characterised by refined taste and elegance, and by a firm and even
tone.

[Illustration: ARCHANGE CORELLI]

When the opera was well established in Rome, about 1690, Corelli led the
band. His chief patron in Rome was Cardinal Ottoboni, and it was at his
house that an incident occurred which places Corelli at the head of
those musicians who have from time to time boldly maintained the rights
of music against conversation. He was playing a solo when he noticed the
cardinal engaged in conversation with another person. He immediately
laid down his violin, and, on being asked the reason, answered that "he
feared the music might interrupt the conversation."

Corelli was a man of gentle disposition and simple habits. His plainness
of dress and freedom from ostentation gave the impression that he was
parsimonious, and Handel says of him that "he liked nothing better than
seeing pictures without paying for it, and saving money," He was also
noted for his objection to riding in carriages.

He lived on terms of intimacy with the leading artists of his time, and
had a great fondness for pictures, of which he had a valuable
collection. These he left at his death to Cardinal Ottoboni.

It was at Cardinal Ottoboni's that Corelli became acquainted with
Handel, and at one of the musical evenings there a "Serenata," written
by the latter, was performed. Corelli does not seem to have played it
according to the ideas of the composer, for Handel, giving way to his
impetuous temper, snatched the fiddle out of Correlli's hand. Corelli
mildly remarked, "My dear Saxon, this music is in the French style, with