"Puppo, the Violinist, being in Paris in 1793, was summoned before the Committee of Public Safety on suspicion, when the following interrogatories were put to him: 'Your name?' 'Puppo.' 'What were you doing during the time of the tyrant?' 'I played the Violin.' 'What do you do now?' 'I play the Violin.' 'And what will you do for the nation?' 'I will play the Violin.'"
|
"Busts, cameos, gems—such things as these Which others often show for pride, I value for their power to please And selfish churls deride; One Stradivari, I confess. Two meerschaums, I would fain possess." |
A passionate lover of Fiddles, being in Milan, made the acquaintance of an Italian who, like himself, was a lover of the bow. They had not long met before the theme of their mutual delight was broached; the beautiful features in the works of the great masters were dwelt upon, their respective points of genius discriminated, until the freemasonry of Fiddle-connoisseurship was exhausted. Inquiries were exchanged as to the whereabouts of remarkable specimens, when suddenly the Italian's face brightened, and gave indication that a happy thought had crossed his mind. "By the way, I can introduce you to a friend who has in his possession some choice Stradivaris, of various dates, and having heads of a very marked character." His companion was on his feet before he finished speaking, eagerly demanding where these choice "Strads" were to be seen. The distance being but a few streets off, it was agreed that they should start at once. On arriving at a house in the Via Meravigli, the Italian inquired of the servant if his master was at home. Being assured of this, the Fiddler-connoisseurs were shown into an apartment, where they anxiously awaited the host. Presently he entered, and the usual exchange of courtesies having been gone through, the Italian, with the utmost gravity, inquired after the Stradivaris, and received answer that they never were better; his companion, who was burning to feast his eyes on them, begged that he might have the pleasure of seeing them. The host, flattered by the interest taken in his "Strads" by his visitor, acquiesced, left the room, and brought in his collection, which, if not unique, was in every way original. It consisted of five Stradivaris—three boys and two girls. Unable longer to restrain his laughter, the Italian broke forth into one of those hearty peals which terminate only when the risible faculties are completely exhausted. Signor Stradivari, the happy parent of the collection just ushered into the room, regarded his visitor with astonishment, in which he was joined by the specimens of various dates. Ultimately the countenance of Signor Stradivari began to assume anything but a pleased appearance, as he had failed to comprehend what there was about his cherished ones to excite such ungovernable mirth. When the joke was explained, it is needless to say that the wit's friend, the connoisseur, suffered some disappointment, but soon heartily joined in the laugh raised at his expense. Signor Stradivari and his family were not long kept behind the curtain, and soon added their laugh to that of the rest of the company.
A lady belonging to Covent Garden Theatre, who had never heard Paganini, requested leave to be present at one of the rehearsals of his concerts. It happened that Paganini did not bring his Violin with him, but borrowed one from a member of the orchestra, and, instead of playing, made a kind of pizzicato obbligato. After the rehearsal was finished, the lady addressed Mr. Cooke: "Oh, dear, Mr. Cooke, what a wonderful man he is! I declare, I may say, that till this morning I never knew what music was capable of." Cooke replied, "Indeed, madam, he is truly wonderful; but allow me to observe that on this occasion you are indebted rather to your imagination than your ears for the delight you have experienced." "How, Mr. Cooke?" "Why, madam, this morning Paganini has not played at all—he has not even touched a bow." "Extraordinary!" exclaimed the lady; "I am more than ever confirmed in my opinion of him; for if without playing he can affect one in such a manner, how much more wonderful are the sensations he must produce when he does play!"
"Francis the First, Emperor of Austria, was a passionate lover of music, and played admirably on the flute. His greatest pleasure was to perform the Trios and Quartetts of the old masters. One of the household physicians of the court excelled on the Tenor. As imperial etiquette did not permit a simple physician to accompany the Emperor in his pieces unless he had the entrée at court, Francis first created his doctor a baron, and then a privy councillor, thus giving him his petites and grandes entrées. By the help of his Tenor-playing our medical musician insinuated himself so successfully into the good graces of the Emperor, that he became almost the rival of Metternich, and all the other ministers courted his friendship. Such was the rise of the celebrated Baron Still. But for his Tenor, this all-powerful favourite of Francis the First would have lived and died an obscure physician."—Critique Musicale.
"An Italian composer, named Peregrini, was a fellow-student of Mastai Ferretti, now the occupant of the Papal chair. Since their quitting college, Fortune abandoned the maestro, whilst she smiled upon the priest. One day Pius IX. received the following letter:—'Most Holy Father,—I know not if you recollect that I had the honour of being your fellow-student at College, and that your Holiness has done me the honour of playing duos with me on the Violin; and that the execution of them was not always irreproachable, at least on my part, which so displeased your Holiness at the time that you deigned to apply certain corrections to my fingers. I have taken the liberty of revealing myself to your recollection, and to pray you to take under your protection one who can never cease to remember the happy moments he has passed with him whose apostolic virtues have raised him to the throne of St. Peter.' The Pope replied, 'I have never forgotten your name, my son; come to me at Rome, and we will again play duets together, and if you have not progressed in your studies, I shall know how again to correct you.'"—Hogarth's Musical Herald.
"A man who had a patent varnish for Violins, brought his invention to Ole Bull, and begged him to try it. He said that it gave ordinary instruments the sweet quality of a Cremona Fiddle. Ole Bull tried it, and found that it improved the tone, and promised to use a Violin prepared with it at a concert he had to give at the house of the Duke of Riario. There was a great deal of fashionable company at this concert, and the heat of the room melted this famous varnish, which was really a preparation of asafoetida. The smell which it exuded was so maddening that an ordinary man would have stopped and excused himself; but Ole Bull merely closed his eyes, turned his face away, and played with an energy which became more frenzied the more intolerable the stink became. He enjoyed an overwhelming success, and the Duke rushed forward to seize his hand in congratulation. The appalling odour of asafoetida struck him in the face, and Ole Bull had to explain in what agony he had been performing."—Ole Bull's "Breve i Uddrag," by Jonas Lie, Copenhagen, 1881.
In a Letter from the celebrated Tartini.
The letter here presented to my readers was translated and published by Dr. Burney, in 1779, under the following title: "A Letter from the late Signor Tartini to Signora Maddalena Lombardini (afterwards Signora Sirmen). Published as an important lesson to performers on the Violin.
"'MY VERY MUCH ESTEEMED SIGNORA MADDALENA,
"'Finding myself at length disengaged from the weighty business which has so long prevented me from performing my promise to you, a promise which was made with too much sincerity for my want of punctuality not to afflict me, I shall begin the instructions you wish from me by letter; and if I should not explain myself with sufficient clearness, I entreat you to tell me your doubts and difficulties, in writing, which I shall not fail to remove in a future letter.
"'Your principal practice and study should, at present be confined to the use and power of the bow, in order to make yourself entirely mistress in the execution and expression of whatever can be played or sung, within the compass and ability of your instrument. Your first study, therefore, should be the true manner of holding, balancing, and pressing the bow lightly but steadily upon the strings; in such a manner as it shall seem to breathe the first tone it gives, which must proceed from the friction of the string, and not from percussion, as by a blow given with a hammer upon it. This depends on laying the bow lightly upon the strings at the first contact, and on gently pressing it afterwards, which, if done gradually, can scarcely have too much force given to it, because, if the tone is begun with delicacy, there is little danger of rendering it afterwards either coarse or harsh.
