by the most distinguished patronage.

As the art of violin making developed, so did that of violin playing,
but, whereas the former reached its climax with Stradivari, the latter
is still being developed, as new writers and players find new
difficulties and new effects. While there are many proofs that
orchestras existed, and that violins of all sizes were used in
ecclesiastical music, there is still some doubt as to who was the first
solo violinist of eminence. The earliest of whom we have any account
worthy of mention, was Baltazarini, a native of Piedmont, who went to
France in 1577 to superintend the music of Catharine de Medici. In 1581
he composed the music for the nuptials of the Duke de Joyeuse with Mlle.
de Vaudemont, sister of the queen, and this is said to have been the
origin of the heroic and historical ballet in France.

The progress of violin playing can also be judged somewhat by the
compositions written for the instrument. Of these the earliest known is
a "Romanesca per violone Solo e Basso se piaci," and some dances, by
Biagio Marini, published in 1620. This contains the "shake." Then there
is a "Toccata" for violin solo, by Paolo Quagliati, published in 1623,
and a collection of violin pieces by Carlo Farina, published in 1627 at
Dresden, in which the variety of bowing, double stopping, and chords
shows a great advance in the demands upon the execution.

Farina held the position of solo violinist at the Court of Saxony, and
has been called the founder of the race of violin virtuosi. One of his
compositions, named "Cappriccio Stravagante," requires the instrument to
imitate the braying of an ass, and other sounds belonging to the animal
kingdom, as well as the twanging of guitars and the fife and drum of the
soldier.