=Schools Outside Italy=.—The overflow from the Netherlands concentrated its efforts on certain points or school centres. In Italy, these were Naples, Venice and Rome. There were others throughout Europe, such as Madrid, Paris and Munich, which we must consider first because of their relation to Italy. =Nicholas Gombert= (1495-1570) influenced the polyphonic development in Madrid, but so isolated was the work that nothing great resulted. =Okeghem= (1430-1512) worked longer in Paris than other masters, though several lived there for short intervals, such as Arkadelt and Goudimel. =Orlando di Lasso= (1520-1594) did almost all his work in Munich and established the most important school outside of Italy. He was a most prolific writer and can be compared in ability and style to Palestrina. His style was broad and bold and contained much of that serious and earnest character now attributed to his Teutonic associations. He wrote in all known forms and was well nigh universal in his knowledge of form, technic and expression. His facility in the art of writing was very great and was fully equalled by his love for work. Although his work has somewhat less perfection than that of his great contemporary, Palestrina, it has astonishing power of expression. It shows the force of his genius that he was able to make his works in the strict contrapuntal forms full of real feeling. He was a man of interesting personal character. The most famous of his works is his setting of seven “Penitential Psalms,” containing a number of most curious effects for unaccompanied voices, with much that is singularly characteristic and beautiful, and showing well the character of his genius. We give part of a composition by di Lasso showing his broad style and the increasing use of what sounds suspiciously like our modern chord progressions. The lack of rhythmic effect and the holding over of notes past the accented beat is shown in this exercise. The whole example, with words, may be found in Naumann, History of Music, Vol. I, page 387. [Music]