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THE VIOLIN

ITS FAMOUS MAKERS AND THEIR IMITATORS

BY

GEORGE HART

WITH

NUMEROUS WOOD ENGRAVINGS FROM PHOTOGRAPHS OF THE WORKS OF STRADIVARI, GUARNERI, AMATI, AND OTHERS, AND

ADDITIONS AND EMENDATIONS BY THE AUTHOR'S SON AND TOWRY PIPER

"To perfect that wonder of travel--the locomotive--has perhaps not required the expenditure of more mental strength and application, than to perfect that wonder of music--the Violin." W. E. GLADSTONE.

LONDON

DULAU AND CO., LIMITED, 37, SOHO SQUARE, W. SCHOTT AND CO., 159, REGENT STREET.

1909

[All rights reserved.]

PREFACE TO THE ENLARGED AND REVISED EDITION

The favourable reception accorded to the previous editions of this work has not only added greatly to the pleasure attending the preparation of a new and revised edition, but has encouraged me to spare no effort within my power to render the volume as interesting and complete as possible. In making these endeavours, the bulk of the book has been necessarily increased by additional information, spread over all the sections of the work, but chiefly on those which treat of the Early History of the leading instrument, and the Italian branches of the subject.

It is in connection with the Italian divisions of the book that the reader will discover, I venture to hope, information which he will regard as interesting in its character, besides being of some historical value. The greater part of this new matter has been obtained from original MSS. belonging to the trustees of the Civic Museum at Cremona, which Institution is located in the palace bequeathed to the citizens, together with its contents, by the Marchese Ponzoni. In the year 1872, Dr. F. Robolotti, the learned historiographer of the town, and a distinguished physician, and the Marchese Senatore Araldi Erizzo, presented to the Institution referred to an impor-

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tant collection of rare books and documents illustrative of the history of the City of Cremona. Among these are two sets of MSS., numbered respectively 729 and 431, the contents of which shed much light on the Italian sections of our subject, and constitute the source of the principal portion of the additional information contained in the following pages. The first-named MS. is the work of Don Desiderio Arisi, a monk of the order of St. Jerome, who in the quiet of his cell in the Convent of St. Sigismondo set himself the task of writing brief notices of Cremonese worthies. The MS. is dated 1720, and includes a most interesting account of the patronage enjoyed by Antonio Stradivari, together with several items of information of more or less worth, relative to the famous Violin-maker. In passing, it may be mentioned that Don Desiderio Arisi was intimate with Stradivari, and gained his knowledge of the facts he recorded from the artist himself. The second-named MSS., from which extracts have been made, are dated 1823. These contain references to the principal makers of Cremona, combined with critical remarks on their works from the pen of Vincenzo Lancetti, a Cremonese poet and biographer. The information contained in these MSS. was chiefly received from Count Cozio di Salabue in the course of correspondence between him and Lancetti.

Nearly the whole of the extracts to which the reader's attention has been directed were given to me as far back as the year 1875, when the original edition of this work was in the press. Finding it impossible to make adequate use of them, in consequence of

the volume being partly printed, I decided to insert a few items at the end of the notice of Antonio Stradivari, and to hold over the remainder in order to distribute the information among the notices of the several makers in a future edition.

I am indebted for the knowledge of the existence of the Arisi and Lancetti MSS., and for their contents, to my friend Signor Fed-erico Sacchi,1 who during his researches among the Robolotti collection had free access to all the original documents, and whose family has long lived near the house occupied by Stradivari. With these advantages, it is almost needless to remark that my friend possessed ample means of aiding me in my endeavours to learn much concerning the makers of his native city. Taking as he does a deep and enthusiastic interest in the past history of Cremonese art, he spared no effort to obtain for me all the information possible. To him I am also indebted for the contents of the correspondence relative to the purchase, by Count Cozio di Salabue, of the tools used by Antonio Stradivari, and for the same having been placed at my disposal by the Marquis dalla Valle. In making these acknowledgments, I desire to tender Signor Sacchi my warmest thanks for the interest he has taken in my undertaking.2

1 Signor Sacchi is the author of--

1. "Cenni sulla vita e le opere di Agostino Aglio pittor Cremonese." Cremona, 1868. 8vo.

2. "Notizie pittoriche Cremonesi." Cremona, 1872. 4to.

3. "I Tipografi Ebrei di Soncino." Cremona, 1877. 4to.

4. "Annali Tipografici della Cittae provincia di Cremona,"

and many other memoirs on Cremonese printers and painters.

