4th Earl of Cumberland, who later also received the dedication of Thomas Campion's First Book of Songs in about 1613. The layout of the set broadly follows the pattern of Byrd's 1589 set, being laid out in sections for three, four, five and six parts like its predecessor and embracing an even wider miscellany of styles (perhaps reflecting the influence of another Jacobean publication, Michael East's Third Set of Books (1610)). Byrd's set includes two consort fantasias (a4 and a6) as well as eleven English motets, most of them setting prose texts from the Bible. These include some of his most famous compositions, notably Praise our Lord, all ye Gentiles (a6), This day Christ was born (a6) and Have mercy upon me (a6), which employs alternating phrases with verse and full scoring and was circulated as a church anthem. There are more carols set in verse and burden form as in the 1589 set as well as lighter three- and four-part songs in Byrd's "sonnets and pastorals" style. Some items are, however, more tinged with madrigalian influence than their counterparts in the earlier set, making clear that the short-lived madrigal vogue of the 1590s had not completely passed Byrd by. Many of the songs follow, and develop further, types already established in the 1589 collection. Last works Byrd also contributed eight keyboard pieces to Parthenia (winter 1612–13), a collection of 21 keyboard pieces engraved by William Hole, and containing music by Byrd, John Bull and Orlando Gibbons. It was issued in celebration of the forthcoming marriage of James I's daughter Princess Elizabeth to Frederick V, Elector Palatine, which took place on 14 February 1613. The three composers are nicely differentiated by seniority, with Byrd, Bull and Gibbons represented respectively by eight, seven and six items. Byrd's contribution includes the famous Earle of Salisbury Pavan, composed in memory of Robert Cecil, 1st Earl of Salisbury, who had died on 24 May 1612, and its two accompanying galliards. Byrd's last published compositions are four English anthems printed in Sir William Leighton's Teares or Lamentacions of a Sorrowfull Soule (1614). Legacy Byrd's output of about 470 compositions amply justifies his reputation as one of the great masters of European Renaissance music. Perhaps his most impressive achievement as a composer was his ability to transform so many of the main musical forms of his day and stamp them with his own identity. Having grown