Marc-Antoine Charpentier's setting of the Messe pour Monsieur Mauroy is the only composition in his oeuvre which was dedicated to a particular person. Each of Charpentier's twelve mass settings is unique; this mass setting is his longest at over 1,500 measures. Charpentier masses are diverse: one composition for women's voices, a mass for instruments only, a Christmas mass, as well as settings of the Requiem text. This document traces the history of the missa concertata up until the time of Charpentier. It examines the intricacies of Charpentier's compositional process: form, melody, harmony, and self-borrowing. This paper also analyzes recent findings as to the pronunciation of Latin in France during this time period. It also explores the correlations between the Mass and oration - the understanding and implementation of rhetoric. Musical examples from the Mass, period treatises, and phonetic transcriptions of French-Latin are a part of this document.