APPENDIX.
Amati, Andrew, [353];
Antonius, Hieronymus, and Nicholas, [354].
Anagnos, Mrs. J. R., poem, [394].
Anatomy of the Violinist, Dr. Crosby’s paper on, [329].
Bartol, Rev. Dr. C. A., extracts from his Memorial Sermon, [400].
Bente, Matteo, [357].
Bergonzi, the, [364].
Colton, Walter E., preface to “Violin Notes,” [346];
note on the bar, [376];
on the chin–rest, [378].
Crosby, Dr. A. B., on the Anatomy of the Violinist, [329].
Curtis, Sir W., [358].
Da Salo, Gaspar, [351], [352], [364].
Duiffoprugcar, Gaspar, [352].
Fields, James T., tribute to Ole Bull, [397].
Fouqué, Baron de la Motte, on Ole Bull, [392].
Gagliano, Alessandro, [365].
George the Fourth, [358].
Guarnerius, Joseph, [353], [355], [364].
Habeneck, the musical director, [373].
Hamerton, P. G., reference to Ole Bull, [396].
Howe, Mrs. Julia Ward, tribute to Ole Bull, [400].
Lanzi, Michael Angelo, [357].
Lie, Jonas, on Ole Bull’s Seventieth Birthday, [387].
Liszt and Paganini, [370].
Longfellow, Mr., extracts from his letters, [397].
Lund, John, poem for the funeral of Ole Bull, [391].
Maggini violins, [353], [356].
Malibran and Paganini, [373].
Marston, Philip Bourke, poem on hearing Ole Bull in 1879, [393].
Martin, Simon, [365].
McKenzie, Rev. Dr. A., extract from sermon, [407].
Montagnana Dominico, [365].
Moulton, Mrs. L. C., poem, [395].
Munch, A., poem on the death of Ole Bull, [388].
Ole Bull: on Tartini, [341];
his Gaspar da Salo violin, [356];
his Matteo Bente violin, [357];
his Nicholas Amati, [358];
Mr. Colton on his theory of the bar, [377];
his invention of the chin–rest, [378].
Paganini, Ole Bull’s account of, [369]–[376].
Plowden, the violin collector, [358].
Poems and Personal Tributes: J. S. Welhaven’s “To Ole Bull,” [380];
translation of the same, [381];
H. Wergeland’s “Norway to America on Ole Bull’s Departure,” [383];
his “Norway’s Farewell to Ole Bull,” [385];
A. Munch, “The Death of Ole Bull,” [388];
Jonas Lie, “On Ole Bull’s Seventieth Birthday,” [387];
John Lund, poem sung at the funeral of Ole Bull, [391];
Baron Fouqué, reference to Ole Bull, [392];
Philip Bourke Marston, “On Hearing Ole Bull in 1879,” [393];
Mrs. Julia R. Anagnos, poem to Ole Bull, [394];
Mrs. Louise C. Moulton, “In Memory of Ole Bull,” [395];
P. G. Hamerton, extract from “Thoughts about Art,” [396];
Mr. Longfellow, extracts from letters, [397];
James T. Fields, “Ole Bull,” [397];
Mrs. Julia Ward Howe, tribute from, [400];
Rev. Dr. C. A. Bartol, extracts from Memorial Sermon, [400];
Rev. Dr. A. McKenzie, extract from Sermon on Thanksgiving Day, 1880, [407].
Raphael’s “Parnassus,” Apollo with the viol in, [353].
Sansecondo, Giacomo, [353].
Seraphino, Sanctus, [365].
Steiner violins, [353].
Stradivarius, Antonius, [352], [353], [355].
Tartini, letter on the use of the bow, [342];
Ole Bull’s opinion of, [341];
development of violin in time of, [351];
his style of bowing adopted by Paganini, [370].
Troupenas, the music publisher, [373].
Violin Notes, by Ole Bull: preface by W. E. Colton, [347];
origin of the violin, [348];
Gaspar da Salo and the Cremona school, [351];
Ole Bull’s Gaspar da Salo violin, [356];
his Nicholas Amati, [358];
the bridge, [359];
the sound–post, [360];
the bow, [361];
the bar, [362], [376];
the varnish, [363];
list of authorities on varnish, [367];
the ground–toning, [368];
Paganini, [369].
Vuillaume and Paganini, [371].
Welhaven, J. S., poem “To Ole Bull,” [380];
translation of the same, [381].
Wergeland, H., his “Norway to America on Ole Bull’s Departure,” [383];
his “Norway’s Farewell to Ole Bull,” 385.
Zoller, the Amtmann, [356].
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