Sandys: © Biblioteca Nacional de España

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' SANDYS
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© Biblioteca Nacional de España

•
This well-known book by William

Sandys and Simon Andrew Forster
relates thc history of thc violín from
thc carliest times up to the nineteenth
ccntury, being espccially valuable in
conncction with the instrumen t
makers of the English school, and is
thc chief literary sourcc of inform-
ation concerning our old native crafts-
mcn. It is good to bear in mincl that
as Simon Forstcr 'vVas a skilled and
cxperienced instrumen t worker, the
technical notes to be discovered in
thc pages of this book in which he
collaborat ed are of considerable
worth.

FRO~l PETERUOROUCJ 1 CA T I 1JWRA L.
12th Ccntury

THE
HISTORY OF THE VIO LIN,

AND OTHER INSTRUMENTS PLAYED ON WITH THE
BOW FROM THE REMOTEST TIMES
TO THE PRESENT.
ALSO, AN ACCOUNT OP TaE PRINCIPAL MAKER8, ENOLISH AND
POREIOS, WITB 1'iUMEROU8 ILLUSTIIATION8.
BY WILLI AM SANDY S, F. S. A.
AND
SIMON ANDR EW FORST ER.
u Omniutn rorum principia pautt eunt, aed euis progresa~

~·~~~~'
usu augoulur."- Cic. De Fin. Bon. <1 Ma¡ W O/TO
<:'
~ c.SI...>:
aliolo '\bs ~
LONDON
WILLIAM REEVES
1864.
The righl af T,.,..,aMn i1 r<RMJ<d.

Pu blishcd by William Reevcs Bookseller Ltd.
la )iorbury Crcsccnt. London, S.W.l6
Made in Englaod

1
DEDIC.A.1'.J.;;D
(wiT R 1' HRM 1881 0N)
TO
LO RD GE RA LD FIT Z -GE RA LD ,
AND TBE
NOBI LITY AND GENTRY OF Tl:IE SOCIETY OF
1 WAN DEni NO MINSTHELS.
A*

PR EF AC E.
~~~~·A VIN G for man y yea rs past been in the

hab it of mak ing collections resp ecti ng
(am ong man y othe r things) viol ins and in-
stru men ts play cd on with .the bow, we hav e
veu ture d to lay the resu lt of our labo urs before such
port iou of soci cty as ma y feel an intcrest in the sub ject ;
and , as the tasto for mus ic has of late yea rs so muc h in-
crcascd, we may hopo this may not be a sma ll por tion .
Our work shou ld stric tly ha ve been callecl, "Co llec tion s
tow ards the History of the Vio liu," as we ourselves hav e
not only bec n obligcd to omi t man y thin gs con nect ed
with this bist ory, to avo id mak ing the book too bulk y
and too cxp ensi>e, but are fully awa re that ther c mus t
be man y facts con nec ted with it with which we hav e not
been fort una te eno ugh to mee t. W e m ay obse r ve he re,
that wha t we hav e omi ttcd , would only hav o. been add i-
tion al illus trat ions, or evid cuce s in support of wha t we
bav e alrc ady stat ed in the work, and we should be well
plcased if any one com pete nt to the task, and wi th bett cr
opp ortu nity anc.l leisw·c than wc hav e had , would und cr-
takc tho H isto ry i n a mor e enlarged and importa nt
shap e. I n thc mea ntim c we tr ust this wor k may be
rccc ivcd in tho kind ly spir it in whi ch i t is offc red to the

Vl
. PR EF AC E.
t of time wc
musical world. Th rou gh ou t a long cx tcn
ny profcssors
have been thrown in the society of ma
d amatcurs,
(sorne of the highe st tal cn t an d ge niu s) an
d am on g bo th hav e nu mb cre d sor ne of ou r dc are st
an
r book as a
fri ends, an d we would willingly considcr ou
mory to those
slight ma rk of rcg ard an d affectionate mc
esteem an d
de ar friends dcparted before us, an d of
d we must be
bro tbe rho od to those sti ll rem ain ing ; an
g the permis-
allowed to express ou r satisfaction at ha vin
rels.
sion to ins cribe it to the W an de rin g Minst
though wc
W e havc statcd nothing without au tho rit y,
ng sca rcc ly
have not in every ins tance giv en it, it secmi
iven, an d wc
ne ccssary, as all the im po rta nt ones are g
ll be ha pp y on ap pli cat ion to sup ply the pa rticulars
sba
will rcfcr to
of any othcrs in our possession. Th e ind cx
to en ab le the
severa!, bu t this is itself only int en de d
ny pc rh aps as
rea de r to find the pri nc ipa l snbjects, as ma
y be req uis ito , bu t is oy no me an s pre sented as a
ma
complete index.
ref err ed to
In every case where pra cti ca.ble wo have
ori gin al au tho riti es, an d ha ve tak en ev ery ca re to
the
raphs of the
ha ve the illustrations acc urate. Th e lithog
otographs of
Vi ol da Ga mb a are taken from excellcnt ph
anc Te rra ce .
the instrumcnt by M 1·. R obe rt C. May, of Slo
e ha ve rca d wi th att ent ion an d dc riv ed information
\V
wn au tho r,
from the numcrous works of the well-kno
jec t of ou r
M ons. Fetis, as far as they rel ate to tho sub
rk, an d, in com mo n wi th al! lov ors of mu sic, must
wo
for his int er-
express the obligation we are unde r to bim
Vu illa um e,
esting pu plí catíons; an d have to tha nk Mons.
of "A nt ain e
the cclebrated Fr en ch ma ke r, for a copy
ri. " \V e ha ve als o, csp eci all y, to giv e ou r
Str ad iva

PREFAC E.
..
VIl
thanks to that disting uished wr iter, Mons. de Cousse -

makcr, for the interes t he has shown in our undcrt aking,
and the !cave he has kindly given us to copy or trace all
or auy of the illustra tions to his valuable "Essai sur les
lustrUioents de M usique au .Moycn Agc," in "Anua les
Archeo logiqu es." W e ha ve been able to introduce so me
origina l lcttcrs of H aydn, which we think will be of
intcres t.
We ha ve cncleavoured to gi ve ou1· opinion of thc origin
of the bow impartia.lly, and if any differ from us wc
would gladly hcar thcir proofs and reasons, our object
being to gct at the truth. Thc origin of many well
known things is difficul t of proof-
"Fclix qni potuit rc•·um coguosccrc causas.''

1
1
•
CONTE N T S.
ClllPTER I.
Greek and Romnn Instrumenta - Spurious Roman

Examplcs-Co nduetor-Notn tion . . . . . . . 1
Oll.A.l'TER II.
Egyptia.n Insh1llllcnts -Nincvitcs-T he Bow-Roto-O rwth . 18
OHAPTER III.
Fiddle-Rote -Rcbco-Gig uc. . . . . . . . •
. . . 36
OR.A.PTER IV.
Thc Bow-Viol-N otntion . . . . . . . . . . . . 49
OIIAP'l'ER V.
Tho Vio! in Twelfth nnd Thirtccnth Centurics-Ea rly :Mnkers-
Viol in Fourteenth Centnry-Min strcl Galleries-Conductors B:iton
-1'roubndour s . . . . . . . . . . . . . . . . . 61
OIL\.PTER VI.
Minstrcls- Corporntion oí Miust.rels-Ki ngs oí Minstrcls . . 66

1
X CONTE NTS.
OllA.PTER VII.
Page
Vio) in tbc Fifteentb Ocntury- Early l\Inkcrs -Kcrlin -Notatio n 83
OHAPT ER VIII.
Viol nnd Yiolin in tho Sixteentb Oentury -Tuning of Viols-
Viols in Frcncb Festi,·nls; in English Royal Bauds-.A.ncicnt Yiol
da Gno1bn - Yiols m Eurly Drnmn s- Musical Publica tions-
Notation . . 90
CHAPT ER IX.
Viols nnd Violins in Early Musicnl Drnmns -Tuning of Viols- l
Viols in Se•·cuteenth Ocntury -lnstrum cnts dcscribed-Performcrs
- Musical Publicntions . . . 1H \
OHAPT ER X.
Yiols nnd Violins in English Drnmntic \Vriters of Se•·cnteentb
Century- Instrumcnts irt Com·tl\[nsqucs-P nyments to Pcrformen;
- Musical l'ublications . . . . 132
CHAPT ER XI.
Timo of Charles 1!.-A.ut hony Wood- Pcpys- Drlltzn r- 1
Mattcis- Simpsou -Mnco- Publicátions-l'h c Bow . . . 145
OHA.PTER XII.
Thc Eighteenth Ccntury -Violon ccllo-Bo nnnni-L nborde-
Pcl'formcrs 161
CHAPT ER Xlll.
Orchcstrns- Performcrs . . . . 176
OHA.PTER XIV.
Kinctccnth Ccntury -Pcrform ers-Pag nnini- Liudlcy -Drago -
nctti . . . . . . . . 186

•
CONTENTS. Xl
CFIAPTER XV.
Pall"
Mnkcrs-Ear ly English-Dui ffoprugcar-E nrly Itolinn Makers
-Amnti Family . . . . . . . . . . . . . . . . 196
Cll.A.PTER XVI.
llfnkcrs in Sevcntcenth Century-Fre nch-Itolinn -Gcrman-

Kiotz-Stcinc r . . . . . . . . . . . . . . . . 211
CIIAPTER XVII.
Strntliunrius-Guarnorius . . . . . 224
)
Cll.A.PTER XVIII.
Italinn Mn]¡crs-Gc rmnn-Frenc h-Vuillaumc . . . . . 235
CIIAPTER XIX.
English Mnkcrs, from Rnyman lo Betts . . . . . . . . 248
CHAPTER XX.
1
English Makers . . . . . . . . . . . . . . . 274
CHAPTER XXI.
'l'hc Forster Fnmily . . . . • . . 284
OHAPTER XXII.
William Forster (2) o o • • • • • • . . . . . . 296
CRAPTER XXIII.
'l'he Forster FnnJily and School, continucd . . . . . . . 333

Xll CONTENTS.
CHAP'rER XXIV.
English )Iakcrs, continued .
CHAPTER XXV.
T he Banks Fnmily . 359
CHAPTER XXVI.
English Makers, continued . . 367
CHAPTER XXVII.
Rcceut English Mnkers- Rcsidcnt .Forcign i\Inket·s . . . :li7

HIS TOR Y OF THE VIO LIN .
CIJAP TER I.
•'I""V\M ITH says, at the commencement of bis

"Harm onics, " that "Soun d is ca used by the
vibrations of elastic bodies, which communi-
cate the likc vibrations to the air, and these
the like again to om· organs of hearin g ." "For instance,
the vibrating motion of a musical string puts others in
motion, whose tension and quanti ty of matter dispose
their vibrations to kcep time with the pulses of air, pro-
pagated from the string that \\'as struck. " Thc sound of
the violin, and instrum cnts of tbat class, arises from tbe
vibrations of the string.s produced by the friction of the
bow communicating witb the air, the power being in-
creased by roeans of the two vibrati ng plates of the in-
strument, gcnera lly called the back and the belly, con-
nected with each other by the sound post, and witb the
strings by means of thc bridge.
The greate st carc is necessary in the construction of
these instrum ents; to cnsure the proper elasticity of the
' •ibratin g plates, to settle the model or forro of the body,
the position of the sound-holes ; and, in fact, the whole
structu re ís the result of long expericnce and skill. The

2 HTSTORY OF TllE HOLIN .
pitch depcnds on thc length, thiclmcss, and tension of

the strings , and the quality, on thc shape, ¡wopor tions,
and materi als of tbe instrum ent; and, nlso, on the purity
of the strings, and the power, taste, and talent of the
perform er; the difference betwee n thc delightful tones of
a perform er of the first class, and the twang of a crow-
dero vil e, being su eh that we can scarcel y realize them as
procceding from the same instrum cnt. By onc we are
soothed un til for a time the caros of the world are for-
gotten, whilst the other sccms to rasp agains t the nerves,
and serapes us to the quick. We are hcrc speaki ng of
tbe majori ty of mankin d, for there are sorne few who
seem insensible to the charros of music ; and among
these, even excelle nt good people, quite unfit for "trea-
sons, stratagems, and spoils," but probably defectivo in
organization. King G eorge III. said to l\fadam c n·Ar-
blay (then Miss Durney), that L ady Bell Finch once
told him that she had heard there was sorne difference
betwee n a psalm, a minuet, and a countr y dance, but
tbey al! sounded alike to ber. On the other hand,
there have bccn excelle nt musicians who bavc been ex-
cellent in little else. The celebra ted Lord Chesterfield
told his son that fiudling " puts a gentlem an in a very
frivolous and contemptible light, nnd brings bim into a
good deal of bad company, and takes up a good deal of
time whicb might be much better employed." Consider-
ing, however, the nature of Lord Chesterfield's aclvice to
bis son in sorne other respects, we may discnrd him as
any author ity. H e would probably bave approved of
the G entoo Law, whicb prescribed that the king or rajah
should not always be employcd in dancing, singing, ancl
playing on musical instrum ents. ·
Curious effects have .been prod uccd on animals by
music. Fetis mentions a clog, which had such a ·dislike

HISTORY OF THE VIOLIN. 3
to thc sound of a violín, that he bogan to howl in anticí-
paLion as soon as he saw ít touched. He givcs an account
of a lizard, which would come out of an old wall, wherc
he had cstablished a domicile, on hearing the adagio to
Mozart's qum·tett in C, but would not pay thc same com-
plimcnt to any other piccc. Thc littlc rcptilc's musical
tasto must havo bcen limited as well as scientific. The
same rcrnark may apply to the pigcon mcntioncd by Mr.
J ohn L ockrnan, as cited by Hawkins, which would fly
down from bis dove-house, and pcrch on tbe parlour
window, to hcar Handcl's ait· of " S pera si, mio caro,"
playccl on the harpsicbord, aud return whcn thc tune was
finishcd. Lenz, in bis anecdotes of animals, t·clates one
of an clcphant, who paid no attention to thc performances
of an orchcstra in bis vicinity, until thcy playcd "Char-
mante Gabrielle," when he appearcd much plcased,
kccping time with bis trunk, and was particularly
attracted by M. Duvernais, who played thc horn.
Vig ncull\1arville, wbose real name was NolH Bonaven-
turo d'A rgonne, and wbo lived in tho lattcr half of the
seventconth century, in bis " Mélangos cl'Histoire," &c.,
and Bonnot, in bis " H istoirc de la l\1 usique," give some
examplC's. On hearing a trumpet marine, a dog sat on
bis hind lcgs, like a monkey, fixing his eyes on the per-
formor, and remained so for more than an hour. An
ass continuod to eat bis thistlcs with sublimo indilference.
Domestic poultry seomed to pay no attcntion, while the
smallcr birds around sang in rivalry as if they would
burst. Cows stoppcd, lookcd up a little, and thcn walkcd
on. A hind raiscd her ears, aml sccmod attentive. A
borse raised his head fi·om time to time while feeding;
and horscs generally are attractcd by the sound of tbe
trumpot, and oLher warlike instruments ; we ha ve seen
them attentive to tbe sound of a gong. A cat seemed

4 HISTO RY OF 'I'IIE YI OLIN .
to pay no attention to the trum pet marine, and looked as

if be would give all the instr umen ts in tbe world for a
mouse. Cats, howevor, are ca.pricious, for while somo
that we bave known have remained strct ched on the rug
in a state of the utmost indiflcrcnce to tbe sound of thc
violoncello, other s have shown thc grcatest objcction to
it (perhaps the fault of the performcr), particular ly to
those notes producing wbat is called thc wolf. A gentl e-
man frequently pract ising on the instrument, observad
that if thosc notes oftcn occurred, the cat then repos ing
on the rug became restless, and gavc indic ations of dis-
pleasure, but if he dwelt on thc note thc animal would
look up at him with anger, and if he persistcd would
begin to growl, and finally spit and hiss, and run away
in violcnt indignation. Thcr e is a singular but wcll
authenticatcd anecdote relatccl of an officer of the regi-
ment of Nava rro, confined in the Bastille for six months
for having spoken too frcely of M. de Louvois. He
was allowed the use of his luto, but on bcgin ning to play
he was surprised to scc the mice come out of thcir boles,
and the spiders desccnd from their wcbs. The intcn dant
of Madame de Vendóme assured M. Bonn et that he
had tried thc same cxperimcnt himself wit.b a violín, and
tbat within a quar ter of an hour a grea t num ber of
spiclers had descended towarcls his tablc. P layford, in
bis "Intr oduc tion to the Skill of Musick," says, that as
he was once travelling near Royston he met a herd of
about twenty stags follow ing the sounds of a bagpipe and
a violín, walking on wbile the music was played, but
stopping wben it ceascd; and in tbis mann er they were
brou ght from Yorkshire to Hampton Cour t; a danc e
that beats Kempe's " nine daies morris da unce " from
Norfolk.
O ne of tbe most ludicrous anec dotes, howevcr, of the

IUST ORY OF THE Vl OLIN . 5
power of mul'ic, is that rela ted by Howell, in a lette r
to Sir J ames Crofts, Gth Scptcmbcr, 1624, wbe re he
calls it a pleasant tale of Sir Thomns Fairfa......, of a sol-
dier wit.h his bag pipes, who, afte r a weary walk in Irel and ,
sat down to enjoy bis frugal mea l of brea d and eheese.
Wh ile so employed, two or th ree gau nt and hun gry
wolves app roachcd, and the soldier, somewhat dismayed,
first threw them a bit of cheese, and then a bit of brea d,
till his stock was exhausted, but the fiet·cc animals still
seemed unsatisficd, and app roac hed nea rer. The sold ier
thcn took up his bag pipes in despair, and trea ted the
animals with sorne choice bits on this anc ient inst rum ent,
on which they turnccl tail, and trot ted off, howling in
unis on. "A plag ue on it," says the sold ier; "if I had
known you lo>c d music so well, you should have had it
be foro dinn er."
I t may seem to thosc but imp erfe ctly acqu aint ed with
tho sübj ect tbat not much can be saicl rcspecti ng tbe
history of the violín. Fid dles werc play ed on, they
suppose, sorne time back , perh aps by the Gre eks and
Romans ; they havo hea rd of N ero play ing the fiddle
while Romo was burn ing, and havo been told that the
host fiddles are called Cremonas, and , indeed, oven in
the present day, sorne havo asked whether Cre mon a is
the nam e of a mak er or a perf orm er.
In truth, howcver, the history of the viol in- moaning
thereby strin ged instruments played on with a bow -is a
subj ect of grea t diffi culty, and the origin, like that of
many othe r well known things, seeros lost in obscurity,
cspeciall y the commencero ent of the use of the bow.
Conside rabl e labo ur and attcntion are requ ircd to give
e ven a reasonable acc oun t; and , thou gh we do not seek
to ri val the rescarch and perseverance of Fat her Ocampo,
who beg an his inte nde d history of tbe emperor Charles V.

6 HISTORY OF 'l'HE ViOLIN.
with the Creation, and after thirty years' labour was sur-
prised by death, when he had only r eached the time of
the Sabine War, yet we have honestly endeavourcd to
give such achronicle as may prove uscful and interesting
not only to the musician but to the general reader, so
that we may not be asked, as Ariosto was by thc Cardinal
d'Este, '' Dove diavolo a vete pigliato tan te coglionerie? "
J ean Rousseau, the great violist of his age, in his
"Traité de la Viole," 1687, secking to prove the anti-
quity and excellence of bis instrument, says, that as
Adam was acquaintcd with all arts and sciences, and the
viol is the most perfect instrument, if he had any instru-
ment, it must havc been that. \Ve may, however, refer
to Jubal as the father of all such as handlc the harp
(i. e. the kinnor) and organ ; or, in the quaint words of
Capgrave, "Jubal, he was fader to alle hem that singe
in the orgoun, or in the crowde."-" He was fyuder of
musick, not of the very instrumentis which be used now,
for thei were founde long after."
The words translated into harp and organ in tbe Old
T estament may probably be considered as representing
the striuged and wind instruments, and though the
learned Kircher describes the kinnor, or harp, as some-
thing like a dulcimer with tbirty strings, be cannot be
relied on. Peter Walkcr may as well be taken for an
authority for ancient fiddles, where, in bis ." Life and
Deatb of Tbree Famous Worthies," referring to the de-
struction of Sodom and the surrounding country by fire
and brimstone from heaven, while the wicked people
wcre enjoying "fulness of bread and idleness," he says,
"their fiddle strings and hands went all in a fiame; and
the whole pcople in thirty miles of lcngtb, ancl ten of
breadth, as historians say, were all made to fry in thcir
skins." Kircher describes severa! others of the ancient

lllST OilY OF TJIE YIO LIN. 7
Jew ish inst rum cnts , as supp oscd by him , mcn tion ing that
sorne wcrc play cd on witb a bow, but thcr e is no auth o-
rity for this. Rousseau, eag er to prov e the anti quit y of
tho viol, refors to Kirc her' s dcsc ripti on of the neg hino th,
as bcin g sim ilar to it, hav ing thre e gut strin gs, and play ed
on with a hors c-ha ir bow ; ancl Bap tiste Fole ngiu s con-
sidc rs thc nablum, or psal teri um, to hav e been the sam e
as the viol. Tho passage in the old play of " L iog ua"
may be coosidcrecl of cqu al auth enti city .
" 'Tis trua tbe finding of n dcnd horsc-bca.d
\Vas tbo li•·st invcntion of sh·ing instrumcnts,
Whe ncc rose tbc gitte rnc, vio!, ond tho lutc. "
Num erou s mus ical inst rum ents are mcn tion ed in the
Old Tes tam ont, and in the earl y times, as now, the J ews
wcre skil lcd in the seicoce; but it would be foreign to our
purposc to ontc r into any acco unt of thes e inst rum ents ,
as ther e is no proof, or oven a probability, of :.my of them
ha.ving bec o of the violín or bowcd class. It is tr uc, ac-
cord ing to our vcrsion, l saia h says, spca king of the fcasts of
Israel, "th e harp and the vio!, the tabr et, and pipe, and
wine, are in thei r fcas ts;" and Amos spea ks of thc
mclody of viols, and says, "th ey cha nt to the soun d of
the ' 'iol, and invc nt to thcmsch-cs inst rum cnts of mus ic
likc Dav id;" but the word viol was only used by the
tran slat ors as the namc of an inst rum cnt known to them ,
to exprcss the H cbrew word nebel, of which inst rum ent
noth ing dist inct ly was kno wn.
The kinn or, tran slat ed harp , was prob ably like thc
port ablc harp , or lyre, used by the carl y E gyp tian s and
Nin evit cs, to whi ch wc shal l prcs entl y r cfer ; and thus
Dav id could play on it, even whilc dan cing bcfore the
ark, and the J ewish captives coul d rcad ily han g it up by
the watcrs of Babylon.
Juli us Bar toloccius, cite d by G erbert, in bis valuable

8 HISTORY OF THE VlOLIN.
work, "De Cantu et Musid. Sacra," mentions arnong

the instruments of the Hcbrews the viola, or chelys, and
rnany other stringed instruments, but be makes no acl-
vance in identifying them; and as, amongst other instru-
ments, he mentions thc "spincttre," the iutegrity of his
list cannot much be depended on. He divides thc instru-
rnents into threc classcs, ancl thus describes what he calls
fidicina: "Secundi generis sunt omnia instrumenta qure
chordis seu nervis instructa, digitis vcl pinnis vel etiarn
plectris in harmonicos motus artificiose incitantur, et
souum suavem reddunt; ut sunt, citharre, tcstudiues,
theorbre, nablia, harp!e, lyrre, viola seu chelys, sambucre,
pectidcs, pandorre, cla vicymbala, clavichordre, spinettre,
barbita, aliaquc bis similia, et omnis generis citharre
vulgo chitarre."
The Eastern nations had, probably, from an early
period stringcd instruments, but principally of the lute or
guitar class. There is no early record or representation of
the use of the bow; and when it does appear, it may have
had its origin from a more frequent intercourse witb the
Western aml Northern countries. vVe do not, t.herefore,
look for the iutroduction of the bow from the East, though
we may be indebtecl remotcly to the ancient Egyptians,
as hereafter mentionecl, for an instrument that, with
sorne modification, may have aftcrwards bccome one of
the earliest bowcd instruments. The bowed instruments
most in use in the Eastern countries were generally made
of a cylinder of sycamore, or otber suitable wood, or
sometimcs a cocoa-nut, hollowed out and polisbed, a
prepared skin, or a slip of fine satin-wood, being placed
over the cavity. The neck was vcry long and slencler,
and the strings two or tbree in number, witb a bridge;
the bow of bam boo and bair. Varieties of these are still
in use in India, Persia, Arabia, China, and other coun-

IUSTO RY OF THE VIOL IN. 9
tries. Capt ain Sarís, who was at Japa n in 1613, says
the ladies playcd on an instr umcn t like the theorbo (a
specics of luto), but bavin g only four strings, wbicb tbey
fingered very nimbly with the lcft band , havin g an ivory
plectrum in thc other.
Severa! early instrumcnts of thc East are named, vary-
ing in num ber of strin gs and dctails, as tbe se rinda,
omerti, rouana, and ravanastron, and othe rs; the latte r,
according to tbc exaggcrated Orie ntal tradition, having
been ínvcnted by Ravona, king of Ceylon, 5000 years
beforc the Christian rera.
Tbc lndia n mythology has somo curious legends abou t
musíc, which may be sccn more at lengt h in Creu zer's
"Rel igion s de l'Ant iquit é," vol. i. Hano uman , a faitbful
followor of Vishnu, was a skilful musician, and the in-
ventor of one of tbe four systems of I ndian musi t that
keeps his name. He wíth bis lyro, and Cric hna with bis
flute, cond uctcd the dance of thc sphercs, the stars, tbe
months, and tho scasons, accompanied by the raguinis,
and otbcr musicians of the cour t of India . Saraswati
was thc goddcss of music, and her son Naes da invented
the lyrc. The six raga s who prcsided ovcr the six musi-
cal modes werc also bet· children, and each of these bad
tbirteen assistants of an inferior class, so that there were
eighty-fou r modos of tho India n mythological system of
music connected with their astronomy, namcly, six pri-
mitive and sevonty-eight derivativo. The power of these
ancicnt modes, called the ragas, was very great, placing
Orpheus quite in the background. A cclebrate(l musi -
cian once sang that called the nigh t raga, beforo the
Emp eror Akb er at mid-da.y, and caused nigh t within the
sound of bis voice. Anot hcr raga had the quality of
destroying by fire any one who sung ít; but the same
emperor, notwithstanding, compelled an unfortunate
D
•
lO HISTORY OF THE VIOL!N.
vocalist to sing it, whcn, although cvcry precaution was

taken, and he was plunged up to the ncck in the river
Jumna, thc flames burst out and dcstroyed him. A
female singcr was more happy, for in a time of famine
from wa.nt of rain, she sung the ra.in-producing raga.,
and seasonable sbowcrs followecl and revived the parched
.
n ce crops.
Many have seen the anecdote given by Olaus Magnus,
of Eric, king of Denmark, who was excitcd to madness
by the performance of a celebrated musician. First he
produced grief, then joy, and then fury, to such an extent
that Eric destroyed some of those who endeavourcd to
restrain him. \Ve can only say that we have seen this
account in the work of Olaus, and that Kirchcr bclieved
it. However, he also bclieved the story of the magic
piper of Hammelin, wbo in the year 460, in revenge at
not bcing paid for piping away the roice of thc place,
piped away all the boys from four to twelve years of age,
and disappeared with them in the si de of a hill. Ver-
stegan says the year was 1376, and that the boys were
130 in number, of whom one who was lame escapecl by
lagging behind. Kircher must be right, for he had sccu
the hill, and a picture representing the fact .
The fancy of the music of tbe spheres is not confined
to India-
"Thc music of tbc sphcres,
So loud it dcnfcus mortal cars,
As wisc philosophcrs J,a,·c thought,
And thnt's thc cause we hcar it uot."-lludi.b,.as.
The celebrated astronomcr Kcpler, bad a fanciful

notion about this music of the spheres, making Mercury
the treble, Venus and the Earth the counter-tenors, Mars
the tenor, and J upi ter and Saturn the basses. If he had
lived to this time, he might bavc established a very im-
posing choir with the numcrous additional planets.

HlST OitY OF THE VlO Ll:'\ . ll
Stringc d and bowcd inst rum cnts are men tion ed by
travcllers in man y countries, but they are gencra lly of a
simple, and oftcn of a rudo forro, and to non e can we
look for the orig in of our violin. The Tat ars , the
modero Greeks and Egy ptians, eve n thc African s hav e
them. Bowditch, in his "l\l issi on to Ashantec," describes
one used by tho nativos from thc inte rior , made from a
calabasb, with a dee r-sk in at the top, hav ing two larg e
sound-holes, onc bro ad stri ng made of cow-bai r, and the
bow stru ng with the same mat eria l. Lay ard mentions
the Bed oui ns who atte nded him cha ntin g verses to the
monotonous tones of a onc-stringed fiddle, mad e of a
gou rd covere d witb sheepskin. Pri nce Youssoupow also,
in bis " Lut homonog¡·a phi e," rela tes having met witb tra-
>elling orc bes tras of P ersians, Tu rks, and Arm enians,
in which ther e were ins trum ents of the violín class but
1
without its tone or reg ula r form, being commonly mad e
of hal f a gou nl, or sometimos hollowe d wood cov ere d
with a piece of blad der , hav ing three or four stri ngs.
Tbo prin ce is in favour of tbe Eas tern orig in of the
violin, thin kin g it was bro ugb t to Spain by thc l\loors in
thc eig hth cen tury , but wbatever inst rum ents they had
werc pro bab ly mor e of the gui tar or lute kin d. Du
B alde r efer s to a kin d of violin with tlu·ee silk cn stri ngs,
in China, used by thc common pco ple ; and Sir J oseph
Banks saw one in I ccla nd of a clumsy form, with fou r
copper strings and frets ; this, however, mig ht have bcen
adopted from No rway or Sweden. Sir Edw ard Bel che r
mcntions those of the Asi atic Esquimaux, and the ir skil l
on viol ins of the ir own man ufa ctur e.
The Ara bs, besides the ir lute, or gui tar, or mandolin,
of which L aborde, in his somewhat fan ciful "Hi sto ry of
Music," mcntions a species having no less than a bun dre d
frcts, and the neck of whi cb must, the refore, have ri valled

12 HISTORY OF THE VIOLIN.
that of the giraffc, had a bowed instrument that may

ha ve been similar to one frequently named by the old
poets and romance writers. This wns the rebah, or
rebcc, with two or three strings, which is supposed by
sorne to have hecn brought into Euro pe by the Crusaders;
hut as at the time of the Crusades the viol had been for
a very long time well established in England and many
parts of the Continent, it is more probable that the Sara-
ccns adopted it original! y from the Crusaders. Monsieur
Fetis, whose extensive musical rescarch is well known,
considers that the bow was not derived from the East,
but from some of the Northern people, from whom it
travelled southward, and passed into the East at a very
early date.
The Russian peasants have a rude sort of violín with-
out any inward curvatures , called the goudok : it has
three strings, of which the fi rst is touchcd with the finger,
while the other two are soundecl at thc same t ime by a
short, clumsy bow. They have also an instrument of
the guitar kind, called the balalaika, with two or three
strings and a vct·y long neek, which is mentioned by
Laborde, and also by De Passenans in " La Russie et
l'Esclavage," 1822.
Neither the Grccks or Romans appcar to bave any
authentic represcntations of a bowed instrument ; they
hacl principally different kinds of lyrcs and fiutes, together
with the ancient syrinx or P an's pipes, now degraded
into a common street instrument , and indeed, seldom
heard at all. Mcrsennus and other writers of the middle
ages, use the word barbiton for instruments of the fiddlc
class, hut the barbiton that Anacreon complains of, as
preferring love-strains to singing of Atrcides and Cadmus,
was a species of lyre, the ode being adt1ressed to bis lyre.
1Ne should hu.ve said Anacreon, or whoever wrote the

HISTOR Y OF TIIE VIO LIN . 13
poems gen era lly attr ibu tcd to bim, as modern progress
supposes tbem to be of a late r dat e; jus tas Babrius sup
-
plants our old frieod .!Esop. Ho rac e also mcntions the
barbiton.
Tb e epigonium and magadis havo been nam ed as the
ori~:,rinals of the viol and violín, but the for
mer appears
to have been of the lute or har p class, hav ing forty
strings, and an ins tru me nt called the simicon had thir ty-
five; while, as to the magadis, acc ord ing to the Supple
-
me nt to Montfaucon, it is not even agreed what the
ins tru me nt was ; whether a ftute, or of tbe gui tar clas
s,
ancl if so, wb eth er it had twenty strings or lcs s-t hat
the pectis was the same as tbe magadis, and the dicord
the same as the pectis ; but tha t tbe ma tter was altogether
uncertain. Apollodorus says it was the same as tbe
psalterium. Sorne furthcr par ticu lars will be found
in
"M uso nii Philosophi Opus de Lu xu Grrecorum,'' in tbe
eighth volum c of Gro nov ius 's " Thesaurus," inc lud ing
tbe scindaphos, pariambos, clepsiambos, lyrophrenicio
n,
spadix, phorminges, trigona, chelys, citbara, lyr a, "et
alia fortasse quamplur ima, quornm investigationem alii
s
relinquamus." A representation is given in the Supple
-
ment, of the dicord, and also of a cithara, tak en from an
old Roman sculpture, which seems to hav e eig ht strings
,
though the re are but five screws. It is like the old vio
l
in shape, and has no appearance of frcts, bridge, or
finger-board, but is not ada pte d to tbe use of the bow
.
Anacreon mentions pla yin g on a magadis with twenty
strings (this put s an end to the flute question), and in
another ocle names the pectis, which has been translatecl
citbara. Aristotle also calls these the same instrument
s.
Montfaucon gives a rcpresentation of a procession of
Isis tak en from an olcl sculpture, where one of the figures
-p robably a pri est ess -is pla yin g on a larg e tria ngu lar

14 IHSTORY OF 'l'HE VIOLIN.
or barp-shaped instrumcnt , having twenty strings, held

under tbe right arm, on which shc plays with a plectrum,
and wbich may have becn a magadis. He has also a
reprcsentation of A pollo (supposed to havc bccn intended
for N ero), with a lyre in bis left band and a long plec-
trum in the right.
There are numcrous represcntations of the plcctrum
used witb the ancicnt lyre and Iute, many of which, with
the authoritics, may be found in Montfaucon, and in
Millin's "Galeric l\Iythologiquc." In the latter work
there is a figure of Polyphcmus in a statc of musical and
jealous excitemcnt, holding an enormous lyre, made of
tbe trunk of a tree with two branchcs, having four strings,
and played on with a plectrum. Among the fictile vascs
in the British Museum, there is a figure of Anacreon
playing on a lyre witb Se\·en strings, which has a plec-
trum attached to it by a string, and is played on with
the right hand, while thc fi ngers of thc left hand touch
the strings ; the instrument is somewhat like the lyre
du Nord, referrcd to hereafter.
Some supposed old Roman sculpturcs or medals are
mentioncd with rcprcsenta tions of something likc a
violín, but thcsc are not considered genuine. The
following is Spence's account of the detcction of some
tlaat were once considcrcd proofs of the carly use of the
how, commencin g with tbe fig ure of A pollo in the Grand
Dukc's T ribuna at Florence, supposcd by Addison to
have been genuino, but proved by Winckelm an to be
comparatively modcrn. " T he little figure in the Tri-
buna, with a musical instrument like a violín, is left
rough and unñnishcd by tbe artist, particularl y thc
violín and the stick to play on it. It is held as we hold
our violins." Mr. T . - Spence adds, "I have met but
with two figures bcsides th is with thc modern violín.

11 ISTO RY OF TI! E VIOL IN. 15
Onc of tbem is in a relicvo on tbe dca th of Orp beus, in
the Uni vors ity at Tur in; and tho othe r is a stat ue eith er
of Orp hcu s orA pollo, in tbe l\Io ntal ta Gar den s at Rom e.
I t is unlu cky that all thre e havo som ethi ng to be said
agai nst thcm . Tha t at Flor enc e is an unlinished piece,
and perb aps not quit e indi sput able ; that at T urin of a
very bacl taste, or of a low age ; and in that at Rom e,
tbe fiddle at leas t is evid entl y mod ero. " Mr. Sing er,
the edit or of "Sp enc e's Ane cdo tes, " from which these
extr acts are take n, bein g par t of tbe valu ablo "Li bra ry
of Old Aut hor s" pub lished by Mr. J . Russell Smith,
thou ght that M r. T. was prob ably Mr. T ownley, (who,
in his acco unt of sorne ancient gems, mcn tion s a curi ous
figure of a cent aur, witb a whi p in his han d to lash
him self !)
Rou ssea u refe rs to an acco unt g i ven by A chilles Tat ius
of a ban que t, where a you tb carne forward with a cyth ara,
on wbich he first play ed with his fing ers, and tben used
a bow, and sang to it: also to a desc ript ion of Orp heu s
by Phil ostr atus in the time of Ner o, who supp orts the
lyre on bis thig b, strik ing the strin gs with his lcft han d,
wbilst bis righ t hold s a bow. Roussoau uses thc words
viole aud arch et, but the Lat ín words are cyth ara and
plcc trum , which do not war ran t bis tl·anslation ; nor can
wc agre e with him in his app lica tion of a quo tatio n from
Ovid's thir d book "De Art e Am an di" -
" N ce plcch·urrt dcxtrft cythn•·nm tcnuissc sinislrfi

K esciaL arbitrio fccmina doct<1 meo."
The plec trum and cyth ara here neit her mea n a viol or a
bow, but the form er was occasionally long , such as that
repr esen ted by Mon tfau con in lhe figu re of A pollo bofore
men tioned. I n thc earl y ages of Chr istia nity , the word
cythara was freq uen tly used to designa te any strin ged

16 HISTORY OF THE VIOLIN .
instrument; as, cytbara Barbara, cythara Teutonica.,

cythara Anglica (which seems to have been a harp).
Hawkins cites Nichomachus Gerasenus, who in bis
account of stringed instruments A. D. 60, does not name
the bow. Blanchinus, in his history of the instruments
of the ancients, gives a figure called the chelys (a term
in after-times applied to the viol class) or, as he a.dds,
"seu lyra Mercurii reformata." It is of the lute kind,
and has neither bridge, sound-holes, neck, or finger-
board, and is played on with a plectrum.
If, however, these nations, whose languages and customs
were instilled into us during our cight years' residence at
our venerable old school at W estminster, had not violins
and bows, they forestalled us in the appoin tmcnt of a
coryph~us or conductor, who kept time either witb bis
foot, m·med with a wooden or iron sandal, or with bis
hands, having shells or bones of animals in them to
increase the sound. How would a modern audience like
sueh a conductor, performing thus a sort of sabotier dance,
or rivalling the "bones" of the American minstrels?
With our comparatively simple system of notation, it
seems scarcely credible how the complicated and cumb-
rous system of the Greeks could ever be properly under-
stood; it must alone have proved a great check to any-
thing like rapid execution, from want of capability to
express such passages. Or, if once such execution had
been attempted and introduced, the necessity of the case
would ha ve ad vanced the notation. Their characters,
though comparatively few at. first, and formed from the
letters of their alphabet, increased so much that they
were obliged to vary the position of tbese letters in
various ways, and to introduce numerous arbitrary signs,
every mode requiring a new arrangement; and in the
time of Alypius, l J 5 B. c. the cbaracters amounted to

IIIST ORY OF 1'HE YIO LIN.
17
more than 1600. A vcry laboriously constructed tablc
of them may be seen in thc first volume of L aborde's
History. Thc Romans also used the lctte rs of tho
alplw.bct. It is, howcver, foreign to our purposc to do
any thin g more than refc r slightly and occasionally to the
systcms of notution, os it would requ ire a volume with
numcrous illustrations to trca t the sub ject properly.

18 I!ISTORY OF THE VIOL I N .
CHAPTER II.
HE Egyptians were musical from the earlicst

.,....-"' times, but their usual stringed instruments
appear to have bcen the harp and lyre, or
of that class. They are repeaterlly fo und
in their scu lptures, and Sir Gardner W ilkinson, in bis
" Ancient Egyptians," mentions a harp as old as Osir-
tasen l. who was the P haraoh of J osepb, and tberefore
lived ahout 1700 yea.rs before our Saviour. The harps
were gcnerally of a portable sbape, tbe strings varying
in number from four to-twenty-two, and made of what is
commonly called catgut. They were occasionally made
of costly materials and ricbly ornamented, and sorne-
times were played on witb a plectrum ; but there is no
appearance of any bowed instrument. Burney gives a
figure of an instrument of tbe g uitar class, witb a long
neck and two strings, sculptured on a broken obelisk
supposed to bave been brought from Hcliopolis by Sesos-
tris, but tbis docs not app.ear to have been pla.yed on
with a bow. Rousseau, however, in his enthusiasm for
the viol, says the E gyptians had one witb one or two
horsehair strings, played on with a bow strung with
similar materials ; it had a long neck, and was supporterl
on the ground by an iron rest. As before mcntioned,
he thought Adam might ha ve played on thc vio], and he
might thcrcfore have dcduced its descent through Noah
to the Egyptians. He does, however, give its travels

HIST OnY OF' TIIE VIOL IN. 19
from Egyp t to the Grccks, then to the Italians, then to
the Englisb, who first composcd and playe d pieces of
harm ony for Lhc instr umen t; f'rom them it passcd to the
Germ ans and Span iards , and finally, as be says, to the
Fren ch, to whom it owcs its perfection.
Passi ng by Rousseau's theor y, which has not tbe proo f
of any Egyp tian viol to supp ort it, the Egyp tians had an
instr umen t with considerable affinity to the crwth , and
to which we shall prese ntly rcfcr again, wishing first to
make a few obscr>ations on the musical instr umen ts on
the sculptures at Nine \'eh madc known to the world by
the skill and cnter prisc of Mr. Laya rd. Sorne of these
are supposed to be at lcast as old as any mentioned by
Sir G. Wilkinson, an<l among them there is no appe aranc e
of thc bow. Thcre is thc reprcscnta t.ion of a very ancie nt
one on un engraYed scarabreus, whcre it is called a nable
or guita r, and there aro figures of a. portable lyre or
harp struc k by a plcct rum. In one bas-r elief from
Kony unjik tbcre is a rcprescntation of musicians goin g
to mcct the Assyriau conq uero rs-th ree men carry harp s
with many strings ; anoth er has a strin ged iustr umen t
like the modero sauto ur of thc Egyp tians , with a. num ber
of strin gs strctc hed ovet· a. hollow case or soun ding-
board ; the strin gs are pressed with the fingers of the
left hand, and struc k by a. small wand or hamm e'r in the
righ t; there are also four women pla.ying harps.
T he Egyp tians and Ninevitcs, as bofore observed,
had in the carli cst agcs an instr umen t somewhat simil ar
to thc crwtb , which was not played on with a bow,
but sometimos with a plectrum, somctimes only witb
thc fingers; the strin gs vary ing from three to thirte en
(Fig. 1). Whc n the ti de of populatiou tlowed wcstward
and north ward, thc dcsceudants of J aphe t took this
crwth -shaped instr umcn t witb thcm, and in very early

20 HlSTORY OF 'fl!F. VIOLIN.
ages were established in our country. The bow, we

consider, was afterwards intro-
duced or invented hcre, for we
find here the earliest trace of
it, and none of ~tny antiquity in
the East. The wand or plec-
trum was an approach to the
bow ; the beating on the tight-
ened strings indncing the ex-
periment of the effect of fric-
tion, and thus leading to its use.
Long befare the time of
Cresar there were inhabitants in
our land who had made con-
siderable progress in the arts
and learning of the early ages,
as the Celtic records remain-
FIG. l.
ing prove ; and the earliest of
these show their love for music. I t is supposed hy
scbolars of high repute, that lreland and tbe south-
western parts of England were in very early ages
peopled from the península of Spain, where the Phce-
nicians had formed a colon y or settlemcut; and many
parts of the south coast may have been probably peopled
from the opposite coast of Gaul. I n other parts, settlers
carne over from Scandinavia and Germany-for the first
visit of the Saxons or Northmen was long previous to
H engist and H orsa- and they appear to ha ve had at an
early age an instrument of the fiddle or viol class.
T he crwth of the Britons resembles to a considerable
extent the Egyptian and Nincvite inst r ument before re-
ferred to, and was well known to the Continent in very
early times. Venantius For tunatus, Bishop of Poitiers,
who lived about the end of the sixth century, says-

IIISTO RY OF TIIE VIOLI N. 21
"Rom nnu•quc lyra plnudnt tibi, Bnrbnr us hnrpn,
G rrecUA Achilliaca, chrottn Dritann n cannt."
T he chrot ta must have bcen know n on the Conti nent

as a Britis h instru ment long befare this, or it would
scarce ly have becn so distin g uished by a foreign autho r.
Notkc r, in the ninth centu ry, says that the rotta ( or
chrott a) was derive d from the psalt erion -the ancie nt
psaltcrion, as he cvcn at that early time calls it. This
instrumcnt had sorne simila rity to the Egyp tian or Nine-
vite instru ment befare referr ed to, and was sometimes
of a tt·iangular form, sometimos squar e or rectan gular,
with occas ional varietics of form. Notk er says that the
ancic nt psalte rion had ten string s, and that the form,
the Grcck delta (6.), had a mysti cal signif icatio n; but
after it bccame in use by common or secula r performers,
they added string s to it, and made thc shape more con-
vcnient (by round ing tbe angles), and called it tbe rotta,
thus chang ing tbe mystical form of the Trini ty. T he
mysticism, however, of tbe form, proba bly only existed
in thc imagination of Notke r, and the passage is in an
articl e "In Symbolum Athan asii." This rotta, as ap-
pears from ·the lincs just quoted, was know n long before
1
otker, but we have cited him as an autho rity for its
derivation ft·om tbe ancie nt psalterion. In a lettcr from
Cuthbert, cotem porar y with Bede, to Lullu s, successor
of St. Boniface, Arcbb ishop of Mayence, writte n about
755, be says, "Dele ctat me quoqu e cytba ristam baber e
qui possit cytba riznre in cytha ra quam nos appellamus
rottm, quia cithar am babeo et artific em non babeo ."
M. Fctis considers this to have been tbe citha ra Teu-
tonica, fo1·med from the round ed psalterion ; and with
him Mr. W. Chap pell, whose opinion on every thing
connected with music is entitled to mucb attent ion,
concurs. M. de Coussemaker, to wbose learne d "Essa i

sur les Instrumems de Musique au Moyen Age," we are

much indebtecl, ancl with whom M. Bottée ele Toulmon
agrees in his " Disscrtation sur les Instruments de
Musique employés au Moyen Age " (Mémoires de la
Société Royale des Antiquaires ele France, vol. xvii. p.
95 ), considers that the rote was deri ved from the chrotta
or crwth in the following manner :-It was found after
a time (and after the introduction of the bow) that the
hand was cmbarrassed in its movements by the shape of
the instrument, as the bow must neccssarily have struck
severa! strings togcther. To obtain greater facility, thc
external parts surrounding the neck, which had been
introduced, were removed, and the shape became gradu-
ally sometbing likc the bass-viol, and played in the same
way, bctween the legs, or on the knee. The rote, then,
according to this opinion, was a modification of the
original chrotta or rotta, and tbis does not seem incon-
sistent with the derivation of the early instrument given
by N otker, and Gerbert gi ves two represeutations of the
cythara Teutonica (Figs. 2 and 3) from MSS. of pro-
bably about the eighth century, tbough he consiclers one
to be olcler. F rom the epithet "Teutonica," tbey were
evidently instruments derivecl from or belonging to the
nortbern coun tries, ancl similar to the chrotta Bri tannica,
and not at this time playecl on with the bow. The word
cythara seems to have been usecl by the early writers as
a general expression for many classcs of stringed instru-
ments : the cythara Anglica, for instance, was a harp,
another example of a northern instrument. Cassiodorus,
in the sixth ceutury, includes among stringed instruments,
and which he sa.ys were struck with a plectrum, '' species
citbararum cliversarum."
Tbese instruments, induding the ancient psalterion,
were not viewed by the Churchmen with favour for

lllSTO RY OF THE VIOL IN . 23
ecclesiastical use. In the Council of Cloveshoe, 747, it
was decreed tha.t "ex monasteriis citha.ristre aliique
fidicines expellcrontur; " aod S t. J crome says, "fidicinas
et psaltrias et hujusmodi chorum diaboli quasi mortífera
sirenarum carmina proturba ex redibus tuis." Tbe
~nbít'a, t.euton tca
Fro. 2.
FIG. 3.
Abbot Amalarius, in the early part of the ninth centu ry

as cited by Gerbert, referring to the expression required
in singers, says -imp lying the absence of any instru-
ments,- " Nost ri cantores non tenent cymbala, neque
lyram, neque citharam manibus, neque coote ra gene ra
musicorum, sed cm·de. Quanto cor maius est c01·pore,
tanto Deo devotius exhibetur, quod per cor fit, quam
per corpus, ipsi cantores sunt tuba, ipsi psa.lterium, ipsi

24 HISTORY OF T ll B VIOLIN.
~ithara, 1ps1 tympanum, ipsi chorus, ipsi chordre, ipsi

organum, ipsi cymbala." John of Salisbury, in the
twelfth century, writing on the use of music in churches,
says: "Sumite psalmum, date tympanum, psalterium
iocundum cum cithara." I n au old French Bible of the
same date, the third verse of the 149th Psalm is rendered,
"Loent-il son noun en crouth, si chantent-il a lui en
tympan et psaltruy.'' Thomas Aquinas, in the thirteenth
century, says, "Instrumenta musica, sicut citharas et
psalteria, non assumit ecclesia in divinas laudes, ne
videatur iudaizare."
Although the rotta, rota, or chrotta, was thus deri ved,
according to Notker, from the psa.lterion, yet it did not
supersede that instrument, bnt they gradually differed
more from each other in shape, and the rote adopted the
bow, while the psalterion, about the fifteenth century, was
known as the dulcimer. They are frequently mentioned
together in old writers, and also in conjunctiou with the
vielle, or viola. The pseudo-Bede mentions togethet· the
organum, viola, and cithara, atola, and psalterium ; and
Constantinus Africanus, in his work: "De Morborum
Curatione," says that soft music should be played befare
the invalid, as from the campanula, vitula, rota et simili-
bus; and Sanutus, amongst other sweet music, names
" violre, citharre, et rotre."
Gerson, of a later date (about the fourteentb century),
whom we also cite from the valuable work of Gerbert, in
r efe;rence to the passage in the Psalms, "laudate eum in
chordis et organo," says, " Chordre secundum glossas
positre sunt pro quibuslibet instrumentis, aliis a psalterio
et cithara qure chordis sonat ( úc.) repercussis, sit viella,
sit symphonia, sit lyra, sit rota, sit guiterna," &c. ; and
in another part he says, " Canticum cum pulsu fit tripli-
citer; aut in rotatu, ut in symphonia ; aut tractu aut

JIISTO RY OF THE VIO LIN . 25
rctra ctu, sicut in viella aut rebella.; si ve cum impu lsu vel
impulsivo quodam tract u cum ungu ibus ,·el plectro, cum
vírgu la, ut in citha ra et guite rna, lituo, psalt erio quoquc
et tympano, atque campanulis." In thcse passagcs be
refers to the rot11 as a bowed instr umcn t, and to the
psalterion as not bcing bowc d.
Man y cxamples may be given from the aneie nt poets
and romancc-writers to thc same effect, of which we will
cite a. fcw, and they ma.y also be takcn to show the use
of the instr umcn ts, tbe viclle, or viol, and the gigb e;
and to prove that the vielle, gighe , rote, psalterion, and
symphonie, or chyfonic, and rubcbe (rebcc), were ditfcr -
ent instr umen ts. In thc Rom an de Brut, abou t the end'
of tbe twelfth centu ry, we find -
"Lnis do vicies et de rotes,

Lnis de hnrpcs ct de frctiaux,
Lyres, tymbres, et ehnlumiaux,
Symphonics, ~nltcrions,
lllouocordcs, tymbres, corron s."
I n anotb er part, relating the skill and talen ts of tbe

celebrated king Blegabr·cs (or· Blrethgab reat, as be is
called in the version of Lazamon), who fiourished, acco rd-
ing to Stow, 104 A. c ., was the god of jonglew·s and
singers, and played ou every instr ument, he is thus de-
scribed :-
" Dlegnbres rcgnn apres li,
Cil ~ot de nnture de cant,
Oncqucs nus u'en sot plus, ne tnnt.
De tos C$(rumcnts sot maistrie,
Et de di,·crsc ennler ie;
Et rnult sot do lnis et de note,
De vicie sot c t de rote,
De Jire ct de wltcri oo,
De hnrpc sot et de ehoron ,
De gighc sot, de symphonie.
Si saroit nss~s d'nrruo nie.
e

Do tous giox sot a grant plenté;

Plciu fu de debonnau·eté,
Por ce qui il est de si bous sens,
Disoient Ji gent il son tens,
Que iJ c•t dcx des jugléors
Et dcx de tos les chnntéors.''
In or a.bout the thirtcentb and fourteentb centuries

there are numerous examples. From the "Estoire de
Troie le Grant," Roquefort, "De la Poesie Fran~oise,"
&c. quotes :-
" N'01·gue, harpc, no chyfonic,
Roto, vielle, et armonio,
Sautier, cymbalc ct tympanon,
1\{onocordc, lirc et coron,
Ses sout li xii instrument
Que il sonne si doucemcnt."
A !so frorn " Ro roan de la Poi re,"-

" Et si i ot il gmnt planté
Estrumcnt do divcrs mcsticrs,
Estires, hnrpcs, et snut.icrs,
Vicies, gygucs, ct rotos,
Qui chnntoient di verses notes."
In a romance by Guiraud de Cabrera, the following

instruments are mentioned together :-
"L'us menet nrpn, l'nutl·c viula,
L'us flautella, !'nutre siu la;
L'us mena giga, ]'nutre rota.''
In the "Romance of Cleoma.des,"-

" Plenté d'est.rumens y nvoit;
· Vicies ct snltorions,
Harpes et rotes ct eanons
Et estivcs de Comouaillc.''
Guillaume de Ma.chault, of the fourteenth century, in

"Le Tems Pastour," has a ver y long list of instruments :-
":tlfnis qui véist apn)s mangicr
Vcnit· mencstreux sans dnngicr

HISTO RY OF 'filE VIOL IN. 27
Pignez ct mis en purc corps.
L\ furent mcints di'·crs ncors
Cnr je vis 1/t t.out en un come
Violo, rubebo, guitcrnc;
L'enmorachc, le micamon,
Citole ct le psaltcrion ;
llarpe s, tnbours, trompes, nncairc~,
Or·guc8, cornos plus d~ dix pairos ;
Cornemuses, Bajos et chcvrc!tcs,
Douccincs, simbttlcs, clochcttcs,
'fymb re, In flauste Brchningne
Et le gmnd coruet d'A llcmainguo,
:Finjos de Snu.s, fistulo, pipe,
Muse d'Au.ssay, trompe petite,
Duisincs, eles, monicordc,
O u il n'n qu'unc sculo cordc,
Et muso de blet, tout ensamble ;
Et ccrtaincment il me semblc
Qu'oncqucs mnis tele mélodie
N e fut oucques vcue no oye."
I n the " P risc d 'Alex andr ie," by the samc autho r, rriany
of thc same instrumen ts are mentioncd together, among
which are the following wbich relate to our subjcct :-
" Vielles, rubebes et psalterioo, gingues, rotes, mono-
córde, chifonie."
Eust ace D cschamps, in his poem on the dcath of
Machaut, introduces together,-
'' Rubcbcs, leuths, viellcs, syphonie,
Psnltcrions, trcstous instrnmons coys,
Rothcs, gu.itcrnc, flaustrcs, chnlcruic."
I n thc "Romanc e of Sir Degrevant," of about thc

fourteenth century, print cd by the Camdcn Society, it is
said, -
".lic waa !Tnyrc mnnc nnd !Trce,
.A.nd grctlcch yafl' by m lo glc,
To hnrp nnd to snutré,
And gctcrnc ffuU gny;
WcU to play in a l'otc."
In a note, a passagc from au unpublished pocm by
)
28 HISTOnY OF THE VIOLIN.
Lydgate is given, where tbe following instruments ara

named,-
"H.-trpys, fythcls, nnd ckc rotys,
\Vel nccordyug with hcr notys,
Lutys, rubibis, and gctorns,
More for cstatys than tnvcrns:
Orguys, cytolys, monnconlya."
H ere we have the word fythcl introduccd. Gower

says,-
"He taught ber, till shc 1rns ccrtene
Of bat·pe, citolc, nnd of l"iotc,
\Vith mnny n tewnc, nnd mnny a note."
And Chaucer's "frere,"-

" - -- Ccrt.ninly he hnd n mcrry note,
\Ve! coude be singe nnd plnin on n rote."
Very long befare tbe time of thesc latter examples tbe

rote had received various
modifications and im-
provements in form, and
the bow had been intro-
duccd. M. de Cousse-
maker has given tbe fi.
gure of a rote or crwth
of the eleventh century,
with three strings, and
playcd on with a clumsy
bow (Fig. 4). T his has
quite the charactcr of the
old crwth, and the me-
thod of using the fingers
is shown. Another, g iven
by bim from the Cathe-
dral of Amiens, of the
o o ooooooo 0 0 thirtccnth century, with
six strings, has also
PIO. ' · many of the distinctive

HIST ORY OF THE VIO LIN. 29
mar ks of the crw th; and the similarity of the sound-
holes to the mod ern ones will be
obs ene d (Fig. 5).
Car ter, in his " Anc ient Sculp-
ture ," givcs the figure of an angel
play ing a crwtb, in Worcestcr Ca-
thed ral, of about tbe twe1fth cen-
tury , und cr par t of tbe seats of the
choit·. I t has five strings, a tail-
S
picce, and two sound- boles ; no
neck, no bridge, the left han d bein g FlG . S.
placcd thro ugh the bolo at tbe lower
end to manage the strings. The
bow is short, and in form like the
mod ero doublc-bass bow ; it is a cha -
racteris tic example, but in this in-
stance the inst rum ent was held like
the viol (Fig. 6).
The word crwth was occasionally rw. e.
uscd for the viol ín and viol down to a rece nt time, and is
still so applicd in sorne part s of the cou ntry, most com-
monly to the >ioloncello, or bass->iol, as it is also called.
A curious examplc may be givcn from a work not like ly
to be muc h known to our read ers; an old Cornish dram a
of the dato probably of the fourteenth cen tury , called
"Or din ale de Orig ine Mu ndi. " Thc ancient Cor nish
lang uag e was akin to the W elsh, both hav ing the same
orig in, and this extr act will show that the words "crowd "
and "fy lh " were applied to different instruments. Kin g
Dav id is giving dire ctions to his min stre ls-
" ''í1•cthong menstrcls hn tnbours
trcy- hnns hm·pes hn trompoul'fl
cythol c•-owd fylh hn snvtl·y
p!Oimus gyttrens hn nnlry s
orgnns in wcth cymbnlys
recordys hn symphouy."

30 HIS1'0R Y OF 'l'IIE VIOLIN.
Thus translated by the able editor, Mr. Edwin Norris-

" Dlow, minstrcls, nnd robo\n's;
'!'bree huudred hnrps and trumpets;
Dulcimcr, fiddlc, Yiol, and psnltery;
Shawms, lutes, nnd kcUie drums;
Orgaos, nlso cpn bnls,
Recorders nnd symphony."
The crwth was of early date in Scotland, as well as in

England and W ales, and an instrument of this natm:.e
was among the ornaments on the outside of Melross
Cburch, founded in 1136.
Dauney, in his "Ancient Scottish Melodies," quo tes
from an old poem callcd the "Houlate," 1450, where
are mentioned-
"Thc psnltry, thc citholis, the sof'L nthnrift,
'l'he croude nnd the monycordis, thc gythornis gny ;
The rot.e nnd thc ¡·cconlour, thc ribus, the rift," &c.
Ed ward J ones, in the " R elics of the W elsh Bards,"

gives a poetical description of the crwth, written in the
fifteenth century by Gruffydd Davydd ab Howel, with a
translation. It agrees very much with that given by
Daines Barrington, to whicb we shall presently refer.
I t is said that Bisbop JVIorgan, in his translation of the
New Testament into Welsh, printed in 1567, translated
"vials of wrath " by crythan, tbat is, crwds or fiddles.
Hawes, in his "Pastime of Pleasure," of nearly the same
date, thus describes the attcndants of Dame Music : -
" Therc Sl\t dame Musykc, with nll her mynstr'tlsy ;
As tnbours, tnnnpcttcs, with pipes melodious,
Snkbuttcs, orgnns, no<l thc recordct· swctcly,
Hnrpes, hrtes, nnd crouddcs right delycyous ;
Cymphans, clarycol'(lcs, eche in Urcyr dcgr(l,
Did SJtle nbou!e thcyr ladycs magcs!e."
We find the word crowd used for fiddlc by thc dramatic

writers of the seventeenth century. For instance, in

HIST ORY OF TIIE VIOL IN . 31
"Th e Old Law," by Middleton, fiddlers aro introduccd
to ¡>lay at an exp ected wedding, a ccremon y where they
wcro always in requisition : Gnatho, the scr>ant, say s:
" Fid dlers, crowd on, crow d on ; let no man lay a block
in your way ; crowd on, I say ! " The wcdding being
broken off, the unlu cky fiddlers are scnt off witbout thei r
fee: "Ca se up your fruitless strin gs, no penny, no
wedding." In Marston's "W bat you will " they are
mentioncd in a somewhat disparaging way :-
" -- Kow the mnsicians
JTovcr with nimblc ~ticks o'cr squcnking crowds,
Tickli!Jg tl1e dricd g uts of a mewing cal."
The ir constant resort to con vi vial mcctings is frequcntly

alluded to, as-
"Th c iiddler's crou<l now squcaks nloud,
His fidlingc sirin ges begin to 11-olc ;
1Ic lovcs a wakc nnd a wcdding cnkc,
A bridc-housc nnd a brnvc May-pole."
Cuj>id's Bani shmt nl, 1Gl7.
Ben J onson ano Dra yton eacb name the crowd, as an
instrum ent to dan ce to ; and Sir W. L cighton, in "Te are s
or Lam entations of a Sorrowfull Sou le" ( 1613), whcre a
curious list of musical instruments- is given to sound tbe
praises of the Almighty, mentions crowdes and vialls.
In the '' Dia ry of John Richards," printed in tbe "Rc tro-
specti>e Review,•• published by ~Ir. J . Russell Smitb,
there is an e'ntry on 5th J uly, 1699, of Mr. Mallerd
coming to finisb Jack's crowd, and taking away bis own
bass-víol to mend. Thi s crowd was no doubt a fiddle, as
part of J ack's outfit in J700, on goin g to Wim borne
School, was "l violin." We are inclined to tbink that ·
during our We stminsto1· rera, a fidd lo would bavc led a
!:'ad life amongst our three hun drcd companions ; we
have heard, howcver, of one or two now of distinguished

32 HISTORY OF THE VIOLIX.
rank who boldly persevered, but persona11y remember

no musical attempts, cxccpting sorne half-dozen flutcs
and flageolets, in a grcater or less statc of perfection ;
we confess to two joints of one of the former. We must
not omit sorne notice of Hudibras's Crowdcro, said to
have been one Jackson, formerly a millioer, who lost a
leg in tbe servicc of the Roundhead s, and was obliged to
get a precarious livelihood by fiddling from one tavern
to another.
" l'th' hend of nl\ this wnrlikc mbblc
Crowdct·o march'd cxpcrt nnd nblc,
• • • •
A squcak.ing engiue he npplicd
Unto his neck on nortlt-east side,
• • • *
His wnrped cnr hung o'er thc strings,
'Wl•ich wns but sousc to chitterlings:
His grizly bcnrd wns long nnd thick,
With wbich he strung bis flddlc-stick;
For he to hot'lie-tnil seorn'd to owo
For wbnt on bis owu cLiu did grow ."
After this digression on the application of the word

crowd to the violín, we must return for a short space to
the ancient crwth, which appears to have continued in
use in W ales until a comparatively rccent time. Daines
Barrington, in 1770, says that the only person that could
then play on it was J ohn Morgan of Newburgh in
Anglesey, tben aged fifty-nine years; but Bingley, in
bis account of North Wales, says he heard an old bard
play on the instrument at Carnarvon in 1801. We bave
given a figure of one from Mr. Barrington's account in
the thírd volume of "Archreol ogia" (Fig. 7). It has
six strings placed in a peculiar way, with a flat bridge,
so that the bow must have struck severa! together, and
prevented any extcnt of execution. Thc bridge is curious,
as one leg goes through tbe sound-hole to tbe back of

HISTORY OF 1'HE VIOLIN. 33
PIO . 7.

the instrument, thus sening also for a sound-post. There

is no proof, however, of this example having been of
ancient date. It is stated to have been thus tuned :-
FIG. S.
We have only been able to meet with one existing

specimen, which by the kindness of Charles W. G.
Wyone, Esq. we have had an opportunity of examining
and of giving a drawing. The wood is worm-eaten and

liiSTOllY OF THE YIOLIN. 35
in tender condition, showing apparently greater age thau
the date of the ticket, and rendering it not improbable
that it might have been only repaired at that time. It
ha& no bridge, or tail-piece, or strings at present. It is
22 inches in length (about that of a violín), 9~ in width,
and 2 in depth at the deepest part; the finger-board
being 10¡ inches long. It is a curious and interesting
r elic (Fig. 8). The following is a copy of the ticket :-
mnid in thc paris of
anirhengcl by Richard
Evnns Instrumcots maker
In !he year 1742.

36 HISTOll Y OF THE VIOLIN .
CHAPTER III.
HE names fiddle, or fythele (fydele), among

the Anglo-Saxons, and fidula with the Latin
wri ters, are of' very early date; by sorne of
the latter, the "cithara si ve fidula" is classed
with "vulgaris musica." Isidore, Bishop of Seville in
the seventh century, uses the word cithara as a general
name for stringed instruments, stating there were severa!
sorts, as psalterium, lyra, barbiton, &c. Sorne have de-
ri ved the Latin word vidula, or vitula, from vielle, but
we do not see why it should not be derived di rect from
fythele . Mr. Wm. Chappell, in bis valuable and in-
teresting work on the "Popular Music of England," one
that wliile it shows the research of its author, places our
country in a high position in the early history of music,
derives vielle from fythele in the followiug manner.
The Normans, finding the Saxon ~Sor th not easy to pro-
nounce, were in the habit of adapting it to their own
pronunciation, and thus changed the word fythele to
viele, or vielle, omitting the objectionable letters; but
whether this derivation be correct or not, the term fydyll
or fithele also continued in use. I n the legendary life of
St. Christopher, written abo ut the year 1200, it is said
the king "loved melo.dye of fithele, and of songe;" and
in the version or edition of Lazamon's "Brut" (a work
of the thirteenth century) by Sir F. Madden, the fythele

is namcd among the instruments of the accomplished

Blrethgabreat : -
"Ne cude na mon swa muchcl of eong
of barpc &; of saltcríun:
of fidele & of coriun
of timpa and of Jire."
W e have already referred to the lines of Lydgate-

" Harpys, fitheles, and ckc rotys,
1\'cl according to thcr notys."
I n "Tbe Vision of Piers Ploughman," of the middle of

the fourtecnth ccntury, the word is again introduced,-
" I nm a mynstmll," quod that man,
" My name ís Activa Yita;
• .. • •
. . I ken neíther tnbourl) no trompe,
N e tell!l no gestes,
.. ne lithelen
At fcstcs, no bnrpcn."
And in "Octouian Imperator," where tbe r ote and

psalterion are mentioned together :-
"Thcr myghih men here mcnstralcyc,
Trompys, tnborus nnd cornctlys crye,
R owtc, gj·terne, lute, nnd snwtr-ye,
Fydclys, and othcr mo:
In Parys gret melooye
Thcy mndcn tho."
The admirm·s of Chaucer will rcmember that the

Clerk of Oxenford would ra.ther have-
"'l'wcnty bookcs, clot.hed in blnck nnd recd,
Of Aristotíl nnd of his philosophic,
Theu robus ríche, or fithul, or sawtríe."
In the present clay wiser scholars than he bave proved

that a clcrk may love his " fithul " without neglecting bis
•
38 H ISTORY OF TIIE VIOLIN .
"philosophie." Queen Guene vcr, of scant fa me, had at

her r evels, as appears in the "Roma nce of L aunfel ,"-
" . . . mcostrnlcs of rooch honours,

:E,:ydelcrs, cytolyrs nnd trompours."
Wbilc Sir Thomas on his visit to tbe Fairy Queen finds

harp and fidul, getorn, sautry , lute, and reb; be, and "alle
maner of mynstr alcy." So Sir Thoma s was ,·cry well
pleased for a time, as may be seco in Halliw clrs "Fairy
Mythology," which contains much interes ting matter .
Many other examples might be gi,·en, if nccessary, in
further proof of the freque nt use of the word; we shaU
bring forward somo of them by and bye for a ditferent
purpose. One or two rcfcrcnces m¡1y be made to more
sobcr writers, as Geotfrcy de Vinesauf, about the year
1200, who, after mentioning "somn iferre cytharre," im-
mediatcly afterw anls introd uces" vitulre jocosre." Gcr-
bert adds, "Vitulm an vio1m? qure passim inter instru-
menta musica medii c:cvi censentur." J ohn de Garlan de,
in bis vocabulary of thc middlc of thc thirteenth ccn-
tury, has the word vidula among st bis musical instru-
ments ; and we are told tbat Isabella, Quccn of Edwar d
II, had in her train, amongst othera, two poor musicians,
"vidulatores," to play befare her. The fiddle of thcse
early times, however, was the vio! and not our modero
violín.
In the "Nibclungen Lied," of the twclfth ccntur y, u
celebrated warrior and minstr el is introduccd, namcd
Volke r; his fidclle-bow, or vidcl-bogen, appears to havo
been a powerful weapon of offence ; ami he is called
videlrere. A short but amusin g accoun t of Volker , and
some other ancien t musica l wo1-thies, as Swcmmel and
Werbcl, "court fiddlers and minstrels ,. to King Etzcl,
will be found in "A Few Notes on the Fiddlc ," by thc

HIS'l'ORY OF THE VIOLIN. 39
accomplished antiquary Mr. William J. Thoms, published
in No. 47 of the "Musical 'VOJ·ld," where, however, he
finishes by leaving his friend Volker in the lurch, ad-
mitting him to be a myth. As we, in common with
allwho have the pleasure of knowing him, must hold bis
learning and wit in high estimation, and, as in these "Few
Notes" he says, "No catalogue of fiddlers can be com-
plete in which there does not appear the name of Lewis
van V aelbeke as a pi ayer and rnaker," we rnust state from
bis information that L ewis, or Lodewyk van Vaelbeke,
of Brabant, who died at Antwerp in the very beginning
of the fourteenth century, was an erninent "vedeiare,"
and, on the authority of a rhyming chronicle, written by
Nicolaus Clerk, was the first to stamp or beat time.
Mr. Thoms humorously commences his translation of the
lines applicable to Van Vaelbeke thus : -
".About tbis timo dcpartcd sück,
Tbnt ocrood fiddler Lodewvk
J '
·"
and fiuishes thus-

" He wns thc first to fi nd nnd sbow,
'l'o stamp or beat thc 111nnner how,
Justas we bem· it practised now."
W e caunot, however, on the autbority of the extract

givcn-and with the higbest respect for the translator-
admit the namc of Vaelbeke as a. maker, without further
authority, and Mr. Thoms himself allows thc obscurity
of the phrase cited for tbe purpose. We have already
sbown that beating time was known to the Greeks.
Johannes de Muris, about the fourtceuth ccutury,
woulcl seem to distinguish the vielle from the fidd le as a
variety. In clescribing the class of Í11struments he calls
chordalia, he says, "Chordalia sunt ea, qure per chordas
metallinas, intestinales vel senc1nas exerceri videntur,

qualia sunt cytharre, viellre et phialre, psalteria, chori,

monochordum, symphonia seu organistrum et bis similia."
In "Promptorium Parvulorum" (about 1440), fydyll
and fyyele (viol) are Latinized, viella, fidicina, vitula ;
while crowde is called chorus.
The viol, or vielle on tbe Continent, was the name
most commonly used for instruments of this description,
and vio], indeed, has descended to the present time, while
vielle, about the fifteenth century, became applied to an
instrument the parent of our hurdy-gurcly, which was
originally called the organistrum, and symphonie, or
ciphonie. T his was clearly a different instru ment from
the rote, being frequently mentioned at the same time.
The celebrated Bhethgabreat played on the rote and the
symphonie, and in the " Romance d' Alexanclre," quoted
by Ducange (voce 1·ota) "Rote, barpe, vielle et gigue et
ciphonie," appear together. In that curious composition,
"Les Deux Troveors Ribauz," of about tbe thirteenth
century (which may be found in "CEuvres de Rutebeuf,''
i. 335-7), being a dispute between two trouveres, or
minstrels, as to their qualifications; one of them says to
his opponent,-
"Scz-tu nule riens de citole,
N e de vielc, no de gigue?
Tu ne scz vaillant une figue."
To which the answer is,-

"Ge te dimi que je sai fail·e:
Ge suis jugll\res de vicie,
Si sai de muse et de frestcle,
Et de hnrpo et de cb ifouie,
De In gigue, de l'armonic,
De l'saltcire, et en In roto
Sai-gc bien chnnter une note."
He then goes on to say he can raise spirits, and perform

HISTOllY OF THE VIOLIN. 41
feats of magic, which are foreign to our purpose; the
extract, howev~r, sbows thc symphonie and rote to have
been different, as well as tbc vielle and the gig ue. This
symphonie is also mcntioned as the lyra mendicorum,
and a figure of it is givcn by Merscnnus and other
writers, proving its similarity to the hurdy-gurdy. H ap-
pily this instrument is now very rarely beard in our
streets sincc the dcparturc of' blind Sally of Westminster
notoriety, wbom many of our readers may rcmember; a
slight suspicion of it only occasionall y occurring in tbe
hands of sorne wandering Italian boy.
In a MS. of tbe fourtccnth century at Ghent, r cferred
to by M. de Coussemakcr, there is tbe figure of an in-
strument to which no name is attached, said to have been
inventcd by one Albinus. T he
celebrated Alcuin, who dicd in
804, travelled on the Continent
undc1· that name, and was skilled
in music, having written a treatise
on the subject, although it is not
now extant. I t may not, perhaps,
be assuming too much to consider
bim the Albinus r efcrred to. T he
instrument is son1ewhat of guitar-
sbape, and has four strings marked
e, g, d, c. T here are considerable
inward curvaturas, but no bridge
or fingcr- board ; tbe tail-piece is
broad, and there is a. semi-lunar
sound-hole on each side (Fig. 9).
PIO. 9.
On a capital of the eleventh or
twelfth century, from Boscherville, stated to be in the
Muscum at Rouen, there are eleven figures playing
on different instruments, while a twelfth is tumbling.
D

42 H.ISTORY OF TllE VIOLIN .
Onc of the instruments (Fig. 1O) is held on or between

the knecs of the performer, and,
though of smallcr size, is not unlike
the viol da gamba in shape. It has
four strings, and fou r semi-circular
sound-holes, but no appearance of a
bridge or finger-board . The abscnce,
however, of sorne of the details of an
instrum.ent, either in sculpturc or paint-
ing, must not be taken as a proof in
all cases that the parts omitted clid not
exist; they might have been omittcd by
FIG. 10. tbe artist either from want of knowledge
of the instrument, or because be thought such details
unnecessary. It might also be possible, in sorne cases,
that a layer of hard wood was applied, as in the present
guitars, to avoid the indentations that would takc place
in soft wood from constant use.
In tbe porch of Notre Dame de Chartres of the twelfth
century, is a representation of a curious instrument of this
class (see Fig. l 1, from Potier's "Monumens Fran<(ais,"
vol. i.). It is not unlike a cumbrous violoncello in shape,
but the apparent heaviness may be the etfect of the
sculpture. The bridge in particular is thick, and deeply
grooved for the strings, which are three in number and
very large. The tail-piece is much ornameoted, ancl
there are four sound-holes, two of q uatrefoil shape, and
two much like the modern ones, but with both ends
turned the same way. There is another instrument of
this class of the same date, mentioned by M. de Cousse-
maker, from a mm·ble statue in tbe Museum at Cologne.
The body is rather louger than usual, it has three strings,
and two wide sound-holes. This, with the examples 9
and lO, are of the class considered by M. de Cousse-

HISTORY OF THE VlOLIN. 43
maker to be rotes, or viols of large size, aod P otier's
example is similar.
Sbaw, in " Dresses and
D ecorations," gives an ex-
ample of the tbirteenth cen-
tury from Arundel MS.
157, wbich has three strings
and two round sound-boles
(Fig. 12); tbe bow is mu eh
likc the moderu violoncollo
bow, but is held undcr-
handed.
Another variety was call-
ed tbe rebec, sometimes the
ribible or rebelle, and ru-
bebe. I t seems origioall y
to have been of a trapezoid
forro, and afterwards oh-
long, with the angles cut,
and bad two or Unce
striogs. Roquefort says it
was a sort of bastard violín,
or "violín champetre ," and
was a favourite among the
rustic classes, but fcll into
disusc in tbe sixtccnth
century-p robably in con- FIG. u.
sequence of the introduction of the violín pro-
per about tbis time. Laborde, in his " H is-
tory," gíves engraviogs of persons playing on
the rebec, and on the violín, as he calls it,
with three strings, of thc thirteenth ancl four-
teenth centuries; but the figures are evidently
modernized, and little reliance can be placecl Fra. 12•

44 HJSTORY OF THE VJOLIN.
ou the early part of bis history. He mentions the

figure of the celebrated Colín Muset at the porch of St.
J ulieu des Menestrier at Paris, of the date of 1240, play-
ing on a rebec or violín ; but the hospital of St. J ulieu and
St. Genes (who was a Roman mime martyred in the
time of Dioclesian, and adoptcd as the patron saint of
his profession) was founded by the Corporation of Min-
strels about the year 1330, and the figure called Coliu
Muset by Laborde, is by others said to have been King
Cbilperic, or St. Genes himself. The church referred
to was destroyed in the time of the French Revolution.
The instrument is mentioned by Aimeric de Peyrac in
the thirteenth century, and is frequently named in the
fourteenth century. It was played on by Absolon,
Chaucer's parish clerk, who appears also to have been a
distinguished dancer.
" In twenty maners he conde skip and dauncc,
After the seo!() of Oxcnforde tho,
And with his legges casten to ar1!i fro;
And plcyen songes on n sruall rnbible."
The instrument is named with the Idle Apprentice in

the "Cook's Tale."
A gay young clergyman of the time of Edward II.
when he goes out-
" }I() putteth in his pawtcner
A kerchyf and a corub,
A skcwer and a coyf
To bynd with hys loks,
And ratyl in the rowbyble
And in non other boks
Ne mos."
Gerbert quotes Gerson of the fifteenth century, who

na mes the vi ella, the rota, and the re bella ( that is, the
rebec) together as bowed instruments. We have given

HISTORY OF 'fl:IE VlOLIN. 45
a. figure of one, which seems characte•·istic of the class,
from a. picture attributed by M. de Coussemaker to
H emling of the fifteenth century, where an
angcl is rcp•·esentcd playing on it (Fig. 13).
Henry Vlll. had tbree rebecs in bis band,
as well as two viols; an<l the same instru-
ments appear in the bands of bis threc cllil-
drcn, his successors. The three performers in
the band of Henry VIII. in the seventeenth
year of bis reign, were John Severnake and FIO. 13•
John Py•·ot, who had forty shillings monthly wages eacb,
and Thomas Evans, who had only six shillings and eigbt
pence. evernake seems to haYe becn continued in tbe
thrce following reigns. In the pri vy purse expenses of
H cmy VIII. 1531, there is an entry of xx' "paiede for
a Rcbecke for great guilliam; ··a conside•·able su m, taking
into account the difference in the valuc of money; it is
unlucky that the name of the maker is not mentioned.
There is a rebcc mentioned in that valuablc record, the
"Northumbcrla nd H ousebold Book," 1512, who had
33s. 4d., and it forms one of the "mynstrasy ,. of D ame
M:usyke, before rnentioned.
Jcromc de Moravia describes the instrumcnt as having
two strings, tuned by fiftbs, and extending from C (Ut
grave) to the D octave, but it could not rise higher,
proYing that the shift was not thcn known: however, it
frequcntly seems to have had three strings. Towards
the sixtecnth century it declincd in favour , and became
more particularly the instrument of the lower classes on
the Continent, and was used to accompany thc rustic
dances. Artusi mentions it in 1600, together with the
viol, tho bastard-viol, and the violín, ancl many otber
instruments. It was evidently consiclered of an inferior
rank in France in the seventeenth century, as in regula-

tions made in 1628 and 1648, aH minstrels not properly

admitted as masters, are forbidden to play any violín
exccpt that with three strings, or the rebec, and it
gradual! y got into disuse. l\1. Hersart de la Villemarqué,
in the introduction to " Barzaz-Breiz populaircs de la
Bretagne,'' names it as in use there among the wander-
ing minstrels, " bardes mendiants."
The rebec, as well as other varicties of the viol, occa-
sionally had a head car ved at the end of the neck, where
the scroll now is, and gencrally a g rotesque or fanciful
one. Rabelais distinguishes Badebec, the motber of
Pantagruel, by her likeness to one : -
" Elle en mourut In noble Bndcbcc
Du mal d'enfnnt que tnnt me sembloyt nicc
C'nr elle n1·oyt visnigc de rebcc."
In an inventory of King Charles V. in the middle of

the fourteenth century, several instrumen ts are particular-
ized, having carved heads, one with the head of a lady,
another of a lion, &c.
Another variety, the gigue, is frequently mentioned. in
the thirteenth aud fourtecnth centuries, and is supposed
to have been derived. from the ancient forro of the viol,
which was originally of something like pear-shapc ; that
is, like the half of a pear, cut through longitudinally,
and was made of one piece ; it gradually became of an
oval shape, and thc neck was detached. What was
called the gig ue, retained very much the old shape ; the
back, however, becoming gradually rounded, thc neck
still being a prolongation of the body. It gcnera.lly had
three strings, and continued in use till towards the lattcr
part of the sixteenth century, and occasionally was evcn
of latcr date. It would seem to have been of G erman
adoption, as the word geige is the German name for a
viol or violin, and the performers were sometimes called

"giguéours d' Allemagne." It was probably tbe instm-
ment used in sorne of tbe curious early dramatic per-
formances of Gros-Guillaume, Gautier Garguille, and
Turlupin (or tbe comic actors wbo assumed those names),
whicb were a strange medley of singing, recitation, and
dancing. Sometbing like them was afterwards intro-
duced in England, and bence tbe name jig may bave
arisen. The three celebrated actors just mentioned met
witb a melancboly end after a successful career for fifty
years. Gros-Guillaume was imprisoned for imitating
tbe grimaces of sorne well-known magistrate, wbo was
stupid enougb to exercise bis power to punisb bim. Tbe
FIG. 15.
FIG- H.
unfortunate roan died from shame in consequence, and

bis two friends are said to bave died from sympathy.
One of the figures of tbe elders at tbe catbedral at
Amiens, of tbe thirteentb century, has in bis bands a
gigue with tbree strings and two sound-boles, but with

48 HIS1'0RY OF TIIE YIOLIN.
no appearanee of a bridge or distinct finger-board.

M. de Coussemaker describes one from the Cathec.lral
at Mans, of the fourteenth century, wl1ere the head is
thrown back; it has three strings, with the sound-holes
placed in a peculiar manner, and thc shapc is elegant,
but there is no appearancc of a bridge (Fig. 14). In
the samc ccntury, the top of the instrume nt was fre-
quently rounded, ancl was not unlike thc moderu scroll.
Martín Agrícola, 1545, gi ves charactcristic figures of
four of thesc instruments, of different sizcs; Discantus,
Altus, T enor, and Bassus. They have three strings,
bridge, tail-piece, and two crescent-shapcd sound-holes.
The peculiar shape will be seen from the representation
of the Descant us (Fig. 15).
As we have before obsen·ed, the seym·al instrume nts
before referrcd to were distinct from each other, aud are
frequently mentioned together in the samc passages of
the early English and French romance writers.

ll!STORY OF TITE \"IOLIN. 49
CHAPTE R IV.
~!;~:~~~~ A VING shown the probability of the intro-

duction or invention of the bow in tbis
' country in connection with the crwth or
K:..! Loo instruments of that class, and referred to
tbc very early use of thc instrument gencrally kno""n
as the viol, and also thc absence of proof of the prior
use of the bow elsewhoro, we think we may fairly claim
thc origin of it for our own count.ry. We werc pcopled
in very early ages, and, although sorne of our ancient
chronicle¡; g ive rather fabulous accounts of thc first set-
tlers, yet they are generally not deYoid of sorne founda-
tion, however penerted and exaggerated thc facts may
havo bccome. T he Druids, in the time of Cmsar, ""ere
a learncd body, and skilled in the arts of theit· age, which,
from many of the existing Celtic remains, had made con-
siderable aclvance. Somo antiquaries, of dccp research,
bclicve they can seo glimpses amongst om· oldest rcmains
ot· monumcnts of thc past, of a statc prior to thc Druids,
whether connccted with the scrpent worship, or with what
elso, is foreign to our purpose. The great antiquity of our
islancl as an inhabited country is undoubtcd, and the
carly use, therefore, of the musical instrumcnts of which
it is our ea.rnest wish to give a just ancl impartía!, and
wc hope also an interesting account, though the under-
taking may be difficult. We may observo that in our

very early history there are r eferences to and statements

of visits to the neighhouring continent, and after the
m·rival of the Romans there are many instances of cmi-
gration there, and on one occasion a kind of colony was
establisbed in Britanny, where there are still many marks
of resemblance to the Celtic portions of our country.
King Alfred even seut a mission to the far East; and ou
all these occasions sorne of our arts and customs would
be carried over to, and, to sorne extent, be adopted by,
the countries visited.
The more ancient forro of the viol, as before mentioned,
appears to have been of pear shape, that is, like a pear
divided longitudinally ; but it afterwards became of a
more oval shape, and subsequcutly inward curvatures,
more or less defined, were introduced, and the instrument
in time became much in forro like the modern violín,
though of heavier make; but this was after the lapse of
centuries. Before the inward curvatures were intro-
duced, the rounded sides must havc interfered with any-
thing like execution, and checked the action of tbe bow,
which, from the forro of sorne of these instruments, must
have struck several strings together. As increased exe-
cution, or the desire for it, occurred, the sides would be
curved inwards to meet the necessity, and frets were
afterwards introduced to guide tbe fingers. These cur-
vatures would also facilitate the holding of the larget·
instruments between the knees. The strings varied from
one (but this is very rare, and we only find it in Gerbert's
example) to six, but rarely more. At first there was no
detached finger board, but the neck was an elongation of
the body of the instrument; the sound-holes were gene-
rally two, but there are examples with four; there was a
bridge varying in size and position, and usually a tail-
piece of sorne sort. There are instances of two bridges,

HISTORY OF TBE VIOLIN. 51
but these are quite exccptional, and probably arise from
sorne error in the representation, as they would seem to
be unmanageable.
The earliest representation we have been able to find
is tbat in the learned work of Gerbert, "De Cantu," &c.,
plate 32, taken from a MS. supposed to be of the eigbth or
ninth century, and callcd "Lyra." It is of pear shape,
aod has but one string,
but there are two semi-
circular sound-boles, with
a small bridge between
them; tbe neck, altbough
in sbape like an elonga·
tion of tbe body, yet
from tbe mark of division
across it migbt have been
of a separata piece (Fig.
16).
The Cotton MS. Ti-
berius, c. vi. of the tenth
century, contains repre-
seotations of several an-
cient instrument s similar
to those given by Ger- Fto. 10.
bert, and De Cousse-
maker, but tbe most interesting one for our purpose
is tbat of tbe performer on tbe viol, who is accompany-
ing a juggler playing with tbree balls and three knives,
and rivalling our modem wonders in tbis line. The
figure has been often produced before, but we tbink it
necessary to insert it bere as a very early and distinct
specimen (Fig. 17). It is of pear shape, with four
strings, two round sound-holes, and a tail-piece, but
with no appearance of bridge or finger-board. The

52 HISTORY OF THE VIOLlN .
bow is somewhat of the form of our moderu double-

bass bow. The performer Iooks
as serious as the man who does
Punch in the streets, looking at
his companion'sskill as the mere
mea.ns of procuring a dinner.
In Gori's "Thcsaurus Vete-
rum Diptychorum," there is a
reprcscnta.tion, supposed to have
been taken from a MS. of the
nintb century, of David playing
on a sort of lyre, and four
musicians witb him; one play-
ing an organ, one a trumpet,
one on four bells, and the
fourth on a viol witb three
Fra. 11. strings, and two crescent-shaped
sound-holes, afinger-board, and,
apparently, a tail-piece, but no bridge. It is of oval, or
nearly circular shape, and the bow something between
the double-bass and violoncello bow. Ledwicb describes,
among the figures in tbe crypt at Canterbury Cathedral,
a grotesque figure playing on the viol, wbich be ascribes
to the time of Alfred, but this crypt is not considered
to have been older than the twelfth century, and the
figure, therefore, is somewhat more recent than those in
Peterborough Cathedral, to which we shall soon refer.
The viol is mentioned in a "Trcatise on Music," for-
merly attributed to tbe Venerable Bede, but now sup-
posed to be of later date, by one who may be called
Pseudo-Bede.
From the earliest Anglo-Saxon times the vio! and its
congeners appear to have been well cstablished instru-
ments at all festi vals and social meetings, and so continued

downwards during the successive changes of dynasties,
until superseded by the more livcly violin. Played by
the violars, frequently assocíated with j ougleurs and min-
strels, at the courts of tbe kings of the eight Saxon
kingdoms, whicb we are instructed in youth to call the
Saxon H eptarchy-afterwarcls at those of the Normans
and their successors-in the bowers of the fair Saxon
and proud Norman dames-at the country ga.therings
and fairs - and in the ha.lls of the barons, where, as
Whistlecr aft (Frere) says-
"They served up salmon, vcuisoo, nnd wild boars,
By huodrcds, and by dozens, and by scot·es,
* * * *
'Vith mead, nnd ale, nncl cider of our own,
*
For porter, puoch, and negus wcre not known."
To be sure these barons, notwithstanding their encou-

r agement of minstrelsy, were sometimes troublesome
neighbours; one would occasionally have a granel battú,
when-
" .. . omne vicinngittm destruebnt,
Et nibil rclinquebat de intact(),
At-dens molinos, casas, messuagia,
Et nlin multa damnn atque outragia," &c.
W e have before observecl that the instrument was fre-

quently called the fythele. In Strutt's " Manners and
Customs," there is a figure from a
lVIS. in the Bodleian Library, of the
twelfth century, of a performer on
the viol of an oval shape, having
five strings, without any appearance
of sound-holes, bridge, or finger-
board, but with a tail-piece (Fig. 18). FIG. ts.
The tail-piece in sorne instauces may have been attached

to the belly in the same mauner as in our guitar, and
thereforc have partially served for a bridge. There is a

54 IIISTORY OF TTlE \"IOLIN.
curious variety of the instrument, stated to be of the

end of the eleventh ccntury, given in that riehly em-
bellished work, Shaw's "Dresses and Decoration s," from
additional MS. ll,G95. It is oflong oval shape, with five
strings ; thc ncck is, perhaps, separata, and
it has no bridge or sound-holcs. It seems
to ba.vc been of large size. Tbe screws are
placed in a singular manner a.t thc top (Fig.
19). Thc bow is very much curved. Figures
of about the same date, playing on the usual
oval-shaped viol, were on thc door of the
; ancicnt church of Barfreston, Kent, and on a.
~~~ frieze at Adderbury Church, Oxfordshire, and
19
Fio. ' in other places, sorne of wbich of a later date
we sball mention afterwards.
We must not omit to noticc one well worthy of bonour
-Rahere, the king's minstrel, who foundcd St. Bartholo-
mew's Hospital in 1103, and whose name is still attached
to a small stt·eet in the ncighbourhood. He is said to
have kept company with fiddlers wbo playcd with silver
bows; but our authority, "The Plcasaunt History of
T homas of Reading," is not convincing as to this latter
fact. He appears, however, to have been a man of wit,
and to have been jcster as well as minstrel, to Henry l.
and this befare the court jester degencratcd into the
mere buffoon. He was one of the first known as "jocu-
lator regís ; " not thc first, as has bccn statcd, for William
the Conqueror had onc who was probably on one occa.-
sion during bis wars thc means of saving his life. Berdic,
joculator regis, is also mcntioned in Domesday Book, as
of tbe time of Edward tbe Confessor.
There are sorne vory curious reprcsentations of the
viol and other instrument s painted on the interior of the
roof of the fine old cathedral at P eterborough, which we

