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 DE FIDICULIS BIBLIOGRAPHIA.
 
 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. 
 
 Lluftris ueteniiTi progenies ducum 
 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 &xin;us;furget 6^ aldor 
 
 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. 
 
 PAGE 
 
 Title ........ i 
 
 List of Plates ...... v 
 
 Table of Contents . . . , , vii 
 
 Epistle Dedicatory ..... xiii 
 
 Index of Authors' Names .... xxiii 
 
 General Subject Index . . . . . xxxix 
 
 Tabular Index of items contained in the 
 
 Supplements ..... xlvi 
 
 Part I. Books and Pamphlets wholly de- 
 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 i. Biographical Adver- 
 tisements. §§118-121 . . 68 
 Section 3. Works on Varnish. §§ 
 
 122-124 ..... 70 
 
 Sub-seciion i. Works on Materials 
 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. 
 
 PAGE 
 
 Part I., continued — 
 
 Section 4. The History of the Vio- 
 lin. §§ 139-196 ... 81 
 Sub-section i. The Guild of Musi- 
 cians and the " King of the 
 Violins." §§ 197-200 . .117 
 
 Sub-section ii. Works on Violin- 
 music and Violin-playing. §§ 
 201-214 ..... 120 
 
 Section 5. Theoretical Works. §§ 
 
 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 
 Section i. The Construction of the 
 
 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 
 
 Section i. The Construction of the 
 
 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 Guild of Musi- 
 cians. § 503 .... 249 
 Section 6.* Violin Music and Vio- 
 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 i. Complete Romances. §§ 
 
 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 ii. Fugitive Poems. 
 ^ §§ 657-681^ .... 278 
 Sub-section iii. Songs. §§ 682- 
 
 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 ii. Children's Books. 
 
 §§ 693-696 .... 290 
 
 Sub-section iii. Tracts and Reli- 
 gious Booklets. §§ 697-702 . 292 
 Part V. Methodes and Instruction Books. 
 
 §§ 703-1044 . . . -295 
 
 Section i. The Early Viols. §§ 703- 
 
 712 ...... 298 
 
 Section 2. The Violin. §§713-936. 302 
 Section 3. The Viola. §§ 936^-958 33^ 
 Section 4. The Violoncello. §§ 959- 
 
 1025 342 
 
 Section 5. The Double Bass. §§ 
 
 1026-1039 .... 352 
 Section 6. The Quatuor. §§ 1040- 
 
 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. Trade Catalogues. §§ 
 
 1049-1056 .... 362 
 
 Section 2. Patent Specifications. §§ 
 
 1057-1162 .... 365 
 
 Section 3. Dictionary and Ency- 
 clopaedia Extracts. §§ 1163- 
 1180 381 
 
 Section 4. Reference Books. §§ 
 
 1181-1206 .... 386 
 
 Section 5. Periodical Publications 
 Devoted to the Violin. §§ 1 207- 
 1212 . . . . . 394
 
 TABLE OF CONTENTS. xi 
 
 PAGE 
 
 Part VI., contimied — 
 
 Section 6. Works by, or Relating to. 
 
 Violinists, not, however, having 
 
 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 f^ialjnc^g ^frctr iErncsft ^IBert, ©ufec of 
 
 ^ave-Coftura autJ <!lot]^a ; ^onal l^vince of (©vcat 
 SSritaiiT antJ ^frclaittJ ; ISufee of 3£Uint)uisI; ; 3£aii of 
 3aent aiitJ iEarl of Sltster; Suhe of ^udid), Cltre, 
 Berg, 3£ngtni, anti OTestpijalia; EanUsiabc of 
 Cj^urmgia ; 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 ^oUt ©itJcr of ti;c (£^artfr; aanigfjt 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 
 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. 
 ilKicJ^ael 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 difficult to express to my readers, my full sense 
 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, that my 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 is hardly 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 first entered upon my task I thought that in a 
 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, 
 will show how great a renaissance has taken place in the 
 study of the violin since 1879, and you will allow 
 me. Sir, to say that in this country, at least, your Royal 
 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 particular by your Royal Highness, and to 
 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 with Paganini, 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 others) with perfect confidence that his 
 ignorance will be respected rather than capitalized. 
 
 The history of the concrete evidences of the renaissance 
 of the violin is merely an 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 in a 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 duties absolutely 
 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 my work might at least 
 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, my work 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 difficulty that I experienced in 
 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- 
 lications containing them, and they shall be 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 calling to my 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 thank you once more for allowing me to 
 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 in this work as the author, part 
 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. 
 
 Vide Famago, 77. 
 r/afe Fothergill, 591. 
 Vide Galpin, 666. 
 Vide Hanemann, 620. 
 Vide Honeyman, 236, 237. 
 Vide Koelle, 659. 
 Vide Lambert, 298. 
 Vide Marcou, 277. 
 Vide Miller, I226«. 
 Vide Nicholson, 32. 
 Vide Paulding, 654. 
 Vide Roberts, 603. 
 Vide S — r, 422. 
 Vide St. Hilaire, 203a. 
 Vide Sheppard, 607. 
 Vide Stradivari, 190. 
 Vide Volckmann, 139^. 
 Vide Ward, 656. 
 Adveiitiires of a Vn., P, 528. 
 Ancestry of Bones, P, 549. 
 Arte deir Arco, P, 508. 
 Bibliographie Musicale, 1 183. 
 Blind Fiddler, S, 697. 
 The Broken Fiddle, s, 6l0a. 
 Ole Bull, 62,d. P, 347<§". 
 Capuzzi, 1 1 6(2. 
 Catalogue of Vns., 1045. 
 Celebrated Musicians^ 1182. 
 A Cheap Vn., p, 405. 
 Collection of Vns., V, 511. 
 Coruertina, 200b. 
 Deil turning Fiddler. P, 560. 
 Double Bass, M, 1026. 
 Einrichtung der Wirbel, V, 
 
 346a. 
 Exhibition (Paris) 1885, 310a. 
 Faience Vns., v, 547. 
 Famous Fiddles, v, 3593^. 
 The Fiddle, s, (iiob. 
 Of Fiddlers, P, 537. 
 Fiddlers^ Handbook, 2. 
 Fiddler's Ode, V, 657. 
 Fiddler of Marseilles, s, 610. 
 Fiddlers and the Trade, T, 539. 
 Fiorello's fiddlestick, s, 61 la. 
 First Fiddling, v, 510. 
 Freak on the Vn., P, 534, 535. 
 G esc hie hie, p, 337. 
 Ghostly fiddle, S, 615. 
 Gottfried's success, S, 6 1 6, 
 Greville Strad, 1 39^?. 
 
 Anonymous. 
 
 Gungl, 118. 
 Handbook of Vn., 215. 
 Harmonics of the Vn., P, 569. 
 Hiirs Vns., P, 496a. 
 History of a Vn., s, 612. 
 How to play Vn.,216. 
 How to Study Vn., v, 461k. 
 Hungary's Vn. Prince, P, 556. 
 Importanza cfElezione, 2Qoa. 
 Joachim, P, 467*^. 
 Kallifthorgan, P, 279a. 
 Kelpie's Fiddle Boiu, s, 693. 
 Lay of Poor Fiddler, V, 649. 
 Little Prophet, the, s, 618. 
 Mine, de Beriot, 270. 
 Men, (ifc, of to-day, 289. 
 Modern Stradivari, p, 404. 
 Mtisic &= Lnstruments, P, 485. 
 Mtisical Physiogtjomies, p, 533. 
 Musical recollections, 288. 
 Recueil cTEdit, 197. 
 Musin O, 119. 
 My Violin, v, 658. 
 Nachez, T, I2t. 
 Niiiible little Fiddlers, P, 555- 
 Obserz'ations sur la Musique, 
 
 1181. 
 An old Vn., p, 563. 
 Paganini, 62, 62a, 63. 
 Paganini's double stops, M, 718. 
 Paganini's Geige, P, ifi\b. 
 Paganini's Shoe Vn., P, 446a. 
 Popper, p, 347^/. 
 Powell, M., 120. 
 Presei-vatioji of Vn., p, 541. 
 Pi-incipj di li^usica, 1040, 1041. 
 Quartette, A, V, 660. 
 Rec7ieil de I'Encyclopcdie, 1203. 
 Rijlessioni d'un Frofessore, 
 
 \2iT,a.b. 
 Pise and progress Vn., P, 357. 
 
 ^ V'cello, P, 353. 
 
 Roving Fiddler, i', 540. 
 Rudimenta Pandurista, 217. 
 Salabue Strad, lyjc. 
 Sarasate, \2\a. 
 
 Savart Violins, the, P, 414, 415. 
 Societd del Quartet to. 2QOc. 
 Some Fine Fiddles, p, 48o«. 
 .S". Kcnsitigton, 1872, 1 1 84. 
 Spohr, 63«.
 
 INDEX OF AUTHORS NAMES. 
 
 XXV 
 
 Anonymous. 
 
 Anders, Paganini, 65. 
 
 Spoilt- s Bibliothek, \2\2bb. 
 
 Violon Eolique. 318. 
 
 Spohr's Jubel'Fest, 6y. 
 
 Anderson, H. C, Only a Fiddler, 
 
 Steiner, [akob, 63^, 68(/. 
 
 580-584. 
 
 Strad, A,v, 515a. 
 
 Andre, J. A., Vn., M, 726, 727. 
 
 Structure and Preservation, P, 
 
 Anicot, Vn., M, 728. 
 
 410. 
 
 Appian-Bennewitz, P. O., Die 
 
 Thojnpson, /., 698. 
 
 Geige, i^a.b. 
 
 Tobias Gztarnerijis, s, 614. 
 
 Asbjornsen, Fred and his Fiddle, s. 
 
 Ttia, p, 347/ 
 
 694. 
 
 Tuscan Strad, I39-I39i5. 
 
 Asioli, B., Double Bass, M, 1027. 
 
 Tye's,/., Vn., p, 411. 
 
 Atti, G., Campagjtoli, 66. 
 
 Vieuxtemps, p, 347^. 
 
 Aubert, P. F. O., V cello, M, 960. 
 
 Village Fiddler, s, 619, 
 
 Auda, A., Segreti, 127, 128. 
 
 Viole d' Amour, P, 350. 
 
 Auriac, E. d', Menetriers, 198. 
 
 F/o/?«, The, I. 
 
 Austin, J. B., z'2a'<s Lepel-Gnitz, 598. 
 
 F«i-. Old ajtd Nezej, p, 538. 
 
 Azais, P. H., Vcello, M, 961. 
 
 Violin and Vendetta, 605. 
 
 
 Violinisfs Tale, A, S, 613. 
 
 
 F;?. maker's ruse, S, 617. 
 
 Bachmann, E., Markneukirchen, 
 
 F;z. owners, P, S38a. 
 
 da. 
 
 I'' cello's next Engagement, s, 
 
 Bachmann, O., Handbuch, 6. 
 
 611, 
 
 Bacon, F., Maugars, 115. 
 
 F?^//z a«a? Italian School, p, 
 
 Bagantz, A. F., Vn., M, 729, 
 
 359«- 
 
 Bagatella, A., Regole, 7 — 10. 
 
 H7io wa^ Prester John, P, 536. 
 
 Baillard, Vn., M, 730. 
 
 Wietrowetz, I2lb. 
 
 Bailleux, A., Vn., M, 731, 732. 
 
 
 Baillot, P. F. INI. de S., Concours 
 
 Abb^ le fils, F;;., m, 720. 
 
 de Vn., 201. 
 
 Abel, L., Vn., jM, 721. 
 
 Vn., M, 733—735- 
 
 Abele, H., Die Violine, 3, 4. 
 
 Vcello, M, 962 — 964. 
 
 Adams, A. W., Bows, i, 1105. 
 
 Balfour, A. J., vide Hamilton, 
 
 Addison, Characters in Conversa- 
 
 1088. 
 
 tion, p, 518. 
 
 Banger, G., Vcello, M, 965. 
 
 Adema, E., Ritter, 64, 64a. 
 
 Barnard, C, Camilla, 67. 
 
 Adye, W., Musical Notes, 271. 
 
 Barnbeck, F., Anleitung, Ziyb. 
 
 Agricola, M., Alusica Instrumen- 
 
 Barrett, F. J., Vn. for Girls, p. 
 
 talis, 1 1 86- 1 189. 
 
 509- 
 
 Aigu, H., Fiddler of the Rhiite, s, 
 
 Barrington, D., Crtuth, p, 475. 
 
 621. 
 
 Bartel, Dr., Bzill, 71. 
 
 Alard, D., Vn., M, 722, 723. 
 
 Barwald, F. H., Erfitidungen, 307. 
 
 Alday aine, Vn., M, 724, 
 
 Bates, Vn., M, 735a. 
 
 Alday cadet, Vn., M, 725. 
 
 Baton le Jeune, C, Vielle, p, 495. 
 
 Alexandre, J., Vcello, M, 959. 
 
 Baud, le C, Cordes, loa. 
 
 Alibert, J. P., Chevilles, 5. 
 
 Baudet, H. €., Hurdy-gurdy, i. 
 
 Allen, E. H., vide Heron-Allen, E. 
 
 1080. 
 
 Allen, J. L., Flute and Vn., s, 622. 
 
 Baudiot, vide Baillot, 962, 963. 
 
 Althaus, B., Va., M, 936(2. 
 
 Baudiot, C. N., Vcello, u, 966, 
 
 Vn., M, 725^. 
 
 967 . 
 
 Alvin, L., Fetis, 1190. 
 
 Bauer, A., Cre?nona secret, v, 495a. 
 
 Ancelot, vide Hoffmann, 635. 
 
 Baumgaertner, J. B., Vcello, M, 
 
 Anders, G. E., Gesckickte, p, 340. 
 
 968.
 
 XXVI 
 
 INDEX OF AUTHORS' NAMES. 
 
 Beazley, J. C, Aids to Violinists, 
 
 21TC. 
 
 Bedard, J. B., Vn., M, 736. 
 
 Bell, H., Glass in Vns., i, 1075, 
 
 loSi. 
 Bendall, I. V., Chin-rests, I, 11 15. 
 Benedit, P. G., Sivori, 68. 
 Benok, /aninet's Vns., P, 382. 
 Bentzon, T., Violon dejob, 585. 
 Berenzi, A., Maggini, i&a.b. 
 
 Liutai Bresciani, 140. 
 
 Berger, J., V cello, M, 969. 
 Bergerre, A. B., Vn., M, 737, 738. 
 Bergmann, Vn., M, 739, 740. 
 Berliner, E., vide Lake, iioo. 
 Berlioz, H., Soirees d' Oi-chestre, 2gi, 
 292. 
 
 Paganini, P, 451 — 45 1'^- 
 
 Beriot C. de, Vn., M, 741, 742. 
 Bemhard, B., Corporation des 
 
 Menetriers, p, 503. 
 Berr, F. M., Vn., M, 743. 
 Bertolotti, A., Pugnani, (i%c. 
 Bhills, T. J., MoH, v, 678. 
 Biddle, H. P., Tetrachord, 140a, 307a. 
 Bideau, D., Vcello, M, 970. 
 Bishop, J . , vide Dubourg, 1 54. 
 
 vide Duport, 982. 
 
 vide Hamilton, 231, 232a. 
 
 vide Otto, 38 — 40. 
 
 vide Spohr, 908. 
 
 vide Stradivari, 86. 
 
 Blagrove, W. M., Vn., M, 744. 
 
 Blanc, II., vide Bentzon, 585. 
 
 Blanc, II. le, vide le Blanc. 
 
 Blavatsky, H. P., Ensouled Vn., s, 
 622c. 
 
 Blaze de Bury, H., Musiciens Co7i- 
 temporains, 1191. 
 
 Blumenthal, J. de, Vn., M, 745. 
 
 BlUthgen, V., Drei Bassgeigen, s, 
 dzzb. 
 
 Bocker, H., Leibk'dtscher, s, 622a. 
 
 Bohman, D., vide Lake, 1 135. 
 
 Boislel, M., Grivel, 24. 
 
 Bonanni, F., Vernice, 134. 
 
 Gabinetto Armonico, 1 192. 
 
 Bonn, E., Strings, 1 1. 
 
 Bomet, Aine, Vn., M, 746. 
 
 Boschetti, O., Paganini, 6Sd. 
 
 Bjstelinann, R. F. ']., Jolly Fiddler, 
 V, 660a. 
 
 Bouffier, F., Violine, 141a. 
 Boult, h.].,Pegs, I, 1 1 59. 
 Bowles, E. W., Lost and found Vn., 
 
 s, 623. 
 Braddon, M. E., L. Davoren, 586. 
 Brahmig, B., Va, M, 937. 
 
 Vn., M, 747. 
 
 Brakstadt, H. L., Ole Bull, 68<?. 
 Brandis Zelion, E. von, Violin- 
 
 spielerin, 587. 
 Breidenbach, E. de, Ole Bull, P, 
 
 452. 
 Breimecke, Vn., M, 748. 
 Breval, J. B., Vcello, M, 971, 972. 
 Brewer, vide 1026. 
 Brewer, E., Mittemvald, P, 393. 
 Brixius, A., Ein Geigen Solo, P, 
 
 458. 
 Broadhouse, J., Vn. making, 1 \a. 
 
 Fiddles, 142—144. 
 
 Brooks, R., Fingerboard, I, 1067, 
 
 1078. 
 Brooman, R. A., Fingerboards, \, 
 
 1068. 
 Brown, W., Cloth Vns., i, II4S- 
 Browne, H. K., vide ]zxi\^%, 595. 
 Bruni, A. B., Vn., M, 749— 750«- 
 Briini. B., Va, M, 938. 
 Bruni, O., Paganini, 69. 
 Bull, A., Ole Bull, p, 467a. 
 Bull, O., vide Pitt, 1, 1093. 
 
 Vn. notes, \\a, 70, 71. 
 
 Bull, S. C, 0. Bull, 70, 71. 
 Bundy, C. M., Old Violin, s, 623a. 
 Buonanno G., Casa Stradivari, v, 
 
 496f. 
 Burbure L. de, Corporati07i St. Job, 
 
 1 194. 
 
 Luthiers cTAnvers, 479, II95- 
 
 Burg, R., Buchlcin, 218. 
 Burgh, A., Anecdotes, 293. 
 Burney, vide Tartini, 254. 
 Burton, E., Fiddlers three, S, 624. 
 Buttschardt, Vn. Music, 2S7a. 
 Buttschardt, K., Vn., M, 751. 
 
 Cai.dfcott, R., Hey-diddle-diddle, 
 
 V, 695. 
 Cambin , J. J., Vn., M, 752. 
 Campngnoli, B., ^«., M, 753— 755. 
 Campij^lia, vide Ilolliday, 1098. 
 Carpontier, A. C. de, Vn., M, 756.
 
 INDEX OF A UTHORS' NAMES. 
 
 xxvu 
 
 Carrodus, J. T., Vn., p, 5o8<5. 
 
 Cartier, J. B., Vn., M, 757. 
 
 Case, G. T., Vn., M, 758. 
 
 Catel, vide Baillot, 962, 963. 
 
 Ceru', D. A., Boccherini, 71a. 
 
 Ceruti, G., vide Bonanni, 1192. 
 
 Chabot., E, Kbnigs Geige, s, 699. 
 
 Chambers, E., Cyclopcedia, 1163. 
 
 Chambers, W. and R., Encyclo- 
 pedia, 1 1 64. 
 
 Champfleury, Vn. de Faience, 588. 
 
 Chanot G. , Hodges v. Chariot, 145. 
 
 History of Vns., 1234. 
 
 Chanot, G. A., Vn. cases, i, 1106. 
 
 Bows, I, 1 140. 
 
 Chevesailles, Vn., m, 759. 
 
 Child, L. M., Ok Bull, p, 337/ 
 
 Chladni, E. F. F., Opera, 48. 
 
 Choron, A. E., Manuel de Musique, 
 1042. 
 
 Chouquet, G. , Vingt quatre violons, 
 1167a. 
 
 Claggett, C, Finger- loards, I, 1059. 
 
 Sound-post, I, 1060. 
 
 Clark, A. M., Vns., i, 1126. 
 
 Clark, F., Chamber Music, p, 505. 
 
 Clarke, A. M., Strings, i, 1161. 
 
 Clayton, F., vide Marque, 862. 
 
 Close, J. A., vide Boult, 1159. 
 
 Cobham, C, Vn., M, 760. 
 
 Coleridge, A. D., vide Hanemann, 
 274a. 
 
 Collins, M. H., Vn., I, 1091. 
 
 Col ton, W. E., BuWs notes, 71. 
 
 Conestabile, G., Paganini, 72. 
 
 vide Anonymous, 4612. 
 
 Conley, J., Strings, i, 1151. 
 
 Consili, D., Appui-Violon, 12 — 
 14. 
 
 Console, F., Scuola Italiana, 201a. 
 
 Color it nel Quartette, P, 531. 
 
 Cooke, W. H., Pegs, i, 1090. 
 Coppee, F., Luthier de Cremone, 
 
 D, 686. 
 Corelli, M., Joachim and Sarasate, 
 
 P, ajb()aa. 
 Corder, F., vide Firket, 941a. 
 Corette, M., Vn., M, 761, 762. 
 
 Va, M, 939. 
 
 V'cello, M, 973. 
 
 Dotible Bass, M, 1028. 
 
 Vielle, M, 1044. 
 
