Antonio Caldara (1678-1736) was also a pupil of Legrenzi, at the time when Lotti studied with him. In 1714 he went to Mantua as maestro di capella, and later in the same capacity to Vienna. He wrote ninety-six operas, of which the most successful was "Temistocle." His finest composition is a Crucifixus for sixteen voices, still very often sung in prominent churches. Among Lotti's pupils was Baldassare Galuppi(1706-1786), who wrote fifty-four operas, and a great deal of delightful chamber-music. Another pupil of Caldara, and a prominent figure in musical history, was Benedetto Marcello (1686-1739). He was a Venetian nobleman and musical amateur who, though possessing the musical ability of neither Lotti or Caldara, nevertheless succeeded, by hard work, by keen artistic zeal and by literary mastery, in winning fame for himself even outside his native country. His masterpiece, the paraphrases of fifty psalms set to music, at once brought him to the attention of all the prominent musicians of his time, and established his reputation. The library of St. Mark in Venice has a manuscript "Teoria musicale" by him; the court library has many autographs and other works of Marcello, including the cantatas "Addio di Ettone," "Clorie Daliso" and "La Stravaganza." Marcello's satirical pamphlet, "Il teatro alla moda," is a valuable source of information concerning society life in Venice toward the middle of the eighteenth century. Rossini borrowed one of the principal themes of his overture to the "Siege of Corinth" from Marcello's twenty-first psalm. While the Palestrina epoch was called the "Golden age of ecclesiastical music," the Neapolitan dramatic school, founded by Alessandro Scarlatti, covers a period in the eighteenth century which is called the "Second golden age of Italian music." Almost all of these prominent composers were pupils of Alessandro Scarlatti. Francesco Durante (1684-1755) was a highly accomplished musician, and one of the best writers of the age. His sacred compositions, which are numberless, are as graceful as they are tempered with true dignity of style. [Illustration: PADRE J. B. MARTINI. Reproduction of a lithograph portrait.] Emanuele d' Astorga (1688-1736) was celebrated as a singer and as a composer, and also for his romantic and rather melancholy life. His "Stabat mater," is a composition full of religious fervor and sweet pathos, as well as original in form and melodic invention. Leonardo Leo (1694-1741), who was superior to Astorga, wrote about fifty operas (one for the debut of the soprano Caffarelli), many masses, and a famous Miserere for eight voices. Francesco Feo (1699-1750) was a noble and learned master, who wrote the operas "Ipermestra" and "Andromache." Lionardo da Vinci (1690-1732), who is sometimes confounded with the great painter of the same name, wrote the operas "Silla" and "Siface." A love quarrel caused his untimely death by assassination.