But the success of his madrigals was even surpassed by those of Jacques Arcadelt. A native of the Netherlands (b. 1514), the latter died in Paris after 1557. He appears as singer at the court of Florence from 1540 to 1549, when he became one of the papal singers of the Sistine Chapel in Rome and singing master to the boys at St. Peter’s. Besides compositions which appeared in miscellaneous collections, he published independently five books of four-part madrigals (1537-1544), another for three parts, all of which went rapidly through many editions, besides three masses and a book of motets. One of his madrigals, _Il bianco et dolce cigno_, a notable example of the style, is reprinted by Burney.[110] The well-known _Ave Maria_, which has been edited by Sir Henry Bishop and transcribed by Liszt, is now thought to be of doubtful authorship. Constanzo Festa, of Rome (where he was papal chapel singer from 1517 till his death in 1545), the first Italian representative of the imitative vocal style in church composition, is with Willaert and Verdelot the originator of the new madrigal; his _Amor che mi consigli_, published in 1531, even points to him as the first in the field. His works are distinguished by rhythm, grace, elegance, simplicity and purity of harmony. Burney further assures us that 'the subjects of imitation in it are as modern, and that the parts sing as well as if they were a production of the eighteenth century.’ His madrigal _Quando ritrovo la mia pastorella_ ('Down in a Flow’ry Vale’) was for a long time the most popular piece of its kind in England. He was less happy in his motets, in which he followed the absurd custom of setting the voice to different texts. A celebrated _Te Deum_ by him is still sung by the pontifical choir upon the election of a new pope. Festa attained the dignity of _maestro_ at the Vatican, being at that time the only Italian to hold such a position.