The grouping of Scarlatti's orchestra was in its main points identical with that of the present day. The stringed instruments, violins, tenors, and basses formed its main strength; but their application was very simple. The violon-celli go regularly with the double-basses, and the tenors serve generally only to strengthen the bass; where they are independent they are often divided, like the violins, which however frequently go together. The oboe has the chief part among the wind instruments, the flutes serving mainly for variety and special characteristics; the bassoons strengthen the bass, and are rarely used independently. Soon horns were employed, and drums and trumpets when special splendour was required; trombones were used in the churches, never in the opera. In this manner even the largest orchestras were arranged down to the close of the last century; an example is afforded by the construction and arrangement of the Dresden orchestra by Hasse, which was considered as a model.[25] [See Page Image] {THE ORCHESTRA--INSTRUMENTALISTS.} (167) The well-appointed bass parts are the most striking, intended as a firm foundation for the vocal melody, which is not seldom strengthened by the violins and oboes or flutes. But to avoid any effect of poverty, it must not be forgotten that the accompanist at the piano filled in the harmony. To strengthen this, and to give variety to the intonation, was the task of the wind instruments. But when the orchestra was treated as a whole there was seldom any attempt to render lights and shades by alternations of the instruments; to attain this end, concerted solo instruments were employed. Italy was, during the eighteenth century, at once the mother and the nurse of instrumental musicians. A succession of first-rate violinists--Arcang. Corelli (1653-1713), Franc. Geminiani (1680-1762), Ant. Vivaldi (16...-1743), Gius. Tartini (1692-1770), Pietro Nardini (1722-1793), Gaet. Pugnani (1727-1803), Ant. Lolli (1733-1802)--established the glory of violin-playing, and raised it to an extraordinary height of excellence; while as oboists the brothers Besozzi, Alessandro (1700-1775), Antonio (1707-1781), Gaetano (1727-1793) were performers of the first merit. Trumpets were at that time more especially considered as solo instruments.