to Paris, to study under the famous Lulli, and then made gentleman of his chapel. At the death of Cook, his master, he succeeded to his office. Michael Wise became, for a time, organist of Salisbury cathedral, but returned to the royal chapel as one of the gentlemen. His anthems are still greatly admired. Blow succeeded Humphrey as master of the children, and was organist of Westminster Abbey. He published various compositions, both sacred and secular, some of which are yet in much esteem, others have fallen into merited neglect.
Thomas Britton, the Musical Small-coal Man.
But the musical master of the age was Henry Purcell, who was for some time organist of Westminster Abbey, and afterwards of the king's chapel. His sacred music, especially his Te Deum and Jubilate, has never been surpassed. Dr. Burney declared him superior to all the foreign composers of the day—Carissimi, Stradella, Scarlatti, Keiser, Lulli, and Rameau; but others do not except any composers of any previous age. In his secular music he again surpassed himself. His music of the drama is voluminous. He set the songs in Nahum Tate's Dido," the music for Lee's "Theodosius;" that for the "Tempest," as altered by Dryden, which is still heard with delight; that for the "Prophetess," altered by Dryden and Betterton, from Beaumont and Fletcher; the songs of Dryden's "King Arthur," in which are the lovely air "Fairest Isle," the charming duet "Two Daughters of this aged Stream are We," and the inimitable frost-scene. He furnished the music for Howard and Dryden's "Indian Queen." In Dryden's altered "Boadicea," the duet and chorus "To Arms," and the air "Britons, strike home," are still heard with acclamations on all occasions of patriotic excitement. Besides these he wrote airs, overtures, and set tunes for numerous other dramas, as Dryden and
