In 1566 Palestrina became music director of the newly formed Roman Seminary. Maria Maggiore, he was in part compensated by permission to enroll his sons Rodolfo and Angelo at the institution.
He essayed various types: the archaic tenor Mass; the paraphrase Mass; the Mass erected on hexachord and other contrived subject; and the "parody" Mass, which elaborates a preexistent polyphonic model.
True to his preferences Palestrina avoided secular models, opting for the tunes of the Church or at least tunes associated with sacred texts.
He was not modern in the same way as his Venetian colleagues with their polychoral pieces.
His fuller identification with the older Franco-Flemish masters, however, made him the representative of that illustrious group best remembered by posterity.