HJSTORY OF TIIE VIOLIN. 55
haYe seen, aml are fortunate enougb to possess a copy of
the coloured engraving of it by Mr. Strickland, by
whose permission wc will introduce sorne of the figures.
This roof is considcrcd to be of the date of 1194, or
a little earlier, whcn the work was complcLed by Abbot
Benedict, who presided from 1177 to 1194. The ceiling
was retouched a 1ittle prcvious to 1788, and repaired in
l 835, but thc gt·catcst ca re was taken to retain every
part, or restore it to its original state, so that the figures
even where retouchcd are in effect thc same as when
first painted. Onc is a g t·otesque figure playing on a
FIG. ~1. PlO. 22.
viol with tbree strings and four sound-holes (Fig. 20,

frontispíece) ; another is a crowned figure, perhaps to
signify a royal minstrcl, playing on an instrument with
four strings and two sound-holes (Fig. 2 1) ; a third ís a
female figure having the instrument 011 het· lap witb four
strings and four sound-holes (Fig. 22). Eacb figure 011
the roof is placed in a separate lozcnge-shaped orna-
mental compartment, differing occasionally in the style
of ornament, and in the colour of the ground. We bave
reprcsented that belonging to number 20. The instru-
ments have inward curvaturas at the sirles, and are not

56 JIISTORY OF THE VIOLIN .
very unlike the modcrn violín in sha.pc. There is an

appearance of fingcr-boards ancl tail-pieces, but nene of
bridges. Other femalo figures are r epresonted playing
on the psalterion or dulcimer, and the symphonie, the
parent of our hurdy-gurd y. Grotesque figures in paint-
ings and sculpture were not uncommon about this time,
and many may be found in old manuscripts and in thc
wood carvings of ancicnt churcbes. Tbcre is a curious
r cpresentati on on the P etcrborough r oof, of an ass play-
ing on the harp, which may have sorne refet·ence to thc
singular celebration of the F east of thc Ass, wherein
part of the scrvice was called "Asinus ad L yram; "
but it would occupy a chapter by itself to enter even
slightly upon this interesting subject, and the numerous
varieties of the Feast of F ools. In "Monnaies des
F ous," &c., mention is made of the figure of an ass on
the old tower at Chartres, playing on a stringed instru-
ment, which, from tho account given, appoars more liko
a harp than the violle, but the figure had the name
of "l'ane qui vielle."
I n F rance, as in England, music was encouraged from
an early pcriod, having been introduccd, as appears most
probable, from the north; and the performers frequented
the courts of the kings, from Clovis downwards. There
is a S t. Arnold, who was a "joueur de violen,'' that is
the viol, in tl1e ninth century. In the midst of the
changes of the French monarchy and their constant
warfares, petty and g reat, and notwithstanding the un-
ccrtain tempers of their royal and noble patrons, tbe
minstrels k ept tbeir ground. And a difficult task they
must sometimos havo had. T ake Sismondi's account of
one, rather a qnict onc, towards the end of the cleventh
century, Philip I. "Cependan t, commc il n'avait point
de volonté, il n'éprouvait point de contrariété s; comme

il ne faisait jamais la. guerre, il n'était point battu; et
comme il ne formait pas de projcts, il ne les voyait
jamais échoucr : sa Yie domestique était prospere, et sa
san té résista1t a sa longue intcmpérancc."
Instruments played with thc bow do not appcar to
have bcen nnmerous on the Contineut before the
elcvcnth ccntury, but incrcascd in numbcr and variety
towards the middle of it. The form at first was conical
or pear-shaped, haviug tbe body and ncck formed of one
piecc; but soon assumed a more oval shape, with the
neck and body separate. There is said to be a repre-
sentation of an ancicnt Freoch king in the churcb of
Notro Dame, with a bow in one hand and a viol in the
other, of about thc last date; but there is sorne doubt
whethcr this is Chilperic or Robert, who commenced
the building in thc tcnth century ; Montfaucon says it
was tbe forme1·. Tbere is a curious figure of a pcrformer
on thc viol on a medallion of the oleventh century at
·Boschcnille. He holds it artislically undcr tbe cbin,
and appcars to be singing at tho samc time, though bis
aspcct is somcwbat lacrymose, as if he
were attemptiog for the first time the
studics of the Pagauini of the period.
Tbe instrumeot apparently has four
strings, and is of oval shape, but has
neithor bridge, sound-holes, or finger-
board in the rcproscntation. Wc have
rcfcrrcd befare to the figures on a capital
at Boschcrvillc of the twelfth contnry ;
one of these is playing ou a sort of viol
of oval sbapc, having two semicirculat·
sound-holes, but without any appearanco no. n.
of bridge or finger·board (Fig. 23). M. de Cousse-
maker considers this instrument to be a gigue.
E

óS BISTORY OF TIIE VIOLTN.
As far back as the thirteenth century we find the

figure of a monocbord of a rectangular, oblong, and
narrow forro, and taller than thc performer ; from tbis
was probably derived that curious instrument, the
trumpct marine. There was also au instrument some-
what smaller, having two strings, called the diacord or
dicord. 1
Thc profession of a jougleur or trouvere of early
times, was by no means an easy one, and comprised not 1
only skill on several instrumenls, but juggling, sleigbt of
hand, and many similar qualifications. We ha ve already
referred to sorne of these in our cxtract from " Les
Deux Trovéors Ribaux."
Colín Muset, the celebrated minstrel of tbis date,
according to Laborde, even exceeded the usual musical
qualifications; but the song given by him as one of
Muset's, is evidently modernizad, and we will give but
one verse, concluding with the bard's modest estimation
of himself.
" TI chante B\'ec fl<•tc 011 trompcttc,
Guitarro, hnrpe, flngeolct,
Tnmhourin, violon, clochcttc ;
TI fuit In bassc ct In fnussct;
TI in\'entn ,;elle et muscttc :
P our la mnnivcllc ou l'nrehct,
Nul n'égnlc Colín ~uS<:t."
But even the. great Colín Musct had sometimes to

complain of neglect from the fp:eat. He thus speaks of
one who had paid him nothiog for bis minstrelsy :-
" Sirc qucos j'ni vició
Devnnt \'OS en vostrc oto! ;
Si nc m'avcz rictts donn é,
N e mes gages ncquitcz,
C'cst vilnnic."
A great improvement bad taken place in musical

lllSTO RY OF THF. VIOLI N. .59
notation by the time of the eleventh century, and the
name of Guido d'Are tin is well known for his exertions
in this respect, and indced, as is frequently the case in
such matters, he has more credit given to him than he is
entitlcd to; somo of bis supposed discoveries having been
previously known. For a considerable time prior to such
date, notation was by what were called neum es; whence
Ducango says, "Neu mare est notas vcrbis musice decan-
tandis superaddere.'' These neumes were arbitr ary
' chara cters or accents, severa! in number, which supcr-
sedcd the lettcr s previousl y in use, and were placed .over
tbe words to be sung, a separ ate value, ot· power, or
pitch, bcing attached to cach. Gerbc rt gives a table of
forty, with thoir names. At first, unLil about the end of
the ninth century, there were no lines or indicat.ions of
clefs, and there being no guide, it was difficult to assign
the value with any accuracy, and pcople differcd as to
the relativo pitch. Abou t tbe tenth ccntu ry a horizontal
line, cither black or red, was placcd over thc words,
which marked the placo of a fixed note, and the place
of tho neumes ovcr or under this lino distinguished the
quality of thc note much better than had previously
been the case. A song of the twelfth centu ry on thc
battle of Fontanet or Fonta nay, with notati on in the
stylc of the ncumcs, without tbe hori:r.ontal lino, is sup-
posed to be one of tbe earliest examples of secular music.
Afterwards, two lines werc used, one red, which had thc
letter F at the commenccment, and the other yellow or
green, whicb had C. Subsequently two other lines were
added ; one bctwecn thc two former ones, and the other
either above or bclow thcm ; the lcttcrs at the head of
the principal lincs being the origin of the clefs of our
modcrn notation. The notes werc named, ut, re, mi, fa,
sol, la, from the commencing syllables of the lines of a.

- - -----------------------------------------------------~
60 IIISTORY OF THE VIOLIN.
Latín hymn, of which the corresponding musical notes

werc ea.ch a tone higher than that of the preceding
sylla.ble. They wet·c a.fterwards callcd C ut, D re, &c.
I-Iowell, in one of his lettcrs, October 7, 1634, mentions
that thc Gcrmans, wbo were then great drinkers, would
sometimes drink a health musically to each of tbe six
notes, comprising tbcm, together with the reasons for
drinking, in tbc following bexameter :-
UT nE lcvct w scruro FAturo, soL itosquc LAbores.
The lines were afterwards increased to five : indeed,

there are somc ancient pieces of music with many more;
but still much-cspe cially of tbe ecclesiastical music--
continued to be written with four. In the twelftb cen-
tury, the g rave square notes still to be seen in the old
church music, carne into general use ; these gradually
improved in appearance, and became less in size, as they
bccame the representa tivas of greater celerity, until now
they bave reached that extreme railway speed and com-
plication of figure scarcely to be managed in many
cases but by musicians of the highest skill and practica,
of whom, happily, wc have many.

IIISTORY OF TllE VIOLI:V . 61
CHAPTE R V.
N the twelfth and thirteenth centuries, the

represcntations of thc viol differ much ;
the strings vary from two to six, but three
and five are the usual numbers. Sorne bave
inward curvatures moro or less defincd ; the majority
havo bridges ; thcrc is seldom any appearance of a dc-
tached finger-boanl, ancl the sound-holcs are usually two,
sometimos four, and occasionally there is one likc that
of the guitar. As before observed, the clefects in the
details may sometimos arise from omissions in the
delineations.
P otier, in "Monumens Franc¡:ais," vol. i. says tbere are
no representations of the vio! before the tenth century,
but frequent examples after tbe eleventh. M. ele Cousse-
maker says tbe oldest representat ion is on a sculpture at
the door of the church of St. A ventin, in the en virons
of Bagneres, of the cleventh century. Gerbert's repre-
sentation, however, and that in Cotton MS. are older.
P otier gives severa! cxamples of tbe twelfth century ;
sorne from the porch of St. D enis. A king, said to be
David, who is often named when the identity of the
monarch is doubtful, holds in bis right hand a viol with
fi vc strings: the body is oval and somewhat of a guitar
shape, with two sound-holes, and appareutly a bridge,
but no separate finger-boar d. T he bow is short, and
•

62 HIS'l'ORY OF THE YIOLlN.
like that of the double bass. There are two other

instruments very similar, one of which has but thrce
strings, but by way of compensation has four large sound-
holes, two in each division. He givcs represcntations of
two viols of the same date from a MS. in the Biblio-
theque Impériale, one of wbich is of oval shape, with
five strings, and one Jarge round sound-bole like tbc
guitar in tbe centre. The other has inwarcl
curvaturas, four strings, and two small sound-
holes (Fig. 24). They both appear to havo
brídges, but no distinct fingcr-boards.
M. de Coussemak er, in his lcarncd and inter-
estíng account of ancient ínstrument s so fre-
quently referred to, mentions a viol of thc
twelfth ccntury, on a window at the royal chapel
of St. Dcnis. It is of a long oval shape, much
2
FIG. L more so than usual, with six strings and two
large semi-circul ar sound-holes. Therc is no bridge, and
wbat we should call the tail-piece is in the middle of thc
body, and thc strings seem to be fastcned to eacb end of
it. The bow ís like that of the double bass, a common
forro in tbcsc times (Fig. 25). Thcrc is also a grotcsque
figure of Neptune of tbe same date playing on a viol
with three strings, and two semicircular sound-holes, with
a kind of tail-piece, but no appearance of a bridge or
separate finger-boar d (Fig. 2G).
In Cotton MS. Nero. D . i. of about tbe same date,
there is a viol which shows thc distinctive oval shape,
baving the neck and body of one piece. It has two
semicircular sound-holes, witb four strings and a tail-
piece, but no appearance of a bridge (Fig. 27). Thcre
is a figure like tbis in the left hand of one of the elders
in the Cathedral of Amiens (Fig. 28). Other represen-
tations of about the same date and much of the same

BISTORY OF TBE VIOLIN'. 63
cbaracter may be found in MSS. at the British Museum
and elsewhere, of wbicb it does not seem necessary to mul-
tiply examples, and this remark will apply to subsequent
times. We may observe that Jerome de Moravie, in his
FlG. 2&.
FIG. 25.
treatise on music, of tbe thirteenth century, mentions the

vielle amor1oast instruments having four or five strings.
( )
ll'IG. 21. FIG. 29.
Among the sculptures at what is called the Musicians'

House at Rheims, of the thirteenth century, there is a

-
64 HIS TOR Y OF TII E YIO LIN .
figure playing on an oval-shaped ins tru me nt with

thr ee
strings, and two sound-holes nea rly in the shape of
ear s.
Th e atti tud e of the performer is very easy, and the
bow
is iron and of ligb t constr'uction, almost appearing
to be
an addition of more modern date. We havc giv
en a
rep rcsentation of the ins tru me nt and the bow
(Fi g. 1
29) .
Bu rnc y noticcs an ant iqu e enamelled basin found nea
r
Soissons, which he sta tes .to be of thc nin th cen tur y
; but
it is now consid cre d to be of the thil-teenth, and has
been
described both by Po tier and de Coussemaker. Am
ong st
otbe1· musical figures, it has two, app are ntl y fem
ales,
pla yin g on tbe vio l; -one of the ins tru me nts has
thr ee
stri ngs , witb two sou nd·holes and a
bridge, whilc the other has app arc ntl y
only two str ing s, but four sound-holes
a.nd two bridges, though wh at is called
a second bri dge was probably only to
denote the end of the finger-board, as
two bridges would be objectionable in
many rcspects (Fi g. 30 ).
FIC. 30. To wa rds the end of the thi rtc ent h
cen tur y the convex sides of tbe viol
became by deg rees indon ted, or more or less cur
ved
inwards, to gi,•e frcer scope for thc bow, though
muoh
tim e elapscd bcfore the pre sen t fini shed form was arr
ive d
at, and ma ny tria ls made, and failures oxperience
d.
Ca tgu t strings, as thcy are gen era lly called, tho
ugh
now madc from sheep, are of ver y gre at antiqu
ity, as
the y were used. for the har p of the anc ien t Eg ypt
ian s.
In the thi rte ent h centur y the sal e of strings mu st
havo
been a ma tte r of some imp ort ance, and rccognised
as an
article of tra dc, for in an old poem of this date
called
" D u Me rcie r," which ma y be considered as a sor
t of

tt·ade-song by a mercer, amongst other articles to entice
customers, he says-
" J'ni bonos co•'tlcs U. violes."
If thc prices had been affixed it would have been more

intcresting.
About the same time, in an account of Paris under
Philippe le Be!, 1292, being the particulars of a tax of
100,000 livres levied on the inbabitants, there is probably
the first notice of any makers of instruments, namely,
" citolecurs 4," bcing strictly makers of citoles, a species
of guitar ; but no doubt they were also makers of the
different sorts of viols, just as the term "luthiers •· was
applied afterwards not only to makers of lutes, &c., but
also of viols and violins. There is another maker, how-
ever, who is still more defined, "Henri aus vieles," or
H enry, the maker of viols, who may be considered tbe
first of bis art on record.
The representations and notices of tbe viol or vielle,
and instrument s of that class, are numet·ous in the four-
teenth century. lt was a favourite instrument with tbe
minstrels, and the name of one is handed down as
Arnold le Vielleux, and another in the service of the
Emperor Conrad IV, called Jouglet, was distinguisbed
as a performer. In an account of the Dukes of Bur-
g undy from 1382 to 148 1, there is an entry of musical
instruments, from which it appears that the Duchess had
two Spaniards, performet·s on the vielle or viol, called
Juan de Cordova, and Juan F ernandez, of whom tbe
former was blind. In the wardrobe accounts of Edward
II, who was not sparing in his expenses, there is a pay-
ment of 5l. to " Robert Daverouns, violist of the Prince
of Tarentum, performing bis minstrelsy in the king's
presence, of the king's gift at Neuburgh ;" a great sum

66 HIS1'0RY OF THE VIOLJN.
in tbose days, probably cqual to 70l. or SOl. at present.

On the marriage of his sister Margaret, minstrels carne
from all parts, forcign as well as English, 426 in number,
to whom 100/. wcre givcn in reward. \ V e ha ve alreauy
mentioncd Queen lsabella's vidulatorcs. Edward III.
in bis band of nincteen musicians, had a fiddler (i. e.
Yiolist) with the pay, like bis companions, of 12d. a day.
The sound-holes were usually two, semi-circular or
ear-sbaped, and placcd nearly as at present; the strings
varying from three to six. The instrument had now
generally in warcl cunatures, more or less clecided.
There is not always the indication of a bridge, or
detacbed finger-board, but, as before observed, the
absence or imperfection of det.ails eannot always be
taken as proof of the state of the instrument. M. de
Coussemaker gives a representation of one of the four-
teenth century, the body of whicb docs not differ much
in shape from that of the modern violin. It has three
double strings, though the screws ap-
¡oooo pear to be four, a rounded bridge, and
two semi-circu lar sound-holes, but no
distinct finger-board; and the t.op of
the neck, or what would be our sct·oll,
is turned at right angles (Fig. 31 ). He
gives the representation of another from
'1>1 the Royal Library at Brusscls, without
( JJ curvatures, and with four strings that
pass through a series of tecth with
which the bridge is provided ; it has a
finger-board, and two sound-holes.
FIG. s1. Potier has given a figure of an in-
strument of the fourteenth century, with three strings
anJ a bridge, but no separate finger-boar d ; tbe neck,
if it may be so called, is large, and of a lozenge shape,

lUSTOR Y OF THE VIOLI N . 67
found in the early forros of the instrument, but at tbis
time going out. It has two sound-holes, and the bow
like the double-bass bow (Fig. 32). D 'Agincourt, in bis
"History of Art," has a representation from a. painting
by Barnabas de Modena, 1374, of the crowning of the
Virgin by our Saviour in H eaven, where several figures
are introduced playing on musical instruments. Amongst
them is the viol, having five strings, with two semi-lunar
sound-holes and a tail-piece, but no bridge or finger-
board: the bow-hand has great ease in its position, and
FIG. 32. FIO. 33.
the bow is very like that known as the Corelli bow (Fig.
33). A small pair of double drums is introduced, placad
on the back of one angel, and played on by another;
also the musette or bagpipcs.
T he viol may frequently be found in the sculptures in
our cathedrals and old churches. Carter has given sorne
representations from Ely Cathedral of
the early part of tbe fourteenth century.
One appears to bave five strings and a
tail-piece, but with no appearance of
bridge or sound-holes ; tbe other has
PIO. ~o.
more the- form of what has been called

68 lllSTORY OF THE \'lOLIN.
the rebec, without inward curvatures, but the details are

very imperfect (Figs. 34 and 35). Tbe
superb screen in York Cathctlral, separating
the nave from the choir, has numerous
figures of angels playing on musical instru-
ments, and the viol among thcm. In Exctcr
Cathedral there is a. small fabric of stone
FIG. SS. Proíectin~r
J V
from the north wall of the nave,
of about the middle of the fourtcenth century,
supported by a cornice, and called the minstrels' gallery.
The front is supported by thirteen pillars, clividing it
into twelve niches, each contaiuing an angel playing on
a musical instrument, and among these is the viol. It
is the custom for tho choristers to go to this gallery on
Christmas Day and sing a hymn. Carter represents
the figure of an angel on the lower tier of the screen at
the west front of this cathedral, playing on a pear-shaped
viol. Minstrel galleries, with figures playing on musical
instruments, are likcwise mentioned at the cathedrals of
Winchester, L incoln, ancl Worcester. Dibdin, in his
"Bibliogra phical Tour," gives engravings of what he
calls " Drolleries at Strasbourg Cathedral, " of about the
date 1370; one of these grotesque figures is playing on
a sort of pear-sbaped viol, with apparently four strings,
and two ear-shapcd sound-holes, but no other details.
The béi.ton of the conductor is comparatively a modern
introduction into our orchestras, and many of us still
remember the tap of the leader in our concerts, for
which .tbe báton has now been successfully substituted.
It had, however, been known long previously on the
Continent, and in a list of the orchestra of the Opera at
París, in 1713, there appears at the head, "the Batteur
de Mesure," with a salarv of 1000 livres. The cantor's
•
statf was known many centuries back in our ecclesiastical

HISTORY OF THE VIOLIN . 69
establishments, and in those on the Coutinent, and the
custom is still preserved in many parts. Pugin, in bis
"Glossary of Ecclesiastical Ornament," gives an en-
graving of a highly decorated one, and describes others
at St. George·s, Windsor; York, St. Paul's, and Lincoln,
naming at the latter cathedral "two staves of wood,
having upon them little plates of sil ver, with branch es of
vines." Gerbert mentions sorne singers baving silver
wands and staffs about the sixteenth century.
There is a curious story or gossip about a báton de
chant1'e, related in "Anuales Archéologiques," iii. 266-7,
which ma.y not be generally known. When Napoleon I.
was crowned, he iutended, in order to have al! the ad-
jun~ts as complete as possible, to carry in bis hand the
original sceptre of Charlemagne. It was resuscitated
for the purpose from the treasures of the Abbey of St.
D enis, and was to .be repai red and put in order for the
ceremony; most unexpectedly, on r emoving the old vel-
vet with which it w.as covered, there appeared the date
1394, .which the Committee of A ntiquaries, to whom the
matter bad becn intrustecl, saw was inconsistent with
tbe time of Charlemagne ; a.nd there was not only tbis
date, but also an inscription, from which the following is
an extract, proving the supposed sceptre to be simply a
báton de chantre :-
" Qu'il fu~t gnrdé,

Et en grnns festes regal'!lé,
Cut· pour loynulte maintenir
Le doibt chant.re en In main tenir."
What was to be done? D e Non was consulted, but

he desirerl tl1at the discovery should be kept secrct. The
báton was dressed up, and converted into the sceptre of
Charlemagne (just as upon occasion a common working

70 HlSTOR Y OF TLIE VIOLIN.
grub is converted into a queen bee), and performed its

appointed part in the imposing cer emony.
The troubadours werc a.ccompanied by violars, or per-
formers on the harp, or viol, or instrume nts of tbat class,
and were frequently skilful performers themselves. In-
deed Thibaut , Count of Champa.gne, towards the begin-
ning of the thirteen th century is said to have taken up
the study of the viol, to consolc himself in an unsuccess-
ful attachm ent for Queen Blancbe, the mother of Saint
L ouis, and became a skilful performer. We must, how-
ever, refer those wbo wish to learn more of the bistory
of this distinguished race, from W illiam, Count of Poi-
tiers downwards, to H awkins's " History of Music," and
more espccially to Raynou ard, "Choix des Poésies Ori-
ginales des Troubad ours," and Fauriel, "Histoi re de la
Poésie Proven~ale," where many of the chanzas, sirven tes,
&c. will be found. Tbe romanti c histories conneeted
with Chiltelain de Courcy, J auffred de Radel, Guil-
laume de Cabestai ng, and others, afford curious examples
of the manners of tbeir age. T he last-named of tbesc
troubadours, as is known to those versed in these chroni-
cles, fell violently in love witb Scrmonde, the wife of
R aymond of Roussill on; but the husband, instead of
approving of this choice, slew the poet, and, having
taken out his heart, had it ser ved up at table hefore bis
wife, who, when she became informed of the fact, threw
herself out of window and was killed. Hcr friends and
those of Guillaume, assisted by other troubadours, took
upon them to ravage the lands of R ayrnond, and destroy
his castle; after which praisewo rthy act tbey buried the
unfortun ate lovers in one grave. T be husband was cer-
tainly a litUe brusque in bis treatmen t of de Cabestaing,
but we canuot help thinking tbat al! thc sympatby is not
due to the lovers. J auffred de R adel was still more

HISTORY OF TIIE VIOLIN. 71
romaotic ; he fell violently in love with the Countess of
Trípoli from mere dcscription, and induced bis friend
Bertrand d'Allamanon to accompany him to the Levant
in 11 6:2, but fell ill during the passage, nnd, on bis
arrival at Trípoli, just livcd long enougb to see the
countess, express bis passion, and then die. In the
"Conte of Aucassin and 'icolette," Nicolette having
bcen made captive, is discovcrcd to be the daughter of
thc King of Carthagc, and she wishes to rcturn to Au-
cassin to avoid being marricd to a rich pagan king.
The difficulty is bow to escape, but at last she contrives
to manage this in tbe garb of a minstrel: "Elle quist
une viele, s'aprist a viclcr, et elle s'embla la nuit, si
s'atorna a guise de joglior ;" and having thus arrived
safely in Provencc, "si prist sa viele, si alla vielant par
le pays, taut qu'elle vint au castel de Biaucairc. "
1
72 .HlSTOR Y OF T.HE VlOLl:\ .
CHAP TER VI.
HE minstrels are so connected with the

pra<:tical part of music, that a short noticc
of them appears requisito iu a work of this
nature , even at thc risk of rcpcating in part
what may be found elsewh cre; but we hope, also, we
may add sorne particu lars that may not be genera lly
known. Tbe distinguishcd antiquary, Mr. Thoma s
Wrigh t, F.S.A. , has a cbapter on minstrels and jougleurs
in bis interesting "History of Domestic Manners."
In the early times of our countr y the king's bard, or
barper , was an officer' of bigh rank, and cnjoyed many
privile ges; the king's minstrel was also an officer of dis-
tincüo n at the Saxon and Norma n courts. The story of
T aillefer, at the time of the Conquest, is well known ;
jumpin g on shore one of the foremost of the invadc rs,
singing the war-song of thc celebrated Rollo, and dying
likc the fabled swan, with a song in bis mouth. W e
have no particu lar account of any such officer in the
reigns immediatcly succeeding the Conquest, though
every one, even witbout thc benefit of a competitivo
examination, as fully believcs the story of King Richar d
and Blondel as he does those relatin g to the bold Robin
Hood, Little J ohn, and Scathlock, or Scarlctt, with Maid
Marian , and that unlucky Bishop of Herefo rd. I n the
forty-first of Henry III, howover, we find a payment of

HISTORY OF 'fHE VIOLIN. 73
4l. 7s. paid to Henry Abrinces, the king's versifier, by
sorne called bis jester, who received 6<l. a day. If there
may be sorne doubt as to his being a miustrel as well as
a poet, we may at any rate consider him as a sort of
proto-poet-laureate. He o:ffcnded, on sorne occasion,
Master Michael Blaumpayne, the humorous Cornish
poet, who abused him in sorne very personal satirical
lines. At the installation feast of Ralf de Born, Prior
of St. Augustine, Canterbury, 1309, the minstrcls pre-
sent were paid 3!. lOs. for their rcward. Edward II.
during bis father's life was evidcnt.ly fond of con vi vial
society, and payments are found to William Fox, and
C radoc his companion, for singing befare the prince and
other nobles; generally 20s. each time. After he suc-
ceeded to the throne, severa! minstrels are named, and
on the occasion of the marriage of Elizabeth, daughter
of Edward I. to John, Earl of Hollaud, every king's
minstrel received afee of 40s.; and one at least, named
Robert, was in the habit of receiving regular pay. Ja-
nino le cheveretter, or bagpiper, at one time had 40s.
given to him, and at another 20s. The bagpiper, how-
ever, secms to have been in repute in these times, for in
the reign of Edward III. Barbar the bagpiper had licence
to go beyond the seas to visit the schools of minstrels,
with 30s. for his expenses; and M01·lan the sa.me lea ve,
with 40s. This was, no doubt, to enable them to see if
any advantages were to be derived from the study of
the Continental style of play. The musette, a very
ancient instrument, was popular on the Continent, and,
judging from the tone of the modern instruments, it is
softer and more melodious than that of the common
bagpipe. During the festivals on the crowning of Pope
John XXIII, about 1410, the Marquis of Ferrara brought
with him fifty-four knights, all clothed in scarlet and
F

74 HISTOR Y OF TIIE VIOLIN .
bluo, attended by fivo trumpets, ancl four companies of

minstrols, each with differe nt instrum ents ; and, on tite
morrow of bis coronation, tho Pope was attcnded during
bis procession by thirty-six bag pipes and trumpets, and
ten bands of minstrels playing on musica l instrum ents,
each band consisting of tbreo pcrformers. In that curious
poem, "The Vows of the H01·on," about 1338, where
sorne strang e examples of the vows of tbe knights, and
evcn of tbc ladies, may be seen, Rober t of Artois has thc
heron brougbt in bctween two dishcs of sil ver, and com-
pcls two playcrs on the vio!, and one on tbe guitar, to
introduce it-
" Entre dcux plats d'nrgcnt fu Ji bnirons assis;
Dcux anni~ta'Cs de vicie n. qucns I{obcrt snisis,
.Avcc un quistrenc us, nccordnn t par dcvis ;"
after wards they fiddle very swcctly,-

"Et Ji dois mcn<'sirnl viclcnt doucbcmcnt ;"
but subseq uently, at bis command, tbey have to come

outfortissimo -
" Il fnit les mencstrcux do 1·iclc efforchicr."
Many entrics are found of payments to minstrels, and

frequently large oues, considering the difference in the
value of money, but general! y the recipient is only called
minstrel, and bis particu lar instrum ent is not named .
I n the eleventh of Edwar d III, John de H oglard, min-
strel of J ohn de Pulteney, was paid 40s. for exbibiting
beforc the king at Hatfield and L ondon ; and Roger tho
trumpcter, and the ruinstrels bis associates, for perform-
ing at the feast at Hatfield, for tho queen's dolivery, bad
no less a sum than lOl. presented to tbem. At the feast
of St. George at Windsor, in 1358, connccted witb the
celcbration of tbo Order of tbe Garter , thc early history

lllST ORY 01' TIIE VIO LIN. 75
of wbich will always be intercst ing, whether connected
with the Countcss of Sali sbu ry or not, Hau kin Fitz -
Lib bin and bis twenty-three fellows, the king 's min strels,
had for thei r good services 16/.
Dur ing tbe compulsory visit of Joh n, Kin g of Fra nce ,
herc, afte r the battle of Poictiers, from 1357 to 1360,
ther e are severa! entr ics in his accounts of payments to
min stre ls. In one case there is a pay men t of four nobles
to go and see sorne instrum ents for the king, and on
ano tber occasion two nobles to bu y a barp . The larg est
appcars to be forty nobles, or 13l. Gs. Sd. to the minstrels
of the King of Eng land , tbe Prin ce of W a les, and the
Duk e of Lan easter, who play ed befare the king on the
feast of S t. Job o, Jun e 24, 1360. T here is, bowever, an
unlu cky note in the mar gin of the original account, imply-
ing that this money was not paid, though for wbat reason
does not appear. P ayments to min stre ls app ear in the
time of Ric hard II, who was bett er suited to the luxuries
of a cou rt than the carc s of a crowo. The re are similar
payments in the time of H enry IV, among which there
is one to Wil liam Byngley, tbe king 's minstt·el, of
2/. 6s. Sd. to purc hase app arcl for bis person, probably
for a sort of li very.
\Vben H enry V. wcnt ovcr to Fra nce he was accom-
pan ied by several miustrels, Rym er mentions fifteen, and
among them was one Sny th Fyd eler ; thei r wages appear
to bave been 12d. a day . The y played for an hour
mor ning and evening at the king 's head-quarters, and
on the eve of the batt le of Agi ncourt, though the Eng -
lish were fatigued and oppressed with hunger, and
expected dea th on the ruorrow, yet they played on tbei r
trumpets and vnrious othe r inst rum cnts thro ugh out the
nigbt, and coufcssed thei r sins with tears, numbers of
them taki ng thc sacrament. A sou g on the batt le of

76 HISTORY OF TIIE VIOLIN.
Agincourt is the oldest English song known with music.

There is an order in the first of Henry VI. to pay several
minstrels by name an annual pension of lOOs. each, of
whom the first seven had accompanied his father to
France ; and in the twelfth year of his reign therc is an
order for a payment which for procrastination may match
any of modern times, being one to the represcntative of
the representative of the roan who earned it more than
fou rteen years prcviously. It is a payment of 1Ol: to
Henry Jolipas Clerk, executor of Joan, wife of John
Clyff, a minstrel, the executrix of the same J ohn Clyff,
who had gone over to F rance in the third year of
Henry V. with scvcnteen other minstrels, at the rate of
l2d. a day, and with whom certain jewels had been
lodgcd as a sccurity .
In the twenty-third of Henry VI. there werc liberal
paymcnts made to some forcign minstrels, who carne
over to witncss the state and grand solemnity of the
coronation of the Q ueen, and make a report of the same
ab road. Five minstrcls of the King of Sicily had IOl.
each, and two of the D uke of Milan 5 marks, or 3l. 6s.
8d. each; liberal payments, no doubt remcmbered on
making the re¡)ort. Edward IV, who in the early part
of bis kingly career alternated with 1-Ienry VI, according
as thc white or red rose was triumphant, paid by the
hands of Thomas Vaughan 20t. to the heralds and min-
strels on thc day of the creation of the Lord the Prince
at W cstminster, in the eleventh year of his reign . So me
unliccnsed minstrels apparently gave trouble in bis time,
and got access to great houses and feasts undcr the pre-
tencc of being king's minstrels, which indnced him in
1469 to grant a chartcr to W alter Halliday (a name
which appcars among the minstrels of Henry V.) as
marshal, and seven others, establishing, or as some

JJISTORY OF TIIE VIOLIN. 77
called it, restoring a fraternit y or guilcl, to be goveme d
by a marshal and two wardens, empowering them to
rcgulate the profcssion of minstrcls, but it did not prove
of much beocfit, and they contrived to lose their repu-
tation by the ti me of Elizabcth. In her rcig n, 158 1, we
find Thomas L ovell, in bis "Dialog ue bctwenc Custome
and Veritic conccrni ng the nse and abuse of Dauncin g
and Mynstra lsyc,., abusing thc minstrels for not singing
godly songs, and proceeding,-
" ... Ro that cnnnot gibe a nd j est,
ll ngodly scoff nnu frump,
I s lhongh t unmcct to plny with pipe,
On tnbret or lo tlnnnp.
'f ho minstrcls doo with inslrumcnt s,
Wi!lt songs, or cls with jest,
MAintnin them sch·cs, but ns thcy use,
Of !bese nnught is thc bes f.•"
Henry VIL was a careful man, and may come under

Sydney Smith's definition of being fond of his specie, if
not of bis specics. In all bis travels and progresses he
was met at different towns by minstrels, wai ts, and other
musicians, cach town of note having then its own set.
There are numerous paymen ts made to them, but in
general, less than 20s. For instance, the waits ofNortb -
ampton had 13s. 4d. in rcward, while those of Coventry,
Sandwich, and Canterb ury, bad but JOs., and tbose of
Dover only 6s. Sd. E,·en thc minstrels who played in
his ship, the Swan, that took him from Sandwich to
Calais, were only paid 13s. 4d. for theit· performance,
notwithstanding they had to brave the perils and incon-
venience of tho sea. Of thc more regular performers,
Pudesay, the pipor in bagpipcs, had but Gs. Sd. for bis
performance, whilst 5l. were paid to thrce string min-
strels for wagcs; and in :t subseque nt entry, 15s. is
given to one for a month's wag~s. In 1501, a sum of 2/.