"'Of this first contact and delicate manner of beginning a tone you should make yourself a perfect mistress in every situation and part of the bow, as well in the middle as at the extremities; and in moving it up as well as in drawing it down. To unite all these laborious particulars into one lesson, my advice is, that you first exercise yourself in a swell upon an open string—for example, upon the second string; that you begin pianissimo, and increase the tone by slow degrees to its fortissimo; and this study should be equally made with the motion of the bow up and down, in which exercise you should spend at least an hour every day, though at different times, a little in the morning and a little in the evening; having constantly in mind, that this is, of all others, the most difficult and the most essential to playing on the Violin. When you are a perfect mistress of this part of a good performer, a swell will be very easy to you; beginning with the most minute softness, increasing the tone to its loudest degree, and diminishing it to the same point of softness with which you began, and all this in the same stroke of the bow. Every degree of pressure upon the string which the expression of a note or passage shall require will by this means be easy and certain; and you will be able to execute with your bow whatever you please. After this, in order to acquire that light pulsation and play of the wrist, from whence velocity in bowing arises, it will be best for you to practise every day one of the Allegros, of which there are three in Corelli's Solos, which entirely move in semiquavers. The first is in D, in playing which you should accelerate the motion a little each time, till you arrive at the quickest degree of swiftness possible; but two precautions are necessary in this exercise—the first is, that you play the notes staccato, that is, separate and detached, with a little space between every two, for though they are written thus—
they should be played as if there was a rest after every note, in this manner—
The second precaution is, that you first play with the point of the bow; and when that becomes easy to you, that you use that part of it which is between that part and the middle; and when you are likewise mistress of this part of the bow, that you practise in the same manner with the middle of the bow; and, above all, you must remember in these studies to begin the Allegros or flights sometimes with an up-bow; and sometimes with a down-bow, carefully avoiding the habit of constantly practising one way. In order to acquire a greater facility of executing swift passages in a light and neat manner, it will be of great use to you if you accustom yourself to skip over a string between two quick notes in divisions, like these—
Of such divisions you may play extempore as many as possible, and in every key, which will be both useful and necessary.
"'With regard to the finger-board, or carriage of the left hand, I have one thing strongly to recommend to you, which will suffice for all; and that is, the taking a Violin part, either the first or second of a concerto, sonata, or song—anything will serve the purpose—and playing it upon the half-shift, that is, with the first finger upon G on the first string, and constantly keeping upon this shift, playing the whole piece without moving the hand from this situation, unless A on the fourth string be wanted, or D upon the first; but in that case, you should afterwards return again to the half-shift, without ever moving the hand down to the natural position. This practice should be continued till you can execute with facility upon the half-shift any Violin part not intended as a solo, at sight. After this, advance the hand on the finger-board to the whole-shift, with the first finger upon A on the first string, and accustom yourself to this position till you can execute everything upon the whole-shift with as much ease as when the hand is in its natural situation; and when certain of this, advance to the double-shift, with the first finger upon B, on the first string; and when sure of that likewise, pass to the fourth position of the hand, making C with the first finger upon the first string; and indeed this is a scale in which, when you are firm, you may be said to be mistress of the finger-board. This study is so necessary, that I most earnestly recommend it to your attention.
"'I now pass to the third essential part of a good performer on the Violin, which is the making of a good shake, and I would have you practise it slow, moderately fast, and quick; that is, with the two notes succeeding each other in these three degrees of adagio, andante, and, presto; and in practice you have great occasion for these different kinds of shakes; for the same shake will not serve with equal propriety for a slow movement as for a quick one; but to acquire both at once with the same trouble, begin with an open string, either the first or second, it will be equally useful; sustain the note in a swell, and begin the shake very slow, increasing in quickness, by insensible degrees, till it becomes rapid, in the manner following:—
But you must not vigorously move immediately from semiquavers to demisemiquavers, as in this example, or from these to the next in degree—that would be doubling the velocity of the shake all at once, which would be a skip, not a graduation; but you can imagine between a semiquaver and a demisemiquaver intermediate degrees of rapidity, quicker than the one, and slower than the other of these characters; you are therefore to increase in velocity by the same degrees in practising the shake, as in loudness when you make a swell. You must attentively and assiduously persevere in the practice of this embellishment, and begin at first with an open string, upon which if you are once able to make a good shake with the first finger, you will with the greater facility acquire one with the second, the third, and the fourth, or little finger, with which you must practise in a particular manner, as more feeble than the rest of its brethren. I shall, at present, propose no other studies to your application: what I have already said is more than sufficient, if your zeal is equal to my wishes for your improvement. I hope you will sincerely inform me whether I have explained myself clearly thus far; that you will accept of my respects, which I likewise beg of you to present to the Prioress, to Signora Teresa, and to Signora Chiara, for all whom I have a sincere regard; and believe me to be with great affection,
"'GIUSEPPE TARTINI.'"
INDEX
| A | |
| PAGE | |
| Absam, Thomas | 293 |
| Acevo | 77 |
| Adam, as a Violist | 3 |
| Adams | 293 |
| Addison, William | 293 |
| Aireton, Edmund, good work, Amatese model | 293 |
| Alard, M., composer and Professor at the Conservatoire | 395 |
| Albanesi, Sebastiano | 77 |
| Albani | 259 |
| Albani, Mathias (2); Italian style, good model and workmanship | 259 |
| Albani, Paolo | 260 |
| Albani, Mathias, Stainer form, good varnish | 259 |
