ll-known secular tune around which to weave
their counterpoint, many masses, for instance, having been written on
the old Provencal song of "L' Homme Arme." Some of the melodies chosen
as the basis for masses were nothing but drinking songs. At that time
the tenor generally sang the melody, and, as in order to show on what
foundation their work rested, the Flemings retained the original words
in his part, it was not uncommon to hear the tenors singing some
bacchanalian verses, while the rest of the choir were intoning the
sacred words of a "Gloria" or an "Agnus Dei." These abuses lasted for
an incredibly long time, but finally, in 1562, the cardinals were
brought together for the purification of all churchly matters, and the
Council of Trent took note of the evil. All were agreed upon
abolishing secular words from the mass, and some even urged the
banishment of counterpoint itself, and a return to the plain song or
chant, but fortunately this sweeping reform met with a vigorous protest
from others. At last the whole matter was referred to a committee of
eight cardinals, who wisely sought the aid of an equal number of the
papal singers, and the outcome of their debate was a commission given
Palestrina to write a mass, which should employ counterpoint without
irreverence, and prove that religion and music might be blended into
one.

The composer, in response to this signal mark of confidence, wrote
three masses, which he submitted in 1565. The third one was the
celebrated "Mass of Pope Marcellus," of which the Pope ordered a
special performance by the choir of the Apostolical Chapel. The
rendition was followed by the complete acceptance of Palestrina's work.

A new office, that of "Composer to the Pontifical Choir," was created
for him, and in 1571 he became leader of the choir of St. Peter's.
Although highly honoured and rewarded with many offices, Palestrina
received no great pecuniary recompense for his labours. His life was
blessed, however, with the love of a devoted wife, and the friendship
of many true admirers, especially Cardinal Carlo Borromeo and Filippo
Neri, the founder of oratorio, both of whom were afterward canonised.

Palestrina died in 1594, and lies buried in St. Peter's, where his
works are still performed. To the end of his life he never ceased to
produce, and left behind him over ninety masses, one hundred and
seventy-nine motettes, forty-five sets of hymns for the entire year,
and an imm