Books › The violin: its famous makers and their imitators (1909)
The violin: its famous makers and their imitators
Hart, George, 1839-1891. London: Dulau, 1909.
On archive.org as violinitsfamousm00hart.
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| Scan | Page | Starts | |
|---|---|---|---|
| 5 | The Violin and its Music | Read | |
| 9 | THE VIOLIN | Read | |
| 11 | PREFACE TO THE ENLARGED AND REVISED EDIT… | Read | |
| 12 | belonging to the trustees of the Civic M… | Read | |
| 13 | knowledge of the facts he recorded from… | Read | |
| 14 | who during his researches among the Robo… | Read | |
| 15 | readers, I have endeavoured to do so in… | Read | |
| 17 | PREFATORY NOTE BY THE EDITORS | Read | |
| 19 | CONTENTS | Read | |
| 20 | SECTION II.—THE CONSTRUCTION OF THE VIOL… | Read | |
| 21 | Brothers ANTONIO and GIROLAMO; probable… | Read | |
| 23 | with adversity; light and graceful chara… | Read | |
| 24 | the Duke of Savoy, and the Duke of Moden… | Read | |
| 25 | CONTENTS | Read | |
| 26 | Ouvrard, Jean… … … … … … …… | Read | |
| 27 | Gedler, Johann A.—Gedler, Johann B.—Geis… | Read | |
| 28 | of heresy, and imprisoned; pecuniary dif… | Read | |
| 29 | hold word" with English Violinists; high… | Read | |
| 30 | Naylor, Isaac—Norborn, John—NORMAN, BARA… | Read | |
| 31 | SECTION XIV.—SKETCH OF THE PROGRESS OF T… | Read | |
| 32 | SECTION XV.—ANECDOTES AND MISCELLANEA CO… | Read | |
| 33 | LIST OF ILLUSTRATIONS | Read | |
| 34 | LIST OF ILLUSTRATIONS | Read | |
| 35 | THE VIOLIN | Read | |
| 36 | attending it. Certain parts have been il… | Read | |
| 37 | 3 | inquirers into the history of instrument… | Read |
| 38 | 4 | showed that the Violin and the bow were… | Read |
| 39 | 5 | It is said that Sanscrit scholars have m… | Read |
| 40 | 6 | those which have been strung with fibre,… | Read |
| 41 | 7 | it is necessary to refer to the suggeste… | Read |
| 42 | 8 | acquaintance which it is probable the Eg… | Read |
| 43 | 9 | between a Rebab of the nineteenth centur… | Read |
| 44 | 10 | of the Church of Santiago da Compostella… | Read |
| 45 | 11 | The Jongleurs entertained their patrons… | Read |
| 46 | 12 | II. | Read |
| 47 | 13 | occupies a position of the kind describe… | Read |
| 48 | 14 | About fifty years later than the date of… | Read |
| 49 | 15 | The instrument was described in the manu… | Read |
| 50 | relative to the meaning of the word Lyre… | Read | |
| 53 | 17 | The form of this Fiddle is in advance of… | Read |
| 54 | 18 | race.1 In Germany the word was used as l… | Read |
| 55 | 19 | strongest evidence. Some inquirers deriv… | Read |
| 56 | 20 | of the use to which the leading instrume… | Read |
| 57 | 21 | office was to play extemporaneous accomp… | Read |
| 58 | 22 | to be found elsewhere, and in Flanders i… | Read |
| 59 | 23 | are in the Museum of the Academy of Musi… | Read |
| 60 | 24 | perfection were mounted by Duiffoprugcar… | Read |
| 61 | 25 | number of strings was five or more, and… | Read |
| 62 | 26 | in fifths. The instrument to which Lance… | Read |
| 63 | 27 | SECTION II | Read |
| 64 | 28 | at last discovers that he is quite unabl… | Read |
| 65 | 29 | art. The flow of curved lines which the… | Read |
| 66 | 30 | the Violin of the sixteenth century and… | Read |
| 67 | 31 | Violin manufacture, the selection of the… | Read |
| 68 | sycamore have been found to surpass the… | Read | |
| 71 | 33 | colour, so transparent that the curls of… | Read |
| 72 | 34 | enable them to follow their calling with… | Read |
| 73 | 35 | similar obscurity to that which conceals… | Read |
| 74 | 36 | line, thus leaving the system to be re-d… | Read |
| 75 | 37 | transmits vibrations, and regulates both… | Read |
| 76 | 38 | to have any uniform arrangement of the s… | Read |
| 77 | 39 | suitable to the constitution of the Viol… | Read |
| 78 | 40 | The purfling is composed of three strips… | Read |
| 79 | 41 | production and quality of sound. The var… | Read |
| 81 | 43 | SECTION III | Read |
| 82 | 44 | far-removed ancestor, the monochord; and… | Read |
| 83 | 45 | in Italy. This superiority is owing to t… | Read |
| 84 | 46 | sound of strings made with thread or iro… | Read |
| 85 | 47 | characteristics of which are definitely… | Read |