 Corkran, L., vide Erckmann-Chat- 
 
 rian, 631. 
 Cormon, Vn. de Pire Dimatuke, D, 
 
 689. 
 Coionelli, V., Epitome, 131. 
 Corvi, A., Hurdy Gurdy, I, 1071. 
 Courvoisier, K.. Violintechnik, 221. 
 Intonation, 221a, 
 
 Gi'zmdlage, 219. 
 
 Coussemaker, E. D., Instruments 
 
 frottees, P, 482 — 484. 
 Coutagne, H., Duiffopnigcar, 145a. 
 Cray, S. D., Vn. Azotes, p, 376/'. 
 Creuzberg, H., Lackierkunst, 138a. 
 Crome, R., Vn., M, 763. 
 Crosby, A. B., Anatomy, 70, 71. 
 Crosby, M., Vn. obligato, s, 625. 
 
 Mad Englishman, S, 626. 
 
 Crouch, F. W., V'cello, M, 974. 
 Cruz, A. da, Vn., M, 764. 
 Cupis, J. B., Va, M, 940. 
 
 V'cello, M, 975. 
 
 Curzon, G., Violinist of Quartier 
 
 589. 
 Czerny, J., Vn., M, 765. 
 
 D'Alembert, vide Diderot, 1165. 
 Dana, G., vide Ripley, 1 174. 
 Dancla, J. C, Vn., M, 766, 767. 
 Danoville, Viole, M, 703. 
 Daudet, A., vide Pillaut, L., 319. 
 D'Auriac, E., Mhtetriers, 198. 
 David, F., Vn., M, 768 — 770. 
 David P., vide Grove, 1167. 
 Davidson, J. \^ ., Joachim, 294. 
 Davidson, P., The Violin, 15 — iS. 
 de Beriot, vide Beriot, C. de. 
 de Jan, C, Fidibus Grcecorum, 
 
 1226. 
 Delezenne, Cordes, V, 399. 
 Demar, J., Vn., m, 772. 
 Demar, J. S., Vn., M, 773. 
 Depar, E., V cello, M, 976. 
 
 Vju, m, 774. 
 
 Desfossez, A., IVieniawski, 73- 
 Des-^ arais, C, Archeologie, 146. 
 D'Este,;., Vn., M, 775. 
 Desvergera, Paganini en Allemagne, 
 
 D, 689a. 
 Deulin, C., Viole cT Amour, s, 
 
 632a. 
 Diderot, Encyclopedie, 1165, 1203.
 
 XXVI u 
 
 INDEX OF AUTHORS' NAMES. 
 
 Diehl, N. L., Geigenmacker, 147 — 
 
 149. 
 Dion, C, vide Clark, 1126. 
 Dissmore, G. A., Vn, Gallery, 
 
 149a. 
 Dobson, A., Child Musician, v, 
 
 661. 
 Dom, A., Geiger-Evchen, 590. 
 Dominik, F., Vn., M, 776. 
 Doni, G. B., Compendia, 308. 
 
 Annotazioni, 309. 
 
 Lyra Barberina, 310. 
 
 Dont, J., Vn., M, 777, 778. 
 Domenjoud, J. B., Preference des 
 
 Vis, 1 8a. 
 Dormizer, M., Erwe7-bsverkaltnisse, 
 
 1 196. 
 Dotzauer, J. J. F., V cello, M, 977 
 
 —980. 
 Dowson, E., Story of Vn., s, 627. 
 Drewry, H. S., Violoncello, 222. 
 Drogemeyer, H. A., Die Geige, 
 
 l2,bc. 
 Dryerre, H., Zonane, v, 662. 
 Dubourg, G., 150 — 154. 
 Dubus, E., Qtiajtd les Violons, V, 
 
 649a. 
 Duchesne, Cordes Savaresse, iSd, 
 
 r. 387- 
 Duck, E. A., Fingerboard, i, 1152. 
 
 Duffield, S. W., Messire Atidreas, 
 
 V, 663. 
 Duftin, E. W., Mori, Tyi. 
 du Mesnil, E., Pegs, I, 1062. 
 Dupierge, F. T. A., Vn., M, 779. 
 Dupont, Vn., M, 780. 
 Duport, vide Schroder, loio. 
 Duport, J. L., Vcello, M, 981, 982. 
 Durier,»A., Double Bass, M, 1029. 
 Durieu, M., Vn., M, 781. 
 du Rivage, Paganini, 74. 
 du Rozoir, vide Rozoir, 426. 
 du Vernay, J., Luthier de Breme, 
 s, 628. 
 
 Eaton, W. A., Fiddlers in a 
 
 scrape, v, 650. 
 Ebers, J. J. II., Spohr &> Halevy, 
 
 74a. 
 Eckhardt, Vn., M, 782. 
 Edwards, E., Bridge, (s'c, I, iioi. 
 Pegs, I, 1 142. 
 
 Edwards, J., Pegs, I, 1 141. 
 Eichberg, J., Vn., M, 783. 
 Eley, C. F., Vcello, M, 983. 
 Eliot, G., Stradivarius, V, 664. 
 Encyclopaedia Britannica, 11 80. 
 Engel, C., Violin Family, 155, 
 
 168. 
 
 S. Kensington, 1872, 11 84 — 5. 
 
 Engel, L., Paganini, p, 469. 
 Erckmann-Chatrian, Murderer's 
 
 Vn., S, 630. 
 Erler, J., Kaisers Geigenmacher, D, 
 
 689^. 
 Erlich, A., Beruhmte Geiger, 74b. 
 Ermerins, J., Cremona Secret, P, 
 
 472. 
 Ersch und Griiber, Cyclopedia, 
 
 1165a. 
 Escudier, L., Souvenirs, 295. 
 Escudier, M., and L., Catitatrices 
 
 celibres, 272. 
 
 Dictionnaire, 1166. 
 
 Eymar, A. M., Viotii, 75, P, 444. 
 
 Fales, W. E. S., Lost Aviati, v, 
 
 665. 
 Fanart, L. S., Mennesson, 19, p, 
 
 377- 
 Fanzago, F., Tartini, 76, 77. 
 Fardeley, T., Otto, 37. 
 Farjeon, B. A., Poor Fiddler, s, 
 
 631a. 
 Farmer, H., Vn., M, 784. 
 Faure, F., Vn., M, 785. 
 Fayolle, F.J. M., Corelli ct'c, 78, 
 
 79- 
 
 Paganini et Beriot, 80. 
 
 vide Picquot, \ooa. 
 
 Histoire du Vn., 1232. 
 
 Fenigstein, J., vide Redfern, 1162. 
 P'enkner, J. A., AnTveisutig, 223. 
 Ferris, J. T., Great Violinists, 81. 
 Fetis, F. J., Paganifti, 82 — 84. 
 Stradivari, 85—86. 
 
 Curiosites Historiques, 330. 
 
 Biogi-aphie Universelle, 1 197. 
 
 Exposition 1855, 155a ; 1867, 
 
 Fields, J. T., Bull, "ji. 
 Fink, G., vide Andersen, 583. 
 Fioravanti, L., Miroir Universelle, 
 125, 126.
 
 INDEX OF AUTHORS' NAMES. 
 
 XXIX 
 
 Fiorentino, P. A., Pagaizini, p, 
 
 440a. 
 Firket, L., Va, M, 941. 
 Flade, O., Vti. M, 786. 
 Fleischen, P. A., Wood, i, 1138. 
 Fleming, J. M., Old Vns., 156, 
 
 157- . 
 
 Fiddle Faticiey, 157a. 
 
 Emperor Strad, \^']b. 
 
 Old Vns., p, 571." 
 
 Vn., M, 7S7. 
 
 Vn. Monthly, 1210. 
 
 Fleury, E., Instruments de FAisne, 
 
 1200. 
 Fleury, J., vide Champfleurj-, 5S8. 
 Folegatti, E., Violino, 158, 159. 
 Fontego, S. G. del, vide Ganassi, 
 
 704. 
 Forberg, F., V'cello, M, 984. 
 Forster & Sandys, History, 184. 
 Fother^ll, J-, First Vn., 591. 
 Fouque, La Motte, Btdl\poem), 71. 
 Fourgeaud, A., Dalayrac, 87. 
 Fovargue, S., Vulgar errors, 332a. 
 Francillon, R. E., Fiddle with one 
 
 tune, s, 632. 
 Frederic, H., Enchanted Vn., D, 
 
 691. 
 Frith, H., vide Erckmann-Chatrian, 
 
 630. 
 Frohlich, vide 1026. 
 Frohlich, J., Vn., M, 788, 789. 
 
 Va, M, 942. 
 
 'V cello, M, 985. 
 
 Double Bass, M, 1030. 
 
 Galeazzi, F., Elementi di Musica, 
 
 224. 
 Gallay, J., Luthiers Italiens, 20. 
 
 Ecoles Italiennes, 160. 
 
 Instruments ci Ajxhet 1867, 
 
 161. 
 
 Mariage de Musique, 199. 
 vide Jacquot, 1201. 
 Exposition 1873, 312. 
 
 Galpin, S. C, De Fidibus, V, 666. 
 Ganassi del Fontego, S., Regola 
 
 Rubertina, M, 704. 
 Gancaldi, C., vide Pancaldi. 
 Garaude, A. de, M, 790. 
 Va, M, 943. 
 
 Gardeton, C., vide Anonymous, 
 
 1 183. 
 Gardiner, W., Music of Nature, 
 
 313- 
 Gay, C., Ole Bull, V, 650a. 
 Gebauer, M., Vn., m, 791. 
 
 Va, M, 944. 
 
 Gehot, J., V71., M, 792. 
 Gelinck, Contrebasse, P, 342a. 
 Geminiani, F., Vn., M, 793 — 797. 
 Gemsege, P., Origin of Vit., v, 
 
 487. 
 Gemunder, G., Fortschritte, 21, 22. 
 
 Vn. f?iaking, P, 392. 
 
 Cremona Secret, 2.2a. 
 
 Genese, D., Mute, i, 1160. 
 
 Gerle, H., Micsica Teusch, 225. 
 
 Giehne, H., Spohr, 88. 
 
 Gilchrist, Vn. constrzution, I, 1 125. 
 
 Gilhofer, J., Buchlein, 22b. 
 
 Gilm, H. von, vide Anonymous, 
 
 6^a. 
 
 vide Ruf, 106. 
 
 Giorgetti, F., Va, M, 945. 
 Glazebrook, P^n., i, 11 13. 
 Gley, C., Bo'co Guide, i, 1096. 
 Glover, C. W., V71., M, 798. 
 Gluer, H., Vns., i, 11 50. 
 Goffrie, C., The Vn., 162. 
 Gompertz, L., Strings, p, 398. 
 Gontershausen, vide Welcker, 286. 
 Goodeve, Mrs., Fiddle and I, v, 
 
 682. 
 Gordigiani, L., Violins, V, 683. 
 Gosse, E. W., Viol and Flute, v, 
 
 651. 
 Gossec, vide Baud, loa. 
 Gouache, J., Violons de Man-ast, 
 
 1224. 
 Gould, Chin-7-est, i, rio8. 
 Grange, E., vide Cormon, 689. 
 Green, E. M., Child of Caravan, s, 
 
 696. 
 Gresswell, H. W. and G., How to 
 
 play, 226 — 228. 
 Gretschel, vide Appian Bennewitz, 
 
 Gretschel, H., IVettengel, 60. 
 Greville, H., Vn. Russe, 592. 
 Grivel, V., Vernis Anciens, 23. 
 Gronvold, A., Ole Bull s breic, 
 295a.
 
 XXX 
 
 INDEX OF AUTHORS' NAMES. 
 
 Grosjean, J. F., Vns., i, 1064. 
 Gross, J. B. , V cello, M, 9S6. 
 Grotto, G., La Violina, V, 692. 
 Grove, Sir G., Dictionary, 1 167. 
 Griinwald, A., Vn., M, 799. 
 Guernzey, W., Paganini, 83. 
 Guhr, C. , Vn., M, 801, 802. 
 Guicharcl, M., Vn , M, 803. 
 Gu!chon, A., Violoncelle, P, 342. 
 Guidotti, A. M. A., Vernici, 135. 
 Guillemin, A., Applications de 
 
 Physique, 280. 
 Gunn, J., Violoncello, 229. 
 
 Harmony, 229/'. 
 
 Gutteridge, J., Vns., 2%\a. 
 
 Habeneck, F. a., Vn., M, 804. 
 Haddan, H, ]., Soundboards, i, 
 
 1099. 
 Haghe, A. R. H., Mutes, i, 1 147. 
 Higspiel, Vns., i, 1128. 
 Hajdecki, A., Lira da Braccio, 
 
 162a. 
 Ilamerton, P. G., P/ill, 71. 
 Hamilton, J. A., Catechism Vn., 
 
 230, 231. 
 Catechism, V'cello, 232. 
 
 Vn., M, 805. 
 
 Vcello, M, 987. 
 
 Double Bass, M, 103 1. 
 
 Hamilton, J. B., Wind Piddle, I, 
 
 1088. 
 Hamma, E., z//'/^ Wallis, 1102. 
 Hamma, F., Vn., M, 806. 
 Hampton, W., Bridge, I, 1156. 
 Hanemann, M., Contrabass, 31312./', 
 
 Die Viola, s, 313/', 620, 632/^ 
 
 Pistel, s, 3i3i^, 592a. 
 
 tiansel, J. A., Bau der Violine, P, 
 
 346^. 
 Hanson, A., Chinrest, i, 11 19. 
 Hardy, H., Vcello, M, 988. 
 Harradcn, B., Musical Romance, 
 
 63 2r. 
 Harrys, G., Paganini, 89. 
 Hart, G„ Violin-makers, 163—166. 
 
 Vn. and music, 202. 
 
 Hauptmann, M., Briefe, 274 
 Hausc, W., Double Bass, M, 1032, 
 
 »033- 
 Hauler, K. J., Vn., M, 807. 
 
 Hauser, S., M Hauser, 1213. 
 Havard, H., Catalogue van 
 
 Romondt, 1221. 
 Haweis, H. R., Afnsic and Morals, 
 
 314- 
 
 Musical Life, 315. 
 
 Stradivarius , P, 477- 
 
 Old Vns., p, 481. 
 
 Rare Fiddle, p, 490. 
 
 Old Vns., P, 498. 
 
 Stradivarius, P, 543. 
 
 Old Vns., P, 544. 
 
 Paganini, P, 545- 
 
 Hawkins, J., Corelli and Handel, 
 
 p, 471. 
 Hedouin, P., Mosa'iqties, 296. 
 Heim, E., Vn. Litteratur, 257^. 
 Heinze, L., Vn., M, 808. 
 Hell, vide Newton, 1070. 
 Hennig, K., Vn., M, 809, 810. 
 Henniker, H. F., Vn., M, 8ri. 
 Henning, C. W., Vn.^ M, ^wa.b. 
 
 Vcello, M, 989, 
 
 Henry, B., Vn., M, 812. 
 
 Hering, C. F. A., ICreutzer's 
 Etuden, 233. 
 
 Vn., M, 813 — 815a. 
 
 Hero, H., Double Bass, M, 1034. 
 Heron- Allen, E., Violin-making, 
 
 25—27. 
 
 Ancestry of Vn., 167 — 168. 
 
 Hod^^es V. Clunot, 169, 170. 
 
 Fidictdana, 171, \T\a, 
 
 Libri Desiderati, 258 — 264. 
 
 Paganini Guarncrius, P, 3*5c>' 
 
 Romance of Stradivari, 1 233. 
 
 Vn. makinii, P> 37S. 
 
 The Vn., P., 494. 
 
 - Anecdotage of Vn., v, 529. 
 Fatal Fiddle, S, 593, 633. 
 
 Vn. maker of Bremen, s, 629. 
 
 Child Virtuosa, V, 667. 
 
 The Violin Times, 1212a. 
 
 Herring, H., Soundpost, i, 11 54. 
 Herrmann, E., Vn., M, 816. 
 Herrmann, vide Wassmann, 2563. 
 Herrmann, F., Vn., M, 817, 8i8. 
 Herrmann, G., Vn., M, 819. 
 Hcrvey, E. L. , Seven Flats, v, 669. 
 Hcrvey, M. S., vide Anonymous, 
 
 1182. 
 Heskett, A. J., Vn., m, 820.
 
 INDEX OF AUTHORS' NAMES. 
 
 XXXI 
 
 Hiebsch, J., Violin-unterricht, 234. 
 
 Vit., M, 821. 
 
 Hill & Sons, vide Hug^ns, 89a. 
 
 Vns. and their Makers, 12 19. 
 
 Hiller, F. , vide Hauptmann, 274. 
 Hiller, J. A., Anweisung, 235. 
 
 Lebensbeschreibungen, 297. 
 
 Hillgenberg, R., Vn., M, 822. 
 Hipkins, A. J., Cantor lectures, 
 
 316. 
 Hoe, Wm., Dictionary, 2, 28. 
 Hoffmann, E, T, W., Violon de 
 
 Cremone, S, 634. 
 Hoffmann, R,, vide Schuberth, 
 
 1890:. 
 
 Vn., M, 823, 824. 
 
 Hogarth, G., Stringed Instruments, 
 
 364- 
 
 History, 317. 
 
 Hohmann, C. H., Vn., M, 825. 
 HoUiday, Strings, I, 1098. 
 Hone, J., Vn., M, 826. 
 Honeymann, W. C, The Vn., 236. 
 
 Hints to Vn. players, 238. 
 
 Secrets of Vn. playins;, 239. 
 
 Vn., ho'w to choose one, 28a. 
 
 Hoppe, W., Vn., M, 827. 
 Hortis, A., Tartini, ^ZTa.b. 
 Houssaye, A., Vn. de Franjole, 594. 
 Howe, J. W., Bjtll, 71. 
 Howell, E., V cello, use, d^'c, p, 
 
 5o8r. 
 Howell, T., Vns., i, 1063, 1094. 
 Howitt, M., vide Andersen, 581. 
 Howson, R., vide Huggiiis, W., 
 
 401a. 
 Huband, W. J., vide Moody, 1079. 
 Huber, C, Vn., M, 828. 
 Hudson, F., Vns., i, 1109. 
 Hudson, G., Bellies, i, 1143. 
 Huet, F., Ecoles de Violon, 203. 
 Huggins, M. L., Maggini. 89«. 
 
 Tuscan Strad, 139 — 139/'. 
 
 Salabue Strad, \TyC)c. 
 
 Huggins, \V. , Function of Sound- 
 post, p, 401, 413. 
 
 Vns., p, 402. 
 
 HUllweck, F., Vn., m, 829. 
 Hulskamp, G. H., Vns., I, 1077. 
 Hunt, J-, All about the Vn., lyib. 
 Hunt, L., Paganini, v, ^y]d, 549. 
 Hunter, H., Sailor Prince, V, 684. 
 
 Hus-Desforges, P. L., V cello, M, 
 
 990. 
 Hutchinson, H., That fiddler 
 fellow, s, 637. 
 
 Inwards, C., vide Brooks, 1078. 
 Irwin, T. C. , My violon, V, 670. 
 "Isidor" Cdcilia, III. 
 
 Jackson, G., Vn., m, 829a. 
 
 V'cello, M, 991. 
 
 Jacque, G. , Syjnpathetic Strings, p, 
 
 412, I, 1072. 
 Jacquot, A., Musique en Lorraine, 
 
 1 201. 
 James, E., Sivori, 92. 
 James, G. P. R. , Fight of Fiddlers, 
 
 595- 
 James, W., Vn., M, 830. 
 Jan, C. de, vide De Jan, 1226. 
 Janinet, Tables de Resonnance, P, 
 
 383, 384- 
 Jantzen, J., Spohr^s -works, \2\2aa. 
 Jatho, L., Spohr, 93. 
 Jones, J., Concertina in Vn., I, 
 
 1076. 
 Joiisse, J., Vn., M, 831. 
 Jubb, R., Vn. head, i, 1061. 
 Junod, L., V'cello, M, 992. 
 
 Kahlert, a., L. Spohr, ^ozh. 
 Kalypada Mukhopadya, Bahoolina, 
 
 239^. 
 Kastner, J. G. , V cello, M, 993. 
 
 Vn., M, 832. 
 
 Kauer, F., Vn., m, 833, 834. 
 
 V'cello, M, 994. 
 
 Kayser, H. E., Vn., M, 835 — 
 836a. 
 
 Va, M, 946. 
 
 Keith, R. W., Vn., M, 837. 
 Kendall, M., A Theojy, v, 671. 
 Kensett, J., Holder, i, 1146. 
 Kent, J. T., Paganini, P, 447. 
 Kenyon, E. C., Old Vn., s, 700. 
 Kermer, J., Geiger zu Gzuund, v, 
 
 671a. 
 Kerris, Vns. de Lapaix, p, 386. 
 Kessler, Bows, I, 1137. 
 Ketteridge, C, Note indicator, \, 
 
 II5S- 
 Kewilsch, T., Vn., M, 838.
 
 xxxu 
 
 INDEX OF AUTHORS' NAMES. 
 
 Kiechle, L., Va, M, 947. 
 Kieninger, J. M., Vn., M, 839. 
 Kirton, J. W., Scrape, s, 637a. 
 Klein, J. J., Lehrbuch, 333. 
 Klier, J. R, Vn., M, 840. 
 Kling, H., Vn., M, 841. 
 
 Va, M, 948. 
 
