In England this school had a great currency, and the madrigals of the British writers of the seventeenth century are every whit as free and melodious as the best of those of the Italian school. The number of writers of this class of works was innumerable, so much so that we might well class it as the ruling art form of the century, just as the dramatic song was in the eighteenth century, the fugue in the last half of it, and the sonata in the beginning of the nineteenth. Everybody wrote madrigals who ever wrote music at all. According to the dates of collections published, the English followed the Italian composers. The earliest Italian compositions of this class are contained in three collections printed by Ottaviano di Petrucci, the inventor of the process of printing music from movable type. These collections were published in Venice, 1501-1503, and copies are still retained in the library at Bologna and at Vienna. The English cultivation of this form of composition became general toward the last of this century, and in the first part of the next ensuing, and it is but just to say that the English composers finally surpassed the continental in this school, and developed out of it a beautiful art genre of their own, the glee. Toward the latter part of the sixteenth century certain attempts were made in Italy at something resembling our opera, but in place of solo pieces by any of the performers there were madrigals. When Juliet, for example, would soliloquize upon the balcony, she did so in a madrigal, the remaining four parts being carried by chambermaids inside. When Romeo climbed the balcony and breathed his sweet vows to Juliet, one or two of his friends around the corner carried the missing melodies in which he sought to improvise his warm affection. The absurdity of the proceeding was manifest, but it needed yet another point of emphasis. There was a grand wedding in Venice in 1595, at which the music consisted of madrigals, all in slow time and minor key. The contradiction between the doleful music and the festive occasion was too plain to be ignored, and led, presently, to the invention of a totally different style of song of which later there is much to say.