Haydn's development of his formal architecture can be summed up by saying that he knit together and enlarged the cycle of complex forms, extended the separate movements individually, imparted to them order, clearness, variety, and developed free thematic treatment. As has just been stated, the orchestra in Haydn's plasmic hands improved as a unit. He introduced no new instruments excepting later on the clarinet, indeed, his scores betray on the whole a greater reticence in the employment of numeric varieties of instruments than do those of Bach and Händel. Haydn's genius matured slowly; his earlier scoring does not exhibit any advanced degree of originality, and not until after Mozart had in turn become the greater did Haydn stand forth in the true strength of _his_ greatness. The antennae of that long-lived crustacean, the Neapolitan School, had touched even Haydn as they had Händel before him, and the influence was directly beneficial, since it modified the Teutonic tendencies inoculated by his predilection for the style of Emmanuel Bach, and fostered a regard for melody. Though he used no new material, Haydn instituted a freer method of employing each instrument according to its peculiarities and powers. Despite the fact that he was addicted to the custom of three-part string writing as established by Cavalli long before, he developed the art of welding the component parts firmly together, and thereby secured vitality and elasticity. The strings were now one complete and compact body.[13] Careful attention was bestowed both upon the manner of writing for them and upon a judicious numerical selection of each species to the end that they might not only balance, but also assist and show off to the best advantage the characteristic qualities of every part, one against the other. Only the violoncello was as yet subservient, and the harpsichord was still retained. [Footnote 13: Ex. 16, 17.] In the distribution of the parts for the wood-wind, he at first imitated Händel's usual methods of merely reënforcing the string parts in unison. But having benefited by repeated practical experience, and especially after the appearance of Mozart upon the arena, Haydn's writing for the wood became freer.[14] The oboe, whose functions are now largely supplanted by the more feminine and soulful clarinet, was much used as a solo instrument. And when at last the great classicists came upon the discovery that by supporting a solo instrument with held chords in the wind,[15] they could attain a more pliant mode of expression than had been possible in the earlier stiff and formal polyphonic style,--from that time on a new and poetic pathway was opened up, and the modern style of writing for the wood-wind may be said to have fairly begun. [Footnote 14: Ex. 11, 14, 15.] [Footnote 15: Ex. 13.]