Part 2

Pacherele, Michel--Pacherel--Paul, Saint--PIERRAY, CLAUDE; an excellent workman, following Amati--Piete, N.--PIQUE, F. L.; close copyist of Stradivari; excellent work and material--Pirot, Claude--Pons, Cesar--Pons . . . . . . . . . . . . . . . . . . 250-252

Rambaux, Claude Victor--Raut, Jean--Remy--Remy, Jean Mathurin--Remy, Jules--Remy--Renaudin, Leopold--Renault, Nicolas--Rombouts, Peeter--Roze . . . . . . . . . . . . . . . . . . . . . . . . . 252-253

Sacquin--Salle--Salomon, Jean Baptiste--Saunier--Schnoeck, Egidius--SILVESTRE, PIERRE; a true artist; follower of Stradivari--Silvestre, Hippolyte--Silvestre, Hippolyte Chretien--Simon--Simonin, Charles--Socquet . . . . . . . . . . 253-254

Theress, Charles--Thibout, Jacques Pierre; an excellent workman, and well-known dealer; his relations with Luigi Tarisio--Thomassin--Tywersus . . . . . . . . . . . . . . . . . . . 254

Vaillant, Francois--Veron, Pierre--Vibrecht, Gysbert--Vuillaume, Jean--VUILLAUME, J. B.; a prolific and skilful maker; associated with Tarisio, and purchaser of his collection--Vuillaume, N. F.--Vuillaume, Claude Francois--Vuillaume, Sebastien . . . . . . . . . . . . 254-255

SECTION IX.--THE GERMAN SCHOOL.

No trace of Violin manufacture in Germany previous to the middle of the seventeenth century--Pervading influence of Jacob Stainer in the constitution of the German School--Popularity of his model--Mediocre character of the school, with some notable exceptions . . . . 256-258

SECTION X.--GERMAN MAKERS.

Albani, Mathias (_pere_)--ALBANI, MATHIAS (_fils_); his style Italian, and workmanship excellent--Albani--Alletzie, Paolo--Artmann . 259-260

Bachmann, Carl Ludwig; maker to the Court of Frederick the Great; founder of Concerts for Amateurs at Berlin--Bachmann, O.--Bausch, Ludwig C. A.--Bausch, Ludwig B.--Bausch, Otto B.--Beckmann--Bedler--Bindernagel; made in both German and Italian styles--Buchstadter . . . . . . . . . . . . . . . . . . . . . 260-261

Christa, Joseph Paul . . . . . . . . . . . . . . . . . . . . . . . 261

Diel (or Diehl), Martin--Diel, Nicolaus--Diel, Johann--Diel, Jacob--Diehl, Nicolaus Louis--Diehl, Friedrich--Diehl, Johann--Diehl, Heinrich--Dopfer, Nicolaus--Durfel . . . . . . . . . . . . . . 261-262

Eberle, J. Ulric; good copyist; form Italian; made also Viols d'Amour--Edlinger, T.--Edlinger, Joseph Joachim--Elsler, Joseph; made Viols da Gamba--Ernst, Franz Anton; pupil of Antonio Lolli; Court Musician at Gotha . . . . . . . . . . . . . . . . . . . . . . 262-263

Felden, M.--Fichtold, Hans--Fichtl, Martin--Ficker, Johann Christian--Ficker, Johann Gotlieb--Fischer, Zacharie--Frey, Hans; maker of Lutes; related to Albert Durer--Fritzche . . . . . . 263-264

Gedler, Johann A.--Gedler, Johann B.--Geissenhof, Franz; Stradivari model--Gerle, Johann, Lute-maker--Griesser, Matthias--Grimm, Carl--Grobitz, A.--Gugemmos . . . . . . . . . . . . . . . . . . . 264

Haensel, Johann A.; his "Ueber den Bau der Violin"--Hamberger, Joseph--Hamm--Hammig, Johann Gottfried--Hassert--Hassert--Helmer, Carl--Hildebrandt--Hiltz, Paul--Hoffmann, Martin--Hoffmann, Johann Christian--Hornstainer, Joseph--Hornstainer, Matthias--Horil, Jacob--Huller, August--Humel, Christian--Hunger, Christoph Friedrich . . . . . . . . . . . . . . . . . . . . . . . . . . 264-265

