422 Fine Arts, 



sors/ The result of his labours was given to the 

 world in 1752, when he was considered by many 

 as the great monarch of the musical world, as " a 

 theorist to whom this art was as much indebted 

 as physics and philosophy to Newton." And al- 

 though this opinion of his merit, entertained by his 

 countrymen, may be more honourable than he de- 

 serves, yet the science of music is doubtless in- 

 debted to him as one of its greatest cultivators and 

 improvers, during the age in which he lived/ The 

 system of Rameau has received successive illustra- 

 tions and improvements from M. D'Alembert; 

 Abbe RoussiER, and others. 



Another great theorist in music was Tarttni, 

 an ingenious Italian, who followed M. Rameau ; 

 and although the scientific correctness of his work 

 is called in question, it still abounds with most va- 

 luable instruction to practical musicians. To these' 

 may be added the large and enlightened works of 

 Marpurg, a great German musician; besides the 

 publications made in different parts of the world, 

 on particular departments of music, of which even 

 the principal are too numerous to be recounted.' 



This new light shed on the principles of music, 

 has enabled succeeding artists to carry what is 

 called Modern Symphony, which took its rise long 

 before, to a very high degree of refinement and 

 perfection. Those who have been most distin- 

 guished in this department are Vanhall, Haydn, 

 Pleyel, and Mozart, all of Germany, and com- 

 posers of the first class. In the new style of music 

 introduced by these artists greater attention than 

 formerly is paid to contrast and effect; and it is also 

 distinguished by more sprightliness and variety. 



r See D'AlemBERt's Elemens de Mas, Theor. et Prat, suhans let FrtH' 

 ipfes de Rameau, 176a. 



s Burney's History of Music y 4tO. vol. iv. p. 6rs, &C. 

 * Jkid. 



