. With two others he was dismissed from
the chapel because he was a layman, and a trifling pension allowed him.
Two months afterward, though, he was appointed chapel-master of St.
John Lateran. His works now succeeded each other rapidly, and different
collections of his masses were dedicated to the crowned heads of Europe.
In 1571 he was appointed chapel-master of the Vatican, and Pope Gregory
XIII. gave special charge of the reform of sacred music to Palestrina.

The death of the composer's wife, whom he idolized, in 1580, was a blow
from which he never recovered. In his latter days he was afflicted with
great poverty, for the positions he held were always more honorable than
lucrative. Mental depression and physical weakness burdened the last few
years of his pious and gentle life, and he died after a lingering and
severe illness. The register of the pontifical chapel contains this
entry: "February 2, 1594. This morning died the most excellent musician,
Signor Giovanni Palestrina, our dear companion and _maestro di capella_
of St. Peter's church, whither his funeral was attended not only by all
the musicians of Rome, but by an infinite concourse of people, when his
own 'Libera me, Domine' was sung by the whole college."

Such are the simple and meagre records of the life of the composer, who
carved and laid the foundation of the superstructure of Italian music;
who, viewed in connection with his times and their limitations, must be
regarded as one of the great creative minds in his art; who shares with
Sebastian Bach the glory of having built an imperishable base for the
labors of his successors.

III.

Palestrixa left a great mass of compositions, all glowing with the fire
of genius, only part of which have been published. His simple life was
devoted to musical labor, and passed without romance, diversion, or
excitement. His works are marked by utter absence of contrast and
color. Without dramatic movement, they are full of melody and majesty, a
majesty serene, unruffled by the slightest suggestion of human passion.
Voices are now and then used for individual expression, but either in
unison or harmony. As in all great church music, the chorus is the key
of the work. The general judgment of musicians agrees that repose and
enjoyment are more characteristic of this music than that of any
other master. The choir of the Sistine chapel, by the inheritance of
long-cherished tradition, is the most perfect exponent of