78 HIST ORY OF THE YIOLIN.
is paid to the "Prineesse stryngmynstrels at ' Vestm' ;"

but in February, 1495, there is a most liberal payment
of 30{. to the Queen of l''ranee's minstr·els, it being politie
to pa.y foreign performers of this class well.
Ilenry VIII. was fond of show and entertainments
during the first twenty years of his reign, and not only
cncouraged minstrelsy, but was himself a good musician,
and a gallant sort of personago ; many payments to
minstrels are therefore found in his aeeounts. In later
times he suffered from an embarras de 1·ichesses in re-
spcet of bis wives, ami amuscd bis leisure hours with
polemical studies, ultimately bccoming fat, argumenta-
tivo, and ill-tempered, with the ineonvenient power of
eutting off bis opponent's head, as well as erushing bis
argument. As bis size inereascd, minstrelsy deereased,
and fadcd for the want of royal patronage.
In the "Northumberla nd Household Book," it is stated
that my lord is accustomed to give yearly to every earl's
minstrel, when they come to bim yearly 3s. 4d.,. but if
thcy come only once in two or tlwcc years, then 6s. 8d.
The gift to bis own minstrels, when at home on New
Year's Day, was 20s. for playing at his ehamber door,
bcing l3s. 4d. for himself, and Gs. 8d. for bis lady, when
she was at her lord"s finding ; also 2s. for playing at
L ord Percy's, and Sd. at cach of thc younger sons. In
thc "Archives of Canterbnry," 1523, thcre is an entry
on the l st of July of Gs. Sd. paid to the king's minstrels;
and in the twenty-seeond year of his reign, eighteen
minstrols are appointed to tho household at 4d. a day,
most of them, from their names, appcaring to be Italians.
There is an aneedote of a famous player on the shalme,
among the minstrels of Cardinal W olsey, when he was
in Franee in 1527. H e was m ueh admired by the
Freneh king; but, as Stow rather quaintly says, whe-

HISTOf lY OF THE VIOLIN . 7!)
ther frorn extreme labour of blowing, or from poison (as

sorne judgcd ) he died within a da.y or two aftcr playing
all night, without resting, to the Frcnch king and others
who werc dancing. Thcre does not appear to have been
mueh necessity for presuming poison in this case.
There was a corporation of minstrels formed in Paris
in the ea.rly part of the fourteenth century, which was
of high repute, and possessed great power. An inter-
esting account of it may be seen in " Bibliotheque de
rEcole des Chartr es," 1841-2, tom. 3, pp. 377-404, and
>ol. iv. pp. 524-48. It fiourisbed till about the middle
of the seventeenth centur y, wben it began to decline,
though orders were made for its govern ment from time
to time clown to the eighteenth century.
Previous to this corporation, and towards tbe end of
the twelftb century, many minstrcls anrl player s on in-
struments were accustomed to frcquent París, and we
find among the king's minstrels performers on thc trum·
pets, timbales, and psalterion, being paid 3 sous a day,
and their appare l and board. A sum of 60 sous is given
by order of the king to Plum ion, to buy "une flute
dyvoir e." I n the middle of tbe thirtcentb ccntur y, the
minstrels cnjoyed many pri,·ilegcs, and amongst them,
that of exemption from a eertain toll le,·ied on cnterin g
Paris, provided they sung tbe eouplet of a soug to prove
their right. Hence thc expression, "Paye r en gambades,
et en monnoic de singe," as they frcquently had monkeys
with them, who exhibited their accomplishments in part
payment. In the thirteenth ceutur y they had so in-
creased, and were of such consequenee, that they ga.ve
name to "La rue aus J ugléeurs," afterwards "Rue des
Ménet riers," and in moder n times, "Rue Rambu tean."
At tbe time of the tax in 1292 beforc referred to, tberc
were sixty-t hree persons assessed in this strect.

80 HISTORY OF THE VJOLIN.
In the year 1321, tbirty-sevcn rninstrels, at the head

of whorn was Pariset, menestrel le roy, who was a player
on the "naquaires," or "tymbales," (and at one time
had GO sous given bim to get sorne timbales made), ap·
plicd to bavc sorne statutes or regulations granted under
the sanction of the Prefect of París, and eleven were
grantcd them, by which thcy obtained a rnonopoly, that
enablcd them to control the practice of their profession,
ancl to send away all strange minstrels. Among the
names affixed to these statutes are Jchannot l'Anglois,
and Adeline, fame G. l"Anglois.
In 1330 or 1331, they founded thc hospital of St.
Julian, and S t. Genes airead y referred to. It took its
rise, likc our own Royal Society of ~Iusicians, from the
charitable feelings of two of thc profession. These are
said to have been Jacques Grave de Pistoye, otherwisc
called Lappe, and Huet le Guette, who were moved with
compassion on seeing a poor paralytic wornan, called
Flcurie de Chartres. S be beca me one of the first paticnts
of the hospital, wbere she remained till her death. There
we1·e severa) figures of angels in the church playing on
various instruments ; and at the entrance were two sta-
tues, that of S t. J ulien on the left, and of S t. Genh on
thc right, in the costume of a rninstrel, playing on a viole
with four strings. Labordc ealls this figure Colín Muset,
who, however, was of later date. The vio!, or vi elle, was
a favourite instrument among thern. In tbe account of
thc appoi ntment of masters or governors of the hospital
in October, 1343, the names appcar of Jehan le Vidaulx.
(playcr on the ,·iol), and Guillaurnc de la Guietarne, with
ot.hers, who chose Henriet de Mondidier and Guillaume
Arny, "fleuteurs," rnasters and govcrnors.
Arnong the minstrels who carne to France in 1274
with Mary, daughter of Henry III. Duke of Brabant, on

HlSTORY OF THE VIOLIN . 81
her marriage with Philip III. of France, was Adenez le
Roí, or Le Roi Adenez, king of anns to thc duke, who was
an cxcellent poet also, and may have been king of the
minstrcls; but at all events Charmillon, who was chosen
as such king in 1295, is one of the earliest on record,
Robert, king of the minstrels to Louis X, being twenty
years later. J ean Poitcvin was " r oí des menestriers"
of France in 1392, and one called H ennequin Poitevin
held that title in 1409, and at the same time we find
mentioncd "Jehan de Tonuelaur joueur de personnages
du roy," who is probably the earliest comedian of the
king mcntioned, and " Gracieusc d'Espaigne menestrelle
de la royne," also has a gift madc to her. J ean Farcien
thc elder is said to have becn king of the minstrels in
thc early part of thc fiftcenth century, probably suc-
ceeding Poitevin ; he was a performer on tbe viol. W e
are not going to give a chronological list of tbese dis-
t.iuguished characters, but merely to namc a few. T here
was one callcd Nyon, commonly known as La Foundy,
who was remarkable for bis skill on the violín; he was
made king of the violins, and died in 1641, having
abdicatcd however sorne years previously. In the time
of L ouis XIII. in the first half of the seventeenth cen-
tury, tbere was an a.ble performcr called Coustantin,
wbo held this officc and died at París in 1657. He was
succeeded in bis lifetimc 'by Guilla.ume Dumanoir in
1630, and a.fter him came Guillaume Dumanoir the
second, who resigned in 1685. No successor was ap-
pointed to the office untill741, when Guignon, remark-
able for his execution, was installed, but subsequcntly
getting into disputes with bis fellow-musicians, he found
the office so troublesomc tbat he resigned it in a few
years, and in 1773 it was supprcssed altoget.her.
Charles IX. of France granted by letters patent in

1570, to J ean A ntoine de Baif ancl J oachim Thibaut de

Courville the power to forro an acaclemy of music.
A mong the rules tbere was one admirable one which
might be aclvantagcously introduced in our times, par-
ticularly in amateur musical conversaziones, namely,
that none of the auclitors shoulcl talk, or make any noise
while there was any singing; we beg to acld in clefence
of the instrumental performers, also while there was any
playing. \Ve should, however, call the attention of con-
cert-givers to the observations supposed to have been
made by a Chinese, as reported by Abbé Arnaud, in
"Variétés Littéraires : " "Vos concerts, surtout s'ils
sont un peu longs, sont des exercices violens pour ceux
qui les exécutent, et de vrais supplices pour les per-
sonnes qui les écoutent."

lllST ORY OF ·ruE VIOL!N. 83
CHAPTE R VII.
N the fiftecnth century we meet with the

names of soma makers. The viol is repre-
sentad with fom- or five striogs, and fre-
quently has inward curvaturas, thc old oval
sbape gradually becoming obsolete. The bridges and
tail-pieces occasionally are wanting, which may be merely
an omission in tbe representation, and frets are shown
in sorne of tbe figures. Tbe term vielle secms now
supersedcd by viol, the former tcrm being applied to an
instrument like our modern hurdy-gurd y. The sound-
holes, with occasional exceptions, became much like
those in present use. Potier gives a r epresentation of
an instrument with three strings, anda bridge, having a
large perforated sound-hole like the guitar, the head
bcing bent back at a considerable anglc : it has no
inward curvaturas, and the bow is much like that of the
double-bass (Fig. 36). There is a fig ure
gi,·en by M. de Coussemaker of a vio] of
this century from a painting by H emling,
which has five strings, with two sound-
holcs much like our modern ones r e,·erscd,
with a tail-piece and finger-boar d; it also
has frets, but no appearance of a bridge,
and is of guitar shape (Fig. 37). Anothet·
has inward curvatures, with four strings
FIG. !&.

fastened like those of the guitar, with a large round

sound-hole in the centre, the head is a little reversed,
with the pegs at the side as at present. D 'Agincourt
has a representation of a fresco painting of this age by
Melozzo da Forli (the inventor of foreshortening,) at the
staircase of the Palazzo Qui.rinale, where the figure of
an angel is introcluced playing on a viol with five strings,
but there are no details. In the Minstrels' Pillar, at St.
Mary's Church, Beverley, of the time of Henry VI, one
of the five figures is playing on a viol of oblong shape
with four strings and a short tail-piece ; but no bridge,
detached neck, or finger-boa.rd are shown in Carter's
delineation (Fig. 38). In
the same church, over the
column, are scveral figures
playing on musical instru-
ments, and among them an
angel with a long oval or
FIG. 37 . lo'tG. 38 • nearlypear-shaped viol with
three strings ; auother male
figure with a large or tenor viol something in shape of a
long modern tenor with angles rounded off; it has five
strings, but no details are given of either instrument,
except two small sound-holes in the last (Fig. 39).
ao
FIG. 39. FTQ. •10 . HG . 41.

lllS'l'ORY OF THE VIOLIN. 85
Strutt has given sevcral rcpresentations of musical in-
stru;ments fi:om the "Liber Regalis" of the time of
Richard II. of which we ha ve reproduced four (Figs. 40,
41, 42, 43).
There was a curious applica-
tion of a musical performance
in thc carly part of this century,
arising from one of thosc ecccn-
tricities which occasionall y vary
the common routine of life : it
took place on the deatb of Louis
.FIG . 4:!. Fl(l . 43.
Cortusio,alawyer atPadua, who
died in 1418; he directed by his will tbat all the min-
strels of the city should be invited to bis funeral; fifty
wcre to walk witb the clergy, sorne before and sorne
after the body , filling the air with the sound of lutes,
viols, flutes, bautbois, trumpets, tambourins, &c., and
cbanting as at Easter. Each performer was to have a
demi-écu for bis trouble; and the body was to be carried
by twelve young girls engaged to be married, each of
wbom had a sum of money by way of portion; they
were to sing joyous son¿5s, and the whole ceremony was
to be conducted in the same cheerful manner. Any of
bis relations who wept at his funeral were to have no
sbare of bis property, and he that laugbed most was to
bave tbe largest share. It is not recorded that tbe tears
were abundant; but as his family grieved for the loss of
bis money, if tbey did not mom·n for him, they disputed
the will; however, tbe Paduan Court of Pro bate con-
firmed it. This hilarious funeral reminds us of an
amusing French proverb, where, in a country place, the
mayor and magistrates are in expectation of a visit from
sorne living great personage, a great event in the ebro-
nicles of their town, and also the passage through of the

SG lllSTO RY OF THE VlOX:!N .
body of a dcceased dignitary. Coun cils are hcld, com-

mittees appointed, honorary secr etarios insta lled; ar-
rangemcnts made to mect thc living bcro with songs,
dances, and garla nds of flowcrs, and the dead with over-
whelming grief and sorrow, crapc and cypress. Every-
thing is rchea rsed and tbc actors are perfect, or con-
sidcr tbemselves so ; but by sorne unlucky confusion,
both the livin g and dead celebritics approach thc
town unexpccteclly from diffcrent quarters at the samc
time. Awa y fly thc magistrates, committec-men, hono-
rary secretarios and al!, cage r to show their loyalty, and
recite thcir speechcs; but more eagct· than discreet., a
sad blun der is made ; all the songs, dances, and garlands,
are bestowed on the dead, while thc living gran dee is
met with cvcry mark of tbc profoundest grief and woe,
much to bis disgust and astonisbment.
Deviations from common forros, like those directed by
L ouis Cortusio, are not, howcver, confined to any age or
time. Tho late Mr. Knill, who died in 1811, bequeathcd
sorne prop crty to trustees, in orde r that every five years
a matr on and ten maidens, drcssed in white, should walk
in procession with music from tbe market-house at St.
I vcs in Cornwall, and dance round a gran ite pyramid
erected by him, singing sorne lines in chorus.
The term fiddlcr is frequcntly found in tbe accounts
of this time, as on Febr uary 17, 1497 : "To the Quenes
fideler in rewardo, ll. 6s. Sd." A female performer,
however, is very shabbily paid on November 2, 1495 :
" To a woman that singeth with a fidell, 2s." In the
Scottish accounts, as given by Daunay, simil ar entries
appear, as, 1490 : to Benat, lSs., and to "ane oder
fydlar," 5s. In 1496 : "To the tua fithelaris that sang
Graysteil to the king," 9s.
Fctis mentions two "luth iers, " or makers of Jutes and

RISTORY OF TllE VIOLIN .
other instruments, in tbo first balf of tho fiftcenth cen-

tury, uamely, Jean Ott of Nuremherg , and Hans Frey
of thc same place, wbo was father-in-la.w of Albert Durer.
The torm " luthier" was, and still is, applied to makers
of violins and other bowcd instrumcnts, and we may
thercforc reasonably suppose tbat these two "luthiers "
made viols as well as othcr instruments. T here was,
howevcr, a maker of this date, of whose instrument s
thcre can be no doubt. One of bis viols was exbibited
at Koliker·s, in París, in the early part of the present
century. The ncck had been changcd, and it was strung
with four strings likc a violín. It was of a high model,
and had no tail-piece, but instcad of it, an i vory nut at
thc bottom, witb four boles for the strings. The quality
of tone was low and swcct, and it had a ticket with the
inscription, "Joan Kerlino, 1449." This maker is con-
sidcred to havo been the founder of the school of makers
at Brcscia, and is said to have been originally from
Britan~1y.
About this time thcrc was an impro>emc nt in the
notation of music. Thoroas of Walsyngha m, in the be-
ginning of lhe century, says that a ncw character called
the crotcbet bad boen introduced, but menlions the five
characters, largo, long, breve, semibreve, and minim;
stating that musicians should r eroember thero should be
no division beyond tbe mini m. Square or quadrate notes
had been invented by John de Muris, in tJ•e middle of
tbe prcvious century.
T hc introduction of printiog iroproved tbe cbaracter
of musical notatioo, and the increascd requiremen ts of
music, and advancemc nt in powers of execution would
cause an extension of the signs. The first spccimen of
music printing is said to have beeu by Franohinu s
Gafurius, at Milan ; and Jean Froschouer, at Augs-

88 IIISTOR Y OF 'fHF. VIOLil\ .
bourg, cngraved characters for plain-c hant and music,

on wood, towards thc end of the centur y. Hawki ns
states the first music printcd in Euglan d to bave becn
in the "Polyc bronicon" of H.alph Higdeu , by Wynkyn de
Wordc , in 149.5, and strangc-lookiog it is. By the
middlc of the following centur y, howevcr, charac ters
were gradua lly introduced, approa ching somcwbat in
form to tbose in modern use. Courad P aulman, who
was born blind, and died in 1473, is said to have in-
vented the lutc tablature, and to have excelled on al!
instrum ents.
L ouis XI. was trcatcd with a strang c conccr t of music
about this time. Ilavin g asked bis master of music, tbe
Abbé do Baigne, to give bim a concer t of pigs, the abbé
assemblcd a numbcr of those peculiarly unmusical ani-
mals, of different agcs and sizcs, and with ,·ariety of in-
tonation, it is to be prcsumcd, carefully sclected, and
placed 'them in a tont, having in front a tablc likc the
keyboard of a pianoforte. As thc keys wcro touchcd
they moved certain pins, whicb pricke d tho unfortunatc
pigs, who grunte d and squeak cd accord ingly; we sup·
pose there must ha ve been somcwhat too much sostenuto.
T his L ouis was not much of a man of jokcs, except in
his own peculia r way, and somo of bis recordcd amuse-
ments were not of a harmless dcscription. Accord ing
to Brantome and othcrs, he causcd his brothe r the Duc
de Guicnne to be poisonccl, as he feared he might be-
come troublesome, and his crimc was accidentally made
known to bis domest ic fool in the following manner.
T he king was prayin g to his "bonn e patron ne," in tbe
presence of his fool, who, he thought, was too imbecile to
attend to or to unders tand him : "Ah ! ma bonne dame,
ma petite maistresse, roa grand' amie, en qui j'ai eu tou-
jours mon reconfort, je te prie de supplie r Dieu pour

HISTORY OF THE YIOLIN. 89
moi, ct estre mon advocate envers luy, qu'il me pardonne
la mort de mon frere que j'ay fait empoisonncr par ce
mcchant abbé de Sainct Jcan d'Angely," &c. Thc fool
was lcss imbecile than his master hall fancicd, and re-
peated the whole mattcr for the cdification of the king
and his court at dinncr-time.

CHAPTER VIII.
N the sixteenth century we arrive at the

rera of the Amatis, and find the violin in
its present form, when the details received
the most careful attention, and everything
connected with the instrument was calculated on scientific
principies, and it possessed the power and tone wbich,
after a lapse of 300 years, bave not been surpassed.
Many experiments have been made, to some of which
we shall refer bereafter, in chango of form and detail,
material and disposition of strings ; bnt uone with any
etfcct or improvement; more frequently, indeecl, the
re verse. Sorne alterations bave been made in strengthen-
ing tbe centre, rnostly of the upper vibrating plate; 'ancl
a stronger sound-bar bas been applied to resist tbe in-
creased tension of a higher pitch ; and trials have been
made without any sound-posts or bars, and witb short
tail-pieces, and varied positions and number of sound-
holes, but there has been no permanent OF essential
change since the latter part of the sixteenth century.
The violín is stated to have been first referred to in
Zacconi's "Pratica di M usica," J 596, where it is men-
tioned with a compass precisely of the present extcnt,
without the shift; but the instrument was known in our
country, and in use in the royal band, prior to this date,
and sorne of the Amatis also werc previous to it.

HIS'l 'ORY OF TIIE YlOL IN. 91
Thc viol was still in grca t repu te, and it was by slow
degrees that the sup crio rity of thc violín was allowed ;
and this after skilful pcrformers in the succ eedi ng ccn tury ,
whose powers of cxccution werc in adv ance of thci r
time, had shown the increased facility afforded by thc
you ngc r inst rnm ent, and the bril lian cy of tone aml
spri ghtl ines s of effcct of which it was capable, combined
witb swcetness, of lcss monotonous cha ract er than that
of the vio!. Thc viol had now from threc to six strings,
and a Fre ncb play er namcd l\lau duit , of tbe time of
Hen ry IV. of Fran co, is said to hav e add ed the sixt h
strin g, but it a.ppears to hav e becn previously in use.
It had fret s-oc casi ona lly six or scven- to guid o tbc
fingers, mad e of small pieccs of gut- strin g dipp ed in
warm glue, and ticd roun d the neck at prop er in ter vals ;
sometimos thcy were inla id in the ncc k or finger-board,
and slig htly iu rclief, and thc prac tice was carr icd down
to a com para tivc ly rccc nt pcri od.
Fran cbin us Gaf uriu s, beforc mentioned in connexion
with music-p rint ing, in " De Har mon ía :Musicorum
Inst rum ento rum ," 1518, has a plat c showing the con-
néxion of harm ony with thc celestial bodies, &c. The rc
is a figure play ing on a sort of viol, with thc nec k
turn ed back, hav ing four strings, but
no brid ge or souud-holes ; the bow
sometbing likc that of the double-bass
(Fig . 44). Wc bav e before obs cn·e d
on the prob.abil ity of the absencc of
details, even of the bridges, aris ing
occasionally from thc omission of the 1 10
' ' <·1.
arti st. Cat· tcr has a rcpresentation of a scul ptur c on thc
outside of S t. J ohn ·s Chu rch, Cirenccster, of thc bcg inni ng
of this conttU"y, where ther e are sevc ral figures play ing on
inst rum cnts ; one has an oval vio1, with four strin gs and

a tail-piece, and four round sound-holes, but no appear-

ance of a bridge (Fig. 45). Potier
describes a handsome instrument of
the larger size of this class fi·om a MS.
of the six.teenth century. It has four
strings, and the scroll is curved nearly
into a semi-circle, having a boldly
carved head at the top ; tbe sound-
hole is round, and perforated like that
P'lQ. 45.
of a guitar, and there is no appear-
ance of a separate finger-board or
bridge, though this would appear to be necessa1-y on
looking at the formidable bow (Fig. 46).
FIQ. <7.
l'XQ. ~6.
T he celebrated printer John Oporinus, at Basle, about

1530, had for bis device, Arion, sometimes standing on

HISTO nY OF THl~ VIOL IN. 93
thc dolphin with a small thrcc -striu ged instr umen t held
revc rscd in his Ioft hand , and the bow in bis right ; and
some tí mes playi ng on a largo viol with six strin gs, which
approaches tbc modc rn teno r in form (Fig. 47). Cbris-
toph cr Frosc houe r, a print cr at Zuri ch of abou t the
same date, also has a viol in sorne of his title-pagcs. In
the severa! reprcscntations of the" Dances of D eath " of
this age, the figure of D eath is occasionally representcd
playing on tbo viol ancl other instr uments, while leading
on his ''Íctirns with grim satisfaction to their fate.
l\lers ennu s gi,·es a description of a bass- viol in tbc
time of Char les IX. whic h was largo cnough to conta in
'll youn g pago inside, who sang thc trebl c of sorne ravish-
ing airs, wbilo the pcrforrner, Gran ier, playecl thc bass
part on the hugc instr ument, ancl at tbc samc time sung
tbe tenor , thus completing thc trio. Thcr e is a ,·ery
largo contre-basse repre sentccl in a pictu ro of the
" Marr iage of Canu an," by Paul V e ron ese, which has
nine strin gs and is apparcntly abo ut ninc feet high ; but
we must allow for picto riall iccnse.
Mart ín Agrícola, in "Mu sica Instr umen talis, " 1545,
on the back of his title-page repre sents tbc Fraw Musi ca,
a sroar tly dressecl female, play ing on an instr umen t of
thc g uitar class. In one corne r of the cngr aving is an
instr umen t of the bass- viol kincl, with four strio gs and
frets, a bridg e, and a tail-piece, with considerab le inwa rd
curvatures, and two semi-lunar sound-ho les umlcr the
two outer strin gs ; it has no appe arance of a sepa rate
fingcr-board, and the bow is like a double-bass bow.
H e descr ibes four instruments of different sizes, but all
of tbc same unsig htly sbap e: thcy are called rcspcctively
descantus, altus, tenor , bassus, each with four strio gs,
a large rouncl sound-hole in thc centr e, like that of tbc
guita r, reaching from side to side, a¡;¡d two crescent-

94 IIISTORY OF THE VIOLIN .
shapcd sound-holes facing cach othcr in the upper part

of the instrument, and frets, of which the
cliscant and bass haYe six, and the others
seven ; the hcad is turned back, the cur-
vatures are very abrupt and deep, and
extend clown half the instrument ; there is
no appcarance of bridge, or tail-piece, or
detached finger-board; the bow, as usual,
is like tbat of the clouble bass. Our
figure is tbat of the discantus (Fig. 48).
We have alreacly given the figure of the
giguc from the same work. He describes
the following as the method of tuning a
Fl(l. 48.
quartctt of viols with tour strings : -
Dessus. Alto. Tenor. l3nsse.
while for grand viols with five strings, ancl thc bass with
six, the tuning is thus : -
Dcssus. Allo et Tenor. Dassc.
T he Italian viols, according to Ganasi del Fantego,

154 2, had six strings and se ven fret.s, ami were tuned
thus :-
Violcttc ou Dcssus. Alto ct Tcnot. l3nsse.

Rousseau, in his Trcatisc, written in the scventeenth
century, says that the first viols used in Franco, meaníng
the class of instrument on which he was a cclcbrated
pcrformer, had five largo strings, the bridge placed low
and bclow the sound-holcs, and were tuned in fourths
from C down to E, and in figure were líkc what he calls
the bass-violín . The viol afterwards, he says, bccame
more like the nolin in forro, and a síxth stríng was
added, whcn he describes the tuniog as D, A, E, C, G,
and D. After this a scventh striug, A, was added by
his master, St. Colombo. Thcre were fo ur sízcs, answer-
ing to the four clusses of voíces ; basse, taílle, haute-
contra, and dessus. Sometimos also a cont1·c-basse was
addcd.
T he French tuned thc taille a fourth higbcr than the
bass, the hautc-contrc a fourth higber than the taille,
and the dessus a fourth higher than that. Jerome de
Moravia, three centuries bcfore this, gives thrcc different
mcthods of tuning the vicllc, but as the dcse~·iption is
long and somewhat complicated, we did not think it
neccssary to insert it.
Luscinius, in 1536, mcnlions and gives a figure of a
chclys or bass-viol, with nine strings and frets, with
sides much cm·vcd in, and very similar to the figure
given from Agrícola ; also the monochord, the rcbec,
the viol da gamba, tbe viellc or lyra mendicorum (that
is, the hunly-gurd y, to which the name vicllc was now
applied), and the violín or trcble viol; but this is an
instrument with three strings only, and more properly,
perhaps, the gígue. Laborde gives a drawing of a large
instrument of the doublc-bass class, with numerous
slrings, invented by J ean Doni, callecl the amphícordum
or accord, whieb must havo beco very puzzling to play
on, ami was probably little more tban an experiment.

96 IHSTORY OF THE VIOLIN.
The term chelys is introduced into the somewhat

pompous introduction of a curious poem called," Canum
cum catis certamen," in which every word begins with
the letter C.
" Cattonuu cnnimus certnminn clnra. cnuumquo,
Cnlliopc concede chelyn; clnrireque Camcenre
Condito cum cythntis cclso coudigun, cothuruo
Canuiun.''
Hucbald, the well-known writer on music in the ninth

century, wrote "Ecloga de Laudibus Calvitii," which,
besides a Prommiurn and sorne lines at the end, as
" Clausula Carminis," has twelve chapters, each begin-
ning with "Carmina clarisonm calvis cantate Carnomm,"
and consisting of ten lines, every word beginning with
C. There is a very rare work, "Carmen contra clypeum
Cyclopum concordiam," by John Nasus, a Franciscan
monk, about 1580. Other pieces are k nown, every
word beginning with P, as, "Pugna Porcorum," and
also with othcr letters.
Sevcral fine performers on the viol are mentioned at
this time, as, Alphonse della Viola, Alessanclro della
Viola, and Giovan-Battista del Vio lino (probably a violin-
player). Granier was one of the finest pla.yers of bis
age, ancl died about 1600. H e was attached to the
court of that sing ular character Queen Marguerite, who,
after the assassination of her husbancl, Henry I V, livcd
in a strange mixture of plcasure and devotion, luxury
anclliterature, music, dancing, and charity ; and, accord-
ing to D reux du Radier, en tertained a passion, when
past tbe age of fifty, for Comine, ber master of mnsic,
who was called, appar ently in consequence, " le Roí
Margot." The celebrated female fool of thc French
cour t, Mathurine, wbose folly in her later ycars was
probably to sorne extent assumed, and under cover of

HJSTORY OF THE VIOLDI. 97
which she made a large fortunc, had a son called Blanc-
Rochcr, who was an admirable pla.yer on the lute. When
Henry IV. was stabbed by Jean Chastel, in 1594, he at
first thought the act had been committed by Matburine,
who was in the can·iage with him, and cried out, "A u
diable soit la folle; elle m'a blessé l " but from her
presence of mind shc mainly contributed to the capture
of the real criminal. The celebratecl Zwinglius was an
amateur performcr, admitting to Faber, who had objected
to his love of music, that he bad leamed to sing to the
chelys, fidicula, tibia, and other instruments, and de-
fended the art.
Claudia Monteverde, of Cremona, clwelling tberefore
among the Amatis, in the end of this century, was not
only a distinguished performcr on the tenor viol, but
also a composcr, and we shall have to refer to him again.
Vincentio Galilei, the father of the grcat astronomer,
was an able writer on music, and in 1582 names the
viola da. braccio, wbich he says was called the lira not
many years previously, the viola da gamba, and the
violono, but not the violino, which must, however, have
been known befare bis time. He attributes thc invcntion,
cnoneously, as we consider, to Italy .
Francis l. of France is said to ha ve been the originator
of a chamber-band, in audition to the music of his chapel,
n.nd to have had violins; but there wcre musical cstab-
lishment.s of this nature in the French court long pre-
viously. An anecdote is told of his sending a band of
accomplisbed musicians to Solyman, the seconcl Emperor
of the Turks, in 1543, who, having hcard them threc
times, caused all their instruments to be destroyed, ancl
after making_ them handsome presents, sent them out of
the country, on pain of death should they rcturn ; fear-
ing tbat his people might become enervated by hearing

thcm, and suspecting that Francis had sent tbem over

for political purposes, and to divert him from tbe
business of war. Therc is a story of much more recent
date, where a band was sent over to somo Eastern poten-
tate, and on their first proposecl performance, began as
usual to tune, when the monarcb and his granclees,
supposing this to be thc commencement of the concert,
were so astonished and ear-struck, that they sent the
unconscious offenders back again as fast as they could,
without waiting for furthe1· proof of tlleir skill. Some-
thing like this would seem to be alluded to in tbe
,,. Knight of the Burning Pestle,"" They say 'tis present
deatb for tbese fiddlers to tune tbeir rebecks befare the
g reat Turk's gracc."
In tbe time of Hcnry IV. of Francc, thcre was a
dispute between bis musicians and tbose of the Catbedral
of Notre Dame, as to the right of prccedence befare
him ; when the king dccided that they should all sing,
but that the musicians of bis chapcl shoulu begin. He
had his band of " vingt-quatre violons ~u Roí, " but
they seem only to have been used for dancing.
The stcUtutcs of the Corporation of tbe makers of
instruments, players, and professors, which bad been
confirmed in 1454 by Charles VII, and eolarged by
Franyois de Harlay, Archbishop of R ouen, in 1!517,
were regulated in 1578 by H enry III. Even Charles
IX. himself was fond of music, anu playcd on the violín.
Poisot, in bis "History of Music," recently published,
states that he bad scen bis instru mcnt at the Biblio-
th~que de Cluny Saone et Loire; but notwithstanding
this taste of the king, the composcr Goudimel, the master
of the renowned Pulestrina, was killed in the massacre
of St. Ba.rtholorn cw's Day, which Charles is said to ha ve

lllS'l'ORY OF TI! E HOLI:\. 99
pcrsonally encouragcd, and to have assistcd in : but
N ero hirnself was a patron of music.
Thc two following ontrics from the accounts of the
expenses of Charles, takon fi·om "Archives Curieuses de
l'liistoire de Franco," are interesting, espeeially the
lattCt·, as it shows that Crcmona. was then famous for its
instrument s; and, if the fifty liues tournois formed the
pricc of onc violín, thc value would be high even at that
time, as the livre toumois was wortb five francs five cen-
timcs, and fifty would bo equivalent to 252~, or probably
about 1200 in prcscnt value. Part of the sum, however,
may havo been for thc expenses of the journey : -
" 7 Novembre, 1572. A Baptiste Delphinon , violon
ordinaire de la chambt·c dudict sieur, la somme de 75
Ji1'1'CS tourn, dont Sa Majcsté luya faict don, pour luy
aidcr a supporte¡· les frais et despence qu'il luy convient
fairc s'en allant préscnteme nt a Millan, par commande-
mcnt de Sa Majesté pour faire venir des musiciens pour
son scrvicc et plaisir."
"27 Octobre, 1572. A Nicolas Dclinct, joueur de
flustc ct violon dudict sieur, la somme de 50 livres
tourn, pour luy donncr moyen d'achcptcr ung violon de
Crcmonne pour le scrviec dudiet sieur."
In thc accounts of bis successor, Hcnry IJI, from 1580
to 1588, violins are mcntionecl amongst other instru-
monts, and as early as 1550 the name of P icrre de la
Ilaye, joueur de violin, appears in the r egister of the
performances of thc ancient drama at Bcthune. Violins,
and instruments of this class, are mcntioncd frequently
in tbe accounts of fcstivals in tbe French memoirs of this
agc, of which a few examples may sufficc. Thcre is an
account given in the Memoirs of Margucritc de Valois,
of ajiJte g iven at the intcrview of her mothcr, Catheriue

100 lllSTORY OF THE YIOLIN.
de Medicis, with her son, King Charles IX. in l 565, at

Bayonne, where severa! provincial dances were intro-
duccd with tbe appropriat e instruments, as, "les Poite-
vines asee le corncmuse, les Provel1<(tÜos la volte avec
los timballes, les Bourguignones ct Champenoises avec lo
petit hautbois, le dcssus de violin, et tabourins de vil-
lago; les Bretonnes dansans les passepiods et branles-
gais ; et ainsi toutcs les a utres provinces." \V e think a.
history of dancing by sorne properly qualified person
woulcl prove an interesting, as well as an amusing work,
though we are not prepared to go as far as thc Ma'ltre a
danser, in " L e Bourgeois G entilhomme :"' "Tous les
malheurs des hommes, tous les revers funestes, dont les
histoires sont remplies, les bé•ues des politiques, et les
manquements des grands eapitaincs, tout cela n'est venu
que faut de savoir danser."
Aceording to a song made on the marriage of the
same monarch-
" Tnbourins et trompettes,
Hnulboi~ ct violins,
D'uno hnultcur pnrfaite
Fnisoicnt tnntir leurs sons.''
Ata splendid fBte given in 1579, on the marriage of

Margaret of L oraine, the sister of tbe queen of Henry
III, to the Duc de J oyeuse, severa! violins were intro-
dueed to play the dances, the whole boing arranged by
the celebrated Baltazar, or Baltazarini, onc of the first
famous Yiolin-playcrs on record. Ile was valet de
chambre and superinten dent of music to Catherine de
Medicis, and also the chief of the king's band, and was
commonly called De Bcaujoyeulx. Aftcr the nuptials of
Margaret, Queen of Austria, with Philip III. of Spain,
at Ferra.ra, in 1598, and those of the Duke Albert with the
Infanta Isa.bella, the king's sister, amongst other enter-

HISTORY OF TILJ:: VlOLlN. 101
ta.inmcnts a concert was given by the nuns of the Con-
vcnt of St. Vito, whcrcin they played on violins and
bastarcl viols, together with other instrumcnts, inter-
mingled with voiccs.
Having previously given an account of a concert of
pigs, we may be allowcd, perhaps, to vary our work a
little by relating one where cats formed part of thc
orchestra, bcfore Philip II. of Spain, at Brussels, in 1549.
A bear was seated on a grcat car, at tbc figure of an
organ, which instead of pipes had twenty cats, of differ-
ent sizes and notes, shut up in small cages, with their
tails out, and attached to the rcgister of tbe organ, so
that, as the bear pressed the keys, the tails of the unlucky
cats wcrc pulled, and, according to the chronicler, the
cats began to squcal "eles basses, eles t.ailles et eles
elessus, selon la nature eles airs que l'on voulait chanter,
avec tant de }Jroportion, que cette musique des betes ne
faisait pas un faux ton." Wo should have suspected, but
for this statcment, sorne hanging of the notes occasionally.
The description proceeds to state that, at the sound of
this feline instrument, monkeys, bears, wolves, stags, and
other animals danced about on an accompanying stage;
but as from the context it appears that, with the excep·
tion of the cats and monkeys, the beasts were r epresented
by children dressed up, we may almost fancy some tam-
pering with the cats, though nothing of the sort is men-
tioned.
The viol appears in England in the royal bands in
this century, as well as the rcbec and fiddle, as before
mentioned. In the seventeenth of Henry VIII. we fine!
his band consisted of fifteen trumpeters, thrcc lcwtcrs,
three rebikes, three taberets, one harper, Anelrcw New-
man the waite, two vialls, four drmnslacles, a phipher, anel
ten sagbuts; the wages varying fi·om 4t. to 33!. 6s., the

102 HISTO RY OF THE VlOL JN.
three princ ipal sagb uts alone recei ving the high est rate.
Near ly simil ar lists appe ar in subsc quen t years. In
Septe mber , 1532, there is a su m of 3/. 7 s. 6d. eharg eu
in the Privy Purs e expenses, for the liver y coats of three
of the "vya lls," showing that the members of the r oyal
band were providcd with a dress at that time. In 1 538
Hcnr y had three "vya lls," name d Hans High bour n,
Hans Hossenet, and Tbomas High bour nc, at salar ies of
33s. 4d. })Cr quar tcr; and three years after the numb er
was doublcd, their names, as we learn from Mr. Collicr's
"Ann als of the Stag e," being Vinc ent de V eníti a, Alex .
de V enitia, Albe rtus de V eni tia, Ambroso de Mila no,
Joan Mari a de Cremona, and Anto ny de Romano, all of
them forcigners, and one, it will be observed, from Cre-
mona, now soon to take a distin guísh ed place in the
anna ls of the violi n; their salar y was 4/. quar terly.
Thes e perfo rmer s were aecustomed to participat e in the
New Year 's Gifts, then so liber ally and regu larly distri-
bute d; for insta n ce, on New Year 's Day, 1542 -3, they
received from the Princ ess Mary the sum of 20s., being
a large r sum than that given to any other s of their own
class ; many similat· examples migh t be givcn .
In a curious inven tory of the etfects of Henr y VIII ,
taken imme diate ly after his dece ase, there are no less
than ninc tcen " vialles," grea t and small, and four "git-
teron s" (guitars), with four cases to them, called "Spa nishe
vialles ;" the catal ogue comprises numerous instru ment s,
especially flutes, and finishes with "son dric Bookes and
Skrolles of Songes and Balla ttes."
The succeeding monarchs, Edw ard VI, and Mary and
Elizabeth, both of whorn were skilful musicians tbcm ·
sclves, bad bands formed much in the same way as that
of their father. The viols in Edw ard's band , of whom
there were eight , were paid, six at the rate of 30l. 8s. 4d.

IIISTORY OF THE VIOLO<. 103
cach, one at 20l., and onc at 18/. 5s. Tbe first notice of
violins by name in thc royal bands appears to be in 1561,
whcn thc sum of 230/. 6s. 8d. was paid to t.hcm; in the
samc ycar we sha\1 fincl them introduccd in the tragedy
of' "Gorbodu c." Ten years afterwards the queen had
scvcn, who received ::!251. 15s. One of the New Year's
gifts gi vento her in 1577-8, was a viol by Marke Antony;
thcsc gifts were so rcgulated and graduatcd, that every
one connected with thc court was expcctcd to give one,
down to Smyth, dustman, who gave "two boltes of
camcryck." There is an ontry in the "Calendar of State
Papcrs," 1569, of the uames of the officcrs of the queen's
houschold who werc defaulters in paymcnt of the sub-
sidy, and all the musicians appear in this list, which does
not spcak wcll for their position, unless thcy were re-
turned as defaulters as a matter of favour, for the purpose
of bcing cxcused. In the Accounts of tbo Scotch Court,
givcn by Dauney, in bis "Ancient Scottish Melodies,"
are several en tries rolating to viols and " fithelars" of
this ccntury, as, in 1503, "To Adam Boyd, Bennet, and
Jame Widderspunc fithclaris xlij'." 1505, "To Sir
Gcorge Lawedcris fithclar, ane fithelar of Striuelin, &c.,
ilk man ix•. xh'." 1507, Jan. l. "To di vcrs menstrales,
schawmeris, trumpctis, taubroneris, fithclaris, lutaris,
harparis, clarscharis, pipm·is," extending to Jxix persons
"xn. xj"." In 1538, paymcnts are madc "To the fom·e
menstralis that playis upon tbe vcolis, for thcir yeirlie
pcnsioun ifu," and also '' To Jakkis Collumbell player
upon the veo lis."
Thc pricc of a common bass-viol was modera te enough,
for there is an entry in the diary of Philip Henslowe,
"Lcnt unto Richard Jonncs the 22 of dcscmbr 1598, to
byc a bassc viall and other instrementes for thc companey
xxxx•.". In an in ventor y of Henslowc, of the same

year, are included a trebel vial!, a basse viall, a bandore,

and a sytteren. In the accounts at Hengrave, in 1572,
tbere is a charge of 20s. for a treble violin ; and there
seems little doubt but that the violín was now in requisi-
tion for dances, except perhaps for the stately pavan, or
others of the grave and ceremonious class.
In an intcresting "History of Horselydown," by Mr.
Corner, F.S.A., to whom we are indebted for a copy,
there is an engraving from an old picture in the posses-
sion of the Marquis of Salisbury, at Hatfield, the work
of George Hofnagle, a Flemish artist. The date of this
picture, which represents a fair at Horselydowu, is 1590.
On the right are sorne figures dancing; the musicians
are, on one side a piper or flutist, and two playing on
violins, m ueh of the modern shape, and two other similar
violin-players on the other side of the dancers.
The approach to the present shapc of the violín was
probably g radual; the first makers of violins being also
makers of viols. Kerlin and Duiffoprugcar preserved
much of the viol quality; but sorne instruments of Gaspar
de Salo, especially tenors and double basses, are made
quite in the present shape. At tbc time of the "Amatis"
this shape seems to have been completely settled and
perfccted.
At the conversazione of the Musical Society of London,
on the 29th of J anuary, l 862, the curious old violín
described in "Hawkins's History of Music," with an
engraving, and stated to have bcen given by Queen
Elizabeth to the Earl of Leicester, was exhibited. It is
of the date of 1578, and is of heavy make, the upper
part of tbe body being much deepcr tban the lower ;
tbcre is a great deal of ornament and carving about it,
and we should expect the tone would be nasal and
sluggish. I t is now kept at W arwick Castle. Burney

HISTOR Y OF l'IIE VIOLIN. 105
mentions Corelli's nolin, then the property of Giardini,
after whosc death wc belicve the well-known Mr. Salo-
man becamc its possessor; it was made in 1578, and
thc case is said to havc been paintcd by Annibal
Caracci.
Onc of the writcrs of this work has in his possession
a very handsomc viol da. gamba of about this date, richly
inlaid and ornamcntc d, purchased from the late .Mr. J ohn
Ca.wse, the artist, but we havo been una.ble to ascertain
the prcvious owners. The body is about the size of a
modero violoncello, and it has frets . It is altogethet·
so fine a spccimen of this class of instrumcnt s, that we
havc had photographs, from which our illustration s are
taken. (Figs. 49, 50.) When the lamented Prince
Consort, on the 16th of' April, 1845, bcing the director
for the evening of the Ancient Conccrt, had somo music
of thc 16th century pcrformed on instrumcnt s of that
pcriod, sorne of which were sent over by M. Fetis fi·om
Brusscls for the purposc, Mr. Cawse 1ent this viol da
gamba, whicb was played on by Mr. Richard Hatton.
In the course of the evening he was desir ed to attend
and show the instrument to the Queen, wbo cxamined it
carcfully, and expressed herself much pleased with it.
W e may remember that Sir Andrew A guechcek, amongst
othcr accomplishments, was a performer, " he plays o' the
viol-de-gamboys."
Viols, violins, and fiddlcs, are mentioncd in early
dramatic works of this agc, and in the " In terlude of
tbc Four Elements," in 15 10, one character says, -
" This tlnuncc wold do mych bctter yet,
Yf wo bntl n kyt or taberet.,
But nlns! thcr is uouo berc."
He is answered by another, who propases to go to a

tavern, where they will be sure to find one or two min-
I!

106 HISTORY OF TllE VIOLlN.
strels. In that quaint production, "Gammcr Gurton's

Necdle," our oldest comedy, except "Ra1ph Roister
Doister ," and which is said to have becn writteu as far
back as 1551, Diccon, the mischief-maker between
Gammer Gurton and Dame Chat, says at the end of
the second act-
" loto Lhe town will I, my frcndes to vysit thcre,
.A.ml hct.hcr straight oga in to seo th' end of this gcre ;
I n tbe mean time, felowes, pype up your fidles, I sny, tnkc tbcm,
.A.nd lct your fricnucs here such mirtb n.~ yc cnn mnke tbem."
In our earliest tragedy, " Gorboduc," which was acted

in 1561, wc ha ve the first specimen of music between the
acts, the choice of the airs being probab1y left to the
performers. Thcre is a dumb-show at tbe beginning of
each act, taking thc place of chorus, and foretelling the
subject of the following di,•ision of the play, each accom-
panied by appropriate music. At the commencement of
the dumb-show to the first act it is stated, "Firste the
Musicke of Violenze began to play, durynge whiche
came in vppon the Stage sixe wilde men clothed in
leaues." Previous to tbe other acts, musical instruments
of different classes are introduced.
In the banquet scene in the "Lamentable Tragedy,
mixecl ful of pleasant mirth, of King Cambises," of the
same date, being that alludecl to by Shakespeare whcn
referring to speaking in King Cambises' vein, the king
says : -
" l\Ic think, mine cares dooth wish thc sound
of musicks bntmon y ;
Heer for to play before my g.-nce,
in place I woulu thcU\ spy.''
Ambidexter, the vice of the piece, replies,-

" 'rhcy be at hand, sir, with stick and lidie;
Thcy can play a new daunce cnllcd, H ey, d·idle didle."
He seems to have been hard pressed for a rhyme, but he

IIIST OnY OF 'J'IIE \'IOL IN . 107
is thc buffoon of thc play, aml on his first app eara nce
comes in drcsscd with "an old capease on bis bed , an
olde pail abo ut bis hips for barnes, a scum mer and a
potl id by bis sidc, and a rakc on bis sbouldcr."
I n Gascoync's "Jo cas ta," nea rly of the sam e date, cach
act is prec ede d by a dum b show, accompanied by viols,
cyth rcn, bandores, and othe r inst rum ents . At the end
of tbe play of "W yt ancl Scic nce ,"" cum th in foure with
violes and syng, Rem emb re me, and at the last que re
all make cursye, and so goe forth syn gyn g." Kat hcri ne,
in "Ta min g the Shl'cw," calls her supposcd music-mastet·
rascal fidler, and twa ngli ng Jac k; and in the old play
on which Sha kesp eare is supposed to bave founded bis,
Valeria, who personates the mus ic-m astc r, cx~laims,
" Hol d, mistrcsse, souns will you brea ke my lutc ? "
" Kc<te. I on thy hcnd, and if thou spcnkc to me,
Thcr o tnkc it •·p, and thhllc somo whcrc clsc.
(She thrmves it downe.)
And scc you come no more into this pince,
Lcns t that I clap your fidJio ou your foco."
In the old play of "Ti mo n" (not Shakespeare's), one of

tbe ban gers -on is Her mog encs , a fiddler, and the fiddle
and fiddling are frcquently refe rred to in connection
with bim. In one of the songs dur ing Queen Eljz abet b's
roy al progresses, beiug Rowland's song in praise of tho
Fair est Bota, by Dra yton , abo ut 1690, we find tbe fol-
lowing collection of inst rum ents :-
" Sonud out youa· trumpcts then fa-om Lomlon's stntc ly towcrs,
To bcntc tlac >lonn ic winds 11-bncko, and cnlmc thc roging showen;.
::ict lo thc coruct nnd the fiuto,
Thc oq>hurion nml thc lutc;
And tune thc tubor nud thc pipe lo the &woot ,;olo ns ;
And moo\·c tho t.hundcr in thc oya-o with lowdest clnrions."
Tbe common fidcllers at this time, if not atta cbe d to thc

cour t, or to tbc establishment of sorne g roat person, pro-

bably led a rambling life, inducing too often habits of

intemperancc, especially as they frequently had to attend
taverns and social meetings, where, if they possessed
tolerable skill, and were able to sing a good song, their
companionship was courted, especially about Christmas
time. "Faith, fellow fidd lers," says one of the charac-
ters in the " Re turne from Pernassus," "here's no sil ver
found in this place; no, not so much as the usuall
Christmas enter taiument of musitians, a black Jack of
beare, and a Christrnas pye."
One of T arl ton's jests is connected with two rnusicians
(most probably fiddlers) called Fancy aud Naucy, who
used with their boys often to visit Tarlton, he being oue
of their best friends, at the sign of the Saba, in " Gra-
cious Street." One surnmer morning they carne to play
hirn "The Hunt"s up," (a tune for playing which
adapted to sorne political song on the " crowd or fyd-
dyll," one John Hogon had got into difficulties in 1537,)
with other music; when he carne out of his room in his
shirt and night·gown to drink sorne muscadine with them.
In the meantime, a rogue st~ps in and steals bis apparel,
which seerns to be the point of tbe joke; and many of
tbese jests are much of the same quality.
Armin, in his "Ncst of Ninnies," gives an account of
a mischance tbat befel a fiddler, in collision with Jack
Oates, the domestic fool of Sir William Hollis. One
Christmas-time, O ates being· out of sorts, his master told
him to go home, as he would get another fool ; upon
wbich J ack began to cry, and wcnt down to the g reat
hall, where, being strong of arm, he snatched thc pipes
out of the piper's hands and broke them over the unof-
fending fellow's head, putting a stop to the dancing. Sir
William was very angry at this, and offered a. gold noble
for another fool, on which an unlucky fiddler, who was

HISTO RY OF TllE VIOL IN . 109
p1·esent, proposed to take the place, and was appro ved
of. Ile was so pleased tbat he threw bis fiddle one way
and hrok e it, his bow anoth er, nnd bis case aJlother, and
wcnt out to dress . In tbe meantime Jack retur ncd,
bavin g recovorcd bis good humour, and bega n bis gibes
and j okes, of whic h an average speeimen may be g iven
in his statin g that tbere was a wench in the hall who harl
caten garlic, and sevcnteen men were poisoned from
kissing her. His rival , or inten ded s ubsti tuto, now en-
tered the room danc ing and g rimacing, and dress ed in
one of J ack's dresses ; but the pract ised fool flew at the
interloper and beat him sever ely, so that the unfor tunat e
fcllow not only lost his fiddle, but also, as the sto1·y says,
the use of his left eye. Those who wish to learn more
of the inter ostin g and curio us histo ry of cour t and clo-
mest ic fools, will find much enter tainm ent and info¡·ma-
tion in Dr. Dora n's work on the subje et.
Two celeb rated fiddlers, callc d Out Roar inge Dick c
and Wat Wim bars, are name d abou t this time, wbo
could makc their 20s. a-da y at Brai ntree Fair, a grea t
resor t for thcse chara cters . Anth ony Now -now, and
Blind Moon, were also well known. Thc form er is thus
intro duce d in Chet tle's " Kind H art's Drea m," l 592 :-
" Thc first of the first threc was an od old fellow, low of
statu re ; his head was coue rcd with a roun d cap, his
body witb a side ski.rted tawncy coa te, his legs and fecte
trust vppe in leath er buskins, his gnty haire s and fur-
rowed face witnesscd bis agc, bis trebl e violl in his bando,
assur ed me of his profession. On whic h (by his con-
tinuall sawi ng havin g left but one strin g) after bis best
mann cr, heo gaue me a hun tsvp: whome, aftcr a little
musing, I assur edly reme mbrc d to be no other but old
Anthony Now-now. " In sorne parts of tbe work the in-
strum ent is ca1led a crowd. Anthony Mun day is sai<l

1 1o 11ISTOllY OF 'l'IIE VIOLIN.
to have bcen tbe pcrson intcndcd to be ridiculed by

Anthony Now-now, and he obtaincd his name from
singing a. song in which each verse ondcd with Anthony
now, now ; one verse may suffico for an example :-
" Whcn is tbc bcst time to dr·inkc with n fricnd?
Whcn is thc mccwst my monoy to spcnd?
O Antbony, now, now, now,
O Anthony, now, no1~·, now ."
Thc instrument was, however, also admitted into good

socicty, for Selden's fathcr, who was passing ricb with
forty pounds a-year, delighted in tbe violín, on which he
played well,and would play to his ncigbboursatCh ristmas-
timc wbile tbey danced. Cbests of viols were also kept
in many familics, as we shall presently describe, and
thcrcforc we may assume that violins werc also.
Towards tbe end of this century publications began to
appcar of songs adapted to various instruments, which,
in thc succecding century, were very numerous. In
l 558 our acquaintance, A nthony Munda.y, publishcd
"A Banquet of D aintie Conceits," to sing to the lute,
bandora, virginalls, or any other instrument. In 1593,
William Barley published (<A Ncw Booke of T ablature,
containing Instructions to guido and dispose the hand,
to play on sundry Insiruments, as the Lute, Orpharion,
and Bandora," &c. J ohn D owland, the composer of
sorne cxcellent madrigals, and bimself a distinguished
performer on the lute, whom Fullcr calls the r a.rest mu-
sician that his age did behold, published in 1597, " The
F irst Booke of Songes or Ayr cs of foure parts with
Tablature for the L ute. So madc that al! the partes
together, or eitber of thcm severally may be song to the
L ute, Orpherion, or Vio! de Gambo." I n 1599, Richard
Allison published the P salms of David "in Meter, to be
sung and pla.yed on the lute, orpharyon, citterne, or base

HlSTOR Y OF TIIE VlOLIX . 111
violl;" and in thc same year Morlcy printcd a work of
still more instrumental charactcr, thc " First Booke of
Consorte Lcssons," for six instrumcnts to play togetbe r,
namely, tbe treblc luto, tbe pandor a, the cittern, the
finte, and thc treble and bass viols. At the same time,
Anthony Holbo rne published a collection of pavans,
galliar ds, almaines, and otber short airs, for viols and
otber instruments. William Lawes wrote somo fanta-
sías for viols, wbicb it migbt be cu1·ious to compare with
somo of our modern fantasías.
Thcrc are seYeral papne nts for strings chargc d in the
account.'i from wbich wc have previously giYcn extracts,
genera lly called luto strings, but viol and violín strings
may bo consid ercd to be includcd. Sorne of the pay-
ments wcrc large, as for instance : Thomas Lytchfield,
one of thc groo~ of the Privy Chamb er in thc time of
Elizabcth, was paid at the rate of 13/. 6s. Sd. a-year for
lute strings ; but except in one case, mentioned by Dau-
ney, of 6s. paid in 1533 for "onc dozen luyt stringis
scnd to thc kinge's grace in Glasgow," we do not fiod
the actual value of the strings. There was a Custom-
House dnty in 1545 of 22d. the grose on "Lute Stryng es
called M ynikins."
Mersennus says that strings for fiddles and other
stringe d instrum ents were madc from tbc intestinos of
sheep; a practic e as ancien t as the early Egyptians.
Baptis ta Porta gives sorne fanciful effects of strings
madc from various materials, which we introduce on bis
autbor ity, not having had time to try the cxperiments
ourselves; but will rccommend thcm to any of our
readcrs having plenty of patiencc and a good stock of
credulity. String s madc ü·om shecp and wolf combin cd
produce no music, but jar, and cause discord s ; while t.be
sounds of those ma.de from se1·pcnts, and especially
1 © Biblioteca Nacional de España

' 'ipers, cause womcn to miscarry. So drums made of

clephants', camels', or wolfs' skins, will frightcn borses,
and one· of horscs' skin is litera.lly a bugbear to the
ursine race, from tho antipatby tbe living animals havo
to cach othcr. For a s imilar reason, Culpcpper says
that a. cobweb will stop the bleeding of a wound. W o
should obsen-e in reference to our recommend ation to
make these e xpcrimcnts , tbat tbe learncd Kircber, in
perfect simplieity and good faith, says, that having seen
the account of Porta, and some similar remarks of
Pythagoras and othcrs, he got two polychords , and
strung one witb shccp-strin gs, and the othcr with wolf;
but on trying thc lattcr in a sheep-folcl, the insensible
animals refusecl to be frightened, and no breaking of
strings was caused from the antipathy.
The notation of musie in the present century is somc-
what repulsivo to a modern reader, from its angular and
frequcntly crowded eharacters ; but it was considerab ly
aclvanced from formcr times, and capablc of cxpressing
passages that required much execution; in effect it
comprised our prescnt notation in a ruder form and
without tbe smaller notes. The first music-prin ting,
which was from hlocks, is said to ha ve bcen in the works
of Franchinu s; and the Germans exhibited much skill
in printing musie with letter-])ress types. There is
some aecount in Hawkins of musical notes of tbis time
from Andreas Orníthopar cus, kbaw, Wilphlingseclcrus,
and Lucas Lossius, and be says that musie from metal
types was invented by Ottavio ele Petrucci, about
1515. Grafton, in the Book of Comrnon Pra.yer noted,
composed by John Marbeck, and published in 1550,
improved tbe notes of Iligden, and his own charaeters
wcJ·e improved by Day in 1560.
Marnef, a printcr at París in the bcginníng of this

1
1'
1
1!

