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skill was used in the culture of the higher tones of the male voice (a specialty remarkably developed in Spain). After 1600 even castrates or evirati were admitted to some extent.

The leadership of the Chapel was ordinarily intrusted to the oldest singer, but special choirmasters were sometimes designated. At first sight it would seem curious that during the 16th century so few of the choirmasters known by name were eminent composers, but it appears that the choirmaster of St. Peter's usually had oversight of the choir in the Sistine Chapel as well.

Naturally here sacred polyphony was developed to its highest perfection. It is customary to single out the great Palestrina as the chief agent in this, but it should be remembered that he was one of a series of masters, some of whom preceded him, and that the quick recognition of his power implies a considerable preparation. It was inevitable that the best works of current styles should be desired by the papal authorities, and that able composers should be eager to compete for approval.

Among masters already named, two were members of the Papal Chapel—Dufay in 1428-37 and Des Près in 1486-94?. Probably others were active there also. Certainly the initial impetus for the Roman school came direct from the Netherlands. From about 1515, composers of Italian birth began to be prominent.

Eleazar Genet [Carpentras] (d. 1532?) was born near Avignon, joined the Papal Choir in 1508, ultimately becoming choirmaster, and in 1521 returned to Avignon as a papal agent. His masses, lamentations and hymns, in a style antique and austere, were printed by Channay at Avignon in types cut by Briard (from 1532).

Costanzo Festa (d. 1545), a Roman born, on the other hand, was a writer of original power. From 1517 he sang in the Papal Chapel, for which his sacred works (printed posthumously) were written, including the Te Deum still used at the election of a pope and other great occasions. His style, with its sweet and earnest fidelity to the text, foreshadows Palestrina, whence Ambros calls him the "morning-star" of the new epoch. He issued one book of madrigals (1537).

Ghiselin Danckerts, a Zeelander, was in the Chapel in 1538-65, then retiring on a pension. Besides composing skillfully (few works extant), he took the conservative side in the debate between Vicentino and Lusitano in 1551 (see sec. 72).

Jacob Arcadelt (d. c. 1560), born in the Netherlands about 1514, was in the Chapel in 1540-9, went to Paris probably about 1555, and died there as royal musician (see sec. 65). He is best known by his five books of exquisite madrigals (1539-44), which rank among the best. His sacred works came later.

Cristobal Morales (d. 1553), born at Seville in 1512, after serving in the Chapel in 1535-40, was probably choirmaster at Toledo and Malaga. He