quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
the end of the	36
son of the above	33
is said to have	32
one of the most	25
the whole of the	24
at the same time	24
in the possession of	24
giuseppe guarneri del gesu	24
he appears to have	23
count cozio di salabue	22
sixteenths of an inch	22
in the hands of	21
character of his work	21
the upper and lower	21
in connection with the	21
may be said to	21
of the upper table	21
at the end of	21
a quarter of an	21
for the purpose of	21
is one of the	20
quarter of an inch	20
on the th of	20
i would like to	20
the art of violin	19
in the case of	19
was a pupil of	18
instruments of this maker	18
the centre of the	18
the works of the	18
appears to have been	18
the middle of the	18
brother of the above	17
the body of the	17
of the old italian	17
said to have been	17
the instruments of this	17
will have to be	17
to have been a	16
history of the violin	16
the rest of the	16
eighth of an inch	16
high character of his	15
the part of the	15
pupil of niccolo amati	15
of gasparo da salo	15
the surface of the	14
a great number of	14
to that of the	14
the character of the	14
you will have to	14
in the same manner	14
the progress of the	14
as a maker of	14
one of the best	14
eighths of an inch	14
of the great masters	14
the history of the	14
with regard to the	14
as a matter of	13
that is to be	13
appear to have been	13
the form of the	13
dorothy and aunt betty	13
the violin and its	13
of the th century	13
the construction of the	13
each side of the	13
pupil of antonio stradivari	12
on the other hand	12
been a pupil of	12
may be described as	12
seems to have been	12
that is to say	12
i am going to	12
seem to have been	12
it is to be	12
a matter of course	12
the grain of the	12
it must not be	11
art of violin making	11
made some good instruments	11
the instruments of the	11
for the most part	11
there are a few	11
the early part of	11
the name of the	11
the early history of	11
the possession of the	11
in the collection of	11
aunt betty and the	11
progress of the violin	11
a member of the	11
from end to end	11
be said to have	11
of this maker are	11
this part of the	11
in the way of	11
the manner in which	10
the art of making	10
construction of the violin	10
in the construction of	10
body of the instrument	10
at the present time	10
of one of the	10
have been a pupil	10
he seems to have	10
this is one of	10
to be able to	10
will be found to	10
of gaspar di salo	10
on the part of	10
of the art of	10
it will be seen	10
be as well to	10
mention is made of	10
back to the hotel	10
early history of the	10
in the works of	10
of the instruments of	9
glad to see you	9
in consequence of the	9
there can be no	9
makers of this name	9
the junction of the	9
the work of the	9
the time of the	9
of the old masters	9
it is necessary to	9
i shall have to	9
would seem to have	9
for a long time	9
with the exception of	9
at the harp and	9
that are to be	9
the height of the	9
care must be taken	9
it will be found	9
in the manufacture of	9
with that of the	9
the attention of the	9
it may be said	9
in the first place	9
he is said to	9
the manufacture of violins	9
aunt betty and alfy	9
of the works of	9
in the shop of	9
the death of the	9
i am so glad	9
the members of the	9
not appear to have	9
by the name of	9
the position of the	9
of the character of	9
the sides of the	9
foot of the bridge	9
the thickness of the	9
does not appear to	9
of the united states	9
the tone of the	8
about the middle of	8
be said to be	8
to be regretted that	8
a maker of violins	8
the side of the	8
at the present day	8
be one of the	8
in the history of	8
known by the name	8
character of his varnish	8
of the brothers amati	8
the top of the	8
seconds of an inch	8
in the course of	8
may be as well	8
at the time of	8
of the violin in	8
the back of the	8
the viol da gamba	8
in the absence of	8
the date of birth	8
the use of the	8
it may be as	8
as if it were	8
is to be regretted	8
of an inch from	8
will be that of	8
was one of the	8
the violin has been	8
the instruments made by	8
the direction of the	8
which is to be	8
in the present instance	8
on the construction of	8
in one of the	8
of his instruments are	8
the beginning of the	8
to the present time	8
body of the violin	8
in a few minutes	8
of the eighteenth century	7
of the great italian	7
early part of the	7
the neck or graft	7
in the art of	7
in the work of	7
on each side of	7
it is said that	7
borne in mind that	7
of the celebrated italian	7
from time to time	7
in such a manner	7
of the instrument is	7
they are of the	7
to aunt betty and	7
of a high order	7
the curve of the	7
in the workshop of	7
the first of the	7
for the first time	7
i want you to	7
it is evident that	7
are you going to	7
the back and belly	7
there is not a	7
i am glad to	7
when she had finished	7
as one of the	7
would like to see	7
the best of the	7
in a great measure	7
inferior to that of	7
the width of the	7
the hands of a	7
in the present day	7
you are going to	7
the old italian makers	7
the course of the	7
characteristics of his work	7
of an inch thick	7
a part of the	7
which it has been	7
the school of cremona	7
he was born in	7
as far as the	7
with a piece of	7
at the junction of	7
of guarneri del gesu	7
is said to be	7
the wood of the	7
be said that the	7
the interior of the	7
teachers of the violin	7
the marquis dalla valle	7
of the violin family	7
part of the instrument	7
on account of the	7
and a half inches	7
out of the window	7
in the early part	7
a pupil of niccolo	7
maker to the court	7
may be taken as	7
of chemically prepared wood	7
of some of the	7
the action of the	7
be borne in mind	7
at the upper part	7
so as to make	7
the church of san	7
the length of the	7
in keeping with the	7
a viol da gamba	7
the greater part of	7
the pores of the	7
distinct from that of	7
may be said that	7
has been made to	7
of count cozio di	7
of the italian masters	7
in front of the	7
the value of the	7
origin of the violin	7
of the violin and	7
i should like to	6
the case of the	6
the bellies are of	6
of an inch in	6
as a work of	6
we are going to	6
in the days of	6
i am inclined to	6
what shall i do	6
since the death of	6
the hands of the	6
on account of their	6
art of making violins	6
by the use of	6
it will not be	6
to the end of	6
to have made a	6
gasparo da salo and	6
of the great cremonese	6
will be seen that	6
the size of the	6
the work of stradivari	6
at the paris conservatoire	6
form of the instrument	6
of the fact that	6
will be necessary to	6
of the middle ages	6
sixteenth of an inch	6
must be taken that	6
in the matter of	6
to the instruments of	6
parts of the instrument	6
the edge of the	6