\" IOL DE (; .\~!HA
ln thc po$session of S. :\. Forst<"r
FJC. 4 ~•

1
\"1 01 . D E <:.-\)lOA
S. A. For,.,Lcr
ln tb c j)O.S::-c.;..,ion o(
! Fl G , .54•

•

HISTOR Y OF THE VIOLIN . 113
centur y, was one of the first who printed the plain-c hant
in movcable charac ters with the signs of thc ligatures,
and about thc same time Oglin, at Augsb ourg, was the
first who printed music frot? copper -plates ; Hautin , at
París, bcing the first who engrav ed music in France .
Thc Ballar ds had a monopoly therc in 1540, which
somewhat dclaye d thc improvement, as they used the
old charac ters. Adrian le Roy, an emine nt lutenist,
was afterw ards associated with thcm, and the type was
improved. He published, about 1570, tho precepts for
the tablatu re of thc lute, an inconvenient method of
notatio n, that was occasionally applied even to the
•
differenL classes of the vio! and violín, and did not wear
itself out until a comparativo! y rccent period. Gra.njon,
who formccl bis notes rounded instea.d of lozenge-shaped,
Attaig nant, Guilla umc de B é, Branto n, and Sanlec que
and bis son, were othcr cle\1 er printcr s of music of this
age. For the accoun t of tho notes from Gam ut, to
E la, from the scmiqu avcr to the large, with all the •
mysterics of moodc, time, and prolation, perfcc t or im-
perfect, grcat or less; with the intricacies of black full,
and bla.ck void, r ed full, and red void, we must refer to
Morlcy 's "Intro ductio n to Practi ca! lVIusic," 1597, ob-
serving, that notwit hstand ing the various names and
charac tcrs in his work, they ma.y be readily unders tood
with a moder ate dcgree of attenti on ; and such a study
might be as useful -pcrha ps more so-tha n the restora -
tion of sorne of our supposed old ecclesiastical modes,
wbere many of the combinations and sequences sound
strang c to tbe modern educat ed ear, and seem to belong
to bygone days ; but of wbich thc theory also is very
simple, and the knowledge of it to be attaine d by any
one with a modcr ate knowledge of music in a short time.

1 1-1 IIIS'l'OUY OF TIIE VlOl.IN.
CHAPTE R IX.
Nono of the first musical dramas, "L'Anima

e del C01·po," 1597, no instnunent s aro
mcntionecl of thc viol or violín class, cx-
cepting thc lira cloppia, which has becn
supposed to be thc viol da. gamba. In the opera of
"Orfeo,'' 1607, thc following insb·umcnts were used : -
" duoí contrabassi di viola, diecí violo de brazzo, duoi
víolini piccíoli alla Francese," and "tre bassí da gamba."
As before observcd, the violín was well known both in
England nearly half a century previously, and in Franco
befo re this date, and the use of tbe ter m " Franceso,"
docs not imply tbe French orígin of the violín, but may
show that ít was popular, and serve as a distínction from
the viols ; and M. Bottée de Toulmon, in hís " Dísserla-
tíon," before refoned to, states that he has not been able
to find any authorities for the superior claim of the
French violín at this time. Howevcr, violins were now
rcgularly establishcd in orchestras. In 1634 Stephen
Lundi, in his musical drama called "Il S. Alessío," had
violins, harps, lutes, thcorbes, bass- viols, and clavecins,
to accompany thc vocal parts. The oratorio "dí S. Gio.
Battísta," by the cclcbratcd Stradella, w ho was himself a
grcat performer on tbe violín, was accompanied by two
violins and violonccllo del concertino, and two violins,
tenor and bass, del concerto grosso.

HlSTORY OF 'i'RE VIOLIN . 1J 5
Durncy says the first attempt of accompaniments by
two violins, tenor and bass, ou¡· modcrn quartctt, was in
thc oratorio "di Santa Cristina," by Fedcrici, in 1676.
T hc orchestras for the compositions of Cavalli, Lulli,
and Carissimi (whose "Stabat l\Iatcr" is said to have
beco ono of tbe first pi ecos in which orchestral accom-
panimcnts wcre introduced into cliurches), comprised
principally violins aud viols of difF'crcnt sizcs, bass viols,
and doublc bass-viols, called by thc Ita lians violone, in
distinction to tbe violins, which wcrc callcd by the dimi-
nutivo Yiolini, the parent name bcing t hc viola. The
music for the violins was written in thc G clef, as at
prcscnt; and for the viols for thc e
clef, on the first,
second, or third lines, according to the sizc of thc instru-
mcnt, o1· soprano, mezzo-soprano, and alto clefs.
In 1637, at V en ice, theatrical action, dancing, and the
a rt of dramatic decoration werc brought in aid of song
and music, and from 1645 operas were occasionally tried
in F ranec. In J671 a tbeatre was oponed in París for
the lyric drama, under letters patent from Louis XIV,
datcd thc 28th of J une, 1669, wbcrcin it was inserted
that gcntlcmen and ladies might sing at the operas with-
out such a n act being considered derogatory to tbeir title
of nobility, or their aristocratic privilcges. Of course
whatever Louis said was right ; and therc is an anecdote
of flattery towards him whi.ch ccr tainly throws most
others in the shade. A preacher, in his discourse before
him and bis court, made use of thc expression, "We are
all mortal, " a natural remar k, considering that Louis
himself had descended fi·om a long line of mortal ances-
tors, and mig ht be expected, notwithstanding his thr.ee-
scorc and ten ye:u-s' reign, to follow thcm to the grave.
H owevcr, the incautious prcacbcr found from the looks
of ~me of thc courtiers that he bad madc a blunder,

116 IIIST Olt Y OF T!IE VIOL lN.
and promptly recovcred bimsclf by exclaiming, "No us

sommes tous mor tels -ou prcsque tous."
Thc viol continued in constant use in Eng land in the
sevcnteeuth, as well as in tbe previous century, togctber
with thc violín, and it was common in musi cal families
to have a chest of viols, containing two treblcs, a tenor,
and a bass-viol, and occasionally ther c were duplicates of
sorne of the instr ume nts; at Hengrave, for instance,
there was a chcst of six Yiols. Sir Tho mas More, wbo
was fond of music, kept viols and au orga u in his house.
Bur ney gives the following as the modc of tuni ng a chest
of viols, containing three sorts with six strin gs : -
The bass-viol, or viol da gamba.
e-s
-IL
Tbe tenor-vio!, or viol da braccio.
o =ft
rzb
V
The treble-viol.
Cerreto, in bis work "De lia Prat tica Musica," Naples,

160 l, has bis own port rait on the frontispiece, with an
angel at each corn er playing on a stringed instr ument;
two bave them of the guit ar sort, witb five strings and
se ven frets; the othe r two have tbem of the class of viol
da gamba, baving five strin gs, with a circular sound-hole
in the cent re; their necks are long, and one of them has
five frets ; thcir forro s are like thc modern violoncello,
with bows simi lar to double-bass bows. H e names four
gradations of the viola d'ar co, the bass, tenor, alto, and
.

HISTORY OF THE YIOLIN. ll7
soprano, and gives the compass of the six striugs of each,
stating that in playing together, the tenor and alto are
tuned a fifth above the bass, and the soprano a fourth
above them. He givcs the names of soveral Neapolitan
performers of the viola d'areo, and the lira, but none on
thc violín, which, thcrcfore, was apparently of no high
repute in Naples at that time. Corone, a Spanish writer,
in "El Melopaw y Maestro," 1613, names as stringed
instruments, sistro comun, psalterio, acetabulo, pandura,
dulcemiel, rebcquina, or rabel, vihuela, violon, lyra, cy-
thara or cítola, quitan·a, laud, tiorba, arpa, monochonlio,
clavichordio, cymbelo, and spineta ; thus iucluding sorne
of the violin class.
Pra!torius, in "Thcatrum Instrumcntorum," ' Volffen-
buttel, 1620, gives scvcral curious figures of musical
instruments, whícb may be considered as more partícu-
larly representing those then in use in Germany. Among
them is tbe g1·oss contra-bassge~g, much like a modern
double-bass, with fivc strings, tivo S S sound-holes, a '
bridge, a finger-board, and a tail-piece, somewhat of a
fanGiful fonn, no frets, and the scroll like the modern;
the bow, also, is similar to the present double-bass bow.
T he violoue is much Jike the violoncello, and has six
strings, two S S sound-holes, a bridge, fiugcr-board, tail-
piece, scroll like the modern, and six frets ; the bow
somewhat like a heavy or clumsy violonccllo bow. Tbe
Italianische lyra de gamba is like a tbick violoncello,
with twelve strings, two S S sound-holcs, a finger-board,
a tail-piece, a bridge, no scroll, but a fl.at board, or plate,
at the top of the fingcr-board, in whieh tbe screws are
fixed ; the neck is very short, and there are fi ve frets.
The bow is likc that of the violoncello, and it would
appear from the figure that severa! of tho inner strings
must have been struck together. There aro three violen

118 HISTOR Y OF 'filE VJOLIN .
de gamba, somewhat in shapo Jiko the violone just mcn-

tioncd, with six strings, a bridge, a finger-board, a tail-
piece, a sound-hole like a crcsccnt, a scroll with a figure
of a lion's head, or somcthing similar at thc top, and
cach with scven frets. Thc v1:ot bastt:J1·da is also much
of the samc shapc as tite Yiolonc, has six strings, bridge,
fingcr-b oard, tail-piccc, plain scroll, two crescent-shapctl
sound-holes, and also a round one above them. Thc
Italianúclte lyra de bracio is like the lym de gamba,
but smaller , and has only scven strings. The geig is of
long pcar-shape, with thrce strings, bridge, tail-piece, and
circula r sound-holc, and very similar to our Fig. 15,
takcn from Agrícola. Thc klein pose/te
is a small instrum ent, somcwhat of tbc
samc class, but of oblong sbapc, and na¡·.
row, with the ncck apparc ntly detacbcd,
and one S sound-bole at thc end of thc
fingcr-board (Fig. 51) ; wc havo a similar
onc in our posscss ion. The discant-geig
is of violín shapc, but with a wa ving lino
in thc bouts, four strings, a bridge, a finger-
board, dctach ed ncck, S S sound-holcs,
FlG. 61.
tail-picce, and scrolls. Thc 1·echte dis-
cant-geig is much likc the modern violín in e,·ery
respcct. Thc teuol·-geig, like a modern viola, with
a short neck. Thc bas-geig de bracio, like a clumsy
shapcd ,·ioloncello, but with fivc strings, ancla short ncck;
n on e of thc last six instrum cnts ha ve frets. He gires
the figure of the trumsclteide, in the shape of a trumpet-
marine, but with four strings ; also the sc!teidholt, wbich
is a sort of oblong narrow box with three strings (therc
are, however, fout· screws), and seems to havo eightccn
frets, with a kind of double -bass bow, and would appear
to be more adapte d for experi ments than anythi ng clse.

Tbcrc are figures of the schlusselfiddel, and stroh:ftddel,
which are of peculiar shape, and probably were never in
general use. Onc of them has fout· stt·ings, bridge, &c.,
but no inward curvatures at thc sido; the other has
four strings, bridge, &c., but has an appcndage at the
ncck, which is too obscuro in the figure to be made out.
Tbe alte:fiddel, m· old ficldle, has fivc strings, though
thcrc are ten screws, sevcn frots, two crcscent-shaped
sound-holcs, ancl a round one below thcm, no bridge, and
no scroll, but a hcad-piece tuming back; it is much likc
our Fig. 48, from Agrícola. He gives scveral r eprf?·
scntations of the varieties of tho luto and guitar, harp,
and wind instrumcnts .
.Merscnnus, "De Instrumcntis H armonicis," has nu-
merous rcprcsentations of the stringcd and bowcd instru-
ments of bis age, the carly pa.rt of thc scventccntl1
century. He seems to distinguish tho violín class as
barbiton minor, and the viol class as barbiton major. 1
In dcscribing thc first, he says it is much used for
dancing, and that the professors of that art used a small
ono that tbey could carry in thcir pockot, called pera, or
pocho; be has three figures of them, of which we give
one (Fig. 52); the others are similat·, but of a longer and
narrowcr make, and they all hare an aclditional sound-
hole in the shape of a heart, uudcr the notion of thus
obtaining more power. The necks aro of one piccc with
the body, and they all bave four strings and no frets.
This instrument was somcwhat akin to thc old gigue,
and also the precursor of the modcrn kit. He has
figures of two large instrumcnts of thc barbiton minar,
onc of which may be consideretl as idcntical with a
modcrn violoncello of vcry broacl modcl, and thc other
has the corncrs at the inward curvaturcs, very distinct
and angular, with the sound-holes largor tban in the
\.' ~
- © Biblioteca Nacional de España

12 0 H IS T O R Y O F T B E
V IO L IN .
modern instrument, the
neck also is thicker and
(Fig. 53). T he string beavier
s were tuned in fiftbs,
b u t tbe
FI O . 62.
lowest st ri n g was G, a
fiftb, therefore, higber tb
an the

•
1 1 '1 0 · ~-
122 IIISTO RY OF THE VIOL IN .
violoncello. T he repre senta tion he gives of anotb er bar-

biton mino r, or trebl e violín,
migh t casily be taken for a
mode rn fiddle (Fig. 54). Tbe
soun d of tbis class of instr u-
ment , he says, is stron gcr than
that of the barb iton majo r,
or vio! ; amon gst other dís tinc-
tions he ment ions the viols hav-
ing six strin gs inste ad of four,
and frets ; but these frets ap-
pcar to have been occasionally
applí ed to the violín ; we have
given a rcpre senta tion of one of
bis figur es of the barb iton ma-
jor (Fig. 55). From bis acco unt
of the finge ring of the violín,
it would seem as if the shift
was not then know n; but in
descr ibing the barb iton majo r he says tbe frets do
not excee d eight , whic h would impl y tbat it was in
use. When it was first vcntu red on it was consi dered a
trium ph of skill, and the perfo rmer did not attem pt
beyo nd tbe e, or ut, on tbe first string, and if such a
passa ge was expe cted, tbe audie nce would say softly,
"Gar e l'ut ;" if the perfo rmer failed he was bissed, but if
successful was grect ed with bravos and accla matio ns.
Mers ennu s givcs a descr iptio n with a figur e of wbat he
calls the lyre, bavin g eight frets and fi ftcen string s, of
which the bow must necessarily have struc k severa! at
the same time. The shap e is some wbat unm anag eable,
being like a violoncello with an addi tiona l part at tbe
lower end ; prob ably it was not much in use. He de-
scrib es the mono chord , and that singu lar instr umen t, now

fllSTORY OF TBE VfOUN. 123
'
.FIO. 6$.

124 HIS'l'ORY OF THE VIOLIN.
obsoleta, the trumpet marine, the favourite instt·ument of

M. J ourdain, i n " L e Bourgeois Gentilhomme ; " also
the lyra mendicorum, like the hurdy-g urdy, which he
sa.ys sorne call the symphony, and the Frcnch the vielle.
The principalmaterials of strings he states were the in-
testinas of sheep and other animals, brass and iron (u sed
for the clavicymbala), flax, and sílk. Rome and other
citíes produced thc best strings, and sorne of the larger
ones were composed of from fifty to sixty guts twined
together.
Kircher, in his "Musurgia," 1650, desc1·ibes and
gives figures of severa! instrument.s bearing, as it migbt
be expected, great similarity to those in the work of
Mersennus, calling the viols and violins by the name of
chelys, and the poche by that of linterculus.
In a curious book, "Symbola Divina et Humana
Pontificum, Imperatorum, Regum," &c. by John Frede-
ricus H agen, 1666, which contains hieroglyphics of the
popes and monarchs, there are severa! of the ki ngs of
England; and in that applicable to Henry VIII. is a
large instrument of the fiddle make, with six strings and
frets, but wíth no distinct finger-board ; the·heacl turning
forward. From the description, this is intended for the
pandura, though different in make and in number of
strings from that clescribecl by Mersennus, ancl was not
intended to be played on with a. bow. In the accom-
panying explanation, Hcnry's usage of bis wives is
referrcd to, and the fact sta.ted that Ann of Cleves, a.fter
her divorce, amused herself by playing on this instrument.
In 1611, Louis XIII. granted severa! new privileges
to tbe Corporation of Musicians. T wo of the musicians
bclonging to this monarch's chapel got into disgrace on
sorne occasion, and were curtailed of half their appoint-
ments. In their distress they applied to Marais, his

IUSTOR Y OF THE VlOLIN . 125
buffoon, who devised tbo following plan to relieve tbem.
He went with them to dance i n a masqu erade before the
king, eacb of them being only half dressed . "Wha t
does this mean? " said the monar ch. "Siro, " they
replied , "it is becauso those who havo only half their
appointments, can only go half d1:essed ! " Louis laugbe d,
and restorod them to favour and to full dress. A story
of somew hat similar class is told of IIaydn respec ting
his candle ovcrtu re or symph ony (lctter B). Prince
Esterh azy having for somo reason dismissed all his band
oxcept H aydn; the composer, not liking to part with bis
old associatcs, composcd the above picce of music, in thc
last movem cnt of which, oach perform cr as he comple ted
the music allotted to him, put out bis candle and quitted
the orches tra, lcaving tho first violín to play about twcnty-
two bars by himself. The Prince was angry" at tbis
curious arrang cment, and sent for H aydn to ioquire into
the mcanio g of it. Haydn bowcd submissively, and
said he wishcd to show of what littlc use one pcrform er
•
was, and the band wcre accord ingly restore d to their
appoin tmonts.
Mersen nus mentio ns sorne of the most disting uished
perform ers of the sevonteeuth century , and in r eferrin g
to tbe harmo ny produc ed by the twenty -four royal
fiddlers, who consisted of six treble violins, six counte r-
tenors, six tenors, and six basses, says nothin g could be
sweete r or more pleasin g ; and as to the playors, who
more elegan t than Consta ntino on the trcblo, more
cntbus iastic than Bocan , more delícat e tban Lazari ne
and Foucar d, and Legcr on tbe bass ? Therc is a story
told of tbis band of twenty-four going round as usual on
New Year's D ay, to play to the grande es and officers of
the com·t, and obtain thc gifts of the season in rcturn .
They went to thc Marsb al Dukc de Grammont among st

126 lllSTO RY OF THE VIOL I N.
other s, when, after· a little time, he put bis head out of

window and said, " Combicn etcs-vous, mess ieurs ? "
" Nous so mmes ving t, mons ieur. " " J e vous reme rcie
tous ving t bien humb leme nt," says the Mars hal to the
cxpe ctaut musicians, shutt ing bis window.
Boca n was the musician selec ted by Card inal Rich elieu
in the following singu lar scenc, relat ed in thc "Mé moir es
de Brien nc," and elsewhere. Tbc Card inal, in tbe
heigb t of bis powc r, had ventu red to address the Quecn,
Aun e of Austr ia, in the langu age of love. Sbe, dis-
guisi ng her feelings at bis boldness, informed him by
her conficlant, Mad ame de Chev reuse, that she requ ired
as a proo f of bis sincerity that he should appe ar befor e
her in Span ish costume, and danc e a sarab and, neve r
supposing that he, a high Churchma n, and occupied witb
the statc affairs of the coun try, would condescend to
such a course. To her surpr isc, however, supposing
that he had succeeded in his s uit, he consented, meroly
stipulatin g tbat nonc shou ld be prese nt cxce pt hcr Maje sty
and bis musician Bocan, who, howover, is said to bavc
betra yed him. The queen, notw ithstanding , place d her
favourite, M adamc de Chevreuse, and two of her gentlc-
men, V autie r and Bcrin ghen , behin d a scree n. At the
appointed time Richelieu enter ed dressed in a tight -
fitting suit of gree n velvet, witb silver bells at his knce s
and casta gnets in his hand s, and bogan bis task in sobe r
earnc st, until tbe quee n could prese rve her grav ity no
longe r, anu burs t into a fit of laugh ter, which was re-
pcate d by her atten dants behin d thc scree n. The Car-
dinal left the room in grca t ange r, and from that time
beca me the cnem y of the quce n and her favou ritc.
Our Quee n Eliza beth was fond of danc ing, and whcn
adva nccd in years seems to have uscd it polit ically ; as
W eluon mentions, that when any mcssenge r carne to her

IIISTORY OF THE VIOLIN . 127
from King James, on lifting up the hangings, he was
sure to find her dancing to a little fiddle "affectedly ,"
that he might tell James her youthful disposition, and
how unlikely it was he should come to tbe coveted
throne.
Mersennus names Maugard and H otman as extra-
ordinary performers on the >iolin and vio! ; Rousseau
says they were the first men w bo exeelled on the viol in
Frunce, the formar having great seience and exeeution,
and facility of working on a given subjcct; while the
latter had a beautiful tone. He na mes also P ere André,
a Bcnedictine, as a perfcct master of the instrument,
and Marais as a scientifie player; but the bcst pupil of
Hotman was Sainte-Colombe, who surpassed bis master,
and is said, as before mentioned, to have added a seventh
string to the instrument, and to have introdueed lapped
sil ver wires, but this is doubtful, as the same is said of
Marais.
Amongst other players of this age, the most distin-
guished were Biber, who was also a diffieult and fanciful
eomposer ; Miehel Angelo Rossi, who played Apollo in
bis own opera of "Erminio sul Giardino," 1637, and
proved bis title to the name by his sweet anrl graceful
melody; Marco Fraticelli, who surpasscd all previous
performers on the vio! da gamba ; and Carlo Ambrosio
Lunati, of Milan, commonly called 11 Gobbo della
Regina, wbo went to Englancl in the time of James II.
The celebrated singer L eonora Baroni was also an
excellent player on the thcorbo and vio!. Pierre Pieche,
who was appointed "musicien et garde des instrumens
de la musique de la ehambre du roi," on Mareh 3,
1672, may be named for another reason, connected with
an aneient custom of the French com"t. Previous to
this time it had bcen eustomary to keep dwarfs as well

128 HISTOitY OF THE VIOLIN.
as fools as court appendages, but the practice was now

abolished, and thc salary that had been given to Balt-
zard Pinson, nain, was transferred to Pieche. Ernest
Henri Hesse, born in 1676, bccame one of the best
players on the bass-viol in Germany. It is said he went
to Paris in 1698, whcrc he stayed threc years, and took
lessons at the same time from Marais and De Torqueray,
unknown to each other. Each boasted of the superiority
of his pupil, and they dctermined to test the merits of
their respective scholars at a public concert, when, to
their surprise and disappointment, they discovered the
identity. Schnittelbach, of Lubeck, about 1660, was
a fine performer, and the teacher of Strungk, one of the
greatest players of bis age. His visit to Corelli is no
doubt known to many of our readers. In answer to
Corelli 's inquiry if he could play, he said he could do so
t\ little, but should wish to bear C01·elli, who accordingly
gratified him. Strungk tben took up the instrument and
ran carelessly over tbe strings, upon whicb Corelli com-
plimented him, and said that with practice he would
make an excellent player. Strungk then altered the
pitch of all tbe strings, and played witb such skill tbat
Corelli exclaimed, " They call me Arcangelo, but by
heavens, sir, you must be Ar chidiavolo." Corelli, wbo
was born in l 653, was a fine player himself, with a clear
swcet tone ; his celebrated compositions may be studied
and practised with much advantage even at thc present
day. His quiet and retiring behaviour when present at
a large assembly where there was much talking, and
therefore mucb interruption, was somewhat different to
that of Viotti in a similar position. The latter, when
about to play a concerto at the French court, bad just
commcnced, when a cry was raised of " Place a mon-
seigneur le Comte d 'Artois!" The usual bustle ensued,

HlSTORY OF THE VIOLI!'i. 129
in tbe midst of whicb Viotti placed his fiddle under bis arm
and walked off, to the grcat astonishmcnt of the company,
nor would he play in public again for a considerable
time. Corelli, in bis case, put his fiddle quietLy on the
table, saying he was afraid he disturbed the conversation.
The musician Maugard was an abbe, and formed one
of the band of the Cardinal Richelicu. He played very
fin el y on the bass-viol, but was deficient in other respects,
and ill-conducted ; his forehead was pat·ticularly narrow
in shape. He in sorne way or other offended the Abbé
de Bois-Robert, who, however, professed to be reconciled,
and recommended him to apply to the cardinal for the
Abbaye de Crane-étroit, which he told him was about
to become vacant. The unconscious victim accordingly
went to his great master to beg the vacant benefice.
The cardinal, suspecting tbe author of the joke, could
hardly refrain from laugbter, but told him be sbould
have the appointment, which he would no doubt retain
for the rest of bis life. Maugard went directly to the
cardinal's secretary, a grave, solemn personage, to
arrange, as he supposed, the formal part with him ; but
the secretary, looking at him in a contemptuous manner,
asked him how he dared come about the Abbaye de
Crane-etroit, which existed nowhere except in his face.
The disappointed abbe then began to suspect the hoax,
ancl kept out of the wa.y for some time, to escape the
jokes against him.
Corelli's concertos, trios, and solos ha ve been frequently
played in public, until within the last few years, especially
during the existen ce of the A ncient Concerts ; and the
dclightful performance of the uinth solo, and in the
elevcnth t.rio of the secoud set by Lindley and Dragonetti,
will never be forgotten by those who heard them. One
of the last performances in public of the inimitable
•
130 HISTORY OF THE YIOLIN.
Lindley was in that h;o at tbc Philharrnonic concert.

T orelli's concertos appcared three ycars bcfore those of
Corelli, and he is thcrefore called the inventor of the
concerto grosso. Burney says tbe first tríos for two
violins and a bass, werc by Turini, in 1624 ; and in
1652 Gregario Allegri published sorne quartetts for two
violins, tenor and bass. There were also other writers
for these instrurnents in different manners. We may
refer, though the want of cornpetent pcrformers seerns
strange, to the anccdote in lVIr. Chappcll's work from
Corette, that when the Regent D ukc of Orlcans wished
to hear Corelli's sonatas, he was obliged to employ three
singers, as no perforrners of sufficient skill could be pro-
cured . Those who know these tríos will think there are
sorne queer passages for the voice.
In Brossard's Dictionary the following varieties of the
viol are narned at the eml of the scvcnteenth century : -
Viola d'arnor, with six. wire strings ; viola de banlone, a
large viol, reaching to as many as forty-four strings, and
a strange instrurncnt therefore ; viola basso, viola bas-
tardo, viola da braccio, or bratz, viola da gamba; viola
lma, baute-cont re de violon; viola 2da, taille de violon;
viola 3tia, quin te de violon ; viola. 4 ta, alto viola, or
haute-contre ; tcnore viola, or taille ; violctta, dirninutive
of viola, violono, violoncello, properly the quinto de
violon, or petite basse de violon, with fivo or six strings;
violone, the basse de violon, or doublc-bass .
Michel Toclini, an ingenious person and a skilful
player on the musctte, born at Saluzzo about 1625,
invented several curious instruments, and amongst them
was a viol da gamba which comprised all the four gra-
dations of the viol. He is a1so said-but we should
think this doubtful- to have been the inventor of the
iloublc-bass, to whit~h he gave four strings. I n Bonanni's

" Gabinctto Armonico," 1722, there is a representat.ion
of a curious instrument of the organ class invented by
him, which had four distinct sets of kcys, so placed that
if required they could be played on by four different
playcrs at the same time, or one alonc could manage the
instrument. It was stated to be at tbe palace of Signor
V eros pi at Rome.
Mr. Lidel on the 22nd Nov. 1849, exhibited at a
meeting of the Society of Antiquaries a viol-shapcd
instrumcnt made by Tielke, 1687, which he called a
barytone. It had six gut strings passing over a bridge,
and fastened to an ebony tail-piccc, that were played on
with tbe bow; and eleven steel strings, which went
under tbe bridge and were fastcncd to an cbony bar
placed there obliquely. The steel wires vibrated from
sympathy with the gut strings when the latter werc
struck with the bow, and thc round :md mellow tones of
tbe one set of strings mingled witb the crisp and metallic
sound of the other, and produccd a peculiarly pleasing
effect, well ada,pted to soft music, as notturnos, &c.
This instrument was exhibited as a viol d'amour at the
conversazione of the Musical Society of London, J uly
2, 1862, and Mr. Lidel informed us that it had been
given by the then Bisbop of Salzburg to bis grandfather,
who was tbe composer of Liclel's "Duetts for Violín and
Tenor," and other music where the viola is brought
prominently forwarcl.

