SECTION II.--THE CONSTRUCTION OF THE VIOLIN.
The present form of the Violin the result of much research and experiment, but perfected by the great Cremonese mak-ers--Hogarth's "Line of Beauty" exemplified in the Violin--The requisites necessary to the due appreciation of the grace and properties of the Violin, and its exquisite power of expression--Its acoustical properties--Varieties of woods used in its construction-- Methods adopted, and choice of material, by the great Brescian and Cremonese makers--The "whole-back" and "slab-back"--The constituent parts of the Violin--System of placing the sound-bar--Properties and position of the sound-post, and of the bridge;
the neck; the fingerboard; purfling, &c., &c.--The sound-holes of different makers--Needed cautions as to repairing good instruments 27-42
SECTION III.--ITALIAN AND OTHER STRINGS.
Importance of the Strings in the economy of the Violin--Adrien Le Roy's instructions "How to know Strings"--Thomas Mace and "Venetian Catlins"--Character of the different manufactures of Strings--Superiority of the Italian--The raw material not supplied by the feline race--Rules to be observed in choosing Strings--Modern improvements in Stringing--The Strings of Lindley and Dragonetti--Covered Strings--Experiments on the strain and pressure of Strings 43-56
SECTION IV.--THE ITALIAN SCHOOL.
A glance at the rise, culmination, and decadence of Art in Italy, and the Violin as connected therewith--The Italians far
in advance of other nations in the manufacture--The five Schools of Italian makers--Roger North on the demand for Italian Vio-
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lins--Brescia the cradle of the manufacture 57-69
SECTION V.--THE ITALIAN VARNISH.
The formation of the Italian Varnish a secret lost to the world--Lustrous character of that of Cremona--Characteristics of the four classes of Italian Varnish--Conjecture as to the loss of the secret--Influence of the different Varnishes on the tone of the Violin 70-76
SECTION VI.--ITALIAN MAKERS.
Acevo--Albanesi--Albani--Aletzie--Alvani--AMATI, ANDREA; evidence as to date of birth; his Violins small; founded the School of Cremona; probably a pupil of Gasparo da Salo; his model high, and sound-hole inelegant; his varnish deep golden; his "Charles IX. Set" of twenty-four Violins, six Tenors and eight Basses--Amati, Niccolo--AMATI, the Brothers ANTONIO and GIROLAMO; probable date of birth; comparison of the respective work, material, and tone of the two brothers--AMA-TI, NICCOLO, son of Girolamo; date of birth and death; the greatest of his illustrious family; gradual change in style; the "Grand Amati," followed by his great pupil, Stradivari; its exquisite proportions and character; singular beauty of his material, and elegance of design; differences between Niccolo Amati and his several copyists, Italian, German, and English--AMATI, GIROLAMO; date
of birth; his work ascribed to other makers; character of his instruments and his varnish; the last of the Amatis--Ambrosi, Pietro-- Anselmo, Pietro--Antoniazzi, Gaetano--Antonio of Bologna--Antonio, Ciciliano--Assalone, Gasparo 77-94
Bagatella, Antonio--Bagatella, Pietro--BALESTRIERI, TOMMASO; probably a pupil of Stradivari; his work rough, but vigorous, tone and varnish good; his instruments rising in value--Bassiano, Lute-maker, Rome--Bellosio, Anselmo--Bente, Matteo--BERGONZI, CARLO; pupil of Antonio Stradivari; his work closely resembling that of his great master, and of the highest class; increasing appreciation; comparison of his instruments with those of Stradivari and Giuseppe Guarneri; character of his varnish, &c.; Violoncellos and Double-Basses of this maker--Bergonzi, Michel Angelo--BERGONZI, NICCOLO; character of his work--Bergonzi, Zosimo--Bergonzi, Carlo--Bergonzi, Benedetto--Bertassi, Ambrogio--Bertolotti (see Salo)--Bimbi, B.--Borelli, Andrea--Brensio, Girolamo--Brescia, da, Battista--Broschi, Carlo--Busseto, Giovanni 95-104
