2. With regard to the lessons, the evangelists in this liturgy are not entirely similar; thus the lesson con- taining the parable 'of the rich man and Lazarus is placed before Lent as a sort of admonition against the riotousness prevailing at that period. But a point of much greater importance is the fact that there were not only two lessons, namely, the epistle and gospel, ap- pointed for each great festival, but three ; a lesson from the Old Testament being read before the epistle. This was taken not only from tlie poetical and historical books, but even from Jesus Sirach. Another remarka- ble fact is that between Easter and Pentecost the lesson from the Old Testament was replaced by portions of Revelation, and that from the epistles by the Acts.
3. The principal characteristic of this missale is the strong homiletic element it contains besides the liturgi- cal. Thus, after the three Biblical lessons, and before the real offering, there was always an address to the people, specially appointed for each day of worship. These addresses are short, their tone familiar, but at the same time exegetical (as when treating of the alle- gorical character of Lazarus's resurrection, on the third Sunday in Lent [Migne, p. 341]), while a certain rhetor- ical elegance (as in the mass fur Easter and Ascension- day) bespeaks one who was familiar with homiletic ex- pressions. On this point there is a resemblance to the Galilean liturgy; although the latter, as given in Ma- billon's edition (Paris, 1729), contains no such elements, yet the publisher says (p. 29) : " Et Salvianus Massi- liensis presbyter clarissimus homilias episcopis factas, Sacramentorum vero, quantas nee recordor, ait Gen- nadius, composuit. Quo in loco sacramentorum homi- liae intelliguntur vel sermones de mysteriis sacris, inter missarum solemnia quondam ex more GalUcano recitari soliti ; vel orationes seu praefationes ad missam." The part, moreover, which is specially called prcefatio is, in the Western missale, called inlatio.
4. Some parts of this liturgy recall the Eastern Church, as, for instance, the repetition of three Ar/ios after the Benedictus, while in the Roman liturgy the word Sanctus precedes it (although the Greek word oc- curs also in the Roman hymns of Palestrina) ; also the formula in the Communion, Sancta Sanctis; but par-
MOZART
ticularly the division of the host into nine parts, which, like the leaves in the Greek rite, have special names and significations, and are also to be laid and used in a certain order.
5. The Mozarabic chant has great similarity to the Gregorian, yet it is clear that here also the Spanish Church preserved some national characteristics, as is shown by the specimens contained in Migne's edition (Preface, p. xxxiii-xxxvi). These indicate a greater tendency to melody and a figurative style than is found in the Gregorian chant. It is named the Eucjenian cliant, from its author, the third archbishop of Toledo, Eugene, who, in regard to hymnology, occupies the same place in the Mozarabic Church, in opposition to Gregory, as does Isidore in the liturgical part. Fur- ther comparison between the two rites, implying that of the Breviaries, would be out of place here ; we will merely remark that, as a whole, the Mozarabic liturgy is one of the most precious monuments of ancient Chris- tianity, and is not inferior to any other liturgy in point of rich illustrations from Scripture, liturgical application of passages, nobleness of thought, etc. See Palmer, Origin, litur, vol. i, § x, p. 1G6 sq. ; Bona, Res. Liturg. i, 11 sq.; Pinius, i)e Z,jV. il/os. ; Lesleius, J/ja'. .l/os. FrcE/I; ]Martene, De Antiqu. Eccl. Ritihus, i, 457 sq. ; Christian Remembrancer, Oct. 1853. (J. H. W.)
Mozarabians (Muzakabians, MosTAnAuiANS, or MusTARABiANs), which properly designates a people liv- ing among the Arabs, but not of the same blood, and by the latter therefore looked upon with distrust, and even with contempt, was applied as a sort of nickname to those Christians of Spain who, under Mohammedan rule, remained faithful to their holy religion. The word is derived from Arabic Estarab, i. e. to A rabize, and as a participle {Mosturah) signifies one who has adopted the Arab mode of life. The Christians of Af- rica and Spain, as well as the Jews, deserved to be called Mozarabians, for they all, from fear of persecution, adopted the ways and customs of their conquerors, and in outward appearances gave themselves the air of con- formity with Mohammedan life and practice. They abstained from meat, and submitted to the rite of cir- cumcision. The modern form has lost the t (Slos^arab), but has substituted z for s, thus preserving the sound, notwithstanding the change of orthography (see Tick- nor, Span. Lit. iii, 393).
Mozart, Johanxes Chrysostojius Wolfgaxg Amadeus, one of the greatest musical composers, if not the greatest, deserves a place here for his many and val- uable contributions to sacred music. He was born at Salzburg (then in Bavaria, but soon after transferred to Austria), Jan. 17, 1756. From the earliest age Wolf- gang evinced the strongest predilection for music, which induced his father, who was organist of the prince's chapel, to discontinue the instruction of others, in order to devote himself to his tuition and that of a sister about four years older. After studying the harpsichord during a year, the flights of his genius were so rapid that he exercised his own invention in original composition at the age of only five, and at- tempted notation, which could hardlj' be deciphered. When only six years of age, his performances ^^'ere so remarkable that his father took him and his sister, who possessed similar gifts, to jMunich and Vienna, where they obtained every kind of encouragement from the elector of Bavaria and the emperor Francis I. In 1763 the Mozart family visited Paris; and, though now only at the age of seven, Mozart surprised a party of musicians, including his father, by taking part, at sight, in a trio for stringed instruments. He also earned a great reputation as performer on the organ, and during his stay at Paris performed on the organ in the Cha- pelle du Roi before the whole court. While at the French capital jMozart also entered upon his career as musical author, for he there published his first two works. From Paris the Mozart fomilv went to London