Books › The violin, its famous makers and their imitators (1887)
The violin, its famous makers and their imitators
Hart, George, 1839-1891. London, Dulau, 1887.
On archive.org as cu31924022391969.
446 pages read (scans 4 to 454)544 names found101 makers on this site cite it
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Pages
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| Scan | Page | Starts | |
|---|---|---|---|
| 4 | The Violin: | Read | |
| 5 | There is no text on this page. | Read | |
| 6 | THE VIOLIN AND ITS MUSIC, | Read | |
| 7 | Quarto, about 500 pages, price 25s. Octa… | Read | |
| 8 | THE VIOLIN. | Read | |
| 9 | There is no text on this page. | Read | |
| 10 | DEDICATION | Read | |
| 11 | some little anxiety as to the reception… | Read | |
| 12 | DEDICATION. | Read | |
| 13 | has exerted himself to carry out my view… | Read | |
| 14 | PREFACE TO THE ENLARGED AND REVISED EDIT… | Read | |
| 15 | illustrative of the history of the City… | Read | |
| 16 | I am indebted for the knowledge of the e… | Read | |
| 17 | I am indebted to Mr. G. D. Bishopp for t… | Read | |
| 19 | ment of the Madrigal in Italy—High stand… | Read | |
| 21 | Bagatella, Antonio—Bagatella, Pietro—BAL… | Read | |
| 22 | CONTENTS. | Read | |
| 23 | GAZZA, Pietro Giovanni; eminent as a res… | Read | |
| 24 | his work; his nice discrimination in cho… | Read | |
| 25 | and for Archduke Charles of Austria; let… | Read | |
| 26 | CONTENTS. | Read | |
| 27 | Lambert, Jean Nicolas—Lapaix—Laprevotte,… | Read | |
| 28 | CONTENTS. | Read | |
| 29 | Karb — Kambl, Johann A. — Kembter — Kiap… | Read | |
| 30 | CONTENTS. | Read | |
| 31 | finish; Amati model—Bolles—Booth, Willia… | Read | |
| 32 | cellent work—Forster, William (iv.)—Fors… | Read | |
| 33 | CONTENTS. | Read | |
| 34 | SECTION XIV.—SKETCH OF THE PROGRESS OF T… | Read | |
| 35 | CONTENTS. | Read | |
| 36 | CONTENTS. | Read | |
| 37 | There is no text on this page. | Read | |
| 38 | THE VIOLIN. | Read | |
| 39 | all remains more hopelessly obscured and… | Read | |
| 40 | his brother's name was Jubal; from him d… | Read | |
| 41 | view of our subject would be singularly… | Read | |
| 42 | The inquiry is simplified from the point… | Read | |
| 43 | line. We have early mention of this part… | Read | |
| 44 | only two strings, as it still has among… | Read | |
| 45 | evidence of bowed instrument cultivation… | Read | |
| 46 | cultivated sufficiently, if at all, to l… | Read | |
| 47 | II. | Read | |
| 48 | we consider the limited sources of infor… | Read | |
| 49 | able manuscripts referred to by the auth… | Read | |
| 50 | writers of different epochs relative to… | Read | |
| 51 | ascribes the manuscript to the tenth cen… | Read | |
| 52 | and strung with three strings.1 The use… | Read | |
| 53 | northern word Geiga, meaning trembling,… | Read | |
| 54 | condition of instrumental music about th… | Read | |
| 55 | order, and able executants, were to be f… | Read | |
| 56 | and workmanship, and present a marked co… | Read | |
| 57 | supplying us with authentic information… | Read | |
| 58 | the common Geige or three-stringed Fiddl… | Read | |
| 59 | SECTION II. | Read | |
| 60 | progress" which most things are destined… | Read | |
| 61 | monomania, and attributable to a desire… | Read | |
| 62 | power, and the extraordinary combination… | Read | |
| 63 | of tone produced by each sample of wood,… | Read | |
| 64 | parent that the curls of the wood beneat… | Read | |
| 65 | of foreign growth, and was taken from th… | Read | |
| 66 | the sides, like the back, of maple, in s… | Read | |
| 67 | exactly identical structure, it must be… | Read | |
| 68 | any uniform arrangement of the sound-pos… | Read | |
