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
