Palestrina wrote madrigals with equal facility and merit in all styles; he named two of his volumes “Madrigali Spirituali,” sacred music, but intended rather for the chamber than the church, for which latter the motetts were written. He varies every passage according to the sentiment of the words, and above all his contrapuntal learning, places his noble sincerity and purity of style and expression. Would that our modern work possessed such simple nobility! Succeeding him, Felice Anerio produced, and in 1585 published, three volumes of Madrigali spirituali, and, soon after the year 1600, two volumes of secular madrigals; there were besides fine madrigals by Giovanelli Nanini, Francesco Anerio, and last but not least, Luca Marenzio. These and others formed the great Roman school, but there existed a school in Venice also, founded by Willaert the Netherlander, from which sprang the works of the two Gabrielis, Leo Hasler, Gastoldi and Croce. In Florence also madrigals were very popular for a short time, until the craving of the Florentines for instrumental accompaniment destroyed their early affection for purely vocal music. In Naples a lighter form (villanella) existed, but in France and Germany it found no home, where the chanson and volkslied held their respective sway. In England a national school was formed which took firm root, and developed into fully as healthy a tree as any of the rival foreign growths. First of all Italian madrigals were introduced and printed in England, but by the end of the sixteenth century Byrd and Morley had published original specimens, and the madrigal was fast becoming an English institution, supported by such excellent composers as Weelkes, Edwardes, Kirby, Dowland, Wilbye, Ford, Benet, Michael Este, and others. We may call special attention to Morley’s collection in honour of the virgin Queen Elizabeth, named the “Triumphes of Oriana,” including madrigals by many of the above-named writers. It was published in 1601. Only a few years later Orlando Gibbons brought out a volume of “Madrigals and Motets,” and just a hundred years after the earliest publication in England of such works, appeared a book of madrigals collected by Martin Pierson. Madrigals they undoubtedly were, though he called them “mottects.” Ambros, in his “Geschichte der Musik,” speaks in the highest praise of our great madrigal school, and names it “one of the most pleasing flowers of that Elizabethan soil,” a soil teeming with great scholars, poets, and dramatists. To conclude, the madrigal is generally interpreted by many voices to each part, and as a rule is the more effective in proportion to the number of singers employed. Whereas the glee, into which the madrigal gradually changed, and of which we are about to speak, is intended to be sung by a single representative of each part. Other differences, more important than this, we shall have occasion to note later on. GLEE.