| 69 | but little attention to this portion of… | Read | |
| 70 | The amount of finish given to the button… | Read | |
| 71 | prone to be continually unsettling their… | Read | |
| 72 | SECTION III. | Read | |
| 73 | that the bridge of to-day is almost iden… | Read | |
| 74 | understand how to know strings." "It is… | Read | |
| 75 | glowing terms of his Venetian Catlins. T… | Read | |
| 76 | the manufacture. Their strings are caref… | Read | |
| 77 | tion. A time-honoured error is thus comm… | Read | |
| 78 | cient to stretch from the bridge to the… | Read | |
| 79 | heavier stringing than an Italian instru… | Read | |
| 80 | putting on the fourth string. The instru… | Read | |
| 81 | THE VIOLIN. | Read | |
| 82 | THE STRINGS. | Read | |
| 83 | be 8 lbs.; and therefore for the above a… | Read | |
| 84 | SECTION IV. | Read | |
| 85 | rounding their favourite with an interes… | Read | |
| 86 | Benvenuto Cellini, the greatest goldsmit… | Read | |
| 87 | merit, cannot be doubted. They were surr… | Read | |
| 88 | Savoy, the Duke of Modena, the Marquis A… | Read | |
| 89 | developed itself, other less famous plac… | Read | |
| 90 | Tecchler, and Tononi. The Venetian schoo… | Read | |
| 91 | be counted among Violin makers. The only… | Read | |
| 92 | A visible individuality is found through… | Read | |
| 93 | profitable trade) of the masterpieces of… | Read | |
| 94 | SECTION V. | Read | |
| 95 | At last despair has succeeded to all tha… | Read | |
| 96 | able to suppose that it was an ordinary… | Read | |
| 97 | have gained no nearer approaches to the… | Read | |
| 98 | instrument is of little importance provi… | Read | |
| 99 | of varnish in relation to tone, and be l… | Read | |
| 100 | SECTION VI. | Read | |
| 101 | ALVANI, Cremona. Is said to have made in… | Read | |
| 102 | Canon of the Cathedral of Cremona.1 Andr… | Read | |
| 103 | ments of Andrea Amati are now very scarc… | Read | |
| 104 | registers; also the date of his marriage… | Read | |
| 105 | made manifest. The style of each was dis… | Read | |
| 106 | mode of cutting it also varies considera… | Read | |
| 107 | age eighteen. In the following year the… | Read | |
| 108 | this gives them an appearance of promine… | Read | |
| 109 | with the character of the body of the in… | Read | |
| 110 | passed by any of his later works. Where… | Read | |
| 111 | Lancetti, writing of Niccolò Amati in 18… | Read | |
| 112 | signature of Francesco Ruggieri detto il… | Read | |
| 113 | of Stradivari rather than that of Amati.… | Read | |
| 114 | is a Viol da Gamba by this maker at the… | Read | |
| 115 | were evidently selected with judgment, a… | Read | |
| 116 | in his work, and in the way in which he… | Read | |
| 117 | the several points of deviation unless t… | Read | |
| 118 | of both Stradivari and Guarneri, and del… | Read | |
| 119 | times of a pale red, and again, of rich… | Read | |
| 120 | BERGONZI, Niccolò, Cremona. Son of the a… | Read | |
| 121 | Bianchi, Niccolò, Genoa and Nice. Worked… | Read | |
| 122 | ITALIAN MAKERS. | Read | |
| 123 | with the elegant outline of Amati. The p… | Read | |
| 124 | growth, and the last with that of home g… | Read | |
| 125 | CATENAR, Enrico, Turin, about 1671. | Read | |
| 126 | relative to the great makers of his nati… | Read | |
| 127 | DARDELLI, Pietro, Mantua, about 1500. Is… | Read | |
| 128 | France. The name of Duiffoprugcar has be… | Read | |
| 129 | GABRIELLI, Giovanni Battista, Florence,… | Read | |
| 130 | to follow his calling. There is evidence… | Read | |
| 131 | GAGLIANO, Niccolò, Naples, son of Alessa… | Read | |
| 132 | quainted with his instruments. Mention i… | Read | |
| 133 | When we see Violins bearing the stamp of… | Read | |
