sings _sanctus_, another sings _Sabbaoth_ and another _gloria tua_, and the whole effect of the music is little more than a confused whirring and snarling, more resembling the performance of cats in January than the beautiful flowers of May." At the same time Palestrina was desired to write a mass in a style suitable for the sacred office. Too modest to rest the case upon one work, he wrote three, which were performed with great care at the house of Cardinal Vitellozzi, and all were much admired, but the third, known as the mass "_Papae Marcelli_," in memory of the pope who had appointed Palestrina to one of his positions, was recognized as of transcendent excellence. It was copied in the collection of the Vatican, and the pope ordered a special performance of it in the Apostolic chapel. At the end of it he declared that it must have been some such music as this that the apostles of the Apocalypse heard sung by the triumphant hosts of angels in the New Jerusalem. Palestrina continued to write masses, motettes and other works during the remainder of his life, but during the entire time lived in the extremely limited condition already mentioned, and was subject to much enmity from jealous singers and composers. The most pleasing incident of his later life happened in 1575, when fifteen hundred singers from his native town came to Rome in two confraternities of the Crucifix and the Sacrament, making a solemn entry into the city, singing the music of their great townsman, who conducted at their head. The long and active life of this great master came to an end January 22, 1594. Among his greater works are ninety-three masses, a very large number of motettes, forty-five hymns for the whole year, sixty-eight offertories, and a large number of litanies, magnificats and madrigals. It is not unlikely that reform in Catholic Church music had been very largely influenced by the Protestant music of Germany. Martin Luther (1483-1546) in arranging music for the Protestant Church, invented the chorale and added to the best melodies from the Plain Song some wonderfully fine ones of his own, such as "_Eine Feste Burg_," and caused many others to be written by the best composers of the Netherlandish school. The chorale was the exact opposite of the motette of the Netherlands. In the chorale all of the voices moved together. The same music was invariably sung to the same words, whereby an association was created, intensifying the effect of the music and the words respectively. As examples of Palestrina's music are not common I have thought best to allow space for the following from his music for Holy Week. The pieces will produce a much better effect if sung by good voices than when played upon an instrument. They are written for the voice. [Music illustration: "TENEBRAE FACTAE SUNT," BY GIOVANNI PIERLUIGI DA PALESTRINA.