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Pending the completion of a more costly revised version of the late Mr. Hart's work, the editors, in compliance with what seems to be a widespread public desire, have decided to reprint the volume, as issued in popular form and finally corrected by the author in 1887, but with additions and certain emendations desirable in order to bring it into accord with the present state of knowledge, and to enhance its value as a work of reference. To this end the names of a considerable number of makers, either unknown at the time, or not deemed of sufficient prominence for insertion in the edition of 1887, have been incorporated in the text, together with particulars of the distinctive features of their work; and the notices relating to others have, where needful, been modified or recast. In other respects the book remains substantially as the author left it.

28 Wardour Street November, 1909.

SECTION I.—THE EARLY HISTORY OF THE VIOLIN.
		PAGE
1.—	General observations—Early History involved in obscurity and vague conjecture—Jubal, Orpheus, and Apollo—Views of Early Historians of Music, as to Asiatic and Scandinavian origin respectively—Ravanon, King of Ceylon, and the "Ravanastron"—Researches of Sanscrit Scholars—Suggested Arabian origin of the Ribeca, or Rebec, and the Rehab of the Moors—Early Egyptian instruments—Moorish musical influence in Spain—The Troubadours and Trouvères in Northern France, and the Gigeours of Germany	1–11
2.—	Early evidence of Bowed Instruments in the north of Europe—Presumed Scandinavian origin of the German Geige—The Hon. Roger North's "Memoirs of Music"—Martinus Gerbertus, his "De Cantu et Musicâ Sacrâ"—Paul Lacroix' "Arts of the Middle Ages"—Earliest known representations of Bowed Instruments, sixth to ninth century—The Manuscript of St. Blasius—The Cheli or Chelys—Saxon Fiddle in the Cottonian Manuscripts, and in Strutt's "Sports and Pastimes"—The early Saxons' love of Music—The Saxon Fithele in the time of the Norman Conquest—The Geige in France, and the Jongleurs, "dancers, jugglers, and buffoons"—Domestic Music in Germany and the Low Countries in the sixteenth century—The Viol and the Madrigal—Music in Italy—Adrian Willaert, "The Father of the Madrigal"—Northern Musicians attracted to Italian Courts—Development of the Madrigal in Italy—High standard of early Italian work, but under German teaching—The Viols of Brensius of Bologna—Silvestro Ganassi, his work on the Viol—Duiffoprugcar and Gasparo da Salò and the development of the Violin—The Fretted Finger-board—The Violono or Bass Viol—Five-stringed Viols—The three-stringed Fiddle, or Geige, attributed to Andrea Amati, altered by the Brothers Mantegazza to a four-stringed Violin—Advent of the four-stringed Violin ascribed to Gasparo da Salò	12–26
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 makers—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 finger-board; 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 Violins—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 Salò; 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, Niccolò—AMATI, the Brothers ANTONIO and GIROLAMO; probable date of birth; comparison of the respective work, material, and tone of the two brothers—AMATI, NICCOLÒ, 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 Niccolò 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, NICCOLÒ; character of his work—Bergonzi, Zosimo—Bergonzi, Carlo—Bergonzi, Benedetto—Bertassi, Ambrogio—Bertolotti (see Salò)—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—Cerin, 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, Niccolò—Gagliano, Ferdinando—Gagliano, Giuseppe—Gagliano, Giovanni, Antonio, and Raffaele—Galbusera, C. A.—Garani, Michel Angelo—Garani, Niccolò—Gaspara da Salò (see Salò)—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 Niccolò 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 Niccolò Amati—GUARNERI, GIUSEPPE, son of Andrea; his Violins, Violas, and Violoncellos—GUARNERI, PIETRO, brother of Andrea—GUARNERI, PIETRO, grandson of Andrea—GUARNERI, GIUSEPPE (del Gesù); his monogram and cypher; evidence of his birth; sketch of his life, and characteristics of his work; comparison with Stradivari and Gasparo da Salò; 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
