eing withal still quite young, it is but reasonable to believe that
he will ere long attain to the highest distinction, and be ranked with
the very first pianists of the time in either the New or the Old
World.

XVI.

THE VIOLIN.[13]

[Footnote 13: The writer considers it proper to precede the sketch of
the virtuoso, Joseph White, by a brief account of that wonderful
instrument to which the latter has given his chief study, and in the
playing of which he has become in at least four countries so
deservedly famous.]

"Thou mystic thing, all-beautiful! What mind
Conceived thee, what intelligence began,
And out of chaos thy rare shape designed,
Thou delicate and perfect work of man?"

_"The Violin:" Harper's Magazine._

The violin, so often called the "king of instruments," is of great
antiquity. As to just when it was invented is a point as yet
unsettled, despite the indefatigable researches of historians of music
and of general antiquaries. The instrument certainly existed, however,
as early as the sixth century; this being proven generally by the
figures of violins observable on very ancient and respectable
monuments still existing, and particularly by a figure cut in the
portico of the venerable Cathedral of Notre Dame in Paris, founded by
Childebert in the sixth century, which figure represents King
Chilperic with a violin in his hand.

It being thus used in a representative character shows, too, that it
has for many hundreds of years been a favorite instrument. Of that
ancient guild of musicians, the troubadours,--so long the principal
devotees and custodians of the divine art,--those were most esteemed
by royalty and the general public who were the best violists.

In the construction of most musical instruments, improvements have
been constantly made up to the present time. This is particularly true
of the piano-forte; the handsome form, and the purity and beauty of
tone, observable in a lately-made "Chickering" or "Steinway,"
rendering them so much superior to a piano of the olden times, as to
barely admit of the latter's being called by the same name. But this
is not true of the violin, inasmuch as a long time has elapsed since
any change has been made in its construction that would add to its
delicate, graceful form, to its nicety, sweetness, and purity of tone,
or general musical capacity. To-day a Cremona, or an Amati, as well as
violins of other celebrated makers