 Kneppelhout, J., de Graan, 93a. 
 Knight, Dictionary, 1 168. 
 Kniglit, C, Mutes, I, 1095. 
 Koch, G., Vn., M, 842. 
 Kohler, L., C?^^. MulUr, 93^. 
 Kohsen, E., Bows, i, 1148. 
 Kohut, A., Joachim, 93c. 
 
 Paganini, 297a. 
 
 Kolbe, K. C. W., Abhandlungen, 
 
 282. 
 Kothe, W., z/2(/5 Heinze, 808. 
 Krehbiel, H. E., z/iiafe Courvoisier, 
 
 220. 
 Kreutzer, R., Vn., M, 735. 
 Kross, E., V7i., M, 8423. 
 Kufferath, M., Viejixtemps, 94. 
 Kummer, F. A., V cello, M, 995. 
 Kuppers, P., Musik-lnstrumenten- 
 
 viacher, 1202. 
 Kiirzinger, I. F. X., Unterricht 
 
 zum Singen, 275. 
 
 Labadins, Vn., M, 843. 
 
 Laljro, N. C, Double Bass, m, 
 
 I03S- 
 Lachnith, L. W., F/^., M, 844. 
 Lafage, J. A. L. de, Exposition de 
 
 185s. 318. 
 Lafage, L. A. de, vide Choron, 
 
 1042. 
 Lagerstrom, A. von, Campanella, 
 
 596. 
 Lake, H. H., Chinrest, i, 1135. 
 Lake, VV. R., Pegs, i, 1097. 
 
 Fingerboards, I, IICX). 
 
 Lambert, M. , Chorister Boy, 298. 
 Lamottc, Fouque, Joseph und seine 
 
 Geige, 597. 
 Lande, E., vide Gley, 1096. 
 Langey, Bow guide, \, 1121. 
 Lanzelta, S., V cello, M, 996. 
 LapheR-que, G. L de, Paganini, 
 
 90—91. 
 
 Paganini, v, 429. 
 
 Soundposl, I, 1073. 
 
 Larousse, P., Dictionnaire, 1169. 
 la Tarche, A., vide Tarche, 239a. 
 Lawson, W. E., vide Schebek. 
 Le Blanc, H., Basse de Viole, 141. 
 Lebouc, C. J., V cello, M, 997. 
 Lee, L., Paganini, v, 685. 
 Lee, S., V cello, M, 998. 
 Lehmann, J. G., Vn., M, 845. 
 Lejeune, le prince, vide Leprince, 
 
 492. 
 Leonard, H., Vn., M, 846 — 850. 
 Leoni, Vn., M, 851. 
 Leoni di Pienza, R., Nardini, 943. 
 Lepel-Gnitz J. von, Stradivarius, 
 
 598. 
 Le Prince le jeune, Fayolle, 78. 
 Leprince, R., Origine dii Vn., P, 
 
 492. 
 Leuven, vide St. Georges, 690. 
 Levasseur, vide Baillot, 962, 963. 
 Lewald, A., Ole Bull, 302/. 
 Lexhime, L J., Bows, i, 1133. 
 Levierge, J. \V., Chinrest, I, 1124. 
 L'Heritier, de I'Ain, see Laphe- 
 
 leque. 
 Lidel, J., vide Lee, 999. 
 Lie, J., O. Bull {poe?n), "ji, g^aa. 
 Linnarz, R., Vn., m, 852. 
 Lisei, C., Bottesini, g^b.c. 
 Lissajous, Vns. de Morisseau, p, 
 
 .385. 
 Liston, W. L., Vn. its pains and 
 
 pleasures, P, 507- 
 Liszt, F., Paganini, P, 461^. 
 Lockyer, N., vide Guillemin, 281. 
 Loder, J. D., Vn., M, 853—855. 
 Loewy, B., vide Powell and 
 
 Flechter, 1220. 
 Lohlein, G. S., Anweisung, 240 — 
 
 242. 
 LoUi, A., Vn., M, 856, 857. 
 Longfellow, H. W., Bull, 71. 
 Lorenziti, B., Vn., m, 858. 
 Lome, F«. Cases, 1, 1107. 
 Lottin, D., Vn., M, 859. 
 Love, F., Vns., i, 1149. 
 Lovelace, \Vm., Strings, 1, 1057. 
 Lovell, M., Musical Genius, v, 
 
 504- 
 Lowenthal, L., Chinrest, i, 11 10. 
 Lozzi, C, Lititai Bresciani, 17 U". 
 Liittgen, 11., Va, M, 949.
 
 INDEX OF AUTHORS' NAMES. 
 
 XXXlll 
 
 Liittgen, Vcello, M, looo. 
 Luke, H., Mystery Solved, P, 420. 
 Lunn, H. C, The Old Vn., s, 638. 
 Lyser, J. P., Tartiniy 302^. 
 
 Macdonald, G., Violin Songs, v, 
 652. 
 
 Falconer^ s Fiddle, s, 639. 
 
 Macdonald, J., Harmonic System, 
 
 243- 
 Macdonald, M., Lady's Vn., v, 
 
 672. 
 Mace, T., Musick^s monument, 
 
 334- 
 Mackaye, E., Love-letters, v, 653. 
 Mackenzie, Bull, 71. 
 Macquoid, K. S., Prince'' s JVhim, 
 
 s, 640. 
 Magerstadt, J. F., Vti., M, 860, 
 
 861. 
 Mahillon, V. C, Acoustique, 283. 
 Maigne, W., Manuel, 29 — 30. 
 Mailand, E., Vernis, 122. 
 Majer, J. F. B. C, Viols, M, 334a. 
 Major, I. W., Bridges, i, 1131. 
 Malibran, A., Spohr, 95. 
 Mannerhjerta, U. E., Fayolle, 79. 
 Mannoury, P. M., Wind fiddle, I, 
 
 1065. 
 Marcou, Principes de Violon, 277. 
 Mariette, A., vide Coppee, 686. 
 Marmier, X., vide Hoffmann, 636. 
 Marmontel, vide Mereaux, 301. 
 Maroncelli, P., Illustri Italiani, 
 
 299. 
 Marque, A., Vn., M, 862. 
 Marshall, F. A., vide Spohr, 908a. 
 Marston, P. B., Bull {poem), 71. 
 Martinn, J. J. B., Vn., M, S63, 
 
 864. 
 
 Va, M, 950. 
 
 Mason, Vn., M, 865. 
 Masson, P. J., Strings, I, 1139a. 
 Maugin, J. C., Manuel, 29 — 30. 
 Mauthner, F., Stradivari Geii^e, s, 
 
 641. 
 May, W. H. , vide Newton, 1083. 
 Mazas, vide Bruni, "J^oa. 
 Mazas, J. F., Vn., M, 866. 
 
 Va, M, 951. 
 
 Mazza, A., Tartini, V, 673. 
 Meerts, L. J., Vn., M, 867 — 870 
 
 Meilhan, P. C, Vn., M, 871. 
 Meltner, C, Vn., M, 872. 
 Menges, E., Bow Guide, I, 1 153. 
 Meo, Strings, i, 1120. 
 Mercier, A., Campanella, 599. 
 Mereaux, J. A., Biographies, 300. 
 
 Varietes Musicales, 301. 
 
 Merlin, M. de, Malibran, 96. 
 Merrick, A., vide Baillot, 964. 
 Meugy, A., VArt du Vn., 244. 
 Meyer, Konversatiojislexicon, 11 70. 
 Meyer, L., Vn., M, 873. 
 Mezzetti, Fittings, i, 1123. 
 
 Miel, E. F. A. M., Viotti, g6a. 
 Milandre, Viol d'Amottr, M, 705. 
 Miller, E., on Fidlers, 1226a. 
 Millin, A. L., Antiquitts 
 
 N'ationale, 331. 
 Mine, vide 1026. 
 Mine, J. C. A., Vn. et Vcello, M, 
 
 952. 
 Mine, J. C. A., Double Bass, M, 
 
 1036. 
 Mitchell, C. H., Hotv to hold Vn., 
 
 245- 
 
 f M. prosody, 245a. 
 
 Mollenhauer, E., vide Haddan, 
 
 1099. 
 
 Vn., M, 874. 
 
 Moncrieff, W. T., vide Lee, 685. 
 Monteclair, M. P. de, Vn., M, 
 
 875. 
 Monteverde, C, Orfeo, 1227. 
 Moody, W., Vn. head, I, 1079. 
 Moore, Chinrests, i, 1129. 
 Mordret, L. , La Luiherie, 31. 
 Morgan, Bozos, i, 11 12. 
 Morgan, A. de, Fiddles aiuiFatuies, 
 
 P. 559- 
 Mori, N., Musical Gem, 302. 
 Morossi, F. A., vide Rubbi, 303. 
 Moszkowski, vide Haweis, 314^:. 
 Mozart, G. I^., vide Schiedmayer, 
 
 894. 
 
 Vn., M, 876-882. 
 
 Munch, — , Bull {poem), 71. 
 Muntz, G. H. M., vide Reade, C. 
 Muntz-Berger, J., Vcello, M, looi. 
 Murmann, E., IVood, i, 1157. 
 Muzzi, S., G. Manetti, g6b. 
 
 Narbaez, L. de, Vihuela, m, 706.
 
 XXIV 
 
 INDEX OF AUTHORS' NAMES. 
 
 Nathan, I., Malibran, 97. 
 Nejeoly, R., Vn., M, 883. 
 Newton, W. E., Triunpet Vn., I, 
 1070. 
 
 Wood, I, 1083. 
 
 Nicholson, J., New Model, 32. 
 Nicolai, D. J. C, Double Bass, M, 
 
 1037- 
 Niederheitmann, F., Meisier, 172. 
 
 Creviona, 173-174. 
 
 Niggli, A , Paganini, 98. 
 
 Nohl, Spohr, 98a. 
 
 Nouaille, P., Strings, I, 1058. 
 
 O'DoNOGHUE, P, Paganini, iAla. 
 Oetker, F., vide Anonymous, 
 
 63^. 
 Ohnet, G., Chant die Cygne, s, 
 
 6^\a. 
 Oka, F., Stainer, p, 376^. 
 Oker-Voysey, G. E., jyzV/^ Hamilton, 
 
 1088. 
 Oliphant, N., Flotsam Fiddler, s, 
 
 642. 
 Orligue, J. d , Paganini, 302;;;. 
 
 Bail lot, 302;;. 
 
 Ortlepp, E., Paganini, ^ozb. c. d. 
 
 Rhode, 302^. 
 
 B, Romberg, 302/. 
 
 Corelli, 302/'. 
 
 Lipinski, 302/f'. 
 
 Sawicki Vns., Tpil. 
 
 Ottmann, L., Bull, 71. 
 
 Otto, J. A., Bau der Bogeiiinstru • 
 
 mente, 33 — 40. 
 Ba'w der Violine, P, 403. 
 
 Pagliardini, T., Bottesini, g^^c. 
 Pain, W., Bridges, I, 1082. 
 Paine, J., Treatise 07i Vn., 246, 
 
 246a. 
 Palgrave, M. E., Blind Jem, s, 701. 
 Pancaldi, €., Progresso Italiano, 
 
 Radicati, 98a. 
 
 Panofka, II., Vn., M, 884. 
 Pape, J. H., Vns., I, 1066. 
 Papini, G., Vn., m, 885. 
 Partington, E., Encyclop(vdia, I171. 
 Paulding, J. K., Scottish Fiddle, v, 
 
 654. 
 Payne, A., David's Geige, V, 491. 
 
 Payne, E. J., Viola da Gamba, p, 
 351- 
 
 Stradivari, P, 359^. 
 
 vide Grove, 1167. 
 
 Encycl. Britan., 1 180. 
 
 Pearce, J., Violijts, 175. 
 Peile, J , z/zi/fi Breval, 972. 
 Peiniger, O., Vn., M, 886. 
 Perkis, C. L., Di Fawcett, 600. 
 Perrin, Vn., M, 887. 
 Perry, J., Vn., M, 8S7(Z. 
 Petherick, H., Vn. making, P, 380. 
 Petong, R., JMarhieukirchen, p, 
 
 496. 
 Petri, J. S., Anleitung, 335. 
 Philips, B., Great Vns., P, 546. 
 Phillips, B., Fisherman^ s Mate, s, 
 
 643- 
 Phillips, W. L., V cello, M, 1002. 
 Philpot, S., Introduction, 2.0,1. 
 Phipson, T. L., Anecdotes, 99. 
 
 Papini, 1 00. 
 
 Southsea Pa7'ade, 60 1. 
 
 " Phiz," »?(fe James, 595. 
 Piatti, A., V cello, M, 1003. 
 Piccolellis, G. de, Lititai Antichi, 
 
 176, 177. _ 
 
 Autenticith, iTJa, r, 532. 
 
 Pickup, P. W., &2(/<? Hudson, 1143. 
 Picquot, vide Ceru*, "jia. 
 Picquot, L., Boccherini, looa. 
 Pierer, Universal Lexicon, 1 1 72. 
 Pierrard, L., Lutherie, 41a. 
 Pierre, C., Les I.uthicrs, 1202a. 
 Pillaut, L., Instruments, 319. 
 Pirazzi, G., vide Clarke, I161. 
 Pitt, S., Chinrest, I, 1093. 
 Plassiard, J, A., Cordes, 42, 
 Playford, J., Skill of Musik, 335(7, 
 
 b, c. 
 Pole, Wm., z^/(/(? Grove, 1167. 
 Polko, E., Paganini, loi. 
 Pollock, W. H., Action to the 
 
 Word, s, 644. 
 Polonaski, E. , The Strad, 1212. 
 
 Violin Times, 1212a. 
 
 Vn., M, 888. 
 
 Pomet, P., Drogues, 132. 
 Pontecoiilant, L. A. le D., Organo- 
 
 graphic, 320. 
 
 Conservatoire de Musique, 321. 
 
 Exposition de 1867, 322.
 
 INDEX OF A UTHORS NA MES. 
 
 XXXV 
 
 Poorten, A., Testament, 102a. 
 
 Tournee Artistiqne, 102. 
 
 Pope, S. T., Bow Guide, i, 11 39. 
 Poppinghausen, vide Creuzberg, 
 
 Porter, T. , Choosing a Vn. , 43. 
 Potter, C., Fn. in Orchestra, V, 
 368, 369, 372. 
 
 Tenor and Violoncello, p, 372. 
 
 V'cello and Contrabass, V, ni. 
 
 Pougin, A., vide Fetis, 1 199. 
 
 Viotti, 103. 
 
 Rode, 104. 
 
 Hainl, p, 341(3;. 
 
 Rode, p, 425. 
 
 Power, P, B. , Dinah's Fiddlestick, 
 
 s, 702. 
 Pratis, L. de, Sibire, 51. 
 Prelleur, P., Music-master, "Jl^. 
 Preston, A., Old Fiddler, V, 674. 
 Pnidlo, RIonochord, 322a. 
 Pulleyne, G., vide Marque, 862. 
 Pullin, S. B., Bow-hairin^, v, 381. 
 Piirdy, G. , Few words on Vn. , 248. 
 
 QUAREXGHI, G., Violoncello, M, 
 323, 1004. 
 
 Rachelle, p., V'cello, M, 1005. 
 Radoux, J. T., Vieiixte?nps, 104a. 
 Rae, R. J., Bridges, i, 1092. 
 Rae, T., My Vn., v, 675. 
 Rahm, M,, Edler Geigenkunstler, 
 
 ^o\a. 
 Raikes, A. H., Vn. chat, lyjb. 
 Rambosson, J., Hannonies dii son, 
 
 324- 
 Rangoni, G. B., Essai sur le gout, 
 
 204-205. 
 Raoul, J. M., V'cello, M, 1006. 
 Reade, C, Cremona Varnish, 123. 
 
 vide Dissmore, 149a. 
 
 Readiana, 306. 
 
 Cremona V)is. , V, 565. 
 
 Jack of all Trades, 278. 
 
 Reade, C. L. and C, Chas. Reade, 
 
 325. 
 Rebs, A., Lackiren, 124a. 
 Redfern, G. F., 3/ute, I, 1162. 
 Rees, A., Encyclopcedia, 1 173. 
 Regli, F., Storia del Vn., 178. 
 Rehbaum, T., Vn., M, 889. 
 
 Rebhaum, T., Va., M, 953. 
 Reichardt, J. F,, vide Lohlein, 242. 
 
 Ripienviolinisten, 249. 
 
 Reinagle, J., V'cello, M, 1007. 
 Renier, J. S., Vieuxtemps, P, 427. 
 Richelme, M., Lttthe7-ie, 44. 
 
 Renaissance, 44a. 
 
 Riechers, A., Die Gcige, 44b. 
 Riehl, von, Corelli, 30512. 
 Ries, H., Vn., M, 890. 
 Rinaldi, B. G. , Pressenda, 105. 
 Ripley, G., Cyclopccdia, 1174. 
 " Rita " Daphne, 602. 
 Ritter, H., Viola Alta, 179— 181. 
 Normalsteg, 45. 
 
 Fa., M, 954. 
 
 Bridges, I, 1 136. 
 
 Ritz, J., Ziisamrnensetzung, 206. 
 Roberts, M., Fiddler of Lugau, 603. 
 Robertson, ]., Wood, i, 1074. 
 Rcche, E., Stradivaritis, v, 655. 
 Rochlitz, F. , vide Schelling. 
 Rode, P., Vn., M, 891. 
 
 Vn., M, 735. 
 
 Rode, Th., Remenyi, p. y]6b. 
 Rodwell, G. H., Harvioiiy, 326. 
 Roeser, V., vide Mozart, 881. 
 Romain, A., Vernis, 138c. 
 Romani, F., Paganini, V, 676. 
 Romberg, vide Schroder, loio. 
 Romberg, B., P^' cello, M, 1008. 
 Roquet, A. E., vide Thoinan. 
 Rose, H. G., vide Smedley, 11 76. 
 Rosen, J. M., O. Bull, lo^a. 
 Ross, J. M., Encyclopivdia, 1175. 
 Roth, F., vide Polonaski, 888. 
 Roth, P., Violoncill-Litteratur, 
 265. 
 
 V'cello, M, 1009. 
 
 Rousseau, J., Tt'aitedela Viole, 2^0. 
 
 Va., M, 955. 
 
 Rowland, A. C., Double Bass, M, 
 
 1038. 
 Royer, A., vide Hart, 164. 
 Rozoir, C. du, Baillot, p, 426. 
 Rubbi, A., Elogi, 303. 
 Rudolphus, C., vide Spohr, 908^. 
 Ruf, S., vide Anonymous, 64a. 
 
 Stainer, 106. 
 
 Riihlmann, J., Bogeninstrumente, 
 
 182, 183. 
 
 Urformen, v, 361.. 
 
 C 2
 
 XXXVl 
 
 INDEX OF AUTHORS' NAMES. 
 
 Russell, R., Fate's a FiddLr, 604. 
 -R, vide Volckmann, 139^. 
 
 Duiffoprugcar, P, 422, 
 
 Sacchi, F. , Stradivari, io6a. 
 
 H Messia, p, 4933. 
 
 Sachs, J., Ancient Musical Instru- 
 ments, 1 184. 
 Sadtler, J., Tauglichen Materials, 
 
 P, 407—409- 
 Saint-Edme, B., vide Sarrut, 303^. 
 Saint Hilaire, Q., Lettre cb A. 
 
 Blanc, 203a. 
 Saint Jacome, vide Marque, 862. 
 Saint Jacome, L. A., Va., M, 956. 
 St. Georges, Luthier de Vienne, D, 
 
 690. 
 Saint Serin, J. B., vide Abbe. 
 Salomon, Geschichte einer Geige, 
 
 606. 
 San Raffaele, B. di, Arte del suono, 
 
 Sandys and Forster, History, 1S4. 
 Sarrut, G., Paganini, 303^?. 
 Sauzay, E., Le Qucituor, 207. 
 
 Violon Har?}ionique, 209. 
 
 Accompagnement, 208. 
 
 Savart, F., Memoire, 46—47. 
 
 TroDipette Marine, P, 395. 
 
 Schaum, J. O. H., Bagatella, 10. 
 Schebek, E. vide Dormizer, 1196. 
 
 Geigenbau, 185 — 186. 
 
 Schiedmayer, J. B., Vn., m, 894. 
 Schilling, Q.,Freundeder Tonkiinst, 
 
 304- 
 Schletterer, H. M., Spohr, 107, 
 
 108. 
 
 Spielmannsziinft, 200. 
 
 Schmidt, J., Vn., M, 895. 
 Schneider, W., Beschreibung, 327. 
 Scholz, R., Violintechnik, 251. 
 
 Vn., M, 897. 
 
 SchOn, M., Vn., M, 896. 
 Schottky, J. M., Paganini, 109, 
 
 Scliradieck, II., Croiiona Vns., V, 
 416-418. 
 
 Vn., M, 898. 
 
 Schroder, vide Wassmann, 256^. 
 Schroder, II., Syinpathetische 
 Kl'nngc, 209^. 
 
 Violinspicl, 252. 
 
 Schroder, H., Vn., M, 899. 
 Schroder, K., Katechisvius Vn., 
 
 2$2a. 
 Katechismus V'cello, 252(5. 
 
 Violoncellunterricht, 266, 267. 
 
 V'cello, M, loio — 1013. 
 
 Schubert, F. L., Die Violine, 187 — 
 
 189. 
 Bau der Geige, p, 346(5. 
 
 Contraviolon, p, 346^. 
 
