ather played
well for a gentleman, on the Violin, which always delighted the child
while in his nurse's arms, and long before he could speak." When he
was nine years old, "an old portrait-painter came to the family seat,
who was a very indifferent performer on the Violin, but persuaded the
child that if he tried to play on that instrument, he would soon be
able to bear a part in a concert. With this inducement he soon learned
the two old catches of the 'Christ-Church Bells,' and 'Sing one, two,
three, come follow me;' after which, his father and the painter
accompanying him with the other two parts, he experienced the pleasing
effects of a harmony to which he himself contributed. Soon after this
he was able to play the second Violin in Corelli's sonatas, which gave
him a steadiness in time that never deserted him."

We may now glance at the period when Salomon came to England in 1781.
Too much stress can scarcely be laid upon the good effected by
Salomon's talents for the progress of music, and more particularly in
behalf of instrumental music. We are deeply indebted to this musician
for the spirit and enterprise which he displayed, in bringing to
England, at no trifling pecuniary risk, the immortal Haydn. Salomon
having established a series of twenty concerts in 1790, it occurred to
him that to invite the famous musician to London would aid his
enterprise. He communicated with Haydn, offering him the sum of fifty
pounds for each concert. These terms were accepted, and Haydn set out
for London, at the age of fifty-nine. He remained in England over a
year, and composed the celebrated "Twelve Symphonies" known as the
Salomon set. Salomon was one of the promoters of the Philharmonic
Society, and led the orchestra at the first concert given by the
society in 1813. Enough has been said to show the nature of the part
he took in the development of music in England. Enjoying the
friendship of those who moved in the higher circles of society, where
his polished manners and high attainments ever made him a welcome
guest, he was enabled to command such patronage as to make his
laudable ventures successful.

Among the Violinists of Salomon's day, resident in England, were
William and Francois Cramer, to whom severally were assigned the
leadership of the Ancient Concerts and of the Opera.

The next Violinist who gained some celebrity was Nicholas Mori, born
in London in the year 1796. He was associated with the formation of
the