Bed.-The bed surface upon which a stone is set or bedded should be worked truly level in every part. Many workmen to form a neat thin joint with a minimum amount of labour hollow the bed and thus when the stone is set all weight is thrown upon the edges with the frequent result that these are crushed. Coping. The coping or capping stones are placed on the top of walls not covered by a roof, spanning their entire width and throwing off the rain and snow, thus keeping the interior of the wall dry. The fewer the number of joints the better the security, and for this reason it is well to form copings with as long stones as possible. To throw water off clear, and prevent it from running down the face of the wall, the coping should project an inch or two on each side and have a throat worked on the under-side of the projections (fig. 7). Cornice, a projecting course of moulded stone crowning a structure, forming a cap or finish and serving to throw any wet clear of the walls. A deep drip should always be worked in the upper members of a cornice to prevent the rain trickling down and disfiguring the face of the moulding and the wall below (fig. 8). Corbel, a stone built into a wall and projecting to form a cantilever, supporting a load beyond the face of the wall. It is frequently richly ornamented by carving (fig. 7). Skew Corbel, a stone placed at the base of the sloping side of a gable wall to resist any sliding tendency of the sloping coping. Stones placed for a similar purpose at intervals along the sloping side, tailing into the wall, are termed "kneelers" and have the section of the coping worked upon them (fig. 7). Corbel Table, a line of small corbels placed at short distances apart supporting a parapet or arcade. This forms an ornamental feature which was much employed in early Gothic times. It probably originates from the machicolations of ancient fortresses. Dressings, the finished stones of window and door jambs and quoins. For example, a "brick building with stone dressings would have brick walls with stone door and window jambs, heads and sills, and perhaps also stone quoins (fig. 7). Diaper, a square pattern formed on the face of the stonework by means of stones of different colours and varieties or by patterns carved on the surface (fig. 7). Finial, a finishing ornament applied usually to a gable end (fig. 7). Gablet, small gable-shaped carved panels frequently used in Gothic stonework for apex stones, and in spires, &c. Gargoyle, a detail, not often met with in modern work, which consists of a waterspout projecting so as to throw the rain-water from the gutters clear of the walls. In early work it was often carved into grotesque shapes of animal and other forms. Galleting. The joints of rubble are sometimes enriched by having small pebbles or chips of flint pressed into the mortar whilst green. galleted." The joints are then said to be Jamb.-Window and door jambs should always be of dressed stone, both on account of the extra strength thus gained and in order to give a finish to the work. The stones are laid alternately as stretchers and headers; the former are called outbands, the latter inbands (fig. 7). Label Moulding, a projecting course of stone running round an arch. When not very large it is sometimes cut on the voussoirs, but is usually made a separate course of stone. Often, and especially in the case of door openings, a small sinking is worked on the top surface of the moulding to form a gutter which leads to the sides any water that trickles down the face of the wall. Lacing Stone.-This is placed as a voussoir in brick arches of wide span, and serves to bond or lace several courses together (see BRICKWORK). Lacing Course, a course of dressed stone, bricks or tiles, run at intervals in a wall of rubble or flint masonry to impart strength and tie the whole together (fig. 7). Long and Short Work, a typical Saxon method of arranging quoin stones, flat slabs and long narrow vertical stones being placed alter nately. Earls Barton church in Northamptonshire is an example of their use in old work. In modern work long and short work, sometimes termed "block and start," is little used (fig. 7). Parapet, a fence wall at the top of a wall at the eaves of the roof. The gutter lies behind, and waterways are formed through the parapet wall for the escape of the rain-water. Plinth, a projecting base to a wall serving to give an appearance of stability to the work. Quoin, the angle at the junction of two walls. Quoins are often executed in dressed stone (Fig. 7). Rag-bolt, the end of an iron bolt when required to be let into stone is roughed or ragged. A dovetailed mortise is prepared in the stone and the ragged end of the bolt placed in this, and the mortise filled in with molten lead or sand and sulphur (fig. 9). Rag Bolt. Sill, the stone which forms a finish to the wall at the bottom of an opening. Sills should always be weathered, slightly in the case of door sills, more sharply for windows, and throated on the under side to throw off the wet. The weathering is not carried through the whole length of the sill, but a stool is left on at each end to form a square end for building in (fig. 7). String Courses, horizontal bands of stone, either projecting beyond or flush with the face of the wall and often moulded or carved. They are frequently continuations of the sills or head lines of windows (figs. 5 and 7). FIG. 9.