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Edward Caswall

1814 - 1878 Matching Instances: 39 Translator of "Earth has many a noble city" in The Hymnal Edward Caswall was born in 1814, at Yately, in Hampshire, where his father was a clergyman. In 1832, he went to Brasenose College, Oxford, and in 1836, took a second-class in classics. His humorous work, "The Art of Pluck," was published in 1835; it is still selling at Oxford, having passed through many editions. In 1838, he was ordained Deacon, and in 1839, Priest. He became perpetural Curate of Stratford-sub-Castle in 1840. In 1841, he resigned his incumbency and visited Ireland. In 1847, he joined the Church of Rome. In 1850, he was admitted into the Congregation of the Oratory at Birmingham, where he has since remained. He has published several works in prose and poetry. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 ===================== Caswall, Edward, M.A., son of the Rev. R. C. Caswall, sometime Vicar of Yately, Hampshire, born at Yately, July 15, 1814, and educated at Brasenose College, Oxford, graduating in honours in 1836. Taking Holy Orders in 1838, he became in 1840 Incumbent of Stratford-sub-Castle, near Salisbury, and resigned the same in 1847. In 1850 (Mrs. Caswall having died in 1849) he was received into the Roman Catholic communion, and joined Dr. Newman at the Oratory, Edgbaston. His life thenceforth, although void of stirring incidents, was marked by earnest devotion to his clerical duties and a loving interest in the poor, the sick, and in little children. His original poems and hymns were mostly written at the Oratory. He died at Edgbaston, Jan. 2, 1878, and was buried on Jan. 7 at Redwall, near Bromsgrove, by his leader and friend Cardinal Newman. Caswall's translations of Latin hymns from the Roman Breviary and other sources have a wider circulation in modern hymnals than those of any other translator, Dr. Neale alone excepted. This is owing to his general faithfulness to the originals, and the purity of his rhythm, the latter feature specially adapting his hymns to music, and for congregational purposes. His original compositions, although marked by considerable poetical ability, are not extensive in their use, their doctrinal teaching being against their general adoption outside the Roman communion. His hymns appeared in:— (1) Lyra Catholica, which contained 197 translations from the Roman Breviary, Missal, and other sources. First ed. London, James Burns, 1849. This was reprinted in New York in 1851, with several hymns from other sources added thereto. This edition is quoted in the indices to some American hymn-books as Lyra Cath., as in Beecher's Plymouth Collection, 1855, and others. (2) Masque of Mary, and Other Poems, having in addition to the opening poem and a few miscellaneous pieces, 53 translations, and 51 hymns. 1st ed. Lon., Burns and Lambert, 1858. (3) A May Pageant and Other Poems, including 10 original hymns. Lon., Burns and Lambert, 1865. (4) Hymns and Poems, being the three preceding volumes embodied in one, with many of the hymns rewritten or revised, together with elaborate indices. 1st ed. Lon., Burns, Oates & Co., 1873. Of his original hymns about 20 are given in the Roman Catholic Crown of Jesus Hymn Book, N.D; there are also several in the Hymns for the Year, N.D., and other Roman Catholic collections. --John Julian, Dictionary of Hymnology (1907) ====================== Caswall, E. , p. 214, ii. Additional original hymns by Caswall are in the Arundel Hymns, 1902, and other collections. The following are from the Masque of Mary, &c, 1858:— 1. Christian soul, dost thou desire. After Holy Communion. 2. Come, let me for a moment cast. Holy Communion. 3. O Jesu Christ [Lord], remember. Holy Communion. 4. Oft, my soul, thyself remind. Man's Chief End. 5. Sleep, Holy Babe. Christmas. Appeared in the Rambler, June 1850, p. 528. Sometimes given as "Sleep, Jesus, sleep." 6. The glory of summer. Autumn. 7. This is the image of the queen. B. V. M. His "See! amid the winter's snow,” p. 1037, i., was published in Easy Hymn Tunes, 1851, p. 36. In addition the following, mainly altered texts or centos of his translations are also in common use:— 1. A regal throne, for Christ's dear sake. From "Riches and regal throne," p. 870, ii. 2. Come, Holy Ghost, Thy grace inspire. From "Spirit of grace and union," p. 945, i. 3. Hail! ocean star, p. 99, ii,, as 1873. In the Birmingham Oratory Hymn Book, 1850, p. 158. 4. Lovely flow'rs of martyrs, hail. This is the 1849 text. His 1873 text is "Flowers of martyrdom," p. 947, i. 5. None of all the noble cities. From "Bethlehem! of noblest cities," p. 946, ii. 6. O Jesu, Saviour of the World. From “Jesu, Redeemer of the world," p. 228, ii. 7. 0 Lady, high in glory raised. From "O Lady, high in glory, Whose," p. 945, i. The Parochial Hymn Book, 1880, has also the following original hymns by Caswall. As their use is confined to this collection, we give the numbers only:— IS os. 1, 2, 3, 159 (Poems, 1873, p. 453), 209 (1873, p. 288), 299, 324 (1873, p. 323), 357, 402, 554, 555, 558, 569 (1873, p. 334). These are from his Masque of Mary 1858. Nos. 156, 207 (1873, p. 296), 208 (1873, p. 297), 518. These are from his May Pageant, 1865. As several of these hymns do not begin with the original first lines, the original texts are indicated as found in his Poems, 1873. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Aurelius Clemens Prudentius

