Among the liturgical forms that have been most employed for extra-liturgical purposes as concert-music are the mass (_Missa Solemnis_, consisting of the six numbers given above), the _Requiem_ (_Missa pro Defunctis_), _Stabat Mater_, _Te Deum_ and _Magnificat_. These great religious poems of the Middle Ages and earlier, which were either adopted into or were associated with the liturgy of the Roman Church, have never ceased to stir the imagination of composers, some of whom have been of the Protestant faith. The Protestant Church did not adopt the Mass into its liturgy, though the early Lutheran Church borrowed a modified form from the Roman Church and the Anglican Church still retains many of the same musical texts (such as the Gloria, Te Deum, Benedictus, and others) that were used in various parts of the Roman service. The _Kyrie_ and _Gloria_ were formerly frequently used together in the Lutheran service as the so-called short mass (_Missa brevis_). The Requiem Mass (_Missa pro Defunctis_) takes its name from the beginning of the Introit, _Requiem æternam dona eis, Domine_, and consists of the holy office celebrated in memory of the departed. It may take place any day before burial, especially the third, or on the seventh or the thirtieth day after death, or on the first or any subsequent anniversary of the death. It is also celebrated on All Souls’ Day, November 2, in memory of all the faithful departed. As a form of musical composition, the Requiem consists of nine parts: (1) The Introit--_Requiem æternam_; (2) _Kyrie_; (3) the Gradual and Tract--_Requiem æternam_ and _Absolve, Domine_; (4) The Sequence or Prose--_Dies iræ_; (5) The Offertorium--_Domine Jesu Christi_; (6) _Sanctus_; (7) _Benedictus_; (8) _Agnus Dei_; and (9) the Communio--_Lux æterna_. In addition to these the following are sometimes added: (10) Responsorium--_Libera me_; and (11) the Lectio--_Tædet animam meam_. I The _Stabat Mater_ is a beautiful mediæval poem, whose authorship is generally ascribed to a Franciscan monk, Jacobus de Benedictis, though some believe it to have been written by Pope Innocent III and still others by St. Bonaventure. It was not a part of the liturgy and was not at first used with music. It did not come into any large use as a devotional poem until about the thirteenth century and gradually found its way into the liturgy as a ‘sequence,’ though it did not even appear in the Roman Missal until 1727, and was not sanctioned as a hymn until some time after that. It is one of the finest and most popular of the old Latin poems and has lent itself so well to musical setting that many composers from Des Prés to Rossini have been inspired to set it. It depicts the sorrowing mother, Mary, as she stood at the foot of the cross and the desire of humanity to share with her this sorrow. The initial words of the poem are _Stabat mater dolorosa Juxta crucem lacrymosa_,