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Abstract Giovanni Maria Artusi, like Eduard Hanslick, made the mistake of tangling with a great composer. Thereby he earned the fate of the Beckmessers of this world, to be branded a hopeless reactionary and a philistine unable to appreciate true genius. Music historians have had few kind words for Artusi. He has even been charged—unjustly—with composing a polemic pamphlet against his teacher Zarlino, when, actually, the pamphlet was a eulogy, and it was as Zarlino’s defender that he entered the debates on the rules of counterpoint.
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