The Violin | Page 8

. . . . . . . . . . . . . . . . . . . . . . . . 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.
Sterne 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 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