Here his fame was so great that the young Bach made two journeys there on foot, in order to hear him. He was a virtuoso of a high order, and his style exercised considerable influence over that of Bach. [Illustration: Fig. 50. JOHANN ADAM REINKEN.] III. Return we now to Italy, where the violin led also to an important development of instrumental music, having in it the promise of the best that we have had since. In Fusignano, near Imola, was born in 1653 Archangelo Corelli, who became the first of violin virtuosi, and the first of composers for the instrument, and for violins in combination with other members of the same family, and so of our string quartette. He died in 1713 at Rome. Of his boyhood there is little known. About 1680 he appears in high favor at the court of Munich. In 1681 he was again in Rome, where he appears to have found a friend in Cardinal Ottoboni, in whose palace he died. His period of creative activity extended from 1683, when he began the publication of his forty-eight three-voiced sonatas, for two violins, in four numbers of twelve sonatas each. He also composed many other sonatas for the violin, for violin and piano, and for other instruments. These epoch-marking works are held in high esteem at the present time, and are in constant use for purposes of instruction. Meanwhile the orchestra had been steadily enriched through the competition of successive operatic composers, each exerting himself to produce more effect than the preceding. In this way new combinations of tone color were contrived, and now and then introduced in a fortunate manner, and effects of greater sonority were attained through the greater number of instruments, and the more expert use of those they had. In the present state of knowledge it would be very difficult, if not impossible, to trace the successive steps of this progress, and to give proper credit to each composer for his own contribution to the general stock. At best, the orchestra at the end of this century was somewhat meager. The violin and the other members of its family had taken their places somewhat as we now have them, but the number of basses and tenors was much less than at present, their place being filled by the archlute and the harpsichord. The trumpet was occasionally employed, the flute, the oboe, and very rarely the trombone. The conductor at the harpsichord, playing from a figured bass, filled in chords according to his own judgment of the effect required. Nothing approaching the smoothness and discreet coloration of the orchestra of the present day, or even of the Haydn orchestra, existed at this time. The violin players were very cautious about using the second and third "positions," but played continually with their hands in the first position. This part of the music, therefore, wholly lacked the freedom which it now has, and the whole progress of this century was purely apprentice work in instrumental music, its