In 1577 Infantas came into conflict with Pope Gregory XIII and the composers Palestrina and Annibale Zoilo over the reversal of reforms in Gregorian chant, at one point causing his sponsor Philip II of Spain to instruct the Spanish ambassador in Spain to intercede with the Pope.
His Treaty on Predestination (Paris, 1601), brought the charge of being an illuminist, if not a quietist, and the attention of the Spanish Inquisition.
[2] Infantas' theological views may have influenced his preference, aside from the then standard Marian motets, for predominantly Biblical text settings in his publications.
This is most notable in two almost unique settings of the Symbolum Apostolorum, a Credo according to the Apostles' Creed, not according to the ordinary of the mass.
A third setting was visibly absent from the Pater Noster sequence in Book III, possibly as a result of criticism.