-(1 in. = 1 ft.) Scontion. In a thick wall the dressed stones forming the inside angles of the jamb of a window or door opening are termed scontions. Spalls, small pieces chipped off whilst working a stone. Templates, slabs of hard stone set in a wall to take the ends of a beam or girder so as to distribute the load over a larger area of the wall. Tympanum, the triangular filling of masonry in a pediment between the cornices, or between the horizontal head of a window or door and the under-side of the relieving arch above it. It is often panelled or enriched with carved ornament (fig. 7). members to intercept rain-water and cause it to drop off the member Throat, a groove worked on the under-side of projecting external clear of the work beneath (fig. 8). it is worked to a slope so as to throw off the water. Cornices, Weathering. The surface of an exposed stone is weathered when copings, sills and string courses should all be so weathered. Voussoirs, the wedge-shaped blocks of which an arch is built up. Methods of finishing Face of Stones.-The self face or quarry face is the natural surface formed when the stone is detached from the mass in the quarry or when a stone is split. Saw-face, the surface formed by sawing. ashlar-work, usually with a chisel-draughted margin around each Hammer-dressed, Rock-faced, or Pitch-faced. This face is used for block. It gives a very massive and solid appearance to the lower storeys of masonry buildings, and is formed with little labour, and is therefore the cheapest face to adopt for ashlar-work (fig. 7). a Broached and Pointed Work. This face is also generally used with chisel-draughted margin. The stone as left from the scabbling hammer at the quarry has its rocky face worked down to an approximate level by the point. In broached work the grooves made by the tool are continuous, often running obliquely across the face of the block. In pointed work the lines are not continuous; the surface is rough or fine pointed according as the point is used over every inch or half-inch of the stone. The point is used more upon hard stones than soft ones (fig. 7), Tooth-chiselled Work.-The cheapest method of dressing soft stones is by the toothed chisel which gives a surface very much like the pointed work of hard stones. and a half inches wide, no attempt being made to keep the cuts in Droved Work.-This surface is obtained with a chisel about two continuous lines. Tooled Work is somewhat similar to droved work and is done with a flat chisel, the edge of which is about four inches wide, care being taken to make the cuts in continuous lines across the width of the stone. Combed or Dragged Work.-For soft stones the steel comb or drag is often employed to remove all irregularities from the face and thus form a fine surface. These tools are specially useful for moulded work, as they are formed to fit a variety of curves. Rubbed Work. For this finish the surface of the stone is previously brought with the chisel to a level and approximately smooth face, and then the surface is rubbed until it is quite smooth with a piece of grit stone aided by fine sand and water as a lubricant. Marbles are polished by being rubbed with gritstone, then with pumice, and lastly with emery powder. Besides these, the most usual methods of finishing the faces of stonework, there are several kinds of surface formed with hammers or axes of various descriptions. These types of hammers are more used on the continent of Europe and in America perhaps than in England, but they deserve notice here. The toothed axe has its edges divided into teeth, fine or coarse according to the work to be done. It is used to reduce the face of limestones and sandstones to a condition ready for the chisel. The bush hammer has a heavy square-shaped double-faced head, upon which are cut projecting pyramidal points. It is used to form a surface full of little holes, and with it the face of sand and limestones may be brought to a somewhat ornamental finish. The patent hammer is used on granite and other hard rocks, which have been first dressed to a medium surface with the point. The fineness of the result is determined by the number of blades in the hammer, and the work is said to be "six,' eight" or ten-cut work according to the number of blades inserted or bolted in the hammer head. The crandall has an iron handle slotted at one end with a hole in. wide and 3 in. long. In this slot are fixed by a key ten or eleven double-headed points of in. square steel about 9 in. long. It is used for finishing sandstone and soft stones after the surface has been levelled down with the axe or chisel. It gives a fine pebbly sparkling appearance. 