horuses, and finally to divide his choir into three or
more parts. Willaert is regarded by many as the founder of the
madrigal, of which there is more to be said presently. He was also the
teacher of two very eminent musicians who succeeded him in his
position at St. Mark's--Zarlino and Cyprians de Rore. To go on with
the story of St. Mark's from this point, the most important successor
of Willaert was Gioseffo Zarlino, who spent his youth in studying for
the Church, and was admitted to minor orders in 1539, and ordained
deacon in 1541. He was a proficient scholar in Greek and Hebrew, in
mathematics, astronomy and chemistry. After studying for some years
with Willaert he was elected in 1555 first _Maestro di Capella_ at St.
Mark's. In this position his services were required not alone as
director of music in the church, but also as a servant of the
republic, and it was his duty to compose or arrange music for all of
the public festivals. After the battle of Lepanto, October 7, 1571,
Zarlino was appointed to celebrate the victory with appropriate music.
When Henry III visited Venice, in 1574, he was greeted by music by
Zarlino. This same composer is also credited with having composed a
dramatic piece called _Orpheo_, which was performed with great
splendor in the larger council chamber. Again, in 1577, Zarlino was
commissioned to compose a mass for the commemoration of the terrible
plague which devastated Italy and carried off Titian, among other
great men. His ecclesiastical standing was so good that in 1583 he was
elected bishop, but his accession to the see was so strongly opposed
by the doge and the senate that he consented to retain the appointment
of St. Mark's, where he remained until his death in 1590. Zarlino was
very famous as a composer, in his own day, but few of his works have
come down to us. He is best known by certain works of his on harmony
and the theory of music, of which the most important was the
_Institutioni Armoniche_ (Venice, 1558), and his _Demonstrationi
Armoniche_ (Venice, 1571). Zarlino's distinction rests upon his
having restored the true tuning of the tetrachord to that of 8:9,
9:10, 15:16, as opposed to the Pythagorean tuning of 9:8, 9:8,
256:243. He was the most important scientific authority in the music
of the new epoch. His discoveries in harmony were afterward
supplemented by those of Tartini, almost two centuries later. Among
other strong points of Zarlino was his demonstration of equ