[Footnote 11: Fischer was a celebrated Oboe-player. He made his first appearance in London in 1768. Gainsborough painted two portraits of him, one of which is at Hampton Court.]

Gainsborough's fondness for fresh instruments is alluded to by Philip Thicknesse, who says that during his residence at Bath, Gainsborough offered him one hundred guineas for a Viol da Gamba, dated 1612. His offer was declined, but it was ultimately agreed that he should paint a full-length portrait of Mr. Thicknesse for the Viol da Gamba. Gainsborough was delighted with the arrangement, and said "Keep me hungry; keep me hungry! and do not send the instrument until I have finished the picture." The Viol da Gamba was, however, sent the next morning, and the same day the artist stretched a canvas. He received a sitting, finished the head, rubbed in the dead colouring, &c., and then it was laid aside—no more was said of it or done to it, and he eventually returned the Viol da Gamba.

Jackson tells us that Gainsborough "disliked singing, particularly in parts. He detested reading; but was so like Sterne in his letters, that, if it were not for an originality that could be copied from no one, it might be supposed that he had formed his style upon a close imitation of that author. He had as much pleasure in looking at a Violin as in hearing it. I have seen him for many minutes surveying, in silence, the perfections of an instrument, from the just proportion of the model and beauty of workmanship. His conversation was sprightly; his favourite subjects were music and painting, which he treated in a manner peculiarly his own. He died with this expression—'We are all going to heaven, and Vandyke is of the party.'"

GARRICK AND CERVETTO.

Cervetto, the famous Violoncello-player, occupied the post of principal Violoncello at Drury Lane for many years. His fame as a performer was almost matched by the celebrity of his nasal organ, the tuberosity of which often caused the audience in the gallery to exclaim, "Play up, Nosey!" In Dibdin's "Musical Tour," 1788, we are told that "When Garrick returned from Italy, he prepared an address to the audience, which he delivered previous to the play he first appeared in. When he came upon the stage he was welcomed with three loud plaudits, each finishing with a huzza. As soon as this unprecedented applause had subsided, he used every art, of which he was so completely master, to lull the tumult into a profound silence; and just as all was hushed as death, and anxious expectation sat on every face, old Cervetto, who was better known by the name of 'Nosey,' anticipated the very first line of the address by—aw——a tremendous yawn. A convulsion of laughter ensued, and it was some minutes before the wished-for silence could be again restored. That, however, obtained, Garrick delivered his address in that happy, irresistible manner in which he was always sure to captivate his audience; and he retired with applause, such as was never better given, nor ever more deserved. But the matter did not rest here; the moment he came off the stage, he flew like lightning to the music-room, where he encountered Cervetto, and began to abuse him vociferously. 'Wha—why—you old scoundrel. You must be the most——' At length poor Cervetto said, 'Oh, Mr. Garrick! vat is the matter—vat I haf do? Oh! vat is it?' 'The matter! Why you senseless idiot—with no more brains than your Bass-Viol—just at the—a—very moment I had played with the audience—tickled them like a trout, and brought them to the most accommodating silence—so pat to my purpose—so perfect—that it was, as one may say, a companion for Milton's visible darkness.' 'Indeed, Mr. Garrick, it vas no darkness.' 'Darkness! stupid fool—but how should a man of my reading make himself understood by—a—— Answer me—was not the house very still?' 'Yes, sir, indeed—still as a mouse.' 'Well, then, just at that very moment did you not—with your jaws extended wide enough to swallow a sixpenny loaf—yawn?' 'Sare, Mr. Garrick—only if you please hear me von vord. It is alvay the vay—it is, indeed, Mr. Garrick—alvay the vay I go ven I haf the greatest rapture, Mr. Garrick.' The little great man's anger instantly cooled. The readiness of this Italian flattery operated exactly contrary to the last line of an epigram—the honey was tasted, and the sting forgot."

THE KING AND THE PLAYER.

George the Third was frequently at Weymouth, and often strolled about the town unattended. On the day of Elliston's benefit (at which His Majesty had expressed his intention of being present) he had been enjoying one of his afternoon wanderings, when a shower of rain came on. Happening to be passing the theatre door, in he went. Finding no one about, he entered the Royal box, and seated himself in his chair. The dim daylight of the theatre and slight fatigue occasioned by his walk, induced drowsiness: His Majesty, in fact, fell into a doze, which ultimately resolved itself into a sound sleep. In the meantime Lord Townsend met Elliston, of whom he inquired if he had seen the King, as His Majesty had not been at the palace since his three o'clock dinner, it being then nearly five. Elliston being unable to give his lordship any information, Lord Townsend sought His Majesty in another direction, and the comedian made his way to the theatre, in order to superintend the necessary arrangements for the reception of his Royal patrons. Upon reaching the theatre, Elliston went at once to the King's box, and seeing a man fast asleep in His Majesty's chair, was about recalling him to his senses somewhat roughly, when, happily, he discovered who it was that had so unexpectedly taken possession of the Royal chair. What was to be done? Elliston could not presume to wake His Majesty—to approach him—speak to him—touch him—impossible! and yet something was necessary to be done, as it was time to light the theatre, and, what was of still more importance, to relieve the anxiety of the Queen and family. Elliston hit on the following expedient: Taking up a Violin from the orchestra he stepped into the pit, and placing himself beneath his exalted guest, struck up dolcemente—



The expedient produced the desired effect. The sleeper was loosened from the spell which bound him. Awakened, His Majesty stared at the comedian full in the face, ejaculated, "Hey, hey, hey!—what, what—oh, yes! I see—Elliston—ha, ha! Rain came on—took a seat—took a nap. What's o'clock?" "Nearly six, your Majesty." "Say I'm here. Stay, stay! This wig won't do—eh, eh! Don't keep the people waiting—light up; light up; let them in—fast asleep. Play well to-night, Elliston." The theatre was illuminated; messengers were despatched to the Royal party, which, having arrived in due course, Elliston quitted the side of the affable Monarch, and prepared himself for his part in the performance.

SIR WALTER SCOTT ON MUSIC AND FIDDLES.

"I do not know and cannot utter," said Sir Walter, "a note of music; and complicated harmony seems to me a babble of confused, though pleasing sounds; yet simple melodies, especially if connected with words and ideas, have as much effect on me as on most people. I cannot bear a voice that has no more life in it than a pianoforte or bugle-horn. There is in almost all the fine arts a something of soul and spirit, which, like the vital principle in man, defies the research of the most critical anatomist. You feel where it is not, yet you cannot describe what it is you want." Sir Joshua, or some other great painter, was looking at a picture on which much pains had been bestowed. "Why—yes," he said, in a hesitating manner; "it is very clever—very well done. Can't find fault, but it wants something—it wants—it wants—d—n me, it wants that!" throwing his hand over his head, and snapping his fingers. In talking of his ignorance of music, Scott said he had once been employed in a case where a purchaser of a Fiddle had been imposed on as to its value. He found it necessary to prepare himself by reading all about Fiddles in the encyclopaedias, &c., and having got the names of Stradivari, Amati, &c., glibly on his tongue, got swimmingly through his case. Not long after this, dining at the Duke of Hamilton's, he found himself left alone after dinner with the Duke, who had but two subjects he could talk of—hunting and music. Having exhausted hunting, Scott thought he would bring forward his lately acquired learning in Fiddles, upon which the Duke grew quite animated, and immediately whispered some orders to the butler, in consequence of which there soon entered the room about half-a-dozen tall servants, all in red, each bearing a Fiddle case, and Scott found his knowledge brought to no less a test than that of telling by the tones of each Fiddle, as the Duke played it, by what artist it was made. "By guessing and management," said he, "I got on pretty well, till we were, to my great relief, summoned to coffee."[12]

[Footnote 12: Lockhart's "Life of Sir Walter Scott."]

I have frequently heard of the Duke's passion for Violins, and also that he had a great number of them at Hamilton Palace. Among these instruments there appears to have been a singularly perfect Tenor by the brothers Amati. Signor Piatti has often spoken to me of having seen this instrument several years since in the possession of the family. The Hamilton collection of Fiddles was doubtless dispersed long before the rare MSS., the Beckford Library, the inlaid cabinets, and other treasures which served to make Hamilton Palace renowned throughout the world of art and letters.

Returning to the subject of Sir Walter Scott's references to music, it will be seen that his barristers possess among their gentlemanly embellishments a knowledge of stringed instruments. Who can forget that the young Templar, Master Lowestoffe ("Fortunes of Nigel," chap. xvi. 138) "performed sundry tunes on the Fiddle and French Horn" in Alsatia; and that Counsellor Pleydell, on the eventful night, in "Guy Mannering" (chap. xlix. 255), being a "member of the gentlemen's concert in Edinburgh," was performing some of Scarlatti's sonatas with great brilliancy upon the Violoncello to Julia's accompaniment upon the harpsichord?

A CINDERELLA VIOLONCELLO.

A somewhat curious change in the ownership of a Violoncello occurred many years since. My father (Mr. John Hart) was walking along Oxford Street, when he heard the sounds of a Violoncello, a Violin, and a Cornet, which were being played in a side street. His curiosity being excited, he became one of the group of listeners. The appearance of the Violoncello greatly pleased him; it was covered with a thick coat of resin and dirt, but its author was clearly defined nevertheless. When the players had concluded their performance, Mr. Hart asked the wandering Violoncellist if he was disposed to sell his instrument. "I have no objection, if I can get enough to buy another and something over," was the answer. The terms not being insurmountable, a bargain was struck, and the dealer in Fiddles walked away, taking his newly-acquired purchase under his arm. The itinerant trio, having become a duet, gave up work for that day.

Reaching home with his charge, Mr. Hart was in the act of removing the accumulated dirt of many a hard day's work from the Violoncello, when Robert Lindley entered, and asked what might be the parentage of the instrument about which so much pains were being taken. "A Forster," was the reply; and at the same time the circumstances of the purchase were related. Lindley was much amused, and expressed a wish to possess the rescued instrument, though it had been much injured. The price was agreed upon, and the Violoncello thus passed from the most humble to the most exalted player in one day.