| 134 | Venetian instrument the wood of which is… | Read | |
| 135 | mercial importance of Venice would, of c… | Read | |
| 136 | is it singular in the Italian branch of… | Read | |
| 137 | Son of Lorenzo Guadagnini. | Read | |
| 138 | of Giovanni Battista more closely resemb… | Read | |
| 139 | mately went to Lombardy, and settled in… | Read | |
| 140 | to the four quarters of the globe. Littl… | Read | |
| 141 | we learn that Andrea Guarneri does not a… | Read | |
| 142 | struct instruments entirely distinct fro… | Read | |
| 143 | He made Violins, Tenors, and Violoncello… | Read | |
| 144 | Cremona about the period when his father… | Read | |
| 145 | of June, 1683, and was baptized on the 1… | Read | |
| 146 | The most diligent student will, however,… | Read | |
| 147 | absence of any historical data, we set a… | Read | |
| 148 | to the type of Gasparo da Salò, particul… | Read | |
| 149 | In order that the reader may better unde… | Read | |
| 150 | And now they change; a paler shadow stre… | Read | |
| 151 | These splendid chefs-d'œuvre are strange… | Read | |
| 152 | of wood, when he had the opportunity of… | Read | |
| 153 | is most observed, there is an appearance… | Read | |
| 154 | The first sets about making his instrume… | Read | |
| 155 | at last the opportunity of securing the… | Read | |
| 156 | sound-hole long; purfling badly let in;… | Read | |
| 157 | LANZA, Antonio Maria, 1674. Copied the B… | Read | |
| 158 | Violins are less harmonious in design, a… | Read | |
| 159 | Lutes of three or four pounds price far… | Read | |
| 160 | eighteenth century. They appear to have… | Read | |
| 161 | the Venetian to honour the name of himse… | Read | |
| 162 | matter of certainty that their rank must… | Read | |
| 163 | the other hand, we have reason to be gra… | Read | |
| 164 | we may be sure that they had no idea of… | Read | |
| 165 | dated 1719, was among the instruments ex… | Read | |
| 166 | cover a resting-place, in which favour m… | Read | |
| 167 | PASTA, Domenico, Brescia, about 1700. | Read | |
| 168 | others of Italian make belonging to this… | Read | |
| 169 | he gained was, however, insufficient to… | Read | |
| 170 | RIVOLTA, Giacomo, Milan, about 1822. Exc… | Read | |
| 171 | RUGGERI, Francesco, Cremona, 1668—1720.… | Read | |
| 172 | 1684, and the Marquis Castiglioni also p… | Read | |
| 173 | I have no remembrance of having seen a d… | Read | |
| 174 | us two distinct Italian manufactures. I… | Read | |
| 175 | pursued the same course as Andrea Amati… | Read | |
| 176 | ment, it is seen to be in perfect harmon… | Read | |
| 177 | ment is characteristic of its author. It… | Read | |
| 178 | wonderfully fortunate in obtaining hands… | Read | |
| 179 | last of the old makers who evinced any m… | Read | |
| 180 | No. 3, Contrada Coltellai, which was aft… | Read | |
| 181 | ficiency, by consulting documents relati… | Read | |
| 182 | the date of birth was given as 1664, and… | Read | |
| 183 | GENEALOGICAL TABLE OF THE FAMILY OF STRA… | Read | |
| 184 | noticed the age of Stradivari as represe… | Read | |
| 185 | of Stradivari, we must turn to his instr… | Read | |
| 186 | appear that he left the workshop of his… | Read | |
| 187 | Violoncellos made during the decade foll… | Read | |
| 188 | ments." 1 It will not be out of place to… | Read | |
| 189 | many of extraordinary beauty, which are… | Read | |
| 190 | mention of Stradivari having been buried… | Read | |
| 191 | The contents of the letters of Paolo and… | Read | |
| 192 | bodies of the instruments of his latter… | Read | |
| 193 | Grandi, called Il Fassina, leader of the… | Read | |
| 194 | variation in the tone of the varnish, ma… | Read | |
| 195 | Cremonese nobleman—"The other day I made… | Read | |
