Elsewhere in Italy important composers appear, native Italians who bring to the Netherland art the Italian gift of melody and sweetness. Constanzo Festa,[118] a Florentine, occupies an especially important place. Riemann says of him, 'He can be looked upon as the predecessor of Palestrina, with whose style his own has many points of similarity. He was the first Italian contrapuntist of importance, and gives a foretaste of the beauties which were to spring from the union of Netherland art with Italian feeling for euphony and melody.’ Constanzo Porta, a pupil of Willaert, was successively _maestro_ of the Franciscan monastery at Padua, and of churches at Ravenna, Osimo, and Loreto. Gafori (or Gafurius, 1451-1522), cantor and master of the boys at Milan cathedral, left many theoretical writings of great value. Arcadelt, already mentioned as a writer of madrigals, composed a volume of masses, published both in Venice and by Ballard and Leroy in Paris in 1557. Jacob Clemens, better known by the name of Clemens non Papa, to distinguish him from the pope--a fact which attests, in a jocular way, his popularity--was a Netherlander, and one of the most famous composers of the epoch between Josquin and Palestrina, leaving to posterity a large number of masses, motets, and chansons, besides four books of hymns and psalms, the melodies of which were taken from Netherland folk song. Meantime in Germany we find also musicians of distinction, though as yet none of the very first rank. One of the oldest of these was Adam von Fulda, a learned monk, known both as a composer and theorist, and the author of at least one highly esteemed motet, _O vera lux et gloria_. Heinrich Finck, Thomas Stolzer, Ludwig Senfl, and Heinrich Isaak all deserve an honorable place in the history of German music of the late fifteenth and early sixteenth centuries. Isaak, though for some time considered a German, was born in the Netherlands, probably about 1450, and was one of the most learned of the contemporaries of Josquin. He lived for a time in Ferrara, afterward becoming organist at the court of Lorenzo the Magnificent. From this post he went to Rome, and finally entered the service of the Emperor Maximilian I at Vienna. Petrucci printed five of his masses in 1506, and included many of his other compositions in collections published early in the century. Manuscript works are in the Munich, Brussels, and Vienna libraries. His part songs were considered models of their kind, and are not lacking in interest even to-day. It is to Isaak we are indebted for the lovely _Inspruck, ich muss dich lassen_, used as a hymn by the followers of Luther, and by Sebastian Bach in the St. Matthew Passion.