Dibdin in his Autobiography 318-320
Kennedy, Alexander--Kennedy, John--Kennedy, Thomas 320
Lentz, Johann Nicolaus--Lewis, Edward--Longman and Broderip; music-sellers and publishers--LOTT, JOHN FREDERICK; a finished workman, employed by Thomas Dodd; splendid character of his work; the "King of English Double-Bass mak-ers"--Lott, George Frederick--Lott, John Frederick; his chequered career, and Charles Reade's novel thereon 320-322
Macintosh--Marshall, John--Martin--Mayson, W.--Meares, Richard--Mier--Morrison, John 322-323
Naylor, Isaac--Norborn, John--NORMAN, BARAK; probably a pupil of Urquhart; follower of Maggini; excellent quality of his Violoncellos and Tenors; his partnership with Nathaniel Cross--Norris, John 323-325
Pamphilon, Edward--Panormo, Vincent--Panormo, Joseph; excellent character of work--Panormo, George Lewis-- Panormo, Louis--Parker, Daniel--Pearce, James--Pemberton, Edward--Perry and Wilkinson--Powell--Preston, John 325-327
Rawlins, Henry--Rayman, Jacob; founder of Violin-making in England--Richards, Edwin--Rook, Joseph--Rosse (or
Ross), John--Ross, John (2); good character of work and varnish 327-328
Shaw--Simpson--Smith, Henry--Smith, Thomas--Smith, William 328
Tarr, W.--Taylor--Thompson--Thorowgood, Henry--Tilley, Thomas--Tobin, Richard--Tobin 328-329
Urquhart; excellent character of his work 329
Valentine, William 329
Wamsley, Peter; superior character of his work--Wise, Christopher--Withers, Edward--Withers, Edward (2) 329-330
Young, father and son, and Purcell's Catch 330
SECTION XIII.--THE VIOLIN AND ITS VOTARIES.
9
Sterne on Hobby-horses--Tender relationships between the Violin and its Votaries--Wendell Holmes on the Vio-lin--Thomas Mace on early prices of instruments--Early makers, continental and English--Advent of the Stainer model, and its temporary preference over those of the Italian masters; its depressing influence on prices of Amatis and Stradivaris--Guarneri
del Gesu brought to the front by Paganini, and Maggini by De Beriot--Recognition of the merits of Bergonzi, Guadagnini, and Montagnana--Luigi Tarisio, and his pilgrimages in search of hidden treasures; his progress as amateur, connoisseur, devotee; his singular enthusiasm, and Charles Reade's anecdote thereon; the Spanish Bass in the Bay of Biscay; Tarisio's visit to England, and the Goding collection; his hermit life; purchase of his collection by M. Vuillaume--Principal buyers of Italian instruments at this period, continental and English--Charles Reade as a connoisseur--Count Cozio di Salabue, an ardent votary of the Cremonese Violin; his purchase of Stradivari's instruments, patterns, tools, &c.; his correspondence with Paolo Stradivari relating thereto--William Corbett, and his "Gallery of Cremonys and Stainers"--The collections of Andrew Fountaine and James Goding--The Gillott Collection; its curious origin, its unique character and interesting circumstances attending its sale 331-374
SECTION XIV.--SKETCH OF THE PROGRESS OF THE VIOLIN.
Date of the first appearance of the instrument--The Violin of Leonardo da Vinci--Paolo Veronese's picture, "The Marriage at Cana" (with engraving)--Baltazarini, the earliest known player--The "Concert Orchestra" and the Duke of Ferrara--First use of stringed instruments in the Opera; the "Orfeo" of Claudio Monteverde--Introduction of the Sonata; Dr.