348 - 410 Person Name: Aurelius Clemens Prudentius, 349-413 Matching Instances: 25 Author of "Earth has many a noble city" in The Hymnal Marcus Aurelius Clemens Prudentius, "The Christian Pindar" was born in northern Spain, a magistrate whose religious convictions came late in life. His subsequent sacred poems were literary and personal, not, like those of St. Ambrose, designed for singing. Selections from them soon entered the Mozarabic rite, however, and have since remained exquisite treasures of the Western churches. His Cathemerinon liber, Peristephanon, and Psychomachia were among the most widely read books of the Middle Ages. A concordance to his works was published by the Medieval Academy of America in 1932. There is a considerable literature on his works. --The Hymnal 1940 Companion ============= Prudentius, Aurelius Clemens , with the occasional prefix of Marcus (cf. Migne, vol. lix. p. 593, and Dressel, p. ii. n), is the name of the most prominent and most prolific author of sacred Latin poetry in its earliest days. Of the writer himself we know nothing, or next to nothing, beyond what he has himself told us in a short introduction in verse to his works. From that source we learn that he was a Spaniard, of good family evidently, and that he was born A.D. 348 somewhere in the north of Spain, either at Saragossa, Tarragona, or Calahorra, but at which is left uncertain, by his applying the same expression to all, which if applied only to one would have fixed his place of birth. After receiving a good education befitting his social status he applied himself for some years to practising as a pleader in the local courts of law, until he received promotion to a judgeship in two cities successively:— "Bis legum moderanrine Frenos nobilium reximus urbium Jus civile bonis reddidimus, terruimus reos;" and afterwards to a post of still higher authority: "Tandem militiae gradu Evectum pietas principis extulit." Archbishop Trench considers this last to have been "a high military appointment at court," and such the poet's own words would seem to describe; but it may well be doubted whether a civilian and a lawyer would be eligible for such employment; in which case we may adopt the solution of the difficulty offered in the Prolegomena to our author's works (Migne, vol. lix. p. 601):— "Evectus indeest ad superiorem rnilitia? gradum, nimirum militia? civil is, palatinae, aut praesidialis, non bellicae, castrensis, aut cohortalis; nam ii qui officiis jure consultorum praesidum, rectorum et similium funguntur, vulgo in cod. Theod. militare et ad superiores militias ascendere dicuntur." It was after this lengthened experience at a comparatively early age of positions of trust and power that Prudentius, conscience-smitten on account of the follies and worldliness that had marked his youth and earlier manhood, determined to throw up all his secular employments, and devote the remainder of his life to advancing the interests of Christ's Church by the power of his pen rather than that of his purse and personal position. Accordingly we find that he retired in his 57th year into poverty and private life, and began that remarkable succession of sacred poems upon which his fame now entirely rests. We have no reason however to regard him as another St. Augustine, rescued from the "wretchedness of most unclean living" by this flight from the temptations and engrossing cares of official life into the calm seclusion of a wholly devotional leisure. He had probably rather learnt from sad experience the emptiness and vanity for an immortal soul of the surroundings of even the high places of this world. As he himself expresses it:— "Numquid talia proderunt Carnis post obitum vel bona, vel mala, Cum jam, quicquid id est, quod fueram, mors aboleverit?" and sought, at the cost of all that the world holds dear, those good things which God hath prepared for them that love Him. Beyond the fact of his retirement from the world in this way, and the fruits which it produced in the shape of his voluminous contributions to sacred poetry, we have no further information about our author. To judge from the amount he wrote, his life must have been extended many years after he began his new career, but how long his life was or where he died we are not told. Probably he died circa 413. His works are:— (1) Liber Cathemerinon. "Christian Day, as we may call it" W. S. Lilly, "Chapters in European History," vol. i. p. 208). (2) Liber Peristephanon. "Martyrs' Garlands" (id.). (3) Apotheosis. A work on the Divine Nature, or the Deification of Human Nature in Christ. (4) Hamartigenia. A treatise on the Origin of Sin, directed against the Marcionites. (5) Psychomachia or "The Spiritual Combat"-—an allegorical work. (6) Libri contra Symmachum. A controversial work against the restoration in the Senate House at Rome of the altar of Victory which Gratian had removed. Symmachus had petitioned Valentinian II. for its restoration