to the composition of some of his finest keyboard and consort music; in 1647, he wrote a belated tombeau or tribute to Thomas Wentworth, 1st Earl of Strafford, and a further one to the memory of William Laud, Archbishop of Canterbury, both of them beheaded in the 1640s, and both admired by Tomkins. Charles I was executed in 1649, and a few days later Tomkins, always a royalist, composed his superb Sad Pavan: for these distracted times. His second wife Martha died around 1653, and deprived of his living, Tomkins, now 81, was in serious financial difficulties. In 1654 his son Nathaniel married Isabella Folliott, a wealthy widow, and Thomas went to live with them in Martin Hussingtree, some four miles from Worcester. He expressed his gratitude by composing his Galliard, The Lady Folliot's in her honour. Two years later he died and was buried in the churchyard of the Church of St Michael and All Angels in Martin Hussingtree on 9 June 1656. Works Tomkins wrote and published madrigals—amongst which The Fauns and Satyrs Tripping, included in Morley's The Triumphs of Oriana (1601); Songs of 3,4,5 and 6 parts (1622); 76 pieces of keyboard (organ, virginal, harpsichord) music, consort music, anthems, and liturgical music. Stylistically he was extremely conservative, even anachronistic: he seems to have completely ignored the rising Baroque practice around him, with its Italian-inspired idioms, and he also avoided writing in most of the popular forms of the time, such as the lute song, or ayre. His polyphonic language, even in the fourth decade of the 17th century, was frankly that of the Renaissance. Some of his madrigals are extremely expressive, with text-painting and chromaticism worthy of Italian madrigalists such as Marenzio or Luzzaschi. He was also a prolific composer of both full and verse anthems, writing more than almost any other English composer of the 17th century—surpassed (putatively) only by William Child—and several of his works for the church were contemporaneously copied for use elsewhere. The survival of his music was ensured by the posthumous publication, overseen by his son Nathaniel, of Musica Deo Sacra et Ecclesiae Anglicanae; or Music dedicated to the Honor and Service of God, and to the Use of Cathedral and other Churches of England (William Godbid, London: 1668); Musica Deo Sacra contains five services, five psalm tunes, the Preces and two proper psalms, and ninety-four anthems, and was published as a