technics of violoncello playing	6
of the three great	6
was an excellent workman	6
of the present century	6
of the violin is	6
have no hesitation in	6
the presence of the	6
it ought to be	6
as it should be	6
a piece of wood	6
the construction of violins	6
in reference to the	6
in the shape of	6
of the amati family	6
would like to have	6
so as to allow	6
that he did not	6
a violin of this	6
surfaces that are to	6
the varnish is of	6
connected with the violin	6
the exhibition of vienna	6
death of the celebrated	6
of lutes and viols	6
out of the way	6
the last of the	6
the upper table and	6
in the manner before	6
a great deal of	6
to the court of	6
removing the upper table	6
to the subject of	6
on the choice of	6
said to have made	6
on the first string	6
a maker of viols	6
in the same year	6
to be one of	6
be held in position	6
the mistress of bellvieu	6
and his instruments are	6
to the business of	6
a portion of the	6
the part to be	6
the death of his	6
the father of the	6
i have a little	6
the contents of the	6
of the leading instrument	6
the use of a	6
to be met with	6
as well as the	6
gaspar di salo and	6
the rise of the	6
of the pupils of	6
i think that is	6
some of the finest	6
in the musical world	6
some idea of the	6
the fitting of the	6
care being taken that	6
with the aid of	6
many of his instruments	6
for the production of	6
it is unnecessary to	6
church of san domenico	6
as it is termed	6
of the makers of	6
in the production of	6
a knowledge of the	6
end of the fingerboard	6
and there is no	6
of the sixteenth century	6
the eye of the	6
the lower part of	6
as nearly as possible	6
from one of the	6
considered to be the	6
of an inch broad	6
of the king of	6
there is no doubt	6
aunt betty and i	6
i do not know	6
the fact of the	6
there will not be	6
the time of his	6
it seems to me	6
the city of cremona	6
lauten und geigenmacher in	6
those of his master	6
to be found in	6
said to have worked	6
do you want to	6
the service of the	6
member of the party	6
in the instruments of	6
the close of the	6
in the centre of	6
if this is not	6
will be found that	6
of the instruments made	6
the surfaces that are	6
after the death of	6
of the use of	6
of an inch at	6
of stradivari and guarneri	6
the formation of the	6
in accordance with the	6
the parts of the	6
of the most important	5
in the sixteenth century	5
the top and bottom	5
the violin will be	5
one side of the	5
herr and frau deichenberg	5
joint of the back	5
with the name of	5
and the champion crowdero	5
of the back and	5
in the year he	5
president of the cremona	5
the pupils of the	5
to those of his	5
most of them are	5
and teachers of the	5
to such an extent	5
taken out of the	5
in favour of the	5
to pupils and teachers	5
of the body of	5
hudibras and the champion	5
a pupil of stradiuarius	5
in the instance of	5
right angles with the	5
on the upper table	5
insertion of fresh wood	5
the wood to be	5
aunt betty and dorothy	5
over and over again	5
in the violin world	5
be found in the	5
on the progress of	5
equal to that of	5
of the present day	5
in the sitting room	5
in the making of	5
that in the present	5
upper part of the	5
master of his art	5
his instruments are of	5
as shown in fig	5
an instrument of the	5
held in position by	5
the upper part of	5
to be a pupil	5
at right angles with	5
the front of the	5
in the same way	5
of the fresh wood	5
must be borne in	5
lower part of the	5
of a high class	5
it is not a	5
the violins of this	5
middle of the th	5
be looked upon as	5
on account of its	5
the celebrated italian masters	5
belongs the credit of	5
son of jacob august	5
between the years and	5
the instrument to be	5
the mind of the	5
the making of a	5
it is not so	5
the harp and crown	5
upper and lower tables	5
formerly the property of	5
i think i shall	5
will be able to	5
it is clear that	5
to the musical world	5
by gasparo da salo	5
if it were a	5
in the selection of	5
of the music jury	5
in spite of all	5
in a few moments	5
it will be a	5
i have met with	5
the subject of this	5
the line of the	5
of the late mr	5
a few of his	5
of its having been	5
pupil of nicholas amati	5
worthy the attention of	5
in the use of	5
in order that the	5
to be allowed to	5
to the works of	5
the point of the	5
italian school of violin	5
after the lapse of	5
the old italian masters	5
on account of his	5
in a state of	5
the commencement of the	5
and viols da gamba	5
the result of the	5
at this period was	5
there was something in	5
turned to aunt betty	5
am so glad to	5
to enable them to	5
in the style of	5
a piece of soft	5
the under part of	5
in regard to the	5
beyond the reach of	5
to be the best	5
probably a pupil of	5
of the seventeenth century	5
part of the neck	5
to see you again	5
the parts to be	5
reference is made to	5
varnish of good quality	5
the center of the	5
the application of the	5
the instruments of his	5
can be no doubt	5
is made of a	5
chiefly known as a	5
upon the occasion of	5
be found to be	5
time of his death	5
with a view to	5
it must be borne	5
it is interesting to	5
on the art of	5
i am anxious to	5
the whole length of	5
the great cremona makers	5
the instruments of stradivari	5
made many excellent instruments	5
in the th century	5
at the centre of	5
the time when the	5
is not to be	5
with the first finger	5
though there was something	5
or it may be	5
as a maker and	5
you would like to	5
now in the possession	5
with the point of	5
at a time when	5
would not have been	5
of this maker is	5
he would seem to	5
the eyes of the	5
the mass of air	5
this portion of the	5
but there is no	5
that of the old	5
does not seem to	5
of the whole of	5
about a quarter of	5
of the violin the	5
from the fact that	5
the appearance of the	5
the modelling of the	5
the first maker of	5
to the satisfaction of	5
at one of the	5
as a pupil of	5
in the church of	5
left by the maker	5
that he had a	5
that there is no	5
of the cremona society	5
it must have been	5
of the construction of	5
expert in law courts	5
succeeded to the business	5
it may be remarked	5
not be out of	5
other parts of the	5
as much as possible	5
the origin of the	5
the violin in the	5
by means of a	5
of the last century	5
continued for some time	5
was the son of	5
must be resorted to	5
of the fifteenth century	5
one of the finest	5
to the work of	5
i have no hesitation	5
so far as the	5
but it is not	5
of the highest order	5
the downward pressure of	5
the finest specimens of	5
description of his work	5
there will be a	5
as to the best	5
in order to be	5
surface of the wood	5
emission of the tone	5
to have been the	5
advice to pupils and	5
in the first instance	5
at once to the	5
betty and the girls	5
upon the death of	5
