when
listening to secular music. These considerations have their influence on
the composer also. We usually find in religious music of the best class,
depth and earnestness of purpose commensurate with the expectation of
the listener.

These few words are preliminary to a consideration of the Mass in D, the
work in which Beethoven reached his culmination as an artist. He himself
so regarded it, declaring it to be his greatest and best work. It is
certain that he spent more time on it, and gave it a larger share of his
attention than was devoted to any other of his works.

For several years prior to this, Beethoven's muse had been silent for
the most part. No important work since the completion of the Eighth
Symphony had been achieved, with the exception of the sonatas mentioned
in a previous chapter. This was owing to the various lawsuits in which
he found himself involved. His troubles had now been adjusted, however,
to such an extent as to enable him to again turn his attention to large
works. The pension which had been settled on him in 1809 had been
imperilled by the death of Prince Kinsky and the bankruptcy of Prince
Lobkowitz. The portion of it which had been pledged to him by these
gentlemen had been discontinued or greatly reduced, and Beethoven had to
have recourse to the law to protect his rights. A compromise was finally
effected, which resulted in the pension being paid in part. Although the
litigation, in regard to his nephew was still on, it was becoming more
and more apparent that the outcome of it would be in his favor. His mind
at rest on these points, we find him once more in good health and
spirits, with creative energy not only unimpaired but greater than ever.
"In general, every evil to which we do not succumb is a benefactor,"
said Emerson.

The announcement of the Archduke's appointment as Archbishop of Olmuetz,
had been definitely made during the summer of 1818. It was well known
for years previously that he would receive this appointment, and it is
quite likely that Beethoven had always intended writing a mass to
commemorate it. Considering the close relations existing between master
and pupil for so many years, and Beethoven's obligations to Rudolph in
money matters, he could hardly have let so momentous an event go by,
without writing a mass for it. A mass was probably always intended, but
not such a one as eventually grew out of his original idea, which,
expanding, augmenting in force and