in 384, but the influence of St. Ambrose had prevailed against him at that time. In 392 the altar was restored, but removed again by Theodosius in 394. After the death of the latter the attempt to restore it was renewed by Arcadius and Honorius, and it was at that time that Prudentius wrote his first book. The second (for there are two) was written in 405. Fague considers that the first may date in 395. (7) The Dittochseon = the double food or double Testament, is a wordy collection of 49 sets of four verses each, on Old and New Testament scenes. Of these different works the most important are the first two, and it is from them that the Liturgical hymns enumerated below have been chiefly compiled. The general character of Prudentius's writings it is not easy fairly to estimate, and to judge by the wholesale laudation he obtains from some of his critics, and the equally unsparing censure of others, his judges have so found it. In venturing upon any opinion upon such a subject, the reader must bear in mind the peculiar position in which the period at which he was writing found the poet. The poetry of classical Rome in all its exact beauty of form had long passed its meridian, and was being replaced by a style which was yet in its infancy, but which burst forth into new life and beauty in the hands of the Mediaeval hymnologists. Prudentius wrote before rhyming Latin verse was thought of, but after attention had ceased to be given to quantities. Under such circumstances it were vain to look for very finished work from him, and such certainly we do not find. But amidst a good deal of what one must confess is tasteless verbiage or clumsy rhetorical ornament-—however varied the metres he employs, numbering some 17—-there are also passages to be found, not unfrequently, of dramatic vigour and noble expression, which may well hold their own with the more musical utterances of a later date. He writes as a man intensely in earnest, and we may gather much from his writings concerning the points of conduct which were deemed the most important in Christian living at a time when a great portion of mankind were still the victims or slaves of a morality which, heathen at the best, was lowered and corrupted the more as the universality of its influence was more and more successfully challenged by the spread of the Gospel of Christ. If, there¬fore, we can scarcely go as far in our author's praise as Barth—-much given to lavish commendation—-who describes him as "Poeta eximius eruditissimus et sanctissimus scriptor; nemo divinius de rebus Christianis unquam scripsit"; or as Bentley—-not given to praise--who calls him the "Horace and Virgil of the Christians," we shall be as loath, considering under what circumstances he wrote, to carp at his style as not being formed on the best ancient models but as confessedly impure; feeling with Archbishop Trench that it is his merit that "whether consciously or unconsciously, he acted on the principle that the new life claimed new forms in which to manifest itself; that he did not shrink from helping forward that great transformation of the Latin language, which it needed to undergo, now that it should be the vehicle of truths which, were all together novel to it." (Sacred Latin Poetry, 1874, p. 121.) The reader will find so exhaustive an account of the various writings of Prudentius in the account given of him and them in Smith and Wace's Dictionary of Christian Biography, and Smith's Dictionary of Greek and Roman Biography, that it is only necessary in this work to refer very briefly to them as above. The poems have been constantly reprinted and re-edited, till the editor who produced the best edition we have of them, Albert Dressel (Leipsic, 1860), is able to say that his is the sixty-third. The use made of Prudentius's poems in the ancient Breviaries and Hymnaries was very extensive. In the form of centos stanzas and lines wore compiled and used as hymns; and it is mainly from these centos, and not from the original poems, that the translations into English were made. Daniel, i., Nos. 103-115, gives 13 genuine hymns as having been in use for "Morning," "Christmas," "Epiphany," "Lent," "Easter," "Transfiguration," "Burial," &c, in the older Breviaries. ….Many more which were used in like manner have been translated into English. When to these are added the hymns and those which have not been translated into English, we realise the position and power of Prudentius in the hymnody of the Church. [Rev. Digby S. Wrangham, M.A.] --John Julian, Dictionary of Hymnology (1907) ============== Prudentius, A. C, p. 915, ii. Two somewhat full versions of Prudentius are: (1) The Cathemerinon and other Poems of Aurelius Prudentius Clemens in English Verse, Lond., Rivington, 1845; and (2) Translations from Prudentius. By Francis St. John Thackeray, M.A.. F.S.A. Lond., Bell & Sons, 1890. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Christian Friedrich Witt

