The Violin | Page 8

William Ebsworth--Holloway, J.--Hume,
Richard . . . . . . . . . . . . 314-318
Jay, Henry; Viol-maker--Jay, Thomas--Jay, Henry; maker of
Kits--Johnson, John; music-seller and dealer; referred to by Dibdin in
his Autobiography . . . . . . . . . . . . . . . . . . . . . . 318-320
Kennedy, Alexander--Kennedy, John--Kennedy, Thomas . . . . . . . . 320
Lentz, Johann Nicolaus--Lewis, Edward--Longman and Broderip;
music-sellers and publishers--LOTT, JOHN FREDERICK; a finished
workman, employed by Thomas Dodd; splendid character of his work;
the "King of English Double-Bass makers"--Lott, George
Frederick--Lott, John Frederick; his chequered career, and Charles
Reade's novel thereon . . . . . . . . . . . . . . . . . . . . . . . . . . . 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