The Fiddle Family—the Epigonion—the Semicon—the Plectrum—the Magadis and Sambuce—Orpheus and the lyre—the Plectrum an implement of percussion, not a bow—the Egyptian Chelys—Orpheus at Versailles—the fidicula of the Latin Dictionary—Welch claims—Crowd and Crowder—Instrument of the Saxon Glee-men—Strutt’s sports and pastimes—Italy—Successive stages of the invention—the Sounding-board—the neck—the bow—the Rebec—the viol—conversion of the viol into the violin—the tenor viol, &c.—chest of viols—Cremona fiddles—Hieronymus Amati—Galilei’s dialogues—claim of the Neapolitans—violins and organs in Verona in 1580—Corelli’s Violin, and Annibale Caracci—Piccoli Violini alla Francese—Monteverdi’s Orfeo—Mersennus—the Barbiton—the Kit—the Musurgia of Luscinius—the Rebec and Viol-di-Gamba—Violars accompanying the troubadours—Saxon word Fidle, German Videl, Icelandic Fidla, &c.—Fythelers of the old English romances—passage from the Life of St. Christopher—Chaucer and the Canterbury Tales—Absolon, the parish clerk—the ribible—the violin in low esteem before the Restoration—minstrels included among rogues, vagabonds, and sturdy beggars—Percy’s reliques—King of the minstrels—Butler’s Hudibras—Crowdero—France—sculptures on the portal of Notre Dame, in Paris—the Decameron—Michele Todini—the first to introduce the Double Bass—Arms of the Town of Alzei—Inhabitants called Fiddlers—Cushion Dance described—Hone’s table book—Miss Hutton’s Oakwood Hall—Punch and the fiddler—‘a regularly educated Zany’—Purcell’s catches—Epigram upon Young, father and son—Anthony À Wood’s Autobiography—the Restoration favourable to music—the Violin introduced at Court—Matthew Lock, master to the Court band—Cambert, Lulli’s predecessor—the music of the drama: act tunes—arrival of Nicolo Matteis—first music-engraving in England—‘Musick’s Monument,’ and Thomas Mace.— pp. 1, et seq.

The Italians the first to develope the powers of the violin—the old and modern schools—Baltazarini the early violin player—Giuseppe Guami—Agostino Aggazzari introduced instrumental concertos into churches—Carlo Farina—Michael-angelo Rossi—Giambattista Bassani—violin master of Corelli—Torelli—Valentini—Arcangelo Corelli—Lulli’s jealousy of him—publishes his first twelve sonatas—his solos—becomes acquainted with Handel—visits Naples—anecdotes—sickens and dies—anniversary performance in the Pantheon—his private character—anecdotes—his will—contemporary performers—Don Antonio Vivaldi—Francesco Geminiani—visits Naples—comes to England—visits Ireland—his death in Dublin—his character—anecdotes—lorenzo Somis—his Suonate printed at Rome in 1722—stephano Carbonelli—resides with the Duke of Rutland—leads the opera-band, &c.—becomes a wine-importer—dies in 1772—epigram—Pietro Locatelli—Arte di nuova modulazione—dies in 1764—Giuseppe Tartini—marries, and is discarded by his family—settles at Venice—his appointment at the church of St. Anthony of Padua—his Suonate and Concerti—his Adagios—dies at Padua—the Devil’s sonata—the dream—a legend in verse—Francesco Maria Veracini, the younger—anecdotes—an excellent contrapuntist—Pietro Nardini—a favourite pupil of Tartini—visits Tartini in his last illness—Thomas Linley one of his pupils—Luigi Boccherini—settles in Spain—dies at Madrid in 1806—his compositions—Felice Giardini—studies at Milan and Turin—visits Rome and Naples—arrives in London—visits St. Petersburg, and dies at Moscow—his character—Antonio Lolli—dies at Naples—anecdote—Gaetano Pugnani—founds a school at Turin—his style—his compositions—anecdotes—dies at Turin—Giovanni Mane Giornovichi (Jarnowick) pupil of Lolli—loses his popularity—dies of apoplexy—anecdotes—Giovanni Battista Viotti—eclipses Giornovichi—quits public life—anecdotes—ordered to quit England—embarks in the wine trade—loses his fortune—proceeds to Paris—retires on a pension—dies in England in 1824—his character and compositions—Francesco Vaccari—his early proficiency—performs in England—Masoni—leaves Italy for South America—goes to India—visits England, 1834—an invitation in rhyme—Spagnoletti—his enthusiasm—his liberality—his quarrel with Ambrogetti.—pp. 37, et seq.

