The schools of the Netherlands came into prominence about 1425, and endured, with little loss of prestige, for two centuries, or until 1625. During this period there was a succession of eminent names in music in these countries, and a great progress was made in polyphony, and a transition begun out of that into harmony (which was in part accidental, owing to their outdoing themselves, as we shall see). Moreover, in the later times, quite a number of eminent men emigrated 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.