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DE FIDICULIS BIBLIOGRAPHIA.
VOL. I.
PARTS I. AND IL— §§ 1-336, AND

REFERENCE INDEXES.
[ The right! of Translation and of Reproduction are t eserved.']
\
Frontispiece and first
page of "Aurelii Augurelli Ar
Viae No. 12
[From tl
Frontispiece to Vol. I.
Ad Illuftriflimum prindpem PainJuIfum Malatertam

Arimmi dominum ioannis Aurdii Augurelb ArimJ
neftfis carmihum Liber primus.
progenies ducum
Lluftris ueteniiTi
Audura iDbcum mfLdae decus
Anaquas:egregi'a Cquid ahmdole
Veri prasfci'a
mens longius augurat:
Pandulfe:hanc abi quo pofTiimus
apous
Conamur tenues Adnii s dm
Diflin(fhm fidibus cenderebarbiton.
Qua lam tjuaecg geres fordter tauribus
LitenDS moduler prodi'13 poflerum.
A t
nequa dubius for iitan hic roges:
Ecquianam merms addere forubus
ExiIjs
gradli
Mufa queat fono:
Noris q facile proDnus euehanc
Sefe:qu2 modids zedita ab ormbus
Senfim
per numeros proueniimc fuosT
Hancergo m rehquiim fic meditabimur
Exemptam exiguis ducere uoabus
Prifcorum fonicus intertuc arduis
lam facfds enam proxj'ma confbner.
Quin & cum fuperum numine res ubi
Crcfcenc 6^ aldor
&xin;us;furget
num, Liber Primus." . Printed at Verona, in the year 1491.

and No. 25, p, 4S.
•itish Museum.]
DE FIDICULIS BIBLIOGRAPHIA
BEING AN ATTEMPT TOWARDS A
Bibliograpb^ of the \DioUn

AND ALL OTHER INSTRUMENTS PLAYED WITH A BOW
IN ANCIENT AND MODERN TIMES.
BY
EDWARD IHERON-ALLEN, F.L.S., F.R.M.S.,

AUTHOR OF "violin MAKING: AS IT WAS AND IS," " THB ANCESTRY OF THE VIOLIN,'
" HODGES versus "
CHANOT," "a FATAL FIDDLE," FIDICULANA," ETC.,
VICE-PRESIDENT OF THE COLLEGE OF VIOLINISTS.
VOL. I.
LONDON :
GRIFFITH FARRAN & CO., LIMITED,

NEWBERY HOUSE, 39, CHARING CROSS ROAD.
189O-1894.
t c *.
I, K. 1
* I. *
Ct (tt«tt«(«
LIBRARY
V. I
PLATES.
PAGE
Aurelii Augurelli Carmina (double).
Verona :
1491 . .
Frontispiece Vol. I.
"
H. Le Blanc. Defense de la Basse de
Viole." Amsterdam: 1740 . . 82
J. Rousseau. "Traits de la Viole.'' Paris :
1687 157
H. Gerle. "
Musica Teusch." Nurem-
berg :
1532 . .
Frontispiece Vo\. II.
G. Grotto. *'
La Violina con la sua
risposta." Brescia, c. 1550 . . 288

"
R. Crome. The Fiddle new Model'd."
London, c. 1730 . . .
.312
^15^^029
TABLE OF CONTENTS.
Title ........
......
List of Plates
PAGE
v
i
Table of Contents
Epistle Dedicatory
Index of Authors' Names
.....
.
....
. . , , vii
xiii
xxiii
General Subject Index . . . . . xxxix
Part
Supplements .....
Tabular Index of items contained
I. Books and Pamphlets wholly de-

in the
xlvi
voted to the Violin. §§ 1-269 • ^
Section i. The Construction of the

Violin. §§ 1-61 . . . I
Section 2. Biographical Works. §§

62-117 . .
.^
-
33
Sub-section Biographical Adver-
i.
tisements. §§118-121 . . 68
122-124
Sub-seciion
.....
Section 3. Works on Varnish.
i.
§§
Works on Materials
70
Used in Compounding Var-

nishes published contempo-
raneously with the Cremonese
and other Italian Schools of
Violin-making. §§ 125-132 .
74
Sub-section ii. Works on the Art
and Practice of Varnishing. §§
^33-'^3^ • - • ^- 77
viii TABLE OF CONTENTS.
Part I.,continued — PAGE

Section 4. The History of the Vio-
lin.
Sub-section
§§ 139-196
i.
...
The Guild of Musi-
81
" the
cians and the King of
Violins." §§ 197-200 .
.117
Sub-section ii. Works on Violin-
201-214 .....
music and Violin-playing. §§
Section 5. Theoretical Works. §§

120
215-257 . .
.131 . .
Sub-section i. Bibliographies of
Treatises on, or Music for, Bow
Instruments. §§ 258-269 165 .
Part II^;. Book Sections.

§§ 270-279 .
171
Part \\b. Book
Extracts. §§ 280-336 .
179
Violin. §§ 280-287^ .
-179
Section 2. Biographical Extracts.
§§ 288-305 . . . .186
Section 3. Extracts on Varnish. §
306 . . . . .
.198
Section 4. The Histoiy of the Vio-
lin.
§§ 307-329 ;
• •
199
Sub-section i. The Guild of Musi-
"
cians and the King of the
Violins." §§ 330-332 .
.214
Section 5. Theoretical Extracts. §§
zzyzz^ ' ' •
.217
......
.' ,
Part III. Periodical Publications. §§337-

572 221
Part Ilia. Musical Periodicals. §§337-376 222
PaktIII/^ Miscellaneous Periodicals. §§
377-572 . . . . \ 228
TABLE OF CONTENTS. ix
Part III^.,continued — page

Violin. §§ 377-423 . . 228
Section 2.
Biography. §§ 425-471 .
237
Section 3. Varnish. §§ 472-3 .
243
Section 4. The History of the Violin.
§§ 474-502 . . .
.244
Section 5.* The
cians. § 503
Section 6.* Violin Music and Vio-
....
Guild of Musi-
249
lin-playing. §§ 504-509 . .
250
Section 7.* Fidiculana, Miscellanea,
&c. §§ 510-529 .251 . .
Section 8.* Miscellanea and Un-

classified. §§ 531-572 . .
254
Part IV. Belles Lettres. §§ 580-702 . 261
Section Complete Romances.
i.
§§
580-609 262
Section 2. Short Stories. §§ 610-
648 263
Section 3. Poems. §§ 649-685 .
275
Sub-section i. Volumes of Verse.
§§ 649-656^^ . . . .
275
Sub' section
^ §§ 657-681^
Sub-section iii.
ii.
....
Fugitive Poems.
Songs. §§ 682-
278
685 283
Section 4. Dramas.
§§ 686-691 .
285
Section 5. Chap-books, Children's
Books and Tracts. §§692-702. 287
Sub-section i.
Chap-Books. §692 288
* These are
accidentally numbered 4, 5, 6 and o. Vide
" Errata."
TABLE OF CONTENTS.
Part IV., continued

— page
Sub-section
§§ 693-696
ii.
....
Children's
Sub-section iii. Tracts and Reli-

Books.
290
gious Booklets. §§ 697-702 292 .
Part V. Methodes and Instruction Books.

§§ 703-1044
. .
-295 .
712 ......
Section i. The Early Viols.
Section 2. The Violin.

§§ 703-
§§713-936. 302
298
Section 3. The Viola. §§ 936^-958 33^

Section 4. The Violoncello. §§ 959-
1025 342
Section 5. The Double Bass.
1026-1039 ....
Section 6. The Quatuor. §§ 1040-
§§
352
1043 355
Section 7. The Hurdy-Gurdy. §
1044 357
Part VI. Miscellanea. §§ 1045- 1236 359 •
Section \a. Catalogues of Violin Col-

lections. §§ 1045- 1048 359 . .
Section \b.
1049-1056 ....
Trade Catalogues. §§
362
Section 2.
1057-1162 ....
Patent Specifications.
Section 3. Dictionary and Ency-

§§
365
clopaedia Extracts. §§ 1163-

1180 381
Section
Section 5.
Reference
4.
1181-1206 ....Books.
Periodical Publications
§§
386
Devoted to the Violin. §§ 1 207-

1212 . . . . .
394
TABLE OF CONTENTS. xi
Part VI., contimied — PAGE

Section 6. Works by, or Relating to.
not, however, having
Violinists,
Special Reference to the Violin.
§§ 1213-1218 . . . .
397
Section 7. Various and Unclassifi-
able. §§1219-1231 . .
400
Sub-section i. Books Announced
but not Published. §§ 1232-
1235 405
Section 8. Medals. §§ 1 235-1 236 406 .
Appendix of Uncollated Works .411 . .
Errata . . .
.415 . . .
Introductory Note to Part I. (1890)

[Supplements i, 2, 3, 4]
®©|[^®;iL@ ^mm<^^^®^^'
Co
f^tg mouat fîaljnc^g ^frctr iErncsft ÎBert, ©ufec of
âve-Coftura autJ <!lot]â ; ônal l^vince of (©vcat

SSritaiiT antJ ^frclaittJ ; ISufee of 3£Uint)uisI; ; 3£aii of
3aent aiitJ iEarl of Sltster; Suhe of ûdid), Cltre,
Berg, 3£ngtni, anti OTestpijalia; EanUsiabc of
Cjûrmgia ; lilarsrabf of IHefe^m ; ^Priiutb Count of

fleimc&frg ; Count of ilKarfe antr iiabcn^ficrg ; Hortr of
lila&enstctn antJ Eonna antr iEngern, etc., etc. ; Sfinisljl
of tlje iHo^t ôUt ©itJcr of ti;c (£ârtfr; aanigfjt of
t^t 0(ogt ^ncttnt anK 0logt fôble (J^rtftrof tT;e Clji^tlc ;
mni'sijt of tlje |Ho£it Cllugtiiousi (Bvtiev of ^t. 33atncfe ;
iantgl;t ^vanti Crog^ of tfjt iBogt fônourable ©rtJfir

of t\)t 33ati) ; mntcjljt ^rautr CommanlJcr of tije IHoSt
lEraltctJ (©rtfcr of tijc ^tar of hxOin ; mnigljt #rantJ
Cro£(£i of tl)e Most BktinQuis\)tti (©rt(tr of ^t.
ilKicJâel antf ^t. (George ; Jaut'sijt 6rantr Commander
of t\\t iBost iEmintnt (©rtrcv of ti)c CntJian iEmpire ;
^tJmtral of tf)c dflctt,
lEtc, ?£tc., iEtc.
Sir,—
When, in the summer of 1890, your Royal
Highness was graciously pleased to accept the Dedica-

tion of this work, which now represents the continued
labour of nearly fifteen years, I felt that when the time
arrived for submitting my book to you as an incomplete
and imperfect whole, I should find it difificult to express
to you, as indeed during the past three years I have
XIV EPISTLE DEDICATORY.
found it express to my readers, my full sense

difficult to
of the inadequacy of the result of my labours, and of the

many faults, both of commission and of omission, that
are to be found in every part of it. But I am fortunate
in that you. Sir, in common with the other votaries of the
violin whose interest in the instrument has led them to
study a work so mechanical in compilation as this, and

for whom it has been compiled, are fully aware that per-
fection in any branch of the study of the violin can be
approached by but few, and perhaps achieved by none.

Monsieur Fetis, in discussing the work of the early
"
writer, Jules Caccini, in his monumental Biographie
Universelle des Musiciens et Bibliographie Gen^rale de
la Musique" (2nd Edition, Vol. II. p. 140), has very
truly and very encouragingly said, " Nul commence-

ment n'est ni grand ni beau, disent ils, mais n'y a-t-il
pas un immense merite ^ commencer," and if my work
proves to be what it claims to be, namely, the basis of a
Bibliography of the Violin, a* foundation upon which
later students may construct a work that shall, at any
rate, approach completeness, I shall feel, if I live to see
that work, thatmy prolegomena, so to speak, have not
been compiled in vain, whilst future lovers of the violin
will have cause to be grateful to you, Sir, for the en-
couragement you have given me in my labours connected

with the instrument, an encouragement now of more
than ten years' duration, and which I am proud to
acknowledge in the present dedication of this, the
magnum opus of my life hitherto.
It ishardly necessary to say that the compilation of
this work has been a labour of
love, and a labour of a
EPISTLE DEDICATORY. xv
very arduous character, the most unremitting attention

to the book market, and the most persistent endeavour to
track down certain books, having been the first essential
towards a fortunate issue. When in the new year of
1879 I entered upon my task I thought that in a
first
year or two at the outside I should have reached the

ultimate goal of my ambition, and that a twenty-page
pamphlet would represent all the possible effort in this

branch of Bibliography. To-day I have before me a
quarto of over five hundred pages, containing over four-
teen hundred items, and I know that I am practically as
far from the end of my labours as I was when I wrote
the first sheet of my manuscript. The reason of this is
not far to seek. Had the violin world stood still in 1879,
and waited for me to accomplish my self-allotted task,
I might have speedily disposed of, at any rate. Part I, of
this Bibliography. A glance at its pages, however, and
especially at the pages that compose the supplements,

willshow how great a renaissance has taken place in the
study of the violin since 1879, and you will allow
me. say that in this country, at least, your Royal
Sir, to
Highness has been largely responsible for this renais-

sance. Prior to 1879 the books on the subject were
few, and not highly valued. The works

of Sandys and
Forster, of Hart, of Davidson, and of Dubourg, were
the only well-known native works, and these were easily
obtainable at their published prices. The monumental
work of Vidal was published, it is true, but it seemed to
be the " dernier mot possible " in the literature of the
violin in Germany the works of Bachmann and
;
Wettengel stood practically alone — and forgotten on the

xvi EPISTLE DEDICATORY.
top shelves of their publishers' store-rooms, Dr. Ruhl-

mann's work was still in manuscript, whilst in Italy
Signor Regli's work of comparatively local interest was
easily obtainable but seldom in request. To-day these
volumes command enhanced prices, and when a work
published prior to 1880 reaches the hands of a book-
seller, if it ever gets into his catalogue, it must b,e ordered
by telegraph by the would-be purchaser, and even then

it is only the constant and favoured customer who can
hope to obtain it.
The cause of this renaissance of the violin is largely

due to the interest taken in music in general and the
violin in by your Royal Highness, and to
particular
the efforts of Lady Halle. Since Lady Halle has shown
that women are not debarred from the highest posi-
tions in the violin world, the study of the instrument
has gained new life add to this the great influence
;
that has been exercised by the Countess of Radnor
upon the study of instrumental music by ladies, and

to-day there is, I believe, hardly a family with any
pretensions to culture, in Great Britain, one of whose
daughters or one of whose sons does not "play the
fiddle." Prior to 1880, though biographical articles in
periodical publications relative to the great violinists,

beginning withPaganini, were numerous, articles
dealing historically or theoretically with the violin were
few and far between. To-day general articles on the
instrument are to be found in every yearly volume of
almost every magazine of general information.
I believe that I am also safe in saying that the whole
tone of the trade in violins has become higher during

EPISTLE DEDICATORY. xvii
the period of which I speak. It is well within the
memory of even young violinists that at one time the

purchase of a violin was fraught with as much danger of
fraud as that of a horse or of an " old master." It would
not be seemly for me to call more precise attention to

the circumstances, but it is an acknowledged fact that
the action of your Royal Highness in consequence of
the revelations that were made in connection with a
celebrated violin fraud in 1882, has tended to purify the
trade in old violins of much of the stigma which
rested upon it, and to-day the amateur can place him-
self in the hands of such dealers as William Ebsworth
Hill and his sons, and Messieurs Gand and Bernardel
(among many with perfect confidence that his
others)
ignorance will be respected rather than capitalized.
The history of the concrete evidences of the renaissance
merely an
of the violin is illustration of the eternal laws
of demand and supply. The amateur (as opposed to

the professional player) is ever as much a theoretician
and student as a practitioner, and when he takes up the
practice of a hobby, he seeks to perfect himself in its
history and theory. Hence with the increase in the

number of amateur violinists, a demand has arisen for
information concerning the instrument, and that that
demand has been readily supplied it has been the
object of this work to show.

I need hardly say that it was with great misgiving
and faintness of heart that I at last discussed the
publication of this work with my friend, Mr. Charles

Welsh, of Griffith, Farran & Co. I had grave doubts
whether even the past eleven years of constant research
xviii EPISTLE DEDICATORY.
had placed me ina position to attempt even a tentative
publication of my hitherto collected materials, but I do

not now regret the step, for during the three years that
the publication of this work has occupied I have been
brought into touch with historians and enthusiasts all

over the world, and their assistance has been of a value
to me that cannot be over-estimated. At the same
"
time my original scheme, as set forth in the Intro-
ductory Note" of November, 1890, has undergone

considerable modifications, as a glance at the original
synopsis, issued with Part I., will show. I have found,

for instance, that it was impossible, except in a few
important instances, to append critical notes to

items other than titles of books entirely devoted to
the violin or extracts from important works, musical
or otherwise. I have also been obliged to curtail the
scope of the Index of General Subjects, for had I

carried out my original intention of indexing the im-
portant chapters of every work in my Bibliography, it

would have entailed a further constant labour of several
years, and this my professional
absolutely duties
forbade. An
important modification has occurred in
the part devoted to Methodes and Instruction Books.
It was originally my intention to note only instruction
books published prior to 1800, but I received many

requests that this section of work might at least
my
make an effort towards completeness up to date, and as
these requests were coupled with liberal offers of assist-
ance, I decided to make this concession and undertake
what has been perhaps the most severely laborious
portion of my enterprise. In the section of Catalogues
EPISTLE DEDICATORY. xix
of Violin Collections, work

my is, I know, particularly
incomplete, but I have not had leisure to attend violin
sales, the catalogues of such sales are notoriously

ephemeral, and those persons who attend the sales and
have the catalogues either destroy them, or for some
mysterious reason are loth to let them out of their pos-
session. For the amplification of this part I must
depend on my readers and correspondents. I am
happy to say that I have been able to collect since 1890
many of the works, whose titles I knew, but of which I

had never seen copies, so that the Appendix of un-
collated works is by comparison small.
When I began the task of systematizing and reducing
to categories my vast collection of titles, both of books
and pamphlets, and of extracts and articles, I failed to
realize that such a system was impossible in practice,
however desirable it might have appeared In principle.
It was not until I had reached the end of Part I. that I
fully realized the futility of attempting to class books or

extracts relating to the violin, save on the broadest
principles. The experienced in

difficulty that I
separating the practical and theoretical works from

Methodes and instruction books, and, in turn, instruction
books from mere books of exercises, was one that in the
light of my present experience I should never have at-
tempted to solve. The progression of this class is as
follows :
(i.) Pure theory including acoustics ; (ii.) Works
on technique ; (iii.) Individual technique and schools of
violin-playing ; (iv.) Works on Violin music (v.) ;
Methodes and Instruction books and excluding the last ;
class, I should have included all the other four in one

b 2
XX EPISTLE DEDICATORY.
part, though the class deah'ng with individual technique

and schools of execution is really a branch of Biography.
In like manner all works on (i.)
the History, (ii.)
Construction, (iii.) Guilds, and (iv.) Varnish should have

made one comprehensive class, save that History and
Guilds intermingle also with Biography, and Varnish
with Construction. Biography is entitled to a place
apart, though many works of apparently pure
Biography are, like Fetis'works on Paganini and
Stradivarius, largely composed of the general History
of the Violin. When, therefore, the time arrives for a
second edition of this work, I shall allow only three
great Sections :
— I, History and Construction, II.
Biography, and III. Violin-playing. The same system

shall apply to Book Sections and Extracts, and all
articles from Periodical Publications or Proceedings of
Societies shall be collected under the titles of the pub-
them, and they shall be

lications containing made easy
of reference by means of a subject index. With the
departments of Belles Lettres and of Methodes alone
am I satisfied in their present form, and I do not think
that any better arrangement of Miscellanea has occurred

to me than that which terminates these volumes, un-
satisfactory as such a section must necessarily be. An
attempt to save space in the Part devoted to Periodical
Publications has produced a chaos which is only capa-
ble of unravelment by the assistance of the Indexes.
These faults, of which I am painfully conscious, I have
endeavoured to retrieve by means of the Indexes, which
are intended to serve for preliminary reference ;
it will
be readily seen that with their aid any work in the
EPISTLE DEDICATORY. xxi
Bibliography can immediately be found without the

necessity of assigning it to a Part, and then hunting it
from section to section of that Part.
It remains for me, Sir, in submitting this work to
you, to acknowledge my great indebtedness to many
correspondents who have assisted me during its
periodical publication,by mycalling to attention both

faults that had escaped my notice and works of which
I was ignorant, and by suggestions that have always
been valuable. Especially I have to thank Mr. P. W.
Pickup of Blackburn, Mr. Wallace Sutcliffe, and Mr. C.
N. Volckmann of New York, for frequent additions to
my collection, Mr.Bernard Quaritch, Herrn Liepmanns-
sohn, Lissa, Cohn, and Harrwitz of Berlin, Herr R.
Bertling of Dresden, Herrn Twietmeyer, List und
Francke, Merseburger, Grundl, Harrassowitz, Hierse-
mann, and others of Leipzig, the Skandinavisk
Antikvariat of Copenhagen, MM. Techener and Sagot
of Paris, Mr. Bouton of New York, Senor Antonio
Murillo of Madrid, Signori Taddei of Ferrara, Signor
Clausen of Turin, Signor Pigna of Milan, Herr C. F.
Schmidt of Heilbronn, Herrn Schieble of Stuttgart,
Rosenthal of Munich, M. Loosefeldt of Brussels, Mr.
Engelbert of Rotterdam, Mr. Nijhoff of The Hague, and
above all, my chief agent, Mr. Grevel, of King Street,
Covent Garden, for watching the book market, and
securing for me the treasures of my collection. A
special word of thanks is also due to Mr.
J. E. Mathew,
who has placed his magnificent musical library un-
reservedly at my disposal. The constant assistance
afforded me by Messrs. William, Arthur, and Alfred
xxii EPISTLE DEDICATORY.
Hill cannot be over-estimated, and I feel that in thank-
ing them most heartily in this place I am but in-

adequately acknowledging their unremitting kindnesses
and interest in my work. And lastly, I may be allowed
to pay a tribute of gratitude to my wife in acknowledg-
ing the care and skill with which she has constantly
performed for me the uncongenial task of correcting
these, for her, uninteresting and polyglot proofs.
With these few words by way of introduction^ I leave
my book, Sir, with great submission, in your hands, and

I beg to for allowing me to
thank you once more
address to you this Bibliography which had its origin
in that former work of mine which, under the protection
of your Royal Highness's name, I gave to the world ten
years ago,
And I have the honour to remain,
Sir,
Your Royal Highness's m.ost obedient servant,
Edward Heron-Allen.
Langenschwalbach, August^ 1893.

INDEX OF AUTHORS' NAMES.
In the following index will be found in alphabetical order

every name that
appears this work as the author, part
in
author, or translator of any item recorded therein, with an in-

dication of the nature of the item indexed. It has seemed
desirable to further indicate the nature of certain classes of the

titles referred to by the addition of letters. Thus, p before the
§§ Number means that the item is an article in a Periodical
Publication, and so on, thus :
—
p indicates an article in a Periodical Publication.
s ,, a Short Story.
V „ that the item is in Verse.
D ,, a Drama.
M „ a Methode or Instruction Book.
1 a Patent Specification or Invention.
,,
It is hoped that by means of this name index, together with
the subject index, the references to every published work on

or connected with the Violin may be readily found. The in-
dexing of anonymous works and articles presented, naturally,

a problem which is only partially solved. It may be argued
that if it is necessary to know a title before the reference can

be found, the index is of little use for finding out the extant
references to a given subject. It is to be hoped that the subject
index taken in connection with the arrangement of the whole

work (as shown by the Table of Contents) will to agreat extent
annul this fault. The following contractions have been used
for purposes of convenience : Vn = Violin ;
Va = Viola ;
Vcello =
Violoncello Vnist ;
= Violinist.
XXIV INDEX OF A UTHORS NAMES.
Anonj'mous. Anonymous.
Vide Famago, 77. Gungl, 118.
r/afe Fothergill, 591. Handbook of Vn., 215.
Vide Galpin, 666. Harmonics of the Vn., P, 569.
Vide Hanemann, 620. Hiirs Vns., 496a. P,
Vide Honeyman, 236, 237. History of a Vn., s, 612.
Vide Koelle, 659. How to play Vn.,216.
Vide Lambert, 298. How to Study Vn., v, 461k.
Vide Marcou, 277. Hungary's Vn. Prince, P, 556.
Vide Miller, I226«. Importanza cfElezione, 2Qoa.
Vide Nicholson, 32. Joachim, P, 467*^.
Vide Paulding, 654. Kallifthorgan, P, 279a.
Vide Roberts, 603. Kelpie's Fiddle Boiu, s, 693.
Vide S — r, 422. Lay of Poor Fiddler, V, 649.
Vide St. Hilaire, 203a. Little Prophet, the, s, 618.
Vide Sheppard, 607. Mine, de Beriot, 270.
Vide Stradivari, 190. Men, (ifc, of to-day, 289.
Vide Volckmann, 139^. Modern Stradivari, p, 404.
Vide Ward, 656. Mtisic &= Lnstruments, P, 485.
Adveiitiires of a Vn., P, 528. Mtisical Physiogtjomies, p, 533.
Ancestry of Bones, P, 549. Musical recollections, 288.
Arte deir Arco, P, 508. Recueil cTEdit, 197.
Bibliographie Musicale, 1 183. Musin O, 119.
Blind Fiddler, S, 697. My Violin, v, 658.
The Broken Fiddle, s, 6l0a. Nachez, T, I2t.
Ole Bull, 62,d. P, 347<§". Niiiible little Fiddlers, P, 555-
Capuzzi, 1 1 6(2. Obserz'ations sur la Musique,
Catalogue of Vns., 1045. 1181.
Celebrated Musicians^ 1182. An old Vn., p, 563.
A Cheap Vn., p, 405. Paganini, 62, 62a, 63.
Collection of Vns., V, 511. Paganini's double stops, M, 718.
Coruertina, 200b. Paganini's Geige, P, ifi\b.
Deil turning Fiddler. P, 560. Paganini's Shoe Vn., P, 446a.
Double Bass, M, 1026. Popper, p, 347^/.
Einrichtung der Wirbel, V, Powell, M., 120.
346a. Presei-vatioji of Vn., p, 541.
Exhibition (Paris) 1885, 310a. Pi-incipj di liûsica, 1040, 1041.
Faience Vns., v, 547. Quartette, A, V, 660.
Famous Fiddles, v, 3593^. Rec7ieil de I'Encyclopcdie, 1203.
The Fiddle, s, (iiob. Rijlessioni d'un Frofessore,
Of Fiddlers, P, 537. \2iT,a.b.
Fiddlers^ Handbook, 2. Pise and progress Vn., P, 357.
Fiddler's Ode, V, 657. V'cello, P, 353.
^
Fiddler of Marseilles, s, 610. Roving Fiddler, i', 540.

Fiddlers and the Trade, T, 539. Rudimenta Pandurista, 217.
Fiorello's fiddlestick, s, 61 la. Salabue Strad, lyjc.
First Fiddling, v, 510. Sarasate, \2\a.
Freak on the Vn., P, 534, 535. Savart Violins, the, P, 414, 415.
G esc hie hie, p, 337. Societd del Quartet to. 2QOc.
Ghostly fiddle, S, 615. Some Fine Fiddles, p, 48o«.
Gottfried's success, S, 6 1 6, .S".
Kcnsitigton, 1872, 1 1 84.
Greville Strad, 1 39^?. Spohr, 63«.
INDEX OF AUTHORS NAMES. XXV
Anonymous.
XXVI INDEX OF AUTHORS' NAMES.
Beazley, J. C, Aids to Violinists, Bouffier, F., Violine, 141a.

21TC. Boult, h.].,Pegs, I, 1 1 59.
Bedard, J. B., Vn., M, 736. Bowles, E. W., Lost andfound Vn.,
Bell, H., Glass in Vns., i, 1075, s, 623.
loSi. Braddon, M. E., L. Davoren, 586.
Bendall, I.
V., Chin-rests, I, 11 15. Brahmig, B., Va, M, 937.
Benedit, P. G., Sivori, 68. Vn., M, 747.
Benok, /aninet's Vns., P, 382. Brakstadt, H. L., Ole Bull, 68<?.
Bentzon, T., Violon dejob, 585. Brandis Zelion, E. von, Violin-
Berenzi, A., Maggini, i&a.b. spielerin, 587.
Liutai Bresciani, 140. Breidenbach, E. de, Ole Bull, P,
Berger, J., V
cello, M, 969. 452.
Bergerre, A. B., Vn., M, 737, 738. Breimecke, Vn., M, 748.
Bergmann, Vn., M, 739, 740. Breval, J. B., Vcello, M, 971, 972.
Berliner, E., vide Lake, iioo. Brewer, vide 1026.
Berlioz, H., Soirees d' Oi-chestre, 2gi, Brewer, E., Mittemvald, P, 393.
Brixius, A., Ein Geigen Solo, P,
292.
—
Paganini, P, 451 45 1'^- 458.
Beriot C. de, Vn., M, 741, 742. Broadhouse, J., Vn. making, 1 \a.
Bemhard, B., Corporation des Fiddles, 142—144.

Menetriers, p, 503. Brooks, R., Fingerboard, I, 1067,
Berr, F. M., Vn., M, 743. 1078.
Bertolotti, A., Pugnani, (i%c. Brooman, R. A., Fingerboards, \,
Bhills, T. J., MoH, v, 678. 1068.

Biddle, H. P., Tetrachord, 140a, 307a. Brown, W., Cloth Vns., i, II4S-
Bideau, D., Vcello, M, 970. Browne, H. K., vide ]zxi\^%, 595.
Bishop, J , vide Dubourg, 1 54.
.
Bruni, A. B., Vn., M, 749— 750«-
vide Duport, 982. Briini. B., Va, M, 938.
vide Hamilton, 231, 232a. Bruni, O., Paganini, 69.
vide Otto, 38 40. — Bull, A., Ole Bull, p, 467a.
vide Spohr, 908. Bull, O., vide Pitt, 1, 1093.
vide Stradivari, 86. Vn. notes, \\a, 70, 71.
Blagrove, W. M., Vn., M, 744. Bull, S. C, 0. Bull, 70, 71.
Blanc, II., vide Bentzon, 585. Bundy, C. M., Old Violin, s, 623a.
Blanc, II. le, vide le Blanc. Buonanno G., Casa Stradivari, v,
Blavatsky, H. P., Ensouled Vn., s, 496f.
622c. Burbure L. de, Corporati07i St. Job,
Blaze de Bury, H., Musiciens Co7i- 1 194.
temporains, 1191. Luthiers cTAnvers, 479, II95-
Blumenthal, J. de, Vn., M, 745. Burg, R., Buchlcin, 218.
BlUthgen, V., Drei Bassgeigen, s, Burgh, A., Anecdotes, 293.
dzzb. Burney, vide Tartini, 254.
Bocker, H., Leibk'dtscher, s, 622a. Burton, E., Fiddlers three, S, 624.
Bohman, D., vide Lake, 1 135. Buttschardt, Vn. Music, 2S7a.
Boislel,M., Grivel, 24. Buttschardt, K., Vn., M, 751.
Bonanni, F., Vernice, 134.
Gabinetto Armonico, 1 192. Cai.dfcott, R., Hey-diddle-diddle,
Bonn, E., Strings, 1 1. V, 695.
Bomet, Aine, Vn., M, 746. Cambin J. J., Vn., M, 752.
,
Boschetti, O., Paganini, 6Sd. Campngnoli, B., ^«., M, 753— 755.

Bjstelinann, R. F. ']., Jolly Fiddler, Campij^lia, vide Ilolliday, 1098.
V, 660a. Carpontier, A. C. de, Vn., M, 756.
INDEX OF A UTHORS' NAMES. xxvu
Carrodus, J. T., Vn., p, 5o8<5. Corkran, L., vide Erckmann-Chat-

Cartier, J. B., Vn., M, 757. rian, 631.
Case, G. T., Vn., M, 758. Cormon, Vn. de Pire Dimatuke, D,
Catel, vide Baillot, 962, 963. 689.
Ceru', D. A., Boccherini, 71a. Coionelli, V., Epitome, 131.
Ceruti, G., vide Bonanni, 1192. Corvi, A., Hurdy Gurdy, I, 1071.
Chabot., E, Kbnigs Geige, s, 699. Courvoisier, K.. Violintechnik, 221.
Chambers, E., Cyclopcedia, 1163. Intonation, 221a,
Chambers, W. and R., Encyclo- Gi'zmdlage, 219.
pedia, 1 1 64. Coussemaker, E. D., Instruments
Champfleury, Vn. de Faience, 588. frottees, P, 482
—
484.
Chanot G. Hodges v. Chariot, 145.
, Coutagne, H., Duiffopnigcar, 145a.
History of Vns., 1234. Cray, S. D., Vn. Azotes, p, 376/'.
Chanot, G. A., Vn. cases, i, 1106. Creuzberg, H., Lackierkunst, 138a.
Bows, I, 1 140. Crome, R., Vn., M, 763.
Chevesailles, Vn., m, 759. Crosby, A. B., Anatomy, 70, 71.
Child, L. M., Ok Bull, p, 337/ Crosby, M., Vn. obligato, s, 625.
Chladni, E. F. F., Opera, 48. Mad Englishman, S, 626.
Choron, A. E., Manuel de Musique, Crouch, F. W., V'cello, M, 974.
1042. Cruz, A. da, Vn., M, 764.
Chouquet, G. Vingt quatre violons,
, Cupis, J. B., Va, M, 940.
1167a. V'cello, M, 975.
Claggett, C, Finger- loards, I, 1059. Curzon, G., Violinist of Quartier
Sound-post, I, 1060. 589.
Clark, A. M., Vns., i, 1126. Czerny, J., Vn., M, 765.
Clark, F., Chamber Music, p, 505.
Clarke, A. M., Strings, i, 1161. D'Alembert, vide Diderot, 1165.
Clayton, F., vide Marque, 862. Dana, G., vide Ripley, 1 174.
Close, J. A., vide Boult, 1159. Dancla, J. C, Vn., M, 766, 767.
Cobham, C, Vn., M, 760. Danoville, Viole, M, 703.
Coleridge, A. D., vide Hanemann, Daudet, A., vide Pillaut, L., 319.
274a. D'Auriac, E., Mhtetriers, 198.
Collins, M. H.,Vn., I, 1091. David, F., Vn., M, 768 770. —
Col ton, W.E., BuWs notes, 71. David P., vide Grove, 1167.
Conestabile, G., Paganini, 72. Davidson, J. \^ ., Joachim, 294.
vide Anonymous, 4612. Davidson, P., The Violin, 15 iS. —
Conley, J., Strings, i, 1151. de Beriot, vide Beriot, C. de.
Consili, D., Appui-Violon, 12 — de Jan, C, Fidibus Grcecorum,
14. 1226.
Console, F., Scuola Italiana, 201a. Delezenne, Cordes, V, 399.
Color it nel Quartette, P, 531. Demar, J., Vn., m, 772.
Cooke, W. H., Pegs, i, 1090. Demar, J. S., Vn., M, 773.
Coppee, F., Luthier de Cremone, Depar, E., V
cello, M, 976.
D, 686. Vju, m, 774.
Corelli, M., Joachim and Sarasate, Desfossez, A., IVieniawski, 73-
P, ajb()aa. Des-^ arais, C, Archeologie, 146.
Corder, F., vide Firket, 941a. D'Este,;., Vn., M, 775.
Corette, M., Vn., M, 761, 762. Desvergera, Paganini en Allemagne,
Va, M, 939. D, 689a.
V'cello, M, 973. Deulin, C., Viole cT Amour, s,
Dotible Bass, M, 1028. 632a.
Vielle, M, 1044. Diderot, Encyclopedie, 1165, 1203.
XXVI u INDEX OF AUTHORS' NAMES.
Diehl, N. L., Geigenmacker, 147
— Edwards, J., Pegs, I, 1 141.
149. Eichberg, J., Vn., M, 783.
Dion, C, vide Clark, 1126. Eley, C. F., Vcello, M, 983.
Dissmore, G. A., Vn, Gallery, Eliot, G., Stradivarius, V, 664.
149a. Encyclopaedia Britannica, 11 80.
Dobson, A., Child Musician, v, Engel, C., Violin Family, 155,
661. 168.
Dom, A., Geiger-Evchen, 590. S. Kensington, 1872, 11 84 — 5.
Dominik, F., Vn., M, 776. Engel, L., Paganini, p, 469.
Doni, G. B., Compendia, 308. Erckmann-Chatrian, Murderer's
Annotazioni, 309. Vn., S, 630.
Lyra Barberina, 310. Erler, J., Kaisers Geigenmacher, D,
Dont, J., Vn., M, 777, 778. 689^.
Domenjoud, J. B., Preference des Erlich, A., Beruhmte Geiger, 74b.
Vis, 1 8a. Ermerins, J., Cremona Secret, P,
Dormizer, M., Erwe7-bsverkaltnisse, 472.
1 196. Ersch und Griiber, Cyclopedia,
Dotzauer, J. J. F., V cello, M, 977 1165a.
—980. Escudier, L., Souvenirs, 295.
Dowson, E., Story of Vn., s, 627. Escudier, M., and L., Catitatrices
Drewry, H. S., Violoncello, 222. celibres, 272.
Drogemeyer, H. A., Die Geige, Dictionnaire, 1166.
l2,bc. Eymar, A. M., Viotii, 75, P, 444.
Dryerre, H., Zonane, v, 662.
Dubourg, G., 150 154.
— Fales, W. E. S., Lost Aviati, v,
Dubus, E., Qtiajtd les Violons, V, 665.
649a. Fanart, L. S., Mennesson, 19, p,
Duchesne, Cordes Savaresse, iSd, 377-
r. 387- Fanzago, F., Tartini, 76, 77.
Duck, E. A., Fingerboard, i, 1152. Fardeley, T., Otto, 37.
Duffield, S. W., Messire Atidreas, Farjeon, B. A., Poor Fiddler, s,
V, 663. 631a.
Duftin, E. W., Mori, Tyi. Farmer, H., Vn., M, 784.
du Mesnil, E., Pegs, I, 1062. Faure, F., Vn., M, 785.
Dupierge, F. T. A., Vn., M, 779. Fayolle, F.J. M., Corelli ct'c, 78,
Dupont, Vn., M, 780. 79-
Duport, vide Schroder, loio. Paganiniet Beriot, 80.
Duport, J. L., Vcello, M, 981, 982. vide Picquot, \ooa.
Durier,»A., Double Bass, M, 1029. Histoire du Vn., 1232.
Durieu, M., Vn., M, 781. Fenigstein, J., vide Redfern, 1162.
du Rivage, Paganini, 74. P'enkner, J. A., AnTveisutig, 223.
du Rozoir, vide Rozoir, 426. Ferris, J. T., Great Violinists, 81.
du Vernay, J., Luthier de Breme, Fetis, F. J., Paganifti, 82 84.
—
s, 628. Stradivari, 85—86.
Curiosites Historiques, 330.
Eaton, W. A., Fiddlers in a Biogi-aphie Universelle, 1 197.
scrape, v, 650. Exposition 1855, 155a ; 1867,
Ebers, J. J. II., Spohr &> Halevy,
74a. Fields, J. T., Bull, "ji.
Eckhardt, Vn., M, 782. Fink, G., vide Andersen, 583.
Edwards, E., Bridge, (s'c, I, iioi. Fioravanti, L., Miroir Universelle,
Pegs, I, 1 142. 125, 126.
INDEX OF AUTHORS' NAMES. XXIX
Fiorentino, P. A., Pagaizini, p, Gardeton, C., vide Anonymous,

440a. 1
183.
Firket, L., Va, M, 941. Gardiner, W., Music of Nature,
Flade, O., Vti. M, 786. 313-
Fleischen, P. A., Wood, i, 1138. Gay, C., Ole Bull, V, 650a.
Fleming, J. M., Old Vns., 156, Gebauer, M., Vn., m, 791.
157- .
Va, M, 944.
Fiddle Faticiey, 157a. Gehot, J., V71., M, 792.
Emperor Strad, \^']b. Gelinck, Contrebasse, P, 342a.
Old Vns., p, 571." Geminiani, F., Vn., M, 793 797. —
Vn., M, 7S7. Gemsege, P., Origin of Vit., v,
Vn. Monthly, 1210. 487.
Fleury, E., Instruments de FAisne, Gemunder, G., Fortschritte, 21, 22.
1200. Vn. f?iaking, P, 392.
Fleury, J., vide Champfleurj-, 5S8. Cremona Secret, 2.2a.
Folegatti, E., Violino, 158, 159. Genese, D., Mute, i, 1160.
Fontego, S. G. del, vide Ganassi, Gerle, H., Micsica Teusch, 225.
704. Giehne, H., Spohr, 88.
Forberg, F., V'cello, M, 984. Gilchrist, Vn. constrzution, I, 1 125.
Forster & Sandys, History, 184. Gilhofer, J., Buchlein, 22b.
Fother^ll, J-,
First Vn., 591. Gilm, H. von, vide Anonymous,
Fouque, La Motte, Btdl\poem), 71. 6â.
Fourgeaud, A., Dalayrac, 87. vide Ruf, 106.
Fovargue, S., Vulgar errors, 332a. Giorgetti, F., Va, M, 945.
Francillon, R. E., Fiddle with one Glazebrook, P^n., i, 11 13.
tune, s, 632. Gley, C., Bo'co Guide, i, 1096.
Frederic, H., Enchanted Vn., D, Glover, C. W., V71., M, 798.
691. Gluer, H., Vns., i, 11 50.
Frith, H., vide Erckmann-Chatrian, Goffrie, C., The Vn., 162.
630. Gompertz, L., Strings, p, 398.
Frohlich, vide 1026. Gontershausen, vide Welcker, 286.
Frohlich, J., Vn., M, 788, 789. Goodeve, Mrs., Fiddle and I, v,
Va, M, 942. 682.
'V cello, M, 985. Gordigiani, L., Violins, V, 683.
Double Bass, M, 1030. Gosse, E. W., Viol and Flute, v,
651.
Gossec, vide Baud, loa.
Galeazzi, F., Elementi di Musica, Gouache, J., Violons de Man-ast,
224. 1224.
Gallay, J., Luthiers Italiens, 20. Gould, Chin-7-est, i, rio8.
Ecoles Italiennes, 160.
Grange, E., vide Cormon, 689.
Instruments ci Ajxhet 1867, Green, E. M., Child of Caravan, s,
161. 696.
Mariage de Musique, 199. Gresswell, H. W. and G., How to
vide Jacquot, 1201. —
play, 226 228.
Exposition 1873, 312. Gretschel, vide Appian Bennewitz,
Galpin, S. C, De Fidibus, V, 666.
Ganassi del Fontego, S., Regola Gretschel, H., IVettengel, 60.
Rubertina, M, 704. Greville, H., Vn. Russe, 592.
Gancaldi, C., vide Pancaldi. Grivel, V., Vernis Anciens, 23.
Garaude, A. de, M, 790. Gronvold, A., Ole Bull s breic,
Va, M, 943. 295a.
XXX INDEX OF AUTHORS' NAMES.
Grosjean, J. F., Vns., i, 1064. Hauser, S., M Hauser, 1213.
Gross, J. B. ,
V
cello, M, 9S6. Havard, H., Catalogue van
Grotto, G., La Violina, V, 692. Romondt, 1221.
Grove, Sir G., Dictionary, 1 167. Haweis, H. R., Afnsic and Morals,
Griinwald, A., Vn., M, 799. 314-
Guernzey, W., Paganini, 83. Musical Life, 315.
Guhr, C. Vn., M, 801, 802.
,
Stradivarius P, 477-
,
Guicharcl, M., Vn M, 803. ,

Old Vns., p, 481.
Gu!chon, A., Violoncelle, P, 342. Rare Fiddle, p, 490.
Guidotti, A. M. A., Vernici, 135. Old Vns., P, 498.
Guillemin, A., Applications de Stradivarius, P, 543.
Physique, 280. Old Vns., P, 544.
Gunn, J., Violoncello, 229. Paganini, P, 545-
Harmony, 229/'. Hawkins, J., Corelli and Handel,
Gutteridge, J., Vns., 2%\a. p, 471.
Hedouin, P., Mosa'iqties, 296.
Heim, E., Vn. Litteratur, 257^.
Habeneck, F. a., Vn., M, 804. Heinze, L., Vn., M, 808.
Haddan, H, ]., Soundboards, i, Hell, vide Newton, 1070.
1099. Hennig, K., Vn., M, 809, 810.
Haghe, A. R. H., Mutes, i, 1 147. Henniker, H. F., Vn., M, 8ri.
Higspiel, Vns., i, 1128. Henning, C. W., Vn.^ M, ^wa.b.
Hajdecki, A., Lira da Braccio, Vcello, M, 989,
162a. Henry, B., Vn., M, 812.
Ilamerton, P. G., P/ill, 71. Hering, C. F. A., ICreutzer's
Hamilton, J. A., Catechism Vn., Etuden, 233.
230, 231. Vn., M, 813 815a.
—
Catechism, V'cello, 232. Hero, H., Double Bass, M, 1034.
Vn., M, 805. Heron- Allen, E., Violin-making,
Vcello, M, 987. 25—27.
Double Bass, M, 103 1. Ancestry of Vn., 167 168. —
Hamilton, J. B., Wind Piddle, I, Hod^ês V. Clunot, 169, 170.
1088. Fidictdana, 171, \T\a,
Hamma, E., z//'/^ Wallis, 1102. Libri Desiderati, 258 264. —
Hamma, F., Vn., M, 806. Paganini Guarncrius, P, 3*5c>'
Hampton, W., Bridge, I, 1156. Romance of Stradivari, 1 233.
Hanemann, M., Contrabass, 31312./', Vn. makinii,
-
P> 37S.
Die Viola, s, 313/', 620, 632/^ The Vn., P., 494.
Pistel, s, 3i3i^, 592a. Anecdotage of Vn., v, 529.
tiansel, J. A., Bau der Violine, P, Fatal Fiddle, S, 593, 633.
346^. Vn. maker of Bremen, s, 629.
Hanson, A., Chinrest, i, 11 19. Child Virtuosa, V, 667.
Hardy, H., Vcello, M, 988. The Violin Times, 1212a.
Harradcn, B., Musical Romance, Herring, H., Soundpost, i, 11 54.
63 2r. Herrmann, E., Vn., M, 816.
Harrys, G., Paganini, 89. Herrmann, vide Wassmann, 2563.
Hart, G„
Violin-makers, 163—166. Herrmann, F., Vn., M, 817, 8i8.
and music, 202.
Vn. Herrmann, G., Vn., M, 819.
Hauptmann, M., Briefe, 274 Hcrvey, E. L. Seven Flats, v, 669.
,
Hausc, W., Double Bass, M, 1032, Hcrvey, M. S., vide Anonymous,

»033- 1182.
Hauler, K. J., Vn., M, 807. Heskett, A. J., Vn., m, 820.
INDEX OF AUTHORS' NAMES. XXXI
Hiebsch, Violin-unterricht, 234.

J., Hus-Desforges, P. L., V cello, M,
Vit.,M, 821. 990.
Hill & Sons, vide Hug^ns, 89a. Hutchinson, H., That fiddler
Vns. and their Makers, 12 19. fellow, s, 637.
Hiller, F. , vide Hauptmann, 274.
Hiller, J. A., Anweisung, 235. Inwards, C., vide Brooks, 1078.
Lebensbeschreibungen, 297. Irwin, T. C. My
violon, V, 670.
,
Hillgenberg, R., Vn., M, 822. "Isidor" Cdcilia, III.

Hipkins, A. J., Cantor lectures,
316. Jackson, G., Vn., m, 829a.
Hoe, Wm., Dictionary, 2, 28. V'cello, M, 991.
Hoffmann, E, T, W., Violon de Jacque, G. Syjnpathetic Strings, p,
,
Cremone, S, 634. 412, I, 1072.

Hoffmann, R,, vide Schuberth, Jacquot, A., Musique en Lorraine,
1890:. 1 201.
Vn., M, 823, 824. James, E., Sivori, 92.
Hogarth, G., Stringed Instruments, James, G. P. R. Fight of Fiddlers,
,
364- 595-
History, 317. James, W., Vn., M, 830.
Hohmann, C. H., Vn., M, 825. Jan, C. de, vide De Jan, 1226.
HoUiday, Strings, I, 1098. Janinet, Tables de Resonnance, P,
Hone, J., Vn., M, 826. 383, 384-
Honeymann, W. C, The Vn., 236. Jantzen, J., Spohr^s -works, \2\2aa.
Hints Vn. players, 238.
to Jatho, L., Spohr, 93.
Secrets of Vn. playins;, 239. Jones, J., Concertina in Vn., I,
Vn., ho'w to choose one, 28a. 1076.
Hoppe, W., Vn., M, 827. Joiisse, J., Vn., M, 831.
Hortis, A., Tartini, ^ZTa.b. Jubb, R., Vn. head, i, 1061.
Houssaye, A., Vn. de Franjole, 594. Junod, L., V'cello, M, 992.
Howe, J. W., Bjtll, 71.
Howell, E., V cello, use, d^'c, p, Kahlert, a., L. Spohr, ôzh.
5o8r. Kalypada Mukhopadya, Bahoolina,
Howell, T., Vns., i, 1063, 1094. 239^.
Howitt, M., vide Andersen, 581. Kastner, J. G. V
cello, M, 993.
,
Howson, R., vide Huggiiis, W., Vn., M, 832.

401a. Kauer, F., Vn., m, 833, 834.
Huband, W. J., vide Moody, 1079. V'cello, M, 994.
Huber, C, Vn., M, 828. Kayser, H. E., Vn., M, 835
—
Hudson, F., Vns., i, 1109. 836a.
Hudson, G., Bellies, i, 1143. Va, M, 946.
Huet, F., Ecoles de Violon, 203. Keith, R. W., Vn., M, 837.
Huggins, M. L., Maggini. 89«. Kendall, M., A
Theojy, v, 671.
Tuscan Strad, 139 139/'. — Kensett, J., Holder, i, 1146.
Salabue Strad, \TyC)c. Kent, J. T., Paganini, P, 447.
Huggins, \V. Function of Sound-
, Kenyon, E. C., Old Vn., s, 700.
post, p, 401, 413. Kermer, J., Geiger zu Gzuund, v,
Vns., p, 402. 671a.
HUllweck, F., Vn., m, 829. Kerris, Vns. de Lapaix, p, 386.
Hulskamp, G. H., Vns., I, 1077. Kessler, Bows, I, 1137.
Hunt, J-, All about the Vn., lyib. Ketteridge, C, Note indicator, \,
Hunt, L., Paganini, v, ^y]d, 549. II5S-

Hunter, H., Sailor Prince, V, 684. Kewilsch, T., Vn., M, 838.
xxxu INDEX OF AUTHORS' NAMES.
Kiechle, L., Va, M, 947. Larousse, P., Dictionnaire, 1169.
Kieninger, J. M., Vn., M, 839. laTarche, A., vide Tarche, 239a.
Kirton, J. W., Scrape, s, 637a. Lawson, W. E., vide Schebek.
Klein, J. J., Lehrbuch, 333. Le Blanc, H., Basse de Viole, 141.
Klier, J. R, Vn., M, 840. Lebouc, C. J., V
cello, M, 997.
Kling, H., Vn., M, 841. Lee, L., Paganini, v, 685.

Va, M, 948. Lee, S., V
cello, M, 998.
Kneppelhout, J., de Graan, 93a. Lehmann, J. G., Vn., M, 845.

Knight, Dictionary, 1 168. Lejeune, le prince, vide Leprince,
Kniglit, C, Mutes, 1095. 492.
Koch, G., Vn., M, 842.
I,
Leonard, H., Vn., M, 846 850. —

Kohler, L., C?^^. MulUr, 93^. Leoni, Vn., M, 851.
Kohsen, E., Bows, i, 1148. Leoni di Pienza, R., Nardini, 943.
Kohut, A., Joachim, 93c. Lepel-Gnitz J. von, Stradivarius,
Paganini, 297a. 598.
Kolbe, K. C. W., Abhandlungen, Le Prince le jeune, Fayolle, 78.
282. Leprince, R., Origine dii Vn., P,
Kothe, W., z/2(/5 Heinze, 808. 492.
Krehbiel, H. E., z/iiafe
Courvoisier, Leuven, vide St. Georges, 690.
220. Levasseur, vide Baillot, 962, 963.
Kreutzer, R., Vn., M, 735. Lewald, A., Ole Bull, 302/.
Kross, E., V7i., M, 8423. Lexhime, L J., Bows, i, 1133.
Kufferath, M., Viejixtemps, 94. Levierge, J. \V., Chinrest, I, 1124.
Kummer, F. A., V
cello, M, 995. L'Heritier, de I'Ain, see Laphe-
Kuppers, P., Musik-lnstrumenten- leque.
viacher, 1202. Lidel, J., vide Lee, 999.
Kiirzinger, I. F. X., Unterricht Lie, J., O. Bull {poe?n), "ji, gâa.
zum Singen, 275. Linnarz, R., Vn., m, 852.
Lisei, C., Bottesini, g^b.c.
Labadins, Vn., M, 843. Lissajous, Vns. de Morisseau, p,
Laljro, N. C, Double Bass, m, .385.
I03S- Liston, W. L., Vn. its pains and
Lachnith, L. W., F/^., M, 844. pleasures, P, 507-
Lafage, J. A. L. de, Exposition de Liszt, F.,Paganini, P, 461^.
185s. 318. Lockyer, N., vide Guillemin, 281.
Lafage, L. A. de, vide Choron, Loder, J. D., Vn., M, 853—855.
1042. Loewy, B., vide Powell and
Lagerstrom, A. von, Campanella, Flechter, 1220.
596. Lohlein, G. S., Anweisung, 240 —
Lake, H. H., Chinrest, i, 1135. 242.
Lake, VV. R., Pegs, i, 1097. LoUi, A., Vn., M, 856, 857.
Fingerboards, I, IICX). Longfellow, H. W., Bull, 71.
Lambert, M. Chorister Boy, 298.
, Lorenziti, B., Vn., m, 858.
Lamottc, Fouque, Joseph und seine Lome, F«. Cases, 1, 1107.
Geige, 597. Lottin, D., Vn., M, 859.
Lande, E., vide Gley, 1096. Love, F., Vns., i, 1149.
Langey, Bow guide, \, 1121. Lovelace, \Vm., Strings, 1, 1057.
Lanzelta, S., V cello, M, 996. Lovell, M., Musical Genius, v,
LapheR-que, G. L de, Paganini, 504-
90—91. Lowenthal, L., Chinrest, i, 11 10.
Paganini, v, 429. Lozzi, C, Lititai Bresciani, 17 U".
Soundposl, I, 1073. Liittgen, 11., Va, M, 949.
INDEX OF AUTHORS' NAMES. XXXlll
Liittgen, Vcello, M, looo. Meilhan, P. C, Vn., M, 871.