132 HISTORY OF THE VIOL IN.
CHAPTER X.
~~~~ HERE are constant allusions to tbe violín

and viol, and even to the name of crowd
as previously mentioned, as well as to otber
instruments, in the English writers, dramatic
and otherwise, in the seventeenth century; and the
violin begins to obtain the favour over its older kin.
I n Ben J onson 's "' Bartholomew Fair," Lanthorn Leather-
head, the hobby-horse man, offers amongst other toys,
"What do you lack ? what is't you buy? what do you
lack ? rattles, drums, balberts, horses, babies o' the best,
fiddles of the finest." Afterwards he offers for the son
of one of his customers a fiddle to make him a reveller.
I n the same author's "Sad Shepherd," Robín Hood
says-
"The woodmnn met the dnmsels nnd !he swnines,
Tl:e ncntberd>, plowmen, nnd th~ pipers loud,
.A.IHl ench did dance, sorne to the kit or crowd,
Some to the bagpipe, some the tabret mov'd.''
Here we have the kit and crowd, and also the bagpipe,
probably one like the musette, as instruments to dance
to ; and in Drayton's " F airy W edding " crowds and
bagpipes are both introduced, the commencing word
violins being probably addressed to the performers.
"Violins, stl'ike up aloud,
Ply the gittern, scom· the crowd !

IIIS'l'OltY OF THE VIOLIN. 133
Let the nimblo bnnd bclnbour
'!'he whistling pipe, and drumbling tnbo•·;
To thc full thc bngpipc rack,
'l'ill the swolliug lentber cmck."
In bis "Polyolbio n," in thc dcscription of a musical

contcst between thc English and Britons, he names
many instrument s then in common use, of which the
following are connected with our subject : -
" Thc trcmbling lutc some touch, some sh·aino thc violl bcst,
In ~cts wbicb thcro wcrc seene, the musick wondrous choice :
Some likewisc thc1'C 11ll'cct tbe gamba with tbo I'Oice,
'J'o show thnt Englnnu could vnrictie n.ftord,
Somc that delight to toucb tbc stcrncr wyc•·io cho•·d;
The cythron, tbc pnnd01'C, nod tbe thcorbo strikc:
Thc gittcro ami thc kit, the wandring fidlcrs likc.''
Earle, in his "i\1icrocos mography, " 1728, says of a

poor fiddler, he " is a man and a fiddlc out of case, and
he in worse case than his fiddle." "A country wedding
and Whitsun-al e are the two main placcs he domineers
in, where he goes for a musician, and overlooks the bag-
pipe." Stcphcns, in his "Essays and Characters ," 1615,
gives the following account : "A fiddlcr is, when be
plays well, a deligbt only for them who have their bear-
ing; but is, when he plays ill, a delight only for those
who ha ve not thcir hearing." Many will ttgree with this
..
op1111011 now.
A company or party of fiddlers was froquently called
a. noise. One of the characters in " The Dutch
Courtezan ," by Marston, with the unpoetic name of
Mulligrubb e, says, "O, wife! O, wife ! O, Jacke! how
does tby mother ? Is thcrc any fidlers in the house?"
lltfrs. Jl1ul. " Y es, Mr. Creakes noyse." Jlfut. " Bid
'om play, laugh, makc mcrry.'' Thcy not only fre-
quented bouses of rcsort, but different sets sccm to have
a.ltcnded particular houses, and they were frequently

134 HISTOR Y OF THE VIOLJN .
treated with very Jittle ceremony. An illustration of

tbis will be fuuucl in " \Vestwar d Hoe," by W cbster and
D ekkcr, in the bcgioning of this centur y. A charactcr
called Monopoly says, "Whe rc's this noise? what a
lousy town 's this 1 Has Brainford no music in it? "
Chamberlain (of the Sun). "They are but rosining,
sir, and thcy'll scrape themse h·cs into your company
prcsently." llfon. "Plagu e a' thcir cat's-g uts and thcir
scraping: dost not seo women here, and can we, thinkst
thou, be withou t a noisc then? " Soon aftcrwards the
fiddlers appear on thc stage, and Sir Gosli11g Gloww orm,
a spendthrift, says to them in the style of the gallan ts of
those days, "Wba t set of villains are you, you perpetua!
ragam uffins? " to which they quictly answer, as if used
to such manners, "The town consort, sir." He takes
them out with bim and says, " - tbe chamb erlain shall
p,ut a crown for you into bis bill of itcms." The rosinin g
or tuning referre d to was probably a subject of compla int
in those times, justas at presen t in a band not sufficiently
well regulated, as Massinger says in "Thc Gua.rdian "-
" Wirc-str ing nnd cat-gut men, nnd strong-breath'd hoboys,
For the crcdit of yom· cnlling havo not your instrumcnts
'l'o tune whcn you should striko up."
In former times, as occasiooally in the present, usurers

or money-lenders uscd to require the bonow nr to tako
as part of the loan, certain article s of wbich the valuo
was appraisecl by thc benevolent lcnder, such as choice
picturcs, fine wines, and sometimos much more homely
article s. In "Tbc lVIiser," by Shadwell, the charac tcr
who gives the namc to the play, treats his borrower
harmoniously, includ ing in bis advance, "a Bolonia lute,
aRom an arch-lu te, two gittars, a Cremo uia violín, llyra. •
vial, 1 viol de gambo, and a trump marin. " Middleton,
in his play of " The Witch," in one of tbe scenes of

conjuring 0 1· enchantment introduces a cat playing on
the fiddle; but the well-known nursery rhyme is older
than this, and the fact of equal authcnticity in both.
\Ve havo a curious old Frcnch print, whcre there is a
cat playing on thc fiddle, and a dog with a fool's-cap,
dancing; a pantaloon is also playing on thc guitar; there
are tho figures of two fools in thc cngraving, one with
a fool's-cap looking in through a sort of window, the
otber is having his hea.d washed by a fcmale figure called
La Folie; in a chimney corner is a fat unwieldy figure
with Mardy Gras as bis legcnd, whilst an old woman is
preparing cakes. Pussy's fiddle is of the viol cha.racter,
with four strings and no frets. The print is called "Le
Diuertissemcnt de l\Iardy Gras." It has twelvc lines at
thc bottom, of which the following four are connected
with our subject : -
" La grotesque rejouissnucc
D u chaL jouant du violou 1
ct du chicn qui dance Clt cndcucc
de la guitarre a pnntnlon."
Many allusions are made to fcmalcs playing on the
vio] da gamba, but we will only rcfcr hcrc to a hallad of
the time of Charles I. in Mr. Chappcll's book, called
"Keep a good tongue in your hcad," where a wife is
describcd as having numerous good qualities.
" She siugs and shc ¡¡lnys
Aud she knows nll thc koys
of the viol de gnmbo, or luto,"
but,
" She cannot rule hcr touguc.''
Now, wc are told that " The tongue is a little member,
and boastcth great things;" " But tho tongue can no
• man tamo." Asan old carol says-
" off nl lbc cnmys thnt I cnu fynd,
The long is most emuy to mnnkynd."

136 HISTORY OF THE VlOLlN .
Remember, however, that the tongue masculine is also

here comprised; for who is there that'cannot appreciate
and has not rejoiced at tbe gentle voice of woman ?-the
first that enlivens us in the opening morning of life, and
frequently the last tbat soothes us in the hour of death.
In the hours of sickness, the hours of sadness, the hours
of deep t.rial and affliction-which bave or will come to
all-the hours when the mind dwells impatiently on lost
opportunities, aml long practised errors, and futile sacri-
fices to the glm·e and vanities of the world, how often
cloes the soft, kind voice of woman cheer the oppressed
mind, and restore its lost power and vigour.
The directions given for music in the clifferent dramas
and masques of tbe age, the latter of which were frequent
at court, will show how the viols and violins were used
indiscriminately ; the juxtaposition of sorne of the
instruments will appear strange to our modern arrange-
ments. I n Marston's "Sophonisba," about 1606, the
musrc of the fourth act is composed of organs, viols, ancl
voices ; and towards the end of the act " a treble viall,
&c. a base lute, play softly within the canopy," and just
previously there is "infernall music playing softly." At
the opening of the fifth act the music is confined to "a
base tute and a treble violl." In Campion's masque
at Lord Hay's marriage, of the same date, on one sidc
are mentioned ten musicians with bass and mean lutes,
a bandera, a double sack-bote, and an barpsichonl, with
two treble violins; and on the other side, nine violins
and tbree lutes. In the masque of "Silcnus," 1613,
Silenus has for bis music, a tabor and pipe, a base violin,
a treble violín, a sackbut, and a mandora; while Kawa-
sba has a bobtail, a blind harper and his boy, a base
violín, a tenor cornet, and a sackbut. \ Ve find in sorne
of the accounts the payments 1:11ade to the violins and

others connectcd with thcse masques, and othcrwise
engaged by the cour t, and the names of the lcauing
persons. As in 1610, at a masque given by Queen
Anne, Thomas Lupo, who was a distinguisbed performer
on the instrument, had 5l. for setting the dances to the
violins; the ten violins tbat continually practised to the
quecn, 20l., and four more that wcre auded at the
masque, 4/. In tho Prince's l'VJasque and Barriers, 1GIl,
the same Thomas Lupo again hacl 5l. for setting the
dances; the company of violins, 32!., and Thomas Lupo
the elder, Alcxander Chisan, and Rowland Rubidgc,
violins, l Ol. In a court masque in 16 I 3, wbore the
celebrated lnigo Jones had 50/.. for superintending, the
same Thomas Lupo had 10/. and John Coperary, who
we may assume was tbe skilful Jolm Coperario, or
Coopcr, was paid 20l.; ancl ten of the kiog's Yiolins
receivecl10l. On the 23rd Nov.l607, thcre is a warrant
to pay Daniel Farrant, one of tbe king's musicians, for
the violins, 46l. por annum. On the 22nd Marcb, 1608,
Alex. Chesbam (the same, no doubt, as Alexander
Chisan) was appointed one of bis Majesty's musicians
for the violins; and on the 6th February, 1612, Horatio
Lupo had a grant of the place of the musician on the
violín for lif'c. Charles Gucrolt and Thomas Giles
appear at different times as instructors in music of
Prince Henry, with annuities of l 00 marks each. This
prince, it is known, died young; but whetbet: in conse-
quence of a cold taken at the time of the visit of the
Count Palatino tó marry bis sister Elizabeth, or from
other causes hinted at, it is foreign to om· purpose to
inquire into.
Charles I. was not only a great patron of music, but
also a fine player on the bass-viol or viol da gamba
himself, especiall y in " those incomparable pbantasies
K

138 lllSTORY OF T r-IE YlOLIN.
of Mr. Coperario to the organ," which had an accom-

paniment for one violín and a bass-viol. Charles was a
pupil of Coperario, who himself excelled as a performer
on the viol da gamba. Charles's band in 1625 consisted
of eight players on the hautboys and sackbuts, aml
among them .Richard Blagrave ; six players on tbc
fl.ute ; six players on recorders; eleven players on
violins, including Thomas Lupo, who is termed com-
poser ; six players on lutes, and among them Ni cholas
Lanier; four players on viols, including Alphonso Ferra -
bosco ; one player on the harp ; one keeper of the
organs, and fifteen musicians for the lutes and voices,
including Coperario, besides trumpeters, drummers, and
fifers . On December 22, 1625, there is a discbarge
to his Majesty's musicians from payment of the two
subsidies granted by parliament; but it does not appear
whetber tbis was from inability to pay, or in reward;
but as all are included we may consider it to have been
the latter. On the 20th J uly, 1628, there was a similar
discharge from five subsidies. By warrant, dated J uly
11 , 1626, the following payments were directed to be
made :-To Nicholas Lanier, Master of the King's
Music, 200l. per annum ; Thomas Foord, 120l. ; Robert
Johnson, 60l.; Thomas Day, 64i.; and to Alfonso
Ferrabosco, Thomas Lupo, and ten others, 40/. ; and to
two others, 20/. each. On tbe 7th of the same month
Ferrabosco was appointed composer of music in ordinary
for life, with a yearly fee of 40l., in the place of John
Coperario, deceased. Many similar examples might be
cited, and liveries were also given, as for instance, Oct.
22, 1628: Warrant to tbe wardrobe for liveries to
Alfonso Ferrabosco, musician for the viols, and Henry
Ferrabosco, musician foi· the voices and wind instru-
ments; and Nov. 22 in tbe same year, a warrant to

BISTOR Y OF THE VIOLIN . 139
the Treasu rcr of the Chamber, to pay Nicholas Pieart,
one of his Majesty's musicians of the violins, for bis
wages, 30l. per annum, and 16l. 2s. 6d. per annum for
bis entertainment, a.pparel, and livery, for life.
The n ame of Blagrave or Blagrove was connected
with tbc court entcrtainments, and distinguished in
music, at a very early pcriod, as it is at the prcsent time.
Thomas Blagrovo was Master of the Revels in the time
of Quccn Elizabeth, and William Blagrove was Master
of the Children of the R cvels in thc reign of Charles I.
Richar d Blagrove and Thoma s Blagrove were succes-
sively in the same king's band of musicians for wind
instruments, the latter baving been appointed in 1642,
in the room of bis father, deceascd. He had 20d. per
diem as salary, and 161. 2s. 6d. for livery, being the
same as bis father, and money being wortb nearly five
times wbat it is now. Thcre was a Thoma s Blagrove of
a Berksh irc family, who was a gentlem an of the chapel
of Charles II, and a player on tbe cornet there; he was
probably the Thomas Blagt·ove of Charles I .'s band.
H e, with a Rober t Blagrove, were members of Charle s
II.'s celebrated prívate band, tho first with a salary of
40t. 9s. 2d., and the last with 58l. 4s. 2d.
In the accounts of James l. there is a charge of 40l.
for a set (probably a chest) of viols for tbe king, and
32l. for another set, and a base-vyoll for the prince ; a
high pricc, considering the value of money before re-
ferred to. Alphonso F errabosco had a warran t on Nov.
27, 1604, for 20l. to bu y two viols with cases, and one
hox of strings, for the use and service of the prince.
About 161 O, two great viols for him are charged 40/.
while a lute and viol and other necessaries for a singing-
boy are only 5/. 18s. 4d.
J ames l. incorporated the musicians of London, when

they had for arms, Azure, a swan argent within a tressure

counter-flure, or; in a chief, gules, a rose between lions,
or ; for crest, the celestial sign Lyra, callcd by astro-
nomers, the Orphcan Lyrc. Charles I. in bis eleventh
year (confirmed in bis fourteenth) granted a charter to
Nicholas Lanierc and others, incorporating them by the
style of "Marshall Wardens and Cominalty of the Arte
aml Science of Musick in Westminster, in the county of
Middlcscx," and gave thcm many privileges. They seem
to have been in abeyance during the civil commotions
and the rule of the Puritans, but were revived in 1661.
Their rules from October 22, 1661, to July 20, 1679,
are preserved in Harleian MS . 1911. They claimed
considerable c.ontrol over musicians ; for instance, on
J anuary 20, 166:2, "It is orderecl that Edward Sadler
for his insnfficiency be silencecl and disabled from the
exercise of any kind in publique houses or meetings." In
the following month, perhaps to prevent their exceeding
their powers, Mr. Richard Graham was "cntertained
their solicitar at law .''
Braithwaite, in bis "Rules for the Govcrnment of the
H ouse of an Earl," in tbe time of James I, says he
should keep five musicians, who should play on thc bass-
viol, the virginals, the lute, and the bandora or cittern.
At the time of any grcat fcast, the scn •ice was to be
accompanied by sackbuts, cornets, shawms, and other
instruments, while during the repast, viols and violins
were to be playcd. There is a r eprcsentation given by
Strutt ( " Manners and Customs," vol. iii. plate ll ) of
a music party of about this date, consisting of six male
figures at a table, playing n·om music books ; three have
instruments of the guitar kind, one the finte, one a
violín, held low against bis breast, having four strings,
S S sound-holes, a bridge, tail-piece, and finger-board;

HISTORY OF THE VIOLlN . 141
no frets. The remaining perfor mer plays on a víol da
gamba laid across his thíghs, having fi.ve strings but
seven pegs, S S sound-holes, and fi nger-board; but tbere
is no appcarance of frets, bridge, or tail-piece, which, as
to the two latter, roay be a mere omission in the original
picture. T he instrumcnt itself is thick and short.
The quaint writer T om Coryat, wbo is said to have
introduced the use of forks into this couutry, for whicb
reason he was called Furcifer, givcs an amusing account
of music at Venice on A ugust 5, 1G08, "cspecially
that of a treble violl, which was so excellent tbat I
tbinke no roan could surpasse it." On the following
day he was still more fortunate. "I was for the time
euen rapt vp with St. Paul into the third heauen .
Sometimes there sung sixctecne or twcnty roen together,
hauing their master or moderator to keepe them in order,
and when they sung, the instrumentall musitians played
also. Sometimes sixetecne playcd together upon their
instruments-ten sagbuts, foure cornets, and two violde-
gambaes of an extraordinary greatness; sometimos tenue,
sixe sagbuts and fom·e cornets; sometimes two, a cornet
and a treble violl. Of those treble viols I heard three
seuerall there, wbereof each was so good, especially one
that I obserued aboue the rest, that I neuer heard the
like befare." H e says the players on the treble viols
sung and played together, and that there were two fine
players on thc theorbo, who also sung. The eccentric
wri ter Jolm T aylor, the Water P oet, seems to have been
equally in r aptures dlYring bis travels abroad in 16 16.
He describes at a towu he calls Buckaburgh, not far
from Minden, belonging to tbe Graff of Shomhurgh, "a
faíre set of organs, with a braue sweete quire of queristers;
so that when they sing, the lutes, viols, bandores, organs,
recorders, sagbuts, and other musicall instruments al!

strike vp together, with such a glorious delicious harmony,

as if the angelicall musicke of the spheares were de-
scended into that earthly tabernacle."
Ther e were numerous publications in the tirst half of
this century (to those in the second half we shall refer
bereafter) adapted for violins and viols, and again the
strange fellowship of instruments will amuse. A few
examples must suffice, but all that are connected with
madrigals and songs of this period will be found in
"Bibliotheca Madrigaliana," by Dr. Rimbault, whose
accurate research and extensiva knowledge of the litera-
ture and music of this age are well known.
Among the earliest publications in the century are
those by T homas W eelkes, of "Madrigals of fi ve and
six Parts, apt for Viols and Voices ; ,; by Dowland, the
celebrated lutenist, of "Songs or Ayres, with Tablature
for the Lute or Orpherion, with the Violl de Gamba,"
and by Morley, "Aires, or Little Short Songes to sing
and play to the L ute with the Bass-viol," all in 1600.
In 1603 Thomas Robinson published " T he School of
Musicke ; the perfect Mcthod of true fingering tbe·
L ute, P andora, Orpharion, and Viol da Gamba."
Tobías Hume, called also Captain Hume, who was h im-
self an excellent performer on the viol da gamba, pub-
lished in 1605 a work with the following curious title,
to attract amateurs; a practica not lost sight of in the
present age, when occasionally the best part of a work
is contained in a promising ad vertisement, or an im-
portant but fallacious title-¡)age':- " The First Part of
Ayres, French, Pollish, and others together, sorne in
Tabliture, and sorne in Pricke-song. With Pavines,
Galliards, and Almaines for the Viole de Gamba alone,
and other Musicall Conceites for Two Base-viols, express-
ing Five Partes, with pleasant Reportes one from the

HIS fOR Y OF THE VIOLI~ . 143
other, and for Two Leero Viols, and also for the L eero
Viole with Two Treblo Viols, or Two with One T reble.
Lastly, for the Lecro Yiole to play alone, and sorne
Songes to be sung to the Viole, with the Lute, or better,
with tbe Viole alone. Also an Invention for Two to
play upon Oue Viole." ' .ye have oursel ves hcard two
performers play a ductt on one violín. Captai n H ume
in 1607 published "Poeti call Musicke," where the bass-
viol is varicd with othcr ínstrumcnts in eight differe nt
ways. In 1609 Rossctcr publishcd " Lessous for Consort,
for Six sevcrall I nstrum cnts-T rehlc-Lute, Treble -Violl,
Base-Violl, Bandora, Cittcrne, and the Flute." A sbort
time bcfore this, John Dowland published, "Lacri mce,
or Seaven Teares figurcd in Seaven passionatc Pavans,
with divcrs other Pavans, Galiar ds, and Alman~ls, set
forth for the Lute, Viols, or Violons, in Fivc Parts."
Here we observe viols and Yiolins are both mentioued
togethcr. About lGll thc celebrated Orlando Gibbons
brought out "Fant asics of Three Parts for Viols."
The pavans, galliards, almaincs, and corantos named
in many of these publications, to which Morley adds the
passamezzo, the jig, the hornpipe, the Scottish jig, and
others, wct·e tunes adapted to dances of the same name.
T be pavans, almaines, cm·antos, and passamezzos,
were slow, solemn dances ; thc pavans being so called
from pavo, a peacock, the ladics wearin g gowns with
long trains, the gontlemen having a cap and sword ;
those of the long robo in their gowns, and princes and
peers in thcir mantlcs ; tbe movcments resembling the
spread of the peacock's tail. A great contrast to the
sliding shufflc or hop of the prosen t day, which by
courtesy is conside rcd to be dancing ; though eveu this
is graccful in the fair sex, especially when two dance
togetber. Sir Christopher H atton we know was a g reat

144 lllSTOfiY OF THE VIOLIN.
dancer, and in the " Critic" is made to turn out his toes
by way of identity: as Gray says-
"Full oft within thc spncious wnlls,
\Yhcu he hnd Rfty wintcrs o'e•· him,
l\ly gravo lol'(l-kccpcr lcd tbc Lmwb ;
Thc sen! nnd mnccs dnnc'd bcforc bim."
Sir \Y. Leighton, in "Tcares or L amentations of a

Sorrowful Soule," 1613, has introduccd in one of the
pieces, which may be considered as a paraphrase of the
150th Psalm, the names of numerous musical instruments,
but the description is too long to be inscrtcd here. Two
verses will sufficc to show his style-
" 3. Prnise hirn with simbnlls, loud simbnU~,
with iustrumcnts wcre •·s'd by lewcs:
"•ith S)TOns crowde3 nnd •·irginalls,
to sing hi~ prnise do oot refuse.
4. Prnise him upon the chricoales,
the lute nnd sinfonic,
\Yith dulscmcrs nnd the regalls,
swcc~ sitbrons mclody ."
The gittron, bandorc, thcorba, and vialls are also

mentioncd.
We may conclude this cbapter by stating that Edward
Alleyn, tbe benevolcnt founder of Dulwich College, was
himself a performer on thc lute, and at the time of bis
dcath, Nov. 25, 1626, hada" lute, a pandora, a cythern,
and six vyols."

1
HISt'OfiY Ok' THE VIOLIN. 145
CHAPTER XI.
~~ltí.~T would seem from sorne accounts that

Cromwell was not insensible to the charros
of music, wben he could unbend, or was in
his own prívate domestic circle, although
publicly he yielded to the Puritan feeling of his age.
Theatrical represcntat.ions were rcstrained, and music
checked, although still practised in prívate; and in
l 656· 7 an act was passed against vagrants, forbidding
any fiddlers or minstrels to go about to inns, ale-houses,
or taverns, &c.
On the restoration of Charles II, music and festive
meetings again fl.ourished, and the revels and gaieties of
the court spread in different degrees througb society in
general. The superiority of the violin over the viol was
gradually established, as it was found to be more capable
of producing power, and better adapted for execution
than the latter instrument, of which the tone was fre-
quently sweet, but at the same time of a nasal quality,
and deficient in vigour. The violín proper, as we have
shown, was known in England at least a century before
this time, ancl we may have received sorne suggestions
tending towards thc modification of the viol to the form
and details of thc violin from the Low Countrics in the
time of Elizabeth, when the intcrcourse between the
countrie.s was not unfrequent. The first violin-makers,

however, of any great repute, established themsel vcs in

l taly, where the wood probably was particularly suitable.
Charles II, in imitation of the French court, intro-
duced his celebrated band of twenty-four violins, or, as
Durfey says,-
" Four nncl twcnty fiddlcrs all of n roiT,
Artd there wns fiddle, fiddle,
And twicc fiddlc, JlUdlc,
'Cause 'twas my lady's birth-day,
1'hcrcfore we ke¡>t holidoy,
And nU wcnt lo be merry ."
This band consisted of six violins, six couuter-tenors,

six tenors, and six basses, with salaries varying from
40l. to 1OOl. per annum. The celebrated Baltzar, the
"incomparable Lubicer, '' who had come o ver to England
a fcw years before, was at the head of it. T he anthems
and services in the Chape! Royal n·ere sung to these
instruments instead of the ancient wind instruments,
and Evelyu complains of their French fantastical light
way of playing there. The organ was aJso in use.
At the commencement of Dryden's "Tempest," about
1667, the front of the stage was opened, and t.he band
of twenty-four violins, with the "harpsicals" and theor-
bos, which accompanied the voiccs, were placed between
the pit and the stage. The band was therefore placed
j ustas in the present time, and this seems the first notice
of their having any regular position. These twenty-
four violins werc either the celebrated four-and-twenty
fiddlers, ora ri val company in imitation of them. Burney
says that the different expressions of crescendo, diminu-
endo, and lentando, were first used by Matthew Lock,
in the music to the "Tempest." In Lock's own piece
of " Psyche," about 1675, no instrument.s are mentioncd
for the ritornels but violins.
M usic parties were now frequent. Anthony W ood,

HISTORY OF THE VIOLlN. 147
wbo was himself a self-taught performer on tbe violín,
which he tuned in fourths until better instructed by one
Charles Griffith, gives an account of these mectings;
sorne being before the Restoration, but in a quiet way.
Gentlemen who attended them "play'd three, four, and
fiv e parts with viols, as treble-viol, tenor, counter·tenor,
and bass, with an organ, virginal, or harpsicon. They
esteemed a violín to be an instrument only belonging to
a common fidler, and could not endure that it should
come among them, for feare of making tbeir meetings
to be vaine and fidling. But before tbe restoration of
King Charles 1!, and especially after, viols began to be
out of fashion, and only violius used as treble-violin,
tenor, and bass-violin ; and the king, according to th~
French modc, would bave twenty-four violins playing \
before him while he was at meales, as being more airie
and brisk than viols."
H e mentions among his friends, Ralph Sbeldon,
admired for his smooth and admirable way in playing
on tbe viol; Thomas Jackson, a bass-violist; William
Ellis, counter-tenor vio! ; Gervace Littleton, a violist ;
Will Glexney play'd well on the bass-viol; J oh. Hasel-
wood, an apothecary, a conceited player on the bass-
viol, sometimes on the counter-tenor, with little skill-
being ever ready to take up a viol before bis betters, was
called Handlewood; Proctor (a pupil of the celebrated
J ohn J enkyns), skilled on the lyra-viol, division-viol,
treble-viol, and treble-violin ; Nathan Crew, afterwards
Bishop of Durham, violinist and violist, but always out
of tune; Richard Rhodes, a confident W estmonasterian,
a violinist, to hold between his knees; Matthew Hutton,
cxcellent violist; and severa! other violists. He tells an
amusiug anecdote of himself and sorne of his companions.
Himself and Will. Bull on the violins, Edro. Gregorie,

148 HISTORY OF 'fHE VIOLIN.
B.A. :md Gent. Coro. of Mert. Coll., wbo played on the

bass-viol, J oh. N ap, of Trinity, on the citerne; and
Gcorge Masan of the said Coll. on anothcr wyer instru-
ment, but could do nothing. They disguiscd thcmselves
in poor habits, like country fiddlers, and went about to
the country places, receiving drink and money for their
performances. On one occasion they were met by sorne
soldiers, wbo madc them play in the opcn ficld, and then
left them without giving tbem a penny. Other players
named were Charles Perot, Christophe r Harrison, John
Vincent, Sylvanus Taylor, Henry Langlcy, Samuel
W oodford, and Francis Parry, violists; and Kenelm
Digby, violinist. Mr. Sherard, an apothecary, was a
fine player on the violín, and Capt• Marccllus Laroon
on the >ioloncello. Lord Keeper N orth and Sir Roger
L'Estrange were botb fine players on tbc viol. Much
interesting iuformation relating to music will be found
in Dr. Rimbault's edition of "North's Memoirs of
Musick."
Tbe lyra-viol, on wbich Proctor excelled, and which
is frequently mentioned among the instrument s of this
time (the leero-viole in H ume's work latcly referred to),
and on which Pepys says bis brotber played so as to
sbow that he had "a lo ve to musique anda spirit fo¡· it,"
was a vio! da gamba tuned diffcrently from the common
six-stringed bass, and the notation for it was wri tten in
tablaturc, like that of the lute. Playford says, this way
of playing tbe viol was of recent invcntion, and an
imitation of thc old English lute or bandora. J obn
J enkyns, the master of Proctor, was the best performer
on it tben known. There would appear, however, to be
some allusion to such an instrument or mode of playing,
quite in the beginning of the century, as in "Lingua,"
by Anthony Brewcr, about the end of Elizabcth, Tactus

HlST ORY OF THE VIOLIN . 149
says, " B ut, A uditus, when shall we hear a new set of
singi ng-books? or the viols? or the concert of instru-
ments?" and aftcrwards, " Come, come, Auditus, shall
we hear thee play the lyre-way or the lute-way, shall
we ? " Daniel Farrant, towards thc beginning of the
century, was one of the first who set lcssons for the viol
lyra-way.
T hat amusing writer P epys was in the habit of fre-
quenting musical parties as well as the theatres, wbere
bis flir tations witb Mrs. K ni pps and others, renuer it not
surprising that he was occasionally obliged to kcep his
wife in good hu mour by the present of sorne piece of
fi nery. He was also himself a practised rnusician on
the lute, violín, viol, and flageolet, besides being able to
sing at sight. He seems to ha ve had a tolerable estímate
of bis own ski11 (a babit of thinking not yet obsolete),
On 21 st Nov. 1660, he says, "At night to my viallin
(the first time that 1 have played on it since come to
this house), in my dining roome, and afterwards to my
lute there, and I took much pleasure to have the neigh-
bours come forth into the yard to hear me." D ec. 3rd.
"Rose by candle, and spent my morning in fiddling till
time to g o to the office." He occasionally favoured his
wife witb bis music, to solace her domestic labours, which,
according to the Diary, frequently consisted of tbose
little artistic re-arrangements of dress so well known to
ladies. 12th April, 1669, "Home, and after sitting a
while, thrumming upon my viall, and singing, I to bed,
and left my wife to do something to a waistcoat and
petticoat she is to wcar to-morrow."
H e was not, however, satisfied witb being a mere
practical musician, but aspired to irnproving the theory,
for on the 20th of March, 1668, he was "All the
evening pricking down sorne things, and trying sorne

150 HIST ORY OF TIIE VIOLI :-t.
conclusions upon my vial\, in orde r to the inven ting a.

bcttc r theory of musíck than hath yet bcen abro ad; and
1 think, verily , 1 shall do it." However, we do not find
that he did do it, but in this he only faíled with other
grca t men.
1t migh t be considcred presumptuous in us to sugg est
oven, whcthm· the rules of harm ony migh t not be some-
wbat simplificd ; but in such case, what would become
of the learn ing of those who know the nomcnclat ure,
are acquainted with the tools, but know little of the
working, yet still keep you at bay with hard terms,
unless you are able to meet them with their own weapons.
H owever, all professions, whet her musical, medica\, legal ,
or carpe ntering, must have tbeir technicalities, though
the genius of the age is tendi ng gradually to remove or
lessen them. Even, however, with the use of them we
cann ot fix on the pitch in music. We find a certa in
natu ral note has thirty -two vibra tions, and tlterifore fix
u pon a certa.in numb er of vibrations, tbe figur es denoting
which form no mult iple of 32, as the recognised pitch
of a note of the same name four octaves high er. vVe
are not agree d upon the divis ion of tbe minor scale-
scarcely, indeed, of the majo r-an d as to the variation
in tbe differ ent keys, involving however, prob ably, sorne
troublesome ca1culations, we can give little if any ex-
planation. Harr ison, the celeb rated chronometer-maker,
as mentioned in Smith's "Har mon ics," took the inter val
of a majo r third to that of the octave, as the diam eter of
a circl e to its circumference, and adjusted the frets on
his viol acco rding ly; so tbat, as tbe circu mfer ence of a
circle is a little more than tbree diam eters (that is, about
3t), sois a perfe ct octave a little more tban tbree major
third s. H owever, unde r all circumstances, it is not
surpr ising that Pepys did not do it.

IHSTORY OF THE \'IOLI:-1. 151
He refers to dilferent companies of musicians. The
Dolpbin Tavcrn had "an excollont company of fiddlers,"
and on the 27th March, 1661, he goes there "toa dinner
of Mr. Harris's, where a great deal of mirth, and there
staid till eleven o'clock at night; and in our mirtb I
sang and somctirues nddled (tbore being a noise of
fiddlers there ), and at last we fell to dancing, the first
time that ever I did in my life, which I did wonder to
see myself to do." That habit of doing something to be
wondered at, towards tbe conclusion of a tavern dinner,
we are told still exists occasioually in this country . He
mentions the Duke of Buckingham's musicians, to whom
on one occasion he gave 3l. for a dance at bis own house,
as the best in town ; thcy consisted of two violins, a bass-
violin, and a theorbo. The witty Killigrew said tbat no
ordinary fiddlers of any country were so well paid as
our own. H oy lin, in bis " Voyage of France, " 1679,
says it was the custom at Tours for each roan at table
to pay the fiddlors a sou; they expected no more, and
would not take less. Pepys was probably considered as
an authorit y in his own circle for musical arrangements.
On 7th May, 1660, Admiral Sir Edward Montagu,
afterwards Earl of Sandwich, whom he calls "my Lord,"
gave him directions "to write for silk flags ancl scarlet
waistcloathes ; for a rich barge, for a noise of trumpets ,
anda set of fiddlers." On 10th April, 1661, he gives
an account of a duet, not complimentary to tbe per-
formers. "Hore (Rocbester) we bad for my sake two
fiddles, tho one a base-viall, on which he that played,
played well somo lyra lessons, but both together made
the worst musique that ever l heard.'' On the Corona-
tion D ay, 23rd A pril, 1661, he took a great deal of
pleasure "to go up and down, and look u pon the ladies,
and to hear the musique .of a.ll sorts ; but abo ve all, the

152 HISTOR Y OF TBF. VIOLIN .
twenty-four violins." On 8th May following he refers to

a circumstance which sometimes occurs in the present
day, of a countr y fiddler having been a person who had
seen better days. His uncle had written him to beg an
old fiddle for P erkin the rniller, whose mili the wind had
broken clown, and he had nothing to live by but fidclling;
he wanted it by Whitsu ntide to play to the country girls.
P epys adds that he intend ed to send him one on the
morrow. On the 5th Oct. 1664, he describ es an instru-
ment callerl the arched vial!, tuned with luto strings,
and played on with keys like an organ, a piece of parch-
merlt bcing always kept movin g; the strings bcing
presscd down by the keys, were thus scrapcd as by a.
bow ; and it was intcnded to rcpresent severa! viols
playcd on with one bow, "but so basely and barshl y
tbat it will never do." Aftcr three bours' stay it could
not be fixed in tune. Severa! instrurnents on this prin-
cipie have from time to time been invcntcd, but havo
not been brough t into use.
I n July, 1666, he board one of L ord L auderdalc"s
servaots play sorne Scotch tunes on the violín, which he
did not apprec iate, or the selcction was bad, or our best
Scotch tunes are of more recent date, as no doubt manv •
are. The performcr played "se>er al and the best of
their country, as they seem to esteern them by their
praising and admiring them: but, L ord 1 the strang cst
ayre that ever I heard in rny lifc, a.nd all of one cast."
He rncntions 8th Octobc r, 1667, the death of Saunde rs
by the plague at Cambridge, " the only viollin in my
time."
The g reatest performer of thc time, howevc r, and one
who seems to have been in advance of his age, was
Tbornas Baltzar, boro at Lubec k about 1630. H e carne
over to Englan d in 1655, and is said to have been the

JIISTORV OF TBE YIOLI~. 153
first who taught thc use of the whole shift, but it had
probably been attcmptcd before him. He appea1·s to
havo caused almost as grcat a sensation in the musical
wo1·ld as Paganini <lid, wben he carne ovot· and aston-
ishcd us. Anthony W ood says that at a music meeting
at Oxford, Professor Wilson stoope·d down humorously
to sce if he had not a hoof. Tbe following is Evelyn's
account of him, 4th March, 1655-6 :- " This night I
was invitecl by Mr. Roger L'Estrange to bcar the in-
comparable Lubicer on the violín. Bis varicty on a
few notes ancl plaine ground with that wondcrful dex-
terity, was admirable. Tbo' a young man, yet so per-
fcct and skilful, that there was nothing, howcver cross
and pcrplext, brought to him by our artists, which he
did not play off at sight with ra~ishiog swcctncsse. and
improvemcnts, to thc astonishme nt of our bcst masters.
In sum, he plaid on y' single instrumcnt a full concert,
so as the rest flung down their instruments acknowledg -
ing thcir victory. As to my own particular, I stand to
this hour amazed that God should givc so grcate per-
fection to so young a person. There were at that time
as excellent in their profcssion as any wcrc thought to
be in Europ, Paul Wheeler, Mr. Mell, ancl others, till
this prodigio appear'd." Davis lVIell was thcn tbe
grcatest English performcr, and in swcctncss of tone is
even said to have cxcollcd Baltzar. The Lubicer was
made the leader of King Charles's band, but died in
J uly, 1663, having bcen of dissipatcd habits. H e was
succeeded by John Bannister, who dicd in J679, whose
son Jolm was a fine performer on the violín, and one of
King William's band, and the first violin at Drury Lane
on the íntroductio n of operas thcre.
About 1672, Nicolas Matteis carne ovcr, as great a
performer even as B altzar. North says, every stroke
L

!54 HISTORY OF THE VIOLIN.
of bis bow was ·a mouthful. Evelyn also heard him,

and thus describes him, Nov. 19th, 1674:-"l heard
that stupendous violin, Sig'. Nicholao ( with other rarc
musitians) whom I never heard mortal man exceed on
that instrument. He had a stroak so sweete, and made
it speak like y< voice of a man, and, when he pleas'd,
like a consort of severall instruments. He did wonders
upon a note, and was an excellent composer. Here was
also that rare lutenist Dr. Wallgrave; but nothing ap-
proach'd the violín in Nicholao's hand. H e plaied such
ravishing things as astonish'd us all." On the following
2nd of Deccmber, he went to bis friend Mr. Slingsby's,
the Master of the Mint, and heard Signor F r ancisco,
esteemed one of the greatest masters in Europe on tbe
harpsichord ; " tben carne Nicholas with bis violín, and
struck all mute." On the 20th November, 1679, be
again is at Mr. Slingsby's, " to heare musiq, which was
exquisitely perform'd by foure of the most renown'd
masters; Du Prue, a Frenchman, on y< lute; Sig'. Bar-
tholomeo, an Italian, on the harpsichord; Nicolao on the
violín ; but above all for its sweetnesse and novelty, the
viol d'amore of 5 wyre·strings plaid on witb a bow,
being but an ordinary violín, play'd on lyre way by a
German."
By a warrant dated tbe 24th of October, 1662, we
find that Cremona violins brought a high price, as Mr.
John Bannister, one of bis Majesty's musicians in or-
dinary, had an order for 401. for two Cremona violins
bought by him, and also lOl. for strings for two years.
Simpson, himself an excellent performer on the viol
da gamba, in bis "Division Viol" calls the viol in Latín
chelys, and gives three figures of the instrument, which
are in fact all bass-viols. The first of these, which he
says is best for sound, is much like the modern violon-

FIG. ~G.

156 HISTO!l Y OF TIIE VlOLIN'.
cello, but of somewhat longer form, and has six strings

with seven frets, besides a small one in the middle of
the strings for the octave. Thc lower string is tuned to
the lowest D in the bass, while the others are successively
G, e, E, A, D, being two octaves ; the bridge is rounded
so that each string may be taken separatcly. Thc strings
are thirty inches in length from the n ut to the bridge.
The two other figures have deeper inward curvaturcs,
and the upper part of the model slopcs off towards the
neck, instead of being rounded like the modern instru-
ment ; the striugs and frets are as in the first figure
(Fig. 56). The bow is stiff but not heavy, with the hair
twenty-seven incbes long, and used uudcrhanded like the
modern double-bass how. From the examples given by
Simpson, the performers in bis time must have attained
considerable facility of execution, tbough probably with-
out much tone or power.
Playford, in the "Introductiou to Skill in Music,"
1683, names the treble-viol in the G cliff, the tenor-viol
Íll the e cliff, and the bass-vio], 'IVitb six Strings and
seven frets, in tbe F cliff; usually called the viol de
gambo or consort-viol, because the musick thereon is
played from the notes of tbe gamut, aud not as the lyra-
viol by tablature. Tbe bass is tuned as described by
Simpsou, the treble an octave bigher, and the tenor a
fourth bigher than the bass ; he also gives a method of
tuning by tablaturc. He calls the treblc violin a cheer-
ful sprightly instrument, much practised of late, usually
strung with four strings and tuned in fifths; there shoulcl
, be six frcts, as on the viol, but this was rarely done, and
\ was contrary to the character of the instrumeut; but, he
adds, "This (tho tis not usual yet) is the best & easicst
way for a beginner who has a bad ear ;" the r epresen-
tation he gives has no frets . The treble violín secms to

BISTOR Y OF THE VIOLIN . 157
huve becn tuned as ut presen t, and the tenor a fifth
lower, while the bass violín was tuned in fifths; the first
string being the higher G in the bass, and the fourth
therefo re B ftat below the line, and therefo re one tone
lower than the violoneello.
Mace, in bis quaint book, "Musi ck's Monum ent,"
1675, givcs an amusin g directi on for the caro of a lute,
which he would probab ly extend to the violín race. He
rccomm ends tbe lute to be put into a bed in the day-
time that is consta ntly used, between the rug and the
blanke t, but never between tbe sheets, becausc they may
be moist. It will save the strings from breaki ng, and
kcep the lute in good order. He adds, no person must
be so incons iderate as to tumble clown on the bed wbilst
it is there, as he had known severa! spoilt with sueh a
trick. W e should think this ver y probab le.
" ~!nntua, '"ro miscrum l nimium vicinn Crcmonro."
I n that once very popula r book by Comenius, " Orbis

Sensua lium Pictus ," which went throug h very many
editions, and in severa ] langua ges, among the musical
instrum ents are introdu ced, "Secun do, in quibus chordce
intend untur & plectun tur, ut nabtiw n cum clavicoTdio
utraqu e manu. " He mentio ns also, "Testu do (chelys )
(in qua jugum , magadium, & verticell1·, quibus nervi
intend untur super pontic ulam,) & cytlwm , dexter a
tantum,przndw·a,plectro, & ly1·a, in tus rota, qu re versatu r.
Dimensiones in singuli s tangun tur sinistr a." Thus
trans]a ted: "Secondly, upon which strings are stretched
nud strucl• ?tpon, as the psaltery, and the virgina ls, with
both lwnds ; the lute (?:n which is the neck, the belly,
the pegs, by wMch the strings m·e stretched upon the
bridge ), the cittern , with the rigl1t hand only, the vial,
with a bow, and the harp wit/¿ a wlteel withiu, wMch

158 HISTORY OF T HE VIOLI N.
is turned ahout; the stops in ~very one nre touched with

the lifl hand." He gíves two representa-
tions of thc viol ; we have represcnted the
largest of them (Fig. 57). Tho instrument
translatcd harp, is more like the hurdy-
gurdy, and the uablíum or psaltery like the
harp, but the figures are not clcar.
Hawkins gives a líst of instrument s
bought for tbe use of the Music School at
Oxford, about 1667, which included "2
FIC>. G7.
violins, with their bowes and cases, bought
of Mr·. Comer in the Strand; cost 12l. 1Os.
and are at 2d hand."
There were numerous publicatíons for the varieties of
the violín and vio! in tbe last part of this ccntury.
Mutteis had bis compositions engraved on copper plates
for the use of bis scholars and others, and mude much
money by them. Baltzat· also composcd for the violín,
viol, and "harpsicon ; " also fo r lyra-violin, treble-violin,
and bass. Playford in 1655 publishod "Court Ayres;
or Pavins, Almaincs, Corants, and Sarabands, Treble
and Basse, for Viols or Violins; " and in 1662, some-
thing similar; John ,Tenkins, D avis Mell, and J ohn
Bannister being among the composers. John Jenkins,
about 1660, published twelve sonatas for two violins and
bass, with thorough bass for the organ, which are said
to have been the first of the sort known in England.
Matthcw Lock and H emy Purcell both composed tríos
of tbe sume description.
There appears to have been an improvement in the
bow in this century. It was origínally made of reed or
sorne light and flexible wood, and in the earlier times
was much cm·ved, somewbat similar to our double-bass
bow, und frequently of aw kward make, with a strand

IIISTORY OF THE VlOLUi. 159
of coarse bair rudely stretcbed betwecn tbe two ex-
tremities. In tbe sixtcenth ccntury sorne improvement
was made, and in the scventeenth it began to assume its
prcsont shape, and by moans of a sort of metal band
with teeth towards tbc handle of the bow, power was
givco to alter the tension of tbe hair. Tourte, of París,
the first of this well-known family, is said to have intro-
duced tbe screw and button. His son, who died in
1835, atan advanced age, made further improvements.
It is stated that he bcgan to make thcm with common
wood from pipe-staffs and sugar barreis, and sold tbem
for twcnty or thirty sous each. Afterwards he discovered
that Brazil wood was bost adapted for tbe purpose, and
latterly sold bis bcst bows, ornamente d with mother-of-
pParl and gold, for as much as twelve louis, and those
with ebony and sil ver, for three and a balf louis ; whilst
bis common bows, without ornament, were sold for about
thirty-six francs each. He is said to havo invented the
method of kecping tbe hair flat by means of a clasp or
plato of metal or mothcr-of-pearl. Bis violín ancl tenor
bows were about thirty inches long, and that for the
violoncello about an inch shorter. Simpson, we may
remcmber, gives twenty-scven incbes as the length of
tbe bow, and towards the end of this century the sonata
bow, it is said, was only twenty-four inchcs, while the
common bow was shorter still. The usual lcngth now
is about twenty-ninc incites from the extreme point of the
bcad to tbe end of the bow, without the scrcw; leaving
from twcnty-five and a balf to twenty-five and tbree
quarter incbes for tbe useable portion of tbc bow. T ar-
tini caused an improvcmcnt in this as well as other
things connected with the instrumen t} w·e need scarcely
remind our readers that we have English makcrs of the

160 HlSTORY OF THE VIOLIN .
bow, as Dodd, Panormo, and Tubbs, witb others, who

are surpassed by none.
The first of the Dodd family distinguished as a
maker of bows was Edwarrl Dodd, who was born at
Shefl:ield, and died in Salisbury Court, Fleet Street, in
1810, at the grcat age, as it is stated, of 105 years.
He left four sons, of whom three, J ohn, James, and .
Thomas, were makers of bows; the fourth having been
brought up to the medica! profession. Of these, John,
the eldest, is considerad one of our best English makers,
and his bows are much sought for. Most of them are
rather short, but can easily be lengthened. He died at
Richmond, where, and at Kew, he had resided for many
years.
James Dodd, the eldest son of the above-named James
Dodd, is now living, and supports the reputation of the
family as a maker of good bows, ancl is also a musical-
string coverer.
Louis Panormo was the son of Vincent Panormo, the
instrument maker, and was himself a maker of guitars
and violins. His bows were esteemed, but a lighter
class is now generally preferred.
Of the family of Tubbs there are two generations
stillliving, al! exccllent workmen. Thomas Tubbs, the
elder of the family, clied very rcccntly, ancl might have
vied with any workman living, especially if he could
have obtained Brazil wood of fine quality for musical
purposes.

lliSTORY OF THE VIOLIN. 161
CHAPTE R XII.
N 1717, thc Corporatio n of Musicians in

~~ Franco had thoir privileges rcncwcd undot·
~~ Louis XV. Lutes, violins, viols, and al!
wind or stringcd instruments could only be
madc or played on by mcmbers of thc Corporation,
under penalty of 300 livrcs and forfciture of the instru-
mcnts. They were poor, however, as a. body, and
declarcd to tbe king that their poverty prcvented them
from paying the usual tribute at the time of the coro-
nation.
Gcrbcrt, in his valuablc work " De Can tu," &c., says
that stringed instruments werc introduced into churches
about the end of thc seventeenth ccntury, and that
Campra was tbc first who brought thcm into use at
Notro Dame, París; and they then only rcquired two
or three bass-viols or bass-violins for the continued
busscs, and as many violins for thc preludos and ritor-
ncllcs. Deforc tbis time thc music in thc chape! royal
was confinad to wind instruments. Labordc says the
first masscs in I taly with violins and basses, were about
1 650. Tarquín Merula, master of the chape! at Bergamo,
is named as one of thc first musicians who introduced
viols and violins into the church service in Italy, in aid
of choral singing. Thcrc was great objection to their
use at first, in the fear that it would tend to make the

sacrecl rnusic too much like the secular ; but Cornelius

Agrippa does not give a very flat.tering account of church
singing previous to their admission : " Non humanis vo-
cibus, sed bclluinis strepitibus cantillent; dum hinniunt
discantum pueri, mugiunt alii tenorem, alii latrant con-
trapunctum, alii frenclent altum, alii boant bassum, et
faciunt ut sonorum quidem plurimum audiatur, verbo-
rum et orationis intelligatur nihil."
Towards the micldle of the eighteenth century, the
order of church music would appear to be somewhat re-
versecl, as about 17 49, Benedict XIV. refers to the use
of " violoni, violoncelli, fagotti, viole, et violini," in tbe
sacred services, whilst "i timpani, i corni da caccia, le
trombe, gli oboe, i flauti, i flautini, i salteri moderni,
i mandolini, & si mili stromenti," were excluded. Fey-
joo, the Grand Master of the Benedictines in Spain, ob-
jectecl to violini, but allowed the violone callecl the basso,
arpa, cembalo, &c. At St. Paul's Cathedral, London,
about the time mentioned by Gerbert, there were only
four or eight voices, without any otber musical instru-
ments than the organ and the barbiton, e.g. fidiculare,
violoncello, theorba.
L aborde gives the composition of the orchestra of the
French opera in 1713, and also the salaries in livres, it
was the following : -
Un batteur de mesure • • 1000
Petit chceur de dix: • 6000
Douze violons • 4800
Huit basses 3200
Deux quintes • 800
Deux tailles • 800
Trois hautes-contres 1200
Un tymbalier . 150
In the year 1778, the proportions were changed, and

wind instruments introduced; the salaries are not parti-
cularised, but the total is 69,482 livres. Un directeur,
un adjoint, 24 violons, 7 ftutes & bautbois, 2 clarinettes,
2 cors, 2 trompettes, 5 bassons, 6 alto, 1O basses, 4 contre-
basses. The tymbales, trombones, tambourins, hautbois
de foret, &c., were filled by sorne of the above.
The eloquent preacher, Bourdelot, was a performer on
the violín, and there is an interesting anecdote of him in
that capacity related by Spence. He was appointed to
preach on Good-Friday, aud the proper officer to attend
him to church having arrived at bis house, was directed
to go to the study for him. As be approached he heard
the sound of a violin, and the door being open a little
way, saw Bourdelot stripped to bis cassock playing a
brisk tune on the instrument, and dancing about the
room. H e was mnch surprised, and knocked at tbe door,
wheu tbe distinguisbed divine laid clown his instrument,
and putting on his gown, told the officer with bis usual
composed look that he was ready to attend him. On
theír way, bis companion expressed to Bourdelot bis sur-
príse at what he had seen, who replied that be rnight be,
uuless made acquainted witb bis practice on these occa-
sions. On thinking over the íntended subject of bis dis-
course, he found he was too depressed to treat it as he
ought, and thus had recourse to bis usual rnethod- some
rnusic, with a little bodily exercise-and thus put himself
into a proper frame of mind to enable bim to go with
pleasure to what would otherwise have been a work of
pain and labour to hirn. I t would be presumptuous in
us even to hint at the adoption of such a course by any
of our own spiritual pastors.
In the beginning of this century, Pere Tardieu de
T arascon is said to have introduced the violoncello as
an accompauiment in the place of the viol da gamba, or

perhaps, more correctly confirmed it in the higher posi-

tion of the two instruments, by means of bis superior skill,
as the violoncello appears to have been used as an accom-
pauiment before this time, and the viol da gamba did not
fall into disuse until afterwards. He used five strings at
first, four of them tuned in fifths, and the first string a
fourth higher than the present; but in 1730 this was
suppressed, the instrument thcn remaining as tbe modern
violoncello. John Sebastian Bach introduced an instru-
ment he called the viola pomposa, in consequence, it is
said, of the heavy style of violoncello performers in his
time; a fifth string, E, was added, with the intention of
g"iving greater facility for the execut.ion of the higher
passages ; this instrument, however, does not appear to
have been much used. About the same time, Risch of
W eimar invented a keyed instrumcnt, to imitate the
bass-viol, or viol da gamba; it had gut st.rings, played
on by small wbeels properly resii:led, which were put in
motion by a larger wheel. De Knonow, of Haute-Lu-
sace, also made a kind of harpsichord, to be played on
with a bow; both these instruments followed the usual
fate of these inventions. A gentleman near Leeds has
invented an instrument played on by keys, the notes
bcing produced from gut strings by friction. At a mode-
rate distan ce tbe sound is very good and quite orchestral,
but on nearer approach it becomes rather harsh. It is,
however, capable of being subdued in tone, and the sound
can be increased or lesscned by pressure, or management
of the keys.
In the Letters of Baron de Pollnitz, he mentions, in
1739, at Mersebourg, the residence of an entbusiastic
amatenr, a Duke of Saxony, a large saloon filled with
bass-viols; in the middle was one which reached to the
cciling, ancl had a set of steps to mount to it, the most

IJISTORY OF THE VIOLIN. 165
powerful bass e\·er made. The Jukc himself executed
sorne airs on a bass he called bis favourite. Tbe baron
was told by one of the Court that the duke had quite a
passion for these instruments, and that any one wanting
a favour, made him a present of one. Tbe giant bass
was givcn to him by one who wished to be made a privy-
councillor, and succeeded accordingly. It must bave
surpassed by far tbe great bass, of which we have for-
merly givcn an account, where a pago was concealed in
the body; but appears to bave becn rivalled afterwards
by a huge double-bass, mentioncd by Gardiner in bis
gossiping book of Music and Fricnds : one made for a
person called Martín, wbo kept a public-house. It was
so large that it was necessary to cut a boJe in the ceiling
to let the neck througb, so that in fact it was tuned in
the room above the player; the bow was in proportion.
Boycc, a fine performer on the instrument, and a tall
powcrful man, went to see and try it, and with one stroke
of bis bow madc it roar and vibratc so, as to shake the
house.
In an unfinished treatise commenccd by Louis Carré,
who died in 1711, he mentions among the severa! instru-
ments, the bass-viol, dessus de viole, archiviole, violín,
poche, rebec, vi elle (probably the hurdy-gurdy ), and
trumpet marine. Bonanni's curious "Gabinetto Ar-
monico, " 1722, abounds with representations of musical
instruments, sorne rather fanciful, but still useful, to show
the character of the instruments thon in use. What he
calls tho viola, is like a very large violoncello, resting
on the ground, with a very thick clumsy neck; the per-
formet· is sitting down ; it has four striugs, and no frets;
thc bow much like tbat of the double-bass. The violone
is likc a large double-bass, witb considerable inward cur-
vaturas; tbere are but four strings in the reprcscntation,
-e:..?

166 HISTORY OF THE VIOL!N.
altbough there are six screws, and Bonanni says there

are six strings ; it has also numerous frcts. H e mentions
another instrumcnt of the samc class, invented by the
Earl of Somerset, as referred to by Kircher, which had
eight strings. The Latins, he says, callcd these instru-
mcnts vitula, or vidula, or violla, whonce the performers
were callcd vitularii. The accordo ( callcd by Mersennus
lira moderna), to which we have bcfore referred, was a
still largor instrument, having twch•c or fifteen strings,
of which neccssarily two or threo wore struck together;
it also bad frets. The lintercolo, or sordino, was a small
instrument of the fiddle kind,
with four strings and nofrets;
it is of guitar shape, thc ncck
appearing to be of one piecc
witb the body, and with a
detachcd fingcr-boarcl. (Fig.
58.) Onc of bis figures is
a pcasant riding on an ass,
playing on a sort of g uitar,
like a banjoo with two
strings ; the performer is
evidently singing, and tbe
ass joining with open
mouth, forming an admira-
F!G. 58.
ble trio. The monocordo
is something like a clumsy trumpct marine, having, in
addition to the usual single string, one much shorter,
extending about half the length of' the instl"ument, but
not noarly meeting tbe bridge. The tromba marina
given by him, is contracted for the space of about a third
of tbe length from the nut, so as to f01·m a sort of finger-
board, tbough of one piece with tbc r cst of the front; it
has one thick string tbe wholc lcngth, and a small bridge

H!STORY OF THE VIOLIN . 1G7
vcry near the bottom of thc instrument ; the bow is shor t
and like that of thc doublc-bass. Bonanni says, that by
moving tbe thumb of the lcft hand in various places, tones
aro produced likc those of a trumpet (probably harmonic
notes) and that it was frequently used at sea to prevent
thc trouble of blowing, and bence was callcd thc tromba
marina. The violino representad by bim is like a largo
clumsy tenor; he says the Latins called it cheles, or
viola, and the Italians, viola, violín o, ot· violone, &c.,
according to the size. The viola, or violino d'amore,
is much of the same make and style, but larger. The
violino Turchesco, used by the Turks, has a very long
neck with frets, and only two strings; the body is nearly
round and hollowed, and covered with parchment, it has
neitbcr bridge or sound-boles, but a long foot to support
it on the ground. The Pcrsians bad a similar instru-
ment they called Kamaantsich, in the Arab tong ue
Chemena. T he violino Persiano is mentioned by
Kempfer; it has four strings but no sound-holcs, bridge,
fingcr-board, or tail-piece. The vio lino de' Cafri has a
small round hody with a long neck, and only one string ;
without bridge, finger-board, or sound-boles, and played
on with a short curved bow. An instrument of the same
sort is found among tho negrees and I ndians, but not
usually confined to ono string. The reprcsentations of
musical instruments in this work bear a vcry liberal in-
tcrpretatiou, as he includcs the wbistlc, thc brass pan for
bees, the rattle, the comb, and evcn the poslilion's whip,
with others equally simple.
L aborde, whose "Essai sur la Musique" was published
in 1780, is very fanciful in many of his rep¡·csentat ions,
intl'oclucing most pootical illustrations of sorne of the in-
struments in the hands of full-dressed ladics and gentle-
men ; but this is of far less consequence than the play of

imagination he has allowed in the adjuncts of sever a} of

the ancient instruments. He includes many that are in
Bonanni's work. The contre-basse, he savs, •
is Inuch
larger tban t'he violoncello, and is of three sorts. Onc
with three strings, tuned according to bis directions, G,
D, A, beginning from the lower string; one with four
strings, F, G, D, A, or G, D, G, e; and one witb tire
strings, E flat, A, D, G, e, or F, A, D, F sharp, A.
The quinte, or taille, or haute·contre de violon, was like
our modern tenor, having four strings, and t.uned a fifth
below the violín. The viole d'amour was a viol with
seven strings, larger than the violín, aud of a softer tone.
The par-dessus de viole was of the same sort, with five
strings, and had frets, and was played on the knee.
Several other sorts of violes are mentioned, but then out
of use for a hundred years and more ; as the viole de
Bordone, with forty-four strings (there was the sambuca
Lyncea, invented .by eolonne, a Neapolitan, in the six-
teenth century, which, it is said, had five hundred strings),
viole batarde, viole d'amour with metal strings, and viole
di braccio (from wbence the German namc bratsche, for
the tenor); also five sorts of violes, or violettes, differing
only in size; aud the basse de viole, and le par-dessus,
then still in use. He mentions the violon d'amour, then
obsolete, as he says, which had four metal strings placed
below the regular gut strings, and so tuned as to render
the harmonics, but produced coufusion. Also the viola
alto, or quinte, which seems to have becn like the quinte
before named; it was sometimes called the violette, and
Stamitz, the son of the distinguished musician of that
name, was a fine performer ou it. The description and
fingering of the violoncello in his work were writteu by
Nochet, a fine performer on the instrument at that time,
and a pupil of ecrvetto. L aborde also gives a figure of
the poche, or s_ourdine, or kit.

-
IIJSTORY OF THE VJOLI:-<. 169
Tberc wcre several fine performers cluring this century,
but with sorne fcw remarkablc cx.ceptions, this must be
taken with refcrcnce to thc statc of practica! music at
the time; as probably many members of an accomplished
orchestra of the prcsent day could havo successfully com-
peted with the greatcst names on record of these times.
In tho prcsont chapter we shall confine ourselves to a
few Continental celebrities, and in refcrring to them we
may montion sorne anecdotes known to many of our
readcrs, but we tbought our subject would be mude
more complete by venturing to introduce thcm, and we
will refer to Mr. Dubourg's interesting work on the
' 'iolin for many othcrs. With respcct to thc cxtent of
tbc usual practica] skill of the early part of the century,
we may state that Johu Lenton, in 1702, published an
instructor for the violín, wherein therc are no directions
given for the shift; though, as he givcs the scale up to
C on tho sccond leger line, it must have bcen occasionally
in use. He objccts to thc instrument being held under
the chin, or so low as tbe gil'dle, in imitation of the Ita-
liaos; it is to be presumed, therefore, that he in tended
it sbould be placcd upon tbe breast.
W e rnay claim the great Pergolesi as a violín player,
that having been his principal instrument, but one of the
best known namcs, probably, is Tartini, who was born
in 1692, and was skilled in thc thcory as well as tbe
practico of music, and his methocl, as it is ealled, is still
esteemcd : thc story of the D evil's Sonata is too well
known to be repeated here. Amongst bis best pupils were
Pagin, Lahoussaye, and Nardini, whom Burney, in his
"Musical Tout·," names as the completest player on the
violin in all Italy. Gavinics, who was born in 1726,
had grcat ex.ecution, :md was particularly skilful in ac-
companying the voice; he is considerad the founder of
thc Frcnch school of tbe violin. Ferrari, another pupil
M

170 BISTOR Y OF TIIE VIOLIN .
ofTart ini, is statcd to ha ve bcen the first who introducecl

the hnrmonics, and passages in octaves. Locatelli, born
in 1693, a pupil of Corelli, had more caprice of han<l
and fancy than any of his time, and is said to bave mad-.,
use of some of the effccts afterwards reprocluced by
P aganini. Guign on, the last " roí des violous," who
taught the Dauph in, tbe fatber of L ouis XV, was al!o a
disting uisbed perform er in tbis age. Pugna ni, born in
1727, another pupil of Tartin i, and who was teache r of
Viotti, was an abscnt and eccent ric roan: once, when
playin g a cadenc e befare a large audience, he quite
forgot himself, and walked about in the middle of the
r oom till he haCl. finished it, quite unconscious that be
was not alone. On anothe r occasion, bcing somewhat
at a loss in a cadcnce, be said to a friend near him,
"Pray tbat I may get safely back." Olirier i, a pupil
of his, bom at Turin in 1757, was a fine pcrformer, but
obligcd to leave the theatre there in consequence of the
following sforzando passage. He was in the habit of
attcnding the concer ts of a gentlem an attacbe d to thc
Court, but arrivin g one day rather late, the courtie r
abused him so tbat at lenglh Olivieri, who was tuning
his violin, lost his tcmper, and broke his instrum ent on
the hcad of his astonished patron . Veraci ni, a Florcn -
tine, born about 1085, was a fine player , but excessivcly
vain. A trick was once playcd on him by Pisendel, the
leadcr of the orches tra at Drcscle n, for thc purposc of
mortif ying him. H e taught an inferior player in the
chapel a concer to for the instrum cnt till he became pcr-
fect in it; be then sbowed it to V cracini , who playcd it,
but was immediately surpasscd in it by thc subord inate
player. H e was so vexed that it is said he tbrcw him-
self out of window thrce days aftcnra rds, but fortunately
escapcd with only a brokcn leg. On his rccove ry he

HJS'l'ORY OF THE VIOLlN. 171
went to Prague, and afterwards, in 1714, to London.
He had two fine Jacob Steiner violins, which he called
St. Peter and St. Paul, and affirmed that they surpassed
all the best instruments of Italy. He was shipwrecked
on bis way to France, and thus lost these treasures.
Haranc, boru at París 1738, was a great player; ít is
said that he began the instrument at tbe age of three,
and at siK could play the most difficult music at sight.
Beoda, born in Bohemia 1709, is considcred the founder
of a violín school in Germany. A violín player called
Bohdanswicz, is mentioned in the latter part of this
century, who had eight children all musical, and he
seems to have endeavoured to attract audiences by nu-
merous strange contrivances ; for instance, at Vienna
he advertised for a concert a sonata for one violín, to
be performed by three persons with twel ve fingers and
three bows; and an andantino, to be played by his four
daughters on one pianoforte, witb eight hands and forty
fingers. Scheller, about the same time, first produced
the performance on the four strings together, unscrewing
the bow for the purpose. Rolla, born at París in 1757,
and who died at Milan as recently as 1837, was a dis-
tinguished player anda fine composer for the instrument;
he was also one of the finest tenor players in the world',
but it is said that his performance so affected the nerves
of females that he was forbidden to play this instrument
in public : this seems a strange restriction. A performer
called Leprince certainly turned bis talents to better
account, for on bis passage from Holland to Petersburgh,
having been taken prisoner by an English privateer, he
played so cheerfully to the sailors that they gave him his
liberty, a.nd restored all his property. Diana, born at
Cremona about 1770, was a. grea.t player, and applied to
Rolla to give him instructions, which he declined, say-

172 HISTORY OF TUE VIOLIN .
ing he required none. D iana was angry at this, and

r esol ved to be revenged, and as Rolla. was prepariug a
concerto for sorne approaching ceremony, he watched
him closely wben he was practising, a.nd thus learned
his bcst passa.ges. Threc days before the intended per-
formance, Diana ga.ve notice that ho was going to play
in thc church, as was then the custom in Italy. Pro-