	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 Salò; other makers' productions frequently attributed to him; comparison of his work with that of Da Salò—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 models, Stradivari and Amati	158–163
	Racceris—Rinaldi, Gioffredo—Rocca, J. A.—Rodiani—Rota, Giovanni—Rovetta—ROGERI, GIOVANNI BATTISTA ("Bononiensis," from or settled in Bologna); his instruments of large Amati pattern—ROGERI, PIETRO GIACOMO—RUGGERI, FRANCESCO ("Il Per"); early artistic genius; foremost position of his family in Cremona; pupil of Niccolò Amati and worthy of him; brilliancy of his varnish—RUGGERI, GIACINTO—RUGGERI, VINCENZO—RUGGERI, GIAMBATTISTA	163–167
	SACCHINI—SALÒ GASPARO DA ("The Great Brescian,"); his real name Bertolotti; essentially a maker of Viols; primitive character of his instruments; evidence as to date of his work; Ganassi's work on the Art of Playing the Viol; six-stringed and four-stringed Viols; Martin Agricola and his "Musica Instrumentalis;" Quatuor of instruments, Decantus, Altus, Tenor, and Bassus; foundation by Da Salò of Italian Violin-making; gradual and tentative development of his system; high value of his labours as a pioneer; chief characteristics of his work; his nice discrimination in choice of material; Signor Dragonetti's four Double-Basses of this maker, and his presentation of one of them to the Monastery St. Mark's, Venice—Sanoni, Giovanni Battista—Santo, Giovanni—Sanzo—Sardi—Sellas, Matteo—SERAFINO, SANTO; exquisite finish of his work; variation of model; high character of varnish and work; his method of cutting; copied Amati and Stainer—Sneider, Josefo—Socchi, Vincenzo—Sorsana—Stregner, Magno—Storioni; follower of Guarneri del Gesù; his freak as to placing the sound-holes; creditable character of his work in several respects—STRADIVARI, ANTONIO; his renown beyond that of all others; researches as to records of his life; evidence as to date of birth, marriage, and death; Genealogical Table of his family; the inventory of his work remaining at his death; similarity of his early work to that of his master, Niccolò Amati; evidences as to later changes of style; his inheritance of his aged master's tools and models; his purchase of his house in Cremona; contemporary appreciation of his merits; his set of Violins, Altos, and Violoncellos for King James of England; valuable evidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio's purchase of Stradivari's models, tools, and drawings, and their present possession by the Marquis Dalla Valle; instruments made for the Duke of Natalona, the Duke of Savoy, and the Duke of Modena; the "Long Strad"; instruments for the Spanish Court; letter from the Marquis Ariberti; a "Chest of Viols;" a "Concerto;" Stradivari's "golden period," 1700; description of his instruments of this date; the "Betts Strad;" guiding principles as to differences of construction and quality of material; the "Dolphin Strad," its exquisite beauty; tranquil character of Stradivari's life; war in Cremona; Prince Eugene and Villeroy; visit of Philip V. of Spain to Italy, and entry into Cremona; set of instruments for Charles III. of Spain, and for Archduke Charles of Austria; letter from Lorenzo Giustiniani; set of Violins for Augustus, King of Poland; Veracini, the Solo-Violinist, and Stradivari; last epoch of the great maker; quality of his instruments at this period; comparison with those of contemporaries; place of his burial, in the Chapel of the Rosary, with diagram; Polledro's description of the personality of Stradivari; singular apathy of the Cremonese as to their great deceased citizen—STRADIVARI, FRANCESCO and OMOBONO, sons and successors of Antonio; character of their work; correspondence between his son and grandson, Paolo and Antonio, and the agents of Count Cozio di Salabue, relative to the purchase of the models, tools, and drawings of the Maestro—Sursano, Spirito	168–219
	Tanegia, Carlo Antonio—Taningard, Giorgio—TECCHLER, DAVID; his instruments of German and Italian styles, finely formed, and of good quality; his Violoncellos of large size—Testore, Carlo Giuseppe—Testore, Carlo Antonio—Testore, Paolo Antonio—Tieffenbrucker, Leonardo—Todini, Michele; his method of stringing the Violono—Tononi, Carlo—Tononi, Carlo Antonio—Tononi, Giovanni—Tononi, Felice—Tononi, Guido—Trapani, Raffaele	219–222
	Valenzano, G.—Vetrini, Battista—Vimercati	222
	Wenger	222
	Zannetto, Pellegrino—Zanola, Giovanni Battista—Zanotti, Antonio—Zanti, Alessandro—Zanure, Pietro—Zenatto, Pietro	222–223
SECTION VII.—THE FRENCH SCHOOL.
