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 written out. Only six parts were written, the remainder being developed from these on the principle of a round, the successive choruses following each other at certain intervals, according to Latin directions printed with the music. The other composers belonging to this period were comparatively unimportant, with the exception of Johannes Tinctor, who was born about 1446 and died in 1511. Tinctor, after being educated to music in Belgium, emigrated to Naples. In early youth he studied law, and took the degree of doctor of jurisprudence, and afterward of theology; was admitted to the priesthood, and became a canon. He then entered the service of Ferdinand of Aragon, king of Naples, who appointed him chaplain and cantor. He founded a music school in Naples, and published a multitude of theoretical works of the nature of text books. He is entitled to the honorable distinction of having published the first musical dictionary of which we have any record. This book is without date, but is supposed to have been printed about 1475. None of the compositions of Tinctor have been printed, and his importance in music history ranks mainly upon the theoretical works which he composed, and his relation as founder of the Naples school.