99 66 44 There are several methods of finishing stone which involve a great deal of labour and are therefore expensive to work, but which result in imparting a very stiff and unnatural appearance to the masonry. Vermiculated Work.--This is formed by carving a number of curling worm-like lines over the face of the block, sinking in between the worms to a depth of a fourth of an inch. The surface of the strings is worked smooth, and the sinkings are pock-marked with a pointed tool (fig. 7). Furrowed Work.-In this face the stone is cut with a chisel into a number of small parallel grooves or furrows (fig. 7). Reticulated Face is a finish somewhat similar to vermiculated work, but the divisions are more nearly squares. Face Joints of Ashlar.-The face joints of ashlar stonework are often sunk or rebated to form what are termed rusticated joints; sometimes the angles of each block are moulded or chamfered to give relief to the surface or to show a massive effect (fig. 7). Joints in Stonework.-The joints between one block of stone and another are formed in many ways by cramps, dowels and joggles of various descriptions. There are many ways of making a joggle joint. The joggle may be worked on one of the stones so as to fit into a groove Joint m Slone work Slate Bed Joggle. Slate Toggle Joggles. in the adjoining stone, or grooves may be cut in both the stones and an independent joggle of slate, pebbles, or Portland cement fitted, the joggle being really a kind of dowel. The pebble joggle joint is formed with the aid of pebbles as small dowels fitted into mortises in the jointing faces of two stones and set with Portland cement; but joggles of slate have generally taken the place of pebbles. Portland cement joggles are formed by pouring cement grout into a vertical or oblique mortise formed by cutting a groove in each of the joining surfaces of the stones. What is known as a heand-she joggle, worked on the edges of the stones themselves, is shown in fig. 13. Plugs or dowels of lead are formed by pouring molten lead through FIG. 12.-(in. = 1 ft.) Pan of cramp. toin. thick, and turned down about 1 in. at each end. A dovetailed mortise is formed at a suitable point in each of the stones to be joined and connected by a chase. The cramp is placed in this channel with its turned-down ends in the mortises, and it is then fixed with molten lead, sulphur and sand, or Portland cement. Lead shrinks on cooling, and if used at all should be well caulked when cold. Double dovetailed slate cramps bedded in Portland cement are cccasionally used (fig. 11). Hoggle & She FIG. 13.-(in.. = I ft.) a channel into dovetailed mortises in each stone (figs. 14 and 15). When cold the metal is caulked to compress it tightly into the holes. The saddle joint is used for cornices, and is formed when a portion of the stone next the joint is left raised so as to guide rain-water away from the joint (fig. 8). com Two forms of, rebated joints for stone copings and roofs are mon. In one form (shown in fig. 7) the stones forming the coping are thicker at their lower and rebated edge than at the top plain edge, giving a stepped surface. The other form has a level surface and the stone is of the same thickness throughout and worked to a rebate on top and bottom edges. In laying stone roofs the joints are usually lapped over with an upper slab of stone. Section Plan Lead Jop gle FIG. 15. (1 in. = 1 ft.) Joints in Spires.-Four forms of jointing for the battering stonework of spires are shown in fig. 16. A is a plain horizontal joint. B is a similar joint formed at right angles to the face of the work. This is the most economical form of joint, the stone being cut with its sides square with each other; but if the mortar in the joint decay moisture is allowed to penetrate. With these forms dowelling is frequently necessary for greater stability. The joints C and D are more elaborate and much more expensive on account of the extra labour involved in working and fitting. Where a concentrated weight is carried by piers or columns the bed joints are in many cases formed without the use of mortar, a thin sheet of milled lead being placed between the blocks of stone to fill up any slight inequalities. doB Jn noill Four forms of jointing used in steeple work. Moulded Work.