Luke, H., Mystery Solved, P, 420. Meltner, C, Vn., M, 872.
Lunn, H. C, The Old Vn., s, 638. Menges, E., Bow Guide, I, 1 153.
Lyser, J. P., Tartiniy 302^. Meo, Strings, i, 1120.
Mercier, A., Campanella, 599.
Macdonald, G., Violin Songs, v, Mereaux, J. A., Biographies, 300.
652. Varietes Musicales, 301.
Falconer^ s Fiddle, s, 639. Merlin, M. de, Malibran, 96.
Macdonald, J., Harmonic System, Merrick, A., vide Baillot, 964.
243- Meugy, A., VArt du Vn., 244.
Macdonald, M., Lady's Vn., v, Meyer, Konversatiojislexicon, 11 70.
672. Meyer, L., Vn., M, 873.
Mace, T., Musick^s monument, Mezzetti, Fittings, i, 1123.
334- Miel, E. F. A. M., Viotti, g6a.
Mackaye, E., Love-letters, v, 653. Milandre, Viol d'Amottr, M, 705.
Mackenzie, Bull, 71. Miller, E., on Fidlers, 1226a.
Macquoid, K. S., Prince'' s JVhim, Millin, A. L., Antiquitts
s, 640. N'ationale, 331.
Magerstadt, J. F., Vti., M, 860, Mine, vide 1026.
861. Mine, J. C. A., Vn. et Vcello, M,
Mahillon, V. C, Acoustique, 283. 952.
Maigne, W., Manuel, 29
— 30. Mine, J. C. A., Double Bass, M,
Mailand, E., Vernis, 122. 1036.
Majer, J. F. B. C, Viols, M, 334a. Mitchell, C. H., Hotv to hold Vn.,
Major, I. W., Bridges, i, 1131. 245-
Malibran, A., Spohr, 95. f M. prosody, 245a.
Mannerhjerta, U. E., Fayolle, 79. Mollenhauer, E., vide Haddan,
Mannoury, P. M., Wind fiddle, I, 1099.
1065. Vn., M, 874.
Marcou, Principes de Violon, 277. Moncrieff, W. T., vide Lee, 685.
Mariette, A., vide Coppee, 686. Monteclair, M. P. de, Vn., M,
Marmier, X., vide Hoffmann, 636. 875.
Marmontel, vide Mereaux, 301. Monteverde, C, Orfeo, 1227.
Maroncelli, P., Illustri Italiani, Moody, W., Vn. head, I, 1079.
299. Moore, Chinrests, i, 1129.
Marque, A., Vn., M, 862. Mordret, L. La Luiherie, 31.
,
Marshall, F. A., vide Spohr, 908a. Morgan, Bozos, i, 11 12.

Marston, P. B., Bull {poem), 71. Morgan, A. de, Fiddles aiuiFatuies,
Martinn, J. J. B., Vn., M, S63, P. 559-
864. Mori, N., Musical Gem, 302.
Va, M, 950. Morossi, F. A., vide Rubbi, 303.
Mason, Vn., M, 865. Moszkowski, vide Haweis, 314^:.
Masson, P. J., Strings, I, 1139a. Mozart, G. I^., vide Schiedmayer,
Maugin, J. C., Manuel, 29 30. — 894.
Mauthner, F., Stradivari Geiiê, Vn., M, 876-882.
641.
s,
Munch, — ,
Bull {poem), 71.
May, W. H. ,
vide Newton, 1083. Muntz, G. H. M., vide Reade, C.
Mazas, vide Bruni, "Jôa. Muntz-Berger, J., Vcello, M, looi.
Mazas, J. F., Vn., M, 866. Murmann, E., IVood, i, 1157.
Va, M, 951. Muzzi, S., G. Manetti, g6b.
Mazza, A., Tartini, V, 673.
Meerts, L. J., Vn., M, 867 — 870 Narbaez, L. de, Vihuela, m, 706.
XXIV INDEX OF AUTHORS' NAMES.
Nathan, I., Malibran, 97. Payne, E. J., Viola da Gamba, p,
Nejeoly, R., Vn., M, 883. 351-

Newton, W. E., Triunpet Vn., I, Stradivari, P, 359^.
1070. vide Grove, 1167.
Wood, I, 1083. Encycl. Britan., 1 180.
Nicholson, J., New Model, 32. Pearce, J., Violijts, 175.
Nicolai, D. J. C, Double Bass, M, Peile, J , Breval, 972.
z/zi/fi
1037- Peiniger, O., Vn., M, 886.

Niederheitmann, F., Meisier, 172. Perkis, C. L., Di Fawcett, 600.
Creviona, 173-174. Perrin, Vn., M, 887.
Niggli, A Paganini, 98.
, Perry, J., Vn., M, 8S7(Z.
Nohl, Spohr, 98a. Petherick, H., Vn. making, P, 380.
Nouaille, P., Strings, I, 1058. Petong, R., JMarhieukirchen, p,
496.
O'DoNOGHUE, P, Paganini, iAla. Petri, J. S., Anleitung, 335.
Oetker, F., vide Anonymous, Philips, B., Great Vns., P, 546.
63^. Phillips, B., Fisherman^ s Mate, s,
Ohnet, G., Chant die Cygne, s, 643-
6^\a. Phillips, W. L., V
cello, M, 1002.
Oka, F., Stainer, p, 376^. Philpot, S., Introduction, 2.0,1.

Oker-Voysey, G. E., jyzV/^ Hamilton, Phipson, T. L., Anecdotes, 99.
1088. Papini, 1 00.
Oliphant, N., Flotsam Fiddler, s, Southsea Pa7'ade, 60 1.
" »?(fe
Phiz,"
642.
Orligue, J. d , Paganini, 302;;;. Piatti, A., V James,M, 595.
cello, 1003.
Baillot, 302;;. Piccolellis, G. de, Lititai Antichi,
Ortlepp, E., Paganini, ôzb. c. d. 176, 177. _
Rhode, 302^. Autenticith, iTJa, r, 532.

B, Romberg, 302/. Pickup, P. W., &2(/<? Hudson, 1143.
Corelli, 302/'. Picquot, vide Ceru*, "jia.
Lipinski, 302/f'. Picquot, L., Boccherini, looa.
Sawicki Vns., Tpil. Pierer, Universal Lexicon, 1 1
72.
Ottmann, L., Bull, 71. Pierrard, L., Lutherie, 41a.
Otto, J. A., Bau der Bogeiiinstru •
Pierre, C., Les I.uthicrs, 1202a.
mente, 33 40. — Pillaut, L., Instruments, 319.
Ba'w der Violine, P, 403. Pirazzi, G., vide Clarke, I161.
Pitt, S., Chinrest, I, 1093.
Pagliardini, T., Bottesini, g^^c. Plassiard, J, A., Cordes, 42,
Pain, W., Bridges, I, 1082. Playford, J., Skill of Musik, 335(7,
Paine, J., Treatise 07i Vn., 246, b, c.
246a. Pole, Wm., z^/(/(? Grove, 1167.

Palgrave, M. E., Blind Jem, s, 701. Polko, E., Paganini, loi.
Pancaldi, €., Progresso Italiano, Pollock, W. H., Action to the
Word, 644. s,
Radicati, 98a. Polonaski, E. The Strad, 1212.

,
Panofka, II., Vn., M, 884. Violin Times, 1212a.

Pape, J. H., Vns., I, 1066. Vn., M, 888.
Papini, G., Vn., m, 885. Pomet, P., Drogues, 132.
Partington, E., Encyclop(vdia, I171. Pontecoiilant, L. A. le D., Organo-
Paulding, J. K., Scottish Fiddle, v, graphic, 320.
654. Conservatoire de Musique, 321.
Payne, A., David's Geige, V, 491. Exposition de 1867, 322.
INDEX OF A UTHORS NA MES. XXXV
Poorten, A., Testament, 102a. Rebhaum, T., Va., M, 953.

Tournee Artistiqne, 102. Reichardt, J. F,, vide Lohlein, 242.
Pope, S. T., Bow Guide, i, 11 39. Ripienviolinisten, 249.
Poppinghausen, vide Creuzberg, Reinagle, J., V'cello, M, 1007.
Renier, J. S., Vieuxtemps, P, 427.
Porter, T. , Choosing a Vn. , 43. Richelme, M., Lttthe7-ie, 44.
Potter, C., Fn. in Orchestra, V, Renaissance, 44a.
368, 369, 372. Riechers, A., Die Gcige, 44b.
Tenor and Violoncello, p, 372. Riehl, von, Corelli, 30512.
V'cello and Contrabass, V, ni. Ries, H., Vn., M, 890.
Pougin, A., vide Fetis, 1 199. Rinaldi, B. G. Pressenda, 105.
,
Viotti, 103. Ripley, G., Cyclopccdia, 1174.

" Rita "
Rode, 104. Daphne, 602.
Hainl, p, 341(3;. Ritter, H., Viola Alta, 179— 181.
Rode, p, 425. Normalsteg, 45.
Power, P, B. , Dinah's Fiddlestick, Fa., M, 954.
s, 702. Bridges, I, 1 136.
Pratis, L. de, Sibire, 51. Ritz, J., Ziisamrnensetzung, 206.
Prelleur, P., Music-master, "Jl^. Roberts, M., Fiddler of Lugau, 603.
Preston, A., Old Fiddler, V, 674. Robertson, ]., Wood, i, 1074.
Pnidlo, RIonochord, 322a. Rcche, E., Stradivaritis, v, 655.
Pulleyne, G., vide Marque, 862. Rochlitz, F. vide Schelling.
,
Pullin, S. B., Bow-hairin^, v, 381. Rode, P., Vn., M, 891.

Piirdy, G. ,
Few words on Vn. , 248. Vn., M, 735.
Rode, Th., Remenyi, p. y]6b.
QUAREXGHI, G., Violoncello, M, Rodwell, G. H., Harvioiiy, 326.
323, 1004. Roeser, V., vide Mozart, 881.
Romain, A., Vernis, 138c.
Rachelle, p., V'cello, M, 1005. Romani, F., Paganini, V, 676.
Radoux, J. T., Vieiixte?nps, 104a. Romberg, vide Schroder, loio.
Rae, R. J., Bridges, i, 1092. Romberg, B., P^' cello, M, 1008.
Rae, T., My Vn., v, 675. Roquet, A. E., vide Thoinan.
Rahm, M,, Edler Geigenkunstler, Rose, H. G., vide Smedley, 11 76.
ô\a. Rosen, J. M., O. Bull, loâ.
Raikes, A. H., Vn. chat, lyjb. Ross, J. M., Encyclopivdia, 1175.
Rambosson, J., Hannonies dii son, Roth, F., vide Polonaski, 888.
324- Roth, P., Violoncill-Litteratur,
Rangoni, G. B., Essai sur le gout, 265.
204-205. V'cello, M, 1009.
Raoul, J. M., V'cello, M, 1006. Rousseau, J., Tt'aitedela Viole, 2^0.
Reade, C, Cremona Varnish, 123. Va., M, 955.
vide Dissmore, 149a. Rowland, A. C., Double Bass, M,
Readiana, 306. 1038.
Cremona V)is. V, 565. , Royer, A., vide Hart, 164.
Jack of all Trades, 278. Rozoir, C. du, Baillot, p, 426.
Reade, C. L. and C, Chas. Reade, Rubbi, A., Elogi, 303.
325. Rudolphus, C., vide Spohr, 908^.
Rebs, A., Lackiren, 124a. Ruf, S., vide Anonymous, 64a.
Redfern, G. F., 3/ute, I, 1162. Stainer, 106.
Rees, A., Encyclopcedia, 1 173. Riihlmann, J., Bogeninstrumente,
Regli, F., Storia del Vn., 178. 182, 183.
Rehbaum, T., Vn., M, 889. Urformen, v, 361..
C 2
XXXVl INDEX OF AUTHORS' NAMES.
Russell, R., Fate's a FiddLr, 604. Schroder, H., Vn., M, 899.

Schroder, K., Katechisvius Vn.,
-R, vide Volckmann, 139^. 2$2a.
Duiffoprugcar, P, 422, Katechismus V'cello, 252(5.
Sacchi, F. Stradivari, io6a. Violoncellunterricht, 266, 267.
H
,
Messia, p, 4933. V'cello, M, loio

—
1013.
Sachs, J., Ancient Musical Instru- Schubert, F. L., Die Violine, 187 —
ments, 1 184. 189.
Sadtler, J., Tauglichen Materials, Bau der Geige, p, 346(5.
P, 407—409- Contraviolon, p, 346^.
Saint-Edme, B., vide Sarrut, 303^. Schubert, L., Vn.,M, 900.
Saint Q., Lettre cb A.
Hilaire, Schucht, J. H., JVood, I, 1084.
Blanc, 203a. Schuler, J. H.,72Vi:' Anonymous, 64^.
Saint Jacome, vide Marque, 862. Schuler, J., Stainer, no, 304a.
Saint Jacome, L. A., Va., M, 956. Schultz, A., Vn., m, 901
St. Georges, Luthier de Vienne, D, Schutz, F. C. J., Pagatiini, in.
690. Schweigl, S., Gi-itndlekre, 253.
Saint Serin, J. B., vide Abbe. Seifriz, M., vide Singer, 904.
Salomon, Geschichte einer Geige, Semple, D., Fingerboards, i, 1069,
606. 10S7, 1089.
San Raffaele, B. di, Arte del suono, Sering, F. W., Vn., M, 902, 903.
Shelton, E., The Vn., iSgb.
Sandys and Forster, History, 1S4. Sheppard, E. S., C. Anchester, 607.
Sarrut, G., Paganini, 303^?. Shorthouse, J., Countess Eve, 608.
Sauzay, E., Le Qucituor, 207. Teacher of Vn.,
Violon Har?}ionique, 209. Sibire, Abbe, Chelono/nie,
s, 645.
20, 49
—
Accompagnement, 208. 51-
Savart, F., Memoire, 46—47. Siedentopf, C, V'cello, M, 1014.
TroDipette Marine, P, 395. Sievers, G. L. P., Chanot Vns., p,
Schaum, J. O. H., Bagatella, 10. 346/
Schebek, E. vide Dormizer, 1196. Simoutre, N. E., Aux Amateurs, 52.
Geigenbau, 185
—
186. Progris, 53.
Fortsckritt, 53a, b.
Schiedmayer, J. B., Vn., m, 894.
Schilling, Q.,Freundeder Tonkiinst, Supplement, 54.
304- Progris en Ltitherie, 53^.
Schletterer, H. M., Spohr, 107, Soundpost, I, niS.
108. Simpson, C., Division Violinist,
Spielmannsziinft, 200. 707-709.
Schmidt, Vn., M, 895.
J., Singer, E. ,Vn., v, 904.
Schneider, W., Beschreibung, 327. Singer, J., vide Lake, 1097.
Scholz, R., Violintechnik, 251. Smedley, E., Encyclopcedia, 1176.
Vn., M, 897. Smiff, O. P. Q., Fatal Fiddle, s,
SchOn, M., Vn., M, 896. 646.
Schottky, J. M., Paganini, 109, Smith, G. T., Vn. Strings, 54^7.
Smith, H. P., Construction, 55.
Scliradieck, II., Croiiona Vns., V, Solle, F., Vn ,M, 905.
416-418. Soullier, C., Dictionnaire, 1177.
Vn., M, 898. Sperani, B., vide Andersen, 584.
Schroder, vide Wassmann, 256^. SpofTord, K. P., The Vn., v,
Schroder, II., Syinpathetische 676a.
Kl'nngc, 209^. Spohr, L., Selbstbiographie, 112,
Violinspicl, 252. 113-
INDEX OF AUTHORS' NAMES. xxxvu
Spohr, L., Pariser Musikwesen, P, Tilliere, J. B., V'cello, M, 1021,

1022.
492rt.
Vi!., M, 906
— 908a. Tingry, P. F., Vernis, 136, 137,
Spratley, R., Pegs, i, 1132. Tofte, H., Rogt og Pleje, 254^.
Sprengel, P. N., Handwerke, 284. Tolbecque, A., Quelques considera-
Stalker, C, vide Chambers, 1164. tions, 57.
Starcke, H., Die Geige, 56. Torelli, L., F;/., m, 913.
Tagebtuh, 12 14. Tormin, R., vide Creuzberg, 138^
Stead, H., Hztrdy-gin-dy, i, 1086. Tottmann, A., Violinnnterricht,
Stiastny, B., V'cello, M, 1015. 268, 269.
Stillingfleet, J., vide Tartini. Die Violine, p, 502.
Stradivari, E., Cenni sulla scuola, Tours, B., Vn., m, 914.
190. Townshend, H., Gemiine Giiarne-
Stransky, J., V^cello, M, 1016. riiis, S, 648.
Straub, C. G., Vn., m, 909. Tripier-Deveaux, A. M., Vernis,
Strobel, vide Clarke, 1161. 138.
Stuttaford, J., Pegs, i, 1103. Turgan, J., Grandes Uslnes, 285.
Sutcliffe, W., Queer Fiddles, 190a.
Swert, J. de, V'cello, M, 1017, Ugoni, C, Letteratura Italiana,
1018. 305-
Unbehaun, G., Wert des Vnspiels,
Taeuteau, Violon et Basse, u, 336a-
1043. Upton, F., Chinholder, i, 1104,
Taglini, C, Lett ere Scientijiche, 336. liii.
Tarclie, A. la, Vn. Student's
Alaniial, 239a. Vaillant, p. M. G., Vn., m, 915.
Tartini, G., Lettera alia Signora, Valdrighi, L. F., Strumeiiti Pin-
b'c, 254. forzati, 58.
Irattato, 1215. Tonelli, 116.
Risposta, 1 217. Di tin arpa e Violino, igob.
Tauber, C. von, Ueher meine Vio- Listeria Jl/odenese, igoc.
lin e, 1 23 1. Tonelli, p, 438.
Taylor, Stnngs, I, 11 17. Violineria Modenese, p, 480.
Taylor, J. Y ., Vn. for ladies, p, Violnnzeel, p, 499a.
494«. Nontochelitirgografia, 1 204.
Taylor, W., Fittings, i, 1 144. Van Hall, J- N., vide Coppe'e, 686.
Terrasson, A., AUlanges, 328. Vanheck, Vî., m, 916.
Tessarini, C. da R., Vn., M, 910 — Varin, vide Desvergera, 689^.
911. Variorum, Eticyclopccdia, 1 179,
Thiem^, F., Vn., M, 912. 1 180.
Thoinan, E., CoJtstantin, 114. Vernon, F., vide Hunter, 684.
Maugars, 1 1 5. Verrimst, V. F., Double Bass, M,
Thomas, B., Vn. Player, 609. 1039.
Thompson, C, V'cello, M, 10 19. Vidal, A., histruments a Archet,
Thorns, W. J., Fiddle, P, 372. 191— 192.
Thornbury, W., Jacobite Fiddle, S, Lutherie, 193.
647. Villa,M., Miei Violini, 193^.
Jacobite Fiddler, v, 680. Vinela, L., vide Vineta.
Thorpe, J., Tailpiece, i, 1158. Vineta, L., Paganini, 117.
Thurne and Taxis, Prince of, vide Viollet le Due, Diciiofinaire, 328<7.
Tartini, 12 18. Vulckmann, C. N., Dtiiffoprugcar,
Tictz, A. F., V'cello, M, 1020. 139^/.
XXXVlll INDEX OF A UTHORS NAMES.
Volkman, W., Vn., M, 917, 918. Wettengel, vide Appian Benuewitz,
Vredeman, M., Violen Cyther, M,
709a. G. A., Lehrhuch, 6, 59
—
61.
Walden, E. D. von, // Violino, White, R. G., Stradivarius, p,
255- 476.
Waldenfeld, H. von, Fw., m, 919. Wichtl, G., Vn., M, 924.
Walduck, IL, Iviprffvements in Wieck, F. G., Tye's Vn., P, 390.
Vns., P, 419. Wienberg, L. vide Vineta.,
Wallis, J., Fegs, i, 1 102. Wilkes, J., Encyclopcedia, 1 1 78.

Walther, J. J., Vn., M, 920. Williams, Vn., I, 11 14.
Ward, E., Fiddler's Fling, V, 656. Witting, C, Vn., M, 925.
Warot, C. N. A., V cello, M, Wodiczka, T., Viool, M, 710.
1023. Viole, M, 711.
Wasilewski, J. W. ,
Violine Meister, Wohlfahrt, F., Vn., M, 926, 927.
210, 211. Woldemar, vide Weckerlin, 332.
Vn. yM\\. , Jahrhiindert, 212. Vn., M, 928 930.
—
Instrumentalsdtze, 21^. Va., M, 958.
Violoncell G
esc hie hie, 214. Wolff, W., Vn., M, 931.
Instrn?>tenfal tnusik, 329. Wood, Keyboard Vn., i, 1122.
Wassman, K., Violintcchnik, 256. Woolhouse, W. S. B., Bozu, p, 347.
Lagenbezciihnungcn, 256a. Wranitzky, A., Vn., M, 932.
Watin, Vernisseur, 133.
Waud, W. W., Vn., M, 921, 922. XiMENES, S. L., Fittings, i, 11 34.
Va., M, 957.
Weatherley, F. E. z/Zî? Goodeve, , Young, A. ,
Vns. and Vn. players,
682. P, 493-
Weber, G., Paganinis Kunst, Youssoupow, N. Lnthomono-
338.
p,
graphie, 195 196.
— ,
Mozart's Quartett, p, 339. Analyse comparce, 1235.

vide Ersch and Gruber, 1 165a.
Weckerlin, J. B., Opuscules, 279. Zacharia, F. W., Die Geige, v,
Alusiciana, 332. 681.
Contrebasse, V, 341. Zahn, J., Oculus Artificialis, 129 —
Bibliothique du Conserva- 130.
toire, 1206. Zamminer, F. , Musik, 2Sya.
Weichelt, H., Stainer, no. Zanetti, G., Vn., M, 933.
Welcker Von Gontershausen, H., Zebrowski, F. von, vide Edwards,
Tonwerkzeuge, 286. IIOI.
Saiteninslrtimente, 287. Zeidler, P. H., Soundboards, l,
Weis, C. Violiner Bygning, 194.
, 1 127.
Weiss, J., Vn., M, 923. Zimmer, F., Vade mecnm, 257.
Welhaven, —
Bidl {foein), "ji. Vn., M, 934, 935.
Wergeland,
—,
Bull {poeni), 71.

, Vcello, M, 1025.
Werner, J., Vcello, M, 1024. Ziinniermann, C.F. A., F;/.,M,93f.
West, W., Vn., M, 923a. Zueller, C , Viole d'Ainotir, M, 712.
GENERAL SUBJECT INDEX.
In consulting this index it is strongly advised that all cross-
references should be looked up in order that the subject under
search may be thoroughly exhausted.
Accompaniment, 208, 209. Bennett Collection, 1048.

Acoustics, 31, 47, 206, 2oga, 282, Berenzi, A., ijic.
283, 287a, 2,22a, 383, 384, 395, Bergamo, 11 6a.
vide Savart, and Chanot. Bergonzi, 20, 124, 170.
Adam as a Violinist, 250. Beriot, de, C, 80, 81, 96,97,201(7,
Adams, E. K., 139^. 270, 295, 300, 301, 367, 371.
Adelaide, Mme., 321, Berlioz, H., 102a.
ôlian Vn., 1065. Bernardel, 161, 318.
Aisne departement, 1200. Blangini, I93«.
Alard, D., 53a, 139^. Bibliography, 25.
Alt viola, 286, 327. Biot, 20.
Althaus, B., 1228. Bocaccio, G., 692.
Alto, 45. Boccherini, L., "jia, looa.
Amateurs, 363. Bodleian Library, 336.
Amati, 124, 146, 175, 177, 184, Bologna, 96/'.
190, 193, I93(z, et passim. Books on Vn., 189a:, 258 — 263,
Anatomy of Violinist, 71. 1056.
Andre, 333. Bottesini, G., 94/'. f., 295.
Andrea, J., of Verona, 162a. Bow, 215, 239, 244, 347, 381, 1096,
Anecdotes, 190^, 529. 1105, 1112, 1121, 1133, 1137,
Antonio detto Ciciliano, 162a. 1 139, 1 140, 1 148, 1 153, et
Azais, P. H., 961. passivt.
Brahms, 244.
Bach's sonatas, 239. 15rescia, 89a, idza, \']\c.
Bagatella, 6a, 40, 159, iSi. Brescian School, 68^, 140, 177,
Bagpipes and Vn. 572.
, 194.
Baillot, 192, 20ia, 203, 274, 302;;, Bridge, 162, 1082, 1092, iioi, 1131,
321, 426, 1 183. 1
136, 1 156, et passim.
Baltzar, 154. Brouet's peg, 307.
Bass-bar, 20, 32. Bruni, O., 193(7.
Baryton, 286, 333, vide Viols. Bull, O., \\a, d^d, eSt", 71, 81,
Baud's Vns. 1 183.
, 94(7(T, losa, 288, 295(7, 302/, 304,
Beethoven, 207. mf, 347.?-. 362, 442, 452, 462,
Belly, patent, 1127, 1143. 467a, 1093.
xl GENERAL SUBJECT INDEX.
" CaCILIA," III. da Salo, G., 71, vide Salo, G. da.
Campagnoli, B., 66. D'Auriac, E., 200.
Capuzzi, A., Ii6a. David, F. 491.
Gary, Alphonse, 2, 28. David, P., 715.
Celebrated Vns., 376. Day, John, 142.
Chamber music, 203^, 207, 208, Dolmetsch, A., 712.
229, 505. Double Bass, 279, 286, 3I3«.^, 342«,
Chanot, F., Guitar Violins, 31, 84, 346^. 356, 1 167, vide Contre-
basse.
183, 184, 346/, 388, 400, 423>
1225.
Double double Bass, 356.
Chanot, F. W., Catalogue, 1051. Double stopping, 209.
Chanot, G. (senio)-), 146. Dragonetti, 80, 295, 358, 450.
Chanot, G. (London), 27, 32, 105, Drowned Fiddlers, 564.
145, 145a!, 170, 516, 1052. Dubourg, G., 558.
Chanot, G. A., 517. Duiffopragcar, i^gd, 145a, 162a,
Characters of Vns. (Tatler), 518. 186, 422.
Charles IX., 184. Dumanoir, G. 199, 330.
,
Cheap Vns. 285.

, Duty on Vns., 325.
Chifonie, 328a. "
Chinese origin of Vn., 155. EcHOLiN," 1091.
Chin-rests, 12—14, 239, 1093, lioi, Edmburgh, Duke of, 27, 688.
1104, 1108, iiio, nil, 1115. Edition, Chanot, 1051.
1119, 1124, 1129, 1135. Egyptian Vns., 184.
Chladni, 47. Eighteenth century, 293.
"
Chopin, 81. Emperor" Strad, 1571^.
Cieco d'Adria, 692 English makers, 193a.
Classic Vns., 156, 184, 205, 250. Ernst, 304, 20ia.
Clementi, 81. Exhibition, 1885 (Paris), I55«,
Cloth Vns., 1 145. 310a.
Collections of Vns., 18, 20, 325, 1867 (Paris), 161, 311, 322.
511, 526, 1046— 1048. 1872 (S. Kensington), 306,
Commandemcnts du Vn. , 332. 315, 1 184; and vide South Ken-
Composer Violinists, 3376'. sington.
Concertina, 200('\ 1873 (Vienna), 312.
Concertina in Vn., I, 1076. 1878 (Paris), 1052.
Conservatoire (Paris), 201. 1885 (London), 568.
Constantin, L , 114. Expression, 239.
Construction, 231.
Contrebasse, 279, 324, 327, 341. Facetiae, 512, 529.
Corelli, 78, 79, 203, 293, 299, 3027, Faience Vns., 547, 588, 1221, 1222.
305a, 344, 359, 470, 471. Famous Vns., 359a<?, 538^.
Crawford Collection, 139^. Female makers, 146.
Cremona School, 173
— 174, 177, Ferri, B., 72.
190, 194. Fetis, 51, 333,920, 1
190.
Cremona Secret, —
416 418, 420, Fiddle, 184.
"
472, 473. 4S9. 495". 565- Fiddler, The," 28.
Cremona Society, 1 223. Fiddler, The, 1208.
Crwth, 167, 328a. Fiddlers abused, 1226^.
Fulig's Key Vn., 279^.
Dauayrac, N., 87. Fingerboards, 1059, 1067, 1070,
Dam Family, 566. 1078, 1087, 1089, 1152, vide
Danguy, 321. Fittings.
GENERAL SUBJECT INDEX, xli
First Violin, 200a, 224.

xlii GENERAL SUBJECT INDEX.
Janinet's Vns., 382. Marrast Vns., de, 1224.

Jeune, H. 229.le, Marteau, H., 514.
—
Joachim, J., A\b, 93a, 93^, 187 Materials of Construction, 407
409, vide Wood.
20ia, 294, 467/', 469«.«.
Johnston v. Laurie, 171. Mathematical outline, 7 — lO.
Josephs, P. A., 388, 404. Mazarin, Card, 115.

Medals, 1235.
Kallifthorgan, 279a;. Medici, Cosimo di, 1395.
Kerlino, 184, 186. Meistersingers, 202.
Keyboard Vn., 279a, 394, 1 122, Mell, D., 154.
Kieswetter, 288, 355- Mennesson's Vns., 19, 377.
"
King of Vns., 78, 114. ^92, I97— Messie, Le," 139^, 295, 4961^.
200. Methodes, 211.
Klingenthal, 1196. Milandre, 1206.
Milanollo sisters, 193a.
Labarre, 300, 301. Minnesingers, 202.
La Couture, 285. Mirecourt, 161, 285, 1201.
Lady's Magazine, 62. Miremont, 161.
Lady Violinists, 494(Z, 509. Mittenwald, 320, 393.
Lajos, B., 556. Modena makers, 480.
Lapaix, 183, 318, 386. Modern Geminiani, 370.
Laub, 20 1 a. Mollenhauer, E. R., 58, 1099.
le Clair I'aine, 717. Monochord, 322a, 328a, z'Zfl'i? Trum-
le Jeune, H., 229. pet marine.
le Serre, Mons., 121 7. Montagnana, 20, 124.
Llnarolo, 162a. Monteverde, 323.
Lindley, 288. Mori, N., 73a, 288, 302, 355, 366,
Lipinski, 201a, 233, 302/^. 677.
Lira da Braccio, 162a. Morisseau's Vns., 385.
Locatelli, 203. Moscheles, 81, 300, 301.
Lolli, 203, 204. Mozart, W. A., 187, 207.
Lombardini, M., 7 1, 78, 254. Mozart's Vn. Quartett, 339.
Lott, J. F., 278. Mozart, L. violin-school, 187.
,
Loudon, J. F., 1222. Midler Quartett, 93)^.

Lulli, 192, 468. Museo Eslense, \uob.
Lupot, N., 20, 51, 245a. Music for Vns. 208, 209, 1050, 105 1.
,
Lute, 284. Musical Terms, Index, 215, 223,

Luthiers d'Anvers, 1195. 235, 242.
Lyon and Healy Catalogue, 1054. Musin, O., 119.
Lyons makers, 145a. Mutes, 1095, II I, 1 147, 1 160,
1162.
Mafkei's Orpheus, 20. Mythology, 205.
Maggini, G. P., 68a./', 89a, 12 19.
Mahillon, V., 53a. Nardini, p., 94a, 204.
Malibran, 96, 97, 270, 273, 367, Neuville's peg, 307.
vide Beriot. Nicolas, 318.
Manelti, 966. Norniann-Neruda, Mme., lOI, 290,
Marais, 141. vide Halle, Lady.
Marchesi, 68c. Note indicator, 1155.
Marcou, F. M., 277. Nuremberg Vn. makers, 286.
Markncukirchen, 6a, 320, 496,
1
196. Odd Volumes, Sette of, 167.
GENERAL SUBJECT INDEX. xliii
Old and New Vns., 245^, 28a. Pressenda, J. F. 105, 170.

,
Old Tutors, 171. Prester John, 536.

Orchestral playing, 224, 368, 369, Prices of Vns., 175, 520—525, 557.
372, 373- Pugnani, 68;:, 78, 79, 98a, 204.
Orfeo, 323, 1227.
Origin of Vn., 162^7, et passim. QUARTETT, 935, 200c, 203«, 207,
Orpheus (Maffei), 20. 287, 326, 335, 531.
Ott, 184.
Ottani, 68r. Radicati, F., 98a.
Otto on the Vn., 570. Raff, 244.
Outline, 7
—
10, 29
—
31. Rambaux, i6l.
Owners of great violins, 538a. Ranz des Vaches, 75.
Ravanastron, 168, 186.
Paganini, 41, 62, 62a, 65, 68, 68r/, Reade, C., 149a, 1028, 1 184.
69, 71—74, 80, 81, 82—84, 89, Rees, H., 233.
90, 91, 98, 100, lOI, 109, III, Remenyi, E, 3761^.
117, 154, 171, 192, 203, 256, Repairs, 29—30, 43.
272, 288, 291, 29s, 296, 297rt, Richelieu, Card., 115.
302, 302/;, c, d, m, 303a, 313, Richelme, 52.
3i5» 2>2,7d, 338, 347«, b, c, 348, Ridge Collection, IO47.
3590 360, 371. 428—436, 439— Rietz, J., 274.
441,443, 443^,4460:, (5, 447, 447a, Rinaldi, J. F., 105.
448, 449, 449fl',45i— 451/', 453
— Ritter, H., 64, 6412.
457, 459—461, 46i<^-7, 463—467, Rode, 104, 302^, 425, 461/'.
469, 470a, 545, 550, 622«, 676, Rode Baiilot, Vn. Methode, 354.
685, 689a, 718, 801, 802, 1235, Roi des Violons, 78, 114, 192, 197
1236.
— —
200, 330 332, vide King of
Paganini Guamerius, 149(2, 171. the Violins.
Paganini Redivivus, 513. Romberg, 192, 302?'.
Papini, G., 1 00, 712. Romondt, F. van, 1221.
Payne, E. J., 155. Rosin, 29—30, 223, 237, 2S0, 307.
Pegs, 5, i8a, 307, 1062, 1090, 1097, Rossini, 69.
1102, I 103, I 132, I 141, I 142, Rousseau, J., 332, 955.
IIS9- Royal Institution lecture, 315, 527,
Piatti, 288. Rubebe, 328(2.
Piccolellis, 193. Rubinstein, 244.
Piedmontese makers, 178.
Pique, 20. Sadtlrr, J.,
—
407 409.
Pirano, 254, 4273./;'. St. Cecilia Brotherhood, 199.
Plassiard, 47. Saint Colombe, 703.
Players of Vn., 141a, 175. St. Job Corporations, I194-
Polidori, 201. St. Julien des Menetriers, 78.
Pollani, 201. Saint Marie, 201.
PoUedro, 193a. Saint Saens, 244.
Poorten, A., 102, I02a. Salabue Strad, 295.
Popper, D., 347^/. Sales of Vns., 18.
Pougin, A., 75. Salo, G. da, 1S6, vide da Salo, G.
Powell, M., I20. and Gasparo.
Powell, M., against Flechter, 1220. vSandys and Forster's History,
Prsetorius, M. 329. 271, 561.
Preservation of Vns. , 21, 25, 43, 52, Sarasate, I2la, 187, 469(2(2.
215, 223, 235, 541. Sauret, E. 53(2.
,
xliv GENERAL SUBJECT INDEX.
Sauzay, 203. Tartini, G., 71, 76-79, 254, 293,

Savaresse, iSc/, 387. 297, 298, 302^, 303, 305, 445,
Savart, F. J., 18, 20, 31, 40, 46, i^rja.b, 673, 1215— 1218.
47, 84, 183, 184, 281, 379, 405, Tavistock Vn. Academy, 1228.
414, vide Acoustics. Teaching the Vn. , 336a.
Savvicki Vns., 302/. Tetrachord, 140a, 307a.
Schebek, \-y)d. Thalberg, 81, 301, 304, 1229.
Scheibler's peg, 307. Thibout's Vns., 1183.
Schneider, F. L., 1223. Thibouville Lamy, 42, 285, 312.
Schneider, L., 712. Thickness of strings, 401.
Schradieck, H., 416—418, 489. Tieffenbriicker, 186, vide Duiffo-
Schumann, 81, 244. prugcar.
Schwendemann 57. Meindl, 171. Todini, M., 279.
Scroll, patent, 1061, 1079. Tone, 175, 239.
Second Vns. , 249. Tone production, 332a.
Seraphino, D., 124. Tonelli, Violoncellista, 116, 438.
Servais, 288. Tools, Vn. making, 29 30.
—
Silk strings, loa. Tourte, F., 86.
Simoutre Testimonials, 52. Trautmannsdorf, 106.
Sivori, C,
68, 69, 92, 337^, 4611/. Trumpet Vn., 1069.
Sound-board in Vn., 1099. Trumpet marine, 286, 320, 322a,
Sound-post, 20, 162, 401, 413, 395, vide Monochord and Acou-
1060, 1073, 1 1 18,
154. 1 stics.
South Kensington, 1872, 124, 149a, Tua, T., 347/, 542.
1 184. Turin band, 68;:.
Speyer, W., 274. Tuscan Strad, 139— 139*5.
Spohr, L., 63a— 63^, 74(z, 81, 88, Tutors, 211.
93. 95. QS'^. 107, 108, 112, 113, Tutors, old, 171.
192, 20Irt, 256, 274, 274a, 288, Tye's Vn., 390, 411.
302/?, 345, 348, 355, 365, 437,
446, 450a, 492ff, 504, \2\zaa, bb.
Urso, Camilla, 67.
Stainer, J., 40, 106, no, 124, 146,
175, 304^, 376a, 689^^, 12 19.
Stamaty, 301. Valeriano, 146.
Starcke, IL, 1214. Value of Vns., 175.
Stauffer's Vns., 307. Varnish, 6, 23, 25, 29, 30, 31, 54,
Strad, The, i\a, 1212. 122— 124a, 125—138, 159, 174,
Slradivarius, 20, 25, 85
— 86, 106a;, 177a, 306, 472, 473, 478.
124, 139—139^. 157^ 175. ^n^ Vielle, 192, 318, 320, 321, 324,
190,315,476,477, 496'-. 545> 598, 328, 328a, 495, 1044, 1071, 1080,
655, 1219,193a, 3S9/>, 5i5«,359<^. 10S6.
Strings, \oa, li, \'6d, 29, 30, 42, Vieuxtemps, 94, 104a, 20la, 295,
54a, 64a, 215, 229, 239, 283, 347^, 427, 1229.
285, 307, 387, 398, 399, 401, Vigencre, 146.
412, 413, 1057, 1058, 1072, 1098, Vingt-quatre violons, 1167a.
1 100, 1 1 17, 1 120,
1139a, 1 151, Viols, 115, 141, 184, 202, 250,
1161. 310, 327, 329, 334, 1167, 1184.
Sylvestrc, 312. Viola, 45, 286. \
Sympathetic strings, 412, 1072. Viola d'Amore, 286, 349, / And
1 222. >• vide
Viola Bardone, 286.
" Viols.
Tailpiece, 1158. \
Tarisio, L., 124, 139^, 174, 193a. Viola Bastarda, 286. J
GENERAL SUBJECT INDEX. xlv
Viola da Gamba, 141 Viotti, J. B., 68^, 75, 78—81,

And 96ff,
184, 214, 286, 351 98(2, 103, 201, 20ia, 272, 317,
vide
Viola pomposa, 286. 329. 343, 352, 3S9«, 444, 458,
Viols.'
Viola da Spalla, 286. 804.
Violecembalo, 1183. Vogler Frl., loi.
Violin, El, 1207. Vuillaume, J. B., 53, 84, 139.:, d,
Violin Times, The, 1212a. 159, 161, 318.
Vn. Cases, 1106, 1107. Vuillaume's Bow, 215.
Violin frauds, 145, 169. Vulcanite Vns. , 1149.
Vn. Gown, 515.
Vn. with Keys, 394. Waefelghem, L. van, 712.
Vn. making, 211, 284 —287a, 346/', Washington, G., Vn., 1230.
567- Wasilewski, von, i/i,b.
Vn. methodes, early, 171. Weckerlin, 762, 920.
Vn. Monthly Mag., 12 10. Wettengel, G.A., da.
Vn. music, 192. Wheatstone's Vn., 1065.
Vn. players, 2^2a, 2^2h, 317. Wieniawski, 73, 20\a.
Vn. playing, 187, 192, 21 1, 271, Wietrowetz, Frl., \2\b.
276, 277. Wilhelmj, A., 469a.
Vn., wanton, 332^7. Wind fiddle, 1065, 1088.
Vn. works, 268, 269. Withers' Catalogue, 1049, 1053.
Vn. world, 1211. Woldemar's commandements, 333.
Vns., famous, 359rta, 538^^. Wolff, J., 274.
Violino Diarmonico, 309, 310. Women violinists, 239.
—
Violon lock up, 562. Woods used, 20, 29-30, 282, 3S8,
Vn. eolique, 318. 1074, 1083, 1084, 1 138, 1 157.
Violoncello, 141, 214, 286, 342,
353, 499^5', 1167. VOUSSOUPOW, I4Sci.
Violoncello methodes, 214.
Violoncello works, 265 —266, 267. Zoeller, C, 712.
Violone Panarmonico, 309. Zurich Musik-gesellschaft, 63, dTâ.b.
TABLE OF AUTHORS' NAMES AND ITEMS INCLUDED
IN THE SUPPLEMENTS TO THIS WORK, PUB-
LISHED PRIOR TO 1894.
A duplicate print of this table is provided in order that readers who desire
so to do can cut it apart and paste the segments into the outer margins of
the pages at the points where the items should come in. The advantage of
this will be that the reader can see at a glance what supplementary titles have
been interpolated. The page numbers refer to the pagination of the supple-
ftients, and should be cut off, if the supplements have been cut up and the
items inserted as recommended on the left-hand blank pages.
Supple- Supple-
ments ments
No. Author. Page. No. Author. Page.
5^3! <^.Appian-Bennewitz 21 71a. Ceru'

6a. Bachmann .. 23 73(T. Duffin
lOa. Baud 24 73/^ Erlich
lia. Broadhouse 24 74rt. Ebers
Domenjoud I 78. Fayolle ...
18^. Drogemeyer II 83a. Fetis

i8r. 25 8ga. Huggins ...
18^. Duchesne . . ,
25 93^:. Kneppelhout
22a. Gemiinder 2 93Z'. Kohler
22/;. Gilhofer ... 3 93^. Kohut
28fl. Honeyman 69 94a. Leoni
Picrrard ...
25 94ffa. Lie
44«. Richelme 4 94i^.(f.Lisei
443. Riechers ... 26 96a. Miel

53a.<^.Simoutre ... 12 g6l>. Muzzi
53^- 26 gSaa. Nohl
54dr. Smith 27 98a. Pancaldi . . .
62a. Anonymous 27 1 00a. Picquot ...
6za.b. 28 102a. Poorten ...
28 104^!. Radoux
6T,d.e. „l 29 ioâ. Rosen
68a. Berenzi 12 \o6a. Sacchi
6U. „ 5 1 1 6a. Variorum ...
6Sc. Bertolotti 29 1 2 la. Sarasate ...
68(/. Boschetti 29 I2i<^. Wietrowefz

6Sc. Brrekstad Robs
3c 1
24(7.
Supple- Supple- Supple-
ments ments ments
No. Author. Page. No. Author. Page. No. Author. Page.
209a. Schi'oder 47 346«yi Leipziger Zei- 5083. People's Friend 66
217(5. Bambeck 47 tung 71 5o8(5. r. Victorian Mag. 62
217^. Beazley 47 347a:-^.NordiskMusik-T 59 5153. National Obs. ... 66
22ia. Courvoisier ... 70 3593.a'.Mus. Society ... 78 5383, Cassell 77
22ga. Gunn ... ... 20 359a. i5. Musical Stan- 5923. Hanemann ... 62
239a. La Tarche ... 70 dard 59 6013. Rahm 62
239*5. Kalypada 75 3 5 9^--/. Musical Star ... 72 6103. Anonymous ... 62
245a. Mitchell 70 376(2. Berliner Zeitung 60 6iO(5. ,, ... 66
252iZ. (J.Schroder 48 376(5. „ „ 72 6113. ,, ... 63

255a. Tofte 49 376r. Tonic-sol-fa ... 72 6223. Booker 63
256(7. "Wassmann ... 49 4273.(5. Hortls 76 622^'. Bliithgen 63
257a. Buttschardt ... 50 440a. Constitutionnel 77 622f .
Blavatzky 6^
257(5. Heim 50 443(7. Dublin Univ. 6233. Bundy 77
274a'. Hauptmann ... 51 Mag 65 6313. Farjeon 63
277«. Marcou 51 4463. Excelsior 60 6323. Deulin 63
279a. Anonymous ...
51 446*5. Foreign Quar- 632^. Hanemann ... 63
281^;. Gutteridge ... 65 terly 65 632c. Hairaden 78
295.^. Gronvold 52 4473. Eraser 76 6373. Kirton 64
297a. Kohut 52 4493. Hogg 65 6493. Dubus 64
102a. -l.
Ortlepp, &c.... 52 4503. Monatshefte ... 73 653. Mackaye 64
302w.«.Ortigue 53 45 1 3. (5. Constitutionnel 77 6603. Bostelmann ... 64
3033. Sarrut 53 461^-/^. Literary Gazette 61 666(5. V. Gilm 64
3043. Schuler 53 461?. Living Age ... 66 6713. Kermer 64
305(2. V. Riehl 54 ijQib.c. Magazin Liter- 6763. Spofford 66
Biddle atur 60 689^. Erler 65
307a!. 54
310a. Exposition ... 54 46 1(/. Melbourne Argus 60 7093. Vredemann ... 73
3i3a.(5.Hanemann ... 46 17'. /('.Mirror 66 7353. Bates Ti
54
314a. Haweis 55 467a. N.Y. Herald ... 6i Zwc. Henning 73
322a. Pmdio 55 467(5. Pall Mall Gaz.... 78 8423. Kross 66
328a. Viollet de Due 71 468a. Queen 78 9233. West 74

332a. Fovargue 75 469a. Today 61 11653. Ersch, Vn. ... 66
334a. Majer 56 46933. Theatre 73 1 2023. Pierre 74

335a;.r.Playford 56 4733. Kuhac 61 I2I03. The Violin ... 78
335^/. San Raffaele ... 57 4803. Collector 61 121 2rf. Violin Times ... 78
Unbehaun ... 58 4923. Lesefriichte ... 73 I2I233. Spohr 74
336a!.
Nat. Zeitung I2\2hb. Jantzen 74
3373^; British Minstrel 58 4953. ... 77
Pall Mall Gaz,... 67
341a. Chronique Musi-
...
4963. 78 l2i33.(5.Anonymous
cale 496/^^. Provincia 77 12263. Miller 75
59
Revue Musicale 71 4993. Trivella 62
342«.
Part I., Section I.
THE CONSTRUCTION OF THE VIOLIN.

PROPOSED SYNOPSIS OF PARTS.
Subject to Revision.
PART.
I. Works on the Construction of the Violin.

II. Biographical Works and Books on Var-
nish.
III. Works on the History of the Violin.

IV. Theoretical Works and Miscellanea.
V. Periodical Publications. Magazine Articles.
VI. „ „ Proceedings of Societies.

VII. ,. „ Miscellanea.
VIII. Romances, Poems, Dramas, and Short

Stories.
IX. Early M£thodes and Violin-schools.
X. Miscellanea.
The above Synopsis is merely suggested, and will be subjected

to modification and alteration if found desirable.
DE FIDICULIS BIBLIOGRAPHIA:
BEING THE BASIS OF A
Btbliograpbie of the DfoUn

AND ALL OTHER INSTRUMENTS PLAYED WITH A BOW
IN ANCIENT AND MODERN TIMES.
CATALOGUE RAISONNE
OF ALL
BOOKS, PAMPHLETS,MAGAZINE AND NEWSPAPER ARTICLES, BOOK

AND DICTIONARY EXTRACTS, DRAMAS, ROMANCES, POEMS,
METHODES, INSTRUCTION-BOOKS AND THEORETICAL
AND SCIENTIFIC WORKS RELA TING TO
INSTRUMENTS OF
THE VIOLIN FAMILY

HITHERTO FOUND IN PRIVATE OR PUBLIC LIBRARIES, OR REFERRED
TO IN KNOWN WORKS ON THE SUBJECT.
BY
EDWARD HERON-ALLEN,
AUTHOR OF "violin MAKING: AS IT WAS ANO " THE ANCESTRY OF THE
IS," VIOLIN,"
GRIFFITH FARRAN OKEDEN & WELSH

NEWBERY HOUSE
CHARING CROSS ROAD, LONDON
And Sydney
1890
instruments de musique et un essai sur la

:
mani^re de changer I'A en tendant ou defendant

toutes les cordes a la fois, sans d^truire Har- 1'
monic. Ouvrage pr^sente k I'Academie Royale

des Sciences le 13 Aout, 1756.
Paris, Thiboust, i']57. 12 mo.
Also described by Fetis. [Op. cit.] Domen-

joud was a parliamentary advocate in Paris.
2ya. Mackintosh.
Remarks on the Construction of, and Mate-
rials employed in the Manufacture of, Violins.
Dublin, 1837.
Quoted by John Bishop in his Translation of
Otto (No. 40), p. 4, e^ passim. His copy
seems to be lost.
Part II. will consist of Sections H. and III.,

Books dealing with the Biographies of Violin-
makers and players, and on the study of the
Cremonese Varnish. It will be published on the
first day of January, 1891.
E. H.-A.
G. F. O. & W.
1bi6 TRogal Ibfgbncse
HxjfiRB© JB-fRnnsz HiL«j6iRc:,
BinikC ©Jf jei)31RBTIl1R(B1b, m.e., ^c «c., <sc.,
tbifl JSibltOfirapbB ie rcspcctfuUB insctlbei), bB
Ibte fJogal Ibfflbnegg' araclous
pcrmleston.
INTRODUCTORY NOTE.*
It has been a matter of great difficulty to fix upon a

titlethat shall give any exact idea of the scope and
objects of this book. first aim has been to bring

My
together, within the limits of a single volume, a condensed
reference library of all printed matter in any way
relating to the violin ; and, after mature reflection, I
have days when there is
finally decided that, in these
so much to read and so
time for reading, I cannot
little
do better than construct my work upon a skeleton

consisting of a Bibliography of the subject. I hope
that the majority of violin-lovers will agree with me

that I have done wisely in so deciding. Whether I am
in a position to carry out my proposition is for my
—
readers to decide, certainly I have spared no pains to
compass that end. For a period now approaching fifteen

years I have searched every library catalogue, public and
private, and every trade and have
sale catalogue that I
been able to find in Europe and America I have con- ;
sulted, and verified the titles of works on the violin in,
*
Introduction, Title-page, Table of Contents, &c., for binding,
will be issued [together] with the concluding part of this work.
viii INTR OD UCTOR Y NOTE.
every Bibliography of Music and of general literature

that, as far as I know, has been published ; I have
searched every Encyclopaedia and work of general
reference in use among scholars and students to which I
have been able to gain access, and have examined the
indexes of works of general information, magazines, and
leading newspapers published and indexed in the old
and new worlds in quest of any matter relating to the
violin. The result of these labours has been that I
find myself the possessor of a library relating to the
violin, larger, I believe, than any in the whole world the —
British Museum Library, the Conservatoire Library of
Brussels, and the Bibliotheque Nationale of Paris not
excepted
— and, I am consequently to-day in the posses-
sion of the sources of more varied and exact informa-
tion relating to the instrument than are to be found in
any private or public institution at the present time. My

enthusiasm for the
subject broughthas me into
correspondence with the leading librarians and musical

authorities of London, Paris, Berlin, Vienna, Rome,
Brussels, Madrid, and New York, and I have endeavoured
to condense the whole of the information that I have
acquired through these varied channels into this volume.

