Mozart's unequalled talent for pure and noble melody is as discernible here as elsewhere, though it is crippled by a certain amount of confusion of ideas. Curiously enough the Benedictus, a solo quartet, is accompanied only by the first violin, which plays round the voices with a continuous running passage. There is a good effect in the Dona nobis, where the chorus answers the short solo phrases-- {THE ITALIAN TOUR.} (102) with changes of lead and harmony. [See Page Image] This mass serves as a proof that L. Mozart did not confine himself to educating his son as an operatic composer, but that he made him pass through a course of severe study in every branch of his art, with the just conviction that his genius, when fully trained and developed, would mark out a line for itself. L. Mozart's intention of taking Wolfgang to Italy remained firm as ever, and he considered their stay in Vienna as the first step towards its accomplishment. At that time, Italy was to musicians what she now is to painters and sculptors; a residence there was necessary to give the finishing touches to their education, and _éclat_ to their reputation. Music in Italy was not only an art universally diffused and esteemed, it was _the_ Art _par excellence_. All classes shared the insatiable desire for music everywhere--in the churches, the theatres, the streets, and their own homes; and the delicate appreciation and enthusiasm for what was excellent were increased by practice and education. So in Italy a national tradition for production as well as for taste had been gradually formed, a sort of musical climate, in which artists found it easy to breathe. They knew that they might rely confidently on the appreciation of the public, whose attention and intelligence urged them to fresh efforts, while rewarding each success with sympathetic applause. Opera and church music were almost in equal favour, and afforded mutual support to each other. It was accordant with the brilliancy of royal courts and rich cities to give operatic performances either at Carnival time or on special festive occasions; no expense was spared to engage the most famous singers, male and female, and for every season (_stagione_) new operas were written, if possible by famous and favourite composers. Again, the dignity of the Church required, at least on great holy days, that the musical part of the worship should be grand and imposing; and the more {MUSIC IN ITALY.} (103) richly endowed churches and monasteries were quite able to rival the theatres. There was on every side a steady demand for musical production and execution, which offered abundant opportunity for the exercise of every kind of talent.