This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book first deals with the transverse flute: earlier accounts have insisted that this instrument, cultivated especially in France, Germany and England, found a home in Italy only towards the end of the 1720s. It shows that the transverse flute was used widely in Italy from the very beginning of the eighteenth century. Vivaldi employed it as early as the mid-1710s, and the players for whom he wrote parts were located mostly in Venice and in Rome. The type of flute specified by Vivaldi is always clear and unambiguous. By 'flauto' he invariably means the recorder. The 'flauti grossi' used in Tito Manlio and slightly later in La verita in cimento are ordinary treble recorders, which are 'large' only in relation to the flautino appearing in the same works.