 Schubert, L., Vn.,M, 900. 
 Schucht, J. H., JVood, I, 1084. 
 Schuler, J. H.,72Vi:' Anonymous, 64^. 
 Schuler, J., Stainer, no, 304a. 
 Schultz, A., Vn., m, 901 
 
 Schutz, F. C. J., Pagatiini, in. 
 Schweigl, S., Gi-itndlekre, 253. 
 Seifriz, M., vide Singer, 904. 
 Semple, D., Fingerboards, i, 1069, 
 
 10S7, 1089. 
 Sering, F. W., Vn., M, 902, 903. 
 Shelton, E., The Vn., iSgb. 
 Sheppard, E. S., C. Anchester, 607. 
 Shorthouse, J., Countess Eve, 608. 
 
 Teacher of Vn., s, 645. 
 
 Sibire, Abbe, Chelono/nie, 20, 49 — 
 
 51- 
 
 Siedentopf, C, V'cello, M, 1014. 
 Sievers, G. L. P., Chanot Vns., p, 
 
 346/ 
 Simoutre, N. E., Aux Amateurs, 52. 
 
 Progris, 53. 
 
 Fortsckritt, 53a, b. 
 
 Supplement, 54. 
 
 Progris en Ltitherie, 53^. 
 
 Soundpost, I, niS. 
 
 Simpson, C., Division Violinist, 
 
 707-709. 
 Singer, E. , Vn., v, 904. 
 Singer, J., vide Lake, 1097. 
 Smedley, E., Encyclopcedia, 1176. 
 Smiff, O. P. Q., Fatal Fiddle, s, 
 
 646. 
 Smith, G. T., Vn. Strings, 54^7. 
 Smith, H. P., Construction, 55. 
 Solle, F., Vn , M, 905. 
 Soullier, C., Dictionnaire, 1177. 
 Sperani, B., vide Andersen, 584. 
 SpofTord, K. P., The Vn., v, 
 
 676a. 
 Spohr, L., Selbstbiographie, 112, 
 
 113-
 
 INDEX OF AUTHORS' NAMES. 
 
 xxxvu 
 
 Spohr, L., Pariser Musikwesen, P, 
 492rt. 
 
 Vi!., M, 906 — 908a. 
 
 Spratley, R., Pegs, i, 1132. 
 Sprengel, P. N., Handwerke, 284. 
 Stalker, C, vide Chambers, 1164. 
 Starcke, H., Die Geige, 56. 
 
 Tagebtuh, 12 14. 
 
 Stead, H., Hztrdy-gin-dy, i, 1086. 
 Stiastny, B., V'cello, M, 1015. 
 Stillingfleet, J., vide Tartini. 
 Stradivari, E., Cenni sulla scuola, 
 
 190. 
 Stransky, J., V^cello, M, 1016. 
 Straub, C. G., Vn., m, 909. 
 Strobel, vide Clarke, 1161. 
 Stuttaford, J., Pegs, i, 1103. 
 Sutcliffe, W., Queer Fiddles, 190a. 
 Swert, J. de, V'cello, M, 1017, 
 
 1018. 
 
 Taeuteau, Violon et Basse, u, 
 
 1043. 
 Taglini, C, Lett ere Scientijiche, 336. 
 Tarclie, A. la, Vn. Student's 
 
 Alaniial, 239a. 
 Tartini, G., Lettera alia Signora, 
 
 b'c, 254. 
 
 Irattato, 1215. 
 
 Risposta, 1 217. 
 
 Tauber, C. von, Ueher meine Vio- 
 lin e, 1 23 1. 
 
 Taylor, Stnngs, I, 11 17. 
 
 Taylor, J. Y ., Vn. for ladies, p, 
 494«. 
 
 Taylor, W., Fittings, i, 1 144. 
 
 Terrasson, A., AUlanges, 328. 
 
 Tessarini, C. da R., Vn., M, 910 — 
 911. 
 
 Thiem^, F., Vn., M, 912. 
 
 Thoinan, E., CoJtstantin, 114. 
 
 Maugars, 1 1 5. 
 
 Thomas, B., Vn. Player, 609. 
 
 Thompson, C, V'cello, M, 10 19. 
 
 Thorns, W. J., Fiddle, P, 372. 
 
 Thornbury, W., Jacobite Fiddle, S, 
 647. 
 
 Jacobite Fiddler, v, 680. 
 
 Thorpe, J., Tailpiece, i, 1158. 
 
 Thurne and Taxis, Prince of, vide 
 Tartini, 12 18. 
 
 Tictz, A. F., V'cello, M, 1020. 
 
 Tilliere, J. B., V'cello, M, 1021, 
 1022. 
 
 Tingry, P. F., Vernis, 136, 137, 
 
 Tofte, H., Rogt og Pleje, 254^. 
 
 Tolbecque, A., Quelques considera- 
 tions, 57. 
 
 Torelli, L., F;/., m, 913. 
 
 Tormin, R., vide Creuzberg, 138^ 
 
 Tottmann, A., Violinnnterricht, 
 268, 269. 
 
 Die Violine, p, 502. 
 
 Tours, B., Vn., m, 914. 
 
 Townshend, H., Gemiine Giiarne- 
 riiis, S, 648. 
 
 Tripier-Deveaux, A. M., Vernis, 
 138. 
 
 Turgan, J., Grandes Uslnes, 285. 
 
 Ugoni, C, Letteratura Italiana, 
 
 305- 
 Unbehaun, G., Wert des Vnspiels, 
 
 336a- 
 Upton, F., Chinholder, i, 1104, 
 
 liii. 
 
 Vaillant, p. M. G., Vn., m, 915. 
 Valdrighi, L. F., Strumeiiti Pin- 
 forzati, 58. 
 
 Tonelli, 116. 
 
 Di tin arpa e Violino, igob. 
 
 Listeria Jl/odenese, igoc. 
 
 Tonelli, p, 438. 
 
 Violineria Modenese, p, 480. 
 
 Violnnzeel, p, 499a. 
 
 Nontochelitirgografia, 1 204. 
 
 Van Hall, J- N., vide Coppe'e, 686. 
 Vanheck, V^i., m, 916. 
 Varin, vide Desvergera, 689^. 
 Variorum, Eticyclopccdia, 1 179, 
 
 1 180. 
 Vernon, F., vide Hunter, 684. 
 Verrimst, V. F., Double Bass, M, 
 
 1039. 
 Vidal, A., histruments a Archet, 
 
 191— 192. 
 
 Lutherie, 193. 
 
 Villa, M., Miei Violini, 193^. 
 Vinela, L., vide Vineta. 
 Vineta, L., Paganini, 117. 
 Viollet le Due, Diciiofinaire, 328<7. 
 Vulckmann, C. N., Dtiiffoprugcar, 
 
 139^/.
 
 XXXVlll 
 
 INDEX OF A UTHORS NAMES. 
 
 Volkman, W., Vn., M, 917, 918. 
 Vredeman, M., Violen Cyther, M, 
 709a. 
 
 Walden, E. D. von, // Violino, 
 
 255- 
 Waldenfeld, H. von, Fw., m, 919. 
 
 Walduck, IL, Iviprffvements in 
 
 Vns., P, 419. 
 Wallis, J., Fegs, i, 1 102. 
 Walther, J. J., Vn., M, 920. 
 Ward, E., Fiddler's Fling, V, 656. 
 Warot, C. N. A., V cello, M, 
 
 1023. 
 Wasilewski, J. W. , Violine Meister, 
 
 210, 211. 
 
 Vn. yM\\. , Jahrhiindert, 212. 
 
 Instrumentalsdtze, 21^. 
 
 Violoncell G esc hie hie, 214. 
 
 Instrn?>tenfal tnusik, 329. 
 
 Wassman, K., Violintcchnik, 256. 
 
 Lagenbezciihnungcn, 256a. 
 
 Watin, Vernisseur, 133. 
 
 Waud, W. W., Vn., M, 921, 922. 
 
 Va., M, 957. 
 
 Weatherley, F. E. , z/Z^i? Goodeve, 
 
 682. 
 Weber, G., Paganinis Kunst, p, 
 
 338. 
 
 Mozart's Quartett, p, 339. 
 
 vide Ersch and Gruber, 1 165a. 
 
 Weckerlin, J. B., Opuscules, 279. 
 Alusiciana, 332. 
 
 Contrebasse, V, 341. 
 
 Bibliothique du Conserva- 
 toire, 1206. 
 
 Weichelt, H., Stainer, no. 
 
 Welcker Von Gontershausen, H., 
 Tonwerkzeuge, 286. 
 
 Saiteninslrtimente, 287. 
 
 Weis, C. , Violiner Bygning, 194. 
 
 Weiss, J., Vn., M, 923. 
 
 Welhaven, — , Bidl {foein), "ji. 
 
 Wergeland, — , Bull {poeni), 71. 
 
 Werner, J., Vcello, M, 1024. 
 
 West, W., Vn., M, 923a. 
 
 Wettengel, vide Appian Benuewitz, 
 
 G. A., Lehrhuch, 6, 59 — 
 
 61. 
 
 White, R. G., Stradivarius, p, 
 
 476. 
 Wichtl, G., Vn., M, 924. 
 Wieck, F. G., Tye's Vn., P, 390. 
 Wienberg, L. , vide Vineta. 
 Wilkes, J., Encyclopcedia, 1 1 78. 
 Williams, Vn., I, 11 14. 
 Witting, C, Vn., M, 925. 
 Wodiczka, T., Viool, M, 710. 
 
 Viole, M, 711. 
 
 Wohlfahrt, F., Vn., M, 926, 927. 
 Woldemar, vide Weckerlin, 332. 
 
 Vn., M, 928 — 930. 
 
 Va., M, 958. 
 
 Wolff, W., Vn., M, 931. 
 Wood, Keyboard Vn., i, 1122. 
 Woolhouse, W. S. B., Bozu, p, 347. 
 Wranitzky, A., Vn., M, 932. 
 
 XiMENES, S. L., Fittings, i, 11 34. 
 
 Young, A. , Vns. and Vn. players, 
 
 P, 493- 
 Youssoupow, N. , Lnthomono- 
 
 graphie, 195 — 196. 
 Analyse comparce, 1235. 
 
 Zacharia, F. W., Die Geige, v, 
 
 681. 
 Zahn, J., Oculus Artificialis, 129 — 
 
 130. 
 Zamminer, F. , Musik, 2Sya. 
 Zanetti, G., Vn., M, 933. 
 Zebrowski, F. von, vide Edwards, 
 
 IIOI. 
 
 Zeidler, P. H., Soundboards, l, 
 
 1 127. 
 Zimmer, F., Vade mecnm, 257. 
 
 Vn., M, 934, 935. 
 
 Vcello, M, 1025. 
 
 Ziinniermann, C.F. A., F;/.,M,93f. 
 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. 
 
 Acoustics, 31, 47, 206, 2oga, 282, 
 283, 287a, 2,22a, 383, 384, 395, 
 vide Savart, and Chanot. 
 
 Adam as a Violinist, 250. 
 
 Adams, E. K., 139^. 
 
 Adelaide, Mme., 321, 
 
 ^olian Vn., 1065. 
 
 Aisne departement, 1200. 
 
 Alard, D., 53a, 139^. 
 
 Alt viola, 286, 327. 
 
 Althaus, B., 1228. 
 
 Alto, 45. 
 
 Amateurs, 363. 
 
 Amati, 124, 146, 175, 177, 184, 
 190, 193, I93(z, et passim. 
 
 Anatomy of Violinist, 71. 
 
 Andre, 333. 
 
 Andrea, J., of Verona, 162a. 
 
 Anecdotes, 190^, 529. 
 
 Antonio detto Ciciliano, 162a. 
 
 Azais, P. H., 961. 
 
 Bach's sonatas, 239. 
 
 Bagatella, 6a, 40, 159, iSi. 
 
 Bagpipes and Vn. , 572. 
 
 Baillot, 192, 20ia, 203, 274, 302;;, 
 
 321, 426, 1 183. 
 Baltzar, 154. 
 Bass-bar, 20, 32. 
 Baryton, 286, 333, vide Viols. 
 Baud's Vns. , 1 183. 
 Beethoven, 207. 
 Belly, patent, 1127, 1143. 
 
 Bennett Collection, 1048. 
 
 Berenzi, A., ijic. 
 
 Bergamo, 11 6a. 
 
 Bergonzi, 20, 124, 170. 
 
 Beriot, de, C, 80, 81, 96,97,201(7, 
 
 270, 295, 300, 301, 367, 371. 
 Berlioz, H., 102a. 
 Bernardel, 161, 318. 
 Blangini, I93«. 
 Bibliography, 25. 
 Biot, 20. 
 
 Bocaccio, G., 692. 
 Boccherini, L., "jia, looa. 
 Bodleian Library, 336. 
 Bologna, 96/'. 
 Books on Vn., 189a:, 258 — 263, 
 
 1056. 
 Bottesini, G., 94/'. f., 295. 
 Bow, 215, 239, 244, 347, 381, 1096, 
 
 1105, 1112, 1121, 1133, 1137, 
 
 1 139, 1 140, 1 148, 1 153, et 
 
 passivt. 
 Brahms, 244. 
 15rescia, 89a, idza, \']\c. 
 Brescian School, 68^, 140, 177, 
 
 194. 
 Bridge, 162, 1082, 1092, iioi, 1131, 
 
 1 136, 1 156, et passim. 
 Brouet's peg, 307. 
 Bruni, O., 193(7. 
 Bull, O., \\a, d^d, eSt", 71, 81, 
 
 94(7(T, losa, 288, 295(7, 302/, 304, 
 
 mf, 347.?-. 362, 442, 452, 462, 
 467a, 1093.
 
 xl 
 
 GENERAL SUBJECT INDEX. 
 
 " CaCILIA," III. 
 
 Campagnoli, B., 66. 
 
 Capuzzi, A., Ii6a. 
 
 Gary, Alphonse, 2, 28. 
 
 Celebrated Vns., 376. 
 
 Chamber music, 203^, 207, 208, 
 
 229, 505. 
 Chanot, F., Guitar Violins, 31, 84, 
 
 183, 184, 346/, 388, 400, 423> 
 
 1225. 
 Chanot, F. W., Catalogue, 1051. 
 Chanot, G. (senio)-), 146. 
 Chanot, G. (London), 27, 32, 105, 
 
 145, 145a!, 170, 516, 1052. 
 Chanot, G. A., 517. 
 Characters of Vns. (Tatler), 518. 
 Charles IX., 184. 
 Cheap Vns. , 285. 
 Chifonie, 328a. 
 Chinese origin of Vn., 155. 
 Chin-rests, 12—14, 239, 1093, lioi, 
 
 1104, 1108, iiio, nil, 1115. 
 
 1119, 1124, 1129, 1135. 
 Chladni, 47. 
 Chopin, 81. 
 Cieco d'Adria, 692 
 Classic Vns., 156, 184, 205, 250. 
 Clementi, 81. 
 Cloth Vns., 1 145. 
 Collections of Vns., 18, 20, 325, 
 
 511, 526, 1046— 1048. 
 Commandemcnts du Vn. , 332. 
 Composer Violinists, 3376'. 
 Concertina, 200('\ 
 Concertina in Vn., I, 1076. 
 Conservatoire (Paris), 201. 
 Constantin, L , 114. 
 Construction, 231. 
 Contrebasse, 279, 324, 327, 341. 
 Corelli, 78, 79, 203, 293, 299, 3027, 
 
 305a, 344, 359, 470, 471. 
 Crawford Collection, 139^. 
 Cremona School, 173 — 174, 177, 
 
 190, 194. 
 Cremona Secret, 416 — 418, 420, 
 
 472, 473. 4S9. 495". 565- 
 Cremona Society, 1 223. 
 Crwth, 167, 328a. 
 
 Dauayrac, N., 87. 
 Dam Family, 566. 
 Danguy, 321. 
 
 da Salo, G., 71, vide Salo, G. da. 
 
 D'Auriac, E., 200. 
 
 David, F. 491. 
 
 David, P., 715. 
 
 Day, John, 142. 
 
 Dolmetsch, A., 712. 
 
 Double Bass, 279, 286, 3I3«.^, 342«, 
 346^. 356, 1 167, vide Contre- 
 basse. 
 
 Double double Bass, 356. 
 
 Double stopping, 209. 
 
 Dragonetti, 80, 295, 358, 450. 
 
 Drowned Fiddlers, 564. 
 
 Dubourg, G., 558. 
 
 Duiffopragcar, i^gd, 145a, 162a, 
 186, 422. 
 
 Dumanoir, G. , 199, 330. 
 
 Duty on Vns., 325. 
 
 " EcHOLiN," 1091. 
 Edmburgh, Duke of, 27, 688. 
 Edition, Chanot, 1051. 
 Egyptian Vns., 184. 
 Eighteenth century, 293. 
 " Emperor" Strad, 1571^. 
 English makers, 193a. 
 Ernst, 304, 20ia. 
 
 Exhibition, 1885 (Paris), I55«, 
 310a. 
 
 1867 (Paris), 161, 311, 322. 
 
 1872 (S. Kensington), 306, 
 
 315, 1 184; and vide South Ken- 
 sington. 
 
 1873 (Vienna), 312. 
 
 1878 (Paris), 1052. 
 
 1885 (London), 568. 
 
 Expression, 239. 
 
 Facetiae, 512, 529. 
 
 Faience Vns., 547, 588, 1221, 1222. 
 
 Famous Vns., 359a<?, 538^. 
 
 Female makers, 146. 
 
 Ferri, B., 72. 
 
 Fetis, 51, 333,920, 1 190. 
 
 Fiddle, 184. 
 
 " Fiddler, The," 28. 
 
 Fiddler, The, 1208. 
 
 Fiddlers abused, 1226^. 
 
 Fulig's Key Vn., 279^. 
 
 Fingerboards, 1059, 1067, 1070, 
 
 1078, 1087, 1089, 1152, vide 
 
 Fittings.
 
 GENERAL SUBJECT INDEX, 
 
 xli 
 
 First Violin, 200a, 224. 
 
 
 Guignon, 199. 
 
 Fischer, H., da. 
 
 
 Guild of Musicians (Paris) 114, 
 
 Fittings, 239, 1123, 1 1 34, 1 144 
 
 
 192, 197 — 200, 503, vide King 
 
 Flechter, V., 1220. 
 
 
 of Vns. Roi des Violons. 
 
 Florence Quartett Soc, 200c. 
 
 
 Guitar-making, 6, 29, 30, 287. 
 
 Fontego, S. G. del, 329. 
 
 
 Gungl,J., 118. 
 
 Forcroi, 142. 
 
 
 
 Forster Family, 184. 
 
 
 Hajdecki, 139^, 437a. 
 
 Forster, S. A., 184, 307. 
 
 
 Halle, Lady, loi, 290, vide 
 
 Franciscello, 192. 
 
 
 Normann-Neruda. 
 
 Francoeur's peg, 307. 
 
 
 Handel, 471. 
 
 Frauds, 145, 169, 171. 
 
 
 Harmonic tones, 244, 569. 
 
 French School of makers, 20, 
 
 I93fl!. 
 
 Harmony, 209, 22ifl, 229/', 1216. 
 
 Frey, 184. 
 
 
 Harp, 287. 
 Hart, 170, \^^b. 
 
 Galbusera, 183. 
 
 
 Hart Catalogue, 1050. 
 
 Galli, D., 190^. 
 
 
 Hauser, 274a, 1213. 
 
 Gand, 161, 318. 
 
 
 Haweis, H. R., 289, 527. 
 
 Ganz, M. & L., 374. 
 
 
 Hawley, R. D., 1396. 
 
 Gasparo da Salo, 145a, 1620:, 
 
 171, 
 
 Haydn, 207. 
 
 186, 279, 12 19, vide da Salo 
 
 
 Hebrew and early instruments, 
 
 Gavinies, 78, 79. 
 
 
 1 1 84. 
 
 Geminiani, 154, 370, 713-71S 
 
 , 
 
 Hell's Vn., 1069. 
 
 Gemiinder, 159. 
 
 
 Henry, 318. 
 
 General Articles on the Violin, 
 
 346, 
 
 Henry IV., 321. 
 
 372,375.391, 392, 396,397, 
 
 402, 
 
 Herisius, 333. 
 
 404, 410, 474, 481, 486, 4S8, 
 
 494, 
 
 Heron-Allen, E., 155, 665, 1212a. 
 
 497—502, 507, 516, 527, 
 
 537, 
 
 Hill, W. E. & Sons, 139— 139^, 
 
 538, 551, 552. Part vi., Section 
 
 170, \^\c. 
 
 iii., 337«.^, 473^. 5oS/', . 
 
 281a, 
 
 Hill's Catalogues, 1055, 1056. 
 
 346'^, 359'^-/- 
 
 
 Hipkins, A. J., 155. 
 
 George IV., 243, 553. 
 
 
 Hodges & Chanot, 105, 145, 169. 
 
 Geraldus Hieronimus, 162a. 
 
 
 Holder, 1146. 
 
 Gerle, H., 329. 
 
 
 Hulse, J. S., Collection, 1046. 
 
 German makers, 172. 
 
 
 Hurdy-gurdy, 192. 
 
 German origin of Vn., 185. 
 
 
 
 Ghibertini, A., 41. 
 
 
 Improvements in Vn., 419, 32;, 
 
 Giay, 68f". 
 
 
 1063, 1066, 1077, 1091, 1094, 
 
 Gigue, 328«. 
 
 
 1109, 1113, 1114, 1126, 1128, 
 
 Gillott Collection, 526, 1184. 
 
