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Madrigals were composed and published by Morley, Weelkes, 
Wilbye, Benet, Ward, and Orlando Gibbons; other writers were 
Byrd, Dowland, Ford, and Edwardes. One collection, styled the 
“Triumphs of Oriana,” is interesting from the fact that John Milton, 
the father of the poet, was a contributor. 
One or two of these composers deserve more than a passing 
notice. Wm. Byrd, after being a chorister at St. Paul’s Cathedral, 
and pupil of Tallis, was appointed organist of Lincoln Cathedral 
in 1554. A few years after he became one of the Gentlemen of 
the Chapel Royal, the duty being to play the organ in turn, and on 
ether days to help the choir. Byrd and Tallis received from 
Queen Elizabeth a patent, conferring a monopoly of printing 
music and selling ruled paper. Many volumes issued from their 
press. This practice of granting monopolies was very common, 
and afforded the parsimonious Queen a ready way of rewarding 
a favourite courtier or meritorious person; but the effect was to 
more than double the price of every article in common use. Byrd 
held his monopoly till his death. As a composer he had great 
merits ; and his anthems breathe the spirit of devotion. I know 
of none finer than one commencing “ Bow thine ear, O Lord.” 
He wrote many Motetts and Madrigals,and contributed largely to 
Queen Elizabeth’s Virginal Book, now in the British Museum, 
while his famous Canon, “Von Vobis Domine” will, for ages, 
keep his memory fresh. 
The next who claims our attention is Thomas Morley, the 
pupil of Byrd. Morley was the first author of a regular treatise on 
music, entitled, ‘‘ Plaine and easy introduction to practical music,» 
which continued in use for one hundred and fifty years, and is still 
perused with interest and advantage by the musical student. He 
wrote five tunes for the Virginal Book, and composed a great 
number of Madrigals, among which are—“ April is my mistress’ 
face ;” “ Fire, fire my heart;” “Now is the month of Maying.” 
The latest of the pure Madrigal writers, and perhaps our 
greatest composer before Purcell, was Orlando Gibbons. For 
richness and purity of harmony, as well as for scientific skill and 
effect, he is beyond all praise. At the age of twenty-three he 
became organist of the Chapel Royal, where he composed those 
