JOSEPH ALEXANDER, who, in 1800, lived at Duisburg, and worked there, is worthy of mention on account of two books of Studies, which however are long since obsolete. They consist of a violoncello school, published in 1801, and of an “Air avec xxxvi Variations progressives pour le Violoncelle avec le doigté en différentes clefs, accomp. d’un violon et d’une basse” (1802). JOHANN GOTTFRIED ARNOLD, born on February 1, 1773, in the Würtemburg town of Niedernhall, died July 26, 1806, at Frankfort-on-the-Main, was the son of a school teacher. He early applied himself to music, and chiefly to the violoncello, so that at eight years of age he attracted notice by his performances. In 1785 his father placed him under the tuition of Lüngelsauer, the town musician, with whom he studied for five years. At the expiration of that time Arnold found employment with his uncle, who was Court and town musician at Wertheim. During this period he pursued, alone, with great zeal, his cello studies, but at the same time did not neglect theoretical study. After some fruitless attempts to make himself known as a soloist beyond his native place, he visited Regensburg, where just then the violoncellist Max Willman, mentioned above, was residing. He gave Arnold, during some few months, instructions on the cello, the first which he had received on this instrument. In the year 1796 he had the opportunity, in Hamburg, of hearing Bernhard Romberg and learning from him. Very soon after Arnold was established in the theatre orchestra at Frankfort. At the same time he gave private lessons. He was esteemed by his contemporaries as a great violoncello virtuoso, whose playing, on account of its “enchanting tone,” was excellent, not only in _Allegro_, but also in _Adagio_ passages. Amongst the German violoncellists of the last century an amateur deserves mention, who so distinguished himself, that he may properly be counted among the artists of his instrument. It was the PRINCE CHRISTIAN VON WITTGENSTEIN-BERLEBERG. He was born on December 12, 1753, and in his youth occupied himself eagerly with singing and clavier playing. In more advanced years he learnt the violoncello and succeeded so well that he was heard with the greatest applause publicly at a concert in Wetzlar. He maintained towards the end of his life a private band. This patron of art died October 4, 1800. These distinguished men up to this period, with few exceptions, endeavoured, besides their practical work, to create by their compositions a literature for their instrument. They wrote concertos, sonatas, and works with variations, in considerable numbers.[81] These productions were substantially increased by other musicians who were not cello players. Before all, the most prominent are PHIL. EMANUEL BACH and JOSEPH HAYDN.