In all of Lassus’ works there is a noticeable breaking away from the intricacies and complicated forms of Josquin and the older Netherlanders in favor of a more direct and simple style. Secular music may well have exerted an indirect influence to produce such a result, but a more direct cause must be sought in the religious movements of his period. Lassus, like Palestrina, was a man of strong and sincere religious convictions. Zealous Catholics in Rome were seeking to reform the abuses in ecclesiastical government and procedure that had started the Reformation and given such astonishing strength to its progress. The court at Munich, in which Lassus was such a prominent figure, was the first in Europe to espouse the cause of this counter-reformation. Simplicity of style and directness of expression were the natural and logical consequences of the earnestness of purpose and religious conviction that breathes in the music of both Lassus and Palestrina and that sought to grasp the essential spirit of the Roman liturgy and body it forth in vitalizing tones. Indeed, the tendency toward a simpler and less ornate style was well under way before the Council of Trent undertook to discuss the defects in the prevalent church style. Of Lassus’ 1,200 compositions of the motet type 429 were called _sacræ cantiones_, a term that is rather vague as to its inclusion and exact application. The most famous of the motets is the masterly _Gustate et Videte_, to which additional interest is attached from a pretty story related by Heinrich Delmotte, one of the most reliable of Lassus’ biographers, to the effect that, during the festival of Corpus Christi in 1584, the singing of this motet, as the solemn procession headed by the choir emerged from the church, caused the sun to shine forth brightly in the midst of a terrific thunder-storm, permitting the procession to traverse its accustomed course through the city. But when the procession returned to the church and the singing ceased, the storm burst forth again in all its fury. The multitude cried ‘A miracle,’ and for many years thereafter the singing of this motet always accompanied the offering up of prayers for fine weather. Though one might select a score of his fine motets for special mention, three may be spoken of here in addition to the _Gustate_, namely, _Dixit autem Maria_, _Improperium expectabit cor meum_, and _Timor et Tremor_ in six parts, replete with wonderful vocal effects. His simple, direct, and earnest style is well set forth in the _Adoramus te Christe_, a short chorale for four male voices, utterly devoid of contrapuntal artifice, yet breathing a spirit of humble adoration that maintains throughout an atmosphere of solemn tenderness. His motets were written for from two to twelve voices and the masses for four and five voices.