[91] This must not be taken word for word, for Corrette, in his violoncello school, gives directions with regard to double stopping, though very insufficient. [92] See pp. 51 and 54 this book. [93] Fétis says that Aubert published “deux méthodes de violoncelle,” but immediately after speaks of one “livre élémentaire” of the same author, so that it may easily be concluded the first assertion was an error. [94] Fétis says from the elder Duport. This is, however, impossible as he had already settled in Berlin, in 1773, from which place he did not again absent himself. [95] Tillière’s violoncello school appeared in 1764, and those of Cupis and Müntzberger, to all appearance, came out before 1800. [96] Here is an example or two: Alexander in his cello school, which appeared in 1801, takes up quite arbitrarily an “ordinary,” a “half,” and a “whole,” as well as a “mixed” THEORY OF FINGERING, and Fr. Kummer divides the fingerboard into “whole” and “half” positions. Müntzberger says in his cello school, which appeared apparently in 1800, he wished that people could accustom themselves to say to the pupil as for the violin: “take this or that position.” Here is given a distinct indication of the application of the violin positions. In other cello schools, on the contrary, there is no reference to positions. Duport, however, makes use of positions 1st, 2nd, and 3rd, &c., throughout his volume.--(_Tr._) THE ART OF VIOLONCELLO PLAYING IN THE NINETEENTH CENTURY. IV.--ITALY. The most important epoch of Italian violoncello playing came to a close with Boccherini. His early withdrawal from his native land caused a loss all the more sensibly felt because there was no one of equal importance to compensate for him in the further development of the art, from the point to which he had attained both in its executive and productive aspect. This task fell principally to Germans, French, and Belgians, whilst Italy was deprived of the position of pre-eminence in regard to violoncello playing which she is asserted to have held for a long time in the previous century. The same phenomenon consequently was repeated here as in regard to violin playing.