firmus_ of their masses, and weave their counterpoint around this as a core. Dozens of masses were written on the old Provençal song of "L'Homme Armé," Palestrina himself furnishing one, and it seemed to be a point of honor among the composers to see who could wreath the most brilliant counterpoint around this popular tune. Many of the melodies chosen were not even so dignified as this, and at times the Flemish composer would choose as his _cantus firmus_ some drinking song of his native land. In those days the melody was generally committed to the tenor part (the word comes from "teneo" and means "the holding part," that is the part that held the tune) and in order the better to show on what foundation they had built, the Flemings retained the original words in this part, whence it came to be no uncommon thing to hear the tenors roar out a bacchanalian song while the rest of the choir were intoning a "Kyrie," a "Gloria," a "Credo," or an "Agnus Dei." It is almost incredible that the custom lasted as long as it did, but at last, in 1562, the Cardinals were summoned together for the purification of all ecclesiastical matters, and the famous Council of Trent began to cut at the root of the evil. As is generally the case in all reactions, the reform seemed likely to go too far, for while all were united upon the abolition of secular words in the Mass, some maintained that the evil lay deeper yet, and attacked counterpoint itself as worldly and unfit for true religious music. These advocated nothing less than a return to the plain song or chant, a turning back of the hands of musical progress that might have been very serious in its results. Fortunately, however, the ablegates, and the envoys of the Emperor Ferdinand I., protested vigorously, and the whole matter was finally referred to a committee of eight cardinals, who very wisely chose eight of the papal singers to assist them in their deliberations. The sittings of this committee were held chiefly in 1563, and fortunately two of the number, Cardinals Vitellozo Vitellozzi and Carlo Borromeo (afterwards canonized) were men of especial musical culture. The works of Palestrina had been frequently cited during the debates, and now it was determined to commission him to write a mass which should prove to the world that the employment of counterpoint was consistent with the expression of the most earnest religious thought. Right nobly did Palestrina respond to the call. Too diffident of his own powers to trust the issue to a single work, he sent the cardinals three, of which the first two were dignified and effective, while the third was the celebrated "Mass of Pope Marcellus." He sent the works on their completion, in 1565, to Cardinal Borromeo, and the _Missa Papae Marcelli_ was soon after performed at the house of Cardinal Vitellozzi. It made its effect immediately, and soon after the Pope ordered an especial performance of it by the choir at the Apostolical chapel. It is odd to