To render it easy of reference I have added a series of
indexes by the aid of which the inquirer will, I hope,
be able to find at once the recorded information on any
subject, historical, biographical, scientific, theoretical,
practical, or romantic, in any way connected with the

king of musical instruments.
The heads of this work comprise all kinds of printed
matter concerning the violin, and the music-lover will find
in this volume, in addition to the subject-headings above
INTRODUCTORY NOTE. ix
referred to, notes of Novels, Squibs^

Lampoons, Poems,
Newspapers, Dramas, Tracts and Chap Books, In-
struction Books published prior to i8oo, Biographical
Advertisements, Catalogues of Violin Collections and

Sales, Children's Books, Patent Specifications of all
countries. Proceedings of Societies, Short Stories, Songs,

Trade Catalogues, Book and Dictionary Extracts, and
even Advertisements, embodying information on the
Violin.
I promise largely, but I shall spare no pains to per-
form promises to the letter. My work aims at
my
being a reference-book as nearly complete as any work
of this kind can be, and as such I offer it to that large
section of the public which is interested in the Violin.
IL will be easily understood that in the preparation of
a work of this scope, however diligently and for how-
ever long one may have laboured to attain perfection
and completeness, one's failure is continually brought
before one by the discovery of some hitherto un-
noticed work on the subject. It will also be obvious to
my readers and co-workers that search as I may, in all

the private and public libraries to which I have gained
access,some works remain known to me only by refer-
ences to them in other works, or in bibliographies, copies
of which works I have never been able to find for pur-
poses of collation and description. To provide as far

as possible for these contingencies this work is printed
on one side of the paper only, and with every instal-
ment I propose to give a loose sheet containing the titles
of such works as are known tome, but that I have not been
able to see myself, and on its conclusion, and at intervals
thereafter I shall print supplements containing descrip-
INTR on UCTOR V NO TE.
tions of such books as I have seen since the publication

of the first part. These supplementary titles and de-
scriptions will be numbered so that they can be cut apart
and pasted in alphabetical order in their proper places
on the opposite leaf. If I may be allowed a practical
suggestion, should recommend that these mere sup-
I
plementary ////(î' published with each part should be cut

asunder and very lightly pasted into their places as, —
for instance, in the present part, No. lo^, BAUD and
G0SSEC,i^./., should be lightly tacked in opposite No. lo,

Bachmann, (9., until I am able to see the former book,
and give a description of it.
I may say here that I shall be most grateful to any

of my readers who will help me to see any of these
works which have hitherto escaped me, or who will
send me notes of the titles of any works apparently un-
known to me. Indeed, any suggestions or information
that may be offered to me at any stage of my work, I
shall receive with sincere appreciation and thanks.
E. H.-A.
London,
November 1 890.
part h
BOOKS AND PAMPHLETS.
h Section
THE CONSTRUCTION OF THE

VIOLIN,
In this section are contained all books and pamphlets, the

main object of whose authors has been to produce works
dealing principally with the practical construction of the
violin, orof its parts and accessories, apart from its history
or the theoretical principles of its use as a musical instru-
ment. Under this headingincluded all special
are
publications relative to particular inventions, or improve-

ments suggested by practical violin-makers, even though
such publications may partake of the nature of advertise-
ments. Where the following works contain historical or
theoretical matter, such matter is secondary to the practical
portion of the volume.
I. Anonymous.
The I
Violin. |
How to make it
| by |
A
Master of the Instrument.
Boston n.d. [1886.] Jean White. 8vo, pp.
144.
The preface to this little work begins " That
: this modest
volume challenges no criticism is plain, from the fact that the
author is not in search of fame, but aims only to produce a
A
DE FIDJCULIS BIBLIOGRAPHJA. 2
work written in language so plain as to be readily understood
by all lovers of the violin, high or low." The promise of this

preface is unpretentiously fulfilled by the volume, in which the
student will find nothing that he might not already have seen in
the pages of the better known of the European treatises on the
subject.
2. Anonymous.
TheFiddler's I
Hand- Book and technical
| |
guide to Ibuying, selling, making, repairing,

I |
dealing, \sic'\ preserving, and playing the | |
Fiddle and all stringed instruments played

| |
with the bow.

London, n.d. [1889] Alpkonse Gary. 8vo,
pp. 52.
The first 23 pp. of this pamphlet consist of a stereotyped
"
reproduction of William Hoe's Dictionary of the Fiddle"
{<q.v. No. 28), the remaining pages consisting of Alphonse
Gary's trade catalogue and price list of bow instruments and
accessories, &c.
3. Abele, Hyacinth,
Die Violine, ihre Geschichte und ihr Bau.
|
I
Nach Quellen dargestellt von Hyacinth | |
Abele (mit lithc^raphirten Abbildungen und

|
einer musikalischen Beilage).
Neuberg, a/D. 1864. August Prechier. Small

8vo, pp. viii and 196, and 1 1
lithograph plates.
4. Second Edition.
Die Violine ih''^. | j
Geschichte und ihr Bau.
j
NachQuellen dargestdlt von Hyacinth | |
Abele (Mit lithographirten Abbildungen und

|
einer musikalischen Beilage) Zweite vermehrtc |
und verbesserte Auflage.

A 2
DE FIDICULIS BIBLIOGRAPHIA. 3
Neuberg, a/D 1874. August Prechter. Large

8vo, pp. viii and 160, and 11
lithograph plates.
The letterpress in both these editions is the same, save that

a few -new paragraphs are inserted in the second, a further
Vorwort is prefixed, and besides being printed better, on a
larger page and in Roman instead of German type, one of the
outline lithographs of the first edition is left out, and the
whole engraving of Hans Judenkiinig from which it was
takenis facsimiled in substitution. Vide post suh ^' Instruction
Books, — Judenkiinig."
5. Alibert, y.-/*.
Chevilles-Alibert Accord des Instruments
\
a Archet |
et Accord des Pianos.
| J.
-P. |
Alibert, |
Officier de la Legion d'Honneur et
de r Instruction Publique.
Paris, 1888. [Iviprimerie Ethiou Pdrou et

Fils.'] 8vo, pp. 22.
This pamphlet is, of course, a purely commercial publication,
but it is worthy of a place in a library of the violin from the
excellence of its general arrangement. The list of testimonials

at the end form an interesting directory of the leading pro-
fessors of the day.
6. Bachmann, O.
Theoretisch-praktisches Handbuch |
des |
Geigenbaues. j
Oder j Anweisung, italienische
und deutsche Violinen, Bratschen Violon- j
cello's, Violons, I
sowie Guitarren
|
und |
Geigenbogen |
nach den neuesten Grundsatzen
und in hochster Volkommen- -heit zuverfertigen. 1
Nebst Beschreibung aller dazu nothigen

I I
Werkzeuge, und Belehrungen iiber die besten |
Materialien zum Beizen, Lackiren, Einlegen,

DE FIDICULIS BIBLIOGRAPIIIA. 4
&c. Fiir
I Geigenmacher und alle Diejenigen,
I
welche das ueschaft derselben erlernen |
wollen von
I
O. Bachmann praktischem
| |
Geigenmacher. Mit 4 Tafeln Abbildungen. |
Quedlinburg and Leipzig, 1835. G. Basse.

8vo, pp. vi. and 98, and 4 folding plates.
This one of the most excellent German treatises on the

is
subject, though it is in reality a mere condensation of the

larger work of VVêttengel {q.v. No. 59). It is divided into
three parts, of which the first is devoted to the practical
processes of violin-making and repairing, the second concerns
the guitar, and the third is the completest treatise on the bow
with which I am acquainted. The book closes with a short
appendix dealing with stains and varnishes. Bachmann was
a violin-maker at Halberstadt.
7. Bagatella, Antonio.
Regole la costruzione di Violini, Viole,
I per
I
e Violoni
Violoncelli Memoria presentata ( |
air Accademia di Scienze, Lettere ed Arti di

|
Padova Al Concorso del Premio dell' Arti

|
deir anno M.D.CCLXXXII dal Signer |
Antonio Bagatella, Padovano E Coronato |
dall' Accademia Stessa.
Padua, 1786. A Spese dell' Accademia. 4to.
8. Second Edition.
Regole per la Costruzione
I
de' Violini |
Viole Violoncelli e Violoni Memoria pre- | |
sentata alia R. Accademia di Scienze, Lettere ed

Arti di Padova al concorso del premio |
delle arti anno M.D.CCLXXXII

dell' |
dal
Padovano |
Antonio Bagatella Coronata |
dall'
Accademia stessa |
II. Edizione.
Padova, 1883. G, B. Randi, 8vo, pp.

32, and 2 plates.
9. German Translation.
Regeln zur Verfertigung von Violin en

| | |
Violen, Violoncellen und Violonen Eine von |
der Akademie zu Padua mit dem ausgesetzten |
Preise gekronte Denkschrift von Antonio | [ |
Bagatella.
Padua, 1786. Auf Kosten der Akademie
gedruckt. Gottingen. J. G. Hiibner [and
Carl Spielmeyer\ 4to.
Second Title.
Regeln Verfertigung von
|
zur Violinen,
|
Violen, und Violonen Denk-

Violoncellen, | |
schrift ijtberreicht
I
der Akademie der Wissen- |
schaften und Kiinste zu Padua zur | |
Bewerbung um den im Jahre 1782, fiir die

Kiinste ausgesetzten
|
Preis von Antonio | |
Bagatella aus Padua und von der Aka-

| |
demie gekront.
Padua, 1786. Auf Kosten der Akademie
gedruckt. Gottingen. J. C. Hiibner, 4to,
pp. 28 and 2 plates.
10. Second German Translation,

Ueber [
den Bau |
der |
Violinen [
Brat-
schen, Violoncells |
und Violons Aus
| |
dem
Italienischen von | | J. O. H. Schaum. |
Mit
zwey Kupfertafeln.
Leipzig n.d. [1806] A. Kilhnel, 410, pp. 20
and 2 plates.
This is the first work in which the complicated mathematical

evolution of the violin, from a division of its length into
DE FIDICULIS BIBLIOGRAPHIA, 6
seventy-two parts, to be found.

is Most subsequent authors
have reproduced but the musical world owes it primarily to
it,
the ingenuity of Bagatella. Beyond this, the work is somewhat

meagre. The Edition of 1883 is an exact reproduction of
that of 1786, and of the two German translations, the first is
perhaps the better, the second being more an adaptation than

a translation. Bagatella. was born in Padua, circ. 1750, and
died in the early part of this century.
1 1 . Bonn, J. Rdwtn.
Technical Notes on the Choice, Keeping, | |
and Preparation of Violin Strings With| |

:
|
an account of the Chemical Methods employed

in their Production and an Analysis of their
| |
ultimate composition by J. Edwin Bonn. ;

| | |
Price sixpence.
Brading [I. of W.]. 1885. /. E. Bonn.

i2mo, pp. 32.
This work resembles in its constn^rtion the
"
little Fiddler's
"
Handbook (No. 2), in that it is to a great extent a trade pub-
lication, all beyond p. i6 being advertisements of the author's
"Premier Violin Strings." The sixteen pages which give the
title to the
pamphlet, however, contain an interesting description
of the processes by which strings are manufactured from the
intestines of lambs. The work also contains notes on the choice
and preservation of strings, on resin, and on silk and metal
strings for violins. It is a useful little pamphlet.
12. CoNSiLi, D\_emeirius\.
Appui-Violon invention mecanique|

bre- |
vetee Appliquee
|
au Violon de Prof. D. Con -
| |
sili I Abrege sur son utilite sous le rapport de

|
I'art.
Bologna, 1879. Society Azzoguidi. Large

8vo, pp. 12.
13-
II
I Poggia-VIolino |
invenzione meccanica j
brevettata | applicata al Violino del

|
Prof. D. |
Consiii I
Brevi cenni |
suUa utilita di essa sotto
il
rapporto dell' arte.
Bologna, 1879. Societa Azzoguidi. Large

8vo, pp. 12.
14.
Der VIolinhalter patentirte
I
auf die | |
Violine angewandte erfindung von Prof. D. | | |
Consiii Kurzer Abriss iiber die nuetzlichkeit

I |
derselben in hinsicht auf die Kunst.
Bologna, 1879. Gesellschaft Azzoguidi.

Large 8vo, pp. 12.
These three pamphlets, paged independently, were originally

issued together in paper wrappers with the French title outside.
They are practically a trade publication, but they commence
with a quaint little introduction dealing with the anatomy of
violin-playing, and the arguments in favour of using a chin-holder.
15. Davidson, Peter.

The
Violin A Concise Exposition of the
:
| |
general principles of Construction, Theoreti-

cally and Practically treated I including the ; |
|
important researches of Savart an Epitome of |
the Lives of the most eminent artists and an

I |
I alphabetical list of Violin-makers. By P. | |
Davidson. Illustrated with lithographic vig-

|
nette and numerous woodcuts. |
Glasgow, Porteous Bros. London, F. Pit-

man, Edinburgh, J, Menzies Co. Aber- ^
deen, L. Smith. 187 1. 8vo, pp. viii. and 204,
and 4 pp. of subscribers.
DE FIDICUUS BIBLIOGRAPHIA. 8
J 6. Second Edition.
17. Third Edition.

[I have endeavoured in vain
to discover the dates of the
issues of the 2nd and 3rd edi-
tions, neither the printers nor
the pubhshers can give me any
information on the point]
18. Fourth Edition.

The Violin: |
its Construction Theoretically
|
and Practically treated ;

| including an Epitome
of the Lives of the most eminent artists, A
I |
Dictionary of Violin-makers and Lists of Violin

"
Sales. By P. Davidson" Author of Scintilla-
I |
tions from the Orient," Celestial and Terres- |
"
trial Fire," The Philosophy of Man," etc.
Illustrated with Lithographic Vignette and
numerous woodcuts. |
New Edition, Revised and
considerably Enlarged.
London, F. Pitman. G\a.sgoWyPorteousBros.
Edinburgh, y. Menzies. Dundee, Methven
Simpson <2f Co. and the Author. 1881. 8vo, pp.
viii. and 268. Opinions of the press, pp. 8
inserted.
Mr. Davidson, as may be seen from the title-page of the

4th Edition of his book, is a gentleman of somewhat varied
culture, but his work on the violin shows that his enthusiasm
for the instrument has not suffered from his other studies.
Since its first in 1871 this volume has been very
appearance
largely augmented and improved, and though a mere compi-
lation, it is certainly the best handbook on the subject to be
had at the price (five shillings). It is especially valuable to
English readers, as containing an excellent translation of, and

commentary upon the articles descriptive of the Savart violin
which appeared in " L'Institut "
"
post sub
{q.v. Proceedings of
Societies "). The Appendix is also a great addition to the book,
as It contains a valuable record of celebrated violin collections
and sales ranging from 1857 to 1877.
19. Fanart, L,'S.

Rapport I
lu 4 rAcademie Nationale de Reims
Dans sa seance publique du 3 Aout, 1876 |
Pr^sidence de Mgr. Langenieux, Archeveque de

Reims surles Violons deM.EmileMennesson
| |
Luthier a Reims
I
Par M. L.-S. Fanart | |
Membre de I'Academie, Secretaire du Congres

Scientifique deFrance, Membre del Academic |
Pontificale de Ste. Cecile de Rome, etc.
Reims, 1876. Imprimerie Cooperative. 8vo,

pp. 8.
An interesting little dissertation on the modern manufacture
of violins, tracing the art frcm the days of the Roi des Violons,
and the Rebec. It pretends to be no more than an eulogy of a
Reims violin-maker by the Academy of his native place.
20. Gallay, Jules,

J.Gallay. Les
Luthiers Italiens
|
auxxvii/
| |
et xviii.*"Nouvelle edition du Parfait

Siecles |
Luthier de I'abbe Sibire suivie de Notes sur i

|
les Maitres des diverses ficoles. \0rnameni7\

}
Paris, 1869. AcadSmie des Bibliophiles.

8vo, pp. xiv. and viii., and 260 and iv.
Only 500 copies; printed and each copy
numbered.
This is one of the sumpt.uously printed books of the Aca-
d^mie des Bibliophiles, anc' contains by way of frontispiece a
proof engraving of the cel€:brated gem of Maffei Orpheus
—
B
DE FIDICULIS BIBLIOGRAPHIA. lo
playing the violin to the beasts. The first fourteen pages con-
tain an essay and history of, the Italian schools of violin-
on,
making, after which comes a reprint of the first edition of I'Abbd
Sibire's work, "La Chelonomie" The notes
(^.e;. No. 49).
and appendices, which begin at page 157, are the most valuable
part of the work, considered as a fresh contribution to the litera-
ture of the violin. They comprise (Note A.) essays on Nicolas
Lupot, Pique, and the old French school of makers. Note B.
deals with thewoods used by violin-makers and with Stradivarius;
Note C. with the bass- bar and sound post, Savart and Biot ;
Note D. with the introduction of Italian instruments into France,
and celebrated specimens ; Note E. with Bergonzi and Mon-
tagnana ; Note F. with the museums of bow-instruments in
France. The Appendices contain lists of celebrated makers,
celebrated and specimens of the tickets and
collections,
ciphers of the leading makers from 1556 to 1790. Jules
Gallay is an amateur violoncellist, and an enthusiast on all
matters connected with bow-instruments. He was bom at St.
Quentin (Aisne) in 1822.
21. Gemunder, Georg,

im Violin-
Georg Gemiinder's Fortschritte | |
bau I
sowie
Interessante Aufklarungen
|
iiber |
die Violin-macherkunst, deren Kritiker und |
iiber Violinen im Allgemeinen von Georg |
Gemiinder.
Astoria, N.Y., 1880. Im Selbstverlag des Ver-

fassers. 8vo, pp. 94, and frontispiece.
22. English Translation,
George Gemiinder's progress in Violin | |
making with interesting facts

| | concerning |
the art and its critics in general

| By George |
Gemiinder.
B 2
DE FIDICULfS BIBLIOGRAPHIA. ri
Astoria, N.Y., t88i. The Author, 8vo,

pp. loS.
The German and English Editions of this book were printed

and published by Gemiinder, and are primarily commercial
publications for the glorification of himself. It begins with a
biography of Gemiinder, the Appendix to which is a treatise
full of interest on the rival merits of old and new instruments.
Then comes an account of his own triumphs as a violin-maker,

and an essay on judging and repairing old instruments. This
is followed by an essay on the preservation of violins and the
excellency of his own make, a complaint against the Exhibi-

tion juries, which refused to recognize in him a new Stradivarius,
and a criticism of all other makers. The rest of the book con-
sistsof egotistical chapters on his own work and advertisements
of his instruments. Apart, however, from the personal eulogy
of himself, which is everywhere apparent, the volume is an in-
teresting contribution to the literature of the violin.
George
Gemiinder was bom at Ingelfingenin Wurtemburg in 1816, and
was a pupil J. B. Vuillaume. He established himself in
America (New York) in 1849.
23. Grivel, Victor.

Vernis des Anciens
|
Luthiers
|
d' Italic
Retrouve par V. Grivel Artiste a Grenoble. |
Grenoble, 1866. F. Allier. Large 8vo,

pp. 22.
This is an account of the supposed re-discover>' of the

varnish of the old masters by M. Grivel, who for many years
played first violin in the theatre at Grenoble. He was born in
the years of this century, and died about 1875.
first A report
on work, written by M. Boistel, was published by the Soci^te'
his
de Statistique of Grenoble, under the following title :

—
24. Societd de Statistique, des Sciences et des
DE FIDICULIS BIBLIOGRAPHIA. \%
Arts de Grenoble. Rapport sur | | |

le Vernis |
invente Par M. Victor Grivel.

|
Grenoble, 1867. ^- Allier. Large 8vo,

pp. 16.
This ismerely an eulogy of M. Grivel by a fellow-townsman,
but the two pamphlets form an interesting and suggestive
treatise on the problem of the lost Cremonese varnish.
25. Heron- Allen, Edward,

Violin was and is
making being a
|
as it ;
| |
Historical, and Theoretical Treatise

Practical,
on the Science and Art of Violin-making,
I I
for the use of Violin-makers and players.

Amateur and Professional by Ed. Heron- | |
Allen Authorof "The Ancestry of the Violin,"

I
"The History of a Great Violin Case," "The |
Romance of a Stradivari," etc. etc. With up- |
wards of 200 illustrations by the Author.

Quotation.
Viva/ui in sylvis, sum dura occisa securi,
Dum vixi tacui, mortua dulce cano.
Preceded by An Essay on the Violin
|
and its
Position as a Musical Instrument.
London, 1884. Ward^ Lock <5f Co. Large
8vo, pp. xxii. and 368.
26. Second Edition.

Same title, with " Second Edition, carefully
revised."
London, 1885. Same publishers^ and same
book. \Yide note."]
27. Edition de Luxe.

Same title, with " Edition de Luxe."
Of this edition one copy was printed with pre
DE FIDICULJS BIBLJOGRAPHIA. 13
sentationleafto H.R.H. the Duke of Edinburgh,

K.G., inserted in place of the dedication and ;
twenty-five copies numbered and signed. 4to,

large paper, title, &c., in red and black.
It is necessarily difficult to write or speak about one's own
work, but an account of how this book came to be written may

I had observed that no simple book
give an idea of its scope.
existed in English by the aid of which a workman could make
— —
a violin, and hardly any if any in any other language. I
therefore became the pupil of Georges Chanot, and under his

tuition made a couple of violins, one on the Stradivarius and
one on the Guarnerius pattern. The minutest details, with
measurements of the processes of their construction, are set
down seriatim in this volume, and form the third part thereof.
The first part consists of historical matter, the second, of the
theoretical principles which govern the structure and arrange-

ment of the violin. The appendices contain treatises upon
varnish, the preservation of the instrument, and an elementary
basis of this Bibliography. The work is illustrated with photo-
graphs, working diagrams, and two hundred woodcuts in the
text. The second edition was slightly revised and corrected,
the subsequent editions are from stereotyped plates and are
identical with the second.
28. Hoe, William.

A Dictionary of the |
Fiddle and other( | |
stringed instruments played with the bow by

|
|
William Hoe.
London, n.d. [1884]. W. Kent & Co. 8vo.
pp. 24.
Thislittle work is of no great practical value. It was issued
" The Fiddler "
{q.v.), being the work
of
by the publishers of
the editor of that journal. It is difficult to suppose that any
violinist requires to obtain from a book the information con-

tained in this opusculum, but for mere beginners it is an
instructive little handbook. It was reprintetiby Kent & Co.
as "The Fiddler's Handbook" in 1888, and more recently by
Mr. Alphonse Gary as an advertisement. Vide ante, No. 2,
DE FWICULIS BIBLIOGRAPHIA. 14
29. Maugin, y. C.
Manuel du Luthier,
| | |
contenant |
i'' La
construction interieure et exterieure des instru- |
merts aarchettels que vio- -Ions, alto basses et |
contre-bas- -ses 2° La construction de la

|
;
|
guitare ; 5° \^sic\
La confection |
de Tarchet ;
I
Par J. C. Maugin. Ouvrage orne de figures. |
Paris 1834. Roret. i2mo, pp. 224 and 2

plates.
30. Second Edition.

Maugin, J. C, and Maigne, W.
Manuels-Roret. Nouveau Manuel complet |
du Luthier
I I
contenant la construction | |
interieure et exterieure
instruments a |
des
archet que
|
tels la Basse et |
le Violon, I'Alto,
la Contrebasse, ainsi que celle de la Guitare
|
;
I
et traitant de la confection de I'Archet
| ; |
de la Fabrication des Cordes harmoniques

employees par le luthier, et de la Fabrication |
des diverses cordes, dites a boyaux, employees j
dans r Industrie par Messieurs J.-C. Maugin | |
et W. Maigne. | Ouvrage accompagne de

planches.
Paris, 1869. Roret. i2mo, pp. li. and 266
and 2 plates.
This little work of 266 pp. i2mo aims at being a com-

plete guide to the fiddle-maker's art. The second edition is
divided into four parts, the first of which commences with a
short chapter on the composition of the fiddle and its relations
with the Viola, Violoncello and Contrabass. Ch. II. is devoted
to the choice and condition of the woods to be used. Ch. III.
is a description of the tools used in fiddle-making. Ch. IV.,
the models, outlines, &c., and their manufacture. Ch. V., the
mould and its accessories. The following chapters deal with
the sides and the manner in which they are fixed, with the
blocks and hnings, the back and belly with the Wholes, the
thicknesses of the back and belly, fitting and setting of the bass
bar, the neck and scroll and the fingerboard, and the way in
which they are fitted and fixed to the instrument with the nut
and rest. Ch. XIV. and XV. are devoted to the varnishing and
polishing of the fiddle. Ch. XVI. describes the finishing of the
fiddle with the fittings. The concluding chapters of the first part
are, respectively, on the differences in the manufacture of the
differentmembers of the string quartet, the colouring and com-
position of varnishes, the method of drawing the mathematical
outline of a fiddle on a given subdivided straight line, originated
by Bagatella (No 7.), which has been so often reproduced in

works on the fiddle. Ch. XX, is on the repairs of old instruments.
Ch. XXI. is on rosin, its qualities and their manufacture, and
"
the part concludes with an Essay on bow instruments," which is
often historically incorrect, but is
analytically good, being a
general practical essay on their origin, form, and preservation.
Part II. deals at length with the manufacture of Guitars, and
is therefore comparatively uninteresting to the
fiddle-maker,
except from the point of view of comparison. Part III. however,
which is devoted to the manufacture of bows, is very useful,
commencing with a short essay on the various forms of bow in
use, and continuing with a study of the tools necessary in bow-
making, the models to be used, and their preparation, the
actual processes of bow manufacture, and the fitting and finish-
ing of the different parts, with the method of hairing or re-hair-

ing a bow. The fourth and last part is on the preparation and
manufacture of gut strings, their component parts, and the
exterior visible signs of a good string. Ch. V. is on coloured or
dyed strings, silk and acribelle strings, and on covered or
wired strings. Ch. VI. is devoted to the consideration of
Neapolitan strings, and the book concludes with an appendix,
foreign to our subject, on other kinds of gut strings, such as
those used for clocks, racquets, whips, and so on. The work is
amply illustrated by two long lithographed plates of diagrams.
"
Altogether it may most justly be described as marvellous
riches in a little room," being full of most valuable hints and
DE FIDJCULIS BIBLIOGRAPHJA. i6
** "
tips and necessarily of great interest to all
to fiddle-makers,
who may be interested in the practice, study, or manufacture
of the fiddle. M. Pougin has found traces of Maugin as a
violinist living in Paris in 1836.
31. MoRDRET, Ldon.

La Lutherie I Artistique | Monographic |
raisonnee des instruments a archet suivie de |
considerations nouvelles SLir la construction |
des caisses harmoniques par Leon Mordret | |
I Ingenieur. {Ornament.)
Paris, 1885. A. Quantin. Large 8vo, pp.
viii. and 152.
A
most interesting and valuable work, which speedily went
out of print and became an object of research among violinists
and amateurs of the instrument. It is embellished with six
plates,which are unpretentious in execution, but exceedingly
accurate and practical. The author commences his preface
" In
with the words, writing this treatise I have set myself to
collect in a condensed form the most important data con-
nected with bow instruments. My object is also to make
public certain principles which I consider to be conducive to
the perfect construction of violins, altos, and violoncellos."
The first chapter is archaeological and historic, the second
deals with the geometrical principles of violin construction, and

contains a practical application of the rules laid down by
Bagatella {q.v. No. 7) to the instruments of the Italian
master-schools, with obser/ations on the theories of Chanot and
Savart(^.?'. No. 46), and other innovators. Chapter III. deals
with the acoustics of the instrument; chapter IV. with the
vexed question of the varnish, and chapter V, with the theory
of the soundpost and other details of construction. The book
then concludes with a few interesting and scholarly notes upon
the archaeology of the instrument, the lives of the leading
violin-makers and innovators, and upon the bow and its per-
fecters.
DE FIDICULJS BIBLIGGRAPHIA. 17
32. Anonymous.
[Nicholson, y., M.D^
Designs and Plans for the | |
Construction
and Arrangements of the | |
New Model
Violin.
London, 1880. H, K. Lewis, Large folio,
pp. ii. and 5 plates.

This somewhat cumbersome pamphlet contains a series of
full-sizediagrams of an alleged improved method of violin
construction, conceived by an amateur, and carried out for
him by George Chanot (the younger). The doctor's idea was to
perfect the functions of the bass-bar by abolishing it altogether,
" "
I have dealt with his theory in Viohn-making (f,z/. No. 25,
pp. 102 and 154) and it is hardly necessary to say that save as a
curiosity his new instrument was unworthy of notice, and the
theory unworthy of consideration .
33. Otto, Jacob Augustus.

Ueber den Bau und die Erhaltung der
Geige und aller Bogeninstrumente. Nebst
einer Uebersicht der Vorzuglichsten Kunstler
und der sichersten Kennzeichenihrer Arbeiten.
Halle and Leipzig, 18 17. Reiiiecke. i2mo
pp.
— ?
34. Re-issue.
Ueber den Bau der Bogeninstrumente,
| | |
und iiber die Arbeiten der vorzuglichsten

I |
Instrumentenmacher, zur Belehrung fiir |
Musiker. Nebst Andeutungen zur Erhaltung

|
der Violine in gutem Zustande von Jac.

| | |
Aug. Otto Gossherzogl. Weimarischen Hof-

I
I nstrumentenmacher.
Jena, 1828. Bran. Svo, pp. viii and 97.

^.
DE FIDICULIS BIBLIOGRAPHIA, t8
35. Second Edition.

An
exact reprint of the above, with same
"
title-page, with Zweite Auflage."
Jena, 1873. Bran. 8vo, pp. viii. and 94.
36. Third Edition.

Same title, with " Dritte Auflage."
Jena, 1886. Fr. Mauke. 8vo, pp. viii. and

94.
2)'].
First English Translation.
Treatise on the Construction,
| | |
Preserva-
tion, Repair, and Improvement of the Violin, | |
and all bow instruments, together with a

I | |
dissertation on the most eminent makers, point-

ing out the surest marks by which a genuine
I
instrument may be distinguished.

|
By Jacob |
Augustus Otto, Instrument maker to the I
court of the Arch-Duke of Weimar. Trans- |
lated from the German, with note and addi-

tions, by I I
Thomas Fardeley, Professor of |
Languages and Music, Leeds.

London, 1833. Longmans. Leeds,y. C7'oss.
Large 8vo, pp. xii. and 66.

^•,8. Second English Translation.
A Treatise on the Structure and Preser-
| |
vation of the Violin

I
and all other bow I |
instruments; together with an account of the

| |
most celebrated makers, and of the genuine |
characteristics their instruments by |

of | |
Jacob Augustus Otto Instrument-maker to |
the Court of the Grand Duke of Weimar. |
C 2
Translated from the original, with additions |
and illustrations by John Bishop, of Chel-

|
| [
tenham.
London, 1848. R. Cocks, & Simpkin Mar-
shall <2f Co. Large 8vo, pp, viii. and 56. .
39. Second Edition of t lie above.

Same title differently composed, with " Second
edition :
greatly enlarged."
London, 1850. Same publishers. Large
8vo, pp. viii. and 92 and 2 plates.
40. Third Edition of the above.

"
Same title, with Third edition : further en-
larged."
London, 1875. Same publishers. Small
Svo, pp. viii. and 96 and 3 plates.
This work is perhaps the best known treatise extant on the

structure of the violin, from the fact of its having so often been
re-issued in the original German and in the English translation.

Jacob Augustus Otto was born at Gotha, in 1762, and worked
successively at Weimar, Halle, Leipzig, Magdeburg, Berlin, and
Jena, at which latter placehe died in 1830. Of the preliminary
edition of his I have never seen a copy, and
work (181 7)
am not aware of existence in any public or private library.
its
The first edition of the re-issue in 1828 is also of great rarity,

but the second and third editions, 1873 and 1886, are exact
and almost facsimile reprints of the first. Fardele/s trans-
lation is a bald and
unsatisfactory rendering of the work, but
John Bishop's translation, enriched as it is with a mass of in-
teresting notes, is one of the most valuable accessions to the
literature of the violin. The original work is, of course, a great
defence and eulogy of the German maker Steiner, its most
useful chapter being that on the repair and preservation of the
instrument, Mr. Bishop's appendices contain a reproduction

of Bagatella's mathematical outline, the experiments of Savart,
and some notes on the violin-bow and on chin-holders.
41. Pancaldi, Carlo.
Progresso Italiano |
nella costruzione del
Violino operate da I | |
Antonio Gibertini |
da
Parma |
Cenno Artistico |
di
|
Carlo Pancaldi
I
Avvocato al Tribunale d'
Apello delle quattro
Lega- zioni in I Bologna, socio onorario corris-
pondente dell' |
Accademia Borbonica di Napoli
e di altre, ec.
Palermo, 1845. Tip. Maddalena. 8vo. pp.

10.
This little pamphlet is a reprint of an article which appeared

in the Fata Galante, Giornale di Scienze ed Arti, Ann. viii. No.
vi.,30th November, 1845. It pretends to be no more than its
titleannounces, an eulogy of the violin-maker Gibertini, who

was one of the violin-makers patronized by PaganinL
42. Plassiard, y. A.
Des Cordes Harmoniques en g^n6ral et
I | |
.specialement de celles des instruments k |
archet Par J.- A. Plassiard Ancien Eleve de

| |
I'Ecole poly technique, Ingenieur en chef des

Ponts-et-Chaussês en retraite, Officier de la |
Legion d'honneur, Membre de 1' Academic de

Metz. En vente chez Jerome Thibouville-
I
Lamy, 68 et 70 rue Reaumur, Paris.

|
Mirecourt, 1879. Chassel, 410, pp. 44 and

8 plates.
This is a thoroughly scientific treatise, dealing with the

vibrations and acoustic qualities of violin, alto, bass, and
double-bass strings. M. Plassiard laboured at his theory from

1842 till 1878, when his inventions and formulae were adopted
by the house of Thibouville-Lamy.
43. Porter, Thomas.

How a Violin
to choose with directions
|
;
|
for Keeping
I
the Instrument in Order, and for |
I Repairing and Improving

|
the
|
Tone of |
Faulty Instruments. | By |
Thomas Porter.
London, n.d. [1879]. F. Pitman. 8vo, pp.

28.
This is a collection of interesting notes on the construction

of the violin, and the assimilation of its various parts. Though
unpretentious in form, it is a pamphlet that may be
read with
advantage alike by violin-makers and players, amateur and

professional. The notes on repairing the instrument are
especially useful, and the excellent index gives it a particular
value for purposes of reference.
44. RicHELME, Marius.

Etudes et observations |
sur la Lutherie
[
ancienne et moderne par | |

Marius Richelme,
Facteur d' Instruments.
Marseille, 1868. F. Canquoin. Large Svo,

pp. 108.
This book, which is unfortunately of considerable rarity, is

of very great value to the connoisseur and violin-maker.
Richelme was a practical maker who devoted much study to
the scientific principles of his art These studies he embodied
in this little work, and his advice to owners of valuable in-
struments is worthy the attention of every connoisseur.
45. RiTTER, Hermann.

Prof. H. Ritter's dreifussiger Normalsteg
fiir
Geigen |
Instrumente
(Vor Nachahmung |
gesetzlich geschiitzt) oder |

Der dreifussige | |
Normal-Geigensteg erfunden und begrundet |
von Hermann Ritter kgl. Professor und gross-

I |
herzogl. Kammervirtuos. Mit 50 Modell-abbil- |
dungen. {TitJe-W7'apper and Title-page^

Wurzburg, 1889. Georg Hertz. Large
8vo, pp. 12, and 14 pp. of illustrations.
Professor Ritter is a member of the private band of the

Grand Duke of Mecklenburg- Schwerin at Heidelburg, and
has identified himself with the alto as a solo instrument, and
with the resuscitation of the tenor- viol {vide post, sttb History).
He holds a theory that the bridges over which the strings of
bow-instruments pass to the nut should have three feet instead
of the usual two, and his arguments in favour of his idea are
embodied in this pamphlet, which contains at the end some
fifty illustrations of his violin, viola, and violoncello bridges,
slightly varying in form. It is needless to say that his in-
novation has not been widely recognized as an improvement.
46. Savart, Fîix.

Memoire
sur la construction
|
des Instru- |
ments cordes et a archet

I
a Suivi du Rap- |
port qui en a 6te fait aux deux Academies des

Sciences et des Beaux-Arts, Par Felix Savart |
I
Docteur en Medecine | Correspondent de la
Soci^te Philomatique.
Paris, n.d. [18 19]. Roret. 8vo, pp. iv. and

118, and 3 plates.
47. German Translation. \Condensed.'\

Ueber den |
Bau der Geige
und anderer | |
Saiteninstrumente. Zum Gebrauche fiir Kiin- |
stler, Dilettanten und Instrumentenmacher, |

Nach einem in der Acadimie des Sciences in

Paris von Savart gehaltenen Vortrage ins
I
Deutsche iibertragen.
|
Leipzig, 1844. F. Kistner. Small 8vo, pp.

48.
This is perhaps the most scientific work extant on the
theoretical and scientific principles which govern the con-
struction of, and tone-production on, the violin, besides being a
complete description for all practical and scientific purposes
of the celebrated invention known as the Savart Trapezoid
Violin, or box-fiddle. The book is divided into three
sections. The first explains exhaustively the theories of the
vibrations of strings, and their action on a vibrating surface
(such as the belly of a violin) or in a cavity, affording thus a
dissertation on the scientific principles of the construction of
the instrument. The second section is devoted to a scientific
consideration of bodies which augment the sound of a vibra-
ting string {Us corps renforânt du son), and points out how,
when and where the accepted form of the fiddle fails to fill
the proper conditions of form and construction. The third
section gives complete practical and theoretical directions for
the construction of the Trapezoid Violin, comparing it part
by part with the ordinary fiddle, with a view to proving the
superiority of the new form. The three sections are amply
and clearly illustrated by three folding lithographic plates, a
complete description and explanation of the one figuring the
new fiddle in detail, following the third section. The book
concludes with a transcript of the "Report on a Memoir
relative to the Construction of Stringed and Bowed Instru-
ments, presented by M. F61ix Savart, Doctor-of-Medicine,"
made by the committee appointed by the Academies of
Science and of Arts, to judge of the new instrument. The
Report speaks most favourably of the new shaped instrument,
and is signed by the committee and the secretaries of the
sciences. The practical information given in this volume is
quite sufficient to enable any beginner or amateur carpenter
to make one of these fiddles for himself. ( Vt'de post, sub
Proceedings of Societies.) The very valuable scientific portion

of this work was doubtless crystallized in M. Savart's mind, if
not suggested, by the then comparatively recent publication of
Chladni's works, of which I think it right to give the titles in
DE FIDICULTS BIBLIOGRAPHIA. 24
this place, as they must be read in conjunction with this work

and M. Plassiard's (No. 42).
48. Chladni, Ernst Florent Friedrick,

(fl) Entdeckungen iiber die Theorie des Klanges. Leipzig,
1787. 4to.
{b) Ueber die Lscngcntsene einer Saite. Berhn, 1792. 410.
(c) Ueber die longitudinal Schwingungen der Saiten und
Stucke. Erfurt, 1796. 4to.
{d) Die Akustik. Leipzig, i8oa. 4to.
(e) Neue Beitrage zur Akustik. Leipzig, 181 7. 4to.
An excellent French translation of " Die Akustik " ap-
peared in Paris in 1809, entitled "Trait^ d'Acoustique."
These works should, perhaps, have been included in a future
section, sub Reference Books : but I have considered it advis-
able to quote them here for the reason that they contain nothing
that is not distinctly germane to the science of practical violin-
contruction.
49. SiBiRE, rAbbe.

La Chelonomie |
ou |
Le Parfait Luthier |
Par M. I'Abbe Sibire |

Ancien Cure de St.
FrariQois d'Assize ]
a Paris.
Quotation.
Per varies usus, artem experientia fecit
Exemplo monstrante viam. Man. — i.
Paris, 1806. VAuteur and Millet. Small

8vo, pp. XX. and 288.
50. Second Edition.

Same title.
Brussels, 1823. Weissenbruch. i2mo, pp.

iv.'and iv. and 152.
5 1 . Third Edition.
La Chelonomie
I
|
ou le Parfait Luthier
|
|
par I'Abbe Sibire. |

Recherches sur la facture
et la restauration des I instruments a archet ;
augmentee d'une notice et d'un appendice

|
donnant la nomenclature
|
des principaux
Luthiers du xv^. au xix". siecle, la description
|
I
des violons les plus recherches leur date de |
fabrication, leur |
valeur, les caracteres a I'aide
Idesquels on peut les recon- -naitre, par L. [
de Pratis.
Brussels, 1885 A. Loosfelt. i2mo, pp. iv.

and 12 and vi. and 230.
The Abbd Antoine Sibire was born in Paris in 1757. After

various wanderings and vicissitudes, resulting in great measure
from the Revolution of 1 793, he became cure of the parish of
St. Louis du Marais. He died in 1827. Fetis, in his Bio-
graphic Universelle, says of hirr. ,\ :
— '"
passionate amateur of
the violin, which he played very badly, he was in the habit of
frequenting the workshop of the celebrated Parisian violin-
maker Lupot, and being seized with a fanatical admiration
for ilio instruments of the Cremonese violin-makers, Lupot
confided to him the manuscript notes and observations which
he had made on the work of these masters, and the qualities
of their instruments. It was from these materials that the
Abbe Sibire wrote his book, which met with no success, and
copies of which have become t^xtremely rare. The bombastic
style m which he garbs the sirnplest observations is often ridicu-
lous, but among the observations of Lupot are to be found

some excellent points which are not sufficiently understood by
violin-makers." The first edition (of 1806) is, as F6tis
remarks, excessively rare, and the second, whicli is a mere
reprint, almost equally so. The recent edition (Brussels, 1885),
edited by L. de Pratis, commences with an introduction
which an amplification and criticism of M. F^tis' article, and
is
ends with an appendix, dealing shortly with the makers of the

Italian, German, and French schools. It is in
every way
inferior to the reprint issued by Jules Gallay, q.v. ante.
No. 20.
D
DE FIDICULIS BIBLJOGRAPHIA. 26
52. SiMOUTRE, N. E.
Aux I
Amateurs
Violon Historique, du |
Construction, Reparation et Conservation de

|
cet Instrument, par N. E. Simoutre,

| | |
Luthier a Bale.
Basle, 1883. G. A. Bonfantini. 8vo, pp.

55-
This, like the above-noted work of Marius Richelme (No.

and theoretical observations of a
44), consists of the practical
working violin-maker. It commences with a history of the
violin, and a chronological table of violin-makers. The
second chapter deals with the practical construction of the
instrument, the third with the materials employed therein.
The book concludes with a chapter upon the preservation and
repair of the violin, and a collection of testimonials from

celebrated artists to the excellence of M. Simoutre's instru-
ments.
53. Simoutre, N. E.
Un Progres en Lutherie. Support Har-
I |
monique invention de N. B. Simoutre,

| | | |
Luthier a Bale.
Basle, 1886. Chez fauteur and M. Bern-
heim. Large 8vo, pp. 72 [correspondence with
D. Alard inserted, pp. 4] and 5 folding plates.
This is the exposition of an innovation in violin manufac-

ture patented by M. Simoutre, which consists of the letting in
of plates of wood in the centre of the belly and back of the
instrument, with certain variations in the form and position of
the soundpost. The second part in the book consists of a
series of studies of the works in the most celebrated Italian
makers, a life of J. B. Vuillaume, and some further observa-

tions on the repair of instruments. The plates give full-sized
outlines of the instruments of the Cremonese masters.
D 2
DE FIDI CULTS BIBLIOGRAPHIA, 27
54-
Supplement aux Amateurs du Violon et

| | |
au IProgres en Lutherie, par N.E.Simoutre, | |
I
Luthier a Bale. Avec deux Planches.
|
Basle, 1889. EnventechezVAuteur. 8vo,

pp. 44 and 2
plates.
This pamphlet purports to be the complement of the two

last works. It continues the considerations of M. Simoutre's
patents, and is valuable as containing an important chapter on
the Cremonese varnish and its modern equivalents, which
cannot fail to be of the greatest possible value to violin-makers.
The "
plates are a reproduction of Plate II. from the Progres
en Lutherie," and a sixth plate, supplementing the five con-
tained in that volume.
55. Smith, H. P.
The Constructionof the Violin. Gives I I I
Full and Complete Directions by the Aid of

which any Amateur Mechanic can construct
I
I
A Perfect Violin. By H. P. Smith. |
Syracuse, N.Y. n.d [3rd ed. 1877]. James

Roblee. Small 4to, Five lithograph plates,
and vi. Paged from 1 1 to 39.
This is a short, and consequently, very imperfect treatise on

the practical and mechanical processes of violin-making. It
aims at condensing within forty pages the complete construc-
tion of the instrument. It is hardly necessary to say that the
author succeeds but imperfectly, and that his work is useless

to any maker who has the European treatises on the subject at
his command.
56. Starcke, Herrmann.

Die Geige ihre Entstehung, Verfertigung
| |
und Bedeutung die Behandlung und Erhal- |

tung aller ihre und die Meister

Bestandtheile | |
derGeigen-und Lautenbaukunst mit Angabe | i
aller Zettel-Inschriften. Eine Studie nach

| |
alten Quellen und Traditionen von Herr- | |
mann Starcke.
Dresden, 1884. J. G. Seeling. 8vo, pp. 178.
This is a vade-mecum for amateurs of the violin, from the
historico-practical point of view. The author discusses the
handiworks of the principal makers from the fifteenth to the
nineteenth centuries. The theory of the construction and ar-
rangement of the instrument complete the book, which has its
chief value in being a biographical reference book to the known

makers of four centuries.
57. TOLBECQUE, Auguste.

Quelques considerations sur la Lutherie | | |
par Auguste Tolbecque Ancien Membre de

I |
la Soci6t6 des Concerts.

Paris,
1890. G and and Bernardel. Large
Svo, pp. 49.
Also a large-paper edition, 4to, limited to
20 copies.
The latest, and certainly one of the most interesting contri-
butions to the literature of the violin. M. Tolbecque presents
us here with essays on the deplorable manner in which instru-
ments are bought by eye instead of by ear, on the strain after
sonority, which, in the present day, is
destroying our apprecia-
tion of delicate tone, on the disproportion of the quartette, on
repairs of old instruments, and on the height of the bridge, t&c.
Though not actually a work on practical violin-making, the
princip>al essays are addressed to practical makers and repairers.
It is beautifully printed in a limited edition, which gives it an
enhanced value for the book-collector. M. Tolbecque, the

survivor of a numerous family of eminent musicians, was pro-
fessor at the Marseilles Conservatoire. His magnificent musical
library was recently acquired by the Belgian Government.

58. \ \\.TjYi\Q\\\, Luigi Fraruesco .
Title
wrapper. L. F. Valdrighi Musur- |
giana (N. 9) Strumenti

|
ad Arco Rinforzati.
Modena 1881. Tipografia Legale. Large
8vo, pp. 22.
Headed [p. 3.]. Gli Strumenti ad arco rinfor-
zati del sig.
I
E. R. Mollenhaver cenni mono-
I |
grafici del conte Luigi Francesco Valdrighi.

This pamphlet, as its titlo Licnotes, is a treatise on the im-
provements or attempted improvements and innovations which
have been made in the construction of bow-instruments since
the time of Stradivari, with especial reference to the patents of
Edward MoUenliaver of New York. Count Valdrighi was led
to its compilation by an article on the Mollenhaver violins
which appeared in Musical Opinion and Music Trades Reviezv
for November, i88t, and as a record of the vagaries to which

the violin has been subjected, is well worth/ of the space it
occupies in any violin-maker's or player's library. Count
Valdrighi, whose name appears many times in this Bibliography,
is one of the most industrious and indefatigable of musical
historians.
59. Wettengel, Gus/av Adolph.

"
Vol, xxxvii. of the Neuer Schauplatz der
Kiinste und Handwerke."
Ilmenan, 1828.
theoretisch-practisches auf
Vollstandiges, | |
Grundsatze der Akustik, Tonkunst und Mathe-

matik, und auf die Erfahrungen der geschick-
|
testen iialieni'^chen und deutschen Meister

|
begriindetes Lehrbuch der Anfertigungund

| |
aller noch jetzt gebraiichlichen

Gat-
Reparatur |
von italienischen und deutschen Gei-

tungen | |
gen namentlich
I
der Violinen,|
Bratschen,
Schellos und Basse, so wie aller Gattungen der |
Gewohnlichen und Pianoforte-Guitarren inglei-

-chen der Violin-, Schello und Bassbogen.
I
Nebst Genauer und vollstandiger Anleitung |
zur Erbauung der erfbrderlichen Werk- und

Schnitzbanke, der Kenntniss aller iibrigen Werk-
zeuge und Materialien, zum Beitzen, Lackiren,
|
Einlegen, zu den Vorkom- -menden Metall- |
arbeiten und zu den Geigen- und Guitarren- |
schrauben, und der dem Instrumentmacher

nothigsten Lehren der Akustik und Tonkunst
|
I
Instrumentmacher und Musikfreunde
Fiir I
von
I
Gustav Adolph Wettengel
I
Violin- |
bogen-macherin Neukirchen bei Adorf. Mit |
sechzehn lithographirten Tafein.
Ilmenau. 1828. B. F. Voigt. Small Svo,

pp. xiv. and 654 and ii. and 1 7 plates.
60. Second Edition.

Gustav
Adolph Wettengel's weil Violin- |
bogenmacherszuMarkneukirchen Lehrbuch | |
der Geigen- und Bogenmacherkunst oder

I [ |
theoretisch-praktische Anweisung zur Anfert-

gung und Reparatur der verschiedenen Arten |
Geigen und Bogen, sowie der Guitarren, nebst

I
einer Darstellung der darauf beziiglichen
Lehren der Physik. Z weite Auflage, zeitgemass
umgearbeitet von |
Heinrich Gretschel (
Sek-
retar der Leipziger Polytechnischen Gesell-
schaft. I
Mit einem Atlas, enthaltend 10 Folio-
tafeln.
Weimar, 1869. •^- ^- Voigt. Large Svo,

pp. X. and 312.
6i. Atlas to the above.

Atlas zu Gustav Adolph Wettengel'sLehr-
I I
buch der IGeigen- und Bogenmacherkunst

| |
oder theoretisch-praktische Anweisung

I
zur
Anfertigung und Reparatur der verschiedenen
Arten Geigen und Bogen, sowie der Guitarren,
|
nebst einer Darstellung der darauf beziiglichen

Lehren der Physik. Zweite Aufiage. zeitge-
j
|
mass umgearbeitet von Heinrich Gretschel | |
Sekretar
!
der Leipziger Polytechnischen
Gesellschaft. (Neuer Schauplatz der Kiinste
|
und Handwerke, Band i^). \

Mit 10 F'oHotafeln,
enthaltend 202 Abbildungen hierzu geho-|
Der
rige Text ist in einem besonderen Bande beige-
geben.
[Weimar], [1869]. ^B. F. Voigt?^ 410,

pp. 10.
Wettengel was a violin-maker who worked at Neukirchen

near Adorf, in Saxony, and Fetis is not far wrong when he
states in his Biographi, IJnivetselle that his hook, above lited,
was the best that had appeared on violin-making until that date
(1865). With the second edition, revised and augmented by
Gretschel, it remains to this day the best German treatise on
the practical aspects ol the subject. The first edition is effi-
ciently illustrated with seventeen small folding plates ; to the
second there is a complete atlas often large folding plates, which
fully illustrate all the theory and practice of the art. This is
published separately, for the convenience of reference by the
practical violin-maker.
33
part $.
Section H.
BIOGRAPHICAL WORKS,
Under this heading are comprised all Biographical Works

connected with Bow-Instruments. In this section will
be found Books and Pamphlets having for their main
object the Biographies of Violinists or Viohn-makers.
62. Anonymous.
Biographical Sketch of Nicolo Paganini | | |
by the Paris Correspondent of the late Foreign |
Literary Gazette {Âs originally inserted in the

|
Ladys AJagazine for April, 1831) | being |

the
earliest and most complete account yet published
I
of I
that celebrated Violinist to which are |
added | critiques on his first three concerts

given
at the King's Theatre, Haymarket
I
a letter ; |
from Paganini, inserted in the Lady's Maga- |
zine for June, &c., &c. |
London, 1831. S. Robinson and W. Kidd.

Large 8vo, pp. 45 and v. and 6.
My copy of this work is bound in the original printed Title-
"
wrappers of the Lady's Magazine," with advertisements, and
B
DE FiniCULIS BIBLIOGRAPHIA. 34
the index to vols, i., ii. and iii. (1830-31) attheend. It is the
only copy have

I ever seen, or heard of, of this issue of the
articles, and was probably issued in small edition to advertise
the magazine at the time of Paganini's appearance at Covent
Garden. At the end of the Biographical sketch is appended
a translation of the letter written, under date 1831, April 21,
by Paganini, in answer to some of the outrageous stories which

circulated about him, andalso "a fantastic tale," signed "E. S."
and entitled "The two Notes, or Paganini's Contract," purporting
to be an account of the virtuoso's league with the Devil.
63. Anonymous.
Wrapper. XXIV.
Neujahrsgeschenk an| [
die Ztircherische Jugend von der allge- | |
meinen |
Musik-Gesellschaft in Zurich auf | | [
das Jahr 1846.

Title. Vier iind dreiszigstes Neujahrstiick |
der Allgemeinen Musik-Gesellschaft in Ziirich

I
I
1846. Biographic von Nicolo Paganini.
I
Zurich, n.d. [1846]. C. Kull. 410, pp. 20

and frontispiece.
This is one of the best condensed biographies that has

come under my notice. It recapitulates the leading events of
Paganini's life in an interesting and popular form.
64. Adema, E .
Hermann und seine Viola Alta.

Ritter | | |
Gesammelte Aufsatze von E. Adema. Sup- j | [
plement zu H. Ritter s Buche Die Geschichte :

|
der Viola Alta und die Grundsatze ihres Baues.
Wurzburg, 18S1. A. Stuber. Large 8vo,

pp. vi. and 66.
64 bis. Professor Hermann Ritter [
und [
seine
Viola Alta Erganzung der Schrift
|
:
|
Hermann
B 2
Ritter und seine Viola Alta. |

Gesammelte Auf-
satze I
von E. Adema.
Wurzburg, 1890. A. Stttber. 8vo, pp. 16.

This work is practically a biography of Ritter, and a collec-
tion of Articles concerning him and the Viola associated with
his name, written by himself and by his friend Adema. The
smaller supplementary pamphlet consists mainly of press
notices and eulogies of Both purport to supplement
Ritter.
Hermann Ritter's own works {q>v. No. 45, and post, sub
Historical Works), and the former contains by way of frontis-
piece a portrait of the artist himself.
65. Anders, Godefroi Engelbert.

