The author suggests that a violin, viola, ’cello and double bass and the respective bows be exhibited to the class and examined, the descriptions as given in the reference works to be compared with the instruments. The catalogue of the Metropolitan Museum of Art, New York City, contains some fine illustrations for the use of students, as well as descriptions. A copy of this should be in every teacher’s library. It can be secured for a small amount by addressing the Museum as above. LESSON XXXV. VIOLIN PLAYING AND VIOLIN MUSIC. =Reciprocal Influences of Instruments and Composition=.—The development of the violin, of violin playing and violin music, in a certain sense shows reciprocal influences, and went hand in hand. This was the more certain because the composers who wrote for the instrument were also players, in almost every instance the virtuosi of their times. During the polyphonic period, composers were singers or organists; during the period when the violin dominated instrumental composition, composers in that form were usually violinists. In the next period, when the pianoforte was coming to the front, the representative composers were clavier composers. And since then with but few exceptions the great composers have also been pianists. =Earliest Violin Compositions=.—In the music of the viol period no demands were made upon the instrumental player except that he should double the voice part, which was simple, viewed from the standpoint of modern violin playing. Even later when music was written for quartets of viols the parts were vocal in character and did not exceed voices in range. The earliest known solo composition was published in 1620, by Marini. It demands but little from the executant. The next work of importance was in 1627, when Carlo Farina, an Italian living at Dresden, published a collection of pieces which show quite an advance technically, including variety of bowing, double stopping and chords. The names applied to violin compositions were: _Sonate_, _Canzone_ and _Sinfonia_, the principle of the first named being an alternation of slow and quick movements. About 1650 the term Sonata comes into general use, and a further distinction is made between _Sonata da Chiesa_ (church sonata) and _Sonata da Camera_ (chamber sonata), the former consisting of three or four movements varying in tempo, the latter being really a suite of dances, with slow and quick movements in alternation. The Church, always ready to make use of the fine arts, soon discovered the capabilities of the violin and its music, and adopted it as one of its musical forces, not merely for assisting in accompaniments but for independent performances. As a result of this patronage, the violin sonata, the only form of serious composition for the instrument, took on the severer character of the church sonata, giving an impulse toward the establishment of sonata form.