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/8 National Music of- the World.
do, while paying tribute to the nobles, to suggest the riches of the soil on and out of which the palaces of the country, whether priestly or lay, were built and flourished.
Such a speculation leads into another one—the limits and value of the union of patronage with participation, including practical amateurship, in art. Great, no doubt, was the impetus given to music by such rulers as the Medici at Florence; by such a prince as the Prince of Vcnosa, who wrote madrigals in advance of his time; by such a pontiff as Palestrina's master, the Pope Marcellus Pius the Fourth); by such a cardinal as Monsignore Otto-boni, to whom Corelli, long his household friend, bequeathed his treasures; by such a patrician as Marcello of Venice, whose setting of the first fifty Psalms of David is a work of permanent value; by such a group of dilettanti, belonging to our own days, as the Belgiojoso family, so influential in Lombardy. And yet it may be predicated that this patronage and participation of cultivated and noble persons, who naturally preferred to deal with such works of art as were complete, and in some accordance with the fashions of the hour, tended towards the transformation, if not the effacement of such