Like the Netherland composers, Dunstable shows a lack of variety and a failure to adapt his music to the sentiments of the words: but he far surpasses them in sweetness and beauty. His works are among the earliest to exhibit a design founded upon resources other than the plain-chant melodies of the Church. He was capable of writing learned musical puzzles, thus foreshadowing the frequent practice of the Netherlanders of the next century; but he also wrote in lighter vein with charm and purity, and definitely renounced the harsh discords employed by Machault and others. It is with good reason, therefore, that scholars have predicated, from these facts, the influence of Dunstable upon the early Netherlanders, even though, in his native land, we find no trace of his teachings until they were imported later from the Low Countries. Through Dunstable, therefore, we are led back to Dufay and his contemporaries, and the real significance of this first Netherland school. The writers belonging to it were for centuries buried under the fame of the later Flemish composers, Okeghem and his pupils. As will be seen, however, Dufay is to be reckoned, not only as an important pioneer in the strikingly brilliant achievements of the Netherlanders, but also as the actual founder of a school. Learned and well versed in the musical science of his day, he possessed furthermore that indefinable touch of genius which enables a man to build a little higher than his forerunners, and leave art enriched by his labors. A large number of his compositions have been recovered, among them being fifty-nine secular songs, thirty-six sacred songs, eight whole masses, and about twenty sections, or movements, of masses. One hundred and fifty compositions were discovered by Haberl alone, hidden in the archives of Bologna, Rome, and Trieste. Masses and portions of masses are in the Brussels Library, others at Cambrai, still others in the Paris library, and in Munich a motet for three voices.