"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. G LADSTONE ....

The favourable reception accorded to the previous editions of this work has not only added greatly to the pleasure attending the preparation of a new and revised edition, but has encouraged me to spare no effort within my power to render the volume as interesting and complete as possible. In making these endeavours, the bulk of the book has been necessarily increased by additional information, spread over all the sections of the work, but chiefly on those which treat of the Early History of the

Pending the completion of a more costly revised version of the late Mr. Hart's work, the editors, in compliance with what seems to be a widespread public desire, have decided to reprint the volume, as issued in popular form and finally corrected by the author in 1887, but with additions and certain emendations desirable in order to bring it into accord with the present state of knowledge, and to enhance its value as a work of reference. To this end the names of a considerable number of makers, e

The early history of the Violin is involved in obscurity, and in consequence, much diversity of opinion exists with regard to it. The chief object of the writer of these pages is to throw light upon the instrument in its perfected state. It is, therefore, unnecessary to enter at great length upon the vexed question of its origin. The increased research attendant upon the development of musical history generally could hardly fail to discover facts of more or less importance relative to the origin

The construction of the present form of the Violin has occupied the attention of many scientific men. It cannot be denied that the subject possesses a charm sufficiently powerful to induce research, as endeavour is made to discover the causes for the vast superiority of the Violin of the seventeenth century over the many other forms of bow instruments which it has survived. The characteristic differences of the Violin have been obtained at the cost of many experiments in changing the outline and

Upon the strings of the Violin depends in a great measure the successful regulation of the instrument. If, after the careful adjustment of bridge, sound-post, and bass-bar, strings are added which have not been selected with due care and regard to their relative proportion, the labour expended upon the important parts named is at once rendered useless. Frequently the strings are the objects least considered when the regulation of a Violin is attempted; but if this be the case, results anything b

The fifteenth century may be considered as the period when the art of making instruments of the Viol class took root in Italy, a period rich in men labouring in the cause of Art. The long list of honoured names connected with Art in Italy during the fifteenth, sixteenth, and seventeenth centuries is a mighty roll-call indeed! The memory dwells upon the number of richly-stored minds that have, within the limits of these three centuries, bequeathed their art treasures to all time; and if here we c

A word or two must be said upon the famous varnish of the Italians, which has hitherto baffled all attempts to solve the mystery of its formation. Every instrument belonging to the school of Cremona has it, more or less, in all its marvellous beauty, and to these instruments the resolute investigator turns, promising himself the discovery of its constituent parts. The more its lustre penetrates his soul, the more determined become his efforts. As yet, however, all such praiseworthy researches ha

A BATI , Giambattista, Modena, about 1775 to 1793. A CEVO , Saluzzo. Reference is made in the "Biographie Universelle des Musiciens" to this maker having been a pupil of Gioffredo Cappa, and M. Fétis mentions his having seen a Viol da Gamba dated 1693 of this make, which belonged to Marin Marais, the famous performer on the Viol. 1 A LBANESI , Sebastiano, Cremona, 1720-1744. The pattern is bold and the model flat. Although made at Cremona, they do not properly belong to the school of that place,

The French have long occupied a foremost place in the production of articles needing delicate workmanship, and it is therefore not surprising that they should at an early period have turned their attention to the art of Violin-making, which requires in a high degree both skilful workmanship and artistic treatment. The French manufacture of Violins appears to have commenced about the same period as the English, viz., in the early part of the 17th century, François Médard and Tywersus being among

A LDRIC , Paris, 1790-1844. Copied Stradivari with great skill. He was also well known as a dealer in Cremonese instruments. He was one of the earliest French makers who dealt with Luigi Tarisio, the famous Italian connoisseur. He generally used a red varnish of good quality. A LLAR , ——, Paris, 1788. A MELOT , ——, Lorient; worked early in the present century. He used a highly ornamented label. A UBRY , ——, Paris, 1840. Succeeded his uncle Aldric, mentioned above. A UGIÈRE , ——, Paris, about 183

