Five psalms and the Virgin's hymn of praise form the part of the Vespers which is in varied chant; every division ends with the doxology, and is complete in itself. In the Litany the principal part is framed in, as it were, by two equally original and characteristic movements, the Kyrie and Agnus; the Vespers, on the other hand consist of six separate movements which have no connection, either actual or artistic. More striking differences of key are therefore permissible than is generally the case with the movements of one composition,[7] and it was possible to put together at pleasure {VESPERS, 1779, 1780.} (95) psalms belonging to different compositions, sometimes even by different composers. The Dixit and Magnificat, as the two corner-posts, were considered the principal parts; they were generally specially composed, and: others inserted between them. As the words of the doxology (Gloria Patri) recur at the close of each movement, it would have been natural that the idea should arise of giving them the same musical rendering, and suggesting a relation between the different movements by this kind of refrain. But they are, on the contrary, in close connection with the words to which they serve as a conclusion, so as to characterise the use of the general formula as dependent on the special nature of each case. For the most part, therefore, a principal subject of the piece which it concludes is utilised for the doxology, and it is astonishing of what a variety of appropriate and expressive musical renderings these words are capable. A settled custom became established, both as to the general conception and the distinguishing characteristics of these compositions, which was closely followed even by Mozart. In the main, the conception and treatment resembled those of the litanies; the effort is evident to reconcile the requirements of Divine service with the prevailing and somewhat trivial musical taste of the times. But the vespers preserved the dignity and solemnity of church music more strictly than the litanies. There is no sign of a leaning to operatic style, concessions to bravura are sparely and exceptionally made, the orchestra preserves the simplicity of the traditional church orchestra,[8] and limited scope is allowed even to grace and pleasing fancies. Nevertheless, the expression of dignity and solemnity shows the influence of a time which did not exact from sacred art the absorption of the inner man in the sacred and the divine, but was satisfied with a decent {COURT SERVICE IN SALZBURG.} (96) observance of the forms of external homage. It was left to the artist, who had a deeper spiritual craving, and such a delicate artistic sense as forbade the use of form without substance, to give a higher tone to his work. In this sense we may include by far the larger portions of these vespers among Mozart's great works.