A STOLEN "STRAD."

It has often been remarked that to steal a valuable Violin is as hazardous as to steal a child; its identity is equally impregnable, in fact, cannot be disguised, save at the price of entire demolition. To use a paradox, Violins, like people, are all alike, yet none are alike. The indelible personality of the best Violins has been a powerful agent in the cause of morality, and has deterred many from attempting to steal them. We have, however, instances of undiscovered robberies of valuable instruments, and notably that of the fine Stradivari which belonged to a well-known amateur, an attache at the British Embassy at St. Petersburg. The Violin in question was numbered with the Plowden collection. I disposed of it to the amateur above mentioned in 1868; it was a magnificent Violin, date 1709, in the highest state of preservation. In the year 1869 the owner of it was appointed to the Embassy at St. Petersburg, and removed thither. He was a passionate lover of the Violin, and an excellent player. One evening he was playing at a musical party. After he had finished he placed his "Strad" in its case as usual, which he closed, without locking it. The next day he was amusing himself with a parrot, which bit him on the lip; the wound appeared very unimportant, but exposure to the cold brought on malignant abscess, and he sank and died. In due course his representatives arrived in St. Petersburg, and took charge of his property, which was brought to England. Some twelve months afterwards a relative (Mr. Andrew Fountaine, of Narford), who took much interest in valuable Violins, was visiting the family of the deceased gentleman and asked to be allowed to see the Stradivari, 1709. The case was sent for and duly opened. When the Violin was handed to the visitor he remarked there must be some mistake, and suggested that the wrong case had been brought, the instrument he held having no resemblance whatever to the Stradivari, and not being worth a sovereign. Inquiries were set on foot, and it was satisfactorily proved that the case had never been opened since it had been brought to England; neither had it left the custody of the late owner's nearest relative, who had kept it secured in a chest. The next day after the occurrence of the event related above, I was communicated with, and asked if I could recognise the Stradivari in question. It is unnecessary to record my answer. I might, with an equivalent amount of reason, have been asked if I should know my own child. The double case was formally opened, and the Violin described above was taken out. "Is that the Stradivari?" I scarcely knew for the moment whether my interrogator was in earnest, so ridiculous was the question. It remains only to be said that the Russian authorities were memorialised and furnished by me with a full description of the instrument; but to this moment its whereabouts has never been discovered.

THE MISSING SCROLL.

It has often happened that portions of valuable instruments, detached from the original whole, have been once more recovered and reinstated in their proper place. The following is an amusing instance of this.

A well-known amateur, belonging to the generation now fast passing away, was the fortunate possessor of a Stradivari Violin, which he had occasion to take to the Fiddle doctor for an operation quite unknown to the students of the Royal College of Surgeons, but well understood by the members of the fraternity to which I have the honour to belong, namely, decapitation. This, in the Fiddle language, means the removal of the old neck, and the splicing of a brand-new one in its place. It is an operation wholly unattended with the horrors of human surgery. Again and again a time was appointed for the completion of this delicate insertion, but in vain—it was a case of hope deferred. The owner of the Stradivari becoming wearied with this state of things, determined to carry off his cherished instrument in its dismembered condition. Placing the several portions in paper, he left the Fiddle doctor's establishment, considerably annoyed and excited. Upon reaching his home his recent ebullition of temper had entirely passed away, and he calmly set himself to open the parcel containing his dissected "Strad," when, to his utter dismay, he failed to find its scroll. The anguish he suffered may be readily conceived by the lover of Fiddles. Away he started in search of his Fiddle's head, dead to all around him but the sense of his loss; he demanded of every one he met whether they had by chance picked up the head of a Fiddle. The answers were all in the negative; and many were the looks of astonishment caused by the strange nature of the question and the bewildered appearance of the questioner. At length he arrived at the house of the Fiddle doctor, whose want of punctuality had brought about the misfortune. Here was his forlorn hope! He might possibly have forgotten to put the scroll into the parcel. His doubts were soon at rest; the scroll had been taken with the other parts of the instrument. Completely overcome with sorrow and vexation, he knew not how to endeavour to recover his loss. He ultimately decided to offer a reward of five pounds and to await the result as contentedly as he could.

A few hours after the dejected owner of the Violin had left the shop of the Fiddle doctor, an old woman, the keeper of an apple stall in the neighbourhood, entered and offered for sale a Fiddle-head. The healer of Violins, taking it into his hands, was agreeably astonished to recognise in it the missing headpiece, and eagerly demanded of the seller whence she had obtained it, and what might be its price. "Picked it up in the gutter," she answered; and two shillings was the modest value she set upon her find. Without a moment's hesitation the money was handed to the vendor of Ribston pippins, and away she trudged in high glee at the result of her good luck. The Fiddle AEsculapius, equally gleeful at the course of events, resolved to avail himself of the opportunity afforded him of gratifying a little harmless revenge upon the fidgety amateur's haste in removing the "Strad" before the alterations had been completed. He therefore determined to keep the fact of the discovery to himself for a short time. Advertisements multiplied, and the reward rapidly rose to twenty guineas. Having satisfied his revengeful feelings, the repairer duly made known the discovery of the missing scroll, to the intense gratification of its owner. Finally, the repairer refused to accept any portion of the reward upon one condition, viz., that he was allowed to complete his work—a condition readily conceded.

ANOTHER WANDERING SCROLL.

Among the collection of valuable Violins belonging to the late Mr. James Goding, was a Stradivari Violin, dated 1710, which had been deprived of its original scroll, and bore a supposititious figure-head by David Tecchler, owing to a piece of vandalism perpetrated by an eccentric amateur. The original scroll had found its way to an Italian Violin of some merit, the value of which was considerably enhanced by the newly-acquired headpiece, which gave to the whole instrument an air of importance to which it could lay no claim till it carried on its shoulders a head belonging to the aristocracy of Fiddles. During a period of about twenty years this mongrel Fiddle became the property of as many owners, and ultimately fell into my hands. Leaving this instrument, we will follow the history of the Stradivari, date 1710. At the dispersion of Mr. Goding's collection by Messrs. Christie and Manson, in the year 1857, a well-known amateur purchased the Violin for the sum of seventy pounds, the loss of its scroll preventing the realisation of a higher figure. Sixteen years after this event the purchaser applied to me for a Stradivari scroll, that he might make his instrument complete. The mongrel Violin described above being in my possession, decapitation was duly performed, and the Stradivari received its head again. Here was a fortuitous course of circumstances! This exchange of heads took place without my being at all aware that the "Strad" scroll had returned to its original body; but on my mentioning the circumstance to my father, he informed me, to my astonishment and delight, that if the head of the mongrel Fiddle had been placed on the Stradivari, date 1710, from the Goding collection, it was now, as the effect of recent transmigration, on its own legitimate body.

A MONTAGNANA INSTRUMENT SHOT THROUGH THE BODY IN THE REVOLUTION OF 1848.

An enthusiastic amateur was playing the Violin in a house in one of the leading thoroughfares in Paris at the outbreak of the Revolution in 1848. His ardour was so great that the cannonading failed to interrupt him in his pleasurable pursuit; he fiddled on, regardless of all about him, as Nero is said to have done when his capital was in flames, and even left the window of his apartment open. Presently a whizzing noise, terminating in a thud above his head, arrested his attention. Upon his looking up he saw the mark of a bullet in the ceiling. Aroused to a sense of his danger, he closed the windows. Being about to put his Montagnana into its case, his astonishment may be imagined when he discovered a hole through the upper side, and a corresponding chink in the belly, both as sharply cut as though a centre-bit had done the work. His Violin bore witness to his miraculous escape; the bullet lodged in the ceiling had taken his Montagnana in its course. The instrument referred to in this anecdote has been in my possession more than once.

FIDDLE MARKS AND THE CREDULOUS DABBLERS.

It is said that a drowning man will clutch at a straw; the truth of the remark applies to the half-informed in Fiddle connoisseurship. It is very amusing to note the pile of nothings that these persons heap up under the name of "guiding points" in relation to Fiddles. I will endeavour to call to mind a few of these. I will begin with those little pegs seen on the backs of Violins near the button, and at the bottom; the position of these airy nothings without habitation or name "is deemed indisputable evidence of certain makers' handicraft." One is supposed to have put his pegs to the right, another to the left; another used three, four, and so on. I have frequently heard this remark—"Oh, it cannot be a Stradivari, because the pegs are wrong!"

The purfling also forms an important item in the collection of landmarks; certain makers are supposed to have invariably used one kind of purfling, no variation being allowed for width or material adopted. Original instruments are pronounced spurious and spurious original by this test. All Fiddles purfled with whalebone are dubbed "Jacobs," and no other maker is credited with using such purfling.

The back of a Violin is another very important item with these individuals. Particular makers are supposed to have only made whole backs, others double backs; others again are thought to be known only by the markings of the wood. There is another crotchet to be mentioned: some will tell you they will inform you who made your Violin by taking the belly off, and examining the shape of the blocks and linings. Rest assured if the maker cannot be seen outside, he will never reveal himself in the inner consciousness of a Fiddle. Measurement is another certain guiding point with these dabblers; the measuring tape is produced and the instrument condemned if it does not tally with their erroneous theory.

"GUARNERI" AT A DISCOUNT.

With what tenacity do persons often cling to the fond belief that undoubted Raffaeles, Cinque Cento bronzes, dainty bits of Josiah Wedgwood's ware, and old Cremonas, are exposed for sale in the windows of dealers in unredeemed pledges, brokers' shops, and divers other emporiums! It is the firm conviction of these amiable persons that scores of gems unknown are awaiting in such cosy lurking-places the recognition of the educated eye for their immediate deliverance to the light of day.

