So much is certain, that in the sixteenth century the Italians had all Europe for their pupils both theoretically and practically in every noble bodily exercise and in the habits and manners of good society. Their instructions and their illustrated books on riding, fencing, and dancing served as the model to other countries. Gymnastics as an art, apart both from military training and from mere amusement, was probably first taught by Vittorino da Feltre (p. 213) and after his time became essential to a complete education.[879] The important fact is that they were taught systematically, though what exercises were most in favour, and whether they resembled those now in use, we are unable to say. But we may infer, not only from the general character of the people, but from positive evidence which has been left for us, that not only strength and skill, but grace of movement was one of the main objects of physical training. It is enough to remind the reader of the great Frederick of Urbino (p. 44) directing the evening games of the young people committed to his care. The games and contests of the popular classes did not differ essentially from those which prevailed elsewhere in Europe. In the maritime cities boat-racing was among the number, and the Venetian regattas were famous at an early period.[880] The classical game of Italy was and is the ball; and this was probably played at the time of the Renaissance with more zeal and brilliancy than elsewhere. But on this point no distinct evidence is forthcoming. * * * * * A few words on music will not be out of place in this part of our work.[881] Musical composition down to the year 1500 was chiefly in the hands of the Flemish school, whose originality and artistic dexterity were greatly admired. Side by side with this, there nevertheless existed an Italian school, which probably stood nearer to our present taste. Half a century later came Palestrina, whose genius still works powerfully among us. We learn among other facts that he was a great innovator; but whether he or others took the decisive part in shaping the musical language of the modern world lies beyond the judgment of the unprofessional critic. Leaving on one side the history of musical composition, we shall confine ourselves to the position which music held in the social life of the day. A fact most characteristic of the Renaissance and of Italy is the specialisation of the orchestra, the search for new instruments and modes of sound, and, in close connection with this tendency, the formation of a class of ‘virtuosi,’ who devoted their whole attention to particular instruments or particular branches of music.