-The working of mouldings in stone is an important part of the mason's craft, and forms a costly item in the erection of a stone structure. Much skill and care is required to retain the arrises sharp and the curved members of accurate and proportionate outline. As in the case of wood mouldings, machinery now plays an important part in the preparation of stone moulded work. The process of working a stone by hand labour is as follows: The profile of = 1 ft.) the moulding is marked on to a zinc template on opposite ends of the stone to be worked; a short portion, an inch or two in length termed a "draught," is at each end worked to the required section. The remaining portion is then proceeded with, the craftsman continually checking the accuracy of his work with a straight-edge and zinc templates. A stone to be moulded by machinery is fixed to a moving table placed under a shaped tool which is fixed in an immov FIG. 16.-( in. : able portion of the machine, and is so adjusted as to cut or chip off a small layer of stone. Each time the stone passes under the cutter it is automatically moved a trifle nearer, and thus it gradually reduces the stone until the required shape is attained. FIG. 18.-(in. = 1 ft.) the Indians of that country, to publish his researches; but in 1868 Maspero was back in France at more profitable work. In 1869 he became a teacher (répétiteur) of Egyptian language and archaeology at the Ecole des Hautes Études; in 1874 he was appointed to the chair of Champollion at the Collège de France. Stone Arches.-Stone arches are very frequently used both in stone | seeking to prove an Aryan affinity for the dialects spoken by and brick buildings. (For general definitions and terms see BRICKWORK.) They may be built in a great variety of styles, either flat, segmental, circular, elliptical or pointed. Each block or voussoir should be cut to fit exactly in its appointed place, the joints being made as fine as possible. The joints should radiate from the centre from which the soffit or intrados is struck, or in the case of an elliptical arch they should be at right angles to a tangent drawn to the intrados at that point. The extrados or back of the arch is usually concentric with the intrados, but is sometimes made thicker in one portion than in another; thus the arch may be deeper at the crown than at the sides, or at the sides than in the centre. In some cases two or more voussoirs are of one stone, having a false joint cut in the centre; this is economical, and in some cases adds to the stability of the arch. Generally the arch is divided into an uneven number of voussoirs so as to give a keystone, the voussoirs being laid from each side of the keystone and fitting exactly in the centre of the arch. The keystone is not a necessity, arches being frequently formed with an even number of voussoirs; some architects hold that the danger of the voussoirs cracking is thereby lessened. Where lintels are used in a stone wall over openings of small span it is usual to build a relieving arch above to take the superincumbent weight of masonry; or the same purpose may be effected in walls of ashlar by a flat relieving or save arch, formed in the next course of three stones above the lintel, the tapering keystone resting between the two side stones which are tailed well into the wall. In very many cases it is desired to form square heads to openings of greater span than it is convenient to obtain lintels for in one piece, and some form of flat arch must therefore be adopted. The voussoirs are connected by joggles worked on their joints, as in fig. 17. The weight of the superimposed wall is taken by a lintel with relieving arch above at the back of the arch. Arches built to an elliptical form when used for large spans (if of flat curve they should bridge over 8 ft. or 10 ft.) are liable if heavily loaded to fail by the voussoirs at the centre being forced down, or else to burst up at the haunches. With arches of this description there is a large amount of outward thrust, and abutments of ample strength must be placed to receive the springers. Stone Tracery.-The designs of Gothic and other tracery stonework are almost infinite, and there are many methods, ingenious and otherwise, of setting out such work. Nearly all diagrams of construction are planned on the principle of geometrical intersections. In the example illustrated in fig. 18 the method of setting out and finishing the design is very clearly shown, together with the best positions for the joints of the various parts. The jointing is a matter which must be carefully considered in order to avoid any waste of stone and labour. It will be observed that the right-hand side of the elevation shows the method of setting out the tracery by the centre lines of the various intersecting branches, the other half giving the completed design with the cusping drawn in and the positions of joints. All the upper construction of windows and doors and of aisle arches should be protected from superincumbent pressure by strong relieving arches