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Viotti had but few pupils, but among them were a number of highly gifted artists. Rode, Robrechts, Cartier, Mdlle. Gerbini, Alday, La-barre, Pixis, Mari, Mme. Paravicini, and Vacher are well-known names to all those interested in the literature of the violin.
Among Viotti's most prominent pupils were Roberrechts, Pixis, Alday le jeune, Cartier, Rode, Mori, Durand, and Baillot, also Mlle. Gerbini and Madame Paravicini. Roberrechts became the teacher of De Bériot, who in turn taught Vieuxtemps, Teresa Milanollo, and Lauterbach. Baillot taught Habeneck, who taught Alard, Léonard, Prume, Cuvillon, and Mazas.
But she was far too much absorbed in her project to notice his stupefaction. "But if you breathe a word," she said, "everything will be spoilt. It has to burst on Georgie. Oh, and there's another mulberry-tree in your garden as well as the one in front. It's too much." Her eyes followed Foljambe out of the door. "And I know your parlour-maid is called Paravicini or Grosvenor," she said.
The most convincing evidence of the fact will be found in a letter written, probably in July, 1784, when he was fifteen years old, to an uncle, possibly Fesch, more likely Paravicini, concerning family matters.
The next virtuosa was a Frenchwoman, Louise Gautherot, who was born about 1760, and who played in London and made a great impression about 1780 to 1790, and about the same time Signora Vittoria dall' Occa played at the theatre in Milan. Signora Paravicini, born about 1769, and Luigia Gerbini, about 1770, were pupils of Viotti, and earned fame.
The former made a sensation in 1799 by her performance of some violin concertos at the Italian Theatre at Lisbon, where she played between the acts. Signora Paravicini attracted the attention of the Empress Josephine, who became her patroness and engaged her to teach her son, Eugene Beauharnais, and took her to Paris. After a time, however, the Empress neglected her, and she suffered from poverty.
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