Grasso enters in the
third act of _La Morte Civile_, whereas he enters in the second act. I
have since seen the play several times, and, though it is tedious, it is
not so much so as to justify a spectator in thinking any of its acts long
enough for two.

In Chapter IV I say that the Government makes an annual profit of
3,000,000 pounds sterling out of the lottery, but I do not say whether
this profit is gross or net. There is a paragraph in the _Morning Post_,
12 September, 1911, which states clearly that never since the union of
Italy has the State lottery been so productive as in the present year of
Jubilee; the gross yield has been 3,715,088 pounds, and the net gain,
after deducting commissions and prizes, 1,489,180 pounds.

In Chapter XV it is stated that the words of the play in Signor Greco's
marionette theatre in Palermo are always improvised except in the case of
_Samson_. This is incorrect. The words of the long play about the
paladins are improvised, but they have in the theatre the MSS. of several
religious plays by the author of _Samson_, who was a Palermitan, Filippo
Orioles. All who are interested in the legends, folklore, popular
entertainments, superstitions, and traditions of the people of Sicily are
under deep obligations to Giuseppe Pitre, of Palermo, Professore di
Demopsicologia, for his numerous volumes treating of those subjects. In
_Spettacoli e Feste Popolari Siciliane_ he gives the little that is known
of Filippo Orioles, who died in 1793 at the great age of one hundred and
six years. The subject of the most famous of his plays is the Passion of
Jesus Christ, and its title in English signifies The Redemption of Adam.
It has had an immense success throughout Sicily; it has been copied in
MS. many times, printed continually, performed over and over again in
theatres, in churches, in the public squares, and in private houses. It
was written for living actors, and Signor Greco considers it too long for
a performance by marionettes, so when they do it in his teatrino they
treat it even more freely than our London managers treat a play by
Shakespeare. Copies are difficult to procure because their owners keep
them jealously. Professore Pitre has, however, lately added to our
obligations by publishing a reprint of the play: _Il Riscatto d'Adamo
nella Morte di Gesu Cristo_; Tragedia di Filippo Orioles, Palermitano;
Riprodotta sulla edizione di 1750; con prefazione di G. Pitre. Palermo:
Tipog