| CHAT THE FIRST |
| | PAGE |
| Fog—The South Kensington Museum—The Ravanastron—Arabia—TheKemangeh à Gouze—Egyptand the Rabab | [1] |
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| CHAT THE SECOND |
| Lunch, and the Emperor Albinus—The Crwth—Theimmature Bow Instruments which precededthe Fifteenth-century Viol—M. Coutagne andGaspard Duiffoproucart | [43] |
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| CHAT THE THIRD |
| The Renaissance—The Influence of the NetherlandsSchool—A brief Outline of the growing Use ofthe Viol in Germany, Italy, England, France | [81] |
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| CHAT THE FOURTH |
| Andrea Amati—“The King” and its History—Gasparoda Salo—Woods employed by AncientLuthiers—Paolo Maggini and the “Dumas”Bass—Monsieur Savart’s Experiments—Freaks—StradivariusVioloncellos—Signor Piatti’sVioloncellos—The Bass of Spain—Davidoff’sVioloncello—Herr Klengel’s Amati—A neatSwindle—Stradivarius’ Contemporaries—Ownersof Rugger Violoncellos—George IV.’spseudo Stradivarius—The earliest Treatise onthe Violoncello as a Solo Instrument—MrAndrew Forster’s Gamba—The Prince Consort’s“Ancient Instruments” Concert—Developmentof the Technique of VioloncelloPlaying | [109] |
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| CHAT THE FIFTH |
| Two Eighteenth-century Women Players of theViola da Gamba | [185] |
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| CHAT THE SIXTH |
| An Eighteenth-century Violoncello Prodigy | [211] |