A list of his compositions published by Breitkopf and Haertel include 93 Masses, 179 Motets, and 45 Hymns for the year, 68 Offertories, 3 books of Lamentations, 3 books of Litanies, 2 books of Magnificats, 4 books of Madrigals. A big list, isn’t it? But his activities covered a long period, and he composed to the time of his death (1594). He had very few pupils whose names have come down to us. Palestrina never had great wealth, and some biographers make him seem poverty-stricken and suffering. At any rate, he was granted his heart’s desire, to compose as much as he wanted to, and even if he was poor, he had the joy of success and the glory of being recognized as the greatest composer of his time in Italy. His works have outlived many other schools of composition, and today are looked upon as models of beauty and of masterly workmanship. Palestrina was honored by burial in St. Peter’s, and on his tombstone are the words “Princeps Musicæ” (Prince of Music). You must not think that Palestrina was the only famous Italian composer of the 16th century, for Constanza Festa who died before Palestrina did his important work is called the first Italian master of the polyphonic school. There were also Animuccia, Andrea Gabrieli, and Andrea’s nephew Giovanni Gabrieli. Giovanni was a Venetian, and the Venetians loved rich coloring in everything, even in their music. Gabrieli tried to get it by using cornets, trombones and violins with the organ, which at that time could not make a _crescendo_, that is, its volume could not be increased, but as these instruments could all be played soft or loud with _crescendo_ effects, he created a color or quality that never had been before. CHAPTER XIII Birth of Oratorio and Opera—Monteverde and Heart Music BIRTH OF ORATORIO AND OPERA A friend of Palestrina, Saint Filippo Neri, was the founder of Oratorio. In 1558, Father Neri started daily religious meetings to which all sorts of people came. These were held in a side room of the Church called the Oratory (chapel for private prayer), and in addition to his talks,—hymns, litanies and motets were sung, and scenes from the Bible were performed somewhat like opera. The name “Oratorio” was soon used, not only in Rome, but throughout all of Europe, wherever there were sacred dramas with music. Palestrina arranged and wrote some of the music for Father Neri. BIBLE STORIES ACTED