Arcangelo, the famous Italian musician and composer, a native of Fusignano, 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 Mazarin, 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 spread 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, 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 disturbed, his eyes to become as red as fire, and his eye-balls to roll as in agony.

Corelli was highly favoured by that great patron of poetry and music, Cardinal Ottoboni. Crescenzi 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, entitled 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 of the violin from the greatest master on 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, Corelli, theon, 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 it 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 600l. sterling. He was a passionate admirer of pictures, and lived in an uninterrupted friendship with Carlo Cignani and Carlo Marat: 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 his 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 an 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 14th is for its enchanting delicacy; his jigs are in a style peculiarly his own: and that in the 9th solo was never equalled. In the gavot movements in the 2d and 4th operas, the melody is distributed with great judgment among the several parts. In his minuets alone he seems to fail; Bononcini, Mr Handel, and Giuseppe Martini, have excelled him in this kind of airs.

It is said there is in every nation a style both in speaking and writing, which never becomes obsolete; a certain mode of phraseology, so consonant and congenial to the analogy and principles of its respective language, as to remain fettered and unaltered. This, but with much greater latitude, may be said of music; and accordingly it may be observed of the compositions of Corelli, not only that they are equally intelligible to the learned and unlearned, but that the impressions made by them have been found to be as durable as general. His music is the language of nature; and, for a series of years, all that heard it became sensible of its effects: of this there cannot be a stronger proof than that, amidst all the innovations which the love of change had introduced, it continued to be performed, and was heard with delight, in churches, in theatres, at public solemnities and festivities, in all the cities of Europe, for near 40 years. Men remembered, and would refer to pallages in it as to a classic author; and even at this day, the masters of the science do not hesitate to pronounce of the compositions of Corelli, that, of fine harmony and elegant modulation, they are the most perfect exemplars.

COROPSIS, TICKSEED SUNFLOWER; a genus of plants belonging to the syngenesia class; and in the natural method ranking under the 49th order, Compositae. See Botany Index.