The text included originally the line "", illustrating "" by a descending figure for the violins. When Bach treated "" as a separate choral movement, he rearranged the text, and the figure lost its "pictorial association". The virgin birth, "" (And was incarnate), is a five-part movement. It is probably Bach's last vocal composition, dating from the end of 1749 or the first weeks of 1750. Until then, the text had been included in the preceding duet. The late separate setting of the words which had been given special attention by previous composers of the mass, established the symmetry of the . The humiliation of God, born as man, is illustrated by the violins in a pattern of one measure that descends and then combines the symbol of the cross and sighing motifs, alluding to the crucifixion. The voices sing a motif of descending triads. They enter in imitation starting in measure 4, one voice every measure in the sequence alto, soprano II, soprano I, tenor, bass, forming a rich texture. The text "" (out of the virgin Mary) appears in an upward movement, "et homo factus est" (and made man) is even in upward triads. "" (Crucified), the center of the Credo part, is the oldest music in the setting of the Mass, dating back to 1714. It is a passacaglia, with the chromatic fourth in the bass line repeated thirteen times. Wenk likens it to a sarabande. The movement is based on the first section of the first choral movement of . Bach transposed the music from F minor to E minor, changed the instrumentation and repeated each bass note for more expressiveness. Bach begins the movement with an instrumental setting of the bass line, while the cantata movement started immediately with the voices. The suffering of Jesus is expressed in chromatic melodic lines, dissonant harmonies, and sigh-motifs. The final line, on the 13th repeat of the bass line, "et sepultus est" (and was buried) was newly composed, with the accompaniment silent and a modulation to G major, to lead to the following movement. At the end, soprano and alto reach the lowest range of the movement on the final "" (and was buried). A pianissimo ending of this movement, contrasted by a forte "Et resurrexit", follows the Dresden Mass style.