fessors and amateurs flocked to hcar him, and among
tbem R olla; when, what was his surprise and annoy-
ance, to bear all the best subjccts and passages he had
been so carefully studying, played off by Diana as bis
own.
J arnovick, or Giornovick, boro at P alermo in 1745,
was another fine performer, though it is said sornewhat
deficient in tone. Tbere was, howevcr, no deficiency in
bis sclf-estirnation. "My dear Viotti," says he on one
occasion, "it rnust be admittcd that only we two know
how to play on the violín." H e was of dissipated habits,
and irritable temper; on onc occasion he quarrellcd with
St. George, the celebráted fcncer, who was also a fine
violinist, and struck hirn, when St. George with great
rnoderatiou told hirn he admi red his taleut too rnucb to
figbt witb birn. H e once advertised a. concert at L yons,
with six francs for admission, but nobody carne. He
was irritated, and adjourned it till the next day, reducing
the price to three francs, and a crowd of people con-
sequeutly carne. After waiting for sorne time it was
found he had left the place, no doubt taking the money
with him. Another anecdote is told of his breaking a
pane of glass in tbe sbop of l3aillcux, the music-seller,
for which he was required to pay thirty sous; be offered
three francs, but Bailleux having no change, Jarnovick
said, Ncver mind, and breaking another pane, added, Wc
are quits now. Kreutzer, born at Vcrsailles 1766, was

HISTOitY OF THE VIOLIN. 173
distinguisbed as a performer and composer for the in·
strument.
Many pel'formers towards the cnd of this century be-
longed equally to the former part of our present century,
and will be mentioned in a future chapter ; but we may
name Baillot, who was born near Paris in 1771, and is
known not only as one of tbe finest Frencb players on
the violín, but as the author of one of the best set of in-
structions for the instrument. Bonazzi, a clever player,
who died in 1802, may be noticed from his having left a
collection of not lcss tban one thousand concertos, quin-
tetts, and quartctts, by different composers, together with
forty-two violins, by Stradiuarius, Guarnerius, Amati,
and other great masters, of the estimatecl value of 6500
ducats.
In the early part of the century, Forqucray, born at
París in 1700, was the most skilful performer on the
bass-viol of bis time, as bis fath er had been previously.
H awkins mentions Francheville as a fine performer on
-the viol da gamba at the Castle concerts; wbile at a
later date Charles Franz, born 1738, and Antoine Lid!,
are named as distinguished players on the baritone, or
violoncelle d'amour. Francescbelli, in the early part of
tbe century, was an excellent performer not only on the
bass-viol, but on the violoncello, and was particularly
admired for the manner in which he played the violon·
cello parts of Scarlatti's cantatas, whicb were so good
that none but superior players could do them justice.
Marc Antoine Bononcini, about the same time, was a
fine performer, and is said to have been one of the first
to sbow the capabilities of the instrument, and to make
it sing, if we may use the expression. Giovanni Bonon-
cini, the opponent of Han del, was also a good performer.
The fine performance of two brothers ca1led Saint-Sevin,

174 lllSTOR Y OF TIIE VIOLIN .
known also by the name of Labbé , about. 1730, contri-

butcd much to the establishment of the violoncello, and
the disusc of the viol da gamba. Bigati was celebra ted
for bis style of accompaniment, aml bis ímprovising.
Playin g once at thc church of A vignon, and accompany-
ing D ubrieul, thcy sought to outdo each othcr, in conse-
quence of Bocch erini being prescnt. One of tbe assist-
ants in the church was a purblin d canon, whose little
dog had followed him in, but hacl twice beco turned out
by bis master. On roturni ng aftcr tbe second expulsion
of the animal, tbe canon saw something in the shade,
moving backw ards and fonvards, which he took for
grante d was the tail of his intract able dog, instead of
being in any way counected with the tail-piece of a vio-
loncello ; so he gavc a heedless but vigorous kick, and
struck not the poor bcast, but Bigati's instrum cnt, which,
with tbe unluck y canon, Bigati, and Dubricul, all carne
down together, to tho great dismay of the attcnti ve but
now astonishecl congregation.
Bertau d, who died in 1756, by bis skill added much
to the reputa tion of the violoncello, and may be con-
sidered the founde r of the French school. Among st
other pupils he had the two Duports, both excellent
players, with fine tone and execution, of whom the eldest,
J can Pierre, born at Paris in 1741, was one of tbe most
skilful performers of his age; he died in 1818; and bis
brotber, Jean L ouis, born in 1749, in 1819; he has left
a valuable work on the fingering of the instrument. Tbe
twoJan sons were fino players about the samc timo. One
of the J ansons was in Londo n in 1772, a.nd is mentioned
as a pupil of Dupor t in one of the publico.tions of tito
day (the " T heatrical Review "), " his tasto and execu-
tion is very astonishing, we cannot give him the pre-
ference of bis master." O u two nights onc of the Duports

also playcd solos, "this gentleman's cxecution is truly
master! y, his tone ver y brilliant, and his tasle pleasingly
delicatc and chaste." Burney, in his "Tour," mentions
the famous old Antonio Vandini, and observes that the
Continental violoncello is still played with the bow under-
handed. L ouis Boccherini, who was born in 1740, ex-
celled not only a;;; a performcr, but also in his numerous
compositions, where the instrumont takos a loading or
promincnt part, many of which remained popular until
a recent pcriod, although now scldoro hcard ; he died in
Spain, 1806, with, it is to be feared, >ery rcduced means
of subsistcnce. Baudiot, a skilful performer, wrote in-
structions for the instrument; Tricklir, born at Dijon
1750, was a fine performer; and Levasscur is said to
havo ncarly cqualled the Duports in tone. Bernard
Ro mbcrg, born about 1770, was an oxccllent porformer,
and composcd sorne good music for the instrument; he
also \HOto an olementary book for the instrument of
considerable sizc, which scarccly realiscd the cxpecta-
tions raiscd by tho work of so accomplished a musician.
I-Iis brother Andrew was a good pcrformcr, and well
known as a plcasing composer. Max Bohrer was also a
distinguishcd pcrforroer, and had a brother a fine player
on tho violin. Fetis says tha t Duport and Lindley are
the only persons that Franco and England can oppose to
the two Gcrman players on the violonccllo just named.
Vv o ha.ve omitted se veral names of fine porformers of
Continental birth, such as Geminiani, Giardini, and
others, bocause so great a part of thcir lives was spent
in England, that it seems more convcniont to join them
with thc English names, but without the lcast wish to
claim for ourselves merit that may in strictness belong
to other countries.

CHAPTER XIII.
HE bass-viol was still occasionally practiscd

by ladies in England in tbe eighteenth
century (indeed wc havo knbwn lady per-
formers on the violonccllo at the present
time). In Vanbrugb's" R elapse," it is said of one, "the
parson of the parish teaches her to play on thc bass-viol,
thc clerk to sing, her nurse to dress, and her father to
dance." In "The Levellers," a dialogue between two
young ladics concerning matrimony, 1'703, Política, a
tradcsmau's daughter, describing hcr etlucation at a
boarding school, says she "learned to sing, to play on
tbc bass-viol, virginals, spiunct, and g uitar."
The first opera on the English stagc was "Arsinoe,"
set to music by Thomas Clayton, and performed at
Drury Lanc in 1707. William Corbet was the leadcr,
but we do not know of what instruments the orchestra
was composed. Corbet, who was a fine player, adver-
tisecl fot· sale, " Stainers' Cremona violins and bases, with
the four celebrated violins of Corclli, Gobbo, T orelli,
and Ni c. Cosí mi;" he left his best instruments to Gresham
Collcge, and lOL. a-year for the carc of them.
Concerts uow became frequent, gradually increasing
in merit, until the establishment of the professional con-
certs in the latter part of the ccntury, the Ancient Con-
certs, tbc Philbarmonic, now of balf a ccntury standing,

lUSTOll.Y OF THE YIOLIN . 177
and so down to the Musical Society of London, which,
if it carries out the regulations on which it is founded,
promises to advance the science, to the improvement and
advantage of the amateur and the professor ; and nothing
can be more finished than the performance of the accom-
plishcd orchestra under its very skilful conductor Mr.
Alfred Mellen. At ene of the earlier concerts in 1722,
the celebrated Carbonelli playcd no less than two con·
certos, and one solo ; while a concerto on thc bass-violin
was played by a performcr called Pippo.
The component parts of an orchestra, e''en towards
the end of the last century, were very diffcrent from those
al present; severa! instruments, iudeed, now in use, were
then unknown. For instance, in 1789, the orchestra at
the Academy of Ancient Music, consisted of 1 organ,
14 violins, Barthelemon being the first; 4 violas, 3 haut-
boys, 2 trumpets, 2 horns, 1 drum, 4 violonccllos, 2 double-
basses, and 3 bassoons. Let us put in contrast the
orchestra of the MusicaJ Society of London on 28th
January, 1863; for although the numbers are double, the
proportions of the instruments can be r eadily seen. Mr.
A lfrcd Mellen conductor ; 16 first violins, Blagrove and
Saín ton principals; 16 second violins, William Watson
principal; lO violas, R. Blagrove and Webb principals;
10 violoncellos, Paque principal; 9 double-basses, Howell
principal; 2 fintes, 1 piccolo, 2 oboes, 2 clarionet.s,
:.! bassoons, 4 horas, 2 trumpets, 3 trombones, 1 ophicleide,
2 cornets, 1 drum, 1 bass-drum and cymbals, l side-drum,
1 triangle, 2 harps. The band of the Royal Italian
Opera, Covent Garden, for 1862, which is not to be sur-
passed, consisted of Signor Costa conductor; 16 first
violins, Sainton principal; 16 second violins, Willey
principal; 1O violas, Doy le principal ; 11 violoncellos,
Lucas principal; 1 J double-basses, Howell principal;

2 harps, 2 flutes, 2 oboes, 2 clarionets, 2 bassoons, 4 horns,

2 trumpets, 3 trombones, l ophicleide, l drum, 1 triangle,
and 1 bass-drum.
In the cclcbrated Musical Festival in Westminst er
A bbey, in 1786, thcrc were l organ, l 06 violins, the
clder Cramcr being the lcader, 32 violas, 28 oboes,
6 flutcs, I 9 violonccllos, Crosdill and Ccrvctto being the
pt·incipals, 34 bassoons, 1 double-bassoon, 13 double-
basses, 14 trumpets, 12 horns, 6 trombones, 1 drum, and
2 double drums.
The Handel Festival at the Crystal P alace in 1862,
according to the announccment, comprised in the orchestra
no lcss than 194 violins, 75 violas, 75 violoncellos, and
75 doublc-basses, with 86 wind and other instrument s.
The chorus consisted of the extraordin ary number of
3120 singers, thc whole under the control of that dis-
tinguished conductor Signor Costa.
The band for Handol's "Water Musíe," 1715, was com-
posod, according to the valuable life of him by Mr.
Schcelcher , of 4 violins, 1 viol, 1 violonccllo, l counter-
bass, 2 hautboys, 2 bassoons, 2 French horns, 2 flageolets,
1 fiute, and 1 trumpct. In " Julius Cresar," 1723, he used
in the orchestra, flutes, hautboys, bassoons, trumpets, a
harp, a viola da gamba, a theorbo, kettlc-drum s, and four
horns, besides what is called the quatuor of stringed in-
struments, the first and second violins, thc viola or tenor,
thc violoncello, aml double-bass. In his hautboís con-
cortos, opera 3rd, 1734, there are compositions for 2
violins, 2 hautboys, 2 flutes, 2 viols. 2 bassoons, 2 violon-
ccllos, and a thorough-hass. Many of his airs have a
simple accompani mcnt for the violoncello with harpsi-
chord. In some of bis accompani ments tho violette is
montioned, a name we have already noticcd as a variety
of the vial, but an air in" Ol'lando," 1732, is accompanied

by " 2 violette marine coñ violoncelli pizzicati." This
violetta marina is saíd to have been introduced in tbe
same year by Castrucci ; Burney calls it a kind of viol
d'amour wíth sympatheticstrings; and theairin" Orlando"
is the only one written for it, so it is to be presumed there
were sorne objectíons to its use.
Corbet was succeeded as leader of the opera orchestra
by Castrucci, born at Rome about 1690, a pupil qf
Corelli; who is said to ha ve be en the original of Hogarth 's
enraged musician, though Trusler names anotber. He
was difficult to manage, and was superseded by J ohn
Cleg-g, a very fine player, who became insane from over-
study, and it was thc fashion to go to Bedlam to hear him
play. Clegg was born in 1714, and played concertos in
public at the age of nine. Castrucci died in 1769, in re-
duced circumstances. Many instances have occurred in
all professions, of the mind giving way from the effect of
over-study or undue excitement, but Passenans, in " La
Russie et l'Esclavage," gives a melancholy example of
the pressure of arbitrary tyranny on over-wrought and
sensi ti ve nerves, inducing a fit of passion and resistan ce,
which may be considered as a case of temporary insanity.
A Russian noble, ha ving a serf who showed great musical
talent, sent him to Italy to study; he much distinguished
himself there, and in due time was ordered borne by bis
master. H e was one day summoned to play before a
numerous assembly, and when any new person of rank
arrived, he had to recommence a brilliant concerto of
Viotti. Worn out at length by three hours of tbis work,
he asked to be allowed a little rest, when his brutal pro-
prietor replied, " No, play on, and if you are capricious,
mind that you are my slave, and that I can have you
bastinadoed." Thc unfortunate young man ran down to
the kitchen in dcspair, and cut off the first finger of bis

180 lllSTORY OF THE VIOLIN.
left hand with a hatchct, saying, " Cm·scd be the talent

that will not place me bcyond the treatmcnt of a slave."
The reputation of Geminiani, born at Lucca about
1680, thoug h so me g i vean earlier date, a pupil of Luna ti
(11 Gobbo), is well cstablishcd , not only for bis skill as a
playcr, but for his arrangeme nt of Corelli's music, and
his own concertos; he carne ovcr to England in 17 14,
and dicd in Dublin in 1762, in the house of bis friend
and pupil, Matthcw Dubourg. Dubourg, who was boro
in 1703, was a fine player; and when a child played
solos at Britton's concerts. It is of him the story is told
of playing a cadcnce once befo re Handcl, when he seemed
rathcr undecided towards the close, but having safely
finished, Handel cxclaimed, " You are welcome borne,
:Monsieur D ubourg.'' :Mrs. D elaney speaks in high terms
of him: after bearing the music in honour of St. Cecilia
at the Crown Ta1·ern, she 1vrites in a letter dated the
11th of Nov. 1727, " Dubourg was the first fiddle, and
every body says he exceeds all the Italians, even his
master Geminiani ." Carbonelli, a pupil of Corelli, who
carne over to England in 1720, was leader of the opera
band for a time, but is probably best known as the founder
of the celebrated wine establishm ent bearing his name;
he died in 1772.
Felix Giardini, bom at Turin, ] 7 16, was a pupil of
Somis, a fine player, Corelli's best pupil, and one of the
g reat masters of bis time. He carne to England about
1749, and remained 35 years, leading at the opera during
part of tbe time. He was celebrated as asolo player, and
particularl y excelled in an adagio, and was remarkable
also for the volume of tone he produced. H e had amassed
a fortune, but unfortunat ely lost it, as mauy others ha ve
done, by undertakin g thc manageme nt of the opera, in
which he was joincd by Mingotti. He afterwards went

lliSTORY OF THE VIOLIN . 181
to Russia, and died at Moscow, in ve1·y reduced circum-
stances, in 1796. Michael Christian Fcsting, a Gerrnan,
resided in London about the midclle of the century; he
was a fine performcr, but may be more particular] y men-
tioned with honour as one of th1l founders of the Royal
Society of Musicians. Richard Charke, a dissipated
fcllow, who marriecl Charlotte, the claughter of Colley
Cibber, is saicl to be the first who composed medley
overtures. He treatecl his wife ill, like a beast, or rather
worse, for the animal creation cloes not inclulge, generally,
in these abominable practices, except, perbaps, tbe gi-
gantic salamancler, aml tbe spíder, and a few others; in-
deed, as to tbe spider, it is tbe lady wllo is in fault, but
at the same time she makes hcr spouse useful, for when
any domestic clisturbances arise, she occasionally eats
bim. Poor Mrs. Charke livecl at one time in a state of
great penury, and there is an account of her life extant.
Barthelemon, born at Bordeaux in 17 41, was the leader
of the -opera band for severa! years, and was employed
by Garrick. He is said to have excellcd in the per-
formance of Corelli's solos; he cliecl in London in 1808.
T he celebrated Viotti will be still remernbcred by sorne
of our reaclers, for the vigour of bis style ancl tbe pnrity
of bis tone, and his music is still bighly csteemed. He
was born in Pieclmont about the middle of the century,
and wa,s the pupil of Puguani. He carne to Lonclon about
1702, and succeedecl W . Crarner as leader at the opera.
Viotti possessed considerable talent independeut of his
profession, but was also of a somewhat violent and decided
rlisposition, and in 1798, when republican principies were
rife, was sent out of the country for sorne real or sup-
posed política! offence, but was allowed to return in 1801;
and cliecl in London in 1824. There were severa! first-
rate performers amongst his pupils, most of whom more

182 HIS'fOR Y OF THE VIOLIN .
propcrly belong to thc present ccntury, as Rode, who was

also a good writer, Labarre, Libon, Morí, whose brilliant
exccution is familiar to many, and Pinto, who was an ex-
traordinary performer, but dicd from the effects of dissi-
pation in 1808, in bis 2 1st year. William Cramer, just
mentioncd, was born at Manheim in 1745, and besidcs
baving bcen for sorne time leadcr of the opera band, was
the leader, as before mentioncd, at the Hande l Com-
mcmoration in 1787. He was tho father of J. B. Cramer,
one of the first pianists of his time, and F. Cramer, the
well known violín player, and leader at the Ancicut
Concerts, and othcrs.
As wc have bcforc intimated, sorne namcs now omittcd,
will be mcntionecl as of the present century, although they
belong in fact to both; but as the wcll known Jean Pierrc
Salomon was born at Bonn as far back as 17 45, we will
introduce him here. He carne to England in 1781, and
in 1791 was first violín at the Academy af Ancient
Music, and played concertos; and at t.he sume time we
find Master Bridgctower, distinguished aftcrwards as a
good player, playing a concerto on the violín. Salomon
was not only celcbrated as a performer on the violín,
particularly as a quartett player, but also had conside rable
general knowledge and ability, and to him wc are indcbted
for tbe introduction to the musical world of the celebrated
twelve grand symphonies of Haydn, all of which were
written expressly for his conccrts. He continued for
many years the leader of various concerts at the Hanovcr
Square Rooms, and was also the leadcr, with a host of
first-rate talent assisting him, on the opcning night of the
Philharmonic Concerts, fifty ycat·s since. His instrumcn t
had been formerly Corelli's.
The fincst performer on the viol da gamba in England,
about the middle of the century, was Charles Frederick

ll!STORY OF l 'HE VIOLIN. 183
Abel, a German, born in 1719, who carne over in 1759.
He was one of the greatest performers on the instrument
ever known, particularly in thc performance of slow
movements, which seem best to suit tbe character of the
instrument. On the formation of Queen Charlotte's band,
he was made chamber-musician, with a sala.1·y of 200l.
per aunum. He died in 1787. Dabmen about this time
was a fine performer on thc same instrument, as well as
on tbe violoncello.
The elder Cervetto, whose Christian name it appears
from the registry of his burial was Jacob, was born in
Italy in 1682, carne to London in 1728, and passed the
remainder of his long life in England, bis death not
taking place until the ycar 1783. He brought the
violoncello into favour by his great skill and taste, but
his tone is said to have bccn hard. He is the musician
who roused Garrick's wrath by yawning aloud in the
middle of one of that great actor's pathctic speeches, which
he had probably heard twenty times before; but adroitly
excused himself, by saying he always yawned when he
was pleased. Capor ale was a rival of Cervetto, but do es
not appear to have equalled him. He was permanently
attached to Handcl's orchestra, as wcre Clegg and
Dubourg; and he, with the elder Cervetto, Ravenscroft,
and Festing, as before mentioned, were among the first
subscribers to the Musical Fund, afterwards the Royal
Society of Musicians. The younger Cervetto, who was
calledJames, was born about 1747, and excelled bis father
both in style and tone, which was particularlysweet, and
his expression very fine. He, like his father, lived to a
great age, and died in February, 1837; he had, bowever,
retired from the profession sorne time previously. Jobn
CrosdiU, born in London in 1755, went to Paris from
1775 to 1780. He was the first pcrformer on the violon-

cello of his time, his tone especially was rem:u·kably fine

and powerfnl, and :Mr. Parke, in his" Musical Memoirs,''
mentions having heard bim play the favourite minuet in
"Ariadne," in three parts, as distinctly and perfectly as if
they had been performed by three of the most distinguishcd
players. He rctired in 1794, having ample means.
J ohn Georgc Christopbe r Schetky, bom near Frankfort-
on-tbe-Mai ne, about the year 1740, of good family, was
originally intendcd for the law, and was sent to the Uui-
versity of Jcna, but did not prosccute the study, and in
the course of the Scven Years' vVar, under Freclerick the
Great, from 1756 to 1763 servecl as a volunteer, and the
celebrated Blucher was tbe captain of his company.
Being passionatcl y foncl of music, he followed the bent of
bis inclina.tion, and studied both theorctical ly and prac-
tically under Emanuel Bach, and also uncler Schrreder
for the pianoforte. The violoncello being his favourite
instrument , he took sorne lessons from Abel (the eelebrated
performer on the viol da gamba), undet· whom he soon
became a proficient. After travelling for several years
in Germany and France, be determincd to visit England,
wishing tO' be present at the coronation of George the
Third, but was prevented by illness. However, he arrived
soon afterwards in Lonclon, and not intencling to settle
there, was about to return to Germany, when he obtained
an engagemen t as first violoncellist for the Edinburgh
Saint Cecilia Concerts, wbich wero then of great repute.
They were vcry aristocratic , many amateurs of rank and
station being members, inclucling scvcral of the nobility,
and roen eminent in the learned profcssions. The lead-
ing professors wero also of first-rate talen t. These con-
certs flourished until the Peace of Amiens, when the fa-
cilities given for travellingo n the Continent induced many
people of station to go abroad, a.nd they were thus broken

BISTORY OF THE VIOLIN. 185
up. In tbe mean time Mr. Scbetky had married, and
remaincd at Edinburgh following bis profession, where
bis talent, polished manners, and gcnerous character
causccl him to associate with the best socicty, and be was
on in ti mate terms with many of the distinguishcd literary
characters of his time, and he died there atan advanced
age in thc year 1824. He was particularl y admired for
bis fine adagio playing, and the delicate exprcssion of the
cantabile; his own compositions are pleasing, particular! y
sorne of bis pathetic passages, and onc of the last pieces
that Lindley played with a friend, after his retirernent,
was ono of Schetky's duetts. John Cliristian Schetky,
Esq., the prcsent well known and accomplished marine
paintcr to the Queen, is his son, and possesses a genuine
taste and feeling for music.
In 1783 J oseph Kmmpfer came over bere. H e was an
extraordin ary performer on the double-bass, playing dif-
ficult violín passages on it, and particularl y cxcclled in
the use of the harmonics. He also inventcd a most use-
fui variety of the ins.trument, which could be taken to
picces for the conveniencc of travelling. H e was eclipsed,
as all others were, by that giant in power and talent,
Dragonetti, wbom we shall mention in the cnsumg
chapter.

186 BISTORY OF THE VIOLIN.
CHAPT ER XIV.
N thc present ccntury, the instrumcnt<> of the

~~ ~~ violín class have bcen pcrfcctly establishccl,
the viol class being now obsoleto, except as
mattcrs of curiosity. But with all our acl-
vances in practica! skill, we have becn unable to improYe
on the models known three hundred years since, unless it
may be in somc of the minor details. Somo experiments
were made in France for the purposc, as was considcrcd,
of impro ving thc shape and tone of the violín. Chanot,
an officer in the Frcnch army, and thc son, it is said, of
the violin-mak er Chagniot, proposed to makc the violin
of a flatter model, with the sides less curved inwards, the
sound-holes straightcr, and the bar in the centre of tbe
upper vibrating plato; in fact, something in shape likc
the olcl vio!, or modern guitar . It was submittecl to a
committee of thc Frcnch Acaclcmy in 18 17, who, aftcr
threc trials, decidcd in its favour, considcring thc tone to
be of superior quality, and not inferior, iudeed, to thc
I talian instrumcnt s. I t was not, bowcver, brought into
use, and it was found, aftcr a time, that thc tone did not
last. Baucl, a makcr at Versailles, submitted to the I n-
stituto in 181 O a violín without bars, which he fancicd
interfered with th c vibrations; howevcr, the report of the
I nstituto was not favourable. In 18 19 Felix Savart, M.D .,
published "Mémoire sur la Constructi on des Instrumens

lUS TOR Y OF THE VIO LIN . 187
a Cardes et a Arc bct ," in which he describes a new forro
of violín, inventad by him, on stri ctly scicntific principies,
explaining his rcasons at length. Th e shapc was a tra-
pczium, not rais ed or arched, the sound-holes stra igh
t,
with sorne oth cr peculiaritlcs in the details. A favourabl
o
rep ort of it was made by a sclect committee, to the
Académies des Sciences and des Beaux-Arts, but the in-
strume nt did not get into use.
Th e nin ete ent h cen tur y has pro duc ed rnany pcr -
fonner.s of first-rate tale nt and cclebrity. In sorne cases,
perhaps, thc exccution of me re rnechanical difficulties has
been too rnuch rcli cd on, but in many othcrs, exquisi
to
tasto and expression ha,·e bccn join ed to the most finisbe
d
exccution ; and solo and qua rtet t playing, with orc hes tral
music of the hig hcs t class, may now be heard, not only
at
select conccrts, such as thc Musical Society of London
,
the two Phi lha rmo nic Societies, and the l\Iusical Union
,
with its choice chamber-music, but at those more acces-
siblo to thc gen era l bod y of society, who by its extensivo
patronagc shows how ti'Uly it appreciates the excelle
nt
music prcsented to it. Pro grc ss in music has full
y
kep t pace with the progress in society . As we hav e bc-
fore observad, sc,•eral of the perforrners now abo ut to
be
nam ed were also knowu in thc las t ceutm·y, but thc
1 gre ate r par t of the ir car eer was in the prescnt. Amoug
them are Yaniowicz, a P ole, distinguished for his pur
o
ton e; and Vaccari, born at Mo den a in 1773, who
sc
tone was par ticu larl y swcet, with g rea t expression
.
Kic sew ettc r, bor n in 1777, bad gre at power with tast
o
and cxp ression ; he died, unfortunately, soon after attencl
-
ing the Lcicestet· Fes tiva l in 182 4. H e was so ill dur ing
the performance ast o rcq uir e to be supported to his cha ir
;
and afterwards went on to Norll'icb, but was too ill
to
play therc, aud die d soon after lüs return. Th c committcc

188 IUSTOR Y OF TIIE VIOLJN .
very proper ly paid him his stipula ted sum, and a sub-
scription was madc for him at Leicester. L afont, born
in Paris 1781, had a good tone, and fine taste; he com-
menced playin g in public at thcagc offourteen. Haben cck,
born at Mézieres in the same year, led the opcraa t Parisfo t·
a considerable timo. Louis Sphor, born at Saesen in
Brunswick, about 1784, and only recentl y dead, was ce-
lebratc d not only as a fine performer, with finished exe-
cution and expression, but also as a. great composer, with
a perfect knowledge of the theory of music ; his compo-
sitions are, of course, well known to and admire d by our
r eaders. At the same time was born at Genes the
greatc st performer on the violín that e ver Ji ved, Nichol as
P aganin i. So mueh has been said of bim, and so mu eh is
known, that a slight notice bere will suffice. Those who
were fortunateenough to see and hear bim will never forget
the impression produced by his strange, almost uneart hly
figure, wben, advanc ing to thc front of the orcbes tra, he
seized his· violin as if it were a cherish cd living creatur e,
and then, witb bis marvellous bow, and wonderful fingcrs,
produc ed such an extraor dinary effect from bis beautiful
tone, double stops, pizzicatos, and harmonics, on which
long and rapid passages were played, that his auditors
became breathless with astonishment. No doubt his ox-
traordi nary style of play has tended to ad,•anc e the cba-
racter and power of the inst1·umcnt, and as professors of
talent studied tbe ¡)assages introdu ced by him, a bighct·
scale of eminence was established, and thc grcat powcrs
of execution of sorne of our accomplishcd modcrn pcr-
former s may origina te from the time of Pagani ni. H e
began the instrum ent at the age of six, and aftcr a time
was placcd under the tuition of Giacomo Costa, thc di -
rector of tbe opera at Genes ; be was tben placed under
the exccllent playcr Alexan der R olla. In 1805 be was

HIST ORY OF TUE VIOL IN. 189
director of the orchestra of the Princess Eliza, sister of
Nap oleon, aud aftenvards Gra nd Duc hess of Tuscany.
While with her he played one e\·euing a solo on the thir d
and fourth strings of his fiddle, and in 181 O played varia-
tíons on the fourth strin g alone, wbich he performed in
public for the first time at Parma, on the 16th of .August,
18 11. He is said to have written bis first sona ta at the
agc of eight, and many of his compositions contained such
difficulti es, tbat for sorne time tbey wer e considered
insuperable. H e died at ' ice in 1840. Mayseder, born
at Vienna in 1789, is known as a goo d writer, as well as
a fine perform er, and Festa. is another good writer for the
instrum cnt. J oseph Reicha, born in Prague 1746, was
a good player, and Artot, a Bclgian, a most finisbed per-
former, died at the carly agc of 30, in 1845. Tbere are so
roan y excellen t performers now constan ti y before the public,
that ít would be pres umptuou s in us to give any opinion on
thei r r elative merits, which would be out of our province;
and thcr efore we wíll follow the cxample of the account
given of the brave Gyges, and the brave Cloanthus, and
their companions, by Vírgíl, and name D e Beriot, born
in 1802, skilled equally as a writer and a performer, and
wíth taste and volume of tone excellcd by non e; Ole Bull,
the disti nguished N orwegian, Ernst, Sivori, Vicuxtemps,
Lotto, and Wienawski, alloffirst-ra te talent, towhom others
are from time to time, by their skill, entitling themselves
to be added; but we mus t particular!y name Her r
J oachim, whose tone, taste, and execution are unrivalled
in every style. W e shall name sorne other foreign players
among those of England, as being, in fact, naturalized
amongst us.
As finished players on tbe violoncello on the Continent,
Arnold Schoenebeck, Muntzberger, D anzi, and Hus-
Dcsforges, wrote and adapted many pieccs of music for

IDO IIISTORY OF THE VIOLI~.
the instrument , but tbcir tone was not equal to their fa-
cility of execution. Kummer was a good writcr as wcll
as player. Aubert, Breval, and Raoul all publishcd in-
structions for the instrument. Lamare is mentioned as a
fine quartett player; Ganz has an exccllcnt tone; and
Servais aud Franchomm e great exccution. As a double-
bass playcr, Bottesini probably excels in execution any
prcvious performcr; it is indeed marvellous, and the fa-
cility with which he plays passages on double stops and
harmonics rnust be heard to be fully appreciated. Bis
tone is clear and mellow as a trumpet, but has not the
wouderful powcr and vigour of Dragonctti 's ¡ and indecd
bis instrument is of a. sma.ller make tba.n that of bis great
predecessor.
Amongst thc English players of this time, Richard
Cudmore, born at Chicbester in 1787, was a fine performer
not only on the violín, but on the violoncello and piano-
fot·te; at one concert he played a concerto on the violín
by Rode, one by Cervctto on the violoncello, and one by
Kalkbrenn er on thc pianoforte. Tbomas Cookc had
great musical talent, both vocal and instt·umental, and
played in concert at the early age of five. H e was oc-
casionally first violín at tbe Pbilharmonic Concerts, and
was for a time the principal singer at one of the tbeatres ¡
he also composed severa! popular glces. At a benefit
about 1823, he played solos on nine dilfcrent instrument s.
One of the writers can speak of him as a kind friend of
many years' standing. Charles Weichsel, for many years
the distinguishcd leader at the opera, played in public
also at the age of seven. Spagnolett i will also be remem-
bcrcd at the opera, and V enua, wbo for a time led thc
ballet, was very skilful as a quartett player. Many othcrs
of first-rate talcnt might be mentioned, and Blagrove,
with his finished execution and perfect intonation, stands

UIS TOR Y OF THE VIO LI:-1 .
191
unr ivalled as an En glish por for me r; while Car rod us
has
rec ent ly established his cla im to stan d in tho first ran k
in
tbe pro fession, and Sai oton is now so dom esti cat ed wit
h
us, tha t wo have pla ced him her e ins tea d of am ong
the
foreign players, and his ski ll and taste, not to be excelle
d
in qua rte tt or solo pla yin g, are fully app rec iate d and
ad-
mirod by alll ove rs of music. M oliq ue also ma y be con
-
sid era d as nat ura lize d, dis ting uis hed alik e for his the
-
ore tica l as well as bis pra ctic a! talc nts . Mo ralt and Hil
l
will be rem em ber ed as most skilful pla yer s on the ten
or.
Powell, Ch arle s Ash ley , and Cro uch , tog eth er wit
h
Rei nag le of Oxford, were am ong the lea ding' performe
rs
on the violonccllo, in tbc beg inn ing of tbis cen tur y, and
to tbe timo of the ir respec tive deaths ; but the unr iva llod
per for me r R obe rt Lin dley sta nds alo nc as the ma ste
r of
this difficult ins tru mont, wbcther from the g ran deu r and
powcr of bis ton e, or the bril lian cy of bis execut ion
;
pla yin g on stri ngs of suc h size tha t can alo ne pro duc
e
suc h body of sou nd, but which now unl uck ily are gen era
lly
disc ard ed in consequence of the grc ate r facility afforde
d
to the pla ycr by tho se of smaller size . He was bor n
at
Ro the rha m in Yo rks hire, on tho 4th of Mat·ch, 1775, and
showed bis gen ius for mu sic ata ver y ear ly age, and ,
in-
deccl, at the age of nin e yea rs pla yed the 1•ioloncello
in
tbe Bri ght on and L ewes the atre s; bis bro the rs J ohn and
Ch arle s bei ng also in the orc hcs tra. Wh en he was
of
the age of twelve, he and his bro thers, as violín and ten
or,
wer o freq uen tly sen t for wh eu at Bri ght on, to play bef
ore
the Pri nce of W ales, and at tba t tim e he cou ld pla y
all
the usual solosor coucer tos for tho violoncello. At the age
of fifteen he commence d wri ting music for himself, and was
anxious to get engagecl at sorne of the professional con cer
ts,
but cou ld not succeed unt il the following yea r, when
on
the mo rnin g of the second con ccr t, the professor who was

to have performed a solo on the violoncello was suddenly

taken ill, and thc di rectors in this emergency sent to
Lindley's father, to say that bis son might play in the
evening as a favour. He eagerly embraced the oppor-
tunity, and played a concerto in such an admirable style,
that be was rapturously encored. On the following
morning, two of the directors called, requesting him as a
favour to play at the next concert, when he was again en-
cored; and he played concertos at the nine subsequent
concerts, and was encored on every occasion, thus reach-
ing the top of bis profession at the age of sixteen, and
tbere remained unrivalled for the next sixty years, uni-
versally respected for bis talent and integrity. At the
time of bis joining the professional concerts he was a
pupil of the younger Cervetto, with whose approbation,
at the age of eighteen, he took the place offirst violoncello
at the K ing's Theatre on the retirement of Sperate, wbere,
and at the Italian Opera, wbich he joined on its opening,
he remained for fifty-eight years, tbusexceeding tbe timeof
T heobaldo Gatti, who died in 1727, and was for fifty-two
years principal bass-viol in the French theatre. Soon
after Lindley joined the opera orchestra, Bernard
R omberg carne over to England, and Crosdill invited
him to a music party at Mr. Thompson's, where he lived,
and which was usually given after the rehearsals of tbe
Ancient Concerts, on Mondaysduring the season. Lindley
and a large party of professors and amateurs were also
present, and Romberg played many of bis diflicult com-
positions for the instrument in fine style, and with much
execution. When the party broke up, Crósdill said to
Lindley, who he knew was going to play a concerto that
evening ata concert where Salomon, a friend ofRomberg,
was to lead, "They ha ve heard Romberg; now, Lindley,
let them hear what an Englishman can do." In the

-
IIIST ORY OF THE VIOL it>. 193
evening Lin dlcy play cd one of bis most difficult con-
certos, con tain ing passages with double stops, octaves,
and even tenths, which his larg e and powerful han d
ena bled hirn to play r cadi ly; the applause, when he had
finished, was very grea t. At the end of the first act,
Salo mon asked Romberg, who had bee n stan ding oppo·
sitc to Lin dley duri ng his performance, wha t he thou ght
of it. Rom berg replicd, "H o is tho devil !" Wit h rc-
fcrence to bis powe¡· of read ing at first sight, it may be
rela ted that wbcn he was a you ug roan be was ata music
part y at Cle mcn t's Inn , when copies of Rom berg 's first
four concc1·tos for the violoncello wcre produced, which
bad only arri ved the sarne mor uiug from the Con tine nt.
Lin dley played the whole of these without the slightest
hesitation or difficulty.
The bea uty of bis tone, and extr aord inar y power of
execution, his skill in accompanying, especially in the
few but cffective notes in a reci tati ve, will be in the
recollection of a grea t part of our read ers. A friend-
ship of vcry man y yea rs' stan ding down to the day of bis
deat h, will, we hope, prove our excuse for dwelling a
littl e on the sub ject ; indeed, one of the writers was tbe
last with wbom he ever play cd: stop ping then, in the
mid dle of a. due tt, like Ha.y do in bis unfiuished qua rtet t,
and saying, " I can no more, " and he nev er again play ed
on tbe inst rum ent.
H e would sometimos in pri vate take the first violín
part of a qua rtet t, not only on the violoncello, but when
with a few fl'iends would do so on the violin, imit atin g,
good-humouredly, sorne of the lead ing performers of the
time. His son William, bor n in 180 2, at one time gav e
promisc of equa.lling bis fath er in tone and execution,
, unti l ill-healt h unfo rtun atel y compelled him to leave
town. The y would play thc violín and teno r part s of

194 HISTORY OF TIIE VIOLIN.
Beethoven's tríos on two violoncellos, a friend taking the

regular violoncello part. His brother, Charles Lindley ,
wa.s a fine performer, especially on the tenor, though he
usually played the violonccllo in public; and but for bis
retiring habits migbt bave takcn a higb position. Lindley
dicd on tbe 13th of June, 1855, after a gradual deca.y of
sorne duration . One of his daughte rs is marricd to J ohn
Barnett, the eminent composcr. He had sorne good
pupils, as may be expectcd, and among thcm the accom-
plished musician, Lucas, the Principa l of the Royal
Academy of Music, may be considercd thc chief. He
succeeded Lindley as principal violoncello at the Italian
Opera, and has but very rcccntly retircd, having bcen
succeedcd by that exccllcn t perform er, Mr. Collins.
There are other very good English perfórmers, but
for finisbed exccution, taste, and expression, egpecially in
solo and quartett playing, Signor Piatti is not surpassed.
Anfossi was known as a good player on the double-
bass sorne thirty years sioce; but all former players on
this instrum ent were surpasse d by that extraord inary
performer, Dominiq ue Dragone tti, born at Venice in
1766. He carne over to England in 1795 ; and for the
greater part of their lives be and Lindley were associated
together, and their performance of Corelli's music will
never be forgotten by tbose who were fortunate enougb
to hear it. vVhen young, Dragone tti practised much
with a fine violin player, Mestrino, whom Dt·agonetti often
said be consider ed one of tbe most accomplished masters
of the instrum ent he had known. At the age of thirteen
be was appointe d first bass to the Opera Bufla, at Venice.
The richncss and power of his tone were marvello us;
and his executio n sucb that he would play the violoncello
or violín part of a quartett on bis unwicld y instrume nt,
or even join in a violín duett.

IIIST ORV OF TU E VlOL IN. 195
\Ve may add Ur. Chorlcy·s truthful rem arks asto the
long musical union of Lin dlcy and Dra gon ctti. "N o-
tbin g has bcen since hea rd to com pare witb the intimacy
of thei r mut ual musical sym patb y; nor is a pair of
figures so trul y cba racteristic now to be seen in any
orchcstra.. Thosc two are among tbe sigbts of London
tbat havc vanishcd for eve r."•
At present H owell may be considerad our prin cipa l
orchcstral play cr, witb wbom ther e are othe r exce llen t
performcrs.
we will now proceed to give sorne account of the
various makers to the best of our pow er; but the diffi-
culties of arra ngin g these havo been gre at in sorne cases
from the deficiency of genuino info rma tion -fro m tbe
vagueness and contradictory natu re of the results of our
inquil·ies and rescarchcs in othe rs, so that a degree of
uncertainty pervades tbe history even of sorne of the best
known names. The rc seems, for instance, to be a dif-
ference of opinion as to the number of makers of the
na me of Amati. W e hope, however, to be able to
supply thc names of all the makers of any note, and
rath er than be deficient in this respect shall include
man y that will be but little known to the gcn eral ity of
our read crs; wo have used evot·y means in our power to
mak e our account as corr ect as poss ible, hut wc mus t
claim indulgenco for the deficicncics wbi cb we fear may
be found, in conscquence of the scanty, imperfect, and
conflicting materials with which in numerous cases we
havc had to deal.
• "ThirLy Y cars' Musical Recollcctions," i. 80.

196 IIISTORY OF 'l'HE VIOLIN.
CHAPTER XV.
have already referred to the old makers,

Ott, Frey, and Kerlin, and shall coro-
menee our account with the sixteenth cen-
tury, wberein several foreign names occur,
including the Amatis, but very few English. And the
same remark will necessarily apply to makers as to per-
formers, that in many cases they must belong to parts of
two centuries. We may observe also, that we shall
reserve a more detailed account of the English makers
for an after part of the work.
In tbat curious -collection of persons, occupying about
ninety lines, who resort to "Cocke Lorelles Boke,"
printed by Wynkyn de Worue in the early part of the
reign of H enry VIII., there appear "orgyn makers,"
and "harpe makers," but no viol makers. Are we to
assume that this omission arose from the paucity of their
numbers, or from their being more select in the choice
of their companions.
There are many continental names handed down from
this period; but, as we have before observcd, the diffi-
culty in sorne cases of ascertaining the dates, and even,
tbough more rarely, the iclentity of the individual, is
great; and we suspect that occasionally one maker may
appear under two different names. T he late Dr. Forster,
in bis "Epistolarium" and " Travels," gives tbe names

lllSTO RY OF THE VIOLI N. 197
of many make rs ; but his books are very inacc uratel y
printe d, and bis dates, and even frequ ently bis names,
are very confused and not to be depen ded on.
Pictro Darde lli, of Mant ua, about 1500, made good
rebecs, violas, and viols da gamb a, sorne of which, Fetis
states, still to exist in tbe cabin ets of the curiou s ; and
Morg lato Morella, perha ps his pupil, of the same place,
about 1550, mado the samo class of instruments. There
wore also Ventu ri Linel li or Linar olli, at Venic e, 1520 ;
and Pereg rino Zanetto, at Br·oscia, 1540 ; with Laux min
Possen, about tho same time in Bavaria, who was make r
for thc chape! at Muni ch. J oan K ohl was "luth ier" to
the Cour t at Muni ch in tho latter half of the century;
and Fotis states that, from some old accounts, he was
paid two florin s for a luto. J ean Mousiedler and Jean
Gerle a~·e menti oncd as celob rated make rs at N urem-
berg, about 1540. These makc rs wcre proba bly more
partic ularly confined to tho manu facture of violas and
]u tes, &c., than of violín s; but the tcrm " lutbic r," as is
well known, applie s to make rs of violins and violas, as
well as lu tes.
There was, howcver, a celebratecl make r of violins as
well as of viols, Gaspa rd Duitf oprug car, boro in the
Italia n T yrol in thc latter end of thc fifteenth centu ry,
who fiourished in the formc r par t of the sixtee nth. He
was establishcd at Bolog na in 151 O, but went to P aris
in 15 15, by invita tion from franc is I. ; the climate, how-
ever, not agree ing with him he moved to Lyons, where
he ís said to havo clíed about 1530. He made sever a!
instru mcnts for the Chap cl and Cham ber of Ft·ancis,
some of which are still to be found in the posscssion of
amateut·s. T bey are said to have had a powe rful and
penct rating tone. Choron states (1 8 17) that Mons.
Roqu efort, at París, well know n as a litcra ry man, (and,

who had himself written a. work on the Poctry, Music

and Instruments of the French, as mcntioned in bis
Glossary (2-33), uut which was never puulished,) pos-
scssed three basscs of this maker, having nccks euriously
earved. The first had seven strings tuncd thus : -
u
:BE
On the back was a representation of París in the six-
teenth eentury, cxccuted in different colourcd wood, and
on thc front was St. Lukc, aftcr Raphncl. The second
had this inscription within, "Gaspard Duiffoprugcar a
la Coste Sainct . cbasticn, a Lyons." On thc back was
a rcpresentat ion of thc l\loses of l\lichacl Angelo; a
salamande r, the device of Francis I. was earved on the
neek. The third had the figure of St. John, aftcr Ra-
phael, on the baek, and on the finger-hoard the following
lines, whicb wcro frequently used by this maker : -
"Yin1. fui in sylvis, sum durii occisn sccuri,
Dum vixi, tncui: mortun dulce cano,"
This eouplet is said to bave been on thc violín of Pa-

lestrina, whieh was probably therefore one by this maker.
The late eelebrated tenor player, Hill, Ioft sorne manu·
seript eollections towards the history of the violín; he
does not in general give any authori tics, and his dates
and names are in several cases doubtl'ul ; but bis unce-
dotes and particular dcscriptions may probably be de-
pended on. He says that Mons. Cartier had a. beautiful
bass-viol and an alto-\'iol of this makcr ; but the most
interesting iustrumcnt made ·by him was a violin of large
pattern, the only onc known, having his name ami the
date 1539; this date, however, must be wt·ong. The
tone was powerful and penetratin g; the head of a fool

HISTOR Y OF THE VlOLJN . 199
with cap and frill was carved ou the scroll. It belonged
to Mons. rvlerts, first violin solo of the Grand Theatr e at
Brussels. Mons. Raoul had a bass-viol of this maker,
distinguishcd for its bcauty and tone, whieh Fetis states
to be then in the possession of Mons. Vuillaume, and
tbat the back had a represent~tion of Paris in thc fifteenth
ecntur y; it was prohably therefore the same as the in-
strumc nt of Mons. Roqucfort bcforc mentioned, notwith-
standi ng thc t!iffcrcnec of date stated in the picture of
París. Thcre is a portra it of him in medallion, quarto
size, datcd 1562. He is represented with a long beard
and surrou nded with instruments, having a pair of com-
passes in one hand aud thc ueck of an instrument in the
other.
In "Lutho monog raphie ," it is stated, but wc know
not on what author ity, that Testat or (il Vecchio), a
maker at Milan, in the early part of this centur y, appears
to h ave bcen the first who diminished the size of the
viol, and gave thc name of violino to the new-fashioned
instrument. His instruments were like those of Gaspa r
di Salo, but the model rather more raised, and are now
very rarely met with.
The carliest violins of any considerable r epute, exeept
of course the early ones of the Amatis, are those by
Gaspa r di Salo, who worked at Bresci a fi·om about 1560
to 1610, ora little later, if we eould rely on Dr. Forste r,
who states he had one with this ticket, "Gasp ar di Salo,
Brescia, 1613." He describes it as ratber long, and
high built, with a bcautiful varnish, aud perhaps thc
prettie st sides ever seen, but it bad a new head and
neck; thc tone of tho first and second strings was lively,
bright, and piercing, a dry golden sound, as Dr. Forste r
calls it; tbe third striog sweetly soft and musical, and
the fourth round and very fine. Other writers have

200 HISTORY OF THE VIOLilS'.
stated that the workmanship of Di Salo's instrument s is

not higbly finishcd, but the tone full of vigour; the S S
holes straight, large, and well cut, and parallel, forming
o no distincti ve mar k of the school of' Brescia, which was
the cradle of the Italian school. He cmployed strong
wood, and uscd a deep brown varnish ; his instrument s
are scarce, and produce a good price. Dragonetti 's
instrument was by this maker, and after bis death was
returned to the convent from which it originally carne.
I n "Luthomo nogra.phie " there is a copy of a ticket with
thc date 1G52, which we conclude should be 1562. At
the Conversazione of the Musical Socicty of London on
the 29th January, 1862, at St. James's Hall, the ccle-
bratcd performcr, Ole Bull, exhibited a violin of this
maker with thc following dcscription : -
" Tbe celebrated 'Treasury Violin' of Inspruck, by
Gaspar di Salo, with Caryatides by Benvenuto Cellini,
sculptured by special command of Cardinal. Alclobran-
dini, and by him presented to the Muscum of Inspruck,
in the Tyrol. Aftcr the assault upon the said city by
the French in 1809, the museum was plundcrcd, and the
Yiolin carried to Vienna, where the Councillor Rhe-
hazek placed this uniquc gem in bis celebrated collection
of ancient musical instrument s, refusing to sell it at any
price. He left it by will to Ole Bull, in 1842. Up to
that period it had ncver bcen played upon; had no bar,
only a bridge of boxwood, sculptured and painted, and
a very short and inlaid finger-boar d."
As the instrumcnt was exhibited undcr glass no accu-
rate opinion can be given of it; it is smaller than any
other instrument which has been seen of this maker, and
the varnish less brown in hue than usual, being of a d ull
yellow colour, and meagre. Only the uppet· vibrating
plate or belly could be viewed, with the carved head,

HISTORY OF 'fHE VIOLI N. 201
which appcarcd wanting in thc usual cncrgy and expres-
sion of the grcat master whose work it is statcd to be.
Tbis makcr was particularly famous for his instruments
of thc viol class, and is statcd by sorne writers to have
becn the master of the el~er Amati, with whom, bow-
ever, he was contcmporary; and Giovanni Marc, del
Bussctto, who flourished at Crcmona from 1540 to 1580,
is said with more probability to havc hacl that houour.
The violins of the latter are of long shapc, the vanlting
clistinct, and tbo varnisb brown; the openings of the S S
boles large. One with the date of J570 is mcntioned
haring the back in two parts, the ramish a decp ycllow,
thc corncrs elongatcd, and tbe model bigh vaulted.
Jcao Paul Magini, with othe1·s of his family, will be
mentioned in the following century. There wcre two
othcr makers at Brescia towards the cnd of this century,
1580, Javictta Budiani and Mattco Dente, also Antonio
Marini or Mariani, at Pisaro, from 1570 to 1620. Bente's
instruments aro said to be sought for by collectors. In
the Furcteriana a maker of and performer on organs,
spinctts, viols, violins, &c. is named about the end of
this century, callcd Martín Chastclain of Warwick in
Flanders, who was born blind.
We havc now arrived at thc time of the celebrated
Amati family, of whom we will treat together in this
chapter, whether belonging to this ccntury or the fol-
lowing. Thcre is great difficulty not.withstanding, or
perhaps in consequence of the various u.ccounts of the
sevcral famil ies of distinguished violin makers, in making
out an authentic history of them; some uncertainty will
remain as to dates, though we have paid evcry attention
and used every means to insure as much accuracy as
possible. W e ha ve had inquirí es macle by a friend at
C1·emona, and have bcen able to procure but little addi-
o
•

tional information beyond wbat has already appcared in

print; and Mons. F etis appears to have made similar
inquiries with like want of success. T ho following is
the most accurate account we can gi ve of the Amati
family, which wc believe to be substantially correct. It
may be obsened herc, that the gcnuineness of tickets
cannot always be depended on, as sometimos thcse are
imitated, and a genuino ticket may also be found on a
spurious ínstrument . It would be a good speculation to
buy some of these instruments for what thcy are really
worth, and sell thcm for what their owners profess them
to be worth, like L aharpo-
" Si vous voudrcz fnirc bicntót,
Une fortunc immcnse autnnt que légitimc,
D vous faul nchctcr L~hnrpe ce qu'il ,·nut,
Et le \'Cndrc ce qn'il s'eslimc.''
Thc first maker of this name was Andreas, born at

Cremona about 1520; he madc as early as 1546, Fetis
mentioning a rebec, or violín with tbree strings, bearing
his name with this date. The Baron de Bagge had a
viola with bis namc and the date 1551. He made twenty-
four violins, tweh·e of large, and twelve of small pattcrn;
six violas, and eight basses for Charles IX. of France.
These, it is said, were kept in tbe Chapel Royal at Ver-
sailles, until October, 1790, when tbey disappeared ; but
M. Cartier recovered two of tbem many yeru·s afterwards.
Nothing, it is said, could surpass the beauty of the work-
manship, the ' 'arnisb being of golden ambcr colour,
rcflccting a reddish brown. On thc backs wcre painted
the arms of France, and other devices, with tbe motto
"Pietate et Justitia," not ver y appropriate for Charles IX.
Tho heacls were decorated with a sort of arabesque of
much taste. In the sale of the instruments of the late
Sir Wm. Curtís, on 3rd of May, 1827, Lot 0 was a violon-

HISl'OR Y OF THE VIOLIN . 203
ecUo by Andre as Amati, Cremonensis, facicbat 1572.
The auctioncer (Mr. Musgrave) statcd in the catalogue,
"A document was given to thc proprietor when he pur-
chased this instrum ent, stating that it was presentad by
Pope Pius V . to Charles IX., King of Franco, fo r bis
chapcl. It has been richly painted, the arms of Franco
being on thc back, and thc motlo 'Pieta te et J uslitia' on
the !iidcs. The tone of this violoncello is of extraor di-
nary powcr and richncss." This was evidently one of
the instt·umcnts madc for Charles IX. Mr. H olland er
sold it to Sir William Curtís ; it was put up at 500
guineas, and bought in at 280. Andre as Amati made
numerous instrum ents; bis violins were genera lly of
small and middle pattern , the moclcl raised towards the
centre, and of proper thickness, the varnish being a clear
brown ; the tone swect, but not powerful. The greater
numbe r of violoncellos of this maker that we have seen
have a dark recldish brown colourecl varnisb , witb a littlo
tinge of yellow, the wood of the lower pla.te ancl sidos
plain, and the work not so highly finished as tbose of
sorne of the later members of the family ; but it must not
be forgotten he was tho first of the na.me, and had not
arrivecl at the same perfection. The colour of the var-
nish may have been influenced by that of tbe old lutes,
as Mace states that was "dark-black-reddish colour,
though I believe it cou tributes nothin g at all to the
sound ; only the best authors clid use to lay on that
colow·, especially Laux Maller ." As he progressed in
his art, Andre as improvecl bis varnish, and made it more
transp arent, and of a reddish yellow colom·, with more
bocly, and much more grateful to thc eye. H e was joined
about 1568 by bis brother Nicolas, who worked till 1586,
Andreas, it is supposcd, having died about 1580. They
soon becom e distinguished by tbe skill of tbeir workm an-

1
204 HISTORY OF THE nOLlN.
ship and sweetness of tone. Nicolas was cclebrated for

bis basses, for whicb he used oil varnish, and the sound-
ing-boards had a. vcry inconsidera ble swelling . Thc
upper vibrating plata was thickest in tho centre near thc
bridge, and diminished about one-third to the S S holes,
and then gradually diminished towards the sides, wbere
the thickness did not exceed half of that in the centre.
The lower vibrating plato also diminished from thc
centre to the sides in tho same proportion, but w~ gene-
rally rather thicker than the upper plato. The first and
second strings wcrc brilliant and pure in tone, the third
rouncl and mellow, with power, but tbe fourth frequently
dry and feeble, arising from the instrument being too
narrow and short in proportion to the thickness. It may
in general be considercd as a distinction that the instru-
ments of the Amati family bave apure and sweet tone,
but not m u eh power;, those of the Stradiuariu s, a rich
and powerful to11e; those of the Guarncrius family, still
more volurne of tone; ancl those of the Steincr, a sharp
picrcing tone, partieularl y on the first string.
The next of the Amati family were Antonius and
Hicronymu s (or J erome), botb sons of Andreas, of wbom
Antonius, tbe elder, was boro about 1565. They made
at first together from 1589, but aftcrwards separated.
Antonius was superior to bis brother, antl made after his
father's pattcru ; his instrument s were swcet, but the
fourth string defective. The uppcr plate was ratber
thick in the centre, gradually diminishing towards thc
sides. The small violins of Antonius bave not been
surpassed for sweetness and mellowness, but the sound is
deficient in intensity, and be endeavour ed to counter-
balance the smallness of bis model and the lowness of
the ribs by the hcight and extension of tbe arch0s. He
is said to bave worked up to 1627, and to have died

RlSTORY OF THE VlOLtN. 205
about 1635. There were sorne instruments made for
Henry IV. with the names of the brothers, and Mons
Cartier had one of tbese, wbich are of the greatest rarity
and value, it was dated 1595. The model was of the
largest size, and the purfling of tortoise-shell, the oil
varnish of rich golden amber colour, which is one of the
characteristics of tlie Amatis. The back was decorated
with the arms of France and N avarre, surrounded by
• the insignia of the orders of Saint Michel and the Saint
Esprit abovc the crown of France, with many other
de vices.
Tbe instruments made when the brothers worked to-
gether were of handsome form, and richly varnishecl,
but gene1·ally small. The lower plate usually made of
finely figured maple, of a deep b1·ownish red colour, the
alternate stripes being of a rich o1·ange buff, the variation
of colour arising from the medullary rays crossing the
fibres of the wood. The upper plate made of fine
grained deal, and the scroll rich aml clegaot. The
quality of tone is much like that of the other instruments
of the family ; aod it may be observed in respect to
these, that t hey often do not appear strong when the
hearer is near to them, yet are heard with g reat distinct-
ness and effect at sorne distance. Dr. Forster says he
had a beautiful iustrument with a ticket, which he gives
thus, but tbe letter h in Anthonius seems to be an error:
" Anthonius et Hicronymus Ama ti, Cremonen, A ndrere,
fil. A. 1624." Tickets are found of many makers, with
a blank space for the last figure or two to be added when
attachcd to a u instrument ; likc the following, for in-
stance, from " L uthomonographie," "Antonius Hieroni-
mus Amati Cremonen, Anclrre filii, 16 . ." Hill mentions
the following ticket in an instrument fonnerly belonging
to Dragonetti: "Antonius & Hieronymus Ama ti, Cre-

206 ll!STORY OF THE VIOLI:~.
monen, Andreas fil: F. 1592." At tho sale of the instru-

ments of Sir Wm. Curtís there were two violoncellos
and a tenor by these makers. One of the violoncellos,
Lot 10, was stated by the auctioneer, in the catalogue,
to be "undoubte dly one of the most bcautiful and finely
toned instrument s cvor manufactu rad by these distin-
guished artists, and is, moreo,·er, in the highest state of
brilliant preservation." \Ve have never secn any instru-
ment with such brilliant and golden varnish. It can
only be compared with a new gold coin in which an alloy
of copper has beon used, and wbich imparts a depth of
colouring so diflcrcnt from the undefinod colour of this
coin in which silvor has been used as thc alloy. It was
put up at 150 guineas, and bought in for 135. The
Rev. Sir Frederick Gore Ouseley had in bis possession,
in 1859, a viola roade by these makers for the noble
family of Radetti at Venice, with their arms emblazoned
on the back ; it was purchased from them by General
Kyd, in 1793, and given by him subsequently to Sir
Frederick' s father , so that the pedigree is undoubted. It
was altered and reduced in size for General Kyd, in 1811,
by Dodd, of St. Martin's Lane. Tho printod ticket is,
" Antonius et Hieronymu:> Fr. Amati Crcmonen Andrere
fil. F. 1620." This instrument has beco reduced in size,
both at the foro and hind ends; it has also been made
narrower by cutting pieces out from thc joint lines tbe
whole length of tho upper and lower plates. The wood
of the lower plate is not cut the usual way with the
figure and grain prominent, but at right angles with the
medullary rays of the wood, whicb, CJ'ossing thc direction
of the fibres of tho wood, form what is known as thc
silver grain. I t is made of a species of maple (Acer
pseudo-pLatanus), and the sides are of the same wood,
and the grain is the right or usual way ; the head and

llJSTORY OF THE VIOLIN. 207
neck are also made of maple wood. The varnish is of
a brownish yellow tint, with a fine ycllow ground; the
vehicle must have been very thin, as there is little body
of colour, although it is rich, but age may have assisted
in this particular. It is now the property of Mr. Richard
Blagrove. Hieronymus Amati had two patterns, of
which the largest is considerad the best. The sides are
strong and well finished, and then tapering from the
hind-bout to the fore-bout, where the neck is attached,
thus giving a graceful appearance. The edges are ob-
tusc, and do not overlap m u eh; the upper platc is of fine
deal, of regular grain, and is raised gradually about an
inch from the sides to the centre ; the S S boles well cut,
but somewhat narrow, witb tbeir higher poiuts approach-
ing. T he lower plates made generally of one piece,
and, togethcr with the sides and neck, of beautiful maple,
tbe figure running from right to left somewhat sloping.
T he volute, or scroll, is handsome, and rounded with the
greatest care. The varnish is of yellow amber, with a
mixture of light brownish tinge. The purfling broad, as
is the case with most of the Italian instruments, giving
an appearance of the finest construction; while the
school of Cremona is knowu by having a particular hend
in the purfling, and that of Brescia by having a doublr
purfling. The tone of these instruments is fine, the
second string brilliant, the third full and round, the
fou rth powerful, but the first sometimes a little thin.
This Hie1·onymus Amati is said to bave died about 1638.
Hill states that our Queen has a fine viola of bis make.
There is a Joseph Amati mentioned at Bologna in the
beginning of the seventeenth century as one of the
family, who macle basses ancl violins possessing a silvery
tone, which are now very scarce ; he used tbe Amati
varnish.

208 lliSTORY OF THE VIOLI:-1'.
The most celehrated maker of this family was Nicolas

Amati, the son of Hieronymus, who was born in 1596,
and died in 1684; he was a pupil of bis father, and
followed the models of his family, but was more finished
and paiu greater attention to the proportions. He had
two pattems; his instruments of the earlicr form being
small, but handsome, with a sweet tone, and well calcu-
lated for quartetts and other chamber music. His in-
struments most sought after, howcver, are those of thc
large or grand pattern, which are powerful as well as
sweet in tone, and the violins equal to most of those of
Stradiuarius. The upper plate, which is generally made
of handsome deal, is flat towards the sidcs, but thcn rises
about an inch towards the centre. The lower plate,
whicb, with the sides a.nd neck, is made of beautifully
figured maplc, also rises towards the centre ; the sides
are well hollowed out, anu the edges rounded. The S S
holes are not far apart, but are not so straight as those
of the other Amatis. Tbe varnish is usually of a golden
hue, sometimes approaching to brown; the tone brilliant,
with considerable power on the first string, and round
and full on the third and fomth strings, but sometimes a
little nasal on thc second string, arising, i t is supposed,
from the elevation in the centre, and the diminution of
the thickness of the wood from the centre to the sides
being too grcat. His instruments are much sought
after, ancl val ueu at from SOl. to 200l. cach. F etis
mcntions a remarkably fine instrumcnt of bis make, with
thc date IGGS, in the collcction of Count de Salabue at
Milan, and another in the })Osscssion of Allard, the
violín playe1·, which was said lo be one of his best. Dr.
Forstcr, writing in 184!), statcs that Mr. 13ctts had one
of the finest Amatis, which was wort.h 2GOl., and another
of Andrew and Jerome, meaning probably Antonius

IUSTORY OF THE VIOLIN . 209
and Hieronymus, va.lued at nearly balf tbat sum ; they
had rich reddish yellow varnish. .H e gives tickets dated
1655, and 1661, and also the following, "Nicolaus
Amati, Cremonre, Hieronymus et Antonius Nepos, fecit
Anno 1664." Whether the eccentricity of the syntax
is due to thc inaccuracies in Dr. Forster's book, or is a
specimen of Nicolas's Latinity we cannot say. "Lutho-
monographic" describes shortly several Amati instru-
mcnts, and gives the following ticket, "Nicolaus Amati
Cremonen. Hieronomi filii Antonii Ncpos fecit : Anno
16 .. ;" sorne little inaccuracy apparently here.
In the "Day Book" of the second William Forster,
and the first who gavc cclebrity to the name, com-
mencing lst J anuary, 1700, and encling on 20th April,
1799, there is the following entry on tbe first fiy-leaf :-
"No. l. A Violonccllo by Nichlaus Amatius, 1669,
with Case and Bow, 17[. 17s.," meaning the price at
whicb it was to be sold; a very insignificant one indeed
compared to the present value. On the 5th July, 1804,
William Forster, the thircl of tbc namc, appears to have
sold an Amati violín to the Rev. Mr. Vinicombe for
311. lOs.
At thc sale of Sir William Curtis's collection, lot 3
was a violoncello by Nicolaus Amati fil. Hieronymi; it
was dcscribecl in the catalogue as made by Antaine and
J erome, but the mistake was corrected by the auctioneer o
at the time of the sale. Tbe instrument was pnt np at l 00
guineas, and was bought by Mr. Kramer for George IV.
for 70 guineas. Lot 8, was a violín by the same maker,
datccl 1647; it was statecl in the catalogue, "This is
justly considcred as one of the most beautiful ancl finest
instruments in THE W HOLE ·wORLD. It was put np at
150 guineas, and bought in at 185. Nicolas had two
sons, of whom the elcler, Hieronymus, born in 1649,

210 lliSTORY OF THE VIOLIN.
followed bis fathcr's art, but was inferior and made but
fcw instruments. " Luthomonographio" givos a ticket
whicb appears to be of this maker-" Hicronimus Amati
fecit Cremona?, 167 . ;" he may be consiuered the Jast
of the Amatis. Tho "13iografia Crcmoncsc," as we are
