Franco-Flemish composer Arnold de Lantins was probably born in Liège between 1395 and 1405; it is not known if he was the brother of composer Hugo de Lantins, though it is likely that both at least belonged to the same generation. Arnold de Lantins first pops up on the radar of history in 1423, when he and Hugo are both mentioned as singers in the chapel of Malatesta di Malatestis in Pesaro; both are likewise named in Guillaume Dufay's chanson "Hé, compaignons." Marginal comments in the manuscript BG-Ob 213 indicate that Lantins was in Venice in 1428, but by 1431 he was in Rome, singing alongside Dufay in the Papal chapel. By July 2, 1432, Lantins was dead; composer Guillaume Malbeque is shown in a document requesting he be awarded some land outside of Liège that Lantins owned; the outcome of that request is not known, but Malbeque remained in the service of the papal chapel until 1438. Lantins was among the most celebrated figures of the very early Renaissance, judging from the enthusiastic manner in which his music was copied, particularly the motet Tota pulchra es. Lantins' two masses, three Gloria-Credo pairs (in themselves "masses" by the standard of the time), and three motets constitute the bulk of his sacred work; however, this is still an impressive survival rate for a Renaissance composer so early who died so young. He is also the composer of about 15 secular pieces, including ballades and Rondeaux, though some of these are disputed, said to be by Hugo. One Rondeaux, "Ce jour le doibt, aussi fait de saison," was once accredited to Arnold de Lantins, but is now firmly established as the work of Dufay.