| 196 | great master, in the possession of the M… | Read | |
| 197 | structed instruments referred to had ena… | Read | |
| 198 | dences, in my opinion, a desire that he… | Read | |
| 199 | executed. The varnish also is very rich,… | Read | |
| 200 | quality in the material; it is evident t… | Read | |
| 201 | and it was named the "Dolphin" from the… | Read | |
| 202 | and his contemporary makers were intuiti… | Read | |
| 203 | Catinat, the able French commander, givi… | Read | |
| 204 | Lombardy on the 10th of June, 1702, and… | Read | |
| 205 | the British fleet, occupied Barcelona in… | Read | |
| 206 | Baptiste Volumier, who was musical direc… | Read | |
| 207 | the King's determination to have it exec… | Read | |
| 208 | the same in quality as that found upon t… | Read | |
| 209 | Stradivari is less known, but it is as c… | Read | |
| 210 | 1. Church of S. Domenico. 2. Chapel of… | Read | |
| 211 | Churches of Cremona, 1762") mention that… | Read | |
| 212 | very advanced age, declared that his mas… | Read | |
| 213 | among the inhabitants to permit the auth… | Read | |
| 214 | Antonio Stradivari. Worked with his brot… | Read | |
| 215 | Francesco. Lancetti remarks, "Omobono ch… | Read | |
| 216 | maker. He worked in Venice, Salzburg, an… | Read | |
| 217 | years at Rome, about 1625. Todini was th… | Read | |
| 218 | ITALIAN MAKERS. | Read | |
| 219 | SECTION VII. | Read | |
| 220 | should have restrained themselves from f… | Read | |
| 221 | of varnish, which has caused some confus… | Read | |
| 222 | skill and judgment of the maker. The woo… | Read | |
| 223 | It only remains now to mention Salle, Vu… | Read | |
| 224 | market. It has the appearance of having… | Read | |
| 225 | SECTION VIII. | Read | |
| 226 | ciously selected. He took his sons into… | Read | |
| 227 | made in the year 1647 a Double-Bass for… | Read | |
| 228 | CHAMPION, René, Paris, about 1735. His i… | Read | |
| 229 | his brand that are scarcely fit to be ca… | Read | |
| 230 | FRENCH MAKERS. | Read | |
| 231 | DIEULAFAIT, ——, 1720, Viol-maker. A Viol… | Read | |
| 232 | proved himself an excellent maker, and w… | Read | |
| 233 | GAVINIÉS, François, Paris, about 1734. F… | Read | |
| 234 | HENRY, Eugène, son of Charles, born in 1… | Read | |
| 235 | THE VIOLIN. | Read | |
| 236 | long been in Paris before he was honoure… | Read | |
| 237 | adopted these forms. Stradivari was his… | Read | |
| 238 | FRENCH MAKERS. | Read | |
| 239 | numerous instruments have been operated… | Read | |
| 240 | court to Paris, where he is said to have… | Read | |
| 241 | Pierray," which is described in the sale… | Read | |
| 242 | REMY, ——, Paris, about 1760. | Read | |
| 243 | that extreme fineness of work is obtaine… | Read | |
| 244 | TYWERSUS, ——, Nancy, 16th century. | Read | |
| 245 | SECTION IX. | Read | |
| 246 | and extra arching, &c. Yet it must be re… | Read | |
| 247 | facture of Violins is also considered..… | Read | |
| 248 | SECTION X. | Read | |
| 249 | This maker is often credited with the wo… | Read | |
| 250 | BÈLA, Szepessy, born at Budapest in 1856… | Read | |
| 251 | DÖPFER, Nicolaus, 1768. The instruments… | Read | |
| 252 | FISCHER, Zacharie, Würtzburg, 1730. This… | Read | |
| 253 | Hammig, W. H., Leipsic. Now living. | Read | |
| 254 | GERMAN MAKERS. | Read | |
| 255 | MAUSSEILL, Leonard, Nuremberg, 1745. Sta… | Read | |
| 256 | Born 1825, now living. Violin-maker to t… | Read | |
| 257 | SAINPRAE, Jacques, Berlin, 17th century.… | Read | |
| 258 | There are Viols of his make dated from t… | Read | |
| 259 | works that he was a thorough artist. The… | Read | |
| 260 | place. What is the result of a careful i… | Read | |
