Aldrich also composed a number of anthems and church services of high merit, and adapted much of the music of Palestrina and Carissimi to English words with great skill and judgment.
Baini held a higher place, however, as a musical critic and historian than as a composer, and his Life of Palestrina (Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina, 1828) ranks as one of the best works of its class.
The phrase Il Principe della Musica, which has become finally associated with the name of Palestrina, originates with this biography.
Accordingly, Palestrina and his great contemporaries and predecessors treated the Gloria and Credo in a style midway in polyphonic organization and rhythmic breadth between that of the elaborate motet (adopted in the Sanctus) and the homophonic reciting style of the Litany.
They are traversed by three principal valleys: (I) that of the Anio, now called Teverone, which descends from above Subiaco to Tivoli, where it enters the plain of the Campagna; (2) that of the Trerus (Sacco), which has its source below Palestrina (Praeneste), and flows through a comparatively broad valley that separates the main mass of the Apennines from the Volscian mountains or Monti Lepini, till it joins the Liris below Ceprano; (3) that of the Liris (Garigliano), which enters the confines of New Latium about 20 m.