Bull is most favourably known as a composer for the Virginals. Many fine examples are to be found in the _Fitzwilliam Virginal Book_, and his powers as performer must have been very great, judging from his compositions. He joined Byrd and Gibbons in contributing to the celebrated {10} collection _Parthenia_ ("the first music for the Virginals ever published in England.") There are examples of his Church Music in Boyce's Cathedral Music (1760), but, like many other specimens contained in that valuable and well-known collection, these compositions of Bull do not seem to me to be the best examples of his powers. A really beautiful little motet contained in Sir William Leighton's _Teares and Lamentations of a Sorrowful Soule_ (1614) entitled _In the Departure of the Lord_ gives me a very high opinion of his Church Music. It is for four voices and full of beautiful harmony and expressive modulation. Indeed, I think it compares favourably with much of the kind written by contemporary musicians. I hope to be able to edit it, with other specimens of Bull's sacred music, in the early future. A portrait exists in the University of Oxford, and round it is written "The Bull by force in field doth rayne But Bull by skill good-will doth gaine." A copy of this portrait is prefixed to this book. {11} II. WILLIAM BYRD 1542 or 3--1623 A great contemporary of John Bull comes next for consideration. William Byrd is certainly one of the most distinguished of the remarkable company of English composers living in the early years of the 17th century. Curiously enough, he was not included amongst the contributors to _The Triumphs of Oriana_. There may be a reason, of which more anon. Anthony Wood tells us "he was bred up to musick under Thomas Tallis," and the eminent Church musician was god-father to Byrd's son Thomas. Byrd was also Tallis' executor. In early life the subject of my Lecture was Organist of Lincoln, in which city he was married on the 14th of September, 1568. His eldest son was born at Lincoln in 1569, and a daughter in 1571-2. This proves he did not at once come to London on his appointment to the Chapel Royal. This was in 1569, when he succeeded Robert Parsons as Gentleman of the Chapel Royal, the said Robert Parsons having been drowned at Newark in January of that year. It seems probable that Byrd kept up some kind of connection with {12} Lincoln for some time after his appointment to the Chapel Royal, for an entry in the Chapter Records of Lincoln mentions the appointment of Thomas Butler as Organist and Master of the Choristers on the "nomination and commendation of Mr William Byrd." In London he shared with his old master, Tallis, the post of Organist of the Royal Chapel and he also enjoyed with him a privilege of a more profitable nature, which was no less than a patent, granted by Queen Elizabeth to print and sell music, English or foreign, and to rule,