We do not hear much more of him until 1612, with the exception of a mention in the State Papers of that period, wherein we find a petition in 1611 to the Earl of Salisbury "for a lease in reversion of forty marks per annum of Duchy {36} lands, without fine, as promised him by the Queen." The year 1612 sees the publication of his _First sett of Madrigals and Mottets of_ 5 _parts, apt for viols or voyces_. _Newly composed by ORLANDO GIBBONS, Batchelor of Music, Organist of H. M. Chapel in Ordinary_. The work is dedicated to Sir Christopher Hatton, and the dedication runs thus: "They were most of them composed in your owne house and doe therefore properly belong to you. The language you provided them, I only furnished them with tongues to utter the same." It is thought from this that Sir C. Hatton wrote the words, as Gibbons was on terms of close intimacy with him. Another proof of this is shown by a piece in Ben Coszyn's _Virginal Book_, where Gibbons is represented by a "Hatten's" Galliard. The collection, _Madrigals and Mottets_, is rather misleading as to title, for there is not one Motet in it, though there are thirteen Madrigals, some divided into 2, 3 and 4 sections, each as long as an ordinary Madrigal. One of the 'sett' is _The Silver Swan_. It has been stated that besides the published Madrigals, no secular or vocal compositions exist in MS. except a kind of _Burlesque Madrigal_ called _The Cryes of London for_ 6 _voices_. This statement is altogether incorrect. To {37} mention one, a song, _A Soldier's Farewell to his Mistress_ ("My love, adieu") is in existence, and I have often had it performed. And the statement about the _Burlesque Madrigal_ is truly absurd. It is curious that the musical historians have, as in Burney's case, either neglected to notice the existence of the work on the Cryes of London, or have, quite incorrectly, called it a Madrigal. It is a particularly interesting form of composition. Like Weelkes' _Humourous Fancy_, it has parts for Viols and a superimposed vocal score for S.A.T.B. (not 6 voices) consisting of the Old Cryes of London. But it differs in one respect from Weelkes', for it is an "In Nomine" for strings. This is an older form of the Fancy, and has the peculiarity of one part for the Viol--an inner part--being allotted a well-known old ecclesiastical melody. This Plainsong melody is to be found in the _Sarum Missal_ to the words "_Gloria Tibi Trinitas_," and, curiously enough, the same Plainsong is used by many composers of "_In Nomines_," Byrd and Ferabosco amongst others. But this is the only example I have come across where a sacred melody is introduced in connection with secular, and, in the case of Cryes, somewhat humourous words. Examples of the introduction of secular tunes into the sacred works by {38} composers of the Italian school of the 16th century are, of course, very common. This is a curious reversal of the custom, i.e. the introduction of a sacred tune