The quasi bric-a-brac portion of the general dealer's stock is dexterously arrayed in his window, and not allowed to take up a prominent position among the wares displayed. To expose treasures would be a glaring act of indiscretion, inasmuch as it would tend to the belief that the proprietor was perfectly cognisant of the value of his goods, whereas he is imagined by the hypothesis to be profoundly ignorant on the subject. Pictures, bronzes, china, and Fiddles, with their extremely modest prices attached, lie half hidden behind a mountain of goods of a diametrically opposite nature. There they may rest for days, nay, weeks, before the individual with the educated eye, for the good of all men, detects them. Sooner or later, however, he makes his appearance, and peers into every nook of the window, shading his eyes with his hands. Something within arrests his attention; his nose gets flattened against the glass in his eagerness to get near the object. He enters the establishment, and asks to be allowed to look at an article quite different from the one he has been so intent upon; his object being that the dealer may not awaken to a sense of the coveted article's value by a stranger seeming to be interested in it. After examining the decoy bird, he returns it, and carelessly asks to look at the article. Whatever the value set upon it may be, he tenders exactly the half, the matter being usually settled by what is technically known as "splitting the difference." Delighted with his purchase, he carries it home, and persuades his friends he has got to the blind side of the dealer, and is in possession of the real thing for the fiftieth part of what others give for it. He proceeds to enlighten his friends on the subject, telling them to follow his example, which they invariably do.

Scarcely a day passes without my hearing of a Cremona having been secured in the manner I have attempted to describe. My experience, however, teaches me that the whole thing is a delusion, and that the thoroughbred Cremona does not fall away from the companionship of its equals, once in the space of a lifetime, and that when this does happen, the instrument rarely falls to the bargain-hunter.

The following exceptional incident will, I hope, not be found wanting in interest as bearing on this theme. A votary of the Violin purchased an old Fiddle for some two or three pounds from a general dealer in musical instruments in his neighbourhood. He was well satisfied with his acquisition; and after subjecting it to a course of judicious regulation, so great were the improvements effected that the vendor regretted having sold it for such a trifling sum, and the more so when it was whispered about that the instrument was a veritable Amati—a report, by the way, very far wide of the mark, as it was simply an old Tyrolean copy.

Some little time after the occurrence related, the lover of Violins heard that the same instrument-seller from whom he purchased the imagined Amati, had secured a job lot of some half-dozen old Fiddles, the remnant of an old London music-seller's stock, and that he was offering them for sale. Our hero decided to pay another visit, and judge of the merits of the new wares, with a view to a second investment. Upon presenting himself to the local seller of Violins, he was at once informed that if he selected any instrument from the lot, he must be prepared to pay 10 pounds, the dealer having no intention of again committing his former error in selling a Cremona for some forty shillings. Upon this understanding the visitor proceeded to examine the little stock, which he found in a very disordered condition—bridgeless, stringless, and dusty. Among the whole tribe, however, was a Violin which seemed to elbow its way to the front of the group, and clamour for the attention of which it appeared to deem itself worthy. Unable to resist its seeming appeal, the intending purchaser decided to remove it from the atmosphere of its companions, and begged that he might be permitted to take the importuning Fiddle and string it in order to test its qualities. His request being acceded to, he carried it away. Upon reaching home, he took it from its case, and gently removed the dust of years. The varnish appeared to him as something very different from any he had ever seen before on a Violin; and being an artist by profession, qualities of colours were pretty well understood by him. With the Violin poised on his knee, somewhat after the manner seen in the well-known picture of Stradivari in his workshop, he thus communed with himself: "I have never seen the much-spoken-of Cremonese varnish, but if this instrument has it not, its lustre must indeed be more wondrous than my imagination has painted." After again and again examining the Violin, he retired to rest, but not to sleep. The Fiddle persisted in dodging him whichever way he turned on his couch. At the dawn of day—five o'clock—he was up, with the Fiddle again on his knee, thinking he might have been labouring under some infatuation the night before which the light of day might dispel. Convinced he was under no such delusion, he soon made for the music-seller's establishment, whom he delighted by paying the price demanded for the Violin. It was now time, he felt, to obtain professional advice on the matter; in due course he paid me a visit. Upon his opening the case I was unable to restrain my feelings of surprise, and demanded if he had any idea of the value of the Violin. "None whatever," he answered. Without troubling the reader further, I informed him that his Violin was an undoubted Giuseppe Guarneri, of considerable value. He then recounted the circumstances attending its purchase, with which the reader is familiar.

DOMENICO DRAGONETTI—HIS GASPARO DA SALO.

Signor Dragonetti succeeded Berini as primo basso in the orchestra of the chapel belonging to the monastery of San Marco, Venice, in his eighteenth year. The procurators of the monastery, wishing to show their high appreciation of his worth, presented the youthful player with a magnificent Contra-Bass, by Gasparo da Salo, which had been made expressly for the chapel orchestra of the convent of St. Peter, by the famous Brescian maker.

Upon an eventful night, the inmates of the monastery retired to rest, when they were awakened by deep rumbling and surging sounds. Unable to find repose while these noises rent the air, they decided to visit the chapel; and the nearer they got to it the louder the sounds became. Regarding each other with looks of mingled fear and curiosity, they reached the chapel, opened the door, and there stood the innocent cause of their fright, Domenico Dragonetti, immersed in the performance of some gigantic passage, of a range extending from the nut to the bridge, on his newly-acquired Gasparo. The monks stood regarding the performer in amazement, possibly mistaking him for a second appearance of the original of Tartini's "Sonata del Diavolo," his Satanic Majesty having substituted the Contra-Basso for the Violin. Upon this instrument Dragonetti played at his chief concert engagements, and though frequently importuned to sell it by his numerous admirers, declined to do so; in fact, though for the last few years of his life he gave up public performance, he resolutely refused most tempting offers for his treasure—800 pounds, to use an auctioneer's phrase, "having been offered in two places," and respectfully declined. In his youthful days he decided that his cherished Gasparo should return to the place from whence he obtained it, the Monastery of San Marco, and this wish was accordingly fulfilled by his executors in the year 1846. The occasion was one of much interest; it was felt by Dragonetti's friends and admirers that to consign the instrument upon which he had so often astonished and delighted them with the magic tones he drew from it, to the care of those who possibly knew nothing of its merits, was matter for regret.

Being desirous of furnishing the reader with all the information possible relative to Signor Dragonetti's instrument I communicated with Mr. Samuel Appleby, who was his legal adviser, and probably better acquainted with him than any other person in this country. He very kindly sent me the following particulars, which are interesting:—

"BRIGHTON, July 2, 1875.

"MY DEAR SIR,—

"Your letter of yesterday needs no apology, as it will afford me pleasure at any time to give you any information in my power respecting the late Signor Dragonetti, having known him well from 1796 to his death.

"His celebrated Gasparo da Salo instrument, or Contra-Basso, was left by his will to the Fabbricieri (or churchwardens) for the time being of the Church of St. Mark's, at Venice, to be played upon only on festivals and grand occasions. I was present on one of such festivals, which lasted three days, in July, 1852. I then saw the Basso, which was played on in Orchestra No. 1, there having been two bands for which music had been composed expressly.

"In April, 1875, being again in Venice, I inquired from the Verger of St. Mark's if Dragonetti's Violone was in the church, and I could see it. The reply was in the affirmative, but as the Fabbricieri had the care of the instrument, under lock and key, it would be necessary to see them and get their consent for its production. As this would cause me some little trouble, I left Venice without carrying out my intention.

"Dragonetti by his will left me his Amati Double-Bass, which is now in this house, and I believe the only one of that make in England, and consequently highly prized by

"Yours truly, "SAMUEL APPLEBY.

"Mr. Hart."

THE BETTS STRADIVARI.

The Bibliophile tells us of Caxton, Aldine, and Baskerville editions having been exposed for sale by itinerant booksellers, men who in opening their umbrellas opened their shops. Collectors of pictures, china, and Fiddles, have each their wondrous tales to tell of bygone bargains, which are but the echoes of that of the Bibliophile. It is doubtful, however, were we to search throughout the curiosities of art sales, whether we should discover such a bargain as Mr. Betts secured, when he purchased the magnificent Stradivari which bears his name, for twenty shillings. About half a century since, this instrument was taken to the shop of Messrs. Betts, the well-known English Violin-makers in the old Royal Exchange, and disposed of for the trivial sum above-mentioned. Doubtless its owner believed he was selling a brand-new copy, instead of a "Stradivari" made in 1704, in a state of perfection. Frequently importuned to sell the instrument, Mr. Betts persistently declined, though it is recorded in Sandys and Foster's work on the Violin, that five hundred guineas were tendered more than once, which in those days must have been a tempting offer indeed! Under the will of Mr. Betts it passed to his family, who for years retained possession of it.

About the year 1858 it became the property of M. Vuillaume, of Paris, from whom it was purchased by M. Wilmotte, of Antwerp. Several years later it passed to Mr. C. G. Meier, who had waited patiently for years to become its owner. The loving care which this admirer of Cremonese Violins bestowed upon it was such, that he would scarcely permit any person to handle it. From Mr. Meier it passed into my possession in the year 1878, which change of ownership brought forth the following interesting particulars from the pen of the late Charles Reade, the novelist and lover of Fiddles:—

"THE BETTS STRADIVARI.

"To the Editor of the 'Globe.'

