Florence, Venice and Rome, to say nothing of all the smaller cities, had their operas, ballets and musical-contests. Rome was very active. And, moreover, there was a great musical educator in Rome, whose name was Vergilio Mazzocchi (1593-1646), who was one of Monteverde’s contemporaries. He was _maestro di capella_ in St. John Lateran’s and in St. Peter’s. It will give us an idea of how seriously music was studied in those days if we remember what Mazzocchi required and what extraordinarily proficient pupils he sent out from his school. They could sing, play instruments, compose and write musical dramas and ballets; they could read music at sight and copy it; and they were also well trained in literature. Few of us would care for a day like this:— In the morning—“an hour to singing difficult exercises; an hour to the study of literature; an hour to practise singing before a mirror so as not to make disgraceful faces. In the evening—half an hour to theory; half an hour to the study of counterpoint; an hour to composition; and an hour to literature.” The rest of the day was devoted to practice on the clavecin, to composing for pleasure, and taking a walk in the open air. Pupils were also sent to the theatre and concerts, so that they could hear and study celebrated singers and performers; and they had to write an account of their impressions! Poor young things! A busy schedule for work and _pleasure_! About this time an opera by Stefano Landi was produced in Rome (1632). It was called _S. Alessio_; and the libretto was written by Giulio Rospigliosi, from the _Golden Legend_. This work is very important in musical history, not only because it has a double chorus and a double Orchestra, but because the second act opens with a real overture in three movements. It begins with a rapid _Fugato_ in 4-time; then comes a majestic _Adagio_ in 3-time; and then another rapid _Fugato_ in 4-time. The “_sinfonia_,” or “symphony,” introducing Act I, is in five movements,—a theme treated in fugue and counterpoint; a little piece described as an “echo”; a short, slow number in 3-time; and a rapid _Fugato_. The orchestral score is written in _five_ instrumental parts: (1)-(3) violins; (4) harps, lutes, theorbos, violoncello and bass viol; and (5), _clavicembali_. Music in Rome was kept almost exclusively for the wealthy and aristocratic circles. At the Barberini Theatre, which could easily seat 3,500 persons, only guests were admitted who had invitations. The public was not allowed to see one of these fine operas! Woe betide anyone who tried to get admittance! On one occasion in 1639 the Cardinal Antonio Barberini chased out of the opera-house with his stick a nice-looking and well-dressed young man, because he had not sufficient rank to come there!