| 261 | clined to believe that he gained it in t… | Read | |
| 262 | is spliced on to what is intended to be… | Read | |
| 263 | were all but unknown. At length Herr Ruf… | Read | |
| 264 | fastly German character of a model which… | Read | |
| 265 | he withdrew from the world, and became a… | Read | |
| 266 | STEININGER, Franz, St. Petersburg, son o… | Read | |
| 267 | signed Tielke cover a period of upwards… | Read | |
| 269 | SECTION XI. | Read | |
| 270 | fair return for the time and skill requi… | Read | |
| 271 | so much that their ardour was damped, as… | Read | |
| 272 | The case of modern Violin-makers is unfo… | Read | |
| 273 | appreciative public could be securely co… | Read | |
| 274 | Doubtless the form of the English Viol a… | Read | |
| 275 | The semi-Italian character pervading the… | Read | |
| 277 | SECTION XII. | Read | |
| 278 | maker in the catalogue of the music and… | Read | |
| 279 | model of Niccolò Amati, and laboured unc… | Read | |
| 280 | man that has failed in head-cutting. He… | Read | |
| 281 | Betts, John, born 1755, at Stamford, Lin… | Read | |
| 282 | Nevertheless, this maker takes rank with… | Read | |
| 283 | Princes Street, Leicester Square, where… | Read | |
| 284 | DENNIS, Jesse, London, 1805. | Read | |
| 285 | fully known, if we may judge from the no… | Read | |
| 286 | material. Under such favourable conditio… | Read | |
| 287 | has been stamped upon every wretched non… | Read | |
| 288 | in them men capable of carrying out his… | Read | |
| 289 | instruments. Subsequently he became a pa… | Read | |
| 290 | among his best efforts. The work is well… | Read | |
| 291 | a very unpretending nature, but they ser… | Read | |
| 292 | to make about the year 1770. These are b… | Read | |
| 293 | of William Forster, mentioned above. He… | Read | |
| 294 | ever, all the features of the style of H… | Read | |
| 295 | only to a few dealers, as he made chiefl… | Read | |
| 296 | tained an extensive acquaintance in that… | Read | |
| 297 | HILL, William, London, 1741. Son of the… | Read | |
| 298 | Henry Jay also made Violoncellos, some o… | Read | |
| 299 | appears to have been, "Tom Bowling," "Po… | Read | |
| 300 | time a partner in the firm. The business… | Read | |
| 301 | having supplied subject-matter for write… | Read | |
| 302 | upon them. On all of these instruments w… | Read | |
| 303 | PAMPHILON, Edward, London, 17th century.… | Read | |
| 304 | been presented to the Earl of Leicester… | Read | |
| 305 | being no trace of any British Violin-mak… | Read | |
| 306 | ENGLISH MAKERS. | Read | |
| 307 | YOUNG, London, about 1728. Lived in St.… | Read | |
| 308 | SECTION XIII. | Read | |
| 309 | both senses. When this is so, its existe… | Read | |
| 310 | the old maestros; and so given into our… | Read | |
| 311 | are no better in the world than those of… | Read | |
| 312 | The introduction of Italian instruments… | Read | |
| 313 | there were none but those of the Italian… | Read | |
| 314 | the time of this scramble for instrument… | Read | |
| 315 | a Stradivari Violoncello for five pounds… | Read | |
| 316 | such treasures should have been known to… | Read | |
| 317 | temporaries. Those who judge only from h… | Read | |
| 318 | Serafino, Montagnana, and others whose n… | Read | |
| 319 | was his attention absorbed by the form o… | Read | |
| 320 | deed the case of Aladdin's Lamp, and as… | Read | |
| 321 | the Parisian Fiddle market before bringi… | Read | |
| 322 | He decided to see further the contents o… | Read | |
| 323 | he was in Paris upon one occasion, walki… | Read | |
| 324 | screw, as she thought, and sold it him f… | Read | |
| 325 | It is related of him that upon one occas… | Read | |
| 326 | ber having been in his possession. Mr. G… | Read | |
