produced many compositions for the newly introduced ritual, which, by
their intrinsic merit and comparative superiority, aided also by a
constant demand for new music of the same character, gave a permanent
direction to the exercise of musical talent; and the services of Tallis
and Byrd became the classic objects of emulation and imitation, and
sacred music became, in a peculiar manner, the national music of
England. The compositions of these "fathers of our genuine and national
sacred music," are still preserved, the latter of whom, Byrd, died in
1623, at the age of probably near eighty years.

The year 1588 forms an epoch in our musical history. An Italian
merchant, who, by his mercantile connection with the Mediterranean, had
opportunities of obtaining the newest and best compositions of his
native country, had, for some years, been in the frequent habit of
procuring the best singers of the day, to perform them, privately, at
his house in London. This gentleman had at length the spirit and
enterprise to publish a volume of Italian madrigals, entituled, "Musica
Transalpina, Madrigales translated of four, five, and six parts, chosen
out of divers excellent authors; with the first and second parts of La
Virginella, made by Maister Byrd, upon two stanzas of Ariosto, and
brought to speak English with the rest." These pieces seem to have given
birth to that passion for madrigals which was afterwards so prevalent,
and thus became the models of contemporary musicians. The next composer
of any note was Orlando Gibbons. He died at an early age, soon after the
accession of Charles I., to whom he had been appointed organist. This
master composed several madrigals, but, like his predecessors, he
devoted himself principally to sacred composition. The secular
productions of Tallis, Byrd, and Gibbons, together with those of
contemporary composers of inferior note, are, for the most part, now
forgotten; but the sacred music of these three masters still forms a