1660 - 1717 Person Name: Christian Friedrich Witt, 1660 - 1716 Matching Instances: 5 Composer of "STUTTGART" in Service Book and Hymnal of the Lutheran Church in America Christian F. Witt (b. Altenburg, Germany, d. 1660; d. Altenburg, 1716) was an editor and compiler of Psalmodia Sacra (1715); about 100 (of the 774) tunes in that collection are considered to be composed by him, including STUTTGART, which was set to the text "Sollt' es gleich." Witt was chamber organist and later Kapellmeister at the Gotha court. He composed vocal and instrumental music, including some sixty-five cantatas. Bert Polman

Edmund S. Carter

1845 - 1923 Person Name: Rev. E. S. Carter Matching Instances: 3 Composer of "[Earth has many a noble city]" in The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 Born: February 3, 1845, New Malton, Yorkshire, England. Died: May 23, 1923, Scarborough, Yorkshire, England. Carter attended Worcester College, Oxford (BA & MA 1871). He was ordained deacon in 1871, and priest in 1872. He served as Curate of Christ Church, Ealing, Middlesex (1871-75); Vicar choral of York Minster (1875); Rector of St. Martin, Micklegate, York (1877-82); and Vicar of St. Michael Belfry, York (1882). Music: DAY BY DAY WREFORD --www.hymntime.com/tch/

Henry J. Gauntlett

1805 - 1876 Person Name: Henry John Gauntlett (1805-1876) Matching Instances: 1 Adapter of "STUTTGART" in Common Praise (1998) Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844). Bert Polman

