Bononcini came from Modena. He was about fifty years old,[185] son of an artist of great merit, Giovanni Bononcini, whose premature death cut short a career rich with promise.[186] Brought up with an almost paternal affection by one of the first masters of that epoch, one of the few who had preserved the cult and the science of the past, Giampaolo Colonna, organist of St. Pietronio at Bologna, he had benefited early in life by a high princely, even Imperial,[187] protection. More precocious even than Handel, he published his first works at the age of thirteen, was member of the Philharmonic Academy of Bologna at fourteen, and master of the Chapel at fifteen. His first works were instrumental. This was his speciality, having inherited his gift from his father.[188] He only reached the Opera after having tried all the other styles. It was not with him a natural calling. He was a born concert musician, and he remained so even in the Opera. His tours in Germany and in Austria, where he was created Imperial Composer in 1700, and gave his _Polifemo_ at Berlin in 1703,[189] fully established his renown in Europe. His music spread in France after 1706 and excited there an almost incredible infatuation.[190] When in Italy his reputation surpassed even that of Scarlatti, who himself, according to Mr. Dent, came under his influence to a small extent. He had a European vogue for about ten or fifteen years. He was, so to speak, the reflection of the society of his time. What strikes one in his music, if we are to believe Lecerf de la Viéville, is the boldness of his modulations, the abundance of his vocal ornaments, the unruliness of his mind. His style seemed to the Lullyists that of the affected and distorted order as opposed to the school of common sense. Bononcini was a "verticalist" then, differing from the "horizontalists" of the preceding epoch.[191] He was essentially a sensuous musician, and an anti-intellectualist. Right from the beginning, as an instrumental composer he always remained indifferent to his poems, to his subjects, and to everything which was outside of music. In his music he set a pleasing sonority above everything;[192] and it was evidently on this account that his work required less effort of the intelligence than was necessitated by the severe art of Scarlatti, or the recitative and expressive art of Lully.[193] In him was inaugurated the reaction of fashionable good taste in the general public against that of the savant.[194] Contrast the grand airs _Da Capo_, broadly developed in a more or less contrapuntal fashion, with his tiny little airs, also _Da Capo_, but in miniature, easy to understand, which touched the popular feeling for melody. He carefully perfumed it and served it up for the taste of the elegant and fashionable.[195] This distinguished simplicity, this delicate sensibility, rather feeble, always so correct in its audacities and restrained in its pleasures, made Bononcini a drawing-room favourite, a