ings of lovely faith."

In the close the effect is sublime, the climax reaching to C in alt with
the full power of the accompanying forces. Then follows a dialogue
between the Saviour and his Apostles, in which he gives them their
mission to the world. The finale then begins with a massive chorus
("Unfold, ye Portals everlasting"). The celestial chorus above,
accompanied by harps and trumpets, inquire, "But who is he, the King of
Glory?" The answer comes in a stately unison by the terrestrial chorus,
"He who Death overcame." Again the question is asked, and again it is
answered; whereupon the two choirs are massed in the jubilant chorus,
"Unfold! for lo the King comes nigh!" the full orchestra and organ
sounding the Redemption melody, and the whole closing with a fanfare of
trumpets.

The third part includes the prophecy of the millennium, the descent of
the Holy Ghost to the Apostles, the Pentecostal manifestations, and the
Hymn of the Apostles. The latter is so important that the composer's own
analysis is appended:--

"This division of the third part of the work, the last and one of the
most highly developed of the trilogy, comprises seven numbers, and
gives a summary of the Christian faith.

"1. The Apostles first proclaim the three great doctrines of the
Incarnation of the Word, his eternal generation, and his continual
presence with his Church. This first number is written in a style which
is intended to recall the form and rhythm of the chants called 'Proses'
in the Catholic liturgy.

"2. Quartet and Chorus. 'By faith salvation comes, and by peace
consolation.'

"3. Chorus. His power manifested by miracles.

"4. Quartet. 'O come to me, all ye that are sad and that weep.'

"5. Semi-Chorus. The Beatitudes.

"6. Repetition of the theme of No. 1, with the whole choir, the
orchestra, and the great organ.

"7. Final Coda. Glorification of the Most Holy Trinity throughout all
ages."

This part of the oratorio, after a short instrumental prelude, opens with
a brief chorus ("Lovely appear over the Mountains"), followed by a
soprano solo, the only distinct number of that kind in the work, set to
the words, "Over the barren Wastes shall Flowers have possession," at its
close the chorus resuming in unison, "Lovely appear over the Mountains."
The next number is "The Apostles in Prayer," an instrumental sketch,
followed by the Narrators relating the descent of the Holy Spirit.
W