	Origin of the French School in the 17th century; followers of the Brescian and Cremonese types; mediocre character of their earlier efforts, with a few exceptions—De Comble and the second French School; Pique, Lupot, and François Gand; Silvestre, of Lyons—Introduction of the practice of Fiddle-baking; its failure—The copyist, and the Mirecourt factory, the "Manchester of Fiddle-making;" its destructive influence on the interests of true art	224–230
SECTION VIII.—FRENCH MAKERS.
	Aldric—Allar—Amelot—Aubry—Augière	231
	Bachelier—Bassot—Bernardel, Sébastien Philippe—Bertrand, Nicolas—Boivin, Claude—Boquay, Jacques; follower of Girolamo Amati—Borlon, Artus, or Arnould—Borlon (or Porlon), Pierre, Viol-maker—Borlon, Joannes—Borlon, François—Boullangier, C.—Boumeester—Bourdet, Sébastien—Bourdet, Jacques—Boussu, Eterbeck—Breton, Le—Brugère	231–234
	CALOT—Castagnery, Andrea—Castagnery, Jean Paul—Champion, René—Chanot, François—CHANOT, GEORGES; an indefatigable worker, and close copier of Stradivari and Guarneri—Chanot, Georges, fils—Chanot, F.—Chanot, G. A.—Chappuy, Nicolas-Augustin—Chardon, Joseph—Charotte—Chevrier, André-Augustin—Claudot, Charles—Claudot, Augustin—Clément—Cliquot, Henri—Cliquot, Louis Alexandre—Cunault—Cuypers—Cuny	234–237
	Daniel—Darche—David—DE COMBLE, AMBROISE; said to have worked with Stradivari; a skilful worker; good material and varnish—Dehommais—Delanoix—Delaunay—Deleplanque, Gérard—Derazey—Despons, Antoine—Dieulafait—Droulot—Ducheron, Mathurin—Du Mesnil, Jacques	237–238
	Eesbroek, Jean Van, Lute-maker	238–239
	Falaise—Fendt, or Fent—Fleury, Benoist—Fourrier, Nicolas	239
	GAILLARD—GAND, FRANÇOIS; pupil and successor of Nicolas Lupot; an excellent maker and repairer—Gand, Adolphe—Gand, Eugène—Gaviniés, François—Germain, Joseph Louis—Germain, Emile—Gosselin—Grand-Gerard—Grandson Fils—Grosset, Paul François—Guersan, Louis	239–242
	Hel—Henry, Jean Baptiste Felix—Henry, Charles—Henry, Octave—Henry, Eugène—Hofmans, Mathias	242
	Jacobs, Hendrik; his work often mistaken for that of Niccolò Amati—Jacobs—Jacquot, Charles (père)—Jacquot, Charles (fils)—Jeandel, P. N.	242–243
	Koliker	243
	Lambert, Jean Nicolas—Lapaix—Laprevotte, Etienne—Leclerc—Lecomte—Leduc, Pierre—Lefebvre—Le Jeune, François—Le Pileur, Pierre—Lesclop, François Henry—Louis—Louvet, Jean—Lupot, Jean—Lupot, Laurent—Lupot, François—LUPOT, NICOLAS; maker to the Conservatoire; an excellent workman, and named "The French Stradivari," and "The king of modern makers;" characteristics of his work	243–247
	Marquis de Lair—Mast, Jean Laurent—Mast—Maucotel, Charles—Maucotel, Charles Adolphe—Médard, François—Médard, Nicolas—Médard, Jean—Mennégand, Charles; distinguished as a maker and repairer, and also as a "cutter"—Miremont, Claude Augustin—Modessier—Mougenot	247–250
	Namy—Nezot—Nicolas, François—Nicolas, Fourrier—Nicolas, Didier—Nicolas, Joseph	250
	Ouvrard, Jean	250
