Benedictus Ducis, another Netherlander and pupil of Josquin, born at Bruges in 1480, was distinguished by the musical brotherhood of Antwerp by being elected Prince of the Guild--the highest honor an artist could achieve at that time in the Netherlands. Leaving Antwerp in 1515 he appears to have visited Henry the Eighth of England, and later to have been in Germany. There is some difficulty in distinguishing the works of Ducis from those of Benedictus Appenzelder, owing to the peculiar custom of the time of signing manuscripts only with the Christian name. It is generally conceded, however, that Ducis composed a funeral ode on the death of his master Josquin, also a motet for eight parts, _Peccantem me quotidie_, passion music and settings of the Psalms, the earnestness and nobility of which justify his fame. Jean Mouton, another pupil, was born probably near Metz, in Lorraine, became chapel singer to Louis XII and Francis I of France, then canon of Thérouanne and afterward of St. Quentin. His works show him to be a master of counterpoint and a worthy pupil of Josquin. Petrucci printed five of his masses in 1508, and later more than twenty of his motets; and Attaignant included his compositions in the third book of a famous collection of masses published in 1532, and also in a collection of motets which appeared somewhat earlier. A few masses in manuscript are in the Munich library. A large number of his motets have been preserved, justly valued for their artistic and effective qualities, which in some instances closely resemble those of his master. His pupil, Adrian Willaert, was one of the most gifted and one of the most influential composers of the next generation. He may be regarded as the founder of the Venetian school of composers, who played such a brilliant part in the history of music during the sixteenth century, who were experimenters and innovators, whose energy opened many a new channel to the course of music. The influence of Josquin thus passed to Venice. Adrian Willaert, born probably in 1490 at Roulers, in Belgium, first studied law in Paris. Afterward he adopted music as his profession and became a pupil of Jean Mouton. In 1516 we find him travelling in Italy, visiting Rome, Venice, and Ferrara. There is a story to the effect that in Rome he heard a motet of his, the _Verbum dulce et suave_, sung by the papal choir, whose members believed it to have been written by Josquin; and that they refused to sing it again when they discovered it to be by an unknown composer. If this story be true, it may be added here that Willaert lived to see the day when his compositions were considered entirely worthy of attention, even from the most distinguished body of singers in Christendom.