above the labels, as shown in the figure, which should be worked with the ordinary masonry, and so set that the weight above should avoid pressure on the fair work, which would be liable to flush or otherwise destroy the joints of the tracery. Carving. Stone carving is a craft quite apart from the work of the ordinary stonemason, and like carving in wood needs an artistic feeling and special training. Carving-stone should be of fine grain and sufficiently soft to admit of easy working. The Bath stones in England and the Caen stone of France are largely used for internal work, but if for the exterior they should be treated with some chemical preservative. Carving is frequently done after the stone is built into position, the face being left rough-" boasted "--and projecting sufficiently for the intended design. In November 1880 Professor Maspero went to Egypt as head of an archaeological mission despatched thither by the French government, which ultimately developed into the well-equipped Institut Français de l'Archéologie Oriental. This was but a few months before the death of Mariette, whom Maspero then succeeded as director-general of excavations and of the antiquities of Egypt. He held this post till June 1886; in these five years he had organized the mission, and his labours for the Bulak museum and for archaeology had been early rewarded by the discovery of the great cache of royal mummies at Deir el-Bahri in July 1881. Maspero now resumed his professorial duties in Paris until 1899, when he returned to Egypt in his old capacity as director-general of the department of antiquities. He found the collections in the Cairo Museum enormously increased, and he superintended their removal from Gizeh to the new quarters at Kasr en-Nil in 1902. The vast catalogue of the collections made rapid progress under Maspero's direction. Twenty-four volumes or sections were already published in 1909. The repairs and clearances at the temple of Karnak, begun in his previous tenure of office, led to the most remarkable discoveries in later years (see KARNAK), during which a vast amount of excavation and exploration has been carried on also by unofficial but authorized explorers of many nationalities. Among his best-known publications are the large Histoire ancienne des peuples de l'Orient classique (3 vols., Paris, 1895-1897, translated into English by Mrs McClure for the S.P.C.K.), displaying the history of the whole of the nearer East from the beginnings to the conquest by Alexander; a smaller Histoire des peuples de 'Orient, 1 vol., of the same scope, which has passed through six editions from 1875 to 1904; Études de mythologie et d'archéologie égyptiennes (Paris, 1893, &c.), a collection of reviews and essays originally published in various journals, and especially important as contributions to the study of Egyptian religion; L'Archéologie égyptienne (latest ed., 1907), of which several editions have been published in English. He also established the journal Recueil de travaux relatifs à la philologie et à l'archéologie égyptiennes et assyriennes: the Bibliothèque égyptologique, in which the scattered essays of the French Egyptologists are collected, with biographies, &c.; and the Annales du service des antiquités de l'Égypte, a repository for reports on official excavations, &c. (Paris, 1894); Les Momies royales de Deir el-Baharî (Paris, 1889); Maspero also wrote: Les Inscriptions des pyramides de Saqqarah Les Contes populaires de l'Égypte ancienne (3rd ed., Paris, 1906) Causeries d'Egypte (1907), translated by Elizabeth Lee as New Light on Ancient Egypt (1908). MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa), a name for the Christian eucharistic service, practically confined since the Reformation to that of the Roman Catholic Church. The various orders for the celebration of Mass are dealt with under LITURGY; a detailed account of the Roman order is given under MISSAL; and the general development of the eucharistic service, including the Mass, is described in the article EUCHARIST. The present article is confined (1) to the consideration of certain special meanings which have become attached to the word Mass and are the subject of somewhat acute controversy, (2) to the Mass in music. 