1 the cadence is perfect, for it is the tonic chord of G major, keynote _g_ at top and bottom, and on the primary accent of the fourth measure; but the uninterrupted continuation of the movement of 16ths, in the right hand, shortens the uppermost keynote to a single 16th-note, and would entirely conceal the cadence, were it not for the distinct evidence of repose in the lower part.
In No.

2 the movement in the upper part appears to shatter the cadence; the keynote does not appear on the accent, and its announcement at the end of the first triplet is very brief.

For all that, it is an unmistakable perfect cadence; the chord thus shattered (or "broken," technically speaking) is the tonic harmony of the key, and the keynote _does_ appear as uppermost (and therefore most prominent) tone, in the same order of percussion as that given to each of the preceding melody tones.
* * * * * * At the end of an entire piece of music, or of some larger section of the piece, the cadence-chord, on the other hand, is often lengthened considerably, for the sake of the greater weight and decision of cadential interruption required at that place.

Thus:-- [Illustration: Example 33.

Fragment of Schubert.] The last two measures are merely the prolongation of the final cadence-chord.