The discovery of the music of Palestrina and Bach during his stay in Rome in 1839/40 was for Charles Gounod a source of inspiration. Like Anton Bruckner and Franz Liszt, Charles Gounod can be classified among the great Cecilians of the nineteenth century, Cecilianism being a movement in favor of a return to ancient music, Gregorian chant, the counterpoint of the sixteenth century, Palestrina is considered like THE model. Steeped in a deep religious feeling, it is, of course, that Gounod sacrificed himself to this fashion - he wrote besides the Mass of St. Cecilia (1855) which was a great success - and composed in 1855 also, in the manner of a Palestrina, The 7 words of Our Lord .... Classical style par excellence, expressive harmonic language, small counterpoints and 2 or 3 passages where the romantic composer reveals himself (passages of Lama sabacthani and Sitio, for example): all brings to meditation and prayer. We are far from the work of Joseph Haydn, Die Sieben Letzen Worte unseres Erlösers am Kreuze, for choir, solos and orchestra and even 7 Words of Jesus Christ on the Cross by H. Schütz who also use these passages of the Gospels .