The Violin / Its Famous Makers and Their Imitators

by George Hart

CONTENTS

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SECTION I.—THE EARLY HISTORY OF THE VIOLIN.
		PAGE
1.—	General observations—Early History involved in obscurity andvague conjecture—Jubal, Orpheus, and Apollo—Views of EarlyHistorians of Music, as to Asiatic and Scandinavian originrespectively—Ravanon, King of Ceylon, and the"Ravanastron"—Researches of Sanscrit Scholars—Suggested Arabianorigin of the Ribeca, or Rebec, and the Rehab of the Moors—EarlyEgyptian instruments—Moorish musical influence in Spain—TheTroubadours and Trouvères in Northern France, and the Gigeours ofGermany	[1-11]
2.—	Early evidence of Bowed Instruments in the north ofEurope—Presumed Scandinavian origin of the German Geige—The Hon.Roger North's "Memoirs of Music"—Martinus Gerbertus, his "De Cantu etMusicâ Sacrâ"—Paul Lacroix' "Arts of the Middle Ages"—Earliest knownrepresentations of Bowed Instruments, sixth to ninth century—TheManuscript of St. Blasius—The Cheli or Chelys—Saxon Fiddle in theCottonian Manuscripts, and in Strutt's "Sports and Pastimes"—Theearly Saxons' love of Music—The Saxon Fithele in the time of theNorman Conquest—The Geige in France, and the Jongleurs, "dancers,jugglers, and buffoons"—Domestic Music in Germany and the LowCountries in the sixteenth century—The Viol and the Madrigal—Musicin Italy—Adrian Willaert, "The Father of the Madrigal"—NorthernMusicians attracted to Italian Courts—Development of the Madrigal inItaly—High standard of early Italian work, but under Germanteaching—The Viols of Brensius of Bologna—Silvestro Ganassi, hiswork on the Viol—Duiffoprugcar and Gasparo da Salò and thedevelopment of the Violin—The Fretted Finger-board—The Violono orBass Viol—Five-stringed Viols—The three-stringed Fiddle, or Geige,attributed to Andrea Amati, altered by the Brothers Mantegazza to afour-stringed Violin—Advent of the four-stringed Violin ascribed toGasparo da Salò	[12-26]
SECTION II.—THE CONSTRUCTION OF THE VIOLIN.
	The present form of the Violin the result of much research andexperiment, but perfected by the great Cremonese makers—Hogarth's"Line of Beauty" exemplified in the Violin—The requisites necessaryto the due appreciation of the grace and properties of the Violin, andits exquisite power of expression—Its acousticalproperties—Varieties of woods used in its construction—Methodsadopted, and choice of material, by the great Brescian and Cremonesemakers—The "whole-back" and "slab-back"—The constituent parts of theViolin—System of placing the sound-bar—Properties and position ofthe sound-post, and of the bridge; the neck; the finger-board;purfling, &c., &c.—The sound-holes of different makers—Neededcautions as to repairing good instruments	[27-42]
SECTION III.—ITALIAN AND OTHER STRINGS.
	Importance of the Strings in the economy of the Violin—Adrien LeRoy's instructions "How to know Strings"—Thomas Mace and "VenetianCatlins"—Character of the different manufactures ofStrings—Superiority of the Italian—The raw material not supplied bythe feline race—Rules to be observed in choosing Strings—Modernimprovements in Stringing—The Strings of Lindley andDragonetti—Covered Strings—Experiments on the strain and pressure ofStrings	[43-56]
SECTION IV.—THE ITALIAN SCHOOL.
	A glance at the rise, culmination, and decadence of Art in Italy, andthe Violin as connected therewith—The Italians far in advance ofother nations in the manufacture—The five Schools of Italianmakers—Roger North on the demand for Italian Violins—Brescia thecradle of the manufacture	[57-69]
SECTION V.—THE ITALIAN VARNISH.
	The formation of the Italian Varnish a secret lost to theworld—Lustrous character of that of Cremona—Characteristics of thefour classes of Italian Varnish—Conjecture as to the loss of thesecret—Influence of the different Varnishes on the tone of the Violin	[70-76]
SECTION VI.—ITALIAN MAKERS.
