Books › The violin: its famous makers and their imitators (1875)
The violin: its famous makers and their imitators
Hart, George, 1839-1891. [from old catalog]. London, Dubau and co. [etc.], 1875.
On archive.org as violinitsfamous01hartgoog.
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| Scan | Page | Starts | |
|---|---|---|---|
| 1 | This is a digital copy of a book that wa… | Read | |
| 3 | There is no text on this page. | Read | |
| 9 | The Violin: | Read | |
| 11 | DEDICATION. | Read | |
| 12 | my leisure hours, I do so simply because… | Read | |
| 13 | I was long unable to solve. Not to troub… | Read | |
| 14 | at length happily successful. M. Vieuxte… | Read | |
| 15 | Dedication. | Read | |
| 17 | CONTENTS. | Read | |
| 18 | Contents. | Read | |
| 19 | Gaspard di Salo; laid the foundation of… | Read | |
| 20 | Contents. | Read | |
| 21 | SECTION XII.—GERMAN AND DUTCH MAKERS. | Read | |
| 22 | Contents. | Read | |
| 23 | Contents. | Read | |
| 24 | Contents. | Read | |
| 25 | List of Illustrations. | Read | |
| 29 | THE VIOLIN. | Read | |
| 30 | had any knowledge of instruments played… | Read | |
| 31 | 3 | where of a bow prior to that of M. de Co… | Read |
| 32 | 4 | mencement of the eighteenth century. Mar… | Read |
| 33 | 5 | pedestal when played, as also the Accord… | Read |
| 37 | SECTION II. | Read | |
| 38 | deserving of comparison with the works o… | Read | |
| 39 | 9 | upon its varied surface, one leading to… | Read |
| 40 | 10 | in the arrangement of the sound bar (whi… | Read |
| 41 | 11 | very general, and there is every reason… | Read |
| 42 | 12 | timber, the woodcuts given will assist t… | Read |
| 43 | the works of the Old Masters, who seem t… | Read | |
| 44 | was like mosaic, when for a trifling sum… | Read | |
| 45 | pieces, bent to the required form by mea… | Read | |
| 46 | when it is considered that scarcely two… | Read | |
| 49 | type be high built, the post requires to… | Read | |
| 50 | altered in the case of the stop being lo… | Read | |
| 51 | The nut, or rest, is that small piece of… | Read | |
| 52 | In conclusion, I cannot refrain from cau… | Read | |
| 53 | SECTION III. | Read | |
| 54 | strings which are manufactured at Rome a… | Read | |
| 57 | be done artificially in other countries.… | Read | |
| 58 | makings being analogous to October brewi… | Read | |
| 59 | the lines from being perfectly clear. Th… | Read | |
| 60 | ment; and, again, he was a most forcible… | Read | |
| 61 | rise in pitch, a disadvantage common to… | Read | |
| 62 | SECTION IV. | Read | |
| 63 | 29 | writer might be of handling such a subje… | Read |
| 64 | 30 | musical world, Corelli was writing his g… | Read |
| 65 | 31 | a great demand for bow instruments of a… | Read |
| 66 | Violin, and executants, there were numbe… | Read | |
| 69 | 33 | call for its exercise. We need not go fa… | Read |
| 70 | 34 | Amatis, and Stradiuarius were makers who… | Read |
| 71 | 35 | The first is that of Brescia, dating fro… | Read |
| 72 | 36 | early years in that city, and imbibed al… | Read |
| 73 | 37 | We are indebted to Brescia for the many… | Read |
| 74 | Antonius Stradiuarius and Joseph Guarner… | Read | |
| 78 | 40 | SECTION V. | Read |
| 79 | 41 | At last despair has succeeded to all tha… | Read |
| 80 | 42 | and as it was chiefly in vogue after tha… | Read |
| 81 | 43 | must not be supposed that its colouring… | Read |
| 82 | 44 | impossible to give such a description of… | Read |
| 83 | 45 | their use. They dry very slowly, and may… | Read |
| 84 | makers having been noticed, it only rema… | Read | |
| 85 | SECTION VI. | Read | |
| 86 | ALVANI, Cremona, Imitator of Joseph Guar… | Read | |
| 89 | 49 | Violins possess a charming sweetness. Th… | Read |
| 90 | 50 | These skilful makers worked together for… | Read |
