principles and reasons for being, before it can be understood. Then we may know its value as a foundation for our modern music. REFERENCES. Grove.—Dictionary of Music and Musicians, article on Schools of Composition, section relating to Italy. Naumann.—History of Music, Vol. I. Langhans.—History of Music. QUESTIONS AND SUGGESTIONS. Why did the centre of music shift to Italy? What kind of emotion is present in the polyphonic style of music? What composers were prominent outside of Italy? Name the prominent composers of the Italian school. Sum up the Polyphonic Era. Consult a history of art and give an account of the great painters, sculptors, architects and their greatest works during the century preceding the development of the Italian school. LESSON XIV. PALESTRINA AND HIS INFLUENCE ON THE MUSIC OF THE ITALIAN SCHOOL. THE MADRIGAL. [Illustration: PALESTRINA.] =A Church Composer=.—But one master of the Italian Polyphonic schools is worthy of lengthy notice, more because of his influence on the music of the Church than his contribution to the new instrumental school then only in its infancy. Palestrina, while acquainted with Galilei, the reformer of Opera, and Neri, the originator of Oratorio, and with many of the men identified with the new style of vocal and instrumental music, gave his entire life to the composing of Church music, though in his poverty-stricken condition musical work under wealthy patronage must have often appealed to him. At any rate, the farthest he ever strayed from the Church was in the composing of many madrigals, in which he excelled; it is almost certain that in these he unintentionally influenced the development of instrumental music. For the present, however, a consideration of his life and influence on Church music is more important. But for him, Church music would have lacked for at least a century that simple and individual note so often struck by himself and Bach. Palestrina, by the enormous number of his masses and by the fertility of his invention, placed the music of the Latin Church on so high a plane that no composers, at least until the time of Bach, even approached him, much less equalled him.