[51]Gibbons, The Faith of our Fathers.
[52]The musical composition commonly called a Mass—such, for instance as the Imperial Mass of Haydn, the Mass in C by Beethoven, the St. Cecilia Mass by Gounod—is a musical setting of those portions of the office of the Mass that are invariable and that are sang by a choir. These portions are the Kyrie, Gloria, Credo, Sanctus and Benedictus, and Agnus Dei. The musical composition called Requiem, or Mass for the Dead, consists of the Introit—Requiem aeternam and Te decet hymnus, Kyrie eleison, Dies Irae, Offertory (Domine Jesu Christe), Communion—Lux aeterna, and sometimes with the addition of Libera me Domine. These choral Masses must always be distinguished from the larger office of the Mass of which they form a part.
[53]It is worthy of note, as a singular instance of the exaltation of a comparatively unimportant word, that the word Mass, Lat. Missa, is taken from the ancient formula of dismissal, Ite, missa est.
[54]Wagner, Einführung in die Gregorianischen Melodien.
[55]Sauter, Choral und Liturgie.
[56]Gevaert first announced his conclusions in a discourse pronounced at a public session of the class in fine arts of the Academy of Belgium at Brussels, and which was published in 1890, under the title of Les Origines du Chant liturgique de l’ Église latine. This essay was amplified five years later into a volume of 446 pages, entitled La Mélopée antique dans le Chant de l’ Église latine. These works are published by Ad. Hoste, Ghent.
[57]Lemaire, Le Chant, ses principes et son histoire.
[58]Green, Short History of the English People.
[59]Montalembert, The Monks of the West, vol. ii.
[60]Montalembert, The Monks of the West, vol. ii.