from the gloomy horror which has buried the gay life of the drama in deepest night. It was soon felt that to preserve the interest of the audience after the spirit scene was impossible. An attempt at abbreviation was annexed to the original score, omitting the larghetto so far as it referred to personal circumstances. Whether this experiment was made in Prague or Vienna,[188] it appears not to have sufficed, and at the performance in Vienna the opera closed, as it almost invariably has later, with Don Giovanni's descent into the lower regions. At his fall all the characters enter and give a cry of horror, which is inserted in the score on the chord of D major. A few attempts have been made later, either on theoretical or practical grounds, to restore the original closing scene.[189] Attempts at a modification such as have been made are very objectionable. At a performance in Paris Don Giovanni's disappearance was followed by the entry of Donna Anna's corpse borne by mourners, and the chanting of the "Dies iræ" from Mozart's Requiem.[190] This idea suggested to Kugler[191] the further one of changing the scene after Don Giovanni's fall to the mausoleum of the Commendatore, and introducing the funeral ceremonies, the chorus singing from Mozart's Re-queim, "Lux perpetua luceat ei" (not _eis_, "because it is only for one person"), "Domine, cum sanctis tuis quia pius es," to be followed by the "Osanna in excelsis" as an appropriate conclusion. It is as difficult to comprehend how these two movements can be thus combined, as how reverence for the master can allow of his sacred music being thus tacked on to an opera without any regard to unity of style and workmanship. Viol, supported by Wolzogen, adopted this idea so far as, instead of the usual conclusion, to insert the funeral service in the mausoleum, and have the closing movement of the opera sung there; but it appears {DON GIOVANNI.} (214) altogether out of place. Nothing can be more objectionable than to make use of separate parts of a work of art in a different sense to that intended by the master; omission is, on the whole, a less hurtful proceeding.