| Aldred | 293 |
| Aldric, copier of Stradivari; dealings with Luigi Tarisio | 231 |
| Aletzie, Paolo | 260 |
| Allar | 231 |
| Alvani | 78 |
| Amati, Andrea, his Violins mostly "Three-quarter"; founder of the School of Cremona; character of his Varnish; his method of cutting; his "Charles IX. Set," in the Chapel Royal, Versailles | 78-81 |
| Amati, the Brothers Antonio and Girolamo, character of their work | 81 |
| Amati, Girolamo, son of Niccolò, his instruments described; character of his varnish | 92 |
| Amati, Niccolò, the greatest of his family; special characteristics of his work | 84-92 |
| Amelot | 231 |
| Anecdotes and Miscellanea connected with the Violin | 410 |
| Apollo and Orpheus, in Fiddle History | 3 |
| Appleby, Mr. Samuel, letter from, on the Gasparo da Salò Double-Bass of Signor Dragonetti | 465 |
| Arabian Origin of the Ribeca, alleged | 7 |
| Arabians, Inventors of the Monochord | 7 |
| Ariberti, Bartolommeo, Marquis, his letter to Stradivari | 193 |
| Arisi, Desiderio on Stradivari | 185 |
| Artmann, copier of Amati | 260 |
| Asiatic Origin of the Violin, alleged | 4 |
| Askey, Samuel | 293 |
| Aubry | 231 |
| Augière | 231 |
| Augustus, Elector of Saxony and King of Poland, his patronage of Stradivari | 207 |
| B | |
| Bachelier | 231 |
| Bach, John Sebastian, influence of his great compositions on the development of Violin-playing | 404 |
| Bachmann, Carl Ludwig, Court Musician to Frederick the Great; founder of concerts for amateurs at Berlin | 260 |
| Bachmann, O., author of a book on Bow Instruments | 260 |
| Bagatella, Antonio | 95 |
| Bagatella, Pietro | 95 |
| Baillot, Pierre, Violinist | 394 |
| Baines | 293 |
| Baker | 293 |
| Balestrieri, character of his Instruments | 95 |
| Ballantine | 293 |
| Baltzar, Thomas, Violinist | 382 |
| Banks, Benjamin; high character of his work | 294 |
| Banks, Benjamin (2) | 296 |
| Banks, James and Henry | 296 |
| Bannister, John, Violinist | 383 |
| Barnes, Robert | 297 |
| Barrett, John, follower of Stainer, good quality | 297 |
| Barton, George | 297 |
| Bassiano | 96 |
| Bassot | 231 |
| Bausch, Ludwig C. A. | 261 |
| Bausch, L. B. | 261 |
| Bausch, Otto B. | 261 |
| Bazzini, Antonio, Violinist | 392 |
| Beckmann | 261 |
| Bedler | 261 |
| Beethoven, and his works for the Violin | 407 |
| Bellosio, Anselmo | 96 |
| Benda, Francis, Violinist and composer | 403 |
| Bente, Matteo | 96 |
| Bergonzi, Benedetto | 103 |
| Bergonzi, Carlo (1), pupil of Antonio Stradivari; characteristics of his work; comparison with Giuseppe Guarneri and Stradivari; his resplendent varnish; his Violins and Violoncellos | 96 |
| Bergonzi, Carlo (2) | 103 |
| Bergonzi, Michel Angelo, pattern of his instruments | 102 |
| Bergonzi, Niccolò, his work | 102 |
| Bergonzi, Zosimo | 103 |
| Bertolotti (Gaspar da Salò) | 168 |
| Bériot, Charles de, Belgian composer and Violinist | 395 |
| Bernardel, Sébastien Philippe, worked with Lupot; excellent work | 231 |
| Bertassi, Ambrogio | 103 |
| Bertrand, Nicolas, Viol-maker | 232 |
| Betts, Edward, copyist of Amati, high finish | 298 |
| Betts, John, pupil of Duke | 297 |
| Betts Stradivari, The, and Mr. Charles Reade's letter thereon | 467 |
| "Betts Strad," The | 466 |
| Bimbi, B. | 103 |
| Bindernagel, good copyist of Amati | 261 |
| Blagrove, Henry, his "Concerti da Camera" | 401 |
| Blasius, St., MS. destroyed by fire | 14 |
| Boccherini, his Quintettes | 390 |
| Boivin, Claude, Guitar-maker | 232 |
| Bolles | 299 |
| Booth | 299 |
| Booth, William | 299 |
| Boquay, Jacques; old French School; good character of work | 232 |
| Borelli, Andrea | 103 |
| Borlon, Artus, or Arnould | 233 |
| Borlon, François, Viol-maker | 233 |
| Borlon, Joannes, Viol-maker | 233 |
| Borlon (or Porlon), Pierre, Double-Bass maker | 233 |
| Boucher | 299 |
| Boullangier, C. | 233 |
| Boumeester | 233 |
| Bourdet, Jacques | 234 |
| Bourdet, Sébastien | 234 |
| Boussu, Eterbeck | 234 |
| Bowed Instruments, Early references to | 5 |
| Braccia, Viola da, The | 13 |
| Brensio, Girolamo (Brensius) | 103 |
| Brescia, Da, Battista | 104 |
| Brescia, the cradle of Violin making | 65 |
| Breton Le | 234 |
| Bridge, The, its position, form, and selection | 38 |
| Britton, Tom, The "Small-coal Man" | 384 |
| Broschi, Carlo | 104 |
| Browne, John | 299 |
| Brown, James | 299 |
| Buchstadter | 261 |
| Budiani, Giovita (see Rodiani) | 164 |
| Bull, Ole B., his great artistic skill | 393 |
| Busseto, Giovanni M. | 104 |
| C | |
| Cahusac | 299 |
| Calcagni, Bernardo | 104 |
| Calot | 234 |
| Calvarola, Bartolommeo | 104 |
| Camilli, Camillo | 104 |
| Campagnoli, his "Studies" and "Violin School" | 391 |
| Cappa, Gioffredo, high character of his work | 105 |
| Carcassi | 106 |
| Carrodus, John, Violinist | 402 |
| Carter, John | 299 |
| Casini, Antonio | 106 |
| Castagneri, Andrea | 107 |
| Castagnery, Jean Paul | 234 |
| Castellani | 107 |
| Castro | 107 |
| Catenar, Enrico | 107 |
| "Catgut," a misnomer | 48 |
| Catlins, Venetian | 46 |
| Celioniati, Gian Francesco | 107 |
| Cerin, Marco Antonio | 107 |
| Ceruti, Enrico, exhibitioner in London and Milan Exhibition | 108 |
| Ceruti, Giovanni Battista, follower of Amati pattern | 108 |
| Ceruti, Giuseppe | 108 |
| Cervetto and Garrick | 442 |
| Chaconne, of Moorish origin | 10 |
| Challoner, Thomas | 299 |
| Champion René | 234 |
| Chanot, François | 234 |
| Chanot, F. | 235 |
| Chanot, G. A. | 235 |
| Chanot, Georges, an indefatigable and excellent workman; copyist of Stradivari and Guarneri; known also as a dealer | 235 |
| Chanot, Georges (fils) | 235 |
| Chappell, Arthur, his "Monday Popular Concerts" | 402 |
| Chappuy, Nicolas-Augustin | 235 |
| Chardon, Joseph | 236 |
| Charles II. as a Musician | 384 |
| Charotte | 236 |
| Cheli, or Chelys, The, description and alleged origin of | 15 |
| Chesterfield, Lord, his estimate of Fiddles and Fiddling | 397 |
| "Chest of Viols" | 194 |
| Chevrier, André-Augustin | 236 |
| Christa, Joseph Paul | 261 |
| Cinderella Violoncello, A | 448 |
| Circapa, Tommaso | 109 |
| Claudot, Augustin | 236 |
| Claudot, Charles | 236 |
| Clement | 236 |
| Cliquot, Henri | 236 |
| Cliquot, Louis Alexandre | 236 |
| Cocco, Cristoforo | 109 |
| Cole, James | 299 |
| Cole, Thomas | 299 |
| Collectors of Italian and other Violins | 365 |
| Collier, Samuel | 299 |
| Collier, Thomas | 299 |
| Collingwood, Joseph | 299 |
| Composers for the Violin, early English | 381 |
| "Concerto of Violins" | 194 |
| Construction of the Violin | 27 |
| Contreras, Joseph | 109 |
| Conway, William | 299 |
| Cooper, Henry C., Violinist, and the Quartette Association | 402 |
| Copyists, three kinds of, and their methods | 144 |
| Corbett, William, an early collector of Italian Violins; his Gallery of Cremonys and Stainers | 365 |
| Cordano, Jacopo Filippo | 110 |
| Corelli, his Sonatas, or "Balletti da Camera" | 379 |
| Corsby | 299 |
| Corsby, George | 300 |
| Costa, Pietro Antonio dalla | 110 |
| Covered Strings | 52 |
| Cozio, Count, patron of Mantegazza, 152; purchaser of Stradivari's tools and models | 361 |
