Vincenzo Abrici (1631-1696) was born at Rome, but was converted to Lutheranism and in 1664 was appointed chapel-master to the Elector of Saxony at Dresden, probably the only Italian Protestant organist of his time. He wrote excellent church music and while at Dresden was the teacher of Kuhnau. Bernardo Pasquini (1637-1710) was born in Tuscany and became the most celebrated Italian organist of the second half of the seventeenth century, his fame spreading to many foreign countries. Most of his life was spent at Rome where he was long organist at Santa Maria Maggiore, from which position he was elevated to a post that was evidently created especially for him--Organist of the Senate and People of Rome. Domenico Zipoli (born about 1675) was organist of the Jesuit Church at Rome about 1716 and during his lifetime was recognized as one of the foremost composers for the organ. He published sonatas for organ and cembalo consisting of short pieces for ritual use. Several of these are available in modern editions and, especially a Canzona in G minor and a Pastorale in C major, are pleasing enough to have been written by Bach or Handel. Padre Giambattista Martini (1706-1784), a celebrated theorist and historian, published in 1738 sonatas for the organ and cembalo, which were sets of short pieces hardly suitable for church use. He was considered the highest authority on theoretical matters and was always ready to help and encourage young musical talent. His Gavotte in F (from one of the above sonatas) has often figured on popular organ programs. II Organ-playing in Germany was nearly a century later in starting its serious development than in Italy. As the first impetus to the art in Italy came from foreign sources--from the Netherlanders Willaert and Buus who had settled in Venice--so the first definite stimulus in the development of German organ-playing came from Italy and the Netherlands, where the art had already reached a higher plane of development. Amsterdam and Venice were the two chief centres from which radiated the strongest influences in shaping the development of German organ art. In the former city Sweelinck became the teacher of most of the organists who later laid the foundations of the North German school of organ-playing, while many of the great South German organists were trained in Venice or Rome. [Illustration: Early Organ Masters:] Top: Girolamo Frescobaldi and Jan Pieters Sweelinck Bottom: Samuel Scheidt and Hans Leo Hassler