Thus, after 1660 the motett was a composition in modern tonality and with orchestral accompaniments. Amongst composers in this style we find Scarlatti, Pergolesi, Durante, and others, followed later on by Keiser in Germany and Sebastian Bach, and then Graun, Hasse, and Hiller. Handel wrote motetts in his earlier years. In modern times, as I have had reason to point out to you in other forms, titles are appended to works which are, to say the least, inappropriate, and the only claim these have to the name motett is that they were originally intended to be sung at High Mass. Such are the “Insanæ et vanæ curæ” of Haydn, “Splendente te Deus” of Mozart, and the “O Salutaris” of Cherubini. The term “motetus,” given in early times to the medius or middle voice part, is probably in no way connected with the derivation of the word motett. The motett form appears in Church music of Queen Elizabeth’s time, and although the anthem was gradually substituted, some of the earliest anthems after the Reformation were in motett style, especially those of Tallis and Byrd. About the derivation of “anthem” there is as much dispute as there is over the word “motett.” Some consider it to be derived from “ant-hymn,” a kind of antiphony, though the very ancient custom of choir responding to choir, or choir to priest, has entirely disappeared in the modern form of anthem. This responsive or antiphonal singing may, in a highly-developed form, yet become the anthem of the future, at any rate in churches and cathedrals where the voices at disposal are good and in large numbers. By some writers “anthem” is derived from ανατιθημι, to set up (as an offering), and by some from ανθημα, a flower, the anthem being considered the flower of the service. It is regrettable to find that the idea of attending service for the sake of the anthem alone is not yet extinct. The anthem is thoroughly English; it supplied the attraction to our Reformed Church, which the church cantatas and passion music did for the Lutheran Church. Nearly all our eminent musicians have written numbers of them, many examples containing the finest of English composition. From early in the sixteenth century the anthem was permitted as a part of Divine service, but it is not until the revision of the Prayer Book in 1662 that we find the rubric, “In choirs and places where they sing, here followeth the anthem,” which retains its place to this day.