Jais, Johann--Jauch, Johann . . . . . . . . . . . . . . . . . . . 265

Karb--Kambl, Johann A.--Kembter--Kiaposse, Sawes--Kirchschlag--Kloz, Matthias; pupil of Stainer--KLOZ, SEBASTIAN; superior model, form flat--Kloz, George--Kloz, Egidius--Kloz, Joseph--Kloz, J. Karl--Knittle, Joseph--Knitting--Kohl, Johann--Kolditz, J.--Kolditz, Mathias Johann--Kramer, H.--Kriner, Joseph . . . . . . . . . . 265-267

Laska, Joseph--Lembock . . . . . . . . . . . . . . . . . . . . . . 267

Mann, Hans--MAUSSIELL, LEONARD; Stainer model; excellent workmanship; style of Tecchler--Maher (Maier)--Meusidler--Mohr, Philip--Moldonner . . . . . . . . . . . . . . . . . . . . . . . . 267

Niggel, Simpertus; good workmanship . . . . . . . . . . . . . . . 267

Ohberg, Johann--Ott, Johann--Otto, Jacob August; maker to the Court of Weimar; author of "Ueber den Bau und die Ehrhaltung der Geige und aller Bogeninstrumente"--Otto, Georg August--Otto, Christian--Otto, Heinrich--Otto, Carl--Otto, C. U. F.--Otto, Ludwig--Otto, Louis--Otto, Hermann . . . . . . . . . . . . . . . . . . . . . . . . . . . 267-268

Parth, Andreas Nicholas--Pfretzschner, Gottlob--Pfretzschner, Carl Friedrich--Plack, F.--Possen, L. . . . . . . . . . . . . . . . 268-269

Rauch--Rauch, Jacob; Court Violin-maker--Rauch, Sebastian--Rauch--Reichel, Johann Gottfried--Reichel, Johann Conrad--Reichers, August--Riess--Roth, Christian--Ruppert . . . . 269

Sainprae, Jacques; Baryton Viol-maker--Sawicki--Scheinlein, Mathias--Scheinlein, Johann Michael--Schell, Sebastian--Schlick--Schmidt--Schonfelder, Johann A.--Schonger, Franz--Schonger, Georg--Schorn, Johann; excellent work; high model--Schorn, Johann Paul; Court instrument-maker--Schott, Martin--Schweitzer--Stadelmann, Daniel; good work; Stainer model--Stadelmann, Johann Joseph--STAINER, JACOB; the greatest of German makers, and a thorough artist; his model original; sketch of his history and work; great popularity of his style; his "Elector Stainers;" Herr S. Ruf's personal history of Stainer's life, and the romance founded thereon; Counsellor Von Sardagna's contributions to his history; Rabenalt's drama, "Jacob Stainer," and other poems thereon: "Der Geigenmacher Jacob Stainer von Absam;" said to have been a pupil of Niccolo Amati; his marriage; his appointment as Court Violin-maker; accused of heresy, and imprisoned; pecuniary difficulties, and sad end; his good name frequently clouded by inferior work falsely attributed to him--Stainer, Markus--Stainer, Andreas--Staugtinger, Mathias W.--Steininger, Jacob; related to Dopfer and Nicholas Diel--Steininger, Franz--Stoss--Stoss, Martin--Straube--Strauss, Joseph . . . . . . . . . . . . . . . 269-281

TIEFFENBRUCKER--TIELKE, JOACHIM (i.); Lute and Guitar-maker; rich and chaste ornamentation of his work; description of examples extant in England--TIELKE, JOACHIM (ii.); fine examples of a later maker of this name at South Kensington and elsewhere . . . . . . . . . . . . 281-282

VOEL, E.; excellent work; Stradivari model--Vogel, Wolfgang--Vogler, Johann Georg--Voigt, Martin . . . . . . . . . . . . . . . . . 282-283

Wagner, Joseph--Weickert--Weigert--Weiss, Jacob--Wenger, G. F.--Widhalm, Leopold; follower of Stainer; careful finish and good varnish--Wyemann, Cornelius . . . . . . . . . . . . . . . . . . . 283

Zwerger, Antoni . . . . . . . . . . . . . . . . . . . . . . . . . 283

SECTION XI.--THE ENGLISH SCHOOL.

Non-recognition of English makers by Continental writers on the Violin--Causes of the partial decadence of the art in this country as on the Continent--Earliest English makers, and their several models--School of English copyists . . . . . . . . . . . . . . 284-292

SECTION XII.--ENGLISH MAKERS.

