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Updated: May 15, 2025
It was feeling of this same kind that led the apostles of the Netherlands school and their Italian pupils to follow the physical trend of all Italian art rather than struggle to impose upon it the shackles of an uncongenial intellectuality forged in the canonic shops of Ockeghem and his disciples.
Innes's ambition was to restore the liturgical chants of the early centuries, from John Ockeghem, the Flemish silver-smith of Louis XI., whose recreation it was to compose motets, to Thomas da Vittoria; and, after having made known the works of Palestrina and of those who gravitated around the great Roman composer, he hoped to disinter the masses of Orlando di Lasso, of Goudimel and Josquin des Près, the motets of Nannini, of Felice Anerio, of Clemens non Papa.... He would go still further back.
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