Scan 30
The violin: its famous makers and their imitators, 1909
18 lines. Read by computer on 1 October 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Naylor, 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 one of two readings
2Naylor, 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 one of two readings
3Pamphilon, 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 one of two readings
4Pamphilon, 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 one of two readings
5Rawlins, 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
6Shaw—Simpson—Smith, Henry—Smith, Thomas—Smith, William … … … … … … … … 328
7Tarr, W.—Taylor—Thompson—Thorowgood, Henry—Tilley, Thomas—Tobin, Richard—Tobin … … … 328, 329
8Urquhart; excellent character of his work … … … … 329 one of two readings
9Urquhart; excellent character of his work … … … 329 one of two readings
10Valentine, William … … … … … … … … 329
11Wamsley, Peter; superior character of his work—Wise, Christopher—Withers, Edward—Withers, Edward (2) … 29, 330
12Young, father and son, and Purcell's Catch … … … … 330
14SECTION XIII.—THE VIOLIN AND ITS VOTARIES.
16Sterne on Hobby-horses—Tender relationships between the Violin and its Votaries—Wendell Holmes on the Violin—Thomas Mace on early prices of instruments—Early makers, continental and English—Advent of the Stainer model, and its temporary preference over those of the Italian masters; its depressing influence on prices of Amatis and Stradivaris—Guarneri del Gesù brought to the front by Paganini, and Maggini by De Bériot—Recognition of the merits of Bergonzi, Guadagnini, and Montagnana—Luigi Tarisio, and his pilgrimages in search of hidden treasures; his progress as amateur, connoisseur, devotee; his singular enthusiasm, and Charles Reade's anecdote thereon; the Spanish Bass in the Bay of Biscay; Tarisio's visit to England, and the Goding collection; his hermit life; purchase of his collection by M. Vuillaume—Principal buyers of Italian instruments at this period, continental and English—Charles Reade as a connoisseur—Count Cozio di Salabue, an ardent votary of the Cremonese Violin; his purchase of Stradivari's instruments, patterns, tools, &c.; his correspondence with Paolo Stradivari relating thereto—William Corbett, and his "Gallery of Cremonys and Stainers"—The collections of Andrew Fountaine and James Goding—The Gillott Collection; its curious origin, its unique character and interesting circumstances attending its sale … … … … 331-374 one of two readings
17Sterne on Hobby-horses—Tender relationships between the Violin and its Votaries—Wendell Holmes on the Violin—Thomas Mace on early prices of instruments—Early makers, continental and English—Advent of the Stainer model, and its temporary preference over those of the Italian masters; its depressing influence on prices of Amatis and Stradivaris—Guarneri del Gesù brought to the front by Paganini, and Maggini by De Bériot—Recognition of the merits of Bertonzi, 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 one of two readings
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