Of the French stage during this epoch it is to be observed that nothing of a large and serious character was produced upon it, except the operas of Gluck, which of course were not indigenous to France. What progress was made by the composers before mentioned, and others of less importance, consisted in acquiring fluency, ease and effective construction. The ground had been prepared from which the century following would reap a harvest. III. In Italy during the eighteenth century, opera continued to be cultivated by a succession of gifted and prolific composers. At the beginning of the century, the great Alexander Scarlatti was at the height of his career, as also were Lotti and the younger masters mentioned in the former chapter. All these composers followed in the style established by Scarlatti and Porpora. The most talented of the Italians of this period was Giovanni Batista Pergolesi (1710-1737). This gifted genius was born at Jesin, in the Roman states, but when a mere child, was admitted to the conservatory "Of the Poor in Jesus Christ" at Naples, where his education was completed. He commenced as a violin player, and attracted attention while a mere child by his original passages, chromatics, new harmonies and modulations. A report of his performances of this kind being made to his teacher Matteis, he desired to hear them for himself, which he did with much surprise, and asked the boy whether he could write them down. The next day the youngster presented himself with a sonata for the violin, as a specimen of his power; this led to his receiving regular instruction in counterpoint. The first composition of his was a sacred drama called "_La Conversione di St. Guglielmo_," written while he was still a student. It was performed with comic intermezzi (_sic!_) in the summer of 1731, at the cloister of St. Agnello. The dramatic element in this work is very pronounced, and the violin is treated with considerable feeling. His first opera, "_La Salustia_," was produced in 1731. It is notable for improvement in the orchestration. In the winter of this same year he wrote his comic intermezzo, "_La Serva Padrona_," a sprightly operetta, which had a moderate success at the time, but afterward for nearly a hundred years was played in all parts of Europe. He wrote several other operas, which had but moderate success, although many of them were performed with considerable applause after his death. By general consent the most beautiful work of Pergolesi was his "_Stabat Mater_," which was written to order for a religious confraternity, for use on Good Friday, in place of a "_Stabat_" by Scarlatti, the price paid being ten ducats--about nine dollars. It is for two voices, a soprano and contralto, and is excellently written. No sooner was he dead than his music immediately became the object of admiration, his operas and lighter pieces being played in all parts of Italy. He died at the age of twenty-six, being