The first great performer on the violin whose career had any special significance, in its connection with the modern world of musical art, was Archangelo Corelli, who was born at Fusignano, in the territory of Bologna, in the year 1653. Corelli's compositions are recognized to-day as types of musical purity and freshness, and the great number of distinguished pupils who graduated from his teaching relate him closely with all the distinguished violinists even down to the present day. In Corelli's younger days the church had a stronger claim on musicians than the theatre or concert-room. So we find him getting his earliest instruction from the Capuchin Simonelli, who devoted himself to the ecclesiastical style. The pupil, however, yielded to an irresistible instinct, and soon put himself under the care of a clever and skillful teacher, the well-known Bassani. Under this tuition the young musician made rapid advancement, for he labored incessantly in the practice of his instrument. At the age of twenty Corelli followed that natural bent which carried him to Paris, then, as now, a great art capital; and we are told, on the authority of Fetis, that the composer Lulli became so jealous of his extraordinary skill that he obtained a royal mandate ordering Corelli to quit Paris, on pain of the Bastille. In 1680 he paid a visit to Germany, and was specially well received, and was so universally admired, that he with difficulty escaped the importunate invitations to settle at various courts as chief musician. After a three years' absence from his native land he returned and published his first sonatas. The result of his assiduous labor was that his fame as a violinist had spread all over Europe, and pupils came from distant lands to profit by his instruction. We are told of his style as a solo player that it was learned and elegant, the tone firm and even, that his playing was frequently impressed with feeling, but that during performance "his countenance was distorted, his eyes red as fire, and his eyeballs rolled as if he were in agony." For about eighteen years Corelli was domiciled at Rome, under the patronage of Cardinal Ottoboni. As leader of the orchestra at the opera, he introduced many reforms, among them that of perfect uniformity of bowing. By the violin sonatas composed during this period, it is claimed that Corelli laid the foundation for the art of violin-playing, though it is probable that he profited largely by those that went before him. It was at the house of Cardinal Ottoboni that Corelli met Handel, when the violent temper of the latter did not hesitate to show itself. Corelli was playing a sonata, when the imperious young German snatched the violin from his hand, to show the greatest virtuoso of the age how to play the music. Corelli, though very amiable in temper, knew how to make himself respected. At one of the private concerts at Cardinal Ottoboni's, he observed his host and others talking during his playing. He laid his