| 327 | were unfathomable. The time, however, ha… | Read | |
| 328 | valuable securities together with a cons… | Read | |
| 329 | Impressed with the charms of the subject… | Read | |
| 330 | As an ardent votary of the Violin, regar… | Read | |
| 331 | of purchase cannot be wondered at. We le… | Read | |
| 332 | belonging to my father be left in Cremon… | Read | |
| 333 | both of which were subsequently bought,… | Read | |
| 334 | Pò barge-master, and that chance had div… | Read | |
| 335 | land was William Corbett. He was a membe… | Read | |
| 336 | were of a very high class. Among these m… | Read | |
| 337 | to a bag of brass ones, which he purchas… | Read | |
| 338 | for upwards of twenty years. The time at… | Read | |
| 339 | tem examination on an extended scale. Wh… | Read | |
| 340 | statuary, antique pianos, parts of machi… | Read | |
| 341 | hold the Violin only, which many of my r… | Read | |
| 342 | Dr. Johnson, who understood neither Fidd… | Read | |
| 343 | SECTION XIV. | Read | |
| 344 | is playing on the Double-Bass, Paolo Ver… | Read | |
| 345 | Behind Paolo Veronese is seated Tintoret… | Read | |
| 346 | The opera, in which instruments were use… | Read | |
| 347 | revolutionized Violin-playing. He had fo… | Read | |
| 348 | but the hero is often overlooked by grav… | Read | |
| 349 | to the French Court. The leader was Thom… | Read | |
| 350 | George Tavern, in Whitefriars. Roger Nor… | Read | |
| 351 | small-coal man," gave concerts in this c… | Read | |
| 352 | who in winter evenings went to taverns,… | Read | |
| 353 | a loss to guess what it was that constra… | Read | |
| 354 | was Giuseppe Tartini, born 1692. Dr. Bur… | Read | |
| 355 | play on one string, a performance very p… | Read | |
| 356 | thing that the Parisian public had previ… | Read | |
| 357 | extraordinary achievements of this remar… | Read | |
| 358 | Jean Marie Leclair, the pupil of Somis,… | Read | |
| 359 | and refined playing. Kreutzer is, of cou… | Read | |
| 360 | His Concertos are compositions worthy of… | Read | |
| 361 | ship with a supreme amount of displeasur… | Read | |
| 362 | Strand, and named their society the "Phi… | Read | |
| 363 | lifetime there were several patrons of t… | Read | |
| 364 | for London, at the age of fifty-nine. He… | Read | |
| 365 | the same direction. The long roll of cel… | Read | |
| 366 | The first name of any note in connection… | Read | |
| 367 | istence. The difficulties which abound i… | Read | |
| 368 | place to the inspired compositions. The… | Read | |
| 369 | musician, was a Violinist, and wrote a "… | Read | |
| 370 | Violin Duet and Quartetts, are all two w… | Read | |
| 372 | SECTION XV. | Read | |
| 373 | fended the cause of Fiddling against the… | Read | |
| 374 | Ralph rode on, with no less speed | Read | |
| 375 | From whence men borrow ev'ry kind | Read | |
| 376 | He and that engine of vile noise | Read | |
| 377 | THE VIOLIN. | Read | |
| 378 | That down it fell and with it bore | Read | |
| 379 | THE VIOLIN. | Read | |
| 380 | ANECDOTES. | Read | |
| 381 | On top of this there is a spire | Read | |
| 382 | GEORGE HERBERT'S REFERENCES TO MUSIC. | Read | |
| 383 | should pass by that place; for if I be b… | Read | |
| 384 | On Sundays heaven's door stands ope, | Read | |
| 385 | VIOLINS FROM A MEDICAL POINT OF VIEW. | Read | |
| 386 | which was considered as confirmed and ho… | Read | |
| 387 | in various ways, as I do this subject; a… | Read | |
| 388 | violent emotion, I instantly seized my V… | Read | |
| 389 | Cowper, where, he says, he had "the grat… | Read | |
| 390 | of daring resolution, so that I was incl… | Read | |
| 391 | DR. JOHNSON'S EPITAPH ON PHILLIPS, THE W… | Read | |
