MUSI C. 
Other eminent mnHeal theories of Itaty, who flourilhed 
in the fixteenth century, were, Franchinus Gafierius, or 
Gad'orio of Lode, Pietro Aaron of Florence, Lodovico 
Fogliano, Giov. Spatro, Giov. Maria da Terentio Lan- 
franco, StefFano Uanneo, Anton. Francifco Done, Luigi 
Dentice, and Giofeffo Zarlino, the mod general, volumi¬ 
nous, and celebrated, theorilt of that period; Vincentio 
Galilei, a Florentine nobleman, and father of the great 
Galileo; Maria Artufe of Bologna, Orafeo Tegrini, Pietro 
Pontio, Lodovico Zacconi, &c. The principal Roman 
authors were, Giovanni Anmuccia, Giovanni Pierluigi 
da Paledrina, judly celebrated, Ruggiero Giovanelli, Luca 
Marenzio, who brought to perfection madrigals, the mod 
cheerful fpecies of fecular mulic. Of the Venetians, Adrian 
Willaeri is allowed to be at the head. At the head of the 
Neapolitans is defervedly placed Rocco Rodio. Lombardy 
might alio furnifli an ample lid of eminent muficians dur¬ 
ing the fixteenth century, of whom, however, our limits 
will not admit of a particular enumeration : the chief of 
them w'ere, Condanzo Porta, Gadoldi, Biili, Cima, Vocchi, 
and Monteverde. At Bologna, befides Artufi already 
mentioned, Andrea Rota of the fame city appears to have 
been an admirable contrapunCtid. Francifco Corteccia, 
a celebrated organid and compofer, and Alefiandro Strig- 
glio, a lutanid, and voluminous compofer, w'ere the mod 
eminent Florentines. 
The inhabitants of the extenfive empire of Germany, 
have long made mulic a part of general education. They 
hold the place, next to Italy, among the mod fuccefsful 
cultivators of the art. During the fixteenth century, 
their mod eminent compofers of mulic, and writers on the 
I'ubjeCt, were, Geo. Reifchius, Michael Rofwick, Andreas 
Ornithorparchus, Paul Hofhaimer, Lufpeinius, Henry 
Loris or Lorit, Faber, Fink, Holinan, and many others 
whom it would be tedious to mention ; and for a particu¬ 
lar account of whofe treatifes and compodtions we mud 
refer to more voluminous hidories of mude. 
In France, during the fixteenth century, no art except 
the art of w'ar made much progrefs in improvement. 
Ronfard, Baif, Goudimel, Claud le Jeune, Caurroy, and 
Maudit, are the chief French mudeians of that period. 
In Spain, mude was early received into the circle of 
fciences in the univerdties. The mudeal profeflbrfhip at 
Salamanca was founded and endowed by Alfonfo the 
Wife, king of Cadile. One of the mod celebrated of the 
Spaniih mudeians w'as Francis Salinas, who had been blind 
from his infancy. He was a native of Burgos. Don Crif- 
tofero Morales, and Tomafo Lodovico da Vittorio, de- 
ferve likewife to be mentioned ; and to mention them is 
all we can attempt; the purpofe of which is, to excite 
more minute enquiry by thofe who may choofe to invedi- 
gate the fubjeft particularly. 
The Netherlands, likewife, during the period of which 
we have been fpeaking, produced eminent compofers ; of 
whom w’e may mention Verletot, Gombert, Arkadelt, 
Berchem, Richefort or Ricciafort, Crequilon, Le Coq, 
Canis, Jacob Clemens Non Papa, Pierre Manchicourt, 
Badon, Ker), Rore, Orlandi di Lalfo, and his fons Ferdi¬ 
nand and Rodolph. 
Though organs were known in churches as early as the 
year 663, yet dgured balfes, that is, what v/e now call 
thorough baj's, were not p radii fed till about 1605, near a 
thoufand years after, Steve 7 is's Grejham Lcttures, Trinity 
Term, 1817. , 
Ludovico Viadana, the inventor of the expedient of 
exprefling chords by figures in accompaniment or tho- 
rough-bafs, which the Italians cz\\ bajj'o-continuo, was born 
at Lodi, in the Milanefe, the latter end of the fixteenth 
century. His fird preferment was that of maedro di ca- 
pella of the cathedral of Fano, and the fecond that of 
Mantua. He was one of the mod didinguiihed ecclefiadi- 
cal compofers of his time. Indances of the minute be¬ 
ginnings of this expedient have been obferved previous 
to the time of Viadana ; but he was, doubtlefs," the fird 
who drew up general rules for exprefiing harmony by 
Vol. XVI, No. 1113. 
