Lagetto, Luigi--Landolfi, Carlo Ferdinando; original and generally good quality of his work--Lanza, Antonio Maria--Lavazza, Santino--Lavazza, Antonio--Linarolli, Venturo--Loly, Jacopo 147-148
MAGGINI, GIOVANNI PAOLO; pupil and follower of Gasparo da Salo; other makers' productions frequently attributed to him; comparison of his work with that of Da Salo--MALER (Lutinist); termed the "Stradivari of Lutes;" Thomas Mace on the art of judging Lutes and Viols--MANTEGAZZA, PIETRO GIOVANNI; eminent as a restorer--Maratti--Mariani, Antonio-- Meiberi, Francesco--Mezadri, Alessandro--Mezadri, Francesco--MONTAGNANA, DOMENICO; pupil of Antonio Stradivari; splendid specimens of his art still extant; his cognomen, "The Mighty Venetian;" rising value of his instruments; comparison with Stradivari and Bergonzi; superior character of his varnish--Montaldi, Gregorio--Morella 149-158
Nadotti, Giuseppe--Nella, Raffaele 158
Ortega 158
Pandolfi, Antonio--PANORMO, VINCENZO; follower of Antonio Stradivari; residence in London and in Ireland; his struggles with adversity; light and graceful character of his work--Pansani, Antonio--Pasta, Antonio--Pasta, Domenico--Picino-- Platner, Michel--Pollusca, Antonio--PRESSENDA, GIOVANNI FRANCESCO; superior work and varnish studied in Cremona; contrast with contemporary workers; humble origin; his connection with Storioni, and with Polledro, the Violinist; his models, Stradivari and Amati 158-163
Racceris--Rinaldi, Gioffredo--Rocca, J. A.--Rodiani--Rota, Giovanni--Rovetta--ROGERI, GIOVANNI BATTISTA ("Bononiensis," from or settled in Bologna); his instruments of large Amati pattern--ROGERI, PIETRO GIACOMO--RUGGERI, FRANCESCO ("Il Per"); early artistic genius; foremost position of his family in Cremona; pupil of Niccolo Amati and worthy of him; brilliancy of his varnish--RUGGERI, GIACINTO--RUGGERI, VINCENZO--RUGGERI, GIAMBATTISTA
163-167
SACCHINI--SALO GASPARO DA ("The Great Brescian,"); his real name Bertolotti; essentially a maker of Viols; primitive character of his instruments; evidence as to date of his work; Ganassi's work on the Art of Playing the Viol; six-stringed and four-stringed Viols; Martin Agricola and his "Musica Instrumentalis;" Quatuor of instruments, Decantus, Altus, Tenor, and Bassus; foundation by Da Salo of Italian Violin-making; gradual and tentative development of his system; high value of his labours as a pioneer; chief characteristics of his work; his nice discrimination in choice of material; Signor Dragonetti's four Double-
Basses of this maker, and his presentation of one of them to the Monastery St. Mark's, Venice--Sanoni, Giovanni Battista--Santo, Giovanni--Sanzo--Sardi--Sellas, Matteo--SERAFINO, SANTO; exquisite finish of his work; variation of model; high character of varnish and work; his method of cutting; copied Amati and Stainer--Sneider, Josefo--Socchi, Vincenzo--Sorsana--Stregner, Magno--Storioni; follower of Guarneri del Gesu; his freak as to placing the sound-holes; creditable character of his work in several respects--STRADIVARI, ANTONIO; his renown beyond that of all others; researches as to records of his life; evidence as to date of birth, marriage, and death; Genealogical Table of his family; the inventory of his work remaining at his death; similarity of his early work to that of his master, Niccolo Amati; evidences as to later changes of style; his inheritance of his aged master's tools and models; his purchase of his house in Cremona; contemporary appreciation of his merits; his set of Violins, Altos, and Violoncellos for King James of England; valuable evidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio's purchase of Stradivari's models, tools, and drawings, and their present possession by the Marquis Dalla Valle; instruments made for the Duke of Natalona,
