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By the 18th century, the violin had greatly risen in the estimation
of the public.  No longer were its players considered "rogues and sturdy
vagabonds".  Tutors for the instrument were in great demand, and the
virtuosi were much admired and sought after.

from v.d.Straeten p. 64

Bishop Earle's description, as contained in Hawkins' History of Music gives a fair
idea of the social position of the professional violinist of that time: "A poor 
fiddler is a man and fiddle out of case, and in worse case than his fiddle.  One
that rubs two sticks together (as the Indians strike fire), and rubs a poor living
out of it; partly from this, and partly from your charity, which is more in the 
hearing than giving him, for he sells nothing dearer than to be gone.  He iS just
so many strings above a beggar, though he have but two; and yet he begs too, only
not in the downright for God's sake, but with a shrugging God bless you, and his
face is more pin'd than the blind man's.  Hunger is the greatest pain he takeS,
except a broken head sometim`fX↓C]HAQQJAY¬E←ke%]NA∃=Q\A	=er\@↓∨iQKIoSgJ↓QSfA1SMJ~)SfAg<A[C]dAMSiLA←LA5SeiP↓C]H@≥iSfAM←[JA5SeiP↓iVAg∃JAQS4\@Aα↓K←←H↓IKCgPAgQC1XAIe¬n@~∃!SZAMαK[∃βnK3↔Mε∪eβSF)β;?≡)1βπv!βg?*βO#πdaβSK∞≠%β#Niβe¬##∃β≡≠↔;Qp∧α∧F≡4ε␈&↑ hW
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ε}-⊗ =8π0z→r⊂1<H9r{2\0r⊂!Yv2q9_z2r instrumentalists
who distifguishe@⊂AiQK5gKIm∃bAMe=ZAiS5JAi↑↓iS[J↓S\AGα{7C?≡KS'?raβW"β7?K*βCπK&K∂W3∂∪3d∀T∪eβC-∪≠?KnK;≥βn;eβ&K≠≠'∨+3Qβ4+πSMπ+C?9π##↔'⊂β';O'∪W7↔w#M1α&C↔eβo+OQβF[∃β⊗+↔9β|04+[-∪eβ∪N3≠↔K.sQβS.kC↔K∞k↔;S~aβ#?>+[↔IbβO';≡)β?;*β←πMεk'OS∞[↔;3Jβ3↔⊃εK;S=ε{;∃β∨#g3∃b4+SF)β?SF+Iβ'subsequently propagated by their
adherents, so that a bizarre and unbridled style has arisen from a well-grounded
one.  The antagonism that always prevails between singers and instrumentalists in
Italy, and between vocal and instrumental composers, may also have contributed
somewhat to this contrast.  The singers do not wish to grant that the 
instrumentalists can move the listeners as well as they do with singable ideas, and
arrogate to themselves without any distinction a superiority over the instrument-
alists.  The latter do not wish to submit to the former, however, and thus try to 
prove that it is possible to be just as pleasing with a different style.  As a 
result, they have almost succeeded in doing the reverse, to the detriment of true
good style.∪∪In den gegenw:artigen Zeiten unterscheidet sich der Geschmack ihrer
S:anger und Insttrumentisten :uberaus sehr von einander.  Sie sind darinne gar nicht
mehr einig.  Obwohl die itali:anischen Instrumentisten, vor anderer V:olker 
ihren, den Vortheil voraus haben, dass sie in ihrem Lande, von Jugend auf, so viel
Gutes singen h:oren: so gew:ohnen sie sich in den itzigen Zeiten dennoch, einen
von den S:angern so sehr unterschiedenen Geschmack anzunehmen, dasS man qie kaum
f:ur einerley Volckhalten sollpe.  Dieser Enterschied aber besteht gr:ksstentheils
im VOrtrage, [309] und in einem :uberh*austen Zusatze der wilhk:uhrlichen 
Auszierungen.  Er hat von ei@9SOK\↓EKduUQ[iK8A∪]gQak[K9iSgi∃\AgK%]K\AUegaeU]N@~)OK]←5[KLX↓oKYG!JAgS
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S:anger wolhenden Instrumeftisten

