PIETRO GIACOMO—RUGGERI, FRANCESCO ("Il Per"); early artistic genius; foremost position of his family in Cremona; pupil of Niccolò Amati and worthy of him; brilliancy of his varnish—RUGGERI, GIACINTO—RUGGERI, VINCENZO—RUGGERI, GIAMBATTISTA
163–167
SACCHINI—SALÒ GASPARO DA ("The Great Brescian,"); his real name Bertolotti; essentially a maker of Viols; primitive character of his instruments; evidence as to date of his work; Ganassi's work on the Art of Playing the Viol; six-stringed and four-stringed Viols; Martin Agricola and his "Musica Instrumentalis;" Quatuor of instruments, Decantus, Altus, Tenor, and Bassus; foundation by Da Salò of Italian Violin-making; gradual and tentative development of his system; high value of his labours as a pioneer; chief characteristics of his work; his nice discrimination in choice of material; Signor Dragonetti's four Double-Basses of this maker, and his presentation of one of them to the Monastery St. Mark's, Venice—Sanoni, Giovanni Battista—Santo, Giovanni—Sanzo—Sardi—Sellas, Matteo—SERAFINO, SANTO; exquisite finish of his work; variation of model; high character of varnish and work; his method of cutting; copied Amati and Stainer—Sneider, Josefo—Socchi, Vincenzo—Sorsana—Stregner, Magno—Storioni; follower of Guarneri del Gesù; his freak as to placing the sound-holes; creditable character of his work in several respects—STRADIVARI, ANTONIO; his renown beyond that of all others; researches as to records of his life; evidence as to date of birth, marriage, and death; Genealogical Table of his family; the inventory of his work remaining at his death; similarity of his early work to that of his master, Niccolò Amati; evidences as to later changes of style; his inheritance of his aged master's tools and models; his purchase of his house in Cremona; contemporary appreciation of his merits; his set of Violins, Altos, and Violoncellos for King James of England; valuable evidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio's purchase of Stradivari's models, tools, and drawings, and their present possession by the Marquis Dalla Valle; instruments made for the Duke of Natalona, the Duke of Savoy, and the Duke of Modena; the "Long Strad"; instruments for the Spanish Court; letter from the Marquis Ariberti; a "Chest of Viols;" a "Concerto;" Stradivari's "golden period," 1700; description of his instruments of this date; the "Betts Strad;" guiding principles as to differences of construction and quality of material; the "Dolphin Strad," its exquisite beauty; tranquil character of Stradivari's life; war in Cremona; Prince Eugene and Villeroy; visit of Philip V. of Spain to Italy, and entry into Cremona; set of instruments for Charles III. of Spain, and for Archduke Charles of Austria; letter from Lorenzo Giustiniani; set of Violins for Augustus, King of Poland; Veracini, the Solo-Violinist, and Stradivari; last epoch of the great maker; quality of his instruments at this period; comparison with those of contemporaries; place of his burial, in the Chapel of the Rosary, with diagram; Polledro's description of the personality of Stradivari; singular apathy of the Cremonese as to their great deceased citizen—STRADIVARI, FRANCESCO and OMOBONO, sons and successors of Antonio; character of their work; correspondence between his son and grandson, Paolo and Antonio, and the agents of Count Cozio di Salabue, relative to the purchase of the models, tools, and drawings of the Maestro—Sursano, Spirito
168–219
Tanegia, Carlo Antonio—Taningard, Giorgio—TECCHLER, DAVID; his instruments of German and Italian styles, finely formed, and of good quality; his Violoncellos of large size—Testore, Carlo Giuseppe—Testore, Carlo Antonio—Testore, Paolo Antonio—Tieffenbrucker, Leonardo—Todini, Michele; his method of stringing the Violono—Tononi, Carlo—Tononi, Carlo Antonio—Tononi, Giovanni—Tononi, Felice—Tononi, Guido—Trapani, Raffaele
219–222
Valenzano, G.—Vetrini, Battista—Vimercati
222
Wenger
222
Zannetto, Pellegrino—Zanola, Giovanni Battista—Zanotti, Antonio—Zanti, Alessandro—Zanure, Pietro—Zenatto, Pietro
222–223
SECTION VII.—THE FRENCH SCHOOL.
Origin of the French School in the 17th century; followers of the Brescian and Cremonese types; mediocre character of their earlier efforts, with a few exceptions—De Comble and the second French School; Pique, Lupot, and François Gand; Silvestre, of Lyons—Introduction of the practice of Fiddle-baking; its failure—The copyist, and the Mirecourt factory, the "Manchester of Fiddle-making;" its destructive influence on the interests of true art
CALOT—Castagnery, Andrea—Castagnery, Jean Paul—Champion, René—Chanot, François—CHANOT, GEORGES; an indefatigable worker, and close copier of Stradivari and Guarneri—Chanot, Georges, fils—Chanot, F.—Chanot, G. A.—Chappuy, Nicolas-Augustin—Chardon, Joseph—Charotte—Chevrier, André-Augustin—Claudot, Charles—Claudot, Augustin—Clément—Cliquot, Henri—Cliquot, Louis Alexandre—Cunault—Cuypers—Cuny
234–237
Daniel—Darche—David—DE COMBLE, AMBROISE; said to have worked with Stradivari; a skilful worker; good material and varnish—Dehommais—Delanoix—Delaunay—Deleplanque, Gérard—Derazey—Despons, Antoine—Dieulafait—Droulot—Ducheron, Mathurin—Du Mesnil, Jacques
237–238
Eesbroek, Jean Van, Lute-maker
238–239
Falaise—Fendt, or Fent—Fleury, Benoist—Fourrier, Nicolas
