one lover to another. The Spirit of Evil urges on her degradation and uses her as a pawn to destroy the souls of others she encounters. At last, the Spirit of Good appears and leads a worn out Beatrix back to the gates of the cathedral. She sneaks inside afraid and ashamed. She finds the cathedral empty except for a single figure, which stands motionless before the empty altar. Beatrix goes forward to throw herself upon the mercy of the solitary watcher—and then the figure turns, and the Madonna reveals herself to the nun whose place she has taken. Beatrix is about to run in fright when the sanctuary gates close miraculously, and she finds herself imprisoned in the cathedral. She prostrates herself upon the ground. A smile of pity comes over the face of the Virgin Mother. She stretches out her hand and raises Beatrix up. She then returns to her throne, leaving the pardoned penitent Beatrix to take up the pure life once again. Beatrix is now tranquil. A shaft of sunlight breaks through the cathedral windows and illuminates the scene. Background At least two films with the title The Miracle were made and released in 1912: the Continental-Kunstfilm version directed by Mime Misu, and the 'authorised' version directed by Michel Carré with most of the principal cast, costumes, and music coming from the original 1911 London production by Max Reinhardt of the play, The Miracle. Das Mirakel (1912 film) produced by Continental-Kunstfilm GmbH (UK and US working title: The Miracle) The Miracle (1912 film) produced by Joseph Menchen (German title: Das Mirakel) From December 1911 to March 1912 London's Olympia Exhibition Hall was turned into an enormous stage set for one of the biggest theatrical shows London had ever experienced. This was Max Reinhardt's production of The Miracle, a wordless mime play (US:Pantomime) by Karl Vollmoeller with music by Engelbert Humperdinck. The production involved (apart from the 15 or so principal players) a cast of around 1,000 minor players plus girl dancers and miscellaneous boys and girls, with an orchestra of 200 players, a chorus of 500 and a specially-installed organ. This spectacular mediaeval pageant was performed before a nightly audience of 8,000, with two matinees a week. Although Vollmoeller's play had been copyrighted, it was largely based on the well-known legend of 'Sister Beatrice', originally collected in the 13th century by Caesarius of Heisterbach in his