's hand. Corelli
mildly remarked, "My dear Saxon, this music is in the French style, with
which I am not acquainted."

For many years Corelli remained at Rome, but at last he yielded to
temptation and went to Naples, where Scarlatti induced him to play some
of his concertos before the king. This he did in great fear, for he had
not his own orchestra with him. He found Scarlatti's musicians able to
play at first sight as well as his own did after rehearsals, and, the
performance going off well, he was again admitted to play, this time one
of his sonatas, in the royal presence. The king found the adagio so long
and dry that he quitted the room, much to Corelli's mortification. But
greater trouble was in store for the virtuoso. Scarlatti had written a
masque, which was to be played before the king, but owing to the
composer's limited knowledge of the violin, Corelli's part was very
awkward and difficult, and he failed to execute it, while the Neapolitan
violinists played it with ease. To make matters worse, Corelli made an
unfortunate mistake in the next piece, which was written in the key of C
minor, and led off in C major. The mistake was repeated, and Scarlatti
had to call out to him to set him right. His mortification was so great
that he quietly left Naples and returned to Rome. He found here a new
violinist, Valentini, who had won the admiration of the people, and he
took it so much to heart that his health failed, and he died in January,
1713.

Corelli was buried in princely style in the Pantheon, not far from
Raphael's tomb, and Cardinal Ottoboni erected a monument over his grave.
During many years after his death a solemn service, consisting of
selections from his own works, was performed in the Pantheon on the
anniversary of his funeral. On this occasion, the works were performed
in a slow, firm, and distinct manner, just as they were written, without
changing the passages in the way of embellishment, and this is probably
the way in which he himself played them.

Corelli's compositions are remarkable for delicate taste and pleasing
melodies and harmonies. He must be considered as the author of the
greatest improvement which violin music underwent at the beginning of
the eighteenth century. These compositions are regarded as invaluable
for the instruction of young players, and some of them may be frequently
heard in the concert-room at the present day, two hundred years since
they were written. Corelli's most c