the excellence of the	5
you see i have	5
pupils and teachers of	5
royal society of musicians	5
born at mirecourt in	5
on his own account	5
it will be necessary	5
they appear to have	5
pores of the wood	5
them into the belief	5
biographie universelle des musiciens	5
the edges of the	5
good character of work	5
both sides of the	5
chapel of the rosary	5
a work of art	5
whole length of the	5
when one of the	5
the next few days	5
the foot of the	5
jack of all trades	5
to gasparo da salo	5
said to be the	5
worked in the shop	5
the part where the	5
the business of his	5
works of the great	5
a pupil of stradivari	5
the varnish is very	5
the date of the	5
and a few others	5
a pupil of nicholas	5
to the art of	5
one and a quarter	5
the fact that she	5
a pupil of antonio	5
the upper table is	5
in the presence of	5
the th of september	5
many of the old	5
the owner of the	4
on the subject of	4
he would like to	4
is likely to be	4
other makers of this	4
the opening of the	4
copy of letter received	4
with the rest of	4
that could be desired	4
that of his father	4
the aid of a	4
and left to dry	4
edition of this work	4
will not be in	4
in their proper places	4
we have of the	4
the condition of the	4
an inch from the	4
the belief that the	4
a more or less	4
old folks at home	4
would be difficult to	4
under part of the	4
i have read the	4
on the technics of	4
know of no work	4
of the instrument in	4
of the instruments at	4
a few years ago	4
is a most interesting	4
in its natural state	4
it is better to	4
we shall have to	4
violin making by walter	4
end of the violin	4
under the head of	4
well known in the	4
martha and father john	4
of the progress of	4
worked with his father	4
one of the old	4
i will tell you	4
as much as i	4
the proper emission of	4
to make a violin	4
at the same period	4
the greater number of	4
so as to keep	4
a passionate lover of	4
instruments are of the	4
collection of count cozio	4
far in excess of	4
one or the other	4
the next proceeding will	4
this is that the	4
by count cozio di	4
and gasparo da salo	4
projecting part of the	4
on the following day	4
the choice of a	4
a continuation of the	4
there are so many	4
in the catalogue of	4
mother martha and father	4
that the art of	4
from the pen of	4
sweet but not powerful	4
for the time being	4
century and a half	4
the cutting of the	4
the consideration of the	4
i think it is	4
on the occasion of	4
be out of place	4
letter received by the	4
part that is to	4
the collection of instruments	4
the one of the	4
was buried in the	4
in which the violin	4
placed in position and	4
is supposed to have	4
business of his father	4
end to end of	4
was in the possession	4
a small piece of	4
at the present moment	4
if you do not	4
it was in the	4
an inch at the	4
the thread of the	4
in the following year	4
a glance at the	4
it was not until	4
to persuade them into	4
so as to be	4
the model is high	4
instruments made by the	4
of the family of	4
remains for me to	4
brought to bear upon	4
the possession of mr	4
be made in the	4
was the first to	4
in the service of	4
are of the flat	4
as closely as possible	4
to be of the	4
is to be inserted	4
but not powerful tone	4
for this purpose a	4
until i arrive at	4
one of the first	4
and find it very	4
the constitution of the	4
without opening the violin	4
his violins and violoncellos	4
markings of the wood	4
it is impossible to	4
the art of playing	4
i have heard that	4
at the academy of	4
son of giovanni battista	4
of these makers are	4
considered to have been	4
there is not much	4
and that he was	4
to be very good	4
to come in contact	4
the first finger upon	4
on the violins of	4
seen to be in	4
of the form of	4
i hope i have	4
aunt betty and alfaretta	4
the old italian violins	4
the violin and the	4
into the belief that	4
he was an excellent	4
the old italian instruments	4
am glad to see	4
the king of instruments	4
of an inch deep	4
and the duke of	4
it is possible that	4
of a number of	4
the academy of music	4
the best work of	4
to study the violin	4
the tone of which	4
the harp and hautboy	4
girls and aunt betty	4
the consequence is that	4
you will find it	4
on the face of	4
of cremonys and stainers	4
leaving the workshop of	4
of an old master	4
be in new york	4
the art of italian	4
the reason of this	4
be considered to be	4
the extent of his	4
the marriage at cana	4
gallery of cremonys and	4
of more or less	4
the seat of the	4
nearly the whole of	4
the secret of making	4
is the only authorised	4
when the violin was	4
performer on the violin	4
enough has been said	4
i think we have	4
the upper table of	4
of playing the violin	4
sides of the fingerboard	4
be inserted in the	4
time has elapsed for	4
the three great masters	4
the wood for the	4
of the manufacture of	4
the rear of the	4
di salo and magini	4
and in a few	4
the same time the	4
was something in that	4
of this part of	4
at the upper and	4
side or the other	4
in the center of	4
tone of the instrument	4
for a short time	4
in his violin school	4
what do you think	4
the other of the	4
to tell you that	4
of letter received by	4
the ear of the	4
it is probable that	4
he was born at	4
the foundation of the	4
in consequence of which	4
violin and its music	4
to have had a	4
of the violin will	4
for the reception of	4
is found to be	4
he made a few	4
have made a great	4
he made some good	4
two violins and a	4
the more so when	4
by the aid of	4
that he was the	4
jim and aunt betty	4
known as a maker	4
a labour of love	4
for the grand duke	4
in the highest degree	4
the only authorised edition	4
accounted for by the	4
the production of tone	4
here and there with	4
the gaze of the	4
of the great makers	4
some good instruments of	4
the grand duke of	4
in regard to tone	4
the removal of the	4
and quality of tone	4
would have to be	4
in the knowledge of	4
of the wood at	4
of instruments of the	4
character of his instruments	4
of tone which is	4
be found to have	4
is a matter of	4
in connection with this	4
of an inch and	4
to the exhibition of	4
the left of the	4
from the fact of	4
position of the sound	4
end of the th	4
but i do not	4
persuade them into the	4
cantu et musica sacra	4
at the other end	4
can be made to	4
of the part to	4
they are to be	4
grand duke of florence	4
the collection of count	4
must be admitted that	4
the depth of about	4
necessary to refer to	4
of a similar nature	4
will not be any	4
the upper or lower	4
the character of his	4
in spite of the	4
in these days of	4
may be remarked that	4
und geigenmacher in munchen	4
of the most beautiful	4
what a lot of	4
on one side or	4
to the depth of	4
but a few weeks	4
had never heard before	4
received by the author	4
