LIST OF ILLUSTRATIONS
[FRONTISPIECE]—Paganini's "Giuseppe Guarneri." 1743.
| PLATE | FACING PAGE | |
| I. | Stradivari Viola. 1672 | [16] |
| II. | Jacobus Stainer. 1669 Giuseppe Guarneri del Gesù Niccolò Amati. Grand Pattern. 1641 | [32] |
| III. | Violoncello by Antonio Stradivari | [50] |
| IV. | Antonio Stradivari. 1734 The Gillott "Strad." 1715 Giuseppe Guarneri del Gesù. 1734 | [66] |
| V. | Carlo Bergonzi Violoncello. Grand Pattern | [84] |
| VI. | J. B. Guadagnini Storioni. 1797 | [102] |
| VII. | Specimens of Scrolls | [120] |
| VIII. | Giuseppe Guarneri. 1742 Antonio Stradivari. 1711 Antonio Stradivari. 1703 | [136] |
| IX. | Giuseppe Guarneri del Gesù. 1737 | [154] |
| X. | Domenico Montagnana Violoncello | [170] |
| XI. | Antonio Stradivari. Tenor. 1690 Antonio Stradivari. 1734 | [186] |
| XII. | Giuseppe Guarneri del Gesù. 1738 The "Dolphin" Strad. 1714 Antonio Stradivari. 1718 | [200] |
| XIII. | Antonio Stradivari. 1702 Antonio Stradivari. 1722 Antonio Stradivari. 1703 | [232] |
| XIV. | Stradivari Violoncello | [250] |
| XV. | Chapel of the Rosary, Cremona | [266] |
| XVI. | Antonio Stradivari. 1708 Antonio Stradivari. 1736 Giuseppe Guarneri del Gesù. 1735 | [282] |
| XVII. | The "Betts" Stradivari. 1704 | [298] |
| XVIII. | Giuseppe Guarneri del Gesù Antonio Stradivari (Inlaid). 1687 | [316] |
| XIX. | Giuseppe Guarneri del Gesù. 1733 Giuseppe Guarneri del Gesù. 1741 Antonio Stradivari. 1726 | [332] |
| XX. | Gasparo da Salò Giuseppe Guarneri del Gesù. 1735 | [348] |
| XXI. | Antonio Stradivari. 1690 | [380] |
| | ||
| "Marriage at Cana," by Paolo Veronese | [376] | |
| Tartini's Dream | [428] | |
THE VIOLIN
ITS FAMOUS MAKERS AND THEIR IMITATORS
SECTION I
The Early History of the Violin
1.
The early history of the Violin is involved in obscurity, and in consequence, much diversity of opinion exists with regard to it. The chief object of the writer of these pages is to throw light upon the instrument in its perfected state. It is, therefore, unnecessary to enter at great length upon the vexed question of its origin. The increased research attendant upon the development of musical history generally could hardly fail to discover facts of more or less importance relative to the origin of instruments played with a bow; but although our knowledge in this direction is both deeper and wider, the light shed upon the subject has not served to dissipate the darkness attending it. Certain parts have been illumined, and conclusions of more or less worth have been drawn therefrom; for the rest, all remains more hopelessly obscured and doubtful than the identity of the "Man in the Iron Mask" or the writer of the "Letters of Junius."