It is natural, then, that during the stormy times which marked that period we have little intelligence concerning the doings of Locke. We have the dates of some of his compositions, one as early as 1651. The chief interest, however, which attaches to his work between 1650 and 1660 is that it is so much connected with the stage, and in that way marks the progress towards the Opera, of the English form of which Locke is sometimes credited with being the originator. As instances of this kind of work we might, perhaps, draw attention to his association with Christopher Gibbons in Shirley's {86} Masque _Cupid and Death_ (1653), and the music he wrote in 1656 for Davenant's _Siege of Rhodes_, in the production of which he himself shared--playing the part of the Admiral. Henry Lawes wrote some of the music of this Opera, and Purcell's father was one of the actors. The next item of importance that we have concerning him is in the _Diary_ of Samuel Pepys; there, under date February 21st, 1659/60, we read: "After dinner I back to Westminster Hall. Here met with Mr. Lock and Pursell, Master of Musique, and with them to the Coffee House, into a room next the Water by ourselves. Here we had a variety of brave Italian and Spanish Songs, and a Canon of eight voices which Mr. Locke had lately made on these words 'Domine Salvum fac Regem,' an admirable thing." This is a very interesting entry. It shows Locke associated with Purcell's father; it gives another instance of Mr Pepys never missing the opportunity of cultivating the friendship of good musicians, and, apart from the musical side, as an historical matter of interest the words of the Canon _Domine Salvum fac Regem_ show the feeling of loyalty towards the Crown which ended in the Restoration; words which ten years before it would have been a heresy to utter. It may be pointed out that the entry February, 1659, by the old way of reckoning, {87} was really February, 1660, and therefore the year of the Restoration. In the Ceremonies connected with that great event Locke played an important part; it was to his music for _Sagbutts and Cornets_ that the Royal Progress was made, from the Tower to Whitehall, the day before the Coronation 1661. As a reward he was made "Composer in ordinary to His Majesty," and "One of the Gentlemen of His Majesty's Private Musick." For the next year or two he appears to have been engaged in composition, both for Church and stage; amongst the former may be mentioned some Anthems, whilst his music for Stapylton's _Stepmother_ presents another instance of his association with dramatic music. This dramatic side of his nature may have been the cause of Roger North's complaint that "he sacrificed the 'old Style' for the modes of his time" and of "his theatrical way."