	Acevo—Albanesi—Albani—Aletzie—Alvani—AMATI,ANDREA; evidence asto date of birth; his Violins small; founded the School of Cremona;probably a pupil of Gasparo da Salò; his model high, and sound-holeinelegant; his varnish deep golden; his "Charles IX. Set" oftwenty-four Violins, six Tenors and eight Basses—Amati,Niccolò—AMATI, the BrothersANTONIO and GIROLAMO; probable date ofbirth; comparison of the respective work, material, and tone of thetwo brothers—AMATI, NICCOLÒ,son of Girolamo; date of birth anddeath; the greatest of his illustrious family; gradual change instyle; the "Grand Amati," followed by his great pupil, Stradivari; itsexquisite proportions and character; singular beauty of his material,and elegance of design; differences between Niccolò Amati and hisseveral copyists, Italian, German, and English—AMATI, GIROLAMO; dateof birth; his work ascribed to other makers; character of hisinstruments and his varnish; the last of the Amatis—Ambrosi,Pietro—Anselmo, Pietro—Antoniazzi, Gaetano—Antonio ofBologna—Antonio, Ciciliano—Assalone, Gasparo	[77-94]
	Bagatella, Antonio—Bagatella, Pietro—BALESTRIERI, TOMMASO; probablya pupil of Stradivari; his work rough, but vigorous, tone and varnishgood; his instruments rising in value—Bassiano, Lute-maker,Rome—Bellosio, Anselmo—Bente, Matteo—BERGONZI, CARLO; pupil ofAntonio Stradivari; his work closely resembling that of his greatmaster, and of the highest class; increasing appreciation; comparisonof his instruments with those of Stradivari and Giuseppe Guarneri;character of his varnish, &c.; Violoncellos and Double-Basses of thismaker—Bergonzi, Michel Angelo—BERGONZI, NICCOLÒ; character of hiswork—Bergonzi, Zosimo—Bergonzi, Carlo—Bergonzi,Benedetto—Bertassi, Ambrogio—Bertolotti (see Salò)—Bimbi, B.—Borelli,Andrea—Brensio, Girolamo—Brescia, da, Battista—Broschi,Carlo—Busseto, Giovanni	[95-104]
	Calcagni, Bernardo—Calvarola, Bartolommeo—Camilli, Camillo—CAPPA,GIOFFREDO; pupil of the Brothers Amati; character of his work, inViolins and Violoncellos—Casini, Antonio—Castro—Catenar,Enrico—Celioniati, Gian Francesco—Cerin, Marco Antonio—Ceruti,Giovanni Battista; a prolific workman—Ceruti, Giuseppe—Ceruti,Enrico, son of Giuseppe; his work much valued by Italian players;exhibited in London and Milan Exhibitions—Cristofori,Bartolommeo—Circapa, Tommaso—Cocco, Cristoforo—Contreras,Joseph—Cordano, Jacopo Filippo—Costa, Pietro Antonio dalla; skilfulcopier of Amati	[104-110]
	Dardelli, Pietro; a Franciscan Monk; his Viols and Lutes—Despine,A.—Dieffoprugcar, Magno (Magnus Tieffenbrucker)—Dominicelli,Ferrara—DUIFFOPRUGCAR, GASPAR; high character of his Viols	[110-112]
	Farinato, Paolo—Ficker, Johann Christian—Ficker, JohannGottlieb—Fiorillo, Giovanni—Frei, Hans; Lute and Viol-maker	[112-113]
	GABRIELLI, GIOVANNI BATTISTA; his Violoncellos and Violins of highcharacter—Gaffino, Giuseppe—GAGLIANO, ALESSANDRO; pupil of AntonioStradivari; character of his work—Gagliano, Gennaro—Gagliano,Niccolò—Gagliano, Ferdinando—Gagliano, Giuseppe—Gagliano, Giovanni,Antonio, and Raffaele—Galbusera, C. A.—Garani, MichelAngelo—Garani, Niccolò—Gaspara da Salò (see Salò)—Gatinari,Francesco—Geroni, Domenico Ostiano—Gibertini, Antonio—GOBETTI(Gobit) FRANCESCO; comparisons of his work with those of Montagnana,Santo Serafino, and Ruggeri—Gofriller, Matteo—Gofriller,Francesco—Gragnani, Antonio—GRANCINO, PAOLO; pupil of Niccolò Amati;a true artist; classed with Stradivari, Bergonzi, Amati, and Guarneri;his Violas and Violoncellos—Grancino, Giovanni—Grancino, GiovanniBattista—Grancino, Francesco—Grulli, Pietro—GUADAGNINI, LORENZO,and Giovanni Battista; high character of their work—Guadagnini,Gaetano—Guadagnini, Giuseppe—Guadagnini, Carlo—Guadagnini,Antonio—GUARNERI, ANDREA; the pioneer of his family; worked withStradivari and Niccolò Amati—GUARNERI, GIUSEPPE, son of Andrea; hisViolins, Violas, and Violoncellos—GUARNERI, PIETRO, brother ofAndrea—GUARNERI, PIETRO, grandson of Andrea—GUARNERI, GIUSEPPE (delGesù); his monogram and cypher; evidence of his birth; sketch of hislife, and characteristics of his work; comparison with Stradivari andGasparo da Salò; his "three epochs;" lustrous quality of his varnish;different characters of his wood; the tradition of his "PrisonFiddles"; a "Prison Joseph"—Guidanti, Giovanni—Guillami	[113-147]
	Harton, Michael	[147]
	Kerlino, Joan	[147]
	Lagetto, Luigi—Landolfi, Carlo Ferdinando; original and generallygood quality of his work—Lanza, Antonio Maria—Lavazza,Santino—Lavazza, Antonio—Linarolli, Venturo—Loly, Jacopo	[147-148]
	MAGGINI, GIOVANNI PAOLO; pupil and follower of Gasparo da Salò; othermakers' productions frequently attributed to him; comparison of hiswork with that of Da Salò—MALER (Lutinist); termed the "Stradivari ofLutes;" Thomas Mace on the art of judging Lutes and Viols—MANTEGAZZA,PIETRO GIOVANNI; eminent as a restorer—Maratti—Mariani,Antonio—Meiberi, Francesco—Mezadri, Alessandro—Mezadri,Francesco—MONTAGNANA, DOMENICO; pupil of Antonio Stradivari; splendidspecimens of his art still extant; his cognomen, "The MightyVenetian;" rising value of his instruments; comparison with Stradivariand Bergonzi; superior character of his varnish—Montaldi,Gregorio—Morella	[149-158]