| 86 | 48 | of climate. In Italy an important part o… | Read |
| 87 | 49 | commemorated in a word, the origin of wh… | Read |
| 88 | the seconds and thirds, as they are made… | Read | |
| 91 | 51 | will assist in bringing out that richnes… | Read |
| 92 | 52 | supposed that the ponderous strings of D… | Read |
| 93 | 53 | stood. There are Violins which will take… | Read |
| 95 | 55 | on the nut and that of the pulley. There… | Read |
| 96 | 56 | Mark off on the scale A B as many divisi… | Read |
| 97 | 57 | SECTION IV | Read |
| 98 | 58 | men in Italy engaged in artistic vocatio… | Read |
| 99 | 59 | If we turn to the days of Gasparo da Sal… | Read |
| 100 | 60 | Diavolo"; and while Guadagnini and the s… | Read |
| 101 | 61 | composers then existing will be sufficie… | Read |
| 102 | 62 | the Marquis Ariberti, Charles III. (afte… | Read |
| 103 | 63 | Judging from the large number of bow-ins… | Read |
| 104 | 64 | Guarneri, Pietro Guarneri, Giuseppe Guar… | Read |
| 105 | 65 | two-thirds than either of those three co… | Read |
| 106 | something in common between the early wo… | Read | |
| 109 | 67 | belonging to each city. A close study of… | Read |
| 110 | 68 | of Italian Violins, and forms a feature… | Read |
| 112 | 70 | SECTION V | Read |
| 113 | 71 | to fall again. Some have even cried 'Eur… | Read |
| 114 | 72 | Carlo Bergonzi, and a few others, used v… | Read |
| 115 | 73 | sequence would be non-production. It is… | Read |
| 116 | 74 | while the earlier kinds are velvet-like.… | Read |
| 117 | 75 | self-evident. On the other hand, there a… | Read |
| 118 | 76 | lated for common purposes; if, however,… | Read |
| 119 | 77 | SECTION VI | Read |
| 120 | 78 | chiefly Tenors and Violoncellos, some of… | Read |
| 121 | 79 | the instruments which the four-stringed… | Read |
| 122 | 80 | may possibly have been self-taught, but… | Read |
| 123 | 81 | France," one Nicolas Delinet, a member o… | Read |
| 124 | 82 | children; the fifth child was Niccolò, w… | Read |
| 125 | 83 | in their Violins, it must not be suppose… | Read |
| 126 | is more vigour in the sound-hole of Nicc… | Read | |
| 129 | 85 | Guarneri witnessed the ceremony, and sig… | Read |
| 130 | 86 | the instruments, with the label of Anton… | Read |
| 131 | 87 | ow beauty into the entire work. The mode… | Read |
| 132 | 88 | From this circumstance it differs from t… | Read |
| 133 | 89 | praise must be conceded to the originato… | Read |
| 134 | 90 | a prominent place as a copyist. The trut… | Read |
| 135 | 91 | collection of Count Cozio. It is in perf… | Read |
| 136 | 92 | such price on account of its having the… | Read |
| 137 | 93 | Brothers Mantegazza, dealers and restore… | Read |
| 138 | 94 | history of the family of the Amati as Vi… | Read |
| 139 | 95 | BAGATELLA, Antonio, Padua, made both Vio… | Read |
| 140 | 96 | The varnish seems to have been of two ki… | Read |
| 141 | 97 | writers on the subject of Violins assume… | Read |
| 142 | 98 | bours regard them with as much favour as… | Read |
| 143 | 99 | the sound-holes are set nearer the edge… | Read |
| 144 | that could only have been possessed by a… | Read | |
| 145 | times seen to be extremely thick, at oth… | Read | |
| 146 | purchased of the executors of Luigi Tari… | Read | |
| 149 | 103 | done. These moulds were doubtless lent t… | Read |
| 150 | 104 | BRESCIA, Da, Battista. A Pochette or Kit… | Read |
| 151 | 105 | Cappa, Gioffredo, Cremona, 1644-1717. Th… | Read |
| 152 | 106 | of the good and the beautiful—in buying… | Read |
| 153 | 107 | CASTAGNERI, Andrea, Paris, about 1735. T… | Read |
| 154 | 108 | 1817. Ceruti made a large number of Viol… | Read |
| 155 | 109 | players. They are said to number about t… | Read |
| 156 | 110 | He was born in Granada, and was called t… | Read |
| 157 | 111 | Fétis was unable to discover any tidings… | Read |
| 158 | 112 | to settle in France. The name of Duiffop… | Read |
| 159 | 113 | preponderating. The sound-hole is an imi… | Read |
| 160 | 114 | GAFFINO, Giuseppe, Paris, about 1755. Pu… | Read |
| 161 | 115 | them with those of his master, the resem… | Read |
| 162 | 116 | originality. They are not after the patt… | Read |
| 163 | 117 | maker appears to have attracted attentio… | Read |
