GIOVANNI BATTISTA VIOTTI, the first violinist of his age, and the enlightened originator of the modern order of violin-playing, was born in 1755, at Fontaneto, a small village in Piedmont. Possessing the happiest dispositions for his art, the progress he made under Pugnani was so rapid, that, at the age of twenty, he was chosen to fill the situation of first violinist to the Royal Chapel of Turin. After about three years’ residence there, he proceeded on his travels, having already attained maturity of excellence. From Berlin, he directed his course towards Paris, where he displayed his talents in the _Concert Spirituel_, and speedily obliged Giornovichi, who was then figuring as a star of the first pretensions, to “pale his ineffectual fire.” The concertos of Giornovichi, agreeable and brilliant as they were, and supported by his graceful and elegant playing, lost their attraction when brought into rivalry with the beauty and grandeur of Viotti’s compositions, aided by the noble and powerful manner in which he executed them. Viotti’s fame very soon drew on him the notice of the French Court; and he was sent for to Versailles by Marie Antoinette. A new concerto of his own composition, to be performed at a courtly festival, was to afford a treat worthy of Royalty; and every one of the privileged was impatient to hear him. At the appointed hour, a thousand lights illumined the magnificent musical saloon of the Queen; the most distinguished symphonists of the chapel-royal, and of the theatres (ordered for the service of their Majesties) were seated at the desks where the parts of the music were distributed. The Queen, the Princes, the ladies of the royal family, and all the persons belonging to their Court, having arrived, the concert commenced. The performers, in the midst of whom Viotti was distinguished, received from him their impulse, and appeared to be animated by the same spirit. The symphony proceeded with all the fire and all the expression of him who conceived and directed it. At the expiration of the _tutti_, the enthusiasm was at its height; but etiquette forbade applause; the orchestra was silent. In the saloon, it seemed as if every one present was forewarned by this very silence to breathe more softly, in order to hear more perfectly the _solo_ which he was about to commence. The strings, trembling under the lofty and brilliant bow of Viotti, had already sent forth some prelusive sounds, when suddenly a great noise was heard from the next apartment. _Place à Monseigneur le Comte d’Artois!_ His Highness entered, preceded by servants carrying flambeaux, and accompanied by a numerous train of bustling attendants. The folding-doors were thrown open, and the concert was interrupted. A moment after, the symphony began again; “Silence! Viotti is going to play.” In the meantime, the _Comte d’Artois_ cannot remain quietly seated: he rises, and walks about the room, addressing his discourse loudly to several ladies. Viotti looks round with