Keyed instruments at first found little favor in the ears of the Italians, who much preferred the violin with its "singing voice" and its superior capacity for expression. Yet they contributed much to the early history of this branch of the art, though the Germans cultivated more highly these instruments, which were, in their first state, very defective in producing melody. It was Domenico Scarlatti who laid the foundation of modern music for keyed instruments, and his music for the harpsichord was not confined to fugues and fantasias, as was most of the harpsichord music of early times. The real centre, however, in the line of progress for music for this instrument proved to be Germany, and Graun, Hasse, and John Christian Bach all wrote for the harpsichord. In America some of the first instruments to come into use were small organs. They are mentioned as early as 1711. Although large church organs, with three rows of keys and pedals, were in use in Europe by the opening of the sixteenth century, it was long before they were found here. [Illustration: Figure 85. SPINET.] The rivalry which church music seems to inspire in the breasts of those who render it has long existed, and extends even to those who make the instruments. The following story from "Hawkin's History of Music" bears out this statement. "Bernard Smith, or more properly Schmidt, a native of Germany, came to England with his nephews Gerard and Bernard, and to distinguish him from them obtained the name of 'Father Smith.' He was the rival of Harris from France and built an organ at Whitehall too precipitately, to gain the start of them, as they had arrived nearly at the same time in England. Emulation was powerfully exerted. Dallans joined Smith, but died in 1672, and Renatus Harris, son of the elder Harris, made great improvements. The contest became still warmer. The citizens of London, profiting by the rivalship of these excellent artists, erected organs in their churches; and the city, the court, and even the lawyers were divided in judgment as to the superiority. In order to decide the matter, the famous contest took place in the Temple Church upon their respective organs, played by eminent performers, before eminent judges, one of whom was the too celebrated Jeffreys. Blow & Purcell played for Smith, and Lully, organist to Queen Catharine, for Harris. In the course of the contest Harris challenged Father Smith to make, by a given time, the additional stops of the vox humana, the cremona or viol stop, the double courtel or bass flute, etc., which was accepted, and each exerted his abilities to the utmost. Jeffreys at length decided in favor of Smith, and Harris's organ was withdrawn. Father Smith maintained his reputation and was appointed organ-builder to Queen Anne. Harris went to Bristol."