 
 1 145, 1 149, 1 1 50, vide Innova- 
 
 Gillott Strad, 157/'. 
 
 
 tions. 
 
 Giovanni, de, 96^. 
 
 
 Indian origin of Vn., 155. 
 
 Glass-coated Vns., 1064. 
 
 
 Indian tutor, 239^. 
 
 Glass in Vn., I, 1075, 1081. 
 
 
 Innovations, 32, 44a, 47, 53—53*^, 
 
 Gottschalk, 81. 
 
 
 54, 58. 
 
 Graan, J. de, 93a. 
 
 
 Instruction Books, Catalogue^, 264 
 
 Grenoble Academy, 23. 
 
 
 ~^^9- 
 
 Greville Strad, 139^. 
 
 
 Inventions Exhibition, 568. 
 
 Grotto, L., 692. 
 
 
 Isoard's Vn., 318. 
 
 Guarnerius, 25, 86, 124, 171, 
 
 175, 
 
 Italian players, 20\a. 
 
 177, I93> 360, 1219, ct passim. 
 
 Italian School, 100, 172 — 174, ct 
 
 Guhr, C., 80. 
 
 
 passim.
 
 xlii 
 
 GENERAL SUBJECT INDEX. 
 
 Janinet's Vns., 382. 
 
 Jeune, H. le, 229. 
 
 Joachim, J., A\b, 93a, 93^, 187 
 
 20ia, 294, 467/', 469«.«. 
 Johnston v. Laurie, 171. 
 Josephs, P. A., 388, 404. 
 
 Kallifthorgan, 279a;. 
 
 Kerlino, 184, 186. 
 
 Keyboard Vn., 279a, 394, 1 122, 
 
 Kieswetter, 288, 355- 
 
 King of Vns., 78, 114. ^92, I97— 
 
 200. 
 Klingenthal, 1196. 
 
 Labarre, 300, 301. 
 
 La Couture, 285. 
 
 Lady's Magazine, 62. 
 
 Lady Violinists, 494(Z, 509. 
 
 Lajos, B., 556. 
 
 Lapaix, 183, 318, 386. 
 
 Laub, 20 1 a. 
 
 le Clair I'aine, 717. 
 
 le Jeune, H., 229. 
 
 le Serre, Mons., 121 7. 
 
 Llnarolo, 162a. 
 
 Lindley, 288. 
 
 Lipinski, 201a, 233, 302/^. 
 
 Lira da Braccio, 162a. 
 
 Locatelli, 203. 
 
 Lolli, 203, 204. 
 
 Lombardini, M., 7 1, 78, 254. 
 
 Lott, J. F., 278. 
 
 Loudon, J. F., 1222. 
 
 Lulli, 192, 468. 
 
 Lupot, N., 20, 51, 245a. 
 
 Lute, 284. 
 
 Luthiers d'Anvers, 1195. 
 
 Lyon and Healy Catalogue, 1054. 
 
 Lyons makers, 145a. 
 
 Mafkei's Orpheus, 20. 
 
 Maggini, G. P., 68a./', 89a, 12 19. 
 
 Mahillon, V., 53a. 
 
 Malibran, 96, 97, 270, 273, 367, 
 
 vide Beriot. 
 Manelti, 966. 
 Marais, 141. 
 Marchesi, 68c. 
 Marcou, F. M., 277. 
 Markncukirchen, 6a, 320, 496, 
 1 196. 
 
 Marrast Vns., de, 1224. 
 
 Marteau, H., 514. 
 
 Materials of Construction, 407 — 
 409, vide Wood. 
 
 Mathematical outline, 7 — lO. 
 
 Mazarin, Card, 115. 
 
 Medals, 1235. 
 
 Medici, Cosimo di, 1395. 
 
 Meistersingers, 202. 
 
 Mell, D., 154. 
 
 Mennesson's Vns., 19, 377. 
 
 " Messie, Le," 139^, 295, 4961^. 
 
 Methodes, 211. 
 
 Milandre, 1206. 
 
 Milanollo sisters, 193a. 
 
 Minnesingers, 202. 
 
 Mirecourt, 161, 285, 1201. 
 
 Miremont, 161. 
 
 Mittenwald, 320, 393. 
 
 Modena makers, 480. 
 
 Modern Geminiani, 370. 
 
 Mollenhauer, E. R., 58, 1099. 
 
 Monochord, 322a, 328a, z'Zfl'i? Trum- 
 pet marine. 
 
 Montagnana, 20, 124. 
 
 Monteverde, 323. 
 
 Mori, N., 73a, 288, 302, 355, 366, 
 677. 
 
 Morisseau's Vns., 385. 
 
 Moscheles, 81, 300, 301. 
 
 Mozart, W. A., 187, 207. 
 
 Mozart's Vn. Quartett, 339. 
 
 Mozart, L. , violin-school, 187. 
 
 Midler Quartett, 93)^. 
 
 Museo Eslense, \uob. 
 
 Music for Vns. , 208, 209, 1050, 105 1. 
 
 Musical Terms, Index, 215, 223, 
 235, 242. 
 
 Musin, O., 119. 
 
 Mutes, 1095, II I, 1 147, 1 160, 
 1162. 
 
 Mythology, 205. 
 
 Nardini, p., 94a, 204. 
 
 Neuville's peg, 307. 
 
 Nicolas, 318. 
 
 Norniann-Neruda, Mme., lOI, 290, 
 
 vide Halle, Lady. 
 Note indicator, 1155. 
 Nuremberg Vn. makers, 286. 
 
 Odd Volumes, Sette of, 167.
 
 GENERAL SUBJECT INDEX. 
 
 xliii 
 
 Old and New Vns., 245^, 28a. 
 
 Old Tutors, 171. 
 
 Orchestral playing, 224, 368, 369, 
 
 372, 373- 
 Orfeo, 323, 1227. 
 Origin of Vn., 162^7, et passim. 
 Orpheus (Maffei), 20. 
 Ott, 184. 
 Ottani, 68r. 
 Otto on the Vn., 570. 
 Outline, 7 — 10, 29 — 31. 
 Owners of great violins, 538a. 
 
 Paganini, 41, 62, 62a, 65, 68, 68r/, 
 69, 71—74, 80, 81, 82—84, 89, 
 
 90, 91, 98, 100, lOI, 109, III, 
 
 117, 154, 171, 192, 203, 256, 
 272, 288, 291, 29s, 296, 297rt, 
 302, 302/;, c, d, m, 303a, 313, 
 3i5» 2>2,7d, 338, 347«, b, c, 348, 
 3590 360, 371. 428—436, 439— 
 441,443, 443^,4460:, (5, 447, 447a, 
 448, 449, 449fl',45i— 451/', 453 — 
 457, 459—461, 46i<^-7, 463—467, 
 469, 470a, 545, 550, 622«, 676, 
 685, 689a, 718, 801, 802, 1235, 
 1236. 
 
 Paganini Guamerius, 149(2, 171. 
 
 Paganini Redivivus, 513. 
 
 Papini, G., 1 00, 712. 
 
 Payne, E. J., 155. 
 
 Pegs, 5, i8a, 307, 1062, 1090, 1097, 
 1102, I 103, I 132, I 141, I 142, 
 
 IIS9- 
 
 Piatti, 288. 
 Piccolellis, 193. 
 Piedmontese makers, 178. 
 Pique, 20. 
 Pirano, 254, 4273./;'. 
 Plassiard, 47. 
 Players of Vn., 141a, 175. 
 Polidori, 201. 
 Pollani, 201. 
 PoUedro, 193a. 
 Poorten, A., 102, I02a. 
 Popper, D., 347^/. 
 Pougin, A., 75. 
 Powell, M., I20. 
 
 Powell, M., against Flechter, 1220. 
 Prsetorius, M. 329. 
 Preservation of Vns. , 21, 25, 43, 52, 
 215, 223, 235, 541. 
 
 Pressenda, J. F. , 105, 170. 
 Prester John, 536. 
 Prices of Vns., 175, 520—525, 557. 
 Pugnani, 68;:, 78, 79, 98a, 204. 
 
 QUARTETT, 935, 200c, 203«, 207, 
 
 287, 326, 335, 531. 
 
 Radicati, F., 98a. 
 
 Raff, 244. 
 
 Rambaux, i6l. 
 
 Ranz des Vaches, 75. 
 
 Ravanastron, 168, 186. 
 
 Reade, C., 149a, 1028, 1 184. 
 
 Rees, H., 233. 
 
 Remenyi, E, 3761^. 
 
 Repairs, 29—30, 43. 
 
 Richelieu, Card., 115. 
 
 Richelme, 52. 
 
 Ridge Collection, IO47. 
 
 Rietz, J., 274. 
 
 Rinaldi, J. F., 105. 
 
 Ritter, H., 64, 6412. 
 
 Rode, 104, 302^, 425, 461/'. 
 
 Rode Baiilot, Vn. Methode, 354. 
 
 Roi des Violons, 78, 114, 192, 197 
 
 — 200, 330 — 332, vide King of 
 
 the Violins. 
 Romberg, 192, 302?'. 
 Romondt, F. van, 1221. 
 Rosin, 29—30, 223, 237, 2S0, 307. 
 Rossini, 69. 
 
 Rousseau, J., 332, 955. 
 Royal Institution lecture, 315, 527, 
 Rubebe, 328(2. 
 Rubinstein, 244. 
 
 Sadtlrr, J., 407 — 409. 
 
 St. Cecilia Brotherhood, 199. 
 
 Saint Colombe, 703. 
 
 St. Job Corporations, I194- 
 
 St. Julien des Menetriers, 78. 
 
 Saint Marie, 201. 
 
 Saint Saens, 244. 
 
 Salabue Strad, 295. 
 
 Sales of Vns., 18. 
 
 Salo, G. da, 1S6, vide da Salo, G. 
 
 and Gasparo. 
 vSandys and Forster's History, 
 
 271, 561. 
 Sarasate, I2la, 187, 469(2(2. 
 Sauret, E. , 53(2.
 
 xliv 
 
 GENERAL SUBJECT INDEX. 
 
 Sauzay, 203. 
 
 Savaresse, iSc/, 387. 
 
 Savart, F. J., 18, 20, 31, 40, 46, 
 
 47, 84, 183, 184, 281, 379, 405, 
 
 414, vide Acoustics. 
 Savvicki Vns., 302/. 
 Schebek, \-y)d. 
 Scheibler's peg, 307. 
 Schneider, F. L., 1223. 
 Schneider, L., 712. 
 Schradieck, H., 416—418, 489. 
 Schumann, 81, 244. 
 Schwendemann 57. Meindl, 171. 
 Scroll, patent, 1061, 1079. 
 Second Vns. , 249. 
 Seraphino, D., 124. 
 Servais, 288. 
 Silk strings, loa. 
 Simoutre Testimonials, 52. 
 Sivori, C, 68, 69, 92, 337^, 4611/. 
 Sound-board in Vn., 1099. 
 Sound-post, 20, 162, 401, 413, 
 
 1060, 1073, 1 1 18, 1 154. 
 South Kensington, 1872, 124, 149a, 
 
 1 184. 
 Speyer, W., 274. 
 Spohr, L., 63a— 63^, 74(z, 81, 88, 
 
 93. 95. QS'^. 107, 108, 112, 113, 
 
 192, 20Irt, 256, 274, 274a, 288, 
 302/?, 345, 348, 355, 365, 437, 
 
 446, 450a, 492ff, 504, \2\zaa, bb. 
 Stainer, J., 40, 106, no, 124, 146, 
 
 175, 304^, 376a, 689^^, 12 19. 
 Stamaty, 301. 
 Starcke, IL, 1214. 
 Stauffer's Vns., 307. 
 Strad, The, i\a, 1212. 
 Slradivarius, 20, 25, 85 — 86, 106a;, 
 
 124, 139—139^. 157^ 175. ^n^ 
 
 190,315,476,477, 496'-. 545> 598, 
 655, 1219,193a, 3S9/>, 5i5«,359<^. 
 
 Strings, \oa, li, \'6d, 29, 30, 42, 
 54a, 64a, 215, 229, 239, 283, 
 285, 307, 387, 398, 399, 401, 
 412, 413, 1057, 1058, 1072, 1098, 
 1 100, 1 1 17, 1 120, 1139a, 1 151, 
 1161. 
 
 Sylvestrc, 312. 
 
 Sympathetic strings, 412, 1072. 
 
 Tailpiece, 1158. 
 
 Tarisio, L., 124, 139^, 174, 193a. 
 
 Tartini, G., 71, 76-79, 254, 293, 
 297, 298, 302^, 303, 305, 445, 
 i^rja.b, 673, 1215— 1218. 
 
 Tavistock Vn. Academy, 1228. 
 
 Teaching the Vn. , 336a. 
 
 Tetrachord, 140a, 307a. 
 
 Thalberg, 81, 301, 304, 1229. 
 
 Thibout's Vns., 1183. 
 
 Thibouville Lamy, 42, 285, 312. 
 
 Thickness of strings, 401. 
 
 Tieffenbriicker, 186, vide Duiffo- 
 prugcar. 
 
 Todini, M., 279. 
 
 Tone, 175, 239. 
 
 Tone production, 332a. 
 
 Tonelli, Violoncellista, 116, 438. 
 
 Tools, Vn. making, 29 — 30. 
 
 Tourte, F., 86. 
 
 Trautmannsdorf, 106. 
 
 Trumpet Vn., 1069. 
 
 Trumpet marine, 286, 320, 322a, 
 395, vide Monochord and Acou- 
 stics. 
 
 Tua, T., 347/, 542. 
 
 Turin band, 68;:. 
 
 Tuscan Strad, 139— 139*5. 
 
 Tutors, 211. 
 
 Tutors, old, 171. 
 
 Tye's Vn., 390, 411. 
 
 Urso, Camilla, 67. 
 
 Valeriano, 146. 
 
 Value of Vns., 175. 
 
 Varnish, 6, 23, 25, 29, 30, 31, 54, 
 
 122— 124a, 125—138, 159, 174, 
 
 177a, 306, 472, 473, 478. 
 Vielle, 192, 318, 320, 321, 324, 
 
 328, 328a, 495, 1044, 1071, 1080, 
 
 10S6. 
 Vieuxtemps, 94, 104a, 20la, 295, 
 
 347^, 427, 1229. 
 Vigencre, 146. 
 Vingt-quatre violons, 1167a. 
 Viols, 115, 141, 184, 202, 250, 
 
 310, 327, 329, 334, 1167, 1184. 
 Viola, 45, 286. \ 
 
 Viola d'Amore, 286, 349, / And 
 
 1 222. >• vide 
 
 Viola Bardone, 286. \ " Viols. 
 
 Viola Bastarda, 286. J
 
 GENERAL SUBJECT INDEX. 
 
 xlv 
 
 And 
 
 vide 
 
 Viols.' 
 
 Viola da Gamba, 141 
 
 184, 214, 286, 351 
 Viola pomposa, 286. 
 Viola da Spalla, 286. 
 Violecembalo, 1183. 
 Violin, El, 1207. 
 Violin Times, The, 1212a. 
 Vn. Cases, 1106, 1107. 
 Violin frauds, 145, 169. 
 Vn. Gown, 515. 
 Vn. with Keys, 394. 
 Vn. making, 211, 284 — 287a, 346/', 
 
 567- 
 Vn. methodes, early, 171. 
 Vn. Monthly Mag., 12 10. 
 Vn. music, 192. 
 Vn. players, 2^2a, 2^2h, 317. 
 Vn. playing, 187, 192, 21 1, 
 
 276, 277. 
 Vn., wanton, 332^7. 
 Vn. works, 268, 269. 
 Vn. world, 1211. 
 Vns., famous, 359rta, 538^^. 
 Violino Diarmonico, 309, 310. 
 Violon — lock up, 562. 
 Vn. eolique, 318. 
 Violoncello, 141, 214, 286, 
 
 353, 499^5', 1167. 
 Violoncello methodes, 214. 
 Violoncello works, 265 — 266, 267. 
 Violone Panarmonico, 309. 
 
 271, 
 
 342, 
 
 Viotti, J. B., 68^, 75, 78—81, 96ff, 
 98(2, 103, 201, 20ia, 272, 317, 
 
 329. 343, 352, 3S9«, 444, 458, 
 
 804. 
 Vogler Frl., loi. 
 Vuillaume, J. B., 53, 84, 139.:, d, 
 
 159, 161, 318. 
 Vuillaume's Bow, 215. 
 Vulcanite Vns. , 1149. 
 
 Waefelghem, L. van, 712. 
 Washington, G., Vn., 1230. 
 Wasilewski, von, i/i,b. 
 Weckerlin, 762, 920. 
 Wettengel, G.A., da. 
 Wheatstone's Vn., 1065. 
 Wieniawski, 73, 20\a. 
 Wietrowetz, Frl., \2\b. 
 Wilhelmj, A., 469a. 
 Wind fiddle, 1065, 1088. 
 Withers' Catalogue, 1049, 1053. 
 Woldemar's commandements, 333. 
 Wolff, J., 274. 
 Women violinists, 239. 
 Woods used, 20, 29-30, 282, 3S8, 
 1074, 1083, 1084, 1 138, 1 157. 
 
 VOUSSOUPOW, I4Sci. 
 
 Zoeller, C, 712. 
 
 Zurich Musik-gesellschaft, 63, dT^a.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- 
 ments 
 No. Author. Page. 
 
 5^3! <^.Appian-Bennewitz 21 
 .. 23 
 
 6a. Bachmann 
 
 lOa. Baud 
 
 Broadhouse 
 Domenjoud 
 Drogemeyer 
 
 lia. 
 
 18^. 
 i8r. 
 18^. 
 22a. 
 22/;. 
 28fl. 
 
 44«. 
 443. 
 
 Duchesne . . , 
 Gemiinder 
 Gilhofer ... 
 Honeyman 
 Picrrard ... 
 Richelme 
 Riechers ... 
 53a.<^.Simoutre ... 
 
 53^- 
 
 54dr. Smith 
 
 62a. Anonymous 
 
 6za.b. 
 
 6T,d.e. „l 
 
 68a. Berenzi 
 6U. „ 
 6Sc. Bertolotti 
 68(/. Boschetti 
 6Sc. Brrekstad 
 
 24 
 24 
 
 I 
 II 
 25 
 25 
 
 2 
 
 3 
 69 
 
 25 
 4 
 26 
 12 
 26 
 27 
 27 
 28 
 28 
 29 
 12 
 
 5 
 29 
 
 29 
 
 3c 
 
 No. Author. 
 
 71a. Ceru' 
 
 73(T. Duffin 
 
 73/^ Erlich 
 
 74rt. Ebers 
 
 78. Fayolle ... 
 
 83a. Fetis 
 
 8ga. Huggins ... 
 
 93^:. Kneppelhout 
 
 93Z'. Kohler 
 
 93^. Kohut 
 
 94a. Leoni 
 
 94ffa. Lie 
 
 94i^.(f.Lisei 
 
 96a. Miel 
 
 g6l>. Muzzi 
 
 gSaa. Nohl 
 
 98a. Pancaldi . . . 
 
 1 00a. Picquot ... 
 
 102a. Poorten ... 
 
 104^!. Radoux 
 
 io^a. Rosen 
 
 \o6a. Sacchi 
 
 1 1 6a. Variorum ... 
 
 1 2 la. Sarasate ... 
 
 I2i<^. Wietrowefz 
 
 1 24(7. Robs 
 
 Supple- 
 ments 
 Page. 
 
 No. Author. 
 
 Supple- 
 ments 
 Page. 
 
 .. 30 
 
 i38iZ.^Creuzberg 
 
 ... 36 
 
 •• 31 
 
 138c. Remain ... 
 
 ... 37 
 
 ■■ 31 
 
 I39r. Anonymous 
 
 ... 8 
 
 •• 5 
 
 139^- 
 
 ... 36 
 
 •• 13 
 
 i39«- 
 
 ... 37 
 
 •• 13 
 
 140^. Biddle 
 
 ... 38 
 
 •• 31 
 
 141a. Bouffier ... 
 
 ... 17 
 
 .. 6 
 
 145a. Coutagne ... 
 
 ... 38 
 
 .. 6 
 
 i49rt!.<5'.Dissmore ... 
 
 ••• 39 
 
 .. 14 
 
 1550. Fetis 
 
 ... 40 
 
 •• 7 
 
 157^./;. Fleming ... 
 
 .. 41 
 
 •• 32 
 
 162a. Hajdecki ... 
 
 .. 42 
 
 .. 14 
 
 171(5. Hunt 
 
 .. 17 
 
 ■• 33 
 
 lyiir. Lozzi 
 
 ... 43 
 
 •• 33 
 
 177a. Piccolellis... 
 
 .. 9 
 
 • 33 
 
 177/A Raikes 
 
 .. 10 
 
 .. IS 
 
 iSga. Schubert ... 
 
 .. 43 
 
 • 34 
 
 189Z1. Shelton ... 
 
 .. 44 
 
 .. 16 
 
 190a. Sutcliffe ... 
 
 .. 44 
 
 .. 16 
 
 l9o/;.f.Valdrighi ... 
 
 .. 45 
 
 •• 34 
 
 I93(Z. Villa 
 
 .. 45 
 
 • 35 
 
 200a;. A B 
 
 .. 18 
 
 • 35 
 
 200/1. Anonymous 
 
 .. 19 
 
 • 35 
 
 200c. 
 
 .. 46 
 
 • 35 
 
 201(7. Console ... . 
 
