[35] A full and authoritative discussion of the facts and fables associated with this mass, based on researches in the archives, will be found in F. X. Haberl’s _Die Kardinal-Kommission von 1564 und Palestrina’s Missa Papæ Marcelli_. [36] _Missa Brevis_ was a name given to a mass of moderate length and not intended for festival occasions of great solemnity. [37] It was published for the first time with the Pope’s permission by Dr. Burney. It is given in almost complete form in Grove’s ‘Dictionary of Music and Musicians,’ Art. ‘Miserere.’ [38] The most famous of these, set to Petrarch’s _Vergini_, have in recent years been published by Breitkopf and Haertel. [39] Of the 57 madrigals in _Musica Transalpina_, published in London in 1588, ten were by him, and of the twenty-eight numbers in Watson’s ‘Italian Madrigals Englished,’ published in 1590, twenty-three were from his pen. [40] Rockstro avers that the word ‘madrigal’ appears for the first time in England in the preface to this volume. CHAPTER III THE FIRST CENTURY OF PROTESTANT CHURCH MUSIC Martin Luther; the chorale as the nucleus of German Protestant church music--Early Reformation composers: Walther, Eccard, Prætorius; influence of church choir schools in Germany during the Reformation period--English Protestant music, music of the Anglican liturgy: the anthem, its early history and style--The spread of congregational song; psalms and hymns. I Christian art in its general outlines has followed upon the heels of Christian thought and doctrine with the fidelity and persistence of a shadow. Ever since it first learned definite articulation, it has responded with childlike obedience to the varying conditions which the church has experienced in its endeavors to win and to hold the allegiance of humanity to its spiritual leadership. Music, the youngest of the arts, strikingly illustrates this attitude of dependence. Consequent on the doctrine of the universality of the church, a marked sameness and uniformity existed in the ritual-music of French, Italian, Spanish, German, and English church composers, as long as the supremacy of the church was undisputed. This absence of variation in style, form, and expression, this suppression of national and individual characteristics, was the natural manifestation of the doctrine of the complete surrender of the individual, which governed all his relations to the church. The workings of the forces of humanistic thought in the sixteenth century brought about some deviations, even in sacred music, from this uniform mode of expression, and in Italy we can easily find points of differentiation between the music of Venetian, Roman, and Neapolitan composers, though all were loyal adherents of the same faith.