	Nadotti, Giuseppe—Nella, Raffaele	[158]
	Ortega	[158]
	Pandolfi, Antonio—PANORMO, VINCENZO; follower of Antonio Stradivari;residence in London and in Ireland; his struggles with adversity;light and graceful character of his work—Pansani, Antonio—Pasta,Antonio—Pasta, Domenico—Picino—Platner, Michel—Pollusca,Antonio—PRESSENDA, GIOVANNI FRANCESCO; superior work and varnishstudied in Cremona; contrast with contemporary workers; humble origin;his connection with Storioni, and with Polledro, the Violinist; hismodels, Stradivari and Amati	[158-163]
	Racceris—Rinaldi, Gioffredo—Rocca, J. A.—Rodiani—Rota,Giovanni—Rovetta—ROGERI, GIOVANNI BATTISTA ("Bononiensis," from orsettled in Bologna); his instruments of large Amati pattern—ROGERI, PIETRO GIACOMO—RUGGERI, FRANCESCO ("Il Per"); earlyartistic genius; foremost position of his family in Cremona; pupil ofNiccolò Amati and worthy of him; brilliancy of his varnish—RUGGERI,GIACINTO—RUGGERI, VINCENZO—RUGGERI,GIAMBATTISTA	[163-167]
	SACCHINI—SALÒ GASPARO DA ("The Great Brescian,"); his real nameBertolotti; essentially a maker of Viols; primitive character of hisinstruments; evidence as to date of his work; Ganassi's work on theArt of Playing the Viol; six-stringed and four-stringed Viols; MartinAgricola and his "Musica Instrumentalis;" Quatuor of instruments,Decantus, Altus, Tenor, and Bassus; foundation by Da Salò of ItalianViolin-making; gradual and tentative development of his system; highvalue of his labours as a pioneer; chief characteristics of his work;his nice discrimination in choice of material; Signor Dragonetti'sfour Double-Basses of this maker, and his presentation of one of themto the Monastery St. Mark's, Venice—Sanoni, Giovanni Battista—Santo,Giovanni—Sanzo—Sardi—Sellas, Matteo—SERAFINO, SANTO; exquisitefinish of his work; variation of model; high character of varnish andwork; his method of cutting; copied Amati and Stainer—Sneider,Josefo—Socchi, Vincenzo—Sorsana—Stregner, Magno—Storioni; followerof Guarneri del Gesù; his freak as to placing the sound-holes;creditable character of his work in several respects—STRADIVARI,ANTONIO; his renown beyond that of all others; researches as torecords of his life; evidence as to date of birth, marriage, anddeath; Genealogical Table of his family; the inventory of his workremaining at his death; similarity of his early work to that of hismaster, Niccolò Amati; evidences as to later changes of style; hisinheritance of his aged master's tools and models; his purchase of hishouse in Cremona; contemporary appreciation of his merits; his set ofViolins, Altos, and Violoncellos for King James of England; valuableevidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio'spurchase of Stradivari's models, tools, and drawings, and theirpresent possession by the Marquis Dalla Valle; instruments made forthe Duke of Natalona, the Duke of Savoy, and the Duke of Modena; the"Long Strad"; instruments for the Spanish Court; letter from theMarquis Ariberti; a "Chest of Viols;" a "Concerto;" Stradivari's"golden period," 1700; description of his instruments of this date;the "Betts Strad;" guiding principles as to differences ofconstruction and quality of material; the "Dolphin Strad," itsexquisite beauty; tranquil character of Stradivari's life; war inCremona; Prince Eugene and Villeroy; visit of Philip V. of Spain toItaly, and entry into Cremona; set of instruments for Charles III. ofSpain, and for Archduke Charles of Austria; letter from LorenzoGiustiniani; set of Violins for Augustus, King of Poland; Veracini,the Solo-Violinist, and Stradivari; last epoch of the great maker;quality of his instruments at this period; comparison with those ofcontemporaries; place of his burial, in the Chapel of the Rosary, withdiagram; Polledro's description of the personality of Stradivari;singular apathy of the Cremonese as to their great deceasedcitizen—STRADIVARI, FRANCESCO and OMOBONO, sons and successors ofAntonio; character of their work; correspondence between his son andgrandson, Paolo and Antonio, and the agents of Count Cozio di Salabue,relative to the purchase of the models, tools, and drawings of theMaestro—Sursano, Spirito	[168-219]
	Tanegia, Carlo Antonio—Taningard, Giorgio—TECCHLER, DAVID; hisinstruments of German and Italian styles, finely formed, and of goodquality; his Violoncellos of large size—Testore, CarloGiuseppe—Testore, Carlo Antonio—Testore, PaoloAntonio—Tieffenbrucker, Leonardo—Todini, Michele; his method ofstringing the Violono—Tononi, Carlo—Tononi, Carlo Antonio—Tononi,Giovanni—Tononi, Felice—Tononi, Guido—Trapani, Raffaele	[219-222]
	Valenzano, G.—Vetrini, Battista—Vimercati	[222]
	Wenger	[222]
	Zannetto, Pellegrino—Zanola, Giovanni Battista—Zanotti,Antonio—Zanti, Alessandro—Zanure, Pietro—Zenatto, Pietro	[222-223]
SECTION VII.—THE FRENCH SCHOOL.
