as to date of birth; his Violins small; founded the School of Cremona; probably a pupil of Gasparo da Salò; his model high, and sound-hole inelegant; his varnish deep golden; his "Charles IX. Set" of twenty-four Violins, six Tenors and eight Basses—Amati, Niccolò—AMATI, the Brothers ANTONIO and GIROLAMO; probable date of birth; comparison of the respective work, material, and tone of the two brothers—AMATI, NICCOLÒ, son of Girolamo; date of birth and death; the greatest of his illustrious family; gradual change in style; the "Grand Amati," followed by his great pupil, Stradivari; its exquisite proportions and character; singular beauty of his material, and elegance of design; differences between Niccolò Amati and his several copyists, Italian, German, and English—AMATI, GIROLAMO; date of birth; his work ascribed to other makers; character of his instruments and his varnish; the last of the Amatis—Ambrosi, Pietro—Anselmo, Pietro—Antoniazzi, Gaetano—Antonio of Bologna—Antonio, Ciciliano—Assalone, Gasparo
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, NICCOLÒ; character of his work—Bergonzi, Zosimo—Bergonzi, Carlo—Bergonzi, Benedetto—Bertassi, Ambrogio—Bertolotti (see Salò)—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 (Magnus Tieffenbrucker)—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, Niccolò—Gagliano, Ferdinando—Gagliano, Giuseppe—Gagliano, Giovanni, Antonio, and Raffaele—Galbusera, C. A.—Garani, Michel Angelo—Garani, Niccolò—Gaspara da Salò (see Salò)—Gatinari, Francesco—Geroni, Domenico Ostiano—Gibertini, Antonio—GOBETTI (Gobit) FRANCESCO; comparisons of his work with those of Montagnana, Santo Serafino, and Ruggeri—Gofriller, Matteo—Gofriller, Francesco—Gragnani, Antonio—GRANCINO, PAOLO; pupil of Niccolò 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 Niccolò Amati—GUARNERI, GIUSEPPE, son of Andrea; his Violins, Violas, and Violoncellos—GUARNERI, PIETRO, brother of Andrea—GUARNERI, PIETRO, grandson of Andrea—GUARNERI, GIUSEPPE (del Gesù); his monogram and cypher; evidence of his birth; sketch of his life, and characteristics of his work; comparison with Stradivari and Gasparo da Salò; 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
MAGGINI, GIOVANNI PAOLO; pupil and follower of Gasparo da Salò; other makers' productions frequently attributed to him; comparison of his work with that of Da Salò—MALER (Lutinist); termed the "Stradivari of Lutes;" Thomas Mace on the art of judging Lutes and Viols—MANTEGAZZA, PIETRO GIOVANNI; eminent as a restorer—Maratti—Mariani, Antonio—Meiberi, Francesco—Mezadri, Alessandro—Mezadri, Francesco—MONTAGNANA, DOMENICO; pupil of Antonio Stradivari; splendid specimens of his art still extant; his cognomen, "The Mighty Venetian;" rising value of his instruments; comparison with Stradivari and Bergonzi; superior character of his varnish—Montaldi, Gregorio—Morella
149–158
Nadotti, Giuseppe—Nella, Raffaele
158
Ortega
158
Pandolfi, Antonio—PANORMO, VINCENZO; follower of Antonio Stradivari; residence in London and in Ireland; his struggles with adversity; light and graceful character of his work—Pansani, Antonio—Pasta, Antonio—Pasta, Domenico—Picino—Platner, Michel—Pollusca, Antonio—PRESSENDA, GIOVANNI FRANCESCO; superior work and varnish studied in Cremona; contrast with contemporary workers; humble origin; his connection with Storioni, and with Polledro, the Violinist; his models, Stradivari and Amati
