The fifth scene opens with a long declamatory solo by Elizabeth,--full of tenderness and pathos, in which she recalls the dream of childhood,--closing with an orchestral movement of the same general character. It is followed by the full chorus ("Here 'neath the Roof of Want"), which after a few bars is taken by the sopranos and altos separately, closing with chorus again and soprano solo ("Elizabeth, thou holy one"). The death-scene follows ("This is no earthly Night"). Her last words, "Unto mine End Thy Love has led me," are set to music full of pathos, and as she expires, the instrumentation dies away in peaceful, tranquil strains. A semi-chorus, which can also be sung by three solo voices ("The Pain is over"), closes the sad scene, the ritornelle at the end being made still more effective by the harps, which give it a celestial character. The last scene opens with an interlude which gathers up all the motives of the oratorio,--the Pilgrim's Song, the Crusaders' March, the Church Song, and the Hungarian Air, and weaves them into a rich and varied texture for full orchestra, bells, and drums, forming the funeral song of the sainted Elizabeth,--the same effect, and produced in the same manner, which Wagner subsequently used with such magnificent power in the dirge of Siegfried. It is followed by a solo from the Emperor, "I see assembled round the Throne,"--a slow and dignified air, leading to the great ensemble closing the work, and descriptive of the canonization of Elizabeth. It begins as an antiphonal chorus ("Mid Tears and Solemn Mourning"), the female chorus answering the male and closing in unison. Once more the Crusaders' March is heard in the orchestra as the knights sing, "O Thou whose Life-blood streamed." The church choir sings the chorale, "Decorata novo flore," the Hungarian and German bishops intone their benedictions, and then all join in the powerful and broadly harmonious hymn, "Tu pro nobis Mater pia," closing with a sonorous and majestic "Amen." Christus.