31)1 
figures over the bafs in 1615. Draudius, in an ample lid 
of his ecclefiadical compofitions, which were very nu¬ 
merous, telis us of one that authenticates his claim to 
this invention, which was a collection of all his choral 
pieces, of one, two, three, and four, parts; “with a 
continued and general bafs, adapted to the organ accord¬ 
ing to a new invention, and ufeful for every finger as well 
as organid ; to which are added fhort rules and explana¬ 
tions for accompanying a general bafs, according to the 
new method.” Viadana was therefore the fird who com- 
pofed an organ-bafs different from the voice-part, in the 
execution of which the new-invented figures enabled the 
performer to give the fingers the whole harmony of the 
feveral parts of a full compofition, without feeing the 
fcore. This practice was introduced into France about 
the year 1650, by Henry du Mont; (fee vol. xv. p. 712.) 
In the feventeenth century, the greated performer on 
the organ and harpfichord, and the bed compofer for thofe 
indruments that Italy could boad, was Girolamo Frefco- 
baldi, a native of Ferrara ; but who went early in bis life 
to Rome with his mader Milleville, where he was eleCted 
organid of St. Peter’s church. All the mufical writers of 
Italy have celebrated his talents ; and his works, which 
dill remain, are indifputable vouchers of the truth of 
their encomiums. Quadrio fays, that early in his youth, 
as a linger, he delighted every ear, and was praifed by 
every tongue in the principal cities of Italy. But his 
chief excellence confided in compofing and playing on 
the organ and harpfichord, for which he became fo re¬ 
nowned, that his works, both printed and manufeript, 
were in the hands of all profedors and collectors of mufi¬ 
cal compofitions. According to Della Valle, Frefcobaldi 
was living in 1641. His fird work, entitled “ Ricercari e 
Canzoni Francefe, fatte fopra diverfi oblighi in Partitura, 
libro primo, 1615,” contains the fird compofitions we 
have leen printed in fcore, and with bars. They are like¬ 
wife the fird regular fugues that we have found upon one 
fubjeCt, or of two fubjeCts carried on at the dune time, 
from the beginning of a movement to the end. Ricercari 
and fantajie preceded fonatas and concertos, and were the 
fird compofitions exprefsly made for indruments, after the 
invention of counterpoint. The fugues of Frefcobaldi 
have great merit, if we confider tire date of indrumental 
mufic at the time they were produced : the fubjeCts are 
marked, the harmony pure, and the dyle chafte and clear. 
Frefcobaldi’s maderly and pleafing fugues added new 
dignity and attraction to the organ ; they were foon imi¬ 
tated all over Europe, and wherever there was an organ 
and an organid poffefled of hand and head capable of 
emulating a dyle fo fuitable to the genius of that indru- 
ment. It is not faid in the title page for what indruments 
the feveral parts were designed; but, as the author was a 
great organ player, we make no doubt but that they were 
fird produced by and for that indrument, as all the four 
parts are fo compaCt and clofely connected, that they are 
dill within the grafp of the two hands. Notwithdanding 
many of thele fugues are upon two, three, and even 
four, fubjeCts, and every learned artifice of inverfion, 
augmentation, diminution, and moto contrario, is ufed, 
he has had the dexterity to avoid confufion. The “ Sonata 
d’lntavolatura di Cimbalo ed Organo partite di diverfe 
Arie e Corrente, Ballati, Ciaccone, Paffacagli di Frel- 
cobaldi,” publilhed at Rome in 1637, upon fix lines for 
the right hand, and eight for the left, are very full, and 
of difficult execution. Thefe pieces, being embellidied 
with the fadiionable divifions and graces of the times, 
have fuftered more by age than the ricercari, which have 
all the fimplicity of vocal fugues in the church-dyle. But 
even in his variations on old airs, we find more tade and 
pafiages which have dood their ground, than in any other 
harpiichord-mufic of the fame period. 
Our Bird, Dr. Bull, and Giles Fornaby, feem to have 
been the greated organ-players in Europe during the fix¬ 
teenth century, and the beginning of the next, till Fref- 
cobaldi introduced a fuperior dyle of treating the organ, 
4 H diverted 
