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 VIOTTI

447

VIRGILIUS

Eugene-Emmanuel Violle->1j>Duo Portrait by Fr6d6ric Millet

Paris (1870-71) he commanded a corps of engineers, and wrote a "Memoire sur la defense de Paris" (1871). Soon after this he expressed radical opinions in politics, was elected deputy in 1874, and opposed Thiers. -As a connoisseur of art he wrote a number of valuable works: "Dictionnaire raisonnc de I'archi- tecture frangaise du onzieme au seizieme si&cle" (10 vols., 1854-69), illustrated by his (nvn sketches ; ' Essai sur I'archi- ircture militaire au 111 y e n & g e" 1S.54); "Diction- naire du mobiher Irangais jusqu'i la lieuaissance" (6 vols., 1855-75); "Monographic de Notre - Dame de Paris" (1856), writ- iin in conjunction 1 t h Guillermy; 1 )cscription du chateau de Picrre- fonds" (1857) ; "Description du chateau de Coucy " (18.58); " Histoire d'une maison" (1873); "Histoire d'une forteresse" (1874); "Histoire d'un hotel de ville et d'une cathedrale" (4 vols., 1873-78); "Histoire d'un dessinateur" (1879); "Les ^ghses de Paris" (1883); " La cit^ de Carcassonne " (1886); "L'art russe" (1877). There are interesting essays in the "Entretiens sur I'architecture" (1858- 72).

VioUet-Le-Duc is exact, clear, and often brilliant in his writings, just as in his practical works. Drawings of his preserved at t h e Trocad^ro, and which have appeared in print, are a treasure- house of sugges- tive designs. The exact knowledge of medieval archi- tecture acquired by life-long expe- rience would not alone have brought him such far-reaching influ- ence. What is best both in his works and in his theories is the pro- found comprehen- sion of the spirit of the medieval master - builders. He not only grasped the his- torical forms, but he comprehended also their mean-

The Castle of Pierrefo.nds Reconstruction by Viollet-Le-Duc

ing, and knew how to evolve the organic struc- ture from its inward spirit. The task involved in the structure, its suitable execution with an independent use of the traditional forms, were of more importance to him than the style itself. Consequently he did not follow exclusively the Gothic style, however highly he valued in Gothic architecture the development of the forms from the object in view and the material used in construction, and the logical consecutiveness of the parts. He knew how to impart to his pupils and to

co-workers a keen sense of perception, that was not satisfied with the mere external imitation of what was ancient. Among the important architects who imi- tated him closely were Boswillald and Paul Abadie, the architect of the Church of the Heart of Jesus at Montmartre. It must be acknowledged tha( in the re- vival of medieval architecture a dubious principle gained the mastery. Although the best followers of the great restorer of architecture believed with him that the architect ought not to be permitted to be a mere imitator, still the way was not made sufficiently clear for an independent development of architecture according to the needs, and in harmony with the feel- ings, of the present era.

Saint-Paul, Viotlei-Le-Duc, ses travaux d'art et son systime archeohgique (2nd ed., Toura, 1882); Sauvageot, VioUrt-Le-Ditc et son mare dessini (Paris, 1880).

G. GlETMANN.

Viotti, Giovanni Battista, founder of the modern school of vioHnists, b. at Fontanetto, Piedmont, 23 May, 1753; d. 3 March, 1824. He .studied under Giovannini, and at Turin under Pugnani, with whom he went on a tour in 1780. He showed not only an extraordinary vir- tuosity, but wTote several concertos for the vioHn, and his playing in Germany, Russia, and France at - tracted consider- able attention. For a time he was attached to the Court of Marie Antoinette, and he lived with Cheru- bini in 1785 and 1786. Owing to the Revolution, he quitted Paris, and arrived in London in July, 1792. He succeeded Cramer as leader at the King's Theatre, and was in the

Giovanni Battibta Viotti Painting by Trosaarelli

highest esteem as a teacher, but owing to base intrigue he had to leave England in 1798. Returning to London in 1801 he resumed his violin classes, but had a dis- astrous experience as a wine merchant. Again de- voting himself to the vioHn, he returned to Paris in 1814 and was Director of the French Opera from 1819 to 1822. Unfortunately, his directorate was not a financial success and he came back to London in the spring of the year 1824. As a composer, he enriched violin music by his numerous concertos and .sonata.s, and by a few dainty songs. Howwer, it is as a vir- tuoso and as the founder of modern violin playing that Viotti will be remembered. Among his pupils were Pixis, Rode, Alday, Vacher, Labarne, and others.

Grove, Diet, of Music and Musicians, new cd. V (London, 1909); DuNSTAN, Cyclopedia of Music (London, 1909); contem- porar>* Frencli and English papers.

W. H. Grattan-Flood.

Virgilius (Virgile), Saint, Archbishop of Aries, d. c. 610. According to a life written in the eighth century he was born in a village of .\quitaine, became a monk. Abbot of Lerins, and Bi.shop of Aries, where he built a basilica of Saint Stephen and another of the Saviour. This life, accepted in its outlines by Mabil- lon and the Bollandists, is (he scarcely modified re- production of the Life of St. Maximus, Bishop of Riez, written by the patrician Dynamius before the death of Virgilius. According to Ciregory of Tours, Virgilius was first .\bbot of the Monastery of St. Symphorien at Autun, and through the supijort of