We have seen that Petrucci’s first publication of 1501 contained ninety-six pieces, most of which were by Okeghem, Hobrecht, Josquin, Isaak, and others, such as Ghiselin, La Rue, Alex. Agricola, Brumel, Craen, by far the most part Netherlanders. This was in Venice. We need no further evidence of the popularity of the Netherland art in Italy. The Netherland style had become by this time the standard style of Europe; and during the first quarter of the sixteenth century Netherlanders still held sway over the development of music. There were pupils of Josquin in the Netherlands, in France, in Spain, in Italy, and in Germany. His music flowed over the face of Europe and his art penetrated to all the courts and into all the cathedrals. And upon all his pupils the spirit of the Renaissance was at work. Thousands of madrigals, of love songs, drinking songs, and hunting songs came crowding from their pens and jostled masses and motets in confusion. Program music was in the air, songs of battle, songs of gossiping women, of birds, of shepherds and of shepherdesses. It is hardly surprising that music for the church began to take on colors more and more brilliant. It is more surprising that the old ideal of exalted polyphony still endured and still called men to its standard. Some of the pupils of Josquin are worthy of separate mention. Perhaps the most distinguished of them was Nicolas Gombert. He was a Netherlander by birth. We find him in the service of the sovereign of the Netherlands, later in the royal chapel at Brussels. In 1530 he was master of the boys at the imperial chapel in Madrid, and afterward probably first master in the same chapel. In 1556 he was back in his own country again, where, a few years after, he died. A large number of his works, from special editions of the sixteenth century, have come down to us, and some of his manuscripts, like so many other treasures of this period, are in the Munich library. His work for the church is characterized by a gentle, harmonious beauty, and Fétis called him the predecessor of Palestrina, especially on account of a beautiful _Pater noster_, which is marked by a lofty religious sentiment. He was very successful as a composer of motets, and, in his secular works, showed a tendency toward tone-color effects--program music--especially in his chansons, _Le berger et la bergère_, and _Le chant des oiseaux_.