amidst the acclaiming tumult.

But the heavenly heights are not reached by a single leap. Once more we
sink to sombre depths not of the old rejection, but of a chastened,
wistful wonderment. The former plaintive chant returns, in slower,
contained pace, broken by phrases of mourning recitative, with the old
sigh. And a former brief strain of simple aspiration is supported by
angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
(treble) voices in the _Magnificat_. A wonderful utterance, throughout
the scene of Purgatory, there is of a chastened, almost spiritual grief
for the sin that cannot be undone, though it is not past pardon.

The bold design of the final Praise of the Almighty was evidently
conceived in the main as a service. An actual depiction, or a direct
expression (such as is attempted in the prologue of Boito's Mefistofele)
was thereby avoided. The Holy of Holies is screened from view by a
priestly ceremony,--by the mask of conventional religion. Else we must
take the composer's personal conception of such a climax as that of an
orthodox Churchman. And then the whole work, with all its pathos and
humanity, falls to the level of liturgy.

The words of invisible angel-chorus are those of the blessed maid
trusting in God her savior, on a theme for which we are prepared by
preluding choirs of harps, wood and strings. It is sung on an ancient
Church tone that in its height approaches the mode of secular song. With
all the power of broad rhythm, and fulness of harmony and volume, the
feeling is of conventional worship. With all the purity of shimmering
harmonies the form is ecclesiastical in its main lines and depends upon
liturgic symbols for its effect and upon the faith of the listener for
its appeal.