are said to have	4
at the part where	4
the italian school of	4
the violin of the	4
to the surface of	4
it must be admitted	4
playing on the violin	4
great number of instruments	4
appear to have made	4
left the workshop of	4
may be considered as	4
the production of good	4
to be a good	4
by one of the	4
for two violins and	4
at the door and	4
and one of the	4
into the early history	4
the preparation of the	4
became the property of	4
portion of the violin	4
have been made to	4
odds and ends of	4
violins of this maker	4
to a great extent	4
of the upper and	4
to come to bellvieu	4
the lines of the	4
it was to be	4
of the work of	4
art of italian violin	4
sense of the term	4
the king joseph guarnerius	4
a little to the	4
a piece of hard	4
he was the first	4
each end of the	4
chief and his assistant	4
of the finest specimens	4
was at one time	4
a piece of paper	4
of stradiuarius and guarnerius	4
the workshop of his	4
are chiefly of the	4
work with that of	4
which it is to	4
the violins of stradivari	4
as to allow of	4
not by any means	4
the royal academy of	4
which was in the	4
of those made by	4
of the school of	4
violin and its votaries	4
in the body of	4
the works of stradivari	4
i know of no	4
one half of the	4
in the direction of	4
could not have been	4
made of chemically prepared	4
his method of cutting	4
himself acquainted with the	4
subject of this notice	4
violin of this make	4
to have been of	4
the author from the	4
parts of the violin	4
we are indebted to	4
of his work with	4
the technics of violoncello	4
that many of the	4
of the neck and	4
as if they were	4
the property of the	4
the plane of the	4
of technics of violin	4
think it would be	4
to be in the	4
and i have been	4
de cantu et musica	4
of the royal exchange	4
the inside of the	4
when they reached the	4
when the glue has	4
of his best instruments	4
made up my mind	4
to play on one	4
side of the table	4
in the estimation of	4
is the result of	4
any part of the	4
the family of the	4
and character of the	4
in this part of	4
the wood of which	4
and is said to	4
i am sure that	4
as they entered the	4
the instruments at the	4
back of the scroll	4
there appears to be	4
made several excellent instruments	4
to refer to the	4
to end of the	4
of interest in the	4
the tail pin hole	4
edition of technics of	4
of the style of	4
royal academy of music	4
the cremonese and brescian	4
in the following pages	4
the great italian masters	4
downward pressure of the	4
alone on the mountain	4
making by walter h	4
into contact with the	4
the markings of the	4
is by no means	4
the end of a	4
i must tell you	4
let us see what	4
may be done with	4
researches into the early	4
without the aid of	4
maker of the violin	4
the walls of the	4
will be found in	4
cannot fail to interest	4
made a great number	4
of an instrument of	4
from side to side	4
to the consideration of	4
to those of the	4
works of the old	4
of the most eminent	4
played with a bow	4
to be inserted in	4
of the nineteenth century	4
go back to the	4
to give you a	4
at the pennsylvania station	4
it would be difficult	4
it only remains to	4
only authorised edition of	4
maker of lutes and	4
the maker of the	4
as quickly as possible	4
in close proximity to	4
the museum of the	4
a sweet but not	4
of the great master	4
well worthy the attention	4
being placed in position	4
the bottom and top	4
he was a pupil	4
to the school of	4
part of the original	4
by the leading artists	4
at the age of	4
in which he made	4
the girls and aunt	4
there is only one	4
by the application of	4
and in many instances	4
of the fiddle kind	4
that there may be	4
on the opposite side	4
the pressure of the	4
in relation to the	4
in the management of	4
the surfaces of the	4
next proceeding will be	4
of the table is	4
by the author from	4
one side or the	4
technics of violin playing	4
some of the most	4
with some degree of	4
the art of the	4
production of good tone	4
a large number of	4
sufficient time has elapsed	4
at the milan exhibition	4
be a pupil of	4
there was a great	4
see if you can	4
so glad to see	4
the occasion of the	4
we have seen a	4
it may be that	4
the fact that the	4
bellies are of a	3
arabian origin of the	3
lord amherst of hackney	3
other side of the	3
there is no other	3
one and a half	3
at the hands of	3
there are many instances	3
of the table that	3
he was one of	3
spohr in his violin	3
in the treatment of	3
made from the intestines	3
to the publication of	3
is taken in hand	3
the back and sides	3
of the production of	3
of his having been	3
both upper and lower	3
been in the possession	3
the case in the	3
part of the violin	3
of the church of	3
compared with those of	3
just as soon as	3
to the extent of	3
wood of good quality	3
he made a great	3
a violoncello by this	3
we may be sure	3
will have to come	3
the aid of the	3
in the notice of	3
the result of a	3
the ranks of the	3
went back to the	3
at the conservatoire in	3
year in which he	3
it over and over	3
was the first maker	3
can be used for	3
in which they were	3
to have made many	3
quarters of an inch	3
be difficult to find	3
by means of this	3
will not allow of	3
just think of all	3
and it may be	3
table and the neck	3
mention is made by	3
ole bull and fiddle	3
to be held in	3
stage as a career	3
thought it necessary to	3
the sign of the	3
as to whether the	3
than one way of	3
for some time after	3
in others there is	3
those of his father	3
viol da gamba of	3
of this maker were	3
to the age of	3
are among the finest	3
its preparation and use	3
the dictates of his	3
be done with a	3
and you will be	3
treated in the same	3
composer for his instrument	3
until i get a	3
from the same piece	3
i have to play	3
under the name of	3
rang out over the	3
the varnish of a	3
the chief characteristics of	3
to take the position	3
the difference in the	3
the reach of the	3
this was followed by	3
the cool of the	3
was to be held	3
the parts may be	3
in a tone of	3
the quartettes of haydn	3
viol of this maker	3
together with those of	3
the first time in	3
the substance of the	3
never been able to	3
cannot be considered as	3
spohr and the collector	3
plenty of time to	3
is of a kind	3
evidence as to date	3
is not of the	3
treatise on the viol	3
by the hand of	3
this is the case	3
the early instruments of	3
a state of great	3
it seems as if	3
of the value of	3
for a violin of	3
an eighth of an	3
in the world of	3
for amateurs at berlin	3
that may have been	3
to have been in	3
not a maker of	3
where he is said	3
to be ready to	3
with which it is	3
his best instruments are	3
it is held in	3
i am sure i	3
in conjunction with a	3
be my business to	3
aunt betty and jim	3
the fibres of the	3
