Boccherini probably did more towards furthering the cultivation of stringed instrument music than any composer of his day, with the exception of Haydn. There are in his compositions movements of varied styles, well written for their respective instruments. His quintettes are among his chief productions, and their elegance and brilliancy are remarkable. The part allotted to his own instrument, the Violoncello, often bristles with difficulties, and hence it is that these compositions are so seldom heard. Boccherini was the first composer who wrote quintettes with two Violoncello parts. We now reach a stage in the history of the progress of the Violin the importance of which cannot be over-estimated; I refer to the influence which the compositions of Giovanni Battista Viotti exerted upon the cultivation of our instrument. With the famous Viotti sprang up a school of Violin-playing as marked in style as that introduced by Corelli. Viotti was a pupil of Pugnani, and owed his success to the rare teaching of that master. The sensation that Viotti created in Paris was great. His varied style, his rich tone and elegance in playing, were far beyond anything that the Parisian public had previously experienced. With Viotti was ushered in a new era in solo playing. His concertos exhibit the capabilities of the instrument in elegantly constructed passages, such as none but a master of the Violin could pen. He wrote upwards of twenty concertos, those in A minor, in G, in D, and in E minor being the favourites, and to this day highly esteemed by Violinists of every school. His duos and trios are pleasing and effective, and, though long since superseded by works of greater erudition, they form a landmark in the history of the progress of the instrument. Campagnoli, born in 1751, was a composer of rare ability. Had he written nothing but the "Studies on the Seven Positions of the Violin" he would have left enough to mark the character of his genius. Happily he has bequeathed to us many other writings. The "Fantasias and Cadences," forming a book of upwards of 100 pages, is a work full of interest to the Violinist. His modulations are singularly effective. He has also written some Studies for the Tenor, and, lastly, a "Violin School." I cannot but think that Campagnoli's educational compositions do not receive the attention which they merit, and are too often laid aside as old-fashioned. There is a certain quaintness in his writings, but this much may be said of many other compositions whose beauties are not neglected on that account. It would be difficult to find material more solid than that afforded by the writings of Campagnoli, if the foundation of Violin-playing of the highest character is to be laid.