	Origin of the French School in the 17th century; followers of theBrescian and Cremonese types; mediocre character of their earlierefforts, with a few exceptions—De Comble and the second FrenchSchool; Pique, Lupot, and François Gand; Silvestre, ofLyons—Introduction of the practice of Fiddle-baking; its failure—Thecopyist, and the Mirecourt factory, the "Manchester of Fiddle-making;"its destructive influence on the interests of true art	[224-230]
SECTION VIII.—FRENCH MAKERS.
	Aldric—Allar—Amelot—Aubry—Augière	[231]
	Bachelier—Bassot—Bernardel, Sébastien Philippe—Bertrand,Nicolas—Boivin, Claude—Boquay, Jacques; follower of GirolamoAmati—Borlon, Artus, or Arnould—Borlon (or Porlon), Pierre,Viol-maker—Borlon, Joannes—Borlon, François—Boullangier,C.—Boumeester—Bourdet, Sébastien—Bourdet, Jacques—Boussu,Eterbeck—Breton, Le—Brugère	[231-234]
	CALOT—Castagnery, Andrea—Castagnery, Jean Paul—Champion,René—Chanot, François—CHANOT, GEORGES; an indefatigable worker, andclose copier of Stradivari and Guarneri—Chanot, Georges,fils—Chanot, F.—Chanot, G. A.—Chappuy, Nicolas-Augustin—Chardon,Joseph—Charotte—Chevrier, André-Augustin—Claudot, Charles—Claudot,Augustin—Clément—Cliquot, Henri—Cliquot, LouisAlexandre—Cunault—Cuypers—Cuny	[234-237]
	Daniel—Darche—David—DE COMBLE, AMBROISE; said to have worked withStradivari; a skilful worker; good material andvarnish—Dehommais—Delanoix—Delaunay—Deleplanque,Gérard—Derazey—Despons, Antoine—Dieulafait—Droulot—Ducheron,Mathurin—Du Mesnil, Jacques	[237-238]
	Eesbroek, Jean Van, Lute-maker	[238-239]
	Falaise—Fendt, or Fent—Fleury, Benoist—Fourrier, Nicolas	[239]
	GAILLARD—GAND, FRANÇOIS; pupil and successor of Nicolas Lupot; anexcellent maker and repairer—Gand, Adolphe—Gand, Eugène—Gaviniés,François—Germain, Joseph Louis—Germain,Emile—Gosselin—Grand-Gerard—Grandson Fils—Grosset, PaulFrançois—Guersan, Louis	[239-242]
	Hel—Henry, Jean Baptiste Felix—Henry, Charles—Henry, Octave—Henry,Eugène—Hofmans, Mathias	[242]
	Jacobs, Hendrik; his work often mistaken for that of NiccolòAmati—Jacobs—Jacquot, Charles (père)—Jacquot, Charles(fils)—Jeandel, P. N.	[242-243]
	Koliker	[243]
	Lambert, Jean Nicolas—Lapaix—Laprevotte,Etienne—Leclerc—Lecomte—Leduc, Pierre—Lefebvre—Le Jeune,François—Le Pileur, Pierre—Lesclop, François Henry—Louis—Louvet,Jean—Lupot, Jean—Lupot, Laurent—Lupot, François—LUPOT, NICOLAS;maker to the Conservatoire; an excellent workman, and named "TheFrench Stradivari," and "The king of modern makers;" characteristicsof his work	[243-247]
	Marquis de Lair—Mast, Jean Laurent—Mast—Maucotel,Charles—Maucotel, Charles Adolphe—Médard, François—Médard,Nicolas—Médard, Jean—Mennégand, Charles; distinguished as a makerand repairer, and also as a "cutter"—Miremont, ClaudeAugustin—Modessier—Mougenot	[247-250]
	Namy—Nezot—Nicolas, François—Nicolas, Fourrier—Nicolas,Didier—Nicolas, Joseph	[250]
	Ouvrard, Jean	[250]
	Pacherele, Michel—Pacherel—Paul, Saint—PIERRAY, CLAUDE; anexcellent workman, following Amati—Piete, N.—PIQUE, F. L.; closecopyist of Stradivari; excellent work and material—Pirot,Claude—Pons, César—Pons	[250-252]
	Rambaux, Claude Victor—Raut, Jean—Remy—Remy, Jean Mathurin—Remy,Jules—Remy—Renaudin, Léopold—Renault, Nicolas—Rombouts,Peeter—Roze	[252-253]
	Sacquin—Salle—Salomon, Jean Baptiste—Saunier—Schnoeck,Egidius—SILVESTRE, PIERRE; a true artist; follower ofStradivari—Silvestre, Hippolyte—Silvestre, HippolyteChrétien—Simon—Simonin, Charles—Socquet	[253-254]
	Theress, Charles—Thibout, Jacques Pierre; an excellent workman, andwell-known dealer; his relations with LuigiTarisio—Thomassin—Tywersus	[254]
