His son, Jean Baptiste Antoine, born on April 3, 1700, in Paris, was esteemed as the most able French gamba player of his time. He also at five years of age was heard with such favourable result before Louis XIV. that he later on became a member of the royal music society. He again had a son, whose christian name was Jean Baptiste, born about 1728, who was also a gambist and published several books of compositions for his instrument. He does not seem, however, to have made himself conspicuous as a performer. Gerber mentions in his musical Lexicon a Parisian gambist of the eighteenth century of the name of Forcroix, or Forcroy, “whose delightful playing Quantz, who was in Paris in 1726, admired.” Possibly this artist may be identified as the A. Forqueray mentioned above. The art of gamba playing was pursued in Germany with as great or perhaps greater zeal than in England and France. While the pursuit of music by the English and French was confined chiefly to London and Paris, there were in Germany many courts who admired and cherished with fostering care the art of music; and the result was, especially after the tumult of the thirty years’ war had subsided, a widely-spread musical life throughout the whole of the German nation. Amongst the first German players to be mentioned is DAVID FUNK, born about 1630, in the Saxon town of Reichenbach. Gerber says of him, he was “an excellent musician and master of the violin, the viola da gamba, the angelica,[29] the clavier, and guitar”; and then goes on: “Funk was in every way a genius. His chief study, which he carried to no small degree of perfection, was that of the law. He was, besides, a wit and a poet, and was reckoned among the good German poets of that time. As a musician he was not only a virtuoso on all the above-named instruments, but he was also a composer, and won the applause of the public in a variety of styles, for the church as well as for the chamber.... How and where he had gained all these distinctions there is no account. He was first known as a composer in the year 1670, by the publication of his work on the gamba.” This enthusiastic account emanated, according to Gerber’s report, from the precentor Joh. Martin Steindorf, of Zwickau, who was personally acquainted with Funk. In the year 1682 Funk gave up his appointment in Reichenbach and accompanied the “East Friesland Princess” into Italy as secretary, where he remained with his mistress seven years. After her death there in 1689 he returned to his native land, and, driven by the necessity of beginning again to earn his livelihood, he had no other choice but to accept, at “Wohnsiedel (Wunsiedel?), the miserable post of organist and girls’ schoolmaster.” Funk’s dissolute character led him to misuse his office as teacher to immoral purposes with the girls entrusted to his care, so that he was compelled “by night and fog to fly in order to escape the rage of the parents.”