Calcagni, Bernardo--Calvarola, Bartolommeo--Camilli, Camillo--CAPPA, GIOFFREDO; pupil of the Brothers Amati; character of his work, in Violins and Violoncellos--Casini, Antonio--Castro--Catenar, Enrico--Celioniati, Gian Francesco--Ce-rin, Marco Antonio--Ceruti, Giovanni Battista; a prolific workman--Ceruti, Giuseppe--Ceruti, Enrico, son of Giuseppe; his work much valued by Italian players; exhibited in London and Milan Exhibitions--Cristofori, Bartolommeo--Circapa, Tommaso--Cocco, Cristoforo--Contreras, Joseph--Cordano, Jacopo Filippo--Costa, Pietro Antonio dalla; skilful copier of Amati 104-110
Dardelli, Pietro; a Franciscan Monk; his Viols and Lutes--Despine, A.--Dieffoprugcar, Magno (Magnus Tieffenbrucker)--Dominicelli, Ferrara--DUIFFOPRUGCAR, GASPAR; high character of his Viols 110-112
Farinato, Paolo--Ficker, Johann Christian--Ficker, Johann Gottlieb--Fiorillo, Giovanni--Frei, Hans; Lute and Viol-maker 112-113
GABRIELLI, GIOVANNI BATTISTA; his Violoncellos and Violins of high character--Gaffino, Giuseppe--GAGLIANO, ALESSANDRO; pupil of Antonio Stradivari; character of his work--Gagliano, Gennaro--Gagliano, Niccolo--Gagliano, Ferdinando--Gagliano, Giuseppe--Gagliano, Giovanni, Antonio, and Raffaele--Galbusera, C. A.--Garani, Michel Angelo--Ga-rani, Niccolo--Gaspara da Salo (see Salo)--Gatinari, Francesco--Geroni, Domenico Ostiano--Gibertini, Antonio--GOBETTI (Gobit) FRANCESCO; comparisons of his work with those of Montagnana, Santo Serafino, and Ruggeri--Gofriller, Matteo-- Gofriller, Francesco--Gragnani, Antonio--GRANCINO, PAOLO; pupil of Niccolo Amati; a true artist; classed with Stradivari, Bergonzi, Amati, and Guarneri; his Violas and Violoncellos--Grancino, Giovanni--Grancino, Giovanni Battista--Grancino, Francesco--Grulli, Pietro--GUADAGNINI, LORENZO, and Giovanni Battista; high character of their work--Guadagnini, Gaetano-- Guadagnini, Giuseppe--Guadagnini, Carlo--Guadagnini, Antonio--GUARNERI, ANDREA; the pioneer of his family; worked with Stradivari and Niccolo Amati--GUARNERI, GIUSEPPE, son of Andrea; his Violins, Violas, and Violoncellos--GUARNERI, PIETRO, brother of Andrea--GUARNERI, PIETRO, grandson of Andrea--GUARNERI, GIUSEPPE (del Gesu); his monogram and cypher; evidence of his birth; sketch of his life, and characteristics of his work; comparison with Stradivari and Gasparo da Salo; his "three epochs;" lustrous quality of his varnish; different characters of his wood; the tradition of his "Prison Fiddles"; a "Prison Joseph"--Guidanti, Giovanni--Guillami 113-147
Harton, Michael 147
Kerlino, Joan 147
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Lagetto, Luigi--Landolfi, Carlo Ferdinando; original and generally good quality of his work--Lanza, Antonio Maria--
Lavazza, Santino--Lavazza, Antonio--Linarolli, Venturo--Loly, Jacopo 147-148
MAGGINI, GIOVANNI PAOLO; pupil and follower of Gasparo da Salo; other makers' productions frequently attributed to him; comparison of his work with that of Da Salo--MALER (Lutinist); termed the "Stradivari of Lutes;" Thomas Mace on the art of judging Lutes and Viols--MANTEGAZZA, PIETRO GIOVANNI; eminent as a restorer--Maratti--Mariani, Antonio-- Meiberi, Francesco--Mezadri, Alessandro--Mezadri, Francesco--MONTAGNANA, DOMENICO; pupil of Antonio Stradivari; splendid specimens of his art still extant; his cognomen, "The Mighty Venetian;" rising value of his instruments; comparison with Stradivari and Bergonzi; superior character of his varnish--Montaldi, Gregorio--Morella 149-158
Nadotti, Giuseppe--Nella, Raffaele 158
Ortega 158
Pandolfi, Antonio--PANORMO, VINCENZO; follower of Antonio Stradivari; residence in London and in Ireland; his struggles with adversity; light and graceful character of his work--Pansani, Antonio--Pasta, Antonio--Pasta, Domenico--Picino-- Platner, Michel--Pollusca, Antonio--PRESSENDA, GIOVANNI FRANCESCO; superior work and varnish studied in Cremona; contrast with contemporary workers; humble origin; his connection with Storioni, and with Polledro, the Violinist; his