Birth and parentage—surmises and false rumours—his early education—his public dÉbut at Genoa—begins to travel on his own account—his father’s rapacity—youthful excesses—a bidding for his violin—renounces gaming—his favorite Guarnerius—enters the service of the Princess of Parma—origin of his performances on one and two strings—follows the Princess to Florence—his intense application—his “Studies”—revisits Leghorn—anecdote—visits Turin and Ferrara—attacked with disease—the story of his uniform—his friendship with Rossini—contends with Lafont—remarks of M. FÉtis and others—Paganini’s tribute to the excellence of Louis Spohr—gives two concerts at Pavia—remarkable announcement—invited to Vienna in 1828, by Prince Metternich—the Pope confers on him the order of the Golden Fleece—Mayseder’s despair—absurd and injurious rumours—Paganini’s manifesto—his great popularity at Vienna—concert for the benefit of the poor—anecdotes—visits Prague, Dresden, Berlin, and Warsaw—opinions of the Berlin journalists—declines to compete with Praun—epigram—visits Frankfort—mimicked on the stage—goes to Paris—description of Paganini’s performance from La Globe, (with cuts)—attempts to explain his method—M. Guhr’s Treatise—manner of tuning the instrument—management of the bow—use of the left hand—harmonics—double effects—Paganini’s wonderful gains—his letter to the RÉvue Musicale—what occurred at Padua—the devil seen at his elbow—foundation of the rumours—comes to England—quotation from the “AthenÆum”—stringing a gridiron—raising the prices of admission—the Claqueurs—his first English concert—Mr. Gardner’s description—quotations—Mori’s joke and Cramer’s thankfulness—harmonic notes and staccato runs—farewell concert—revisits Italy—purchases the Villa Gajona—proposes to publish—decorated by Maria Louisa—want of health—gambling speculation—serious illness—his last moments at Nice—his son Achilles—his burial refused—superstitious rumours—his will—bequeaths his favorite violin to the city of Genoa—his personal habits and peculiarities—his mode of travelling—his habits at home—his desire of repose—anecdote of an amateur—Paganini’s slender general knowledge—his projects—mistrust of friends—his visitors—invitations—habits in company—aversion to light—recollection of names—preparation for a concert—rehearsal—his physical conformation—his influence on the art—a “farewell”—his compositions—critical remarks of M. FÉtis—conclusion.—pp. 110, et seq.

Italian and French Schools compared—state of instrumental performance at the present time—style of Kreutzer, Rode, Baillot, and Lafont—the Conservatoire de Musique—its origin and effects—epigram—Baltazarini (M. de Beaujoyeux)—Jean Baptiste de Lully—becomes scullion to Mdlle. de Montpensier—elevated to the rank of Court Musician—his career at Court—Louis the Fourteenth’s taste in music—the establishment of an Opera—Lulli’s Te Deum for the King’s recovery—an accident—his death—anecdote of his last score—his style—Jean Marie le Clair (Lecler)—born at Lyons—style deviating from the Italian school—appointed Symphonist to Louis XV—assassinated in the streets of Paris—Jean Baptiste SenaillÉ—goes to Italy—returns to Paris, 1719—his pupils—jean Pierre Guignon—his sonatas, duetts, trios, and concertos—instructs the Dauphin—dies at Versailles—Gabriel Guillemain—loses his faculties and destroys himself—Pierre GaviniÈs—appointed Professor at the Conservatoire—his works—FranÇois Joseph Gossec—founds the Concert of Amateurs—his symphonies—Pagin—instructed by Tartini—jealousy of the French musicians—their revenge—Pierre Lahoussaye—plays at the Concert Spirituel when nine years old—Pagin undertakes his instruction—goes to Italy—hears Tartini at church—spends three years in London—appointed Professor of the first class at the Conservatoire—Paisible—makes a progress through several parts of Europe—dies by his own hand in 1781—Simon Leduc—his extant compositions—anecdote of the Chevalier St. George—F. Hippolite BarthÉlÉmon—serves as a midshipman—comes to England—engaged at Vauxhall—Mondonville, and others—Viotti’s influence on the French School—Castels De Labarre—premier violon at the ThÉÂtre FranÇois—Vacher—pupil of Viotti—performs at the Vaudeville Theatre, &c.—Pierre Rode—shipwrecked on the English coast—obliged to quit England—appointed Professor of the Violin at the Conservatoire—travels—his death from paralysis in 1830— M. FÉtis on his style—Rodolphe Kreutzer—his mode of instruction—dies at Geneva—his compositions—Charles Philippe Lafont—appears at Paris as a vocalist—studies under Kreutzer and Rode—his residence at St. Petersburg—his contest with Paganini—Pierre Baillot—Professor at the Conservatory—his System for the violoncello—Alexandre Jean Boucher—his likeness to Napoleon—Libon—first violinist to the Empress Josephine, to Marie Louise, and to Charles X—Bellon—his performance at the Philharmonic Concert—FranÇois-Antoine-Habeneck—appointed Director of the Opera, and Inspector General of the Conservatoire—M. Tolbecque and his brother—Prosper Sainton—admitted Bachelor of Letters—enters the Conservatory—appears at the Philharmonic Concerts in London—Belgian Artists—Charles Auguste de BÉriot—early development—visits England—his marriage with Malibran—anecdotes—Henri Vieuxtemps—his success at Vienna, &c.—his sojourn at St. Petersburg—crosses the Atlantic—Joseph Artot—pupil of the Kreutzers.—pp. 176, et seq.