 .. 46 
 
 8 
 
 203a. L.M.D.Q., &c 
 
 • 19
 
 Supple- 
 ments 
 No. Author. Page. 
 
 209a. Schi'oder 47 
 
 217(5. Bambeck 47 
 
 217^. Beazley 47 
 
 22ia. Courvoisier ... 70 
 
 22ga. Gunn ... ... 20 
 
 239a. La Tarche ... 70 
 
 239*5. Kalypada 75 
 
 245a. Mitchell 70 
 
 252iZ. (J.Schroder 48 
 
 255a. Tofte 49 
 
 256(7. "Wassmann ... 49 
 
 257a. Buttschardt ... 50 
 
 257(5. Heim 50 
 
 274a'. Hauptmann ... 51 
 
 277«. Marcou 51 
 
 279a. Anonymous ... 51 
 
 281^;. Gutteridge ... 65 
 
 295.^. Gronvold 52 
 
 297a. Kohut 52 
 
 102a. -l. Ortlepp, &c.... 52 
 
 302w.«.Ortigue 53 
 
 3033. Sarrut 53 
 
 3043. Schuler 53 
 
 305(2. V. Riehl 54 
 
 307a!. Biddle 54 
 
 310a. Exposition ... 54 
 
 3i3a.(5.Hanemann ... 54 
 
 314a. Haweis 55 
 
 322a. Pmdio 55 
 
 328a. Viollet de Due 71 
 
 332a. Fovargue 75 
 
 334a. Majer 56 
 
 335a;.r.Playford 56 
 
 335^/. San Raffaele ... 57 
 
 336a!. Unbehaun ... 58 
 
 3373^; British Minstrel 58 
 
 341a. Chronique Musi- 
 
 cale 59 
 
 342«. Revue Musicale 71 
 
 No. 
 
 Supple- 
 ments 
 Author. Page. 
 
 No. 
 
 Supple- 
 ments 
 Author. Page. 
 
 346«yi Leipziger Zei- 
 
 tung 71 
 
 347a:-^.NordiskMusik-T 59 
 3593.a'.Mus. Society ... 78 
 359a. i5. Musical Stan- 
 dard 59 
 
 3 5 9^--/. Musical Star ... 72 
 
 376(2. Berliner Zeitung 60 
 
 376(5. „ „ 72 
 
 376r. Tonic-sol-fa ... 72 
 
 4273.(5. Hortls 76 
 
 440a. Constitutionnel 77 
 443(7. Dublin Univ. 
 
 Mag 65 
 
 4463. Excelsior 60 
 
 446*5. Foreign Quar- 
 terly 65 
 
 4473. Eraser 76 
 
 4493. Hogg 65 
 
 4503. Monatshefte ... 73 
 
 45 1 3. (5. Constitutionnel 77 
 
 461^-/^. Literary Gazette 61 
 
 461?. Living Age ... 66 
 ijQib.c. Magazin Liter- 
 
 atur 60 
 
 46 1(/. Melbourne Argus 60 
 
 46 17'. /('.Mirror 66 
 
 467a. N.Y. Herald ... 6i 
 
 467(5. Pall Mall Gaz.... 78 
 
 468a. Queen 78 
 
 469a. Today 61 
 
 46933. Theatre 73 
 
 4733. Kuhac 61 
 
 4803. Collector 61 
 
 4923. Lesefriichte ... 73 
 
 4953. Nat. Zeitung ... 77 
 
 4963. Pall Mall Gaz,... 78 
 
 496/^^. Provincia 77 
 
 4993. Trivella 62 
 
 5083. People's Friend 66 
 
 5o8(5. r. Victorian Mag. 62 
 
 5153. National Obs. ... 66 
 
 5383, Cassell 77 
 
 5923. Hanemann ... 62 
 
 6013. Rahm 62 
 
 6103. Anonymous ... 62 
 
 6iO(5. ,, ... 66 
 
 6113. ,, ... 63 
 
 6223. Booker 63 
 
 622^'. Bliithgen 63 
 
 622f . Blavatzky 6^ 
 
 6233. Bundy 77 
 
 6313. Farjeon 63 
 
 6323. Deulin 63 
 
 632^. Hanemann ... 63 
 
 632c. Hairaden 78 
 
 6373. Kirton 64 
 
 6493. Dubus 64 
 
 653. Mackaye 64 
 
 6603. Bostelmann ... 64 
 
 666(5. V. Gilm 64 
 
 6713. Kermer 64 
 
 6763. Spofford 66 
 
 689^. Erler 65 
 
 7093. Vredemann ... 73 
 
 7353. Bates Ti 
 
 Zwc. Henning 73 
 
 8423. Kross 66 
 
 9233. West 74 
 
 11653. Ersch, Vn. ... 66 
 
 1 2023. Pierre 74 
 
 I2I03. The Violin ... 78 
 
 121 2rf. Violin Times ... 78 
 
 I2I233. Spohr 74 
 
 I2\2hb. Jantzen 74 
 
 l2i33.(5.Anonymous ... 67 
 
 12263. Miller 75
 
 DE FIDICULIS BIBLIOGRAPHIA. 
 
 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 IS," " THE ANCESTRY OF THE VIOLIN," 
 
 GRIFFITH FARRAN OKEDEN & WELSH 
 
 NEWBERY HOUSE 
 
 CHARING CROSS ROAD, LONDON 
 
 And Sydney 
 
 1890
 
 DE FIDICULIS BIBLIOGRAPHIA. 
 
 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 1' Har- 
 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 
 title that shall give any exact idea of the scope and 
 objects of this book. My first aim has been to bring 
 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 finally decided that, in these days when there is 
 so much to read and so little time for reading, I cannot 
 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 sale catalogue that I have 
 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 has brought 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 my promises to the letter. My work aims at 
 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, I should recommend that these mere sup- 
 plementary ////(^i' 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. 
 
 Section h 
 
 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, or of its parts and accessories, apart from its history 
 or the theoretical principles of its use as a musical instru- 
 ment. Under this heading are included all special 
 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. 
 
 The I Fiddler's | Hand- Book | and technical 
 guide I to I buying, selling, making, repairing, | 
 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 Nach Quellen 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 
 taken is 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 j Violon- 
 cello's, Violons, I sowie | Guitarren | und 
 Geigenbogen | nach den neuesten Grundsatzen 
 und in hochster Volkommen- 1 -heit zuverfertigen. 
 I Nebst I Beschreibung aller dazu nothigen 
 Werkzeuge, und Belehrungen | iiber die besten 
 Materialien zum Beizen, Lackiren, Einlegen,
 
 DE FIDICULIS BIBLIOGRAPIIIA. 4 
 
 &c. I Fiir I Geigenmacher und alle Diejenigen, 
 welche das ueschaft | derselben erlernen 
 wollen I von | O. Bachmann | praktischem 
 Geigenmacher. | Mit 4 Tafeln Abbildungen. 
 
 Quedlinburg and Leipzig, 1835. G. Basse. 
 8vo, pp. vi. and 98, and 4 folding plates. 
 
 This is one of the most excellent German treatises on the 
 subject, though it is in reality a mere condensation of the 
 larger work of VV^ettengel {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 I per la costruzione di Violini, Viole, 
 I Violoncelli e Violoni ( 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 I per la Costruzione | 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 dell' anno M.D.CCLXXXII | dal 
 Padovano | Antonio Bagatella | Coronata dall' 
 Accademia stessa | II. Edizione.
 
 DE FIDICULIS BIBLIOGRAPHIA. 5 
 
 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 | zur | Verfertigung von Violinen, 
 Violen, Violoncellen, | und Violonen | Denk- 
 schrift I ijtberreicht | 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, is to be found. Most subsequent authors 
 have reproduced it, but the musical world owes it primarily to 
 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 little work resembles in its constn^rtion the " 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 7 
 
 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 I VIolinhalter | patentirte | auf die 
 Violine angewandte | erfindung | von | Prof. D. 
 Consiii I Kurzer Abriss | iiber die nuetzlichkeit 
 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 I Practically treated ; | including | the 
 important researches of Savart | an Epitome of 
 the I Lives of the most eminent artists | and an 
 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 I Lives of the most eminent artists, | A 
 Dictionary of Violin-makers and Lists of Violin 
 Sales. I By P. Davidson | Author of " Scintilla- 
 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 appearance in 1871 this volume has been very 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 
 
 English readers, as containing an excellent translation of, and 
 commentary upon the articles descriptive of the Savart violin 
 which appeared in " L'Institut " {q.v. post sub " 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 
 I Luthier a Reims | 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.*" Siecles | Nouvelle edition du Parfait 
 Luthier de I'abbe Sibire i suivie de | Notes sur 
 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 on, and history of, the Italian schools of violin- 
 making, after which comes a reprint of the first edition of I'Abbd 
 Sibire's work, "La Chelonomie" (^.e;. No. 49). The notes 
 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 the woods 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 collections, and specimens of the tickets and 
 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, 
 
 Georg Gemiinder's Fortschritte | im | Violin- 
 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- 
 sists of 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 first years of this century, and died about 1875. A report 
 on his work, written by M. Boistel, was published by the Soci^te' 
 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 is merely 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 making | as it was and is ; | being a | 
 Historical, Practical, and Theoretical Treatise 
 I on the I Science and Art of Violin-making, 
 for the use of Violin-makers and players. 
 Amateur and Professional | by | Ed. Heron- 
 Allen I Authorof "The Ancestry of the Violin," 
 "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 
 give an idea of its scope. I had observed that no simple book 
 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. 
 
 This little work is of no great practical value. It was issued 
 by the publishers of " The Fiddler " {q.v.), being the work 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 reprinteti by 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 
 
 I du I Luthier | contenant | la construction 
 interieure et exterieure | des instruments a 
 archet | tels que | le Violon, I'Alto, la Basse et 
 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, j dites a boyaux, employees 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 15 
 
 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 
 different members 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 " to fiddle-makers, and necessarily of great interest to all 
 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 I Lutherie | 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 
 with the words, " In 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 sound- post 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-size diagrams 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 I iiber die | Arbeiten der vorzuglichsten 
 Instrumentenmacher, | zur Belehrung fiir 
 
 Musiker. | Nebst Andeutungen zur Erhaltung 
 
 der Violine in | gutem Zustande | von | Jac. 
 
 Aug. Otto I Gossherzogl. Weimarischen Hof- 
 
 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, 
 I and all bow instruments, | together with a | 
 dissertation on the most eminent makers, point- 
 ing out the I surest marks by which a genuine 
 instrument | may be distinguished. | By Jacob 
 Augustus Otto, I Instrument maker to the 
 court of the Arch-Duke of Weimar. | Trans- 
 lated from the German, with note and addi- 
 tions, I by 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 I of the I Violin | and all other bow 
 instruments; | together with | an account of the 
 most celebrated makers, | and of the genuine 
 characteristics | of their instruments | by | 
 Jacob Augustus Otto | Instrument-maker to 
 the Court of the Grand Duke of Weimar. | 
 
 C 2
 
 DE FIDICULIS BIBLIOGRAPHIA. 19 
 
 Translated from the original, | with additions 
 and illustrations | by | John Bishop, [ of Chel- 
 tenham. 
 
 London, 1848. R. Cocks, & Simp kin 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 work (181 7) I have never seen a copy, and 
 am not aware of its existence in any public or private library. 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 20 
 
 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 I operate | da | Antonio Gibertini | da 
 Parma | Cenno Artistico | di | Carlo Pancaldi 
 I Avvocato al Tribunale d' Apello delle quattro 
 Lega- I zioni in 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 
 title announces, an eulogy of the violin-maker Gibertini, who 
 was one of the violin-makers patronized by PaganinL 
 
 42. Plassiard, y. A. 
 
 Des I Cordes Harmoniques | en g^n6ral | et 
 .specialement de celles des | instruments k 
 archet | Par J.- A. Plassiard | Ancien Eleve de 
 I'Ecole poly technique, Ingenieur en chef des 
 Ponts-et-Chauss^es en retraite, | Officier de la 
 Legion d'honneur, Membre de 1' Academic de 
 Metz. I En vente chez Jerome Thibouville- 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 21 
 
 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 to choose | a Violin ; | with directions 
 for I Keeping 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 22 
 
 fiir Geigen | Instrumente | (Vor Nachahmung 
 gesetzlich geschiitzt) | Der dreifussige | oder | 
 Normal-Geigensteg | erfunden und begrundet 
 von I Hermann Ritter | kgl. Professor und gross- 
 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, F^iix. 
 
 Memoire | sur la construction | des Instru- 
 ments I a cordes et a archet | 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,
 
 DE FIDICULIS BIBLIOGRAPHIA. 23 
 
 Nach einem in der Acadimie des Sciences in 
 Paris I von Savart gehaltenen Vortrage ins 
 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 renfor^ant 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 I Chelonomie | ou | le Parfait Luthier | 
 par I'Abbe Sibire. | Recherches sur la facture 
 et la restauration des I instruments a archet ;
 
 DE FIDICULIS BIBLIOGRAPHIA. 25 
 
 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 
 
 I desquels 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 is an amplification and criticism of M. F^tis' article, and 
 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 du Violon | Historique, 
 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. 
 44), consists of the practical and theoretical observations of a 
 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 I Progres en Lutherie. | Support Har- 
 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 I Progres 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 Construction I of the I Violin. I Gives 
 
 Full and Complete Directions by the Aid of 
 which I any Amateur Mechanic can construct 
 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-
 
 DE FIDICULIS BIBLIOGRAPHIA. 28 
 
 tung aller ihre Bestandtheile | und | die Meister 
 derGeigen-und Lautenbaukunst | mit i Angabe 
 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 I Auguste Tolbecque | Ancien Membre de 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 29 
 
 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 I del sig. I E. R. Mollenhaver | cenni mono- 
 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. 
 
 Vollstandiges, theoretisch-practisches | auf | 
 Grundsatze der Akustik, Tonkunst und Mathe- 
 matik, und | auf die Erfahrungen der geschick- 
 testen iialieni'^chen | und deutschen Meister 
 begriindetes Lehrbuch | der | Anfertigungund 
 Reparatur | aller noch jetzt gebraiichlichen Gat- 
 tungen | von | italienischen und deutschen Gei- 
 gen I namentlich | der Violinen, Bratschen,
 
 DE FIDICULIS BIBLIOGRAPHIA. 30 
 
 Schellos und Basse, so wie aller | Gattungen der 
 Gewohnlichen und Pianoforte-Guitarren inglei- 
 I -chen der Violin-, Schello und Bassbogen. 
 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 Fiir I Instrumentmacher und Musikfreunde 
 I von I Gustav Adolph Wettengel | 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 I Geigen- und Bogenmacherkunst [ oder | 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 31 
 
 6i. Atlas to the above. 
 
 Atlas I zu I Gustav Adolph Wettengel'sLehr- 
 buch I der | Geigen- und Bogenmacherkunst | 
 oder I theoretisch-praktische Anweisung zur 
 Anfertigung und Reparatur der verschiedenen 
 Arten | Geigen und Bogen, sowie der Guitarren, 
 nebst einer Darstellung der darauf beziiglichen 
 
 j Lehren der Physik. | Zweite Aufiage. zeitge- 
 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 | Der hierzu geho- 
 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 $. 
 BOOKS AND PAMPHLETS. 
 
 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 | {^As 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 I King's Theatre, Haymarket ; | 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 I have 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 I Allgemeinen Musik-Gesellschaft in Ziirich 
 I 1846. I Biographic von Nicolo Paganini. 
 
 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 Ritter | und seine | Viola Alta. | 
 Gesammelte Aufsatze j von | E. Adema. [ Sup- 
 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
 
 DE FWICULIS BIBLIOGRAPHIA. 35 
 
 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 Ritter. Both purport to supplement 
 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 1 rior to the date of its publication. 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 36 
 
 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 I Camilla Urso | 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- 
 })ionchy. Large 8vo, pp. 16.
 
 DE FIDICULIS BIBLIOGRAPHIA. 37 
 
 This little brochure (being a reprint of an article in " The 
 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\ feitiHef on 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 I Racconto storico | di | Oreste Bruni. 
 
 Florence, 1873. Galetti e Cocci. 8vo, pp. 150. 
 
 This is 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 
 Paganini's life and triumphs, told much in the manner that 
 Sir Walter Scott has treated many of the heroes of English 
 history. His boyhood, his debut, his hopes and aspirations, 

 
 DE FID I CU LIS 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 I A Memoir | by | Sara C. Bull | 
 with Ole Bull's " Violin Notes," and Dr. A. B. 
 I Crosby's "Anatomy of the Violinist." 
 
 London, 1886. T. Fisher Unwm. 8vo, pp. 
 ii. and iv. and 418. 
 
 71. Germaft Translation. 
 
 Ole Bull I der Geigerkonig. | Ein Kijnstler- 
 leben. | Frei nach dem Original der Sarah C. 
 Bull 1 bearbeitet von | 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 
 
 39 
 
 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 critical value of this work, as principally exemplified 
 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 Paganini et 
 Wieniawski. — | IV. Conclusion ; le passe, le 
 present, et I'avenir. | Esquisse, | par | A. Des- 
 fossez I (Auteur de I'esquisse 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, 
 and editor of an intermittent journal entitled " La 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 41 
 
 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 1. G.-A. Dentit, £Lnd Launer and 
 Frey. Large 8vo, pp. 16. 
 
 This is an exceedingly rare little pamphlet. It is unknown to 
 Fetis and to Lichtenthal, and my copy, bought by an American 
 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 Fran^aise en 
 Piemont. 
 
 Milan, n.d. [1801]. Imp. Italienne et Fraii- 
 ^aise. 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 
 (which was printed first in " La Decade 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 
 " Euterpe," who seems to have 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 j in Padova | li 31 di Marzo 1' anno 
 1770. I Con varie Note illustrata, e con un 
 breve Compendio | della Vita del Medesimo. 
 {Ornament.^ 
 
 Padua, 1770. Conzatii. 4to, pp. 48. 
 
 This, as its title denotes, is merely a prhit of a funeral ora- 
 tion, but it is a very valuable addition to the biographical 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 43 
 
 ']']. Anonymous. 
 
 [Fanzago, Francesco Antonio?^ 
 
 Elogi I di Giuseppe Tartini | primo violinista 
 I nella capella del Santo | di Padova | e del P. 
 Francesco Antonio j Vallotti | maestro della 
 medesima. 
 
 Padua, 1792. C. Consatti. 8vo, pp. 100 
 [PP- 1—59, Tartini]. 
 
 This study of Tartini is a careful revision, amplification^ and 
 re-issue of the oration pronounced by Fanzago over Tartini's 
 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.
 
 DE FWICULIS BIBLIOGRAPHIA. 44 
 
 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, I Par Fr. Fayolle, | Auteur du Diction- 
 naire des Musiciens et de I'Histoire du Violon 
 avec I portraits, | et ancien chef de Brigade a 
 TEcole Poly technique. 
 
 Quotation. " Quoique la nature ne se montre jamais plus 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 45 
 
 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 
 gcive, " The Immortal Viotti " made only twelve hundred 
 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 word in explanation, which I reprint from a novel 
 entitled "The Princess Daphne " (^oide 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 I CU LIS 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. 
 
 I by I George T. Ferris | Author of " The 
 Great German Composers," " The Great Italian 
 
 I and French Composers," "Great Singers." 
 
 London, n.d. [1884]. W. Reeves. 8vo, pp. 
 xvi. and 266. 
 
 Were it not that the violinists occupy the major portion of 
 this work, it should perhaps have been included under " Book 
 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 but most excellent, and it is no disparage- 
 ment to the work as a treatise on the violin to say that 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 I sur | Nicolo Paganini 
 I suivie I del' Analyse de ses Ouvrages | et 
 precedee | d'une esquisse de I'Histoire du 
 Violon I par | F. J. Fetis | Maitre de Chapelle 
 du Roi des Beiges | Directeur du Conservatoire 
 Royal de Musique. 
 
 Paris, 1851. Schoneiiberger. Large 8vo, 
 pp. 96.
 
 DE FIDICULIS BIBLIOGRAPHIA. 47 
 
 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 I the History of the Violin | by | F. 
 J. Fetis. I Second edition | with portrait and 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 48 
 
 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 I d' Analyses theoriques sur I'archet 
 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 I of I Anthony Stradivari, | the cele- 
 brated Violin-maker, | known by the name of | 
 Stradivarius : | preceded by | Historical and 
 Critical researches I on the origin and trans- 
 formations | of Bow-instruments; | and followed 
 by I a theoretical analysis of the bow, | and re- 
 marks on Francis Tourte, | the Author of its 
 final improvements. | By F. J. Fetis, | Chapel 
 Master to the King of the Belgians and Direc- 
 tor of the I Conservatory of Music at Brussels 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 49 
 
 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- 
 ment and complement to the historic section of the " Notice 
 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 translation is 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, I have had some doubts as to the propriety of 
 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 artist, who was " Subde'le'gue pour la 
 province de Languedoc," had, it would appear, the greatest 
 objection to the sound of a violin, and took the greatest pre- 
 
 * I find a note in The Times for 28th June, 1862 to the 
 effect that the original of this letter was sold at auction on the 
 26th June, by Messrs. Puttick & Simpson, for the sum of eight 
 pounds. 
 
 D
 
 DE FIDICULIS BIBLIOGRAPHIA. 50 
 
 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 in a simple and very interesting manner by 
 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 inflated in its eulogy, but it is not without interest 
 as a critique of the great composer and virtuoso. 
 
