established, however, that he studied under Pugnani at Turin, and that
at the age of twenty he was made first violin at the Chapel Royal of
that capital. After remaining three years, he began his career as a
solo player, and, after meeting with the greatest success at Berlin and
Vienna, directed his course to Paris, where he made his _debut_ at the
"Concerts Spirituels."


II.

Fetis tells us that the arrival of Viotti in Paris produced a sensation
difficult to describe. No performer had yet been heard who had attained
so high a degree of perfection, no artist had possessed so fine a tone,
such sustained elegance, such fire, and so varied a style. The fancy
which was developed in his concertos increased the delight he produced
in the minds of his auditory. His compositions for the violin were
as superior to those which had previously been heard as his execution
surpassed that of all his predecessors and contemporaries. Giornowick's
style was full of grace and suave elegance; Viotti was characterized
by a remarkable beauty, breadth, and dignity. Lavish attentions were
bestowed on him from the court circle. Marie Antoinette, who was an
ardent lover and most judicious patron of music, sent him her commands
to play at Versailles. The haughty artistic pride of Viotti was signally
displayed at one of these concerts before royalty. A large number of
eminent musicians had been engaged for the occasion, and the audience
was a most brilliant one. Viotti had just begun a concerto of his own
composition, when the arrogant Comte d'Artois made a great bustle in
the room, and interrupted the music by his loud whispers and utter
indifference to the comfort of any one but himself. Viotti's dark eyes
flashed fire as he stared sternly at this rude scion of the blood royal.