	Pacherele, Michel—Pacherel—Paul, Saint—PIERRAY, CLAUDE; an excellent workman, following Amati—Piete, N.—PIQUE, F. L.; close copyist of Stradivari; excellent work and material—Pirot, Claude—Pons, César—Pons	250–252
	Rambaux, Claude Victor—Raut, Jean—Remy—Remy, Jean Mathurin—Remy, Jules—Remy—Renaudin, Léopold—Renault, Nicolas—Rombouts, Peeter—Roze	252–253
	Sacquin—Salle—Salomon, Jean Baptiste—Saunier—Schnoeck, Egidius—SILVESTRE, PIERRE; a true artist; follower of Stradivari—Silvestre, Hippolyte—Silvestre, Hippolyte Chrétien—Simon—Simonin, Charles—Socquet	253–254
	Theress, Charles—Thibout, Jacques Pierre; an excellent workman, and well-known dealer; his relations with Luigi Tarisio—Thomassin—Tywersus	254
	Vaillant, François—Véron, Pierre—Vibrecht, Gysbert—Vuillaume, Jean—VUILLAUME, J. B.; a prolific and skilful maker; associated with Tarisio, and purchaser of his collection—Vuillaume, N. F.—Vuillaume, Claude François—Vuillaume, Sébastien	254–255
SECTION IX.—THE GERMAN SCHOOL.
	No trace of Violin manufacture in Germany previous to the middle of the seventeenth century—Pervading influence of Jacob Stainer in the constitution of the German School—Popularity of his model—Mediocre character of the school, with some notable exceptions	256–258
SECTION X.—GERMAN MAKERS.
	Albani, Mathias (père)—ALBANI, MATHIAS (fils); his style Italian, and workmanship excellent—Albani—Alletzie, Paolo—Artmann	259–260
	Bachmann, Carl Ludwig; maker to the Court of Frederick the Great; founder of Concerts for Amateurs at Berlin—Bachmann, O.—Bausch, Ludwig C. A.—Bausch, Ludwig B.—Bausch, Otto B.—Beckmann—Bedler—Bindernagel; made in both German and Italian styles—Buchstadter	260–261
	Christa, Joseph Paul	261
	Diel (or Diehl), Martin—Diel, Nicolaus—Diel, Johann—Diel, Jacob—Diehl, Nicolaus Louis—Diehl, Friedrich—Diehl, Johann—Diehl, Heinrich—Döpfer, Nicolaus—Durfel	261–262
	Eberle, J. Ulric; good copyist; form Italian; made also Viols d'Amour—Edlinger, T.—Edlinger, Joseph Joachim—Elsler, Joseph; made Viols da Gamba—Ernst, Franz Anton; pupil of Antonio Lolli; Court Musician at Gotha	262–263
	Felden, M.—Fichtold, Hans—Fichtl, Martin—Ficker, Johann Christian—Ficker, Johann Gotlieb—Fischer, Zacharie—Frey, Hans; maker of Lutes; related to Albert Durer—Fritzche	263–264
	Gedler, Johann A.—Gedler, Johann B.—Geissenhof, Franz; Stradivari model—Gerle, Johann, Lute-maker—Griesser, Matthias—Grimm, Carl—Grobitz, A.—Gugemmos	264
	Haensel, Johann A.; his "Ueber den Bau der Violin"—Hamberger, Joseph—Hamm—Hammig, Johann Gottfried—Hassert—Hassert—Helmer, Carl—Hildebrandt—Hiltz, Paul—Hoffmann, Martin—Hoffmann, Johann Christian—Hornstainer, Joseph—Hornstainer, Matthias—Horil, Jacob—Huller, August—Humel, Christian—Hunger, Christoph Friedrich	264–265
	Jais, Johann—Jauch, Johann	265
	Karb—Kambl, Johann A.—Kembter—Kiaposse, Sawes—Kirchschlag—Kloz, Matthias; pupil of Stainer—KLOZ, SEBASTIAN; superior model, form flat—Kloz, George—Kloz, Egidius—Kloz, Joseph—Kloz, J. Karl—Knittle, Joseph—Knitting—Kohl, Johann—Kolditz, J.—Kolditz, Mathias Johann—Kramer, H.—Kriner, Joseph	265–267
