: An Illustrated Directory of the Specifications of All Domestic and Foreign Motor-cars and Motor Business Wagons Gasoline Steam and Electric Sold in This Country 1907 by Motor The Automotive Business Magazine - Automobiles Catalogs

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The present form of the Violin the result of much research and experiment, but perfected by the great Cremonese makers--Hogarth's "Line of Beauty" exemplified in the Violin--The requisites necessary to the due appreciation of the grace and properties of the Violin, and its exquisite power of expression--Its acoustical properties--Varieties of woods used in its construction--Methods adopted, and choice of material, by the great Brescian and Cremonese makers--The "whole-back" and "slab-back"--The constituent parts of the Violin--System of placing the sound-bar--Properties and position of the sound-post, and of the bridge; the neck; the finger-board; purfling, &c., &c.--The sound-holes of different makers--Needed cautions as to repairing good instruments . . . . . . . . . . . 27-42

Importance of the Strings in the economy of the Violin--Adrien Le Roy's instructions "How to know Strings"--Thomas Mace and "Venetian Catlins"--Character of the different manufactures of Strings--Superiority of the Italian--The raw material not supplied by the feline race--Rules to be observed in choosing Strings--Modern improvements in Stringing--The Strings of Lindley and Dragonetti--Covered Strings--Experiments on the strain and pressure of Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43-56

A glance at the rise, culmination, and decadence of Art in Italy, and the Violin as connected therewith--The Italians far in advance of other nations in the manufacture--The five Schools of Italian makers--Roger North on the demand for Italian Violins--Brescia the cradle of the manufacture . . . . . . . . . . . . . . . . . . . 57-69

The formation of the Italian Varnish a secret lost to the world--Lustrous character of that of Cremona--Characteristics of the four classes of Italian Varnish--Conjecture as to the loss of the secret--Influence of the different Varnishes on the tone of the Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-76

Bagatella, Antonio--Bagatella, Pietro--BALESTRIERI, TOMMASO; probably a pupil of Stradivari; his work rough, but vigorous, tone and varnish good; his instruments rising in value--Bassiano, Lute-maker, Rome--Bellosio, Anselmo--Bente, Matteo--BERGONZI, CARLO; pupil of Antonio Stradivari; his work closely resembling that of his great master, and of the highest class; increasing appreciation; comparison of his instruments with those of Stradivari and Giuseppe Guarneri; character of his varnish, &c.; Violoncellos and Double-Basses of this maker--Bergonzi, Michel Angelo--BERGONZI, NICCOLO; character of his work--Bergonzi, Zosimo--Bergonzi, Carlo--Bergonzi, Benedetto--Bertassi, Ambrogio--Bertolotti --Bimbi, B.--Borelli, Andrea--Brensio, Girolamo--Brescia, da, Battista--Broschi, Carlo--Busseto, Giovanni . . . . . . . . . . 95-104

Calcagni, Bernardo--Calvarola, Bartolommeo--Camilli, Camillo--CAPPA, GIOFFREDO; pupil of the Brothers Amati; character of his work, in Violins and Violoncellos--Casini, Antonio--Castro--Catenar, Enrico--Celioniati, Gian Francesco--Cerin, Marco Antonio--Ceruti, Giovanni Battista; a prolific workman--Ceruti, Giuseppe--Ceruti, Enrico, son of Giuseppe; his work much valued by Italian players; exhibited in London and Milan Exhibitions--Cristofori, Bartolommeo--Circapa, Tommaso--Cocco, Cristoforo--Contreras, Joseph--Cordano, Jacopo Filippo--Costa, Pietro Antonio dalla; skilful copier of Amati . . . . . . . . . . . . . . . . . . . . . . . 104-110

Dardelli, Pietro; a Franciscan Monk; his Viols and Lutes--Despine, A.--Dieffoprugcar, Magno --Dominicelli, Ferrara--DUIFFOPRUGCAR, GASPAR; high character of his Viols . 110-112

Farinato, Paolo--Ficker, Johann Christian--Ficker, Johann Gottlieb--Fiorillo, Giovanni--Frei, Hans; Lute and Viol-maker 112-113

GABRIELLI, GIOVANNI BATTISTA; his Violoncellos and Violins of high character--Gaffino, Giuseppe--GAGLIANO, ALESSANDRO; pupil of Antonio Stradivari; character of his work--Gagliano, Gennaro--Gagliano, Niccolo--Gagliano, Ferdinando--Gagliano, Giuseppe--Gagliano, Giovanni, Antonio, and Raffaele--Galbusera, C. A.--Garani, Michel Angelo--Garani, Niccolo--Gaspara da Salo --Gatinari, Francesco--Geroni, Domenico Ostiano--Gibertini, Antonio--GOBETTI FRANCESCO; comparisons of his work with those of Montagnana, Santo Serafino, and Ruggeri--Gofriller, Matteo--Gofriller, Francesco--Gragnani, Antonio--GRANCINO, PAOLO; pupil of Niccolo Amati; a true artist; classed with Stradivari, Bergonzi, Amati, and Guarneri; his Violas and Violoncellos--Grancino, Giovanni--Grancino, Giovanni Battista--Grancino, Francesco--Grulli, Pietro--GUADAGNINI, LORENZO, and Giovanni Battista; high character of their work--Guadagnini, Gaetano--Guadagnini, Giuseppe--Guadagnini, Carlo--Guadagnini, Antonio--GUARNERI, ANDREA; the pioneer of his family; worked with Stradivari and Niccolo Amati--GUARNERI, GIUSEPPE, son of Andrea; his Violins, Violas, and Violoncellos--GUARNERI, PIETRO, brother of Andrea--GUARNERI, PIETRO, grandson of Andrea--GUARNERI, GIUSEPPE ; his monogram and cypher; evidence of his birth; sketch of his life, and characteristics of his work; comparison with Stradivari and Gasparo da Salo; his "three epochs;" lustrous quality of his varnish; different characters of his wood; the tradition of his "Prison Fiddles"; a "Prison Joseph"--Guidanti, Giovanni--Guillami . . 113-147

Harton, Michael . . . . . . . . . . . . . . . . . . . . . . . . . 147

Kerlino, Joan . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Lagetto, Luigi--Landolfi, Carlo Ferdinando; original and generally good quality of his work--Lanza, Antonio Maria--Lavazza, Santino--Lavazza, Antonio--Linarolli, Venturo--Loly, Jacopo . 147-148

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