a work of a different nature
from the history--perhaps a treatise on _Admiranda_ or remarkable
things.

See Tacitus, _Annals_, iv. 34, 35; Suetonius, _Tiberius_, 61,
_Caligula_, 16; Seneca, _Suasoriae_, vii., esp. the _Consolatio_ to
Cordus's daughter Marcia; Dio Cassius lvii. 24. There are monographs
by J. Held (1841) and C. Rathlef (1860). Also H. Peter, _Die
geschichtliche Literatur uber die romische Kaiserzeit_ (1897);
Teuffel-Schwabe, _Hist. of Roman Lit._, Eng. trans., 277, 1.

CORELLI, ARCANGELO (1653-1713), Italian violin-player and composer, was
born on the 12th or 13th of February 1653, at Fusignano near Imola, and
died in 1713. Of his life little is known. His master on the violin was
Bassani. Matteo Simonelli, the well-known singer of the pope's chapel,
taught him composition. His first decided success was gained in Paris at
the age of nineteen. To this he owed his European reputation. From Paris
Corelli went to Germany. In 1681 he was in the service of the electoral
prince of Bavaria; between 1680 and 1685 he spent a considerable time in
the house of his friend Farinelli. In 1685 he was certainly in Rome,
where he led the festival performances of music for Queen Christine of
Sweden and was also a favourite of Cardinal Ottoboni. From 1689 to 1690
he was in Modena, the duke of which city made him handsome presents. In
1708 he went once more to Rome, living in the palace of Cardinal
Ottoboni. His visit to Naples, at the invitation of the king, took place
in the same year. The style of execution introduced by Corelli and
preserved by his pupils, such as Geminiani, Locatelli, and many others,
has been of vital importance for the development of violin-playing, but
he employed only a limited portion of his instrument's compass, as may
be seen by his writings, wherein the parts for the violin never proceed
above D on the first string, the highest note in the third position; it
is even said that he refused to play, as impossible, a passage which
extended to A in altissimo in the overture to Handel's _Trionfo del
Tempo_, and took serious offence when the composer played the note in
evidence of its practicability. His compositions for the instrument mark
an epoch in the history of chamber music; for his influence was not
confined to his own country. Even Sebastian Bach submitted to it.
Musical society in Rome owed much to Corelli. He was received in the
highest circles of the aristocracy, and arrang