of anselmi di briata	3
of the cremonese makers	3
the great cremonese makers	3
sale of cremonese instruments	3
his way into the	3
a century and a	3
has been gone through	3
set out to do	3
to bear upon the	3
if you want to	3
continental writers on the	3
miscellanea connected with the	3
maker of this name	3
in the parish of	3
a lover of the	3
the work of francesco	3
to that of his	3
considered to be a	3
and the credulous dabblers	3
th and th centuries	3
may be likened to	3
in the beginning of	3
and made some good	3
of a violin and	3
as a musical instrument	3
a medical point of	3
the enormous sum of	3
thicknesses of the belly	3
make himself acquainted with	3
with the result that	3
instruments at the paris	3
be met with in	3
to be a perfect	3
with that they all	3
she and aunt betty	3
his catalogue raisonne of	3
inside without opening the	3
to be in new	3
of the instrument to	3
an instrument of this	3
of the back is	3
over the whole of	3
may be called the	3
of the best italian	3
it is of the	3
looked out of the	3
of that of stradivari	3
a fresh part of	3
the convent of st	3
of the room and	3
the admirers of the	3
who are able to	3
they reached their destination	3
that it will be	3
of the highest character	3
of which is the	3
the prince and the	3
the glue will be	3
it may almost be	3
will require a little	3
his work on the	3
in his catalogue raisonne	3
must have been a	3
parts together that apparently	3
for a few minutes	3
work and style of	3
and restorer of instruments	3
in just a few	3
i was going to	3
with a copy of	3
the model of the	3
as complete as possible	3
in addition to the	3
a clean sweep of	3
one of the earliest	3
antonio and girolamo amati	3
only on account of	3
one of the instruments	3
the great brescian maker	3
to the making of	3
of the instrument are	3
i am glad you	3
the son of niccolo	3
upwards of a century	3
i want to thank	3
enable the reader to	3
coming into contact with	3
the second and third	3
of the instrument that	3
born in the year	3
the contents of which	3
for the violin that	3
been one of the	3
of the grand pattern	3
the head of the	3
the best maker of	3
cracks in upper table	3
some of his violins	3
and it will be	3
on our camping trip	3
and the music master	3
when the instrument is	3
i want to talk	3
the violin in england	3
the one in the	3
grain of the wood	3
can only be done	3
to get out of	3
and some of them	3
the works of his	3
they seem to be	3
position of the bridge	3
to which i have	3
it should be a	3
this will be found	3
the heel of the	3
musical world as a	3
of the bow are	3
up an incessant chatter	3
violin tuned in fifths	3
is almost needless to	3
varnish is of a	3
play at a concert	3
it is stated that	3
those seen in the	3
and that there are	3
construction of the instrument	3
made in the same	3
want to have a	3
the piece of wood	3
nothing but praise for	3
the age of stradivari	3
not likely to be	3
the work and style	3
nearly a quarter of	3
of bichromate of potash	3
the old folks at	3
the selection of wood	3
a school of violin	3
work on the viol	3
proper sort of glue	3
end blocks by new	3
as in the case	3
the next stage is	3
of the bottom and	3
together that apparently do	3
the form given to	3
that he was a	3
in place of the	3
and a lover of	3
admirers of the violin	3
the paris and other	3
are going to play	3
character of their work	3
in a similar manner	3
in position by the	3
to call attention to	3
in all of them	3
as it can be	3
and you know it	3
the first half of	3
of a violin is	3
in use among the	3
buried in the church	3
played with the bow	3
i feel as if	3
in germany and the	3
just what i would	3
that he had been	3
knowledge of the instruments	3
will be a great	3
showed him a violin	3
world as a violin	3
and it is a	3
in the time of	3
in the mind of	3
the clearness of the	3
members of the amati	3
there appears to have	3
gainsborough as a musician	3
the same kind of	3
the careful adjustment of	3
of the back part	3
the requirements of the	3
part of the manufacture	3
it would be a	3
work of art in	3
pupil of richard duke	3
be no doubt that	3
the development of the	3
like to see it	3
must have been very	3
as well as for	3
from that of his	3
may be mentioned that	3
we can do is	3
a very good maker	3
on the instruments of	3
the tracing of the	3
part of his life	3
the quality of the	3
the reason for this	3
shot through the body	3
the joint inside without	3
of cracks in upper	3
known in the musical	3
of holding the violin	3
will be not only	3
herself off into the	3
fitting of the peg	3
the celebrity of his	3
the firm of anselmi	3
to those seen in	3
of the steiner model	3
the varnish is not	3
sent as a present	3
the upper table off	3
there is evidence of	3
be of the best	3
must tell you that	3
matching wood for large	3
to the production of	3
so when we consider	3
history of bowed instruments	3
it is desirable to	3
the correspondence which passed	3
and thickness of the	3
we have the following	3
pupil of peter wamsley	3
to the modelling of	3
if it is a	3
of his instruments is	3
to the merits of	3
to have followed the	3
the same manner as	3
the duke of ferrara	3
was with him a	3
to the rhythm of	3
is in the possession	3
every part of the	3
of his own fancy	3
quality of which is	3
book on the lute	3
the wood used for	3
the manufacture of the	3
of a pale red	3
he was a most	3
he had not been	3
all parts of the	3
and also that he	3
to about the year	3
as to the whereabouts	3
a high degree of	3
they did not know	3
to the body of	3
those of the amati	3
of the neck or	3
from a piece of	3
there are several kinds	3
excellent character of work	3
the estimation of the	3
the other side of	3
is a great mistake	3
the advantage of being	3
far along the joint	3
the correctness of the	3
the remainder of the	3
the production of a	3
with those of his	3
to the front of	3
as well as those	3
do not know any	3
to do with the	3
bowed herself off into	3
hence it is that	3
are to be found	3
set of instruments for	3
be taken as the	3
made by the cremonese	3
and aunt betty were	3
the level of the	3
the child of a	3
are well worthy the	3
the catalogue of the	3
cannot but regret that	3
interior of the violin	3
model of a violin	3
over which the strings	3
value set upon the	3
by the time the	3
the strings of the	3
to the main floor	3
to the effect that	3
as aunt betty and	3
like to see the	3
with any degree of	3
would be impossible to	3
are found to be	3
instrument shot through the	3
states that he was	3
there is to be	3
saxony and king of	3
the age of ninety	3
as well as of	3
at the service of	3
top surface of the	3
maker and restorer of	3
it is not always	3
we have evidence of	3
his attention to the	3