| Cramer, William and François, Violinists, and the "Ancient Concerts" in London | 401 |
| Cramond, Charles | 300 |
| Crask, George | 300 |
| Credulous Dabblers and Fiddle Marks | 457 |
| Cremonese apathy as to Stradivari | 215 |
| Cremonese Varnish, a "lost art" | 71 |
| Crescent-formed Sound-hole | 22 |
| Cristofori, Bartolommeo | 109 |
| Cross Nathaniel | 300 |
| Crowdero, The Champion, and Hudibras | 410 |
| Crowther, John | 300 |
| Cunault | 236 |
| Cuny | 236 |
| Cuthbert | 300 |
| "Cutting" and maiming, Charles Reade on | 248 |
| Cuypers | 236 |
| D | |
| Dalla Valle, Marquis, possessor of Stradivari's tools and models | 189 |
| Dando, Violinist, and the "Concerti da Camera" in London | 401 |
| Daniel | 237 |
| Darche | 237 |
| Dardelli, Pietro, his Lutes and Viols | 110 |
| David | 237 |
| Davidson | 300 |
| Davis, Richard | 300 |
| Davis, William | 300 |
| Dearlove, Mark | 300 |
| De Bériot and Maggini's Violins | 150 |
| Decadence of the Violin-maker's art, general causes of | 286 |
| De Comble, Ambroise, probably a pupil of Stradivari; good character of work, varnish, and tone | 237 |
| Dehommais | 238 |
| Delanoix | 238 |
| Delany, John | 300 |
| Delaunay | 238 |
| Deleplanque, Gérard | 238 |
| Del Gesù (see Guarneri) | 132 |
| Dennis, Jesse | 301 |
| Derazey | 238 |
| Despine, A. | 111 |
| Despons, Antoine | 238 |
| Devereux, John | 301 |
| Dibdin, Charles, his early musical experiences | 319 |
| Dichord of the Egyptians and Arabians | 8 |
| Dickeson, John | 301 |
| Dickinson, Edward | 301 |
| Dieffopruchar, Magno (Magnus Tieffenbrucker) | 111 |
| Diehl, Friedrich | 262 |
| Diehl, Heinrich | 262 |
| Diehl, Johann | 262 |
| Diehl, Nicolaus | 262 |
| Diel, Johann | 262 |
| Diel, Jacob | 262 |
| Diel (or Diehl), Martin | 261 |
| Diel, Nicolaus | 262 |
| Dieulafait, Viol-maker | 238 |
| Ditton | 301 |
| Dodd, Thomas, a dealer and employer of makers of high merit, and famous for his varnish | 301 |
| Dodd, Thomas (fils) | 303 |
| "Dolphin Strad," The | 200 |
| Dominicelli | 111 |
| Döpfer, Nicolaus | 262 |
| Dorant, William | 304 |
| Double-Basses and Violas the stepping-stones to Violin-making | 25 |
| Dragonetti, his heavy strings | 51 |
| Dragonetti's Gasparo da Salò | 463 |
| Droulot | 238 |
| Ducheron, Mathurin | 238 |
| Duiffoprugcar, Gaspar, comparison of his claims with those of Gaspar da Salò; description of his work | 111 |
| Duke, Richard, one of the most distinguished of English makers, but often counterfeited | 304 |
| Duke, Richard (fils) | 305 |
| Du Mesnil, Jacques | 238 |
| Duncan | 305 |
| Durfel | 262 |
| E | |
| Earliest representation of stringed instruments | 6 |
| Early history of Violin involved in obscurity | 1 |
| Early makers, their great care in selection of wood for the Violins | 33 |
| Eastern origin of the Bow, alleged | 4 |
| Eberle, J. Ulric, good copyist of Italian masters | 262 |
| Eccles, John Henry, musician to Louis XIV.; his solos for the Violin | 385 |
| Eccles, Thomas, an itinerant Violinist | 385 |
| Edlinger, Joseph Joachim | 262 |
| Edlinger, T. | 262 |
| Eesbroeck, Jean Van | 238 |
| Eglington | 305 |
| Egyptian Obelisk, stringed instruments on | 6 |
| "Elector Stainers," The Twelve | 275 |
| Elliston and George III. | 444 |
| Elsler, Joseph | 263 |
| Engel's "Researches into Early History of the Violin" | 4 |
| English Makers, List of | 293 |
| English makers, no mention of by continental writers on the Violin | 284 |
| English School, The, 284; causes of its decadence | 285 |
| Ernst, Franz Anton; an eminent Violinist and pupil of Lolli; also a maker | 263 |
| Ernst, Herr, his exquisite style as a Violinist | 409 |
| Ettrick Shepherd, The, and the Violin | 482 |
| Eugene, Prince, and Stradivari | 203 |
| European origin of the Violin | 11 |
| Evans, Richard | 305 |
| Evelyn, John, on celebrity of old Lutinists | 263 |
| Experiments as to tension of Violin strings | 54 |
| F | |
| Falaise, copied Amati and Stradivari; good work | 239 |
| Farinato, Paolo | 112 |
| Felden, M. | 263 |
| Fendt (or Fent) | 239 |
| Fendt, Bernard, an admirable workman, employed by Dodd and John Betts | 305 |
| Fendt, Bernard Simon, a high-class maker of Italian models | 307 |
| Fendt, Francis | 309 |
| Fendt, Jacob, clever copyist of Stradivari | 308 |
| Fendt, Martin | 308 |
| Fendt, William | 309 |
| Ferguson, Donald | 309 |
| Fesca, Violinist, and his quartettes | 408 |
| Festing, Michael Christian, and the Philharmonic Society and Royal Society of Musicians | 398 |
| Fétis, M., his Eastern theory of the Bow, 14; his notice of Stradivari | 177 |
| f-holes, or Sound-holes, their importance | 40 |
| Fichtold, Hans | 263 |
| Fichtl, Martin | 263 |
| Ficker, Johann Christian | 263 |
| Ficker, Johann Gotlieb | 263 |
| Fiddle Marks and the Credulous Dabblers | 457 |
| Fiddle Trade, The | 483 |
| Finger-board, The | 39 |
| Fiorillo, Giovanni | 112 |
| Firth | 309 |
| Fischer, Zacharie | 263 |
| Flanders, early musical culture in | 21 |
| Fleury, Benoist | 239 |
| Forster, Simon Andrew | 312 |
| Forster, William (i.), spinning-wheel and Violin-maker | 309 |
| Forster, William (ii.), spinning-wheel and Violin-maker, and village Violinist; copyist of Stainer, and of the Amatis; excellent character of his work; his instruments prized by Lindley | 310 |
| Forster, William (iii.), excellent work and model | 312 |
| Forster, William (iv.), good work | 312 |
| Fountaine, Mr., his collection of instruments | 366 |
| "Four Corners" of the Violono | 25 |
| Fourrier, Nicolas | 239 |
| Francis I. of Austria, an amateur musician | 498 |
| Frankland | 313 |
| Frei, Hans | 113 |
| French Makers, List of | 231 |
| French School, The; sketch of its Rise and Progress | 224 |
| Fretted Viols | 24 |
| Frey, Hans, Lute-maker, related to Albert Durer; his work praised by John Evelyn | 263 |
| Fritzche | 264 |
| "Fugal Vortex," The Prince and the | 491 |
| Furber, copier of the "Betts" Stradivari | 313 |
| Furber, Henry John | 313 |
| G | |
| Gabrielli, Giovanni Battista | 113 |
| Gaffino, Giuseppe | 114 |
| Gagliano, Alessandro, pupil of A. Stradivari; description of his work | 114 |
| Gagliano, Antonio, Giovanni, Giuseppe, and Raffaele | 116 |
| Gagliano, Ferdinando | 116 |
| Gagliano, Gennaro | 115 |
| Gagliano, Niccolò | 115 |
| Gaillard, Charles | 239 |
| Gaillard, J. B. | 239 |
| Gainsborough as a Musician | 438 |
| Galbusera, C. A. | 116 |
| Ganassi, Silvestro, his work on the Viol | 23 |
| Gand, Adolphe | 241 |
| Gand, Eugène, partner with Bernadel Brothers | 241 |
| Gand, François, pupil and son-in-law of Nicolas Lupot; excellent work, especially as a repairer | 240 |
| Garani, Michel Angelo | 117 |
| Garani, Niccolò | 117 |
| Garrick and Cervetto | 442 |
| Gasparo da Salò, reputed inventor of the four-stringed Violin, 26; the first great artistic maker, characteristics of his work | 168-172 |
| Gatinari, Francesco | 117 |
| Gaviniès, François, old French School; good quality | 241 |
| Gaviniès, Pierre, his Concertos and Sonatas | 393 |
| Gedler, Johann A. | 264 |
