erienced. With Viotti was ushered in a new era in solo
playing. His concertos exhibit the capabilities of the instrument in
elegantly constructed passages, such as none but a master of the
Violin could pen. He wrote upwards of twenty concertos, those in A
minor, in G, in D, and in E minor being the favourites, and to this
day highly esteemed by Violinists of every school. His duos and trios
are pleasing and effective, and, though long since superseded by works
of greater erudition, they form a landmark in the history of the
progress of the instrument.

Campagnoli, born in 1751, was a composer of rare ability. Had he
written nothing but the "Studies on the Seven Positions of the Violin"
he would have left enough to mark the character of his genius. Happily
he has bequeathed to us many other writings. The "Fantasias and
Cadences," forming a book of upwards of 100 pages, is a work full of
interest to the Violinist. His modulations are singularly effective.
He has also written some Studies for the Tenor, and, lastly, a "Violin
School." I cannot but think that Campagnoli's educational compositions
do not receive the attention which they merit, and are too often laid
aside as old-fashioned. There is a certain quaintness in his writings,
but this much may be said of many other compositions whose beauties
are not neglected on that account. It would be difficult to find
material more solid than that afforded by the writings of Campagnoli,
if the foundation of Violin-playing of the highest character is to be
laid.

We reach the pinnacle of the Italian school of Violin-playing in the
wondrous Paganini; born February 18, 1784, died May 27, 1840. It is
needless to recount the extraordinary achievements of this remarkable
man. M. Fetis and others have collected the most interesting
particulars relative to Paganini and his compositions, and to their
entertaining accounts the reader can turn for information. It is
sufficient to mention that Paganini carried the marvellous in
Violin-playing as far as seems possible. The number of his imitators
has been enormous, and many of them, withal, so barbarous as to render
anything savouring of "a la Paganini" contemptible. The compositions
of Paganini are no longer Paganini's when played by others. He, above
all Violinists that ever lived, possessed an individuality in his
style of playing which has hitherto defied imitation.

From Paganini to his pupil Camillo Sivori is the next step in my