Anthony G. Petti

1932 - 1985 Person Name: Gaetano Raphael (Anthony) Petti, 1932-1985 Matching Instances: 1 Adapter of "Bethlehem, most noble city" in The Irish Presbyterian Hymnbook Petti, Anthony Gaetano. (London, England, February 12, 1932-- ). Roman Catholic. University College, London, B.A., 1955; M.A., 1957; D.Lit., 1970. While teaching English at the University of London (1955-1968) and the University of Calgary, Alberta (1969-?), and directing in both cities vocal and instrumental groups whose members shared his tastes, he did a great deal of research into Renaissance literature and music, particularly that produced by English Catholics, and published critical editions of many obscure and fascinating works. He reached out to a non-specialist audience with The New Catholic Hymns, for which he served as literary editor and made several translations, was published by Faber Music, London, in 1971; editions in several other countries soon followed, and his verses found their way into many other hymnbooks and breviaries. --Hugh D. McKellar, DNAH Archives

W. H. Havergal

1793 - 1870 Person Name: William Henry Havergal Matching Instances: 1 Adapter of "STUTTGART" in The Hymnal 1982 Havergal, William Henry, M.A, son of William Havergal, was born at High Wycombe, Buckinghamshire, 1793, and was educated at St. Edmund's Hall, Oxford (B.A. 1815, M.A. 1819). On taking Holy Orders he became in 1829 Rector of Astley, Worcestershire; in 1842, Rector of St. Nicholas, Worcester; and in 1860, Rector of Shareshill, near Wolverhampton. He was also Hon. Canon in Worcester Cathedral from 1845. He died April 18, 1870. His hymns, about 100 in all, were in many instances written for special services in his own church, and printed as leaflets. Several were included in W. Carus Wilson's Book of General Psalmody, 1840 (2nd ed., 1842); and in Metrical Psalms & Hymns for Singing in Churches, Worcester, Deighton, 1849, commonly known as the Worcester Diocesan Hymn Book, and of which he was the Editor. In Life Echoes, 1883, his hymns are given with those of Miss Havergal. Of those in common use the greater part are in Mercer, and Snepp's Songs of Grace & Glory. Although his hymns are all good, and two or three are excellent, it is not as a hymnwriter but as a musician that Canon Havergal is best known. His musical works and compositions included, in addition to numerous individual hymn tunes and chants, the Gresham Prize Service, 1836; the Gresham Prize Anthem, 1845; Old Church Psalmody, 1849; History of the Old 100th Psalm tune, 1854, &c. He also reprinted Ravenscroft’s Psalter of 1611. His hymns in common use include:— 1. Blessed Jesus, lord and Brother. School Festivals, 1833. Published in Life Echoes, 1883. 2. Brighter than meridian splendour. Christ the glory of His Church. 1830. Published in W. C. Wilson's Book of General Psalms, 1840; the Worcester Psalms & Hymns, 1849, &c. 3. Christians, awake to joy and praise. Christmas Carol, c. 1860. Printed on broadsheet, with music by the author, and sold on behalf of the Lancashire Cotton Distress Fund. 4. Come, Shepherds, come, 'tis just a year. Christmas Carol. 1860. Published in Snepp's Songs of Grace & Glory, 5. For ever and for ever, Lord. Missions, 1866, for the Church Mission Society. Published in Snepp's Songs of Grace & Glory, 1872, and the Life Echoes, 1883. 6. Hallelujah, Lord, our voices. Sunday. 1828. Published in W. C. Wilson's Book of General Psalms, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, 1883, &c. 7. Heralds of the Lord of glory. Missions. First sung in Astley Church, Sep. 23, 1827. Published in Miss Havergal's Starlight through the Shadows, 1880; Snepp's Songs of Grace & Glory, 1872, &c. 8. Hosanna, raise the pealing hymn. Praise to Christ, 1833, and first sung in Astley Church, June 9, 1833. Published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes 1883, &c. 9. How vast the field of souls. Missions. 1858. Printed for Shareshill Church Miss. Anniversary, 1863, and published in Snepp's Songs of Grace & Glory, 1872, and the Life Echoes, 1883. 