| 91 | 51 | ments that we discover the form of sound… | Read |
| 92 | 52 | Andrew's instruments, and this increase… | Read |
| 93 | 53 | The experienced eye may trace the succes… | Read |
| 94 | general outline of the great Amati's ins… | Read | |
| 96 | There is no text on this page. | Read | |
| 97 | 55 | able. Some of his backs have a wave-like… | Read |
| 98 | 56 | victory to be seen in the scrolls of his… | Read |
| 99 | 57 | whose names will be found under the "Ger… | Read |
| 100 | 58 | constructing Violins by means of a gradu… | Read |
| 101 | 59 | much use there is a richness not by any… | Read |
| 102 | 60 | guess or error. As before remarked, Carl… | Read |
| 103 | 61 | instruments of the first order. The mode… | Read |
| 104 | 62 | Carlo Bergonzi furnishes us with another… | Read |
| 105 | 63 | tion of that maker—it lacks the fine fin… | Read |
| 106 | that of his fellow-workers, if we judge… | Read | |
| 109 | ments are little known; they resemble th… | Read | |
| 110 | this is the case in the form of the soun… | Read | |
| 111 | 67 | CELIONATUS, Johannes, Taurini, 1734. Ama… | Read |
| 112 | 68 | Violins. In one of the excellent article… | Read |
| 113 | 69 | EBERTI, Tomasso, 1750. | Read |
| 114 | GAETANO, Antoniazzi, Cremona, 1860. The… | Read | |
| 117 | of large pattern and flat model. If we c… | Read | |
| 118 | fore, superior to that of his father's.… | Read | |
| 119 | 73 | GIORDANE. | Read |
| 120 | 74 | works of the great master. The instrumen… | Read |
| 121 | 75 | GRANCINO, Paolo, Milan, 1665—1692. Pupil… | Read |
| 122 | 76 | racter; it is quite distinct from that o… | Read |
| 123 | 77 | the family have thus received attention… | Read |
| 124 | 78 | this maker are rare, and eagerly sought… | Read |
| 125 | 79 | English possess some of the finest speci… | Read |
| 126 | we could only ascertain them! We know as… | Read | |
| 129 | GUARNERIUS, Joseph, son of Andrea, 1680—… | Read | |
| 130 | The method of this maker with regard to… | Read | |
| 131 | 83 | fine specimen of his Violins, which form… | Read |
| 132 | 84 | the form of the instruments of his uncle… | Read |
| 133 | 85 | "Guarneri (Giuseppe Antonio) figlio de'… | Read |
| 134 | in some slight degree? The most diligent… | Read | |
| 137 | 87 | scroll, in which Guarnerius is as distin… | Read |
| 138 | 88 | soon displayed that rare originality whi… | Read |
| 139 | 89 | his researches is surprising, and there… | Read |
| 140 | 90 | stages which M. Fétis gives us. In the f… | Read |
| 141 | 91 | The effect of this beautiful coruscation… | Read |
| 142 | 92 | These splendid chef d'œuvres are strange… | Read |
| 143 | 93 | wood. I have met with three Violins by C… | Read |
| 144 | 94 | singular character by the mere turn of h… | Read |
| 145 | 95 | others. They may be divided into three o… | Read |
| 146 | with contempt. The half-informed turn it… | Read | |
| 149 | 97 | nerius del Jesù falls with the hammer to… | Read |
| 150 | 98 | LANDULPHUS, Carolus Ferdinandus, Milan,… | Read |
| 151 | 99 | is usually counted as his pupil. There i… | Read |
| 152 | complete. The sides of his instruments a… | Read | |
| 153 | ITALIAN MAKERS. | Read | |
| 154 | Montagnana was in every way original, bu… | Read | |
| 157 | not now as to price, but as to the suppl… | Read | |
| 158 | upon principles of his own, and thus fol… | Read | |
| 159 | to improve upon Stradiuarius in his own… | Read | |
| 160 | He was of a restless temperament, which… | Read | |
| 161 | lived, would have been sufficient in the… | Read | |
| 162 | found time to exercise his skilful power… | Read | |
| 163 | RUGGIERIUS, Franciscus, Cremona, 1668—17… | Read | |
| 164 | RUGERIUS, Guido, Cremona. | Read | |
| 165 | followers, with the exception of Paul Ma… | Read | |
