The only violinist whose memory was ever honored with public monuments was Ole Bull (1810-1880), who has been called the Paganini of the North. Two statues of him have been unveiled by his countrymen, one in his native city, Bergen, Norway, and one in Minneapolis, Minnesota. These tributes have been paid not so much to the violinist who swayed the emotions of an audience and who could sing a melody on his instrument into the hearts of his hearers, as to the patriot, the man who turned the eyes of the world to his sturdy little fatherland, and who gave the strongest impulse for everything it has accomplished in the past half century in art and in literature. Another patriot violinist was the Hungarian Eduard Remenyi (1830-1898), who first introduced Johannes Brahms to Liszt, and should always be remembered as the discoverer of Brahms. The great demand of the day in the violin field, as in that of other musical instruments, is for dazzling pyrotechnic feats. It has perhaps reached its climax in the young Bohemian Jan Kubelik, whose playing has been pronounced technically stupendous. In the mad rush for advanced technique, the soul of music it is meant to convey is, alas, too often forgotten. [Illustration: JENNY LIND] IX Queens of Song Our first queen of song was Vittoria Archilei, that Florentine lady of noble birth who labored faithfully with the famous "Academy" to discover the secret of the Greek drama. It was she who furthered the success of the embryo operas of Emilio del Cavalieri, late in the sixteenth century, and roused enthusiasm by her splendid interpretation for Jacopo Peri's "Eurydice," the first opera presented to the public. She was called "Euterpe" by her Italian contemporaries because her superb voice, artistic skill, musical fire and intelligence fitted her to be the muse of music. Her memory has been too little honored. When Lully was giving opera to France he secured the co-operation of Marthe le Rochois, a gifted student of declamation and song at the Paris Academie Royale de Musique, for whose establishment he had obtained letters patent in 1672. So great was his confidence in her judgment that he consulted her in all that pertained to his work. Her greatest public triumph was in his "Armide." This earliest French queen of song is described as a brunette, with mediocre figure and plain face, who had wonderful magnetism and sparkling black eyes that mirrored the changeful sentiments of an impassioned soul. Her acting and voice-control were pronounced remarkable. Her superior powers, unspoiled simplicity, frankness and generosity are extolled by that quaint historian of the opera, Dury de Noinville. On her retirement from the stage, in 1697, the king awarded her a pension of 1,000 livres in token of appreciation, and to this the Duc de Sully added 500 livres. She died in Paris in the seventieth year of her age, her home having long been the resort of eminent artists and literary people.