Another Gallo-Belgian, Eloy, born about 1400, produced a mass for five voices, a rarity for that time. This work, called _Dixerunt discipuli_, is in the Vatican library. Many of the pupils of Dufay and Binchois, among whom were Busnois, Caron, Faugues, Basiron, and Obrecht, became more or less celebrated in their time, and constituted a kind of second generation or transitional school between the first, or Gallo-Belgian, and the later Netherland schools. Growing more familiar with the resources of the contrapuntal method, they improved upon the work of their masters, while adhering, in essentials, to their precepts. Dufay and Binchois, for instance, usually imitated the pattern either in unison or the octave; their followers used also the canon in the fifth, and carried it out with more skill. They discovered the construction of chords, though they still had no idea of rational chord progressions. Busnois, especially, was a more skillful harmonist than Dufay. His fame spread to Italy, and Petrucci[94] included a number of his songs in one of his earliest publications, about 1503. Among these pieces is a four-part chanson, _Dieu quel mariage_, which, according to Naumann, is remarkable, not only for the refinement of its harmony, but also on account of its masterly treatment of the melody. This is placed partly in the tenor and partly in the alto--a novel feature for the time--with no disturbance of the free motion and canonic flow of the other two parts. Busnois had also more skill in design than Dufay, actually employing the beginning of the melody as a theme, and building upon it the whole canonic structure of the voices.