| 166 | It has been before remarked that Gaspard… | Read | |
| 167 | the instrument it is seen to be in perfe… | Read | |
| 168 | Basses, the instrument which has been lo… | Read | |
| 169 | manship, but the style is poor. Sanctus… | Read | |
| 170 | to be valued highly. He appears to have… | Read | |
| 171 | ITALIAN MAKERS. | Read | |
| 172 | made to supply in some way this deficien… | Read | |
| 173 | Rosary, in the parish of St. Matthews."… | Read | |
| 174 | The plan of the church and square here g… | Read | |
| 177 | The Church of St. Domenico was, in conse… | Read | |
| 178 | "That plain white-aproned man who stood… | Read | |
| 179 | formerly called the Square of St. Domeni… | Read | |
| 180 | expressed themselves as being astonished… | Read | |
| 181 | of "Stradiuarius," to the bewilderment o… | Read | |
| 182 | examine the characteristics of the earli… | Read | |
| 183 | Enough has been said to enable the reade… | Read | |
| 184 | diuarius by referring to the engraving o… | Read | |
| 187 | the quatuor of instruments for the Spani… | Read | |
| 188 | period of his life, artistically conside… | Read | |
| 189 | is a rare occurrence to find genius asse… | Read | |
| 190 | afford, the reader may gain, by careful… | Read | |
| 191 | method eminently successful when applied… | Read | |
| 192 | year or so later we find him again makin… | Read | |
| 193 | Plate 17. | Read | |
| 195 | velvety wood, and the varnish is just ha… | Read | |
| 196 | sound-hole—a repetition of his early wor… | Read | |
| 197 | graphies of Cremonese worthies. It is sa… | Read | |
| 198 | The character of the work is wholly dist… | Read | |
| 199 | the work of the same man. They are finel… | Read | |
| 201 | SECTION VII. | Read | |
| 202 | tury, recovering the Italian about the m… | Read | |
| 203 | Many of these makers had a fair amount o… | Read | |
| 204 | He brought it to France in 1664, and sin… | Read | |
| 205 | paring the wood in order to darken it, t… | Read | |
| 206 | They have recently sent forth a new kind… | Read | |
| 207 | SECTION VIII. | Read | |
| 208 | Berroit, Brussels, 1750. | Read | |
| 209 | ments, and the wood is of an excellent d… | Read | |
| 210 | Despont, Antoine, Paris, early in 18th c… | Read | |
| 211 | FALAISE. Copied the Amatis and Stradiuar… | Read | |
| 212 | eyes fail to detect their presence. It w… | Read | |
| 213 | LOUIS, Geneva. Copied Stradiuarius, but… | Read | |
| 214 | attention of the public is directed to t… | Read | |
| 215 | than that of Stradiuarius, he would seem… | Read | |
| 216 | may, it is certain that the varnish of P… | Read | |
| 217 | has shared a similar ignominious fate; b… | Read | |
| 218 | scarcely be considered copies of that ma… | Read | |
| 219 | RAMBEAUX, Paris, 1840—1860. Was a clever… | Read | |
| 220 | was fortunate in procuring wood of beaut… | Read | |
| 221 | mencing life from the first stage of the… | Read | |
| 222 | SECTION IX. | Read | |
| 223 | instrument at once useful and artistic.… | Read | |
| 224 | high. The English Violin makers were thu… | Read | |
| 225 | a foolish desire on the part of the make… | Read | |
| 226 | workers received was considerable. Had i… | Read | |
| 227 | together with other industries, was comp… | Read | |
| 228 | varnish of good quality. The Viols of Ja… | Read | |
| 229 | The semi-Italian character pervading the… | Read | |
| 230 | Upon scanning this goodly list there wil… | Read | |
| 231 | SECTION X. | Read | |
| 232 | 1795. To this famous maker must be given… | Read | |
| 233 | 73 | brand: it would seem, therefore, that he… | Read |
| 234 | 74 | Fortunately, too, for his instruments, s… | Read |
| 235 | 75 | ENGLISH MAKERS. | Read |
| 236 | 76 | Betts, Edward, also a pupil of Richard D… | Read |