| 164 | 118 | Gobetti, Francesco (sometimes called Gob… | Read |
| 165 | 119 | the early works of the great master. The… | Read |
| 166 | Gragnani, Antonio, Leghorn. Usually bran… | Read | |
| 169 | 121 | of Paolo Grancino has a very decisive ch… | Read |
| 170 | 122 | That this should be so, to a certain ext… | Read |
| 171 | 123 | upon leaving the workshop of his master… | Read |
| 172 | 124 | made in Turin between 1773 and 1776 have… | Read |
| 173 | 125 | point at any time, all his works being i… | Read |
| 174 | 126 | ing to these instruments are varied. The… | Read |
| 175 | 127 | out the world. The familiar style is att… | Read |
| 176 | 128 | parishioners having duly performed and e… | Read |
| 177 | 129 | changed the character of the sound-hole.… | Read |
| 178 | 130 | to be traced. There are also other featu… | Read |
| 179 | 131 | his Violins and Tenors varies, but may b… | Read |
| 180 | 132 | Guarneri used some of the finest wood. T… | Read |
| 181 | 133 | This famous maker of Violins was born at… | Read |
| 182 | 134 | unchallenged is a matter of some surpris… | Read |
| 183 | 135 | instructed them. To suppose that Guarner… | Read |
| 184 | the Cremonese makers, it will be found t… | Read | |
| 187 | 137 | element the sound-hole, it will be seen… | Read |
| 188 | 138 | a marked manner and the purfling sunk in… | Read |
| 189 | 139 | he had hastily finished off a set of Vio… | Read |
| 190 | 140 | divided, when the wood is particularly h… | Read |
| 191 | 141 | daughter procured him the necessary mate… | Read |
| 192 | 142 | I have referred to the three periods of… | Read |
| 193 | 143 | Upon examining the works of Guarneri wit… | Read |
| 194 | 144 | humour which at once pleases the eye, th… | Read |
| 195 | 145 | tures and translates at will. He "spots"… | Read |
| 196 | 146 | sallies forth, congratulating himself ag… | Read |
| 197 | 147 | until it becomes more like a piece of ch… | Read |
| 198 | 148 | a confusion has arisen as to there being… | Read |
| 199 | 149 | MAGGINI, Giovanni Paolo, Brescia, 1590.… | Read |
| 200 | 150 | means which he adopted in order to obtai… | Read |
| 201 | 151 | itself at every turn. The uneducated eye… | Read |
| 202 | necks were dispensed with in Paris towar… | Read | |
| 203 | he followed his art in Cremona. He after… | Read | |
| 204 | the works of our author and the makers n… | Read | |
| 207 | of supply must attract notice. The prime… | Read | |
| 208 | shop of Stradivari, he gave full scope t… | Read | |
| 209 | 157 | Carlo Bergonzi and Montagnana doubtless… | Read |
| 210 | 158 | S. Ang. Maffei, in his "Annali di Mantov… | Read |
| 211 | 159 | imposed changes. He would not, or could… | Read |
| 212 | 160 | Vincenzo Panormo was the slave of many,… | Read |
| 213 | 161 | struments of this maker resemble those o… | Read |
| 214 | 162 | tion of their varnish than can be discov… | Read |
| 215 | 163 | desire to know something of Violin manuf… | Read |
| 216 | 164 | fredo.) Chiefly known as a dealer in Vio… | Read |
| 217 | 165 | are higher modelled, the sound-holes les… | Read |
| 218 | 166 | occupied a foremost place in the city of… | Read |
| 219 | 167 | was a pupil of Niccolò Amati, and perhap… | Read |
| 220 | 168 | SACCHINI, Sebastiano. | Read |
| 221 | 169 | by this great pioneer. But for this devi… | Read |
| 222 | the Accordos and Violonos. The Violins a… | Read | |
| 225 | 171 | such perfection. The material used for t… | Read |
| 226 | 172 | Lord Amherst, of Hackney, is unique; the… | Read |
| 227 | 173 | This maker is chiefly famed for the exqu… | Read |
| 228 | 174 | were branded with his name above the tai… | Read |
| 229 | 175 | an almost total absence of refinement in… | Read |
| 230 | 176 | The material he used was generally good… | Read |
| 231 | 177 | and devotion of his liege subjects: to-d… | Read |
| 232 | 178 | being deposited with Carlo Carli, a Mila… | Read |
| 233 | 179 | GENEALOGICAL TABLE OF THE FAMILY OF STRA… | Read |
| 234 | 180 | tance relative to the question of the ag… | Read |
| 235 | 181 | Lewis Hill to the Royal Academy of Music… | Read |
| 236 | 182 | ments for such evidence as we require; a… | Read |
| 237 | 183 | birth attached to them). In other instan… | Read |
| 238 | 184 | pattern, but in his ordinary full-sized… | Read |
