Corelli was interred in the church of the Rotunda, otherwise called the Pantheon, in the first chapel on the left hand of the entrance of that beautiful temple. Over the place of his interment, there is a sepulchral monument with a marble bust, erected to his memory, at the expense of Philip William, Count Palatine of the Rhine, under the direction of Cardinal Ottoboni. The monument bears an inscription in tributary Latin, and the bust represents him with a music-paper in his hand, on which are engraved a few bars of that celebrated air, the _Giga_, in his 5th Sonata. It is worthy of remark, that this monument is contiguous to that of the greatest of painters, Raffaelle[20]. During many years after Corelli’s decease, a solemn service, consisting of selections from his own works, was performed in the Pantheon by a numerous band, on the anniversary of his funeral. This custom was not discontinued, until there were no longer any of his immediate scholars surviving to conduct the performance. Sir John Hawkins and Dr. Burney, who have both cited testimony as to this practice, concur in representing, that the works of the great master used to be performed, on this occasion, in a slow, firm and distinct manner, just as they were written, without changing the passages in the way of embellishment: and this, it is probable, was the manner in which he himself was wont to play them. Of the private life and moral character of this celebrated musician, no new information is now likely to be obtained; but the most favorable impression on this head is derived from analogy, in addition to what we possess of fact. If we may judge of his natural disposition and equanimity by the mildness, sweetness and even tenor of his musical ideas, the conclusion must be that his temper and his talents had pretty equal share in the office of endearing him to all his acquaintance. It appears, moreover, that his facile habit did not always render him insensible of that respect which was due to his character as well as to his skill. It is said that, when he was once playing a solo at Cardinal Ottoboni’s house, he observed the Cardinal and another person in discourse, on which he laid down his instrument; and, being asked the reason, answered that he “feared the music interrupted the conversation”—a reply in which modesty and dignity were nicely blended. He is related, also, to have been a man of humour and pleasantry. Some who were acquainted with him have censured him for parsimonious habits, but on no better ground than his accustomed plainness of dress, and his disinclination to the use of a carriage.