"Some twenty-five years ago there lived in Rome two friends, who were both musicians, and greatly attached to each other. The elder, whose name was Giacomo Andria, was maestro di capella of one of the churches, the other was an accomplished lutinist and singer. The elder was a cavaliere and a man of rank; the younger of respectable parentage, of the name of Vanneo. The style of music in which each was engaged was sufficiently different to allow of much friendly contention; and many lively debates took place as to the respective merits of ’Sonate da Chiesa’ and ’Sonate da Camera.’ Their respective instruments also afforded ground for friendly dispute. Vanneo was very desirous that his friend should introduce viols and other instruments into the service, in concert with the voices, in the Church in which Vanneo himself sang in the choir; but the Cavaliere, who considered this a practice derived from the theatre, refused to avail himself of any instrument save the organ. Vanneo was more successful in inducing his friend to practice upon his favourite instrument the lute, though Andria pretended at first to despise it as a ladies’ toy, and liable to injure the shape of the performer. His friend, however, though devoted to secular music, brought to the performance and composition of it so much taste and correct feeling, that Andria was ravished in spite of himself, and of his preference to the solemn music of the Church. Vanneo excelled in contrasting melancholy and pensive music with bright and lively cords, mingling weeping and laughter in some of the sweetest melodies that imagination ever suggested. He accompanied his own voice on the lute, or he composed pieces for a single voice with accompaniment for violins. In a word, he won his friend over to this grave chamber music, in some respects more pathetic and serious than the more monotonous masses and sonatas of the Church composers. Vanneo composed expressly for this purpose fantasies on the chamber organ, interposed, now and then, with stately and sweet dance music, such as Pavins (so named from the walk of a peacock) Allemaines, and other delightful airs, upon the violins and lute. In these fancies he blended, as it were, pathetic stories, gay festivities, and sublime and subtle ideas, all appealing to the secret and intellectual faculties, so that the music became not only an exponent of life but a divine influence. After these delightful meetings had continued for several years, circumstances obliged Vanneo to accompany a patron to France, and from thence he went over into England, to the great King of that nation, as one of his private musicians; for the Queen of England was a French Princess, and was fond of the lute. His departure was a great grief to the Cavaliere, who devoted himself more than ever to Church music and to the offices of religion. He was a man of very devout temper, and was distinguished for