There is no trace of any German Violins of the time of Gasparo da Salò, or Maggini. This is certainly remarkable, and the more so when we consider how near were the German makers of Lutes, &c., to the old Italian town where Violins were being made. It is evident from this non-production of Violins that the Tyrolese were content with their Viols and Lutes, and did not recognise the wonderful effects of the little Violin until it had become pretty nearly perfected by the Italians. The manu

A LBANI , Mathias, Botzen. M. Fétis, quoting the Biographical Dictionary of Moritz Berman, with regard to Albani, states that he was born in 1621, and died in 1673. The form is somewhat like Stainer's, but higher and heavier in construction. The varnish is very rich. Wood of good quality. A LBANI , Mathias, Botzen, about 1650-1712. Son of the above. This maker should, perhaps, have been classed with those of Italy, his style being Italian; but as he was the son of the well-known German maker, it

It is somewhat remarkable that the Continental writers on the Violin should have omitted to mention any English maker, either ancient or modern. Such an omission must have occurred either from want of information concerning our best makers, or, if known, they must have been deemed unworthy of the notice of our foreign friends. There is no mention of an English maker in the work of Fétis, "Antoine Stradivari," 1856, although numerous very inferior German and Italian makers are quoted. The same om

A BSAM , Thomas, Wakefield, 1833. M IER , ——, London, about 1786. M ORRISON , John, London, about 1780-1803. N AYLOR , Isaac, Headingly, near Leeds, about 1778-92. N ICHOLS , Edward, 18th century. N ORBORN , John, London, about 1723. N ORMAN , Barak, London, 1688-1740. The instruments of this maker are among the best of the Old English school. His instructor in the art of Viol and Violin-making is unknown, but judging from the character of his work it is very probable he learned from Thomas Urqu

Sterne (himself a votary of the Fiddle) has well said, "Have not the wisest of men in all ages, not excepting Solomon himself, had their hobby-horses—their running-horses, their coins and their cockle-shells, their drums and their trumpets, their Fiddles, their pallets, their maggots and their butterflies? And so long as a man rides his hobby-horse peaceably and quietly along the king's highway, and neither compels you nor me to get up behind him,—pray, sir, what have either you or I to do with

It may be said that the Violin made its appearance about the middle of the sixteenth century. There are instances where reference is made to Violins and Violin-playing in connection with times prior to that above-named, but no reliance can be placed on the statements. Leonardo da Vinci, who died in 1523, is spoken of as having been a celebrated performer on the Violin. The instrument he used is described as having had a neck of silver, with the singular addition of a carved horse's head. 1 This

The important part played by the renowned Champion Crowdero in Butler's inimitable satire has never failed to give keen enjoyment to all lovers of wit and humour. This being so, his exploits should be doubly appreciated by the votaries of the Fiddle, since it was he who valiantly defended the cause of Fiddling against the attacks of Hudibras— The absurdities into which the genius of Cervantes hurried Don Quixote and Sancho served to moderate the extravagances of knight-errantry. The adventures o

"The broad range of interest in the book which appears at the very beginning, and the evident appreciation of the romantic, as well as the practical side of the question, shows that the man is not merged in the specialist, and that outsiders, as well as experts, may look to find amusement as well as instruction therein. The range of the book is of the widest."— Saturday Review . "A sufficient account is given of the various schools of composers and virtuosi in the musical countries of Europe, fr

La nouvelle Edition soigneusement revue et augmentée de cet important ouvrage contient la liste descriptive de Luthiers la plus complète qui ait paru jusqu' ici: elle offre de plus au lecteur une notice circonstanciée sur ANTOINE STRADIVARIUS. L'auteur a éclaire cette notice d'un jour nouveau et y a jeté un vif éclat par les détails pleins d'intérêt qu'il a puisés dans les manuscrits authentiques de Crémone et par les nombreux extraits qu'il a tirés des pièces originales de la correspondance du