His successor, Josquin Desprez, a Fleming trained in the same school (the very name of which has been lost in the loss of its tradition), and a member of the choir of Sixtus IV., became a Roman by adoption, and only left Rome in 1508 to proceed to Ferrara. Josquin was a stickler for correctness and perfection, skilful in linking discords and in combining independent parts. From the dim arcana of a sanctuary his profound inspiration rose into the clear light of day, blossoming out in soft and brilliant colours. His phrases are like many-coloured curves of light shot into space, describing their several parabolas without confusion and without clashing; there is white and green and red, but they all spring from the same flame. Many Italians censured, as fit for dreamers and doctrinaires, the exclusive employment of the human voice. They wished to have at least one instrument: the bass viol (developed into our violoncello), or the viol, from which the famous Amati, about 1540, derived the violin. It is a viol that Raphael places in the hands of his singers, who seem to identify themselves with the instrument with a passionate ardour.[242] In the smaller courts chamber-music was cultivated. Happy states! Nothing took precedence of the quest for a good musician; dilettantism reigned supreme. The court of Ferrara was practically a conservatoire; it had a celebrated orchestra, from which Caesar Borgia borrowed violinists when starting for France. Care was taken that the performance of music should take place in the most favourable circumstances and amid the profoundest respect; there was no question of being stacked in a hall, too hot or too cold, of being tight wedged and sitting askew to hear music by the hour. Lorenzo Costa depicts a very different concert-hall. Peacefully reclining on a grassy lawn, beneath the shade of light-foliaged trees, sheltered from sun and breeze, the ladies form the centre; they are discoursing of pure love. Their own sweetness seems to envelop everything. They are crowning a lamb or an ox with flowers; the landscape seems to spread life out into almost boundless space, intersected by a sheet of limpid water as blue as the sky. In the middle some persons are unobtrusively performing music or writing verses. No one pays any attention (so profound is the spell!) to a troop of soldiers in the distance repelling an incursion, nor to a handsome chevalier, a solitary and elegant figure, occupied in daintily killing a reptile, nor to certain groups which have wandered away beneath the leafy shade, towards the extreme verge of platonism.