| 237 | 77 | ENGLISH MAKERS. | Read |
| 238 | 78 | DAVIS, William, London. Succeeded Richar… | Read |
| 239 | 79 | DICKESON, John, 1750—1780, a native of S… | Read |
| 240 | lent, and had a rich appearance rarely t… | Read | |
| 241 | favourable conditions the results could… | Read | |
| 242 | so highly valued, there being, in their… | Read | |
| 243 | early age. He remained with Dodd many ye… | Read | |
| 244 | under the guidance of Dodd, who steadfas… | Read | |
| 245 | Basses of the Gaspard di Salo form, the… | Read | |
| 246 | other copyist. Had he been allowed to co… | Read | |
| 247 | been of a very unpretending nature, but… | Read | |
| 248 | secured him the patronage of the diletta… | Read | |
| 249 | tone of Forster's Violoncellos as to ren… | Read | |
| 250 | GIBBS, James. Worked for Samuel Gilkes a… | Read | |
| 251 | model is that of Amati; the work through… | Read | |
| 252 | period. The exquisite finish of these in… | Read | |
| 253 | and Manson in 1856; the small but exquis… | Read | |
| 254 | HILL, Joseph London, 1800—1840. Son of t… | Read | |
| 255 | ENGLISH MAKERS. | Read | |
| 256 | Lott, John Frederick, 1775—1853. Was a G… | Read | |
| 257 | McGeorge, Edinburgh, about 1800. | Read | |
| 258 | will be found his name, surrounded with… | Read | |
| 259 | PAMPHILON, Edward, London, 17th century.… | Read | |
| 260 | these Violins have been passing under ot… | Read | |
| 261 | Germany and Italy at this period, and in… | Read | |
| 262 | TAYLOR, London, about 1800. A maker of m… | Read | |
| 263 | Withers, Edward, Coventry Street. Succee… | Read | |
| 264 | SECTION XI. | Read | |
| 265 | The earliest maker of the true Violin in… | Read | |
| 266 | manufacture in Germany. The exceptional… | Read | |
| 267 | not much larger; and our surprise increa… | Read | |
| 268 | DARCHE, Aachen. Imitator of the old mast… | Read | |
| 269 | Fritz, Hans, Nuremberg. | Read | |
| 270 | HÜLLER, Augustine, Shöneck, 1775. | Read | |
| 271 | KIAPOSSE, Sawes, St. Petersburg, 1750. | Read | |
| 272 | KLOZ, Egitia, Tyrol, brother of the form… | Read | |
| 273 | 215 | Possen, Lauscrim, Bavaria, 1550. Maker o… | Read |
| 274 | SCHOTT, Martin, Prague. Instruments of l… | Read | |
| 275 | 7 | a fact which makes it more than ever uni… | Read |
| 276 | 8 | journey to Italy was undertaken when ver… | Read |
| 277 | 9 | on all sides. His originality was concei… | Read |
| 278 | 10 | concerning this maker may be mentioned t… | Read |
| 279 | 11 | Stainer: the array of German instruments… | Read |
| 281 | 13 | SECTION XIII. | Read |
| 282 | 14 | into prisons with improvident artistes;… | Read |
| 283 | 15 | The fancy for the Violin as a curiosity… | Read |
| 284 | 16 | Bolles and Ross (one bass of Bolles I ha… | Read |
| 285 | 17 | though great, was comparatively insignif… | Read |
| 286 | 18 | Their early instruments are of the Germa… | Read |
| 287 | 19 | 1799 and 1804, may be gathered from the… | Read |
| 288 | 20 | Antony, or Nicholas; but attention now b… | Read |
| 291 | 23 | who used the instruments of Stradiuarius… | Read |
| 292 | now in the possession of wealthy amateur… | Read | |
| 293 | 233 | who, early admiring the large proportion… | Read |
| 294 | 234 | instance, the association of de Bériot w… | Read |
| 295 | 235 | when once a demand sets in. Men of enter… | Read |
| 296 | 236 | and to devote the whole of his attention… | Read |
| 297 | 237 | the accessories. It was indeed the case… | Read |
| 298 | 238 | unknown to him became familiar. When he… | Read |
| 299 | 239 | did not believe it. The Italian, to the… | Read |
| 300 | 240 | his stock was not likely to be realised,… | Read |
| 301 | 241 | by Mr. Reade in his article on "Cremona… | Read |
| 302 | 242 | What he did with the Ortega belly is not… | Read |
