And the gradual growth from this mediaeval beginning is clear. First, a scenic elaboration of part of the service, centering in some portion of the life and death of Christ; then, as the scenic side grew more complex, a removal to the grounds outside the cathedral; an extension of the subject-matter to include a reverent treatment of other portions of the Bible narrative; next, the taking over of biblical drama by the guilds, or crafts, under the auspices of the patron saints of the various organizations, as when, on Corpus Christi day, one of the great saints' days of the year, a cycle of plays was presented in a town with the populace agog to witness it, and the movable vans followed each other at the street corners, presenting scene after scene of the story. Then a further extension of motives which admitted the use of the lives of the saints who presided over the guilds; and finally the further enlargement of theme due to the writing of drama of which the personages were abstract moral qualities, giving the name of Morality to this kind of play. Such, described with utter simplicity and brevity, was the interesting evolution. Aside from all technicalities, and stripped of much of moment to the specialist, we have in this origin and early development a blend of amusement and instruction; a religious purpose linked with a frank recognition of the fact that if you make worship attractive you strengthen its hold upon mankind--a truth sadly lost sight of by the later Puritans. The church was wise, indeed, to unite these elements of life, to seize upon the psychology of the show and to use it for the purpose of saving souls. It was not until the sixteenth century and the immediate predecessors of Shakespeare that the play, under the influence of renaissance culture and the inevitable secularization of the theater in antagonism to the Puritan view of amusement, waxed worldly, and little by little lost the ear-marks of its holy birth and upbringing.