concertos) which is esteemed a solid and masterly composition, and is an evidence that the writer possessed a greater portion of skill and learning than his works in general discover. To account for the singularity of Vivaldi’s style, it should be observed that he had been witness to the dull _imitations_ of Corelli that prevailed among the masters of his time; and that, for the sake of variety, he unfortunately adopted a style which had little but novelty to recommend it, and could serve for little else but “to please the itching vein of idle-headed fashionists.” The title of Don, prefixed to Vivaldi’s name, was derived from the _clerical_ character which belonged to him; and he must, indisputably, have been one of the most lively of priests. Mr. Wright, in his “Travels through Italy, from 1720 to 1722,” has a passage indicative of this union of the clerical and musical functions:—“It is very usual to see priests play in the orchestra. The famous Vivaldi, whom they call the _Prete Rosso_, very well known among us for his concertos, was a topping man among them at Venice.” Vivaldi, together with Albinoni, Alberti, and Tessarini, is to be classed among the light and irregular troops. For the more disciplined and efficient forces, we must look to the Roman school, formed by Corelli, in which were produced the greatest composers and performers for the violin that Italy could boast, during the first half of the 18th century. FRANCESCO GEMINIANI, the ablest of Corelli’s scholars, and who forms one of the brightest parts in the chain of Violinists “In linked sweetness long drawn out,” was born at Lucca, about the year 1680[21]. His first instructions in music were derived from Alessandro Scarlatti; and his study of the violin was commenced under Lunati (surnamed Il Gobbo), and completed under the great archetype, Corelli. On leaving Rome, where Corelli was then flourishing, Geminiani went to Naples, preceded by a degree of fame which secured his most favorable reception, and placed him at the head of the orchestra. If, however, we are to credit Barbella, the impetuosity of his feelings, and the fire of his genius, too ardent for his judgment, rendered him, at this period, so vague and unsteady a _timeist_, that, instead of guiding, combining, and giving concinnity to the performers under his direction, he disordered their motions, embarrassed their execution, and, in a word, threw the whole band into confusion.