rio of the march is based upon a religious melody
which was sung in the time of the Crusaders; but the remainder follows
the Gregorian intonation. The chorus once more resumes its shout of
jubilee, and the brilliant scene comes to an end. So vividly colored is
this music that one can well fancy the sorrowful Elizabeth as she stands
gazing at the band of knights, with Ludwig at their head, slowly riding
away, pennons fluttering in the breeze, and lances and mail glittering in
the sunlight.

In the fourth scene a slow and mournful movement, followed by an allegro
ominous and agitated in style, introduces the Landgravine Sophie, the
evil genius of the Wartburg. The tidings of the death of Ludwig have
come, and with fierce declamation she orders Elizabeth away from the
castle. The latter replies in an aria ("O Day of Mourning, Day of
Sorrow") marked by sorrowful lamentation. Sophie again hurls her
imprecations, and a very dramatic dialogue ensues, which takes the trio
form as the reluctant Seneschal consents to enforce the cruel order. Once
more Elizabeth tenderly appeals to her in the aria, "Thou too art a
Mother." Sophie impatiently and fiercely exclaims, "No longer tarry!" The
scene comes to an end with Elizabeth's lament as she goes out into the
storm, which is vividly described in an orchestral movement, interspersed
with vocal solos. These have little bearing upon the subject-matter,
however, which is mainly described by the band with overwhelming power.

The fifth scene opens with a long declamatory solo by Elizabeth,--full of
tenderness and pathos, in which she recalls the dream of
childhood,--closing with an orchestral movement of the same general
character. It is followed by the full chorus ("Here 'neath the Roof of
Want"), which after a few bars is taken by the sopranos and altos
separately, closing with chorus again and soprano solo ("Elizabeth, thou
holy one"). The death-scene follows ("This is no earthly Night"). Her
last words, "Unto mine End Thy Love has led me," are set to music full of
pathos, and as she expires, the instrumentation dies away in peaceful,
tranquil strains. A semi-chorus, which can also be sung by three solo
voices ("The Pain is over"), closes the sad scene, the ritornelle at the
end being made still more effective by the harps, which give it a
celestial character.

The last scene opens with an interlude which gathers up all the motives
of the oratorio,--the Pilgrim's Song, the Crusaders'