Some of the most conspicuous moments of artifice in Purcell’s vocal music of the 1690s arise from the deployment of contrapuntal augmentation, or ‘fugeing per augmentation’ as Purcell calls it in ‘The Art of Descant’. This chapter examines this phenomenon largely by delving again into the case of transformative self-borrowing identified at the start of Chapter 6: the relationship between the setting of ‘World without end’ in the orchestral Jubilate of 1694 and its antecedent – in terms of materials and contrapuntal treatment – in the last section of Fantazia XI. The technical resources necessary to devise such sustained passages of imitation per augmentation are worthy of consideration in their own right, and provide a fresh avenue for inquiry into Purcell’s compositional choices.