| 303 | 243 | great makers was so intense, that often,… | Read |
| 304 | 244 | then the finest in Europe. The instrumen… | Read |
| 305 | 245 | supplied, each Fiddle had its tale to re… | Read |
| 306 | around, everything in the utmost disorde… | Read | |
| 309 | 247 | collection at a price, no doubt, which l… | Read |
| 310 | 248 | early life, took the highest interest in… | Read |
| 311 | 249 | the Stradiuarius Violins which Mr. Fount… | Read |
| 312 | 250 | remarkable. At one period he owned twelv… | Read |
| 313 | 251 | the pursuit he had followed with such pe… | Read |
| 314 | 252 | was altogether so peculiar and unexpecte… | Read |
| 315 | 253 | by the connoisseur. After thus wading th… | Read |
| 316 | 254 | easily be found than that which the cont… | Read |
| 317 | 255 | give birth to this conjecture. Upon remo… | Read |
| 318 | 256 | SECTION XIV. | Read |
| 319 | 257 | Julian Tiburtino and Louis Lasagrino, wh… | Read |
| 320 | 258 | the Violin was in use prior to 1550. The… | Read |
| 321 | 259 | Venice and Ferrara. At the latter place… | Read |
| 322 | register of the first position. Mersennu… | Read | |
| 323 | Violin playing. He had followers in ever… | Read | |
| 324 | The Sonatas and airs for Violins common… | Read | |
| 327 | 263 | well where he retailed that branch of co… | Read |
| 328 | 264 | In 1716 he published a set of twelve son… | Read |
| 329 | 265 | are sometimes difficult; but the passage… | Read |
| 330 | 266 | one of his feats to play on one string;… | Read |
| 331 | 267 | productions, and their elegance and bril… | Read |
| 332 | 268 | long since superseded by works of greate… | Read |
| 333 | 269 | taining accounts the reader can turn for… | Read |
| 334 | 270 | where he was engaged at the opera. Lecle… | Read |
| 335 | 271 | Bailliot and Kreutzer were associated wi… | Read |
| 336 | 272 | of the most delicious players we have ha… | Read |
| 337 | 273 | Wieniawski and Lotto have both gained hi… | Read |
| 338 | 274 | In the reign of King George III the musi… | Read |
| 339 | 275 | ment for the formation of the Royal Soci… | Read |
| 341 | ere William and Francis Cramer, to | Read | |
| 342 | scheme, but the enterprising director, n… | Read | |
| 345 | I have not found it convenient to refer… | Read | |
| 346 | instrument and also several solos and ot… | Read | |
| 347 | crochets and quavers soon finds himself… | Read | |
| 348 | quartett, the conversational powers of w… | Read | |
| 349 | ment for the formation of the Royal Soci… | Read | |
| 350 | Duke of Cumberland, and Earl Mornington.… | Read | |
| 351 | in England, were William and Francis Cra… | Read | |
| 352 | scheme, but the enterprising director, n… | Read | |
| 354 | of the most delicious players we have ha… | Read | |
| 355 | Wieniawski and Lotto have both gained hi… | Read | |
| 356 | quartett, the conversational powers of w… | Read | |
| 357 | ment for the formation of the Royal Soci… | Read | |
| 358 | Duke of Cumberland, and Earl Mornington.… | Read | |
| 359 | in England, were William and Francis Cra… | Read | |
| 360 | one of his feats to play on one string;… | Read | |
| 361 | 267 | productions, and their elegance and bril… | Read |
| 362 | 268 | long since superseded by works of greate… | Read |
| 363 | 269 | taining accounts the reader can turn for… | Read |
| 364 | 270 | where he was engaged at the opera. Lecle… | Read |
| 365 | 271 | Bailliot and Kreutzer were associated wi… | Read |
| 366 | 272 | of the most delicious players we have ha… | Read |
| 367 | 273 | Wieniawski and Lotto have both gained hi… | Read |
| 368 | 274 | quartett, the conversational powers of w… | Read |
| 369 | 275 | ment for the formation of the Royal Soci… | Read |
| 370 | The Sonatas and airs for Violins common… | Read | |
