the universities took part in them, and they continued until after the Reformation. Brought into Europe from Constantinople by the Crusaders and pilgrims, the Mystery plays became the chief amusement of an illiterate age. Christianity was first thoroughly impressed on the mind of Northern Europe by means of them; and the first missionaries familiarized the rude Goths and Huns with Biblical incidents at a time when reading was unknown outside of the Cloister. No change in German drama occurred until the seventeenth century, when operas after the Italian superseded the Mysteries and Moralities. The production of this age, however, were characterized by bad taste and pedantry; and it was not until Goethe brought his genius to bear on the subject, that the Germans acquired any drama worthy of the name. Whether in his national play Gotz von Berlichingen or in his classical drama of Iphigenia, this great German master stands at the summit of his art. Lessing attacked French drama as enacted in Germany prior to Goethe, and brought forward the Shakespearian plays as a model.