Absam, Thomas--Adams--Addison, William--Aireton, Edmund; an excellent copyist of Amati--Aldred--Askey, Samuel . . . . . . . . . . . . . 293

Baines--Baker--Ballantine--BANKS, BENJAMIN; the foremost English maker, and termed "The English Amati;" high character of his work and varnish--Banks, Benjamin (2)--Banks, James and Henry--Barnes, Robert--Barrett, John; follower of Stainer; good quality of work--Barton, George--Betts, John; pupil of Richard Duke--BETTS, EDWARD; pupil of Duke, and an excellent copyist; high finish; Amati model--Bolles--Booth, William--Booth--Boucher--Brown, James--Brown, James (2)--Browne, John . . . . . . . . . . . . . . . . . . . 293-299

Cahusac--Carter, John--Challoner, Thomas--Cole, Thomas--Cole, James--Collier, Samuel--Collier, Thomas--Collingwood, Joseph--Conway, William--Corsby, George--Cramond, Charles--Crask, George--Cross, Nathaniel--Crowther, John--Cuthbert; good quality of work . . 299-300

Davidson, Hay--Davis, Richard--Davis, William--Dearlove, Mark--Delany, John; his peculiar label--Dennis, Jesse--Devereux, John--Dickinson, Edward--Dickeson, John; excellent copyist of Amati--Ditton--DODD, THOMAS; not a maker, but an employer of makers of highest class, and especially famous for the high character of his varnish--Dodd, Thomas (2)--Dorant, William--DUKE, RICHARD; his name a "household word" with English Violinists; high character of his real work, but frequently and badly counterfeited; his models both Amatese and Stainer--Duke, Richard (2)--Duncan . . . . . . . . . . . . . . . . . . . . . 300-305

Eglington--Evans, Richard . . . . . . . . . . . . . . . . . . . . 305

FENDT, BERNARD; a born Fiddle-maker; a fellow workman with John F. Lott; his instruments copies of Amati, bearing the labels of Thomas Dodd or John Betts, and highly valued--FENDT, BERNARD SIMON; good work, but sometimes artificially "matured;" his Violins, Tenors, Violoncellos, and Double-Basses; follower of the Guarneri and Gasparo da Salo models; his quartett of instruments in the London Exhibition of 1851--Fendt, Martin--Fendt, Jacob; his work finely finished; skilful copies of Stradivari, but artificially and cleverly "aged"--Fendt, Francis--Fendt, William--Ferguson, Donald--Firth--Forster, W.--Forster, William (i.); spinning-wheel and Violin-maker--FORSTER, WILLIAM (ii.); also a maker of spinning-wheels and Violins, and amateur Fiddler; an excellent copyist of Stainer and of the Amati models; high character of his work and varnish; his Double-Basses for the Band of George the Third; his instruments highly valued by Robert Lindley--FORSTER, WILLIAM (iii.); excellent work--Forster, William (iv.)--Forster, Simon Andrew--Frankland--Furber, John--Furber, Henry John . . . . . 305-313

Gibbs, James--GILKES, SAMUEL; a thorough artist, and pupil of William Forster--Gilkes, William--Gough, Walter . . . . . . . . . . . 313-314

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 Gesu brought to the front by Paganini, and Maggini by De Beriot--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 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, Gavines, and other leaders in the art--Violin-playing in France and Belgium; M. Rode, M. Alard, M. Sainton, De Beriot 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

LIST OF ILLUSTRATIONS

FRONTISPIECE--Paganini's "Giuseppe Guarneri." 1743.

PLATE FACING PAGE I. Stradivari Viola. 1672 . . . . . . . . . . . . . . . . . . 16

II. Jacobus Stainer. 1669 Giuseppe Guarneri del Gesu Niccolo Amati. Grand Pattern. 1641 . . . . . . . . . . . . 32

III. Violoncello by Antonio Stradivari . . . . . . . . . . . . . 50

IV. Antonio Stradivari. 1734 The Gillott "Strad." 1715 Giuseppe Guarneri del Gesu. 1734 . . . . . . . . . . . . . 66

V. Carlo Bergonzi Violoncello. Grand Pattern . . . . . . . . . 84

VI. J. B. Guadagnini Storioni. 1797 . . . . . . . . . . . . . . . . . . . . . . 102

VII. Specimens of Scrolls . . . . . . . . . . . . . . . . . . . 120

VIII. Giuseppe Guarneri. 1742 Antonio Stradivari. 1711 Antonio Stradivari. 1703 . . . . . . . . . . . . . . . . . 136

IX. Giuseppe Guarneri del Gesu. 1737 . . . . . . . . . . . . . 154

X. Domenico Montagnana Violoncello . . . . . . . . . . . . . . 170

XI. Antonio Stradivari. Tenor. 1690 Antonio Stradivari. 1734 . . . . . . . . . . . . . . . . . 186

XII. Giuseppe Guarneri del Gesu. 1738 The "Dolphin" Strad. 1714 Antonio Stradivari. 1718 . . . . . . . . . . . . . . . . . 200

