To make clear this conflict of styles represented by the north and the south, by Berlin and Vienna, respectively, we need only ask the reader to recall what we have said about the music of Bach in Vol. I and that of Pergolesi in the last chapter. In the one we saw the culmination of polyphonic technique upon a modern harmonic basis, a fusion of the old polyphonic and new monodic styles, enriched by infinite harmonic variety, with a wealth of ingenious modulations and chromatic alterations, and a depth of spirit analogous to the religious idealism which we have cited as the dominant intellectual note of post-Reformation Germany. In the other, the direct outcome of the monodic idea, and therefore essentially melodic, we found a consummate grace and lightness, but also a certain shallowness, a desire to please, to tickle the ear rather than to stir the deeper emotions. In the course of time this style came to be absolutely dominated by harmony, through the peculiar agency of the Figured Bass. But instead of an ever-shifting harmonic foundation, an iridescent variety of color, we have here an essentially simple harmonic structure, largely diatonic, and centring closely around the tonic and dominant as the essential points of gravity, swinging the direction of its cadences back and forth between the two, while employing every melodic device to introduce all the variety possible within the limitations of so simple a scheme. While, then, the style of Bach, and the North Germans, on the one hand, had a predominant _unity of spirit_ it tended to _variety of expression_; the style of the Italians, on the other hand, brought a _variety of ideas_ with a comparative simplicity of scheme or _monotony of expression_, which quickly crystallized into stereotyped forms. One of these forms, founded upon the simple harmonic scheme of tonic and dominant, developed, as we have seen, into the instrumental sonata, a type of which the violin sonatas of Corelli and his successors, Francesco Geminiani, Pietro Locatelli, and Giuseppe Tartini, and the piano sonatas of Domenico Scarlatti are excellent examples. Many Italians managed to endow such pieces with a breadth, a song-like sweep of melody, to which their inimitable facility of vocal writing led them quite naturally. Pergolesi especially, as we have said, deserves special merit for the introduction of the so-called ‘singing allegro’ in the first movements of his sonatas. Germans were quick to follow these examples and their innate tendency to variety of expression caused them to add another element--that of rhythmic contrast.[24] Indeed, although the Italian style continued to hold sway throughout Europe long after 1700, we find among its exponents an ever greater number of Germans. Their proclivity for harmonic fullness, pathos, and dignity was, moreover, reinforced by the influence of French orchestral music of the style of Lully and his successors. It