Nicolo I Paganini. |
savie, |
sa personne, et |
quelques mots sur son secret, | par G.E. Anders,

Paris, 1
83 1. Delauiiay. 8vo, pp. 42.
"
This biographical pamphlet was written to supply a public
want" on the occasion of Paganini's first visit to Paris. The
author does not lay claim to any originality as regards his in-
formation, but admits his principal indebtedness to the work
of Schottky, supplementing his extracts by others taken from
Schutz, Vineta, and Harrys {qq.v. post). Anders was born at
Bonn in 1795, and, estabHshing himself in Paris in 1829, con-
tributed much that was and is of value to the musical literature
of his day. His principal essay on the Violin appeared in
Ccccilia{\o\. xiv. p. 247), q.v. post,
sub Periodical Publications,
Musical. The work under notice aims at being no more than a
condensed tabulation of Paganini's public appearances and what
was known of his private life rior to the date of its publication.
1
In 1833 Anders became musical hbrarian at the Bibliotheque

Imperiale. He died in 1866 (September 2nd), leaving behind
him a magnificent musical library and a mass of important
musical notes written in a cypher that no one has been able
to interpret, and the value of which has been consequently lost
to the world.
66. AttIj Gaetano.
Biografia |
di |
Bartolommeo Campagnoli |
da Cento |
Celebre Violinista.
Bologna, 1852. A. Chierici. 8vo, pp. j6
and frontispiece.
A most interesting and useful, though, on account of its

ephemeral nature, a most scarce little work. My own is the
only copy I have ever seen or heard of. It is embellished with a
"
frontispiece portrait, signed D. Nicoli," and is written by the
son of one of Campagnoli's intimate friends. It is probably
the best collection of data extant concerning the author of the

once widely known and popular methode {vide post, sub
" Methodes
").
67. Barnard, Charles.

Camilla |
A
tale of a Violin being the artist |
life of Camilla Urso

I By Charles Barnard.|
Boston, n.d. [1874]. Lorenz. 12 mo, pp. vi.

and 141.
This little work, badly printed on inferior paper, purports to

be a biography of Madame Urso up to 1874. Madame Urso
is still living and, at intervals, playing in America, so the work
before us cannot claim anything like completeness. Looked

upon as a romantic biography, however, the volume leaves
little to be desired, and we are brought down to the region of
hard fact sufficiently often by the insertion of newspaper re-
ports of her performances in various parts of the world.
68. Benedit, Pierre Gustave.

C. Sivori par G. Benedit| | | (Extrait du
Shjiaphore du 7 Mars, 1S54).
Marseilles, 1854. Barlaticr-Feissat ct Dc-
8vo, 16.
})ionchy. Large pp.
This brochure (being a reprint of an article in " The

little
Semaphore," as is stated on the title-page) was written on the

occasion of two concerts given by Sivori at Marseilles, It is,
in effect, a short biography of the great violinist from his de'but
in 1826 as the pupil of Paganini and his successes in Paris and
London, to the year 1854. The pamphlet enumerates all his

principal professional tours, and the chief events of his life, up
to that time. It gives much interesting matter on Paganini,
together with many intelligent comparisons between Sivori

and his great master. The opuscule
was, of course, merely an
ephemeral publication of momentary importance, but it is for
that very reason likely to be of the greater interest to the dis-
ciples and students of this renowned violinist as being more

presumably correct in small particulars than an elaborate
biography written after the death of a celebrity.

Be'nedit was born at Marseilles in 1802 (7th April), and was
successively a merchant, an actor (and a bad one, we are told),
a teacher of music, and a musical critic. He edited the ycvm%\-
C3i\ feitiHefon of the Semaphore until his death, which occured
in 1870 (8th December). His dramatic are said to have been
superior to his musical criticisms.
69. Bruni, Oreste.

Niccolo Paganini celebre violinista Geno-
|
vese Racconto
I
storico di Oreste Bruni.
| |
Florence, 1873. Galetti e Cocci. 8vo, pp. 150.
Thisis a most interesting biography of the great virtuoso,
though the reader must necessarily be led to doubt whether

historic accuracy is not somewhat sacrificed to the desire which
is manifest on the part of the author to entertain his readers
with minute details of his hero's life. The volume is properly
described on the title page as a
" Racconto Storico " an his- —
toric romance. It takes the form of a minute description of
life and triumphs, told much in the manner that

Paganini's
Sir Walter Scott has treated many of the heroes of English
history. His boyhood, his debut, his hopes and aspirations,
DE FIDI CULIS BIBLIOGRAPHIA. 38
and his impressions of his own life are recounted as if by his

own lips in such a life-hke
manner that one finds oneself doubt-
ing whether the writer was not either inspired, or in the posses-
sion of documentary information that had hitherto escaped
Paganini's biographers. The chapters which treat of his relations

with Rossini, Sivori, and other great musicians of his time, are
especially interesting.
70. Bull, Sara C.

Ole Bull A Memoir by Sara C. Bull
I | | |
"
with Ole Bull's Violin Notes," and Dr. A. B.
Crosby's "Anatomy of the Violinist."
I
London, 1886. T. Fisher Unwm. 8vo, pp.

ii. and iv. and 418.
71. Germaft Translation.

Ole Bullder Geigerkonig.
I
Ein Kijnstler- |
leben. Frei nach dem Original der Sarah C.

|
Bull bearbeitet von

1
L. Ottmann.
|
Stuttgart, 1886. Robert Lutz. 8vo, pp. 236.
This is undoubtedly the best and most complete biography

of Ole Bull that has ever been written or ever can be written,
compiled as it has been by his wife, who yet lives, not far from
Boston, Massachusetts. In her labour of love she has been
assisted by all the intimate friends of her husband, and it were
idle on my part to point to any section of the work more faith-
ful and exact than another. To the violinist, apart from its
biographical interest, tne book is rendered doubly valuable by
the appendices, which consist of: —

I. The Anatomy of the
Violinist, Mr. Ole Bull his Pose and Method of holding the
:
Violin, by A. B. Crosby, A.M., M.D., Professor of Anatomy,

Bellevue Hospital Medical College, New York, 1877. The
note to this paper consists of a translation of Tartini's cele-
brated letter to Signora Maddalena Lombardini {q.v.fost, sub
Theoretical Works). II. Viohn Notes, by Ole Bull, edited by
Mr. Waller Colton of Brooklyn, New York. These notes deal

with his celebrated Da Salo violin and his Araati, with the parts
of the violin and its accessories, with Paganini and his methods
of execution, and supplemented with Mr. Colton's notes on Ole
Bull's inventions connected with the instrument {vide post, sub
Patent Specifications). The volume ends with poems (original
and translated) by Welhaven, Wergeland, Lie, Munch, Lund,
La Motte Fouque^ Philip Bourke Marston, and others.
Some biographical notices are appended from the pens of
Philip Gilbert Hamerton, Longfellow, J. T. Fields, Julia Ward
Howe, Dr. Bartel, and Dr. Mackenzie. The whole volume is a
model for future biographers.
72. CoNESTABiLE, Giaucai'lo.

Vita ]
di I
Niccolo Paganini da Geneva | |
scritta ed illustrata da Giancarlo Conestabile

| |
I
socio di varie Accademie.
Perugia, 185 1. Bartelli. Large 8vo, pp.

320.
This is one of the most thorough and pains-taking biographies
of Paganini ever published, and it is more than a biography,
for the author gives us a scholarly and well-reasoned history of
the progress of executive musical art up to the appearance of
his hero, and a scholium upon his influence on the musical taste
and talent of his day, whilst acknowledging his indebtedness
to his predecessors in the field. It is impossible to over-esti-
mate the value of this work, as principally exemplified
critical
in the author's footnotes, which are almost a bibliography of

Paganini in themselves. The progress of Paganini's triumphs
are related step by step with a minuteness which is astonishing,
often from unpublished documents communicated to the
author by the virtuoso's contemporaries. The majority of
these latter are given in extenso in an Appendix of Documents,
which constitutes not the least interesting and valuable section
of the book under notice. There is also a portrait of Paganini,
by Benucci, which forms the frontispiece to the volume.
DE FlDICULTS BIBLIOGRAPHIA. 40
The Marquis Giancarlo Conestabile was, as his book denotes,

an impassioned amateur musician. He was born at Perugia
about the year 18 12, and is known as the author of a biography
of Baltazzari Ferri (Perugia, 1846), in addition to the above
work.
"j-^. Desfossez, Achille.

{Ornament?) Henri Wieniawski. I. Edu-
cation. —
II. Premieres tournees artistiques en
|
Russie, en Allemagne, en Belgique et en

Hollande. — III. Parallele
|
entre et
Wieniawski. — |
IV. Conclusion ;
Paganini
le passe, le
present, et I'avenir. Esquisse, | | par |

A. Des-
fossez (Auteur de I'esquisse
I Jenny Lind,
etc.).
The Hague, 1856. Belinfante. Large 8vo,
pp. 30.
The frontispiece to this work is an interesting portrait of

its subject drawn in 1850. The opuscule has the disadvan-
tages of all biographies written during the lives of their heroes,
but it is, up to date, the best biography of Wieniawski extant.
The nature and order of its contents are fully set out upon the
title-page, the comparison between Paganini and Wieniawski
being especially interesting and instructive. It is terminated by
a list, up to date, of Wieniawski's compositions. Desfossez
was born at Douai about 18 10, and was an amateur violinist
and a merchant established at the Hague. He was special

correspondent to several musical and dramatic papers in Paris,
" La
and editor of an intermittent journal
entitled Hollande
Musicale" (1856-66-7, &c.). He died mad about the year
1871-2.
74. Du RiVAGE, .
Reflexions d'un Artiste |

sur le Talent |
de
Paganini. |
Par M. Du Rivage |
Professeur {ad
honores) cle violon, d'harmonie et de composi-

tion ;
I
homme de lettres, compositeur de
musique, et |
membre de plusieurs societes
academiques. |
Prix 60 centimes,
:
Paris, 183 G.-A. Dentit, £Lnd

1. Launer and
Frey. Large 8vo, pp. 16.
This is an exceedingly rare little

pamphlet. It is unknown to
Fetis and to Lichtenthal, and

copy, bought by an American
my
friend at the sale of M. A. Farrenc's library in Paris in 1866 {vide
post, sub Reference Books)^ and given me by him in Phil-
adelphia, is the only one I have ever seen or heard of. It con-
sists of an able critique of Paganini's
playing as contrasted
with that of Baillot and of De Be'riot, The opening paragraph
gives the key-note to the opuscule: "Those who read the —
critiques published in certain papers will think that our great
masters are no more than pigmies crushed by the bow of this
pretended musical Hercules." Should a new biography of
Paganini ever be written {Quod Dciis avertat !), I commend
this work to its author.
75. Eymar, Ange Marie.

Anecdotes surViotti, | precedes de quelques
|
reflexions |
sur I'expression en musique, Par [
A.-M. Eymar, |
Commissaire Civil du Direc-
toire Executif |
de la Republique Franâise en
Piemont.
Milan, n.d. [1801]. Imp. Italienne et Fraii-
âise. 8vo, pp. 46 and a plate of music.
This is the only edition of this pamphlet that I have ever seen,
but M. Pougin, in his life of Viotti {vide post, No. 103), cites a
prior edition published in 1792, and a second published by

Sestie, in Geneva, in the year VIII. of the French Revolution
(1800), as well as an undated edition published \\\ Milan.

The Count Ange Marie d'Eymar, born at Forcalquier (Basses
C
DE FIDICULIS BIBLIOGRAPIIIA, 42
Alpes) in 1740, became deputy of the Nobles for his native town
to the States General in 1793, and dropped his title thence-
forth. He
died Prefect of Geneva in 1803. The pamphlet
" La Decade
(which was printed first in Philosophique," in
1798, according to Fetis), is a warm eulogy of the artist, who
was one of the author's greatest friends, and, for what reason
it is hard to tell, he states (p. 25) that Viotti had been guillo-
tined. As a matter of fact, he was exiled with the other
Fermiers-Generaux, first from Paris, in 1792, and subsequently
from London, in 1795. M. d'Eymar gives in his little work
some interesting details (if reliable) concerning the mysterious
" who seems to have
Euterpe," exercised such a strong influence
upon Viotti's life.
76. Fanzago, Francesco.

Orazione |
del Signor Abate |
Francesco
Fanzago |
Padovano |
delle lodi j
di Giuseppe
Tartini Recitata nella Chiesa de R.R., P.P.,
|
Serviti in Padova li
j 31 di Marzo 1' anno |
1770. Con varie

I
Note illustrata, e con un
breve Compendio della Vita del Medesimo. |
{Ornament.^
Padua, 1770. Conzatii. 4to, pp. 48.
This, as denotes, is merely a prhit of a funeral ora-

its title
tion, but a very valuable addition to the biographical

it is
works relating to the violin. The oration itself occupies 30 pp.

of the work, and is followed by 7 pp. of most interesting notes
to the discourse. The volume is complemented by a short
but excellent biography of Tartini, with an account and analysis
of his works. The steel engraved ornaments scattered through
the pages give the work an added artistic interest. The abbe
Fanzago, born in or about 1730, according to Fetis, but more
probably (from his own statement in the preface to the second
edition of the above work, q.v.. No. 77) about 1750, was rector
of the college of Padua, his native town. The date of his death
is not known.
C 2
']'].
Anonymous.
[Fanzago, Francesco Antonio?^
Giuseppe Tartini primo violinista
Elogi I
di |
I
Santo di Padova e del P.
nella capella del | |
Francesco Antonio Vallotti maestro della j |
medesima.
Padua, 1792. C. Consatti. 8vo, pp. 100
[PP- 1—59, Tartini].
This study of Tartini is a careful revision, amplification^ and
pronounced by Fanzago over Tartini's

re-issue of the oration
tomb (No. 76). As he says in his preface: " L'Elogio di —
Giuseppe Tartini composto da me nella mia primiera gioventu
. . . fu dato allora alia stampe per soddisfare alle replicate
inchieste de' forestieri estimatori di quel grand' uomo. Qualche
tempo dopo essendomi posto ad accrescerlo, e a ritoccarlo in
varj luoghi, accade che distornato da nuove incombenze non
potessi che unire alia meglio alcune notizie qua e la disperse, e
trasmetterle ad un Giornalista, onde fossero divulgate." I
think this sufficiently explains the scope, object, and value of

the work under consideration.
78. Fayolle, Franr:ois Joseph Marie,

Notices sur Corelli, Tartini, Pugnani,
Gavinies et Viotti.
Paris, 1 8 10. Dentu. 8vo, pp.

— .-*
79. Szvedish Translation.

Om I
Violinens ursprung, | jemte | Biogra-
fiska anteckningar ofver | |
Corelli, Tartini,
Gavinies, | Pugnani och Viotti. |
Med Por-
tratter.
Stockholm, 181 1. C. Delen. 8vo, pp. xvi.

and 54, and plate of music.
It is remarkable that so important a musical work as this should
be so extremely scarce as it is. I have never seen a copy of
the original work, and I doubt if there is one in this country.

My own knowledge of it is drawn from the Swedish translation
above cited, which is the work of U. E. Mannerhjerta, and is
an adaptation, rather than a translation, being supplemented,
as the introduction tells us, from various sources. It contains
a portrait drawn by P. Guerin, and engraved by G. Ruckman,

of each artist whom it describes, and is one of the best pieces of
comparative analysis that has been published concerning these
leading virtuosi. It had been FayoUe's intention to publish
a "History of the Violin," but though announced it was never
published. The work under consideration is an excerpt from
this projected volume, as is also the work (No. 80) immediately

following.
80. Fayolle, Francois Joseph Mane,

Paganini et Beriot ou| | ]
avis aux jeunes
artistes qui se destinent a Tenseignement du
|
violon, Par Fr. Fayolle,

I
Auteur du Diction-
|
naire des Musiciens et de I'Histoire du Violon

avec portraits,
I |
et ancien chef de Brigade a
TEcole Poly technique.
" la nature ne se montre jamais plus

Quotation. Quoique
libre que dans les choses sublimes et pathetiques, il est pour-
tant aise de reconnaitre qu'elle ne se laisse pas conduire au
hazard et qu'elle n'est pas absolument ennemie de I'art et des
regies."
— Longin, Traite du Sublime, chap, il
Prix : 2 francs.
Paris, 1831. Legoucst. Large 8 vo, pp. 72.
This work, like that of Du Rivage {ante, No. 74), was written
whilst Paganini was at the zenith of his Parisian triumph, and
published some time after as a commentary and criticism upon

his performance as compared with that of the leading professors
of the day. It is an argument to the effect that Paganini was
a charlatan, —
a virtuoso rather than an artist.* The intro-
"
ductory note ends with the remark that Paganini has only
:
formed his entrancing {prestigieux) talent on the exercises that

the great masters have rejected from classical execution,"
and points out that Paganini sacrificed art to the race for
wealth. An interesting note tells us that whilst Paganini
made habitually fifteen thousand francs by every concert he
" "
made
gcive, The Immortal Viotti twelve hundred
only
francs by all the concerts he gave in the year 1783. Mestrino
received a hundred and twenty, and Gervais seventy-two francs
for each concert they played at. The pamphlet was designed as
a warning to young artists, whom the author (rightly) considered
to be in danger of being dazzled and led away by the worship
that was offered to Paganini. It is a temperate and musi-
cianly little woik, and probably gives a better idea of the real
Paganini than any of the hysterical eulogies that were printed
about him. The author might take as his text Montaigne's
celebrated aphorism, "on denature I'art et on artialise la
nature." The pamphlet includes an article on the celebrated
violinists of the preceding sixty years, a critique of Guhr's
work {vide post, sub Instruction Books), and short essays
upon Dragonetti, Paganini, and De Beriot.
Fayolle was born in Paris in 1774(15 August), and devoted
most of his time to the literature of music, to which he made
* A wordexplanation, which I reprint from a novel

in
"
entitled "The
Princess Daphne (ôide post, sub Romances).
" The artist
is master of his violin, the virtuoso is its slave
— the artist reads at sight the most difficult music the . . .
virtuoso plays more, as a rule, by ear than otherwise. The

artist strives after perfection of technique for the inter-
pretation of the works of the great composers for the instru-
ment the virtuoso on the other hand aims at brilliant execu-
;
tion for the interpretation of his own moods, his own thoughts,
his own fantasies."
DE FID ICULIS BIBLIOGRAPIIIA. 46
important contributions, in addition to his other literary work.

He died in reduced circumstances in 1852 (2 December).
81. Ferris, George T.

Sketches of Great
Pianists and Great
|
| | |
Violinists, Biographical and Anecdotal,

|
With |
Account of the Violin and early Violinists. |
Viotti. Spohr. Paganini. De Beriot. Ole Bull. |
Clementi. Moscheles. Schumann (Robert and

|
Clara). Chopin. Thalberg. Gottschalk. "Liszt.

| |
by George T. Ferris "Author of

I I
The |
Great German Composers," The Great Italian

and French Composers," "Great Singers."
I
London, n.d. [1884]. W. Reeves. 8vo, pp.

xvi. and 266.
Were it not that the violinists occupy the major portion of

" Book
this work, it should perhaps have been included under
Sections." Its biographical nature, however, gives it, I think,

a proper place here. The volume opens with an excellent
essay on the violin, its ancestry, its famous makers, and its first
great players. The biographies of the artists named on the
title-page are brief butmost excellent, and it is no disparage-
ment work as a treatise on the violin to say that the
to the
pianoforte and its masters are treated with the same scholarly
simplicity and excellence as the violin and
its virtuosi.
82. F£tis, Francois-Joseph,

Notice Biographique sur Nicolo Paganini I |
suivie
I
del' Analyse de ses Ouvrages et
I
|
precedee d'une esquisse de I'Histoire du

|
Violon par F. J. Fetis Maitre de Chapelle

I |
|
du Roi des Beiges Directeur du Conservatoire |
Royal de Musique.
Paris, 1851. Schoneiiberger. Large 8vo,
pp. 96.
83. English Translation.

Biographical Notice of Nicolo Paginini, | |
followed by an Analysis of his Compositions,

|
and preceded by a sketch of the History of |
the Violin. By F. J. Fetis Chapel-master to

| | |
the King of the Belgians, and Director of the |
Royal Conservatory of Music. Translated by |
Wellington Guernsey.
London, n.d. [ ].
Schott & Co, Large
8vo, pp. ii. and 68.
84. Second edition of the above.
Very much revised by another hand.

Biographical Notice of Nicolo Paganini, [ | |
with an Analysis of his Compositions, and a

| |
sketch of the History of the Violin by

I
F. | |
J. Fetis. Second edition with portrait and

I |
wood engravings.
London, n.d. [1876]. Schott &" Co. Large
8vo, pp. iv. and 90, and xviii.
This is more than a mere biography of Paganini. The work

opens with a sketch of the History of the Violin, from the
time of the earliest true viols^ and of its makers. The notes
on the innovations of Chanot, Savart, and Vuillaume are in-
teresting, and the chapter on Art and Artists is not without
value as a sketch of the progress of execution upon the viol
and violin. The Biographical Section, that gives the title to
the book,is simple and excellent, lacking the detail of Schottky
and Conestabile, but making up for the lack by its accuracy

and conciseness. The work ends with a critical analj'sis of
Paganini's compositions for the violin. The first edition of
the translation by Guernsey is an unsatisfactory production that
shows evidence of haste, if not of ineptitude in the transliteration.
The re-issue by an anonymous revisor is in every way a superior

work.
Concerning Fetis vide post, sub Reference Works.
85. Fetis, Francois Joseph.

Antoine Stradivari Luthier celebre connu | |
sous le nom de Stradivarius precede de [ | j
recherches historiques et critiques sur I'origine |
et les transformations des instruments a archet |
et suivi d' Analyses theoriques sur I'archet

I
et sur Francois Tourte Auteur de ses |
derniers perfectionnements, par F. J. Fetis, | |
Maitre de Chapelle du Roi des Beiges, et Direc-

teur du Conservatoire de Bruxelles.
Paris, 1856. Vuillatime, Ltithier. Large
8vo, pp. xiv. and 128.
86. English t7'anslation.

Notice of Anthony Stradivari,
I
the cele-
I |
brated Violin-maker, known by the name of | |
Stradivarius preceded by Historical and

:
| |
Critical researches on the origin and trans- I
formations of Bow-instruments; |
and followed |
by a theoretical
I analysis of the bow, and re- |
marks on Francis Tourte, the Author of its |
finalimprovements. By F. J. Fetis, Chapel | |
Master to the King of the Belgians and Direc-

tor of the Conservatory of Music at Brussels
I
j
Translated | (with the permission of the
Author) I by | John Bishop |
of Cheltenham.
London, 1864. Robert Cocks & Co. Large

8vo, pp. xiv. and 132.
This is a worthy companion volume to the preceding work,
and like that work it contains even more than is promised by
the title-page. The historical researches on the origin and

transformations of bow-instruments, and on the violin-makers
of the Italian schools from the earliest times, form the supple-
" Notice
ment and complement to the historic section of the
sur Nicolo Paganini." Besides the study of Stradivari, there
are chapters devoted to the Guarnerius family and to Fran9ois
Tourte and his bows. An appendix by the translator contains
an explanation of the illegible letter of Stradivari which forms
the frontispiece to the work,* and an account of Paganini's
Guarnerius preserved in the Municipio at Genoa.
The translationis excellent and
perfectly faithful. The
translator, John Bishop, was born at Cheltenham in 1817
(3TSt July), and at fourteen years of age became organist of the
church of St. Paul in his native town. His contributions to
the literature of music, and especially to that of the violin, are
numerous and of masterly excellence {^vide ante. No. 38, and
post, passivi). He died at Cheltenham in February of the
present year (1890).
87. FouRGEAUD, Alexand7'e.

Les Violons de Dalayrac | | par |
Alexandre
Fourgeaud. |
Prix. 50 centimes.
Paris, 1856. J . Leclere. Large 8vo, pp. 30.
Nicolas Dalayrac being known not as a violinist but as a
composer, have had some doubts as to the propriety of

I
admitting this little work, but I have decided to do so, as it

appears to me to come within this section. The story which it
tells is as follows :
—
The father of this great who was "
Subde'le'gue pour la
artist,
province de Languedoc," had, it would appear, the greatest

objection to the sound of a violin, and took the greatest pre-
* a note in The Times for 28th June, 1862 to the

I find
effect that theoriginal of this letter was sold at auction on the
26th June, by Messrs. Puttick & Simpson, for the sum of eight
pounds.
D
cautions that not only should his family not possess one, but also
that the instrument should be proscribed in his province. The
scene is laid in the town of Muret in Languedoc on a fete day,
the 24th June,1770, when the delinquencies of the young
Dalayrac, in respect of fiddles, have culminated in the pro-
hibition of the use of violins during the fete, whereupon an
uproar arising, M. le Suhdelegue has to submit, and withdraw his

mandat. In the events which follow Nicholas takes the place
of the first violin of the orchestra, in which position he is heard
by the violinist Langle, upon whose representations to the elder
Dalayrac, Nicholas is sent to Paris to study music. Three years

after his parents journeyed to Paris to witness the representation
of his first of a long series of operas. The opusculum closes
with an extract from an encyclopedia published in 182 1, re-
capitulating his successes and talents, and enumerating many
of his works.
The story is told simple and very interesting manner by
in a
M. Fourgeaud, the episodes of his many violins destroyed by
his father (whence comes the title of the brochure), and the
romantic incident of the Ursuline being accorded an unassuming
prominence. The pamphlet appears to be of extreme rarity.
88. GiEHNE, Heinrich.

Zur Erinrierung |
an | Ludwig Sphor. |
Ein
Kunstgeschichtlicher Vortrag |
liber dessen
Leben und Wirken, | gehalten im Cacilien-
|
verein zu Karlsruhe |
von Heinrich Giehne.
|
Karlsruhe, i860. C. F. Midler. 8vo, pp.

26.
This is the published form of a discourse delivered by Herr

Giehne at a memorial concert given by the Cacilien-Verein in
Karlsruhe in honour of Louis Spohr on the 19th December,
1859. It partakes much of the nature of a funeral oration, and
is somewhat its eulogy, but it is not without interest

inflated in
as a critique of the great composer and virtuoso.
D 2
DE FIDICULIS BIBLIOGRAPHIA. 5 i
89. Harrys, Georg.

Paofaniniseinem Reisewao-en und Zim-
I in I
mer, |
in |redseligen seinen
Stunden, in | |
gesellschaftlichen Zirkeln und seinen Con- |
certen. Aus dem Reisejournale von Georg

| | |
H arrys.
Quotation. Fra le care memorie, ed onorate,
Mi sarai ne le gioje e negl' affanni. Tasso.
Brunswick, 1830. F. Vieweg. i2mo, pp.

xii. and 68.
Harrys was a Geniian of English extraction, employed in the

Hanoverian civil service. He was a passionate admirer of
Paganini, and, attaching himself to the great virtuoso in the
capacity of travelling companion and secretary, he travelled
with him throughout Germany for two years, studying his life
and manners, and recording his observations. The above
work is of no critical importance, but is merely a transcript
of the author's travelling journal, interesting by reason of its
details concerning the private life of his hero.
90. Imbert DE Laphaleque, G .
Notice I
sur le celebre Violiniste |
Nicolo j
Paganini | par |
G. Imbert de Laphaleque.
Paris, 1830. E, Guyot. Large 8vo, pp. iv.
and 66.

Some
account of the Celebrated Violinist, | |
I
Nicolo Paganini, translated
I
from the | |
French of G. Imbert de Laphaleque with

| |
I
additional notes. {Ornament^
London, 1830. Chappell, and others. i2mo,
pp. iv. and 66.
DE FIDICULIS BIBLIOGRAPIIIA. 52
It is stated in " La Litterature Fran9aise Contemporaine,"

vol. iv. " Imbert de La "
p. 356, that Phaleque was the
pseudonym of L. F. L'Heritier de I'Ain, but Fetis says that he
personally knew De La Phaleque well in Paris in 1826.31.

His work is ornamented by a curious portrait of Paganini by
N. H. Jacob, and is one of the many essays, published during
the course of Paganini's career, on the personality and technique
of the virtuoso with a comparative analysis of his compositions.
92. James, E .
Camillo |
SIvorl |
a sketch |
of his Hfe, talent,
travels, |
and successes. | By E. James |
Ph.
and Lit. D.
London, 1845. P. Rolandi & Cramer, Beak,
Large 8vo, pp. iv. and 72.
This work, which is, as far as one can tell, the only biography
(in a separate form) that has ever been published of Sivori,

with the exception of Benedit's work above cited (No. 68), has
the disadvantage of having been written when its hero had by
no means arrived at the zenith of his fame, which was not till
nearly twenty years later. Consisting almost entirely of re-
printed press notices dealing with his performances, its prin-
cipal value lies in the fact thatit
supplies much useful material
from which a of Sivori might be written.
life Regard being
had to the fact that he was perhaps the only direct and pro-
perly accredited pupil of Paganini, such a biography needs to

be given to the world. Verb. sap.
93. Jatho, L.
Grabredegehalten bei der feierlichen
]
verewigten General Musik

-
Beisetzung des |
|
direktors und Hof-Kapellmeisters Dr. Louis |
Spohr am 25 October, 1859 von L. Jatho

I | |
Pfarrer.
I
(Der Ertrag is \stc\ zum Besten
|
der Spohr-Stiftung bestimmt.) Preis 2\ Sgr. |

Cassell, n.d. [1859]. Wiegand. 8vo, pp, 8.
This purports to be no more than a funeral oration pro-

nounced over the grave of Spohr by a personal friend, and
possesses all the characteristic faults and merits of such works.
94. KuFFERATH, Maiirice.

Henri Vieuxtemps |
sa vie et son oeuvre.
Brussels, 1882. /. Rozez. 8vo, pp. ii. and

142.
The frontispiece to this work is a most excellent photogravure

of Vieuxtemps in his old age, and at p. 24 is another photo-
gravure of the virtuoso in his youth. The work itself is arranged
in amost ingenious and attractive form by M. Kufferath. The
firsttwenty pages are occupied by his own autobiography, which
was originally published in the " Guide Musicale" (Brussels),
and of which a translation appeared in the "Musical World "
under date June 25th, 1881, d?/ seq.; and this is shortly followed
by the letter he addressed to the Minister of the Interior
relative to his pension (which was never granted to him), and
the statement of his death in 1881 (June 6th). It is at this
point that M. Kufferath commences his work with a half-title :

— " Henri
Vieuxtemps |
I'Homme et I'Artiste |
Essai critique
et notice biographique." This is a very carefully constructed,
and comparative biography, designed to complement
critical,
the short biography of Delhasse {q.v. No. 73a), and the auto-
biography above mentioned. It is
supplemented by a very
interesting appendixcontaining notice of Madame
a
Vieuxtemps (Josephine Eder, the pianiste), and of his brothers
and children, a bibliography of works concerning him, and a

catalogue of his compositions. The work may well serve as a
model biography, and deserves to rank with Conestabile's
" "
Paganini (No. 72) and Pougin's "Viotti" (No. 103).
Maurice Kufferath was one of a family of six distinguished
musicians, of whom the eldest, Jean Hermann Kufferath, was a
very celebrated violinist.
95. Malibran, Alexander.

Louis Spohr sein Leben und Wirken.| |
dargestelt von seinem Schiiler Alexander |
Malibran. Nebst einem Verzeichnisse seiner |
Schiiler vom Jahre 1805 bis 1856. Mit Portrait |
und Fascimile.
Franckfurt a/M, i860. J, D, Satierlander,
Svo, pp. viii. and 248.
This biography of Spohr, preceded by a portrait frontispiece,

shows itself to be the work of a devoted friend and pupil of its
hero, and, as a companion volume toSpohr's autobiography is

an interesting and valuable little work. It traces his life and
his artistic career from his birth to his death. Malibran, born
in Paris in 1823 (loth November), was a violinist, composer,
and musical critic, and was consequently well fitted for the
task of writing this volume, apart from his tutelaryconnection
with his hero,
96. Merlin, Countess Mercedes de.

Memoirs of Madame Malibran by the
| | | |
Countessde Merlin and other intimate friends

j |
I
with a I
selection from her correspondence |
and notices of the | Progress of the Musical

Drama |
in England. |
/« two volumes.
London, 1840. H. Colbtim. 8vo, vol. i.
pp. xvi. and 279, vol. ii. pp. vi. and 294.
This is probably the best life of Madame Malibran de

Be'riot in existence. The first volume is the work of the
Countess Merlin ;
the second commences a new memoir ab
initio, compiled by other hands. In both we find interesting
details concerning the life of her husband, De Beriot the
violinist. The work has been frequently translated. In the
original French it is entitled :
—
" Loisirs femme du

(a) d'une monde." Paris, 1838.
2 vols, 8vo.
In German :
—
{h) "Maria Malibran als Weib und Kunstlerin." Leipzig,
1839. 8vo.
In Italian :
—
(<:)
"La Malibran." Milan, 1840, i2mo.
97. Nathan, Isaac.
\_Title-wrapper\. Memoirs |
of |
Madame
I
Malibran de Beriot |
with |
anecdotes, &c. |
By I. NathanAuthor of " Hebrew Melodies,"

|
"
Musuroria vocalis," etc. Third Edition I I
;
1
with a portrait.
London, 1836. Finch, Cramer, Novello, &c.
Sm. 8vo, pp. vi. and 72.
This opusculum (like No. 96) is interesting to us as giving

a certain amount of information concerning De Beriot.
Incidents of Malibran's married life are numerous in the
pamphlet; most of the scandalous stories of De Beriot's
desertion of his wife's body immediately upon her death, and

hints that he poisoned her, are gathered among the anecdotes
which supplement and terminate it. The first edition of this
work was published in the same year as the third. Nathan
was born at Canterbury in 1792, and, destined for the Church,
contracted at Cambridge a collection of debts that drove him
all over the kingdom to escape his creditors, who finally caught
him, and made him work first unsuccessfully as a singer at
Covent Theatre, and afterwards successfully as a composer
and musical littkrateur. He died at Sydney in 1864 (15th
January).
98. NiGGLI, A .
Sammlung |
Musikalischer Vortrage Nr. |
44/45 I
Nicolo Paganini. |
von |
A. Niggli.
Herausgeber
— Paid Graf Waldersee.
Leipzig, 1882. Bj'eitkopf und H'drtel. Large
8vo, parts 44 and 45, pp. 279 to 350 [pp. 72]
of the Sammlung Musikalischer Vortrdge.
This brochure, as appears from the title-wrapper, forms part

of a series of musical biographies, issued by Breitkopf and
Hartel in separate parts. It is doubly pagmated, as part of
the Sammlung, and as a separate pamphlet. It is, as is the
nature of such publications, principally a condensation of the

previously issued biographies of Paganini.
99. Phipson, Thomas Lamb.

Biographical Sketches |
and [
Anecdotes [
of I
celebrated Violinists. | By |
Dr. T. L.
Phipson.
London, 1877. R. Bentley & Son. 8vo,
pp. xii. and 254.
This volume, though the work of an enthusiastic and

talented amateur violinist, is not of pre-eminent merit. Dr.
Phipson has tabulated in an easy conversational style most of
the accepted data relating to the best known violinists from
1600 to the present day, and has done well in arranging them
in groups under the headings of the masters whose schools
they formed. As a collection of anecdotes the book cannot

fail to be interesting and popular, and is valuable as a note-
book upon the history of violin-playing and technique apart

from its biographical character. Dr. Phipson yet lives near
London, and is destined, we hope, to live long, and to be
remembered as perhaps the most talented amateur virtuoso of
this country.
100. Phipson, Tho77ias Lamb.

Guido Papini |
and the |
Italian School of
Violinists. | By |
Dr. T. L. Phipson |
author of
"
Biographical Sketchesof celebrated Violinists,"
"
I
Scenes from the Reign of Louis XVI.",
"
I
Familiar Letters on some Mysteries of
" and the Opera of La
Nature," Bellini
|
Sonnambula," | &c., &c.

London, 1886. Wertheime7', Lea & Co.
8vo, pp. 24.
The author states that this pamphlet is an appendix to the
foregoing work, No. 99, and it is a warm eulogy of his friend

Papini, a sketch of his career and a catalogue of his works.
It gives one too much the impression of an advertising
puff to
claim very serious attention as a biographical work.
10 1. PoLKo, Elise.
Nicolo Paganini |
und die Geigenbauer.
| |
\ôn Elise Polko.

I
|
Mit dem Portrait Paga-
nini's.
Leipzig, 1876. B. Schlicke. pp. iv. and

230.
An interesting portrait of Paganini by Giesmann forms the

frontispiece to this volume, which is dedicated to Madame
Normann-Neruda (Lady Halle'). The book is written, as
might be expected from the sex of the writer, in a somewhat
romantic vein, and in this respect resembles the work of
Bruni {ante. No. 69). It is not, however, so frankly a historic
romance as the latter work, but may be described as essen-

tiallya popular biography of Paganini. The second part,
dealing with the schools of violin-making from Gasparo da Salo
to the present time, and the third part, an account ofTourte
and the violin-bow, constitute the most valuable section of the
work. The absence of references and footnotes necessarily
detracts from its value as a contribution to the literature of the
violin. Madame Polko, who as Fraulein Vogler achieved a
certain reputation as a singer, was born at Leipzig in 18 31
E
DE FIDICVLIS BIBLIOGRAPHIA. 58
(31st January), has, marriage, devoted herself to

since her
literature, and known
as the authoress of a large number of
is
romances of a type especially suited to the mental capacity of

"
young persons." Her best literary efforts have resulted in
several useful and interesting musical biographies.
102. PooRTEN, Arved.

Tournee Artistique dans Tinterieur de la | [
Russie par Arved Poorten Violoncelliste

I |
| |
Attache a la Chapelle Imperiale et au Conser-

vatoire de Musique de Saint Petersbourg.
I
Brussels,. 1873. ^- Muqttardt {H. Merz-

bacli). 8vo, pp. 142.
Arved Poorten is (or was) a Russian artist who, having

made extensive professional tours with his wife and another
artist in the little-known interior of Russia, was inspired to
write his impressions of the scenes they visited. The little
volume, edited and corrected as to its

orthography by G.
Beringier, is entitled to a place in this bibliography as being
autobiographical. Setting this aside, it is an interesting account
of the Russian interior and of a fiddler's impressions de voyage.
It is dedicated to Prince Orloff, the Russian ambassador to
France. Poorten was born at Riga in or about 1S35, and

came of a highly talented family, all members of learned pro-
fessions. He has been heard all over Europe, and is, or was
until recently, a member of the Czar's private band and a
professor at the Conservatoire of St. Petersburg.
103. PouGiN, A^'thur.

Arthur Pougin. |
Viotti |
et |
I'Ecole Moderne
de Violon.
Mayence, Paris, Brussels, London, 18S8.

Schott freres. Large 8vo, pp. 192.
E 2
I have a little hesitation in saying that this volume is entitled

to rank with Conestabile's biography of Paganini (ante, No. 72)
as one of the two best and most scholarly biographies that
have ever been written touching any master of the violin.
It traces the events of Viotti's life from his birth to his death
in England, and may be said to be perfect save as regards

the end thereof, I find myself by a freak of fortune in a
position to complement this section of the work, and I propose,
when I have leisure, to collaborate with M. Pougin a supple-
ment to this volume. It deals with Viotti as the founder and
originator of the modern school of violin-playing, and contains
an admirable analysis of the man's sentiments and emotions.
It concludes with a valuable bibliography of the works of
Viotti, and a catalogue of his portraits, violins, and biographi-

cal notices. M. Pougin, whose complete name is
Francois
Auguste Arthur Paroisse-Pougin, was born at Chateauroux
(Indre) in 1834 (6th August). He is probably the greatest
writer on music who has lived since the death of F. J. Fetis.
To him is due the continuation of, and supplement to, Fetis'
"
Biographie Universelle des Afi/siciens" without which supple-
ment Fetis' work would be in the present day of but little
contemporary value. If I may be allowed to say so of a
personal friend, I will add that there is hardly a musician or
musical writer living who is not deeply indebted to M. Pougin
for the readiness with which he is always willing to place his
vast stores of knowledge at the service of his contemporaries.
104. Pougin, Arthur.

Arthur Pougin, Notice sur Rode Violon-
| |
|
iste Francais Couronnee par TAcademie des

|
Sciences, Belles-Lettres et Arts de Bordeaux. |
Paris, 1874, Pottier de Lalaine. Large

8vo, pp. iv. and 64.
This biography,like everything else that M. Pougin under-
takes, a pains-taking and faithful record of the life of tlie

is
artist in question. Rode was the chief and most celebrated

DE riDICULIS BIBLIOGRAPUIA. Go
pupil of Viotti, and was recognized as such by the musicians

2nd amateurs of his day. The volume before us, besides his
biography, contains a critical analysis of his compositions and
a quantity of interesting details concerning his portraits^ his
violins, &c., <S:c. It was originally printed in the Acfes de
V Acadeinie Nationale des Sdc?ices, cs^c, de Bordeaux {q.v. post,

sub Proceedings of Societies).
1
05. RiNALDi, Benedetto Gioffredo dctto.
Classica |
Fabbricazione di Viollnl j
in
Piemonte. (In Italian and German.)
Turin, 1873. Printedfor the Author. Large

8vo, pp. 18.
This little brochure, which was written on the occasion of
the Universal Exhibition at Vienna, and dedicated to the
Archduke Ranieri as President of the Imperial Commission
for the Exhibition, is
simply a short biography of the violin-
maker, Johannes Franciscus Pressenda, a fiddle-maker who,
being a pupil of Storioni, though seemingly of some repute in
his own city (Turin), was comparatively unknown in this country
until his name and his work were brought before the musical
world in connection with the case of Hodges v. Chanot (vide
post). It was then that this pamphlet became known to a iQ.\v
English collectors, and, of course, under the circumstances
connected with that case, possessed considerable interest for
those interested therein. It is in duplicate, i.e. the original
Italian followed by a German translation.
is The author claims
to be a pupil and fellow-worker of Pressenda, on which fact
he bases his claim to be his biographer. I knew Rinaldi in
Turin in 1886, when he appeared to be in robust health, but I
understand that he died about three years ago.
106. RUF, S.
Der Geigenmacher Jakob Stalner von
Absam in Tirol |
|
geboren 1621 gestorben

— | |
DE FIDICULIS BIBLIOGRAPHIA. 6i
1683. I
Eine Lebenskizze |
nach Arkunden be-
arbeitet |
von |
S. Ruf.
Innsbruck, 1872. Wagner. 8vo, pp. vlii.
and 64.
This is a most praiseworthy httle work, dealing with the

rather shadowy and romantic hfe of the greatest violin-maker
of the German school, if not the only violin-maker of eminence
that Germany has produced. The data being exceedingly
meagre, the biographical part of this book is confined within
twenty pages, but the author appends veiy interesting chapters
dealing with the Stainer violins, his countless imitators and
the forgeries they have produced, and he gives a full account
of the celebrated Trautmannsdorf Stainer that was the subject
of such a remarkable contract on the part of its noble pur-
chaser. By way of appendix the author reproduces a poem
upon Stainer written by Hermann von Gilm. Herr Ruf was
the author of many philosophical and scientific works, but
found time to be an ardent admirer and champion of Stainer
and his work. He died at Hall in the Tyrol in 1877 (nth
April) having been born in the year 1802.
107. ScHLETTERER, Haus Michacl

Sammlung MusikalischerVortrage. Nr. 29
| |
I Ludwig Spohr von H. M. Schletterer.

| |
—
Herausgeber Paul Graf Waldersee.
Leipzig, 1 88 1. BreitkopfiindHdrtel. Large
8vo, No. 29, pp. 129 to 162 [pp. 36] of the
Sammhmg Mttsikalischer Vortrdge.
Another instalment of the work referred to sub Niggli {vide
ante, No. 98). Like Niggli's life of Paganini it is a compilation
of data gathered from thitherto published biographies of the
artist. Herr Schletterer, who yet lives, is a well-known artist,
composer, and musical writer in Germany.
108. ScHLETTERER, Htius Michael.

Ludwig Spohr's Werke. Historisches und |
systematisches Verzeichnis der Werke

|
von | |
Ludwig Spohr. Herausgegeben von

|
H. M. | |
Schletterer.
Leipzig, 1 88 1.
Breitkopf mid Heirlei.
Large 8vo, pp. xl.
This purports to be no more than a chronological catalogue

of the two hundred and twenty-six works that exist from the
pen of this most prolific composer, published between the
years 1803 and 1857. It is uniform in size and style with the
last-cited work, but it does not form part of the Sammlung, like
Nos. 98 and 107.
109. ScYLOTTKY, Juliits Max.

Paganini's |
Leben
und Treiben als | [
Kiinstler und alsMensch; mit unpartheiischer | |
Beriicksichtigung der Meinungen seiner An-

|
hanger und Gegner, dargestellt

j |
von | Julius
Max Schottky, |
Professor.
Quotation.
"
Bisogna forte sentire per far sentire."
Nicolo Paganini.
Prague, 1830. J. G. Calve. Large 8vo, pp.
xii. and 410 and x. and i
folding plate.
The frontispiece to this work is an engraved portrait of

Paganini by Dobler. Whilst not in any way approaching in
merit Conestabile's work (No. 72), it may yet be considered to

be one of the most important books written about him —
though, as Fe'tis justly observes, it is little more than a reprint
of all the comments of the press upon the virtuoso. It is,
however, edited with a scrupulous fidelity and care such as only

a German editor can devote to a subject. Written and pub-

lished whilst Paganini was in the midst of his triumphal progress
round Europe, it deals only with his successes in Germany.
His tours in France and England are merely referred to at the
end of the volume as projected or conjectural {inuthmasslich).
The third section of the book is the most interesting, as it deals
with Paganini's personality and family and individual history,
and with some of the leading events and incidents of his artistic
career prior to 1820. At the end are some facsimiles of his
writing and musical notation. The book is massive, but it is
badly printed on light inferior paper. Schottky was professor
of literature in the University of Prague, and his work gains an
additional interest from the fact that he was Paganini's personal
friend,charged by him with the refutation of the many calum-
nies that were spread abroad concerning him.
1 10. ScHULER, Johannes.

Deutsch-Osterreichische National-Bibliothek.
Band I. Herausgegeben von Dr. Hermann
I
Weichelt. Jakob Stainer. Novelle

|
von | | |
Johannes Schuler.
Prague, n.d. [1884]. Weichelt. 8vo, pp.
64.
This little work, which is

prefaced with a short biography of
itsauthor, is, like the works of Elise Polko and Oreste Bruni
(Nos. loi and 69), a fanciful biography of the great German
violin-maker, set out in the form of a romance. Stainer's
legendary life lends itself well to such treatment, and the author
has made the best possible use of his opportunity. Schuler
was born in 1800 (nth December) at IMatrei in the Tyrol.
He was a lawyer and statesman of considerable note, but found
time to write a good many works of a light and romantic
nature. The " novelle " under consideration was written by
him in 1828, and was, apparently, first published by Wagner dX
Innsbruck in 1861. {Vide post, sub "Book Extracts.")
DE F/DICULIS BIBLIOGRAPHIA. 64
111. ScHUTZ, Friedrich Carl Jttlius.

Leben, Charakter und Kunst des RItters | )
I
Nicolo Paganini. Eine Skizze vom Pro-
| | |
fessor Dr. F. C. J. Schiitz. {Ôrnament.) Mit | \
Paofanini's Portrat.
Ilmenau, 1830. B. F. Voigt. 8vo, pp. ii.
and 98.
This work contains a portrait of Paganini (by way of frontis-
piece) which purports to be " taken from life." It opens
with an introduction of 14 pp., after which the first part consists
of a description of the virtuoso's life up to date, and a study of
his character, which has the merit of being treated in an
original manner instead of being merely a condensation of
previous biographies. This is followed by a study of his
technique as an artist, and an

analysis of his compositions.
The appendix consists of a romantic sketch entitled, " Ciicilia :
Eine musikalische Arabeske, von Isidore Dr. Schiitz was a

professor in the university of Halle, and an alumnus of the
university of Jena; he lived successively at Rudolstadt,
Merseburg, and Plamburg, and was alive in 1862. {Fctis.)
112. SÔll-R, Ljidwig.
Louis Spohr's Selbstbiographle.
|
| {Orna-
menL) \
Erster Band.
Cassel and Gottingen, i860. G.H. Wigand.
8vo, pp. xvi. and 350, and 9 leaves of facsimile
autographs.
Zweiter Band.
Cassel and Gottingen, 1861. G. H. Wigand.
8vo, pp. ii. and 414, and 6 leaves of facsimile
autographs.
Louis Spohr's Autobiography. Translated [
from the German. Copyright Edition.

|
DE FIDICULIS BIBLIOGRAPHTA. 65
London, 1865. Longmans, Green Co, &

Large 8vo, pp. viii. and 242 {sic^ should;
be 2,\2.
London, 1878. Wm. Reeves. Identical book.

cannot be too greatly deplored that Spohr and Vieux-
It
temps are the only eminent violinists who have written their
autobiographies, or left behind them autograph materials for
their biographers towork from. The nature of the work under

consideration gives it a living charm and interest that no mere
historian can weave into his work. Though Spohr ceased
writing his autobiography in 1838, and did not die until 1859,
the editor of the work had ample means whereby he might
enter into the spirit and life of the artist, for his wife and
family continued to keep copious memoranda of all his doings,
from which notes the work was completed after his death. It
is probably the completes! existing biography of any violinist

that has risen to eminence.
This book was printed abroad, and has been issued in
England by various publishers since 1865, always with a new
title-page substituted for ihe original
— if such ever existed !
114. Thoinan, Ernest [pse7idonyni'].

Louis I
Constantin Roi des Violons
j
1
624- 1 65 7 Notice
I Biographique avec ]
un facsimile de brevet de maitre joueur

|
d'instruments de la ville de Paris par | j
Er. Thoinan. [0 rnajuent .^

Paris, 1878. J. Baur. 4to, pp. 16.
Of this work only one hundred copies were printed, and it is

consequently of excessive rarity. It is beautifully printed in
black and red as an Edition de Luxe, in a style worthy of a

scholarly treatise on one of the leading figures in the curious
confraternity of master violin-players, a guild which possesses
an entire Hterature of its own, but a literature which it is very
difficult to discover or to procure. The value of this brochure
F
is further enhanced by the facsimile brevet named on the title-

" Ernest Thoinan " is
page. the literary pseudonym of Antoine
Ernest Roquet. He was born at Nantes in 1827 (23rd Janu-
ary), and being brought up to a mercantile career, he travelled
all over Europe and a good deal out of it.
Apart from his
business, however, he is known as one of the greatest authorities
on musical history of this century ; his library is, or was, superb,
and he was one of the collaborators of M. Pougin's supplement
" "
of Fetis.
to the Biographic Universelle
115. Thoinan, ^rwî-/.
Mavgars Celebre Joueur de Viole, Musicien

|
du Cardinal de Richelieu, Conseiller, secretaire,

|
interprete du Roi en langue anglaise, Traduc-

|
teur de F. Bacon, Prieur de Saint- Pierre|
Eynac, sa|biographie suivie de sa Response | |
faite a un curieux sur le sentiment de la

|
Musique d' Italic. Escrite d Rome le premier

|
octobre, 1639. |
Avec notes et eclaircissements |
par I
Er. Thoinan.
Paris, 1865. Clazidin. Large 8vo, large
paper, pp. iv. and 44.
Like the author's " Louis Constantin," the edition of this

work was limited to one hundred copies, of which fifteen were
printed upon large Dutch paper. Copies of both the large and
small paper editions are exceedingly difficult to obtain, espe'
which contain, between pages 12 and 13, an
cially the former,
interpolated leaf, on which is printed an anecdote of Maugars,

more curious than polite, which is merely referred to in the
small paper edition. The pamphlet contains most valuable
information relative to the viol and its players, and terminates
with a reprint of an exceedingly rare pamphlet, discovered by
M. Thoinan in the Mazarin Library, bound up with a quantity
of other musical miscellanea, and is further enriched by him

with scholarly footnotes.
1 2
1 16. Valdrighi, Lttigi Francesco.

Luigi Francesco Valdrighi. | Musurgiana |
(No. 4), Violoncellista Tonelli

I
II e Suor' | |
Maria Illuminata corista ed organista delle |
Clarisse di Carpi nel secolo xviii. |
Modena, 1880. G. T. Vincenzi e nipoti.

Large Svo, pp. 54.
This opusculum is No. 4 of Count Valdrighi's " Musur-
giana," a series of pamphlets on musical subjects. It contains
interesting brief notices of some of the leading violin-makers

and artists of the last century, as well as a biography of Tonelli,
and an analysis of his compositions. Tonelli is little known to
English amateurs, but the pamphlet is an interesting account
of the artist life of the eighteenth century.
117. ViisYnx, Ludolf.

Paganini's Leben und Charakter
|
nach |
Schottky. dargestellt von

I
Ludolf Vineta. | | |
Mit Paganini's Bildniss.