| Gedler, Johann B. | 264 |
| Geissenhof, Franz | 264 |
| Geige, The, derivation of | 19 |
| Geminiani, Francesco, his Sonatas and other works | 387 |
| Gennaro, G. | 117 |
| George III. and Elliston | 444 |
| Gerbertus, Martinus, De Cantu et Musica Sacra | 10 |
| Gerle, Johann, Lutes and Viols | 264 |
| Germain, Emile | 242 |
| Germain, Joseph Louis | 241 |
| German Makers, List of | 259 |
| German origin of the Violin, early indications of | 17-18 |
| German School, The, its poverty as to makers of originality | 258 |
| German Violins, no trace of in the time of Gasparo da Salò | 25 |
| Geroni, Domenico | 117 |
| Ghidini, C. | 117 |
| Giardini, Felice, composer and Violinist | 389 |
| Gibbs, James | 313 |
| Gibertini, Antonio | 117 |
| Gigeours, The, of Germany | 20 |
| Gilkes, William, Double-Bass maker | 314 |
| Gilkes, Samuel, pupil of Forster; an excellent workman | 313 |
| Gillott Collection, The, its origin, character, and dispersion | 367-374 |
| Giorgi, N. | 117 |
| Giustiniani, Lorenzo, his letter to Stradivari | 206 |
| Gobetti (Gobit), Francesco, high character of his work | 118 |
| Goding Collection, The | 366 |
| Goding, Mr. James, his Stradivari with an alien scroll; a curious coincidence | 455 |
| Gofriller, Francesco | 119 |
| Gofriller, Matteo | 119 |
| Gosselin | 242 |
| Gough, Walter | 314 |
| Gragnani, Antonio | 120 |
| Grancino, Francesco | 121 |
| Grancino, Giovanni | 121 |
| Grancino, Giovanni Battista | 121 |
| Grancino, Paolo, pupil of Niccolò Amati; description of his work | 120 |
| "Grand Amati" pattern, The | 86 |
| Grand-Gerard | 242 |
| Grandson, Fils | 242 |
| Graun, Violinist to the King of Prussia | 403 |
| Griesser, Matthias | 264 |
| Grimm, Carl | 264 |
| Grobitz, A. | 264 |
| Grosset, Paul François | 242 |
| Gross-Geige, The | 20 |
| Grulli, Pietro | 121 |
| Guadagnini, Antonio | 126 |
| Guadagnini, Carlo | 126 |
| Guadagnini, Francesco and Giuseppe, now living at Turin | 126 |
| Guadagnini, Gaetano | 125 |
| Guadagnini, Giovanni Battista, pupil of Stradivari; description of his work | 123 |
| Guadagnini, Giuseppe | 125 |
| Guadagnini, Lorenzo, the first of his family; high character of his work | 121 |
| Guarneri, Andrea, the pioneer of his family; pupil of Amati; his Violins and Violoncellos | 126 |
| Guarneri, at a discount | 458 |
| Guarneri, Giuseppe (son of Andrea); originality of his style, and peculiarity of his sound-holes; character of his varnish; high value of his Violins, Violas, and Violoncellos | 129 |
| Guarneri, Giuseppe (del Gesù); his peculiar cypher; probably a pupil of his cousin Giuseppe; his fertility of design; traditions as to his "prison Fiddles;" three orders of copyists; Paganini's Guarneri | 132-147 |
| Guarneri, Pietro (brother of Giuseppe filius Andræ), description of his work | 131 |
| Guarneri, Pietro (son of Giuseppe filius Andræ) | 132 |
| Guersan, Louis | 242 |
| Gugemmos | 264 |
| Guidanti, Giovanni (Joannes Guidantus), specimen at exhibition of Milan, 1881; character of his work | 147 |
| Guillami | 147 |
| Gunn, John, his essay on stringed instruments | 7 |
| H | |
| Habeneck, François Antoine, composer | 395 |
| Haensel, Johann A. | 264 |
| Hamberger, Joseph | 264 |
| Hamm, Johann Gottfried | 264 |
| Hammig, W. H. | 264 |
| Handel, George Frederick, and the Royal Society of Musicians, 399; influence of his works on Violin-playing | 405 |
| Harbour | 314 |
| Hardie, Matthew | 314 |
| Hardie, Thomas | 314 |
| Hare, John | 314 |
| Hare, Joseph | 314 |
| Harris Charles, an excellent copyist, Italian mode | 315 |
| Harris, Charles (2), good character of work | 316 |
| Hart, John Thomas, pupil of Samuel Gilkes; distinguished as a connoisseur, dealer and collector | 316 |
| Harton, Michael, Lute-maker | 147 |
| Hassert | 264 |
| Hawkins, Sir John, his "History of Music," 7; his opinion of Stainer's merits | 271 |
| Haydn, Joseph, his quartettes, and a Lady's humorous comparison, 405-406; Haydn in London; Letters from Rev. T. Twining | 435 |
| Haynes, J. | 317 |
| Heesom, Edward | 317 |
| Hel | 242 |
| Helmer, Carl | 265 |
| Henry, Charles | 242 |
| Henry, Eugène | 242 |
| Henry, Jean Baptiste | 242 |
| Henry, Jean Baptiste Felix | 242 |
| Henry, Octave | 242 |
| Herbert, George, his references to music | 420 |
| Hildebrandt, Michael C. | 265 |
| Hill, Joseph | 317 |
| Hill, Lockey | 317 |
| Hill, William | 317 |
| Hill, William Ebsworth | 318 |
| Hiltz, Paul | 265 |
| Hobby-horses, Laurence Sterne on | 331 |
| Hoffmann, Johann Christian, Lutes and Viols | 265 |
| Hoffman, Martin, Lutes and Viols | 265 |
| Hofmans, Mathias | 242 |
| Hogarth's "Line of Beauty" and the Violin | 28 |
| Holloway, J. | 318 |
| Holmes, Henry and Alfred, Violinists | 403 |
| Holmes, Oliver Wendell, on the Violin | 332 |
| Horil, Jacob | 265 |
| Hornstainer | 265 |
| Hornstainer, Joseph | 265 |
| Hudibras and the Champion Crowdero | 410 |
| Huller, August | 265 |
| Humel, Christian | 265 |
| Hume, Richard | 318 |
| Hunger, Christoph Friedrich | 265 |
| I | |
| Illuminated MSS. of the Middle Ages, and other early evidence | 12 |
| "II Per" (see Ruggeri, Francesco) | 165 |
| Indefatigable Violinist, An | 495 |
| Individuality and affinity both evident in the work of the several Italian Schools | 67 |
| Influence of different varnishes on the tone of the Violin | 75 |
| Instruction in Violin-playing, by Tartini | 501 |
| Italian Makers, List of | 77 |
| Italian School of Violin-playing | 388 |
| Italian Varnishes, the different varieties described | 70 |
| Italian Violins, five distinct Schools: the Brescian; the Cremonese; the Neapolitan; Florence, Bologna and Rome; the Venetian | 63 |
| Itinerant Musicians and the Violin | 20, 386 |
| J | |
| "Jack of All Trades," Charles Reade's | 322 |
| Jacobs | 243 |
| Jacobs, Hendrik, a close imitator of Nicolas Amati | 242 |
| Jacquot, Charles | 243 |
| Jacquot, Charles (fils) | 243 |
| Jais, Johann | 265 |
| Jauch, Johann | 265 |
| Jay, Henry | 318 |
| Jay, Henry, maker of Kits and Violoncellos | 318 |
| Jay, Thomas | 318 |
| Jeandel, P. N. | 243 |
| Jenkins, John, his twelve Sonatas | 381 |
| Joachim, Herr, and Bach's Sonatas, 404; his high rank as a performer | 409 |
| Johnson, Dr., on Collecting as a Hobby, 374; on the Violin | 429 |
| Johnson, John, Violin and music-seller; his relations with Charles Dibdin | 319 |
| Jongleurs, The | 11 |
| K | |
| Kambl, Johann A. | 265 |
| Karb | 265 |
| Kembter | 265 |
| Kennedy, Alexander | 320 |
| Kennedy, John | 320 |
| Kennedy, Thomas | 320 |
| Kerlino, Joan, Viol-maker | 147 |
| Kiaposse, Sawes | 266 |
| Kirchschlag | 266 |
| Klein-Geige, The | 18 |
| Kloz, Egidius | 266 |
| Kloz, George | 266 |
| Kloz, Joseph | 266 |
| Kloz, J. Karl | 266 |
| Kloz, Matthias, pupil of Stainer | 266 |
| Kloz, Sebastian, his work much esteemed | 266 |
| Knitting | 266 |
| Knittle, Joseph | 266 |
| Kohl, Johann | 266 |
| Kolditz, J. | 266 |
| Kolditz, Mathias Johann | 267 |
| Koliker | 243 |
| Kramer, H. | 267 |
| Kriner, Joseph | 267 |
| L | |
| Labels as Trade-marks sometimes transferred | 118, 357 |
