use, but again in the nineteenth came into favour, and was made at Dresden, Nuremberg, and Munich. The most eminent artist in this department was Ainmiller of Munich, specimens of whose workmanship are to be seen in all parts of the world. § 174.10. =Music and the Drama.=--In Vienna the three great masters of musical composition, Mozart, Haydn, and Beethoven, produced in the department of sacred music some of their noblest works. Mendelssohn, in his St. Paul and Elijah and in his Psalms, sought to reproduce the power and truth of the simple word of God. An early death prevented him giving expression to his ideal of Christ in music. The Hungarian virtuoso Liszt sacrifices sacred calmness and dignity to theatrical effect. His son-in-law, Richard Wagner, inspired by Schopenhauer’s philosophy, a richly endowed poet and composer, proclaimed by his followers as the Messiah of the music of the future, going back to mediæval legend, has produced a _quasi_-Christian musical drama, in which the gospel of pessimism takes the place of the gospel of the grace of God.--Quite different is the Passion Play of the Bavarian village Oberammergau, which is a reproduction of the mediæval mysteries (§ 115, 12). It originated in a vow made in 1633 on the occasion of a plague which visited the place, and is repeated every ten years on the Sundays from the end of May to the middle of September. The history of the Saviour’s passion is here represented with interludes from Messianic Old Testament passages explained by a chorus like that of the classical tragedy, with appropriate scenery, drapery, and musical accompaniment. In the presence of an immense concourse of strangers for whose accommodation a large amphitheatre was been built, almost all the villagers, men, women, and children, take part in the performance and show rare artistic power. The text of the drama for the most part agrees with the gospel narrative, only occasionally interspersed with legend, and quite free from ultramontane hagiology and mariolatry. The performance of A.D. 1850, and still more that of A.D. 1880, attracted crowds of pilgrims and tourists to the quiet and remote valley. An independent exhibition, falling little behind the original in the artistic character of its composition and production, was given, in 1883, on the Sundays of July and August in the Tyrolese village of Brixlegg, and was visited by similar crowds. § 175. INTERCOURSE AND NEGOTIATIONS BETWEEN THE CHURCHES.