most zealous promoters and assistants. He died Nov. 28th, 1815. His remains, followed to the grave by a long train of professional and other friends, were interred in the great Cloister of Westminster Abbey. Salomon was one of the few whose right to contend for the honour of being considered the greatest performer in Europe on the violin, was manifest. His taste, refinement, and enthusiasm, as Dr Burney has observed, were universally admitted. His profound knowledge of the musical art served to add solidity to his fame. His judgment and vigour, as a leader, are traditionally well known. Among his pupils, Pinto proved the extent of his master’s skill, and his ability in communicating it. Unfortunately, this extraordinary young man, whose musical progress reflected so much honour on his teacher, possessed qualities that are but too frequently the regretted concomitants of genius, and he perished just as he was ripening into finished excellence. Salomon, besides other works, published two Violin Concertos, arranged for the pianoforte, with full accompaniments; and six Solos for the violin, printed first in Paris, afterwards in London. Among his unpublished compositions, are some Violin Quartetts, Trios, and Concertos. CHARLES STAMITZ, eldest son of Stamitz the famous, was born at Mannheim, in 1746. He was made a violinist by his father, and his father’s pupil, Cannabich; and was afterwards engaged in the chapel of a German Prince, till the year 1770, when he went to Paris, and made a durable impression there, both as a concerto-player on the violoncello and tenor, and as an instrumental composer. His writings had all the fire and spirit of those of his father, as well as an admixture of later improvements, without servility of imitation, as relating to _any_ style. Many of them were published at Paris, Berlin, and Amsterdam. This artist died at Jena, on his journey to Russia, in 1801. JOHN FREDERICK ECK, born at Mannheim, in 1766, became Concert Director to the Court of Munich. Noted as an artist in his day, he is further noted as having assisted to develop the great faculty of Louis Spohr. ANDREAS and BERNARD ROMBERG, cousins to each other, and scions of a family of some note in the annals of music, were for several years joint participants in labours connected, immediately or incidentally, with the violin. About the year 1790, the two cousins held situations in the court-chapel of the Elector of Cologne, at Bonn, where Andreas was already distinguished by his excellent performance on the violin, and his compositions, both vocal and instrumental; and Bernard no less for his violoncello-playing, and the pieces he had written, either for his own instrument, or the full orchestra[53].