	Laska, Joseph—Lemböck	267
	Mann, Hans—MAUSSIELL, LEONARD; Stainer model; excellent workmanship; style of Tecchler—Maher (Maier)—Meusidler—Mohr, Philip—Moldonner	267
	Niggel, Simpertus; good workmanship	267
	Ohberg, Johann—Ott, Johann—Otto, Jacob August; maker to the Court of Weimar; author of "Ueber den Bau und die Ehrhaltung der Geige und aller Bogeninstrumente"—Otto, Georg August—Otto, Christian—Otto, Heinrich—Otto, Carl—Otto, C. U. F.—Otto, Ludwig—Otto, Louis—Otto, Hermann	267–268
	Parth, Andreas Nicholas—Pfretzschner, Gottlob—Pfretzschner, Carl Friedrich—Plack, F.—Possen, L.	268–269
	Rauch—Rauch, Jacob; Court Violin-maker—Rauch, Sebastian—Rauch—Reichel, Johann Gottfried—Reichel, Johann Conrad—Reichers, August—Riess—Roth, Christian—Ruppert	269
	Sainprae, Jacques; Baryton Viol-maker—Sawicki—Scheinlein, Mathias—Scheinlein, Johann Michael—Schell, Sebastian—Schlick—Schmidt—Schonfelder, Johann A.—Schonger, Franz—Schonger, Georg—Schorn, Johann; excellent work; high model—Schorn, Johann Paul; Court instrument-maker—Schott, Martin—Schweitzer—Stadelmann, Daniel; good work; Stainer model—Stadelmann, Johann Joseph—STAINER, JACOB; the greatest of German makers, and a thorough artist; his model original; sketch of his history and work; great popularity of his style; his "Elector Stainers;" Herr S. Ruf's personal history of Stainer's life, and the romance founded thereon; Counsellor Von Sardagna's contributions to his history; Rabenalt's drama, "Jacob Stainer," and other poems thereon: "Der Geigenmacher Jacob Stainer von Absam;" said to have been a pupil of Niccolò Amati; his marriage; his appointment as Court Violin-maker; accused of heresy, and imprisoned; pecuniary difficulties, and sad end; his good name frequently clouded by inferior work falsely attributed to him—Stainer, Markus—Stainer, Andreas—Staugtinger, Mathias W.—Steininger, Jacob; related to Döpfer and Nicholas Diel—Steininger, Franz—Stoss—Stoss, Martin—Straube—Strauss, Joseph	269–281
	TIEFFENBRÜCKER—TIELKE, JOACHIM (i.); Lute and Guitar-maker; rich and chaste ornamentation of his work; description of examples extant in England—TIELKE, JOACHIM (ii.); fine examples of a later maker of this name at South Kensington and elsewhere	281–282
	VOEL, E.; excellent work; Stradivari model—Vogel, Wolfgang—Vogler, Johann Georg—Voigt, Martin	282–283
	Wagner, Joseph—Weickert—Weigert—Weiss, Jacob—Wenger, G. F.—Widhalm, Leopold; follower of Stainer; careful finish and good varnish—Wyemann, Cornelius	283
	Zwerger, Antoni	283
SECTION XI.—THE ENGLISH SCHOOL.
	Non-recognition of English makers by Continental writers on the Violin—Causes of the partial decadence of the art in this country as on the Continent—Earliest English makers, and their several models—School of English copyists	284–292
SECTION XII.—ENGLISH MAKERS.
