Ah, come un gran contento, Come confonde un cor!-- chills the expression of Vitellia's emotion, so that the combination of the voices, instead of producing a climax as it ought, weakens the passion of the movement and prevents its rising to more than a momentary prominence. The second terzet (14) was suggested by an air of Metastasio, "Se mai senti spirarti sul volto," which was a favourite subject with the old composers.[55] It begins with the tender {TITUS--ENSEMBLES.} (299) farewell of Sextus to Vitellia, stricken with shame and dismay. This contrast would have made an excellent opportunity for musical effect if Publius had supplied the connecting link by the addition of a new and important element in the situation; instead of this, he remains a mere passive spectator, and does not increase the pathos of the situation at all. Sextus gives the tone here, as Vitellia in the previous terzet, and the tender softness of his farewell scarcely allows expression to the true significance of the situation; otherwise, however, this terzet is superior to the first in the freer development of the voice parts.'" The third terzet (18) has a beautiful and expressive first movement, but its second movement is too slight in design and too little worked out for its situation. The opera contains one movement, however, altogether worthy of Mozart, and this is the first finale. It is true that even this is far from possessing the greatness of design or the wealth of elaboration of the finales of the earlier operas; it does not pretend to be more than a representation of the situation; but it is earnest and weighty in tone, and possesses features of unsurpassed loveliness. The finale is introduced by a soliloquy for Sextus, in which he pours out the doubt and self-reproach which torture his mind; an unaccompanied recitative expresses this condition with an amount of truth and energy elsewhere entirely wanting to the part of Sextus. When he sees the capitol in flames, and is convinced that his repentance comes too late, he becomes more collected, and the quintet begins with his finely expressed wish to save Titus or to die with him; then he has to evade the questions of Annius, who hurries in full of sympathy--Servilia, Publius, and Vitellia enter in quick succession, full of anxiety and horror; a characteristic orchestral motif gives the clue to the development of the movement, and the separate exclamations of the invisible chorus interposed in rising, dissonant chords, form the pivots on which the progressive harmonies turn; the re-entry of Sextus brings the symmetrically constructed movement to a close. A short recitative, in which Sextus announces the assassination of Titus, leads into the andante, which ends {LABOUR AND POVERTY.} (300)