under the hands of	3
constitution of the violin	3
have seen a violin	3
is of the highest	3
of the french school	3
guarnerius of the best	3
there will be no	3
to be placed in	3
died in the year	3
of the violin or	3
the productions of the	3
this maker in the	3
i think you are	3
of which have been	3
to the rest of	3
wood for large cracks	3
to return to the	3
of the large pattern	3
of tone of the	3
at the expense of	3
of the extent of	3
of the philharmonic society	3
of the book is	3
fiddle marks and the	3
as seen in the	3
attributed to andrea amati	3
upper table and the	3
of the members of	3
but it seems to	3
come in contact with	3
the varnish is quite	3
was sold by auction	3
late lord amherst of	3
came to the door	3
whole of the neck	3
cause them to be	3
a special knowledge of	3
in the handwriting of	3
as far as possible	3
it would be impossible	3
petherick is well known	3
to a subject which	3
as the case may	3
will have to do	3
raisonne of the instruments	3
mediolani in via s	3
writer of these pages	3
and when quite dry	3
of the cremonese and	3
the proper sort of	3
they may be described	3
the pupils of stradiuarius	3
upper and lower table	3
of the original maker	3
want to talk to	3
the days of the	3
all that could be	3
the head of a	3
that of his master	3
thickest part of the	3
bridge on his violin	3
for the glue to	3
there is nothing that	3
members of the company	3
getting parts together that	3
to be the greatest	3
on a piece of	3
almost needless to remark	3
was born in the	3
use of the bow	3
which has been in	3
of this great master	3
was the master of	3
an inch in thickness	3
wood to be inserted	3
that not a single	3
as she entered the	3
lover of the violin	3
the violin takes part	3
do not see why	3
may be used with	3
good instruments after the	3
upon turning to the	3
more so when we	3
make themselves acquainted with	3
be given to the	3
being taken that the	3
into the history of	3
cut away to the	3
members of the family	3
to which it is	3
of the wood in	3
instrument of the fiddle	3
during the time of	3
blocks by new ones	3
in regard to their	3
has been found necessary	3
letter of count cozio	3
and it is possible	3
the shop of niccolo	3
together of the parts	3
foremost place in the	3
tone of a violin	3
of master and pupil	3
to be gone through	3
when the art of	3
evidence we have of	3
the period when the	3
of the different parts	3
under the guidance of	3
i hope you will	3
piece of soft wood	3
and said he would	3
instruments of various patterns	3
on music and fiddles	3
it is not possible	3
the publication of the	3
way or the other	3
tried to persuade them	3
of the existence of	3
which he seems to	3
with many thanks for	3
are not to be	3
if the wood is	3
catalogue raisonne of the	3
of the second epoch	3
the evidence we have	3
upper table of the	3
paolo and antonio stradivari	3
shop of niccolo amati	3
the best mode of	3
into the pores of	3
the great cremonese master	3
of stringed instrument music	3
means to an end	3
to enter into the	3
montagnana instrument shot through	3
of the surfaces that	3
from that of their	3
to the eye of	3
maker of the family	3
it may be assumed	3
is superior to that	3
from what i have	3
the author is a	3
on one of the	3
old end blocks by	3
it is easy to	3
i can see it	3
those of the early	3
with which we are	3
at the beginning of	3
to allow of a	3
be used as a	3
at each end of	3
work to that of	3
similar to that of	3
and one or two	3
been done to the	3
in relation to tone	3
can be considered as	3
be continued for some	3
in which it has	3
will be a very	3
there is a very	3
the neck has to	3
we must concede that	3
do you think it	3
said to have lived	3
than that of the	3
precautions must be taken	3
quite dry and hard	3
of different degrees of	3
the th of june	3
evidence in support of	3
end of the neck	3
to the head or	3
the work on the	3
handed down to us	3
of work and varnish	3
the structure of violins	3
with the greatest care	3
and we can go	3
although he did not	3
of his great master	3
in the night time	3
correspondence which passed between	3
on the end of	3
in the exhibition of	3
it must be done	3
the root of the	3
from that of the	3
the greatest maker of	3
the success of the	3
removal of a fixed	3
is to be seen	3
hung up the receiver	3
of the bar to	3
a capital imitator of	3
am anxious to see	3
as near as possible	3
and a quarter inches	3
of the wood being	3
the strain of the	3
part of the eighteenth	3
may be allowed to	3
are said to be	3
so much as to	3
and when she had	3
at the paris and	3
the object of this	3
of stringing the violono	3
not be supposed that	3
the same with the	3
eastern origin of the	3
to account for the	3
it was about the	3
a repetition of the	3
if it does not	3
of no ordinary kind	3
the whole of his	3
presented to him by	3
for the next stage	3
to the king of	3
as the work of	3
both dorothy and aunt	3
of the upper or	3
to have been chiefly	3
in italy during the	3
he was not a	3
instruments at the conservatoire	3
part of the upper	3
of the sounding post	3
sponge wrung out of	3
of the king joseph	3
will at once be	3
tell me what you	3
when the fingerboard is	3
the steps of the	3
the man in the	3
appears to have left	3
instruments of the violin	3
they are found to	3
imitation of that of	3
at the narrow end	3
tension of violin strings	3
expression of which the	3
fixing on graft on	3
at home and abroad	3
of expression of which	3
the work may be	3
the royal society of	3
the varnish on which	3
is much of interest	3
can be used with	3
wedge of soft wood	3
is in connection with	3
in its original condition	3
cannot be denied that	3
on the treatment of	3
of the night before	3
in which they are	3
length of the violin	3
what are you going	3
probably a son of	3
many instruments have had	3
on the noon train	3
medical point of view	3
early in the morning	3
be the means of	3
the latter part of	3
for the use of	3
lies in your power	3
what i have been	3
the hole in the	3
the result is a	3
the value of which	3
each member of the	3
i will give you	3
of pieces of wood	3
a maker of lutes	3
the second of the	3
we may judge from	3
of the same name	3
the loss of the	3
when the glue is	3
the arms of france	3
is not my intention	3
first half of the	3
that your work will	3
pupil of samuel gilkes	3
for the works of	3
to the belief that	3
to this class of	3
you will be all	3
him to come to	3
among the best of	3
and the more so	3
what may be called	3
relative to the purchase	3
of the scroll to	3
to cause them to	3
the patronage of the	3
as a present to	3
like those of the	3
i might have known	3
ueber den bau der	3
time in her life	3
his having been a	3
from the year to	3
the violin in question	3
