NICOLO, a famous violinist and excellent composer, was born at Milan in 1748, as is proved by his letter, dated at Brussels 18th August 1786, and addressed to the then governors of the Netherlands, to whom he applied for the vacant post of their master of music. They bestowed the place upon Witzthum, a native of Baden, who had been long employed as a musician at the court of Brussels. At that time Mestrino had been in the service of Prince Esterhazy, and next of Count Ladislas Erdödy, as first violin; and had travelled in Italy, Germany, and other countries, with a high musical reputation. Disappointed in his views at Brussels, he proceeded to Paris, where he played one of his concertos at the Concert Spirituel on the 17th December 1786. His extraordinary skill attracted immediate attention, and he was appointed leader of the orchestra of the chief theatre; and, in 1789, director of the excellent orchestra that had been formed by Viotti for the Italian Opera at Paris. He died in September 1790.

The late celebrated contrabassist Domenico Dragonetti assured the writer of this article that Mestrino was the best violinist he had ever heard. One of Mestrino's effects in playing was the slide performed with the same finger on the same string in passing from one sound to another, a 3d, 4th, or 5th, &c., higher or lower. An example of this is given at page 43 of the second edition of Woldemar's Grande Methode pour le Violon. Mestrino trained several good pupils, and among these Mademoiselle de la Joucheire, afterwards known as Madame Ludurner. When he arrived in Paris and attracted public attention, the circumstances of his previous artistic life were not known; and thence arose false and absurd stories, invented against him by persons who were jealous of his superiority. It was said that he had long been a street-fiddler, that he had been imprisoned, and had practised the violin incessantly during his confinement; stories utterly destitute of foundation. The late celebrated violinist Paganini was assailed by similar stories, and even by atrocious imputations of murder; all mere fabrications of jealousy. The genuine works of Mestrino, which were published at Paris, consist of twelve Concertos for a principal violin and orchestra; four sets of Duets for two violins; Studies and Caprices for a violin alone; Sonatas for a violin and bass.