"SIR,—As you have devoted a paragraph to this Violin, which it well deserves, permit me to add a fact which may be interesting to amateurs, and to Mr. George Hart, the late purchaser. M. Vuillaume, who could not speak English, was always assisted in his London purchases by the late John Lott, an excellent workman, and a good judge of old Violins.[13] The day after this particular purchase, Lott came to Vuillaume, by order, to open the Violin. He did so in the sitting-room whilst Vuillaume was dressing. Lott's first words were, 'Why, it has never been opened!' His next, 'Here's the original bass-bar.' Thereupon out went M. Vuillaume, half-dressed, and the pair gloated over a rare sight, a Stradivari Violin, the interior of which was intact from the maker's hands. Mr. Lott described the bass-bar to me. It was very low and very short, and quite unequal to support the tension of the strings at our concert pitch, so that the true tone of this Violin can never have been heard in England before it fell into Vuillaume's hands. I have known this Violin forty years. It is wonderfully preserved. There is no wear on the belly except the chin-mark; in the centre of the back a very little, just enough to give light and shade. The corners appear long for the epoch, but only because they have not been worn down. As far as the work goes, you may know from this instrument how a brand-new Stradivari Violin looked. Eight hundred guineas seems a long price for a dealer to give: but after all, here is a Violin, a picture, and a miracle all in one; and big diamonds increase in number; but these spoils of time are limited for ever now, and, indeed, can only decrease by shipwreck, accident, and the tooth of time.—I am, your obedient servant,

"CHARLES READE. "19, ALBERT GATE, May 9, 1878."

[Footnote 13: The hero of Mr. Read's "Jack of All Trades, a Matter-of-fact Romance."]

LEIGH HUNT ON PAGANINI.

"'I projected,' says Leigh Hunt, 'a poem to be called "A Day with the Reader." I proposed to invite the reader to breakfast, dine and sup with me, partly at home, and partly at a country inn, to vary the circumstances. It was to be written both gravely and gaily; in an exalted, or in a lowly strain, according to the topics of which it treated. The fragment on Paganini was a part of the exordium:—

"So played of late to every passing thought, With finest change (might I but half as well So write!) the pale magician of the bow," &c.

I wished to write in the same manner, because Paganini with his Violin could move both the tears and the laughter of his audience, and (as I have described him doing in the verses) would now give you the notes of birds in trees, and even hens feeding in a farmyard (which was a corner into which I meant to take my companion), and now melt you into grief and pity, or mystify you with witchcraft, or put you into a state of lofty triumph like a conqueror. The phrase of smiting the chord—

"He smote; and clinging to the serious chords With godlike ravishment," &c.

was no classical commonplace; nor, in respect to impression on the mind, was it exaggeration to say, that from a single chord he would fetch out—

"The voice of quires, and weight Of the built organ."

Paganini, the first time I saw and heard him, and the first time he struck a note, seemed literally to strike it—to give it a blow. The house was so crammed, that being among the squeezers in the standing-room at the side of the pit, I happened to catch the first glance of his face through the arm a-kimbo of a man who was perched up before me, which made a kind of frame for it; and there on the stage, in that frame, as through a perspective glass, were the face, bust, and the raised hand of the wonderful musician, with the instrument at his chin, just going to commence, and looking exactly as I have described him.

"His hand Loading the air with dumb expectancy Suspended, ere it fell, a nation's breath. He smote; and clinging to the serious chords With godlike ravishment, drew forth a breath So deep, so strong, so fervid, thick with love— Blissful, yet laden as with twenty prayers, That Juno yearned with no diviner soul, To the first burthen of the lips of Jove. Th' exceeding mystery of the loveliness Sadden'd delight; and with his mournful look Dreary and gaunt, hanging his pallid face 'Twixt his dark flowing locks, he almost seemed Too feeble, or, to melancholy eyes, One that has parted with his soul for pride, And in the sable secret lived forlorn."

"'To show the depth and identicalness of the impression which he made upon everybody, foreign or native, an Italian who stood near me said to himself, after a sigh, "O Dio!" and this had not been said long when another person, in the same manner, uttered "O Christ!" Musicians pressed forward from behind the scenes to get as close to him as possible; and they could not sleep at night for thinking of him.'"—Timbs's Anecdote Biography.

THACKERAY ON ORCHESTRAL MUSIC.

"I wish I were a poet; you should have a description of all this in verse, and welcome. But if I were a musician! Let us see what we should do as musicians. First, you should hear the distant sound of a bugle, which sound should float away; that is one of the heralds of the morning, flying southward. Then another should issue from the eastern gates; and now the grand reveille should grow, sweep past your ears (like the wind aforesaid), go on, dying as it goes. When, as it dies, my stringed instruments come in. These to the left of the orchestra break into a soft slow movement, the music swaying drowsily from side to side, as it were, with a noise like the rustling of boughs. It must not be much of a noise, however, for my stringed instruments to the right have begun the very song of the morning. The bows tremble upon the strings, like the limbs of a dancer, who, a-tiptoe, prepares to bound into her ecstasy of motion. Away! The song soars into the air as if it had the wings of a kite. Here swooping, there swooping, wheeling upward, falling suddenly, checked, poised for a moment on quivering wings, and again away. It is waltz-time, and you hear the Hours dancing to it. Then the horns. Their melody overflows into the air richly, like honey of Hybla; it wafts down in lazy gusts, like the scent of the thyme from that hill. So my stringed instruments to the left cease rustling; listen a little while; catch the music of those others, and follow it. Now for the rising of the lark! Henceforward it is a chorus, and he is the leader thereof. Heaven and earth agree to follow him. I have a part for the brooks—their notes drop, drop, drop, like his: for the woods—they sob like him. At length, nothing remains but to blow the Hautboys; and just as the chorus arrives at its fulness, they come maundering in. They have a sweet old blundering 'cow song' to themselves—a silly thing, made of the echoes of all pastoral sounds. There's a warbling waggoner in it, and his team jingling their bells. There's a shepherd driving his flock from the fold, bleating; and the lowing of cattle. Down falls the lark like a stone; it is time he looked for grubs. Then the Hautboys go out, gradually; for the waggoner is far on his road to market; sheep cease to bleat and cattle to low, one by one; they are on their grazing ground, and the business of the day is begun. Last of all, the heavenly music sweeps away to waken more westering lands, over the Atlantic and its whitening sails."—"An Essay without End."

ADDISON ON THE PERSONIFICATION OF THE LEADING INSTRUMENT.

In the pages of the Tatler (April, 1710), Addison with much ingenuity and humour personifies certain musical instruments. He says: "I have often imagined to myself that different talents in discourse might be shadowed out after the same manner by different kinds of music; and that the several conversable parts of mankind in this great city might be cast into proper characters and divisions, as they resemble several instruments that are in use among the masters of harmony. Of these, therefore, in their order; and first of the Drum.

"Your Drums are the blusterers in conversation, that with a loud laugh, unnatural mirth, and a torrent of noise, domineer in public assemblies; overbear men of sense; stun their companions; and fill the place they are in with a rattling sound, that hath seldom any wit, humour, or good breeding in it. I need not observe that the emptiness of the Drum very much contributes to its noise.

"The Lute is a character directly opposite to the Drum, that sounds very finely by itself. A Lute is seldom heard in a company of more than five, whereas a Drum will show itself to advantage in an assembly of five hundred. The Lutenists, therefore, are men of a fine genius, uncommon reflection, great affability, and esteemed chiefly by persons of a good taste, who are the only proper judges of so delightful and soft a melody.

"Violins are the lively, forward, importunate wits, that distinguish themselves by the flourishes of imagination, sharpness of repartee, glances of satire, and bear away the upper part in every consort. I cannot but observe, that when a man is not disposed to hear music, there is not a more disagreeable sound in harmony than that of a Violin.

"There is another musical instrument, which is more frequent in this nation than any other; I mean your Bass-Viol, which grumbles in the bottom of the consort, and with a surly masculine sound strengthens the harmony and tempers the sweetness of the several instruments that play along with it. The Bass-Viol is an instrument of a quite different nature to the Trumpet, and may signify men of rough sense and unpolished parts, who do not love to hear themselves talk, but sometimes break out with an agreeable bluntness, unexpected wit, and surly pleasantries, to the no small diversion of their friends and companions. In short, I look upon every sensible, true-born Briton to be naturally a Bass-Viol."

WASHINGTON IRVING ON REALISTIC MUSIC AND THE VIOLIN.

"Demi-Semiquaver to Launcelot Langstaff, Esq.

"SIR,—I felt myself hurt and offended by Mr. Evergreen's terrible philippic against modern music in No. 11 of your work, and was under serious apprehension that his strictures might bring the art, which I have the honour to profess, into contempt. So far, sir, from agreeing with Mr. Evergreen in thinking that all modern music is but the mere dregs and drainings of the ancient, I trust before this letter is concluded I shall convince you and him that some of the late professors of this enchanting art have completely distanced the paltry efforts of the ancients; and that I, in particular, have at length brought it almost to absolute perfection.

"The Greeks, simple souls, were astonished at the powers of Orpheus, who made the woods and rocks dance to his lyre—of Amphion, who converted crotchets into bricks, and quavers into mortar—and of Arion, who won upon the compassion of the fishes. In the fervency of admiration, their poets fabled that Apollo had lent them his lyre, and inspired them with his own spirit of harmony. What then would they have said had they witnessed the wonderful effects of my skill?—had they heard me, in the compass of a single piece, describe in glowing notes one of the most sublime operations of nature, and not only make inanimate objects dance, but even speak; and not only speak, but speak in strains of exquisite harmony?

"I think, sir, I may venture to say there is not a sound in the whole compass of nature which I cannot imitate, and even improve upon;—nay, what I consider the perfection of my art, I have discovered a method of expressing, in the most striking manner, that indefinable, indescribable silence which accompanies the falling of snow."

[Our author describes in detail the different movements of a grand piece, which he names the "Breaking up of the ice in the North River," and tells us that the "ice running against Polopay's Island with a terrible crash," is represented by a fierce fellow travelling with his Fiddle-stick over a huge Bass-Viol at the rate of 150 bars a minute, and tearing the music to rags—this being what is called execution.]