	Vaillant, François—Véron, Pierre—Vibrecht, Gysbert—Vuillaume,Jean—VUILLAUME, J. B.; a prolific and skilful maker; associated withTarisio, and purchaser of his collection—Vuillaume, N. F.—Vuillaume,Claude François—Vuillaume, Sébastien	[254-255]
SECTION IX.—THE GERMAN SCHOOL.
	No trace of Violin manufacture in Germany previous to the middle ofthe seventeenth century—Pervading influence of Jacob Stainer in theconstitution of the German School—Popularity of his model—Mediocrecharacter of the school, with some notable exceptions	[256-258]
SECTION X.—GERMAN MAKERS.
	Albani, Mathias (père)—ALBANI, MATHIAS (fils); his style Italian,and workmanship excellent—Albani—Alletzie, Paolo—Artmann	[259-260]
	Bachmann, Carl Ludwig; maker to the Court of Frederick the Great;founder of Concerts for Amateurs at Berlin—Bachmann, O.—Bausch,Ludwig C. A.—Bausch, Ludwig B.—Bausch, OttoB.—Beckmann—Bedler—Bindernagel; made in both German and Italianstyles—Buchstadter	[260-261]
	Christa, Joseph Paul	[261]
	Diel (or Diehl), Martin—Diel, Nicolaus—Diel, Johann—Diel,Jacob—Diehl, Nicolaus Louis—Diehl, Friedrich—Diehl, Johann—Diehl,Heinrich—Döpfer, Nicolaus—Durfel	[261-262]
	Eberle, J. Ulric; good copyist; form Italian; made also Violsd'Amour—Edlinger, T.—Edlinger, Joseph Joachim—Elsler, Joseph; madeViols da Gamba—Ernst, Franz Anton; pupil of Antonio Lolli; CourtMusician at Gotha	[262-263]
	Felden, M.—Fichtold, Hans—Fichtl, Martin—Ficker, JohannChristian—Ficker, Johann Gotlieb—Fischer, Zacharie—Frey, Hans;maker of Lutes; related to Albert Durer—Fritzche	[263-264]
	Gedler, Johann A.—Gedler, Johann B.—Geissenhof, Franz; Stradivarimodel—Gerle, Johann, Lute-maker—Griesser, Matthias—Grimm,Carl—Grobitz, A.—Gugemmos	[264]
	Haensel, Johann A.; his "Ueber den Bau der Violin"—Hamberger,Joseph—Hamm—Hammig, Johann Gottfried—Hassert—Hassert—Helmer,Carl—Hildebrandt—Hiltz, Paul—Hoffmann, Martin—Hoffmann, JohannChristian—Hornstainer, Joseph—Hornstainer, Matthias—Horil,Jacob—Huller, August—Humel, Christian—Hunger, Christoph Friedrich	[264-265]
	Jais, Johann—Jauch, Johann	[265]
	Karb—Kambl, Johann A.—Kembter—Kiaposse, Sawes—Kirchschlag—Kloz,Matthias; pupil of Stainer—KLOZ, SEBASTIAN; superior model, formflat—Kloz, George—Kloz, Egidius—Kloz, Joseph—Kloz, J. Karl—Knittle,Joseph—Knitting—Kohl, Johann—Kolditz, J.—Kolditz, Mathias Johann—Kramer, H.—Kriner, Joseph	[265-267]
	Laska, Joseph—Lemböck	[267]
	Mann, Hans—MAUSSIELL, LEONARD; Stainer model; excellent workmanship;style of Tecchler—Maher (Maier)—Meusidler—Mohr, Philip—Moldonner	[267]
	Niggel, Simpertus; good workmanship	[267]
	Ohberg, Johann—Ott, Johann—Otto, Jacob August; maker to the Court ofWeimar; author of "Ueber den Bau und die Ehrhaltung der Geige undaller Bogeninstrumente"—Otto, Georg August—Otto, Christian—Otto,Heinrich—Otto, Carl—Otto, C. U. F.—Otto, Ludwig—Otto, Louis—Otto,Hermann	[267-268]
	Parth, Andreas Nicholas—Pfretzschner, Gottlob—Pfretzschner, CarlFriedrich—Plack, F.—Possen, L.	[268-269]
	Rauch—Rauch, Jacob; Court Violin-maker—Rauch,Sebastian—Rauch—Reichel, Johann Gottfried—Reichel, JohannConrad—Reichers, August—Riess—Roth, Christian—Ruppert	[269]
	Sainprae, Jacques; Baryton Viol-maker—Sawicki—Scheinlein,Mathias—Scheinlein, Johann Michael—Schell,Sebastian—Schlick—Schmidt—Schonfelder, Johann A.—Schonger,Franz—Schonger, Georg—Schorn, Johann; excellent work; highmodel—Schorn, Johann Paul; Court instrument-maker—Schott,Martin—Schweitzer—Stadelmann, Daniel; good work; Stainermodel—Stadelmann, Johann Joseph—STAINER, JACOB; the greatest ofGerman makers, and a thorough artist; his model original; sketch ofhis history and work; great popularity of his style; his "ElectorStainers;" Herr S. Ruf's personal history of Stainer's life, and theromance founded thereon; Counsellor Von Sardagna's contributions tohis history; Rabenalt's drama, "Jacob Stainer," and other poemsthereon: "Der Geigenmacher Jacob Stainer von Absam;" said to have beena pupil of Niccolò Amati; his marriage; his appointment as CourtViolin-maker; accused of heresy, and imprisoned; pecuniarydifficulties, and sad end; his good name frequently clouded byinferior work falsely attributed to him—Stainer, Markus—Stainer,Andreas—Staugtinger, Mathias W.—Steininger, Jacob; related to Döpferand Nicholas Diel—Steininger, Franz—Stoss—Stoss,Martin—Straube—Strauss, Joseph	[269-281]
