In the short mass (Missa brevis) the larger divisions were treated in the main as a connected musical movement of which the separate sections were detached indeed, but not independent of each other; the degree of connection is of course very varied. The thrice-repeated cry, "Kyrie eleison! Christe eleison! Kyrie eleison!" is regularly developed into a lengthy movement. It was formerly the custom[16] to prefix a short, slow and solemn movement on the words "Kyrie eleison," to an agitated more elaborate one[17] (49, 65,66, K.); but afterwards the whole became one movement. The prayer for the mercy of God is animated, and though devoid of depth, never sinks to mere trifling. A more serious mood is generally indicated by the severer contrapuntal treatment of the voices (192, 194, 262, K). The words "Christe eleison" are regularly accentuated, usually with an expression of beseeching melancholy, and often by solo voices. The solo voices and choruses generally alternate in the Kyrie. The Gloria[18] is divided into several movements, {CHURCH MUSIC.} (246) conformably to the successive invocations of which it consists. The character of the whole is one of exulting praise, the tone being indicated by the opening words, "Gloria in excelsis Deo." The effort to express the solemn dignity of divine worship by external splendour, is apparent in the animated, fervent, and often stately progress of this movement. The opening subject is revived at appointed places, usually at the Quoniam, and forms a connecting thread throughout the piece. A solo is often introduced at the words "Lau-damus Te and, even without much intentional expression, the four commas of the words, "Laudamus Te, benedicimus Te, adoramus Te, glorificamus Te," form natural pauses, and regulate the musical and rhythmical division of the passage. But the contrast of solo and chorus is determined less by the sense of the words than by the necessities of art, requiring variations of light and shade. As a rule, the words of highest import are given to the chorus; the solos serve for ornament, or as a preparation for a chorus of renewed and increased strength. The central point of this part of the mass is formed by the thrice-repeated cry:-- Qui tollis peccata mundi, miserere nobis! Qui tollis peccata mundi, suscipe deprecationem nostram! Qui sedes ad dexteram patris, miserere nobis Here we have a mood expressed of deep agitation, offering excellent opportunity for musical treatment, both in feeling and form. The "Qui tollis" is the nucleus of all Mozart's Glorias; he enunciates it simply enough through the chorus, relying for effect on the charm of rich and original harmonies, as bold in conception as they are clear and decided in rendering. The words which follow, "Quoniam Tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe," are {GLORIA--CREDO.} (247)