The form thus established by Haydn, Mozart accepted, and followed in all his symphonies, with few and unimportant variations. His additions to the general ideal of orchestral effect were in the direction of a sweeter _cantilena_, a vocal and song-like quality, which pervades every movement, and which in the slow movement rises to a height of refined and exquisite song never surpassed by any composer. Beethoven is often more impassioned; at times more forcible. But it is never possible to say of the pure spirit of Mozart, that this refined and gentle soul might not have broken mountains and shaken the hills if he had chosen to do so. His refinement is like that of a seraph, as we see it illustrated in the feminine-looking faces of the Greek Apollos, and the St. Michaels and archangels of Guido Reni and Raphael. It is free from passion and toil; but no man dares set a limit to the strength therein concealed. In the slow movements of the pianoforte sonatas of Mozart we do not find this quality so plainly manifested. The instrument was still too imperfect, and did not invite it. Moreover, the greater portion of these compositions bear the appearance of having been written for the use of amateurs. But in the string quartette and the symphonies it is different. Here the spirit of Mozart has free course, and he goes from one beauty to another, with the sure instinct of a master before whom all tonal kingdoms are wide open. This can be seen even in the pianoforte arrangements of the greater symphonies. The melodies, apparently so simple and diatonic, are susceptible of being sung with heartfelt fervor under the fingers of the violinist, or by the voice of the great singer, and when so sung they become transfigured with beauty--luminous from within, like lovely angel faces, glowing with radiance from the higher realms of bliss. Without this idea of singing, and more than this, of a pure spirit singing, the Mozart adagios are open to the charge often made against them in these later days by the unthinking, who find in them only the external peculiarities of simplicity and diatonic quality, with the unsensationalism which technical reserve implies. [Illustration: Fig. 59. REDUCED FACSIMILE OF THE TITLE PAGE OF BEETHOVEN'S SONATA, OPUS 26, CONTAINING THE CELEBRATED FUNERAL MARCH.]