| 373 | 263 | well where he retailed that branch of co… | Read |
| 374 | 264 | In 1716 he published a set of twelve son… | Read |
| 375 | 265 | are sometimes difficult; but the passage… | Read |
| 376 | 266 | one of his feats to play on one string,… | Read |
| 377 | 267 | productions, and their elegance and bril… | Read |
| 378 | 268 | long since superseded by works of greate… | Read |
| 379 | 269 | taining accounts the reader can turn for… | Read |
| 380 | 270 | where he was engaged at the opera. Lecle… | Read |
| 381 | 271 | Bailliot and Kreutzer were associated wi… | Read |
| 382 | 272 | of the most delicious players we have ha… | Read |
| 383 | 273 | Wieniawski and Lotto have both gained hi… | Read |
| 384 | 274 | quartett, the conversational powers of w… | Read |
| 385 | 275 | ment for the formation of the Royal Soci… | Read |
| 386 | register of the first position. Mersennu… | Read | |
| 387 | Violin playing. He had followers in ever… | Read | |
| 388 | The Sonatas and airs for Violins common… | Read | |
| 391 | 263 | well where he retailed that branch of co… | Read |
| 392 | 264 | In 1716 he published a set of twelve son… | Read |
| 393 | 265 | are sometimes difficult; but the passage… | Read |
| 394 | 266 | one of his feats to play on one string,… | Read |
| 395 | 267 | productions, and their elegance and bril… | Read |
| 396 | 268 | long since superseded by works of greate… | Read |
| 397 | 269 | taining accounts the reader can turn for… | Read |
| 398 | 270 | where he was engaged at the opera. Lecle… | Read |
| 399 | 271 | Bailliot and Kreutzer were associated wi… | Read |
| 400 | 272 | of the most delicious players we have ha… | Read |
| 401 | 273 | Wieniawski and Lotto have both gained hi… | Read |
| 402 | 274 | quartett, the conversational powers of w… | Read |
| 403 | 275 | ment for the formation of the Royal Soci… | Read |
| 404 | Duke of Cumberland, and Earl Mornington.… | Read | |
| 405 | in England, were William and Francis Cra… | Read | |
| 406 | long since superseded by works of greate… | Read | |
| 407 | 269 | taining accounts the reader can turn for… | Read |
| 408 | 270 | where he was engaged at the opera. Lecle… | Read |
| 409 | 271 | Bailliot and Kreutzer were associated wi… | Read |
| 410 | 272 | of the most delicious players we have ha… | Read |
| 411 | 273 | Wieniawski and Lotto have both gained hi… | Read |
| 412 | 274 | quartett, the conversational powers of w… | Read |
| 413 | 275 | ment for the formation of the Royal Soci… | Read |
| 414 | long since superseded by works of greate… | Read | |
| 415 | 269 | taining accounts the reader can turn for… | Read |
| 416 | 270 | where he was engaged at the opera. Lecle… | Read |
| 417 | 271 | Bailliot and Kreutzer were associated wi… | Read |
| 418 | 272 | of the most delicious players we have ha… | Read |
| 419 | 273 | Wieniawski and Lotto have both gained hi… | Read |
| 420 | 274 | quartett, the conversational powers of w… | Read |
| 421 | 275 | ment for the formation of the Royal Soci… | Read |
| 422 | Duke of Cumberland, and Earl Mornington.… | Read | |
| 423 | in England, were William and Francis Cra… | Read | |
| 424 | scheme, but the enterprising director, n… | Read | |
| 426 | scheme, but the enterprising director, n… | Read | |
| 429 | 279 | I have not found it convenient to refer… | Read |
| 430 | 280 | instrument and also several solos and ot… | Read |
| 431 | 281 | crochets and quavers soon finds himself… | Read |
| 432 | 282 | quartett, the conversational powers of w… | Read |
| 433 | 283 | ment for the formation of the Royal Soci… | Read |
| 434 | 284 | Duke of Cumberland, and Earl Mornington.… | Read |
| 435 | 285 | in England, were William and Francis Cra… | Read |
| 438 | 288 | Duke of Cumberland, and Earl Mornington.… | Read |
