23):-- [Illustration: Example 45.

Fragment of Mendelssohn.] In this example also, the Consequent phrase is a complete affirmation of its Antecedent, agreeing in its melodic form with the latter until the cadence is nearly due, when an extra measure is inserted (as extension), and the usual digression into the necessary perfect cadence is made.

The condition of Unity predominates, but a noticeable infusion of Variety takes place.
Further (Mozart, pianoforte sonata):-- [Illustration: Example 46.

Fragment of Mozart.] Here, again, the condition of Unity prevails, but with a still greater infusion of Variety; the melody of the Consequent phrase _resembles_ that of the Antecedent in every detail; the rhythm is identical, and it is evident that the second phrase is designed to balance the first, figure for figure, the principal change being that some of the figures are simply turned upside down (compare the places marked _N.

B._).