ing, Fiddling, or making music
in any inn, alehouse, or tavern or shall be proffering themselves, or
desiring, or entreating any person or persons to hear them play ...
shall be adjudged ... rogues, vagabonds, and sturdy beggars."

John Banister seems to have been a somewhat "sturdy beggar," though not
exactly in the sense meant by the ordinance, for he established regular
concerts at his house, "now called the Musick-school, over against the
George Tavern in Whitefriars." These concerts began in 1672, and
continued till near his death, which occurred in 1679. He too, was
buried in the cloister of Westminster Abbey. His son, also, was an
excellent performer on the violin, and played first violin in the
Italian opera when it was first introduced into England. He was one of
the musicians of Charles II., James II., William and Mary, and of Queen
Anne.

Henry Eccles, who lived about the end of the seventeenth century, went
to France, where he became a member of the king's band, and William
Corbett, who went to Italy to study the violin in 1710, was a player of
much ability; but one of the most eminent of English violinists was
Matthew Dubourg, born 1703, who played at a concert when he was so small
that he was placed on a stool in order that he might be seen. At eleven
years of age he was placed under Geminiani, who had recently established
himself in London. Dubourg was appointed, in 1728, Master and Composer
of State-Music in Ireland, and on the death of Festing, in 1752, he
became leader of the king's band in London, and held both posts until
his death in 1767.

An amusing incident is related of Dubourg and Handel. The latter visited
Dublin and presided at a performance of the "Messiah." A few evenings
later, Dubourg, who was leader of the band at the Theatre, had to
improvise a "close," and wandered about in a fit of abstract modulation
for so long that he forgot the original key. At last, however, after a
protracted shake, he landed safely on the key-note, when Handel called
out in a voice loud enough to be heard in the remotest parts of the
theatre, "Welcome home, welcome home, Mr. Dubourg."

Dubourg's name is the first on record in connection with the
performance of a concerto in an English theatre.

John Clegg, a pupil of Dubourg, was a violinist of great ability, whom
Handel placed at the head of the opera band, but his faculties became
deranged by intense study and practice, and he died at a comparatively
ea