but it must not	3
of the interior of	3
may be proceeded with	3
was not a maker	3
of the early history	3
a short time later	3
and made similar instruments	3
more than any other	3
a piece of fine	3
of the old french	3
of the peg box	3
the emission of the	3
the knowledge of making	3
known in the trade	3
of the order of	3
studs along the joint	3
of the tools and	3
interesting particulars relative to	3
found to be much	3
greater part of the	3
there is no necessity	3
the care of the	3
portion of his work	3
part of the work	3
elector of saxony and	3
the edging of the	3
first time in her	3
of back and belly	3
the judgment of the	3
may therefore assume that	3
for insertion in the	3
so many fine instruments	3
the lid of the	3
many of the instruments	3
the state of the	3
and turning to dorothy	3
the great maker of	3
top and bottom of	3
have of the use	3
archduke charles of austria	3
in the museum of	3
to which he had	3
with the plane of	3
in the city of	3
of the wood to	3
to the care of	3
by the cremonese master	3
he was the son	3
of the same kind	3
for the manufacture of	3
was a native of	3
it is recorded that	3
have been used to	3
da gamba of this	3
repaired from the outside	3
the opening will be	3
in an encouraging tone	3
of the german school	3
that he was born	3
are known by the	3
from the next room	3
of saxony and king	3
master of the art	3
read the letter through	3
the first edition of	3
course at oak knowe	3
in the middle of	3
in which you have	3
the treatment of the	3
this will give a	3
along the joint inside	3
part of the ribs	3
to the duke of	3
a taste for the	3
he was able to	3
but at the same	3
to count cozio di	3
with the other parts	3
the house of representatives	3
of the master in	3
inner edges of the	3
be only too glad	3
as in the instance	3
of the great maker	3
the chief part of	3
it cannot be denied	3
special knowledge of the	3
in the cool of	3
to get rid of	3
and a quarter of	3
me to tell you	3
of the italian school	3
of a fixed sound	3
the cramps may be	3
to go over the	3
be applied to the	3
the interior of a	3
by a piece of	3
the duke of modena	3
glad to meet you	3
dictates of his own	3
on the fourth string	3
his gallery of cremonys	3
now pass to the	3
is of a rich	3
that it would be	3
is that of the	3
a good and neat	3
as well as by	3
was highly astonished at	3
violin expert with a	3
the dead of night	3
first edition of this	3
of which he was	3
marks and the credulous	3
a very fine stradiuarius	3
his monday popular concerts	3
a considerable amount of	3
which the violin takes	3
that they do not	3
to the use of	3
the instrument is in	3
placed at my disposal	3
it is a very	3
a sufficient time has	3
the surfaces to be	3
it is difficult to	3
the best way of	3
came into the room	3
i am sure it	3
work on the construction	3
so many of the	3
is to be glued	3
along from end to	3
under the influence of	3
the model of stradivari	3
i beg your pardon	3
a few remarks on	3
to look at the	3
a few weeks since	3
being one of the	3
and a piece of	3
he also tried to	3
instruments are said to	3
ways of removing the	3
has been said to	3
workshop of his master	3
the assistant takes the	3
he should have been	3
must not be supposed	3
to have been aware	3
the boy did not	3
the different characters of	3
is considered to be	3
the cause of this	3
appears to have worked	3
the exception of the	3
to enable the reader	3
upon leaving the workshop	3
the th of april	3
for the reason that	3
anecdotes and miscellanea connected	3
if we may judge	3
in the value of	3
is the fact that	3
the rhythm of the	3
has been attributed to	3
bull and fiddle varnish	3
piece of hard wood	3
expert with a special	3
a few words on	3
laid the foundation of	3
end of the graft	3
in the progress of	3
the editor of the	3
centre of broad end	3
the knowledge of tone	3
cheeks of the peg	3
be had to the	3
end of the fifteenth	3
his work with that	3
in the last chapter	3
you want to ask	3
of this great maker	3
bow across the strings	3
with a special knowledge	3
has long been a	3
belonging to the same	3
parts of the ribs	3
the united states and	3
going to have a	3
forgot all about it	3
instruments belonging to the	3
of the model of	3
by the brothers amati	3
known representation of a	3
the strength of the	3
the depth of the	3
of the amati pattern	3
a composer for his	3
upper or lower table	3
fresh part of worm	3
the beauties of the	3
pupils of the amati	3
had an opportunity to	3
to the whereabouts of	3
to do with it	3
good instruments of the	3
what may be termed	3
top of the scroll	3
would you like to	3
son of william forster	3
into the possession of	3
specimens of his art	3
years of his life	3
joint inside without opening	3
medley of old southern	3
to the time of	3
to the delight of	3
of a large size	3
to the mind of	3
can be repaired from	3
i want to get	3
the colour of the	3
have been aware of	3
of the work in	3
the exigencies of the	3
of his native city	3
the spanish bass in	3
the middle bouts are	3
the points of the	3
now belonging to mr	3
rest of the company	3
the instrument has been	3
father of the madrigal	3
hour and a half	3
to say that the	3
is not possible to	3
my dear young lady	3
the backs of his	3
that most of them	3
with a sharp knife	3
as she did so	3
the head or scroll	3
of the nature of	3
it will be so	3
we may therefore assume	3
in the keeping of	3
may judge from the	3
was found to be	3
on either side of	3
in new york and	3
possession of the marquis	3
the outline of the	3
which can only be	3
to allow of finishing	3
him a labour of	3
in the dead of	3
concerts for amateurs at	3
firm of anselmi di	3
there is much in	3
treatment of the violin	3
would like to know	3
we are indebted for	3
the quality of tone	3
will be of some	3
judgment of the operator	3
we are to be	3
placed aside to dry	3
i am not sure	3
an instrument by this	3
but you must not	3
herr deichenberg came out	3
origin of the ribeca	3
also tried to persuade	3
we now reach the	3
the family of stradivari	3
therefore assume that the	3
there is nothing to	3
and held in position	3
to send one to	3
illustrated by the author	3
want you all to	3
actions to her words	3
the narrow end of	3
made some excellent instruments	3
prejudice against new violins	3
must be of the	3
neck has to be	3
fine in tone and	3
an increase in the	3
said for me to	3
in the performance of	3
in proportion to the	3
fitting a fresh part	3
it is possible to	3
of art in the	3
that apparently do not	3
stradivari and giuseppe guarneri	3
the arch of the	3
his history of music	3
her violin in her	3
the door of the	3
there must have been	3
in the footsteps of	3
a little book published	3
fine quality of tone	3
level with the plane	3
