the eighteenth century. The most popular concerto from the set was Op.3, No.5, RV 519 which was commonly referred to as "Vivaldi's Fifth". Two other concertos from the set were also played by the public, Op.3, Nos.3 and 12. In a London catalogue from 1780, the solo part for each of the three concertos was advertised for a sum of sixpence per concerto; and in a different catalogue from 1790, the solo part with an added bass line was advertised at a price of one shilling per concerto. Few Italian violinists promoted Vivaldi in England. In the case of Francesco Geminiani, this was due partly to his allegiance to his teacher Corelli and partly to his own ambitions as a composer. His protègé Charles Avison was almost certainly expressing Geminiani's views when he dismissed Vivaldi's concertos as "defective in various harmony and true invention," a withering reference to Il cimento dell'armonia e dell'inventione. On the other hand, in London the violinist Matthew Dubourg, another student of Francesco Geminiani, is known to have given many performances of the fifth concerto (at least as early as 1720) and used it for training his pupils; this is recounted by one of them, Francis Fleming, in the autobiographical novel "The Life and Extraordinary Adventures of Timothy Ginnadrake": The Irish violinist John Clegg, a child prodigy who studied with both Geminiani and Dubourg, is also known to have been an advocate of Vivaldi's concertos, although no records specifically mention L'estro armonico. To illustrate the extent to which "Vivaldi's Fifth" had entered the popular culture, Talbot mentions a 1743 musical entertainment where a performance was advertised in a programme involving "rope-dancing, tumbling, vaulting and equilibres", with dances that included "the Drunken Peasant", a "Hornpipe in wooden shoes" and new "Morrice dances". In a 1760 essay, Oliver Goldsmith recorded the following anecdote about the celebrated blind Irish harpist Turlough O'Carolan: The violinist is not named, but commentators have suggested Geminiani, Dubourg or Clegg; as Talbot points out, it is unlikely to have been Geminiani, because of his known antipathy to Vivaldi. Transcriptions for harp of the third and fifth concertos survive in the collections of another celebrated blind harpist, the Welshman John Parry; they are held in the National Library of Wales in Aberystwyth. The 1797 Encyclopædia Britannica records that the fifth concerto was also played on an Irish variant of Benjamin Franklin's celebrated invention, the glass