Page:Pratt - The history of music (1907).djvu/128



At Milan, among the later Netherlanders, Weerbecke was a teacher from 1472, Simon de Quercu in the cathedral choir before 1508 and Matthias Hermann choirmaster in 1538-55. Among the madrigal-writers were Vincenzo Ruffo, born at Verona and choirmaster there from 1554 and at Milan from 1563, except six years at Pistoia, whose works (1542-88) were highly esteemed, and the organist Giuseppe Caimo (works, 1564-85). More important was Orfeo Vecchi (d. before 1604), choirmaster at Sta. Maria della Scala, prolific as a church writer (from 1590).

58. The Papal Chapel.—While northern Italy was thus cultivating composition, especially in secular directions, with enthusiasm and brilliance, important progress was taking place at Rome, but usually with a different spirit and emphasis. In Rome advance was practically confined to establishments identified with the papal court—the Papal or Sistine Chapel, St. Peter's, St. John Lateran, Sta. Maria Maggiore, and one or two others of the basilicas. While secular writing was not neglected, the accent fell upon ecclesiastical music and upon such a conservative handling of it as befitted the churches that stood as models for the Catholic world. Furthermore, the drift of Roman taste and manners was at the time less toward sensuous display and less vivacious and impressionable than in cosmopolitan and luxurious Venice.

The 15th century closed with a decided decline in the prestige of the Papacy, owing to the evil lives and violent intrigues of certain pontiffs, but the 16th opened with a reassertion of dignity and power by Julius II. (1503-13) and Leo X. (1513-22), the latter of whom was called upon to meet the beginnings of Protestantism. After these the longer pontificates were those of Clement VII. (1523-34), Paul III. (1534-50), Gregory XIII. (1572-85) and Clement VIII. (1592-1605). During the 16th century it is notable that none of the popes was chosen from Venice or its dependencies.

The Papal Chapel is an institution with a long and peculiar history, reaching back to the singers' schools of the early popes. During the Middle Ages its traditions developed until it became a fixed feature of the papal court. Election to it was a great honor, being for life and including a moderate salary, with many curious perquisites. The rule was that none but priests or those who might be priests were eligible. Elderly members were usually removed by promotion to more lucrative church positions.

The number of singers varied—9 about 1450, 12-16 a little later, 20 about 1510, 36 about 1520, 24 through most of the century, then 18-32 for a time. As the need grew for competent sopranos and altos, much