| 239 | 185 | are thus led to believe that during the… | Read |
| 240 | ornamented with small figures, flowers,… | Read | |
| 243 | 187 | The possessor of the models, tools, labe… | Read |
| 244 | 188 | the said Count Cozio with Antonio's son… | Read |
| 245 | 189 | information from the Count himself, and… | Read |
| 246 | 190 | cular. The form is flatter, the arching… | Read |
| 247 | 191 | a Violoncello and two Violins, which wer… | Read |
| 248 | 192 | his personal acquaintance, praised great… | Read |
| 249 | 193 | nobleman—"The other day I made a present… | Read |
| 250 | 194 | the instruments. At the same time I hope… | Read |
| 251 | 195 | and the instruments were not delivered u… | Read |
| 252 | 196 | Fortified with the experience which the… | Read |
| 253 | 197 | his power to create, as shown in the "lo… | Read |
| 254 | 198 | and ripe for new achievements. George El… | Read |
| 255 | 199 | less well understood. We find him guided… | Read |
| 256 | the material varies in its nature, so mu… | Read | |
| 259 | 201 | of the wood is unsurpassed in any Violin… | Read |
| 260 | 202 | the makers in the exercise of their geni… | Read |
| 261 | 203 | made by him." Arisi adds that Don Antoni… | Read |
| 262 | 204 | his fellow-citizens, witnessed during th… | Read |
| 263 | 205 | from the Dukes of Parma and of Mantua, a… | Read |
| 264 | 206 | Austria, afterwards Emperor Charles VI.… | Read |
| 265 | 207 | "In 1715, on the 10th of June, Giovanni… | Read |
| 266 | 208 | would therefore appear that the Royal Or… | Read |
| 267 | 209 | wait patiently for their instruments, th… | Read |
| 268 | 210 | less carefully, and its colour is more v… | Read |
| 269 | 211 | unbiased connoisseur if he can reconcile… | Read |
| 270 | 212 | handed down to us touching Stradivari. I… | Read |
| 271 | 213 | Count Cozio di Salabue, of Casale Monfer… | Read |
| 272 | 214 | was taking place, I gave instructions th… | Read |
| 273 | 215 | The house he occupied stands in the Piaz… | Read |
| 274 | 216 | another after Amati. This worthy act was… | Read |
| 275 | 217 | notice, judging from the following annou… | Read |
| 276 | 218 | ments which he made in the years 1740 an… | Read |
| 277 | 219 | ments ever made by one maker—instruments… | Read |
| 278 | 220 | the Italian type, and are so much superi… | Read |
| 279 | 221 | himself with this manufacture for severa… | Read |
| 280 | 222 | TONONI, Giovanni, about 1700. Similar ch… | Read |
| 281 | 223 | ZANOLI, Giacomo, 1740-80. Verona. Worked… | Read |
| 282 | 224 | SECTION VII | Read |
| 283 | 225 | of Jacob Stainer, which they adopted, wi… | Read |
| 284 | 226 | Chappuy, Ouvrard, Paul Grosset, Despont,… | Read |
| 285 | 227 | he brought to bear a knowledge superior… | Read |
| 286 | 228 | it was imagined that the object in view… | Read |
| 287 | 229 | Gaillard, and Miremont, all copyists of… | Read |
| 288 | 230 | sands, and is yearly increasing. They se… | Read |
| 289 | 231 | SECTION VIII | Read |
| 290 | excellently made, and the wood judicious… | Read | |
| 293 | 233 | sound-hole is more rounded and less stri… | Read |
| 294 | 234 | BOURDET, Sébastien, Mirecourt, one of th… | Read |
| 295 | 235 | was read at the French Academy in the fo… | Read |
| 296 | 236 | seven years, when instructing his class… | Read |
| 297 | 237 | Hague; varnish often yellow in colour. W… | Read |
| 298 | 238 | tone is large, and frequently possesses… | Read |
| 299 | 239 | Kerch. He gives some interesting particu… | Read |
| 300 | 240 | worked until about 1852. Much of his wor… | Read |
| 301 | 241 | They are good serviceable instruments, a… | Read |
| 302 | 242 | is to be regretted that his exceptional… | Read |
| 303 | 243 | close imitator of Niccolò Amati. Few mak… | Read |
| 304 | 244 | LAPAIX, ——, Lille, about 1855. | Read |
| 305 | 245 | having reached that city some time befor… | Read |
| 306 | 246 | pass with the unwary as the original; it… | Read |
| 307 | 247 | neither is it of the kind usually met wi… | Read |
| 308 | 248 | In 1844 he was employed by Davis, of Cov… | Read |
| 309 | 249 | a crescent off the top, and another off… | Read |
| 310 | instruments of large pattern, excellent… | Read | |
| 313 | 251 | large. Amati would seem to have been his… | Read |