| Lafont, Violinist | 394 |
| Lagetto, Luigi | 147 |
| Lamb, Charles, and his "ragged veterans" | 358 |
| Lambert, Jean Nicolas | 243 |
| Lancetti, Vincenzo, extract from his MS. on Italian Violin-making, 68; on Stradivari | 188 |
| Landolfi, Carlo Ferdinando; high character of his work | 147 |
| Lane's "Modern Egypt," and the Rebab | 8 |
| Lanza, Antonio Maria | 148 |
| Lapaix | 244 |
| Laprevotte, Etienne | 244 |
| Laska, Joseph | 267 |
| Lavazza, Antonio | 148 |
| Lavazza, Santino | 148 |
| Leclair, Jean Marie, Violinist | 393 |
| Leclerc | 244 |
| Lecomte | 244 |
| Leduc, Pierre | 244 |
| Lefebvre | 244 |
| Leigh Hunt on Paganini | 469 |
| Le Jeune, François | 244 |
| Lentz, Johann Nicolaus | 320 |
| Leonardo da Vinci as a Violist | 375 |
| Le Pileur, Pierre | 244 |
| Lesclop, François Henry | 244 |
| Lewis, Edward | 321 |
| Linarolli, Venturo | 148 |
| Lindley, Robert, character of his stringing | 51 |
| Lipinski, composer | 396 |
| Lister | 321 |
| Living Stradivaris | 495 |
| Locatelli as a composer | 389 |
| Lolli, his "feats on one string" | 389 |
| Loly, Jacopo | 148 |
| Lombardini, Paolo, his pamphlet on Stradivari, 178; his pedigree of Stradivari's family | 179 |
| Lombardini, Signora Maddalena, letter from Tartini to, on the art of Playing the Violin | 501 |
| Longman and Broderip, music-sellers | 321 |
| "Long Strad," The | 195 |
| Lott, George Frederick, a clever workman | 322 |
| Lott, John Frederick, employed by Dodd, and a first-class workman; high character of his Double-Basses | 321 |
| Lott, John Frederick (2), a clever copyist, and the original of Charles Reade's "Jack of all Trades" | 322 |
| Louis | 244 |
| Louvet | 244 |
| Lulli, Jean Baptiste, Violinist to Louis XIV.; his influence as a composer | 381 |
| Lupot, François | 244 |
| Lupot, Jean | 244 |
| Lupot, Laurent | 244 |
| Lupot, Nicolas; famous as a copier of Stradivari; maker to the Conservatoire; genuine character of his work, as to form, varnish, and telling quality of tone | 244 |
| M | |
| Mace, Thomas, on the prices and choice of Lutes and Viols | 334 |
| Macintosh | 322 |
| Madrigal, The, sixteenth century | 21 |
| Maggini, Giovanni Paolo, pupil of Gasparo da Salò; other makers' work frequently attributed to him; comparison of his instruments with those of Gasparo; De Bériot's use of his instruments | 149 |
| Maler, Laux, Lute-maker (the "Stradivari of Lutes"); Thomas Mace on the prices of these instruments | 150 |
| Mann, Hans | 267 |
| Mantegazza, Pietro Giovanni, maker and repairer of Violins and Tenors; good work; patronised by Count Cozio | 151 |
| Manuscripts, Illuminated, of the Middle Ages | 12 |
| Maratti | 152 |
| Marchetti | 152 |
| Mariani, Antonio | 152 |
| Marquis de Lair | 247 |
| Marshall | 323 |
| Martin | 323 |
| Mast, Jean Laurent | 247 |
| Mast | 247 |
| Maucotel, Charles | 247 |
| Maucotel, Charles Adolphe | 248 |
| Maussiell, Leonard | 267 |
| Maher (Maier), Andreas | 267 |
| Mayseder, Joseph, Violinist | 408 |
| Mayson, W. H. | 323 |
| Meares, Richard | 323 |
| Médard, François | 248 |
| Médard, Jean | 248 |
| Médard, Nicolas | 248 |
| Meiberi, Francesco | 152 |
| "Memoirs of Music," Roger North's | 13 |
| Mendelssohn and Haydn as performers on the Violin | 407 |
| Mennégand, Charles, distinguished as a maker, and also as a repairer and "cutter" | 248 |
| Messeguer | 152 |
| Meusidler, Johann | 267 |
| Mezadri, Alessandro | 152 |
| Mezadri, Francesco | 152 |
| "Michael Schnapps," the Fiddle Ogre | 487 |
| Mier | 323 |
| Miremont, Claude Augustin, excellent work as a copyist | 249 |
| Missing Scroll, A | 452 |
| Modena, Duke of, and Stradivari | 191 |
| Modessier | 249 |
| Mohr, Philip | 267 |
| Moldonner | 267 |
| Molique, Bernard, Violinist, and composer | 408 |
| Monochord, Arabian invention of | 7 |
| Montagnana, Domenico, pupil of Antonio Stradivari; termed "the Mighty Venetian;" his work frequently attributed to other great makers; comparison of work with that of his fellow-maker, Carlo Bergonzi; increasing popularity of his instruments; high character of his varnish | 152-157 |
| Montagnana instrument shot through the body, A | 456 |
| Montaldi, Gregorio | 157 |
| Monteverde, Claudio, his opera "Orfeo" | 378 |
| Morella, famous for Viols and Lutes | 157 |
| Moorish influence on music in Spain | 10 |
| Mori, Nicholas, Violinist, and the Royal Academy of Music | 401 |
| Morisca, or Morris Dance, The | 10 |
| Mornington, Earl of, his early development of musical taste | 399 |
| Morris Dance, The | 10 |
| Morrison, John | 323 |
| Mougenot, G. | 250 |
| Mozart, Leopold, and his "Method" for the Violin; his early musical genius | 407 |
| Musical strings, materials used and places of manufacture | 46 |
| Musicians, Royal Society of, its origin | 398 |
| "Musick's Monument" of Thomas Mace | 150 |
| N | |
| Nadotti, Giuseppe | 158 |
| Namy | 250 |
| Naylor, Isaac | 323 |
| Neck of the Violin, Form and material of | 39 |
| Nella, Raffaele | 158 |
| Netherlands, love of music in the | 21 |
| Nezot | 250 |
| Nichols, E. | 323 |
| Nicolas, Didier, Stradivari copyist; good tone | 250 |
| Nicolas, François (Nicolas Fourrier) | 250 |
| Nicolas, Joseph | 250 |
| Niggel, Simpertus | 267 |
| Norborn, John | 323 |
| Norman, Barak, his instruments best of old English character; worked with Nathaniel Cross; follower of Maggini model | 323 |
| Norris John | 325 |
| North, Hon. Roger, his "Memoirs of Music" | 13 |
| Number of constituent parts of the Violin | 35 |
| O | |
| Obelisk, Egyptian, stringed instruments on | 6 |
| Ohberg, Johann | 267 |
| "Old Borax," and the Fiddle Trade | 483 |
| Old Masters, their great care in selection of material | 33 |
| Ole Bull and Fiddle varnish | 500 |
| "Orfeo," The, of Monteverde | 378 |
| Orpheus and Apollo | 3 |
| Orsini, Cardinal, and Stradivari | 190 |
| Ortega | 158 |
| Ott, Johann | 268 |
| Otto, C. U. F. | 268 |
| Otto, Carl | 268 |
| Otto, Christian | 268 |
| Otto, Georg August | 268 |
| Otto, Heinrich | 268 |
| Otto, Jacob August | 268 |
| Otto, Ludwig | 268 |
| Ouvrard, Jean | 250 |
| P | |
| Pacherel | 250 |
| Pacherele, Michel | 250 |
| Paganini's Guarneri Violin, where now deposited, and anecdote of, 340; extraordinary character of his work and career | 392 |
| Paganini, Leigh Hunt on | 469 |
| Pamphilon, Edward | 325 |
| Pandolfi, Antonio | 158 |
| Panormo, George Lewis | 325 |
| Panormo, Joseph, excellent work | 325 |
| Panormo, Louis | 325 |
| Panormo, Vincenzo; follower of Antonio Stradivari, and famous as a genuine copyist; his struggles with adversity; comparison of his work with that of Lupot | 158 |
| Pansani, Antonio | 160 |
| Paolo Veronese, his picture of "The Marriage of Cana" | 376 |
| Parker, Daniel, a good Old English maker | 325 |
| Parth, Andreas Nicholas | 268 |
| Pasta, Antonio | 160 |
| Pasta, Domenico | 160 |
| Paul, Saint | 250 |
| Pazzini, G. | 160 |
| Pearce, James | 326 |
| Pedigree of the family of Antonio Stradivari | 179 |
| Pemberton, Edward | 326 |
| Perry and Wilkinson, good quality and finish | 326 |