10. In doubt and dread dismay. Missions. Written in 1837, and published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849, &c. 11. Jerusalem the golden, The home of saints shall be. Heaven. Published in Life Echoes, 1883. 12. My times are in Thy hand, Their best, &c. 1860. Published in Snepp's Songs of Grace & Glory, 1872, the Records of the author's life and work, and Life Echoes, 1883. The editor of the Records says (p. 159) "this hymn has been much appreciated, and well illustrates the devotional and cheerful spirit of the writer." 13. No dawn of holy light. Sunday. 1825. Printed in 1831 on a leaflet, and published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, 1883, &c. 14. Our faithful God hath sent us. Harvest. Written at Shareshill in 1863, for a Harvest Festival. Published in Snepp's Songs of Grace & Glory 1872, and Life Echoes, 1883. 15. Shout, 0 earth! from silence waking. Praise to Jesus for Redemption. 1841. Published in the Worcester Psalms & Hymns, 1849; Snepp's Songs of Grace & Glory, 1872, &c. 16. So happy all the day. Christmas Carol, c. 1834. Published in Snepp's Songs of Grace & Glory, 1872. 17. Soon the trumpet of salvation. Missions. 1826. Published in Snepp's Songs of Grace & Glory, 1872. 18. To praise our Shepherd's [Saviour's] care. The Good Shepherd. Written after witnessing the death of Elizabeth Edwards, aged 12, of St. Nicholas, Worcester, and printed as a leaflet. Published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, &c, 1883. The author also published a Memoir of the child. 19. Widely 'midst the slumbering nations. Missions. 1828. Published in the Worcester Psalms & Hymns, 1849; Snepp's Songs of Grace & Glory, 1872, &c. In addition to these hymns, his carols, "How grand, and how bright," "Our festal morn is come," and others are annotated under their respective first lines. Most of these carols and hymns were reprinted in Christmas Carols & Sacred Songs, Chiefly by the Rev. W. H. Havergal, London, Nisbet, 1869. --John Julian, Dictionary of Hymnology (1907) ===================== Havergal, W. H., p. 498, i. Other hymns are: — 1. Lord, if judgments now are waking. Second Advent. Published in W. Carus Wilson's Book of General Psalmody, 1840; in Kennedy, 1863, &c. 2. Remember, Lord, Thy word of old displayed. Missions. "Composed for a special prayer-meeting for missionary labourers, held in the author's schoolroom, in the parish of St. Nicholas's, Worcester." (W. F. Stevenson's Hymns for Church and Home, 1873, where the original text is also given.) It must be noted that No. 17, at p. 498, ii., "Soon the trumpet of salvation," was first published in A Collection of Original Airs adapted to Hymns, &c, 1826. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Kenneth D. Smith

b. 1928 Person Name: K. D. Smith, 1928- Matching Instances: 1 Harmonizer of "STUTTGART" in The Hymnal 1982

Hans Leo Hassler

1564 - 1612 Person Name: H. L. Hassler Matching Instances: 1 Composer (attributed to) of "STUTTGARD" in The Church Hymnal Hans Leo Hassler Germany 1564-1612. Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli's death. He served as organist and composer for Octavian Fugger, the princely art patron of Augsburg (1585-1601). He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. In 1602 he became director of town music and organist in the Frauenkirche in Nuremberg until 1608. He married Cordula Claus in 1604. He was finally court musician for the Elector of Saxony in Dresden, Germany, evenually becoming Kapellmeister (1608-1612). A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumns of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. He was also a consultant to organ builders. In 1596 he, with 53 other organists, had the opportunity to examine a new instrument with 59 stops at the Schlosskirche, Groningen. He was recognized for his expertise in organ design and often was called on to examine new instruments. He entered the world of mechanical instrument construction, developing a clockwork organ that was later sold to Emperor Rudolf II. He died of tuberculosis in Frankfurt, Germany. John Perry

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