Hamburg, 1830. Hoffman iiud Cainpe.
Large Svo, pp. iv. and 52.
Vineta is stated in a footnote to the preface of Conestabile's
work {vide ante,No. 72, p. 4) to be the pseudonym of L.
Wienberg. Whether be so or not, there seems to be no
this
means work under consideration is not

of ascertaining, but the
of great importance, being another of the ephemeral pamphlets
published about Paganini in the cities that he visited. The

author has borrowed a good deal from Schottky (No. 109) ;
indeed the work purports to be little more than a condensa-
tion of Schottky's volume. It concludes with a romantic story
about Paganini (not mentioned on the title-page), entitled :

—
"Phantasien aus B. moll,
|
Am Abend des 16 Junius, 1830.
j (
Von einem tauben Maler." This romance has a separate

of its own, but the pagination is continued from the
half-title
" "
main pamphlet. Vineta's name is erroneously spelt Vinela
oy Fetis.
DE FIDICULIS BIBLlOGRArillA. 68
SECTION II. SUB-SECTIOiN I.
Biographical Advertisements.
In addition to the above, which are, properly-

speaking, biographical works, there are in
existence quantities of pamphlets, issued at
the expense of artists or their managers, com-
posed of reprints of the opinions of the press anent
their performances, often prefaced v/ith a short
biographical sketch. It has only been after
mature consideration that I have admitted such
publications into this bibliography on the ground
that future years they must come to be re-
in
garded (if they survive) as documents and

materials towards the history of the violinists of
the present day. I have not devoted much time
or attention to their collection, but have picked
them up when they fell under my hands.
ii8.
Joseph Gungl, Memoir, Opinions of the Press

and Catalogue.
London, n.d. [1874]. A. Hammond. Svo,

pp. 16.
This opens with three pages of Gungl's biography up to date

(1874) and six pages of opinions of the press. The remaining
six pages are filled with a catalogue of his thitherto published
compositions.
DE FIDICULIS BJBLIOGRAPHIA. 69
119.
The Great Violin Virtuoso Ovide Musin.
New York, n.d. [1886]. Svo, pp. 8.
Half a page of biography, and the rest opinions of the
American press.
120.
Maud Powell, her Triumphs in Europe and
United States.
New York, n.d. [1887]. 8vo. pp. 8.
Two pages of biography, and the rest opinions of the
American and European press.
121.
Tivadar Nachez. Violin-Virtuose. Bio-
graphisches- Kritisches.
8vo, pp. 64 and a quantity of
Berlin, 1884.
supplementary sheets issued from time to time.
This is the largest collection of press notices I have ever
seen relating to one artist. They are prefaced by two pages
of biography.
70
part IF.
Section IM.
WORKS ON VARNISH.
In attempting to tabulate the works

properly
to this am confronted
section,
I
appertaining
with a great initial difficulty —
that of selection.
Though only three works dealing ostensibly and
distinctively with violin-varnish are known to me,
I have collected
many works dealing with varnishes
in general, which have been of the greatest value
to me in experimenting with their composition.
To discover the secret of the old Cremonese
varnish, about which we hear so much that is
extravagant, it is obviously necessary to obtain
some information as to the materials at the
disposal of the old fiddle-makers in compounding
that varnish. I have consequently appended to
this section,two sub-sections, No. i giving the
titles of a few of the most important works on
materials, published during the period when the
great fiddle-makers were actually at work and ;
No. 2 giving the titles of what I think are the most

important works that have been published on
varnishing in general. The titles in these two

sub-sections are selected from many scores of such
works, as having special interest for violin-makers,
and as such I venture to hope they will not be
found out of place in a bibliography of bow-
instruments.
122. Mailand, Eugene.

Bibliotheque des Professions industrielles et
agricoles Serie G., No. 17.
|
Decouverte des | |
I
Anciens Vernis Italiens employes pour| | |
les Instruments a Cordes et a Archets par | | |
M. Eugene Mailand, 5 francs. |
Paris, 1859. E. Lalmre ^ Co. 8vo, pp.

170.
123. Second Edition.

Same title, with :
— Nouvelle Edition |
Un
volume relie.
Paris, 1874. E. Lacroix. Svo, pp. iv. and

170 and ^2.
This is leading work on the Cremonese
the varnishes.
Both editions are absolutely identical, and are probably-
printed from stereotyped plates. The seventy-two pages at
the end of the re-issue of 1874 are merely Lacroix's catalogue
of publications. The work is divided into two parts, the
former of which is, in a measure, historic, and consists of a
tabulation of all the recipes available for violins contained
in theworks of writers who have made a study of varnishes :
—
itmay be called a bibliography of varnishing. The latter part
appeals directly to the violin-maker, and is filled with minute
instructions in sizing, the coloration of essential oils, and
lormulffi for varnishes of all kinds. It is a work that no
practical violin-maker can afford to be without.
DE FIDICULIS BTBLIOGRAPHIA. 12
124. Reade, Charles.

Title-wrapper. A lost art revived. .
Cremona Violins and Varnish,

| by Charles | |
"
Reade. Reprinted from
|
the Pall Mall
Gazette'' | by | George H. M. Muntz.
Gloucester, John Belloivs.
Title-page. Cremona Violins. |

Four letters
descriptive of
1873 {sic)
| |
those exhibited in
I
at the South Kensington Museum. Also
I
| |
giving the data for producing The True |
Varnishes used by the Great

|
Cremona |
Makers. Reprinted from

|
the " Pall Mall |
Gazette" by George H. M. Muntz. Birch-

| |
|
field. Entered at Stationers' Hall.

I
Price
\s. 6d. I 1873. 8vo, pp. 38.
This pamphlet, which is beautifully and artistically printed,

isa reprint of four letters published by Mr. Charles Reade in
the Fall Mall Gazette, on the 19th, 24th, 27th, and 31st
August, 1872, during the Great Exhibition of Ancient Musical
Instruments held at South Kensington in that year {vide post,
sub Periodical Publications). The first letter opens with a
dissertation on the violin^ its construction and component
parts, and on the order in which the four bow-instruments

were invented. Mr. Reade then goes on to discuss the first
makers of the violin, and the last makers of the viol, illustrating
his remarks by reference to instruments in the Exhibition. In
the next letter he passes from theBrescian to the Cremona school,
reviewing the Amati family, and giving a most interesting dis-

sertation on Stradivarius. This letter concludes with a sketch
"
of the great connoisseur Tarisio, headed The Romance
of Fiddle-dealing," under which title it has appeared in a
great many other places. The third letter goes on describing
and commenting on the violins in the collection and their
DE FIDICULIS BIBLIOGRAPHIA. j^
makers. This a most valuable analytical and

letter contains
progressive essay on Joseph Guarnerius^ besides shorter ones

on Carlo Bergonzi, Steiner, Sanctus Seraphino, and Dominic
Montagnana. The fourth letter, which is the most valuable to
readers who did not see the Exhibition, is a most interesting
and able discourse on the renowned varnish of Cremona, and
will be read by all violinists, whether makers, dealers, or
p'ayers, with the greatest appreciation. The whole work is
one of the best opuscula ever presented to the musical world
on the subject of the violin, and was especially valuable in
1872, when the readers of the letters could take them to the
Museum with them, and see the very instruments in question
before their eyes. The pamphlet is reprinted in extenso in
" Readiana "
{q.i'. post, sub Book Sections) .
SECTION III. SUB-SECTION I.
Works on Materials used in Compounding

Varnishes.
\Published conteinporaneoiisly with the Cremonese

and other Italian Schools of iolin- making ?\ V
125. FiORAVANTi, Leonardo.
Miroir Universel des Arts et Sciences de
M. L. P., Bolognois. Divise en trois livres.
Paris, 1586. Fol.
This work was originally published under the title :

—
126. Dello Specchio di Scientia Universale, libri
tre.
Bologna, 1564, and Venice, 1567. Fol.

It has been largely quoted as an authority on the subject of the
lost violin varnish, probably on account of its antiquity. It is
not, however, of any great value, containing only one section in

point, viz. :
—
Book I. Traitant de tons les arts libcraux
et mecaniqnes et des secrets les plus importants
d'iceux.
127. AuDA, Fiâ Domenico.

Breve Compendio di Maravigliosi Segreti,
Approvati e Pratticati, con felice successo nelle
indisposition! corporali.
G 2
Rome, 1663. 4to.

This work gives several contemporary recipes for varnishes,
and deals at length with the materials employed in their manu-
facture. A condensation in a popular form was published
later, under the following title :
—
128.
de Spetiali. Che per modo di
Pratica
Dialogo contiene gran parte anco di Theorica.
Venice, 1670. 241110.
129. 2.Kw^^ Joliann.

Oculus Artificialis Teledioptricus, &c., &c.
Editio Secunda Auctior.
Norimbergae, 1702. Fol.
619, Chap.
p. X. Vernicis Sinensis
Sect. v.
ophme prceparandcs praxes va7't£E deciarantiir.
(Giving ten recipes.)

Sect. vi. Ustcs vcrniaim indicatarmn pro
variis relus exiniie illustrandis declaratiir.
Sect. vii. Vernices alias oleagineas prce-

stantes prceparandi praxes varies tndicantiir.
(Giving seven recipes.)

130. The
first edition of this work, identical as
regards the above recipes, was published at :
—
HerbipoH, 16S5. Fol.
131. CoRONELLi, Vincenso.

Epitome Cosmografia, o compendiosa introdut-
tione air Astronomia, Geografia, e Idrografia.
Colonia, 1693. ô\.
This work contains two recipes for varnish, interesting by

reason of their date. They are to be found in :
—
Chap. yixyXi., Delia Vernice per dare soprali

Globi, and terminal chapter, Delle Vernice che si
adoprano sopri i rami per incidere ad Acqua
Forte.
132. PoMET, Pierre {Marchand Epicier et Dro-

guiste) .
Histoire Generale des Drogues.

Paris, 1694. Fol.
Part i.. Book vii. Des Gommes.
This work contains much interesting information on the sub-
ject. There are fev sections called *' Part i. Book vii." The
above reference is to the second of them.
SECTION III. SUB-SECTION II.
Works on the Art and Practice of

Varnishing.
133. Watin, /^ Sieur.

L'Art du Peintre, Doreur, Vernisseur.
Ouvrage utile aux artistes et aux amateurs qui
veulent entreprendre de peindre, dorer, et vernir
toutes sortes de sujets en Batimens, Meubles,
Bijoux, Equipages, &c.
Liege, 1774. [Secojid Edition.)
This gives a recipe for a violin varnish, compounded with
spirit (pp. 230 and 277), which must be of poor quality. In

"
this recipe occurs the item of pounded glass," which has led
many subsequent writers to imagine that it is included as a
soluble substance instead of, as is the case, as a mechanical
contrivance for mixing the materials.
134. BoNANNi, Filippo. [/?. P. della Compagnia

di Gesu7\
Trattato sopra la Vernice detta commu-
namente Cinese.
Rome, n.d. [1702]. G. Placho. 410.
This is a treatise on the then newly invented varnishes

compounded of spirits of wine and gum-lac.
135. Guidotti, Angelo Maria Alberto.

Nuovo Trattato di qualsivoglia sorte di
DE FJDICULIS BIBLIOGRAPHIA. 78
Vernici Communemente dette della China

Formate secondo, chi si practica in Francia,
in Inghilterra, ed in altre parti dell' Europa.
&c., &c., &c.
Bologna, 1
764. Lelio dalla Volpe. 8vo.
Thisa most valuable work for persons interested in this

is
apparently unanswerable question of the varnishes with which

the Italian violin-makers covered their instruments. It was
written when the old varnishes of Cremona were just be-
coming panoplied in mystery, and when gum-lac first came into
extended use in the composition of varnishes. Guidotti
claims in this book to be the discoverer of the spirit varnish,
compounded of gum-copal, and his observations upon this
gum and uponthe varnishes made with essential oils, are full
of interesting information and suggestion. His information on

the coloration of varnishes is minute and detailed, and his
recipes for various kinds of sizing, and even of glues are more
than valuable. The arts of japanning, gilding, and dyeing, are
all set out, and the author gives recipes for extracting the
colouring matter from almost every known vegetable.
136. TiNGRY, P. F.
Traite Theorique et Pratique sur I'Art de
faire et d'appliquer les Vernis, &c.
Geneva, An. xi.
[1803]. 2 vols., 8vo.

The Painter and Varnisher's Guide, or a
treatise both in theory and practise on the art of
making and applying varnishes.
London, 1804. Kearsley. 8vo.
An excellent and practical work, dealing instructively with

ihe thcor)- of varnish composition.
138. Tripier-Deveaux, a. M.
Traite theorique et pratique sur I'Art de
faire les Yernis, suivi de deux Memoires.
Paris, 1845. ^- Mathias.
This work is largely a collection of the data given by the

older writers on varnish, but it is very comprehensive and
encyclopaedic in form. The author reproduces Watin's (No-
133) recipe for violin-varnish.
part h
W. Section
THE HISTORY OF THE VIOLIN.
139. Anonymous.
A Short Account ofa
Violin by Stradivari,
| |
dated
I
1690; |
now
the possession of
in
|
Messrs. W. E. Hill and Sons.

London, 1889. Hiirs. Large 8vo, pp. 12.
139^:. Second Edition. Identical title-page,
PP- 13-
1 3 9 <5 . Th ird Edition .
The " Tuscan." |

A short account |
of a |
Violin by Stradivari, |
made for |
Cosimo de
Medici, Grand Duke of Tuscany, dated 1690.
| |
London, 1891. Hill's. Large 8vo, pp. 14,

and two sheets offacsimiles .
This exquisite pamphlet was issued in 1889 by Messrs. W. E.

Hill and Sons, to celebrate their possession of the "Tuscan
Strad.," which instrument was offered for sale by them early
in the year. Two editions were issued within the year — the
first in paper covers of brown and gold, and illustrated with
facsimiles of the ticket in the violin and of an identifying docu-
ment relating to it, whilst the second and third are probably the
most sumptuous publications ever issued for a similar purpose.
B
To face page 82, Vol. I.
DEFENSE
DE LA BASSE
D B V lOLE
Ctmtrt Ui Emriprifes du
V
Et
I
les
OLON
Pretentions dit
VIOLONCEI4,
Pat MONS IE UR
HUBERT IE BLANC
DoQeur en Droit,
A AMSTERDAM,
Chez PIERRE MORTIER.
MDCCXL.
Title-page of Le Blanc's " Defense de la Basse de Viole." Vide No.
141, Vol. I.
[From the copy in the Author's collection.]

DE FIDICULIS BIBLIOGRAFHTA. 82
They are bound

green cloth and gold, tied with crimson
in
silk some further printed matter and three
ribbons^ and contain
very fine chromolithographs of the violin executed by Alfred
Slocombe.
140. Berenzi, Angela.

Gli I
Artefici Hutai Bresciani |
Lettura |
fatta
air Ateneo di Brescia |
nell' adunanza del 12
Gennajo, 1890, dal Sacerdote Prof.
| | Angelo
Berenzi, |
Membro dell' Accademia. | \Quota-
tion.~\
Fra tutti gli strunienti imisicali il violino\
solo sembra avere co??ie ttne dine qui pense et

qui plettre, \ qui s' exalte
\
et qui s'attendrit. —
Paul de Saint-Victor.
Brescia, 1890. F. Apollonio. Large 8vo,
pp. 32.
This little work, the printed form of one of Professor Berenzi's
lectures, consists of twenty-one pages of text and eleven of
notes. To say that the notes are as good as the text is to pay
a high compliment to the whole work. I have no hesitation
in saying that there is more to be found concerning the
Brescian makers in this little pamphlet than in the entire
remaining mass of violin-literature. In the last of his notes
Prof. Berenzi gives a list of thirty of them.
141. Le Blanc, Hubert.

Defense |
de la Basse |
de Viole |
Centre les
Entreprises du |
Violon |
Et les Pretentions du
I
Violoncel. |
Par Monsieur Hubert |
le Blanc,
Docteur en Droit. [Ornament).
M
I
Amsterdam, 1740. Pierre or tier. 24mo,

pp. vi. and 148 and xii.
B 2
This remarkable little book, which is certainly the most

curious and probably the rarest known work dealing with the
history of the violin, has two objects, viz. to instruct and to
amuse. The instructive arguments set forth by the author are

shown by the headings of the three parts into which his work
is divided, to wit (i.)
— A Dissertation on Pieces and Sonatas,
(ii.) To which of the two should one accord the preference, the
Violin or the Bass Viol ? (iii.) Method of making all composi-

tions- playable on the Viol and Counter Viol. Precautions to
be taken in mounting the strings, and the manner of tuning it.
The amusement one derives is from the manner in which
this matter is set forth. The author describes a cabal
formed by the violin, the daveqtn, and the violoncello against
the Viola- da-gam ba during her absence from Paris, the means
adopted by the Viola to re-establish her rights, in which effort
she succeeds as far as salons are concerned, but fails as
regards concert-room and open-air muîc. Apart from its

polemical object, the little book contains important data con-
cerning the state of music in the first half of the i8th century,
and upon some of most notable masters, especially with
its
reference to Marais (pere) and Forcroi.

M. le Blanc (or Leblanc) was a doctor of laws established
in Paris, and, according to F^tis^ was a most eccentric person.
Fetis tells us that having in vain tried to get his work printed
in Paris, he was so elated when he heard that Mortier was
willing to undertake it, that he started on the spot for Amster-

dam in his dressing-gown, night-cap, and slippers. The
anecdote ceases abruptly at this point, and the authority is not
given.
142. Broadhouse, yohn.

Facts about Fiddles, Violins, Old and New. [
by John Broadhouse, Reprinted from" The

I I |
Musical Standard."
London, n.d. [1880]. W. Reeves. 8vo,

pp. 20.
DE FIDICULIS BIBLIOGRAPHIA. '
84

"
Same title, with Second Edition, |
En-
larged."
pp. 24.
144. Third Edition.

"
Same title-wrapper, with Third Edition, |
Enlarged."
pp. 24.
This pamphlet purports to be an argument against the
fetish-worship accorded to the masterpieces of Cremona, and
in defence of the excellence of some of the modern workman-
ship. So far so good, and I am quite in sympathy with the
author's text, but when one finds that the object of the work
is to show that at the head of violin-makers, old and new,
stands a " Mr. John Day (of whose very existence I
"
am com-
pelled to argue myself unknown by confessing my ignorance),
one is apt to detect a perfume of " puff," and discount the
literary value of the opuscule, which is, barring this defect, well
aroued.
'o^
145. Chanot, Georges.

Hodges V. Chanot, |
Criticisms and Re-
marks j
on the I
Great Violin Case. |
March,
1882.
London, 1882. Mitchell & Hiighes. 8vo,
pp. 7.
This is a most interesting ephemeris, which will, doubtless,

one day be scarce and valuable. It consists mainly of part
of an article from The Times, part of Chanot's reply thereto,
and a long article which appeared in TrutJi on the celebrated
violin-case of Hodges versus Chanot. I have given the whole
of these articles, with the other opinions of the press and the
history of the case, in my pamphlet on the subject {q.v.

No.
169). Chanot is a son of the celebrated French maker,
Georges Chanot (whose business is still carried on in Paris
under the style of " Chanot, Chardon et Cie."), and nephew of
the Fran9ois Chanot who invented the guitar-shaped fiddle
distinguished by his name. The author of this pamphlet still
works in Wardour Street.
146. Desmarais, Cyprieii.

Archeologie du Violon. |Description | |
d'un Violon Historique et Monumental (i.) |
par Cyprien Desmarais. \_Quotationsr\^

Arte materna rapidos morantem
Fluminum lapsus, celeresqtte ventos,
Blandum et auritas fidibus canoris
Ducere querats.
Horat. L. i. Od. xi.
Carmina vel coelo possutit deducere lunam ;

Carmmibiis Circe mutavit Ulyssei ;
socios
Frigidus in pratis cantando rumpitur anguis.

Virg. Eel. viii.
Prix : I f.
25 c.
(i.) Ce
Violon est depose chez M. Chanot, Luthier,
Passage Choiseul, No. 15.
Paris, 1836. Dcntu and Sapia. Large 8vo,

pp. 38.
This is at the same time one of the rarest and one of the most
interesting pamphlets ever published on the violin.
note on A
the title-page informs us that the instrument which is the
of the
subject of this little brochure was to be seen, at the date
" chez M.
appearance of the work, Chanot, Luthier, Passage
" Messieurs
Choiseul, No. 15." The opuscule is dedicated to
lesmembres de rinstitut Historique. Chap. I., "A few words
on the physiology of the Violin," is a romantic conjectural
essay on the ancestry of the violin and the origin of
its form.
" The "

Chap. 11. , Origin of the Violon Historique^' by whom it
was made, and a glance at the History of Viohn-making,"
commences by announcing the making of this celebrated fiddle
by Madame Florentine Demoliens Chanot, wife of Georges
Chanot, the eminent Parisian fiddle-maker, and proceeds to
review the annals of fiddle-making, from the founding of the
Brescian school in the 15th century, with a view to enumerating
the occasions on which women had before adopted the calling
oi artistes en Lutherie, beginning with the daughter of Antonius
Amati (who is said to have become the wife of Jacob Stainer),
who used to make the scrolls of fiddles for her father. The
author then tells the story of the gaoler's daughter who is said
to have supplied tools and wood to Joseph Guarnerius when he
was in prison, and goes into a disquisition upon the French origin
of the violin and its adoption by the kings of France for their
chamber music, and upon the error made by Valeriano, Vigenere
and Laborde in ascribing to it a classic origin. The chapter
concludes with notices of two other fiddles, the work of Madame
Chanot, a short recapitulation of the circumstances under which
the subject of the present brochure was made, and the artists
"
who contributed to its
perfection. Chap. III., General idea
of the drawing painted on the Violon Hisioritjue et Mo?tu?nefital"
goes into the reasons which prompted the adoption of the
design, and gives an essay on the string instruments of the
"
most ancient nations. Chap. IV., Explanation of the
drawing on the Violon Historiqiie et Motmmental" gives an exact
description and explanation of the different parts of the orna-
mentation of this unique instrument.
147. DiEHL, Nicolaus Louis.

Die I Geigenmacher der Alten Italienis-
I I
chen Schule. Eine Uebersicht aller bekannten

|
italienischenGeigenmacher der alten Schule, |
Charakteristik ihrer Arbeiten, getreue Ab-

bildung der von den Hervorragendsten unter
I
ihnen gebrauchten Zettel in den Instrumenten |
nebst einer vorausgehenden Abhandlung |
liber den Ursprung der Geige, &c., von | |
Nicolaus Louis Diehl, Geigenmacher in |
Hamburg, Firma|Jacob Diehl.
Hamburg, 1864. J. P. F. E. Richter.

8vo, pp.

Same title, with " Zweite Auflage."
Hamburg, 1866. J. P. F. E. Richter.

Large 8vo, pp. '^2.
149. Third Edition.

Same title, with ^'
Dritte Auflage," and with-
"
out Firma Jacob Diehl."
Hamburg, 1877. J . F. Richter. 12 mo,
pp. 46.
A very praiseworthy little book, condensing much useful and
interesting information into a very compact and inexpensive
form. After a short essay on the origin of the violin, follows
a catalogue raisontie of all the leading makers of the Italian
schools, with notes on their leading characteristics. The work
concludes, of course, with a notice of Stainer.
150. DuBOURG, George.

The being an Account of that
Violin, | |
Leading Instrument and its most eminent

| |
Professors, from its

|
earliest date to the present
time, including
I
Hints to Amateurs, Anec-
|
dotes, &c. by George Dubourg.

I I
London, 1836. Henry Co Iburn. Small 8 vo,

pp. iv. and viii. and 276.
151. Second Edition .
Same title, differently composed in a border,

"
red and black, with Second Edition."
London. 1837. Colbnrn. Small 8vo, pp. iv.
and viii. and 276.
152. Third Edition .
Same title, in red and black, in different

"
border, with Third Edition."
London, n.d. [1850]. R. Cocks Co. and &
Simpkin Marshall. Small Svo, pp. iv. and
viii. and 276.
153. Fourth Edition.

Same title, differently composed, with
" revised and considerably
Fourth Edition, |
enlarged."
London, 1852. Same ptLblishers. Larger
Svo, pp. xii. and 410 and 10.
154. Fifth Edition.

"
Same title, composed, with
differently Fifth
Edition, newly
|
revised and enlarged, | by |
John Bishop, of Cheltenham."

|
London, 1878. Same publishers, pp. ii. and

xviii. and 336 and 10.
This — one
of the principal EngHsh works on the violin —
has doubled or trebled in volume and value since its first
appearance in 1836. The first three editions were identical,
but the work was largely revised and augmented by the author
in 1852, whose labours were in turn immensely supplemented
by those of John Bishop in 1878. The work is diffuse, and a

"
good deal jumbled together," the subject matters not being
confined beneath their subject headings, but permitted to
wander about among the chapters, but the mass of informa-

tion contained in the volume possesses a value which it would
be impossible to over-estimate. Any editor of an ingenious
turn of mind could re-arrange the material into a first-rate
history of the violin. Dubourg's chapter on Paganini is very
interesting as being one of the few contemporary accounts of
the virtuoso written in the English language. The volume
purports to deal, as the title-page denotes, with violin players
rather than makers, but an excellent chapter on the con-
struction of the instrument is contained therein. Mr.
Bishop's supplement consists of an able chapter on living
violinists (1878), and a most scholarly essay on Baltzar and
"
Mell, violinists at the period of the restoration." George
Dubourg was a grandson of the eminent violonist Matthew
Dubourg [pupil of Geminiani, b. 1703 and d. 1767], and was
bornin 1799. He died at Maidenhead in 1882 [17th April].
I am not acquainted with any work of his other than the above.
155. Engel, Carl.

Researches |
into the | Early History |
of |
The VioHn Family, | by |

Carl Engel.
London, 1883. Novello, Ezver fy' Co. Large
8vo, pp. iv. and 168.
Onthe publication of this really excellent and most scholarly
book, became " a man with a grievance," for I claim to have
I
"
The Ancestry of the Violin," q.v. No. 167) the
originated (in
archseologic theory put forward by Engel, to whom I had sent
my pamphlet. Mr. Hipkins, who edited the work under notice
after the author's death, called attention "to the interesting
chain of reasoning which derives the mediaeval Rotte from the
old Greek lyre," and on my communicating with him, he
generously allowed my claim to precedence in the Musical
Review (21st April, 1883). I published the correspondence
"
in a foot-note in my book Violin-making" (No. 25). It is
this theory of the evolution of the crwth from the Greek lyre,
and the violin from the prehistoric Indian and Chinese fiddles
C
[and not the violin from the crwth as Mr, Payne still insists],
that renders this little book epoch-marking in the history of
violin-literature, but as Engel got the former idea from me

and the latter from Fetis (" Stradivari," q.v. No. 86), it is as a
compiler rather than as an originator that we must hail him.
One of the best chapters is that on the fiddle-bow^ and the
"
excellent Retrospect," which, concluding the book, puts its
entire contents at our service in a quarter of an hour. Carl
Engel, born at Thiedenweise, near Hanover, in 1818 [6th July],
was one of the most eminent of English musical historians.
His collection of musical instruments and his musical library
were magnificent, and he was for many years curator of the
musical instruments in the South Kensington Museum \yide
post, sub Reference Books]. He left a voluminous and
valuable work on the violin in MS., which is still in the hands
of his executors. In his latter years he was a whimsical and
morose old gentleman, and he committed suicide on the 17th
November, 1882, the day on which he was going to be married.
\Paily Telegraph, 20th November, 1882.]
156. Fleming, James M.

Old and their Makers
Violins |
including :
|
some reference to those of modern times. |

|
by I James M. Fleming. |
Illustrated |
with
Facsimiles of Tickets, Sound-holes, &c.
London, 1883. L. Upcott Gill. pp. vi.
and 332.

"
Same tide, with Reprinted by Subscrip-
tion.
London, 1890. L. Upcott Gill. pp. viii.
and 332. List of subscribers to p. 340.

This book originally appeared in the form of a series of
Bazaar, Exchange and Mart, to whose columns
articles in the
C 2
Mr. Fleming has contributed much that is valuable concerning

the violin during the past ten years. It purports to be essen-
tially a book on the makers of the violin and the charac-

teristics of their style, and, as such, it is
certainly unsurpassed
for accuracy and volume of information. I do not agree with
the author's theories on the antiquity of the bow (which he
professes to have found depicted on an Etruscan vase), but his

chapters on acoustics and varnish are excellent. The list of
foreign and native makers and the terminal index give an
additional value to an already very valuable book. The second
edition, which
is
merely a reprint of the first on better paper,
contains a of subscribers at the end, which will doubtless be
list
found valuable by future publishers of books on the violin.
158. FoLEGATTi, Ercole.

Storia del Violino e|
dell' Archetto relative |
maneggio di essi |
con alcune pratiche osserva-
zioneedaggiunte raccolte e pubblicate per cura
|
I
diErcole Folegatti,
I
Ferrarese, Acca- | |
demico Filarmonico di Bologna e Professore |
Onorario di Violino all' Accademia di Santa |
Cecilia di Roma, ec.
Bologna, 1873. Tip. Fava e Garagnani.

Small 8vo, pp. 84.
159. Second Part.

II Violino, esposto geometricamente nella
I
sua costruzione Delia preponderanza del| j
Violino nella musica d' insieme e della | |
necessita dello studio

quartetto dell' del |
Orchestra, dei Sonatori e del direttore d' |
orchestra, con molte pratiche osservazioni ed

|
aggiunte raccolte e pubblicate per cura

|
di | |
Ercole Folegatti,
|
Ferrarese, Accademico | |
Filarmonico di Bologna, Prof. oner, di Violino |

DE FIDICULIS BIBLJOGRAPHIA. 92
air Accademia di S. Cecilia di Roma, Socio |
onor. del circolo Giambattista Vico di Napoli, |
premiato di medaglia al merito artistico, etc. j
Parte II.
Bologna, 1874. Tip. Fava e Garagnani.

Small 8vo, pp. 90 and 12 pp. of Appendix.
This is evidently the work of an enthusiast, and one feels,

as one puts it down,
sorry that he did not allow himself
more room and greater breadth in the treatment of his
subject. The first part consists of (i.) a short history of the

violin from its origin ; (ii.) an analysis of its different parts ;
(iii.)
a study of the bow, and it concludes with some interesting
and valuable practical notes on how the violin and bow should
be held for the production of perfect intonation, with ex-
cellent advice to
intending professional violinists. The
second part opens with documents relating to Bagatella
and his geometrical violin-outline, reports of the Academy
of Padua thereon, &c., &c. Next we have chapters on
varnish, on Vuillaume's experiments with wood, and a con-
temptuous study of Gemiinder {^îde No. 21). The rest of the
work is devoted to violin-playing, its theory and practice,
and its value in orchestral music. Most copies of this ex-
cellent little work, w^hich is now regrettably scarce, contain
at the end of Part II. 12 pp. of addenda and corrigenda.
It is no disparagement of the naive enthusiasm of the author
to say that no one but an Italian artist living in a provincial

town could ever have produced such a pleasant little work.
160. Gallay, Jules.
Les Instruments des Ecoles Italiennes, | | |
Catalogue precede d'une introduction et suivi

|
de notes sur les principaux maitres, par

| | |
Jules Gallay. \0rnameiit7^

Paris, 1872. Gand et Bernardel. 8vo, pp.

iv. and 156.
500 copies printed.
It has been stated that this work is a mere reprint of the
catalogue of instruments contained at the end of M. Gallay's
" Luthiers Italiens "
{q.v. No. 20). It is, as a matter of fact, an
ampUfication and re-edition of that catalogue, preceded by an

introductory essay on the Cremona school of violin-making
and on the collection of its masterpieces by amateurs. It is
followed by a re-issue of all his notes to his former book (No.
" Table
20), and of the Chronologique,'" and the reproductions
of labels that did duty therein. The work before us may con-
sequently be looked upon as a mere new edition of the
historical portion of No. 20, the reprint of the Chelonomie of
Sibire (No. 49) being subtracted. This being the case, the
inflated value that the book has attained seems somewhat
ridiculous.
161. G ALLAYJules. ,
Gallay.
J. Les Instruments a
| |
Archet |
a
I'Exposition Universelle de 1867. |
" "
Quotatio7i. Amicus Plato . . . .
\_OrnamenL']
Paris, 1867. Jonaust. 8vo, pp. vi. and 58.
This book is
extremely valuable, and
rightly so, for it is very
scarce and most interesting. It consists of a few introductory
remarks, critical of the manner in which the jury made its

awards, and essays on
—
(i.) Mirecourt and the violin industry
there established ; (ii.) Contemporary Parisian violin-making,

dealing with Vuillaume, Gand and Bernardel, Miremont,
Rambaux and others (iii.) Foreign Exhibitors ; and (iv.) a
;
terminal essay. As a document towards the history of violin-

making in this century, this little book is of immense impor-
tance.
162. GoFFRiE, Charles.

The Violin :
|
A Condensed History of the
Violin. Its perfection and its
I
famous makers. |
Importance of Bridge and Sound-post arrange-

ment, by Chas. Goffrie.
I I
Qtwtation.
"To perfect that wonder of travel — the Locomotive —
has perhaps not required the expenditure of more mental |
strength and application than to perfect that wonder of

— the Violin." — W. E.
|
music Gladstone.
U.S.A., n.d. [1879]. G. Andre

& Philadelphia,
Co. Large 8vo, pp. 32.
The title-page of this pamphlet (which in reality only

consists of eighteen pages, the remainder being a catalogue of
makers) is misleading and pretentious, excepting in so far as
that the whole history of the violin, from the Ravanastron to

is
" condensed " into three The construction
Goffrie, pages.
and up of the instrument occupy seven pages, and
fitting
notes on old and new violins, their prices, the instruments
used by the leading artists, and the bow take up the remain-
ing four pages of historic matter.
As may be imagined, this is
rather an irritating pamphlet.
163. Hart, George.

The famous makers and their
Violin :
|
its |
imitators, by George Hart. with numer-

| | | |
ous wood engravings from photographs of |
the works of Stradiuarius, Guarnerius, Amati |
and others. |
Quotation.
"To perfect that wonder of
travel— the locomotive —
has perhaps not required the expenditure of more mental|
r>E FIDICULIS BIBLIOGRAPHIA. 95
strength and application than to perfect that wonder of

music — the Violin." —
W. E. Gladstone,
London, 1875. Dtdmi Co. and SchoH& &

Co. 4to and 8vo, large and small paper, pp.
ii. and xvi. and 352.
164. French translation.

George Hart. |
Le Violon, |
ses |
Luthiers
celebres |
et |
leurs imitateurs, contenant | |
de
nombreuses gravures sur bois d'apres |
les
photographies des violons de Stradivari, de |
Guarneri, d'Amati, etc., traduit de I'Anglais |
par Alphonse Royer.

Quotation.
" On
pent dire qu'il n'a point fallu deployer moins de |
ge'nie etde perseve- -ranee pour la locomotive, cette mer-

|
veille de I'activite humaine, que pour le violon, cette

I
merveille de la musique.'" W. E. Gladstone.— |
Paris, 1886. Schott freres. \\.o and 8vo,

large and small paper, pp. iv. and viii. and 414.
165. Popular Edition.

Same title-page, headed " Popular Edition."
London, 1880. Same publishers. 8vo, pp.
viii. and 310.
166. Second Edition of Popular Edition.

Same title-page.
London, 1887. Same publishers. 8vo, pp.
452.
suppose that this be considered the principal English
—may
I
book on the violin it is certainly the best known and the

most popular, on account of its multitude of illustrations.

The large paper edition is certainly a sumptuous volume,
though the French translation that appeared in 1886 is even
more beautiful, regarded purely from the bibliophile's point of
view, being printed on heavy large paper. It is whispered
among the cognoscetiti that there is a mystery attaching to the

It is divided into
authorship and production of the work.
sections which comprise, — the early history of the viols and
crwth, the construction of vioHn, and strings.
the The
succeeding nine sections contain accurate and painsfully-
collected data on all the schools of violin-making in Europe.
The concluding sections of the book deal with collections of
fiddles and celebrated violinists, and it ends with a mass of
elderly and respectable anecdotes connected with the violin
which have seen much service and are doubtless destined to
see much more. The leading feature of the book, and its
claim to notice, lies in the splendid plates with which
principal
"
it is embellished. The smaller " popular edition is the same
book, with much of the letterpress and most of the plates left
out,though the second edition of it shows a great improvement
on the first. George Hart the dealer, son of John Hart the
maker, still lives and carries on business in Wardour Street.
167. Heron-Allen, Edward.

OpuscLilae [.j/V*] Fidicularum. No. i. The | |
I Ancestry of the Violin. Being Discourse

a |
|
deUvered at the Freemasons' Tavern |

on |
Friday, June the second, 1882, to | |

"The
"
Sette of Odd Volumes by Ed. Heron-
Allen. Part I.
!
—
The Origin of the Violin.
| |
Part H.— The Welsh Crwth.
* This was a facsimile

misprint, corrected by a lithographed
circular containing instructions and materials for correcting
the error.
London, 1882. For the Author : Mitchell

& Hughes. 8vo, pp. 36.
210 copies printed,
168. Edition de Luxe,
Same title and book, printed on 4to paper.

20 copies printed.
This opusculum is divided into two parts: No. I The Violin, — ,
which traces the ancestry of the violin back to the Ravanastron

and thence through the Moors to Europe, and No. II., The
Welsh Crwth, which section militates against the generally
accepted notion that the crwth was the parent of the fiddle,
and ascribes to it an origin in the ancient and classic lyre. At
the end of the opusculum are printed the poetical legend of the
" Sette of Odd Volumes " and the Rules " "
by which the Sette
is governed. This is the pamphlet referred to in the note to
Carl Engel's book (No. 155). It has been remarked to me
that I have given no biographical details about myself in the

note to No. 25. 1 made this omission in consequence of a
desire to exclude irrelevant or uninteresting matter from
all
this work. In reply to an inquiry or two, I may observe that

I was born in 1861 [17th December], and was admitted a
solicitor in 1884. — Q. E. D.
169. Heron- Allen, Edward.

De Fidiculis. | Opusculum II. [ Hodges
against Chanot. being The History of a
| |
Celebrated Case, collected from the News-

| |
papers and from Personal Observations, and |
annotated by Ed. Heron-Allen.

| |
Quotation.
"Amicus Plato, Amicus Socrates, sed magis amica
Veritas."
Part I. — Biographical. |
Part II. — The
D
Cause of Action. Part —The III. Trial.

Part IV. — The Opinions of the Press.
|
|
London, 1883. ôr the Author: Mitchell

and Hughes, pp. ZZ.
90 copies printed.
1
70. Edition de Lttxe.
20 copies printed.
This opusculum consists of a preface and four parts, which
are divided as follows :
— I.
"
Biographical," givinga short history
of the families of Bergonzi, Chanot, Pressenda, Hill and Hart .
"
Part II. The Cause of Action," gives a history of the circum-
stances that occurred prior to the trial, which last is fully narrated
in Part III. and correspon-
Part IV. is a transcript of articles
dence on the case, which appeared in the leading papers and
musical magazines after the trial. The opusculum, which is
dedicated to Sir William V. Field (the judge who tried the
case), commences with a Latin preface explaining the
circum-
stances under which it
appeared, and the work is accompanied
throughout by a running fire of comments and quotations in
the Latin tongue.
171. Heron- Allen, Edzvard.

De Fidiculis Opuscula. | Opusculum IV. |
Fidiculana. I. The Violin.

|
II. Nicolo Paga- |
nini and his Guarnerius. III. Early Violin |
Schools. IV. Old Violin Frauds. Edward

I |
Heron- Allen.
London, 1890. For the Author: Mitchell
and Hughes. 8vo, pp. 64.
I
71^. Edition de Luxe.
20 copies printed.
D 2
DE FID2CULIS BIBLIOGRAPHIA. 99
This pamphlet consists of on the violin from

(i.) an article
Lippincotfs Magazine (November, 1889), which is

practically a
condensation of the introduction to " Violin-making " (No. 25) ;
(ii.) an account of Nicolo Paganini and the visit I paid to his
Guarnerius in the Municipio at Genoa in 1885, reprinted from
the Musical Times (May, 1886) (iii.) an unpublished article
;
on violin schools and instruction books published prior to 1800,

with a bibliography of such works and (iv.) a letter pub- ;
lished in The Strad. (October and November, 1890) on the
subject of old violin frauds, with special reference to the

causes c'elebres of Hodges v. Chanot, Schwenderaann v. Meindl,
and Johnston z'. Laurie. Of this pamphlet only 210 copies
were printed. The large paper copies are illustrated with a
photograph of the Paganini Guarnerius under its glass shade in
the Municipio of Genoa.
172. NiEDERHEiTMANN, Fi'iedrich.

Die Meister der Geigenbaukunst
I
in | |
Italien und Tyrol von F. Niederheitmann.

| |
Vienna, F. Schreiber ; Hamburg, A. Crmiz,

n.d. [1876]. 24mo, pp. 26.
This is merely a little hand-list of the Italian and German

fiddle-makers, with their dates and, in some cases, their
tickets.
173. Niederheitmann, Friedrich.

Cremona. EineCharakteristik der italien-
|
| |
ischen Geigenbauer und ihrerlnstrumente | | |
von Friedrich Niederheitmann. Preis 2 Mark.

I
|
Leipzig, 1877. C. Merseburger. Large 8vo,

pp. viii. and 68.
1 74. Second Edition.
"
Same title, with Zweite unveranderte
Auflage."
DE FIDICULIS BIBLIOGRAPHIA. loo
Leipzig, 1884. Identical book.

This is a far more important and earnest effort on the part
of the author of the preceding work. It contains
essays on the
origin and history of the violin, and the six leading schools of
violin-making on Luigi Tarisio, and on labels ; on varnish ;
;
and the rest of the book is taken up by " an alphabetical cata-

logue of the Italian violin-makers and the characteristics of
their work." This latter section, being the recorded observa-
tions of a rezXly practical maker and connoisseur, renders the
work of the greatest value to all violin-makers, practical or
theoretical. The revisions for the second edition are little
more than nominal.
175. Joseph \_Jun.'].

VY.k'RCY.,
Violins and Violin-makers.

I |Biographical |
Dictionary of the Great Italian Artistes,

| |
their Followers and Imitators,

|
to the |
present time, With Essays on important sub

|
jects connected with the Violin.

I By Joseph |
Pearce, Jun.
London, Longmans ; Sheffield, J. Pearce^
Jun.^ 1866. 8vo, pp. 168.
After a preface and introduction the author reaches the eighty-

seventh page with an alphabetical dictionary of violin-makers,
which, asfaras it goes, is praiseworthy and useful. He then gives a
short chapter on bow-makers, which is followed by four chapters
headed respectively, " The Amati Family," " Antonius Stradi-
varius,"
"
The Guarnerius Family," and, " The Great Tyrolese
Maker, Jacob Steiner," all of which are fairly exhaustive and
interesting in their way. The next chapter is an essay entitled,
" Violins of more Value than Others ?
"
The
Why are certain
"
next in the same style headed, On the Production of Good
is
Tone in Violins," and concludes with a paragraph on great

players and the instruments they play on. These last two
DE FIDICULIS BIBLIOGRAPHIA. lox
chapters are excellent essays and show considerable literary

taste. The book then concludes with a chapter of general
notes on subjects of interest connected with the fiddle and one
on the repair and fltting-up of instruments. A page of addenda
for insertion in the alphabetical dictionary completes this little
work, which, though not laying claim to any great originality,

forms a most useful and interesting little handbook on the sub-
ject of the fiddle, both from the practical and the literary point
of view,
176. PiccoLELLis, Giovanni de.

Liutai I
Antichi e Moderni. |
Note critico-
biografiche | per |
Giovanni de Piccolellis.
Florence, 1885. Successori le Monnier.

Royal 8vo, pp. xviii. and 192.
177. Stipplemental Volume.

Liutai Antichi e Moderni.
I Genealogia
|
deofli Amati e dei Guarnieri I secondo docu- i
menti |
ultmiamente ritrovati negli atti e stati
d' anime
delle antiche parrocchie |
dei SS.
Faustino e Giovita e di S. Donato di Cremona.
I
Note Aggiunte |
alia prima edizione sui
Liutai pubblicata in Firenze nell' anno
MDCCCLXXXV. I per cura di Giovanni
]
de
Piccolellis.
Firenze, 1886. Successori le Moniiier.

Royal 8vo, pp. 32.
This work is a masterpiece of the finest modern Italian
typography, and embellished with twenty-four exquisitely

is
executed photogravure plates of the violins of all the greatest

masters. The letterpress, which is worthy of the illustrations,
is evidently the work of a scholar and enthusiast. It opens with
a "short preliminary dissertation" deahng with the origin of

bow-instruments in Europe, the founding of the Brescian and

Cremonese schools, and the " invention " of the violin and its
perfection by Antonio Stradivari. This essay occupies but five
pages introductory to a complete and laborious analysis and

classified biography of the makers of the Italian, German,
French and English schools of violin-making. The supple-
ment contains, as the title-page denotes, corrections and
additions, with genealogies of, and documents concerning, the
Amati and Guarneri families, and the corrections of a few errata
in the master-volume.
J
78. Regli, Francesco.
Storia |
del Violino in Piemonte
|
del dottor |
I
Francesco Regli |
da Milano, cavaliere di |
piu ordini e socio di varie accademie, |
intitolata |
A.S.M. Yittorio Emanuele II., |
Re
d' Italia.
Turin, 1863. Em'ico Dalmaszo. Large 8 vo,

pp. 204.
This in one of the most important, because it is one of the
earliest, Italian works on the progress and development of the
art of violin-playing. After a few preliminary notes on the
violin and its evolution in Piedmont, the volume consists of a
long series of short biographies of the leading Italian virtuosi,
and closes with the exposition of an elaborate proposal for the
foundation of a national conservatoire of violin-playing, but,
as the author pathetically remarks,
" Mi si opporra ; il Governo e
troppo carico di pest, non ha danari per le Arti. . . ." Regli was
born at Milan in 1804 and died there in 1866 (loth March).
He was the author of biographies of Rossini and of Felice
Romani, and editor of a theatrical journal, // Pirata, which he
himself founded in 1835. {Fetis.)
lyg. RiTTER, Hermann.

Die I
Viola Alta. |
Ihre Geschichte, ihre
Bedeutung, und die Principien ihres Baues. |
Von I
Hermann Ritter.
Heidelberg, 1876. G. Weiss. 4to, pp. 28.

Die Geschichte der Viola Alta und die
| | j |
Grunsatze ihres Baues. Von Hermann Ritter, | 1
I
Grossh. Mecklenb.-Schwerinscher Kammer-
virtuos in Heidelbergf. Zweite, vermehrte und I
verbesserte Auflage. Mit 5 in den Text ge-

|
druckten und 2 Tafeln Abbildungen.

Leipzig, 1877. J. J. Weber. Large 8vo,
pp. vi. and 64 and 2 plates.
181. Third Edition.

Die I
Viola Alta oder Altgeige. |
Ihr Name,
ihre Geschichte, die Grundsatze ihres Baues, |
^
ihr Wesen und ihre Bedeutung als Musikalisches
Aus- I
-drucksmittel. Als Anhang : Brief R.
Wagner's an den |
Verfasser. Aphorismen
tiber die Viola Alta. Die Bagra- I -tella'schen
Geigenbauregeln. Hauptsachlichste Musik- |
-Litteraturfiir die Viola Alia. |

Von |
Hermann
Ritter, Kgl. Professor
|
und grossherzogl.
mecklenburg. Kammervirtuose. Dritte ver- |
anderte und verbesserte Auflage.
Leipzig, 1885. Carl Merseburger. Large

Svo, pp. iv. and 74 and 2 plates.
This work by the author of No. 45, is a study of the evolu-

tion of the modern tenor from the old bow-instruments. The
author traces the ancestry of his favourite instrument back to
the ninth century, and as a history of the old rebecs and rubebes,
his work is of great interest and value to all
antiquaries who
concern themselves at all with the archaeology of bow-instru-

ments. Herr Ritter is a warm supporter of Bagatella, whose
geometric studies he reproduces {vide No. 7), and according
to whose theories he has had his viola alta constructed. The
second and third editions of this work are so largely augmented
that, save' from the bibliographer's point of view, any edition but
the last is
comparatively worthless.
182. RUHLMANN, Julius.

Die Geschichte |
der | Bogeninstrumente, |
insbesondere |derjenigen des heutigen Streich-

quartettes, [
von den fruhesten Anfangen an bis
auf die heutige Zeit.
|
Eine Monographie | |
von Julius Riihlmann, vveiland

j Koniglich |
Sachsischem Kammermusikus, Lehrer am Con-

servatorium fiir Musik und Vorsitzendem des |
Tonkiinstler-Vereines zu Dresden. Nach dem |
Tode der Verfassers herausgegeben von dessen |
Sohn Dr. Richard Riihlmann, Professor am

I |
Konigl. Gymnasium zu Chemnitz. Mit in |
den Text eingedruckten Holzstichen und einem

Atlas von xiii. Tafeln.
I
Brunswick, 1882. F. Viezveg ujid Sohn.

Large 8vo, pp. xiv. and 322.
183. Atlas to the above.

Atlas GeschichteI
zur
der Bosêninstru-
I
mente. |
Von
Riihlmann weiland Koni-
j Julius |
glich Sachsischem Kammermusikus, Lehrer am

Conservatorium fiir Musik und Vorsitzendem |
des Tonkiinstler-Vereines zu Dresden nach j
dem Tode des Verfassers Herausgegeben von

dessen Sohn Dr. Richard Riihlmann,
|
Pro- |
fessor am Konigl. Gyninasium zu Chemnitz.

Brunswick, 1882. F. Vieiveg und Sohn.

Oblong 4to, xiii.
large folding plates.
To this work may be accorded the foremost place among

—
German studies of the history of the viohn, certainly no other
work has been so laboriously and extensively illustrated, not
only by the atlas, but by the cuts in the volume of letterpress,
and I do not know of any other German or English work that
shows such care and exactitude in the mere process of com-
pilation. Special chapters, with large folding plates belonging
to them in the atlas, are devoted to each ancestor or congener
of the violin, videlicet, the trumpet marine, rubebt^s, hurdy-
gurdy, and mediaeval fiddle. The author proceeds thence to
a study of the gradual assumption of the viol shape by the
early bow-instruments, and of the true viols in all their develop-
ments. This brings him down to the instruments of the
modern quartette, and the work ends with an appendix
describing the attempted innovations of Galbusera, Chanot,
Savart and Lapaix. The whole volume is a model production
as regards arrangement, being carefully and exhaustively in-
dexed, and rendered easy of reference by an elaborate system
of marginal synopses. The author of this excellent work was>
curiously enough, not a violinist, but a trumpet-player, and
a
very eminent one. He was a member of the King of Saxony's

private band, was born in 181 7 (28th February) at Dresden, and
died there in 1877 (27th October). He was the intimate friend
of Schumann and Wagner, and was one of the editors of the
former's Nouvelle Gazette Mi^sicale. \_Vide post, sub " Periodical
Publications."]
184. Sandys, William, and Forster, Simon

Andrew.
The History of the Violin,
I
I and other in-
struments ylayed on with the |
bow from the
remotest times to the present,
I |
also, an account
E
DE FIDICULIS BIBLIOGRAPHIA. io6
of the principal makers, English and | Foreign,

with numerous illustrations. | By William
Sandys, F.S.A., |
and |
Simon Andrew Forster.
Quotation.
"
Omnium rerum principia parva sunt, sed suis pro-
gressionibus usu augentur."
—
Cic. de Fin. Bon. et Mai.
London, 1864. J. R. Smith and Addison

and Lucas. Large 8vo, pp. xxii. and 390.
This work, thoughleaves something to be desired as regards
it
its general arrangement and the indexing, is probably destined

for some considerable time to remain the leading English work
on the history of the violin. Sandys was a scholar and anti-
quary of repute, and Forster being a practical violin-maker,

the combination has proved singularly fortuitous. Sandys was
born in 1792, was educated at Westminster School, and was
called to the bar. He was a great authority on Christmas
customs and carols, concerning which he wrote some inter-
esting works. He died in 1847 (i8th February). Forster was

the son and grandson of the two celebrated William Forsters.
but did not keep up the family reputation as regards his own
instruments. He died in 1870 (2nd February).
The first chapter commences by treating of the effects of music,
especially that of the violin, on men and animals, and of the
remotest origin of the violin as set forth by allusions to it in
classical and Biblical works. The authors go into the claims
which have been laid by various ancient and modern nations
to the invention of the instrument, and paiticularly to those of the
ancient Greeks and Romans, which they effectually disprove.
The second chapter notices Egyptian and Ninevite instru-
ments which may have formed part of the ancestry of the violin,
and in it are cited many passages from Latin and other MSS. of
the early centuries of the Christian era referring to the rote or
E 2
Teutonic cythara and crwlh, reproducing also many

rotta, the
portions of the early " romaunts " which are of interest to

musical antiquarians. Chapter III. goes into the etymology
and use of the word '^ fiddle," citing many illustrative passages,
and giving a history of the gigue or rebec. Chapters IV. and
V. trace the history of the violin from the ninth to the fourteenth
century. Chapter VI. is an interesting history of the minstrels
or troubadours, their offices, corporations and rulers. In
Chapter VII. we pass from the viols of the fifteenth century to
the viol-makers Ott, Frey, Kerlino and others, whose names
are familiar to us. Chapter VIII. introduces us to the first
makers of the violin proper, and contains much valuable and
interesting information on the subject of the viols which im-
mediately preceded and indeed existed contemporaneously
with the violin. It is illustrated with two plates from
photo-
graphs of the celebrated Viol da Gamba, then belonging
to S. A. Forster, and now in South Kensington Museum, It
also gives many references to the viol from Old English
comedies of the sixteenth century, and notices many musical
works of the period, and the manner in which they
were produced, together with notes on strings and musical
notation. Chapter IX. continues the study of the viols and
of the method of tuning them, and also notices the first use of
the violin proper. It gives also very valuable notices of the
first works devoted to the subject of musical instruments,

reliable
and of certain early and celebrated performers, and closes
with a list of the viols of the seventeenth century. Chapter X.
resumes the account of the viols and violins of the seventeenth
century, quoting extracts from contemporaneous works and

dramas. It gives also interesting accounts of the court
masques, their performers and their remunerations. Chapter
XI, introduces us to the revival of the cult of the violin,
and its music at the restoration of Charles II., with an account
of the celebrated performers and musical authors of that time,
and closes with a sketch of the progress of the bow from that
period to the present day. In Chapter XII. we reach the
DE FIDICULIS BIBLIOGRAPHIA. io8
eighteenth century, with accounts of the orchestras of the period

and some very interesting notes anent the violoncello and
double bass. The rest of the chapter is devoted to the cele-
brated performers of the century. The thirteenth chapter
.treats entirely of the principal orchestras which flourished in
the eighteenth century, and their most noteworthy members.
Chapter XIV., after mentioning the attempted innovations
of Savart and Chanot, confines itself to a sketch of the most
celebrated performers who have signalized the present century.
Chapters XV. to XX. give a complete and consecutive
history of all the foreign and English makers, describing the
characteristics of their manufacture as well as giving interest-
ing biographies of the most celebrated of them. Chapters

XXI. to XXIIL give a most minute and complete history
of the Forsters, which is the more valuable as it comes
from one of the family, and may therefore be taken to be
accurate in all its details. In short, from Chapter XIX.
to the end of the book, the whole work is the most com-
plete history of the English violin-makers ever attempted

or perfected. The whole work may be described as a dis-
tinctively British treatise, and shows an amount of research
and a command of detail seldom found in works on the violin.
If the work has a fault, it is but a very slight and pardonable
—
one it is a knack the authors have of now and then wandering
from the violin to discourse in an interesting and chatty
manner on other musical subjects. It cannot fail to be of the
greatest value to succeeding generations, a value which would be
greatly enhanced if the titles, dates, &c., of the authorities referred
to were given more clearly, or indeed in some instances, at all.
185. ScHEBEK, Edimtnd.

