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    Harbour—Hardie, Matthew; Scotland's best maker—Hardie, Thomas—Hare, John—Hare, Joseph—HARRIS, CHARLES; genuine character of work, of Amati and Stradivari type; exquisite finish and good varnish—Harris, Charles (2)—HART, JOHN THOMAS; pupil of Samuel Gilkes; specially known as connoisseur, collector, and dealer—Heesom, Edward—Hill, Joseph—Hill, William—Hill, Joseph—Hill, Lockey—Hill, William Ebsworth—Holloway, J.—Hume, Richard 314-318     Jay, Henry; Viol-maker—Jay, Thomas—Jay, Henry; maker of Kits—Johnson, John; music-seller and dealer; referred to by Dibdin in his Autobiography 318-320     Kennedy, Alexander—Kennedy, John—Kennedy, Thomas 320     Lentz, Johann Nicolaus—Lewis, Edward—Longman and Broderip; music-sellers and publishers—LOTT, JOHN FREDERICK; a finished workman, employed by Thomas Dodd; splendid character of his work; the "King of English Double-Bass makers"—Lott, George Frederick—Lott, John Frederick; his chequered career, and Charles Reade's novel thereon 320-322     Macintosh—Marshall, John—Martin—Mayson, W.—Meares, Richard—Mier—Morrison, John 322-323     Naylor, Isaac—Norborn, John—NORMAN, BARAK; probably a pupil of Urquhart; follower of Maggini; excellent quality of his Violoncellos and Tenors; his partnership with Nathaniel Cross—Norris, John 323-325     Pamphilon, Edward—Panormo, Vincent—Panormo, Joseph; excellent character of work—Panormo, George Lewis—Panormo, Louis—Parker, Daniel—Pearce, James—Pemberton, Edward—Perry and Wilkinson—Powell—Preston, John 325-327     Rawlins, Henry—Rayman, Jacob; founder of Violin-making in England—Richards, Edwin—Rook, Joseph—Rosse (or Ross), John—Ross, John (2); good character of work and varnish 327-328     Shaw—Simpson—Smith, Henry—Smith, Thomas—Smith, William 328     Tarr, W.—Taylor—Thompson—Thorowgood, Henry—Tilley, Thomas—Tobin, Richard—Tobin 328-329     Urquhart; excellent character of his work 329     Valentine, William 329     Wamsley, Peter; superior character of his work—Wise, Christopher—Withers, Edward—Withers, Edward (2) 329-330     Young, father and son, and Purcell's Catch 330   SECTION XIII.—THE VIOLIN AND ITS VOTARIES.     Sterne on Hobby-horses—Tender relationships between the Violin and its Votaries—Wendell Holmes on the Violin—Thomas Mace on early prices of instruments—Early makers, continental and English—Advent of the Stainer model, and its temporary preference over those of the Italian masters; its depressing influence on prices of Amatis and Stradivaris—Guarneri del Gesù brought to the front by Paganini, and Maggini by De Bériot—Recognition of the merits of Bergonzi, Guadagnini, and Montagnana—Luigi Tarisio, and his pilgrimages in search of hidden treasures; his progress as amateur, connoisseur, devotee; his singular enthusiasm, and Charles Reade's anecdote thereon; the Spanish Bass in the Bay of Biscay; Tarisio's visit to England, and the Goding collection; his hermit life; purchase of his collection by M. Vuillaume—Principal buyers of Italian instruments at this period, continental and English—Charles Reade as a connoisseur—Count Cozio di Salabue, an ardent votary of the Cremonese Violin; his purchase of Stradivari's instruments, patterns, tools, &c.; his correspondence with Paolo Stradivari relating thereto—William Corbett, and his "Gallery of Cremonys and Stainers"—The collections of Andrew Fountaine and James Goding—The Gillott Collection; its curious origin, its unique character and interesting circumstances attending its sale 331-374   SECTION XIV.—SKETCH OF THE PROGRESS OF THE VIOLIN.     Date of the first appearance of the instrument—The Violin of Leonardo da Vinci—Paolo Veronese's picture, "The Marriage at