At the climax of his last great choral work, the orchestral Te Deum and Jubilate in D major for the St Cecilia’s Day celebrations of 1694, Purcell dusted off a contrapuntal motif familiar from the end of his much earlier Fantazia XII (Ex. 6.1). Moreover, he also used exactly the same compositional conceit in his working of this motif – no doubt, in fact, his very choice of materials was motivated by the desire to select an idea suitable for subjection to the extreme contrapuntal augmentation of bars 201–8, an illustration of the words ‘world without end’.