66 The origin of the word missa, as applied to the Eucharist, is obscure. The first to discuss the matter is Isidore of Seville (Etym. vi. 19), who mentions an evening office" (officium vespertinum), a morning office" (officium matutinum), and an office called missa. Of the latter he says: "Missa tempore sacrificii est, quando catechumeni foras mittuntur, clamante levita si quis catechumenus remansit, exeat foras.' Et inde See E. Viollet-le-Duc, Dictionnaire raisonné de l'architecture française; W. R. Purchase, Practical Masonry; J. O. Baker, A Treatise on Masonry Construction; C. F. Mitchell, Brickwork and Masonry; W. Diack, The Art of Masonry in Britain. (J. Br.) MASPERO, GASTON CAMILLE CHARLES (1846- ), French Egyptologist, was born in Paris on the 23rd of June 1846, his parents being of Lombard origin. While at school he showed a special taste for history, and when fourteen years old was already interested in hieroglyphic writing. It was not until his second year at the Ecole Normale in 1867 that Maspero met with an Egyptologist in the person of Mariette, who was then in Paris as commissioner for the Egyptian section of the exhibition. Mariette gave him two newly discovered hieroglyphic texts of considerable difficulty to study, and,missa,' quia sacramentis altaris interesse non possunt, qui nonself-taught, the young scholar produced translations of them in less than a fortnight, a great feat in those days when Egyptology was still almost in its infancy. The publication of these in the same year established his reputation. A short time was spent in assisting a gentleman in Peru, who was dum regenerati sunt " (" The missa is at the time of the sacrifice, when the catechumens are sent out, the deacon crying, 'If any catechumen remain, let him go forth.'" Hence missa, because those who are as yet unregenerate-i.e. unbaptized-may not be present at the sacraments of the altar). This derivation of Johnson's Dictionary, i.e. that of the "Service of the Romish 44 at the word Mass, which would connect it with the special formula | entirely out of use except in the sense in which it is defined in of dismissal still preserved in the Roman liturgy-Ite, missa est— once generally accepted, is now disputed. It is pointed out that the word missa long continued to be applied to any church service, and more particularly to the lections (see Du Cange for numerous examples), and it is held that such services received their name of missal from the solemn form of dismissal with which it was customary to conclude them; thus, in the 4th century Pilgrimage of Etheria (Silvia) the word missa is used indiscriminately of the Eucharist, other services, and the ceremony of dismissal. F. Kattenbusch (Herzog-Hauck, Realencyklop. s." Messe") ingeniously, but with little evidence, suggests that the word may have had a double origin and meaning: (1) in the sense of dimissio, "dismissal "; (2) in that of commissio, commission," ," "official duty," i.e. the exact Latin equivalent of the Greek Tovpyía (see LITURGY), and hence the conflicting use of the term. It is, however, far more probable that it was a general term that gradually became crystallized as applying to that service in which the dismissal represented a more solemn function. In the narrower sense of "Mass "it is first found in St Ambrose (Ep. 20, 4, ed. Ballerini): "Missam facere coepi. Dum offero..." which evidently identifies the missa with the sacrifice. It continued, however, to be used loosely, though its tendency to become proper only to the principal Christian service is clear from a passage in the 12th homily of Caesarius, bishop of Arles (d. 542): "If you will diligently attend, you will recognize that missae are not celebrated when the divine readings are recited in the church, but when gifts are offered and the Body and Blood of the Lord are consecrated." The complete service (missa ad integrum), the bishop goes on to say, cannot be had at home by reading and prayer, but only in the house of God, where, besides the Eucharist," the divine word is preached and the blessing is given to the people." MASS, IN MUSIC: 1. Polyphonic Masses.-The composition of musical settings of the Mass plays a part in the history of music which is of special importance up to and including the 16th century. As an art-form the musical Mass is governed to a peculiar degree by the structure of its text. It so happens that the supremely important parts of the Mass are those which have the smallest number of words, namely the Kyrie, important as being the opening prayer; the Sanctus and Benedictus, embodying the central acts and ideas of the service; and the Agnus Dei, the prayer with which it concludes. The 16th-century methods were specially fitted for highly developed music when words were few and embodied ideas of such important emotional significance or finality that they could be constantly repeated without losing force. Now the texts of the Gloria and Credo were more voluminous than any others which 16th-century composers attempted to handle in a continuous scheme. The practical limits of the church service made it impossible to break them up by setting each clause to a separate movement, a method by which 16th-century music composers contrived to set psalms and other long texts to compositions lasting an hour or longer. Accordingly, Palestrina and his great contemporaries and predecessors treated the Gloria and Credo in a style midway in polyphonic