XIII. Antonio Stradivari. 1702 Antonio Stradivari. 1722 Antonio Stradivari. 1703 . . . . . . . . . . . . . . . . . 232

XIV. Stradivari Violoncello . . . . . . . . . . . . . . . . . . 250

XV. Chapel of the Rosary, Cremona . . . . . . . . . . . . . . . 266

XVI. Antonio Stradivari. 1708 Antonio Stradivari. 1736 Giuseppe Guarneri del Gesu. 1735 . . . . . . . . . . . . . 282

XVII. The "Betts" Stradivari. 1704 . . . . . . . . . . . . . . . 298

XVIII. Giuseppe Guarneri del Gesu Antonio Stradivari (Inlaid). 1687 . . . . . . . . . . . . . 316

XIX. Giuseppe Guarneri del Gesu. 1733 Giuseppe Guarneri del Gesu. 1741 Antonio Stradivari. 1726 . . . . . . . . . . . . . . . . . 332

XX. Gasparo da Salo Giuseppe Guarneri del Gesu. 1735 . . . . . . . . . . . . . 348

XXI. Antonio Stradivari. 1690 . . . . . . . . . . . . . . . . . 380

"Marriage at Cana," by Paolo Veronese . . . . . . . . . . . 376

Tartini's Dream . . . . . . . . . . . . . . . . . . . . . . 428

THE VIOLIN ITS FAMOUS MAKERS AND THEIR IMITATORS

SECTION I The Early History of the Violin

1.

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 of instruments played with a bow; but although our knowledge in this direction is both deeper and wider, the light shed upon the subject has not served to dissipate the darkness attending it. Certain parts have been illumined, and conclusions of more or less worth have been drawn therefrom; for the rest, all remains more hopelessly obscured and doubtful than the identity of the "Man in the Iron Mask" or the writer of the "Letters of Junius."

It is satisfactory to know that the most valuable and interesting part of our subject is comparatively free from that doubt and tradition which necessarily attaches to the portion belonging to the Dark or Middle Ages. When we reflect that Music--as we understand it--is a modern art, and that all instruments of the Viol and Fiddle type, as far as the end of the fifteenth century, were rude if not barbarous, it can scarcely excite surprise that our interest should with difficulty be awakened in subtle questions pertaining to the archaeology of bowed instruments.

The views taken of the early history of the leading instrument have not been more multiform than remote. The Violin has been made to figure in history sacred and profane, and in lore classic and barbaric. That an instrument which is at once the most perfect and the most difficult, and withal the most beautiful and the most strangely interesting, should have been thus glorified, hardly admits of wonder. Enthusiasm is a noble passion, when tempered with reason. It cannot be said, however, that the necessity of this qualification has been invariably recognised by enthusiastic inquirers into the history of instruments played with a bow. We have a curious instance of its non-recognition in a treatise on the Viol,[1] written by a distinguished old French Violist named Jean Rousseau. The author, bent upon going to the root of his subject, begins with the Creation, and speaks of Adam as a Violist. Perhaps Rousseau based his belief in the existence of Fiddling at this early period of the world's history on the words "and his brother's name was Jubal; from him descended the Flute players and Fiddlers," as rendered by Luther.

[Footnote 1: "Traite de la Viole," Paris, 1687.]

The parts Orpheus and Apollo have been made to play in infantile Fiddle history have necessarily been dependent upon the licence and the imagination of the sculptor and the medallist. Inferences of antiquity, however, have been drawn from such representations. Tracings of a bow among the sculpture of the ancients have been sought for in vain: no piece is known upon which a bow is distinguishable. A century since, an important discovery was thought to have been made by musical antiquarians in the Grand Duke's Tribuna at Florence, wherein was a small figure of Apollo playing on a kind of Violin with something of the nature of a bow. Inquiry, however, made it clear that the figure belonged to modern art. Orpheus has been represented holding a Violin in one hand and a bow in the other; inquiry again showed that the Violin and the bow were added by the restorer of the statue.