He showed an early propensity for the violin, and studied under Bassani, a man of extensive knowledge and capabilities, while Mattei Simonelli was his instructor in counterpoint. Corelli at one time sought fame away from home, and he is said to have visited Paris, where Lulli, the chief violinist of that city, exhibited such jealousy and violence that the mild-tempered Corelli withdrew. In 1680 he went to Germany, where he was well received, and entered the service of the Elector of Bavaria, but he soon returned to Rome. His proficiency had now become so great that his fame extended throughout Europe, and pupils flocked to him. His playing was characterised by refined taste and elegance, and by a firm and even tone. [Illustration: ARCHANGE CORELLI] When the opera was well established in Rome, about 1690, Corelli led the band. His chief patron in Rome was Cardinal Ottoboni, and it was at his house that an incident occurred which places Corelli at the head of those musicians who have from time to time boldly maintained the rights of music against conversation. He was playing a solo when he noticed the cardinal engaged in conversation with another person. He immediately laid down his violin, and, on being asked the reason, answered that "he feared the music might interrupt the conversation." Corelli was a man of gentle disposition and simple habits. His plainness of dress and freedom from ostentation gave the impression that he was parsimonious, and Handel says of him that "he liked nothing better than seeing pictures without paying for it, and saving money," He was also noted for his objection to riding in carriages. He lived on terms of intimacy with the leading artists of his time, and had a great fondness for pictures, of which he had a valuable collection. These he left at his death to Cardinal Ottoboni. It was at Cardinal Ottoboni's that Corelli became acquainted with Handel, and at one of the musical evenings there a "Serenata," written by the latter, was performed. Corelli does not seem to have played it according to the ideas of the composer, for Handel, giving way to his impetuous temper, snatched the fiddle out of Correlli's hand. Corelli mildly remarked, "My dear Saxon, this music is in the French style, with which I am not acquainted."