same composer's Madrigalls to foure Voyces. The year after this the five-part ballets and the two-part canzonets of the same composer were published. On 22 January 1596 Byrd's patent expired, and East for the next two years did business on his own account exclusively. On 22 Sep of that year A brief introduction to the skill of songe concerning the practise sett forth by William Bath, gent., was transferred to East from Abel Jeffes, by whom it had been printed in 1584, and on 24 Nov he issued George Kirbye's madrigals. In December 1596 many of the books published by license from Byrd were transferred to East independently. The cessation of the monopoly seems to have given an extraordinary impetus to the publication of music. In the next few years nearly all the masterpieces of the English madrigalists were issued. In 1597 Nathaniell Patrick's Songs of Sundry Natures were published, and an oration delivered by Dr. John Bull at Gresham College was printed, as well as the second edition of Musica Transalpina. The next year saw the publication of Wilbye's first set of madrigals, Morley's madrigals (five voices) and canzonets (four voices) selected from the works of Italian composers, a selection from the works of Orlando di Lasso, and Weelkes's Ballets and Madrigals. In this year a new patent was granted to Thomas Morley, whose celebrated Introduction had appeared in the previous year, from another press than East's. This fact, taken in connection with the circumstance that East's name does not appear on the register of the Stationers' Company until 1600, may mean that he had had a difference with Morley, who now had it in his power to injure his business. Whether or not this were the case it is impossible to decide, but the difference, if such existed, was not of long duration, for in July 1600 Dowland's Second Book of Songs appeared, from East's press. Jones's First Book of Ayres was issued in the next year, when the great collection of madrigals called The Triumphs of Oriana was printed, though not published. The idea of this collection seems to have been taken from a book of madrigals by various composers, published at the Phalese press at Antwerp in the same year (or perhaps previously). The Antwerp collection had the general title of Il Trionfo di Dori, and consisted of twenty-nine madrigals each ending with the words "Viva