Before this period of reform set in (and it is by no means carried to full fruition as yet) a few great composers wrote masses of solid musical worth for the Roman Church service, though seldom in the real spirit of the liturgy. Haydn wrote 13 masses and much other church music, but we miss the ecclesiastical note in his bright, sunny music. Mozart composed the great Requiem, 15 masses, 4 Kyries, 9 Offertories, a Te Deum, and other pieces. But of his church music, Dr. Heinrich Reimann, in a criticism of Jahn’s ‘Life of Mozart’ says: ‘His masses are unequal in value, but even the best are, in spite of manifold excellences in other respects, so narrowly conceived, so entirely adapted, not merely to certain local conditions, but also to the taste of individual clerical dignitaries and general convention, that the composer who otherwise knew so well how to fit the tone to the word, here often appears thoughtless, so little does he trouble to render the meaning of the text in his music.’ Franz Witt, certainly a competent authority from the standpoint of their adaptability to the Roman service, rather severely says: ‘Whoever desires to serve Art (where instrumental music is in use), let him perform Mozart’s 8th and 9th Masses (in F and D, Köchel Nos. 192 and 194) and let him disregard _all_ the rest!’ From the same standpoint, Dr. Karl Weinmann, in his ‘History of Church Music’ (p. 192), judges Beethoven’s two Masses in C and D as too secular and extravagant in expression for the church service and adds (p. 193): ‘Whoever has penetrated deeper into the spirit of the Catholic liturgy, within whose framework the performance must after all take place, will see that between the seriousness of the liturgic act and the gaiety of these compositions (of Mozart, Haydn, and Beethoven), an abyss yawns which is not to be bridged!’ Cherubini’s masses, of which we possess eleven, likewise come under the condemnation of being un-ecclesiastical in character, notwithstanding all their inherent qualities of nobility and dignity as sacred music. And here again we encounter the distinction, to which attention has been called in an earlier chapter, between church-music and religious music. Among the earlier composers whose music was well adapted to the Roman service, Dr. Weinmann mentions Michael Haydn (1737-1806), brother of Joseph, as the one who ‘approached perhaps most nearly to the requirements of church art, at least in his works written without an orchestra, of which the _Tenebræ_ and the two _Missæ Quadragesimales_ are the most famous.’ Under the influence of the Cecilian Society movement, Catholic composers, such as Moritz Brosig (1815-1887) and Joseph Rheinberger (1839-1901), have made noteworthy contributions to a regenerated church-art. III