Corelli, who was born in 1653, was the first to establish a new school in instrumental composition, distinguished from that which preceded it by a graceful, rhythmical and natural manner of writing. He was the first composer who brought the violin into repute; and his originality, facility and delicacy of style, greatly contributed to the popularity of the violin. He was founder of the Roman, or what may now be called the ancient school of violinists, and obtained the proud title of “Princeps Musicorum.” After the publication of Corelli’s works, there was scarcely a town in Italy where the violin was not cultivated and in which some distinguished performer on that instrument did not reside. Most of his contemporaries formed themselves on his model—as Albioni, of Venice, Torelli, of Verona, Valentini (whose works were published in Holland), and Marietto, who was a Neapolitan violinist attached to the household of the Duke of Orleans. Tartini, born 1692, the most celebrated performer on the violin of his day, formed all his scholars on the solos of Corelli.[4] He was the first who observed the phenomenon of the third sound, which he did in the year 1714, at Venice. This is the resonance of a third note when the two upper notes of a chord are sounded; and may be distinctly heard if a series of consecutive thirds are played on the violin, they being perfectly in tune. * * * * * * * * Let us now briefly notice the two great Italian schools of violin makers, which, up to the end of the seventeenth century, had been called into existence. The first was the Brescian school, the founder of which was Gasparo da Salo. This maker, as we have mentioned elsewhere, was the first to introduce the violin in its present size and shape. The next representative of this school was John Paul Maggini, who worked from 1600 to 1640. Other makers there were, viz., Mariani, Buddiani, Ambrosi, Bente, Pietro Sancto Maggini (son of J. P. Maggini), but they call for no special comment. The next great school was the Cremonese, founded by Andreas Amati, who was succeeded by his sons, Antony and Hieronymus Amati, and they worked together for some time. The most noted of this family was Nicolas Amati (born 1596, died 1684). The Cremonese renown for violin making, however, attained its climax in the productions of Antony Stradivarius (1644-1737) and Joseph Guarnerius (1683-1745). The various lesser lights who worked in these two schools will be duly noticed in the biographical portion of this work. * * * * * * * *