we hear the winds "rending the mountains around;" but once more in pianissimo it tells us "the Lord was not in the tempest." The earthquake and the fire pass by, each treated in a similar manner; but the Lord was not in those elements. Then, in gentle tones of ineffable sweetness, it declares, "After the fire there came a still, small voice, ... and in that still, small voice onward came the Lord;" and onward sings the chorus in low, sweet, ravishing tones to the end: "The Seraphim above Him cried one to the other, Holy, holy, holy, is God the Lord!"--a double chorus of majestic proportions. Once more Elijah goes on his way, no longer dejected, but clothed with "the strength of the Lord." His aria, "For the Mountains shall depart," prepares us for the final climax. In strong accents the chorus announce, "Then did Elijah the prophet break forth like a fire;" his words were like "burning torches;" he overthrew kings; he stood on Sinai and heard the vengeance of the future on Horeb. Then comes a significant pause. The basses begin, "And when the Lord would take him away;" another brief pause, and the full chorus pictures in vivid color the coming of the fiery chariot and the whirlwind by which he was caught up into heaven. The picturesqueness and dramatic intensity of this splendid chorus can hardly be described in words. One more tenor aria ("Then, then shall the Righteous shine") and a brief soprano solo introduce the chorus, "Behold My servant." A beautiful quartet ("Oh! come, every one that thirsteth") follows, and the massive fugue, "And then shall your Light break forth as the Light of the Morning," closes this great masterpiece. [6] Mr. Lockey was the tenor on this occasion; the part of Elijah was sung by Standigl. Christus. "Christus," which Mendelssohn intended as the third in the series with "Elijah" and "St. Paul," was left unfinished. The words were written by the Chevalier Bunsen and given to the composer in 1844, before he began "Elijah." With his customary fastidiousness, he altered and rearranged the text, and it was not until 1847, after "Elijah" was finished, that he touched the music. At this time he was in delicate health, and had not recovered from the shock of his sister's death. He sought consolation for his troubles and relief for his ailments among the mountains of Switzerland. Part of his time was devoted to mountain-rambling, and the remainder to work upon "Christus" and the opera "Loreley," neither of which he lived to finish. It is interesting to note in this connection that before Mendelssohn settled upon "Christus," the subject of Saint Peter occupied his attention, although he still had the former in view for later consideration. In a letter to his friend Schubring, written at Bingen-on-the-Rhine, July 14, 1837, he says:--