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the lyre； the 'viola da gamba；' the harp； the cithern； the horn； and the trumpet； and wishes that their portraits might be painted on the instruments themselves。97 Such many…sided comparative criticism would have been impossible anywhere but in Italy； although the same instruments were to be found in other countries。
The number and variety of these instruments is shown by the fact that collections of them were now made from curiosity。 In Venice； which was one of the most musical cities of Italy； there were several such collections； and when a sufficient number of performers happened to be on the spot； a concert was at once improvised。 In one of these museums there was a large number of instruments； made after ancient pictures and descriptions； but we are not told if anybody could play them； or how they sounded。 It must not be forgotten that such instruments were often beautifully decorated； and could be arranged in a manner pleasing to the eye。 We thus meet with them in collections of other rarities and works of art。
The players； apart from the professional performers； were either single amateurs； or whole orchestras of them； organized into a corporate Academy。 Many artists in other branches were at home in music； and often masters of the art。 People of position were averse to wind instruments； for the same reason which made them distasteful to Alcibiades and Pallas Athene。 In good society singing； either alone or accompanied with the violin； was usual； but quartettes of string instruments were also common； and the 'clavicembalo' was liked on account of its varied effects。 In singing； the solo only was permitted； 'for a single voice is heard； enjoyed； and judged far better。' In other words； as singing； notwithstanding all conventional modesty； is an exhibition of the individual man of society； it is better that each should be seen and heard separately。 The tender feelings produced in the fair listeners are taken for granted； and elderly people are therefore recommended to abstain from such forms of art； even though they excel in them。 It was held important that the effect of the song should be enhanced by the impression made on the sight。 We hear nothing； however； of the treatment in these circles of musical composition as an independent branch of art。 On the other hand it happened sometimes that the subject of the song was some terrible event which had befallen the singer himself。
This dilettantism； which pervaded the middle as well as the upper classes； was in Italy both more widespread and more genuinely artistic than in any other country of Europe。 Wherever we meet with a description of social intercourse； there music and singing are always and expressly mentioned。 Hundreds of portraits show us men and women； often several together； playing or holding some musical instrument； and the angelic concerts represented in the ecclesiastical pictures prove how familiar the painters were with the living effects of music。 We read of the lute…player Antonio Rota； at Padua （d。 1549）； who became a rich man by his lessons； and published a handbook to the practice of the lute。
At a time when there was no opera to concentrate and monopolize musical talent； this general cultivation of the art must have been something wonderfully varied； intelligent； and original。 It is another question how much we should find to satisfy us in these forms of music； could they now be reproduced for us。
Equality of Men and Women
To understand the higher forms of social intercourse at this period； we must keep before our minds the fact that women stood on a footing of perfect equality with men。 We must not suffer ourselves to be misled by the sophistical and often malicious talk about the assumed inferiority of the female sex； which we meet with now and then in the dialogues of this time； nor by such satires as the third of Ariosto； who treats woman as a dangerous grown…up child； whom a man must learn how to manage； in spite of the great gulf between them。 There is； indeed； a certain amount of truth in what he says。 Just because the educated woman was on a level with the man； that communion of mind and heart which comes from the sense of mutual dependance and completion； could not be developed in marriage at this time； as it has been developed later in the cultivated society of the North。
The education given to women in the upper classes was essentially the same as that given to men。 The Italian； at the time of the Renaissance； felt no scruple in putting sons and daughters alike under the same course of literary and even philological instruction。 Indeed； looking at this ancient culture as the chief treasure of life； he was glad that his girls should have a share in it。 We have seen what perfection was attained by the daughters of princely houses in writing and speaking Latin。 Many others must at least have been able to read it； in order to follow the conversation of the day； which turned largely on classical subjects。 An active interest was taken by many in Italian poetry； in which； whether prepared or improvised； a large number of Italian women； from the time of the Venetian Cassandra Fedele onwards （about the close of the fifteenth century）； made themselves famous。 One； indeed； Vittoria Colonna； may be called immortal。 If any proof were needed of the assertion made above； it would be found in the manly tone of this poetry。 Even the love…sonnets and religious poems are so precise and definite in their character； and so far removed from the tender twilight of sentiment； and from all the dilettantism which we commonly find in the poetry of women； that we should not hesitate to attribute them to male authors； if we had not clear external evidence to prove the contrary。
For； with education； the individuality of women in the upper classes was developed in the same way as that of men。 Till the time of the Reformation； the personality of women out of Italy； even of the highest rank； comes forward but little。 Exceptions like Isabella of Bavaria； Margaret of Anjou； and Isabella of Castile； are the forced result of very unusual circumstances。 In Italy； throughout the whole of the fifteenth century； the wives of the rulers； and still more those of the Condottieri； have nearly all a distinct； recognizable personality； and take their share of notoriety and glory。 To these came gradually to be added a crowd of famous women of the most varied kind； among them those whose distinction consisted in the fact that their beauty； disposition； education； virtue； and piety； combined to render them harmonious human beings。 There was no question of 'woman's rights' or female emancipation； simply because the thing itself was a matter of course。 The educated woman； no less than the man； strove naturally after a characteristic and complete individuality。 The same intellectual and emotional development which perfected the man； was demanded for the perfection of the woman。 Active literary world； nevertheless； was not expected from her； and if she were a poet； some powerful utterance of feeling； rather than the confidences of the novel or the diary； was looked for。 These