emptied of its rights and emoluments, and Guignon resigned the title before his death. (See under Manoir, sec. 108.)
Among the gambists Marin Marais (d. 1728) was the most famous (see sec. 112), and he was succeeded in the royal band at Paris by his son Roland Marais (pieces, 1735-8). Without adding further names, it may be noted that the last great player on the gamba was Karl Friedrich Abel (d. 1787), a choir-boy under J. S. Bach at Leipsic, from 1746 court-player at Dresden, and from 1759 in London, where in 1765-81 he collaborated with Christian Bach in concerts. He was an able musician and wrote good chamber music and popular symphonies.
Among the violoncellists an Italian pioneer was Franciscello (d. after 1730), known only through the reports of able critics who visited Rome between 1715 and 1730. Another eminent Italian player was Salvatore Lanzetti (d. c. 1780), who was trained at Naples, but spent his life at Turin, publishing sonatas and studies (1736) and visiting Frankfort in 1751. One of the earliest players in France was Batistin Stuck (d. 1755), the opera-writer (see sec. 127); but the real founder of the French school was Martin Berteau (d. 1756), originally a gambist, who appeared in the Concerts spirituels in 1739 and taught many fine pupils. The 'cello was introduced into England in 1728 by Giacomo Bassevi [Cervetto] (d. 1783, over 100 years old), followed by his son, known as James Cervetto, Jr. (d. 1837).
While the rise of artistic violin-playing took place in Italy and spread thence to other countries, flute- and oboe-playing seem to have been earliest developed in France. Foremost in this process were the many members of the Danican-Philidor family, beginning with Jean (d. 1679), who was royal piper from 1659, and his sons André (d. 1730), who entered the king's band probably about 1670 as oboist, bassoonist and cromornist, and later served as a patient copyist of musical works for the royal library at Versailles (dances and ballets from 1687), and Jacques (d. 1708), also a player of various wind instruments in the royal band. Each of these brothers had four sons who were more or less noted as players and composers, the chief being Anne (d. 1728), André's eldest son, who was flutist in the royal band from 1702, wrote several operas (1697-1701), and founded the Concerts spirituels in 1725 as a monopoly (in 1728 bought back by the Opéra), Pierre (d. 1731), Anne's cousin, highly honored by Louis XIV. from before 1700 as oboist, flutist and violinist (flute-pieces, 1717), and François André (d. 1795), Anne's brother, who first distinguished himself as a chess-player, but later developed into a popular opera-writer (from 1759). Omitting the last-named, at least ten members of the family contributed to the advance of music for wood-wind instruments.
Similarly, Henri Hotteterre (d. 1683), a celebrated maker at Paris of wood instruments, especially flutes and oboes, had two sons, Nicholas (d. 1695), from 1668 a noted oboist and bassoonist in the king's band, and Louis, who probably lived for a time at Rome (whence called le Romain), but made a great name as a flute-player before 1700, also publishing a method (1699?), many solos, suites, etc. (from 1708). Another impulse proceeded from Pierre Gabriel Buffardin (d. after 1749), a Provençal who from 1715 for almost 35 years was court-flutist at Dresden, with his pupil, the many-sided Johann
