In the second six, on the other hand, the violin is not called upon to carry more than one part. The style is consequently lighter, and on the whole more brilliant. The rhythmical elements of the dances are brought out prominently, and here Corelli shows himself no less a master. Take for example the allemande in the eighth sonata (E minor), or the gavotte in the tenth (F major). The variations on _La folia_ present Corelli’s technical resources in a nut-shell, so to speak. Such variations as the first, second, and third show a command of counterpoint; but the fifth begins to reveal his instinct for effects upon the violin, which is given freer and freer play in the eleventh, thirteenth, and fourteenth. The contrast between upper and lower strings is brought out in those mentioned. In the twelfth and sixteenth he uses the rich thirds and sixths destined in the course of the century to displace the polyphonic style altogether. Finally the twenty-third brings an astonishing effect of vibration and resonance. It is neatness of form, surety of technique, and perfection of style which give these sonatas their historical importance, which have made them a foundation for further development. Their beauty, however, is not a matter of history. We know of no music that speaks of an age that is passed with more gentleness, more sweetness, or more dignity. There is none that is more admirable. It is gratifying to note that such music as this was in its own day beloved. The _Apothèse de l’admirable Corelli_ written by the great French clavecinist, François Couperin, is among the few whole-souled and disinterested tributes of one contemporary to another. It describes in quaint music the entrance of Corelli into the company of Lully in the Elysian Fields. Couperin held that the combination of what was best in Italian music with what was best in French would produce an ideal music; and obviously he prized Corelli as representative of the best that there was in Italy. [Illustration] Early Masters of the Violin. Top: Archangelo Corelli. Bottom: Antonio Vivaldi. Giuseppe Tartini.