In the second period of Anglican Church music, beginning after the restoration of the Stuarts in 1660, a distinct change in the character of anthem-writing is discernible. This was inaugurated by Pelham Humfrey (1647-1674), whose foreign study under Lulli and later in Italy brought him in touch with the greater freedom of the operatic style. In his church music and that of his immediate successors there is noticeable greater variety of plan and detail, more daring harmonies, more easy grace in the flow of voice-parts, and in general a faint echo at least of the brilliance reflected from the stage. The Italian art of solo-singing began to force its way into the domain of church music, adding relief and contrast to the severity of the old motet type of ‘full’ anthem. This style culminated in Henry Purcell (1658-1695), probably the most gifted and certainly the most versatile genius that English music has produced. In his hands the modern form of the anthem, as differentiated from the old motet, became clearly defined. Purcell, trained in the Chapel Royal and himself a ‘most distinguished singer,’ gave large emphasis to the ‘verse’ and ‘solo’ anthems, and these grew rapidly in favor. Although an operatic composer of profound ability, in many respects far in advance of his time, his religious music shows no trace of undue influence from this secular source, and many of his anthems[64] and ‘services’ are still cherished as among the finest examples of English church music of any period. During the latter part of the seventeenth century instrumental music in England took on new importance, and its influence was felt in all branches of the art. Orchestral instruments were frequently employed in the ritual-music in addition to the organ, which instrument, it should be added, was far behind the German organ of this period in mechanical development and technical possibilities. Purcell wrote trumpet parts to his celebrated Te Deum and composed as many as twenty anthems with orchestra (besides over thirty with organ). His instrumental accompaniments began to assume quite independent outlines and his choruses were of such fine workmanship that Handel, who was thoroughly acquainted with his church music, gladly acknowledged his indebtedness to him. Other noted composers of anthems of this period were Dr. John Blow (1648-1708), William Croft (1678-1727), and Jeremiah Clarke (1670-1707), all of whom were choristers in the Chapel Royal and were brought up and trained in the atmosphere of the cathedral service.