, so this movement, which eventually resulted
in the Opera, attached itself to the earlier enthusiasms of the
Classical Revival. The humanists had restored Latin poetry; the
architects had perfected a neo-Latin manner; sculptors and painters had
profited by the study of antique fragments, and had reproduced the
bas-reliefs and arabesques of Roman palaces. It was now, much later in
the day, the turn of the musicians to make a similar attempt. Their
quest was vague and visionary. Nothing remained of Greek or Roman music.
To guide these explorers, there was only a dim instinct that the
ancients had declaimed dramatic verse with musical intonation. But, as
the alchemists sought the philosopher's stone, and founded modern
chemistry; as, according to an ancient proverb, they who search for
silver find gold; so it happened that, from the pedantic and
ill-directed attempts of this academy proceeded the system on which the
modern Oratorio and Opera were based. What is noticeable in these
experiments is, that a new form of musical expression, declamatory and
continuous, therefore dramatic, as opposed to the lyrical and fugal
methods of the contrapuntists, was in process of elaboration. Claudio
Monteverde, who may be termed the pioneer of _recitativo_, in his opera
of _Orfeo_; Giacomo Carissimi, in whose _Jephtha_ the form of the
Oratorio it already outlined, were the most eminent masters of the
school which took its origin in the Florentine Academy of the Palazzo
Vernio.
To pursue the subject further, would be to transgress the chronological
limits of my subject. It is enough to have attempted in this chapter to
show how the destinies of Italian music were secured and its species
determined in the last quarter of the sixteenth century. How that art
at its climax in the eighteenth century affected the manners, penetrated
the whole life, and influenced the literature of the Italians, may be
read in an English work of singular ability and originality.[212]
[Footnote 212: _Studies of the Eight
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John Addington Symonds (October 5, 1840 - April 19, 1893) was an English poet and literary critic. He was an early advocate of the validity of male love which included for him pederastic as well as egalitarian relationships, and which he would refer to as lamour de limpossible.