| Pfretzschner, Carl Friedrich | 269 |
| Pfretzschner, Gottlob | 268 |
| Philharmonic Society, and Michael C. Festing | 398 |
| Philip V. of Spain, his visit to Cremona | 204 |
| Phillips, a Welsh Violinist, Dr. Johnson's Epitaph on | 431 |
| Picino, G. | 160 |
| Pierray, Claude, excellent work, Italian character, good varnish; an example possessed by Tom Britton | 250 |
| Piète, N. | 251 |
| Pique, F. L., copyist of Stradivari, school of Lupot; good material and workmanship | 251 |
| Pirot, Claude | 252 |
| Plack, F. | 269 |
| Platner, Michel, resemblance of his work to that of Tecchler | 160 |
| Pleasures of Imagination | 497 |
| Plectrum, Reference to | 5 |
| Plowden Collection, The | 367 |
| Pollitzer, Adolphe | 396 |
| Pollusca, Antonio | 161 |
| Pons, César | 252 |
| Pons, Guitar-maker | 252 |
| Pope Pius IX. and the musician | 499 |
| Porlon, Peeter (or Borlon) | 233 |
| Possen, L. | 269 |
| Postiglione, V. | 161 |
| Powell | 326 |
| Pressenda, Giovanni Francesco, high character of his work, and especially of his varnish; his instruments of Amatese and Stradivarian models | 161 |
| Preston, John | 327 |
| Prices of Violins, &c., at various periods | 334-338 |
| "Prison Fiddles," of Guarneri del Gesù | 140 |
| Progress of the Violin | 375 |
| Provence and the origin of the Geige | 18 |
| Ptolemeus, Claudius, on Harmonic Sounds | 6 |
| Puppo, Violinist, Anecdote of | 495 |
| Purcell, Henry, his Sonatas | 383 |
| Purfling of the Violin, 40; of the Brothers Amati | 84 |
| Q | |
| Quack Violin-Doctors | 41 |
| Quantz, Johann, Flautist, and Frederick the Great | 269 |
| Quartette Association, The | 402 |
| R | |
| Rabenalt, Theodore, his drama, "Jacob Stainer" | 277 |
| Racceris | 163 |
| Rambaux, Claude Victor, a clever repairer | 252 |
| Rance, T. | 252 |
| Rauch | 269 |
| Rauch, Jacob | 269 |
| Rauch, Sebastian | 269 |
| Raut, Jean | 252 |
| Ravanon, King of Ceylon, and his instrument called the "Ravanastron" | 4 |
| Rawlins, Henry, patronised by Giardini | 327 |
| Rayman, Jacob, founder of English Violin-making; good character of work and varnish | 327 |
| Reade, Charles, on the "Four Corners" of the Violono, 25; on the Violins of Stradivari, 201; on the art of "cutting," 249; his letter on the Betts Stradivari | 467 |
| Rebab, taken to Spain by the Moors, 7; in Egypt | 8 |
| Rebec, Origin of | 7 |
| Reichel, Johann Conrad | 269 |
| Reichel, Johann Gottfried | 269 |
| Reichers, August | 269 |
| Remy | 252 |
| Remy, Jean Mathurin | 252 |
| Remy, Jules | 252 |
| Renaudin, Léopold | 252 |
| Renault, Nicolas | 252 |
| Ribeca, alleged Arabian origin | 7 |
| Richards, Edwin | 328 |
| Riess | 269 |
| Rinaldi, Gioffredo | 163 |
| Rivolta, G. | 164 |
| Rocca, J. A. | 164 |
| Rode, Violinist and composer, his Caprices and Concertos, and his Instruction Book | 394 |
| Rodiani, G. | 164 |
| Rogeri, Giovanni Battista, pupil of Niccolò Amati; his work highly valued | 164 |
| Rogeri, Pietro Giacomo, pupil of N. Amati; good work; excellent varnish | 165 |
| Rogers, Dr. Benjamin, his four-part Airs for Violins | 381 |
| Rombouts, Peeter | 252 |
| Rook, Joseph | 328 |
| Röscher, C. | 269 |
| Ross, John | 328 |
| Rosse (or Ross) | 328 |
| Rota, Giovanni | 164 |
| Roth, Christian | 269 |
| Rousseau, Jean, his Treatise on the Viol | 3 |
| Rovetta | 164 |
| Royal Amateur, A. | 498 |
| Royal Band of Charles II., its poverty | 382 |
| Royal Society of Musicians, Origin of | 398 |
| Roze | 253 |
| Ruf, Herr S., his History of Jacob Stainer | 275 |
| Ruggeri, Francesco ("Il Per"); excellent character of workmanship, design, and varnish; pupil of Niccolò Amati | 165 |
| Ruggeri, Giacinto | 167 |
| Ruggeri, Giambattista, high-class work in Violins, Violas, and Violoncellos | 167 |
| Ruggeri, Vincenzo | 167 |
| Ruppert, Franz | 269 |
| Ruppert, J. N. | 269 |
| S | |
| Sacchini, S. | 168 |
| Sacquin | 253 |
| Sainprae, Jacques | 269 |
| Sainton, M., Violinist | 395 |
| Salabue, Count Cozio di, his passion for and collection of Violins, 359; his correspondence relative to his purchase of the reliques of Antonio Stradivari | 360 |
| Sale of Cremonese Instruments in 1790 | 493 |
| Salle, a clever restorer | 253 |
| Salò, Gasparo da | 168-170 |
| Salomon, Jean Baptiste, maker | 253 |
| Salomon, Violinist, his concerts in London; his negotiations with Haydn | 400 |
| San Domenico, Cremona, burial-place of Stradivari | 212 |
| Sanoni, Giovanni Battista | 172 |
| Sanscrit Literature, References to the Violin in | 5 |
| Santo, Giovanni | 172 |
| Sanzo, Milan | 172 |
| Saraband, Moorish | 10 |
| Sardagna, Counsellor Von, his contribution to Jacob Stainer's history | 276 |
| Sardi | 172 |
| Saunier | 253 |
| Savart, his paper on the construction of bow instruments | 234 |
| Sawicki | 270 |
| Saxon Fiddle, in the Cottonian MSS. | 16 |
| Scandinavian origin of the Violin, alleged | 13 |
| Scheinlein, Johann Michael | 270 |
| Scheinlein, Mathias F. | 270 |
| Schell, Sebastian | 270 |
| Schlick | 270 |
| Schmidt | 270 |
| Schnoeck, Egidius | 253 |
| Schonfelder, Johann A. | 270 |
| Schonger, Georg | 270 |
| Schonger, Franz | 270 |
| Schorn, Johann, an excellent maker | 271 |
| Schorn, Johann Paul | 271 |
| Schott, Martin, Lute-maker | 271 |
| Schuler, Dr. Johann, his novel, "Jacob Stainer" | 276 |
| Schwartz | 271 |
| Schweitzer | 271 |
| Scott, Sir Walter, on Music and Fiddles | 446 |
| Scroll, A Wandering | 455 |
| Sellas, Matteo, Lute-maker | 172 |
| Serafino, Santo (Sanctus Seraphin), famed for exquisite finish; German and Italian models; excellent varnish and handsome wood, but style inferior, and lacking originality | 172 |
| Shaw, Dr., his "Travels in the East" | 7 |
| Shaw | 328 |
| Silvestre, Hippolyte | 254 |
| Silvestre, Hippolyte Chrétien | 254 |
| Silvestre, Pierre, copyist of Stradivari, of high order and exquisite finish; fellow worker with Lupot and Gand | 253 |
| Simon | 254 |
| Simonin | 254 |
| Simpson | 328 |
| Simpson, Dr. Christopher, Anecdote of | 423 |
| Sivori, Camillo, his high artistic career | 392 |
| "Skit," A musical | 425 |
| "Slab-back" and "Whole-back," The | 32 |
| Smith, Henry | 328 |
| Smith, Thomas | 328 |
| Smith, William | 328 |
| Sneider, Josefo; many of Girolamo Amati's instruments attributed to this maker | 174 |
| Socchi, Vincenzo | 174 |
| Socquet, Louis | 254 |
| "Sonata del Diavolo," Tartini's | 427 |
| Sonatas, Earliest appearance of | 379 |
| Sorsana | 174 |
| Sound-bar, oblique position of, 35; its purpose and character | 36 |
| Sound-holes, crescent-shaped, 22; of Gasparo and Amati, 80; shape and importance of | 40 |
| Sound-post, its purpose and service, 36; its position, 37; methods of fixing | 38 |
| Spohr, Louis, Violinist and composer; his Quartettes and Duets | 408 |
| Spohr and his Guarneri | 478 |
| Spohr and the Collector | 480 |
| "Sports and Pastimes," Strutt's | 16 |
| Stadelmann, Daniel | 271 |
| Stadelmann, Johann Joseph | 271 |
| Stainer, Andreas | 280 |
