\paperw5085 \margr0\margl0\ATXph16380 \plain \fs20 \pard\tx3255\tx6525\tx9780\ATXts240\ATXbrdr0 \f1 \fs22 \ATXnt901 There is no better \ATXnt0 way to take in the particular glory
of late-Gothic architecture than by hearing early church music \ATXnt902 played\ATXnt0 and sung within its hallowed vaults. By the late 15th century, the English composers had developed an extremely florid style of their own, seldom writing in fewer t
han \ATXnt903 five or six parts\ATXnt0 , sometimes more, in an intricate counterpoint of rhythms which has indeed been aptly compared with the equally \ATXnt904 idiosyncratic Perpendicular style\ATXnt0 of English architecture. Both expressed the late m
edieval trend towards the adornment of devotion by the most elaborate and decorative forms of \ATXnt905 art and craft\ATXnt0 . Sixty years later, during the reign of Elizabeth I, the powerful Catholic minority in England included the greatest English co
mposer of the age, William \ATXnt906 Byrd\ATXnt0 , and possibly his pupil, Thomas Morley. The motets and psalms written by these composers and the \ATXnt907 anthems\ATXnt0 composed by their younger contemporaries, especially Orlando Gibbons, are the fi
nest flowers of Anglican church music in its greatest period. To this day the British have proved to be particularly fine interpreters of this largely choral tradition. \ATXnt908 To listen \ATXnt0 to such skilled interweaving of colour, sound and light
in surroundings that express similar contents and proportions in visual terms is to share in a unique \ATXnt909 synaesthetic experience\ATXnt0 .\par