Der GeiPfenbau in Italien
I
und sein I
|
deutscher Ursprung. Eine historische Skizze

|
I
von Dr. Edmund Schebek.
I
Prague, 1874. Bohemia Acticn-Gesellschaft,

4to, pp. 8.
Extraabdruck aus dem " Deutchen Volks-

Kalender," 1875.
186. English translation.
The Violin Manufacture in Italy and its

I |
I
German Origin. An Historical Sketch by

| | |
Dr. Edmund Schebek Translated from the

|
German by Walter E. Lawson. Reprinted

| |
"
from The Musical Standard^
London, 1877. Wni. Reeves. 8vo, pp. 28.
This
little opusculum (186), neatly printed on a ribbed
paper which makes it rather dazzling to read, was, as is stated

in the title, reprinted from the Musical Standard, in which
it
appeared as a serial translation. I'he author opens with a
few remarks on the obscurity of the invention of the violin,
the decline of its manufacture in the eighteenth century, the
meritsand faults of the modern essays, and a few analytic
comments on the work of the old masters. After shortly
tracing the ancestry of the violin from the Ravanastron to the
perfected viols, he proceeds to prove (or try to prove) that
the final transition from the viol to the violin took place in
Germany, and not in Italy, as is generally supposed. Com-
mencing with the rival claims of Da Salo, Kerlino, and Duiffo-
prugcar, he shortly traces the course of the manufacture in the
Brescian and Cremonese schools, commenting on the want of
certain information about them, consequent on the existence
of, and quotation spurious labels, erroneous histories, and
of,
insufficient records, and earnestly advocating the scheme of
making the search of registers a national undertaking yielding

authentic and certified results. After these digressions he
returns to his original subject, shortly enumerating the best
native German makers, and the Italians who migrated to
Germany. After making a few rather h) pothetic.il statements,

he claims Kerlino and Duiffoprugcar as Germans, asserting
DE FlDICULFS BIBLIOGRAPHIA. no
that the name Kerlino is a corruption of " Gerle," an old

German family of lute-makers, or that it may be derived from
the German sponsorial Karl, and that Duiffoprugcar is only
another form of " Tieffenbriicker," which was also the name of
an old German family of instrument makers. Dr. Schebek
then enumerates the best known specimens of his make, and
the characteristics of his work. The pamphlet is well and
learnedly written and ably translated, and cannot fail to afford
much food for thought to persons interested in
all intelligent
the violin. Dr. Schebek, Privy Councillor and Secretary of

the Chamber of Commerce at Prague, was born at Petersdorf
(Moravia) in 1819 (22nd October). He was an impassioned

amateur, and the owner of a fine musical collection and
library. He was alive, I believe, in 1889.
187. Schubert, Fiâns Lttdzvig.

Die Violine, Ihr Wesen, ihre Bedeutung
j
und Behandlung als Solo- und Orchester-

|
Instrument. |
Von |
F. L. Schubert.
Leipzig, 1865. Carl Merseburger. i2mo,

pp. iv. and 128.
188. Secon d Edition .
189. Third Edition.

"
Same tide, with Dritte Auflage."
Leipzig, 1882. C. Mersehirger. i2mo, pp.

iv. and 132.
It has been somewhat difficult to decide into which section
of this bibliography this little work should come. It com-
mences with a short history of the violin, after which follow, in
on the arrangement and fitting-up of the
order, chapters
DE FIDICULIS BIBLIOGRAPHIA. iii
instrument, on the execution of the effects of which the viohn

is
capable (pizzicato, harmonics, ttc), the management of the
bow, on orchestral playing, on strings^ and on the preservation
of the instrument. Pages 74 to 103 contain biographical
notices of celebrated violinists, after which the work ends with
a bibliography of violin-music, and chapters on Leopold
Mozart's violin-school, and on WoKgang Amadeus Mozart as
a child-violinist. In the third edition, interpolated notices of
Joachim and Sarasate lengthen the work by four pages. It is

a most complete and useful little handbook. F. L. Schubert
was born in 1804, directed the orchestra of the Gera Theatre
in 1 83 1, and subsequently established himself as a composer
at Leipzig, where he died in 1868 (19th March).
190. Anonymous [Stradivari, Enrico].
Cenni |
sulla celebre Cremonese
scuola |
des:H I
Stromenti ad Arco non che sui lavori
I I
.e sulla famiglia |
del sommo Antonio
|
Stradivari.
Cremona, 1872. Tipographia Dalla Noce.

Large 8vo, pp. 32 and folding plate.
This isat once one of the rarest and one of the most
interesting and valuable works on the violin, written, as it has

been, from family documents and traditions by one of the last
descendants of the greatest of the Cremonese violin-makers-
The data which it contains concerning the whole Cremonese
school make it more than a merely biographical work, though
it ranks with Fetis' book
(No. 85) as a biography of the great
Antonio. It commences with a study of the Italian fiddle-
makers vAiO preceded \hQ. school of Cremona, and goes on to
notice Andrea Amati, who founded that school, and his pupils,
" the
as well as those of Nicola Amati. Then the author reaches
greatest pupil of Nicola Amati, — Stradivari," — and his pupils,
with notes on the dimensions of, and the materials used in the
construction of, his instruments. Then we have short notes
on the last of the great Cremonese makers, and the commer-
cial value of Stradivari's instruments in Cremona itself, on the

ancestors and congeners of Stradivari, and on h'S house in
Cremona. The work terminates with a folding plate contain-
ing the genealogical tree of the great fiddle-maker, showing
his descendants to the present day. Dr. Enrico Stradivari
still lives (1891) at Cremona and is a silk merchant and manu-
facturer, an industry on which he has written several essays

and pamphlets. I am happy to say that he is
properly proud
of his great ancestor.
191. ViDAL, Louis Antoine.

Les Instruments a Archet
I
Les Feseurs,
| |
les Joueurs d' Instruments leur Histoire sur le |
Continent Europeen Suivi d'un Catalogue |
general de la Musique de Chambre par | |
Antoine Vidal, Membre de la Societe de

|
r Histoire de Paris et de I'lle-de- France Orne |
de planches gravdes a I'eau-forte par | |
Frederic Hillemacher. Tome Premier. |
Paris, 1876. J.Claye. 4to, pp. xvi. and

358.
Tome Deuxieme.
Paris, 1877. /. Claye. 4to, pp. vi. and
384.
Tome Troisieme.
Paris, 1878. J. Claye. 4to, pp. vi. and 160

and ccxxii.
Of this work. Chapters I. to VI. of Part II. being pp. 289

to end of Vol. L, and pp. i to 51 of Vol. II., with plates 47,
46, 50, 52, 53, and 55, were reprinted and issued separately as
follows :
—
192.
Les Vieilles Corporations de Paris |
La
Chapelle St.
Julien-des-]\Ienestriers
|
les |
et
Menestrels a Paris Par Antoine Vidal, | |
Membre de la Societe de I'Histoire de Paris et

de rile-de- France Six planches gravees a |
I'eau-forte Par Frederic Hillemacher.

|
Paris, 1878. Qitajitin, 4to, pp. iv. and 116.

This is, beyond the possibility of doubt, the greatest work
ever published, or which is ever likely to be published, on the
violin. It would be idle to attempt to do more than give a
short summary of its contents, the scope of the work being so

wide as to defy critical discussion in such a work as this
bibliography. The first volume deals with I. The History of :

—
Instruments, tracing their ancestry from the hypothetical fiddles
of classical antiquity to the rebecs, the vielles (hurdy-gurdies),
the trumpet marine, the gigues and kits, and older viols,
arriving at last at the development of the instruments of the
modern string quartet and the contra bass. II. The Makers
of the Bow-Instruments, from the Vielle-makers of 1292 (!) to

the Italian Schools of Violin-making, and thence to the other
European Schools, with a study of the Bow and its leading
makers. III. The Players of the Bow-Instruments, being a
study of the Guild of Violin-players from the prehistoric

minstrels to the accession of Guignon. This volume is illus-
trated with fifty full-page etchings.
Vol. II. continues this section of the work to the abolition of
the Roi des Violons in 1773. It then goes on with a general
history of viol-playing, and violin-playing from Lulli to
Paganini, Spohr and Baillot. The volume concludes with a
study of violoncello-players from the earliest (Franciscello) to

Romberg, and the volume is illustrated with thirty-seven
etchings.
F
DE FIDICULIS BIBLIOGRAPHIA .
114
Vol. III. is
principally statistical. It begins with two
interesting chapters on the history of musical typography and
engraving. Then follows a series of biographies of all the
noted composers of chamber music, and a magnificent biblio-
graphy of chamber music extending over 216 pages. The
volume is illustrated with twenty-four etchings.
Nothing in modern book-making has excelled this monu-

mental work, either as regards the sumptuous character of the
typography, paper, and illustration, or the labour expended
upon it by the author. ]\I. Vidal was born at Rouen in 1820
(loth July). He is a well-known amateur violoncellist, and
deservedly celebrated as a musical historian. He is one of
M. Pougin's collaborators in the Supplement to Fetis' Biographic
Universelle.
193. ViDAL, Antoine.

La Lutherie et
I
Les Luthlers | par | | [
Antoine Vidal, Membre de la Societe de

|
I'Histoire de Paris et de I'lle-de- France, etc.

|
Paris, 1889. Qziantin. Large 8vo, pp. ii.
(vii.) and 348.
The scope of this exquisitely manufactured book (of which

only 500 copies were printed) is in his
by the author as follows :

— " Since theexplained, preface,
publication of the book,
'
Les Instruments a Archet,' I have been frequently requested
to issue a special edition of that part relating to the history and
manufacture of the instrument in a less voluminous and more
accessible form. ... I begin by a condensed history of the
violin and its relations, and pass onto violin-making, reviewing
its progress in all the countries where this art has been
esteemed. ...
have profited by the researches of later
I
authors . . . and new

details will be found concerning the
Amati and Guarneri families, taken from official documents."
The feature which gives this volume its pre-eminent value is
the quantity of marvellous photogravures of labels, which give
F 2
even a better idea of their originals than the etchings in M.

Vidal's larger book. The volume may be defined as the
" Les Instruments a
historic portion of Archet," supplemented
and complemented by the researches of Piccolellis {q.v. No.
176).
194. Weis, C .
Om I
Violiner og deres Bygning, |
af |
C.
Weis, I Sumptibus A. Weis.
Copenhagen, 1861. T/iiel. 8vo, pp. 60 and
10 [Anhang].
This is the only book on the Danish language

violin in the
with which I am
acquainted. condensed form
It deals in a
with the early history of the instrument, the Brescian and

Cremonese schools, and the development of the true violin
form. All the various essential parts of the instrument, sound-
holes, bass-bar, sound-post, and so on, are passed in review
and discussed, the qualities of strings and the harmonic
principles of the general arrangement of the instrument. One
is compelled to own, as one turns the last leaf, that z/this is
the only Danish work on the subject, the author has managed
to compress within a small compass almost everything that an
amateur of the instrument need desire to know.
195. Anonymous \^Prince Youssourow {pr^
Jousoupof)].
Luthomonographie, | Historique et Rai-
sonnee.
Quotation.
" Delectat
domi, non impedit foris, pernoctat mecum,
peregrinatur, rusticatur."
— Cicero, Archia Foeia, v. 16.
Francfort s/M., n.d. C. Jugel. [Printed at

DE FIDICULIS BIBLIOGRAPHIA. ii6
Munich, 1856.] Large 8vo, pp. viii. and 68

, and 4 plates.
196. Fifth Edition.

historique et raisonnee.
Luthomonographie, |
]
Essai sur et sur les
I'histoire du violon |
ouvrages des anciens luthiers celebres du temps

I
de la par Le Prince N.
Renaissance | |
Youssoupoff, Maitre-compositeur de la Societe

I
Philharmonique de Bologne et Membre hono-

raire de I'Academie Philharmonique de Ste.
|
Cecile a Rome. | Cinquieme edition.
Paris, n.d. [ ]. J . BonJioure and Co.

8vo, pp. viii. and 68 and 4 plates.
An unsatisfactory work which shows its amateur authorship

in many strange mistakes. The author has tried to condense
too much into too narrow a compass. The first chapter is
devoted to the history of the vioHn, the second to the theory
of tone production and of the Cremonese varnish, the third to
the evolution of the violin from the viols and a synopsis of the
principal schools of manufacture, their successors and their

imitators. The plates, which contain full-sized outlines of the
instruments of the great, makers, are perhaps the most valuable
part of the work. The Parisian editions are evidently very
scarce — my own copy of the fifth is the only one I have ever
seen or heard of, of any of them. Prince Youssoupow was
born in Russia in 1820, and is known as the composer of a few
"
pieces for the viohn, and as the author of a History of Music
in Russia" (Paris, 1862, 4to).
DE FIDTCULIS BIBLIOGRAPHIA. 117
SUB-SECTION I.
"
The Guild of Musicians and the King of
THE Violins."
This isa department of our subject upon which

much isto be found in almost every work which
deals with the history of the violin. It possesses,
however, a literature of its own, not very extensive

it is true, but very difficult to obtain,
being princi-
pally polemical, and therefore by nature ephemeral
The excerpt from Vidal's work, " Les Instruments
"
a Archet (No. 192), should properly come under
this sub-section, but being merely an excerpt I
thought it better to quote it in conjunction with

its parent volume. No. 114 also belongs to
this section, but for obvious reasons I have placed
it
among biographical works.
197. Anonymous.
Recueil |
d'Edit, Arret du Conseil du Roi,
| |
Lettres-Patentes, Memoires,
|
et Arrets du
|
Parlement, &c. |
En faveur des Musiciens du
Royaume. \OrnmnentP\
Paris, 1774. Ballard. 8vo, pp. vi. and 228.
This is a very interesting and very rare collection of all

the parliamentary edicts, letters-patent, reports and petitions
issued concerning the quarrelsome guilds of musicians of
various denominations from 1695 to the suppression of the
Guild of St. Julien and of the ofifice of King of the Violins in
1773. The collection purports to be issued by the gentlemen
nE FIDICULIS BIBLIOGRAPHIA. ifS
of the King's private band for the use of such musicians as

should continue to be harassed by the pretended authority of the
Guild of St. Julien. It forms, as a matter of fact, a history of the
events which really led to the suppression of that community.
198. D'AuRiAc, Eugene.

La
Corporation des M^netriers et le Roi
I [ |
des Violons par Eugene d'Auriac, Biblio-

| | |
thecaire a la Bibliotheque Nationale.
Paris, 1880. E. Dentu. Large 8vo, pp. iv.

and 60.
This memoir was originally printed in the I/westigateier,

Journal de la Societe des Etudes historiques (September and
October, 1879). Only two hundred copies were printed, and
it isconsequently of considerable rarity. It constitutes a pro-
gressive history of the troubadours, baladins, jongleurs, trom-

peurs, menestrels, and menetriers, and of the founding of the
Guild of St. Julien and of the office of King of the Viohns. The
history of these last is
pursued to their abolition, and the merit
of this most scholarly and concise work is greatly enhanced
by a mass of valuable foot-notes. It is of great interest to
others than those who make a study of the violin, as an account
of what was probably the most abominable and tyrannous
trades-union that ever existed.
199. Gallky, Jules.

Le Mariagede la Musique avec la Dance
| |
(1664),
I
Precede d'une introduction his-
I
torique et accompagne de notes et eclaircisse-

|
ments Public par J. Gallay.

I |
Paris, 1870. Librairie des Bibliophiles. 8vo,

pp. iv. and xxviii. and 132.
This (like No. 20) is one of the lovely little books issued by
the Acaddinie des Bibliophiles in limited edition and perfect
dress. It commences with twenty-seven pages of introduction,

in which M. Gallay tells us the circumstances which led to the
celebrated quarrel between Guillaume 'D\xvc\zxvQvc,Roi desViolons,
and the dancing-masters of France, who founded, in defiance
of his authority, the Academic de la Danse. Here may be found
Guignon's celebrated statutes and an account of the resistance
offered to them by the composers and pianists. The title-page
of the reprint, which gives its title to this volume, reads " Le :
I Manage de la Mvsiqve
|
avec
|
la Dance {sic) Conten-
| ; \
ant la Reponce {sic) av Livre

I
des treize pretendus Academi-
|
I
-stes, touchant ces deux Arts. M.DCLXIV." The appen- |
dices contain :
A, Statutes of the Brotherhood of St. Cecilia
(1575, &:c ) ; j9, Parliamentary Edict of 1695; C, Letters-

patent obtained by the dancing-masters in 1707 D, Letters- ;
patent obtained by the organists in 1707 ; E, F, and G, Edicts

and letters curtailing the privileges of the Guild of St. Julien,
and finally suppressing it.
200. SCHLETTERER, H. M.
Geschichte der Spielmannszunft In Frank-
| |
relch und der Pariser Geigerkonige. Von

I | | |
H. M. Schletterer, Dr. Phil, und Capell- |
meister.
Berlin, N., 1884. R. Damkohler. Large

8vo, pp. X. and 152.
This the second of a pair of " Studien zur Geschichte der

is
franzosischen Musik," of which the first is somewhat germane,

viz. ''Geschichte der Hofcapelle der franzosischen Konige."
It is practically an adaptation and amplification of D'Auriac's
work (No. 198) and of the Vidal excerpt (No. 192), his in-
debtedness to both of which the author frankly acknowledges.
The unique value of the work lies in the mass of laboriously-
acquired information to be found in the series of five Afihange
and twelve Beilage, the whole of which, together with the text,
is rendered
easy of reference by means of a perfect system of
name-index.
SUB-SECTION II.
Works on Violin Music and Violin-playing.
One of my difficulties in laying out the

initial
scheme of bibliography was to decide whether
this
many of the works included in the biographical

and historic sections should not have been placed
in this sub-section, and vice versa. It is a difficulty
which I frankly admit I have not been able to re-
solve, and I must leave it to my readers to say
whether it would or would not have been more
expedient to place here such works as those of
Regli (No. 178) and Schubert (No. 187).
201. Baillot, Picriê- Marie- Franôis-de-Sales.

Observations relatives aux Concours de
| |
Violon du Conservatoire de Musique par

I | |
Pierre- Marie- Francois- de- Sales Baillot, | |
Membre de la Legion d'Honneur, de la Musique

particuliere du Roi et Professeur au Conserva-
toire. CEuvre Posthume (1835).
I |
Paris, 1872. Firmin Didot. Large 8 vo, pp.

36 and large plate.
This is a very remarkable and luminous essay on the nature

and function of competitive examinations as applied to the
ascertaining of the relative merits of students of the violin.
M. Baillot, than whom probably no one was, or has since been,
better able to judge of the matter in hand, warns examiners in
turn of all pitfalls in the road to a right
the conclusion. His
observations on the choice of subjects for examination, and on
instinctive appreciation, are especially inspired. Altogether the

book is one that should be in the hands of every musician ap-
pointed to examine candidates in our musical colleges and con-
servatoires, whether they be violinists or no. Baillot was born
at Passy, near Paris, in 1771 (ist October), and was one of the
greatest violinists that France ever produced. He was a pupil

successively of Polidori, Saint- Marie, and Pollani, and was a
passionate admirer of Viotti, of whose orchestra he was for
some time a member. He is known as the composer of many
masterpieces for his instrument, and as the author of the great
violin school, and the hardly less celebrated violoncello school.
He also wrote a biography of his ideal, Viotti (No. 6 7 a), and
died at Paris in 1842 (15th September).
202. Hart, George.

The Violin |
and its Music, | by j George
Hart. I
With engraved
|
several on portraits
steel of eminent violinists whose style, both in
|
playing- and in composition, may be regarded

|
I
as representative.
Quotation.
"
nothing in which the power of art is shown so
There is
much on the Fiddle. In all other things we

as in playing |
can do something at first any man will forge a bar of iron if

:
|
you give him a hammer ; not so well as a smith, but tolerably ;
and make a box, though a clumsy one; but give him a Fiddle
— Dr. Johnson.
1
"
and a Fiddle-stick, and he can do nothing.
London, 1881. Dulau Co. and Ncvello &

& Co. 4to and 8vo, large and small paper, pp.
xii. and 484.
This is an apt companion volume to the author's other work

G
(No. 163), and deals exhaustively with the progress of execu-

tion on bow-instruments, from the early executants upon the
viols to the virtuosi of the present century. The first section
deals with the viol in Germany and the Minnesingers and
Meistersingers ; Section II. with the viol in the Netherlands ;
Section III. with the viol in France; and Section IV. with
the viol in England. This latter section constitutes a most
interesting history of mediaeval musical art in England.
Section V. deals similarly with the Italian cidtiis of the viol,
the remainder of the book being devoted to the development
of violin-playing proper in Italy, France, Germany, and
England respectively. The book contains an immense mass
of interesting and valuable matter, but the digestion and
arrangement of it is not so careful as it might be. The illus-
trations, principally steel-engraved portraits of great fiddlers,

leave nothing to be desired.
203. HuET, Felix.

Etude sur les differentes
I
Ecoles de Violon |
depuis CorelH jusqu'a Baillot, precedee d'un |
examen sur I'Art de jouer des instruments a

| |
archet au xvii^ siecle Par Felix Huet,

| | |
Violoniste, eleve de M. E. Sauzay, Maitre de |
Chapelle et Organiste a Notre Dame de Chalons,

I
Membre de la Societe d'agriculture, com-
merce, sciences et arts de la Marne. |
Quotation.
"Si Ton veut approfondir un art, il faut, autant que |
possible, chercher a en con naitrel'origineetsuivre tousles |
changeniens {sic) que le temps doit y avoir apportes afin |
d'en observer la marche progressive. C'est ainsi que Ton |
apprend a choisir la route la meillure et a mesurer la dis- |
tance qui reste a parcourir pour atteindre au plus haut

degr^ de perfection."
— Baillot, " L'Art du Violon."
|
G 2
Chalons-sur-Marne, 1880. F. Thotiille. 8vo,

pp. 152.
This is a study of the state of violin- playing— to the exclusion

of other instruments of the quartet beginning with the school
—
of Corelli, everything that preceded him being disposed of in
five-and-twenty preliminary pages. The second chapter is
devoted to violin-playing in England, the third to Germany,
and the fourth to Italy, at which point the author settles down
seriously to his work. The German school is disposed of in a
chapter, the French school in five more, after which exhaus-
tive studies of Locatelli, Lolli, and Paganini close the work.
In a condensed form this little book gives an admirable general
sketch of violin-playing throughout Europe, from Corelli to
Paganini, which two artists M. Huet seems to consider
—
perhaps with reason
— the alpha and omega of the art for all
practical purposes.
204. Rangoni, Giovanni Batista.

Essai sur le gout de la Musique avec le
I | |
caractere des trois celebres joueurs de violon, |
I
Messieurs Nardini, Lolli Pugnani par
|
& |
Monsieur le Marquis Jean-Paptiste {^sic) de |
Rangoni.
Quotation.
" Novos excerpere flores." — Lucr.
Title repeated in Italian.
Saggio I
sul gusto I
della Musica |
col
carattere de tre celebri |
sonatori di' violino,
|
i
signori Nardini, Lolli, e Pugnani,
.
|
del |
signor marchese Giovanni Batista Rangoni.

|
Quotation,
" Novos
excerpere flores
" — Lucr.
Leghorn, 1790. T. Mast. 8vo, pp. viii.
and 92.

Same titles, in French and ItaHan, differing
sHghtly In typography and arrangement.
" "
" "
is spelt without the final e and
Caratter
" "
*'
Baptiste with a " B in this edition. No
indication of It
being a second edition appears
on the title-pages.
Leghorn, T. Masi ; and Lyons, Brette, 1792.
8vo, pp. viii. and 78.
This is a curious little essay, written in a high-flown style

such as only an amateur of the middle of the eighteenth century
could have evolved. The mythologic invention of music is
gravely discussed, and among mortals the claims of Aris-
toxenus, Euclid of Alexandria, Quintilian, Alpyus, Gaudentius,
Nichomachus, and Bacchius all receive due recognition
whilst their indebtedness to Apollo, Ami^hion, Euterpe,
Orpheus, Linus, Mercury, and Marsyas is duly acknowledged.

M. de Rangoni continues naively, " La Musique est consider-
"
ablement dechue aujourd'hui. His account of the three
. . !
artists, however, whose playing he contrasts, is interesting and
lucid, and his critical observations are often valuable and
profound. This dear little book closes with a positively

pathetic letter of apology from the author to his pubhshers
for the unworthiness of his labours !
206. RiTz, y.
Untersuchungen |
iiber die |
Zusammenset-
zung der Klange |
der Strelchinstrumente. |
Physikalisch-musiktheoretische Abhandlungen,
IPhysikern und Musikern gewidmet, von | |
Dr. J.Ritz.
Munich, 1883. ^- Franz. Large 8vo, pp.
viii. and 88.
This is about the most alarmingly scientific book I have

ever met with concerning the violin. It gives a complete
exposition of all the dynamic theories of single tone production

and of combined harmonies, and each chapter ends with an
*'
uncompromising little section termed Resultate." For those
learned in acoustics and the higher mathematics this is a most
interesting and valuable work, but to the average lay mind it
is a trifle hard to comprehend. It gives me, after a somewhat
careful perusal, very much the impression of a thesis for

admission to some mathematical decree.
207. Sauzay, Ettgene.

A Monsieur Ingres. | Haydn, Mozart, |
Beet-
hoven Etude sur
I
Quatuor, par le
Eug, | |
Sauzay, Professeur au Conservatoire Imperial

|
de Musique.
Paris, 1861. Chez r Autetir. Large 8vo,
pp. 174.
To all lovers and students of chamber music this book is
simply a god-send and a delight. It commences with a chapter
devoted to the origin and history of the quartet, the rationale

of the form in which it is written, the r6les of the four instru-
ments, and a study of the execution and appreciation of music

— a charming essay. Then, in turn, the author gives us con-
densed biographies of Haydn, Mozart, and Beethoven, with a
catalogue of all their chamber music, each work carefully
analyzed with musical examples on the opposite pages and in
the text. The book concludes with a comparative analysis of
DE FID I CULIS BIBLIOGRAPHIA. 126
all three composers, and is a work which would greatly benefit

many musical critics in the reading. Sauzay was born at
Paris in 1809 (14th July), and was professor of the violin in
the Conservatoire of that city, having been a pupil of Baillot.
His compositions for the instrument have been numerous and
excellent.
208. Sauzay, Eugene.

L'Ecole I de | rAccompagnement | Ouvr^ge
faisant a I'Etude sur le Quatuor par
suite | ( |
Eug. Sauzay Professeur au Conservatoire

|
imperial de Musique.
Paris, 1869. Firmin Didot. Large 8vo, pp.
xii. and 284.
This work title denotes, an appendix to the one

is, as the
last noticed. goes over the same biographical ground, but
It
deals, not with the purely string music of Hadyn, Mozart, and
Beethoven, but with all compositions of those composers for
strings with an accompaniment of the piano. It opens with a
study of the old key-instruments, and the compositions written
for them, and gives a table of the various forms of concerted
music and their principal authors. After this comes, as in the
work which supplements, a catalogue thematique et raisonne,
it
of the chamber music with piano accompaniment of the three

composers. A
section is devoted to concertos for the piano
and and concerted piano music in general, after
orchestra,
which comes a further exhaustive catalogue of chamber music
by all the great composers. The second part of the book is
devoted to the science and art of accompanpng on the
pianoforte, wiih an appendix of interesting notes on the per-
sonalities that one has to encounter in taking up the study
of chamber music, its enemies and its friends.
209. Sauzay, Eugene,

Eug. Sauzay, Professeur au |
Conservatoire
de Muslque |
Le
Violon Harmonique ses
| |
ressourceSjSon emploi dans les ecoles anciennes

et modernes Etude completee par un cours
I
d'Harmonie a I'usage des violonistes.

|
Paris, 1889. Firmin-Didot. Large 8vo,

pp. viii. and 262.
A most beautiful book, the care expended on the production
of which has been well bestowed. The book is, as its title
denotes, really a course of harmony adapted to the violin, and
certainly the resources of the instrument, in the way of tied
or double notes and chords, are marvellously laid out. In
point of fact, the whole work may be described as a complete
thematic study of double stopping, and of accompanying one
violin with another — it is a book no player or teacher of the
that
violin can afford to be without, indeed it
may be regarded as
the revival of the old art of viol-players, termed " playing upon
a ground-bass."
210. Wasilewski, y^c^^//^ Wilhelm von.

Die Violine und ihre Meister, von
I | | Jos.
Wilh. V. Wasilewski.
Leipzig, 1869. Breitkopf und Hdrtel. Svo,
pp. xii. and 428.
Die Violine und ihre Meister, vôn Jos.

I | |
Wilh. V. Wasilewski. Zweite, wesentlich ver- j
mehrte und verbesserte Auflage mit Abbildun-

gen.
Leipzig, 1883. Breitkopf und Hcirtel. 8vo,

pp. xii. and 568.
The second edition of this book is properly described on the
"
title-page as substantially enlarged and improved," though
the first edition was itself a most excellent and painsfuUy-com-
piled work. It commences with a sketch of the history of

violin-making proper, and thenceforward the book is divided
into two parts, the first tabulating all the schools of violin-playing
in the seventeenth and eighteenth centuries under the headings
of Italy, Germany, France, and the Netherlands. The second
part tabulates the progress of the same schools in the nineteenth
century, with a supplementary section devoted to the progress
of violin-playing in England, Scandinavia, the Slav countries,
and Hungary. The book closes with a laborious and most
valuable bibliography of violin methodes from the middle of the
seventeenth century to the present day. An excellent index of
proper names make the work delightfully easy of reference.
Wasilewski was born at Gross-Laesen, near Dantzig, in 1822
(17th June), and was successively Concert-meister at Leipzig,
at Dusseldorf under Schumann, at Dresden, and at Bonn,
where he filled that post in the year 1881.
2 12. Wasilewski, y<?5^/^ Wilhelmvon,

|
und die
Die Violine im xvii. Jahrhundert | |
Anfange der Instrumentalcomposition von | |
Jos, Wilh. V. Wasilewski.

Bonn, 1874. Max Cohen und So/in. Large
8vo, pp. vi. and 92,
213. Snpp lenient.

Instrumentalsatze vom Ende des xvi. bis
|
Ende des xvii. Jahrhunderts (als Musikbei- |
"
lagen zu Die Violine im xvii. Jahrhundert ''),
I gesammelt und herausgegeben |
von | Jos.
Wilh. von Wasilewski.
Bonn, 1874. Max Cohen nnd So/in. Oblong
folio, pp. 80.
P^'intcd from en iî-aved plates.
DE FIDICULIS BIBLIOGRAFHIA. 129
This work, purporting to be by way of supplement to No.

210 (first edition^ is not so much [as is that work] a series of
classified studies of the progress of vioHn-playing in various
countries, as a study of instrumental composition all over the
Continent, with an accompanying volume of musical illustra-
tions. Most of the book has been written into the second
edition of No. 210 (No. 211), which is the volume I have
particularly noticed.
214. Wasilewski, Wilhelm Joseph von.

Das Violoncell und seine Geschichte,
I |
|
von Wilh. Jos. v. Wasilewski. Mit Abbil-

I |
dungen und Noten-beispielen.

Leipzig, 1889. Breitkopf tmd Hcirtel. Large
The highest compliment that can be paid to this last work

from the pen of Herr von Wasilewski, is to say that it is of fully
equal merit with his other books, on the violin. Its general
arrangement follows exactly that of No. 211. It commences

with a scholarly treatise on the history of the Viola da Gamba
and the development therefrom of the violoncello. Then, in
two parts, exactly as before, the various
European schools of
'cello-playing are tabulated and described, the book closing
with a bibliography of 'cello me'thodes and the same perfect
index of names.
H
SUPPLEMENTARY TITLES.
The following are the titles of historical works
which I have seen -referred to in other works or
in bibliographies and catalogues. They should
come into this section, but I have not been able to
meet with copies for collation and description.
197^.
Statuts ordonnances, lettres de creation de la
communaute des maistres faiseursd'instruments
de Musique. Paris, 1741.
197^.
Statuts et reglements des maitres de danse
et joueurs d'instruments tant haut que bas.
Paris, 1752.
i39<^. Antolini, F.
Osservazzioni su due Violini esposti nelle
sale deir L R. Palazzo di Brera, etc. Milan,
Per la, 1832.
198^. Bernard, M. B.
Recherches de I'histoire de la corporation des
menetriers de la ville de Paris. Paris, } d.
20\a. CONSOLO, F.
Del colorito nel Quartette di strumenti ad
arco. Florence, 1883, Adeinollo. 8vo.
DE FWICULIS BIBLIOGRAPHIA.
i6\a. Gehring, F.
Z,\1lX Geschichte der Violine. Leipzic, 1877.
8vo.
162^. GuNN,y.
Treatise on the Origin and Improvement of
Stringed Instruments. ( ?), ?
d.
190^. Terrasson, a.
Dissertation Historique sur la Vielle. Paris,
1741.
190^. TODINI, M.
Dichiarazione della Galleria Armonica erretta
in Roma da Michele Todini . di aver fab-
. . .
bricato e introdotto nelle musiche di Roma il

violone grande ossia contrabasso. Rome, ? d.
.6-(?).
190^. Valdrighi, Conte L. F.

D'un Arpa e di un Violino e Violoncello
intagliati da D. Galli. Museo Estense Modena,
Moneti e Namias^ 1875.
190^. Valdrighi, L. F.
Richerche sulla Liuteria e Violineria Mode-
nese antica e moderna con catalogo di Liutari.
Modena, 1878. Toschi.
part h
Section W.
THEORETICAL WORKS.
The works contained in this section form, as it

were, the connecting Hnk between the works on
the history and progress of vioHn-playing (Part I.,
Sect. IV., Sub. -sect. II.) and the Methodes pure
and simple (Part V.). As may be imagined, the
difficulty in deciding where exactly to draw the
line has been very great, and even now I do
not think it is surmounted. There are, doubtless,
many of my readers who " will consider that the
" Rudimenta Panduristae
(No. 217) ought to
have been placed among pure violin schools, and I
hesitated long before deciding to admit, in this

place, works such as those of Lohlein (No. 240),
Fenkner (No. 223), Schweigl (No. 253) and Gerle
(No. 225). I finally formulated for myself two
rules, viz. to admit (i.) any work dealing with
:
violin-playing that consisted not wholly or mainly

of engraved music and was of a "book" size
(not music folio), and (ii.)any such work in which
letterpress should greatly predominate over
musical examples. To this the hypercritical will
£
reply that Gunn and Macdonald's works (Nos. 229,

229^, and 243) are music folios, and that Mozart's
" "
Violin School is a printed book containing
more letterpress than musical examples. True.
But Gunn and Macdonald's works are not in-
struction books, whilst Mozart's is
essentially so ;
nevertheless I
only turned the latter out at the
last moment. The hypercritical are referred
to the name-index (Authors), and must kindly
fight the matter out among themselves.
215. Anonymous.
The Hand-book
I |
of |
The Violin, |
its |
Theory and Practice.

London, 1843. ^' ^- Clarke & Co. 24mo,
pp. viii. and 54.
This is a concise little opusculum, which opens with a brief
preface on the power of music on mankind, the supremacy of
the violin as a musical instrument, the invention of the
violin, and its introduction into this country in the reign of
Charles II. With a few words on the Cremona violin manu-
facture and the retention of the then-established form of the
fiddle, we reach the first chapter on "The Construction of the
Violin." After enumerating the various component parts of
a fiddle, and their variations, the author turns to Otto on the
violin for a dissertation on the woods to be employed. He
then describes and explains the bow, notices the self-hairing
fixed-nut bow of M. Vuillaume, and points out the objects and
uses of a varied tension of the hair. After explaining the
varieties, qualities, and choice of strings, he lays down a few
simple rules for preserving the violin and bow, whence, after
warning the violinist against ignorant repairers, and against
playing tricks with his instrument, we reach Chapter II., on
"
The Notes in Violin Music," which is a short epitome of
B 2
the elements of music and notation. The third chapter, on

"
Tuning the Violin," explains the way in which the scale is
produced on the four strings, how the violin and bow must be
held and manipulated. Chapter IV. is devoted to the consider-
ation of " The Scale or Gamut," in all positions, and the art of
"
shifting. Chapter V. explains the Graces." In Chapter VI.,
which is headed '' Miscellaneous," we are introduced to the
varieties of the art of bowing, and the production of expres-
sion. This useful work then concludes with an extremely
little
"
brief but useful Index of Musical Terms."
216. Anonymous.
How to play the Violin :
|
or |
Hints to Be-
ginners, I by I
an Amateur.
Qtiotation.
"
Love will find out the way."
" It will discourse most excellent Music."
Hani/ef.
London, 1883. y. R. Lafleiir. 24mo, pp. -^Z.
Like the preceding opuscule, an excellent little pocket-book

for beginners on the violin indeed it is addressed, as is stated
;
in the preface, to students who wish to acquire the rudiments

without the aid of a professor. It commences with a descrip-
tion of the violin and all its parts, and proceeds to an ex-
position of the technique of violin-playing, of bowing, and of

expression in execution. It is unpretentious and consequently
fulfils its mission.
217. Anonymous.
Rudimenta Panduristse, Oder: Geie- I I
Fundamenta, Worinnen die |

Kiirzeste Unter-
weisung fiir einen Scholaren, welcher in der | |
\'iolin unterwiesen zu werden verlanget, sowohl

ziim Behuf des Discipuls,
|
als auch zur Er- | |
leichterung der Miihe und Arbeit eines Lehr- |

meisters, auf diegriindlichst- und leichteste Art

|
mit beygesetzten Exempeln dargethan wird,

|
I
Von einem | aufrichtigen Music-Freund.
Augsburg, 1759. 7' 7- Iôtter. Oblong,
pp. 48.
217^. Other Editions?, Identical Titles, 1766 and
1778.
This book, which is similar in size and design to that of
Schweigl (No. 253), gives one an excellent idea of the progress
of violin-playing in the middle of the last century, and of the
very meagre materials at the disposal of violin students of that
period. An introduction of about ten pages gives the student
an outline of the first principles of music, of the keys and of
the elements of the violin. Throughout, the G string is called
called " the second," the
" the
big string," the D is A
is called
" the called " the small string or Quint."
E
third," and the is
The highest shift referred to is that to the third position. From

p. 13 the book is filled mainly with studies, in the form of little
airs, with an accompanying second written apparently for the
viola or violoncello. Fetis' copy of this book was dated 1 766.
It was probably reprinted and redated as required.
218. Burg, Robert.
Das I
Biichlein von der Geige |
oder |
die
Griindmaterialien des Violinspieles j
von j
Robert Burg.
Leipzig, n.d. [1865]. C. F. Kahnt. i2mo,
pp. 46.
A kind of German edition of the two preceding works (Nos.
2 1 5-6), than which it is completer and more scientific. Indeed
it maybe described as an excellent vade-mecum for both elemen-
tary and advanced students of the violin, being full of vah able
hints for the acquisition of perfect technique. It is divided
into three parts —

I. The Training of the Left Hand ; II. On
the Nature of Tone; and- III. The Training of the Right Arm
DE FTDICULIS BIBLIOGRAPHIA. 135
and Hand, and each part is full of precepts that every fiddler
must necessarily bear distinctly in mind.
219. CouRvoisiER, Karl.

Die Grundlage der Violin-Technik
I |
von |
Karl Courvoisier. Îllustration^ |
Berlin, 1873. M.Bahn. Large 8vo, pp. 44.
The I
Technics of Violin-Playing, by Karl | |
Courvoisier. \_Ilhtst7'ation.~\
|
Edited and trans-
\
lated By H.
I
E. Krehbiel, |
of the Cincinnati
College.
London, n.d. [iSSo]. Williain Reeves.
The English edition, by which this work is best known in this
country, is probably a reprint of an American work. It is
not so much an exact translation of Courvoisier's book (No.

219 supra), as a condensation into English of that book and of
his "Violin-Technik" (No. 221 post). It is divided, as such
books should be, into two parts, of which the first is devoted to
the position of the body and the functions of the left hand, and
the second to the manipulation of the bow and the functions
of the right hand. The book concludes with an appendix of
"
Exercises and Studies for the Violin," which is meagre and
incomplete.
22 r. Courvoisier, A'(^r/.
Die Violin-technik, |
von |
Karl. Cour-
voisier. Mit einer Tafel Abbildungen, nach
fotografischen |
Aufnahmen vom Verfasser
autografirt.
Cologne, 1878. P. y. Tonger. Large Svo,

pp. X. and 114, and i
plate.
This book purports to be an expansion of Herr Courvoisier's

smaller book, by way of supplement and complement. It is
addressed to more advanced students, whilst following the same
general arrangement as the more elementary work. In this
book greater attention paid to tone-production and advanced
is
technique, such as the harmonic notes and varieties of bowing.

It is also enriched with a large folding plate, illustrating all the
positions of the body and of the riglit and left arm and hand.
This is a work that no violin-player should neglect to study.
2 22. DrEWRY, H , S.
To George Herbert, |
to whom I owe these
ideas. |
The Slide |
on the Violoncello. | | By
I
H. S. Drewry. |
Price one shilling.
London and New York, n.d. [1889].

Ncvello & Co. Svo, pp. 14.
This pamphlet is so simple that it is practically described

and analyzed on the title-page. It appears to be a short essay
on sliding upon single and double notes, to which the author
has added a few "Addenda," including a section "On the
Slide to the Harmonic." As far as it goes it is lucid and
useful.
223. Fenkner, Johann Angtist.

Anweisung zum Violinspielen,
| | |
von j
Johann August F"enkner.

Halle, 1803. J. C. Hcndel. Oblong 410,
pp. iv. and 140.
A curious old treatise, illustrated with musical examples in
the text, dealing categorically with all the effects of
technique
DE FIDICULIS BlBLIOGRAPHfA. 137
and expression of which the violin is capable. An elaborate

introduction deals with the violin and its preservation^ termi-
nating with a short disquisition on rosin {Geigenharz). The
first two chapters are on music in general, Chap. III. on inter-
vals, Chap. IV. on measure and time, Chap. V. on signs,
Chap. VI. on fingering, Chap. VII. on bowing, Chap. VIII.

on expression, Chap. IX. on technique. The book concludes
w)th a register of musical terms.
224. Galeazzi, Francisco.

Elementi Teorico-pratici di Musica con
| | |
un saggio sopra arte di suonare il vioHno 1'

| |
annalizata, ed a demostrabili principj ridotta,

j
I opera utilissima a chiunque vuol applicare |
con profitto |
alia musica, |
e specialmente a'
principianti, |
dieettanti {sic^, e professori di
violino diFrancesco Galeazzi
j |
Torinese | |
Compositore di Musica, e professore |

di
Violino. Tomo Primo.I
Rome, 1
79 1. Pilucchi Cracas. 8vo, pp.
iv. and 252.
To7?io Secondo. Same title down to \
^'
Pro-
"
fessori di Violino" |
t/ieji
\
offerta |
al merito
particolarissimo del nobil uomo il
Signor Conte [
Tommaso Balucanti Patrizio Bresciano, ec. |
da Francesco Galeazzi," etc., etc., as before.

I
Rome, 1796. M. Pticcinelli. 8vo, pp. viii.

and 328.
—
Note, The first volume contains eleven folding plates of
music in contemporary (i 790-1800) notation, and the second
contains seven plates in ancient notation.
This is a most curious old book, seldom referred to and
seldom occurring I have
for sale. only seen or heard of two
copies, both of which were my own. The first part deals with
music in general, after which Part II,, which fills the remainder
of Vol. I., gives us a complete study of the art of violin playing
in Italy at the end of the eighteenth century. The construction
and properties of the violin and bow are discussed at length, the
"
tuning and management of the instrument, with notes on
intonation and time." Next we have " articoli" on bowing, on
harmonies, double stopping, arpeggio, cadenze, and expression,
all laiddown in a series of quaint " regole/' " definizioni," and
"
dimostrazioni." Then follow articles on orchestral playing,
the duties of the first violin, and on accompaniments and solo
playing. The second part ends with a section devoted to im-
provisation, and a general recapitulation of the leading principles
set forth in the preceding pages. The imprimatur and a page
of corrigenda close the letterpress of Vol. I. In Vol. II. we
have Part III., the principles of ancient and modern music.
Part IV., which is devoted to harmony and to melody, in two
sections,and the work closes as before with the corrigenda and
musical examples.
Galeazzi was born at Turin in 1758, and established himself
at Rome as a professor of the violin. For fifteen years he was
leader in the orchestra of the Teatro Valle. Lichtenthal {q.v.
sub Reference Books) quotes Vol. II. of the above work as a
second edition of Vol. I. As a matter of fact, a second edition
of Vol. I. was published at Ascoli in 18 17, but Vol. II. was not
republished.
225. Gerle, Haiis.

Musica Teusch, auf die Instru- -ment der |
grosser! vnnd kleinen Geygen, auch Lautten, |
welcher maszen die mit Grundt vnd art jrer

Compo- I
-sicion auz dem Gesangin die Tablatur
zu ord- I
-nen vnd zu setzen ist, sampt verbor-
gener applicacion vnd Kunst,
| Darynen ein |
Liebhaber un Anfenger berurter Instrument so

dar zu Lust vnd neygung tregt, on ein sonder- |
DE FID I CULTS BIBLIOGRAPHIA. 139
lichen Meyster meiislirlich durch tegliche vbung

leichtlich begreiffen |
vnd lernen mag, vormals
im Truct nye vnd ytso durch Hans Gerle,
Lutinist zu Nurenberg auszgangen. 1532. |
Nuremberg, 1532. Printed by yeronimum

Formschneyder. Oblong 4to. No pagination.
Title-page, sig. A ;
last page, sig. Q [iii.], pp. 63.
This is a book of enormous rarity, only two perfect copies

being known to be in existence, one in Berlin and one in the
British Museum. The ornamental border to the title-page con-
tains the date 1530, having served for Gerle's earlier book, and
Fetis cites a second and augmented edition printed in 1546.
" "
The descriptionând illustrations of the big and small fiddles
are most curious and interesting. At page sig. A iiii. are re-
"
presentations of two big fiddles," strung respectively with five
and six strings. At sig. C is an illustration showing how the
goodness of strings may be tested. Down to sig. H iii. the
text is with curious old musical illustrations by way of
filled
examples, and at sig. H

iiii. commences the section dealing
with " Das auffgerissen Geigleyn mit der Tabulatur," with an
illustration of a four-stringed rebec. The book from sig. I ii.
deals with the lutes and lute-playing. This book may be called
the father of violin literature ;
it is certainly the oldest and most
valuable book on the instrument.
Concerning the identity of the author of this book there
good deal of doubt. Fe'tis has made him the subject
exists a
"
of a most interesting article in his Biographic Universelle,"
without clearing the mystery to any appreciable extent. It
seems indisputable that he lived at Numberg in the early part

"
of the sixteenth century, and was the author of the Lauten
Parthien in der Tabulatur," printed in 1530. Doppelmayer
death in 1570, but on what authority he does not state.
fixes his
There exists a portrait of Gerle engraved in 1532, the year this
book was published.
c
226. Gresswell, Henry William, and Gress-

WELL, George.
How to play the Fiddle |
or, |
Hints to
beginners on the Violin. By Henry William
| | |
Gresswell and George

|
Gresswell.
|
Quotation,
" In
all things we can do something at first. Any man
will forgea bar of iron, if you gve him a hammer not so
]
—
well as a smith, but tolerably and make a box, though a
; |
clumsy one but give him a fiddle and a fiddle-stick, and he

;
can do nothing." Dr. Johnson.

|
—
London, n.d, [1S86]. Field Titer and &
Simpkin Marshall. 8vo, pp. xii. and 100.

Same title, with " Second Edition, |
Revised
and corrected."
London, 1887. Wm. Reeves. 8vo, pp. xxiv.
and 100, and iv. and iv.
228. Third Bditioit.

"
Same title-page, with New Edition, Revised
and corrected."
London, 1888. Third Edition. Wm. Reeves.
8vo, pp. xxiv. and 100, and iv. and iv.
The difference between the second and third editions of this

book (which are in all respects identical) and the first, lies in
the fact that they are reprinted in smaller type, a few correc-
tions and alterations are made, and a long new preface and an
appendix are super-added. It contains a high-flown dedication

to Dr. Joachim, and a piteous account (in the second edition)
C 2
of the trials and losses of the authors over the first edition.
The main body of the book is not, however, unpraiseworthy.
The chapters on the purchase of a violin, on preservation and
repair, on the history, and on the constituent parts of a fiddle are
excellent in their way. The theoretico-practical part, however,
is written by amateurs for amateurs, and the latter who read the
book will most probably appreciate the former's work. Verb. sap.
229. GuNN, John.

The Theory and
I
Practice |
of fingering the
I
Violoncello
Containing and Pro-
|
Rules
gressive Lessons for attaining the Knowledge |
and Command of the Whole Compass of the |
Instrument, | by | John Gunn |

Teacher of the
Violoncello.
Quotatio7i.
" O Grata testiido Jovis,
deciis Phcebi, et dapibus supremi \
O laborum Diilce lenimen, inihi cunque salve Rite vocanti,
j
— ac
precor, integra Cum
\
\
f/tente,
\
nee titrpem Senectam \
Degere, nee Cithard carentem. \

Hor." [Engraving.]
London, n.d. [1793]. For the Author. Folio,

pp. vi. and 32 printed, and iv. engraved, and
pp. 37-72 printed, and 73-96 engraved.
This is not a mere me'thode, as the title would seem to de-
note, but a scholarly treatise on the origin, history, theory and
practice of the violoncello. The historical portion, extending

to page 32, is illustrated with an excellent plate of engravings,
" Fantasia
and followed by a
is by Mr. Henry Le Jeune, prob-
ably the first piece of music in parts performed by a Concert
of Violins, Tenors, &c." The theoretical portion, pp. 37-54,
deals with the properties of musical strings, and an exhaustive
tabulation of the art of fingering. Pp. 58-72 are devoted to
the practice of fingering, &c., and the rest of the work is made
up of musical examples and illustrations to the foregoing. The

whole work is 'O and valuable.
most interesting
229A. GuNN, Jolm.

An Essay Theoretical and Practical, with
|
|
I Copious and Easy Examples on the Ap- |
plication of the principles of | Harmony,

Thorough-Bass, and Modulation, to the
| | | |
Violoncello, by John Gunn, Author of the

| |
Theory and practice of fingering the Violon-

cello.
London, n.d. [1801]. Robt. Cocks & Co.

Folio, pp. iv. and 52.
This work, printed music-size from engraved plates, is saved

from being a mere instruction book by the fact of its purport-
ing to be a theoretical and practical essay on chords and
cadences applied to the violoncello. In fact, were it not for
the distinctively practical manner in which the author has
recorded his notes and observations, it might rank side by
side with Sauzay's book on harmony as applied to the vioHn
(No. 209). 'J he theoretical part consists of chapters on

intervals in general, their inversions, the phenomena of har-
monies, and the
general principles of thorough-bass. The
practical part consists of chapters on chords, cadences, resolu-
tions, harmonics, modulations, suspensions and anticipations,
showing in all cases how to produce these effects upon the
violoncello. It is a treatise that cannot fail
deeply to interest
any advanced peiformer on the instrument.
John Gunn was born in Edinburgh about 1765, and estab-
lished himtelt in London as a prolessor of the violoncello about
1790. He was the husband of Anne Gunn {nee Young), the

pianist and writer on harnion}'. The date of his death is un-
known.
230. Hamilton, y. A.
Note. —
The publishers are un-
able to supply any information
as to the early editions of this
and the following work.
This little hand-book, which was first issued in the year ,
has been continually reprinted from the original stereotype

plates as required, the only alterations being in the first line
of the title-page announcing the edition, and the addition in
the edition (in the year )
of an appendix by John
Bishop. I have before me a copy of the
231. Fifteenth Edition.