| 314 | 252 | style; the sound-hole also is cut with p… | Read |
| 315 | 253 | Rombouts, Peeter, Amsterdam, about the m… | Read |
| 316 | 254 | born at Sommerwiller in 1801, and died a… | Read |
| 317 | 255 | VÉRON, Pierre André, 1720-50. | Read |
| 318 | 256 | SECTION IX | Read |
| 319 | 257 | a maker, he was seemingly unable to free… | Read |
| 320 | 258 | which they were entitled, and the popula… | Read |
| 321 | 259 | SECTION X | Read |
| 322 | 260 | and this circumstance may have given to… | Read |
| 323 | 261 | author of a handbook on the construction… | Read |
| 324 | 262 | DIEL, Nicolaus, born 1779, son of Martin… | Read |
| 325 | 263 | Elsler, Johann Joseph, Mayence, 1720-50.… | Read |
| 326 | 264 | the great celebrity of the Lutes by the… | Read |
| 327 | 265 | HASSERT, ——, Rudolstadt, 18th century. | Read |
| 328 | KIAPOSSE, Sawes, St. Petersburg, 1750. | Read | |
| 331 | 267 | KOLDITZ, Mathias Johann, Munich, 1720. | Read |
| 332 | 268 | Ott, Johann, Nuremberg, about 1463. Lute… | Read |
| 333 | 269 | Pfretzschner, Carl Friedrich, Cremona, s… | Read |
| 334 | 270 | instrument with Haydn. He composed sever… | Read |
| 335 | 271 | of Albani; high modelled. He appears to… | Read |
| 336 | 272 | cable, and cause him to believe that Fid… | Read |
| 337 | 273 | the sides of the backs and bellies, the… | Read |
| 338 | 274 | can readily understand; it is an incapac… | Read |
| 339 | 275 | Italy in Violin-making could have made t… | Read |
| 340 | 276 | industry and research of Herr Ruf has no… | Read |
| 341 | 277 | "Guide Book to Tyrol," under the title o… | Read |
| 342 | 278 | lished in 1872 his book, "Der Geigenmach… | Read |
| 343 | 279 | Court." About this period he is said to… | Read |
| 344 | 280 | Whether he made them to order, in the us… | Read |
| 345 | 281 | in-law of the Violin-maker Döpfer, and u… | Read |
| 346 | house of Tielke. In the collection of in… | Read | |
| 349 | 283 | GERMAN MAKERS | Read |
| 350 | 284 | SECTION XI | Read |
| 351 | 285 | informed of the array of makers that Eng… | Read |
| 352 | 286 | finish, at this period). The prices comm… | Read |
| 353 | 287 | in Germany no Jacob Stainer, and in Engl… | Read |
| 354 | 288 | stamp of artistic merit, they must be pa… | Read |
| 355 | 289 | art, a case in point is found in the man… | Read |
| 356 | 290 | commenced by settlers from the Continent… | Read |
| 357 | 291 | Urquhart made instruments of great merit… | Read |
| 358 | 292 | to successful imitation. Too much praise… | Read |
| 359 | 293 | SECTION XII | Read |
| 360 | 294 | Banks, Benjamin, Salisbury, born 1727, d… | Read |
| 361 | 295 | instruments are found to have no brand:… | Read |
| 362 | 296 | sufficient wood has been left in his ins… | Read |
| 363 | 297 | removed to Liverpool. The instruments of… | Read |
| 364 | instruments. His quaintly-worded busines… | Read | |
| 367 | 299 | BOLLES, ——. An early maker of Lutes and… | Read |
| 368 | 300 | CORSBY, George. Lived upwards of half a… | Read |
| 369 | 301 | made Violins that his name might be of i… | Read |
| 370 | 302 | are the work of John Lott and Bernard Fe… | Read |
| 371 | 303 | attained such a reputation for his instr… | Read |
| 372 | 304 | to profit considerably during his early… | Read |
| 373 | 305 | The name of Duke has been stamped upon e… | Read |
| 374 | 306 | being also a German, reciprocity of feel… | Read |
| 375 | 307 | of the great Italian masters for models,… | Read |
| 376 | 308 | nature. He made many good Double-Basses… | Read |
| 377 | 309 | of style is thrown into the work which t… | Read |
| 378 | 310 | occupying his spare time in the making a… | Read |
| 379 | 311 | gave his master's patrons the highest sa… | Read |
| 380 | 312 | ciated; now, however, that the cultivati… | Read |
| 381 | 313 | FRANKLAND, ——, London, about 1785. | Read |
| 382 | style of Harris. In the year 1810 he lef… | Read | |
| 383 | Hare, above-mentioned. Varnish of excell… | Read | |
| 384 | HARRIS, Charles. Son of the above. Neat… | Read | |
| 387 | 317 | which was dispersed by Messrs. Christie… | Read |
| 388 | 318 | HILL, William Ebsworth, London, 1817-95.… | Read |
| 389 | 319 | JOHNSON, John, London, 1750. The Violins… | Read |
