This is easily explained.

Liszt finished his life in a cassock, while Gounod began his in one.

So, despite Liszt's superior refinement, and putting aside exceptional achievements, in this branch of art Gounod was the victor.
As there is an _odor di femina_ there is a _parfum d'eglise_, well known to Catholics.

Gounod's oratorios are impregnated with this, while it is found in _Christus_ very, very feebly, if at all.

The _Missa Solemnis_ must be examined to find it to any extent in Liszt's work.
All the necessary elements were combined at Heidelberg to produce a magnificent production of Faust and Dante.