It should be added that, under the auspices of the 'Plain-song and Mediæval Music Society’ of England, researches have been carried on, resulting in the publication of two volumes,[93] the first containing photographic reproductions of sixty of the most notable examples of English harmonized music prior to the fifteenth century, the second transcriptions thereof into modern musical notation, with explanatory notes. The majority of the examples are written for two voices, and some for three: none of these, however, can compare, in regard to workmanship, with the 'Sumer’ canon, which is also included in the collection. Not until the beginning of the fifteenth century do we find actual evidence of a school, and it is interesting to note the points of resemblance between it and the first Netherland school. Both are characterized by a reliance on the plain-chant melody, by a conventional opening, a lack of sensitiveness to discords, an avoidance of the third in the closing chord, and an absence of harmonic effects. Compared with the old French school, however, they show a genuine progress in the abolition of the harsher discords, the use of the third in cadences not final, and in the more frequent employment of imitation. Representatives of the early English school, it is important to note, were divided into two distinct branches, one remaining for the most part on English soil, while the other identified itself almost wholly with continental schools, and, in respect to style, seems to belong to them. In this latter group was John Dunstable, born about 1390, in Dunstable, England. He died in 1453, and is buried in St. Stephen’s, Walbrock, where an epitaph was said to be inscribed on 'two faire plated stones in the Chancell, each by other.’ Another, written by the Abbot of St. Albans, is headed: 'Upon John Dunstable, an astrologian, A mathematician, a musitian, and what not,’ and the six lines of elegiac Latin which follow bestow upon him heartfelt praise. Dunstable was a writer of songs both sacred and secular. One of the latter, _O Rosa bella_, was discovered in the Vatican in 1847, and is one of the most beautiful specimens of the age. Of the two compositions in the possession of the British Museum, one is a sort of musical enigma, a form of composition quite in vogue among the later Netherlanders. The other is a work in three parts of some length, without words, and is found in a splendid volume of MS. music formerly belonging to Henry VIII. Four sacred compositions, two songs, and two motets are in the archives of the Liceo Filarmonico of Bologna.