Cana" (with engraving)—Baltazarini, the earliest known player—The "Concert Orchestra" and the Duke of Ferrara—First use of stringed instruments in the Opera; the "Orfeo" of Claudio Monteverde—Introduction of the Sonata; Dr. Burney thereon—Corelli, and the "Balletti da Camera"—Dibdin on Corelli's Concertos—Jean Baptiste Lulli, and the Legend of the Stewpans; his influence on early French Violin music—Progress of the Violin in England; Dr. Rogers and John Jenkins—Samuel Pepys on the emoluments of the Royal Band—John Bannister and the earliest English public concerts—Henry Purcell; his Sonatas, and his royal patron, Charles II.—Thomas Britton, the "musical small-coal man," and his concerts in Clerkenwell—John Henry and Thomas Eccles, and itinerant musicians—Francesco Geminiani; his Sonatas and musical works—Progress of the instrument in Italy; Tartini and his compositions; Locatelli, Lolli, and Giardini; Boccherini and his Quintets; Viotti, his School of Violin-playing, and his concerts; Campagnoli, and his "Studies on the Seven Positions of the Violin," and other works; Paganini, and his imitators; Sivori, Ole Bull, Leclair, Gavinès, and other leaders in the art—Violin-playing in France and Belgium; M. Rode, M. Alard, M. Sainton, De Bériot and Vieuxtemps—Polish Violinists of note—Lord Chesterfield's instructions to his son relative to Fiddling—Michael Festing and Thomas Britton; origin of "The Philharmonic Society," and of the "Royal Society of Musicians"—Handel legacy to the Royal Society—Early musical proclivities of the Earl of Mornington—Salomon and the Philharmonic; negociations with Haydn—Influence of Salomon on the development of musical taste in England—The Cramers—Nicholas Mori and others—Dando—Henry Blagrove, and his "Concerti da Camera"—Mr. Chappell and his "Monday Popular Concerts"—Henry C. Cooper, and the "Quartett Association"—M. Sainton, Hill, Piatti; John Carrodus, Herr Molique, and the Brothers Holmes—Progress of the Violin in Germany: Graun and Benda; John Sebastian Bach as Violinist and composer; Herr Joachim—Handel, influence of his compositions on the progress of the Violin—Haydn, and his Symphonies and Quartetts; A lady's ideal thereof—Mozart, and his "Method" for the Violin; his early attachment to the instrument—Schubert, Beethoven, Mendelssohn, Fesca, and their influence—Louis Spohr and his works—Bernard Molique—Joseph Mayseder—Kalliwoda—Herr Ernst, Joachim and Strauss, with Herr Wilhelmj, and their concerts

375-409   SECTION XV.—ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.     Hudibras and the Champion Crowdero—George Herbert's references to Music—Christopher Simpson's Trinity in Unity—Shakespeare's Sonnet VIII.—Violins from a medical point of view—"A Musician"—Origin of Tartini's "Sonato del Diavolo"—Dr. Johnson and the Violin—Dr. Johnson on the Difficulty of Playing the Violin—Dr. Johnson's Epitaph on Phillips, the Welsh Violinist—Dr. Johnson's Knowledge of Music—Dr. Johnson on Fiddling and Freewill—Haydn in London: a "Sweet Stradivari;" Letters of the Rev. Thomas Twining—Gainsborough as a musician—Garrick and Cervetto—The King and the Player—Sir Walter Scott on Music and Fiddles; the Duke of Hamilton's passion for the Violin—A Cinderella Violoncello—A Stolen "Strad"—The Missing Scroll—Another Wandering Scroll—A Montagnana Instrument shot through the body—Fiddle Marks and the Credulous Dabblers—"Guarneri" at a Discount—Dragonetti's Gasparo: Letter thereon by Mr. Samuel Appleby—The Betts Stradivari: Letter by the late Charles Reade—Leigh Hunt on Paganini—Thackeray on Orchestral Music—Spohr and his Guarneri—Spohr and the Collector—The Ettrick Shepherd and the Violin—The Fiddle Trade: "Old Borax" and "Michael Schnapps," the Fiddle-ogre—The Prince and the "Fugal Vortex"—Sale of Cremonese Instruments at Milan in 1790—An Indefatigable Violinist—A Wish—Living Stradivaris—Pleasures of Imagination—A Royal Amateur—Pius IX. and the Musician—Ole Bull and Fiddle Varnish—Letter from Tartini on the Treatment of the Violin 410-507     INDEX 509