632 Faganini, and the History of the Violin. [Dec. 



in the time of Nero, thus describes the lyre — " Orpheus supported the 

 lyre against his left leg, while he beat time by striking his foot on the 

 ground ; in his right hand he held the how, which he drew across the 

 strings, turning his wrist slightly inwards ; he touched the strings with 

 his left hand, keeping the knuckles perfectly straight." This was of 

 the nature of the modern viol-di-gamba. The word plectrum should be 

 generally translated by bow, though it is uncertain whether the bow 

 was not sometimes used merely to strike the strings. In the middle 

 ages the violin family were numerous, though the instrument had not 

 attained its present exactness of shape. The troubadours were often 

 called Violleurs, or violin players. It was in high estimation in the 

 monasteries, and among their treasures are still preserved cases of 

 violins, violas, and siniilar instruments tending to the lute, beautifully 

 wrought with ivory and the precious metals. 



The modern violin has been brought into celebrity by a long succes- 

 sion of fine performers. 



Arcangelo Corelli, a Bolognese, was the first great violinist. He died 

 January, 1713, aged 60 years. He was the founder of the Roman 

 school. 



Tartini was of a noble Venetian family. He died in 1770, first violin 

 master of the church of St. Anthony, in Padua. 



In Germany, the violin received great cultivation during the last tw'o 

 centuries. 



In France the violin was brought into favour by Baltazarini, an 

 Italian, sent from Piedmont by IMarshal Brissac to Catherine de Medicis. 

 Lully flourished in the time of Louis XIV. 16.52. The conservatoire 

 has ill the present age furnished France with a multitude of fine violin 

 performers. In England the violin became popular at the Restoration. 

 Charles II. established a band of violin tenors and basses, and placed 

 at their head Thomas Baltzar, a Swede, the first violinist of his time. 

 Banister, an Englishman, succeeded Baltzar. At the latter end of 

 Charles II.'s reign, Nicolas Matteis, an Italian, arrived, and astonished 

 every one by his mastery of the instrument ; his style of bowing and his 

 shakes were peculiarly fine. 



Francesco Geminiani, born at Lucca about 1666, a disciple of Corelli, 

 was leader of the orchestra at Naples. He died in Ireland in 1 762, aged 

 96. He was a great improver of the general taste on the violin by his 

 publications. Veracini, the first violinist of his time, and a man of great 

 power of composition, arrived in London in 1715. 



Felice Giardini, a Piedmontese, and pupil of Somis, arrived in 

 England in 17^0. His first performance was for the benefit of Cuzzoni, 

 at the little theatre in the Haymarket, when he played a solo and a 

 concerto. The applause rivalled the loudest ever given to Garrick. In 

 1755 he led at the Opera. His elegance of bowing, his facility in 

 embellishing passages, and his taste in varying common airs extem- 

 pore, were surprising. After a long residence he retired to Italy. 



William Cramer was born in IManheim in 1744 ; about 1773 he came 

 to London, and succeeded Giardini as leader of the Opera band for 

 nearly twenty years. He led at the commemoration of Handel in 1784. 

 His execution was remarkable for neatness, and fulness of tone ; his 

 facility for playing at sight was extraordinary. As a leader he had no 

 equal. He died in 1799. 



The principal native violinists were, Corbett, leader of the Opera in 



