He was important in the development of the parody Massachusetts He first appears in the historic record in 1501 in Bruges, at the church of Saint Donatian, where he taught singing to the choirboys. Later in 1501 he became singing master, then he became succentor, and at the end of 1501 was ordained a priest.
He took a similar musical post in Mechelen at the church of Saint Rombout in 1504, but he had fallen into debt, and left his job in a hurry in 1505, evidently fleeing from bill collectors.
Divitis left Spain and returned to northern Europe. Nothing certain is known of Divitis after this date.
He is mentioned as being dead by 1534 by a manuscript copyist, but the implication in the reference is that he had been dead for several years. Surviving works by Divitis include masses, motets, Magnificat settings (a genre that was to become quite popular in the middle 16th century), and a chanson.
Each of his masses is for four voices, although an isolated six-voice setting of the Credo survives attributed to him.
Motets by Divitis are often for five and six voices, which was another relatively innovative feature in music around the beginning of the 16th century. His setting of the Marian antiphon Salve regina uses an identical tenor line, rests and all, to that which appears in Josquin"s setting of the popular song Adieu mes amours. lieutenant is uncertain whether Divitis consciously based his setting on Josquin, or on the popular song, which probably came first.
The three masses by Divitis use parody technique, and are among the first to do southern He is cited as influential in development of the genre, along with Jean Mouton and the other members of the French royal chapel.