2 Signor Sacchi died in 1902.--ED.

The Section containing the Anecdotes has been recruited by additional Miscellanea, including "Hudibras and the Champion Crowdero." In placing this piece of wit and humour before my readers, I have endeavoured to do so in a form as connected as possible, by the selection of passages likely to conduce to that end, without trespassing too much on space, and on the reader's patience.

I am indebted to Mr. G. D. Bishopp for the table containing the amount of tension of Violin strings, and their downward pressure. The information therein contained will doubtless be acceptable to many of my readers.

I owe to M. le Chevalier Kraus, of Florence, the pleasure of including among the engravings those of the instruments made by

Antonio Stradivari for the Grand Duke of Florence, he having obtained for me the necessary photographs.

In conclusion, I have to thank my young friend Mr. Allan Fea for the two illustrations forming the head and tail pieces to "Hudibras and the Champion Crowdero."

28, Wardour Street, London, 1884.

PREFATORY NOTE BY THE EDITORS

Pending the completion of a more costly revised version of the late Mr. Hart's work, the editors, in compliance with what seems

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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.

CONTENTS

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 Trouveres 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 Musica Sacra"--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 Salo and the development of the Violin--The Fretted Fingerboard--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 Salo 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 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 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 Niccolo Amati and worthy of him; brilliancy of his varnish--RUGGERI, GIACINTO--RUGGERI, VINCENZO--RUGGERI, GIAMBATTISTA

163-167

SACCHINI--SALO 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 Salo 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 Gesu; 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, Niccolo 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, Raffaele219-222

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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 Francois 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--Augiere 231

Bachelier--Bassot--Bernardel, Sebastien Philippe--Bertrand, Nicolas--Boivin, Claude--Boquay, Jacques; follower of Girolamo Amati--Borlon, Artus, or Arnould--Borlon (or Porlon), Pierre, Viol-maker--Borlon, Joannes--Borlon, Francois--Boullangier, C.--Boumeester--Bourdet, Sebastien--Bourdet, Jacques--Boussu, Eterbeck--Breton, Le--Brugere 231-234

CALOT--Castagnery, Andrea--Castagnery, Jean Paul--Champion, Rene--Chanot, Francois--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, Andre-Augustin--Claudot, Charles--Claudot, Augustin--Clement-- 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, Gerard--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, FRANCOIS; pupil and successor of Nicolas Lupot; an excellent maker and repairer--Gand, Adolphe--Gand, Eugene--Gavinies, Francois--Germain, Joseph Louis--Germain, Emile--Gosselin--Grand-Gerard--Grandson Fils--Grosset, Paul Francois--Guersan, Louis 239-242

Hel--Henry, Jean Baptiste Felix--Henry, Charles--Henry, Octave--Henry, Eugene--Hofmans, Mathias 242

Jacobs, Hendrik; his work often mistaken for that of Niccolo Amati--Jacobs--Jacquot, Charles (pere)--Jacquot, Charles

(fils)--Jeandel, P. N. 242-243

Koliker 243

Lambert, Jean Nicolas--Lapaix--Laprevotte, Etienne--Leclerc--Lecomte--Leduc, Pierre--Lefebvre--Le Jeune, Fran-

cois--Le Pileur, Pierre--Lesclop, Francois Henry--Louis--Louvet, Jean--Lupot, Jean--Lupot, Laurent--Lupot, Francois--LU-POT, 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--Medard, Francois-- Medard, Nicolas--Medard, Jean--Mennegand, Charles; distinguished as a maker and repairer, and also as a "cutter"--Miremont, Claude Augustin--Modessier--Mougenot 247-250

Namy--Nezot--Nicolas, Francois--Nicolas, Fourrier--Nicolas, Didier--Nicolas, Joseph 250

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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, Cesar--Pons 250-252

Rambaux, Claude Victor--Raut, Jean--Remy--Remy, Jean Mathurin--Remy, Jules--Remy--Renaudin, Leopold--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 Chretien--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, Francois--Veron, 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 Francois--Vuillaume, Sebastien 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 (pere)--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 Ger-man 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--Dopfer, 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, SE-BASTIAN; 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--Lembock 267

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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 Niccolo 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 Dopfer and Nicholas Diel--Steininger, Franz--Stoss--Stoss, Martin--Straube--Strauss, Joseph 269-281

TIEFFENBRUCKER--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 fin-ish 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--

8

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)--Duncan300-305

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 Salo 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

313-314

Gibbs, James--GILKES, SAMUEL; a thorough artist, and pupil of William Forster--Gilkes, William--Gough, Walter

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 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.

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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.