24. Baillot, Pierre Marie François de Sales, L'Art du violon. Paris, Dépôt central de la musique, 1835. Edited and translated by Louise Goldberg as The Art of the Violin. Evanston, Northwestern University Press, 1991.

In Baillot's Chapter 23, "Musical Character and the Accent that Determines It", an elaborate table of musical characters is presented along with melodic examples to illustrate each character. Boccherini, Haydn and Beethoven are Baillot's favorite composers from whom to take these examples. Below is a list of the characters for which Baillot uses examples by Boccherini:

1. Simple: naive
2. Simple: naive – merry
3. Simple: naive – tender and affectionate
4. Vague: undecided – passionate and agitated
5. Vague; undecided – holding back
6. Passionate: dramatic – with sadness
7. Passionate: dramatic – violent
8. Passionate: dramatic – martial

1. G.358, Trio mm 1-24, & G.412, iii, 1-8 & 21-32
2. G.246, ii, 1-8 & iv, 1-20
3. G. 283, iii, 1-24
4. G.351, iv, 1-24
5. G. 398, ii, 1-12
6. G. 348, i, 1-4
7. G.159, iii, 1-19
8. G.172, iii, 1-12

In Chapter 24, "Effect and Means of Effect", Baillot discusses the Effect of Unisons and Simultaneous Octaves in Quintets, naming Boccherini as especially adept at this special effect, and quoting passages from the Quintet in EbM, G. 269, I (Allegro assai), and the Quintet G. 295, ii (Minuetto con moto). Baillot also remarks:

We might consider the unison and even the octave as the most appropriate expression of sympathy, an expression in some way above harmony itself, since it is the result of a perfect concord. Music can express this sympathy at any time; nothing must be neglected, therefore, in making all its beauty felt. NEED ORIGINAL FRENCH HERE