were condemned to the stake; but Marbeck was saved by his musical genius, Henry observing, on Marbeck's Latin Concordance, on which he had been employed, being shown to him, "Poor Marbeck! it would be well for thine accusers if they employed their time no worse." His fellows were burnt without mercy, though no more guilty than himself.
Tallis was indebted to Marbeck for the notes just mentioned in his compositions for the Church. His entire service, including prayers, responses, Litany, and nearly all of a musical kind, are preserved in Boyce's collections. They became the most celebrated of any of that remarkable age. In conjunction, also, with his pupil, William Bird, he published, in 1575, "Cantiones Sacræ"—perfect chefs-d'œuvre of their kind; one of them, "O sacrum convivium," since adapted by Dean Aldrich to the words "I call and cry," still continues to be frequently performed in our cathedrals. The "Cantiones" are remarkable from having been the first things of the kind protected by a patent for twenty-one years, granted by Elizabeth.
Bird was the author of the splendid canon, "Non nobis, Domine," which has been claimed by composers of Italy, France, and the Netherlands, but, as sufficiently proved, without any ground. The names of Tallis and Bird are of themselves an ample guarantee to the claim of musical genius by this country. Richard Farrant and Dr. Bull—the first a chorister in Edward VI.'s chapel, and the latter organist to Queen Elizabeth—added greatly to the sacred music of the period. Farrant's compositions especially are remarkable for their deep pathos and devotion. His anthem, still preserved by Boyce, "Lord, for thy tender mercy's sake," is unrivalled. Dr. Bull is now said to have been the original composer of our national air, "God save the Queen," which has long been claimed as foreign.
In social music the poetical Surrey stands conspicuous, having set his own sonnets to music. Madrigals and other part singing—since better known as glee singing—were carried to a brilliant height in this country. The madrigal was originally invented by the Flemings, but glee singing seems to be English, though no doubt derived from the madrigal. Morley's first book of madrigals was published in 1594, Weelkes's in 1597, Wilbye's in 1598, Bennet's in 1599, and soon after Ward's and Orlando Gibbons'. Dowland's and Ford's are more properly glees than madrigals; the former appeared in 1597, and the latter in 1607. Morley, one of the gentlemen of Queen Elizabeth's chapel, would seem, like Dowland, to have studied the works of the great composers abroad; and the harmony and science which he evinces are eminent. His canzonets for two voices are especially lively and pleasing. Dowland not only travelled in France, Italy, and Germany, but, at the request of King Christian IV., who saw him in England, he went to reside in Denmark. Fuller declares that he was the rarest musician of the age. In 1598 Wilbye published thirty madrigals, and a second book, applicable to instrumental as well as vocal music, in 1609, amongst which are, "Lady, when I behold the roses sprouting," "As fair as morn," "Down in a valley," &c.; and in 1599 John Bennet published a set of madrigals, including the admirable ones of "O sleep, fond Fancy!" "Flow, O my tears!" and lastly, John Milton, the father of the poet, who also composed several psalm tunes, was a contributor to "The Triumphs of Oriana," a set of madrigals in praise of Queen Elizabeth. Altogether this century was brilliant in both Church and convivial music; and if we are to judge from some specimens to be found in "The Dancing Master," and "Queen Elizabeth's Virginal Book," the popular airs were in many instances of a superior character, amongst which we may mention Bird's "Carman's Whistle," and the "Newe Northern Ditty of Ladye Green Sleeves."
ARCHITECTURE.
The change which marked religion and literature in this country extended itself as strikingly into architecture. We have no longer to record the rise of new orders of ecclesiastical building, nor to direct the attention of the reader to splendid churches as examples of them. The unity of the Church, which had enabled it to erect such a host of admirable cathedrals and abbeys, was broken up; the wealth which had supplied the material and engaged the skill was dispersed into other hands, and destined not only to produce now orders of society, but new forms of architecture. Churches must give way to palaces and country halls, as full of innovations as the very faith of the country. From this period to our own time the last for ecclesiastical architecture continued to decline, till the very principles of what are called Gothic were forgotten.
Our architects, as Wren and Jones, went back to classic models, so little adapted to the spirit of Christian worship that, spite of the genius expended upon them, they have remained few in number, and from the revival of the knowledge of Anglo-Gothic amongst us, are not likely to increase.
But it is even a question whether the Gothic style had not reached its full development at the period of the Reformation; for we find in most European countries that the noblest buildings of this kind are for the most part anterior to this period. It is at the same time true that the same causes which brought our ecclesiastical architecture to a sudden stand in the sixteenth century strongly affected all Europe, even where Roman Catholicism managed to maintain its ground. Everywhere the conflict was raging—everywhere the rending influence was felt; and the ancient power and wealth of the Church were broken and diminished. In England a few churches might be pointed to of this period, but they exhibit the influence of the age in marks of decline, and to none can we turn as examples to be named with our Westminsters, Yorks, and Winchesters. Bath Abbey was in progress of erection when the Reformation burst forth and arrested its progress. It was not completed till 1616—more than ten years after the death of Elizabeth—and cannot be named as one of our finest erections.
The wealth which was diverted from the Church into the hands of the Crown and the aristocracy, reappeared in palaces and country halls; and a totally new genius displayed itself in these. The old Tudor, so called, which marked the baronial residences oven before the Tudors reached the throne, the mixture of castle and manorhouse, with its small windows, battlemented roofs, and flanking turrets, began to enlarge and exaggerate most of these features, and to mix with them new elements
