treated as a song of praise,[19] in order to relieve the gloom of the "Qui tollis," and to give stronger emphasis to what is to follow. For the last words, "cum Sancto Spiritu in gloria Dei Patris, Amen," are treated without regard to the context, as an independent fugue. In Mozart's early masses the fugue is short (49, 65, K.), but they soon became long and often elaborate (60,115,139,167,192, 262, K.). Archbishop Hieronymus, however, had an aversion to fugues; and in Mozart's later masses the Gloria came to an end in a short choral passage (220, 257, 258, 259, K.). The Credo offered the greatest difficulties to musical treatment. A long movement, whose several parts are dependent on one emphatic verb placed at the beginning, cannot be musically rendered in such a way that the connection remains apparent to the hearer; each phrase disturbs the grammatical construction of the period. In order to overcome this difficulty the word "credo" was repeated at fitting points (192,257, K).[20] But although logical requirements are thus to a certain degree satisfied, the repeated "credo" does not fit into the grammatical structure, and the contrast between the spoken and the musical expression is in reality only intensified. In close connection with this is the further difficulty that the delarations of faith belong essentially to the domain of speculation, and can rarely work directly on the feelings; neither does the form into which they are thrown incite the fancy to musical expression. These difficulties might be surmounted at a time when music with all her powers and capacities placed herself unreservedly at the disposal of worship, accepting the prescribed words with perfect faith in their sanctity, and only anxious to give them their fullest and truest expression. There was as little question of {CHURCH MUSIC.} (248)