In the third, however, it was unanimously agreed that Palestrina had solved the problem satisfactorily.

'Its style is always equal, always noble, always alive, always full of thought and sincere feeling, rising and ascending to the climax; not to understand the words would be impossible; the melodies combine to stimulate devotion; the harmonies touch the heart; it delights without distracting; satisfies desire without tickling the senses; it is beautiful in all the beauties of the sanctuary.' So writes Palestrina's enthusiastic biographer; so apparently thought the Cardinals of the congregation; and when this Mass (called the _Mass of Pope Marcellus_, out of grateful tribute to the Pontiff, whose untimely death had extinguished many sanguine expectations) was given to the world, the whole of Italy welcomed it with a burst of passionate applause.

Church music had been saved.

Modern music had been created.

A new and lovely-form of art had arisen like a star.
It was not enough that the _Mass of Pope Marcellus_ should have satisfied the congregation.