The invocations which form the substance of litanies are too numerous, disconnected, and wanting in climax to be well adapted for composition; and most of the petitions recited by the priest are equally incapable of definite musical expression. The musical setting of the service, to be appropriate, must be strictly liturgical, and the recurring refrain stamps it with a typical formulistic character. Should this tradition once be forsaken, its place must be taken by a setting full of lights and shades, often heterogeneous in treatment, and accentuated in accordance with form rather than reason. The distinguishing refrain could only be used to link together conflicting elements, or else as a vehicle for shades of sentiment, and a variety of expression would be given to the simple petitions, "Ora pro nobis," "Miserere nobis," which would be quite foreign to their nature. The Litanies to the Virgin (Litaniæ Lauretanæ) were, on the whole, cheerful and pleasing. When the devout {LITANY TO THE VIRGIN, 1771.} (269) worshipper turned to the Virgin Mother, the image that rose to his mind was that of a pure and holy maiden, and the veneration for all that is womanly which her worship induced was apparent in the music as elsewhere. The tone of the litanies sung in Italy before the images of the Virgin in the streets is echoed in the compositions of most of the Italian musicians, and is perceptible in many parts of Mozart's litanies. The first Litany in B flat major (109 K.), composed in May, 1771, is precise in form, and firmly and ably treated, although in no very elevated strain. The Kyrie, as in short masses, is composed of a single animated choral movement, without any definite development of the subject. The first part of the litany proper is divided between the chorus and solo voices, the soprano being most prominent; the whole work is interesting, melodious, simple in its harmonies, and singularly popular in tone. Upon the delivery of the solemn "Salus infirmorum" by the chorus follows a quick, vigorous choral passage to the words "auxilium Christianorum." The solo voices raise the appeal "Regina angelorum" to the Queen of Heaven, who seems to shed the glory of her manifestation upon the minds of her worshippers. In the last movement, the chorus comes in with "Agnus Dei, qui tollis peccata mundi," the solo voices answer with the prayer, and the chorus winds up with the "Miserere nobis." The tone is composed, more serious than melancholy, and rising in intensity towards the close. The actual mechanism is simple; the voices are seldom in true counterpoint, the modulations are freely and firmly handled: the accompaniment makes little attempt at independent significance.