the lyrical secular styles. Ciconia was also a composer of sacred music and represents a link with the Burgundian school, the first generation of Netherlanders which dominated the early and middle 15th century. Ciconia spent most of his Italian years in cities of northern Italy, particularly Padua, where he died in 1412. Another late 14th-century composer, probably active in Rome, Abruzzo, and Teramo, was Antonio Zachara da Teramo. While a chronology of his music is yet to be established, it seems that his earlier music, surviving in the Squarcialupi Codex, is related to the style of Landini and Jacopo da Bologna; his later music borrows from the style of the Avignon-centered Ars subtilior, and indeed, he seems to have supported the antipopes during the split of the papacy after the end of the century, going to Bologna around 1408. The late Trecento also saw the rising importance of sacred music, particularly polyphonic Mass movements and Latin motets (both sacred and dedicatory). Though it was long thought that sacred music's role in the Trecento was small, thanks to many new discoveries over the past forty years, it now represents a significant percentage of the total output of the Trecento. Ciconia and Zachara play dominant roles in Mass composition, and their sacred music reached England, Spain, and Poland. The end of the period of the Schism also marked the end of the dominance of Florence over Italian music; while it always maintained an active musical life, it would be replaced by Venice (and other centers in the Veneto), Rome, Ferrara and other cities in the coming centuries and never again regained the pre-eminent position it attained in the 14th century. Instrumental music Instrumental music was widespread, but relatively few notated examples have survived. Indeed, while contemporary depictions of singers often show them performing from books or scrolls, paintings and miniatures of instrumentalists never show written music. The main keyboard collection is the Faenza Codex (Faenza, Biblioteca Comunale, ms. 117). Other small sources of keyboard music appear in codices in Padua (Archivio di Stato 553), Assisi (Biblioteca Comunale 187), and in one section of the (Paris, Bibliothèque Nationale de France, n. a. fr. 6771). The typical keyboard style of the time seems to have placed the tenor of a secular song or a melody from plainchant in equal tones in the bass while a fast-moving line was written above it for the right