d
to foreign countries, and there kindled the sacred fires of the art,
and set new causes in operation, leading to the development of
national schools of great vigor. The three most eminent names in the
category last referred to were those of Tinctor, who founded the
school of Naples shortly before 1500; Willaert, who founded that of
Venice soon after 1500, and Orlando Lassus, who founded that of Munich
a trifle later. The great Palestrina himself was an outcome of these
schools of the Netherlands, and, aside from the independent musical
life in Spain, there was no strong cultivation of music anywhere in
Europe during this period, which did not have its source in these
schools of the Netherlands. The entire relation of these schools is
perhaps better shown in the following table taken from Naumann, than
is possible in any other manner:

THE NETHERLAND SCHOOL. (1425-1625 A.D.)

BELGIAN SCHOOL. DUTCH SCHOOL.

_First Period--1425-1512._ _First Period--1430-1506._

OKEGHEM, Compere, Petrus, Hobrecht.
Platenis, Tinctor.

_Second Period--1455-1526._ _Second Period--1495-1570._

JOSQUIN DES PRES, Agricola, ARKADELT, Hollaender.
Mouton.

_Third Period--1495-1572._ _Third Period--1440-1622._

GOMBERT, WILLAERT, SCHWELINCK.
Goudimel,
Clemens (_non papa_),
Cyprian de Rore.

_Fourth Period--1520-1625._

ORLANDO LASSUS, Andreas Pavernage,
Phillippus de Monte, Verdonck.

The first composer of the Belgian branch of the Netherlandish school
was Joannes Okeghem, who was a singer boy in the choir of the Antwerp
cathedral in 1443, and is supposed to have been a pupil of Binchois.
Directly after the date just mentioned he gave up his place at
Antwerp, and entered the service of the king of France. For forty
years he served three successive kings, having been in especial favor
with Louis XI. He resigned his position at Tours soon after 1490, and
lived in retirement until his death in 1513, at the age of nearly 100
years. Okeghem was a very ingenious and laborious composer, who
carried the art of canonic imitation to a much finer point than had
been reached before his time. He is generally credited with having
composed a motette in thirty-six parts having almost all the devices
later known as augmentation, diminution, inversion, retrograde, crab,
etc. The thirty-six parts here mentioned, however, were not fully