The focus of the present research is to examine Johann Sebastian Bach's (1685-1750) use of augmented sixth chords in the Symbolum Nicenum portion of his Mass in B Minor, BWV 232, as structural and theological unifying factors. Previous scholarly research has focused on other composers' settings of the Crucifixus text and detailed the conventions of chromatic harmony that many have incorporated in their works. Analysis of Bach's works dealing with Christ's crucifixion indicates that Bach was aware of both the augmented sixth chord and the conventions such a chord provided in service of Affekt. Further investigation of Bach's placement of these augmented sixth chords in the Symbolum Nicenum suggests that he intended to emphasize specific theological arguments presented in Martin Luther's (1483-1546) Ein Sermon von der Betrachtung des heiligen Leidens Christi ("A Sermon of Meditation on Christ's Holy Passion") written in 1519. In analyzing J.S. Bach's usage of augmented sixth chords in the Symbolum Nicenum, one recognizes his use of this sonority in service of Affekt for Christ's crucifixion related to Lutheran Passion theology.