of Cologne, who lived in the eleventh century. He, however, only claims the merit of improving the invention of musical notes for time. There were already, he says, treatises De mensurabili musica; or, at least, doctrines had been proposed concerning musical notes, and the different duration of sounds, by writers far older than him. Music was in Franco's time not measured, but it was approaching towards measure when Franco appeared. As Guido was an Italian, and Franco a Netherlander, Italy and the Low Countries enjoy the honor of being the authors of modern music. Correct counterpoint, learned fugue, and ingenious contrivance, were practised by the Netherlanders, Germans, French, and English, rather than by the Italians, who seem at first to have been stimulated to the study of counterpoint in different parts of Italy by the practice and example of foreigners. However,

some progress must have been made in music in the time of Petrarca, for at his poetical coronation there were two choirs of music, one vocal and the other instrumental. "They played by turns, in sweet harmony." Some Some progress in figurative counterpoint is here implied. It is the earliest notice of playing in concert that is known. Petrarca often uses the word concento, meaning harmony resulting from consonance of

Concento is the old

voices and instruments. Italian word for concerto. Though the time table is not theirs, yet the Italians have a great deal of original merit in music. I have mentioned Guido. Marchetto of Padua, who lived in the fourteenth century, and was protected by that illustrious patron of letters, Robert, king of Naples, was the first person who attempted, or wrote upon, modern chromatic, or secular modulation. Franchino Gafforio, who taught music in every Italian city, and who died at Milan in 1520, was the earliest musician that published a practical treatise on Composition. But it is time to close this digression.

I was much delighted to find that the mechanics of Florence were wont to connect relaxation and devotion, and pass their leisure hours in music. On Saturday evening I used to visit some one or other of the churches, generally that of Orsanmicheli, to hear a fraternity of artisans sing sacred melodies. They assembled about nine o'clock. The numbers of these Laudesi, as they were called, varied from time to time. They had always a precentor, whom they termed captain or leader. They used to sing five or six Laudi in four parts. The words were generally by Lorenzo de' Medici, the Pulci, or Pietro Francesco Giambullare.

At every

Laudi the singers were changed, and at the close of the performance a beautiful figure of the Madonna was unveiled, and a hymn to her glory was sang. The frequent change of singers caused, of course, great competition. But there were other and better reasons for the music being excellent. It was very interesting to trace the progress of devotion from seriousness to enthusiasm. Grave and solemn notes generally opened the evening's performance, but soon the lively imaginations of the Italians were inflamed, and a richer and more powerful stream of music floated through the church. How different is this amusement of the Florentine mechanics from the general expedients of idleness among the poor of most Italian cities! (21)

CHAPTER VII.

PISA, BOLOGNA, AND PARMA.

Early cultivation of the Fine Arts at Pisa.-State of Knowledge.-University of Pisa.-Journey from Florence to Bologna. -The Civil Law. Alciati.- University of Bologna. Romolo Amaseo. Achille Bocchi.- Teseo Ambrogio. Antonio Urceo.- History of Medicine.Paracelsus. The Fine Arts at Bologna. Il Francia.

Costa.- Cotignola and Others.- Tibaldi.- Michelangiolo's Statue of Julius II.-Journey from Bologna to Parma. Corregio and Parmigiano.