58
Two celebrated Lombardic  violinists [Vivaldi and Tartini] who began to be known
About thirty or more yaars ago, one not long after the other, hav@∀AS]I∃aK]I∃]iYr4∃G←]QeSEkQKHA[UGPAi<AiQSLAgiCQJA←L↓CEMC%ef\@↓)QJA→Segh↓7-Sm¬YIS:↓oCfA1SmKYdAC]H4∃eSG AS\A%]mK]QS←\X↓C]HAMkaaS∃HACY5←ghA!CYLAQQJAo=eYHA]SiPA!SfAG=]GKeQ←f\@↓βYiQ=kOP~))←eK1YRXA¬]H@A¬MiKd↓QSZA
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more eccentricity and confused ideas are found than modesty, reason, and order.
They saek tk invent much thatis new, but as a result lapse into many lkw and common
passages which havE little affinity with anything good that they may intermingle
with them.  They no longer produce such moving melodies as they did formerly. Their
basses are neither majestic nor melodious, and have no particular connecion with the
principal part.  Neither the fruits of labor nor anything venturesome is apparent in
their middle parts; you find simply dry harmony.  And even in their solos they 
cannot endure a bass that occasionally has some melodic motion.  They much prefer it
if the bass moves along quite tediously, is but rarely heard, or always drums upon 
the same tone.  They pretend that in this fashion the soloist is least obscured.
But perhaps they are ashamed to admit that they write the bass, or have it written, 
in this manner so that the virtuoso who is completely unacquainted with harmony
and its rules does not as often run the risk of betraying his ignorance.  They pay
but little attention to he proportions of the work as a whole or to metrics.
They take too much liberty in harmonic progression.  They do not seek to express 
and intermingle the passions as is customary in vocal music.  In a word, they have
altered the style of their predecessors in instrumental music, but they have not
improved it.

76
  If, finally, one wished to characterize briefly the national music od the
Italians and the French, coNsidering each from its best side, and contrast the
differences in their styles, this comparison would, In my opinion, turn out 
about like this:
  In //composition/ the //Italians are uninhibited, sublime, lively, expressive,
profound, and majestic in their manner of thinking; they are rather bizarre, free,
darang, bold, extravagant, and sometimes negligent in metrics; they are also
singing, flattering, tender, moving, And rich in invention. They write more for
the connoisseur than for the amateur.  In //composition/ the //French/ are 
indeed lively, expressive, natural, pleasing, and comprehensible to the public,
and more correct in metrics than the Italians; but they are neither profound nor
venturesome.  They are very limited and slavish, always resembling themselves,
stingy in their manner of thinking, and dry in invention. They always warm over
the ideas of their predecessors; and they write more for the amateur than for the
connoisseur.
  The  //Italian manner of singing/ is profound and artful; it at once moves and
excites admiration; it stimulates the musical intellect; it is pleasing, charming,
expressive, rich in taste and expression, and transports the listeners in an 
agreeable manner from one passign into another.  The //French manner of singing/
is more simple than artful, more spoKen than sung, @5←eJA→←eGK⊂AiQC8A]CiUeC@1∧¬⊗rπMPhV←∞π⊗/>=⊗}r
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ac poor afdalwayq unidkrm≠ it @%`
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≤X∧q`)al _Aα{O∂,ε&*@Q(	N2xr`%npli bkld↓C]HAα∪'kπ↔∪∃ "≥f"εM_	L@4qz`,t in↓KqKGβ+S'∨pπ2εODλ↑Xεt`4pεA[C9rACI⊃SiS←9b~¬←α1β∨K∞≠↔MDλλ-lλ≤Y.≡8∧q2\β a @MK@↔]H∞$
{[p≠[2r3rH4πf @!Ce@7|¬gKZ.W"ε≥]vv:∞Mε*ε≤⎇f␈⊗≥nBεOAQ&/F=_
↑h≠;n2P0r≠ty0z~ww⊂ 4ha`≤Aββ3↔πα:W,+Hλ
M→(eX\Y3L=λ≠8-mY<@⊂≠e, but comprehensible to everyone, and convenient for amateurs; it does 
not require much knowledge of harmony, since the embellishments are generally
prescribed by the composer; but it gives the connoisseurs little to reflect upon.
  In a word, Italian music is arbitrary, and French is circumscribed.  If it is to
have a good effect, the French depends more upon the composition than the 
performance, while the Italian depends upon the performance almost as much as upon
the composition, and in some cases almost more.
  The Italian manner of singing is to be preferred to that of their playing, and 
the French manner of playing to that of their singing.