The fourth number, "Fac ut ardeat cor meum," for bass solo and chorus, like the third is most skilfully constructed out of small materials, and has a fine contrast between the solo and the chorus, which at its entrance is assigned to the female voices only, with organ accompaniment. The fifth number is the chorus "Tui nati vulnerati," which is remarkable for the smooth and flowing manner in which its two subjects are treated. The sixth number, "Fac me vere tecum flere," for tenor solo and chorus, is very elaborate in its construction. A stately theme is given out by the tenor, repeated in three-part harmony by male voices, the accompaniment being independent in form; the subject then returns, first for solo, and then for male voices, in varying harmonies. After a brief vocal episode the subject reappears in still different form, and, followed by the episode worked up at length in a coda, brings the number to its close. The seventh number, "Virgo, virgonum praeclara," for full chorus, is marked by great simplicity and tenderness, and will always be one of the most popular sections of the work. The eighth number, "Fac ut portem," is a duet for soprano and tenor, responsive in character, and constructed on very simple phrases presented in varying forms both by the voices and orchestra. The ninth number, "Inflammatus et accensus," is one of the most masterly in the whole work. It is an alto solo composed of two subjects, the first very majestic, and the second pathetic in character, forming a contrast of great power and beauty. The tenth and closing number, "Quando corpus morietur," for quartet and chorus, is constructed substantially upon the same themes which appeared in the "Stabat Mater," and closes with an "Amen" of a massive character, exhibiting astonishing contrapuntal skill. One of the best English critics says of the whole work:-- "The 'Stabat Mater' approaches as near to greatness as possible, if it be not actually destined to rank among world-renowned masterpieces. It is fresh and new, while in harmony with the established canons of art; and though apparently labored and over-developed in places, speaks with the force and directness of genius." GOUNOD.