For the principle of association had not confined itself exclusively to politics and trade. Besides the numerous guilds by which citizenship was acquired in the various cities, were many other societies for mutual improvement, support, or recreation. The great secret, architectural or masonic brotherhood of Germany, that league to which the artistic and patient completion of the magnificent works of Gothic architecture in the middle ages is mainly to be attributed, had its branches in nether Germany, and explains the presence of so many splendid and elaborately finished churches in the provinces. There were also military sodalities of musketeers, cross-bowmen, archers, swordsmen in every town. Once a year these clubs kept holiday, choosing a king, who was selected for his prowess and skill in the use of various weapons. These festivals, always held with great solemnity and rejoicing, were accompanied bye many exhibitions of archery and swordsmanship. The people were not likely, therefore, voluntarily to abandon that privilege and duty of freemen, the right to bear arms, and the power to handle them. Another and most important collection of brotherhoods were the so-called guilds of Rhetoric, which existed, in greater or less number, in all the principal cities. These were associations of mechanics, for the purpose of amusing their leisure with poetical effusions, dramatic and musical exhibitions, theatrical processions, and other harmless and not inelegant recreations. Such chambers of rhetoric came originally in the fifteenth century from France. The fact that in their very title they confounded rhetoric with poetry and the drama indicates the meagre attainments of these early "Rederykers." In the outset of their career they gave theatrical exhibitions. "King Herod and his Deeds" was enacted in the cathedral at Utrecht in 1418. The associations spread with great celerity throughout the Netherlands, and, as they were all connected with each other, and in habits of periodical intercourse, these humble links of literature were of great value in drawing the people of the provinces into closer union. They became, likewise, important political engines. As early as the time of Philip the Good, their songs and lampoons became so offensive to the arbitrary notions of the Burgundian government, as to cause the societies to be prohibited. It was, however, out of the sovereign's power permanently to suppress institutions, which already partook of the character of the modern periodical press combined with functions resembling the show and licence of the Athenian drama. Viewed from the stand-point of literary criticism their productions were not very commendable in taste, conception, or execution. To torture the Muses to madness, to wire-draw poetry through inextricable coils of difficult rhymes and impossible measures; to hammer one golden grain of wit into a sheet of infinite platitude, with frightful ingenuity to