Fifteenth Edition |
of Hamilton's Cate-
|
chism I
for |
The Violin, with j
an Appendix
j by I John Bishop.
London, n.d. [1883]. R. Cocks i\ni\
Simpkin
j\Iar shall. 12 mo, pp. 90.
And the Nineteenth Edition.
London, n.d. [1889]. Identical.
That this little work meets a constant and widely-felt require-

ment is obvious from its eternally recurrent rejuvenescence.
After seven chapters, common to all Hamilton's Catechisms,
on music in general, Chapter VIII. deals with the mechanism
of the violin, and Chapter IX, with the management of the
bow the remaining chapters deal with tone and expression
;
and advanced technique. John Bishop's appendix is a short

but excellent essay, in on the structure, appurte-
six chapters,
nances, and preservation of the violin and bow, concluding

with short notes on the leading violin makers.
The story of Hamilton's life is tragic. Born in 1S05, the
son of a second-hand bookseller, he was entirely self-educated,
and was the victim of rooted habits of intemperance. As a
DE FIDICULIS BIDLIOGRAPIIIA. 144
natural result, he sold to the publishers, tor a few pounds, the
copyrights of a large quantity of musical works, which, like

the above, have gone through a vast number of editions, and
might have kept him in affluence. He died in abject poverty,

at the age of forty-three, in the year 1848.
232. Hamilton, y. y^.
A Catechism for The Violoncello. By J.

| j |
A. Hamilton, Professor of Harmony and Com-

|
position.
London, n.d. [ ].
R. Cocks and Simp-
kin Marshall dr Co. i2mo, pp. iv. and 68.
\^rrade Catalogue, on the Title-page.\
2yia. Second Edition .
Same title, with " Second Edition, |

revised
and enlarged by | John Bishop."' \_Aô Cala-
looti.e.'\
London, n.d. [ ].
R. Cocks & Co.
i2mo, pp. vi. and 84.
This work is absolutely identical with the last, save that it is
adapted to the violoncello instead of to the violin. Indeed,
the table of contents at the commencement of the work is
practically word for word the same as that prefixed to No. 230.
The same critical and analytical remarks consequently apply
to this little book.
233. H ERi N G ,
C^r/ Fricdrich A dolf.
Ueber | Rudolph Kreutzer's Etuden. |
Eine \
methodische Anweisung |
Violin-Lehrer.
fiir |
Von Carl Hering,

I I |
Musikinstiluts-Direktor
zu Berlin.
Leipzig, 1S58. Breitkopf u. Ildrtcl. 8vo,

pp. iv. and 32.
Carl Friedrich Adolf Hering, son of Carl Theophil Hering,

" "
who wrote the Praktische Violin-schule (Leipzig, 1810, q.v.
was a pupil of Lipinski and Hubert Ries, but modelled
post),
his studiesof the violin on those of Kreutzer, on whose
methods he was an undoubted authority, as is proved by his
" Methodischen Leitfaden fiir
Violin-Elementarunterricht," his
" Elementar-Etiiden " " "
(Op. 13), and his further Etiiden
(Op. 20), all of which are designed as introductory to Kreutzer's

celebrated studies. The little work at present under considera-
tion of considerable rarity.
is It purports to be a series of
notes on the Kreutzer studies, analyzed in the manner familiar

to students of the Popular Concert programmes, and as a com-
panion and guide to those studies cannot fail to be of value

and interest to the student.
Hering was born at Berlm in 1819 (September 2nd), and was

alive in 1881.
234. HiEBSCH, y(9i-^.

Methodik |
des |
Violin-unterrichtes |
von
Josef Hiebsch.
I
Wiener-Neustadt, 1887. E. Wedl. Large

8vo, pp. viii. and 236 and iv.
This is the most important work in German on the theory

and practice of violin-playing that has yet been placed in the
hands of students of the violin. The first part, extending over
sixty-two pages, treats of music in general the second is ;
entitled "particular" {besondere>'\ in contradistinction to the

" "
firsts which is entitled general {allgefneiner), and is divided
into sections dealing in turn with {a) The Technics of Violin-
playing, {b) The Esthetics of Violin-playing, and {c) Instruc-
tion, which is divided into three " degrees" (6"/^//^). It is
thus a complete treatise on all that appertains to the art and

science of violin-playing, and is furtherenriched with an
appendix containing the titles of what Herr Hiebsch considers
to be the principal works on music in all its branches.
DE FIDICULTS B/BLIOGRAFHIA. 146
235. Jokaim Adam.

Wi'Li.^v.,
Anweisung zum Violinspielen,

| |
j
fiir
Schulen, und zum Selbstunterrichte.

| |
Nebst |
I
einem kurzgefassten Lexicon |
der fremden|
Worter und Benennungen in der Musik, j
entworfen von Johann Adam

j |
Hiller.
Gratz, 1795. C. F. Trotscher. Small 410,

pp. iv and 88.
The work deal with I., A Descrip-

successive chapters of this —
and How to Keep it in Order II., How to
tion of the Violin ;
Hold the Violin and Bow III., Tone Production IV.,

; ;
Fingering; V., Notation; VL, Bowing; VII., The Shifts; VIII.,
Expression; IX., Signs, from

which point (p. 54) the rest of
thebook is taken up with adictionar}- of musical terms. Fe'lis
1792, Breitkopf und HdrteV

" as the place, date,
gives Leipzig,
&c., of this book, but my own copy is as above, and bears no
trace of being aught but an original issue.
J. A. Hiller was born at Wendischossig, near Goerlitz, in

1728 (December 25th). Left an orphan at six, he was a
pianist and twelve years of nge.
violinist at From an early
he devoted himself to musical literature and composition,
age
and Fetis gives a list of forty-five of his known works. He
died at Leipzig in 1804 (June i6th).
2 '^6. Anonymous [Honeyman, Williaiu Crai^^-

forci\.
The Violin :
|
How to Master it. By a Pro-
|
"
fessional Player, |
Editor of Kohler's Reposi-
tory.
Complete table of contents printed on title-page.

Edinburgh, E. Kdliler Sou ; London, &
Simpkiii Marshall, &c. ; n.d. [1881]. Continu-
ally reprinted from stereotype plates. 8\o, i)p. 9^1
.
237. Eighteenth Edition.
Exactly the same book with an appendix of

10 pp.
Edinburgh, n.d. [1889]. Kohlej- & Son.

London, Scottish Agency, pp. 106,
As to the numerous editions of this work, the same remarks
" Hamilton's Catechism "
might be made as those evoked by
{afite No. 230). The table of contents, set out in small print
upon the title-page, shows that the author has spared no pains
to collect into these 106 pages all the information and sugges-
tions that he possibly could concerning the violin and how
a knowledge of its theory and practice may be best attained.
He tells us of the powers of the violin and its notation, the best
books of instruction, how to choose an instrument, the variations
of strings, how to hold the violin, to manage the bow, and
tune the instrument, with a quantity of information as to the
technical difficulties to be overcome. The appendix contains
a mass of hints to the player how to behave himself generally,
concluding with recipes for cleaning the instrument and for
making "Fine Solo Rosin." An excellent review of the work
appeared in the Musical Times for May, 1882, in the course
"
of which the reviewer says The popular style in which this
:
little treatise is written should strongly recommend it to those

amateurs who wish to take part in concerted music rather than
to stand forth as interpreters of the many high-class solos which
only the selected few should attempt. The earnestness of the

author's style will, no doubt, induce the reader to pass lightly
over the several grammatical errors to be met with." Many of
these were corrected in later editions.
238. Anonymous [Honeyman, William Craiv-

ford\
Hints to Violin-players; |
a sequel to |
" The Violin : How Master It." By a Pro-

to |
fessional Player. |
Author of " The Violin How :
D
"
to Master It," |
The Young Violinist's Tutor,"
etc.
Complete table of contents printed on title-
pcige and wrapper.
Edinburgh, n.d. [1885]. Kohler Son. &

London, Wm. Foulsham Co. Continually &
reprinted from stereotyped plates. 8vo, pp.
72.
239. Fifth Edition.

The Secrets of Violin- Playing,
|
being |
Full Instructions and Hints toViolin-players, |
for the Perfect Mastery of the Instrument. By |
a Professional Player, Author of " The Violin

|
:
How to Master It," etc.
Complete table of contents printed on title-page

and wrapper.
Edinburgh, n.d. [1889]. Identical to p. 72.
Appendix, pp. 'j'^ 76.
—
Collectors of books on the violin, naturally outraged, raised
a great outcry at the alteration of the title oi this book when
they found that they had been tricked into buying an old book
with a new title-page, an offence, I think, against literary morals.
Already there is a book that has done service

good deal in this
in the author's former work, to which it professes to be a
sequel. Chapter I. is on players of different kinds and chin-

rests, Chapter II. on holding the violin. Chapter III. on the
management of the bow and the training of the left hand,

Chapter IV. on strings, Chapter V. on fittings. Chapter VI.
on old and new fiddles, Chapter VII. on bows, Chapter VIII,
on tone and expression, concluding with Chapter IX. on players
in general. The only alteration justifying the change of the
D 2
DE FIDICULIS BIBLIOGRAFHIA. 149
title is the addition of a four-page appendix on Bach's sonatas,

on women as instrumentaHsts, and on arpeggio and staccato
playing. Critically speaking, the sanne remarks apply to this

as to the preceding work.
240. LoHLEiN, George Simon.

Anvveisung zum Violinspielen, mit prak-
| [ [
tischen Beyspielen und zur Uebung mit vier| |
und zwanzig kleinen Duetten erlautert, von | |
George Simon Lohlein. \Êngramng?\

Leipzig and Ziillichau, 1774. F. From-
niann. Oblong 4to, pp. xii. and 136.

"
Same title, with Zweyte verbesserte Au-
flage." \_Engraving?\
Leipzig and Ziillichau, 1781. F. Fi'om-
mann. Oblong, pp. xii. and 140.
242. Th ird Edition .
George Simon Ldhlein's | Anweisung |

zum
IViolinspielen mit praktischen Beyspielen
| |
und zur Uebung mit zwolf kleinen Duetten

|
erlautert, zum dritten Mahl mit Verbes-

| |
serungen und Zufatzen, |

auch mit |
Zwolf
Balletstiicken |
aus der Oper Andromeda und
der Oper Brenno vermehrt herausgegeben
| |
von Johann Friederich Reichardt.

(
Leipzig and Ziillichau, 1797. F. From-

mann. Oblong, pp. iv. and 124.
This the completest and most important of the German
is
theoretical books of the last century. It gives us descriptions
of the instrument and its arrangement, and complete instruc-

tions as to the position of the body and the holding of the
violin and bow. Then follows a section, as in most of these
books, containing the rudiments of music, and an exposition

of the scales on the four strings of the violin up to the exten-
sion of the little finger in the third position on the E string.
We then have instructions in expression and " graces," with
numerous musical examples, and a dictionary of musical terms,
with chapters on bowings and the shifts. The book closes
with an interesting "Zugabe" on the construction of the
violin, with notes on the leading makers of antiquity. The
author's advice as to the purchase and choice of a violin, in
" Aber Liebhabern alte Schach-
which he profoundly remarks,
teln fiir gute Instrumente verkaufen, ist nicht das Werk eines
ehrlichen Mannes," which would seem to imply that the rage
for Cremona instruments and con.-equent violin frauds are not
the peculiar outcome of the nineteenth century decadence.
Lohlein had an adventurous career. Born at Neustadt
in the
(a/Heide) in 1727, he was enrolled as a conscript
Prussian troops at the age of sixteen, and was left for dead
on the battle-field of Collin. He was, however, restored to
life inan Austrian hospital, and, returning home, established
himself, after the peace of 1763, at Leipzig as a teacher of the
piano and violin. In 1779 he became Capellmeister at
Dantzig, where he died in 1782. He composed a small
quantity of chamber music, but is best known by his
instruc-
tion books for the piano and violin,
243. Macdonald, y.?//;/.

A Treatise on the
I |
Harmonic System,
[ |
arising from the vibrations of the AHquot

Divisions of Strings according to the
| gradual |
progress of the notes, from the middle, to the

remote extremes ; explaining simply, by
|
curved delineations, the manner in which the

I
harmonic tones, half and quarter notes, are

generated and produced on every correspond-
|
ing part of the string, and under a copious

| |
explanatory description, |
illustrated by musical
and appropriate plates, | giving an easy and

familiar adaptation of the whole
purposes to the
of I composition and Instrumental music, and
more particularly the practice of the
|
to |
Violin, Tenor, Violoncello, and Double Bass, |
on all the strings, and in every compass of these

instruments, by every practical mode of exe-
|
cution, I
some musical animadversions
with I
Iintroductory of the general subject, briefly |
alluding to the rise and progress of music, and to

the corrections of temperament and stating ;
| |
various improvements of Instruments, experi-

mentally ascertained concluding with:
|
an |
application or two of the principle of musical

notes to purposes of utility, and a reference to |
terms less generally noticed. | By | John Mac-

donald, Esq., F.R.S., F.A^S., late Lieutenant-
Colonel Chief Engineer and Commandant of
;
Artillery on the Establishment of Sumatra.
Qtwtations.
"
Ingenuas didicisse fideliter artes
EmoUit mores, nee sinit esse feros."
" Cest k Ton
qui fait la Musique."
London, 1822. T. Preston^ for the Author.

Folio, pp. xiv. and 42, and pp. 24 of engraved
musical illustrations.
Colonel Macdonald has produced in this work a profoundly
scientific treatise on music and on the harmonic system,
especially adapted to the four bow instruments in use in the

orchestra. It is similar in intentGunn's work (No. 229A).
to
A learned theoretical preface is followed by a still more learned
historical introduction, both dealing with music in general,
and considerations of its development to its actual state in
1822, under George IV., to whom the work is

elaborately
dedicated.
The practical part of the book is to all intents and purposes
described at length on the title-page, and is interspersed with
many notes and reflections on the means by which bowed
instruments may be improved. It concludes with a dictionary
of musical terms. There are, in the work, five full-page plates
explanatory of the theories advanced by the author, in addition

to the twenty-four pages of engraved musical examples. A
curious and scholarly work.
Macdonald was a lieutenant-colonel of artillery, attached to
the Sumatra station. He
was born of royal Scotch ancestors
in the Hebrides (in 1709, according to Fetis, which would
make him 122 years old when he died). He returned from
India in 1796, when he was probably about forty years of age,
and devoted himself to the advanced science of music and
harmony. He died at Exeter in 1831 (August 12th).
244. Meugy, a.
Ouelques |
Observations |
sur |
TArt du
Violon par A. Meugy.
I |
Paris, 1888. Finnin Didot. Large 8vo,

pp. viii. and 122.
What Hiebsch's work {ante,No. 234) is in German, this
work is in French, but I think thatif any
comparison is to be
made, this volume is in advance of the other in point of
excellence and completeness. From elementary considerations
and notes on the greatest players of the century^ passing over
the elements of position, the author proceeds to notice the
main difficulties of the instrument. Next comes a study of
the bow, and the effects of which it is capable, which is
followed by a dissertation on the harmonic notes, and a most
lucid essayon the practice required for the development of
technique. Then, after a general dissertation upon chamber
music in general, the author proceeds to consider in detail the
works of Schumann, Raff, Rubinstein, Brahms, and Saint

Saens, with some others. The book concludes with a
"
Resume general," in which the practical operation of violin
study is carefully analyzed and advised upon. It is a work
which, like that of Hiebsch, no violinist or student should be

without.
245. Mitchell, C. H.
How to Hold I
a |
Violin and Bow. |
With |
Instructions in Bowing, by | |
C. H. Mitchell.
London, 1882. F. Pitman. 8vo, pp. 32.
The title of this cheap and useful book explains itself at

once. Indeed itsone of its principal charms, the
brevity is
table of contents, which condenses the scheme of the work,
consisting of five pithy lines :

— The Body generally ;
How to
hold the Violin; How to hold the Bow; Bowings; and, Pizzicato.
A short and business-like introduction leads to the discussion
of these matters, the avowed object of the author being to point
out to the student the road to a developed technique, combining
(i) maximum endurance, (2) minimum fatigue, (3) due
expression of the composer's ideas, and (4) maximum grace,
I have no hesitation
compatible with the nature of the work.
in saying,though I have personally never met or even heard
of Mr. Mitchell, that every fiddler ought to make a point
of buying this pamphlet —
which costs sixpence !
246. Paine, y«?//;/.
Third Edition. Paine's Treatise on the

| [ [
Violin, in which the Rudiments of this Instru-

I
ment are taught In the most plain and familiar

|
manner in a Dialogue between the Master and |
Pupil, With numerous Examples.

1
Also |
Twelve Airs, for I Prooressive Practice. I Price

2S.
\Title-page7\
Third Edition. [
A [
Treatise |
on |
The
Vîolin showing How to ascertain the true
;
| |
degree of time, by a pecuHar method of bow- |
ing exempHfied by a tune attached to

;
each |
degree Hkewise, the easiest way of stopping

;
correctly in tune; with directions for shifting

and transposition interspersed with enter- ;
-taining poetry and anecdotes in a Dialogue ; | |
between a Master and his Pupil.

I By John |
Paine, Professor and Teacher of the Violin.

|
\_Dialogiie pictiire?\^
London, n.d. [1820 ?]. J.Reynolds. Large
Svo, pp. 48, and 12 of engraved music. The
engraved plates in the text are paged consecu-
tively with the text-pages.
I have before me a copy of another edition of this work,

probably the first, from the style of its execution and from the
fact that it is priced three
shillings instead of two. The top
of the page, where the fact of it being a later edition would be
announced, is cut away.
246A. Another Edition, [f Firsti\
\No Wrapper?^
"
Same title down John Paine," then to
" and Teacher of the Violin, and
Professor
Inventor and Manufacturer of the Gamut |
Finger-Board and Bow-Guide."

London, n.d. [1815?]. Printed for the
Author at his Manufactory. 8vo, pp. 48. No

music plates. Smaller type and closer print.
An extremely curious old treatise, constructed throughout in
quaint, old-fashioned dialogue form, with engraved plates of
musical examples interleaved and paginated for the purpose.
It is'divided into four parts or lessons, which cover all the
mechanical difficulties of the instrument. Beyond this, the
work is sufficiently described by its title-page.
247. Philpot, Stephen.

An Introduction to the Art of Playing
I | |
on the Violin, on an entire new plan, | | |
Calculated for Laying a Regular Foundation |
for Young Beginners, Explained by such Easy |
I
Rules and Principles as will enable a Scholar
to acquire a proper Method for performing on |
that Instrument. By Stephen Philpot, of |
Lewes in Sussex, One of His Majesty's Musl-\
cians-in-Ordinary.
London, n.d. [1766]. For the Author,
Randall^ and others. Folio, pp. 16 printed and
32 engraved.
Note. — "
This Treatise is entered at Sta-
tioners'-Hall^ according to Act of Parliament.
Those that are sold without \ being signed
by the Author, are unfairly procured, and
the Vender will be prosecuted. {Signed) \ \
Stephen Philpot:''
This is a delicious old book, which starts with the sapient
dogma :
— *'
There are three grand Requifites that must con-
fpire to bringany Art or Science to Perfection I. A proper —
Genius; Regular and well-grounded Inflructions and,
II. ;
III. Application." The section headed "Of Genius" is

E
charming, and concludes :

—" It was by thefe Rules and
Principles that I grounded Sons ; and
my Scholars and my
though they are not great Players, yet they are efleemed
genteel Performers in Concert, and to play Solo's in a very
pleafing Manner." The work is interesting as a glimpse of
what ordinary tuition really amounted to in the middle of
the last century.
248. PuRDv, Geoi'ge,

A I
Few Words
on the Violin, by George | |
Purdy. Being the

I
result of thirty years' ex-
|
perience, as a teacher
I
of that instrument. |
Price Twopence.
London, 1858. W. J. Golbottrn. 8vo,

pp. 8.
This little ephemeris is of the greatest possible rarity. Tt
purports to be a few observations by a practical professor on

the initial difficulties encountered by beginners (especially in
self tuition), and the means wherelty they may be overcome.
The author's remarks on bad habits easily acquired and
difficult to abandon are lucid and excellent. It is hardly
necessary to say that the underlying object of these eight pages
isself advertisement.
249. Reichardt, y^j'^^^/z Friederich.

Ueber |
die Pflichten des| Ripien-Violin-
|
isten, I
von | Johann Friederich Reichardt, |
Konigl. Preussischen Capellmeister. \Orna-

nientJ]
Berlin and Leipzig, 1776. G. J, Decker.
8vo, pp. 92.
This curious " on

little book, the duties of secondary violin-
players," is of very great rarity, and regrettably so, for the dogma
E 2
To face page 157, Vol. 1.
T R A I T E
DE LA VIOLE,
QJUI CONTIENT
Une Di fetation curieufe fur Ton origine.
Une Demonftracion generale de/on Mancheen
avcc leurs expli cations'.
quaere Figures ,
L'cxplication
de {t.% Jeux ditfetents , &: particU-
Jieremenc des Pieces par accords , be de i'ac-
a fond.
comp gnement
Des Regies ^pour connoitre tous les
certaines
fe
agremens qui peuvent pratiquer fut cet
inftrument dans toutes fortes de Pieces de
Mufique.
La veritable maniere de gouverner rArcKecj &:
des Moyens faciles pour tranfpofer fur toutes
forces de Tons.
Tat lEAN ROVS^B AV, Maitte de
Mtijitjue &
de Viole.
Demeurant rue des Boucheries, proche le Petit Mar-
che> devant la Barneie, aa Soleil d'Or, chez uQ
Donncticr, Faux bourg Saint Germain.
A P A R S I ,
1?ar CHRISTOPHE BALLARD, feullmprimeut

du Roy pour la Mufique.
"^
M. DC. LXXXVII.
Avec Privilege de Sa Majejie,
Title-page of Rousseau's "Traite de la Viole." Vuie No. 250, Vol. I.
[From the copy in the Author's Collection.]

it
lays down might advantage be obeyed by the most
with
advanced Here may be found instructions as to
soloists.
" " "
good full tone," on sure and flexible bowing," on readiness
"
and sureness in fingering," on ornamentation and flourish/'
on loudness and softness and intermediate stages," on " the
" " on
recognition of genius (!), on "exactitude of time," and
conscientiousness in practising from notes," and the work ends
with an interesting little chapter on the instruments adapted for
the use of the second-violinist, and on the accessories he should
use. The existence of such a book is hardly extraordinary
when one realizes the mass of German musicians who are
content never to be more than secondary orchestral per-
formers.
J. F. Reichardt, the editor of the third edition of Lohlein's
book (No. was one of the most voluminous and indus-
242),
and composers of the eighteenth century.
trious musical writers
He was born at Konigsberg a/R. in 1752 (November 25th),
and devoted himself to music from his earliest years. In 1769
he was studying with Kant at his native place, in 1771 we find
him at Leipzig, and in 1775 he became leader of the King's
band at Berlin. Under Frederick William H. he became the
most prominent musician in Europe, but in 1 791-3 he was out
of favour and lost his place. F^tis gives a list of ninety-one of
his known works, comprising a hundred and eighty composi-
tions. Restored to favour in Berlin in 1797, he died at
Halle in 1814 (June 27th).
250. Rousseau, y^^;^.

Traite de la Viole,
| qui Contient ] |
Une
Dissertation curieuse sur son origine. |
Une
Demonstration generale de son Manche en
quatre Figures, avec leurs explications.
L'explication de ses Jeux differents, & particu-
-lierement des Pieces par accords, & de I'ac-
I
j -compagnement a fond. |
Des Regies cer-
taines, pour connoitre tous les | agremens qui se
DE FIDIC ULIS BIBLIO GRAPHIA. 1
5 8
peuvent pratiquer sur cet instrument dans

|
toutes sortes de Pieces de Musique. |

La |
veritable maniere de gouverner I'Archet, & |
des Moyens faciles pour transposer sur toutes |
sortes de Tons. |
Par lean Rovsseav, Maitre de
I Musique & Demeurant rue {sic)
de Viole. |
des Boucheries, proche le Petit Mar- -ch6, |
devant la Barriere, au soleil d'Or, chez un |
Bonnetier, Faux-bourg Saint Germain.
Paris, 1687. Christophe Ballard. 8vo, pp.

xvi. and 152.
This work, which is one of the oldest and rarest works on

the theory of bow instruments, commences with a compHmen-
tary dedication to Mons. de Sainte Colombe, which is followed
by a preface, prefatory remarks, and table of contents, after
"
which is printed an " Extrait du Privilege du Roy and table
"
Errata."
"
The work then opens with a Dissertation of the
of
Origin of the Viol," which is wild and imaginative to an
appalling but interesting degree, going to prove the use of the
viol by our forefathers, even unto Adam, and thence from the
Greeks and Romans to the (then) present time, concluding
with an interesting and valuable sketch of the progress of viol-
playing in France up to and at that time (1687). From this
point the historic interest yields place to the practical, the
work being a most complete instruction book for the viol, and
showing minutely the state of viol -playing and viol music in
the seventeenth century. As a contemporary history of the viol
and its music it is unrivalled, which accounts for its great value
among musicians, antiquarians, and bibliophiles.
Jean Rousseau, who must not be confounded with the
celebrated musician and writer, Jean-Jacques Rousseau, was a
pupil of Ste. Colombe, the viol-player, beyond which little or
nothing is known of him, save that he was the writer of two
other known works, one a book of exercises for the viola-da-
gamba, the other a singing methode, of which six editions are

known.
251. ScHOLZ, Richard.

Louis Oertel's Musik-Bibliothek. Heft 10. |
I
Die Violin-technik in ihrem ganzen Um-
| |
fange nach neuestem System dargestellt und |
durch viele Notenbeispiele erlautert von

I | |
Richard Scholz, Lehrer am Konservatorium

|
zu Koblenz.
Hanover, n.d. [1888]. Louis Oertel. Large
8vo (4to), pp. ii. and 60.
This work, divided into two
like the majority of its kind, is
parts, the Die Fingertechnik," and the second, " Die

first,
"
Bogentechnik." In considering the merits of such books one

*'
is driven to the old axiom, Prove all things ; hold fast that
which is good." The directions laid down herein are excellent ;
it must be for the student to decide whether
they are better or
worse than those set forth by the writers of similar works,
252. Schroder, Hermann.

Die I
Kunst des Violinspiels. Ein encyklo- |
padisches Handbuch fur jeden Violinisten,

|
I
insbesondere fiir Lehrer und Lernende, |
von 1 Hermann Schroder.

Koln a/Rh., 1887. P- J* Tonger. Large
8vOj pp. vi. and 96.
This is more than a mere exposition of a professor's views as

to how the violin should be played, for it
opens with a first
part which is devoted to the history of the violin, of its makers,

and of its players. The alphabetical lists of names of the
makers and players are concise, practical and useful. The
theoretical part of the book commences at p. 21, and consists
DE FIDICULIS BIBLIOGRAPHIA. i6o
of an excellent dictionary of the violin, comprising all terms

used in any way in connection with the instrument. This is
remarkably valuable and complete ;

for instance, the article on
putting on strings gives six illustrations of how the first string
may be looped to the tailpiece. All the effects producible on
the violin are minutely and clearly described in their proper
and alphabetical There is also an excellent plate
order.
defining the various parts of the inside and outside of a violin.

The whole work gives evidence of great industry and research,
as well as of a practical knowledge of the instrument of a high
order.
253. SciiWElGL, Igiias.

Verbesserte Grundlehre der Violin.
|
zur [
Erleichterung der Lehrer und zum Vortheil| [
der Schtiler herausgegeben von Ignaz | |
Schweigl.
Vienna, 1786. For the Author. Oblong
4to, pp. 4 not paged, and 48.
This is a curious old treatise, explanatory of the method in

which music is played in the different keys on the violin, and
" to
the positions proper to them. It is dedicated in two pages
the province of Lower Austria," and, after a preface of two pages

and a "first chapter" of four pages containing the first rudi-
ments of the violin, the rest of the book is taken up with
n.usical examples, explained with the most rudimentary
directions possible, between the lines. The volume before me
is perhaps more a book of studies than a theoretical work, but
it
may be incomplete. Schweigl is not mentioned at all by
" Grundlehre der
Forkel : Lichtenthal cites his Violin," in two
parts, Vienna, 1794 (p. 56), whilst Felis authoritatively states
^^
(fnore modoque Fetis !) that the Grundlehre" appeared in
" Verbesserte
1785, and the re-issue Grundlehre'' in two parts,
datedjrespectively -1794 and 1795. My copy may possibly
have a sheet (G) missing at the end, and may not unlikely be
DE FIDICULIS BIBLIOGRAPHIA. i6i
one of two parts, regard being had to the very meagre amount
of letterpress introducing the musical examples but it is cer- ;
"
tainly Verbesserte," and certainly dated 1786, both on the title-
page and at the end of the prefatory dedication. I do not
know whence Fetis got his information ; the book was not in his
library, nor in that of M. Farrenc, and my own is the only
copy I have ever heard of or seen.
254. Tartini, Giuseppe.

Lettera del defonto
| Signor Giuseppe | [
Tartini alia Signora

|
Maddalena Lombardini
|
I
inserviente ad una importante Lezione per i
1
Suonatori di Violino.
|
In Londra, mdcclxxi.
| |
English Title.
A I
Letter |
from the late | Signor Tartini |
to Signora Maddalena Lombardini, | (now Sig-

nora Sirmen,) published as an important lesson
|
to performers on the Violin. Translated by

I |
Dr. Burney.
London, 1771. R. Bremner. Small folio,
and pp. 8 in English, interleaved
pp. 7 in Italian
and paged independently.
This letter, which has been reproduced in extenso in many

" Ole "
works on the violin {exempli gratia Bull, a Memoir
" The Violin " and
[No. 70], G. Dubourg's [No 154], others),
is by this time familiar to all violin students, so that the ex-
treme rarity of the original editions is not a matter for such

deep regret as it might otherwise be. The instructions given
herein by Tartini to his fair pupil are principally confined to
the mechanism and technique of the bow. His second recom-
mendation is that the player should accustom herself to play
whole compositions in the second or third positions in turn,
without shifting the hand at all. The third essential that he
deals with in his letter is ''the making a good shake." I
cannot help being of opinion that this brochure is more curious

than valuable in the present day. Giuseppe Tartini hardly
requires a biographical note in a work destined for students of
the violin, to whom his name is already a household word as
the first of the great masters of violin-playing. He was born
at Pirano inIstria, in 1692 (April 12th), of noble parents, and
after a youth of romance and adventure which has formed the
theme of many a fantastic biography, settled himself as solo-
violinist in the church of San Antonio at Padua, where he died
in 1770 (February i6th). For detailed biographies of Tartini
vide Section II.
255. Walden, E. Dworzak von.
IlViolino I
ossia |
Analisi del suo Meccanismo
Iesposta da E. Dworzak von Walden. Gia
I I |
professore ordinario di Violino nel Reale Con-

servatorlo di Lipsia, 1° Violinista della So-
|
cieta del Quartetto in Napoli. \Oyria?nent^

—
j
Part I.
Naples, 1883. F. Furcheim.
Large 8vo, pp. 30.
Movimento della mano sinistra nella forma-
zione dei suoni.
Part II. — Naples, 1884. ^- Furcheim.
Large 8vo, pp. 44.
Funzione della mano destra nel maneggio
del' arco.
Part III. 1888.— Naples,

F, Furcheim.
Large 8vo, pp. 58.
Le mani nella loro azione simultanea.
This an excellent work, though, regard being had to the
is
quantity of the matter and the manner of its presentment, it

is difficult to imagine why its production should have occupied
five years. As a book it may be perfectly compared with

Courvoisier's works (Nos. 219 and 221), the illustrations being
numerous, lucid and well executed, and the instructions given
in the text leaving nothing to be desired. The division of the
three parts presents a new feature in that, after Part I., the right
"
hand, and Part II., the left hand, Part III. is devoted to the
simultaneous action of the hands." As a mechanical guide for
advanced students, this work may well rank for excellence with
those of Hiebsch and of Meugy (Nos. 234 and 244).
256. Wassmann, C.
Entdeckungen zur Erleichterung und Er-

| |
weiterung der Violintechnik

j
durch
]
selb- j |
standige Ausbildung des Tastgefiihls der

Finger herausgegeben von C. Wassmann.
| | j
Berlin, 1885. Raabe and Plothow. Large

8vo, pp. 64.
This work is not so general in its scope as the majority of

works of its class, that is to say, it deals almost exclusively
with the right hand, leaving the management of the bow arm
to the discretion of the player. divided into four parts,
It is
the introduction to which treats of the stringing up of the

violin, the position of the thumb, and Spohr and Paganini's
methods of positioning the left hand and arm. The first part
deals with the placing of the fingers for the diatonic scale, the
second similarly for the chromatic scale. Part III. deals with
the execution of octaves, and Part IV, with the playing of
thirds, sixths, and tenths. It is an excellent and practical
little essay, freely illustrated with musical examples.
257. ZiMMER, Fricdrich.

Vademecum |
fur | angehende Violin-spieler
enthaltend die Behandlung der Violine
I | |
und der iibrigen Instrumente der Streichquar-

I
F
DE FIDICULIS BIBLIOGRAPBIA. 164
tetts, I
Winke
fur das Privatstudium und ge-
schichtliche Notizen, von Fr. Zimmer,
| | |
Konigl. Musik-director und Seminarlehrer,
Quedlinburg, 1880. C. F. Vieweg. 8vo,

pp. 48.
This is practically a pamphlet of advertisements of Zimmer's
works. It opens with notes on the violin and its preserva-
tion, on strings, hints and the shortest possible
for students,
notices of a few players and makers. The rest of the work
(pp. 15-end) consists of complimentary letters to Herr Zimmer
about his Violin-school, his " Elementar-Musiklehre," and his
" Harmonielehre." An
annoying pamphlet.
F 2
SUB-SECTION.
Bibliographies of Treatises on, and Music
FOR, Bow- Instruments.
In this sub-section are contained only works pub-

lished separately as guides to works on, and music
for, bow-instruments in general. The student
must not lose sight of the excellent general cata-
logues contained in the works of Vidal (No. 191),
Sauzay (Nos. 207-9), Wasilewski (Nos. 210-14),
and the special catalogues, such as that of Schlet-
terer (No. 108). General bibliographies and
library catalogues, containing much matter
con-
cerning the violin, will come under the heading of
Reference Books, q. v. post, Part VI.
258. Heron- Allen, Edzvard.

Libri Desiderati, |
an Appendix {sic) to |
"
De Fidiculis Bibliographia."
New York, 1888. Printedfor the Postulant.
8vo, pp. 8 and iv.
259. First SiLpp lenient.

London, 1889. 8vo, pp. 4.
260. Second Supplement. Periodical Publications.

261. Secon d Edition .
"
Libri Desiderati. Prolegomena to|
De | (
Fidiculis Bibliographia." Revised up to March,

|
DE FIDICULIS BIBLIOGRAPHIA. i66
1890, from the Original Edition (New York, |
1888) andI
First and Second Supplements |
(London, 1889).
London, 1890. Coiistihitional Club. 8vo,
pp. 12.
262. Third Supplement. Periodical Publications

and Reference Books.
263. Th ird Edition .
De Fidiculis Opuscula. Opusculum IIL | |
"
Libri Desiderati Prolegomena
:
|
to De | |
Fidiculis Bibliographia," Third Edition, Re-

| |
vised up to October, 1890, from the Original |
Edition (New York, 1888), Second Edition

|
(London, 1890), and |

Third Supplement
(London, 1890). Edward Heron-Allen.
|
London, 1890. For the Author, Mitchell &

Htighes. 8vo, pp. 20.
264. Fourth Supplement. Instruction Books.
These littlepublications speak for themselves. Any work

that I find referred to in any other work, or noted in any book-
seller's catalogue, that seems to deal with the violin, is cited
in them. When they come in my way I obtain them, and if
germane they come into this bibliography if not, they are ;
rejected. It is in this way that my library of books on the
violin has been formed, and it is interesting to

keep a file of
these "Desiderati," as their disappearance from successive lists
shows what likely-sounding books are useless to the collector
of fiddle-books. [As, for instance, De Jan C. v. post, sub. Mis-

cellanea.] Each new edition cancels all previous editions and
siippktnents .
265. Roth, Philipp.

Fuhrer |
durch die |
Violoncell-Litteratur. (
Zur Auswahl fiir Schule, Haus und Concert |
zusammenoêstellt I und nach Schwieriorkeits-

graden geordnet |
von Philipp Roth. (Son-
| |
derabdruck aus Ph. Roth's Violoncellschule.

Pr. 6 M.)
Leipzig, 1888. Breitkopf 2ind Hiirtel. Svo,
pp. iv, and 56.
This is a catalogue of violoncello music of all kinds,
and for all combinations of the instrument with -others.
The index of composers' names alone extend over eight
pages.
266. Schroder, Carl.
Fuhrerdurch den Violoncell-Unterricht.

| |
Ein progressiv goerdnetes Repertorium von

I |
ausgewahlten instructiven, sowie Solo- und |
Ensemble- Werken fiir Violoncell abs Weg- | |
weiser fiir Lehrer und Schiiler, Ktinstler und |
Dilettanten. Herausgegeben von |

Carl j |
Schroder, Lehrer am konigl. Conservatorium

|
der Musik zu Leipzig.
Leipzig, n.d. [1880]. J. Schiiberth. Smal

Svo, pp. 42.
No. 1484 of the Edition Schubcrth.
267. Scco n d Editio n .
Same title.
DE FIDICULIS BIBLIOGRAPHIA. i68
Leipzig, n.d. [1889]. J. Schuberth. Small

Svo, pp. 48.
An excellent bibliography of violoncello music of all kinds,

classifiedunder various combinations, and sub-classified under
progressive degrees of difficulty.
268. ToTTMANN, Albert.

Fiihrer |
durch den |
Violin-Unterricht. |
Ein
kritisches, progressiv geordnetes Repertorium |
der instructiven, sowie der Solo-undEnsemble- |
Werke Nebst einem kurzgefassteii

fiir Violine. |
Verzeichniss der
Bratschenliteratur
|
und
|
einem bibliografischen Anhang von Albert | |
Tottmann.
Leipzig, 1874. J. Schuberth, 8vo, pp. ii.
and xii. and 312.

Same title, differently composed [" Reper-
torium" and " Verzeichniss'' transposed], with
"
Zweite Wesentlich vervollstandigte Auflage."
Leipzig, 1886. J . Schuberth. 8vo, pp. xvi.
and 396.
Aô. 1492 of the Edition Schuberth.
This is a really marvellous bibliography of violin music, the
index of composers' names extending over twelve pages. It is
not merely a catalogue, the more important works being, as a
rule, described and analyzed, especially with reference to their
relative difficulty. At the end is an appendix, containing pp. 16
of viola music, and a short list
giving the titles of nine treatises
on the violin.
END OF TART I.
part ti-a»
BOOK SECTIONS.
The distinction between

"
Book Sections "
and " Book
"
Extracts may possibly strike the student as one without a
difference. The difference, however, which is quantitively
slight, isquahtatively important. When a book is not en-
tirely devoted to the Violin, but a section thereof, dealing with
the instrument, is of sufficient importance to be referred to on,
and to form part of the title-page of the volume, that volume
"
is here included under ''
Book Sections
[Part Ilrt]. When
a few pages incidentally deal with the Violin, the passage and
the volume in which they occur is described under " Book
"
Extracts [Part lU].
270. Anonymous.
Memoirs critical and historical of Mme.
Malibran de Beriot and M. de Beriot, by an
Amateur.
London, n.d. [ ]
Cookes. i2mo.
PP- SI'l'^' ^^- de Beriot.
This httle biography is of course secondary in importance to

that of de Beriot's famous and is collected principally
wife,
from the notes of Mme. la Comtesse de Merlin and others
[No. 96, &C.]. The work is of great rarity.
G
271. Adye, Willet.

Musical Notes. I. Great Composers. II.
Violinists and the Violin. III. The Violin
and its History.
London, 1869. R. Bentley. 8vo.
pp. 44-93. Violinists and the Violin.
pp. 94-112 \en({\. The Violin audits History.
This book is very scarce by reason of its having been

originally printed at the expanse of its author, and of all the un-
disposed of copies having been re-delivered to him shortly
before his death, or to his representatives after that event.
The " Violinists and the
section Violin," which forms the
most important part of this volume, is a rapid sketch of the
greatest violinists of this century, or rather of the modern
school of violin- playing, from Viotti to Joachim. The notes
are critical and comparative, most of them being the result of
personal observation. Part III., "The Violin and its History,"

"
is a review of Sandys and Forster's History of the Violin"
[No. 1
84], and is, I presume, a reprint from some periodical.
272. EscuDiER, Marie and Leon.

Vieaventures des Cantatrices celebres
et
precedees des Musiciens de 1' Empire et suivies

de la Vie anecdotique de Paganini.
Paris, 1856. E.Denht. 8vo.
pp. 63-67. Viotti a Londres.
PP- Z'^Z to 374. \e7td\ Vie Anecdoti(jue de Paganini.
273. German Translation.
KscuDiER, Leon.
Eergson's Eisenbahnbiicher {Wrapper).
G 2
Aus dem Leben Paganini's |

von |
Leon
Escudier |
nebst einer | Biographic der
Malibran I von demselben.
Leipzig, n.d. [ ], J. A. Bergson-

Sonenbitrg. 8vo.
pp. 3-86.
pp. 87-102 [end], Madame Malibran.
The biography of Mme. Malibran which terminates the

German translation is translated from the pp. 274-302 im-
mediately preceding the section devoted to Paganini in the
French original. This " Vie Anecdotique " is compiled by the
brothers Escudier from notes given to them by Paganini in
r839, when he proposed that they should edit his memoirs for
him. The misfortunes, however, consequent upon the failure
"
of the Casino Paganini," caused him to stop the work, and the
present sketch is the amplification of such notes as his
intending
biographers were able to retain, supplemented by informat on
derived from "a lady whom Paganini honoured with his
esteem and friendship," and " who had accompanied him in
all his travels." 1 he anecdotes, many of which appear here
for the first time, are related with a freshness and charm which
they have to a great extent lost in the course of their wander-

ings from plagiarist to plagiarist. Pp. 63-67 of this book (in
Part I. of the original —
No. 272) contain a most interesting
af^count of the discovery of Viotti in London after his sudden
flight from Paris, and of his reappearance there, at M. le

Comte de Balck's, in 18 10.
Marie and Le'on Escudier were two brothers who, as
writers on musical subjects, were inseparable, collaborating
in all works like the brothers de Goncourt. Marie
their
Escudier was born in 18 19 [29th June] at Castelnaudry
(Aude) and his brother in 1821 [17th September] in the same
place. Originally printers and editors of a newspaper at
Toulouse, they finally came to Paris, Ldon being a pupil of
Bazin, the professo* of harmony at the Conservatoire, and
Marie being a violinist,taught by Michel, a pupil of Baillot.

First as members of the staff of several different papers and
afterwards as editors of La France Musicale they pursued the
profession of journalism, and subsequently founded a music-
publishing establishment. When they married [which they
did, as all other things, together] Leon continued the publish-
ing business, Marie the paper. It is,however, their books

that have made them famous. M. Marie Escudier was still
editor of La Fratice Musicale in 1862. In 1876 M. Lôn
Escudier was director of the Theatre Italien.
274. Hauptmann, MoiHts.

Briefe von Moritz Hauptmann, Kantor und
Musik-direktor an der Thomas-schule zu
Leipzig, Ludwig Spohr und Andere.
an
Herausgegeben von Dr. Ferdinand Hiller,
Direktor des Conservatoriums und Stadtischer
Kapellmeister zu Coin. Neue Folge der
Hauptmannschen Briefe.
Leipzig, 1876. Biêitkopfund H'drtel. 8vo.

pp. viii. and 235.
pp. 1-54, An L.udwig Spohr.
pp. 162-165,
—Julius Rietz.
pp. 172-178,
— Wilhelm Speyer.
pp.
—
188-194, -Johaiuies Wolff.
As may be seen, the letters to whose band at

Spohr [in
Cassel the author was first numerous and
violin] are the most
important in this collection. Hauptmann was a prolific and
talented composer and writer on musical subjects, having
been for a considerable time Professor of Counterpoint at the
Leipzig Conservatoire, Cantor of the school of St. Thomas at
Leipzig, and, during the year 1843, Editor of the Allgemeifie
Musik-Zeitung. Dr. Hiller has done an excellent work in
recovering and editing his musical correspondence, which is
DE FTD /CULTS BTBLTOGRAPTTIA. 175
pertinent, interesting, and instructive. Julius Rietz (brother

of Eduard Rietz the Violinist) was an eminent violoncellist,
composer, and Kapellmeister. He was born at Berlin [28
December, 1812] and died at Dresden [i Oct., 1877].
Wilhehn Speyer was a prominent violinist of Franckfort a/m,
where he was born [21 June, 1790] and died [5 April, 1878].
He was a pupil of Baillot, and composed much chamber
music, and a few songs which have been excessively popular
— —
e.g.
"
My heart's on the Rhine," etc.
Moritz Hauptmann was born at Dresden in 1792 [13th
October] and died at Leipzig in 1868 [4 January]. He was
a composer highly esteemed in Germany, and the author of
several works on the theory of music.
275. KiJRZiNGER, Ignas Franz Xaver.
Getreuer Unterricht zum Singen mit Ma-

nieren, und die Violin zu spielen, etc., etc.
Augsburg, 1763. J' J' Loiter, sm. quarto.
PP- 53 7 1) Getretier Unterricht die Violin zu spielen.
276. Seco J I d Edit io n .
Same book with same Title-page and

''
Zweyte Aitjlagey
Augsburg, 1780. J. J. Lotter. sm. 4to.
Same section of book [pp. 53-71].
This book is in the nature of a theoretical work, greatly

resembling, in its general arrangement, many of the works
described in Part I. Sect. 5, and partaking of the nature of
an Instruction-book, (vide Introductory Note, p. 131). In a
condensed form the section devoted to the Violin, closely
follows that of the theoretical works Nos. 217, 223, 225, 240,
253, etc, and the volume concludes as is so often the case

with German works of the class, with a Dictionary of Musical
Terms. The second edition is unknown to Fetis, who tells us
that Kiirzinger was a musician attached to the petty court of
Marienthal in Wurttemburg, Beyond this I can find no trace
of him in any biographical dictionary.
277. M[arcou ?],

/^
Methode simple par demandes et.

et facile,
par reponses, pour apprendre rapidement et
sans confusion, La Musique, Suivie des
Principes du Violon et de I'explication des
Termes Italiens les plus usites pour Vindication
des mouvemens Terminee par des Observa-
tions sur la Musique, avec plusieurs Planches.
Par F. M. Ancien Professeur de Musique.
Paris, An 12-1804. Michelet. i2mo. pp.

iv. and 149 and iii. and two folding plates.
Pp. 55-79, Principes dii Violon, ou Regies necessaires a la

perfection de cet instrument.
The section of this book devoted to the principles of Violin-

playing is constructed much on the lines of Paine's work [No.
246], being in a quaint old dialogue-form. The advice it
contains is sound and excellent as far as it goes, the strictures
upon extraneous "shakes and graces" being particularly
pertinent. The work gives one an excellent idea of the state
of violin-playing in Paris, during the first years of the century.
This work is attributed to Marcou by Fe'tis, in whose
library catalogue it is numbered 6223, the publisher being

erroneously cited as Martinet. It is to be noted that the only
Marcou by him in his Biographic Universelle des

cited
Musiciens, and by Lichtenthal in his Dizionario e Bibliograjia

delta Musica \(l-q-vi\ is Pierre Marcou, a violinist of the
King's Band in 1790, who flourished from that date to 1804,

and who was the author of several theoretical works greatly
resembling this one in style and general arrangement.
278. Reade, Charles, D.C.L.

Autobiography of a Thief; and Jack of all
Trades.
London, n.d. [1873]. Ward Lock. 8vo.

pp. 67-26S, ''Jack of all Trades — a matter of fact
romance.'''
The latter half of this book " Jack of all Trades " is a some-
what romantic description of the very variegated life and
adventures of John Frederick Lott the violin-maker [born
1775, died 1853]. See, on this point, the late George Hart's
work [No. 163], p. 196. This story, or biography, deals
principally with Loti's adventures in the capacity of keeper to
a large and particularly fierce elephant in a travelling
menagerie. It is very interesting of its accurate veracity I
:
am not qualified to form, or express, an opinion. Charles

Reade was, however, an intimate friend of John Lott, whose
work is well known, and whose traditions are preserved by his
excellent pupils George and Edward Withers.
279. WY.CK'EWiA'ii, Jean Baplistc.
Opuscules sur la Char.scn Populaire, et sur

la Musique. I. Fetes et Chansons
populaires
du Printemps et de I'Ete. II. La Chanson
de Jean de Nivelle. III. Noiice stir /a Contrc-
dasse. de Timpression
IV. Histoire de la
Musique, principalement en France.

Paris, 1874. J. Baur. large 8vo.
No. 3. Notice sur la Contrebassc, p'p. S,
paged independently.
"
These four " opuscules were printed separately, and then
bound together with a common title-page. No. III. was
originally printed in La Chronique Musicale, and reprinted for the
author by C. de Mourques freres. It is an interesting brochure
from the fact that it argues that the double bass is a descendant
of the violin, and not of the viols as has been held by Reade,
and many other authorities. This is a moot point on which
much that is interesting has been written, Fetis ascribing the
invention to Gaspard da Salo and the early Brescian makers,
whilst one Todini claims the invention in a work of great
rarity [No 190 b]. This latter and the pamphlet under
consideration are the only independent treatises, as far as I
know, that have been devoted to the double bass. M. Weck-
erlin wasborn in 182 1 [November 9] and is
[1889J
principal librarian of the Conservatoire in Paris.
179
part M b>
BOOK EXTRACTS.
If, in introducing Part I. to my readers, I was

constrained to apologize for the necessarily in-
complete condition of my work, how much the
more should I do so now, in introducing the
following pages ! Almost every important musical
work contains more or less voluminous passages
relating to Violinists and the Violin. The follow-
ing extracts, however, have struck me as princi-
pally worth recording during the past twelve years,
and Ican only hope that I have not omitted a very
great deal of the valuable matter which is to be
found in any fairly extensive musical library.
Section i.
CONSTRUCTION OF THE VIOLIN.
280. GuiLLEMiN, Amedde.
Les Applications de la Physique aux Sciences,

a rindustrie et aux Arts.
H
DE FIDICULIS BIBLIOGKAPHIA. i8o
Paris, 1874. s)}i.

Joi.
pp. 1
31.138, Le Violon.
pp. 138-141, Instruments d. archet de la Famille du Violon,
The Applications of Physical Forces.

Translated and edited by Mr. and Mrs. Xorman
Lcckyer.
London, 1877. sm.fol.
pp. 138-152, The Violin and other Boiv Tnstiuments.
The section of this book devoted to the instruments of the

string-quartett, commences with a description of the Violin,
and proceeds with a sketch of the practice of playing upon it.
The violins of Savart are discussed at length \yide No. 46],
the section closing with short notes on the other instruments
of the quartett and some of the bow-instruments of the
eastern and barbarous nations. The article has the great
merit of being most excellently illustrated. It may be added
that the whole of the section of the book devoted to musical

instruments is clear, concise, and excellent, so much so, that an
article is inserted concerning this author in the supplement
to Fetis' Biographic Universelle.
282. Yioi.v>B, Karl Ckristia7i Wilhelm.
Vermischte Abhandlungen bescnders berg-

mannischen und physikalischen Inhalts.
Quedlinburg, 1794. 8vo.
H 2
DE FIDICULIS BIBLIOGRAPHIA. i8i
Vol. I.
p. 45. Ueber devi Bau dei' Miisikal-
iscJienSaiteninstrtnnente besonde^'s Hire Re- ^
sonantzboden itnd die davon abhdngende giôsse

Verschiedenheit ihres Tones.
This is a most interesting and valuable article, dealing with

" "
the importance of homogeneity (so to speak) between the
vibrations of the strings and those of the fibres of the wood
forming the Resonanzbodeti (soundboard). The author

goes into the relative merits of old and new instruments, and
discusses at length the benefic'al effects of perfect desiccation
of the wood and extirpation of new sap. Kolbe was a scientist
and mining engineer working at Halberstadt at the end of the
last and beginning of the present centuries. He was alive,
according to Fe'lis, in 1830.
283. JNIahillon, Victor Charles.

Elements musicale et instru-
d'acoustique
mentale, comprenant I'examen dela construction
theoriqiie de tcus les instruments de musique
en usage dans I'orchestration moderne.
Brussels, 1874. C. Mahillon. 8vo.
pp. 33-62. Chap. II. Vibratioti des cordes.
For students who wish to know something of the scientific

basis of tone production from the violin, without making a
deep study of acoustic science, this is the most inter-
esting and charming exposition of that Lasis that I can

recommend to them. The scientific principles of the vibra-
tion of strings occupies the first half of the chapter, the latter
being devoted to the study of the scientific construction of

bow-instruments and strings. A most charming essay.
Victor Mahillon, the head of the instrument-making firm of
that name, was born in Brussels —
loth March, 1841. As an
acoustician and scientific constructor of musical instruments
his house has stood equalled only by that of Thibouville-

Lamy \yide No. 285] many years. He is now [or was
for
very recently] curator of the museum of the Brussels Conser-

vatoire \yide post sub Reference Books], and his own musical
museum, which he transported almost in toto to the Musical
Loan Exhibition of 1885, is one of the finest in the world.
284. Sprengel, Peter Nathan.

Handwerke und Kiinste in Tabellen.
Berlin, 1773.
nth Samiiilung. pp. 271-290. Achter Abschnitt. Der
Lautenmacher.
This is a condensed sketch of the principal requirements of

a violin-maker. All the different parts of the instrument are
described, and the theory of their construction and use ex-
plained, together with the principles of the manufacture of a
first-rate bow. The concluding pages are devoted to the
construction of the Lute.
Sprengel, who was vicar of the parish of Grossmangelsdorff

near Magdeburg, was born at Brandeburg in 1737 [7th April]
and died there in 1814 [ist April]. The above, which is a
marvellously laborious compendium, was the work of his life-
time.
285. TuRGAN,y«/zV;?.
Les Grandes Usines, Etudes Industrielles
en France et a I'Etranger. •
Paris, 1866. sm.fol.

Vol. [Sdrie] 12. Part [Livr :]
218.
Etablissements Thibouville-Lamy, manufac-

ture de cordes d' Harmonic et d' Instruments de
Musique a Paris-Greiielle, Mirecourt et La

Couture.
[Paris] n.d. [15 April, 1875] ô^ Thibou-

ville-Lamy, Plon. large 8vo, pp. 36, paged
independently.
is an extract from a
This large work on the leading French
(and some other) industries, published at intervals [or serially]
and entitled Les Grandes Usi?ies. This section gives a com-
plete account of the manufacture of musical strings, especially
those destined for the instruments of the string quartett, this
being a speciality of the house of Thibouville-Lamy. [ Vide
Plassiard's work (No. 42), the principles laid down in which
are carried into operation by MM.
Thibouville-Lamy.] The
pamphlet also describes the Mirecourt manufacture of bow-
instruments, and contains the original of the often -reproduced

table, showing how a violin can be turned out at Mirecourt for
a nett cost of four francs ten centimes. After p. 22 this ex-
tract deals with brass and other instruments, otherwise it would
have been included in Part I.
286. Welcker [von Gontershausen], Heinrich.