| 390 | 320 | guinea for a Dibdin ballad, yet in all p… | Read |
| 391 | 321 | used mostly one kind of wood, viz., clos… | Read |
| 392 | 322 | of his Double-Basses that has been carel… | Read |
| 393 | 323 | ENGLISH MAKERS | Read |
| 394 | 324 | During his early years he was much estee… | Read |
| 395 | 325 | Gamba; the words are, "Nathaniel Cross w… | Read |
| 396 | 326 | Parker belongs, in conjunction with Benj… | Read |
| 397 | 327 | used his trade label in the instruments… | Read |
| 398 | 328 | the work. The sound-holes are striking,… | Read |
| 399 | 329 | TAYLOR, London, about 1800. A maker of m… | Read |
| 400 | 330 | WITHERS, Edward. Son of the above. Wardo… | Read |
| 401 | 331 | SECTION XIII | Read |
| 402 | of activity on the one hand, and inactiv… | Read | |
| 405 | 333 | and wail his monotonous despair. Passed… | Read |
| 406 | 334 | been imparted. In those days when the ol… | Read |
| 407 | 335 | Banks, and Forster: the value attached a… | Read |
| 408 | 336 | The introduction of Italian instruments… | Read |
| 409 | 337 | school which he so much loved, but met w… | Read |
| 410 | 338 | Nicholas Amati, with case and bow, £17 1… | Read |
| 411 | 339 | of Niccolò in particular, as the flat mo… | Read |
| 412 | 340 | Stradivari were Boccherini, Viotti, Rode… | Read |
| 413 | 341 | art, now in the possession of wealthy am… | Read |
| 414 | 342 | Attention was claimed for the works of M… | Read |
| 415 | 343 | the Prince de Chimay, it is said, for th… | Read |
| 416 | 344 | together with those of other Italian sch… | Read |
| 417 | 345 | all the Violins within his reach, and to… | Read |
| 418 | 346 | good fortune in being the first connoiss… | Read |
| 419 | 347 | regulate and put them into decent order—… | Read |
| 420 | by the need of ordinary ablutions. Howev… | Read | |
| 423 | 349 | market; he had not learned that it was h… | Read |
| 424 | 350 | walking along the Boulevards with a frie… | Read |
| 425 | 351 | and told him where the rest was. Tarisio… | Read |
| 426 | 352 | in these mysteries, called Vuillaume, wi… | Read |
| 427 | 353 | the opening of the case, so anxious was… | Read |
| 428 | 354 | ments in this collection Tarisio seemed… | Read |
| 429 | 355 | knowledge of his occupation. He mounted… | Read |
| 430 | 356 | Little did they imagine they were surrou… | Read |
| 431 | 357 | connoisseurs, inasmuch as he found the i… | Read |
| 432 | 358 | himself beside the Chief Continental con… | Read |
| 433 | 359 | Cozio di Salabue takes precedence of all… | Read |
| 434 | 360 | such good fortune prompted him to make f… | Read |
| 435 | 361 | of the letter was clearly commercial, th… | Read |
| 436 | 362 | cepting the terms offered by Paolo Strad… | Read |
| 437 | 363 | have, however, to mention that I did not… | Read |
| 438 | accident. Imagine the paints and brushes… | Read | |
| 440 | Luigiabpino Bg Lancetti | Read | |
| 441 | 365 | It is unnecessary in this place to make… | Read |
| 442 | 366 | are said to have been disposed of by auc… | Read |
| 443 | 367 | by Giuseppe Guarneri, all high-class ins… | Read |
| 444 | 368 | which he purchased in sport for eight po… | Read |
| 445 | 369 | about four years he had made himself mas… | Read |
| 446 | 370 | effected. Not wishing to appear unmindfu… | Read |
| 447 | 371 | consisted, I rapidly passed from one to… | Read |
| 448 | 372 | speech, what tales of heroism might they… | Read |
| 449 | 373 | time of the sale at Messrs. Christie's.… | Read |
| 450 | 374 | mation a bouquet." I cannot find anythin… | Read |
| 451 | 375 | SECTION XIV | Read |
| 452 | 376 | is given of the musical part of the subj… | Read |
| 453 | 377 | given, Paolo Veronese is represented tak… | Read |
| 454 | 378 | the Court as much by his skill on the Vi… | Read |
| 455 | 379 | the rapid progress in the cultivation of… | Read |
| 456 | of melodies. I, therefore, got his Conce… | Read | |
| 459 | 381 | musicians, but the hero is often overloo… | Read |
| 460 | 382 | sonatas for two Violins and a Bass, prin… | Read |
| 461 | 383 | met it by chance, and did give 12d. to b… | Read |
| 462 | 384 | formity with an age of dedications, thus… | Read |
| 463 | 385 | The concert-room of Tom Britton was over… | Read |
| 464 | 386 | Violinist. Fortune, however, did not smi… | Read |
