The last great master among the Belgians, and, after Palestrina, the greatest of the sixteenth century, was Orlando di Lasso, born in Hainault, in the year 1520. His life of a little more than three score years and ten was divided between Italy and Germany. He left the deep imprint of his severe style, though but a young man, on his Italian _confreres_, and the young Palestrina owed to him much of the largeness and beauty of form through which he poured his genius in the creation of such works as have given him so distinct a place in musical history. The pope created Orlando di Lasso Knight of the Golden Spur, and sought to keep him in Italy. Unconcerned as to fame, the gentle, peaceful musician lived for his art alone, and the flattering expressions of the great were not so much enjoyed as endured by him. A musical historian, Heimsoeth, says of him: "He is the brilliant master of the North, great and sublime in sacred composition, of inexhaustible invention, displaying much breadth, variety, and depth in his treatment; he delights in full and powerful harmonies, yet, after all--owing to an existence passed in journeys, as well as service at court, and occupied at the same time with both sacred and secular music--he came short of that lofty, solemn tone which pervades the works of the great master of the South, Palestrina, who with advancing years restricted himself more and more to church music." Of the celebrated penitential psalms of Di Lasso, it is said that Charles IX. of France ordered them to be written "in order to obtain rest for his soul after the horrible massacre of St. Bartholomew." Aside from his works, this musician has a claim on fame through his lasting improvements in musical form and method. He illuminated, and at the same time closed, the great epoch of Belgian ascendancy, which had given three hundred musicians of great science to the times in which they lived. So much has been said of Orlando di Lasso, for he was the model and Mentor of the greatest of early church composers, Palestrina. II.