The exact entry recording this fact in the Chapel Royal Cheque Book runs "1623, William Byrd, a Father of Musick, died the 4th of July, and John Croker, a Counter Tenor of Westminster, was admitted for a year of probation of his good behaviour and civill carriage." Mr Barclay Squire has discovered much of interest concerning Byrd, notably his Will. In this he expresses a hope that he "may live and dye a true and perfect member of God's holy Catholic Church, (without which I believe there is no salvation for me). My body to be honourably buried in that parish or place where it shall please God to take me oute of this life, which I humbly desyre (if it shall please God) may be in the parish of Stondon where my dwellinge is, and this to be buried neare unto the place where my wife lyeth buryed." Of late years much attention has been devoted to Byrd's sacred music, which includes some remarkably fine Masses, some of which have been reprinted and used in the Roman Catholic Church. But Byrd has never been forgotten in the Cathedrals of England, for his Anthem _Bow Thine ear_ has always found a place in the lists of the daily musical services. There is, also, a fine {19} specimen of his composition in the volume of Cathedral music published by Dr. Hayes. It has English words, and for a long time appeared in the Abbey list as by Hayes, but it was identified as one of Byrd's Latin motets, and now is ascribed to the rightful owner. An interesting specimen of his Clavier compositions is to be found in the Fitzwilliam volume being an arrangement of the air _O Mistress Mine_. This is one of the few pieces of Shakesperean music which was published in the Poet's life-time. It is charmingly treated by Byrd. The same air appeared in a work by Morley, an arrangement of various airs for a small Band consisting of the Treble Viol, Flute, Cittern, Pandora, Lute, and Bass Viol. It seems probable that this air was a popular tune and that Shakespeare wrote words to it, or possibly (as he did in _Willo! Willo!_) took the old words which were set to the melody and incorporated them in his play. A contemporary opinion of Byrd can be gathered from Peacham's estimate of him in the _Compleat Gentleman_. Writing in 1622, he says: "In Motets and Musicks of piety and devotion, as well for the honour of our nation as the merit of the man, I preferre above all other our Phoenix, Mr. Wm. Byrd, whom, in that kind, I know not whether any may equall, I am sure none excell, {20} even by the judgment of France and Italy. His _Cantiones Sacrae_ and also his _Gradualia_ are meere Angelicall and Divine and being himself naturally disposed to gravity and piety, his veine is not so much for light Madrigals and Canzonets, yet his Virginella and some others in his first set cannot be mended by the best Italian of them all." And Morley speaks of him as "my loving master, never without reuerence to be named of Musicians."