The Schools of Germany, Italy, and France, compared—early performers—David Funk—a capital performer and general scholar—the irregularity of his life—his visit to the Castle of Schleitz—found dead—Thomas Baltzar—first taught the whole shift in England—buried in Westminster Abbey—Henry John Francis Biber—his solos—Godfrey Finger—his style—Chapel-Master to King James II—John Gottlieb Graun—Concert-Master to the King of Prussia—Francis Benda—acquaintance with the Hebrew, LÖbel—engaged by the Prince Royal of Prussia—John Stamitz—his works—Leopold Mozart—appointed Valet-de-Chambre Musicien—publishes his “Method” for the Violin—travels with his son and daughter—his symphonies—William Cramer—leads at the Commemoration of Handel—succeeded at the Opera by Viotti—his two sons—Tassenberg—John Peter Salomon—his concerts in 1791—treaty with Mozart—engagement with Haydn—his compositions, &c.—his pupil Pinto—Charles Stamitz—John Frederick Eck—Andreas and Bernard Romberg—their works—FranÇois Cramer—his character as a leader—Friedrich Ernst Fesca—his quartetts—Christoph Gottfried Kiesewetter—his last performances at Leicester—Louis Spohr—patronized by the Duke of Brunswick—travels—becomes Concert-Master, &c. to the Duke of Saxe Gotha—visits England in 1820—his style criticised—the Norwich Musical Festival in 1839—his “Violin-Schule”—his compositions—Charles William Ferdinand Guhr—his work on Paganini’s mode of playing—Joseph Mayseder—Bernhard Molique—his appointments—his reception in Paris—his compositions—Ernst-Ole Bull, the Norwegian artist—his arrival in Paris during the prevalence of the cholera—his life and history—gives a concert—his successes detailed—his style—The Brothers Labitsky.—pp. 222, et seq.

