sufficiently ludicrous to form the subject of a picture in _Punch_, and
thus the matter assumed a serious aspect.

England has not been the home of any particular school of violin
playing, but has received her stimulus from Continental schools, to
which her sons have gone to study, and from which many eminent
violinists have been imported.

The word "school," so frequently used in connection with the art of
violin playing, seems to lead to confusion. The Italian school,
established by Corelli, appears to have been the only original school.
Its pupils scattered to various parts of Europe, and there established
other schools. To illustrate this statement, we will follow in a direct
line from Corelli, according to the table given in Grove's Dictionary.

The pupils of Corelli were Somis, Locatelli, Geminiani (Italians), and
Anêt (a Frenchman), whose pupil Senaillé was also French. The greatest
pupil of Somis was Pugnani, an Italian, and his greatest pupil was
Viotti, a Piedmontese, who founded the French school, and from him came
Roberrechts, his pupil De Bériot and his pupil Vieuxtemps, the two
latter Belgians, also Baillot, etc., down to Marsick and Sarasate, a
Spaniard, while through Rode, a Frenchman, we have Böhm (school of
Vienna) and his pupil Joachim, a Hungarian (school of Berlin).

Several violinists are found under two schools, as for instance,
Pugnani, who was first a pupil of Tartini and later of Somis, and Teresa
Milanollo, pupil of Lafont and of De Bériot, who appear under different
schools.

The only conclusion to be drawn is that the greatest violinists were