The first really successful oratorio of the present century was "Das juengste Gericht" ("The Last Judgment"), by Spohr, which was produced under his own supervision at Erfurt in 1812. This oratorio, however, the work of his earlier years, was but the prelude to his masterpiece, "Die letzten Dinge" ("The Last Things"), which is now commonly known as "The Last Judgment," and was first performed at Cassel in 1826. Nine years later he brought out "Des Heiland's letzte Stunden" ("The Saviour's Last Hours," now known as "Calvary"), and still later, "The Fall of Babylon," which he produced for the first time in England in 1843; but neither of these are constructed upon the grand proportions which characterize "Die letzten Dinge," or so well illustrate the profound musical knowledge of the great violinist. Contemporary with Spohr was Schneider, an unusually prolific writer, who produced no less than sixteen oratorios in a period of twenty-eight years, in addition to a large number of operas. Though his oratorios were very popular at the time, but one of them has survived, the "Weltgericht," written in 1819. Among other contemporaries were Lindpaintner, whose "Abraham" was very successful,--though this composer is now remembered only by his orchestral pieces,--and Klein, who brought out two oratorios, "Jephthah" (1828) and "David" (1830), which were greatly admired, though they are now almost unknown. Spohr had easily held his place in the first rank of the oratorio composers of his time, but was eclipsed when Mendelssohn appeared, as were all his contemporaries. This gifted composer had studied Handel and Bach very closely. In 1829 he brought out the latter's "St. Matthew" passion-music after it had lain concealed for an entire century. He aroused enthusiasm for the two old masters both in Germany and England. His "St. Paul," first produced at Duesseldorf in 1836, was greeted with acclamations of enthusiasm, and still holds its place in the popular regard. Ten years later his greatest work, "Elijah," was performed in England. Though widely different in form and treatment from "The Messiah," it shares equally with that work in the enjoyment of popular favor. Its numbers are almost as familiar as household words, through constant repetition not only upon the oratorio stage, but in the concert-room and choir-loft. In the presentation of the personalities concerned in the progress of the work, in descriptive power, in the portrayal of emotion and passion, and in genuine lyrical force, "Elijah" has many of the attributes of opera, and some critics have not hesitated to call it a sacred opera. Indeed, there can be no question that with costume, scenery, and the aids of general stage-setting, its effect would be greatly enhanced. Mendelssohn began still a third oratorio, "Christus," but did not live to complete it. His "Lobgesang" ("Hymn of Praise"), a symphony-cantata, is usually given as an oratorio, though it is not in the genuine oratorio form.