"Thus, sir, you perceive what wonderful powers of expression have hitherto been locked up in this enchanting art. A whole history is here told without the aid of speech or writing; and provided the hearer is in the least acquainted with music, he cannot mistake a single note. As to the blowing up of the powder-bank, I look upon it as a chef d'oeuvre which I am confident will delight all modern amateurs, who very properly estimate music in proportion to the noise it makes, and delight in thundering cannon and earthquakes.

"In my warm anticipations of future improvement, I have sometimes almost convinced myself that music will in time be brought to such a climax of perfection as to supersede the necessity of speech and writing, and every kind of social intercourse be conducted by the Flute and Fiddle. The immense benefits that will result from this improvement, must be plain to every man of the least consideration. In the present unhappy situation of mortals a man has but one way of making himself understood: if he loses his speech he must inevitably be dumb all the rest of his life; but having once learned this new musical language, the loss of speech will be a mere trifle, not worth a moment's uneasiness. This manner of discussing may also, I think, be introduced with great effect into our National Assemblies, where every man, instead of wagging his tongue, should be obliged to flourish a Fiddle-stick; by which means, if he said nothing to the purpose, he would at all events 'discourse most eloquent music,' which is more than can be said of them at present.

"But the most important result of this discovery is, that it may be applied to the establishment of that great desideratum in the learned world—a universal language. Wherever this science of music is cultivated, nothing more will be necessary than a knowledge of its alphabet, which, being almost the same everywhere, will amount to a universal medium of communication. A man may thus—with his Violin under his arm, a piece of resin, and a few bundles of catgut—fiddle his way through the world, and never be at a loss to make himself understood.—I am, &c.,

"DEMI-SEMIQUAVER."

SPOHR AND HIS GUARNERI.

"Shortly before my leaving Brunswick I had a case made worthy of the splendid Violin I had brought from Russia, viz., a very elegant one; and in order to protect this from injury, I had packed it up in my trunk, between my linen and clothes. I therefore took care that this, which contained my whole estate, should be carefully fastened behind the carriage with cords. But, notwithstanding, I thought it necessary to look out frequently, particularly as the driver told me several trunks had been cut down from behind carriages. As the carriage had no window at the back, this continual looking out was a very troublesome business, and I was therefore very glad when, towards evening, we arrived between the gardens of Gottingen, and I had convinced myself for the last time that the trunk was still in its place. Delighted that I had brought it so far in safety, I remarked to my fellow-traveller: 'My first care shall now be to procure a good strong chain and padlock, for the better security of the trunk.'

"In this manner we arrived at the town gate, just as they were lighting the lamps. The carriage drew up before the guard-house. While Beneke gave our names to the sergeant, I anxiously asked one of the soldiers who stood round the carriage, 'Is the trunk still secured?' 'There is no trunk there,' was the reply. With one bound I was out of the carriage, and rushed out through the gate with a drawn hunting-knife. Had I with more reflection listened awhile, I might perhaps have been fortunate enough to hear and overtake the thieves running off by some side-path. But in my blind rage I had far overshot the place where I had last seen the trunk, and only discovered my over-haste when I found myself in the open field. Inconsolable for my loss, I turned back. While my fellow-traveller looked for the inn, I hastened to the police-office and requested that an immediate search might be made in the garden houses outside the gate. To my astonishment and vexation I was informed that the jurisdiction outside the gate belonged to Weende, and that I must address my request there. As Weende was half a league from Gottingen, I was compelled to abandon for that evening all further steps for the recovery of my Guarneri. I passed a sleepless night, in a state of mind such as, in my hitherto fortunate career, had been wholly unknown to me. Had I not lost my splendid Guarneri, the exponent of all the artistic excellence I had till then attained, I could have lightly borne the loss of the rest. On the following morning the police sent to inform me that an empty trunk and a Violin-case had been found in the fields behind the gardens. Full of joy I hastened thither, in the hope that the thieves might have left the Violin in the case, as an object of no value to them; but, unfortunately, it did not prove so. The bow of the Violin, a genuine Tourte, secured in the lid of the case, had remained undiscovered."—Spohr's Autobiography.

SPOHR AND THE COLLECTOR.

When Louis Spohr was in London in 1820, he tells us, in his Autobiography, he received a letter couched in the following terms: "Mr. Spohr is requested to call upon Dr. —— to-day at four o'clock." "As I did not know the name of the writer," he proceeds to relate, "nor could ascertain from the servant the purpose for which my attendance was requested, I replied, in the same laconic tone, 'At the hour named I am engaged, and cannot come.' The next morning the servant reappeared, bearing a second and more polite note: 'Mr. Spohr is requested to favour Dr. —— with a visit, and to appoint the hour when it will be convenient for him to call.' The servant had been instructed to offer me the use of his master's carriage, and having in the meantime discovered that the gentleman was a celebrated physician, a patron of music, and a lover of Violins, I drove to his house. A courteous old gentleman with grey hair met me on the stairs. Unfortunately he neither understood French nor German, consequently we were unable to converse together. We stood for a moment somewhat embarrassed, when he took my arm and led me into a large room, on the walls of which hung a great number of Violins. Other Violins had been removed from their cases and placed on the tables. The Doctor gave me a Violin-bow, and pointed to the instruments. I now perceived that he was desirous of having my opinion of the instruments. I, therefore, played upon them, and placed them in order, according to my idea of their merit. When I had selected the six most valuable ones, I played upon them alternately in order to discover the best of the half-dozen. Perceiving that the doctor cast upon one instrument glances especially tender whenever I played upon it, I gladly afforded the good old man pleasure by declaring it to be the best Violin. When I took my hat to leave, the old gentleman, with a kind smile, slipped a five-pound note into my hand. Astonished, I looked at it, and also at the Doctor, not knowing at first what he meant; but suddenly it occurred to me that it was intended as a fee for having examined his Violins. I smilingly shook my head, laid the note on the table, pressed the Doctor's hand, and descended the stairs. Some months later, upon the occasion of my benefit concert, the Doctor procured a ticket, for which he sent a ten-pound note."

THE ETTRICK SHEPHERD AND THE VIOLIN.

"But the pleasantest part of our fellowship is yet to describe. At a certain period of the night, our entertainer (the renowned Timothy Tickler) knew by the longing looks which I cast to a beloved corner of the dining-room what was wanting. Then with, 'Oh, I beg your pardon, Hogg, I was forgetting,' he would take out a small gold key that hung by a chain of the same precious metal to a particular button-hole, and stalk away as tall as the life, open two splendid Fiddle-cases, and produce their contents, first the one, and then the other; but always keeping the best to himself; I'll never forget with what elated dignity. There was a twist of the lip, and an upward beam of the eye, that were truly sublime. Then down we sat, side by side, and began—at first gently, and with easy motion, like skilful grooms, keeping ourselves up for the final heat, which was slowly but surely approaching. At the end of every tune we took a glass, and still our enthusiastic admiration of the Scottish tunes increased—our energies of execution redoubled, till ultimately it became not only a complete and well-contested race, but a trial of strength, to determine which should drown the other. The only feeling short of ecstasy that came across us in these enraptured moments were caused by hearing the laugh and joke going on with our friends, as if no such thrilling strains had been flowing. But if Tim's eye chanced to fall on them, it instantly retreated upwards again in mild indignation. To his honour be it mentioned, he has left me a legacy of that inestimable Violin, provided that I outlive him. But not for a thousand such would I part with my old friend."—Altrine Tales.—Hogg's Reminiscences of Former Days.

THE FIDDLE TRADE.

"There is, for instance, Old Borax, whom those who want to know whereabouts to look for—within the shadow of St. Martin's Church.

"Borax makes but little demonstration of his wealth in the dingy hole that serves him for a shop, where a Double-Bass, a couple of Violoncellos, a Tenor or two hanging on the walls, and half-a-dozen Fiddles lying among a random collection of bows, bridges, coils of catgut, packets of purified resin, and tangled horsehair in skeins, serve for the insignia of his profession. But Borax never does business in his shop, which is a dusty desert from one week's end to another. His warehouse is a private sanctum on the first floor, where you will find him in his easy chair reading the morning paper, if he does not happen to be engaged with a client. Go to him for a Fiddle, or carry him a Fiddle for his opinion, and you will hardly fail to acknowledge that you stand in the presence of a first-rate judge. The truth is, that Fiddles of all nations, disguised and sophisticated as they may be to deceive common observers, are naked and self-confessed in his hands. Dust, dirt, varnish, and bees'-wax are thrown away upon him; he knows the work of every man, of note or of no note, whether English, French, Dutch, German, Spaniard, or Italian, who ever sent a Fiddle into the market, for the last two hundred years; and he will tell you who is the fabricator of your treasure, and the rank he holds in the Fiddle-making world, with the utmost readiness and urbanity—on payment of his fee of one guinea.

