(Arcangelo), the famous Italian musician and composer, a native of Fulignano, in the territory of Bologna, was born in 1653. He entertained an early propensity to the violin; and, as he advanced in years, laboured incessantly in the practice of that instrument. About the year 1672, his curiosity led him to visit Paris, probably with a view to attend the improvements which were making in music under the influence of cardinal Mazarine, and in consequence of the establishment of a royal academy; but, notwithstanding the character which he brought with him, he was driven back to Rome by Lully, whose jealous temper could not brook so formidable a rival as this illustrious Italian. In the year 1680 he visited Germany, and met with a reception suitable to his merit from most of the German princes, particularly the elector of Bavaria; in whose service he was retained, and continued for some time. After about five years stay abroad, he returned again to Rome, and there pursued his studies with great assiduity.

The proficiency of Corelli on his favourite instrument the violin was so great, that the fame of it reached throughout Europe. The style of his performance was learned, elegant, and pathetic; and his tone firm and even. Mr Geminiani, who was well acquainted with, and had studied it, was used to resemble it to a sweet trumpet. A person who had heard him perform says, that, whilst he was playing on the violin, it was usual for his countenance to be distorted, his eyes to become as red as fire, and his eye-balls to roll as in an agony.

Corelli was highly favoured by that great patron of poetry and music, cardinal Ottoboni. Crefcembini says, that he regulated the musical academy held at the palace of his eminence every Monday afternoon. Here it was that Mr Handel became acquainted with him; and in this academy a serenata of Mr Handel, intitled, *Il Trionfo del Tempo*, was performed, the overture to which was in a style so new and singular, that Corelli was confounded in his first attempt to play it.

During the residence of Corelli at Rome, besides those of his own country, many persons were ambitious of becoming his disciples, and learning the practice on the violin from the greatest master of that instrument the world had then heard of. Of these it is said the late lord Edgecumbe was one; and that the fine mezzotinto print of Corelli by Smith, was scraped from a picture painted by Mr Hugh Howard at Rome for that nobleman.

Corelli died at Rome in 1713; and was buried in the church of the Rotunda, otherwise called the Pantheon, in the first chapel, on the left hand of the entrance. Over the place of his interment is a sepulchral monument to his honour, with a marble bust thereon, erected at the expense of Philip-William, count palatine of the Rhine, under the care and direction of cardinal Ottoboni.

For many years after his decease, this excellent musician was commemorated by a solemn musical performance in the Pantheon, on the anniversary of his death. In the year 1730 an eminent master, now living, was present at that solemnity, who relates that at the third and eighth of his concertos were performed by a numerous band, among whom were many who had been the pupils of the author. He adds, that these two pieces were performed in a slow, distinct, and firm manner, without graces, and just as they are wrote; and from hence concludes, that this was the manner in which they were played by the author himself.

He died possessed of about 6000l. sterling. He was a passionate admirer of pictures, and lived in an uninterrupted friendship with Carlo Cignani and Carlo Maratta; these two eminent painters were rivals for his favour; and for a series of years presented him at times with pictures, as well of other masters as of their own painting. The consequence was, that Corelli became possessed of a large and valuable collection of original paintings; all which, together with the sum above-mentioned, he bequeathed to his dear friend and patron cardinal Ottoboni, who, referring the pictures to himself, generously distributed the rest of the effects among the relations of the testator.

Corelli is said to have been remarkable for the mildness of his temper and the modesty of his deportment; nevertheless he was not insensible of the respect due to his skill and exquisite performance. Cibber, in the Apology for his Life, p. 340, relates, that when he was playing a solo at cardinal Ottoboni's, he discovered the cardinal and another person engaged in discourse, upon which he laid down his instrument, and being asked the reason, gave for answer, that he feared the music interrupted their conversation.

The compositions of Corelli are celebrated for the harmony resulting from the union of all the parts; but the fineness of the airs is another distinguishing characteristic of them: the allemande in the 10th solo is as remarkable for spirit and force, as that in the