Obviously the greatest difficulty in any elaborate instrumental setting of the Credo is the inevitable anti-climax after the Resurrexit.
His chief works are: De la connaissance de Dieu, opposing Positivism (1855); La Logique (1856); Les Sources, conseils pour .la conduite de l'esprit (1861-1862); La Philosophie du credo (1861); Commentaire sur l'evangile de Saint Matthieu (1863); Jesus-Christ, lettres a M.
The railway pierces the Credo by a tunnel.
Soon after it becomes French the river rushes furiously through a deep gorge, being imprisoned on the north by the Credo and on the south by the Vuache, while the great fortress of 1'Ecluse guards this entrance into France.
In that case, all who accept a revelation without professing to understand its content would require to be ranked as mystics; the fierce sincerity of Tertullian's credo quia ab-' surdum, Pascal's reconciliation of contradictions in Jesus Christ, and Bayle's half-sneering subordination of reason to faith would all be marks of this standpoint.
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.
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.
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.
Anselm's motto, Credo ut intelligam, marks well the distance that has been traversed since Tertullian's Credo quia absurdum est.
To Anselm speciall y belongs the motto Credo ut intelligam, or, as it is obscurity of the schools..