informed, speaks of a Jicolas Amati, and an Antaine
Jcrome Amati, sons of Andreas Amati, wbo flourished
from 1640 to 1670; but wc do not know the authority
of tbis work, anu there is apparently sorne confusion of
names and dates. Fctis also mentions a descenuant of
the family who, as recently as 1786, cngagcd as a woJ·k-
man with Mcssrs. Lupot at Orleans, and his violins werc
mucb admired; but he would not disclosc the natura of
bis varnish, saying it was a secret of thc family, and
lcft Orleans rathcr than divulgo it. It was not known
what became of him afterwards.

HTS1'0RY OF TJIE VlOLlN. 211
CHAPTER XVI.
•
N the seventeenth century we ha.ve a crowd

~~ L ~"-'Y of names of makers requiring more or less
notice, including Guarnerius and Stradi-
uarius. Sorne wíll demand nothing more
than a passing notice, and of others we know scarcely
anything but the name-he lived, worked, and died.
I n the early part of the century Claud Pierret, J aoques
Bocquay, Veron, Antoine Despons, and G uersan were
good makers at Paris, and we shall shortly refcr to sorne
othcr French makers. The instruments of D espons were
said to be hcld in estcem, and to be rare ; and in Britton's
sale there is a violín by "Claud Pieray of París as good
as a Crcmona." Guersan was a pupil and the successor
of Bocquay ; his violins were of small pattern, and fin el y
madc, but are scarce. They had fine oil varnish, and
sorne weresaid even to equal those of Andreas and Anto-
uius Amati. " L uthomonographie" describes oue instru-
ment having the lower plate in two par ts, and the varnish
a deep yellow ; also another, a viola of middle size, with
the lower plate in two parts, and the varnish brownisL
red. W e have a ticket of a maker callcd Valler, at
Marseilles, in 1683. Giovanni Paolo Maggini, born at
Brescia, was a celebrated maker from 1590 to about 1640,
and is said to have becn the best pupil of Gaspar di
Salo. His instruments are rare, and much esteemed .

212 HlSTORY OF THE VIOLIN.
His pattern is generally large, though he made sorne of

a smaller form. The model is somewhat elevatcd, while
the lower plate is fiattened towards the extremities, but
swelling towards the sides, which are large, with thc
curves lessened towards the corners. There is a double
purfling, terminating sometimes at the top and bottom
like a trefoi!. They have generally spirit varnish of a
fine golden colour, but somctimes of a dcep brown. Thc
tone is less mellow than the instruments of the Stradiu-
arius family, and less powerful than those of the Guar-
nerius, havil1g more analogy with the tone of the viol.
His ticket was thus, "Gio: Paolo Maggini in Brescia."
De Beriot, celebrated for his fine and powerful tone, of
which thc younger Cervetto told one of the writers of this
work he had not heard the like sincc the davs •
of Giar-
dini, brougbt the instl'Uments of this maker into notice
in England by playing on a very fine one. Mr. Gcorge
A. Osborne, the eminent pianist and composer, and, from
bis finished musical taste and skill, a most competeut
judge, who has written, also, many pieces in conjunction
with De Beriot, says that the tone of this particulat·
iustrument was equal to any he had ever heard. Mag-
gini left a son called Pietro Santo Maggini, who worked
from 1630 to 1680, imitating his father's models, and
was particularly notcd for his double-basses. There
were sevcra.l makers of the family of Ruggc.ri, bu! it is
difficult to state tbeir arder of succession, or cven their
numbers accurately. The eldest appears to have been
Francesco, who worked at Crcmona from 1640 to J 684,
or later; therc being tickets mcntioned of the latter date.
He was a pupil of Antonius Amati, and followed his
principies of construction. He made sorne good instru-
ments; his moclc! was large, tbe wood thick, the purfling
broad, with deep brown varnish. He was known by the

lliSTO ll\' OF 1'11E VJOL IN. 213
name of Il pcr, as in the_following ticket, for instance,

from "Lut hom onog raph ie," "Fra nces co Ruge1·, detto il
per in Crcm ona dcll anuo 1645 ." This "det to il per,''
prob ably only mean s "com monl y know n as the fathe r."
He hacl a son calle d Giacinto Giov anni Datis ta Rugg eri,
who appa rentl y worked in thc lattc r part of this centu ry at
Bres cia, but therc is difficulty in asccr taini ng his dates ;
he was callecl 11 buono. His ticke t is "Gia cinto filio di
Fran cesco Rugg ero dctto il Pet· 1696." T here was a
P ictro Giacomo Rugg cri, who worked at Brescia from
1700 to 1720, and migh t ha ve been his son. The ac-
complisbed perfo rmer Piatt i has a fine violoncello of bis
make, with the following label, "Pet rus Jacob us Rug-
geriu s de Nicolaij Ama ti Cremonensis fecit Brixire 1717 ."
A Vinc ent Rugg eri at Crcm ona from 1700 to 1730 is
ment ioned , but littlc is known of him.
Of tbe Gran cino family, tho first were Giov anni and
P aolo, who work ed at Mila n durin g grea t part of the
scvcn teent h centu ry; Paolo, it is said, had two sons,
Giov anni and Giov anni Bapt ista, wbo worked till the
early part of the eighteenth ccntu ry at the same place ;
tbe former made good instr umen ts after tbc plan of
G aspa r di Salo, but thc shapc was not very good, and
tbe wood not handsome ; he left a son named Fran cesco ,
who worked up to the middle of the eight eentb centu ry.
A very fine instr umen t of onc of the Giov annis was
brou ght over from Italy , abou t cighty ycars since, by Mr.
\ Vatcrhouse, page to the D uke of Cum berland, broth er
to George III; it afterwards became the prop crty of
Mr. Lind ley, who playe d on it at the Italian Oper a, and
it.s fin e tellin g tone indu ced Mr. Farsy dc to purchase it.
In 1837 be sold it to Mr. Thom as Mast crman, of Essex.
Thc tone was vcry fine and powerful ; the varn ish of a
ligbt yellow colour, mcllowed by time to a sligb t reddi sh

214 HIS1'0RY OF 1'HE YIOLIN.
brown. The wood of the lowcr víbrating plate, sidos,

and head, remarkably plain ; but the wood of the upper
vibrating plato ex.ceedíngly fine.
The only Albaní of much reputation is Mathias, who
was born at Botzen, or Bulsani in the Tyrol, about 1621 ;
Io'ctis calls him a pupil of Steinm·, whilo in " Lutho-
monograph ie" it is stated that he was a pupil of Nicolas
Amati, and the first instructor of Steiner; but from the
precocious talent of Steiner the probability is that he
was the teacher, if either, or they may both ha. ve worked
together under the A matis, though their violins do not
partake of the outline or model of that famíly. Mathids
made sorne fine instruments of rather high model, the
varnish being of redclish brown; the first string gene-
rally rather brilliant but clry, the second powerful, and
the third and fourth nasal. " Luthomon ographie" de-
scribes one, having tho lower plato in two parts, made of
fine woocl, with rccldish varnisb, and ornamcntecl with
ivory and ebony; the dato given is 1712, but this may
have been one of bis son's, of the samo name, who was
a goocl maker, and may have been the maker also of two
violins tha.t belongcd to Francesco Albínoní, of :\lilan,
with the respectivo dates of 170!2 and 1709. Gerbert
mentions an instrument of Mathia.s wíth the date of
1654; Hill gi ves a ticket with the same date, which
appears to be the same as that given by Hawkins; we
have the following tíeket--" MathiasAli.JaniFecit Bulsani
Tyrol 1651." Dr. Forster mentions a violín of Signot·
Albaní at Palerroo, 1659; this may be tbc saroe as Paul
Albaní, named by "Luthomonogra.pbie," of Cremo na,
in 1050, a pupil and imitator of the Amatis, but inferior.
W e have before rcferred to a son of Mathias, and a
Michel Albani is mcntioned at Greece of a later date,
whose instruments are of no repute.

UISTORY OF TltE VIOLIN. 215
In "Luthomonogra pbie " a ticket is given of Carlo
Giuscppc Tcstore, sbowing tbat he workcd at Crcmona,
"Cario Tcstore me fecit Cremona del Auno 16 .. "
H e made good violins, after tbe Amati pattern, and tbe
small doublc-bass played on by B ottcsini, with such
extraonlinary execution, is of bis makc; Dr. F orster
mentions thrce makers of the name, calling them the
founders of tbe Milanese school.
Giaocbino, or Giofreda Cappa, a pupil of the Amatis,
was boro at Cremona 1590, established himself in Pied-
mont lG40, and founded the school at Saluzzo. His
·violonccllos wcrc bis best instruments; be had two pupils,
Acevo and Sapino, whose instruments were formerly
esteemed. T here was also a Giuseppe Cappa at Saluzzo,
at the end of the ceutury. J ean P aul Castagnery was a
maker at P aris fi·om about 1639 to 1662 ; bis violins
werc cstcemed for their silvery tone, but had not much
powcr. About the same time St. Paul and Salomon, a
pupil of Bocquay, were good makers at Paris; the latter
made bis instruments after the pattem of Guersan, and
bis bass-viols are said to have been good. Medard, who
is supposed to bave been a pupil of the Amatis, was
afterwards, it is said, at P arís, and subsequently at
Nancy, bccame the founder of tbe scbool of Lorraine in
tbe early part of this century; be took the small pattern
of the Amatis for bis model, and bis instruments, which
wcre silvery and mellow, though not powcrful, were
sometimos mistaken for theirs. A ticket that we have
seen in a violoncello belonging to Lord Stafford, is
" H cnry Mcdart a Nancy 1627." L agetto was another
Parisian maker, a little later; bis instrumcnts wcre also
after tho Amati pattern, with spirit varnish. Sympertus
Niggcl is anothct· name mentioned. Joachim Tielke
was a celebrated maker at H amburg, in the latter part

216 HISTOR Y OF THE VJOLIN .
of this century , and the beginn iug of the next, and his
instrum ents are still csteemed in Germa ny; he was the
maker of tbe baryto ne of the date of 1687, exhibited to
the Society of Antiquaries, as before mentioned, and as
a viol d'amou r at one of the Conversaziones of the
Musical Society of Londo n. Martín Hoffman was a
good Germa n maker about the same time, and bis in-
strumcnts are still in reques t; but from thcir size, the
forro of the sound boles, thc sharp corncrs, and weak
edges, have an ungraceful appear ance. He died at
Leipsi c in 1725, lcaving two sons, of whom the eldest,
J ean Chreti én, was more distinguisbed for bis lutes, and
tbe young er for bis violins and bass viols. Other good
German mak ers of this centur y were Hans Fichtold,
about 1612, whose instruments aro praised by Baron, in
his " Trcati se on the Lute." Philip Mohr, at Hambu rg,
about 1650; Johan Scborn, at lnspru ck, about 1688;
Cornelis Weynman, Amstcrdam, about 1682; J ohan
A ndrcas Kambl, about 1635; Christ ian Roth, Augsb urg,
1675; Nicolaus Diehl, at Darms tadt; Wolfgang Vogel,
at N uremberg, and Martin Schott, at Prague , whose
best instruments wcre his lutes and theorbas. Dr. Forste r
mentions a violín in bis possession that came from Gotha,
of whicb, in the prescn t pogonoferous age, it might be
useful to get the model ; it bad an append age that could
be attache d to it for the p urpose of receiving tbe board
of tho perform er.
Antonio Maria Lausa was an imitato r of the school
of Brcscia, in the latter part of tbe centur y ; bis instru-
ments were n ot easily distinguished from the models be
followed, but the tone was inferior. Other makers nt
Cremo na were P aul Gerans, about 1614 ; T runco, l 660;
and Giuliani, 1660, a pupil of Nicolas A mati, and dis-
tinguished principally for bis good copies. A t Milan,

Antonio Maria Lacasso, and Sanza Santino; but there is
sorne doubt whether this Lacasso is not the same as
Lausa just mentioncd. At Verona werc Jean Baptiste
Sanoni, and Bartolomeo ObLte. At Trcvisa, Pictro An-
tonio della Caesto, saicl to have been a clcvcr imitator of
Stradi uarius, and Alcxaudre Mczzadi, and Dominiscelli at
Forrara, in the latter part of the century. There were
at Rome Franccsco Juliano, Jerome Teoditi, and David
Techler, a German, a pupil of Steiner, and a maker of
considerable merit. He was first established at Salzburg,
and went afterwarus to V en ice, where he caused so much
jealousy among the othcr makers that at length tbey
threatened bim with assassination unlcss be left the place
immcdiately. He vcry prudently took this strong hint,
and went to Rome, where, whether becausc the skill of
bis fellow-workmen was greater, and thcrefore not so
much injured by bim, or tbeir jealousy less, he was
allowcd to remain in peacc, and ended his days there.
The following is givcn ns a ticket: "David Tecbler
Liutaro Fecit Rom re Auno 1706." His violonccllos were
very large, and of powcrful tone. A fine one was pur-
chascd by Capt. Robins, R. N., after the pcace of 1815,
for 5t., which he aftcrwards sold to Mr. Lindley, who
was mucb pleased with it, and used to play on it after it
had bccn somewhat reduccd for modero play. I t is now
in the possession of Hemy Mann, Esq., of Cleckheaton,
Yorkshire. At Modena, Antonio Cassino was a maker.
At Bologna, Florinus Florentus, and Michael Angelo
Garana, wbose instrumcnt s bad a sweet tone, but were
uncertain. Fran«(ois Gobetti, P ietro Vimercati, and
Paul Farinato, wcrc at V en ice, and it may be presumed,
tbcrefore, among the principal persecutors of Techler;
Vimorcati is said to have made instrument s after the
style of the school of Brescia, but without the tone of
l'

Gaspar di Salo, or Maggini. Laux Maller is mentioned

by Mace as the most esteemed maker of lutes, and is
supposed to have been of Venicc. Mace says he has
seen two of his lutes (" pittifull old, Batter'd, crack'd
Things") valued at lOOl. a piece. He probably, also,
made violins, and other instruments of that class. At
Marseilles there was Valler, 1683, ancl atMantua Racceris,
1670, said to havc been in partnership with one of the
Gaglianos. Egidius seems to have been the best maker
of the Klotz family, working in the latter part of the
century, from 1675, ancl generally putting his own name
to bis instruments ; he was particular in using good wood,
and his instruments are well made, and have a finer and
fuller tone than any other of the Tyrolese make; they
have amber varnish. He was a pupil of Jacob Steiuer,
and imitated him. After Steiner's reason became affected,
Egidius Klotz, or his sons (for tbis seems a little cloubtful)
ancl Techler, worked in his shop, a.nd placed Steiner's
tickets in the instruments then made. George, Sebas-
tian, and J oseph, are named as his sons, and J oseph's
instruments are considered superior to bis father's. We
bave the following ticket of George : " Georg Klotz in
Mittenwald an der !ser 1761 ; " also one of Joseph, but,
from tbe date, he wo uld seem to be more probably a
grandson tban a son of the original Klotz, " J oseph Klotz
in M ittenwald an der !ser. An. 1774." There was also a
lVIiclmel Klotz, whose ticket we have, dated 1771. Parke,
in his "l\'Iusical Memoirs," says that Mr. Hay, formerly
an excellent leader of the King's band, hacl a celebrated
Klotz instrument, with a.sweet and powcrful tone, for which
a noble lord offered him 300l. and an annuity of 100/.
(the price seems incrcdible). Hay, having an incle-
penuence, declined the offer, ancl on thc sale of his effects
aftcr his death the instrument was sold for 40t. only.

HISTO RY OF 1'liE VIOL IN. 219
A manufactory of spurious instr umen ts seems to havo
been establishcd in the Blac k l ?orest, where instruments
of all the grea t mastet·s were p1·ovided, j ust as choice
picturcs of tbc most renowned ancie nt paint ers can now,
it is said, be provided to orde r; and, as it is wbis pered
also, that instruments of any of thc old makers may yet
be found by thc curious in tbese mattm·s, wbo have suffi-
cicnt confidencc, and bclievc somewbat in the lines of
Hud ibra s-
" Doubtlcss thc plensuro is RS grcnt,
Of bcing cbcnicd M to cbcnt."
In the eightcenth contury thcse imitations wcre nu-
merous, and were gene rally called !Vlidwalders. Tbey
were sometimos oddly sbaped, and bad a dark brown
and ugly varnish, occasionally it was too red and brigh t
to be taken for old vami sh. The genuino violins of the
grea t masters may be readily distinguisbed by any
person of tolerable experience, by their superior work-
mans hip and forro, and by their mellow and sweet tones.
Sorne instrumcnts bave been improved in consequence
of an accidental fracture, when after the repair, if skil-
fully done, thc tone of a dull or stiff instr umen t has bccn
benefittcd. Dr. Fors ter mentions onc that was trod
upon and crushed by Signora Columba, and was so im-
provcd after the accidcnt that it bore the motto, " a
vulnere pulch rior." \ Ve cannot, bowever, recommend
tbe experiment, for in one instance certainly of decided
fracture that has como beforc ow· noticc, the improve-
men t was very problematical.
Tho celebratcd Jaco b Steinor was born at Absom, a
village of thc Tyro l near Inspr uck, about 1620. He
was intended for the church, but would not apply to the
ncccssary studies, bis mind being set on thc manufacture
of violins; and wbilo yct almost a child he made sorne
. )
V
,~

of a rude form, after the model of an old instrument of

Kerlin he found in thc house. His parcnts at last
yielded to his wishes, and he ultimately wont to study
under the Amatis at Cremona, where, aftor sorne ycars
practico, he acquired skill ncarly equal to his distin-
guished masters, or in beautiful finish perhaps excelled
them, and began to work on bis own account. The in-
struments made at this period of bis life are sorne of his
bcst, and also the rarcst to be met with. Thcy have a
written ticket, dated n·om Cremona, and signcd by him-
self. The model is higher than that of the Amatis, thc
sound boles rather smaller, and the scroll less prolonged,
and wider in the forepart: the wood broad veined, and
tho varnish like that of his teachers. The finest instru-
ments of this period are about 1644. He now married
the daughter of Antonius Amati, and established himself
at Absom; whcn, bcing compeHed to work to maintain
his farnily, he attendcd more to expeditious workmanship
in order to prevido for tbeir immediatc wants, than to
working for fame, and his instrumonts of this period are
inferior to those of bis first period ; he rarcly got more
than six floríns for his Yiolins, and had to carry them
out himself. His varnish of thís time was of a dark
reddish colour and opaque. After a time the merits of
his instruments becamo known, and as he could then get
better prices, he again made them with caro, and engaged
pupíls and assistants, and among them his brothcr Mar-
cus, the brothers Klotz and Albaní, and founded a school.
Sorne of bis instrumonts of this period, made for persons
of rank, bave tbe scrolls ornamented with hcads of lions
and tigers, ancl othor animals, adoptccl frcquently from
the arms or crests of his patrons. The instruments of
this second period are gcnerally datcd from 1650 to
1667 at Absom, but Hawkins gives a ticket of tbrec

years' earlior date, "Jacobus Stoinor in Absom, pro pe
CEnipontum 1647." The wood uscd by him at this
time is general! y of a fine grain; he took tho best deal
of Switzcrland for tho upper, and the fincst maple for
the lowor plate, sidos, and neck ; bis varnish was of
mahogany colour now cmbrowned by time. Mons. Alard,
at París, is said to have had a violín of this period of the
greate st bcauty ; aod the excellcot player Sivori also
had a very fine iostrumoot. Mozar t used to play on an
instrum cnt of bis make; and at tbe Salzbu rg Mozar t
Festival, in September 1856, tbis with the name and date,
Jacobu s Stcincr, Absom, 1659, and anotbe r small ono
by Andre a Ferdin and Maier, Salzburg, 1746, oo which
Mozar t first learncd to play, wcre produced for sale,
baviog at bis death come into tbe posscssion of bis
sister. In " Lutho monog raphie " there is the following
ticket of this period, "Jacob us Stciner in Absom prope
CEnipontum, 1663." After tbe dcath of bis wife, he
retired to a convent of Beoedictincs, where, according to
Fetis, be passed the remainder of bis life; but "Luth o-
monog raphie " states that towards the end of it be lost
bis reason, cither from a violent attachm ent formed for
Clara Vime•·cati, (he being theo approaching the age of
threescorc years and ten,) or from mortification in con-
sequence of having sold bis instrum ents at too low a
price- two very diffcrcnt reasons ; but at that age we
might match Plutus against Cupid. There is no doubt,
however, that he did retire to a convent, and thcn
wisbiog to distinguish himself, obtained, throug h thc
influence of the superior, sorne wood of rarc quality, of
a close and regula r figure, from which he made sixteen
violios of a perfect model. He sent one to each of the
twelve Electo rs, and the remaining four to the Emper or ;
and these are known as Steine r Electo rs. The tone is
•
pure and silvery, the form elega.nt, a.nd the details most
híghly finished; the purfling a litUo removed from the
cdge and finely inlaid ; the varnisb of a transparent
golden amber colour. Fetis says that only three instru-
ments of this third period of Steiner are known to exíst;
namely, one given by the Empress Maria Theresa to
the violinist Kennis, at Liege ; another bought in 1771,
for 3500 florins, by the Duke of Orleans, the grandfathcr
of King Louis-Philippe, who, when he gave up playíng
himself, presented it to Navoigille the younger; a.nd, in
1817, the instrument passed into the hands of Mons.
Cartier ; the third was in the ca.binet of Frederic Wil-
lia.m II. of Prussia. A curious history has been told us
of a Steiner violín, for whích many years ago the father
of General Margan Neville, of Cincinnati, (the General
himself having told our informant, Mr. James Forster,
and the father having been aide-de-camp to General
Lafayette in the revolutionary war,) gave J500 acres
of land, worth at that time a dallar per acre- a pretty
large price even at that rate, though a much higher one
than this has been given for a Stradiuarius violín. But
what as to the value of these "dirty acres" now, when
we understand that a lat·ge part of the city of Pittsburgh
has been built on them! No marvellous reward given to
a Roman professor on the flute, or to a marvel on the
tight-rope, or fiying trapeze will equal this. Sir F.
M'Clintock, in bis "Voyage of the Fox," relates an
anecdote of an Esquímaux who gave a large quantity of
whalebone for a fiddle to which he had ta.ken a fancy;
the fortunate seller afterwards disposed of this whale-
bone for upwards of a hundred pounds. Otto, in his
work " On the Construction of the Violín," makes ob-
servations to the following effect, respcctíng the Steiner
instruments. Thc upper plate is modelled hígher than

UISTOR Y OF THE VIOLIN . 223
the lower one ; the highcst part of the model under the
bridge oxtcnds oxactly one-half of tho inst.rum ent towards
the lowor broad part, and thon diminishes towards the
end edge, and it decrcases in like manne r at the upper
broad part towards tbe ncck. Thc brcadt h of t.his model
is uníform ly the same as tbat of the bridge , from which
it diminishes towards the side edge. The edges are very
strong and round ; thc purfling somcwhat nearet· to tbc
ed<res
o than in the Crcmonese instruments, an<l also nar-
. .
rower. 'fhc S S holcs are beautifully cut, and some-
what shortc r than thc Cremonesc, with thc upper and
under turns perfect ly circula r. The neck is particu lar! y
handsomc, aud the scroll as round and smooth as if it
had been turned. In sorne thc scrcw-box is varnished
dark brown , and tho upper plato dcep yellow. 'fhese
instrum ents are rarely to be found with any labels inside,
and they are simply written. In the Tyrolesc imitati ons
of Stciner they are ¡)rinted, and in tbe genuin e Cre-
monese instrum ents thoy are also printed . 'fho genera l
cl1aracter of the Steine r instrum ents is free, somewhat
piercing, and sparkli ng, especially on the first string,
having a fiut~-1ike quality . Somo instrum ents of Klotz
havo occasionally bcen confounded with those of Steine r;
but the varnish of Klotz is of a dark basis, with a tinge
of yellow, while that of Steine r is of a red mahog any
colour cmbrowned by time, bcsides tbe superio rity of
tone. Tho date of Steine r's death is unknown.
Marcus Steiner, who workcd at Inspru ck, is called by
" Lutbom onogra phie" the son of J acob; but we ha ve seen
that he had a brothc r of that name who workcd with
him. Ilis instrum euts were ·good, but inferio r to thosc
of his namcs ake.

CHAPTE R XVII.
E now a.rrive at the time of Antonius Stra-

diuarius, who is generally considcred the
greatcst maker that ever lived; and wish
we could introduce him to tbe swect music
of one of bis own quart~tt of instruments, such as we at
no distant period hcard when in the charge of one of the
writers of this work.
Antoine Stradiuarius was descended from an old
family at Cremona, and was oorn thero about the year
1644, as there is an instrument of bis in existence having
a ticket written by him with tbe date 1736, stating his
age, ninety-two. He was a pupil of Nicolas Amati, and
made after bis modo!, until about tbe year 1690; from
the year 1670, however, he placed bis own name in bis
instruments, having for the three previous years placed
that of bis master. "Luthomo nographio " describes an
instrumcnt of the date of 1681, of a long forro, with the
back in two parts, made of fine wood, and tbe varnish
brown, bordering on red. In the year 1690 he altered
his style, and the propor tions of his instrumen ts; bis
model was larger, and thc forro of bis arching somewhat
flatter, the gradation of the tbickness of the vibrating
plates more strictly rcgulated, and the choice of wood
carefully attended to; but he still retaincd sorne simi-
larity to the workm::mship of his master. His best

instruments were made from about 1700 to 1725, and
then approacheu uearest to perfection. The wood united
beauty with great capability for conducting sound, and •
bis model was uesigned with taste and skill that have
never bcen exceedcd. The thickness was greatest to-
wards the centre, in order more fully to support the
pressure of the bridge under the tension of tbe strings,
and gradually decreased towards tbe sides, to give all
the necessary vibration. The S S boles were formed
with great taste, and the scroll finely carved ; tbe
varnish of a beautiful warm reddish or yellowish colour,
of whicb the secret appears to be lost. The lower plate,
sides, and neck, were made of beautifully figured maple,
the corners not too salient, and the purfling well inlaid.
The four strings are generally of equal beauty of tone
which cannot be surpassed. Tbe details of the interior
of the instrument are equally attended to with those of
the exterior, all being the result of study and scientific
calculation, and in harmonious proportion.
After 1725 his instruments are said to have ratber
fallen off in workmanship, he was now an aged roan ;
tbe arching became a little more raised, and the varnish
of a browner hue, the tone also less brilliant. Probably
he worked less himself, out gave directions to bis as-
sistants, among whom were bis sons Homobono and
Francesco, wbo wcre inferior to bim, and Charles Ber-
gonzo is also said to have worked with bim. Severa!
unfinisbed instruments were left at the time of bis death
which were comp).eted by bis sons, who placed bis ticket
in them, thus causing sorne doubt as to tl1e entire au-
thenticity of the instrumeuts towards the close of bis life.
He died at Cremona in D ecember 1737, flaving attained
the great age of ninety-three. H e bad tbree sons and
one ooughter, Catherine, who died at tbe age of seventy,

226 HIS'l'ORY OF THE VIOLIN.
in 1748. Two of thc sons, as before-mentioned, worked

•
with their father, of whom Homobono died in June 1742,
and Francesco in May 1743. The unusual duration of
bis lifc will account for the great number of instruments
reportee! to have been made by bim; but though tbere
are many that hear his tickets, genuine spccimens are
scarce, and it is to be feared that instruments are sorne-
times put for ward witb great pretence, of which the
authenticity may well be doubted, the proprietors not
having the prudence of La Monnoye, in bis epitaph on
" Louis Bai·bier Abbé de la Riviere," who, in 1670, left
100 crowns for one-
" Ci-git un tre¡¡-grand personnñge,
Qui fut d'un illustro lignngc,
Qui posseda mille vcrtus,
Qui nc trompn jnmnis, qui fut toujours fort snge,
Je u' en dirni pas davaritage;
C'cst trop mentir pour ccnt escus."
Antoine Stradiuarius is described as having been tall
and thin, and he was in easy circumstances, bis usual
price for a violín having been four louis d'or, for wbich
now probably from lOOl. to 200l. would be given, while
violoncellos would much exceed this price; we shall
refer to sorne particular instruments directly. The foll01r.-
ing ticket is given in " Luthomonographie "-" Antonius
Straduarius Cremona faciebat anno 16 . . ." In the
same work there is an account of a violín dated 1702,
purchased of the family of Stradiuarius in 1790 by Giov.
Gagliano; it had never been varnished, but was acknow-
ledged by Paganini in 1820 as a genuine instrument.
Prince Y oussoupow bought it in 1854, and added it to
the celebrated collection of instrumcnts in bis palace at
St. Peter sburgh. It is prohably this instrument that is
described in the same work as of grand pattern, with th~
hack in two parts, the body, sides, and neck, of wood

HISTOR Y OF THE VJOLl N. 227
much vcincd, with rcddish varnish approaching to
ycllow. A violoncello is also mcntioned of middli ng
size, with tbe back in two parts, thc wood fine, and the
varnish red, vergin g on brown ; tbe violoncello of Count
Wielicborsky is said to be known to all thc musical
world. Mons. Servais, the celebra ted perform er at
Brusscls, had a violonccllo of large pattern of extrao r-
dinary powet·, witb a sih•ery mcllowness of tone. We
may here obser ve, that in stating certain celebrated in-
stl'Uments to be in tho pos~ession of particu lar persons,
changes may occasionally have takcn place since our
notes rcspccting thc ownership were origina lly made, so
that our rcmark s may be considercd to apply to the
presen t or compa rativel y recent ownership. Mons.
Franchomme, the skilful violoncemst, had an inst.-ument
of the smalle r pattem tbat formerly belonged to Dupor t,
and of thc greate st value, 500l., it is said, having been
asked for it. A very fine violonccllo was brough t over
by the Earl of Pembrokc in the last centw·y, and by him
given to Sperat i, then one of the principal perform ers of
the day; it became afterw ards the proper ty of Mr.
Morse, aud at the sale of bis musical property, in June
18 16, was purcha sed by the third William Forste r for
Mr. Ccrvetto, jun., at the price of 105t. After bis death
it was purcha sed by the distinguished musician, Mr.
Lucas fot· 200l. and ultimately bccame the proper ty of
Mr. Charle s Finch of Staines. A curious circumstance
may here be mentionecl, which was related by the
younge r Cervet to hitnself to one of the writers of tbis
work. The elder Cervotto, before he entered thc musical
profession, had bcen an Italian merch ant, and had dealt
with Stradiu arius himscl f in musical instruments, and
brough t sorne of his makc over to Euglan d; but as he
could uot obtain as much as.five pounds for a violonc!!llo,

228 lUSTOllY OF THE VIOLIN.
they were taken back as a had spcculation. At the sale

of Sir Wm. Curtis's instruments, lot 7, was a violoncello
of the date 1684, said to ha re been madc by Stradiua-
rius for a Corfiote nobleman, and depositcd by him in a
chest with cotton, and there left for at lcast a century ;
it was put up at 200 guineas and bought in for 235.
Mara, the husband of the gifted Madame Mara, was a
good player, but a drunken fellow, and behavcd ill to
bis wife. He brought over a fine instrument of this
maker, the tone of which was everything that could be
desired, especially that of the first string, it was musical
and rich, with much power; the figure or mottle of thc
wood was extremely beautiful. It is believed that Mr.
Crossdill purchased this instrument from Mara, and that
he sold it in thc begiuning of the present century to
General Bosville, afterwards Lord Macdonald. His son
disposed of it to Mr. Lucas, who played on it for sorne
time at the Italian Opera, where he succeeded Lindley
as principal violoncellist, and subsequently partcd with
it to Mr. John Whitmore Isaac, of Worcester. Before
parting with Mara we will relate a couple of anecdotes
of tbe effects of his temper and pride, for though he
frequently ill-used his wifc, yet he was proud of her
talent, and would at times become enthusiastic in this
respect. W e will begin with the result of a drunken
bout. When the Maras were at Berlín, Frederic the
Great heard tbat Madame Mara •had been unable to
sing before him, in conscquence of a severe beating her
husband bad given her, amongst other effects of which
was a discoloured, or what schoolboys would call a
black eye. The enraged monarch sent for tbe culprit,
and after giving him a severe reprimand, told him as he
was so fond of bcating he should be inclulgcd in bis
propensity, and accordingly sent bim away to act as

HISTORY OF THE VIOLJN. 229
drummet· in one ofhis regiments for a month; a different
version, however, says that this punisbment was for
attemptiug to leave Prussia without permission. The
other story refers to one of bis fits of entbusiasm ; being
once on a visit to tbe Earl of Exeter, at Burleigh, the
capricious lady complained to her husband, that she did
not like his lordship's claret, on which Mara sent to
Stamford for a chaise and four, and proceeded to Lon-
don, returning the following day with a case of claret
from tbeir own cellar. It is not stated how long their
visit was afterwards allowed to continue. To r eturn to
the instruments, the late Mr. Frederick Perkins had a
fine instrument of this maker, possessing a pure tone of
first-rate quality; it had formcrly belongecl to Bocche-
ríni, and is now the property of Mr. Robert Garnett, of
Sutton Coldfield.
A tenor of Stradiuarius was in the sale of Sir Wm.
Curtís, lot 6, which the auctíoneer stated to be one of
the most valuable specimens of the maker, and not to be
surpassed ; it was put up at 150 guineas, hut no offer
was made for it. Gardiner says that Mr. Wm. Cbam-
pion gave 300 guineas for a violín and tenor of this
make in one case, of a beautiful yellow colour, inclining
to 01·ange. The violins of Stradiuarius ha ve been valued
and sold for most extravagant prices, from 200 guineas
upwards; the late Mr. Betts had one for which it is
stated the sum of 500l. was r efused. Fctis mentions one
in the possession of Mons. Vuillaume possessing united
power and sweetness, a model of exterior beauty and
perfection of tone, made in 1716, but rardy played on.
A remarkably fino one is said to be in the collection of
tbe Grand Duke of Tuscany, und two magnificent
specimens in tbe possession of Count San Grado, at
Venice. The highest price ever given for a violin, was

230 IIIS'l'ORY OF THE VIOLIN.
for one by this maker, unless we choose to tal<e the

present valuc of the la.nd given as before mentioned for
a Steiner instrument. The violín to which we refer was
sold in 1856, for literally more than its weight in gold,
as on weighing the violín it appeared that the pricc
given was at the rate of nearly 40l. an ounce. At the
sale of Mr. Goding's instruments, in February 1857,
Mons. Vuillaume gave 212l. for a tenor by this maker,
for which it is said Mr. Goding had given 4001. to Mr.
Hart; it was one of a quartett of Stradiuarius i nstru-
ments, formerly belonging to Lord Macdonald. Dra-
gonetti had a celebrated Stradiuarius double-bass, for
which it is said that a well-known amateur olfered 800
guineas, but 1000 were required. Stradiuarius also
made viols and quintons, guitars, lutes, and mandoras.
lt really woulcl almost appear that the possession of
one of thcse splendicl iustruments woulcl make a person,
in spite of nature and of the s tars, to ficldle ancl discourse
s'veet music. L et it be remembered, however, that great
mechanical skill is not tbe only requisite for fine playing;
incleccl, such skill may exist with scarcely any real
musical feeling. Hear some of our most distinguished
performers, observe the clelicacy of taste and expression,
joined to the most finished execution, where tbe sense of
difficulty is overcome by the impression of the beauty of
the performance. Not so with mere digital dexterity,
wl1ere a considerable degree of facility has been obtained
by hard practice, perbaps, and so far praiseworthy, but
wbere no feeling of the poetry of music exists. This
sort of performance remiuds one of a story of a young
priest, in one of the numerous Frencb gossiping memoirs,
who was a popular preacher, but one day, when in the
pulpit, s uddenly lost the thread of his discourse; he did
not, however, lose his presence of mind, but proceeded

with much gesticulation, considerable infiection of voice,
and great emphasis, but, in fact, without pronouncing
any scntcnces intclligibly ; tlie only words striking tbe
cat· bcing such as, car-enfin -mais-si- donc-M es-
sicnrs, &c. When he bad finished, the coogregation was
delighted: such encrgy, such learning, such eloquence.
To be sure they all agrecd that they could not hear very
wcll, or connect tho parts of the discoursc, but attri-
butcd this to baving bcen badly placed: eitber too near,
or too fm· off, or in an awkward corner, and determinad
to choosc better places ncxt time, in order not to lose the
advantage of such a taleotcd preacher.
Wc have now arrivcd at another great name-Gu ar-
ncrius- of which family there werc severa] ; the first
bcing Pietro Andrcas, or, as he is generally caBed,
Andreas. He was born at Cremona in 1630, and is
considerad to have been a pupil of Hieronymus Amati,
aftcr whose model, with somo little distinction, bis instru-
mcnts were madc, and principally of large patteru. The
tono· is good, but, in general, not strong ; and tbey fre-
qucntly have a fine shape and good varnish. I n Sir
William Curtis's salo tbere were a violoncello and a
tenor by this maker, cach put up at 100 guineas, and
bought in for seventy-ninc. Andreas workcd from about
1650 to 1680, or, pcrhaps, later. The following is a copy
of a ticket in our possession, or, more correctly, in the
possession of one of us, which is the case with all the
tickets or labels so refcrred to :-" Andrcas Guarneriu s
Fccit Cremome sub titulo Sanctre T eresire 1675." H e
had two sons, Giuseppe and Pietro, of whom Giuseppe was
thc bcst, and rather followed the model and imitated the
varnish of Stradi uarius, and afterwards that of bis cele-
bratcd cousin and namesake. His instruments are
estcemed, thougb thc fourth string is sometimes dry ancl

232 HISTORY OF THE VIOI.IN.
hard, and are generally of small pattern, with a brilliant

retldish varnish. The instrument s of Pietro bave a full
tone, but want brilliancy, and the form is not elegm1t;
the varnish of a brownish hue. The two brothers worked
from about 1690 to 1720 ; aud in the lattcr part of bis
life Pietro removed to Mantua. Therc was a very fine
violoncello by this maker in Sir William Curtis's sale,
bought in for 125 guineas. A son of Giuseppe's is
mentioned, called Pietro, who worked at Cremona from
1725 to 1740, and followed bis fat.her's models, but with
less finisb .
The great artist of this family was Giuseppe, or Giu-
seppe Antonius Guamerius , commonly known as J oseph,
the nepbew of Andreas, often called del J es u, in conse-
quence of many of bis ticket~ baving l. H . S. marked on
tbem, and frequently a cross. His father, Giovanni
Baptista Guarnerius , the brotber of Andreas, was not a
maker himself. J oseph was born at Cremona on the
8th of J une, 1683, and bccame a pupil of Stradiuariu s;
but he was not a mere imitator, and was guided by
positive principies. He worked at Cremona until tbe
year of bis death, 1745; but, unfortunately, in bis latter
years, be became careless and dissipated, and addicted
to drink; his instrument s became inferior in make, and
the wood and varnish also deteriorated.
I t is stated that he was confined in prison for a consi-
derable time; and Fetis relates tbat while he was there
tbe gaoler's daughtcr procured sorne inferior tools and
wood, and assisted him in bis work, and then took tbc
instrument s out for sale in order to obtain sorne com-
forts for him in his rcduced circumstances. She bought
the vamisb, as required, n·om different makers, which
accounts for the varicty of tints on his lator instruments.
At tbe commenccment of bis career his instrument s

HISTORY OF TBE VIOLlN. 233
showcd no particular marks of skill, and tbere was even
an appearance of negligcnce in his work ; but after a few
ycars he paid great atten tion to it, and was ver y parti-
cular in the choice of his wood. The modcl was care-
fully worked out, gcncrally of tbe smaller pattern, and
thc arching not much raised, gradually decreasing
towards the sidos in a gcntle curve, and the S S boles
fine!y cut: the tbickncss, pcrbaps, towards the centre of
tho lowcr plate sometimos too strong, so as to interfere
witb the víbration and power. His varuish remarkably
fine, and of a brownish red, or sometimos of a deep
yellowish tínt. Ile occasionally made sorne admirable
instruments of a largor pattern. "Lutbomo nograpbie "
describes one of these, datcd 1723, baving tbe lower
plato in two parts, the wood veincd, and the varnish
brownísb red. T he tono of bis instrumcnts is brilliant,
and sorne of tbem are scarcely inferior to those of Stra-
diuarius, bearing a bigh price. Tbe extraordinary per-
former, Paganini, playcd on one. At the sale of Mr.
Crossdill's instrumenta, in May 1826, a very fine violon-
ccllo, by this makcr, was ·bought by Mr. Kramer for
George IV. for 125 guineas, Mr. Cervetto, jun., having
offered as much as 11 0/. for it. Hill mentions a
tenor of bis makc, of beautiful workmauship, formerly
the property of Dragonotti, and afterwards in the pos-
sossion of tbe lamentod Prince Consort. Mr. Willett L.
Adye, of Merly H ouse, Dorsetshire, a. well-known ama-
tcw·, has a. remarkably fine violín by this maker, of
which tbe history is somewhat interesting :-It belonged
to Mr. Ma.wkes, formerly distinguisbed as an excellent
pcrformor, who left the pt·ofession to entor the Churcb,
and was ordained many ycars since. Ho bought it in
183 1, at Spobr's rocommendation, ft·om Profes!'or Hoff-
mann, of Fraukfort, when he was studying under the
Q

234 HISTORY OF '!'HE VIOLIN.
formcr celebrated musician at Hesse Casscl. Hoffroann

bought it at the time Rode was at Frankfort, it having
been a facsímile of an instrument by thc same maker,
played on by him. Spohr told Mt-. Mawkcs, if he could
purchase it, he would havo one of thc finest instruments
in the world ; and he wo.uld have given bis famous Stra-
diuarius in exchange for it. Mr. Mawkes r efused severa\
otfcrs for it, and, having been tbe posscssor of it for
about thirty years, disposcd of it to Mr. Adyc. Tbe late
Mr. Mori bad a fine instrument by this maker. The
following are sorne of our tickets of this maker : -
" Joseph Guarnerius
Cremoncns is Faciebat 1724."
" J oseph Guarneriu s fecit ;f;.
Cremonc anuo 1738. lrp.S"
Dr. Forster gives copies of two tickets by Antonius
Guarnerius, 1722; but his book cannot be depended
on. It may be obscrvcd that Joseph docs not appear
to ha ve made use of his name Antonius. A Catherine
Guarneriu s is named, who was probably the daughter of
Andreas, and worked with her brothers.

BlSTO Rll OF TllE VIOLIN . 235
CIIA PTER XVII I.
~ HER E are numcrous makers in the eigh-

tecnth centu ry, manyof whorn will be known
tomost of our rcaders, wbile of otberspcrbaps
even tbe namcs will not ha ve reacbed tbem.
Thc samc difficultics occasionally exist as to tbe idcntity
of somc of the lcast known pcrsons namcd, and in sorne
instanccs the rnakcrs will equally belong to tbe prcceding
or succccding centut·y.
Arnong the Italia n rnakcrs, the farnily of Gagliano, at
Naplcs, is well-known. The founder of this, as makers
of instrurncnts, is said to havc been Alcssandro, tbe son
of a Marquis of the namc, who was obliged to leave
Naplcs about the beginning of thc centu ry, in conse-
quence of sorne crimc committcd in a fit of jealousy.
He retircd to reside in a dccp wood, and there amused
himself with makin g violins, and finding that be suc-
cccded, rcturncd in a few years to bis na ti ve place, where,
his offcncc ha\·ing been forgotten, he founded a mann -
factory for instruments. He took Stradiuarius for bis
model, and madc good violins with a lively quality of
tone, but not very powerful. He left two sons, Januarius
and Nicolans, of whom we ha re tbe following tickets:
" Janua rius Gagliano Fílius Alcxandri fccit Neap. 1741,"
and "Nico laus Gagliano Filius Alexandrl fecit Neap.
1785 " ; tbcy followed their father's model. Tbere are

236 HISTORY OF TIIE V!OLIN.
four otber makers of the name mcntioncd, Ferdinando

and Giuseppe, the sons of Nicolaus, who made as late as
from 1780 to 1790, or later, there being a ticket of
Giuseppe dated 1789, and Giovanni and Antonio, of
whom Giovanni is r~puted the best. Giovanni, it is
said, had two sons, Rafael ancl Antonio, but it is by no
means improbable that this ancl the former Antonio are
the same person ; these sons after a few years abandoned
the manufacture of instruments, and established a factory
for strings, which became one of the best in I taly, and
they are stated in " ·Luthomonographie " to be still, livi1lg.
The essential importance of good strings is recognized
by every performer. Angelo Angelucci, of Naples, who
died in 1665, had more than onc hundred workmen in
bis employ, and discovered that the best strings were
made from mountain bred sheep of seven or eigbt months
old.
The Bergonzis were good makers at Cremona; a
Francisco Bergonzi is named as early as 1687, who
might bave been tbe father of Cario. Carlo Bergonzi,
or Ba:ganzi worked from about 1712 to 1750, and
made sorne excellent instruments, wbich are beld in con-
siderable estimation; tbey generally possess beauty and
brilliancy witb a fine tone. H e worked at one time with
Stradiuarius, but according to sorne of bis tickets calls
bimself a pupil of Nicolas Amati, as for instance, " Carla
Baganzi allieue di N icola Amati fecit Cremome auno
1723." He had a son called Ni colas living at Cremo na
in 1739, wbosc instruments are sometimes sold for bis
fatber's, but are inferior. A Michelo Angelo Bergonzi
is mentioned of about the same date as Cario. L orenzo
Guadagnini, was born at Placen tia towards the end of the
seventecnth century, and was living in 1742. He was a
pupil of Antonius Stradiuarius, whose models he followed,

IUSTORY OF THE VIOLIN . 237
generally of the small pattern. He finished with care,
using good oil varnisb, bis S S boles are elegant, and
his purfling neat; the first aml seconcl strings brilliant,
but the third occasionally dull. After working for sorne
time at Placentia he removed to Milan. Giovanni Bap-
tista Guaclagnini is generally called bis son, but if a
ticket we have seen with this name ancl the date 1731,
is genuine, it woulcl appea.r probable that he was his bro-
ther, as stated in "Luthomonograpbie;" he wor ked at the
same places, and made instrumeuts very similar to thosc
of Lorenzo, and of about thc same value; he calls him-
self in sorne of bis tickets a pupil of Antonius Stradiua-
rius. A Giuseppe Guaclagnini is mentiouecl at Turin
in 17 51, and another of the same name at Par ma in 1793 ;
and some of tbe family were at Naples a very few years
.
smce.
Francesco Milani, of Milan, worked on the model of
Guadagnini about the middle of the century; and
Guiscppe Carlo, of the samo place, 1769; and Thomas
Palestieri, a pupil of Stradiuarius; and Spiritus Sursano,
at Coni, about the same time, if there be uot sorne mis-
take in the name; Alessaudro Zanti, at Mantua, about
1770; Camilus de Camile, of the same place, a good
pupil of Stradiuarius; and T ommasso Circapa, and Gio-
vanni San ti at N aples, about 1730. At Cremona, Gre-
gario Montade, a pupil of Stradiuarius, whose instru-
meuts were in repute in the early part of the century;
Pietro Palestieri, Alberto Giordane, 1735; Davido Ca-
millio, 1755; Nicolao Guletto, 1790; J ohaun Christian
Ficker, 1722; Johann Gottlob Ficker, 1788, and Johann
Gottlob Pfretzschuer, of whom there is a ticket dated at
Cremona 1794 ; but the three last names are evidently
of German origin; and there was a musical firm of the
last name at Neukircb, of which we have seen several

238 HISTORY OF TllE VIOLIN .
tickets; a Carl Frederick Pfretzschner is also mentioned

at Cremona. Lorenzo Storioni, who was living there in
1782, was thc last maker of any great repute of that
celebrated place. His violonccllos especiaUy are esteemed
for their powerful tone. His violins resemble tbose of
Joseph Guarnerius, and Dr. Forster speaks in high terms
of tbcm, particularly of one thcn in his possession of a
singul:.u· shape, and of a dark reddish or nut brown
colour, with a metallic or goldcn sound as he terms it.
'I'he celebrated per former Vicuxtcmps, we are informed,
uscd one in 1861 for bis solo instrument, which was
much admired. 'I'here were severa! makers called To-
nini, at Bologna, in tbe early part of thc century; Felice,
Antonio, Cario, and Guido; the instruments of the latter
are said to have been esteemcd, and sometimes to have
been taken for tbose of Nicolas Amati. At Brescia,
about the same time were Gaetano Pasta, and Domenico
Pasta, and Nella Raphael of the same school, whose
instrumcnts have good volumc of tone, but are not equal,
and may be known by having thc scroll sculpturcd, with
inscriptions on the sides. Rome was deficient in good
makers, the first wbo commenced making tbere on the
principies of tbe school of Cremona, was Gaspard Assa-
lone; we ha ve already mentioned Techler, wbo was the
best. Antonio Pollusha, l 751, and Antonio Pansani,
1785, were also two of the principal makers there.
Florence did not abound in good makers, only tbree are
mcntioned of any repute, Giova.nni Baptista Gabrielli,
Bartolomeo Christofori, ancl Cario Ferdinand Landolfi,
who is also stated to havc been of .Milan, and there are
tickets with bis name as of this place, one called Qui-
dantus, is also named, hut is probably the same as Gio-
vanni Florenus Guidantus, wbose ticket is of Bologna.
There were several makers at V enicc of ditferent degrees

HISTORY OF THE VIOLI N. 239
of mcrit; tbcy generally attended to the elegance of
forro, aud excellcncc of tbe varnisb, but tbeir instru-
ments wcre inferior in tone to tbose of Cremona. One
of tbéir most distinguished makers was Dominico Mon-
tagnana. His instruments, especia1ly bis violoncellos,
are of large size, and bis varnisb exceedingly brilliant.
The work altogetber is cxccllent, and the figure or mottle
of tbe wood large and beautiful. The late Mr. Frederick
Perkins bad a fine violoncello by this maker, whicb was
originally sold as a Joseph Guarnerius; it had been re-
duced in size, but not judiciously. It was purcbased hy
Mr. Alfred Gucst, the professor, a pupil of Lindley, who
fully appreciates and does justice to its excellent quali-
ties. Montagnana workcd at V en ice in 1725, and there
are tickets of that date ; but in later years he appears to
have moved to the Tyrol, as we have the following
ticket, "Dominicus Montagnana sub signo in Ab prope
Ocnipontum, fecit, Auno 1730." Santo Seraphino, of
the same period, was an excellent workman ; his instru-
ments are generally good and prized, the wood beautiful,
and of small mottle or figure, and the varnish a good
yellow with a brown tinge; which may have been caused
by age. Two brotbers, Matteo and Francisco Gofrillcr,
in the early part of tbe century, made strong and good
iustruments after the Cremona model, but were inferior
to the two last-named makers. Pietro Valentino N o-
vello, and Marco Antonio Novello, bave acquired a well
mcrited reputation, the violins of the latter especially
are good and rare. Otber Venetian makers are tbe
brothers Carla ancl Giovanni Tononi, Pietro Anselmo,
Dellosio, and Bodio. At Padua was Pietro Bagatella,
about l7G6, of no great merit; but Antonio Bagatella, a
few years later, was not only a good maker, but published,
in 1782, a valuable work on the construction of instru-

240 UISTORY OF TBE YIOLIN.
rnents from wbich Maugin, in his " Manuel du Lutbier,"

took bis method of tracing a fine model of a violin with only
a rule and compass, which may also be scen, somewhat
shortened at thc cnd of Bíshop·s translation of Otto on
thc violín.
Other Italian makers of this period are Paulo Aletsie,
at Monaco, about 1726, skilful in making bass instru-
ments; Antonio Gragnarius , Tomasso Ebcrti, Giacomo
Horil, Rovelli, Gattanani, Speilcr, and Guiseppe Odo-
ardi; who, although a pcasant, and sclf-ttLUght, madc
severa} excell!mt instrurnents, but died at the early
agc of 28; Cario Broschi, of Par ma, 17 44 ; and J.
Andreas Borelli, 1741. Joseph Contreras is mentioned
as a good makcr at Madrid about 17 46, making fine
copies of Stradiuariu s, which we1·e often sold for genuine
instrument s. Galerzena, a Piedmonte se, is named, 1790;
Nicholas of Geneva, 1790; and Joscph vVagner of
Constancc, 1773.
There a re severa! goocl ancl well-known makers at
Paris during this ccntury. One of the carliest \ras
A ugustine Chappuy, about 1711, whosc instrumcnt s
were much cstecmed in France; anothcr of the same
name is mentioned in 1794 ; Pichol, Amclingue , who,
however, principally made clarionets; Pique and Andrca
Castagneri are othcr namcs. Saunier, who was born in
Lorraine about 1740, and established in París ahout 1770,
was a favouritc makcr, and was the master of Nocl Piete,
born about 1760, who was esteemed as a maker of violins
and basses. Saunier was tbc pupil of Lambcrt of Nancy,
nicknamed tbc Lute carpentcr, who madc a vast numbcr
of instrumcnt;;s, but not of high mcrit. Finth, or
F endt, a German maker, li ved in Paris n·om 1765 to
1780, and too k Stradi uarius for his modcl ; his instru-
mcnts were good and wcll finisbed, and said to have bccn

HISTOJtY OF THE VIOLIN. 241
sometimos taken for those he imitateu ; he used oil var-
nish ; his nephew carne over to Englaud, and established
himself there. Fran~ois Nicolas Fourrier, generally
called Ni colas, was born at Mirecourt, in 17 58, but went
to París, where he died in 1816. His instruments are
freqncntly good ; he imitated the Cremona school, was
corrcct in his proportions, and particular in bis choice ot
wood. Koliker also was a makcr of repute at París
towards the end of thc century ; and other names there
are-Chevrier, Bernadel, Benoist Fleury, Gavinies, Le-
clero, Simon, and Remy; also Nicolas Viard of Ver-
saillcs, and Cherotte at Mireeourt. In naming this last
place, wc must mention Jean Vuillaume, who made good
instruments there from 1700 to 1740, and had worked
with Stradiuarius; Chanot was also a maker of mcrit
there. Ni cholas Lupot was born at Stuttgard, in 1758,
and was the son of F rancois Lupot, a makcr at that
place. Nicholas became a celebrated rnaker, following
the models of Stradiuarius. He first worked at Orlcans,
where a firm of Lupot and Son existcd in 1786. In
1794 he establisbed himself in París, where he died in
1824. He published a work, to which we ha ve r eferred
occasionally, called "La Cbe1onomie, ou le parfait Lu-
thier;" but it was written by the Abbé Sibire, from
materials supplied by Lupot. His instrnments sorne-
times reach a high price; ami he was vcry skilful in
repairing and restoring old instruments. Namy, also
about the same time, was noted as a skilful restorer a.nd
repairer of old instrumeuts. Ambroise Decombre, of
Tournay, made sorne good iustruments, particularly
basses, from 1700 to 1735, and had worked witb Antoine
Stradiuarius ; Jeau Raut, of Bretague, who workeci at
R eunes down to 1790, macle good iustruments on the
model of the Guarnerius school.

242 HISTOR Y OF Tll'E VIOLI N.
Thore were severa l makers in Germa ny in this cen-

tury, of whom somo have obtaine d high repute. Many
of them imitate d the Steine r and the Crcmo na schools
with great succcss. One of thc bcst was Charle s Louis
Bachm ann, who was born at Berlín , in 171 G, and was
himsel f a skilful pcrform er on the viola, and chamb cr
musici an to the King of Prussia . His violins and violas
were much esteemed in G ermany , and rank next to those
of Cremo na; they were made aftcr the model of Stra-
diuarius, wi th ambcr varnish, but under his own namc;
he lived till the year 1800. Schmidt, of Cassel, who
more correct ly may be called of the prcscn t ccntur y,
being mentio ned by Otto, in 18 17, as thcn working,
made sorne fine violins after thc model of Stradiu arius ;
but the edges are largor, and the purftin g inclines more
towards the centre. Tbere were severa l makers of the
name of Rauch , toward s the middle of tbe ccntur y, who
made good instruments ; as Jacque s Rauch, at Man-
heim, from 1730 to 17 40, whosc violins approachecl thosc
of Steine r in tone; Sebast ian Rauch , in Bohem ia, from
1742 to 1763 ; R auch of Breslau, who made sorne good
instrum ents; and Raucb of Wurtz burg. Johann Gott.-
fried R eicbel, of Absam, is namcd , who madc after thc
model of Steiner ; ancl .Jobann Conra d R eichel, of Ncu-
kircb, in 1779. A t Prague , there wcrc two, namcd
Edling cr, father and son, who wcre more particu larly in
r epute for their lutes ; those of the father, Thoma s, who
was a pupil of Stcine r, being cqual to those of Gaspa r
di Salo ; he was living at Pragu c in 171 5. H is son,
J oseph J oachim, li ved for many years in Italy, visitin g
Cremo na, Romo, Naples, Bologna, Forrar a, and Vcnico;
be died at Prague in 1-748, and his instru mcnts, espe-
cial! y his lutes, were much esteemed. The lutes of
J acobi, at M:eissen, about the same time, were also in

HISTO.RY OF THE YIOLIN. 243
repute. Zacharie Fischer, born at W urtzburg in 1730,
and who was living tbere in 1808, announced, in 1786,
tbat he bad a plan by wbicb bis instruments sbould equal
tbose of Steinor and Stradiuarius. Tbis was by drying
the wood in an oven. Other makers also have tried this
plan ; but it did not succeed, as it dried the wood too
rapidly, and weakened it, thus injuring the effect of the
vibrations. Johann Geo)·ge Vogler was also of Wurtz-
burg, about 1749. "Lntbomonographie" mentions
Bauch, of Brcslau, as one of the best make1·s of bis time,
giving a peculiar form to bis instruments; but he may
be thc same as Rauch. Lcopold Widhalm, at Nuren-
bnrg, from 1765 to 1788, was a skilful maker, bis instru-
mcnts closely resembling tbose of Steiner, and scarcely
to be distinguisbed from them ; his harps were also in
repute at onc time. Leonhard Mansiell was of tbe same
place, about 1724. J aug, or J aucb, of Dresden, mado
sorne good instruments on tbe Cremona model, with
amber varnish, and made of fine wood, but tbe tone is
occasionally weak and shrill; be was living in 1774. He
was tbe master of Christopbe Frederic Hunger, bom at
Dresden in 1718, who established himself in Leipsic,
wbere he died in 1787, and was esteemed for bis violas
and violoncellos, which were made after the Italian
model, with amber varnish. Samuel Fritzche, of Leipsic,
his pupil, also imitated the Cremona models ; and a Bar-
thold Fritz of tbe same place, in 17 57, is namcd.
J ean Ulric Eberle, living at Prague in 1749, was an
excellent maker, ancl one of the best of the German
school, sorne of his instruments being scarcely inferior
to those of Cremona, for ívhich they have been mis-
taken ; but the tone is not so round ancl full. Charles
Helmer, born in Prague, 17 40, was a good pupil of bis ;
but his fourth st1·ing frequently of an inferior quality.

Gaspard Strnad, born in 1750, was settlcd at Pr·aguc

from 1781 to 1793; he madc sorne good violins aod vio-
loncellos, and his guitars were much cstccmcd. There
appear to have bccn two Stadclmanns, or Stadlmanns, of'
Vi en na, as we ha ve a ticket of D aniel, 17 44, aml of
J ohann JoseplJ, 1764; these instrumcnt s successfully
imitated those of Stciner, with dcep yellow-co1oured
arnbcr varnish. Thcre was an Andreas Nicolas Partb
of tbe same place; and about 1700, an Antaine Lidl,
who rnade improvements in the barytono; Buchstadte r,
of Ratisbon, was anothcr imitator of the Cremona model,
though bis make was rather fiat, and he usecl inferior
wood, with dark brown varnish ; his instrument s are
rathcr harsh, and not much esteemed. Hasscrt, of Ru-
dolstadt, made his instrurncnts with much care, of high
model, and the uppcr plate formcd of cxcellent wood,
but the tone rather harsh or hollow. His brother, of
Eisenach, surpassed hirn, and carefully irnitatcd thc
I talian models, with amber varnish, and uscd beautiful
wood for the upper plato. Reiss, of Barnbcrg, also suc-
cessfully imítated Steincr. Durfel, of Altcnburg, parti-
cularly excelled in his double basses. Artmann and
Binternage l, of Gotha, were imitators of the Crcmona
school. A. Grobtiz, established at Warsaw about 1750,
made sorne good violins on the Steinor model. At
Erfurtb, Francis Ruppert adopted rathcr a flat pattern;
his instrument s had a powerful tone, and wcrc well pro-
portioncd, but were slightly constructed, the sides not
being lined, and tbe cot·ner blocks omitted; they were not
purfled, and bad a dark brown amber varnish. Francis
Schonger, of the same place, m acle sorne handsome look-
ing instruments, but the tone dull, and they are con-
siderad inferior to those of Ruppert. His son, George,
made sorne good instrument s in the Italiao style, and bad

much skill as a repairer of old oncs. At Munic h were
J oseph Paul Christa, about 1730, and Mathia s J ohann
Kolditz, or Koldjz, 1750. AJacq ues Kolditz is mentioned
at Ruhmbourg, in Bohemia, who made sorne good violins
and violas, and clied thore in 1796. At Salzbourg, were
Simon in 1722; Andre w Ferdin and Mayrhof, 1740;
Jacob Wciss·and Gregot· Ferdin and Wenge rabout 1761;
and Johann Seboro . "Lutbo monographie " names seven
maker s at Fissen, in Ba.varia, from 17 56 to 1798,
including Tbomas Edling cr beforementioned at Prague .
The others are Gugemmos, though there would appear
to be sorne mistake about this name, Johann Anton y
Gedler, Johann Benedict Gcdler , Franz Stoss, Ruf, and
Maldonner. Philip Knittin g workcd at Mittenwald, as
did Joseph Kriner and Joseph Knitl, 1791, of whom we
have a ticket, marke d 2090; probably he thought a
cypher mcant notbing. Straube, at Berlín, about 1770,
macle some good violins after the Cremo na model, with
amber 'Varnisb, and was skilful in repairi ng old instru-
ments ; and Johann Hemy Lambe rt was there about
1760 ; Theod ore Lotz, at Presbu rg, and Fran~ois
Plack, at Schamback, in Bohemia, about 1738, made
good violins ; and tbero was Augustine Huller , at Schce-
neck, 1776. At Amsterdam were Gysbe rt Vibrecht,
1707; Jan Bremeister, Peter Rimbouts, and Jacobs, of
whom tbe latter made sorne good instruments after the
Amati school, but could not attain thoir tone. Fran~ois
Antoin e Emst, boro in Bohemia, 1745, was an ex-
cellent violín player, and became Conce rt Dit·ector at
Gotha. He was a good maker also, many of bis
instrum ents being scarccly inferior to the Crcmona
model that he followed. Spohr used to play on one
of tbem, which is a proof of their merit. He 1vrote a
short memoir on the construction of the violín, which

246 IIISTO RY OF THE VIOLI N.
was publis hed in the "Mus ical Gaze tte" of L eipzic .

Jacob Augu stus Otto was born at Gotha in 1762, aud
died in 1830 ; he was estnbl ished at Halle , in Saxon y,
and was a good and c,arcful makor, thoug h for many
yoars of his lifc he scems to havo bcen emplo ycd almos t
exclusively in the manu factur e of guitar s ; he was also
very skilfu l in thc Í~p<1Ír of old instru ments . He had
no less than five sons who were makc rs; sorne at Halle
and sorne at Jcna. Bis w01·k on the violín is well knowo,
and we beg to ackno wledg c our obliga tions to it for many
partic ulars of the Germ an make rs. Simon J oseph
Trusk a, horn in Bohem ia, in 1734, made piano fortes as
well as violins, altos, viols d'amo ur, and bass-v iols; he
was also a perfo rmer on thc violín antl violon cello; bis
death took place in the Conv ent of Strah ow, in 1809.
Matth ias Fretle ric Scbei nlcin, born in 17 JO, lived at
Lang cnfeld, in Franc onia, where he died in 1771 ; be
bogan as a violin ist and a harpi st. His son, J can
Mich a el Scbei nlein, boro in the samc place, in 1751,
was a botter mako r than his father , and the tone of his
instru ments was full and agrcc able ; but both those of bis ,
father and himsc lf werc wcak in constr uction , and apt to
give way in rcpair ing. They wcre much uscd in the
cbapols. Micho! Cbris topho Hilde brant, of Hamb urg,
towar ds the end of thc centu ry, was a good make r, and a
skilfu l repair or. J. G. G. Heub sch wrote a work on
the manu factur e of music al instru ments about 1764, and
Charles Grein cr, boro at Wetzl ar, 1753, invcn ted an
instru ment to be playe d on witb keys, which, by movin g
small cylind rical bows, put gut-st rings into vibrat ion ;
anoth er of many exper iment s of this sort which never
seem to have produ ced any perma nent result . A Swen o
B eckm an is namecl at Stock holm in 1706, and Sawes
Kíaposse at Pcter sburg , 17 48.

\Ve have severa! other German names in our list,
which it <loes not seem necessary to mention, nor do we
propase to g1ve a list of the Continental makers in the
preseut century, it would be long and moreover imper-
fect, from the difficulty of obtaining accurate details,
altbough we have compiled a tolerably extensive list;
but our work would decidedly be defective clid we not
name Mons. Jean Baptiste Vuillaumc of París, but of
Continental celebrity, well known for his enterprise and
intelligence, and not surpassed by any living maker.
He is a.lso equally skilled as a successful repairer a.nd
imitator of the old instrumcnts. We ha ve seen it stated
that Paganini once broke his fa.vourite Guarnerius violín,
which Vuillaume not only thoroughly repaired, but at
the same time made another so like it in every respect,
that even that great master himself was puzzled to dis~
tinguish which was the real Guarnerius. Vuillaume has
always sorne instruments of the finest make and quality
in bis collection; the following is one of his labels : -
"J. B. VUILLA UME,
A París,
3, Rue Demours aux Ternes,
Ci-devant rue Croix des Petits Champs 42."
Gand is also a maker of first-rate skill, aud is the son-
in-law of Lupot, to whose business he succeeded.

248 lllSTORY OF THE VIOL!JS.
CHAPTER XIX.
o ~!)
~~ ·, HE supporters of the theory of the eastern
origiu of the bow, may perhaps suggest
that there is still somo uncer tainty in our
bistory of its introduction; but we submit
that we havo given sufficient evidcnce to claim it for om·
country. In what way the violín, as known at the pre-
sent time, was first perfected in England cannot now be
authenticated; but the model and outline of the violins
of the earliest English roakers are different from the
Cremona instruments. They partake more of the high
1 swollen model of the earlier violins, made at Brescia and
1 in th~ T yrol, but more of the former pattern than the
latter, particularly in the outlinc of the body and the
vol ute or scroll of the head. W e have befo re mentioned
as the oldest makers, Joann Kerlin, 1449, of Brescia or
Brittany, and Gaspard Duiffoprugcar, born in the Tyrol:
neither of these names are Italian, and sorne may ask
whether the violin-proper might ha ve come from Brescia
or the T yrol, and passed through G ermany to the Ne-
therlands? The intercourse of the English people with
the Low Countries being greater in the reign of Eliza-
beth than with the Italian nation, it may be suggested
as the probable routc by which we obtained the Con-
tinental instrurncnt of this class, and may have some-
what modified ours accordingly. Indeed therc were
•

IHSTORY OF THE VIOLIN . 249
makers at Brescia and in Germany prior to and con-
temporary with those in Cremona. It must be obser ved,
however, that the lute and viol makers of Eng.Jand, in
olden times, were considered of high repute, and were
competent themselves to introduce improvements in their
instruments, and fiddles, as before-mcntioned, were in use
in our country in the time of Queen Elizabetb. The
English makers are alluded to by Vincentio Galilei, the
father of the great Galileo, in bis work "Dialogo della
Musica," where, accorcling to Sir J. Hawkins' " History
of Music," (Novello's edition, p. 404), he remarks, that in
his time ( 1583) the bcst lutes were made in England.
Yet it docs not appear that they ha ve kept to "Schools"
connected witb the chief makers in the art to the same
extent as in Italy; consequently there is some difficulty
in tracing the style from Jacob Rayman (1641 ), T homas
Urquhart (1650), and Edward Pamphilon (1685), the
earlicst makers of violins-proper kuown in England, to
the time of Norris (1818), and Barnes and old John
Betts (1823), which may be considered to ter mínate the
