The Venetian school, after its earliest period produced two great composers from one family. These were Andrea Gabrieli (1510-1586) and his nephew Giovanni Gabrieli (1557-1613). The former followed Willaert's plan of writing for antiphonal choruses, but he employed most frequently three instead of two. The latter was more of an instrumental composer than his uncle, and hence conceived the idea of writing instrumental accompaniments. In his "Surrexit Christus" he used an orchestral accompaniment of first and second violins, two cornets, and four trombones. This work of Giovanni Gabrieli's fairly marks the termination of the era of _a capella_ (unaccompanied) polyphonic church music. The opera had been born, and so had the oratorio, and church music began to borrow ideas from them. Giovanni Legrenzi (1625-1690) increased Gabrieli's orchestra to nineteen violins, two violas, three viole da gamba, four theorboes (lutes of large size), two cornets, one bassoon, and three trombones. Antonio Lotti (1667-1740) was an opera writer as well as a church composer, and he wrote masses full of passionate feeling. His later works are full of passages in which the voices alternate with the instruments and there are accompanied solos and choruses. With Lotti, who used unaccompanied choruses occasionally, we bid a final farewell to the great period of _a capella_ church music, and enter upon the era in which music for the church was made in the same way as other kinds. The masses of Mozart, Beethoven, Cherubini, and other modern writers are all richly instrumented. England had fairly kept pace with the Continent in her mastery of polyphony, which so early produced the remarkable canon "Sumer is icumen in." Thomas Tallys (born about 1520, died Nov. 23, 1585) was one of the greatest of the English masters, and is regarded as the father of English cathedral music. His works do not equal those of his contemporaries in inspiration,--he was neither a Lasso nor a Palestrina,--but he had a large command of polyphonic technic. One of his notable works was a motet, entitled "Spem in alium non habui," written for eight choirs of five voices each, in antiphonal style. His best known work, however, is a Litany and Responses. His pupil, William Byrd (born about 1538, died July 4, 1623), wrote many admirable church works notable for the majesty of their style. Orlando Gibbons (died 1625, at the end of the Netherlands period) was the last great light of the English school.