a favorite with all. With the duke and the duchess he was especially intimate, and owing to their favor was admitted to the highest social gatherings. His introduction to the court nobility resulted in his marriage in 1558 with Regina Welkinger, a maid of honor attendant on the duchess." [Naumann, History of Music, p. 376.] [Illustration: ALBRECHT V. Reproduced from an ancient prayer book.] It may be as well to add here that Lasso and his wife had six children, four sons and two daughters. Ferdinand and Rudolph, the eldest sons, became composers of some note. It was in 1562 that Lasso was made chapel-master to the Duke of Bavaria, thus attaining what was then esteemed as the highest prize in the musical world. He now had under his direction a fine body of singers and instrumentalists, for which a modern composer would have written not only masses, but cantatas and oratorios. We must bear in mind, however, that in Lasso's day church composers preferred the _a capella_ style, and the art of orchestral accompaniment, as we understand it now, was unknown. When instruments were used in conjunction with voices they simply doubled the voice parts. Hence Lasso's great compositions are all written for an unaccompanied choir. It appears that Lasso served for five years as chamber musician before being made chapel-master, because Ludwig Daser was not quite old enough to be retired from the higher post and because the Duke wished Lasso to learn the language before assuming the responsibility of the mastership. In 1562, as stated, Daser was retired, and, as Van Quickelberg tells us, "the Duke, seeing that Master Orlando had by this time learnt the language and gained the good will of all by the propriety and gentleness of his behavior, and that his compositions (in number infinite) were universally liked, without loss of time elected him master of the chapel, to the evident pleasure of all."