"Borax is the pink of politeness, though a bit of a martinet after an ancient and punctilious model. If you go to select a Fiddle from his stock, you may escape a lecture of a quarter of an hour by calling it a Fiddle, and not a Violin, which is a word he detests, and is apt to excite his wrath. He is never in a hurry to sell, and will by no means allow you to conclude a bargain until he has put you in complete possession of the virtues, and failings, if it have any, of the instrument for which you are to pay a round sum. As his Fiddles lie packed in sarcophagi, like mummies in an Egyptian catacomb, your choice is not perplexed by any embarras de richesses; you see but one masterpiece at a time, and Borax will take care that you do see that, and know all about it, before he shows you another. First unlocking the case, he draws the instrument tenderly from its bed, grasps it in the true critical style with the fingers and thumbs of both hands a little above the bridge, turning the scroll towards you. Now and then he twangs, with the thumb of his left hand, the third or fourth string, by way of emphasis to the observations which he feels bound to make—instinctively avoiding, however, that part of the strings subject to the action of the bow. Giving you the name of the maker, he proceeds to enlighten you on the peculiar characteristics of his work; then he will dilate upon the remarkable features of the specimen he holds in his hand—its build, its model, the closeness and regularity of the grain of the wood of which the belly was fashioned: the neatness, or, wanting that, the original style of the purfling—the exquisite mottling of the back, which is wrought, he tells you, 'by the cunning hand of nature in the primal growth of the tree'—twang. Then he will break out in placid exclamations of delight upon the gracefulness of the swell—twang—and the noble rise in the centre—twang—and make you pass your hand over it to convince yourself; after which, he carefully wipes it down with a silk handkerchief. This process superinduces another favourite theme of eulogium—namely, the unparalleled hue and tone (of colour) imparted by the old Italian varnish—a hue, he is sure to inform you, which it is impossible to imitate by any modern nostrums—twang. Then he reverts to the subject of a Fiddle's indispensables and fittings; discourses learnedly on the carving of scrolls, and the absurd substitution, by some of the German makers, of lions' heads in lieu of them; hinting, by the way, that said makers are asses, and that their instruments bray when they should speak—twang. Then touching briefly on the pegs, which he prefers unornamented, he will hang lingeringly upon the neck, pronounce authoritatively upon the right degree of elevation of the finger-board, and the effects of its due adjustment upon the vibration of the whole body-harmonic, and, consequently, upon the tone. Then, jumping over the bridge, he will animadvert on the tail-piece; after which, entering at the f-holes—not without a fervent encomium upon their graceful drawing and neatness of cut—twang—he will introduce you to the arcanum mysterii, the interior of the marvellous fabric—point out to you, as plainly as though you were gifted with clairvoyance, the position and adaptation of the various linings, the bearings of the bass-bar, that essential adjunct to quality of tone—twang—and the proper position of the sound-post. Lastly, he will show you, by means of a small hand-mirror throwing a gleam of light into its entrails, the identical autograph of the immortal maker—Albani, Guarneri, or Amati, as the case may happen—with the date printed in the lean old type and now scarcely visible through the dust of a couple of centuries, 'Amati Cremonae fecit 1645,' followed by a manuscript signature in faded ink, which you must take for granted.

"Borax has but one price; and if you do not choose to pay it, you must do without the article. The old fellow is a true believer, and is accounted the first judge in Europe; Fiddles travel to him from all parts of the Continent for his opinion, bringing their fees with them; and for every instrument he sells, it is likely he pronounces judgment upon a hundred. It is rumoured that the greatest masterpieces in being are in his possession.

"A dealer of a different stamp is Michael Schnapps, well known in the trade, and the profession too, as a ravenous Fiddle-ogre, who buys and sells everything that bears the Fiddle shape, from a Double-Bass to a dancing-master's pocketable Kit. His house is one vast warehouse, with Fiddles on the walls, Fiddles on the staircases, and Fiddles hanging like stalactites from the ceilings. To him the tyros resort when they first begin to scrape; he will set them up for ten shillings, and swop them up afterwards, step by step, to ten or twenty guineas, and to ten times that amount if they are rich enough and green enough to continue the experiment. Schnapps imports Fiddles in the rough, under the designation of toys, most of which are the production of his peasant-countrymen bordering on the Black Forest; and with these he supplies the English provinces and the London toy and stationers' shops. He is, further, a master of the Fiddle-making craft himself, and so consummate an adept in repairing that nothing short of consuming fire can defeat his art. When Pinker, of Norwich, had his Cremona smashed all to atoms in a railway collision, Schnapps rushed down to the scene of the accident, bought the lot of splintered fragments for a couple of pounds, and in a fortnight had restored the magnificent Stradivari to its original integrity, and cleared 150 guineas by its sale. But Schnapps is a humbug at bottom—an everlasting copyist and manufacturer of dead masters, Italian, German, and English. He has sold more Amatis in his time than Amati himself ever made. He knows the secret of the old varnish; he has hidden stores of old wood—planks of cherry-tree and mountain-ash centuries old, and worm-eaten sounding-boards of defunct Harpsichords, and reserves of the close-grained pine hoarded for ages. He has a miniature printing press, and a fount of the lean-faced, long-forgotten type, and a stock of the old ribbed paper torn from the fly-leaves of antique folios; and, of course, he has always on hand a collection of the most wonderful instruments at the most wonderful prices, for the professional man or the connoisseur.

"'You vant to py a Pfeedel,' says Schnapps. 'I sall sell you de pest—dat ish, de pest for the mowny. Vat you sall gif for him?'

"'Well, I can go as far as ten guineas,' says the customer.

"'Ten kinnis is good for von goot Pfeedel; bote besser is tventy, tirty, feefty kinnis, or von hunder, look you; bote ten kinnis is goot—you sall see.'

"Schnapps is all simplicity and candour in his dealings. The probability is, however, that his ten-guinea Fiddle would be fairly purchased at five, and that you might have been treated to the same article had you named thirty or forty guineas instead of ten.

"I once asked Schnapps if he knew wherein lay the excellence of the old Italian instruments.

"'Mein Gott!—if I don't, who de teifil does?'

"Then he went on to inform me that it did not lie in any peculiarity in the model, though there was something in that; nor in the wood of the back, though there was something in that; nor in the fine and regular grain of the pine which formed the belly, though there was something in that; nor in the position of the grain running precisely parallel with the strings, though there was something in that; nor in the sides, nor in the finger-board, nor in the linings, nor in the bridge, nor in the strings, nor in the waist, though there was something in all of them; nor yet in the putting together, though there was much in that.

"'Where does it lie, then, Mr. Schnapps?'

"'Ah, der henker! hang if I know.'

"'Has age much to do with it, think you?'

"'Not mosche. Dere is pad Pfeedels two hunder years ole as vell as goot vons; and dere is goot Pfeedels of pad models, vitch is made fery pad, and pad Pfeedels of de fery pest models, and peautiful made as you sall vish to see.'

"This is the sum total of the information to be got out of Schnapps on that mysterious subject. On other matters he can pronounce with greater exactness. He knows every Cremona in private or professional hands in the whole kingdom; and where the owner bought it, if he did buy it; and what he gave for it, or from whom he inherited it, if it came to him as heir-loom. Of those of them which have passed through his hands, he has got fac-similes taken in plaster, which serve as exemplars for his own manufactures. Upon the death of the owner of one of these rarities, Schnapps takes care to learn particulars; and if the effects of the deceased come under the hammer, he starts off to the sale, however distant, where, unless some of his metropolitan rivals in trade have likewise caught the scent, he has the bidding all his own way, and carries off the prize.

"The inundation of German Fiddles, which may be bought new for a few shillings, has swamped English makers of cheap instruments, of which there are by this time five times as many in the market as there is any occasion for. Hence it is that Fiddles meet us everywhere; they cumber the toy-shop; they house with the furniture dealer; they swarm by thousands in the pawnbrokers' stores, and block out the light from his windows; they hang on the tobacconists' walls; they are raffled at public-houses; and they form an item in every auctioneer's catalogue.

"Meanwhile the multiplication of rubbish only enhances the value of gold; and a Fiddle worthy of an applauding verdict from old Borax is more difficult of acquisition than ever. So I shall keep my Cremona."

THE PRINCE AND THE FUGAL VORTEX.

A Royal amateur and British Admiral, a lover of the Violin and patron of music, happened whilst at Malta to be leading Mozart's charming Quartet in G major—



The opening movement, together with the Minuet, Trio, and Andante having been rendered with pleasure and satisfaction, the Finale was entered upon with due determination.

Its fugal subject—



was well under way, and speedily in full sail. Ere long an evident indecision of purpose manifested itself, the motive or subject failing to elicit other than dubious answers to its calls; it was emphasised with loudness, not without signs of impatience, but to no purpose; all became hopelessly involved and incoherent, until at length, like the ice described by the "Ancient Mariner"—

"The fugue was here, the fugue was there, The fugue was all around; It cracked and growled and roared and howled Like noises in a swound."

The second Violin, overcome by the surging counterpoint, ceased playing, and with the adroitness of a Raleigh turned to the Prince and said, "Pardon me, your Royal Highness, I fear we have been carried away by the vortex of the melody." The execution of chamber compositions belonging to the higher walks of counterpoint is frequently disappointing, but seldom or never is the failure so gracefully and agreeably accounted for.

SALE OF CREMONESE INSTRUMENTS AT MILAN, AT THE END OF THE LAST CENTURY.

(Extracted from the "Gazetta di Firenze," 1790.)

The following instruments were offered for sale at Milan, by Signor Francesco Albinoni, in March, 1790:—

1. Violin by Antonio and Girolamo Amati, Cremona 1616 2. " " Niccolo Amati . . . . . . . . . . . 1647 3. " " ditto . . . . . . . . . . . . . 1667 4. " " Andrea Guarneri . . . . . . . . . . 1657 5. " " Giuseppe Guarneri, figlio . . . . . 1705 6. " " Antonio Stradivari . . . . . . . . 1708 7. " " ditto . . . . . . . . . . . . . 1719 8. " " Giovanni Ruggeri . . . . . . . . . 1653 9. " " Francesco Ruggeri . . . . . . . . . 1670 10. Tenor by Antonio and Girolamo Amati . . . . . 1617 11. " " ditto ditto . . . . . . . . 1618 12. " " Francesco Ruggeri . . . . . . . . . 1619 13. Violoncello by Amati, Cremona . . . . . . . . 1622 14. " " Andrea Guarneri . . . . . . . 1692

The above announcement cannot fail to make one reflect on the different degree of interest excited by a sale of Cremonas a century ago and one at the present time. The sale conducted by Signor Albinoni, in 1790, at Milan, doubtless passed with but little, if any, display of enthusiasm, and were it now possible to learn the prices realised, they would certainly give occasion for surprise when compared with those now obtained. As regards the increased interest taken in rare Violins, the sale of the Gillott collection, in 1872, furnishes an instance of comparatively recent date. The announcement of Messrs. Christie and Manson served to bring together in King Street, St. James's, a legion of Violin votaries. So unusual was the excitement that the Graphic had one of its pages occupied by an excellent representation of "Viewing the Violins." In Paris, in the year 1878, the sale of a Stradivari Violin, at the Hotel Drouot, gave rise to an unusual display of interest. The first bid was for ten thousand francs, and the Stradivari, dated 1709, was knocked down for the large sum of twenty-two thousand one hundred francs. When the biddings at the Hotel des Ventes had reached eighteen thousand francs, a casualty, which might have led to unpleasant results, lent additional zest to the proceedings. There was a great pressure among the crowd to obtain a sight of the Stradivari. Two or three of the more adventurous spirits clambered on to a table to gain a clear prospect of the precious Fiddle, causing the legs of the table to give way and the enthusiasts to be precipitated to the ground. A cry of terror—less for the fallen than for the Fiddle—arose from the throng; but soon the voice of the auctioneer was heard proclaiming, in reassuring accents, "Do not be alarmed, gentlemen; the Stradivari is safe!"