| 465 | 387 | by the question, 'Gentlemen, will you pl… | Read |
| 466 | 388 | time from their novelty. In these he plu… | Read |
| 467 | 389 | knowledge of the finger-board and the po… | Read |
| 468 | 390 | of Locatelli.1 He was born at Turin, in… | Read |
| 469 | 391 | The sensation that Viotti created in Par… | Read |
| 470 | 392 | many other compositions whose beauties a… | Read |
| 471 | 393 | composer for the instrument, has achieve… | Read |
| 472 | 394 | them to be recently roused from their lo… | Read |
| 473 | 395 | François Antoine Habeneck was a pupil of… | Read |
| 474 | 396 | art. His Concertos are compositions wort… | Read |
| 475 | 397 | the disparagement which this accomplishm… | Read |
| 476 | 398 | were to be paid to play for you as subst… | Read |
| 477 | 399 | cerning him, and discovered that he was… | Read |
| 478 | 400 | that instrument, he would soon be able t… | Read |
| 479 | 401 | Enough has been said to show the nature… | Read |
| 480 | 402 | extend our knowledge of classical chambe… | Read |
| 481 | 403 | talents; it was felt that he must inevit… | Read |
| 482 | 404 | of his art, John Sebastian Bach—works di… | Read |
| 483 | 405 | grace with which a Joachim makes every n… | Read |
| 484 | 406 | of Haydn and the speech of articulate hu… | Read |
| 485 | 407 | Resuming our subject again: Haydn wrote… | Read |
| 486 | 408 | With Fesca we again come amongst the Vio… | Read |
| 487 | 409 | among a great number of our countrymen.… | Read |
| 488 | 410 | SECTION XV | Read |
| 490 | 412 | into reduced circumstances, until he was… | Read |
| 491 | 413 | Just where the hangman does dispose, | Read |
| 492 | 414 | That makes division between friends | Read |
| 493 | 415 | On which illegally he plays,¹ | Read |
| 494 | 416 | Crowdero only kept the field, | Read |
| 496 | 418 | . . . The Knight began to rouse, | Read |
| 497 | 419 | The Trophy-Fiddle, and the case | Read |
| 498 | 420 | Crowdero making doleful face, | Read |
| 499 | 421 | heavenly art he was a most excellent mas… | Read |
| 500 | 422 | ever he should pass by that place; 'for… | Read |
| 501 | 423 | And having tuned it, he played and sung— | Read |
| 502 | 424 | It is interesting to notice an earlier a… | Read |
| 503 | 425 | of the maniac. The importance of this is… | Read |
| 504 | 426 | he has no skill in archery. He plays wit… | Read |
| 505 | 427 | strings of his Fiddle. There is no mediu… | Read |
| 506 | 428 | he was able to pick out a tune; and then… | Read |
| 507 | 429 | and given up music for ever, had it been… | Read |
| 508 | 430 | you call it, sir?' replied the Doctor; '… | Read |
| 509 | 431 | "Johnson: 'Nay, sir, that is not to the… | Read |
| 510 | 432 | meditation, he, almost extempore, produc… | Read |
| 511 | 433 | praise. It has been ascribed to Garrick,… | Read |
| 512 | 434 | listening to the sounds of the bagpipes.… | Read |
| 513 | 435 | HAYDN IN LONDON.—A "SWEET STRADIVARI." | Read |
| 514 | 436 | the substantial aid given to our musical… | Read |
| 515 | 437 | very decently. But ask Fisin, he will te… | Read |
| 516 | 438 | really receive more musical pleasure fro… | Read |
| 517 | 439 | person, I will endeavour to divest mysel… | Read |
| 518 | 440 | that he deprived Fischer of his instrume… | Read |
| 519 | 441 | dated 1612. His offer was declined, but… | Read |
| 520 | 442 | GARRICK AND CERVETTO. | Read |
| 521 | 443 | to the music-room, where he encountered… | Read |
| 522 | 444 | THE KING AND THE PLAYER. | Read |
| 523 | 445 | of the Royal chair. What was to be done?… | Read |
| 524 | 446 | and prepared himself for his part in the… | Read |
| 525 | 447 | got the names of Stradivari, Amati, &c.,… | Read |
| 526 | 448 | cabinets, and other treasures which serv… | Read |
| 527 | 449 | clearly defined nevertheless. When the p… | Read |
| 528 | 450 | child; its identity is equally impregnab… | Read |
| 529 | 451 | perty, which was brought to England. Som… | Read |
| 530 | 452 | description of the instrument; but to th… | Read |
| 531 | 453 | in paper, he left the Fiddle doctor's es… | Read |
| 532 | 454 | an old woman, the keeper of an apple sta… | Read |
| 533 | 455 | ANOTHER WANDERING SCROLL. | Read |
| 534 | 456 | its head again. Here was a fortuitous co… | Read |
