26. Perhaps the ultimate instance is the striking harmony—again, C# in the bass—just before the “Et incarnatus est” at m. 134 of the Credo in the Missa solemnis, in effect a clearing of the stage before this moment of revelation. For something more on this passage and the sketches for it, see my “To Edit a Sketchbook,” Beethoven Forum 12/1 (Spring 2005): 82–96, esp. 87.