and termed "The English Amati;" high character of his work and varnish--Banks, Benjamin (2)--Banks, James and Henry--Barnes, Robert--Barrett, John; follower of Stainer; good quality of work--Barton, George--Betts, John; pupil of Richard Duke--BETTS, EDWARD; pupil of Duke, and an excellent copyist; high finish; Amati model--Bolles--Booth, William--Booth--Boucher--Brown, James--Brown, James (2)-- Browne, John 293-299Cahusac--Carter, John--Challoner, Thomas--Cole, Thomas--Cole, James--Collier, Samuel--Collier, Thomas-- Collingwood, Joseph--Conway, William--Corsby, George--Cramond, Charles--Crask, George--Cross, Nathaniel--Crowther, John--Cuthbert; good quality of work 299-300
Davidson, Hay--Davis, Richard--Davis, William--Dearlove, Mark--Delany, John; his peculiar label--Dennis, Jesse--
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Devereux, John--Dickinson, Edward--Dickeson, John; excellent copyist of Amati--Ditton--DODD, THOMAS; not a maker, but an employer of makers of highest class, and especially famous for the high character of his varnish--Dodd, Thomas (2)--Dorant, William--DUKE, RICHARD; his name a "household word" with English Violinists; high character of his real work, but frequently and badly counterfeited; his models both Amatese and Stainer--Duke, Richard (2)--Duncan300-305
Eglington--Evans, Richard 305
FENDT, BERNARD; a born Fiddle-maker; a fellow workman with John F. Lott; his instruments copies of Amati, bearing the labels of Thomas Dodd or John Betts, and highly valued--FENDT, BERNARD SIMON; good work, but sometimes artificially "matured;" his Violins, Tenors, Violoncellos, and Double-Basses; follower of the Guarneri and Gasparo da Salo models; his quartett of instruments in the London Exhibition of 1851--Fendt, Martin--Fendt, Jacob; his work finely finished; skilful copies of Stradivari, but artificially and cleverly "aged"--Fendt, Francis--Fendt, William--Ferguson, Donald--Firth--Forster, W.--Forster, William (i.); spinning-wheel and Violin-maker--FORSTER, WILLIAM (ii.); also a maker of spinning-wheels and Violins, and amateur Fiddler; an excellent copyist of Stainer and of the Amati models; high character of his work and varnish; his Double-Basses for the Band of George the Third; his instruments highly valued by Robert Lindley--FORSTER, WILLIAM (iii.); excellent work-- Forster, William (iv.)--Forster, Simon Andrew--Frankland--Furber, John--Furber, Henry John 305-313
313-314
Gibbs, James--GILKES, SAMUEL; a thorough artist, and pupil of William Forster--Gilkes, William--Gough, Walter
Harbour--Hardie, Matthew; Scotland's best maker--Hardie, Thomas--Hare, John--Hare, Joseph--HARRIS, CHARLES; genuine character of work, of Amati and Stradivari type; exquisite finish and good varnish--Harris, Charles (2)-- HART, JOHN THOMAS; pupil of Samuel Gilkes; specially known as connoisseur, collector, and dealer--Heesom, Edward--Hill, Joseph--Hill, William--Hill, Joseph--Hill, Lockey--Hill, 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 mak-ers"--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.
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Sterne on Hobby-horses--Tender relationships between the Violin and its Votaries--Wendell Holmes on the Vio-lin--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