Burney thereon--Corelli, and the "Balletti da Camera"--Dibdin on Corelli's Concertos--Jean Baptiste Lulli, and the Legend of the Stewpans; his influence on early French Violin music--Progress of the Violin in England; Dr. Rogers and John Jenkins--Samuel Pepys on the emoluments of the Royal Band--John Bannister and the earliest English public concerts--Henry Purcell; his Sonatas, and his royal patron, Charles II.--Thomas Britton, the "musical small-coal man," and his concerts in Clerkenwell--John Henry and Thomas Eccles, and itinerant musicians--Francesco Geminiani; his Sonatas and musical works--Progress of the instrument in Italy; Tartini and his compositions; Locatelli, Lolli, and Giardini; Boccherini and his Quintets; Viotti, his School of Violin-playing, and his concerts; Campagnoli, and his "Studies on the Seven Positions of the Violin," and other works; Paganini, and his imitators; Sivori, Ole Bull, Leclair, Gavines, and other leaders in the art--Violin-playing in France and Belgium; M. Rode, M. Alard, M. Sainton, De Beriot and Vieuxtemps--Polish Violinists of note--Lord Chesterfield's instructions to his son relative to Fiddling--Michael Festing and Thomas Britton; origin of "The Philharmonic Society," and of the "Royal Society of Musicians"--Handel legacy to the Royal Society--Early musical proclivities of the Earl of Mornington--Salomon and the Philharmonic; negociations with Haydn--Influence of Salomon on the development of musical taste in England--The Cramers--Nicholas Mori and others--Dando--Henry Blagrove, and his "Concerti da Camera"--Mr. Chappell and his "Monday Popular Concerts"--Henry C. Cooper, and the "Quartett Association"--M. Sainton, Hill, Piatti; John Carrodus, Herr Molique, and the Brothers Holmes--Progress of the Violin in Germany: Graun and Benda; John Sebastian Bach as Violinist and composer; Herr Joachim--Handel, influence of his compositions on the progress of the Violin--Haydn, and his Symphonies and Quartetts; A lady's ideal thereof--Mozart, and his "Method" for the Violin; his early attachment to the instrument--Schubert, Beethoven, Mendelssohn, Fesca, and their influence--Louis Spohr and his works--Bernard Molique--Joseph Mayseder--Kalliwoda--Herr Ernst, Joachim and Strauss, with Herr Wilhelmj, and their concerts
375-409
SECTION XV.--ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.
Hudibras and the Champion Crowdero--George Herbert's references to Music--Christopher Simpson's Trinity in Uni-ty--Shakespeare's Sonnet VIII.--Violins from a medical point of view--"A Musician"--Origin of Tartini's "Sonato del Diavolo"-- Dr. Johnson and the Violin--Dr. Johnson on the Difficulty of Playing the Violin--Dr. Johnson's Epitaph on Phillips, the Welsh Violinist--Dr. Johnson's Knowledge of Music--Dr. Johnson on Fiddling and Freewill--Haydn in London: a "Sweet Stradivari;" Letters of the Rev. Thomas Twining--Gainsborough as a musician--Garrick and Cervetto--The King and the Player--Sir Walter Scott on Music and Fiddles; the Duke of Hamilton's passion for the Violin--A Cinderella Violoncello--A Stolen "Strad"--The Missing Scroll--Another Wandering Scroll--A Montagnana Instrument shot through the body--Fiddle Marks and the Credulous Dabblers--"Guarneri" at a Discount--Dragonetti's Gasparo: Letter thereon by Mr. Samuel Appleby--The Betts Stradivari: Letter
by the late Charles Reade--Leigh Hunt on Paganini--Thackeray on Orchestral Music--Spohr and his Guarneri--Spohr and the Collector--The Ettrick Shepherd and the Violin--The Fiddle Trade: "Old Borax" and "Michael Schnapps," the Fiddle-ogre--The Prince and the "Fugal Vortex"--Sale of Cremonese Instruments at Milan in 1790--An Indefatigable Violinist--A Wish--Living Stradivaris--Pleasures of Imagination--A Royal Amateur--Pius IX. and the Musician--Ole Bull and Fiddle Varnish--Letter from Tartini on the Treatment of the Violin 410-507
INDEX 509
10
LIST OF ILLUSTRATIONS
FRONTISPIECE--Paganini's "Giuseppe Guarneri." 1743.
PLATE
FACING PAGE
I.
Stradivari Viola. 1672
16
II. Jacobus Stainer. 1669
Giuseppe Guarneri del Gesu
Niccolo Amati. Grand Pattern. 1641 32
III. Violoncello by Antonio Stradivari 50
IV. Antonio Stradivari. 1734
The Gillott "Strad." 1715
Giuseppe Guarneri del Gesu. 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