| Stainer, Jacob, the greatest of German artists; his popularity; Sir John Hawkins' estimate of his work; originality and peculiarity of his model; variation in style; his "Elector Stainers;" his personal history, by Herr S. Ruf and Counsellor Von Sardagna; Dr. Johann Schuler's novel, "Jacob Stainer;" his marriage; his imprisonment for heresy; his poverty and sad death; his numerous followers and libellists | 271-280 |
| Stainer, Markus | 280 |
| Statlee | 174 |
| Staugtinger, Mathias | 280 |
| Steininger, Franz | 281 |
| Steininger, Jacob | 281 |
| Sterne, Laurence, on Hobby-horses | 331 |
| Stolen "Strad," A | 449 |
| Storioni, Lorenzo, follower of Guarneri del Gesù; his freak as to placing the sound-holes; his Violins roughly finished, but valued for acoustical properties | 174 |
| Stoss | 281 |
| Stoss, Martin | 281 |
| Stradivari, Antonio, date of birth, 178; Paolo Lombardini's pamphlet on his life, 185; his marriage, and pedigree of his family, 178-179; affinity of his work with that of his master, Niccolò Amati, 182; second epoch, and change of style, 189-190; possessor of the tools and models of N. Amati, 184; his house at Cremona, 187; extracts from Desiderio Arisi, 185; Vincenzo Lancetti on the purchase of Stradivari's models and tools by Count Cozio di Salabue; the letters of Paolo and Antonio Stradivari, junior, in reference thereto, 188; splendid character of his varnish, 198; Cardinal Orsini's and the Duke of Modena's patronage, 190-191; the "Long Strad," 195; his work for the Spanish Court and for the Grand Duke of Tuscany, 193; letter of Marquis Ariberti, 193; a "Concerto of Violins," 194; the "golden period," 197; the "Betts Strad," 466; variations in qualities of wood, 200; the "Dolphin Strad," 200; Prince Eugene and war in Cremona, 203; visit of Philip V. of Spain to Italy, and entry into Cremona, 204; Stradivari's instruments for presentation to Philip 204, and to the Archduke Charles of Austria, 206; letter of Lorenzo Giustiniani to Stradivari, 206; characteristics of the instruments of his later period, 209-211; place of his burial, 212-214; indifference of Stradivari's own townsmen as to his remains, 215; further notice of Count Cozio di Salabue relative to the Stradivari reliques | 359 |
| Stradivari, Francesco, son and successor of Antonio; excellent character of work, age, and date of death | 217 |
| Stradivari, Omobono, successor to the business of his father Antonio | 218 |
| Stradivari, Paolo, cloth merchant; his correspondence with Count Cozio di Salabue relative to the Stradivari reliques | 219, 360-364 |
| Straube | 281 |
| Strauss, Joseph | 281 |
| Stregner, Magno, Lute-maker | 174 |
| Strings, Italian and other, causes of variation in the quality of; how to choose them; material used in their manufacture; experiments on the tension of | 43-56 |
| Sursano, Spirito | 219 |
| T | |
| Tanegia, Carlo Antonio | 219 |
| Taningard, Giorgio | 219 |
| Tarisio, Luigi, and his collection of Violins; his singular career and character, and painful end | 344-356 |
| Tarr, W. | 328 |
| Tartini, Giuseppe; his musical compositions; high opinion of Dr. Burney on | 388 |
| Tartini, Signor, on the treatment of the Violin | 501 |
| Taylor, meritorious work | 329 |
| Tecchler | 219 |
| Tedesco | 220 |
| Tension and pressure of Violin Strings | 54 |
| Testore, Carlo Antonio, excellent work | 220 |
| Testore, Carlo Giuseppe | 220 |
| Testore, Giovanni | 220 |
| Testore, Paolo Antonio | 220 |
| Teutonic origin of the Violin | 17 |
| Thackeray on Orchestral Music | 471 |
| Theress, Charles | 254 |
| Thibout, Jacques Pierre, a well-known dealer, and excellent workman; his relations with Luigi Tarisio | 254 |
| Thomassin | 254 |
| Thompson | 329 |
| Thorowgood, Henry | 329 |
| Three-stringed Violins | 25 |
| Tieffenbrucker, Leonardo | 220 |
| Tieffenbrucker | 281 |
| Tielke, Joachim, Lute and Guitar-maker; magnificent ornamentation of his work | 281 |
| Tielke, Joachim, Viol and Violin-maker, examples in the Kensington collection | 282 |
| Tilley, Thomas | 329 |
| Tobin | 329 |
| Tobin, Richard | 329 |
| Todini, Michele, his musical clock-work, and new mode of stringing the Violono | 220 |
| Tononi, Carlo Antonio | 221 |
| Tononi, Carlo, excellent work and varnish | 221 |
| Tononi, Felice | 222 |
| Tononi, Giovanni, high-class work | 222 |
| Tononi, Guido | 222 |
| Traditional History of Cremonese makers (see Ceruti, Enrico) | 108 |
| Trapani, Raffaele | 222 |
| Trinity in Unity, Musical illustration of | 423 |
| Troubadours and Trouvères | 10 |
| Tywersus | 254 |
| U | |
| Urquhart, Thomas, high-class work and excellent varnish | 329 |
| V | |
| Vaillant, François | 254 |
| Valentine William | 329 |
| Valenzano, G. M. | 222 |
| "Varnish, Dodd's" | 302 |
| Varnish, Italian, that of the several Schools compared | 70 |
| Venetian Catlins | 46 |
| Veracini, Solo Violinist, 208, 379; J. B. Volumier, and Stradivari | 207 |
| Veronese, Paolo, his "Marriage at Cana" | 375 |
| Véron, Pierre | 255 |
| Vetrini, Battista | 222 |
| Vibrecht, Gysbert | 255 |
| Vieuxtemps, Henri, his Concertos | 396 |
| Vimercati, Paolo | 222 |
| Viola da Braccia, The | 13 |
| Viola di Bordone, The | 270 |
| Violin, construction of the, 27; three-stringed, 25; four-stringed, 26; acoustical properties of the | 30 |
| Violin, Tartini on the art of Playing | 501 |
| Violins, from a medical point of view | 424 |
| Violin, The, and its Votaries | 331 |
| Violinist, An indefatigable | 495 |
| Violono, or Bass-Viol, of Gasparo da Salò | 24 |
| Viols, Ancient, by Hieronymus Brensius | 103 |
| Viols in connection with Madrigal and with Church Service | 21, 377 |
| Viotti, Giovanni Battista, high character of his compositions | 390 |
| Voel, E., excellent character of work | 282 |
| Vogel | 282 |
| Vogler, Johann Georg | 283 |
| Voigt, Martin | 283 |
| Volème (Volumier), G. B., musical director to the King of Poland, and Stradivari's set of twelve Violins | 207 |
| Vuillaume, Claude François | 255 |
| Vuillaume, Jean | 255 |
| Vuillaume, J. B., a prolific maker and excellent workman, 255; his association with Tarisio, and purchase of his collection | 356 |
| Vuillaume, N. F., maker and connoisseur | 255 |
| Vuillaume, Sébastien | 255 |
| W | |
| Wagner, Joseph | 283 |
| Wamsley, Peter, high-class English maker | 329 |
| Wandering Scroll, A | 455 |
| Waterloo Purse, and Stradivarius | 217 |
| Weickert | 283 |
| Weigert | 283 |
| Weiss, Jacob | 283 |
| Wenger, G. F. | 283 |
| Wenger, Lute-maker | 222 |
| Widhalm (or Withalm), Leopold, a high-class imitator of Stainer | 283 |
| Wieniawski, Henri | 396 |
| Willaert, Adrian, the "Father of the Madrigal" | 21 |
| Wise, Christopher | 329 |
| Wish, A. | 495 |
| Withers, Edward | 329 |
| Withers, Edward (2) | 330 |
| Witting, J. G. | 283 |
| "Wolf-notes" | 36 |
| Woods, various, used in the manufacture of the Violin | 31 |
| Wyemann, Cornelius | 283 |
| Y | |
| Young, father and son, and Purcell's catch | 330 |
| Z | |
| Zannetto, Viol-maker | 222 |
| Zanola | 222 |
| Zanoli | 223 |
| Zanotti, A. | 223 |
| Zanti, Alessandro | 223 |
| Zanure, Viol-maker | 223 |
| Zenatto | 223 |
| Zwerger, Antoni | 283 |