will naturally be affected by the fact that the hymns were written for the theatre, and not as church music proper; and yet these very hymns have been widely circulated by countless performances in churches, and are made to serve as the principal evidence of Mozart's style of church music. There is no question that their whole conception is grander, freer, and more imposing than that of any of his masses belonging to that period, but this is because he felt himself unfettered by conventional restrictions. A solemn act of worship was represented on the stage, the expression of reverence to the Supreme Being was heightened in effect by the Egyptian surroundings; and Mozart's endeavour was to render the consequent emotions with all possible truth and force. But he was fully conscious that the expression must be _dramatic_. Therefore everything was avoided that directly suggested the church, and an impression of splendour and brilliancy was given which in this fashion was foreign to the church; above all the subjective points of sentiment are thrown into strong relief, and forcibly expressed. But although there is an essential difference between these choruses and Mozart's contemporary church music, yet we cannot fail to perceive a certain amount of resemblance in the manner in which the solemnity and importance of religious ceremony is rendered both here and in the "Zauberflöte." The drama itself has some resemblance to the "Zauberflöte," both in its deistic-humani-tarian tendency and its Egyptian costume and sun-worship. Freemasonry may have exerted some influence over Gebler's mind[25]--it could have had none at that time over Mozart. In the music to the "Zauberflöte" everything, more especially the power of concentrating ideas in the strictest forms, shows mature development, while here we are aware of the youthful genius, rejoiced at the opportunity of pouring forth his best in full measure, and thereby satisfying his nature to the utmost. The consideration of these choruses explains his joy at finding the chorus in Paris strong and good, {COURT SERVICE IN SALZBURG.} (112)