nciple which has actuated
its later progress, the principle namely, of dramatic expression--in
other words, the _representative_ principle, the effort to represent
in music something which until now had been outside of music. Out of
this principle, co-operating with that other idea of two centuries
later, the inherent interest of the individual, has grown the richness
and manifold luxuriance of modern romantic music, together with the
entire province of opera and oratorio. We have now to trace the steps
which led to this great transformation in the art of music; and to
illustrate the application of the new principles to the province of
instrumental music, which had no beginning of genuine art value before
this period. When examined with reference to the matured productions
of the century next ensuing, those of the seventeenth appear quite as
much like apprentice efforts as those of the latter part of the period
covered in the preceding book of our story; but they have in them,
however, the seeds of the later development, and stand to us,
therefore, in the character of first fruits. To state it still more
unmistakably, we have to trace in the operations of the seventeenth
century the _origin of dramatic song_, the beginnings of _free
instrumental music_, the discovery of the _art of voice training_ and
the formation of what is called the "old Italian school of singing,"
and the operation of the representative element in music, together
with the new forms created through its entrance into art.

The musical movement of this century in its entirety was a part of the
general operation of mind, which was now of great amplitude and
spontaneity. The fervor of the Renaissance indeed had passed, having
resulted in the creation of masterpieces of architecture, sculpture,
painting and poetry during the previous two centuries. Music came to
expression last of the forms of art, and when mental movement was less
intense. For this reason the Italian mind failed to rule in it after
the early beginnings in the new direction had been made. The
representative element entered the art of music in Italy; but the
mastery of its application, and the development of new forms fully
completing the representation, were carried on by other nationalities
where the mental movement still retained the pristine vigor of new
impulses and rich vitality.

The city of Florence was the center where the drama and song-like
melody found its beginning. Almost