Neu eroffnetes Magazin musikalischer
Tonwerkzeuge, dargestellt in technischen
Ze'ichnungen aller Saiten-Blas-Schlag-und
Friktions- 1 nstrumente,
Frankfurt a/.m. 1855. 3 vols., paged con-

secutively,
pp. 80-97. Alt Viola, Violine.

pp. 204-246. Voii den Regeln fur den Ban der Saiten-
instrumente.
The first of these extracts is historical, tracing the history of
bow-instruments from 1203 to the present century. This
section is divided into (i) Alt- Viola, Violetta, Bratsche, (ii)
Viola Bastarda, (iii)

Viola di Gamba, (iv) Viola Bardone (or
Baryton) (v) Viola d'Amore, (vi) Viola di Spalla, (vii) Viola
Pomposa, (viii) Trompeten Geige (or Trumpet-marine), with

more complete essays on the Violin, the Violoncello, the
" Das
Contra-bass in turn, concluding with an essay entitled
Nurnberger Geigen- oder Gamben-werk," dealing with the

Nuremberg school of violin-makers from 1600 to the present
century. The second extract is one of the best descriptions

known to me of the actual processes, and principles of con-
struction of bow-instruments. It is excellently divided into
(i) Construction
der Geigen, (ii) Von den Tonverhaltnissen der
Intervallen, (iii) Praktischer Bau der Geigeninstrumente, (iv)
Verfertigung der Darmsaiten, (v) Ueber Behandlung, Erhal-
tung und Beurtheilung der Geigen, (vi) Colophonium. Both
sections of this great work are amply and excellently illustrated,
"
and leave nothing to ba desired by the student of Tone-
implements."
287. Welcker [von Gontershausen], Heinrich.
Ueber den Bau der Saiteninstrumente und

deren Akustik,nebst Uebersicht der Entstehung,
und Verbesserung der Orgel.
Frankfurt a/m., 1870. Chr. Winter,
Pp. 53- r 06. Theorie des Geigenbaiies.
Technik der Geigen, Harfen, Cithern, und Gtit-
tarren.
Geschichte der Geigeninstr:/niente.
This is one of the most important extracts known to me

concerning bow-instruments. It commences with a theoretical
excursus on the quatuor, which is highly scientific and erudite.
This leads to a section dealing with the technics of violin,
making, etc., with notes on the Viola, Violoncello and Double-
bass. This is followed by an essay on the bow, and upon
rosin. The section concludes with a sketch of the history of
bow-instruments in general, with illustrated notices upon the

various forms of viols, and short notes of the leading violin
makers, especially of the German school. In this section the
progresses of the four instruments of the quartettare separately
considered — it is one that no practical maker should omit to
study. The author was born Gontershausen in Darmstadt

at
in 181 1, and died at Darmstadt 15 June, 1873. He was
the author of four large works on musical instruments which
display very great industry and research.
2"^^ a. Zam.miner, Friedrich.

Die Musik und die Musikalischen [nstru-
mente in ihrer Beziehung zu den Gesetzen der
Akustik,
Giessen, 1855. J- Richer .

large 8vo.
pp. I to 46. Chapters i and 2.
Chapter I. Die Violine.
Chapter II. Die Violine. {Forisetzung.)
Opening as it does with an elaborate section devoted to

the violin, this volume ought to be in the library of every
student of the violin. The first chapter is severely theoretical
and scientific, dealing with the abstract acoustics of the
instrument the second chapter is less so, but the whole essay
;
is one deahng mainly with the scientific principles of tone

pro-
duction, which the average reader will find a trifle hard of com-
prehension. It well repays examination, however, being full of
interesting problemata, excellently illustrated, concerning the
instruments of the string quartctt. Zamminer was, in fact,
professor of physics in the University of Giessen ; he was born
in Darmstadt and died there, 16 August, 1856, in the prime of
life.
1 86
Section H.
BIOGRAPHICAL EXTRACTS.
28S. Anonymous.
Musical Recollections of the last half
century.
London, 1872. Tinsley Bros. 2 vols,
large Svo.
Vol. I. pp. 106-115. Mori, Spoh-, and Kiesiveiter.
pp. 195-206. Paganiniana.
pp. 339-341. Lindley, SefZ'ai's, and Piatti.
Vol. II. pp. 9-1 1. Oh Bull.
These charming volumes, that cannot fail to be of the

deepest interest to any musical amateur of this century,
contain constant references to violinists and the violin, but the
passages above cited are the most distinctively important for
us. The comparison drawn between the four great violinists
of the early twenties is most interesting, coming as it docs
from a contemporary observer. The same charm attaches
itself to the Paganini&na [pp. 195-206], being one of the few
English accounts of the Great Charlatan which has come down

to us from an eyc-wiiness of Paganini's triumphs in London.
Similarly, again, violoncellists have to thank the anonymous

author for the chapter on Lindley, Scrvais, and Piatti, the
first two of which have become, to-day, nanicb merely to
ju^'glc with. In the second volume our author gives us a
BE FIDICULIS BIBLIOGRAPHIA. 187
description of Oie Bull's appearance in England of which

littlehas been said in any biography with which I am
acquainted, excepting of course that of his wife. [No. 70.]
289.
Men and Women of To-day. A Picture
Gallery of contemporary Portraiture.
Vol. I. London, 1888. folio.
pp. 129-132. Rev. H, R. Haweis.
290.
Vol. II. London, 18.S9. folio.
pp. 29-32. Mine. Normann-Neriida.
These are excellent biographies of living celebrities, illus-

trated with magnificent photographs by Barraud. The lives
of their subjects are minutely traced from birth up to date, and
with this limitation, leave nothing to be desired-
291. Berlioz, Hector.

Les Soirees d'Orchestre.
Paris, 1852.
pp. 211-217. Piiganini.
292. Second Edition .
pp. 215-221. Ibid.
Berlioz was a personal friend of Paganini, and, during the

time that Paganini was creating a furore in Paris, wrote
much concerning hmi \yide post, sub : Periodical Pub-
lications, Journal des Dcbats']. But in this chapter of his
" "
fascinating Soirees d'Orchesire he has reproduced all that
I
DE FTDICULIS BIBLIOGRAPHIA. i88
was most interesting and worthy of preservation in his various

ephemeral articles. Amid all the mass of literature concerning
Paganini [and a glance at the index will give an idea of how
limitless it se;ms to bej, nothing has been written more freshly
and sensibly than this chapter of Berlioz' reminiscences.
Hector Berlioz was born in 1803 [11 December] at La Cote
Saint Andre, near Grenoble, and died in 1S69 [9 March] at Paris.
No better general description of Berlioz exists than that of
Edward Dannreuther, who says of him [in Grove's Dictionary
of Music and ^Musicians] :
" He stands alone —
a colossus with
few friends and no direct followers a marked individuality,
;
original, puissant, bizarre, violently one-sided whose influence ;
has been and will again be felt far and wide, for good and for
bad, but cannot rear disciples or form a school." His com-
positions are now widely known and justly esteemed, but his
" "
vogue cannot be said to have commenced until a decennium
"
after his death. Paganini, on hearing his marvellous Sym-
"
phonie Fantastique at the Conservatoire, fell on his knees
before him, kissed his hand, the next day sent him twenty
thousand francs wherewith to continue his musical studies, and
from that moment was one of his most devoted friends. His
contributions to musical literature are as important as his
compositions.
293. Burgh, A
Anecdotes of Music, Historical and Bio-
graphical, in a series of letters from a gentle-
man to his daughter.
London, 18 14. 3 vols.
Vol. n.. Letter 38, pp. 257-268. Corelli.
Letter 39, pp. 268-281. Frogrcss of the Violin during

the eighteenth cciituiy.
The article on Corelli, above cited, derives a great

advantage from its date. Corelli had been dead a century,
I 2
it is true, but the influence that he had left behind him

was by no means extinct. The modern school of playing
instituted by Viotti had not yet altogether banished the
old-fashioned modes, and consequently the chatty and
discursive Burgh was eminently capable of writing an essay
on the inventor of the instrumental Concerto. The pages
under consideration rank among the best accounts that have
come down to us of his now practically extinct school of
execution. The
chapter, or letter [39], that follows this essay,
dealing with the position of the Violin in the eighteenth century,
is one of great value to historians of the violin, the essay on
Tartini contained therein being of exceptional excellence. In

addition to the passages noted, the whole of this charming
little work is studded with interesting notes on the violin-
players of the eighteenth century. It is written entirely in
the form of letters to the author's daughter. Fe'tis tells us
that Burgh was a professor at Oxford and that his work is,
with the exception of the third volume, which deals with the
state of music in England from 1780 to 18 10, entirely taken
from the musical histories of Burney and Hawkins. A
German translation of the work by C. F. Michaelis was
published at Leipzig in 1820.
294.
The Portrait. Photographs and Memoirs of
Men of Note.
London, n.d. [1877]. Provost & Co.

{N'ot paged.) folio.
No. lY Joseph Joachim,

. iviih a Memoir by J. W. Davidson.
This a very excellent account of the greatest living artist,

is
about whom, though the biographical notices have been

legion, no complete biography [even up to date] had been
published until the recent issue of Dr. Kohnt's work [Sup-
plement No. 93^].
: This biography, which is charmingly
DE FIDICUirS BIBLIOGRAPHTA. rgo
written, extends over four music-folio pages, and is as

nearly perfect as anything of this limited scope can be.
"The a little-known work, which seems to have
Portrait,"
been originally intended as a serial, consists of nine fine
photographs of eminent men, bound together with biographical

sketches by various authors.
295. EscuDiER, Lôn.

Mes Souvenirs. Les Virtuoses.
Paris, 1868. Dentu. 8vo.

pp. 75-141. Nicolo Pagaiiini.
pp. 221-252. Henri Vieuxtemps.
p. 283-289. Bottesmi. p
p. 327. de Beriot — Dragonetti, etc.
The first of these extracts is full of interest for the student

of the violin. It gives some very interesting details concern-
ing the violin and its history and contains some notes upon
the Salabue (or
" Messie Stradivarius violin that has recently
")
been made the subject of a charming monograph by the Hills
\_vide No. 139 c\. The sketch of Paganini which follows these
notes has charm and spontaneity that characterizes the
all the
works of the brothers Escudier, —
and Leon was an authority
on Paganini, for reasons set forth above {vide note to No.
" Vie
272]. Much of the Anecdotique de Fagani?ii" \s here
reproduced. Until the publication of the biographies of Vieux-
temps, described in Part I. Section II.
[vide Nos. 73a and 94,
and 104a], the thirty pages cited after the notice of Paganini,
were among the best biographical notices concerning that great
artist, and the same may be said of the chapters that deal with
the King of Contrabassists Bottesini. —
It will be seen, there-
fore, that the Biographies of Violinists form the major part of

this work, which is entitled to rank with the works of Berlioz for
charm of technique, and general interest. The notes on de
Beriot, Dragonetti, and some minor violinists are shorter and

less important, but as far as
they go they equal the more
serious biographies in general excellence.
296. Hedouin, P
Mosaique, Peintres, Musiciens, Litterateurs,
Artistes Dramatiques a partir du 15^. Siecle
jusqu'a nos jours.
Paris, 1856. Hezigel. 8vo.

pp. 397-410. Pagaiiini.
The author of this book knew Paganini "assez particuliere-

ment," and, like all persons who came into direct contact with
him, he seems carried away by enthusiasm for the great
virtuoso. The essay is interesting as all authentic personal
narratives must be, the notes and analysis of his technique
being particularly illuminated, and the anecdotes of his
avarice amusing. The second part of the extract, entitled
" Ne serait-ce qu'un songe ? . . ." gives us a fantastic account
of the impressions created upon the author by Paganini's
first performance.
He'douin, who was, apart from his attainments as a dilkfante,
connected with many celebrated families, was born at Bou-
logne in 1
789 [28 July]. Connected, on his mother's side, with
Monsigny, this composer was the subject of one of his earliest
works [Paris: 1821]. He died at Paris in December, 1868.
297. HiiA^^v^, Jokann Adam.

Lebensbeschreibungen beriihrntcr Musik-
gelehrten und Tonkunstler neuerer zeit.
Leipzig, 1784.
pp. 267-285. Giuseppe Tartint.
This sketch of Tartini's career has the great advantage of

DE FIDICULIS BIDLrOGRAPHIA. 192
being praclicallyacontemporary notice, he having onlybeen dead

fourteen years when it appeared. It is a most interesting account
of the great virtuoso's Hfe, with a critical catalogue of his theo-
retical works. It concludes with a translation of Tartini's now
well-known letter to Signora Maddalena Lombardini, being an
earlier translation than that published at Hanover in 1786.
\vide 254 a\. Hiller was also the author of No 235, q,v. for
biographical details.
298. Anonymous (Lambert, Michel).

The Chorister Boy and the Little Pilgrim.
Tales of Youthful Genius.
London, n.d. [1879].
pp. 33-63. The Little Pilgrim^ or Giuseppe Tartini.
Thislittle moral tale purports to be an account of the child-
hood of Giuseppe Tartini It is neither of-sufficient pretension

.
or importance to call for severe analysis.
299. Maroncelli, Piero.

Vite e ritratti d'illustri Italiani. Milan, 1819.
Bettoni. 2 Vols, not paged.
Vol I.
[i8//^ portrait ^^ Vita di A^xangelo
Corelli. Scritta da Piero Maroncelli. 8 pp.
folio and portrait.
This most excellent biography^ distinct as a section of this

monumental work, might (like Morossi's Elogio of Tartini [No,
the
303]) have been included as a book-section, but for
fact that it is not indicated on the title-page. As a critical
analysis of the man as an artist and composer it is one of the

most valuable contributions to the literature of the violin.
Maroncelli, who was born in the concluding years of the
last century, was a political writer, in which capacity he was
imprisoned with Silvio Pellico. Having lost one of his legs in
prison, he devoted himself, on his liberation, to the study of

the classics, in Paris, where he spent the remainder of his
life.
300. Mereaux, Jean Aiii^tUe le Froid de.
No title page.
Labarre
Musicales.
De Beriot — Moscheles — Stamaty.
—Heading. Biographies
Les
Ecoles de la Harpe, du Violon, et du Piano au
xix" siecle \_sic\
Printed at Rouen, n.d. [1845 ^] t)y

D. Brieve
et Jils. 8vo, pp. 28.
pp. 12 to 19. De Beriot.
-This is catalogued here as a separate publication, but it is

not really admissible in Part II. {a), as it is merely a folded
sheet of 28 pp., being probably reprinted in very limited
edition from the Feuilleton Musical of the ^'Journal de
Rouen,'' of which Mereaux was for some time editor. It
occurs as an extract comprisable in this Part [II. (^], among the

" Portraits a la BluJ/ie" in
301.
Varietes Litteraires et
d'histoire — Critique— PortraitsMusicales,
a
Pages
plume
— la
DiscGurs, par Amedee Mereaux precedees d'une

notice biographique par Marmontel.
Paris, 1878. 8vo.
p. 119, Labarre.
p. 126, de Beriot.
p. 132, Moscheles.
[p. 136, Ihalberg.]

p. 139, Stamaty,
The biographyof de Beriot, which alone interests us, as

fiddlers, is
highly condensed, but is interesting as showing us
how the great violinist was regarded by his contemporaries,
and those among whom he had left a fresh impression and a
lasting influence.
De Mereaux was born in Paris in 1803 and died at Rouen
in 1874 [25 April]. He issued several of these little
undated pamphlets, which were collected and published as
" Vari4tes Musicales "
the by his widow. Though principally
a celebrity at Rouen, he made himself highly appreciated in
Paris as a pianist, though his compositions have not been
regarded as of the first importance.
302. Mori, Nicholas.

The Musical Gem, a souvenir for
MDCCCXXXII. Edited by A^. Mori and
W. Ball.
London [1832]. Mori and Lavemt. 4to.
pp. 25-27, Paganini {with a plate).
This article, which accompanied Hamerton's well-known

is one of the most interesting of the con-
portrait of Paganini,
temporary notices of the great virtuoso. Mori, the writer of
the notice, was himself a violinist of recognized excellence,
which circumstance gives an additional value to his observa-
tions. His account, however, has been widely reproduced,
considerably embroidered, and consequently prejudiced, by
successive writers, but itremains, with the articles published
contcmporaneousl) in the Aihcnccuin [q. v. post, sub: Perio-
dical Publications'*, the best and most trustworthy record of the
firstappearance in England of the virtuoso, who has been,
regrettably,termed the King of Violinists.
Nicholas Mori (confused by Fe'tis with his son Francois)
was born in London of Italian parents, in 1797 [24 January],
not in 1793, as stated by F^tis and Grove. He was a pupil of

London " infant
Viotti, and made his first appearances in as an
prodigy." I possess a portrait of him, as such, advertising his

benefit in 1805, under the patronage of T.R.H. the Dukes of
Yorkj Sussex, and Cambridge. He was for many years, from
1814, one of the leaders of the Philharmonic band, and after
going into business as a music publisher (as above cited), died
in London, in 1839, [June 18], leaving a son Francis, who
attained a certain eminence, and died in 1873.
303. RuBBi, Andiêa.

Elogi Italiani.
Venice, n.d. [1782]. 8vo. Twelve volumes.
Vol. viii. The last Eulogy, pp. 21 paged separately. Be-
ginning sig. 0.2.
MoROSSi, Francisco -Antonio.

Elogio di Giuseppe Tartini scritto da
Francisco- Antonio Morossi.
This Elogium which with those of Fanzago [Nos. 76-77],
has supplied the materials for most of the existant biographies
of Tartini, being paged independently, and terminating the
" "
eighth volume of Rubbi's collection of Elogi has been
quoted often as a separate work, and dated Padua, 1770. It
stood thus until recently in the British Museum catalogue, a

circumstance which has led to some misapprehension. It is
matter and manner the " "

of
very similar both in to Elogio
Fanzago, and, as in that work, the most interesting portion is the
" annotation " which follows
it, its great value lying in the fact
that was probably written immediately after Tartini's death,
it
though its publication was delayed twelve years.

This might be almost included in Part II. (a) as a book
section, being an independent section in Rubbi's voluminous
work, but it is not referred to on the title page \vide Intro-
—
ductory Note, p. 171].
K
?
3 04. Schilling, Gustav.

Fur Freunde der Tonkunst. Kleine Schrif-
ten vermischten Inhalts. Erster Band.
Zugleich Fortsetzung des gleichnamigen Werks
von F. Rochlitz. Fiinfter Band.
Kissingen, 1845. ^^°-
pp. 60-80, Enist und Thalberg.

pp. 135-154, Ole Bull.
The first of these extracts, dealing mainly with Ernst (whom
''
our author calls der Elegiker der Geiger") is interesting and
valuable, the contemporary biographies of Ernst being few and
very meagre. This article is more critical and comparative
than biographical perhaps, but it is an interesting and valuable
contribution to the biography of Violinists. The same re-
marks may be made concerning the article on Ole Bull, the
value of which lies in its being a contemporary criticism
by a
competent critic, and not a mere eulogy by a friend or
biographer, or worse still an enthusiastic essay by an irrespon-
sible journalist.
Schilling was born in 1805 [3 November], at Schwieger-

shausen, in Hanover, and, like most of the professional
musicians of that time, was an expert on many different instru-
ments, e.g., piano, organ, flute, violin, and violoncello. He
was also a student of theology at Gottingen University. He
was editor of and principal contributor to a dictionary of music in
seven volumes, published at Stuttgart [where he practised as
a doctor of philosophy and barrister] from 1835-1840. He is
known as the author of nine greater works on the theory of
music, and in 1857 established himself and founded a school
of music in New York. He was living in Montreal in 1S89.
305. Ugoni, C.
Delia Letteratura Italiana nella seconda meta
delsecolo, XVIII.
K 2
Brescia, 1820. i2mo. 3 vols.

Vol. I. pp. 1-28, Giuseppe Tartini.
It will immediately strike the thoughtful reader, that it is to

it Hibernian to include a
say the least of biography of Tartini,
who was born in 1692, in a study of the literature of the
''
second half of the eighteenth century." The explanation of
this contradiction in terms, is
explained in a footnote to page
I, which tells us that this essay "and a few others" are in-
serted as having been forgotten by the author in compiling his
"
Secoli della letteraiura Italiana." The present essay is divided
into three parts, viz.: —
Tartini's life, his works, and his character,
and though, as might be expected in a work of this nature,
prominence is given to his works dealing with the science and
theory of music, it is quite one of the most important bio-
graphies extant of this artist, the Elogi of Fanzago and
Morossi [Nos. 76-77 and 303] being too much in the nature of
obituary enthusiasms to be of great value as biographies.
This is quite the best account by a competent observer of
Tartini's scientific observations on music, that has come down

to us.
198
Section m.
VIOLIN VARNISH.
306. Reade, Charles, D.C.L.

Readiana. Comments on Current events.
London, n.d. [1882]. Chatto & Windus.

8vo.
pp. 34 to 65. Crcnunia Fiddles.
This is a reprint of No. 1 24.

199
W. Section
THE HISTORY OF THE VIOLIN.
307. Barwald, Friedrich Heinrich.

Die neuesten Erfindungen und Verbesserun-
gen an den musikalischen, Instrumenten, sowohl
Saiten- als Blas-instrumenten, insbesondere des
Fortepiano und andere Tasteninstrumente, der
Harfe, Guitarre, Violine, Violoncello, etc., etc.
Quedlinburg and Leipzig, 1833. G. Basse.

p. 14 Verbesserte Wirbel fiir Sai'eninstrumente.
p, 19 Neue Saiten, and Geigenharz.

p, 55 Stauffer^s Violine fi and Verbessertes Violoncell des Urn.
S. A. Forster zu London.
This is a work devoted to the patents granted in Germany

and elsewhere for improvements in musical instruments. At
p. 14, we find descriptions of thevarious patent pegs in use in
1833, noticing those of Scheibler, Francoeur, Legros de la

"
Neuville, and Brouet, all of them of the "hold-fast type, with
which we are familiar to-day. That of Brouet is described at
length at p. 16. At p. 19 are descriptions of Platinum strings,
and of the processes by which rosin is prepared for bows ; at p.
upon Stauffer's violin, in which the bridge is placed
55, are notes
midway between the two ends of the body, instead of towards
the lower bouts, and upon the newer form of tailpiece for the
violoncello, introduced by Simon Andrew Forster, without re-
ceiving any wide recognition. In addition to these articles,
DE FID I CULIS BIBLIOGRAFHIA. 200
many book concerning

shorter notes are scattered through the
"
so-called improvements," which have been vainly attempted
in the construction and arrangement of the violin, its com-
ponent parts and accessories.
308. DoNi, Giovanni Battista.
Compendio del Trattato de' Generi e de'

modi della Musica.
Rome, 1635. 4to.
p. 19, ch. 4. Che per la restauratione de' Generi e de'

Modi gl' Instrumenti d'Archetto sono piu
a proposito de gl' altri : e dell' origine dell'
organo.
p. 29j ch. 6. Come nelle Viole suddette si dcbbono

segnare le voci, e intauolare.
•
The of these extracts deals with the varied capacities of

first
bow-instruments, pointing out that a far truer idea of the

nature of ancient and other music can be obtained by playing
it on bow-instruments th^n on those of percussion or reed-
vibration. A self-evident proposition, but pleasantly set forth.
The second extract [misprinted p. 39 in the table of contents], is
an essay on accompaniment, and the notation of accompani-
ments.
309. DoNi, Giovanni Battista.

Annotazioni sopra il Compendio de' Generi,
e de' Modi della Musica di G. B. Doni.
Rome, i6zio. sm. 410.
p. 314. Discorso quarto sopra il Violone I'anarnionico.
P- 337' Discorso quinto sopra il Violino Diarmonico e

la tiorba a tre manchi.
These extracts contain further dcvclo| nivnts of the article

below cited. [No. 3 to.] The Violone Panarmonico was an in-

^strument whose neck and fingerboard were divided into five
compartments, designed to be tuned in different manners.
The second extract, which is perhaps still more interesting to
us,being an exposition of the application of the principles of
the Viole Diarmoniche to the violin, which was at that
moment just attaining a prominent place in the music of Europe.
Whatever may have been Doni's failings and fads, he had at
any rate the merit of being thorough. In this second extract
an engraving occurs of a theorbo-lute, mounted on these
principles with three necks and six sets of strings .
3 TO. DoNi, Giovanni Battistti.
Gio. Battista Doni, Patrici Florentini Lyra

Barberina dfx(f)LxopS6<; accedunt ejusdem opera
pleraque nondum edita ad veterem musicam
illustrandam pertinentur ex autographic collegit
et in lucem proferri curavit Antoniits Franciscus
GORIUS.
Florence, 1763. 2 vols, folio.
Vol. I., pp. 376-396.

Discorso Quarto. Delia disposizione e facility delle Viole
Diarmoniche.
PP- 397-413-
Discorso Quinto. In quant i modi si possa praticare
I'accordo perfetto nelle viole.
This is one of the most interesting pieces of archc-eology in

connection with the violin that has come down to us, giving us
as it does the theoretical and practical principles of execution
upon the old viols at a time when the Violin was practically in
itsinfancy, and when the modern string quartett had by no
means superseded the many-stringed viols. The Viola Diar-
monicha was a proposed form of the instruments with two
necks and finger-boards to enable performers to attain a wider
It was one of
range of execution on the same instrument.
DE FIDICULIS BIBirOGRAPHJA. 202
the earliest of the many stillborn inventions connected with

bow instruments.
Doni was a Florentine nobleman, born in 1593. The date
of his death is unknown. His principal biographer was Gori,
[or Gorius], to whom we owe the publication of most of his
musical and other treatises .
311. Fetis, Francois Joseph.

Exposition Universelle de Paris, 1867. Rap-
ports du Jury Internationale.
Paris, 1868. large 8vo.
Vol. II. Groupe II. Classe ro. Instruments de Musique
/^r M. Fetis. pp. 266-274. Instruments a Archet.
This, like all that Fetis wrote concerning the Violin, is an

excellent descriptive account of the bow instruments exhibited
at Paris in 1867, which were, it will be remembered, made the
subject of a separate publication by M. Gallay [No 161].
The Violin makers of all countries are passed in review with
impartiality, and as a history of that epoch in fiddle-making the
article leaves nothing to be desired.
312. Exposition Universelle de Vienne en 1873.

France, Commission Superieure. Rap-
ports.
Paris, 1875. Imprime7'ie Nationale. sm.
folio.
Vol. III., p. 311. J. Gallay. Instruments de musique ll
anhet.
The historic and comparative value of this report is pre-

judiced by the fact that England, Russia, and Spain were un-
represented in the section of bow instruments in the Exhibition
of 1873 (Vienna), wliilst France is
represented only by
Sylvestre of Lyons, and Thibouville-Lamy of Mirecourt. We
find, however, descriptions of the exhibits of thirteen Austrian
violin-makers, two Hungarian, four Belgian, nineteen German,

fifteen Italian, and one American —
the irrepressible Gemiinder.
The principal article in M, Gallay's report is devoted to the
house of Thibouville-Lamy, in which is published, for the first
time, the cost-table referred to sub No. 285. The reporter

very properly regrets the apathy of the great French houses as
exhibitors.
313. Gardiner, lVt//ia77i. The Music of Nature,

or an attempt to prove that what is pas-
sionate and pleasing in the art of singing,
speaking, and performing on musical in-
struments is derived from the sounds of
the Animated World.
London, 1832.
pp. 204-225. T/ie Violm.
pp. 254-256. The Violoncello.
The first of these chapters consists of an essay, learned,

discursive, and interesting upon the violin as an instrument,
and upon its
leading professors at the date at which it was
written. It is quite one of the most charming of the many
" "
hundreds of general essays that have been written on the
violin. The description of Paganini (who was then at the
zenith of his fame) has been constantly reprinted, and often
mangled almost out of all recognition in the efforts of subse-
quent writers tosay something new and original about him.
The chapter on the violoncello is, of course, condensed beyond
the limit of serious consideration.
Gardiner was born at Leicester in 1770 [15th March], and

died there in 1853 [i6th November]. He was, like his father
before him, a stocking manufacturer, but, being an enthusiastic
amateur musician, he not only composed and edited a con-
siderable quantity of music, but wrote or edited several
musical works which were, and are still, justly esteemed.
L
DE FID 1 CULTS BIBLIOGRAPHIA. 204
314. Haweis, Httgh Reginald. Music and

Morals.
»
London, 1875. V^^ edition,] Daldy, Is-

bister & Co. 8vo.
pp. 367 to 395. Violins.
This very interesting section of a very interesting book, is
one of the most charming contributions to the literature of the

violin. It traces the history of the instrument and its most
celebrated makers down to the school of Stradivarius, and
concludes with notes on the theory and practice of their con-
struction.
The Rtv. H. R. Haweis, son of the recently deceased

Prebendary of Chichester, was born in 1838 [3rd April]. At
the age of fourteen he was already a remarkable violinist, a
virtuoso, perhaps, rather than an artist, and an amateur, in
every sense of the word, above all. He was a pupil of
Paganini's pupil Oury, and an excellent sketch of his career,
" Men
with a most life-like photograph, has been published in
and Women of To-day." [No. 289.]
315. Haweis, Htigh Reginald. My Musical

Life.
London, 1884. W. H. Allen. 8vo.
Many short passages throughout the volume.
Book HI. Cremona.

pp. 215 to 219. Interlude on a Night at the Royal Institution.
,,
220 ,, 263. Old Violins.
„ 264 „ 265. Interlude on a certain Loan Collection.
„ 265 „ 310. A South Kensington Dreatn.

J) 311 >> 313- Interlude on the Oblivion of Great Men.
,, 314 „ 328. Stradivarius of Cremona. His house.
J. 329 ,, 338. Interlude on some old Violin- Players.
„ 339 » 392. Pasanini.

L 2
DE FIDICULIS BIBI.IOGRAPHIA. 205
As may be seen by the above table, Book III. is entirely

devoted to the violin. Mr. Haweis is, as is well known, one
of our most interesting, if not our most prolific and scholarly
writers on the instrument ; he does not err in the direction of
strong originality of view, but his labours in collecting and
presenting in a charming form all that is known of the violin,
its great makers and players, has earned for him the lasting
gratitude of all students of the violin and its chronicles. We

find here a resume of his lecture before the Royal Institution,
[17.
V. post, sub Periodical Publications — Proceedings of
Societies,] a most valuable account of the exhibition of 1872,
an article printed in Good Words \_q. v. post], and an essay upon
Paganini. Mr, Haweis, in whatever he writes, can never fail
to charm and interest to this may be added, that he some-
;
times instructs.
316. HiPKiNS, A. J. Cantor Lectures on Mu-

sical Instruments their construction and
;
capabilities. {^Reprinted from the Journal

of the Society of Arts. July îst, Attgust
1
yth, i^th, 891.)
London, 1891. W. Trounce. Large Svo.
Whatever Mr. Hipkins has to say, recognized as he is among
the foremost musical antiquaries of the century, must be
received with respect. He is the greatest living authority on
the history of the pianoforte, and is content to derive his in-
formation on the violin from writers to whom he gracefully

concedes the palm of wider knowledge. The very interesting,
though condensed notes on the violin, which occur in the first
of these three lectures, are taken from writers to whom the
reader is referred in footnotes. Were this plan more univer-
sally adopted, students of the history of the violin would be
saved much unnecessary study.
317. Hogarth, George. Musical History, Bio-

graphy and Criticism.
London, 1835. i2mo.

Edn. 1835, ch. 7, pp. 109-138
The Violin.
Edn. 1838, vol. I, ch. 7, pp. 145-178 [
This is one of the earliest of the "general essays" on the

violin, and is discursive — chatty — charming.
deals entirely It
with performers on the instrument, and is interesting as giving
us an excellent idea of the estimation in which the leading
schools of violin-playing were held in the early decennia of
this century. The extract under consideration takes us as far
as Viotti, and to the student of the progress of technique on
the violin is of value and interest.
Hogarth was a Scotch lawyer, born at Edinburgh in 1783.

Eminent as an amateur musician, he was one of the leading
critics of his age. He also achieved celebrity as the father-in-
law of Charles Dickens, and died in London in 1870 [12th
February].
318. \^kY KQY., Justus Adr it. 11 Lenoir de. Ouinze

visites musicales a 1'
Exposition Universelle
de 1855.
Paris, ]
Vardif. Svo.
Vifllons, etc.
Violons, etc.
Instruments a archet.
Violon Eoliqne : G. E. Anders.
This is a work much in the nature of Gallay's report No. 3 2; 1
the author is righteously indignant at the craze for old instru-

ments, and the vandalism of having them tinkered up by
modern repairers to correct real or imaginary faults. His
notes on the old makers are interesting and concise, the first
extract (pp. 18- 22)^ dealing especially with the instruments of
a maker, of Lille, named Lapaix. [
Vide pest, sub Periodical
I'ublications. Bulletins de la Societe d''ILni.ouragenunt pour
rindustric Nationak.'] Pp. 25-27 deals with ]\I.M. (land
and Bernardel, the violin-makers to the Paris Conservatoire.
Pp. 36-45 contain an interesting essay upon the quatuor, on

the instruments of Vuillaume, Henry, Nicolas, and Bernardel,
and on the introduction of the double-bass into France.
\yide ante. Note to No. 279.] In the tenth visit M. de La
Fage the Vielle [or Hurdy-gurdy], and appends to
refers to
" Violon
the chapter an interesting note on Isoard's Eolique."
M. de La Fage, who was a most eminent musical litterateur
and composer, was born in Paris [27th March, 1805], and died
insane at Charenton [8th March, 1862], leaving a magnificent
to
library of which the catalogue is a valuable contribution
the Bibliography of Music, [q. v.
sub Reference Books.]
319. PiLLAUT, Lôn.

Instruments et Musiciens, avec une preface
par Alphonse Daudet.
Paris, 1880. G. Charpentier. 8vo.
pp. 17-23. Le Violon et les Instruments d Archets.
pp. 23-34. Les Violonistes.

The first of these extracts is another " general essay," and
the same remarks may be made of it, as may suffice for any
such. The chapter on Violinists is more interesting than the
other, the notes being to a great extent a resume of the
traditions extant in Paris concerning the leading virtuosi of
the centuries past and present.
320. PoNTEcouLANT, Le Coiutc Lotus Adolphe le

Doulcet de.
Organographie. Essai sur la facture Instru-

mentale.
Paris, 1 86 1. Castcl. 2 vols., large 8 vo.
Vol. Instruments a cordes, Troisieme Famillc.
I., p. 231.
Instruments a cordes frollces oujrottcs.
et passim.
Vol. n. p. 576. lutheric,

et passim.
These are excellent historical articles, the first dealing with

all instruments whose strings are rubbed. The author notices
in turn the monochord [or trumpet marine], which is, perhaps,
the oldest boived instrument known among civilized nations,
the vielle [or hurdy-gurdy], which is extensively and learnedly
treated, and the instruments of the string quartett, whose
history is traced from the prehistoric Orient through the

mediaeval fiddles, and viols of various kinds to the violin
proper and its congeners.
"
The Section " Lutherie in the second volume deals with
the actual manufacture of bow
instruments in the present day.
The author gives interesting details of the Mittenwald and
Markneukirchen manufactories, and a kind of census of the
fiddle-makers of Europe. These statistics are most valuable.
Besides these two main sections, constant references to the
string quartett, historical, theoretical, and technical, occur all
through the volumes.
M. le Comte [subsequently Marquis] de Pontecoulant was
born and was still living in 1881. He
in 1794, was a distin-
guished soldier as well as an eminent writer on musical sub-
jects,having left many works on musical instruments of great

value to students of the history and manufacture of the
violin.
321. Pontecoulant, Le Comte Louis Adolphe le

Do2ilcet de.
Musee Instrumental du Conservatoire de

Musique. Histoires et Anecdotes.
Paris, 1864.
pp. 61-69. ^^^ Vidle de Madame Adelaide.
pp. 133-150. La Vielle de Henri IV,

pp. 1 71- 1 80. Un Violon Bavarois.
pp. 181-X95. Le Violon de Baillot.
This book consists of a collection of anecdotes related

a frofos of instruments exhibited in the museum of the Pari?
Conservatoire. The first extract deals with Mme. Adelaide,

eldest daughter of Louis XV., who was a skilled performer on
the vielle, and a pupil of the celebrated Danguy. The extract
contains interesting historic notes on the instrument, and on
some other celebrated vielles. The next extract deals with
an equally celebrated vielle, and gives us interesting notes
upon how it was played. The story of Henri's amour with
Fleurette is prettily narrated. The third extract relates an
incident of the Franco-Bavarian war of 1707. The fourth
contains valuable biographical notes on Baillot. It will be
seen that this is a volume that no violinist should be with-

out.
322. PoNTEcouLANT, Le Comte A. le D. de.
La Musique a 1'
Exposition Universelle de
1867.
Paris, 1868.
p. xxxix. Pastes principaux du Violo?i.
This essay, which occurs in the very scholarly and volu-

minous introduction to the above work contains a chronological
catalogue raisonnee of the principal improvements that had been
attempted in connection with bow instruments from 1793 to
1857. Throughout the volume we find scattered articles on the
violin and its relations, but this catalogue constitutes the most
interesting portion of the book.
1 o
23. QuARENGHi, Gtiglielmo.
Metodo di Violoncello per istruire lo scolaro
mediante un sistema graduato ed analitico . . .
preceduto da brevi cenni sugli istrumenti d' arco

con elenco dei fabbricatori.
Milan, 1876. Editoria Music ale. Music
fol.
pp. 1-9. Brevi cenni siigli isfruvie?iti d'arco.
pp. 14- 1
9. Fabbricatori d' istrumenti d'arco.
DE FIDICULTS BIBLIOGRAPHTA. 210
This is the only instance with which I am acquainted, in

which a professional artist is also a historian and student of
the annals of the violin — [Gunn, whose work (No. 229) might
perhaps be included under being practically an
this category,
amateur]. The treatise on the origin of bow instruments

which opens this Methode being a comparison of the earliest
foms with the rudimentary instruments of sundry barbaric
and semi-barbaric nations. Sig. Quarenghi reproduces the
of " Orfeo"
" "
Personaggi \_q. v. post, ub Miscellanea], in which
a part for the violin was first introduced into a score, and gives
us the tuning of the earlier viols. The section devoted to the
makers of bow instruments is full of interest, containing the
names of many of the lesser known violin-makers derived from
local sources, and is divided into the Early Brescians, the
Cremona School, and the Venetian School^ —
it is very complete
and valuable. It is well worth while for students of the violin

to possess this vast work for the sake of these twenty prelimi-
nary pages, whilst for violoncellists the whole work is of
immense interest and value.
Quarenghi was born at Casalmaggiore in 1826 [22nd Octo-

ber], and was in 18S1, first violin at the Scala in Milan, and
director of music to the Cathedral of that city, which post he
had occupied since 1879.
324. Rambosson, y.
Les Harmonies du Son et I'Histoire des
Instruments de Musique.
Paris, 1878.
p. 374. Le Violon, la Viole, la Violoncelle, la Contrebasse.
p. 389. La Vielle.
Thismay be described as a condensed popular history of

musical instruments played with the bow, with short notes on
their principal makers down to the present day. The chapter
on the Vielle [or Hurdy-gurdy] gives an excellent sketch of that
instrument. The articles are illustrated with interesting repro-
DE FIDICUUS BIBLIOGRAPHIA. 211
ductions of ancient engravings —

indeed, the principal value of
this book lies in the excellent reproductions of old
pictures
with which it is filled, a large proportion being exceptionally
interesting to violinists.
325. Reade, C. L., and Reade, Coiiipton,

Charles Reade, Dramatist, Novelist, Journal-
ist. A
Memoir compiled chiefly from his
literary remains,
London, 1887. Chapman & Hall. 2 vols.,

8vo.
Vol. I,, chap, xiii., pp. 237-277. Cremonaphilism.
Read in conjunction with Reade's well-known work [No.
is one of the most
124], this interesting chapters of this
us of Reade's " craze
"
excellent biography. It tells for violins
— for it was little more — of its rise, of its decline, and of its
fall. The account of his quarrel with the Customs officials is

quaint and most interesting in the light of the recent case of
Mr.. Laurie's violins — it is also most valuable as showing us
the value of Italian instruments at that time, and the circum-
stances that governed and assessed that value. Indeed, the
whole " Petition " that he presented to the House of Lords
on the subject, which is given here in extenso, is a most
interesting essay on the art and science of violin-dealing,
which more than one recent jury might have read with
advantage.
326. Rodwell, G. Herbert.

The First Rudiments of Harmony, to which is
added a short account of all instruments em-
ployed in an orchestra, etc.
London, 1830. Goulding & Co. 8vo.

pp. 97-109, Part II. The Violin, Viola, Violoncello, and
Double Bass.
M
This extractis purely technical. I quote it in order that it

" "
may be avoided, it being one of the completely unnecessary
articles on the instrument that have been cited as though they
were of importance. Verb. sap.
327. Schneider, W.
-
Historisch technisch Beschreibung der
Musikalischen Instrumente.
Neisse and Leipzig, 1834. T, Hen7iings.
8vo.
pp. 65-77, Instrumente viit Darjusaiten diirch Streichen

erklingend.
This article is divided into " Viohne," ''Alt- Viola," Violon-

" "
cello and Contraviolon," and is terminated by notes on the
earlier Viols. The whole article is constructed from contem-
porary musical cyclopaedias, and contains nothing of great
originality or interest.
Schneider, who was organist and choirmaster of the
cathedral of Merseburg, was born at Neudorf near Annaberg,
in 1783 [21 July]. His compositions were numerous and
praiseworthy, but it is as a writer on musical subjects —
especially upon organ-playing and church-music, that his
fame has survived him. Fetis cities twelve such works : the
date of his death does not appear to have been recorded.
328. Terrasson, Antoine.

Melanges d'Histoire, de Litterature, de
Jurisprudence Litteraire, de Critique, etc.
Paris, 1
768. Simon et Fils. 8vo.
pp. 173-254. Dissertation Hlstorujue sur P Instrument nofn/ne
la Vie He, Ou, {sic) en examinant I'Origine
et lesprogres de cet Instrument, on fait une
digression sur VHistoire de la Musique
ancienne et moderne.
M 2
This an extract of great importance, being the only essay

is
extant (as far as I have been able to discover) dealing ex-
clusively with the vielle or hurdy-gurdy. The vielle is one

of the oldest instruments with rubbed strings, and is most
interesting, there having been a guild of vielle-x^zktx^
as early
as the thirteenth century, and there having been celebrated
whose names have come down to us, a century
z//V7/f-players,
earlier than that. There was a great reaction in favour of the
instrument at the end of the seventeenth and the beginning
of the eighteenth centuries, w^hen it was a favourite instrument
for ladies. This essay was originally printed anonymously in
1 741 as a separate work, but in this form it is so rare that I
have never been able even to see a copy. Antoine Vidal has
devoted a scholarly and interesting chapter of his magnum
opus [No. 191] to the zw//^, which, as an instrument, is already
so rare, that I doubt whether it will be more than a name (as
is the case with the Trumpet Marine) to the members of the
rising generation.
Terrasson \\z.% a Parisian barrister, born in that city in 1705
[ist November] ;
he died in 1
782 [30th October], being then
a professor at the College de France.
329. Was IL Ews k i

,
Wilhelm Josef von.
Geschiclite der Instrumental-musik in xvi.
Jahrhundert.
Berlin, 1878.
pp. 49-77 {Bcw-instniments) and plates 2, 3, and 4.
This essay, coming in the middle of a chapter, the book

should perhaps have come under the heading of Reference-
books \jpost\ but the section is so distinct that 1 have decided
to admit it here. It consists of a scholarly dissertation on the
bow-instruments of the fifteenth and sixteenth centuries, drawn

from the works of Virdung, Gerle, Prsetorius, Fontego and
others. There exists no essay on the earliest true viols, that
is in any way superior to this.
214
part M.
SECTION IV.— SUB-SECTION I.
The Guild of Musicians and the " King of

THE Violins."
330. Fetis, F.J.

Curiosites Historiques de la Musique.
Paris, 1830. 8vo.
pp. 292-300. Du Roi des Violons.
Amongst all the articles that have been written concerning

this most interesting Guild of Musicians, few are more in-
teresting or more valuable than this one, short and necessarily
" Guild of
condensed though it be. The literature of the
Musicians," which may be found

I., Section IV.,
in Part
Sub-section I. of this Bibliography, is small, and what there

is of it is extremely scarce, and to those students who are
unable to consult the wôiks devoted to the Guild, this essay

must always be one of the clearest and most concise upon
the subject. It traces the history of the Guild from its
establishment in 1330 to the "abdication" of Dumanoir,

and the consequent extinction of this institution (which had
become an abominable and insupportable tradesunion) in
1773-
331. MiLLiN, Aubin Louis {de Grandmaisoii).
Antiquites Nationales ou recueil de Monu-

mens pour servir a I'Histoire Generale et
particuliere.
Paris, 1792. {I'an IV. de la Liberie'], fol.
Vol. IV., Art. 41. ChapeUe de St. Jtdien des Menestriers.
This is one of the most important works on the Guild of

Musicians that France has produced. The section of Vidal's
great work [No. 192] is largely taken from it. It contains
not only a complete history of the Chapel of St. Julien,
hut also a scholarly dissertation on the origin and antiquity
of the Violin. The two plates with which it is illustrated
give us representations of the Chapel itself and of the most
important presentments of bow instruments to be found
among the decorations thereof.
Millin de Grandmaison was born in Paris in 1759 [19th
July]. He
was an eminent antiquary and some time curator
of the Antiquities in the Bibliotheque Nationale. The date
of his death is not recorded in any reference work that is
known to me.
332. Weckerlin, Jean Baptis/e.
Musiciana, extraits d'ouvrages rares O'l

bizarres, anecdotes, lettres, etc., concernant
la musique et les musiciens, avec figures et airs
notes.
Paris, 1877. Gamier F7\ 8vo.
pp. 94-106. Les Joueurs de Vielle, de Luf/i, de Musei/e,

et les Menetn'ers.
Y\). 106-7. -^^ Violon.

The first, and most important, of these extracts consists of an

article on the Guild Musicians, taken principally from
of
the Rectieil d^ Adits [No. 197], but also from lesser known and
more recondite authorities, a notice of Rousseau's Traite de
la Viole [No. 250], and of some other mcthodes for the old
*'
viols. The second consists entirely of Woldemar's Com-
mandements du Vioion." It is the only complete reprint of
this doggerel with which I am acquainted.

217
Section W.
THEORETICAL WORKS.
2)1^- ^^'^^^, Jo hann Joseph.
Lehrbuch der theoretischen Musik in system-

atischer Ordnung entworfen.
Offenbach a/m. n.d. [1800] y. Andre. 4to.
pp. 125 §300 to p. 131 §318. Dritte Abhandlimg ; von

den Geigen-instrumenten .
Fetis gives the date of this book as iSoi, but a former

owner of my copy has written his name on the title-page and
dated his acquisition 1800
—
it was
really published by Herisius
at Leipzig, but was dedicated to Herr Andre of Offenbach
it
a/m, and some copies seem to have been printed with his name
as pubhsher. The date at the end of the dedication is " \st
October, 1800." Klein was a theoretician rather than a prac-
"
tical artist, and perpetuates the old names Discant-geige,
Altgeige, Kleine-Bass, GrosseBass." The extract referred
to consists merely of descriptions of the bow instruments,
"
including the "Viol di Gambe," "die Kniegeige," the Viole
d'amour," and the very interesting instrument known as the
"Baryton" \yide article in Grove's Dictionary].
Klein was born in 1739 [24 August], and was in turn a

barrister at Dresden and organist at Eisenach. He died in the
early part of the present century. He is known as the author
of several theoretical and historical works on music.
DE FID ICULTS BIBLTO GRAPHIA. 218
334. Mace, Thomas,

Musick's Monument, or a Remembrancer of
the best Practical Musick.
London, 1676.
Part III. pp. 231-264. Cojicerning the Viol and Musick
in General. Giving some Particular direc-
tiofis .towards a righteruse of that Itistrionent
than is commonly known and p7-actised.
This begins with a most naif essay upon the state of music
than particularly concerning the Viol, in which
in general, rather
" The
the V iolin is adverted to as Great Idol in Musick, of late
years set tip." Chap. ii. gives an elaborate description of
how a music-room should be constituted, Chap. iii. deals
with "a table Organ to stand in the midst" and at p. 245 we
reach with Chap. iv. the section concerning the Viols, of
which " a cheste " is fully described^ together with " a Pair of
Violins to be in readiness for any extraordinary Jolly, or
Jocund-Consort-Occasion." Chap. v. deals with the right
use of the Viol, Chap. vi. with technique. From this point
the fullest directions how to play are given, with examples that
would puzzle most modern performers, but which are most
interesting to the musical archaeologist.
Little is known concerning the author of this very quaint

and remarkable book, save that he married circa 1636, and
was in York during the siege of 1644. Hawkins dates his
birth in 161 3 from his portrait engraved by Faithorne with
the legend " ^tatis si/ce 63," but the date of the execution of
this portrait, as also that of his death, is unknown. He was a
puritan of puritans.
335. V^T'Ri, Jo/iann Samuel.
Anleitung zur praktischen Musik.

DE FID ICULIS BIBLIOGRAPHIA. 219
Leipzig, 1782. /. G. J. Breitkopf. 4to.

Part III.
viii.
Chapter
p. 378. Vo7t der Geige oder Violine.
p. 414. Von der Bratsche.
p. 415. Von Violoncello.
p. 456. Vom Grossen Violon.
These extracts, which form part of the section of this excel-
" Von der Kentniss 2ind
lent book, entitled Behandliaig der
vorziiglichster Afusik-instrimiente" are mo>t interesting and
valuable to the student of the history of the Violin, containing,
as they do, a complete and detailed description of the instru-
ments of the Quartett and all its parts as they were understood
and appreciated in the last century. The theoretical prin-
" "
ciples which govern the combined necessariness of the
various parts and fittings of the instruments is lucidly and
interestingly laid before the reader, and it is most instructive

to read in these pages the science of violin-construction and
arrangement as it was esteemed by theoreticians prior to the

modern schools of playing and manufacture.
Petri was born at Sorau in 1738 [ist September] and died at

Bautzen in 1808 [12th April]. The above is the best known
of his many theoretical works.
336. Taglini, Carlo.

Lettere Scientifiche sopra vari dilettevoli
argomenti di Fisica del Dottor C. T.
Florence, 1747. 4to.
P. t. Leitera prima air Ilhistrissimo e Reverendissimo
Signor Marchese Siiddecano Gabriello Riccardi.
Come un Violino possa produrrc istanto varj e
dilettevoli suoni.
{dated : Pisa, 20th June, 1746.)
This is an essay, purely theoretical and speculative, upon

N
the causes and effects of the varied powers of the violin

in the matter of tone production it—is one of the earliest
treatises on the acoustic results of the length, thickness and

vibrations of a musical string. The book is of inestimable
rarity, being cited by Lichtenthal, but not by Fetis. It is not
in Brussels, Paris, or Leipzig, and the only copy I know of is
in the Bodleian Library at Oxford.

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L.

VL ivauing^ room QQi^

iilVJiU ">Jili'>Vi,l>i^^ %aiAiN iliK'

PARTS I. AND IL— §§ 1-336, AND

Ad Illuftriflimum prindpem PainJuIfum Malatertam

num, Liber Primus." . Printed at Verona, in the year 1491.

Bibliograpb^ of the \DioUn

EDWARD IHERON-ALLEN, F.L.S., F.R.M.S.,

GRIFFITH FARRAN & CO., LIMITED,

J. Rousseau. "Traits de la Viole.'' Paris :

risposta." Brescia, c. 1550 . . 288

I. Books and Pamphlets wholly de-

voted to the Violin. §§ 1-269 • ^

Section i. The Construction of the

Section 2. Biographical Works. §§

Used in Compounding Var-

Part I.,continued — PAGE

Section 5. Theoretical Works. §§

Part II^;. Book Sections.

Part III. Periodical Publications. §§337-

Part III^.,continued — page

Section 8.* Miscellanea and Un-

Part IV., continued

Sub-section iii. Tracts and Reli-

gious Booklets. §§ 697-702 292 .

Part V. Methodes and Instruction Books.

Section 2. The Violin.

Section 3. The Viola. §§ 936^-958 33^

Section \a. Catalogues of Violin Col-

Section 3. Dictionary and Ency-

clopaedia Extracts. §§ 1163-

Devoted to the Violin. §§ 1 207-

Part VI., contimied — PAGE

Appendix of Uncollated Works .411 . .

Introductory Note to Part I. (1890)

âve-Coftura autJ <!lot]â ; ônal l^vince of (©vcat

Cj^urmgia ; lilarsrabf of IHefe^m ; ^Priiutb Count of

t^t 0(ogt ^ncttnt anK 0logt f^oble (J^rtftrof tT;e Clji^tlc ;

mni'sijt of tlje |Ho£it Cllugtiiousi (Bvtiev of ^t. 33atncfe ;

iantgl;t ^vanti Crog^ of tfjt iBogt f^onourable ©rtJfir

^tJmtral of tf)c dflctt,

lEtc, ?£tc., iEtc.

Highness was graciously pleased to accept the Dedica-

found it express to my readers, my full sense

of the inadequacy of the result of my labours, and of the

study a work so mechanical in compilation as this, and

approached by but few, and perhaps achieved by none.

truly and very encouragingly said, " Nul commence-

couragement you have given me in my labours connected

very arduous character, the most unremitting attention

year or two at the outside I should have reached the

pamphlet would represent all the possible effort in this

especially at the pages that compose the supplements,

Highness has been largely responsible for this renais-

few, and not highly valued. The works

Wettengel stood practically alone — and forgotten on the

top shelves of their publishers' store-rooms, Dr. Ruhl-

published prior to 1880 reaches the hands of a book-

seller, if it ever gets into his catalogue, it must b,e ordered

by telegraph by the would-be purchaser, and even then