the Duke of Savoy, and the Duke of Modena; the "Long Strad"; instruments for the Spanish Court; letter from the Marquis Ariberti; a "Chest of Viols;" a "Concerto;" Stradivari's "golden period," 1700; description of his instruments of this date; the "Betts Strad;" guiding principles as to differences of construction and quality of material; the "Dolphin Strad," its exquisite beauty; tranquil character of Stradivari's life; war in Cremona; Prince Eugene and Villeroy; visit of Philip V. of Spain to Italy, and entry into Cremona;
set of instruments for Charles III. of Spain, and for Archduke Charles of Austria; letter from Lorenzo Giustiniani; set of Violins for Augustus, King of Poland; Veracini, the Solo-Violinist, and Stradivari; last epoch of the great maker; quality of his instruments at this period; comparison with those of contemporaries; place of his burial, in the Chapel of the Rosary, with diagram; Polledro's description of the personality of Stradivari; singular apathy of the Cremonese as to their great deceased citizen--STRADIVARI, FRANCESCO and OMOBONO, sons and successors of Antonio; character of their work; correspondence between his son and
grandson, Paolo and Antonio, and the agents of Count Cozio di Salabue, relative to the purchase of the models, tools, and drawings of the Maestro--Sursano, Spirito 168-219
Tanegia, Carlo Antonio--Taningard, Giorgio--TECCHLER, DAVID; his instruments of German and Italian styles, finely formed, and of good quality; his Violoncellos of large size--Testore, Carlo Giuseppe--Testore, Carlo Antonio--Testore, Paolo Antonio--Tieffenbrucker, Leonardo--Todini, Michele; his method of stringing the Violono--Tononi, Carlo--Tononi, Carlo Antonio--Tononi, Giovanni--Tononi, Felice--Tononi, Guido--Trapani, Raffaele219-222
5
Valenzano, G.--Vetrini, Battista--Vimercati 222
Wenger 222
Zannetto, Pellegrino--Zanola, Giovanni Battista--Zanotti, Antonio--Zanti, Alessandro--Zanure, Pietro--Zenatto, Pietro 222-223
SECTION VII.--THE FRENCH SCHOOL.
Origin of the French School in the 17th century; followers of the Brescian and Cremonese types; mediocre character of their earlier efforts, with a few exceptions--De Comble and the second French School; Pique, Lupot, and Francois Gand; Silvestre, of Lyons--Introduction of the practice of Fiddle-baking; its failure--The copyist, and the Mirecourt factory, the "Manchester of Fiddle-making;" its destructive influence on the interests of true art 224-230
SECTION VIII.--FRENCH MAKERS.
Aldric--Allar--Amelot--Aubry--Augiere 231
Bachelier--Bassot--Bernardel, Sebastien Philippe--Bertrand, Nicolas--Boivin, Claude--Boquay, Jacques; follower of Girolamo Amati--Borlon, Artus, or Arnould--Borlon (or Porlon), Pierre, Viol-maker--Borlon, Joannes--Borlon, Francois--Boullangier, C.--Boumeester--Bourdet, Sebastien--Bourdet, Jacques--Boussu, Eterbeck--Breton, Le--Brugere 231-234
CALOT--Castagnery, Andrea--Castagnery, Jean Paul--Champion, Rene--Chanot, Francois--CHANOT, GEORGES; an indefatigable worker, and close copier of Stradivari and Guarneri--Chanot, Georges, fils--Chanot, F.--Chanot, G. A.--Chappuy, Nicolas-Augustin--Chardon, Joseph--Charotte--Chevrier, Andre-Augustin--Claudot, Charles--Claudot, Augustin--Clement-- Cliquot, Henri--Cliquot, Louis Alexandre--Cunault--Cuypers--Cuny 234-237
Daniel--Darche--David--DE COMBLE, AMBROISE; said to have worked with Stradivari; a skilful worker; good material and varnish--Dehommais--Delanoix--Delaunay--Deleplanque, Gerard--Derazey--Despons, Antoine--Dieulafait--Droulot--Ducheron, Mathurin--Du Mesnil, Jacques 237-238
Eesbroek, Jean Van, Lute-maker 238-239
Falaise--Fendt, or Fent--Fleury, Benoist--Fourrier, Nicolas 239
GAILLARD--GAND, FRANCOIS; pupil and successor of Nicolas Lupot; an excellent maker and repairer--Gand, Adolphe--Gand, Eugene--Gavinies, Francois--Germain, Joseph Louis--Germain, Emile--Gosselin--Grand-Gerard--Grandson Fils--Grosset, Paul Francois--Guersan, Louis 239-242
Hel--Henry, Jean Baptiste Felix--Henry, Charles--Henry, Octave--Henry, Eugene--Hofmans, Mathias 242
Jacobs, Hendrik; his work often mistaken for that of Niccolo Amati--Jacobs--Jacquot, Charles (pere)--Jacquot, Charles
(fils)--Jeandel,