 D 2
 
 DE FIDICULIS BIBLIOGRAPHIA. 5 i 
 
 89. Harrys, Georg. 
 
 Paofanini I in I seinem Reisewao-en und Zim- 
 
 mer, | in | seinen | redseligen 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. 
 
 91. English Translation. 
 
 Some account | of the | Celebrated Violinist, 
 I Nicolo I Paganini, | translated | 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. p. 356, that " Imbert de La 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 that it supplies much useful material 
 from which a life of Sivori might be written. 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. 
 
 Grabrede ] gehalten bei der feierlichen 
 Beisetzung | des verewigten | General - Musik 
 direktors und Hof-Kapellmeisters | Dr. Louis 
 Spohr I am 25 October, 1859 | von | L. Jatho 
 I Pfarrer. | (Der Ertrag is \stc\ zum Besten 
 der Spohr-Stiftung bestimmt.) | Preis 2\ Sgr.
 
 DE FID I CULTS BIBLIOGRAPHIA. 53 
 
 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 a most ingenious and attractive form by M. Kufferath. The 
 first twenty 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, 
 critical, and comparative biography, designed to complement 
 the short biography of Delhasse {q.v. No. 73a), and the auto- 
 biography above mentioned. It is supplemented by a very 
 interesting appendix containing a notice of Madame 
 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.
 
 dargestelt 
 Malibran. 
 
 DE FIDICULIS BIBLIOGRAPHIA. 54 
 
 95. Malibran, Alexander. 
 
 Louis Spohr | sein Leben und Wirken. | 
 von seinem Schiiler | Alexander 
 Nebst einem Verzeichnisse | seiner 
 
 Schiiler vom Jahre 1805 bis 1856. | Mit Portrait 
 
 und Fascimile. 
 
 Franckfurt a/M, i860. J, D, Satier lander, 
 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 j and | other intimate friends 
 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 : —
 
 DE FIDICULIS BIBLIOGRAPHIA. 55 
 
 (a) " Loisirs d'une femme du 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. Nathan | Author of " Hebrew Melodies," 
 " Musuroria vocalis," I etc. I Third Edition ; 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 56 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 57 
 
 " Biographical Sketchesof celebrated Violinists," 
 I " Scenes from the Reign of Louis XVI.", 
 I " Familiar Letters on some Mysteries of 
 
 Nature," | " Bellini and the Opera of La 
 
 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. | 
 \^on I Elise Polko. | 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- 
 tially a 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, since her marriage, devoted herself to 
 literature, and is known as the authoress of a large number of 
 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 I par | Arved Poorten | Violoncelliste | 
 Attache a la Chapelle Imperiale et au Conser- 
 vatoire I de Musique de Saint Petersbourg. 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 59 
 
 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, is a pains-taking and faithful record of the life of tlie 
 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. Printed for 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 is followed by a German translation. 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 62 
 
 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 Heir lei. 
 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, j dargestellt | 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 63 
 
 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. I Herausgegeben von Dr. Hermann 
 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 
 its author, 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. | {^Ornament.) \ 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. S^Oll-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. 
 
 113. English Translation. 
 
 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. 
 
 It cannot be too greatly deplored that Spohr and Vieux- 
 temps are the only eminent violinists who have written their 
 autobiographies, or left behind them autograph materials for 
 their biographers to work 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 j Roi des Violons 
 1 624- 1 65 7 I Notice 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 66 
 
 is further enhanced by the facsimile brevet named on the title- 
 page. " Ernest Thoinan " is 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 
 to the " Biographic Universelle " of Fetis. 
 
 115. Thoinan, ^rw^i-/. 
 
 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' 
 cially the former, which contain, between pages 12 and 13, an 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 67 
 
 1 16. Valdrighi, Lttigi Francesco. 
 
 Luigi Francesco Valdrighi. | Musurgiana | 
 (No. 4), I II Violoncellista Tonelli | 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. I dargestellt | von | 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 this be so or not, there seems to be no 
 means of ascertaining, but the work under consideration is not 
 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, j Am Abend des 16 Junius, 1830. ( 
 Von einem tauben Maler." This romance has a separate 
 half-title of its own, but the pagination is continued from the 
 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 in future years they must come to be re- 
 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. 
 
 Berlin, 1884. 8vo, pp. 64 and a quantity of 
 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. 
 BOOKS AND PAMPHLETS. 
 
 Section IM. 
 
 WORKS ON VARNISH. 
 
 In attempting to tabulate the works properly 
 appertaining to this section, I am confronted 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 71 
 
 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 the leading work on the Cremonese 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 the works of writers who have made a study of varnishes : — 
 it may 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 | those exhibited in 1873 {sic) 
 I at the I South Kensington Museum. | Also | 
 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. I Entered at Stationers' Hall. Price 
 \s. 6d. I 1873. 8vo, pp. 38. 
 
 This pamphlet, which is beautifully and artistically printed, 
 is a 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 letter contains a most valuable analytical and 
 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) .
 
 DE FIDICULIS BIBLIOGRAPHIA. 74 
 
 SECTION III. SUB-SECTION I. 
 
 Works on Materials used in Compounding 
 
 Varnishes. 
 
 \Published conteinporaneoiisly with the Cremonese 
 and other Italian Schools of V iolin- making ?\ 
 
 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, Fi^a Domenico. 
 
 Breve Compendio di Maravigliosi Segreti, 
 Approvati e Pratticati, con felice successo nelle 
 indisposition! corporali. 
 
 G 2
 
 DE FWICULIS BIBLIOGRAPHIA. 75 
 
 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. 
 
 Pratica de Spetiali. Che per modo di 
 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. 
 
 p. 619, Chap. X. Sect. v. Vernicis Sinensis 
 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. ^o\. 
 
 This work contains two recipes for varnish, interesting by 
 reason of their date. They are to be found in : —
 
 DE FIDICULIS BIBLIOGRAPHIA. 76 
 
 Chap. yixyXi., Delia Ver nice 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 77 
 
 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. 
 
 This is a most valuable work for persons interested in this 
 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 upon the 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. 
 
 137. English Translation. 
 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 79 
 
 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 
 BOOKS AND PAMPHLETS. 
 
 Section W. 
 
 THE HISTORY OF THE VIOLIN. 
 
 139. Anonymous. 
 
 A Short Account | ofa | Violin by Stradivari, 
 I dated 1690; | now in the possession of | 
 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 of facsimiles . ■ 
 
 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 I OLON 
 
 Et les 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 in green cloth and gold, tied with crimson 
 silk ribbons^ and contain some further printed matter and three 
 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, 
 I Docteur en Droit. [Ornament). 
 
 Amsterdam, 1740. Pierre M or tier. 24mo, 
 pp. vi. and 148 and xii. 
 
 B 2
 
 DE FIDICULIS BIBLIOGRAPHIA. 83 
 
 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 mu^ic. 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 its most notable masters, especially with 
 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. 
 I by I John Broadhouse, | Reprinted from" The 
 Musical Standard." 
 
 London, n.d. [1880]. W. Reeves. 8vo, 
 pp. 20.
 
 DE FIDICULIS BIBLIOGRAPHIA. ' 84 
 
 143. Second Edition. 
 
 Same title, with " Second Edition, | En- 
 larged." 
 
 London, n.d. [1882]. W. Reeves. 8vo, 
 pp. 24. 
 
 144. Third Edition. 
 
 Same title-wrapper, with " Third Edition, | 
 Enlarged." 
 
 London, n.d. [1889]. W. Reeves. 8vo, 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 85 
 
 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 socios mutavit Ulyssei ; 
 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. A note on 
 the title-page informs us that the instrument which is the 
 subject of this little brochure was to be seen, at the date of the 
 appearance of the work, " chez M. Chanot, Luthier, Passage 
 Choiseul, No. 15." The opuscule is dedicated to " Messieurs 
 les membres 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 86 
 
 Chap. 11. , " The 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 I der I Alten Italienis- 
 chen Schule. | Eine Uebersicht aller bekannten 
 italienischen Geigenmacher der alten | Schule, 
 Charakteristik ihrer Arbeiten, getreue Ab- 
 bildung I der von den Hervorragendsten unter
 
 DE FIDICULIS BIBLIOGRAPHIA. 87 
 
 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. 
 
 148. Second Edition. 
 
 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 Violin, | being an | Account of that 
 Leading Instrument | and its | most eminent 
 Professors, | from its earliest date to the present 
 time, I including | Hints to Amateurs, Anec- 
 dotes, &c. I by I George Dubourg. 
 
 London, 1836. Henry Co Iburn. Small 8 vo, 
 pp. iv. and viii. and 276.
 
 DE FIDICULIS BIBLIOGRAPHIA, 88 
 
 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 
 " Fourth Edition, | revised and considerably 
 enlarged." 
 
 London, 1852. Same ptLblishers. Larger 
 Svo, pp. xii. and 410 and 10. 
 
 154. Fifth Edition. 
 
 Same title, differently composed, with " 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 89 
 
 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. 
 
 On the publication of this really excellent and most scholarly 
 book, I became " a man with a grievance," for I claim to have 
 originated (in " The Ancestry of the Violin," q.v. No. 167) the 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 90 
 
 [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 Violins | and their Makers : | 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. 
 
 157. Second Edition. 
 
 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 
 articles in the Bazaar, Exchange and Mart, to whose columns 
 
 C 2
 
 DE FIDICULIS BIBLIOGRAPHIA. 91 
 
 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 list of subscribers at the end, which will doubtless be 
 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 di I Ercole Folegatti, | 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, I esposto geometricamente nella 
 sua costruzione | Delia j preponderanza del 
 Violino nella musica d' insieme | e della | 
 necessita dello studio del quartetto | dell' 
 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 {^^ide 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^
 
 DE FIDICULIS BIBLIOGRAPHIA. 93 
 
 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. 
 20), and of the " Table 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 ALLAY , Jules. 
 
 J. Gallay. | 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 94 
 
 162. GoFFRiE, Charles. 
 
 The Violin : | A Condensed History of the 
 Violin. I Its perfection and its famous makers. | 
 Importance of Bridge and Sound-post arrange- 
 ment, I by I Chas. Goffrie. 
 
 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 | 
 music — the Violin." — W. E. Gladstone. 
 
 Philadelphia, U.S.A., n.d. [1879]. G. Andre 
 & 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 
 Goffrie, is " condensed " into three pages. The construction 
 and fitting up of the instrument occupy seven pages, and 
 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 Violin : | its famous makers and their | 
 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 et de perseve- | -ranee pour la locomotive, cette mer- 
 veille I de I'activite humaine, que pour le violon, | cette 
 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. 
 
 I suppose that this may be considered the principal English 
 book on the violin — it is certainly the best known and the
 
 DE FIDICULIS BIBLIOGRAPHTA. 96 
 
 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 
 authorship and production of the work. It is divided into 
 sections which comprise, — the early history of the viols and 
 crwth, the construction of the vioHn, and strings. 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 
 principal claim to notice, lies in the splendid plates with which 
 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 a Discourse | 
 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 misprint, corrected by a lithographed facsimile 
 circular containing instructions and materials for correcting 
 the error.
 
 DE FIDICULIS BIBLIOGRAPHIA. 97 
 
 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 all irrelevant or uninteresting matter from 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 98 
 
 Cause of Action. | Part III. — The Trial. | 
 Part IV. — The Opinions of the Press. 
 
 London, 1883. ^or the Author: Mitchell 
 and Hughes, pp. ZZ. 
 
 90 copies printed. 
 
 1 70. Edition de Lttxe. 
 
 Same title and book, printed on 4to paper. 
 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. Part IV. is a transcript of articles and correspon- 
 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. I IV. Old Violin Frauds. | Edward 
 Heron- Allen. 
 
 London, 1890. For the Author: Mitchell 
 and Hughes. 8vo, pp. 64. 
 
 I 71^. Edition de Luxe. 
 
 Same title and book, printed on 4to paper. 
 
 20 copies printed. 
 
 D 2
 
 DE FID2CULIS BIBLIOGRAPHIA. 99 
 
 This pamphlet consists of (i.) an article on the violin from 
 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 I Meister der Geigenbaukunst | 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 I Friedrich Niederheitmann. | Preis 2 Mark. 
 
 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. VY.k'RCY., Joseph \_Jun.']. 
 
 Violins I and | Violin-makers. | Biographical 
 Dictionary | of the | Great Italian Artistes, 
 their | Followers and Imitators, | to the 
 present time, | With Essays on important sub 
 jects I connected with the Violin. | 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, 
 " Why are certain Violins of more Value than Others ? " The 
 next in the same style is headed, " On the Production of Good 
 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 I Antichi e Moderni. | Genealogia 
 deofli Amati e dei Guarnieri I secondo i docu- 
 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 is embellished with twenty-four exquisitely 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 102 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 103 
 
 Bedeutung, und die Principien ihres Baues. | 
 Von I Hermann Ritter. 
 
 Heidelberg, 1876. G. Weiss. 4to, pp. 28. 
 
 180. Second Edition. 
 
 Die Geschichte | der | Viola Alta j und die | 
 Grunsatze ihres Baues. | Von 1 Hermann Ritter, 
 I Grossh. Mecklenb.-Schwerinscher Kammer- 
 virtuos in Heidelbergf. I Zweite, vermehrte und 
 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
 
 DE FIDICULIS BIBLIOGRAPHTA. 104 
 
 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 j Julius Riihlmann, | vveiland 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 I Dr. Richard Riihlmann, | Professor am 
 Konigl. Gymnasium zu Chemnitz. | Mit in 
 den Text eingedruckten Holzstichen und einem 
 Atlas I von xiii. Tafeln. 
 
 Brunswick, 1882. F. Viezveg ujid Sohn. 
 Large 8vo, pp. xiv. and 322. 
 
 183. Atlas to the above. 
 
 Atlas I zur I Geschichte der Bos^eninstru- 
 mente. | Von j Julius Riihlmann | weiland Koni- 
 glich Sachsischem Kammermusikus, Lehrer am 
 Conservatorium fiir Musik und Vorsitzendem | 
 des Tonkiinstler-Vereines zu Dresden j nach 
 dem Tode des Verfassers Herausgegeben von 
 dessen Sohn | Dr. Richard Riihlmann, | Pro- 
 fessor am Konigl. Gyninasium zu Chemnitz.
 
 DE FIDICULIS BIBLIOGRAPHIA. 105 
 
 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 I History of the Violin, I and other in- 
 struments ylayed on with the | bow from the 
 remotest times I to the present, | 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, though it leaves something to be desired as regards 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 107 
 
 rotta, the Teutonic cythara and crwlh, reproducing also many 
 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 reliable works devoted to the subject of musical instruments, 
 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 I GeiPfenbau in Italien I und | sein 
 deutscher Ursprung. | Eine historische Skizze 
 I von I Dr. Edmund Schebek. 
 
 Prague, 1874. Bohemia Acticn-Gesellschaft, 
 4to, pp. 8.
 
 DE FIDICULIS BIBLIOGRAPHIA. 109 
 
 Extraabdruck aus dem " Deutchen Volks- 
 Kalender," 1875. 
 
 186. English translation. 
 
 The I Violin Manufacture in Italy | and its 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 
 merits and 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 of, spurious labels, erroneous histories, and 
 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 all intelligent persons interested in 
 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, Fi^ans Lttdzvig. 
 
 Die Violine, j Ihr Wesen, ihre Bedeutung 
 und Behandlung | als Solo- und Orchester- 
 Instrument. | Von | F. L. Schubert. 
 
 Leipzig, 1865. Carl Merseburger. i2mo, 
 pp. iv. and 128. 
 
 188. Sec on 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 
 order, chapters on the arrangement and fitting-up of the
 
 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 scuola Cremonese | 
 des:H I Stromenti ad Arco I non che I sui lavori 
 .e sulla famiglia | del sommo | Antonio 
 Stradivari. 
 
 Cremona, 1872. Tipographia Dalla Noce. 
 Large 8vo, pp. 32 and folding plate. 
 
 This is at 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, 
 as well as those of Nicola Amati. Then the author reaches " the 
 greatest pupil of Nicola Amati, — Stradivari," — and his pupils,
 
 DE FIDICULIS BIBLIOGRAPHIA. 112 
 
 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 I Instruments | a Archet | 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,
 
 DE FIDICULIS BIBLIOGRAPHIA. 113 
 
 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 | et les 
 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 I Lutherie | et | 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 explained, in his preface, 
 by the author as follows : — " Since the 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 on to violin-making, reviewing 
 its progress in all the countries where this art has been 
 esteemed. ... I have profited by the researches of later 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 115 
 
 even a better idea of their originals than the etchings in M. 
 Vidal's larger book. The volume may be defined as the 
 historic portion of " Les Instruments a 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 violin in the Danish language 
 with which I am acquainted. It deals in a condensed form 
 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. 
 
 Luthomonographie, | historique et raisonnee. 
 
 ] Essai sur I'histoire du violon et sur les | 
 ouvrages des anciens luthiers celebres du temps 
 
 I de la Renaissance | par | Le Prince N. 
 
 Youssoupoff, I Maitre-compositeur de la Societe 
 
 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 is a department of our subject upon which 
 much is to 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 I Corporation des M^netriers [ et | le Roi 
 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 is consequently 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 Mariage | de la Musique | avec la Dance 
 I (1664), I Precede d'une introduction his- 
 torique | et accompagne de notes et eclaircisse- 
 ments I Public par | J. Gallay. 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA, 119 
 
 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 I la Reponce {sic) av Livre | 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 I und der | Pariser Geigerkonige. | Von | 
 H. M. Schletterer, | Dr. Phil, und Capell- 
 meister. 
 
 Berlin, N., 1884. R. Damkohler. Large 
 8vo, pp. X. and 152. 
 
 This is the second of a pair of " Studien zur Geschichte der 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 120 
 
 SUB-SECTION II. 
 
 Works on Violin Music and Violin-playing. 
 
 One of my initial difficulties in laying out the 
 scheme of this bibliography was to decide whether 
 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, Picri^e- Marie- Fran^ois-de-Sales. 
 
 Observations | relatives | aux Concours de 
 Violon I du | Conservatoire de Musique | par 
 Pierre- Marie- Francois- de- Sales | Baillot, | 
 Membre de la Legion d'Honneur, de la Musique 
 particuliere du Roi et Professeur au Conserva- 
 toire. I CEuvre Posthume | (1835). 
 
 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 the pitfalls in the road to a right conclusion. His 
 observations on the choice of subjects for examination, and on
 
 DE FIDICULIS BIBLIOGRAPHIA. 121 
 
 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 | several engraved portraits on 
 
 steel of eminent | violinists whose style, both in 
 
 playing- and | in composition, may be regarded 
 
 I as representative. 
 
 Quotation. 
 
 " There is nothing in which the power of art is shown so 
 much as in playing on the | Fiddle. In all other things we 
 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 1 a clumsy one; but give him a Fiddle 
 and a Fiddle-stick, and he can do nothing. " — Dr. Johnson. 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 122 
 
 (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 I sur les differentes | 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 123 
 
 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 I sur le gout | de la Musique | avec le 
 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 124 
 
 Quotation, 
 
 " Novos excerpere flores " — Lucr. 
 
 Leghorn, 1790. T. Mast. 8vo, pp. viii. 
 and 92. 
 
 205. Second Edition. 
 
 Same titles, in French and ItaHan, differing 
 sHghtly In typography and arrangement. 
 " Caratter " is spelt without the final " e " and 
 *' 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. |
 
 DE FIDICULIS BIBLIOGRAPHIA, 125 
 
 Physikalisch-musiktheoretische Abhandlungen, 
 I Physikern 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 I Etude sur le Quatuor, | par | 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 CU LIS 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 suite | a I'Etude sur le Quatuor ( par | 
 Eug. Sauzay | Professeur au Conservatoire 
 imperial de Musique. 
 
 Paris, 1869. Firmin Didot. Large 8vo, pp. 
 xii. and 284. 
 
 This work is, as the title denotes, an appendix to the one 
 last noticed. It goes over the same biographical ground, but 
 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 it supplements, a catalogue thematique et raisonne, 
 of the chamber music with piano accompaniment of the three 
 composers. A section is devoted to concertos for the piano 
 and orchestra, and concerted piano music in general, after 
 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 FIDTCULIS BIBLIOGRAPHIA. 127 
 
 de Muslque | Le | Violon Harmonique | ses 
 
 ressourceSjSon emploi 
 et modernes I Etude 
 
 dans les ecoles anciennes 
 completee par un cours 
 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 that no player or teacher of the 
 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 I Violine und ihre Meister, | von | Jos. 
 Wilh. V. Wasilewski. 
 
 Leipzig, 1869. Breitkopf und Hdrtel. Svo, 
 pp. xii. and 428. 
 
 211. Second Edition. 
 
 Die I Violine und ihre Meister, | v^on | Jos. 
 Wilh. V. Wasilewski. j Zweite, wesentlich ver- 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 128 
 
 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, 
 
 Die Violine | im xvii. Jahrhundert | und | die 
 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 i^i-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 I Violoncell | und seine Geschichte, | 
 von I Wilh. Jos. v. Wasilewski. | Mit Abbil- 
 dungen und Noten-beispielen. 
 
 Leipzig, 1889. Breitkopf tmd Hcirtel. Large 
 Svo, pp. viii. and 245. 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 
 
 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 
 BOOKS AND PAMPHLETS. 
 
