sonata form, it became visibly more artistic, more musical and of a more clearly-defined form. We early come in contact, however, with a different kind of sinfonia, invented by an Italian who had become identified with the French school. This form corresponds more nearly to the overture of the present day. Jean Baptiste Lully first used this form. It consisted of a slow, dignified movement, followed by one of light, French style, and closing with a slow movement, which, however, was of less serious character than the first. The next manifestation of the overture form resembled still more closely our symphony of to-day, in that it began and ended with quick movements. The middle movement was an andante. It is difficult to decide which of the Italian composers first used this form. The details of the development of the separate movements were, in comparison with earlier works of similar character, more careful and more strict. Evidences of the purely musical interest in the perfection of form thus manifested themselves, and the artistic arrangement of ideas made the work much more comprehensible to the public. From its earliest day, this species of composition has borne a clearly defined resemblance to our modern orchestral works, and, under the formative influence of the multitude of composers who used it, the sinfonia italiana made rapid progress towards perfection. By the beginning of the eighteenth century there was that unanimity of ideas among composers which indicates that a musical form exists as an independent thing. We find perhaps the best specimens of these "symphonies" in the overtures to "Catone in Utica" by Lionardo da Vinci and to "Il Mondo alla Riversa" by Galuppi, the latter of which was given one year before Joseph Haydn wrote his first symphony. Another excellent specimen is the overture to the "Bidone" of Piccinni; and, indeed, we find the form in use by Mozart in his first attempt at opera, "La Finta Semplice."