the execution within the range of the wrift, 
without any afliftance from the arm. 
There is yet another effential difference 
between a common player and a capital 
artift: it lies in expreflion; which the firft 
endeavours to produce by the occafional 
preffure of his whole hand and arm ; whilft, 
in the latter, it is entirely the effect of the 
fingers, not of the left, but of the right hand. 
His expreflive ideas do not flop at his elbow, 
nor yet at his wrift: they pafs immediately 
to his fingers, like the feelings of a fine per- 
former on the Piano-forte. 
. If now you obferve, with attention, Cra- 
mer's manner, and compare it with that of 
the fidlers about him, you will eafily con^ 
ceive it impoflible for thefe gentlemen ever 
to pafs the line of mediocrity. But this 
perfect and indifpenfible knowledge of the 
principles of the art, is not, of itfelf, fuffi- 
cient to produce a capital performer on the 
violin. Nature muft previoufly have fa- 
voured the individual with a genius or ta- 
lent for Mufic; with an ear exquifitely 
formed, and capable of the moft minute 
difcrimination of founds. 
Inftruments on which principal parts are 
played in Concerts, and which confequently 
i_ require 