 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 
 
 £
 
 DE FIDICULIS BIBLIOGRAPHIA. 132 
 
 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 I Hand-book | 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 133 
 
 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 little work then concludes with an extremely 
 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, I Oder: I Geie- 
 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-
 
 DE FIDICULIS BIBLIOGRAPHIA. 134 
 
 meisters, | auf diegriindlichst- und leichteste Art 
 mit beygesetzten | Exempeln dargethan wird, 
 I Von einem | aufrichtigen Music-Freund. 
 
 Augsburg, 1759. 7' 7- I^otter. 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 
 " the big string," the D is called " the second," the A is called 
 " the third," and the E is called " the small string or Quint." 
 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 I Grundlage der Violin-Technik | von | 
 Karl Courvoisier. | ^Illustration^ 
 
 Berlin, 1873. M.Bahn. Large 8vo, pp. 44. 
 
 220. English Translation. 
 
 The I Technics of Violin-Playing, | by | Karl 
 Courvoisier. | \_Ilhtst7'ation.~\ \ Edited and trans- 
 lated I By H. E. Krehbiel, | of the Cincinnati 
 College. 
 
 London, n.d. [iSSo]. Williain Reeves. 
 Svo, pp. viii. and 70. 
 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 136 
 
 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 is paid to tone-production and advanced 
 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 1' arte | di suonare il vioHno | 
 annalizata, j ed a demostrabili principj ridotta, 
 I opera utilissima | a chiunque vuol applicare 
 con profitto | alia musica, | e specialmente a' 
 principianti, | dieettanti {sic^, e professori di 
 violino j di | Francesco Galeazzi | Torinese | 
 Compositore di Musica, | e professore di 
 Violino. I Tomo Primo. 
 
 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 I Francesco Galeazzi," etc., etc., as before. 
 
 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 for sale. I have only seen or heard of two
 
 DE FIDICULIS BIBLIOGRAPHIA. 138 
 
 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 laid down 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 description^and 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 filled with curious old musical illustrations by way of 
 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 
 exists a good deal of doubt. Fe'tis has made him the subject 
 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 
 fixes his death in 1570, but on what authority he does not state. 
 There exists a portrait of Gerle engraved in 1532, the year this 
 book was published. 
 
 c
 
 DE FIDICULTS BIBLIOGRAPHIA. 140 
 
 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 forge a 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. 
 
 227. Second Edition. 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 141 
 
 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 I Theory and Practice | of fingering the 
 I Violoncello | Containing Rules and Pro- 
 gressive Lessons | for attaining the Knowledge 
 and Command of the Whole | Compass of the 
 Instrument, | by | John Gunn | Teacher of the 
 Violoncello. 
 
 Quotatio7i. 
 
 " O deciis Phcebi, et dapibus supremi \ Grata testiido Jovis, 
 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, 
 and is followed by a " Fantasia 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 142 
 
 up of musical examples and illustrations to the foregoing. The 
 whole work is most interesting and valuable. 
 
 'O 
 
 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.
 
 DE FIDICULIS BTBLIOGRAPHIA. 143 
 
 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. 
 
 Hamilton's | Cate- 
 with j an Appendix 
 
 Fifteenth Edition | of 
 chism I for | The Violin, 
 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 six chapters, on the structure, appurte- 
 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 j The Violoncello. | By 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."' \_A^o 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 | fiir | Violin-Lehrer. 
 I Von I Carl Hering, | Musikinstiluts-Direktor 
 zu Berlin. 
 
 Leipzig, 1S58. Breitkopf u. Ildrtcl. 8vo, 
 pp. iv. and 32.
 
 DE FIDICULIS BIBLIOGRAPHIA. 145 
 
 Carl Friedrich Adolf Hering, son of Carl Theophil Hering, 
 who wrote the " Praktische Violin-schule " (Leipzig, 1810, q.v. 
 post), was a pupil of Lipinski and Hubert Ries, but modelled 
 his studies of 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 is of considerable rarity. 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 
 I Josef Hiebsch. 
 
 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 further enriched 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. Wi'Li.^v., Jokaim Adam. 
 
 Anweisung | zum | Violinspielen, j fiir 
 Schulen, | und zum | Selbstunterrichte. | Nebst 
 I einem kurzgefassten Lexicon | der | fremden 
 Worter und Benennungen in der Musik, j 
 entworfen j von | Johann Adam Hiller. 
 
 Gratz, 1795. C. F. Trotscher. Small 410, 
 pp. iv and 88. 
 
 The successive chapters of this work deal with — I., A Descrip- 
 tion of the Violin and How to Keep it in Order ; II., How to 
 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 
 the book is taken up with adictionar}- of musical terms. Fe'lis 
 gives " Leipzig, 1792, Breitkopf und HdrteV as the place, date, 
 &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 violinist at twelve years of nge. From an early 
 age he devoted himself to musical literature and composition, 
 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 .
 
 DE FIDICULIS BIBLIOGRAPHIA. 147 
 
 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 
 might be made as those evoked by " Hamilton's Catechism " 
 {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 to Master It." | By a Pro- 
 fessional Player. | Author of " The Violin : How 
 
 D
 
 DE FIDICULIS BIBLIOGRAPHTA. 148 
 
 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 
 Full Instructions and 
 
 Violin- Playing, | being 
 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 good deal in this book that has done service 
 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. \^Engramng?\ 
 
 Leipzig and Ziillichau, 1774. F. From- 
 niann. Oblong 4to, pp. xii. and 136. 
 
 241. Second Edition. 
 
 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 
 I Violinspielen | 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 is the completest and most important of the German 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 150 
 
 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 
 which he profoundly remarks, " Aber Liebhabern alte Schach- 
 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 
 (a/Heide) in 1727, he was enrolled as a conscript in the 
 Prussian troops at the age of sixteen, and was left for dead 
 on the battle-field of Collin. He was, however, restored to 
 life in an 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 I Treatise | on the [ 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, I the manner in which the 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 151 
 
 and appropriate plates, | giving an easy and 
 familiar adaptation of the whole to the purposes 
 of I composition and Instrumental music, and 
 more particularly | to the practice of the | 
 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 with I some musical animadversions 
 I introductory 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 intent to Gunn's work (No. 229A). 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 152 
 
 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 I par | A. Meugy. 
 
 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 that if 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 essay on 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
 
 DE FIDICULIS BIBLIOGRAPHIA, 153 
 
 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 its brevity is one of its principal charms, the 
 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, 
 compatible with the nature of the work. I have no hesitation 
 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, I in which the Rudiments of this Instru- 
 ment are taught | In the most plain and familiar 
 manner in a Dialogue between the | Master and 
 Pupil, 1 With numerous Examples. | Also
 
 DE FIDICULIS BIBLIOGRAPHIA. 154 
 
 Twelve Airs, for I Prooressive Practice. I Price 
 
 2S. 
 
 \Title-page7\ 
 
 Third Edition. [ A [ Treatise | on | The 
 V^iolin ; | 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 
 I between a Master and his Pupil. | 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 to " John Paine," then 
 " Professor and Teacher of the Violin, and 
 Inventor and Manufacturer | of the Gamut 
 Finger-Board and Bow-Guide." 
 
 London, n.d. [1815?]. Printed for the
 
 DE FIDICULIS BIBLIOGRAPHIA. 155 
 
 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 I Introduction | to the | Art of Playing 
 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 bring any Art or Science to Perfection — I. A proper 
 Genius; II. Regular and well-grounded Inflructions ; and, 
 III. Application." The section headed "Of Genius" is 
 
 E
 
 DE FIDICULIS BIBLIOGRAPHIA. 156 
 
 charming, and concludes : — " It was by thefe Rules and 
 Principles that I grounded my Scholars and my Sons ; and 
 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. I Being the | result of thirty years' ex- 
 perience, I as a teacher 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 
 is self 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 little book, " on 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 
 
 quaere Figures , avcc leurs expli cations'. 
 L'cxplication de {t.% Jeux ditfetents , &: particU- 
 
 Jieremenc des Pieces par accords , be de i'ac- 
 
 comp gnement a fond. 
 Des Regies certaines ^pour connoitre tous les 
 
 agremens qui fe 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 I S , 
 
 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.]
 
 DE FIDICULIS BIBLIOGRAPHIA. 157 
 
 it lays down might with advantage be obeyed by the most 
 advanced soloists. Here may be found instructions as to 
 " 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 
 recognition of genius " (!), on "exactitude of time," and " on 
 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. 242), was one of the most voluminous and indus- 
 trious musical writers and composers of the eighteenth century. 
 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- 
 I -lierement des Pieces par accords, & de I'ac- 
 j -compagnement a fond. | Des Regies cer- 
 taines, pour connoitre tous les | agremens qui se
 
 DE FIDIC ULIS BIBLIO GRAPH I A. 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 & de Viole. | Demeurant rue {sic) 
 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 
 of " Errata." The work then opens with a " Dissertation of the 
 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-
 
 DE FIDICULIS BIBLIOGRAPHIA, 159 
 
 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 I viele Notenbeispiele erlautert | von | 
 Richard Scholz, | Lehrer am Konservatorium 
 zu Koblenz. 
 
 Hanover, n.d. [1888]. Louis Oertel. Large 
 8vo (4to), pp. ii. and 60. 
 
 This work, like the majority of its kind, is divided into two 
 parts, the first, " Die Fingertechnik," and the second, " Die 
 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 order. There is also an excellent plate 
 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 
 the positions proper to them. It is dedicated in two pages " to 
 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 
 Forkel : Lichtenthal cites his " Grundlehre der Violin," in two 
 parts, Vienna, 1794 (p. 56), whilst Felis authoritatively states 
 (fnore modoque Fetis !) that the ^^ Grundlehre" appeared in 
 1785, and the re-issue " Verbesserte 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 1 ad una importante Lezione per i 
 
 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 I performers on the Violin. | Translated by 
 Dr. Burney. 
 
 London, 1771. R. Bremner. Small folio, 
 pp. 7 in Italian and pp. 8 in English, interleaved 
 and paged independently. 
 
 This letter, which has been reproduced in extenso in many 
 works on the violin {exempli gratia " Ole Bull, a Memoir " 
 [No. 70], G. Dubourg's " The Violin " [No 154], and 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 162 
 
 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 in Istria, 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 
 
 I esposta I da I E. Dworzak von Walden. | Gia 
 
 professore ordinario di Violino nel Reale Con- 
 
 servatorlo di Lipsia, | 1° Violinista della So- 
 
 cieta del Quartetto j in Napoli. \Oyria?nent^ 
 
 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. — Naples, 1888. F, Furcheim. 
 Large 8vo, pp. 58. 
 
 Le mani nella loro azione simultanea. 
 
 This is an excellent work, though, regard being had to the 
 quantity of the matter and the manner of its presentment, it 
 is difficult to imagine why its production should have occupied
 
 DE FIDICULTS BIBLIOGRAPHIA. 163 
 
 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 j der ] Violintechnik j durch | selb- 
 standige Ausbildung des Tastgefiihls der 
 Finger | herausgegeben | von j C. Wassmann. 
 
 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. It is divided into four parts, 
 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 
 I enthaltend | die Behandlung der Violine | 
 und I der iibrigen Instrumente der Streichquar- 
 
 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 for students, and the shortest possible 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 165 
 
 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. Printed for the Postulant. 
 8vo, pp. 8 and iv. 
 
 259. First SiLpp lenient. 
 London, 1889. 8vo, pp. 4. 
 
 260. Second Supplement. Periodical Publications. 
 London, 1889. 8vo, pp. 4. 
 
 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) I and First and Second Supplements | 
 (London, 1889). 
 
 London, 1890. Coiistihitional Club. 8vo, 
 pp. 12. 
 
 262. Third Supplement. Periodical Publications 
 and Reference Books. 
 
 London, 1890. 8vo, pp. 8. 
 
 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. 
 London, 1890. 8vo, pp. 4. 
 
 These little publications 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 167 
 
 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 | 
 zusammeno^estellt 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. 
 
 Fuhrer | durch den | Violoncell-Unterricht. 
 I Ein progressiv goerdnetes Repertorium | von 
 ausgewahlten | instructiven, sowie Solo- und 
 Ensemble- Werken | fiir Violoncell | abs Weg- 
 weiser fiir Lehrer und Schiiler, | Ktinstler und 
 Dilettanten. | Herausgegeben j von | Carl 
 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, 
 classified under 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 fiir Violine. | Nebst einem kurzgefassteii 
 Verzeichniss | der | Bratschenliteratur und 
 einem bibliografischen Anhang | von | Albert 
 Tottmann. 
 
 Leipzig, 1874. J. Schuberth, 8vo, pp. ii. 
 and xii. and 312. 
 
 269. Second Edition. 
 
 Same title, differently composed [" Reper- 
 torium" and " Verzeichniss'' transposed], with 
 " Zweite Wesentlich vervollstandigte Auflage." 
 
 Leipzig, 1886. J . Schuberth. 8vo, pp. xvi. 
 
 and 396. 
 
 A^o. 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 169
 
 DE FIDICULIS BIBLIOGRAPHIA. 170
 
 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, is quahtatively 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 wife, and is collected principally 
 from the notes of Mme. la Comtesse de Merlin and others 
 [No. 96, &C.]. The work is of great rarity. 
 
 G
 
 DE FIDICULIS BIBLIOGRAPHIA. 172 
 
 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 section " Violinists and the 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. 
 
 Vie et aventures des Cantatrices celebres 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 173 
 
 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 their works like the brothers de Goncourt. Marie 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 174 
 
 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. L^on 
 Escudier was director of the Theatre Italien. 
 
 274. Hauptmann, MoiHts. 
 
 Briefe von Moritz Hauptmann, Kantor und 
 Musik-direktor an der Thomas-schule zu 
 Leipzig, an Ludwig Spohr und Andere. 
 Herausgegeben von Dr. Ferdinand Hiller, 
 Direktor des Conservatoriums und Stadtischer 
 Kapellmeister zu Coin. Neue Folge der 
 Hauptmannschen Briefe. 
 
 Leipzig, 1876. Bi^eitkopfund 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 Spohr [in whose band at 
 Cassel the author was first violin] are the most numerous and 
 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 FT D /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,
 
 DE FIDICULIS BIBLIOGRAPHIA. 176 
 
 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 et facile, par demandes et. 
 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 cited by him in his Biographic Universelle des 
 Musiciens, and by Lichtenthal in his Dizionario e Bibliograjia 
 delta Musica \(l-q-vi\ is Pierre Marcou, a violinist of the
 
 DE FIDICULIS BIBLIOGRAPHIA. 177 
 
 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. IV. Histoire de Timpression de la 
 Musique, principalement en France. 
 
 Paris, 1874. J. Baur. large 8vo. 
 
 No. 3. Notice sur la Contrebassc, p'p. S, 
 paged independently.
 
 DE FIDICULIS BIBLIOGRAPHIA. 178 
 
 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 was born 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 I can 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, 
 
 281. English Translation. 
 
 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- 
 iscJien Saiteninstrtnnente ^ besonde^'s Hire Re- 
 sonantzboden itnd die davon abhdngende gi^osse 
 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 d'acoustique musicale et instru- 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 182 
 
 his house has stood equalled only by that of Thibouville- 
 Lamy \yide No. 285] for many years. He is now [or was 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 183 
 
 Musique a Paris-Greiielle, Mirecourt et La 
 Couture. 
 
 [Paris] n.d. [15 April, 1875] ^o^ Thibou- 
 ville-Lamy, Plon. large 8vo, pp. 36, paged 
 independently. 
 
 This is an extract from a 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)
 
 DE FIDICULIS BIBLIOGRAPHIA. 184 
 
 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 
 Contra-bass in turn, concluding with an essay entitled " Das 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 185 
 
 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 at Gontershausen in Darmstadt 
 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 
 little has 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
 
 DE FIDTCULIS BIBLIOGRAPHIA. 189 
 
 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 is a very excellent account of the greatest living artist, 
 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 Portrait," a little-known work, which seems to have 
 been originally intended as a serial, consists of nine fine 
 photographs of eminent men, bound together with biographical 
 sketches by various authors. 
 
 295. EscuDiER, L^on. 
 
 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 all the charm and spontaneity that characterizes the 
 works of the brothers Escudier, — and Leon was an authority 
 on Paganini, for reasons set forth above {vide note to No. 
 272]. Much of the " Vie 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
 
 DE FIDICULIS BIBLIOGRAPHTA. 191 
 
 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 Tart int. 
 
 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. 
 
 This little 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, 
 303]) have been included as a book-section, but for the 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 193 
 
 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. 
 
 Heading. Biographies Musicales. Labarre 
 — De Beriot — Moscheles — Stamaty. 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 Musicales, Pages 
 d'histoire — Critique — Portraits a la plume — 
 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,
 
 DE FIDICULIS BIBLIOGRAPHIA. 194 
 
 The biography of 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 
 the " Vari4tes Musicales " 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 
 portrait of Paganini, is one of the most interesting of the con- 
 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 it remains, with the articles published 
 contcmporaneousl) in the Aihcnccuin [q. v. post, sub: Perio- 
 dical Publications'*, the best and most trustworthy record of the 
 first appearance 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],
 
 DE FIDICULIS BIBLIOGRAPHIA. 195 
 
 not in 1793, as stated by F^tis and Grove. He was a pupil of 
 Viotti, and made his first appearances in London as an " infant 
 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, Andi^ea. 
 
 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 
 very similar both in matter and manner to the " Elogio " of 
 Fanzago, and, as in that work, the most interesting portion is the 
 " annotation " which follows it, its great value lying in the fact 
 that it was probably written immediately after Tartini's death, 
 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
 
 DE FTDICULIS BIBLIOGRAPHIA. 196 
 
 ? 
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 197 
 
 Brescia, 1820. i2mo. 3 vols. 
 
 Vol. I. pp. 1-28, Giuseppe Tartini. 
 
 It will immediately strike the thoughtful reader, that it is to 
 say the least of it Hibernian to include a 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 
 
 Section W. 
 
 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 the various 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. 
 55, are notes upon Stauffer's violin, in which the bridge is placed 
 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 CU LIS BIBLIOGRAFHIA. 200 
 
 many shorter notes are scattered through the book concerning 
 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 first of these extracts deals with the varied capacities of 
 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
 
 DE FIDICULIS BTBLIOGRAPHIA. 201 
 
 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 
 its infancy, 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 
 range of execution on the same instrument. It was one of
 
 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 203 
 
 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 to say 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, 
 with a most life-like photograph, has been published in " Men 
 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 ^ist, Attgust 
 yth, i^th, 1 891.) 
 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 206 
 
 London, 1835. i2mo. 
 
 Edn. 1835, ch. 7, pp. 109-138 
 
 Edn. 1838, vol. I, ch. 7, pp. 145-178 
 
 [ The Violin. 
 
 This is one of the earliest of the "general essays" on the 
 violin, and is discursive — chatty — charming. It deals entirely 
 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. 
 
 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 1 2; 
 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 
 
 Paris, ] 
 
 ^85 
 
 6. 
 
 pp. 
 
 14 
 
 to 
 
 22. 
 
 5J 
 
 25 
 
 )) 
 
 27. 
 
 11 
 
 36 
 
 5) 
 
 45- 
 
 11 
 
 107 
 
 >J 
 
 108.
 
 DE FIDICULIS BIBLIOGRAPHIA. 207 
 
 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 refers to the Vielle [or Hurdy-gurdy], and appends to 
 the chapter an interesting note on Isoard's " Violon 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 
 library of which the catalogue is a valuable contribution to 
 the Bibliography of Music, [q. v. sub Reference Books.] 
 
 319. PiLLAUT, L^on. 
 
 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. I., p. 231. Instruments a cordes, Troisieme Famillc. 
 Instruments a cordes frollces oujrottcs. 
 et passim. 
 Vol. n. p. 576. lutheric, 
 et passim.
 
 DE FIDICULIS BIBLIOGRAPHIA. 208 
 
 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 in 1794, and was still living in 1881. He 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?
 
 DE FIDICULIS BIBLIOGRAPHIA. 209 
 
 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 this category, being practically an 
 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 
 " Personaggi " of " Orfeo" \_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. 
 
 This may 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. 
 124], this is one of the most interesting chapters of this 
 excellent biography. It tells us of Reade's " craze " 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
 
 DE FIDICULIS BIBLIOGRAPHIA. 212 
 
 This extract is 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 les progres de cet Instrument, on fait une 
 digression sur VHistoire de la Musique 
 ancienne et moderne. 
 
 M 2
 
 DE FIDICULIS BIBLIOGRAPHIA. 213 
 
 This is an extract of great importance, being the only essay 
 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 
 z//V7/f-players, whose names have come down to us, a century 
 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 
 condensed though it be. The literature of the " Guild of 
 Musicians," which may be found in Part I., Section IV., 
 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 w^oiks 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-
 
 DE FIDICULIS BIBLIOGRAPHIA. 215 
 
 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.
 
 DE FIDICULIS BIBLIOGRAPHIA. 216 
 
 The first, and most important, of these extracts consists of an 
 article on the Guild of Musicians, taken principally from 
 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 it was dedicated to Herr Andre of Offenbach 
 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 I CULTS 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 
 in general, rather than particularly concerning the Viol, in which 
 the V iolin is adverted to as " The 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 I CU LIS BIBLIOGRAPHIA. 219 
 
 Leipzig, 1782. /. G. J. Breitkopf. 4to. 
 
 Part III. 
 
 Chapter viii. 
 
 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- 
 lent book, entitled " Von der Kentniss 2ind 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
 
 DE FTDICULIS BIBLIOGRAPHIA. 220 
 
 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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