ction it surpassed the band of twenty-four.

Lulli found great favour at court, and, indeed, astonished the world
with his exquisite taste and skill. That he was firmly established in
the favour of the king is shown by the story that, when Corelli came to
France and played one of his sonatas, King Louis listened without
showing any sign of pleasure, and, sending for one of his own
violinists, requested him to play an aria from Lulli's opera of "Cadmus
et Hermione," which, he declared, suited his taste.

There is little doubt that the principles of the great Italian school
of violin playing were, some years later, brought into France by Anet,
who was born in 1680, and returned from Italy about 1700, but owing to
the jealousies of his colleagues, he found it advisable to leave France
in a short time, and he is said to have spent the rest of his life as
conductor of the private band of a nobleman in Poland.

Lulli is said to have been very avaricious, and his wealth included four
houses, all in the best quarters of Paris, together with securities and
appointments worth about $70,000. His death, in 1687, was caused by a
peculiar accident. While conducting a performance of his orchestra he
struck his foot with the cane which he used for marking the time. The
bruise gradually assumed such a serious condition that it ended his
life.

Jean Baptiste Senaille, who was a pupil of Anet, was born in 1687, and
turned to the Italian school. In 1719 he entered the service of the Duke
of Orleans.

Francesco Geminiani was considered the ablest of the pupils of Corelli,
and was born about 1680. When about twenty-four years of age he went to
England, where his talent secured a great reputation for him, some
people even declaring him to be superior, as a player, to Corelli. He
lived to an advanced age, and was in Dublin visiting his pupil Dubourg
at the time of his death. He was a man of unsettled habits, and was
frequently in dire necessity, caused chiefly by his love of pictures,
which led him into unwise purchases, and thus frequently into debt.

About the year 1650 three violinists were born in Italy, who all left
their mark upon the history of violin playing.

Tommaso Vitali was born at Bologna, and was leader of the orchestra in
that city, and later in Modena.

Giuseppe Torelli was leader of a church orchestra in Bologna, and
afterwards accepted the post of leader of the band of the Markgraf of
Brandenburg-Anspach, at Anspach