Amati, Andrew, 353;
Antonius, Hieronymus, and Nicholas, 354.
Anagnos, Mrs. J. R., poem, 394.
Anatomy of the Violinist, Dr. Crosby’s paper on, 329.
Bartol, Rev. Dr. C. A., extracts from his Memorial Sermon, 400.
Bente, Matteo, 357.
Bergonzi, the, 364.
Colton, Walter E., preface to “Violin Notes,” 346;
note on the bar, 376;
on the chin–rest, 378.
Crosby, Dr. A. B., on the Anatomy of the Violinist, 329.
Curtis, Sir W., 358.
Da Salo, Gaspar, 351, 352, 364.
Duiffoprugcar, Gaspar, 352.
Fields, James T., tribute to Ole Bull, 397.
Fouqué, Baron de la Motte, on Ole Bull, 392.
Gagliano, Alessandro, 365.
George the Fourth, 358.
Guarnerius, Joseph, 353, 355, 364.
Habeneck, the musical director, 373.
Hamerton, P. G., reference to Ole Bull, 396.
Howe, Mrs. Julia Ward, tribute to Ole Bull, 400.
Lanzi, Michael Angelo, 357.
Lie, Jonas, on Ole Bull’s Seventieth Birthday, 387.
Liszt and Paganini, 370.
Longfellow, Mr., extracts from his letters, 397.
Lund, John, poem for the funeral of Ole Bull, 391.
Maggini violins, 353, 356.
Malibran and Paganini, 373.
Marston, Philip Bourke, poem on hearing Ole Bull in 1879, 393.
Martin, Simon, 365.
McKenzie, Rev. Dr. A., extract from sermon, 407.
Montagnana Dominico, 365.
Moulton, Mrs. L. C., poem, 395.
Munch, A., poem on the death of Ole Bull, 388.
Ole Bull: on Tartini, 341;
his Gaspar da Salo violin, 356;
his Matteo Bente violin, 357;
his Nicholas Amati, 358;
Mr. Colton on his theory of the bar, 377;
his invention of the chin–rest, 378.
Paganini, Ole Bull’s account of, 369–376.
Plowden, the violin collector, 358.
Poems and Personal Tributes: J. S. Welhaven’s “To Ole Bull,” 380;
translation of the same, 381;
H. Wergeland’s “Norway to America on Ole Bull’s Departure,” 383;
his “Norway’s Farewell to Ole Bull,” 385;
A. Munch, “The Death of Ole Bull,” 388;
Jonas Lie, “On Ole Bull’s Seventieth Birthday,” 387;
John Lund, poem sung at the funeral of Ole Bull, 391;
Baron Fouqué, reference to Ole Bull, 392;
Philip Bourke Marston, “On Hearing Ole Bull in 1879,” 393;
Mrs. Julia R. Anagnos, poem to Ole Bull, 394;
Mrs. Louise C. Moulton, “In Memory of Ole Bull,” 395;
P. G. Hamerton, extract from “Thoughts about Art,” 396;
Mr. Longfellow, extracts from letters, 397;
James T. Fields, “Ole Bull,” 397;
Mrs. Julia Ward Howe, tribute from, 400;
Rev. Dr. C. A. Bartol, extracts from Memorial Sermon, 400;
Rev. Dr. A. McKenzie, extract from Sermon on Thanksgiving Day,
1880, 407.
Raphael’s “Parnassus,” Apollo with the viol in, 353.
Sansecondo, Giacomo, 353.
Seraphino, Sanctus, 365.
Steiner violins, 353.
Stradivarius, Antonius, 352, 353, 355.
Tartini, letter on the use of the bow, 342;
Ole Bull’s opinion of, 341;
development of violin in time of, 351;
his style of bowing adopted by Paganini, 370.
Troupenas, the music publisher, 373.
Violin Notes, by Ole Bull: preface by W. E. Colton, 347;
origin of the violin, 348;
Gaspar da Salo and the Cremona school, 351;
Ole Bull’s Gaspar da Salo violin, 356;
his Nicholas Amati, 358;
the bridge, 359;
the sound–post, 360;
the bow, 361;
the bar, 362, 376;
the varnish, 363;
list of authorities on varnish, 367;
the ground–toning, 368;
Paganini, 369.
Vuillaume and Paganini, 371.
Welhaven, J. S., poem “To Ole Bull,” 380;
translation of the same, 381.
Wergeland, H., his “Norway to America on Ole Bull’s Departure,” 383;
his “Norway’s Farewell to Ole Bull,” 385.
Zoller, the Amtmann, 356.
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