Adrian Willaert (1480-1562), the founder of the so-called Venetian school, whose activities as a church composer we shall recount in the next chapter, is generally considered the father of the new madrigal. Though others went before him, it was he who endowed it with the freshness and vitality which made its extraordinary vogue possible. Master Adrian, says Ambros, 'found in the smaller _frottole_ of a Marco Caro and others many noble, serious expressions of sentiment. This _colorit_, this peculiar tone, he retained, together with the manner of treating Italian verse; but in place of the timid, poor and often clumsy technique of the Italians he applied to them the entire Netherland mastery of accomplished counterpoint--and the madrigal was ready.... The madrigal was to express only the pure and the profound. The _cor gentile_ was the center of this poetry and music--the heart moved by noble love, with its joys and pains, its love, hope, longing, suffering and anger. The 'tone’ of the madrigal is ever one of tender emotion, never of vehement passion.... It should never burst out in unbeautiful, violent expressions.’ Analyzing one of his madrigals, Riemann say that 'on the whole there is so much originality, so much individual endeavor, that the lack of flowering fancy and warm blood is willingly overlooked. We feel as one does in the case of moderns, for instance Berlioz, that we are in the presence of a distinguished personality.... Willaert is great by virtue of the various impulses that he gave, as teacher, as eminent artist, but not really because of his compositions. If we compare him to the passionate Verdelot, the daring Arcadelt, the solemn Festa, the supple Gero, or the genial Rore, commanding all the nuances of expression, any one of these will be found more telling, but ... in all of the works of these, his pupils, we find the traces of his genius.’ Riemann has here named the greatest of the madrigalists, some of whom we must now consider further. They were all not only learned contrapuntists, but consummate masters of style, as is shown by the restraint with which they applied their skill, and they have left us works 'which for purity of style and graceful flow of melody can scarcely be exceeded.’ Philippe Verdelot’s madrigals appeared even before those of Willaert (1538), but few have been preserved with all parts complete. He probably lived in Italy during 1525-1565 (Florence and Venice). His second book of five-part madrigals appeared in 1536 and in the same year Willaert published lute arrangements of Verdelot’s madrigals. Besides nine books of madrigals (four to six parts) he left motets for up to eight parts and a large mass, _Philomena_.