AN INDEFATIGABLE VIOLINIST.

"Puppo, the Violinist, being in Paris in 1793, was summoned before the Committee of Public Safety on suspicion, when the following interrogatories were put to him: 'Your name?' 'Puppo.' 'What were you doing during the time of the tyrant?' 'I played the Violin.' 'What do you do now?' 'I play the Violin.' 'And what will you do for the nation?' 'I will play the Violin.'"

A WISH.

"Busts, cameos, gems—such things as these Which others often show for pride, I value for their power to please And selfish churls deride; One Stradivari, I confess. Two meerschaums, I would fain possess." —Extract from Oliver Wendell Holmes' Lines on Contentment.

LIVING STRADIVARIS.

A passionate lover of Fiddles, being in Milan, made the acquaintance of an Italian who, like himself, was a lover of the bow. They had not long met before the theme of their mutual delight was broached; the beautiful features in the works of the great masters were dwelt upon, their respective points of genius discriminated, until the freemasonry of Fiddle-connoisseurship was exhausted. Inquiries were exchanged as to the whereabouts of remarkable specimens, when suddenly the Italian's face brightened, and gave indication that a happy thought had crossed his mind. "By the way, I can introduce you to a friend who has in his possession some choice Stradivaris, of various dates, and having heads of a very marked character." His companion was on his feet before he finished speaking, eagerly demanding where these choice "Strads" were to be seen. The distance being but a few streets off, it was agreed that they should start at once. On arriving at a house in the Via Meravigli, the Italian inquired of the servant if his master was at home. Being assured of this, the Fiddler-connoisseurs were shown into an apartment, where they anxiously awaited the host. Presently he entered, and the usual exchange of courtesies having been gone through, the Italian, with the utmost gravity, inquired after the Stradivaris, and received answer that they never were better; his companion, who was burning to feast his eyes on them, begged that he might have the pleasure of seeing them. The host, flattered by the interest taken in his "Strads" by his visitor, acquiesced, left the room, and brought in his collection, which, if not unique, was in every way original. It consisted of five Stradivaris—three boys and two girls. Unable longer to restrain his laughter, the Italian broke forth into one of those hearty peals which terminate only when the risible faculties are completely exhausted. Signor Stradivari, the happy parent of the collection just ushered into the room, regarded his visitor with astonishment, in which he was joined by the specimens of various dates. Ultimately the countenance of Signor Stradivari began to assume anything but a pleased appearance, as he had failed to comprehend what there was about his cherished ones to excite such ungovernable mirth. When the joke was explained, it is needless to say that the wit's friend, the connoisseur, suffered some disappointment, but soon heartily joined in the laugh raised at his expense. Signor Stradivari and his family were not long kept behind the curtain, and soon added their laugh to that of the rest of the company.

PLEASURES OF IMAGINATION.

A lady belonging to Covent Garden Theatre, who had never heard Paganini, requested leave to be present at one of the rehearsals of his concerts. It happened that Paganini did not bring his Violin with him, but borrowed one from a member of the orchestra, and, instead of playing, made a kind of pizzicato obbligato. After the rehearsal was finished, the lady addressed Mr. Cooke: "Oh, dear, Mr. Cooke, what a wonderful man he is! I declare, I may say, that till this morning I never knew what music was capable of." Cooke replied, "Indeed, madam, he is truly wonderful; but allow me to observe that on this occasion you are indebted rather to your imagination than your ears for the delight you have experienced." "How, Mr. Cooke?" "Why, madam, this morning Paganini has not played at all—he has not even touched a bow." "Extraordinary!" exclaimed the lady; "I am more than ever confirmed in my opinion of him; for if without playing he can affect one in such a manner, how much more wonderful are the sensations he must produce when he does play!"

A ROYAL AMATEUR.

"Francis the First, Emperor of Austria, was a passionate lover of music, and played admirably on the flute. His greatest pleasure was to perform the Trios and Quartetts of the old masters. One of the household physicians of the court excelled on the Tenor. As imperial etiquette did not permit a simple physician to accompany the Emperor in his pieces unless he had the entree at court, Francis first created his doctor a baron, and then a privy councillor, thus giving him his petites and grandes entrees. By the help of his Tenor-playing our medical musician insinuated himself so successfully into the good graces of the Emperor, that he became almost the rival of Metternich, and all the other ministers courted his friendship. Such was the rise of the celebrated Baron Still. But for his Tenor, this all-powerful favourite of Francis the First would have lived and died an obscure physician."—Critique Musicale.

POPE PIUS IX. AND THE MUSICIAN.

"An Italian composer, named Peregrini, was a fellow-student of Mastai Ferretti, now the occupant of the Papal chair. Since their quitting college, Fortune abandoned the maestro, whilst she smiled upon the priest. One day Pius IX. received the following letter:—'Most Holy Father,—I know not if you recollect that I had the honour of being your fellow-student at College, and that your Holiness has done me the honour of playing duos with me on the Violin; and that the execution of them was not always irreproachable, at least on my part, which so displeased your Holiness at the time that you deigned to apply certain corrections to my fingers. I have taken the liberty of revealing myself to your recollection, and to pray you to take under your protection one who can never cease to remember the happy moments he has passed with him whose apostolic virtues have raised him to the throne of St. Peter.' The Pope replied, 'I have never forgotten your name, my son; come to me at Rome, and we will again play duets together, and if you have not progressed in your studies, I shall know how again to correct you.'"—Hogarth's Musical Herald.

OLE BULL AND FIDDLE VARNISH.

"A man who had a patent varnish for Violins, brought his invention to Ole Bull, and begged him to try it. He said that it gave ordinary instruments the sweet quality of a Cremona Fiddle. Ole Bull tried it, and found that it improved the tone, and promised to use a Violin prepared with it at a concert he had to give at the house of the Duke of Riario. There was a great deal of fashionable company at this concert, and the heat of the room melted this famous varnish, which was really a preparation of asafoetida. The smell which it exuded was so maddening that an ordinary man would have stopped and excused himself; but Ole Bull merely closed his eyes, turned his face away, and played with an energy which became more frenzied the more intolerable the stink became. He enjoyed an overwhelming success, and the Duke rushed forward to seize his hand in congratulation. The appalling odour of asafoetida struck him in the face, and Ole Bull had to explain in what agony he had been performing."—Ole Bull's "Breve i Uddrag," by Jonas Lie, Copenhagen, 1881.

ON THE TREATMENT OF THE VIOLIN.

In a Letter from the celebrated Tartini.

The letter here presented to my readers was translated and published by Dr. Burney, in 1779, under the following title: "A Letter from the late Signor Tartini to Signora Maddalena Lombardini (afterwards Signora Sirmen). Published as an important lesson to performers on the Violin.

"'PADUA, March 5, 1760.

"'MY VERY MUCH ESTEEMED SIGNORA MADDALENA,

"'Finding myself at length disengaged from the weighty business which has so long prevented me from performing my promise to you, a promise which was made with too much sincerity for my want of punctuality not to afflict me, I shall begin the instructions you wish from me by letter; and if I should not explain myself with sufficient clearness, I entreat you to tell me your doubts and difficulties, in writing, which I shall not fail to remove in a future letter.

"'Your principal practice and study should, at present be confined to the use and power of the bow, in order to make yourself entirely mistress in the execution and expression of whatever can be played or sung, within the compass and ability of your instrument. Your first study, therefore, should be the true manner of holding, balancing, and pressing the bow lightly but steadily upon the strings; in such a manner as it shall seem to breathe the first tone it gives, which must proceed from the friction of the string, and not from percussion, as by a blow given with a hammer upon it. This depends on laying the bow lightly upon the strings at the first contact, and on gently pressing it afterwards, which, if done gradually, can scarcely have too much force given to it, because, if the tone is begun with delicacy, there is little danger of rendering it afterwards either coarse or harsh.

"'Of this first contact and delicate manner of beginning a tone you should make yourself a perfect mistress in every situation and part of the bow, as well in the middle as at the extremities; and in moving it up as well as in drawing it down. To unite all these laborious particulars into one lesson, my advice is, that you first exercise yourself in a swell upon an open string—for example, upon the second string; that you begin pianissimo, and increase the tone by slow degrees to its fortissimo; and this study should be equally made with the motion of the bow up and down, in which exercise you should spend at least an hour every day, though at different times, a little in the morning and a little in the evening; having constantly in mind, that this is, of all others, the most difficult and the most essential to playing on the Violin. When you are a perfect mistress of this part of a good performer, a swell will be very easy to you; beginning with the most minute softness, increasing the tone to its loudest degree, and diminishing it to the same point of softness with which you began, and all this in the same stroke of the bow. Every degree of pressure upon the string which the expression of a note or passage shall require will by this means be easy and certain; and you will be able to execute with your bow whatever you please. After this, in order to acquire that light pulsation and play of the wrist, from whence velocity in bowing arises, it will be best for you to practise every day one of the Allegros, of which there are three in Corelli's Solos, which entirely move in semiquavers. The first is in D, in playing which you should accelerate the motion a little each time, till you arrive at the quickest degree of swiftness possible; but two precautions are necessary in this exercise—the first is, that you play the notes staccato, that is, separate and detached, with a little space between every two, for though they are written thus—



they should be played as if there was a rest after every note, in this manner—



The second precaution is, that you first play with the point of the bow; and when that becomes easy to you, that you use that part of it which is between that part and the middle; and when you are likewise mistress of this part of the bow, that you practise in the same manner with the middle of the bow; and, above all, you must remember in these studies to begin the Allegros or flights sometimes with an up-bow; and sometimes with a down-bow, carefully avoiding the habit of constantly practising one way. In order to acquire a greater facility of executing swift passages in a light and neat manner, it will be of great use to you if you accustom yourself to skip over a string between two quick notes in divisions, like these—



Of such divisions you may play extempore as many as possible, and in every key, which will be both useful and necessary.