| 439 | 289 | in England, were William and Francis Cra… | Read |
| 440 | 290 | scheme, but the enterprising director, n… | Read |
| 442 | 292 | in Fiddle connoisseurship. It is very am… | Read |
| 443 | 293 | blocks and linings. Rest assured, if the… | Read |
| 444 | Violin, and an excellent player. One eve… | Read | |
| 445 | "MIGHTY VENETIAN" MONTAGNANA. | Read | |
| 447 | 295 | double case was formally opened and the… | Read |
| 448 | 296 | LIVING STRADIUARIUSES. | Read |
| 449 | 297 | awaited the host. Presently he entered,… | Read |
| 450 | 298 | A CINDERELLA VIOLONCELLO. | Read |
| 451 | 299 | purchase were related. Lindley was much… | Read |
| 452 | 300 | the owner consented. He resolved to rema… | Read |
| 453 | 301 | bronzes, dainty bits of Joshua Wedgwood'… | Read |
| 454 | 302 | dealer may not awaken to a sense of the… | Read |
| 455 | 303 | trifling sum, and the more so, when it w… | Read |
| 456 | 304 | reaching home, he took it from its case,… | Read |
| 457 | 305 | considerable value. He then recounted th… | Read |
| 458 | 306 | The monks stood regarding the performer… | Read |
| 459 | 307 | other person in this country. He very ki… | Read |
| 460 | 308 | Double Bass, which is now in this house,… | Read |
| 461 | 309 | LEIGH HUNT ON PAGANINI. | Read |
| 462 | 'Paganini, the first time I saw and hear… | Read | |
| 465 | manner uttered, "O Christ!" Musicians pr… | Read | |
| 466 | melody overflows into the air richly, li… | Read | |
| 467 | ably on the flute. His greatest pleasure… | Read | |
| 468 | harmoniously becalmed."—D'Israeli's Curi… | Read | |
| 469 | and subdivisions of notes upon his Violi… | Read | |
| 470 | "Johnson: 'Nay, sir, that is not to the… | Read | |
| 471 | The prose part is curious: | Read | |
| 472 | lord of the wooden one; he has a hundred… | Read | |
| 473 | away my pen, so does he wear away the st… | Read | |
| 474 | Awakened by the violent emotion, I insta… | Read | |
| 475 | A very fine Violin, by Stradiuarius; thi… | Read | |
| 476 | Curtis, Bart.—£130. (Vuillaume). 406: An… | Read | |
| 477 | 323 | fine Double-Bass—£41; sold to Lord G. Fi… | Read |
| 478 | 324 | SPOHR AND HIS GUARNERIUS. | Read |
| 479 | 325 | listened awhile, I might, perhaps, have… | Read |
| 480 | 326 | THE ETTRICK SHEPHERD AND THE VIOLIN. | Read |
| 481 | 327 | indignation. To his honour be it mention… | Read |
| 482 | 328 | deceive common observers, are naked and… | Read |
| 483 | 329 | twangs, with the thumb of his left hand,… | Read |
| 484 | 330 | that their instruments bray when they sh… | Read |
| 485 | 331 | the first judge in Europe; Fiddles trave… | Read |
| 486 | 332 | accident, bought the lot of splintered f… | Read |
| 487 | 333 | that you might have been treated to the… | Read |
| 488 | 334 | professional hands in the whole kingdom;… | Read |
| 489 | 335 | Dr. Abercrombie recommends "Careful clas… | Read |
| 490 | 336 | Unity. 'When I further consider,' he say… | Read |
| 491 | 337 | instruments. Who can forget that the you… | Read |
| 492 | 338 | TO A BAD FIDDLER. | Read |
| 493 | 339 | the instructions you wish from me, by le… | Read |
| 494 | 340 | swell upon an open string, for example,… | Read |
| 495 | 341 | and detached, with a little space betwee… | Read |
| 496 | 342 | Of such divisions you may play extempore… | Read |
| 497 | 343 | to be mistress of the finger-board. This… | Read |
| 498 | 344 | you can imagine between a semiquaver and… | Read |
| 499 | 345 | INDEX. | Read |
| 500 | 346 | INDEX. | Read |
| 501 | 347 | INDEX. | Read |
| 502 | 348 | Gagliano, Alessandro, pupil of Stradiuar… | Read |
| 503 | 349 | INDEX. | Read |
| 504 | 350 | INDEX. | Read |
| 505 | 351 | INDEX. | Read |
| 506 | INDEX. | Read |
Makers from this book
146, A to Z. The first few: