their mark upon the works of both composers. But especially it would seem that there is some real, though very general resemblance between this colloquial chorus, "Behold," etc., and some choruses in "St. Paul," as, for example Nos. 29 and 36-38. In the same way the scene in the high-priest's hall might distantly suggest either of these passages, or others in "Elijah;" These resemblances, however, are very superficial, pertaining not to the musical but to the dramatic treatment of situations which are generically similar in so far, and only in so far, as they represent conversational passages between an apostle or prophet and an ignorant multitude, whether amazed or hostile, under the sway of violent excitement. As regards the musical elaboration of these terse and striking alternations of chorus and recitative, its originality can be questioned only after we have decided to refer all originality on such matters to Bach, or, indeed, even behind him, into the Middle Ages. After the preaching of Peter, and the sweet contralto aria, "As for man, his days are as grass," the culmination of this scene comes in the D-major chorus, "This is the witness of God." What follows, beginning with the choral, "Praise to the Father," is to be regarded as an epilogue or peroration to the whole work. It is in accordance with a sound tradition that the grand sacred drama of an oratorio should conclude with a lyric outburst of thanksgiving, a psalm of praise to the Giver of every good and perfect gift. Thus, after Peter's labours are ended in the aria, "Now as ye were redeemed," in which the twelve disciples and the full chorus join, a duet for tenor and soprano, "Sing unto God," brings us to the grand final chorus in C major, "Great and marvellous are thy works, Lord God Almighty."