With regard to his death, we have always been led to believe that he died of small-pox--all the histories, including the admirable Grove's _Dictionary_, have taught us so. Mr W. Barclay Squire, of the British Museum, has, however, shown this to be incorrect. In a letter, which he found among the State Papers, from Sir Albertus Morton to Lord Edward Conway, and endorsed "Mr Secretary Morton, touching the Musician that dyed at Canterburie and supposed to have died of the plague," a medical certificate is enclosed signed by Drs Poe and Domingo, stating that his sickness was at first "lethargicall" followed by convulsions: "he grew apoplecticall and so died"--thus refuting the small-pox theory in favour of apoplexy. His portrait is in the collection at Oxford, and a fine monument with an excellent bust was erected in Canterbury Cathedral by the composer's widow. It was my privilege to suggest and organize a Musical Festival of Gibbons' works in Westminster Abbey in 1907. Some of his finest Church music was given by a very large choir, and a beautiful replica in black marble of the bust of the composer, which is in Canterbury Cathedral, was unveiled. It has always seemed to me a reflection upon the Abbey that no memorial to {49} the greatest of its organists--save Purcell--should be found there. This Festival created very great interest, and brought a munificent offer from Mr Crews, a well-known amateur and Master of the Worshipful Company of Musicians, to defray the expense of a bust of the celebrated organist. It is well placed in close proximity to the memorials of his worthy successors, Blow, Purcell, and Croft. {50} VI. RICHARD DEERING 1580 (?)--1630 In considering the careers and works of the first five musicians on my list of twelve, I have, it is true, been treating of men whose names are to be found in all musical histories. But of the next name on my list I am able to say I am on comparatively new ground. There is nothing so surprising to me as the universal neglect--nay, I may even use the word disdain--with which musical historians of many periods have treated the name of Richard Deering. In common with most people of my own age I knew very little about this composer, and certainly in common with, I venture to say, all my contemporaries, I never heard a note of his music until a few years ago.