s--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.