.  As the next verse begins, the next person enters the chancel.  The movements 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 Holger standing spellbound staring at the wall where the vision had been.  As he turns to speak to the woman and during his final speeches, the organ plays softly as though from a great distance and the chimes ring again but not so loudly as before.  This music continues till the front screens are brought together and the play is over.

COSTUMES

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[Illustration]