wins his first laurels at Bologna, [55];
invited to Florence, [61];
writes his “Quartetto a Violino Solo,” and “Preghiera d’una Madre,” [61];
begins his “Polacca Guerriera,” [62];
at Pierro a Silve, [62];
writes “Grammar of Violin,” [62];
visits Baths of Lucca, [63];
goes to Naples, [64];
to Rome in 1835, [65];
completes the “Polacca,” [66];
to Paris, and plays at the Grand Opera, [71];
criticised by Jules Janin, [71];
severe illness in 1836, [79];
goes to London, [80];
his troubles with Mori and Costa, [80];
plays for Duke of Devonshire, [83];
married in 1836, [76], [88];
concert tour with Bochsa, [88];
on death of Malibran, [89];
bursts a blood–vessel, [90];
at Chatsworth, [90];
becomes acquainted with Paganini at Paris, [92];
concerts at Brussels and Courtray, [93];
at Hamburg in 1838, [94];
at Berlin, [96], [97];
at Königsberg and Riga, [98];
at St. Petersburg, [98], [99];
at Moscow, [99];
hears of his father’s death, [99];
tour in Finland, [100];
at Stockholm, [100];
at Christiania in 1838, [100];
at Bergen, [104];
writes “The Mountains of Norway,” [104];
third Continental tour, [105];
at Copenhagen, [105];
at Hamburg, [107];
visits Spohr again at Cassel, [107];
goes to Berlin, [108];
criticised by Finck, [109];
in Breslau and Vienna, [110];
his rendering of Mozart, [110];
visits Hungary, [111];
at Salzburg, the home of Mozart, [111];
returns to Paris, [111];
revisits Germany, [112];
to Paris again in 1839, [112], [119];
death of his child and his grandmother, [113];
his business habits, [117];
goes to London in 1840, [119];
his troubles with Morandi, [119];
with Liszt in London, [119], [120], [122];
goes to Belgium, the Rhine, and Heidelberg, [124];
in Berlin at the coronation of King William, [124];
in Dresden and Prague, [129];
writes his “Concerto in E minor,” [129];
his “Grüss aus des Ferne,” [130];
tour in Russia, [131];
sick at St. Petersburg, [131];
visits Norway, [132];
tour in Holland, [134];
and in Sweden, [135];
his letter on the Upsala affair, [136];
concert and “Sexa” at Upsala, [137];
troubles at Stockholm, [139];
celebrates Karl Johan’s birthday, [140];
meets his old teacher Lundholm, [140];
at Copenhagen, [141];
publishes three compositions, [143];
birth of a daughter, [144];
visits Throndhjem and climbs the Dovrefjeld, [146];
plays for peasants at Sogn, [147];
sails for America in 1843, [148];
concerts in New York and elsewhere, [151], [152];
makes Southern tour, [157];
on the Mississippi, [159];
visits Cuba, and writes two compositions there, [161];
returns to the United States, [164];
arrested by Schubert, [164];
visits Alice Cary, [165];
tour in New England, New York, and Canada, [168];
writes the “Niagara,” [168];
plays it in New York, [169];
writes “Solitude of Prairies” and “David’s Psalm,” [169];
tour in Mississippi Valley, [175];
in the Mammoth Cave, [175];
at St. Louis, [176];
returns to New York and Boston in October, 1845, [176];
writes his “Memory of Washington,” [176];
plays for the blind in New York, [178];
rejoins his family in Europe, [188];
concerts in Paris in 1846, [189];
gives banquet at Bordeaux, [191];
in Toulouse, Lyons, and Marseilles, [191];
tour in Algiers in 1847, [193];
tour in Spain, [194];
composes “La Verbena de San Juan,” [194];
returns to Paris, [196];
to Norway again, [198];
works to found a National Theatre, [198];
plays at festival in aid of the Theatre, [206];
composes his “Saeterbesög,” [206];
troubles with the police in Bergen, [207];
visits Prussia, [213];
sails again for America in January, 1852, [213];
invited to give concert in Washington, [214];
buys land for Norwegian colony, [221];
tour to the West and South, [222];
goes to California via Panama, [224];
finds that the title to his Pennsylvania lands is fraudulent, [225];
prostrated with fever in Illinois, [227];
his lawsuits with the swindlers, [228];
visits Mrs. Child, [230];
returns to Norway in 1857, [235];
at the German baths, [237];
in Vienna and Pesth, [238];
spends a summer at Carlsbad, [239];
returns to Norway, and buys Valestrand, [239];
tour in Finland in 1860, [243];
in England, Scotland, and Ireland in 1861–62, [243];
death of his wife, [243];
breaks a rib at Godesberg, [244];
plans a Norse Music Academy, [245];
death of his son Thorvald, [248];
concerts in Germany, Poland, and Russia, in 1863–67, [248];
his interest in political events, [252];
composes “The Nightingale,” [252];
to America again in November, 1867, [253];
in steamboat collision on the Ohio, [254];
at the Peace Jubilee in Boston in 1869, [254];
to Norway in April, 1870, [255];
his second marriage, [257];
return to the United States, [257];
his improvements of the piano, [257];
spends summer of 1872 in Norway, [261];
builds house at Lysö, [261];
winter in the South of France, [261];
concerts in Florence, [261];
visits the North of Norway, [264];
celebrates his birthday in 1876 on the Pyramid of Cheops, [266];
returns to the United States, [270];
concerts in Boston, [271];
in New York, [276], [279];
to Norway in 1877, [280];
spends winter on the Continent, [280];
the next summer in Norway, [284];
his life at Lysö, [285];
return to the United States in the fall of 1878, [291];
writes the “Violin Notes,” [292];
summer of 1879 in Norway, [296];
return to the United States and residence at Cambridge, [299];
celebration of his 70th birthday, [299], [301];
concerts in spring of 1880, [305];
sails for Europe in June, [305];
his arrival at Lysö, [311];
his death, [314];
the funeral services, [315];
address of Björnstjerne Björnson, [317];
of Edward Grieg, [323];
of Mr. Bendixen, [324];
the last tribute of the peasants, [324].
Oscar, King, [297].
Paganini: his “Caprices,” [21];
in Paris in 1831, [48];
criticised by Jules Janin, [72];
meets Ole Bull, [92];
his playing, [157], [294];
Ole Bull compared with, [72], [192], [195].
Panama, Ole Bull sick at, [224].
Paris, Ole Bull at, [41], [71], [88], [92], [111], [119], [189], [196].
Patti, Adelina, [222].
Paulsen, Ole Bull’s first teacher, [10], [20], [102].
Pesth, concerts at, [111], [238].
Philadelphia, Ole Bull at, [152], [178], [216], [225].
Pianoforte, Ole Bull’s improvements in, [257].
Ploug, Carl, [248].
Poniatowsky, Prince, [61], [63], [261].
Prague, concerts at, [129].
Pratté, his attacks on Ole Bull, [139]
Presburg, concerts at, [111].
Raab, concerts at, [111].
Rein, the poet, [35].
Rhaczek, owner of Cellini violin, [125].

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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