such a position as	3
the th and th	3
be repaired from the	3
is made of the	3
want to thank you	3
the manner before described	3
that can be repaired	3
as compared with the	3
to bear the increased	3
for the spanish court	3
this is to be	3
new and revised edition	3
hand of the master	3
it here and there	3
i get to the	3
there is much of	3
and then the other	3
the existence of the	3
of the amati and	3
proceeding will be that	3
this is not a	3
from the german of	3
we may call it	3
of which there are	3
and that it was	3
with which the tones	3
attributed to this maker	3
is found in the	3
of the line of	3
is generally of a	3
endeavour to trace the	3
for us to go	3
in the cause of	3
is well known that	3
it has been my	3
of neck and fingerboard	3
and that it is	3
of the wood and	3
the work in hand	3
of the flat model	3
of the small pattern	3
construction of bow instruments	3
as lies in your	3
apparently do not fit	3
he left the workshop	3
maker to the conservatoire	3
as a violin expert	3
with but few exceptions	3
was presented to him	3
with the tip of	3
as far along the	3
the merits of the	3
spohr and his guarneri	3
thackeray on orchestral music	3
which seems to have	3
on graft on neck	3
of removing the upper	3
of the great cremona	3
the writer of these	3
than at the upper	3
the style of the	3
the glue is quite	3
under the direction of	3
which is that of	3
the matter of tone	3
eye of the connoisseur	3
asked him if he	3
i thought it was	3
branch of the art	3
that it does not	3
the hand of the	3
and king of poland	3
has the advantage of	3
all over the world	3
have been in the	3
the quality of which	3
as a judge of	3
the thicknesses of the	3
and i am sure	3
herr deichenberg and mr	3
was also in the	3
bear the label of	3
with the old italian	3
is as much a	3
be taken of the	3
has to be inserted	3
met with on the	3
of the structure of	3
was formerly the property	3
we find that the	3
the second william forster	3
do you not see	3
what was going on	3
will do well to	3
violins and a bass	3
there are upwards of	3
leigh hunt on paganini	3
as to date of	3
through the hole in	3
along the course of	3
here in new york	3
about the same time	3
upon it as a	3
constituent parts of the	3
are well worthy of	3
the tools and patterns	3
to open the violin	3
that it may be	3
closing of cracks in	3
instruments with those of	3
at a loss to	3
more than one way	3
the top surface of	3
hope i have made	3
may be said of	3
of this name worked	3
in the form of	3
the construction of bow	3
have been made by	3
but there are a	3
twelfth of an inch	3
most of the instruments	3
belonged to count cozio	3
they will not be	3
so much more will	3
if it were not	3
there can be but	3
in the eyes of	3
business on his own	3
the number of violins	3
account of the great	3
to the days of	3
it is well known	3
made violins and tenors	3
is well known in	3
along the joint as	3
the value of his	3
portion of the work	3
it may have been	3
known as a dealer	3
parts that are to	3
rushed into the room	3
one way or the	3
which it may be	3
of wood for repairing	3
to the left of	3
there will be found	3
writers on the violin	3
followed the amati patterns	3
the absence of any	3
it would appear that	3
that he would be	3
you will be able	3
not seem to have	3
instruments of a high	3
greatly to the delight	3
the value set upon	3
and miscellanea connected with	3
that in the year	3
in the same direction	3
which belonged to the	3
the stradivari of lutes	3
a piece of pine	3
the musical world as	3
that ole bull had	3
had the opportunity of	3
christie and manson in	3
in a high degree	3
a medley of old	3
the case with the	3
maker of viols and	3
the manner of the	3
bear in mind that	3
proper emission of the	3
to the size of	3
it is certain that	3
i have seen in	3
we come to the	3
in the open air	3
of the duke of	3
of the curve of	3
it is doubtful whether	3
it is almost needless	3
i want you all	3
the most distinguished of	3
of his work and	3
performers on the violin	3
as a dealer in	3
is described in the	3
he was employed by	3
bear the increased pressure	3
in the present century	3
much more will be	3
of the highest class	3
there are very few	3
from a medical point	3
from the intestines of	3
may be made of	3
to be the case	3
paris and other exhibitions	3
be used for the	3
with the help of	3
the tone is not	3
was not until the	3
his instruments have a	3
a violin expert with	3
that he would not	3
to one and one	3
in contact with the	3
of antonio stradivari was	3
will be sufficient to	3
the subject of the	3
great care must be	3
which he found in	2
and amateurs are indebted	2
the same time a	2
fine muslin or silk	2
one of these instruments	2
some excellent instruments which	2
with the works of	2
that it was so	2
certain violins of more	2
it will be carefully	2
the knowledge of violins	2
it is not my	2
the least being a	2
all the evidence of	2
ruth rushed up to	2
has been left in	2
be found that the	2
of any man and	2
that there are very	2
she was about to	2
it will probably be	2
and then you can	2
the finest of his	2
original drawings from the	2
known by a peculiar	2
in a hot room	2
hold the parts together	2
to which the italians	2
he now saw the	2
violoncello of this make	2
the turn of the	2
fact which may be	2
the exhaustive chapter on	2
which is fit for	2
the best instruments of	2
opportunity to buy it	2
the many musical examples	2
and additions by robin	2
expression on her face	2
for the last time	2
bow are discussed with	2
original and at times	2
of old superfluous glue	2
was a thorough artist	2
of an inch good	2
which will not be	2
too sure of that	2
the names of these	2
disappeared behind the big	2
we are told that	2
to brescia for the	2
care is exercised that	2
about the period when	2
to have been regarded	2
tools with which the	2
any composer of his	2
the craft to his	2
filling up of same	2
is illustrated by original	2
up at this juncture	2
for the want of	2
is of little importance	2
many owners of such	2
francesco ruggeri detto il	2
that they would be	2
the glueing may be	2
given a lucid expression	2
employer of makers of	2
works of gasparo da	2
the existence of a	2
it was the only	2
there are no better	2
the constituent parts of	2
all lovers of the	2
when the declining sun	2
small ball or dabber	2
model varies very much	2
which is very great	2
the secret of the	2
there is not an	2
want you to hear	2
i on the train	2
most careful not to	2
that it should be	2
about the year he	2
it were a well	2
makers of his native	2
and picked up her	2
the neck is inserted	2
of the greatest masters	2
found to be the	2
and the tone is	2
him as an excellent	2
the number of coats	2
he occupied himself with	2