"Is not that exquisite? what do you think of it?" I nodded my head and
praised it, for the music was modest and made no pretension.

I will pass next to the violin. The possessor of this was a type of
presumption, vulgarity, and coarseness, and understood how to make an
impression on his pupils and their parents by the assumption of
extraordinary ability. He consequently enjoyed a certain consideration.
He was, moreover, a good musician, and played the violin tolerably in
accompanying the piano, in Beethoven's opus 17 and 24. In this portrait
you have a specimen of the violinist as a piano teacher. Of course he
understood nothing of piano-playing, and took no interest in Wieck's
rubbish about beauty of tone; he cared only for Beethoven. He now and
then tried to sprawl out a few examples of fingering, in a spider-like
fashion; but they were seldom successful. His pupils also possessed the
peculiar advantage of playing "in time," when they did not stick fast
in the difficult places. At such times he always became very cross and
severe, and talked about "precision;" in that way instilling respect.
His pupils did not jingle, but they had a peculiarly short, pounding
touch; and floundered about among the keys with a sort of boldness, and
with resolute, jerking elbows. They certainly had no tone, but the
violin was therefore heard the better; and after each performance we
might have heard, "Am I not the first teacher in Europe?"

MRS. SOLID. You certainly have shown up two ridiculous figures.

DOMINIE. True; but I leave it to every one to make themselves
ridiculous.

MRS. SOLID. I am very glad that you have furnished me here with the
criticisms of which I stand in need; for I might otherwise have been in