In 1557, i.e., after the Council of Trent had opened but before it had taken its important action regarding music, Le Roy and Ballard printed a collection of three Masses by Arcadelt, the only ones by him known to survive. In these, although himself among the leading madrigal and chanson composers of the day, the maltre de chapelle to the Cardinal of Lorraine did not offend against the proprieties by drawing on secular models. One is a parody Mass based on Mouton's motet, Noe, Noe.Each movement of the Mass begins with the first motif of the model, with other motifs drawn upon in Mouton's order. In Kyrie I, Arcadelt follows also the order of voice entry set by Mouton; later he varies his treatment with regard to both plan of voice entry and rhythmic accent. Of the other two Masses, one is a Missa de Beata Virgine, while the other is based on Andreas de Silva's Ave Regina. Likewise in 1557, the same firm issued Piissimae ac sanctissimae Lamentationes, which included three sets of Lamentations by Arcadelt 277 (also sets by Carpentras, Festa, and others). The melodies are broad and flowing and are developed in freely treated through-imitation. The Lamed passage in the Lamentation for Feria V, Lectio III, is noteworthy in that the tenor sings the cantus firm us while the bass repeats a descending scale (f-F) three times, each time in a different rhythm, and the other three voices weave a contrapuntal web derived from the ostinato.