	TIEFFENBRÜCKER—TIELKE, JOACHIM (i.); Lute and Guitar-maker; rich andchaste ornamentation of his work; description of examples extant inEngland—TIELKE, JOACHIM (ii.); fine examples of a later maker of thisname at South Kensington and elsewhere	[281-282]
	VOEL, E.; excellent work; Stradivari model—Vogel, Wolfgang—Vogler,Johann Georg—Voigt, Martin	[282-283]
	Wagner, Joseph—Weickert—Weigert—Weiss, Jacob—Wenger, G.F.—Widhalm, Leopold; follower of Stainer; careful finish and goodvarnish—Wyemann, Cornelius	[283]
	Zwerger, Antoni	[283]
SECTION XI.—THE ENGLISH SCHOOL.
	Non-recognition of English makers by Continental writers on theViolin—Causes of the partial decadence of the art in this country ason the Continent—Earliest English makers, and their severalmodels—School of English copyists	[284-292]
SECTION XII.—ENGLISH MAKERS.
	Absam, Thomas—Adams—Addison, William—Aireton, Edmund; an excellentcopyist of Amati—Aldred—Askey, Samuel	[293]
	Baines—Baker—Ballantine—BANKS, BENJAMIN; the foremost Englishmaker, and termed "The English Amati;" high character of his work andvarnish—Banks, Benjamin (2)—Banks, James and Henry—Barnes,Robert—Barrett, John; follower of Stainer; good quality ofwork—Barton, George—Betts, John; pupil of Richard Duke—BETTS,EDWARD; pupil of Duke, and an excellent copyist; high finish; Amatimodel—Bolles—Booth, William—Booth—Boucher—Brown, James—Brown,James (2)—Browne, John	[293-299]
	Cahusac—Carter, John—Challoner, Thomas—Cole, Thomas—Cole,James—Collier, Samuel—Collier, Thomas—Collingwood, Joseph—Conway,William—Corsby, George—Cramond, Charles—Crask, George—Cross,Nathaniel—Crowther, John—Cuthbert; good quality of work	[299-300]
	Davidson, Hay—Davis, Richard—Davis, William—Dearlove, Mark—Delany,John; his peculiar label—Dennis, Jesse—Devereux, John—Dickinson,Edward—Dickeson, John; excellent copyist of Amati—Ditton—DODD,THOMAS; not a maker, but an employer of makers of highest class, andespecially famous for the high character of his varnish—Dodd, Thomas(2)—Dorant, William—DUKE, RICHARD; his name a "household word" withEnglish Violinists; high character of his real work, but frequentlyand badly counterfeited; his models both Amatese and Stainer—Duke,Richard (2)—Duncan	[300-305]
	Eglington—Evans, Richard	[305]
	FENDT, BERNARD; a born Fiddle-maker; a fellow workman with John F.Lott; his instruments copies of Amati, bearing the labels of ThomasDodd or John Betts, and highly valued—FENDT, BERNARD SIMON; goodwork, but sometimes artificially "matured;" his Violins, Tenors,Violoncellos, and Double-Basses; follower of the Guarneri and Gasparoda Salò models; his quartett of instruments in the London Exhibitionof 1851—Fendt, Martin—Fendt, Jacob; his work finely finished;skilful copies of Stradivari, but artificially and cleverly"aged"—Fendt, Francis—Fendt, William—Ferguson,Donald—Firth—Forster, W.—Forster, William (i.); spinning-wheel andViolin-maker—FORSTER, WILLIAM (ii.); also a maker of spinning-wheelsand Violins, and amateur Fiddler; an excellent copyist of Stainer andof the Amati models; high character of his work and varnish; hisDouble-Basses for the Band of George the Third; his instruments highlyvalued by Robert Lindley—FORSTER, WILLIAM (iii.); excellentwork—Forster, William (iv.)—Forster, SimonAndrew—Frankland—Furber, John—Furber, Henry John	[305-313]
