Okeghem’s most celebrated pupil was Josquin des Prés (about 1450-1521), who eclipsed his master’s fame in musical learning and wealth of ingenuity and became the most brilliant exponent of the musical art of the Netherlanders. He was the most popular composer and celebrated musician of his time, the spread of his music as well as his fame being greatly aided, no doubt, by the newly-invented process of printing music from movable type, which appeared at the very moment when he was at the height of his power. In his best works (he was a most prolific writer) we can detect a more flowing and emotional style and catch glimpses of a quality of sublime seriousness joined with fervid beauty that still makes a strong appeal to modern taste. Ambros well characterizes him as ‘the first musician who impresses us as having genius.’ His printed works consist of 19 masses (32 are extant), more than 150 motets, and about 50 secular works. Of his masses the most beautiful and the most advanced in style are the _Ad fugam_, the _De Beata Virgine_, the _Da pacem_, and the _La, sol, fa, re, mi_. In Naumann’s judgment, no master of modern times has surpassed the grandeur of the _Incarnatus_ from the _Missa Da pacem_. When not in a trifling or humorous mood, he rises above form and technique into the realm of expression where, among vocal contrapuntists, he is excelled only by Lassus and Palestrina. The music of Dufay and his contemporaries was frequently beautiful, but it was helpless to reflect the character of the words. Whether the words were gay or mournful, the music conveyed the same impression to the listener. But Josquin knew how to unlock the expressive power of music and henceforward music more and more assumed the function of definite delineation of mood and word.