The words "Et in Spiritum Sanctum" are usually given to a solo voice,--more, however, from custom than for any special signification of their own (49, 65, 139, K.); they are introduced by a long instrumental prelude (262 K.). Apart from the interests of the Church, which might have some influence here, the necessity could not but be felt for a strong contrast between this and the following passages. For what follows, "Et unam sanctam catholicam et apos-tolicam ecclesiam," &c., is given by the whole strength of the chorus. The last words, "et vitam venturi saeculi. Amen," is again treated as a fugue. Here, again, we find first a short fugued movement (49, 65, 192, K.), but later a long and cleverly worked-out fugue (139, 167, 262, K.), until the influence of Archbishop Hieronymus led to the conclusion of the Credo, like the Gloria, in a short animated chorus (257, 258, 259, 275, K.). Various methods were employed to gather the phrases of the Creed into a consistent musical work. The repetition of the word "credo" (167, 257, K.), even in places where it somewhat disturbs the grammatical construction, serves to combine the musical texture of the movements The periodical recurrence of the musical phrase conduces to careful mechanism, and gives opportunity for variety and increased intensity in the treatment of the subject. Apart from this, unity is provided for by a pregnant rhythmical passage or a carefully finished subject which marks the beginning of the Credo, and underlies its several divisions, {CHURCH MUSIC.} (250) forming a sort of background from which the more impressive images stand out. The appropriate elaboration of this subject is the special task of the artist, and the text is to be considered only as a _point de départ_ to it. The mode of treatment varies and is sometimes contrapuntal, sometimes harmonic; in one part the voices predominate, in another the instruments, in which latter case the then favourite running passage for the violins is frequently employed. The general character of church music was more prominently displayed in the Creed than elsewhere. An animated and elevated frame of mind was vividly portrayed, with more cheerfulness and brilliancy than solemnity or earnest devotion, and only at moments does the music show a consciousness of the deep significance of the text. Mozart pays tribute to his time; but his artistic nature did not allow him to sink into triviality or commonplace; symmetry, beauty, and delicacy are never found wanting. The remaining sections of the mass lend themselves more readily to musical treatment. They express deep and universal sentiments in words as simple as those of the Kyrie, and musical both in sound and suggestion.