XXX. The third distinction consists in the liberty which composers at present take, of mixing in their music, all sorts of modulations that occur to them; without confining themselves, either to imitation or theme. The pleasure perceived by this music, which I will take the liberty of calling loose and dishevelled, is vastly inferior to the enjoyment afforded by that beautiful regularity and contrivance, with which the masters of the last age, introduced a pleasing variety into a passage; and especially, when the music was calculated for four voices. Strangers are sensible of the high value of such compositions; nor are excellent ones of this species wanting in other countries; but composers in general, avoid writing in this stile, because the doing it well, demands more labour and study, than they are commonly disposed to take; so that if now and then they introduce, and begin pursuing a passage, they quickly leave it, and give a loose to their fancy, letting it run where it lifts. Strangers, who come to Spain, are for the most part mere executionists, and therefore not capable of forming this kind of music; because it requires more scientific knowledge, than they are generally masters of; and therefore, to conceal that they are deficient in point of ability, they endeavour to persuade people, the method of pursuing passages is out of fashion. SECT. VIII. XXXI. This is the species of music, with which the Italians, by the hand of their beloved master Duron, have regaled us; for he was the man, who first introduced foreign modes into the music of Spain. It is true, that since his time, these modes have been so refined, that if Duron could now rise from his grave, he would not know them; but still, the blame of all these novelties is imputable to him, for he was the first who opened the door for their introduction. Virgil’s description of the winds, may be applied to the airs of the Italian music. _Qua data porta ruunt, & terras turbine perflant._ With regard to the science of music, we see verified in the Spaniards, with respect to the Italians, that easy condescension in admitting novelties, which Pliny lamented in the Italians themselves, with respect to the Greeks: _Mutatur quotidie ars interpolis, & ingeniorum Græciæ flatu impellimur._