Two years later she published in Venice her first book of madrigals for four voices, "Il primo libro di madrigali", which is the first printed, published work by a woman in Western music history. She was close to Isabella de' Medici and dedicated some of her music to her. In 1570, 1583 and 1586 she published other books of madrigals. In the dedication to her first book of madrigals, she shows her feelings about being a female composer at a time when this was rare: "[I] want to show the world, as much as I can in this profession of music, the vain error of men that they alone possess the gifts of intellect and artistry, and that such gifts are never given to women." Her style is contrapuntal and chromatic and her melodic lines are singable and attentive to the text. Other composers of the time, such as Philippe de Monte, thought highly of her. Caterina Assandra (1590–1618) was an Italian composer and Benedictine nun. She became famous as an organist and published various works. Assandra composed a number of motets and organ pieces. She studied counterpoint with Benedetto Re, one of the leading teachers at Pavia Cathedral. She composed a collection of motets in the new concertato style in Milan in 1609, an imitative eight-voice "Salve Regina" in 1611, and a motet, "Audite verbum Dominum," for four voices in 1618. She composed traditional pieces and more innovative works. Among the latter is "Duo seraphim." Her motet "O Salutaris hodie," included in "Motetti" op. 2, was one of the first pieces to include the violone, a bowed stringed instrument. Francesca Caccini (1587–1641) was an Italian composer, singer, lutenist, poet, and music teacher. Her singing for the wedding of Henry IV of France and Maria de Medici in 1600 was praised by Henry, who called her the "best singer in all of France". She worked in the Medici court as a teacher, chamber singer, rehearsal coach and composer of both chamber and stage music until 1627. By 1614 she was the court's most highly paid musician, because her musical virtuosity so well exemplified an idea of female excellence projected by Tuscany's de facto Regent, Granduchess Christina of Lorraine.