	Gibbs, James—GILKES, SAMUEL; a thorough artist, and pupil of WilliamForster—Gilkes, William—Gough, Walter	[313-314]
	Harbour—Hardie, Matthew; Scotland's best maker—Hardie, Thomas—Hare,John—Hare, Joseph—HARRIS, CHARLES; genuine character of work, ofAmati and Stradivari type; exquisite finish and good varnish—Harris,Charles (2)—HART, JOHN THOMAS; pupil of Samuel Gilkes; speciallyknown as connoisseur, collector, and dealer—Heesom, Edward—Hill,Joseph—Hill, William—Hill, Joseph—Hill, Lockey—Hill, WilliamEbsworth—Holloway, J.—Hume, Richard	[314-318]
	Jay, Henry; Viol-maker—Jay, Thomas—Jay, Henry; maker ofKits—Johnson, John; music-seller and dealer; referred to by Dibdin inhis Autobiography	[318-320]
	Kennedy, Alexander—Kennedy, John—Kennedy, Thomas	[320]
	Lentz, Johann Nicolaus—Lewis, Edward—Longman and Broderip;music-sellers and publishers—LOTT, JOHN FREDERICK; a finishedworkman, employed by Thomas Dodd; splendid character of his work; the"King of English Double-Bass makers"—Lott, George Frederick—Lott,John Frederick; his chequered career, and Charles Reade's novel thereon	[320-322]
	Macintosh—Marshall, John—Martin—Mayson, W.—Meares,Richard—Mier—Morrison, John	[322-323]
	Naylor, Isaac—Norborn, John—NORMAN, BARAK; probably a pupil ofUrquhart; follower of Maggini; excellent quality of his Violoncellosand Tenors; his partnership with Nathaniel Cross—Norris, John	[323-325]
	Pamphilon, Edward—Panormo, Vincent—Panormo, Joseph; excellentcharacter of work—Panormo, George Lewis—Panormo, Louis—Parker,Daniel—Pearce, James—Pemberton, Edward—Perry andWilkinson—Powell—Preston, John	[325-327]
	Rawlins, Henry—Rayman, Jacob; founder of Violin-making inEngland—Richards, Edwin—Rook, Joseph—Rosse (or Ross), John—Ross,John (2); good character of work and varnish	[327-328]
	Shaw—Simpson—Smith, Henry—Smith, Thomas—Smith, William	[328]
	Tarr, W.—Taylor—Thompson—Thorowgood, Henry—Tilley, Thomas—Tobin,Richard—Tobin	[328-329]
	Urquhart; excellent character of his work	[329]
	Valentine, William	[329]
	Wamsley, Peter; superior character of his work—Wise,Christopher—Withers, Edward—Withers, Edward (2)	[329-330]
	Young, father and son, and Purcell's Catch	[330]
SECTION XIII.—THE VIOLIN AND ITS VOTARIES.
	Sterne on Hobby-horses—Tender relationships between the Violin andits Votaries—Wendell Holmes on the Violin—Thomas Mace on earlyprices of instruments—Early makers, continental and English—Adventof the Stainer model, and its temporary preference over those of theItalian masters; its depressing influence on prices of Amatis andStradivaris—Guarneri del Gesù brought to the front by Paganini, andMaggini by De Bériot—Recognition of the merits of Bergonzi,Guadagnini, and Montagnana—Luigi Tarisio, and his pilgrimages insearch of hidden treasures; his progress as amateur, connoisseur,devotee; his singular enthusiasm, and Charles Reade's anecdotethereon; the Spanish Bass in the Bay of Biscay; Tarisio's visit toEngland, and the Goding collection; his hermit life; purchase of hiscollection by M. Vuillaume—Principal buyers of Italian instruments atthis period, continental and English—Charles Reade as aconnoisseur—Count Cozio di Salabue, an ardent votary of the CremoneseViolin; his purchase of Stradivari's instruments, patterns, tools,&c.; his correspondence with Paolo Stradivari relatingthereto—William Corbett, and his "Gallery of Cremonys andStainers"—The collections of Andrew Fountaine and James Goding—TheGillott Collection; its curious origin, its unique character andinteresting circumstances attending its sale	[331-374]
SECTION XIV.—SKETCH OF THE PROGRESS OF THE VIOLIN.
