The Piedmontese school, founded by Somis, was destined to become the most fruitful in first-class talent. Besides Leclair, his nephew Schabran, or Chabran, became celebrated at Paris in 1751. Giardini, a model of grace, and above all Pugnani, who, endowed with a highly developed organisation, exercised a great influence upon the art, by the grandeur of his executive style, the variety of his bowing, and the improvements he introduced into the form of the concerto, as regards the effect of solos. Having become the leader of the Piedmontese school, Pugnani arrived at the zenith of his glory in maturing and forming the purer, beautiful, and brilliant talent of Viotti, who subsequently became both the model and despair of the violinists of every country. Contemporary with Pugnani, Gaviniès effected for the French school at Paris what the Piedmontese violinist effected at Turin for the Italian school. Mechanism of the bow, which renders every difficulty easy, perfect intonation, imposing style, expression replete with charm and feeling; such were the qualities which excited Viotti when he heard Gaviniès, whom he called “le Tartini français.” The talent of this artist was especially appreciated at its full value upon various occasions at concerts of sacred music, where other violinists of incontestable merit had performed. He bore away the palm after contesting it with Pugnani, Domenico Ferrari, and John Stamitz. The arrival of Viotti in Paris produced a sensation difficult to describe. No performer had been heard who had attained so high a degree of perfection--no artist had possessed so fine a tone, such sustained elegance, such fire, and a style so varied. The fancy which was developed in his concertos increased the delight he produced in his auditory; his compositions for the Violin were as superior to those which had been previously heard as his execution surpassed that of all his predecessors and rivals. When this beautiful music became known, the rage for the concertos of Jarnowick became extinct, and the French school adopted more enlarged views. Viotti made few pupils; but there was one who alone was worth an entire school: Rode, who possessed all the brilliant qualifications of his master. There are few alive at the present day who have heard this artist in his prime, when he played at the concerts in the Rue Feydeau and at the Opera; but those artists who did will never forget the model of perfection which entranced them. It is an interesting remark, which I deem it a duty to make, that 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.