| 392 | he was against Dr. Johnson, was compelle… | Read | |
| 393 | connection with playing most musical ins… | Read | |
| 394 | placed his valuable notes at the service… | Read | |
| 395 | cello well. Now, sir, when I say 'well,'… | Read | |
| 396 | Fiddlings and singings, and keyed instru… | Read | |
| 397 | had been exhibiting his then unrivalled… | Read | |
| 398 | of sudden sounds that instantly die away… | Read | |
| 399 | just proportion of the model and beauty… | Read | |
| 400 | like lightning to the music-room, where… | Read | |
| 401 | himself in his chair. The dim daylight o… | Read | |
| 402 | His Majesty stared at the comedian full… | Read | |
| 403 | had been imposed on as to its value. He… | Read | |
| 404 | their gentlemanly embellishments a knowl… | Read | |
| 405 | and asked what might be the parentage of… | Read | |
| 406 | next day he was amusing himself with a p… | Read | |
| 407 | THE MISSING SCROLL. | Read | |
| 408 | strange nature of the question and the b… | Read | |
| 409 | of its owner. Finally, the repairer refu… | Read | |
| 410 | tioning the circumstance to my father, h… | Read | |
| 411 | connoisseurship. It is very amusing to n… | Read | |
| 412 | "GUARNERI" AT A DISCOUNT. | Read | |
| 413 | interested in it. After examining the de… | Read | |
| 414 | he purchased the imagined Amati; had sec… | Read | |
| 415 | he retired to rest, but not to sleep. Th… | Read | |
| 416 | noises rent the air; they decided to vis… | Read | |
| 417 | than any other person in this country. H… | Read | |
| 418 | THE BETTS STRADIVARI. | Read | |
| 419 | it passed into my possession in the year… | Read | |
| 420 | shade. The corners appear long for the e… | Read | |
| 421 | into a state of lofty triumph like a con… | Read | |
| 422 | Th' exceeding mystery of the loveliness | Read | |
| 423 | ments to the right have begun the very s… | Read | |
| 424 | ADDISON ON THE PERSONIFICATION OF THE LE… | Read | |
| 425 | when a man is not disposed to hear music… | Read | |
| 426 | "The Greeks, simple souls, were astonish… | Read | |
| 427 | which I am confident will delight all mo… | Read | |
| 428 | SPOHR AND HIS GUARNERI. | Read | |
| 429 | when I found myself in the open field. I… | Read | |
| 430 | hour named I am engaged, and cannot come… | Read | |
| 431 | later, upon the occasion of my benefit c… | Read | |
| 432 | that I outlive 'him.' But not for a thou… | Read | |
| 433 | "Borax is the pink of politeness, though… | Read | |
| 434 | the noble rise in the centre—twang—and m… | Read | |
| 435 | centuries, 'Amati Cremonæ fecit 1645,' f… | Read | |
| 436 | splintered fragments for a couple of pou… | Read | |
| 437 | "Mein Gott!—if I don't, who de teifil do… | Read | |
| 438 | rivals in trade have likewise caught the… | Read | |
| 439 | Its fugal subject— | Read | |
| 440 | ANECDOTES. | Read | |
| 441 | had reached eighteen thousand francs, a… | Read | |
| 442 | the bow. They had not long met before th… | Read | |
| 443 | into the room, regarded his visitor with… | Read | |
| 444 | much more wonderful are the sensations h… | Read | |
| 445 | and that the execution of them was not a… | Read | |
| 446 | him in the face, and Ole Bull had to exp… | Read | |
| 447 | which must proceed from the friction of… | Read | |
| 448 | you to practise every day one of the All… | Read | |
| 449 | and neat manner, it will be of great use… | Read | |
| 450 | yourself to this position till you can e… | Read | |
| 451 | But you must not vigorously move immedia… | Read | |
| 452 | There is no text on this page. | Read | |
| 453 | There is no text on this page. | Read | |
| 454 | There is no text on this page. | Read |
Makers from this book
101, A to Z. The first few: