L'homme armé
Canonic masses came into increasing prominence in the latter part of the 15th century. Early examples include Ockeghem's famous "Missa prolationum", consisting entirely of mensuration canons, the "Missa L'homme armé" of Guillaume Faugues, whose cantus firmus is presented in canon at the descending fifth, the "Missa" ["Ad fugam"] of Marbrianus de Orto, based on freely composed canons at the fifth between superius and tenor, and the two great canonic masses of Josquin, the "Missa Ad fugam" and "Missa Sine nomine". Josquin makes use of canon in the Osanna and Agnus Dei III of the "Missa L'homme armé sexti toni", throughout the "Missa Sine nomine" and "Missa Ad fugam", and in the final three movements of the "Missa De beata virgine". The "Missa L'homme armé super voces musicales" incorporates mensuration canons in the Kyrie, Benedictus, and Agnus Dei II.