notice. The artistic career of Sivori was a glorious one. Elegance of
style and charming purity of tone were qualities peculiarly his.

Antonio Bazzini, both as a solo Violinist and composer for the
instrument, has achieved lasting fame.

Having endeavoured to lightly sketch the history of Italian
performers, and of Italian music bearing on the instrument to the
present time, it remains to notice a remarkable follower of the
Italian school of Violin-playing in the Norwegian, Ole Bornemann Bull.
The executive skill of this famous Violinist was of the highest order,
and perhaps no other artist, with the exception of Paganini, gained
such a world-wide renown.

It is now necessary to refer to the course of events touching the
Violin in France. As the influence of Viotti resulted in a remodelling
of the French style of playing, our survey will make it necessary to
go back the greater part of a century.

Jean Marie Leclair, the pupil of Somis, is the first Violinist
deserving of mention. He was born at Lyons in 1697. In 1729 he visited
Paris, where he was engaged at the opera. He wrote several sonatas for
Violin and Bass, and for two Violins and Bass, besides other
compositions. The difficulties occurring in many of these writings are
of no ordinary character, and if they were rendered with anything
approaching to exactness, the progress made on the Violin must have
been very rapid between the days of Lulli and those of Leclair.

Pierre Gavinies claims attention both as an executant and composer.
There is a freshness about his compositions which has caused many of
them to be recently roused from their long sleep, and re-issued in the
improved garb of a modern edition. His best-known works are the
twenty-four Studies, Concertos, and Sonatas.

Although there were several Violinists in France of average ability
between the time of Gavinies and that of Rode, they scarcely claim
attention in this somewhat hasty sketch; and I will, therefore, pass
to the players linked with Viotti to his pupil Rode. He was born at
Bordeaux in 1774. Fetis remarks, "From Corelli to Rode there is no
_hiatus_ in the school, for Corelli was the master of Somis, Somis of
Pugnani, Pugnani of Viotti, and Viotti of Rode."

His twenty-four Caprices, and his Concertos and Airs, are much admired
by all Violinists for their elegance and effectiveness. Paganini
played the concertos of Rode publicly upon several occasions; Baillot
and Kreutzer were associ