State of the musical art in England—Purcell’s Sonatas and Trios—John Banister—davis Mell—described by Anthony À Wood—Sonatas published by John Jenkins—history of John Banister the elder—John Banister, jun.—Obadiah Shuttleworth—Henry Eccles—assisted in the second part of the “Division Violin”—Purcell’s Airs composed for the Theatre—the arrival of Geminiani and Veracini, forming an epoch—William Corbett—resides in Rome—political suspicions—his works—his bequest to Gresham College—Michael Christian Festing—founds the Royal Society for the support of Decayed Musicians—succeeded by Abraham Brown—Thomas Pinto—joint leader with Giardini at the Opera—Matthew Dubourg—pupil of Geminiani—appointed Master and Composer of the State Music in Ireland—instructs the Prince of Wales and the Duke of Cumberland—his odes—his solos and concertos—his intimacy with Handel—anecdotes—John Clegg—promoted by Handel—confined in Bedlam—Thomas Collet—remarkable accident—Francis Hackwood—convivial anecdotes—Abel and the Viol-da-Gamba—Richard Cudmore—his early distinction—instances of his versatile talent—G. F. Pinto—the victim of dissipation—Thomas Linley, jun.—taught by Dr. Boyce and Nardini—his death from the upsetting of a pleasure boat—Thomas Cooke—his career—anecdotes and bon mots—Nicholas Mori—his precocious performances—becomes a Director of the Philharmonic Concerts, and Professor at the Royal Academy of Music—becomes affected with cerebral disease—his character and ability—Mr. Loder, of Bath—Henry Gattie—Antonio James Oury—his early career in arms and art—marries Mdlle. Belleville, with whom he makes the tour of Europe—his pupils—Joseph Haydon Bourne Dando—introduces public quartett-playing in England—music in the City—a jeu d’esprit—the several Quartett Societies—Henry C. Cooper—Edward William Thomas—Bream Thom—Charles Frederick Hall—remarks on Chamber Concerts, and the Royal Academy of Music—Neil Gow.—pp. 258, et seq.

The amateur compared with the professor—the witty Duke of Buckingham—a saying of Dr. Johnson’s—Dr. Cooke giving a lesson—The Baron Bach—characteristic sketches—amateur quartett-parties—a story, with a mistake!—Sir William Hamilton—Epigrams—on an aged musical trifler—Ralph Rasper—advice to amateurs—the scales—Corelli’s solos—Spohr’s Violin-School—no real self-taught violinists—epigram—self-knowledge necessary—qualities necessary to the leader of an amateur party—opera music—listening to classical quartetts—a story—friendly advice in rhyme.—pp. 312, et seq.

Objections to ladies playing the violin, answered—Queen Elizabeth and her violin—Madame Mara—her early practice on the violin—Maddalena Lombardini Siemen—reprint of a letter from Tartini to her—Regina Schlick—her maiden name Sacchi—a particular friend of Mozart—anecdote of Mozart and the Sonata in B flat minor—Louise Gautherot—Minerva and the flute—Luigia Gerbini—pupil of Viotti—Signora Paravicini—patronized by the Empress Josephine—her reverses and subsequent success—her graceful mode of bowing—Catarina Calcagno—receives instructions from Paganini—Madame krahmen—Mdlle. Schulz—Mdlle. Eleanora Neumann—Madame Filipowicz—Horace Walpole’s visit to St. Cyr—Mrs. Sarah Ottey.

The subject stated—Otto’s treatise—the component parts of the violin—the Cremonas and their makers—Hieronymus Amati—Antonius Amati—Nicholas Amati—Antonius Straduarius—Joseph Guarnerius—distinguishing characteristics of these makers—Tyrolese instruments—Jacob Steiner—later Tyrolese makers—Klotz—Statelmann, of Vienna, and others—repairers—the principles of construction—the bass-bar, sound post, bridge, f holes, &c.—strings (called Roman) from Milan—means of producing a smooth, clear tone—Andreas Amati—Gaspar De Salo—Giovanni Granzino—Giovanni Paolo Magini—career of Antonio Stradivari, Giuseppe Guarneri, and of Jacob Steiner—notable sums offered for instruments—imitators—Richard Duke and the London makers—M. Chanot’s investigation into the true form of the violin—result—M. Savart’s experiments—M. Vuillaume’s copies—his adventures in search of materials—copies Paganini’s Guarnerius—his probity—specimens at the Great Exhibition of All Nations—construction of bows—Beware of Vampers!—pp. 341, et seq.

Characteristics of the fiddle species—a caricature repudiated—ambition let down—a new resource in difficulty—a prejudice overcome—fifty years’ fiddling—another fifty years of it—glory made out of shame—discrimination—the Cremona fiddle—an apt quotation—the leading instrument victorious—sending for time-keepers—musical exaction—a device for a dinner—a ‘practising’ coachman—a footman to match—a royal ‘whereabout’—precocious performers—fiddlers’ tricks—eccentric varieties of the violin kind—the fiddle of Ireland—of Tartary—African fiddle—Greek fiddle—an eight-stringed violin—an intermediate instrument—something more than a violin—an air violin—automaton violinist—the street-fiddler—epigrams.—pp. 364, et seq.