as by her many compositions. Her first book of
motets was published in her fifteenth year, and met with universal
success. The highest forms possessed no difficulties for her, and among
her works are several masses for six voices, with instrumental
accompaniment. These names are enough to show that woman was able to
hold her own, even in a period when music had apparently banished those
emotional qualities with which she is said to be most in sympathy.

The women of other countries were not idle in this period of musical
activity. Germany, in spite of her meagre records, can show at least one
great name. Madelka Bariona, who lived during the sixteenth century,
upheld the musical reputation of her country by publishing seven
five-voiced psalms at Altdorf, in 1586. Bernarda Ferreira de Lacerda was
of Portuguese nationality. She won great renown by her writings and her
knowledge of languages. Philip II. of Spain wished to entrust her with
the education of his children, but she declined, alleging as her reason
that she wished to devote all her time to study. Many of her manuscript
compositions and musical writings are preserved in the Royal Library at
Madrid.

France can boast of a real genius in Clementine de Bourges, who was born
at Lyons in the sixteenth century. Such authorities as Mendel and Grove
accord her a rank with the very greatest of her time. She held a high
position among the intellectual leaders of that day, as much by her
great learning as by her musical skill. She shows complete mastery of
many instruments, and her gifts in composition are amply proven by her
four-part chorus, which can be found in J. Paix's organ collection. Her
career was brought to an untimely end by grief. She was engaged to Jean
de Peyrat, a royal officer, who met his death in a skirmish with the
Huguenots in 1560. Her sorrow at this disaster proved incurable, and she
died in the next year.

Although the unfortunate Mary, Queen of Scots, belongs to a more
northern land, the credit of her talents may be fairly accorded to
France, where she received her education. She made no musical attempts
in the more ambitious forms, but wrote many songs, among which "Las! en
mon doux Printemps" and "Monsieur le Provost des Marchands" met with
considerable success in their day.

With the advent of Bach, music was no longer the dry mathematical study
that it had been during the later middle ages, for in his hands it
became imbued with true feelin