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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Footnotes

  1. This story is given as written by Mrs. Lydia Maria Child, who heard Ole Bull tell it when he first came to the United States. Mrs. Child always preserved better than any one else his peculiar manner of narration.

    [1]

  2. This is the sole foundation for the absurd story that has appeared in certain encyclopædias, to the effect that Ole Bull had killed a fellow–student in a duel.

    [2]

  3. A freeborn owner and cultivator of inherited soil, more than farmer and less than nobleman.

    [3]

  4. Norway and Denmark, it will be remembered, were formerly included under the same government.

    [4]

  5. Ole Bull used to mention a personal grievance which Janin had against Paganini: the latter was asked to play for the poor of Janin’s native town and refused.

    [5]

  6. Mori had influenced Madame Grisi, but Rubini and Lablache had stood by him. “What are you reading? I know the hand–writing,” said Lablache, looking over Grisi’s note the very hour of the concert. “Infamous! but never mind; play as you did at the rehearsal, and be sure the audience will forget the rest of us.”

    [6]

  7. This poem, with a translation, will be found in the Appendix.

    [7]

  8. The first baby, the darling child, whom Ole Bull mentioned in his letters before and after his birth, with the greatest tenderness.

    [8]

  9. They had received the news of the child’s death soon after their departure from Copenhagen.

    [9]

  10. His love for his mother’s mother was one of the strongest and tenderest of his heart–ties. He loved, respected, and admired her. She had from his earliest childhood sympathized with him. At her knee he learned the folk–songs and folk–lore of Norway. Her teachings influenced his thoughts and life, and to dream of her or his father gave him great happiness. Her dear face, he used to say, seemed to be near him when he played his “Mother’s Prayer.”

    [10]

  11. An eminent Norwegian painter, who was professor at the Royal Academy in Dresden. He was a warm personal friend of Ole Bull.

    [11]

  12. The recipient of this honor is lifted on the shoulders of two men, two more supporting the legs in front, and two the arms behind, and he is carried in triumphal procession, the flaming punch bowl held aloft, while the students, each with a glass in one hand and a lighted taper in the other, follow in order.

    [12]

  13. They are printed in the Appendix.

    [13]

  14. He had just heard of the death of their youngest son.

    [14]

  15. Among the correspondence of this period is a long letter from the well–known Norse poet, Aasmund O. Winje, dated at Christiania, December 3, 1849, and beginning thus:—

    “Norse Ole! My naïve address will almost shock you; I could find no characteristic epithet for you, and, so far as I know, the peasants call you only Ole Bull—as if titles did not become this name. Therefore, Norse Ole!... May all go well! May the annoyances which necessarily attend your undertaking be as few as possible!”

    [    15]

  16. Kristofer Janson has given a graphic and charming picture of Möllar–gutten in his “Spell–Bound Fiddler,” translated by Auber Forestier.

    [16]

  17. Ole Bull was made an honorary member of the Students’ Union in 1848, and composed for a fête given him at the time his “Saeterbesög,” which he dedicated to the Norse Students.

    [17]

  18. A most beautiful spot, the scene of “Frithiof’s Saga.”

    [18]

  19. This son had fallen from the mast of a sailing vessel in the Mediterranean; he was buried at Malta.

    [19]

  20. The violoncello was given by Ole Bull to this same friend.

    [20]

  21. This instrument was used by him in his concerts from that time.

    [21]

  22. A Norwegian melody.

    [22]

  23. Ole Bull’s housekeeper for many years.

    [23]

  24. The housekeeper.

    [24]

  25. His own nickname for himself.

    [25]

  26. Gray and blue are the colors worn by the peasants in Norway.

    [26]

  27. Joachim.

    [27]

  28. Ole Bull was almost convinced that Duiffoprugcar and Da Salo were names of one man, and thought the Brescian labels bearing the late date of 1610 spurious. This doubtful point, which he could not wholly clear up, is given because he accepted although he could not prove it.

    [28]

  29. These descriptions were given one day at the request of a friend.

    [29]

  30. See Mr. Colton’s note p. 376.

    [30]

  31. See page 104 above.

    [31]

  32. Poet Laureate of Norway.

    [32]