	Absam, Thomas—Adams—Addison, William—Aireton, Edmund; an excellent copyist of Amati—Aldred—Askey, Samuel	293
	Baines—Baker—Ballantine—BANKS, BENJAMIN; the foremost English maker, and termed "The English Amati;" high character of his work and varnish—Banks, Benjamin (2)—Banks, James and Henry—Barnes, Robert—Barrett, John; follower of Stainer; good quality of work—Barton, George—Betts, John; pupil of Richard Duke—BETTS, EDWARD; pupil of Duke, and an excellent copyist; high finish; Amati model—Bolles—Booth, William—Booth—Boucher—Brown, James—Brown, James (2)—Browne, John	293–299
	Cahusac—Carter, John—Challoner, Thomas—Cole, Thomas—Cole, James—Collier, Samuel—Collier, Thomas—Collingwood, Joseph—Conway, William—Corsby, George—Cramond, Charles—Crask, George—Cross, Nathaniel—Crowther, John—Cuthbert; good quality of work	299–300
	Davidson, Hay—Davis, Richard—Davis, William—Dearlove, Mark—Delany, John; his peculiar label—Dennis, Jesse—Devereux, John—Dickinson, Edward—Dickeson, John; excellent copyist of Amati—Ditton—DODD, THOMAS; not a maker, but an employer of makers of highest class, and especially famous for the high character of his varnish—Dodd, Thomas (2)—Dorant, William—DUKE, RICHARD; his name a "household word" with English Violinists; high character of his real work, but frequently and badly counterfeited; his models both Amatese and Stainer—Duke, Richard (2)—Duncan	300–305
	Eglington—Evans, Richard	305
	FENDT, BERNARD; a born Fiddle-maker; a fellow workman with John F. Lott; his instruments copies of Amati, bearing the labels of Thomas Dodd or John Betts, and highly valued—FENDT, BERNARD SIMON; good work, but sometimes artificially "matured;" his Violins, Tenors, Violoncellos, and Double-Basses; follower of the Guarneri and Gasparo da Salò models; his quartett of instruments in the London Exhibition of 1851—Fendt, Martin—Fendt, Jacob; his work finely finished; skilful copies of Stradivari, but artificially and cleverly "aged"—Fendt, Francis—Fendt, William—Ferguson, Donald—Firth—Forster, W.—Forster, William (i.); spinning-wheel and Violin-maker—FORSTER, WILLIAM (ii.); also a maker of spinning-wheels and Violins, and amateur Fiddler; an excellent copyist of Stainer and of the Amati models; high character of his work and varnish; his Double-Basses for the Band of George the Third; his instruments highly valued by Robert Lindley—FORSTER, WILLIAM (iii.); excellent work—Forster, William (iv.)—Forster, Simon Andrew—Frankland—Furber, John—Furber, Henry John	305–313
	Gibbs, James—GILKES, SAMUEL; a thorough artist, and pupil of William Forster—Gilkes, William—Gough, Walter	313–314
	Harbour—Hardie, Matthew; Scotland's best maker—Hardie, Thomas—Hare, John—Hare, Joseph—HARRIS, CHARLES; genuine character of work, of Amati and Stradivari type; exquisite finish and good varnish—Harris, Charles (2)—HART, JOHN THOMAS; pupil of Samuel Gilkes; specially known as connoisseur, collector, and dealer—Heesom, Edward—Hill, Joseph—Hill, William—Hill, Joseph—Hill, Lockey—Hill, William Ebsworth—Holloway, J.—Hume, Richard	314–318
	Jay, Henry; Viol-maker—Jay, Thomas—Jay, Henry; maker of Kits—Johnson, John; music-seller and dealer; referred to by 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 makers"—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.
	Sterne on Hobby-horses—Tender relationships between the Violin and its Votaries—Wendell Holmes on the Violin—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 Gesù brought to the front by Paganini, and Maggini by De Bériot—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, Gavinès, and other leaders in the art—Violin-playing in France and Belgium; M. Rode, M. Alard, M. Sainton, De Bériot 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 Unity—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