In 1669 John Playford published ‘Apollo’s Banquet.’ It contained ‘Short Rules and Directions for Practitioners of the Treble Violin with a collection of old Century Dances.’ In a preface, that Playford calls ‘Advertisement,’ we read: ‘Several persons coming often to my Shop for Books of tunes for the Treble-Violin, to accommodate each I have made public this collection of Choice Tunes; and also of tunes of the newest French Dances: All which are very useful to those who use the Treble-Violin. Some will object, many of these tunes were formerly printed at the end of the Book, Entitled, the Dancing Master: I grant they were, but some which were choice I would not omit in this collection.’ E. K. FOOTNOTES: [42] _Cf._ Vol. VIII, Chap. I. [43] See Vol. I, Chap. VII. [44] The various ‘positions’ in violin playing indicate the positions which the left hand occupies in reaching the different parts of the fingerboard. The first position is that in which the thumb and first finger are at the extreme end of the instrument's ‘neck.’ With the usual tuning the compass controlled by the first position is from a to b". [45] Leopold Mozart (father of Wolfgang Amadeus) referred to it in his method for the violin (1758) and sharply condemned it. ‘Some teachers,’ he remarked, ‘in their desire to help pupils, label the names of tones upon the fingerboard or make marks upon it by scratching. All these devices are useless, because the pupil who is musically talented finds the notes without such aid, and persons who are not thus inclined should learn how to handle the ax instead of the bow.’ [46] George Hart: ‛The Violin and Its Music.’ [47] Parry in ‘Grove’s Dictionary,’ Vol. 4. CHAPTER XII VIOLIN COMPOSERS IN THE EIGHTEENTH CENTURY Corelli, Vivaldi, Albinoni--Their successors, Locatelli, F. M. Veracini, and others; Tartini, and his pupils; pupils of Somis: Giardini and Pugnani--French violinists and composers: Rébel, Francœur, Baptiste Anet, Senaillé and Leclair; French contemporaries of Viotti: Pagin, Lahoussaye, Gaviniès; Viotti--Violinists in Germany and Austria during the eighteenth century: Pisendel, J. G. Graun, Franz Benda; Leopold Mozart--The Mannheim school: J. Stamitz, Cannabich and others; Dittersdorf, Wranitzky and Schuppanzigh--Non-violinist composers: Handel, Bach, Haydn, Mozart--Conclusion. I