| 535 | 457 | when he discovered a hole through the up… | Read |
| 536 | 458 | fling, no variation being allowed for wi… | Read |
| 537 | 459 | the firm conviction of these amiable per… | Read |
| 538 | 460 | terested in it. After examining the deco… | Read |
| 539 | 461 | sold it for such a trifling sum, and the… | Read |
| 540 | 462 | take the importuning Fiddle and string i… | Read |
| 541 | 463 | if he had any idea of the value of the V… | Read |
| 542 | 464 | the performance of some gigantic passage… | Read |
| 543 | 465 | Samuel Appleby, who was his legal advise… | Read |
| 544 | 466 | some little trouble, I left Venice witho… | Read |
| 545 | 467 | in a state of perfection. Frequently imp… | Read |
| 546 | 468 | late John Lott, an excellent workman, an… | Read |
| 547 | 469 | and, indeed, can only decrease by shipwr… | Read |
| 548 | 470 | lofty triumph like a conqueror. The phra… | Read |
| 549 | 471 | Blissful, yet laden as with twenty praye… | Read |
| 550 | 472 | stringed instruments come in. These to t… | Read |
| 551 | 473 | it, and his team jingling their bells. T… | Read |
| 552 | 474 | fill the place they are in with a rattli… | Read |
| 553 | 475 | to hear themselves talk, but sometimes b… | Read |
| 554 | 476 | passion of the fishes. In the fervency o… | Read |
| 555 | 477 | without the aid of speech or writing; an… | Read |
| 556 | 478 | is, that it may be applied to the establ… | Read |
| 557 | 479 | had convinced myself for the last time t… | Read |
| 558 | 480 | evening all further steps for the recove… | Read |
| 559 | 481 | 'Mr. Spohr is requested to favour Dr.——… | Read |
| 560 | 482 | the Doctor, not knowing at first what he… | Read |
| 561 | 483 | glass, and still our enthusiastic admira… | Read |
| 562 | 484 | business in his shop, which is a dusty d… | Read |
| 563 | 485 | of the instrument for which you are to p… | Read |
| 564 | 486 | self; after which, he carefully wipes it… | Read |
| 565 | 487 | you, by means of a small hand-mirror thr… | Read |
| 566 | 488 | they are rich enough and green enough to… | Read |
| 567 | 489 | the most wonderful instruments at the mo… | Read |
| 568 | 490 | bridge, nor in the strings, nor in the w… | Read |
| 569 | 491 | "The inundation of German Fiddles, which… | Read |
| 570 | 492 | pleasure and satisfaction, the Finale wa… | Read |
| 571 | 493 | SALE OF CREMONESE INSTRUMENTS AT MILAN,… | Read |
| 572 | 494 | the increased interest taken in rare Vio… | Read |
| 573 | 495 | AN INDEFATIGABLE VIOLINIST. | Read |
| 574 | 496 | whereabouts of remarkable specimens, whe… | Read |
| 575 | 497 | the risible faculties are completely exh… | Read |
| 576 | 498 | Cooke replied, "Indeed, madam, he is tru… | Read |
| 577 | 499 | was the rise of the celebrated Baron Sti… | Read |
| 578 | 500 | studies, I shall know how again to corre… | Read |
| 579 | 501 | ON THE TREATMENT OF THE VIOLIN. | Read |
| 580 | 502 | ever can be played or sung, within the c… | Read |
| 581 | 503 | a little in the morning and a little in… | Read |
| 582 | 504 | hey should be played as if there was a r… | Read |
| 583 | 505 | "With regard to the finger-board, or car… | Read |
| 584 | 506 | that I most earnestly recommend it to yo… | Read |
| 585 | 507 | and a demisemiquaver intermediate degree… | Read |
| 587 | 509 | INDEX | Read |
| 588 | 510 | of his great compositions on the develop… | Read |
| 589 | 511 | Boussu, Eterbeck … … 234 | Read |
| 590 | 512 | INDEX | Read |
| 591 | 513 | Ditton … … … … 301 | Read |
| 592 | 514 | Fendt, William … … … 309 | Read |
| 593 | 515 | Gaviniès, François, old French School; g… | Read |
| 594 | 516 | his peculiar cypher, probably a pupil of… | Read |
| 595 | 517 | Hume, Richard… … 318 | Read |
| 596 | 518 | Lancetti, Vincenzo, extract from his MS.… | Read |
| 597 | 519 | Mariani, Antonio … … 152 | Read |
| 598 | 520 | Nicolas, François (Nicolas Fourrier) …… | Read |
| 599 | 521 | Platner, Michel, resemblance of his work… | Read |
| 600 | 522 | Rombouts, Peeter … … 252 | Read |
| 601 | 523 | models; excellent varnish and handsome w… | Read |
| 602 | 524 | models of N. Amati, 184; his house at Cr… | Read |
| 603 | 525 | INDEX | Read |
| 604 | INDEX | Read |
Makers from this book
158, A to Z. The first few: