According to the report which travelled in her favour from thence, she evinced a full and pure tone—a touch possessing the solidity and decision of the excellent school in which were formed a Kreutzer and a Lafont—and a mode of bowing so graceful, as to triumph over all preconceived ideas of the awkwardness of the instrument in a female hand. Madame Paravicini, in the course of her professional migrations, was performing at Bologna in the year 1832. CATARINA CALCAGNO, born at Genoa in 1797, received, as a child, some instructions from the potential Paganini; and, at the age of fifteen, astonished Italy by the fearless freedom of her play—but seems to have left no traces of her career, beyond the year 1816. Madame KRAHMEN, in 1824, executed a violin concerto of Viotti’s, with great spirit and effect, at a concert in Vienna. At Prague, in the same year, a young lady named SCHULZ gave public delight as a violin performer. Mademoiselle ELEANORA NEUMANN, of Moscow, pupil of Professsor Morandi, also astonished the public in like manner at Prague, and at Vienna, when she had scarcely reached her tenth year! She is said to have treated the instrument with great effect, and with a precision and purity of tone not always to be found in those “children of _larger_ growth” who are content to substitute feats of skill, in place of these essential requisites. Madame FILIPOWICZ, of Polish derivation, has given us evidence, in London, not many years since, of the success with which feminine sway _may_ be exercised over the most difficult of instruments. The instances I have thus brought forward will probably be deemed sufficient—_else_ were it easy to go backward again in date, and to mention Horace Walpole’s visit to St. Cyr, in one of the apartments of which serious establishment, he beheld the young ladies dancing minuets and country-dances, while a nun, albeit “not quite so able as St. Cecilia,” played on the violin!—Or, I might allude to the threefold musical genius of Mrs. Sarah Ottey, who, in 1721-22, frequently performed solos at concerts, on the harpsichord, violin, and base-viol! Enough, however, has been produced, to shew “quid femina possit”—what the fair sex _can_ achieve, upon the first and most fascinating of instruments. THE END. FOOTNOTES: