tuned violins. One of the best violinists of the seventeenth century was Nicholas Adam Strungk. He was also a good cembalist and once accompanied Corelli. It was Strungk to whom Corelli said upon hearing him play on the violin: ‘My name is Archangelo, but you should be called Archidiavolo.’ Strungk published _Exercises pour le violin_ (1691), besides sonatas, chaccones, etc. Our review of the violin music of the seventeenth century would not be complete without mention of the compositions for violin by non-violinist composers, such as, for instance, Henry Purcell (1658-1695). Purcell imitated G. B. Vitali, and perhaps also other contemporary Italian composers, to whom, however, he was superior in originality, in vigor, in genuine inspiration and in a certain emotional quality. His violin compositions did not accentuate technique, since he himself was not a violinist. Concerning the sonatas of John Jenkins (1600), Dr. Burney remarks: ‘Though written professedly in the Italian style, he could hardly have been familiar with the early Italian compositions of the same order, and though he had been, he would not be deprived of praise on the score of originality, his musical knowledge being quite equal if not superior to the composers for the violin at that time in Italy.’ Among French composers we may single out Jean-Baptiste Lully (1633-1687), leader of the famous band of petit violins at the court of Louis XIV--the first large stringed orchestra. Lully studied the capacity of the instrument and tried to write in an idiomatic style, but on the whole he did not contribute much to the progress of violin music. The appearance of a great number of violinist-composers in the seventeenth century indicates that the use of the violin was almost general at musical affairs of the time. In Coriat’s ‘Crudities’ the author speaks of hearing an ensemble in which ‘the music of a treble viol was so excellent that no one could surpass it.’ He continues: ‘Sometimes sixteen played together, sometimes ten, or different instruments, a cornet and a treble viol. Of these treble viols I heard three whereof each was so good, especially one that I observed above the rest, that I never heard the like before.’ Pepys (1660) made references to the viol in his Diary: ‘I have played on my viol and I took much pleasure to have the neighbors come forth into the yard to hear me.’ Many other references in literary works of the time attest the increasing popularity and the appealing qualities of the instrument.