continued to pay him at a reduced rate on condition that he would send the cathedral his compositions. Byrd had also taken serious strides with instrumental music. The seven In Nomine settings for consort (two a4 and five a5), at least one of the consort fantasias (Neighbour F1 a6) and a number of important keyboard works were apparently composed during the Lincoln years. The latter include the Ground in Gamut (described as "Mr Byrd's old ground") by his future pupil Thomas Tomkins, the A minor Fantasia, and probably the first of Byrd's great series of keyboard pavanes and galliards, a composition which was transcribed by Byrd from an original for five-part consort. All these show Byrd gradually emerging as a major figure on the Elizabethan musical landscape. Some sets of keyboard variations, such as The Hunt's Up and the imperfectly preserved set on Gypsies' Round also seem to be early works. As we have seen, Byrd had begun setting Latin liturgical texts as a teenager, and he seems to have continued to do so at Lincoln. Two exceptional large-scale psalm motets, Ad Dominum cum tribularer (a8) and Domine quis habitabit (a9), are Byrd's contribution to a paraliturgical form cultivated by Robert White and Robert Parsons. De lamentatione, another early work, is a contribution to the Elizabethan practice of setting groups of verses from the Lamentations of Jeremiah, following the format of the Tenebrae lessons sung in the Catholic rite during the last three days of Holy Week. Other contributors in this form include Tallis, White, Parsons and the elder Ferrabosco. It is likely that this practice was an expression of Elizabethan Catholic nostalgia, as a number of the texts suggest. Cantiones sacrae (1575) The two monopolists took advantage of the patent to produce a grandiose joint publication under the title Cantiones quae ab argumento sacrae vocantur. It was a collection of 34 Latin motets dedicated to the Queen herself, accompanied by elaborate prefatory matter including poems in Latin elegiacs by the schoolmaster Richard Mulcaster and the young courtier Ferdinand Heybourne (aka Richardson). There are 17 motets each by Tallis and Byrd, one for each year of the Queen's reign. Byrd's contributions to the Cantiones are in various different styles, although his forceful musical personality is stamped on all of them. The inclusion of Laudate pueri (a6) which proves to be an instrumental fantasia with words added after composition, is one