	Date of the first appearance of the instrument—The Violin of Leonardoda Vinci—Paolo Veronese's picture, "The Marriage at Cana" (withengraving)—Baltazarini, the earliest known player—The "ConcertOrchestra" and the Duke of Ferrara—First use of stringed instrumentsin the Opera; the "Orfeo" of Claudio Monteverde—Introduction of theSonata; Dr. Burney thereon—Corelli, and the "Balletti daCamera"—Dibdin on Corelli's Concertos—Jean Baptiste Lulli, and theLegend of the Stewpans; his influence on early French Violinmusic—Progress of the Violin in England; Dr. Rogers and JohnJenkins—Samuel Pepys on the emoluments of the Royal Band—JohnBannister and the earliest English public concerts—Henry Purcell; hisSonatas, and his royal patron, Charles II.—Thomas Britton, the"musical small-coal man," and his concerts in Clerkenwell—John Henryand Thomas Eccles, and itinerant musicians—Francesco Geminiani; hisSonatas and musical works—Progress of the instrument in Italy;Tartini and his compositions; Locatelli, Lolli, and Giardini;Boccherini and his Quintets; Viotti, his School of Violin-playing, andhis concerts; Campagnoli, and his "Studies on the Seven Positions ofthe Violin," and other works; Paganini, and his imitators; Sivori, OleBull, Leclair, Gavinès, and other leaders in the art—Violin-playingin France and Belgium; M. Rode, M. Alard, M. Sainton, De Bériot andVieuxtemps—Polish Violinists of note—Lord Chesterfield'sinstructions to his son relative to Fiddling—Michael Festing andThomas Britton; origin of "The Philharmonic Society," and of the"Royal Society of Musicians"—Handel legacy to the RoyalSociety—Early musical proclivities of the Earl of Mornington—Salomonand the Philharmonic; negociations with Haydn—Influence of Salomon onthe development of musical taste in England—The Cramers—NicholasMori and others—Dando—Henry Blagrove, and his "Concerti daCamera"—Mr. Chappell and his "Monday Popular Concerts"—Henry C.Cooper, and the "Quartett Association"—M. Sainton, Hill, Piatti; JohnCarrodus, Herr Molique, and the Brothers Holmes—Progress of theViolin in Germany: Graun and Benda; John Sebastian Bach as Violinistand composer; Herr Joachim—Handel, influence of his compositions onthe progress of the Violin—Haydn, and his Symphonies and Quartetts; Alady's ideal thereof—Mozart, and his "Method" for the Violin; hisearly attachment to the instrument—Schubert, Beethoven, Mendelssohn,Fesca, and their influence—Louis Spohr and his works—BernardMolique—Joseph Mayseder—Kalliwoda—Herr Ernst, Joachim and Strauss,with Herr Wilhelmj, and their concerts	[375-409]
SECTION XV.—ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.
	Hudibras and the Champion Crowdero—George Herbert's references toMusic—Christopher Simpson's Trinity in Unity—Shakespeare's SonnetVIII.—Violins from a medical point of view—"A Musician"—Origin ofTartini's "Sonato del Diavolo"—Dr. Johnson and the Violin—Dr.Johnson on the Difficulty of Playing the Violin—Dr. Johnson's Epitaphon Phillips, the Welsh Violinist—Dr. Johnson's Knowledge ofMusic—Dr. Johnson on Fiddling and Freewill—Haydn in London: a "SweetStradivari;" Letters of the Rev. Thomas Twining—Gainsborough as amusician—Garrick and Cervetto—The King and the Player—Sir WalterScott on Music and Fiddles; the Duke of Hamilton's passion for theViolin—A Cinderella Violoncello—A Stolen "Strad"—The MissingScroll—Another Wandering Scroll—A Montagnana Instrument shot throughthe body—Fiddle Marks and the Credulous Dabblers—"Guarneri" at aDiscount—Dragonetti's Gasparo: Letter thereon by Mr. SamuelAppleby—The Betts Stradivari: Letter by the late Charles Reade—LeighHunt on Paganini—Thackeray on Orchestral Music—Spohr and hisGuarneri—Spohr and the Collector—The Ettrick Shepherd and theViolin—The Fiddle Trade: "Old Borax" and "Michael Schnapps," theFiddle-ogre—The Prince and the "Fugal Vortex"—Sale of CremoneseInstruments at Milan in 1790—An Indefatigable Violinist—AWish—Living Stradivaris—Pleasures of Imagination—A RoyalAmateur—Pius IX. and the Musician—Ole Bull and FiddleVarnish—Letter from Tartini on the Treatment of the Violin	[410-507]
	INDEX	[509]