Salieri, these are indeed nice! I do have several suggestions about syllabification which I shall go into detail about later. One, which I will mention now is for the response in the suffrages 'For there is none other...'. Here I would definitely underlay the treble at '...only thou, O God' thusly:

only=c & a, beats 1 & 2 > thou,= d,beat 3 > O=c,beat 4 and a,beats1 & 2 > God=b, beats 3 & 4.

This 'throw of accent' would be a common Tudor-Jacobean treatment and would add period, rhythmic, and textual flavour. There are some other places where you might do this as well.

I like your P & Rs. They are beautiful, and I shall mention them to Edmund.

About that final 'amen': the treble line is nice if a little up and down the scale. More helpful though would be more counter-movement between beats in the lower voices

Salieri -

I think that the bottom one is the best. It has a good climax going up to the high G and coming down in a typical Tudor fashion to the lovely suspension and cadence. Also, get rid of the tenor's last c - the series c-b-a-c is dull and rhythmically clumsy.

About the first one. It, too, is nice but for two things: 1) the octaves between treble and bass going from bar 2 to 3, and 2) I would get rid of the repetitious c that occurs with the doubled treble part in the last two bars - omit the upper voice.
The f-natural in the alto in inspired and very period English.
Omit the tenor's last c - the c-b-a-c series is lackluster and weak.

The second one is the best.
Do sent these to our choirmaster.

The final amen is unquestionably the best!