organization and rhythmic breadth between that of the elaborate motet (adopted in the Sanctus) and the homophonic reciting style of the Litany. The various ways in which this special style could be modified by the scale of the work, and con (even in its merely technical aspects) a range which made it to the 16th-century composer what the symphony is to the great instrumental classics. Moreover, as being inseparably associated with the highest act of worship, it inspired composers in direct proportion to their piety and depth of mind. Of course there were many false methods of attacking the art-problem, and many other relationships, true and false, between the complexity of the settings of the various parts of the Mass and of motets. The story of the action of the council of Trent on the subject of corruption of church music is told elsewhere (see MUSIC and PALESTRINA); and it has been recently paralleled by a decree of Pope Pius X., which has restored the 16th-century polyphonic Mass to a permanent place in the Roman Catholic Church music. Whatever its origin, the word Mass had by the time of the Reformation been long applied only to the Eucharist; and, though in itself a perfectly colourless term, and used as such during the earlier stages of the 16th century controversies concerning the Eucharist, it soon became identified with that sacrificial.trasted with the broader and more elaborate parts, gave the Mass aspect of the sacrament of the altar which it was the chief object of the Reformers to overthrow. In England, so late as the first Prayer-book of Edward VI., it remained one of the official designations of the Eucharist, which is there described as "The Supper of the Lorde and holy Communion, commonly called the Masse." This, however, like the service itself, represented a compromise which the more extreme reformers would not tolerate, and in the second Prayer-book, together with such language in the canon as might imply the doctrine of transubstantiation and of the sacrifice, the word Mass also disappears. That this abolition of the word Mass, as implying the offering of Christ's Body and Blood by the priest for the living and the dead was deliberate is clear from the language of those who were chiefly responsible for the change. Bishops Ridley and Latimer, the two most conspicuous champions of "the new religion," denounced "the Mass " with unmeasured violence; Latimer said of "Mistress Missa " that the devil hath brought her in again "; Ridley said: "I do not take the Mass as it is at this day for the communion of the Church, but for a popish device," &c. (Works, ed. Parker Soc., pp. 121, 120), and again: " In the stead of the Lord's holy table they give the people, with much solemn disguising, a thing which they call their mass; but in deed and in truth it is a very masking and mockery of the true Supper of the Lord, or rather I may call it a crafty juggling, whereby these false thieves and jugglers have bewitched the minds of the simple people . . . unto pernicious idolatory" (ib. p. 409). This language is reflected in the 31st of the Articles of Religion of the Church of England: "Wherefore the sacrifices of Masses, in which it was commonly said that the Priest did offer Christ for the quick and the dead, to have remission of pain and guilt, were blasphemous fables and dangerous deceits." Clearly the word Mass had ceased to be a colourless term generally applicable to the eucharistic service; it was, in fact, not only proscribed officially, but in the common language of English people it passed 2. Instrumental Masses in the Neapolitan Form.-The next definite stage in the musical history of the Mass was attained by the Neapolitan composers who were first to reach musical coherence after the monodic revolution at the beginning of the 17th century. The fruit of their efforts came to maturity in the Masses of Mozart and Haydn. By this time the resources of music were such that the long and varied text of the Gloria and Credo inevitably either overbalanced the scheme or met with an obviously perfunctory treatment. It is almost impossible, without asceticism of a radically inartistic kind, to treat with the resources of instrumental music and free harmony such passages as that from the Crucifixus to the Resurrexit, without an emotional contrast which inevitably throws any natural treatment of the Sanctus into the background, and makes the Agnus Dei an inadequate conclusion to the musical scheme. So unfavourable were the conditions of 18th-century music for the formation of a good ecclesiastical style that only a very small proportion of Mozart's and Haydn's Mass music may be said to represent their ideas of religious music at all. The best features of their Masses are those that combine faithfulness to the Neapolitan forms with a contrapuntal richness such as no Neapo |