practised fifty years earlier by Dufay, but that it was already used as early as 1250, as is seen in the now famous canon 'Sumer is i-cumen in,’ which has been mentioned above. This epoch of the activity of the Gallo-Belgians resulted in the firm establishment of what might be called the Netherland style. Technical ingenuity was exalted over beauty of sound; the use of martial tunes and love songs, some of them accompanied by most indiscreet words, prevailed in the mass as long as the old polyphony lasted; and the art of canon, although as yet limited and crude, took its place among the indispensable adjuncts of all musical composition. Of the three composers of this period who are frequently mentioned together by the old writers, two have already been briefly discussed. The third, Giles Binchois, born about 1400, died in 1460, seven years after Dunstable and fourteen years before Dufay. First a soldier, then a priest, Binchois became _chaplain-chantre_ to Duke Philip of Burgundy in 1452. Like Dufay, he was appointed non-resident canon of the cathedral at Mons. Twenty-eight of his compositions are in the 'MS. Canonici,’ of which all but one are secular. Six songs and two motets in the Munich library have also been recently discovered and transcribed by Dr. Hugo Riemann. Among Binchois’ extant works are also about a dozen sacred songs and six parts of masses. Like his contemporaries of the same school, Binchois was somewhat more interested in technical performance than in expression. Tinctoris mentions him with great praise as a composer whose fame would endure forever. It is evident, also, from the testimony of contemporary writers, that both Dufay and Binchois were widely celebrated as masters and teachers of counterpoint.