French at the meeting between François I and Henry VIII at the Field of the Cloth of Gold, based on the similarity to the festivities five years earlier after the Battle of Marignano. Near the end of his life, Mouton moved to Saint-Quentin. According to the engraving on his tombstone, he became a canon at the collegiate church of Saint-Quentin, taking over for Loyset Compère who died in 1518. Mouton died in Saint-Quentin and is buried there. The headstone, now missing, was engraved as follows: CI GIST MAISTRE JEAN DE HOLLINGUE, DIT MOUTON, EN SON VIVANT CHANTRE DU ROY CHANOINE DE THEROUANNE ET DE CETTE EGLISE QUI TRESPASSA LE PENULTIEME JOUR D'OCTOBRE MDXXII PRIEZ DIEU POUR SON AME Music and influence Mouton was hugely influential both as a composer and as a teacher. Of his music, 9 Magnificat settings, 15 masses, 20 chansons, and over 100 motets survive; since he was a court composer for a king, the survival rate of his music is relatively high for the period, it being widely distributed, copied, and archived. In addition, the famous publisher Ottaviano Petrucci printed an entire volume of Mouton's masses (early in the history of music printing, most publications contained works by multiple composers). The style of Mouton's music has superficial similarities to that of Josquin des Prez, using paired imitation, canonic techniques, and equal-voiced polyphonic writing: yet Mouton tends to write rhythmically and texturally uniform music compared to Josquin, with all the voices singing, and with relatively little textural contrast. Glarean characterized Mouton's melodic style with the phrase "his melody flows in a supple thread." Around 1500, Mouton seems to have become more aware of chords and harmonic feeling, probably due to his encounter with Italian music. At any rate this was a period of transition between purely linear thinking in music, in which chords were incidental occurrences as a result of correct usage of intervals, and music in which the harmonic element was foremost (for example in lighter Italian forms such as the frottola, which are homophonic in texture and sometimes have frankly diatonic harmony). Mouton was a fine musical craftsman throughout his life, highly regarded by his contemporaries and much in demand by his royal patrons. His music was reprinted and continued to attract other composers even later in the 16th century, especially two joyful Christmas motets he wrote, Noe, noe psallite noe, and Quaeramus cum pastoribus,