"'With regard to the finger-board, or carriage of the left hand, I have one thing strongly to recommend to you, which will suffice for all; and that is, the taking a Violin part, either the first or second of a concerto, sonata, or song—anything will serve the purpose—and playing it upon the half-shift, that is, with the first finger upon G on the first string, and constantly keeping upon this shift, playing the whole piece without moving the hand from this situation, unless A on the fourth string be wanted, or D upon the first; but in that case, you should afterwards return again to the half-shift, without ever moving the hand down to the natural position. This practice should be continued till you can execute with facility upon the half-shift any Violin part not intended as a solo, at sight. After this, advance the hand on the finger-board to the whole-shift, with the first finger upon A on the first string, and accustom yourself to this position till you can execute everything upon the whole-shift with as much ease as when the hand is in its natural situation; and when certain of this, advance to the double-shift, with the first finger upon B, on the first string; and when sure of that likewise, pass to the fourth position of the hand, making C with the first finger upon the first string; and indeed this is a scale in which, when you are firm, you may be said to be mistress of the finger-board. This study is so necessary, that I most earnestly recommend it to your attention.

"'I now pass to the third essential part of a good performer on the Violin, which is the making of a good shake, and I would have you practise it slow, moderately fast, and quick; that is, with the two notes succeeding each other in these three degrees of adagio, andante, and, presto; and in practice you have great occasion for these different kinds of shakes; for the same shake will not serve with equal propriety for a slow movement as for a quick one; but to acquire both at once with the same trouble, begin with an open string, either the first or second, it will be equally useful; sustain the note in a swell, and begin the shake very slow, increasing in quickness, by insensible degrees, till it becomes rapid, in the manner following:—



But you must not vigorously move immediately from semiquavers to demisemiquavers, as in this example, or from these to the next in degree—that would be doubling the velocity of the shake all at once, which would be a skip, not a graduation; but you can imagine between a semiquaver and a demisemiquaver intermediate degrees of rapidity, quicker than the one, and slower than the other of these characters; you are therefore to increase in velocity by the same degrees in practising the shake, as in loudness when you make a swell. You must attentively and assiduously persevere in the practice of this embellishment, and begin at first with an open string, upon which if you are once able to make a good shake with the first finger, you will with the greater facility acquire one with the second, the third, and the fourth, or little finger, with which you must practise in a particular manner, as more feeble than the rest of its brethren. I shall, at present, propose no other studies to your application: what I have already said is more than sufficient, if your zeal is equal to my wishes for your improvement. I hope you will sincerely inform me whether I have explained myself clearly thus far; that you will accept of my respects, which I likewise beg of you to present to the Prioress, to Signora Teresa, and to Signora Chiara, for all whom I have a sincere regard; and believe me to be with great affection,

"'Your obedient and most humble servant,

"'GIUSEPPE TARTINI.'"



INDEX

A PAGE

Absam, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . 293

Acevo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Adam, as a Violist . . . . . . . . . . . . . . . . . . . . . . . 3

Adams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Addison, William . . . . . . . . . . . . . . . . . . . . . . . . 293

Aireton, Edmund, good work, Amatese model . . . . . . . . . . . 293

Alard, M., composer and Professor at the Conservatoire . . . . . 395

Albanesi, Sebastiano . . . . . . . . . . . . . . . . . . . . . . 77

Albani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Albani, Mathias (2); Italian style, good model and workmanship . 259

Albani, Paolo . . . . . . . . . . . . . . . . . . . . . . . . . 260

Albani, Mathias, Stainer form, good varnish . . . . . . . . . . 259

Aldred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Aldric, copier of Stradivari; dealings with Luigi Tarisio . . . 231

Aletzie, Paolo . . . . . . . . . . . . . . . . . . . . . . . . . 260

Allar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Alvani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Amati, Andrea, his Violins mostly "Three-quarter"; founder of the School of Cremona; character of his Varnish; his method of cutting; his "Charles IX. Set," in the Chapel Royal, Versailles . . . . . . . . . . . . . . . . . . . . . . . . . 78-81

Amati, the Brothers Antonio and Girolamo, character of their work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Amati, Girolamo, son of Niccolo, his instruments described; character of his varnish . . . . . . . . . . . . . . . . . . . 92

Amati, Niccolo, the greatest of his family; special characteristics of his work . . . . . . . . . . . . . . . . 84-92

Amelot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Anecdotes and Miscellanea connected with the Violin . . . . . . 410

Apollo and Orpheus, in Fiddle History . . . . . . . . . . . . . 3

Appleby, Mr. Samuel, letter from, on the Gasparo da Salo Double-Bass of Signor Dragonetti . . . . . . . . . . . . . . . 465

Arabian Origin of the Ribeca, alleged . . . . . . . . . . . . . 7

Arabians, Inventors of the Monochord . . . . . . . . . . . . . . 7

Ariberti, Bartolommeo, Marquis, his letter to Stradivari . . . . 193

Arisi, Desiderio on Stradivari . . . . . . . . . . . . . . . . . 185

Artmann, copier of Amati . . . . . . . . . . . . . . . . . . . . 260

Asiatic Origin of the Violin, alleged . . . . . . . . . . . . . 4

Askey, Samuel . . . . . . . . . . . . . . . . . . . . . . . . . 293

Aubry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Augiere . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Augustus, Elector of Saxony and King of Poland, his patronage of Stradivari . . . . . . . . . . . . . . . . . . . . . . . . . . 207

B

Bachelier . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Bach, John Sebastian; influence of his great compositions on the development of Violin-playing . . . . . . . . . . . . . . . . 404

Bachmann, Carl Ludwig, Court Musician to Frederick the Great; founder of concerts for amateurs at Berlin . . . . . . . . . . 260

Bachmann, O., author of a book on Bow Instruments . . . . . . . 260

Bagatella, Antonio . . . . . . . . . . . . . . . . . . . . . . . 95

Bagatella, Pietro . . . . . . . . . . . . . . . . . . . . . . . 95

Baillot, Pierre, Violinist . . . . . . . . . . . . . . . . . . . 394

Baines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Baker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Balestrieri, character of his Instruments . . . . . . . . . . . 95

Ballantine . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Baltzar, Thomas, Violinist . . . . . . . . . . . . . . . . . . . 382

Banks, Benjamin; high character of his work . . . . . . . . . . 294

Banks, Benjamin (2) . . . . . . . . . . . . . . . . . . . . . . 296

Banks, James and Henry . . . . . . . . . . . . . . . . . . . . . 296

Bannister, John, Violinist . . . . . . . . . . . . . . . . . . . 383

Barnes, Robert . . . . . . . . . . . . . . . . . . . . . . . . . 297

Barrett, John, follower of Stainer, good quality . . . . . . . . 297

Barton, George . . . . . . . . . . . . . . . . . . . . . . . . . 297

Bassiano . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Bassot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Bausch, Ludwig C. A. . . . . . . . . . . . . . . . . . . . . . . 261

Bausch, L. B. . . . . . . . . . . . . . . . . . . . . . . . . . 261

Bausch, Otto B. . . . . . . . . . . . . . . . . . . . . . . . . 261

Bazzini, Antonio, Violinist . . . . . . . . . . . . . . . . . . 392

Beckmann . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Bedler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Beethoven, and his works for the Violin . . . . . . . . . . . . 407

Bellosio, Anselmo . . . . . . . . . . . . . . . . . . . . . . . 96

Benda, Francis, Violinist and composer . . . . . . . . . . . . . 403

Bente, Matteo . . . . . . . . . . . . . . . . . . . . . . . . . 96

Bergonzi, Benedetto . . . . . . . . . . . . . . . . . . . . . . 103

Bergonzi, Carlo (1), pupil of Antonio Stradivari; characteristics of his work; comparison with Giuseppe Guarneri and Stradivari; his resplendent varnish; his Violins and Violoncellos . . . . . . . . . . . . . . . . . . . . . . . . . 96

Bergonzi, Carlo (2) . . . . . . . . . . . . . . . . . . . . . . 103

Bergonzi, Michel Angelo, pattern of his instruments . . . . . . 102

Bergonzi, Niccolo, his work . . . . . . . . . . . . . . . . . . 102

Bergonzi, Zosimo . . . . . . . . . . . . . . . . . . . . . . . . 103

Bertolotti (Gaspar da Salo) . . . . . . . . . . . . . . . . . . 168

Beriot, Charles de, Belgian composer and Violinist . . . . . . . 395

Bernardel, Sebastien Philippe, worked with Lupot; excellent work 231

Bertassi, Ambrogio . . . . . . . . . . . . . . . . . . . . . . . 103

Bertrand, Nicolas, Viol-maker . . . . . . . . . . . . . . . . . 232

Betts, Edward, copyist of Amati, high finish . . . . . . . . . . 298

Betts, John, pupil of Duke . . . . . . . . . . . . . . . . . . . 297

Betts Stradivari, The, and Mr. Charles Reade's letter thereon . 467