Clement Jannequin was a native of Flanders, and probably a pupil--certainly a disciple--of Josquin. Of his life almost nothing is known, but fortunately many of his works are extant. Jacob Arcadelt was another distinguished master of this period. He was singing master of the boys at St. Peter's in 1539, and became one of the papal singers in 1540. In 1555 he entered the service of Cardinal Charles of Lorraine. With him he went to Paris where he probably remained till the end of his life. The compositions of the masters of this period have been preserved in large numbers. So many of them are extant that it is hardly necessary to give a list of them. The most important are Gombert's "Pater Noster," his motet "Vita Dulcedo" and "Miserere," his "Bird Cantata" and "Le Berger et la Bergère"; Willaert's "Magnificat" for three choirs and his madrigals; Jannequin's "Cris de Paris" and "La Bataille"; Goudimel's masses--"Audi filia," "Le bien que j'ai" and "Sous le pont d'Avignon"; Cyprian de Rore's "Chromatic Madrigals," Arcadelt's "Pater Noster" for eight voices, his "Missa de Beata Virgine," and his madrigals. The special features of this period were the development of secular music and the entrance of ecclesiastical music upon a transition from the dry canonic style of Ockeghem to the true emotional religious style of Palestrina. The change in church music should first engage our attention. In the Church of St. Mark there were, and still are, two organs facing each other. It is probable that this suggested to Willaert the advisability of dividing his choir into two parts. Having done this, it was natural that he should hit upon the plan of writing antiphonal music. Choruses in eight parts had been written before, but he was the first to construct them as two separate choruses of four parts each. Secondly, he began the practice of seeking for broad and grand effects of harmony instead of working out his voice parts according to strict canonic law. His chorals open with canonic progressions, but these are speedily interrupted by the entrance of common chords. The result is that in Willaert's compositions we find the foundations of modern polyphonic style. He had a fine feeling for harmonies and employed rich chords to excellent advantage. The earlier writers treated their voice parts independently; Willaert made special efforts to constitute harmony the foundation of his counterpoint. The development of each part was shaped so that it became one of the elements of the general harmonic effect. In order to accomplish this Willaert was obliged to adopt the modern chord forms and the fundamental chord relations of modern music--the tonic, dominant and subdominant. Claude Goudimel's church compositions show the influence of Willaert in an unmistakable manner, and through them the line of development to Palestrina is clearly marked. Palestrina was a great genius, an original thinker; but the clay which was ready for his