From this time forward for several years Lasso was engaged in composing his most noted church works, among them being the famous "Penitential Psalms," which are still held in the highest esteem among lovers of pure old church music. He wrote also some of his finest Magnificats, as well as many pieces of secular music. His fame spread through Europe, and though Palestrina was his contemporary, it was Lasso who was spoken of as the "Prince of Musicians." He was also much praised as a conductor, and contemporary writers bear testimony to the fine precision and spirit with which the ducal choir sang under his direction. In 1570 the Emperor Maximilian honored the composer by making him a knight. The following year Pope Gregory XIII. conferred upon him the order of the Golden Spurs. The ceremony was performed with much pomp in the papal chapel at Munich by the chevaliers Cajetan and Mezzacosta. In the same year the composer made a visit to Paris, where he was received with every mark of distinction by Charles IX. This visit and the favor of the monarch have given rise to one of those pretty stories with which the history of music is dotted, but which unfortunately will not bear scrutiny. The story is that Charles IX., tormented by remorse for the massacre of St. Bartholomew, asked Lasso to write his Penitential Psalms as an expression of the kingly repentance. But dates, which are stubborn things, refuse to be reconciled with this story. These psalms were undoubtedly written at the request of Duke Albert. The first volume of them in manuscript is preserved in the Royal State Library at Munich, and it bears the date 1565. The massacre of St. Bartholomew took place in 1572. The value which Duke Albert set upon these compositions is shown by the manner in which he treated them. They were bound in the most costly manner, in morocco, with silver ornaments which alone cost seven hundred and sixty-four florins. The court painter, Hans Mielich, painted for them portraits of the Duke, Orlando, and of the persons who made the books. J. Sterndale Bennett, in his excellent article on Lasso in Grove's "Dictionary of Music," makes the suggestion that the production of these noble psalms so early in the composer's life at Munich points to the probability that his Roman sojourn was twelve years instead of two, and that he was, therefore, born in 1520 instead of 1530. The inference is hardly avoidable.