chain; however, an endeavour will be made to accom-
plish this desired end, by comparing the style and
character of the work of each maker, assisted by the
dates at which t!Jey lived. In the pcrusal of the fol-
lowing pages it will be seen that many of tbe persons
who are there taken notice of, have been prompted to
try their skill as violín makers by the love of, or from
being connectcd with music, and have been thus induced
both to repair aud make instruments.
The earliest authcnticated name that comes down to
us as a maker of viols in our country is Richard Hume,
or Home, 1535 ; and it is stated in "Dauney 's Ancient
Scotch Melodics" that he was the great vio] maker in
Edinburgh, although an Englislnnan, and then had a
R

250 IIISTORY OF T HE VIOLI:'I .
grant of 20l. to buy stuff for the same. There can be

but little doubt that many other makct·s of lutes and
viols were in existence at the same time and previously,
but no record of thcir names has been preseryed. The
maker's name of the instrument of the violín kind for-
medy mentioned, and considerad to have been made by
command of Q ueen E lizabeth, and givcn to Robert
Dudley, Earl of Leicester, is not known ; but an
engraving on the tail-pin, J l~ P, is supposed to signify the
ycar it was mude in, and the initials of bis name. Who-
evcr he was, whether English or forcign, he must have
seen thc true violín, as thc improvcd fonn of sound-holc
is used, and only four strings are applicd. Betwcen the
years 1562 and 1598 there would be living severa!
instrumen t makers held in much esteem; and Thomas
Mace, in bis curious and eccentric book, "Musick's Mo-
nument," published in 1676, mentions sorne of tbem;
however, it had better be told in bis own sty le :-" Your
best provision, ( and most compleat) will be a Good Chest
of Viols; Six, in number; viz. 2 Basscs, 2 Tcnors, and
2 Trebles : All truly, and Proportion ally suited.-O f
such, there are no bctter in the world, than those of
Aldred, Jay, Smith, (yet the H ighcst in Esteem are)
B olles, and R oss, ( one Bass of Bolles's, I have known
valued at 100/.) These were Old; but we have now,
very excellent good Workmen, who (no <.loubt) can work
as well as those, if they be so well paid for thcir work, as
tbey were ; yet we chiefly value Old Instrument s, bcfore
new ; for by expericnce, they are found to be far the
bes t."
W e do not lcarn of an y line of succcssion from Alclred
or Bolles; they secm to be the last of their race as
musical instrumcnt makers. With rcgaru to the other
names, a little more detail can be given; and those of

J
HISTOR Y OF THE VIOLI~. 251
Jay and Smith will be mct with in tbe sevent eenth and
cightee nth centuries.
John Ross, or R ose, the elder, who was dwelling at
Dridewcll in the 4th of Elizab eth (1562) , and was tbe
invcntot· of the bandor a, an instrum ent of thc guitar
sort, witb wire strings ¡ also made. viols and instrum ents
of tbat class ; but Stow says he was excelled by bis son
in makin g bandor as, "voya l de gamboes," and otbet·
instruments.
In a collcction of airs, called "Trip la Conco rdia,"
publisbed in 1667, a. chest of viols is ad rertisc d, con-
taining two trebles, thrce tenors, and one bass, made by
Mr. Jobn Ross, the son, in 1598.
Henry Smith livcd o ver agains t Hatton House, in Rol-
boro, about 1629, and in the work just alluded to there
is also an advert isemen t of a chest of viols, consisting of
two trebles, two tenors, and two basses, made by bim
in 1633.
Tbe otbcr name (Jay), wbich Thoma s Mace mentions,
is supposcd to be Thoma s Jay, who, no doubt, was dead
at the time he wrote tbe "Musi ck's Monum ent,'' as he
alludes to the instrum ents of the severa} makers being
old. There were othcr viol makers, whose Jabels have
been scen ( Hill's M S S.), which will continuo tbe
link: -" J ohn Shaw att the Goulde n harp and Hoboy
nere the M ay pole in thc Strand 1656. ' Also " Chris-
topher Wisc, in Half Moon Alley, without Bishops·gate,
Londo u, 1656;" and " Willia m Audiso n in Long Alley
over agains t Moorfields 16i0." This brings us to Barak
Norma n, 1690, whom Sir J. Hawki ns states (p. 793,
Novello's cdit.) "was one of the last of the cclcbrated
makers of viols in Englan d; he li ved in Bíshopsgate,
and aftcnv ards in S t. Paul's Churc h Yard."

252 ITI!;TOllY OF TIIE VIOL IN.
This make r will again be allud ed to in conn ectio n

with bis partn er, N athan iel Cross.
The violin-pro pcr was know n in Engl and sorne years
bcfore it bcca me thc favourítc in "goo d soci ety;" aud
altho ugh we find it in the band of Quec n Eliza beth, yct it
was gene rally associated with wakes, revels, and othcr noisy
mcrr y-ma king s; but on Char les IL intro ducin g his band
of twen ty-fo ur violin s, thc instr umen t rose in cstimation ,
much to thc anno yanc c and grca t griof of thc autho r of
'· l\Iusick's Mon umcn t," that the noble and bra,-e luto,
also the maje stic thcorbo, shou ld be "over top 'd with
squal ing-scoulding fiddl es" (p. 204) . Again, in allud íng
to " those choice cons orts " of bis perio d (p. 236) , and
thc grea t pleas ure tbose pcrforman ccs gave both to thc
listcners and perfo rmer s, whic h he state s made "thc
musick lovcly and conte ntivo ," h~ thcn makc s furthc1·
rema rks: "Bu t now the modos and fashions ha ve cry'd
thcse things down, and sct up a grea t idol in thcir
room ; observe with wbat a wonderful swiftness tbey now
run over tbcir bra> e ncw ayre s; and with what high
priz'd noisc, viz. 1O, or 20 violins, &c. as I said befo re,
to sorne singl e soul' d ayre ; it may be of 2 or 3 parts , ot·
sorne coronto, serab and, or braw le, (as the new fashion'd
word is) and such like stuff, seldom any othe r; which is
rathe r fit to make a mau' s ears glow, and fill his brain s
full of frisks, &c. thau to seasou, and sober his mind, or
eleva te his affcctions to goodness. Now I say, let thesc
new fashion'd musicks, and pcrfo rman ccs, be comp ar'd
with those old ones, which 1 ha.ve bcfor e madc ment ion
of; and then let it be judg 'd, whct her they have not lcft
a bette r fashion, for a worsc. But who shall be thc
judg es? lf them sclve s; thcn all's right ."
Y r:t he cann ot witbstand rccom mend ing the intru dcr,

with certain qualifications, to complete the collection
of instruments requisite for tbe various performances
(p. 246) : " After all this, you may add to your press, a
pair of violins, to be in readiness for any cxtrao rdinary
jolly, or j ocund consort occasion ; but never use them,
but with this proviso, viz. Be surc you make an equal
provision for thcm, by the addition, and strength of
basscs; so that thcy may not out-cry the rest of the
musick (the basses especially), to which end, it will be
requisite, you store your press with a pair of lusty full-
sized thcorboes, always to strike in with your consorts,
or vocnl musick; to which that instrument is most natu-
rally proper."
Thc first make1· of violins in England to whom we
have any guide, is J acob Rayman, about 1641; but no
record is known to indicatc of whom he learned the art.
I t has been asser ted by sorne persons that he made violins
of a large size, but those which have been seen are small,
and not of an elegant outline or model; the fore-bout
being wide, thc short-bout long, and out of all proportion
with thc lowcr part of the instrument. Howcvcr, he was
a maker of talent and ability : the tone was clear, pene-
trating and silvery ; not possessing thc reedy quality of
the Cremona violins, but partaking more of the Brescia
character; and his instruments were highly prized. In
tbe extracts from the catalogue of musical instruments
for sale, thc property of Tbomas Britton, "the small-coal
man," who died in 1714, lot 8, a violin is stated as " an
extraordinary Rayman ;" and in a note Sir J . .Hawkins
r emarks, "The teno r violins made by him " (Rayman)
" are g reatly valued." Notwithstanding the purfling is
done indiffcrcntly, yet the work, generally, was neat and
good, the fluting at tbe edge where the purfle is inlaid is
deep and acute. The sound hole is rather small, like that

used at times by Steiner; the varnish vcry good, and of

a yellowish brown colour with a Jittlc tinge of red, and
the vehicle used appcars to be oil. Labols in genuino
víolius as used by thc makor are,
"Jacob Rayman dwelling in Dlackman
Strect Long-Sou thwark
1641."
"JACOB RAYMAN at y• Bcll

Yard in SOVTHW ARKE
LONDON 1648,"
and Hawkins statcs be dwelt in Bell Yard, Southwark,
about the year 1650.
T he three makers whose namcs follow, two of whom
still retain a character for excellenco, are Thomas Ur-
qubart, 1650; Edward Pamphilon, 1685; and Pem-
borton, supposed to be abo ut 16-, 1680, but these dates
are doubtful. Tradition has brought down to us, that
thcse tbree persons were partners, and their place of
business was on London Bridge; but there is no cvidence
such was the case, altbough it may be vory probable, as
that locality at the date would be the best for trade.
Urquhart, it is believed, came from Scotland, and was a
maker of unusual mcrit fo•· the period in which he lived;
the violins are of the full size, with an oil varnish of a
dark amber colour inclining to brown, yct it is bright
and grateful to tho oye, and much resemblcs the Italian
varnish. Tbe tone is clear, puro, and silrery; and ap-
preciated even at this pcriod. The violíns and violas
are very scarce, and no violonccllo has bcen scen of this
maker.
I t has been stated that Urquhart carne to England at
the time tbe two countries happily became united, but

RISTOR Y OF THE VIOLIN . 255
tbis is doubtful whcn tho dates aro comparecl. James
the Sixth of Scotla nd ascended Englan d's throne 24
.i\1arch, 1603, and entered London 7 May, 1603; yet
notbin g is known of this maker 's instrum ents until about
the date previously givon.
Who instruc ted Edwar d Pamphilon in the art of violín
making, or from whence he carne, cannot now be ascer-
tained. It is gonera lly considered that Tboma s Urqub art
was his master , and the style of work, thc colour and
description of varnish favour this opinio n; howcver he
was not so successful with bis ,-iolins as tbe eldcr maker .
The outline is not graceful, tbe sbort-bouts are too long
and out of proportion with the upper nnd lower parts of the
instrum ent, the model high and swollen, and the sound-
holes rathcr small. The varnish is either oil or turpen -
tine of a red colour and brown tinge with a yellow ground,
aud now looks rich and beautiful, which age no doubt
has grcatly assisted. The violins - and no other instru-
ments havo beeu seon- are strong in wood, the tone
clear, puro, and penetr ating. The professors of this
period greatly approvc of tbem f01· orches tral uses. T he
following is a copy of a genuino written ticket or label,
and tbe maker seems rather precise, as the day of the
montb is also addcd :-
" Edwar d Pamph ilon

April the 3rd 1685."
Little can be related of Pcmbe rton, thc Christ ian
name is not known, and sorne doubt exists whcther he
was thc younger or thc elder of the firm; if the latter,
the supposed date of 1680 may be wrong, and he may
be the J P , 1578, tbe maker of the violín, pre-
sented to thc Earl ofLcic ester by Queen Elizab ctb; should
this be so, he would be the first of the Englis h makers tbat

manufactu red the \·iolin as known at the present day:

not that the gift abovc noticed is such an instrument ;
nevcrtheless, whoever made it must havo scen onc of
more graceful fonn ancl of g reater elcgancc; witbout all
the elaborate and uselcss ornamenta l carving, most dctri-
mcntal to tone and practica! utility.
A maker namccl Thomas Colc was living about thc
samc time as thc thrcc just noticcd; but no instrument
has been preserved to this time to support his title as a
workman. The labcl was as follows : -
" Tbomas Cole, near Fettcr Lnnc
in Holborn. 1672."
Daniel Parkcr, of London, 171 ,J-1 5. Tbis makcr
e\·idently was a pupil of one of the prcvious pcrsons who
livcd in the latter hnlf of the seventccnth century, and
by the scroll or volutc of the head it would probably be
Urquhart or Pamphilon ; howevcr he has shown himself
a person not inclined to adhere to old instructions, but
to progress in thc art, and he made a first step towards
improvement both in the outline and model.
Violins are the only instrument s known of this maker,
neither viola or violonccllo has bcen scen, aud the gene-
ral character of thc body of the instrument approached
to the shape and form of the Amati school, however not
quite so elegant. Thc varnish may be alcoholic, of an
unpleasant brick-dust red colour, thickl y laid on thc
instrumcnt and not ag•·ceablc to the eye. Tbc figure of
the wood is generally handsome, thc tone verr good,
clcar, and powerful. A bout 1793 the violíns of this
maker were valucd at thc guineas, and in tl1c beginning
of thc first half of the present century thcy have realized
twclvc and fiftccn guineas, but now are again reduced
in amount, from the desire of performers to possess

IIJSTORY OF TliE VIOU:-.'. 2:57
none but Italiau instruments, and other causes wbich
deprcss the manufacture of such articles. Daniel Parker
m ay be considered to termínate the first scbool of English
violín makers. A new era now opcns with tbe violín
makers of England, in which the style of work is greatly
imp1·oved ; the model, with most of them, partaking of
that used by J ncob Stainer, or StcinCl·, f'or it is spelt
both ways, the beautiful and exquisito finish of this once
favouritc maker is closely imitaterl, and it has infiucnced
all the workmen in the commencement of the eighteenth
century ; indeed all through tbis century the Steiner
claimed preeminence; sorne of tbe violins ha.~ing realized
1001., and on onc occasion a much larger sum; wbilst
the instruments of the Amati family, and other Cremonese
makers, would scarcely reach an amount rcmuncrative
to the "rendor, which, compared with the amounts since
realized for the instrumeots of these descr vedly great
makers, seems perfectly absurd and ridi culous ; however,
in the lattor part of the cen tury the instruments of Cre-
mona bcgtm to be sougbt for and appreciated.
Thc catalogue of musical instrumonts of T homas BI·it-
ton, previously alluded to, contains somo names of violín
makers which may form the link bctween the se,·enteenth
and eighteenth centuries; but it is not known by whom
they were instructed. "Lot 5, a good violín by Ditton;"
this name only lives by the notíce which Sir J. H awkins
has gi.ven him. It is different with that of "Bakcr of Ox-
ford, " for he dcserves much commcnda.tion as a violín
maker; two or three instruments of this class have been
seen, and it is a pleasing recollection to alinde to them :
" Lot 20, a fine vio! by Mr. Baker of Oxford." The
work, in every rcspect, of the modern instruments was
vcry good, indeed of excellent finish, tbe varuish of a.
light yellow colour, and probably oil or turpentine was

258 IIJSTORY OF THE VIOLIN.
the vehicle used. The tone was very pure and olear in
quality, but not great in quantity.
Thomas Jay, supposed to be a descendant of the cele-
brated viol maker named in "Musicks Monument," who
also made similar instruments, is stated to be living
about 1690 to 17-, and the style of work in the few
violins whicb have bcen seen, may be considered as
an advancement towards superior workmanship. The
instruments of Baker of Oxford and the maker under
present notice are about equal in excellence. " Lot 22,
anotber (viol) said to be the neatest that Jay ever made."
This may be tbe maker just mentioned, or tbe elder one
of the same name. It will be seen, about fifty years
after that the work of another of this family name com-
manded a good priee even for an inferior description of
instrument. Edward Lewis was a maker of London,
and stands preeminent for his good workmanship ; bis
style was excellent, and tbe few violins which have been
seen were varnished of a light yellow colour, however
others assert that he also used a red colour witb a golden
ground. Be this as it may, there can be but one opinion
that his violins, whieh are scarce, ha ve much beauty, and
are remarkable for their fine varnish. "Lot 19, another
ditto (tenor) by Mr. Lewis; also Lot 24, another (bass
violin) rare good one by Mr. Lewis." Sorne persons
say that Jay and Lewis were partners, but there is no
evidencc known to decide this point.
Barak Norman has been mentioned as a rnaker of
viols, and it is believed he was in business from 1690 to
17 40. There is evidence of violoncellos being made in
1718, but no violin has been seen of bis work. Tho
violas and violoncellos of this maker are generally of fu U
size, although one of the latter is known un usual! y small,
of which mention wi\l be mude di rectly.

HISTORY OF THE VTOLTN. 259
It will be sccn by the varnish that he adheres to early
recollections of colom·, similar to tbe lutes and viols of
old, by using a dark brown with a blackish hue, as if
produccd by nitric acid and accelerated in drying by
heat, which hcightens the colour, aftcr which a coat or
two of oil varnish to enrich the whole and hclp to preserve
the instrumcnt. This tint or colour may be considered
the onc gcnerally used by him. The monogram will be
sccn inlaid oithcr in the centre of tho back, or in the
upper vibt·ating plate just under the wide part of the
fingerboard of his violoncellos; howevcr the same device
was used in the similar instruments made by Cross when
they woro partners. T he tone, both of the violas and
violonccllos, is vcry good and descrvedly held in esteem.
A tenor by this maker has been associated with the
principal pcrformers on this instrument for sixty or
seventy years. Fredcrick Ware, celcbru.ted for the great
quantity of tone he produced, possessed it either before
or at the commcncoment of the present century ; and
sorne time aftcr bis decease, it bccame the property of
anothcr profcssor of eminence, who delighted the fre-
quenters of the Royal Italian Opera H ouse in the ro-
mance or recitativo "Quale Spettacol," :md aria, "Ah!
Piu Bianco," in Meyerbeer's opera, " L es H uguenot~,"
which was exquisitely sung by Mario, and the viola
obligato was played by Henry Hill, which drew forth
mcrited a1Jplause. Soon after his death the instrument
passeu into the ownership of Mr. Doyle, ·anothcr principal
viola performer of tbe same opera establishment. The
small-sizcd violoncello, previously namcd, was seen by
William Shield, the composer, at a humblo shop or gene-
ral dealer in thc Borough ; ít was suspended by tbe head
outsidc the house, and blowing about in tbe wind;
although very dirty, the appearancc of the instrument
•

2GO HISTORY OF THE VIOLIN.
attractccl bis notico, and an arrangcment was muele not

to sell the same until a friencl of bis hacl seen it. On
bis return home the circumstance was mentioned to
James Crossdill, who ultimately bought the violoncello at
a very small cost; and on its being cleaned and put in
order, it was acknowlcdged a genuine Barak Norman,
of superior quality of tone, having much power, although
so small in size ; the varnish was of a b rown colour, but
not so dark as that in general use. This instrument
beca.me a special favourite with thc owner, who frequently
used the sume in bis profcssional duties, ancl being ihc
instructor to the Prince of W a1es, afterwards Georgc IV.
it was takcn to Carlton House on sorne occasion, when
the tone mucb pleascd thc Prince, who expressed a
desire to posscss it; howevcr the professor withstood
scvcral liberal otfers. At a subscquent period a pagc
was sen t for this instrument, as the P rince wished to use
the same tbat evening. Tbc result was that tbe violon-
cello was never returncd ; and His Royal Highncss stated
that Crossdill might keep an Amati violonccllo which
had cost seventy guineas in lie u of it. About this time
also a sinecurc place of one bundred pounds per annum
became vacant, which was given to Crossdill as the amende
hon01·able to sooth the disappoin tmcnt aud loss, which
sinecure he r etaincd unt il bis deccase.
A violoncello m acle by Bara.k N 01·man in 17 18 was,
in the year 1790, considered of thc val ue of fifteen
guineas, since that time they have realized much larger
sums. Nathaniel C rosse, or Cross: it is not known by
whom this maker was instructed; bis style grcatly re-
sembles that of Steiner, the flutiug round the edge where
t he purfie is inlaid is very acute, and his instrumcnts are
beautifully work ed in all particulars. T hc p rinted label
used by him previous to becoming a partner with Barak

lllSTORY OF TUE VIOLJN. 2Gl
Norman, may bo supposed to infor that he was a pupil
of Stciner (but tbis borders on the impossible), or that
he adopted the characteristic style of that excellent foreign
workman; however it bears a fabulous number, as if the
instruments he had made reachod to so large a figure,
tho last figure being addcd in ink :-
" Natbanacli Crosso Stainoro
fecit. N o. 2417."
H e livcd in Aldermanbury, London, and the instruments
which havo been secn, chiefiy violoncellos, were very
similar to those he made during bis partnership with the
prcvious maker; they are small in size and squat, and
are varnished of a. light yellow colour, the vehicle or
body varnish is considered to be made of one of the soft
gums, mastic or sandarac dissolved in alcohol, which
renders thern of easy blernish and disfigurcment by any
slight scmtch, similar to the defcct observed in the orna-
mental \YOOd-work of Ton bridge W ells. The tone is
clear and rather penetrating in quality. !lis violoncellos
are gencrally sold as Barak Norman's, but thc style of
work of the two makers, in every particular, is very
clifferent. Cross is supposed to have been living in 1751.
It has been prcviously noticed that tbe monogram of the
elder parlner is generally, if not always, inlaid either
in the upper or lower vibrating platos of the younger
workman.
It cannot be stated when thcsc two makers became
partners, but there is evidence that they were so about
1720, as the following copy of a printcd label used by
thcm will prove; the Mal tese cross is at thc top, and
only tln·cc figures are in print, leaving the pen to com-
plete the date : -

262 lllS'rORY OF 'rHE VlOLIN.
+
" Barak N orrnan
and
Nathaniel Cross
at the Bass viol in St.
Paul's Church Yard.
London. Fecit 172-."
John Banctt cct·tainly is of the samc school as Na-
thaniel Cross, whoc,·e¡· may clairn to be the originator;
but he could not ha ve bcen a pupil, as sorne persons sup-
pose, for it will be seon they wcre con temporarios; he in
1722 carrying on business in Piccadilly, and the other in
St. Paul's Church Yard in 1i2-. The genuino violins
that havo bcen sccn are of a long and high model,
approximating to thc Amati pattern, with the Steiner
blended in the samc. Thcrc is .a characteristic mar k in
this makcr's violins (for no other dcscription of instru-
ments havo becn sccn), they all havo ink linos instead of
purfle, and tho fluting where tho ink linos aro and purfle
should be is vory acuto, similar to thc work of N. Cross,
forrning al most the inner half of a circle. A perfect in-
strument of this maker is in thc posscssion of Mr. C. "\Vard,
of Chapel Strcct, West, M ay Fair; tbe tone of wbich
is very puro and of superior quality, but not powerful.
The varnish on this violín when first used must havo
been a palo yellow colour, but agc has mcllowed and
produced a brown tint. The samc defect exists with the
body varnish as that used by thc maker previously noticcd.
Copies of printed labols or tickets used by him in the
violins are as undor : -
" John Barrett, at the H arp and Crown

in Pickadilly, 1722."

fllSTORY OF THE VIOLIN. 263
In 1731 the following was in use; a lyre with the crown
on the top of it, printed on the left comer befare the
name, and in thc date only two figures were printed,
leaving space for the othcr two, to be added by a
pen:-
" Made by J ohn Barrett, at y< Harp
& Crown in Pickadilly, London, 1731."
The val ue of this maker's violins, in 1802, was considered
to be six guineas ; since then they have produced eight
and ten guineas; but now a. cloud o'er-shadows them as
well as all other English makcrs.
The name of Joscph Hare is little known as a violín
maker, nor can it ·be stated of whom he learned tbe art;
however, he deserves especial notice as bcing, it is consi-
dered, the first person in England who used the flat
model in his instruments. The varnish was a rich red
colow·, very good, and transparent. From the improve-
ment in the principies or mode of work, and a varnish
of different colow· and brilliancy than previously used
by the makers, it may be inferred that he was self-taught,
and the first of a new school, but having no imitators until
more modern times, when the Stradiuarius pattern be-
carne paramount. The following is a copy of the printed
label used : -
" Joseph Hare at y• Viol & Flute
near the Royal Exchange
in Cornhill London
1726 "
Pe ter W amsley was a maker that once stood high in
repute, his violoncellos more especially realizing great
prices ; the work was good and neat, with a bias towards
the outline and model of J oh u Barrett, but modified.
Most of his violins, violas, and violoncellos, have only

ink lines instead of purfie, although there are excep-

tions, and but few instruments are known that have this
ornamental aud useful inlaying. The varnish is gene-
rally of a red colour, with a brown tinge; but there are
sorne instruments that have a brownish yellow colour,
rather opaque. This maker fell into a great error by
cndeavouring to anticípate age, and worked the instru-
ments so thin, the violonccllos in particular, tbat many
years since they were liable to compress for want of suf-
ficient thicknesses to withstand the tension of the strings;
and in hot rooms they ga ve "ay in tone for want of
greater stamina. Professors said " they played them
out," and were far from satisfying either in quality or
endurance. From this defect the tone is mostly hollow
in sound, and wolfy, if the musical term may be allowed,
which may be expressed by stating that many faulty
•
or hard notes are created by this imperfect mode of
gauging the instruments. However, there are a few
violoncellos known of this maker in whieh more wood
has been left, and the tone of them is good. The
external applianccs to remedy the defeet alluded to will
be a low bridge of rather bard wood, and strings of
small size, with a sound-post fulllong and tight. Peter
Wamsley rnade but few double basses, which are now
very scarce. Those which have been seen were very
good in tone, and stronger gauging ; the varnish was of
the red eolour similar to that used in his other instruments.
The following are copies of printed labels used by this
maker : -
" Madc by Pe ter W amsley
at y" Golden Harp in Pickadilly
London
1727."
The two last figures added with a pen. The two labels

-
-
HISTOR Y OF THE VIOLI :-1. 265

following are printed on a narrow slip, and the last
figures on oach are also added with a pen :-
"madc by Peter Wams lcy at the
Harp and Hautb oy in Pickad illy 1735."
Also-
" made by P etet· Wamsl ey at thc Harp and
Ilautboy in Pickad illy Loudo n. 1737. "
The next printed label is very small, with plain black
lines as a border to it : -
" Po ter W amslcy
Makcr at the H arp
& H autboy in Picadd illy
17 London 5 J."
Thcrc can be but littlc doubt tbat Henry J ay was a
descen dant of thc onc preriou sly named in the latter
part of thc seventeenth and beginn ing of tbe cighteenth
centur ies, but there is no proof tbat it be so, althou gh
the style of work almost justifies tho asscrtion. He was
a good and neat workman, and was celebra ted for the
kits he made for thc use of dancin g-masters, each one
realizi ng five or six pounds. Tho varnish was of red
colour, with a brownish lme. Thc labels he used were
chiefly written , but somo are printed :-
" Made by H enry Jay
in Long Acre. London. 1746."
Where it appears he rcsided for twcnty-two years; then
the following printct l label was adopted, the two last
figures put in with a pon : -
" Made by H enry Jay in
Wind- Mill Strcct, ncar
Piccad illy. L ondon. 1708."
If the surmises regard ing this family of J ay be correct,
they will have held a promin ent place as makers of lutes,
S

266 li!STORY OF THE YIOLIN.
viols, and violins, for more than one hun dred years
and passed through the transition statc from the more
antiquated instrument to that of more pcrfcct charactcr,
Henry J ay being thc last of the family as a maker.
There were sevcral violín and violooccllo makers
residíng in the City, in the latter half of this century,
who appear to havo adoptcd small-sized violoncellos, not
cxactly of the squat pattern used by Nathaniel Cross,
but something of that character, and still adhering to
tho high model. It is not known who instructed them ;
but neithcr their work or goodness of tone has addcd any
lustre to their names, although the instrument s have
beco made more than one hundred years. Unless thc
various tbickncsscs are properly blcndcd, age will not do
much to improve them. The instrumcnt must be good
from its first manufactu re to derive thc cssential qualities
which age ccrta.inly imparts, although it cannot be denied
that age and much use may improve thcse instrument.s.
These makcrs forro a portion of thc links in the cbain
we are endeavouri ng to elucidate. Thc first of this
class is,
"Robert Thompson att the Bass Violín
In pauls Al!y St. pauls cburcb yard
L ondon 1749,"
who appears to havo taught bis sons, or sorne other relu-
tives, as there are others of tbe samc surname.
" :Made by
Thompson & Son
at the Violín &e
the W est end of
St. Pauls Church Ya1·d
London
1764."

ll!S TOR Y OP THE VIO LIN . 267
P robabl y this is thc firm mentioned in the Musica
l
Dir ect ory of 1794 : -
" Samuel and Pct cr Tho mp son
Ins tru mc nt Ma kcr s and Mu sic Scllers
No . 75. St. Pau ls Ch urc h Yar d."
In 1775 and 178 5 pri ntc d labels from ins truments
cxist as -
"M ade and Sold by
Cha'. and Sam'. Thompson
in St. Pau l's Ch urc h Ya rd ;"
but it is not known if the y werc relativos of those pre
-
viously mcntioncd ; the dates and locality crc ate a pro
-
bab ilit y tha t the y werc so.
Th ere was also ano thc r ma kcr of this class who uscd
a written label without dat e :-
" Sold by Jolm J ohnson
Ch cap Sid c. Lon don ."
An d oth ers pri ntc d wcre uscd in 175 3 and 1759, the last
figure put in wit h a pen :-
" Ma de & Sold by J ohn J ohnson
at the Ha rp & Crown in Chcap sidc
17 Lon don 53."
An d the sam e for the late t· year.
T homas Srnith was a pupil of Pet er Wa ms ley ; the
modcl and outline of his ins trumc nts wer e similar to his
master 's, but for tun atc ly thic ker in wood. As a ma ker
,
he bel d a goo d positio n in hi:> day ; but at the presen
t
time the violoncellos are consid ered dcficient in qua lity
of tone. Tb c firs t con cor to tha t the late emine
nt
Profcssor Robcr t Lin dley played in pub lic was upon
a
violon cello of this mak er, and the ins tru mc nt is still
in
posscssion of his sec ond son , Mr . J ohn H. Lin dle
y.
Th e var nish on the ins tru menta is me agre and poor, of
a

268 HISTORY OF THE V IOLIN.
brownish yellow colour, añd not even approaching that

used by bis instructor. From 17 56 to 1766 the following
narrow printed labels were in use, so much like that for-
merly adopted by bis master, that the conclusion may be
drawn he had succeeded Wamsley in the business, and
merely altered the name in the plate :-
" made by Tho'. Smith at the Harp and
Hautboy in Pickadilly. London. 1756.''
The violoncellos of this maker, in 1799, were sold for
a price varying from five guineas to eigbt pounds, and it
is qucstionable if he made either violins or tenors.
Jobn Norris and Barnes were instructed in violín
making by the foregoing Thomas Smith, and they were
fellow-apprentices. On the completion of the allotted
time they ha.d to serve, they became partners ; and as
there is evidence of their dwelling in Windmill Street
on the 10th February, 1785, it may approx.imate to tbe
time at which they commenced business on their own
account. The Musical D irectory previously alluded to,
for 1794, shows at that time they had removed toNo. 34,
Coventry Street, Haymarket. No instrument of any
description has been seen as made by either of these
persons, and it is generally considered they became
dealers in and repairers of violins, &c. A violoncello is
known stamped with their names on the back, at the
top, near the neck, but it is certainly the work of Ed-
mund Aireton. The partnership was not one of conge-
nial nature, and as soon as the expiration of the deed
of partnership would allow it they separated. It is stated
that Barnes retired from business and kept a farro at
Rayes, near Uxbridge, and that he died there; however,
the church books have been examined, and there is no
evidence of his death. I t is more probable that he opened
a house of business in the old locality, as the Directory

lliS TO RY OF TJ! E VIO LIN . 269
for 17 94 ha s "R ob crt Ba rne s, violin ma ker
, Wi nd mi ll
Str eet , Ha ym ark et" ; tbe ref ore , as the firm
is also me n-
tio ned in tbe sam e book as existing, per hap
s 17 94 was
the ye ar of sep ara tio n. Th e following is a
copy of the
label use d by the m : -
" M a de by N orr is an d Ba rne s
Violin Violincello an d Bow Ma kc rs
To Th eir Ma jesties
Co ven try Str eet . Lo nd on ."
J ohn N orr is con tin ued to car ry on business at the
usu alr esi de nc e; bu t sta tcm ent s differ reg ard
ing his re-
tir ing in favour of his shopman, Ri ch ard Da
vis. Sorne
ass ert he die d at Co ven try Str eet , otb ers say
it was at a
rel ati ve' s bousc in Wa lha m Gr ee n; bu t it is
cer tai n he is
int err cd in the bu ria l-g rou nd of Fu lha m Ch
urc h. Tb e
spo t is ma rke d by a stone, on whicb is en gr av
ed -
" J oh n No rri s
Dicd 10 Ma rch 18 !8,
Ag ed 79 yca rs. "
Ri ch ard Du ke att ain ed to gre at cel ebr ity as
a ma ker ,
an d was qu ite the fashion at the per iod in
which he
liv ed ; bu t thc re is no positivo evi den ce of
whom he
Ica rne d the art of ma kin g violins, tenors,
an d violon-
cellos, all of which ins tru me nts ha ve mo re of
the Ste inc r
pa tte rn in the m "th an is consistent with a
fine ree dy
tone," which in the violins is clc ar an d silv
ery. Th e
pa tte rn rat he r long, an d a yellow varnish.
Sorne of the
ten ors are sm all in size, ab ou t the len gth of
a violín,
an d the end cav ou r has bcen made to ob tai n a
lar ge r an d
dce pcr ton e by ma kin g them ve•·y bro ad ;
the tone is
good, bu t more power is wished for on tbe
two lower
str ing s. Th e ' 'ar nis h of sorne of thcse ins
tru me nts is
ver y poor ; the colour secms to hav e bce n ob
tai ned by a
weak sol ution of wa lnu t-s tai n, an d a tbi n coa
t of var nis h

put on afterwards . The few violoncellos which have

been seen are of a long pattern, with high model, and a
yellonr varnish ; the tone very good. At one period be
lived in Red Lion Strect, Holborn. The following are
copies of sorne of tbe labels used in the various instru-
ments, and they mostly were written with pen and ink :
" Richd Duke
Londini fecit 17 67 ."
A !so, a similar one in 1769 ; but eight years afterwards
he had changcd his abode, and thc lubcl used was
"Richard Duko
Maker
H olborn. London. Auno 1777 ."
Probably about this time a printed onc was adopted; but
there is no date u pon it : -
"Richard Duke makcr
near oppositc
Great T urn-Stilc
Holbourn. L ondon ."
T here was a son of the foregoing, whose name is also
believed to be Richard Duke; and by the style of work
he evidently was instructed by his fathcr. Howcvcr, the
world did not smile on him, and in tbc carly part of thc
present century he solicited purchasors of bis violins and
tenors, from bousc to house, of those in the tradc. Both
father and son gonerally stamped their names on the
back of the instruments, at the top, ncar tbc button. At
times the surnamc only, and at others with London
underneatb the namc.
J ohn Ed ward, or better known as old J ohn Betts, and
his nephew, Edward, commonly named Necl Betts, wcre
both pupils of the elder Richard Duke ; thcy carne from

JI IST On Y OF TBE VIO LIN .
271
Sta mfo rd, Lin col nshil·e, or its vic init y. J ohn Be tts was
boro in tho yoa r 1755, and in duo time was sen t
to
London to loa rn vio lin- ma king, but wh etb or be pro
ved
a first-rate workman can not be ccrtifi ccl ; rcp ort spe
aks
to thc con trar y. As a dealor, gre at knowlcdge of
tbe
Itai ian ma kers is assigned to him . Tb e ins trum ent
s
which bear bis nam e oftcn show an alle red stylc, occ
a-
sioncd by the variou s workm en ernployed by him
at
different pcr iod s; namely, J obn Car ter, Necl De
tts,
Pan orm o, Bc rnh ard Fen dt, and his sons, and oth
ers
cou ld also be mentioncd . 1\Iuch of tbc ir wor k, par ticu
-
larl y of tho ncp hew and thc Fcn dts , being imi tati
ons
of tbe I tali an and old En glisb ma ker s, sorne of ""b
icb
are exc ellc ut copies. Dr . For ste r, in bis " Ep istolarium
, ''
vol. ii., page 140, sta tcs : " Somo of the bes t mo der
o
imitations of tbe Cre mo na vio lins are those of J obn Bet
ts,
of L ondon, who for ma ny yea rs sold the m, tog etb
er
with others of his own excclle nt form, in his hou
sc,
und er tbe R oya l Exc han go, in Lon don." J ohn Bet
ts
die d Ma rch , 182 3, and is bur ied at Cri ppl ega te Ch urc
b.
Co py of a. lab el used in 178 2 : -
" J•. Betts N •. 2
N ear No rth gat e tbe
Ro yal Exc han ge
L ondon 178 2."
Th c nepbew had abi lity as a ma ker of violins, and
was omployed by bis unclc ; bis own sty le is adm ired
,
thc tone bci ng good, bold, and ma scu lin a; but he bec am
c
mo re profici cnt as an imi tato r of the old ma ker s, bot
h
of Ital y and Eng lan d. It pai d bet tcr, as H1• H
ill
observes, tha n adh erin g to modero workmansbip . Th
e
time of his dea th is not acc ura tely known ; pro bab
ly
bctween 18 15 and H320. It is ccr tain he died bef
ore
his uncle.

272 HISTO!tY OF THE VIOLIN.
Here may be considered to termínate the succession

and second portion of violin-makers, from Jacob Ray-
man to John Betts, notwithstanding the last name, as a
bouse of business, still exists. However, as the successors
have not studied the art of violin-making, they can only
be considered as dealers. Mr. Arthur Betts, who suc-
ceeded to the business of his brother, old John Betts,
was a teacher and professor of the violín, and held an
honourable position as a performer. At his death, the
business became the property, or perbaps was under the
guidance of the elder son, the present Arthur Betts, who
had been a clerk in a large banking establishment in
Lombard Street, consequently not a person using the
various tools to develop a violín or violoncello. There
was another nephew, named Vernon, 11·ho acted as
shopman in the latter years of his uncle, old John Betts,
and soon after the death of the latter, in 1823, opened a
house of business in Cornhill, or near that locality ; but
in a very few years death tcrminated his career. He
could not make a violín, and was only the dealer.
Although but few allusions have been made to the
Cremona instruments in this portien of the book, yet
they were gradually arriving in England <luring the
period just noticed, and their superiority of tone created
a want which the supply, unfortunatcly, could not satísfy;
it therefore led to the debasement of genuine instruments
to gratify the love of gain. Two instruments were macle
out of one, by taking portions-say the head and upper
vibmting plate or belly-tben adding the sides and
lower vibrating plate or back, also vice versá, or any
other mode of separation ; then perfecting the whole as
a violín, or whatever instrument it might be. Of late
years these instruments have been brought before the
public for sale, and it is greatly to be deplored that a

liiST ORY OF THE VIO LIN. 273
tl·uly genuino onc is rarely to be scen. A new bandle
or neck is of no importanco; but to divide a perfect
article crcates a disgust for the porpetrators, whoever
thcy may have bcen.
I t is a triumph of skill to be able to make a violin
tbat sball be considered by the connoisscur and all others
as a genuino Cromo na; but tben comes the test of true
honesty : will you stoop and degrado yourself by solling
it as a genuino arti cle?
The re are still several namcs in thc eigbteen th century
to be noticed, which occasionally causes an encroach-
mont on the prcscnt century, many of whom were indif-
fcrent workmen, and cmployed by tho music publish ers;
thoy may be callod fiddle-makors, not artists in mak ing
a violín; howovor, whon a mor e favourablo statement
can be made of thei r skill it shall be mentioned. Tbe
names are arra nge d alphabetically.

274 IIISTORY OF 'filE \'lOLlN.
CHAPT ER XX.
STLEY , No. 9, Fleet Lanc, 1785.

E l/'rl.
BAINES, pupil of Matthew Furbcr.
BARTON, GEORGE, Elliot Court, Old
~.~~~~o Bailey. Dicd about 1810.
CARTER, JoHN, workcd for John Bctts, and respectetl
by him. lt is said bis employer paid the expense of bis
funeral. L abcl used :-
"J. Carter. Violín- T ennor
& Bass Maker, W yeh Street, Drury Lane
London. 1787 .''
CLARK, Turnmi ll Strect, Clcrkenwell, pupil of Mat-
thew Furber.
CoLLIER, SAliiUEL, musical instrumcnt-maker, at Co-
relli's Head, on Lontlon B1·idge, 1755.
CoLLINGWOOD, JosEPH, at the Goldcn Spectaclcs, on
London Bridge, 17-.
CoNWAY, \VxLLIAM, 1745.
CnOW'l'HER, JOH N, Haughton Street, Ciare Market,
about 1755. Worked occasionally for John Kennedy,
as well as thc music-houscs. Died about 1810.
DtcKSON, Jou~, Cambridge, 1779.
DrcKINSON, EDwAnD, 1754 and 1790. Printed labcl
used : -

HIS TO RY OF TH E VIO LlN .
275
"E dw ard Di ck inson
ma ke r at tbe Ha rp &
Crown in tbe Str an d
noar Ex eter Chango
Lo nd on 1754 "
Ev AN S, RICHARD. Tb is na me was in
the Crwth
mentioned in the forrncr pa rt of this work,
which looked
much old cr tha n the da te in the following lab
el, with its
peculiar spelling : -
" Ma id in the Pa rís of

Lan"ü·hc ng el by Ri ch ard
Ev an s InstJ·ument ma ke r
in thc yc ar 17 42 ."
Fn ANKLAND, Ro bin Ho od Court, Shoe La
ne , 17 85;
occasionally cmployed as an outdoor workm
an by Wil-
liam Forstor, num bcrs two an d tln·oc.
Fu nn En , DAviD, was the first of this na me
tha t made
instruments. Th e times of bis bir th an d
dc ath are no t
kn ow n; bu t the grandson, Jo hn Fu rbe r,
said he was
burícd at Clcrkenwell Ch urch. He no do
ub t showed
ability, as Jo bn Johnson, a violín-makcr, liv
ing in Cheap-
side, in 1759, ga so him fur the r ins tm cti on
.
F unBER, MATTHEw, was the son of the
previous
na me d Da vid Fu rbe r, an d was tau gh t by
bis father.
Died about 1790, an d buricd at Clcrkenwe
ll Ch urc h.
T he sccond an d thi rd sons of the forcgoing
Matthew,
na me d Matthow :md Jo bo , were tau gh t by
thc ir fatber ·;
bu t whetber the cldest son Ja.mcs was a fid
dle-maker ís
no t known. Matthcw, the second son, die d ab
ou t 1830-1,
an d was buricd at Clcrkcnwell Church. Jo
hn Fu rbe r,
in 1841, was living in Cow Cross, Smithfie
ld, an d has
instructed bis son, He nr y Jo hn ; botb fathe
r an d son, ít

is believed, are living at this time. Copy of a written
label used by the elder John :-
" Jo hu Furber makot·
13 Jolm's Row top of Brick Lane
Old S'. Saint Luke. 1813."
HARBUR, or HAnnoun, , in 1785, lired in Duko

Street, Lincoln's-inn Fields, and moved to Southampton
Bnildings, Holborn, in 1786.
HARRISS, CHARLES, livcd at Cannon Street Road, Rat-
clitfe H ighway, and was a Custom House officer, tide-
waiter, as wcll as a fiddle-maker, and was chiefly em-
ployed in making instruments for shipping orders and
the trade, bnt it is not known of whom he learned to
work. Samuel Gilkes, who will be noticed elsewhere,
was an apprcntice of this person (vide the tbird Wil-
liam Forster).
H ARUISS, CHARLES, was the eldest son of the above,
and fcllow-apprcntice with Gilkes. However, little is
known rcgarding him ; he became possessed of sorne
property in Northamptonshire from a branch of the
family, and was called Squire Harriss; but sorne adrerse
circumstances compelled him to seek employment amongst
the trade about the middle of the prcsent century.
HEESOM, EowAno, Londoni. Fecit 1749.
H oLLOWAY, J ., 3 1, Gerard Street, Soho, 1794.
MARSHALL, JouN, was a tolerably good workman, and
the violins which havo becn scen are made of the
Steiner pattern. Sorne of the labcls used by him were
as follows : -
'' J ohannes Marshall
Londini. F ecit 1750."
The above was printed on a narrow slip of paper, with

HIST ORY OF 'l'IIE VIOL IN.
277
plain lino border. Tho label which follows is taken from
Hil l's MSS. : -
" J ohannes Marshall (in vico novo juxt a
Covensam hortum) Londini. fecit 1757 ." •
And this is a written label in our own collection : -
.
"Ma rsha ll. London 175 9."
On this last he makes known-
" Good Beef l d A pou nd
But tt·ades all very Dad."
MAR TIN , , was livin g at Her mit age Bridge, Wa p-
ping, in the years 1790 and 1794.
MER LIN , JosEPH, appcars to ha>o possesscd a. men tal
developmcot for invention, with mcc han ical skill, which
powers wero exerted to produce man y articles, both mu-
sical and otherwise, and were exhibited at his museum
in Prin ces Street, Hanover Square. In Mad ame D 'Ar -
blay's "Di ary and L ctters," vol. ü., p. 432, she stat es-
" H e invented roany ingeniou s objects, sorne of whicb
wer e of r eal utility, but most were mere play things, or
objects of curiosity. H e was at one period of bis career
quite 'tbe rag c' in L ondon, whe re everything d la Mer -
lin -Me rlin cbairs, Mer lin pianos, Merlin swings, &c. ;''
also, it may be added, Mer lin fiddles, a.nd l\.ferlin's me-
chanical pegs for violins and violoncellos. Frcquent
mention is madc of bim in the second volume of this
Diary, with statcmeuts of sayings aud actions, which
shows she considered him a vain, conceited person. The
viol ins he ma.dc were of the high mod ol, similar to
Stei ner ; the work was good, but the tone was of the
usua l qua lity of high-built instruments. T he prin ted
labe l he used was a.n oval to enclose the nam e and bis
ambition, with the dire ction written underne ath. H ere

278 IJISTOR Y OF 'l'HE VIOLIN .
is anothe r instance of the uncert ainty of thc number of

instrumcnts made by the figures on the labcls. A copy
of a labcl, with thc date 1778, has thc numbcr of 106
upon it; and an original one, in 1779, has No. 104;
thercfore we must lcavc our readcrs to gucss where he
begun. The word "Impr oved" has been writton with a
pen on both labels :-
" Josephus Merlin
Cremome Emulus
N• 104 Londin i 1779
Improv ed
Queen Ann N • 66 Street East
Portlan d Chape l"
Dubourg, in his work on the violín, p. 244, gives an
amusing tale of a " Skatin g Fiddle r," and alludes to a
circumstance of which Merlin was the cause, and wbich
occurred at Carlisle House, Carlisle Stt·eet, Soho Square ;
but no doubt much cleplored by the lady who gave thc
entertainment.
MIER, of London, in 1786 ; but nothin g is known of
bis instl·uments at tbis pcriod.
MILLE R . T he origina l printed announcemen t of this
person is much injured and mutilated, and it is ques-
tionable whetber it be not that of the widow, as the last
three letters appear to be " lez " ; or it may be the ter-
minati on of Eliza. Sorne interes t may be crcatcd in the
statemcnt made, thercfore a copy of thc label is given : -
" Sold by .... lez Miller at the Signe of the
Citern Londo n Bridge all Sorts of Musical
Instrum ents and Strings fitt for them
& old Instrum ents mendcd & also there
you may ha ve all Sorts of Ncw Tunes &e
Musick Books & Songs tuled Books
and ruled Paper at Reasonable ratc."

l!ISTORY OF Tl!E VIOLIN. 27 9
Th e houscs on London Bridge wcre all clcarcd
away
betwecn thc years 17 57-1759 (" Chronicles of
London
Bridge," second cdition, p. 37 8, et seq.); bu t thi
s lab el
secms much oldcr.
MonmsoN, Jo uN, it is believcd, was born about
1760,
and it is not known who taught him the fiddle
tradc.
He bad a small shop in Princcs Strect, Sobo, the
begin-
ning of this century, bu t quitted it in 18 19, and
, after
residing in Shadwell for a time, ultimately loc
ated in
L ittle Tu rnstilc, Holborn, whcre he died bctwe
en the
years 1820-30. Ili s work was vory common, an
d he was
mostly employed in making instruments for the
music
houscs.
NAYLOR, I sAAC, was a pupil of Ri ch ard Du ke,
and
li vcd at Headingley, ne ar Leeds, Yorksbire, 1778
-1792.
NEWTON, IsAAC, was a makcr of ave rage goodness,
and
occasionally cmployed to repair and make vio
lins and
violonccllos for Bctts; the new instrumcnts bei
ng var-
nished at the bouse of the lattcr, as tho varnis
h of bis
own was a dingy yellow, somew ha t like tbat
used by
Smith. He died about 1825, and his age is sup
posed to
be betwcen seventy and eighty years.
PEARCE, JAMES AND THOMAS, were brothcrs, aud
very
common workmen, living in Pe ter Str eet, Saffro
n Hill,
onc of the Rookcries of London, thc latter pa rt
of the
last century or the bcginning of thc present one.
PnEsTON, J oHN. It is not known if this pcrson be
re-
lated to John Presten thc music publishcr, who for
merly
resided at 97, Strand, London, and also called him
self a
mu sical ins trument ma ke r; bu t the lattcr only
dealt in
them as a music house. Labels uscd by the for
mer crf
this na me -
" Preston Pavement York 1i89 ;
and

" J ohn Prestan, York.
1791. Fecit."
PowELL, RoYAL AND THOMAS, were brothers, and both
neat workmen of average goodness; and were employed
about 1785-G or 1787, as outdoor workmen by William
Forster, numbers two and three. The label used by one
of them-
" Made by thomas
Powell No 18 Clemens
Lane Ciare Market
1793."
There were two sons of the above Thomas, also named
Royal and T homas. In 1800 they were living in St.
John's Square, St. Lukes, and it is said they were between
twenty and thirty years of age at that time, but nothing
is known of their work ; however one of them went to
sea, and being able to repair violins, met with favour
from his lieutenant, who was an amateur on the instru-
ment.
SATCHELL AND FoRSCHLE. In the Musical Directory
for 1794, p. 57, we find the name of this firmas, "Instru-
ment Makers, No. 21, Mark Lane ;" but whether or no
they made violins we are unable to assert. None have
been seen. It may be probable they were military in-
strument makers. The first name is also met with in
the "Memoirs of Harriot Duchess of St. Albans," by
Mrs. Cornwall Baron Wilson, vol. i. p. 208 :- " The
latter apartmeuts Mrs. Entwistle considered might be let
for a shop, so as nearly to pay the whole rent ; but Miss
Mellon received an application from a tenant, connected
with her own loved profession, which she favoured be-
yond any other more advantageous one; and she let the
ground-floor at arate which was quite a matter of charity.

RISTORY OF THE VIOLlN. 281
H er tenant was Mrs. Benson, the sister of Mrs. Stephen
Kemble, both daughters of Satchell, the musical instru-
ment maker to the Prince of Wales."
SmtPSON, JoHN. Although instrumcnts have been seen
possessing printed labels similar to that givcn at tbe con-
clusion of this article, yet it is doubtful if he was a maker
of tbe violín class. Those fiddles which have been seen
were not of good workmanship or tone, and lookcd like
the style of those usually sold at thc music houses. There
can be little doubt but this John Simpson was the father
of tho following J ames Simpson, thcrefore prior to the
date ascertaincd of the latter, the labcl being so much
alike and in thc same locality : -
,, John Simpson,
Musical Iustrumcnt Makcr,
At the Bass Viol and Flutc,
in Sweeting's Alley,
Opposite the East door of y• Royal Exchange
L ondon."
Tbc Musical Directory for 1794, p. 60, gives the
namc of a finn: "James Simpson and Son, Instrument
Makcrs, No. 15, Sweeting's Alley, Cornhill.'' T he label
uscd was-
" J. & J . Simpson,
Musical Instrument Makcrs,
At the Bass Viol & Fluto,
in Sweeting's Allcy,
Oppositc the East Door of the Royal Exchange,
London."
SMITII, ' VILLIAM. There were two makcrs of tbis
namc, or it ma.y be the same person moYed to another
place, and it is belie>ed he or they wero not related to
T

the Thomas Smith of former years. One of the labels
used was " wm· Smith, Real Maker, London, 1'77 1."
The other-
" William Smith,
Violin Maker,
Hedon, J786."
TAYLOR. About 1820 this person was living in
Princes Street, Drury Lane; but at that time an elderly
man, perhaps near seventy years of age. It is said he was
regularly initiated into the business of fiddle-making, but
it cannot be learned from whom he gained the knowledge.
In the latter period of bis life, double-bass-rnaking and
repairi.ng became tbe favourite instruments to work upon;
aud he must ha.ve arrived at sorne excellence, as Siguor
Dragonelti occasionally employed him.
TaoRO>VGOOD, HENRY. The work of this maker is not
known, but tbe following is a copy of the printed label
used by him ; tbe two first figures only of the date were
upon it : -
" Made and Sold by
Henry Thorowgood
at the Violin & Guitar under the
N orth Piazza of the Royal Exchange
17 London."
ToRING, olt TonRING, kept a shop in Shug Lane,
Haymarket, now better known as Tichborne Stl·eet, about
the spot at which the opening is made, and tbe County
Fire Office is the corner. He was a player on the fiddle
as wcll as a makcr and repairer of it, and attended
balls; bowever report says he did 11ot reach much excel-
lence in any dcpartment. The late Mr. Hendric, the
perfumer, of Tichborne Street, who died in April 1862,
at the age of eighty-four years, had a lively recollcction
of dancing to Torring's fiddling, and the inquiries of him

~--- -- ---
lliSTORY OF THE VIOLIN. 283

regarding this person seemed to recall all thc pleasures
of youtb. It may be interesting to state that Shug Lane
is an abbrcviatio n of Sugar House Lane, taking its name
from a s ugar baker's establishm ent having been built
thcre in Charles the Second's reign. It was then tbe
high road from the village of Charing to Tyburn.
' VEAVER, SAMüEL. No i nstrumcnts havo been seen
of this person's makc; but the copy of a printed label is
as follows :-
" A11 Sorts of
Musical Instrument s
mude & Sold by
Samt Wca,·er
on London Bridge."
WIGHT~rAN, GEonoE. Notbing is known of this
workman or bis instrumcnt s, but he used a written label
thus :-
" Gcorge Wightman
Woou Strect London 1761."
'V RIGIIT, D ANIEL. The same remarks as thc pre-
ecding may be applicd to this maker; the date being
about 1745:-
" Made by Daniel Wright
in Holborn, London."
WonNUM. Thc Musical Directory for 1794, p. 71,
givcs this name as a violin and violoncello makcr, No. 42,
Wigmore Street. No instrument s havo bccn secn.
YouNG, Jonl'i, livcd at the west comer of London-
house Yard, in St. Paul's Church-ya rd, at thc sign of the
Dolphin and Crown, about the ycar 1724, and is styled
a maker of violins aud othcr instrument s by Sir John
H awkins (Novello's edition, p. 807): "He Ji ves not by
his works!" N everthcless concerts of instrument al music
wcrc ad vanced by him and his son, T albot Young.

284 HISTORY OF TUE VIOLIN.
CHAPTER XXI.
LTHOUGH many of the persons in the

list just endcd were vcry common work-
men, yet there wcre others, during tbe
same period, who by their talent and
industry were gaiuing a position and bccoming sorne of
England's best ai·tists in violin, viola, and Violoucello
making ; not only creating a stylc of finish in their
work by which they are known, but also produciug a
quality and character of tone to which professors will
alludc anJ draw comparison. With these namcs of
violio-makcrs it is intended to commence with the oldest
date and carry each school througb to the present time,
enumerating, as far as our knowlcdge will enable us,
all thosc persons who have beco pupils, and others who
have followed a similar style, tbat thc character and
stylc of cach artist may be kept separate.
Dr. Thomas Forster, in tho prcfacc to his "Epistol-
arium," vol. ii. p. 4, states the Forster family to be very
ancicnt, and believed to havo come li·om Normandy
with William the Conqueror; also, that distinguished
scl'Viccs were rendered at tbc battlc of Crecy and also at
Agincourt by onc of this namc, for which the king
confcned tbc coat-of-arms and crcated General Sir
Fcrdinand Forster, knight banncrct.
I t is not known from what branch of the family Dr.

HISTORY OF TIIE VIOLJN. 285
Forstcr reckons ; however, it is in Scotland and the
nortbcrn countics of England wc must search for the
Forstcr family, to which our inquirics are directed. In
tho "Bordcr History of E ngland aml Scotland," by the
R ev. George Ridpa.th, thcre is frcquent mcntion of the
na.mo, and a statement that one Adam Forster, or For-
roster, was sometimos serving as a royal commissioner,
and at othet· times as an ambassador f'rom Robert III.
of Scotland to Richard II. and Henry IV. of England ;
also acting as conscrvator, with othcrs, to various b·uces
and peace arrangcments regarding tho Border district,
from 1397 to 1402, and that about tho last date he had
bcen mado Sir Ada.m, and was taken prisoner at the
battle of Homeldon, and with othcr captives was "com-
mittcd to tho cure of the stcward of tbe household, to
wait thc king's pleasurc." Whcthcr he dicd a natural
dcath, is not known; but to trust to the clemency of tbe
Bolingbroke, who had been opposed, makes the result
vcry doubtful. I n 1424 we find John F orster acting as
conscrvator to a b·uce between England and Scotland,
and in 1429 he appears to become Sir J ohn Forrester,
Baron ofLiber ton, ser ving as a Scotch commissioner, with
other persons named, for "mutual rcdrcss of injuries,
and tho spccdy and effectual execution of justice in all
mattcrs under debate between the subjects of the two
kingdoms ; " and in the sume ycar he is named J obn
Forster of Corstorsyn. From thc last date above stated
untill553, there is no mention of ,this name; we then
find Sit· J ohn F orster, knight, was acting as the arbi-
trator for England; and in 1557, "about Martinmas,
the Earl of Northumberlan d sent bis brothcr, Sir Henry
Percy, accompanied with Sir J olm F orster and others,
chiefly those of the Middle March, to make an inroad
into Scotland ; they were met by Sir Andrcw Ker and

28() HISTORY OF THE VIOLIN.
a great body of the men of T iviotdale, in the neighbour-

hood of Cheviot, almost on the boundary between the
kingdoms. A sharp engagement ensucd, in the bcginning
of which thc English were bcaten back; but recovering
themselves, they gaincd a considerable advantage over
the Scots, takiug prisoner their leader, with several of
his followers. Sir John Forstcr fought bravery (bravely)
in this skirmish, whcrcin be was sore wounded, aud bad
bis horse killed under him; and to his ·prowess was
chiefiy ascribed the victory gained by bis countrymen."
In 1561 Sir J olm Forster was warden of the Middle
Marches, and retained that appointment for many ycars.
When James VI. of Scotland passed through Northum-
berland, in 1603, to ascend the English throne, he was
met by Sir Nicholas Forrester, the sheriff of that county,
by order of the Council of England. There is frequent
mention of the namo in the "Bordcr Minstrelsy," and Sir
Walter Scott, in the edition of J848, has occasionally
added notes which en ter into particulars of mueh iuterest
connected with our subject of inquiry. The song of
"Jamie Telfer of tbe Fair Dodhead," tbe second stanza,
vol. ii. p. 13, has-
" Therc was a wil<l gnlla nt among us a',
H is namc wns \Yat.ty wi' the '.Vudspurs;
Cried-' On for his housc in Stancgerthside,s
If one roan will ride with us ! ' "
Note 3, a house belonging to the Foresters, situated

on tbe English side of the L iddel.
Again, at p. 21 , in the song, "The Raid of the Reids-
wire," second stanza-
" Vi' e looke(! down thc othcr sido
A nd saw come brensting owcr the brne,
\Vi' Six John Forsler for their guyde;'
Full fiftecn hundred men ami mae."

HISTO RY OF TIIE VIOL IN . 287
Note 4, "Sir John Forst er, or, more prop erly, For-
restc r, of Balmborough Abbc y, ward en of the Midd le
Marc hes in 15G 1, was doputy-govorno r of Berwick, and
govc rnor of Dalmborough Castlo. lle madc a grea t
figure on tho Bord ers, and is said, on his monu ment at
Bal•nborough Chur ch, to have possessed the officc of
W arden of thc l\1iddlc Marc hes for thirty -sevc n years .
Titis family ende d in the unfo rtuna te Thom as Forst er,
one of thc genc rals of the Nort humb rian insurgcnts in
171 5; and thc cstatc, bcing forfcited, was purch ascd by
bis unclc, Lord Crewc, and devis ed for the supp ort of
bis magn ificen t chari ty."
Thcr e is also a note to the song , "Dic k o' the Cow,''
p. 72. '' A cha11cnge had bccn given by an Engl ish-
man, namc d Fors ter, to any Scot tish Bord crer, to fight
him at a place called Kershopcfoot, exac tly upon the
Bord crs. T ho Laird 's Jock's only son accep ted the
defiance, and was armc d by bis fathe r with his own two-
hand cd sword. The old cham pion himsclf, thoug h bed-
ridde n, insis tcd upou being presc nt at the batUe. He
was born e to the place appointod, wrappcd, it is said, in
blankets, and place d upon a Yery bigb stone to witness
the conflict. In the duel his son fcll-t reacl Jerou sly
slain , as tho Scott.ish tradi tion affirms. Tbe old man
gavo a loud yoll of terro r ancl desp air whcn he saw bis
son slain, and bis noble weapon won by an Engl ishm an,
and died as they boro him home. . . . The stonc on
which the L aird's J ock sat to bchold the duel, was in
existcnce till want only destr oycd a ycar or two since.
It was alwa ys callc d the L aird's J ock's Stone. 1802 .
[ T he reade r will find Sir W alter Scot t recur ring to the
fate of the Lair d's Jock in 1828 . Sec Wa\' erlcy Iovels,
vol. xli. p. 377. ]" Ther e is also an official tract in tho
British Musc um worthy of notic e rega rding this name,

and tbc portion conncctcd witb our subjcct is now ex-

tracted from the " Archreologia," vol. xxii . p. 161. I t is
tbus headcd: "Copy of a Manuscrip t Tract addressed
to Lord Burghley, illustrativc of the Border Topography
of Scotland, A. D. 1500 ; with a Platt or Map of the
B onlcrs, taken in thc same year, both Preserved in one
of the Royal MSS. in thc British Museum. Communi-
cated by H em·y Ellis, Esq. F.R.S., Sccrctary, in a Letter
addressed to the Right Honourable tbe Earl of Aberdeen,
K.T, President.
"Reacl, 31st May, 1827.

"MY LoRD, British Muscum, l\fay 29, 1827.
"Among the Royal Manuscrip ts in the British Muse um
is .a volume of Saxton's .Maps (Bibl. Rcg. 18, D lll),
published in 1579, upon the margins of which the names
of the justiccs of the peace in England at that time, or
soon after, are writtcn, with occasional miscellancous
remarks. Severa! manuscrip t maps and draughts of
sea-ports, towns, &c. aro added in diffcrcnt placcs of the
volume, likewise accompanicd by memoranda. in tbe
handwritin g of Lord Burghley, to wbom the volume at
one time belongcd.
"Among these latter articles is a manuscrip t map with
tho date of Decembcr, 1500, entitlod, 'A P latt of tho
Opposite Borders of Scotland to the W cst Marches of
England.' Upon tbis thc differcnt castlcs and houses of
strength, witb thc names of many of tho owners, are
minutcly specified, and I cannot but think that a copy
of it would be valuable for the 'Archooologia.' of thc
Society of AntiquarÍC!¡. At the bottom of this map or
platt is written, ' Thc moste of thcsc placcs on the
Scottish syde aro tower and stonc houscs, with sorne

..
lliSTO UY OF TJIE VIOLI N. 289
fewe plcna sbed T ownes, as Dumf reis, Anna nd, toug b-
mabe n, and sucb like; for thc rest not put downe, they
are but onsetts or stragl ing bouses, th' inhab itants
followers of somo of thesc above describen. For those
on thc Engli sh Coaste, they are rcfcrr ed to thc tract
lately scnt to your L. of the Descr iption of them in
partic ular.' Tbe tract bere alluded to, follows a page or
two aftcr, and if my judgm cnt does not deceive me, is a
curiou s abstra ct of the state of B01·der topography to-
wards thc close of tbe reign of Quee n Elizab eth. I
have had it transc ribed, and here prcse nt it to your
Lordship and tbe Socie ty.
" I am, my Lord,
" Your Lords hip's faithful Serva ut,
" HENRY ELLIS .
" T o thc Right Hou. The Earl of
Aberd een, K. T., Presi dont of
the Socie ty of Antiq uaries ."
Then follows " The Di vision of tbo sever aU Charg e

of the West Borde rs of Engla nd and Scotl and." At
p. 166, "LEVEN or KmKL YNTO N. Next it towardes the
Bordc rs runne th the river Leven . Upon which river
dwelleth Gramos, Ether ingto ns, and Forste rs, and other s;
under the gover nance of a baylitfe for a gentle man, one
Mr. Musg rave of Baton , lord of that mann or called Ifirk-
lynton . B ut the castle where he should lye is Scale by.
Now in these tenauntes, who are able borde r m en, if tbey
were woll governed, is a great quietnes for staun ching of
tbeft, for they are the onely men that r ide both into
Engla nd and Scotland, wbo canno t be letted witho ut
their maste rs rcsidence, or carefu l watch of the country
within them. "
P age 168. " The sever all surna mes of the Engli sh

290 HlSTORY OF THE YIOLtN.
Borderers and their dwellings. EsKE. Upon both sides

of the river dwell the Grames, which is the greatest
surname at this daie upon the West Border. For the
Grames of E ske ancl Leven are able to make V C ser-
viceable roen.
"LEVEN. U pon this river also dwelleth many Gramos,
and above Kirklynton in Sompert dwellcth a great sur-
name of Fosters, and about Hethersgil l is a surname of
H etherington s. BEWCASTLE. There dwelleth Fosters,
Crosers, and Nixsons, but sore decayed."
By referencc to the platt or map in the work from
which the foregoing has been copied, it will be seen that
the strong houses of the Forsters's werc opposite to tbat
portion of the country held by the Armstrong s on the
Liddle, therefore hard knocks no doubt had been inter-
changed. Stanegirths ide has been previously mentioned ;
more to the eastward, on the banks of the same rivcr,
was another castlo held by Robcrt Forster; and more
easterly still is Kirksopfoote, where thc duel took place
between the Laird's Jock and a Forstor, before alluded
to, therefore we may infer this castle also to have bc-
longed to the latter name.
'Ne have tbus endeavoure d to trace the na me of Forster
to tbe locality in which those connected with our inquiries
were known to have resided, but wc are not preparcd,
at present, to prove they were related to the statesmen
and warriors previously named, although there are sorne
circumstan ces which makes this moro than probable;
but as the Scotch say, "it is not pro ven," tberefore no
further comment will be made on the subject. The first
of this family who made violins was John, but whethor
the name was spelled Forester, Forster, or Foster, is now
diflicult to determine; the general beliof is, tbat the first
mode was the original, and the probable cause of the

HISTOR Y OF THE VIOLl:X . 291
variati ons may be tho carcless mam10 r, in cal'ly times,
of writing names which may be scen in thc church
rcgiste r, also in the cngran ng upon the tombstones of
this family. At this distant pcriod of time thcrc is much
difficulty in obtaining conec t infonn ation of thc town or
villagc in which he was born, but in the researc hes rnade
ten or twelve years since among st the agcd inhabi tants
ofBram pton, in Cumbc rland, thcy named severa! places
in that part of tbe countr y from whenc c he probab ly
carne ; but none could asscrt wbat pursui t or vocation he
followed in carly years; almost thc wbole of thcm said
he carne from" Ayont the Wood, " butoth ers named Kirk-
lington , Bcwcastle, Longto wn in the Nether by quarte r;
but the town wbich had more aclvoca tcs than any othcr
was Kirkan drews, on the E sk, whicb, from thc many
kind iuquiri cs made ou this matter by Mr. Samue llrving ,
of Stauwi x, Carlisl c, may be conside red to be proved al-
most toa ccrtain ty; but it sbould be" Ayont the Wood, in
Nicho l Forest , in the parish of Kirkan drews, on the Esk."
From this place the agcd people said, he moved to little
Easby, two or threo milo~ from Bramp tou, in the parish
of this last name, and lcft there for the town of Bramp -
tou, at which place thcy all agrccd he died about 1790,
at the grcat age of one hundred and two or tb1·ee years,
and was buried at thc old parish cburcb, a mile, or little
more, from the " T own Foot."
The family, however, state that he left L ongtown for
Bramp ton. On scarcb ing the church book of burials we
find a. J ohn F oster buricd 7 Oct. 1781, aged ninety -three
years; but there is no statemcnt to identify that it is the
desircd one; howcv er, as this date so ncarly coincides
with the information gaincd, and will agree with thc
birth of his son William, supposing that he marrie d at
twenty -four or twenty-five years of age, it is assumed

292 IIISTORY OF l'HE VIOLIN.
that this must be tbe record of his death; consequcntly

he wonld bave been born in or about 1688.
Only vague acconnts could be learned of the vocation
be followed, but it was generally asserted that, latterly,
he made spinning-wheels, or was a wheelwright, and at
one period of bis life he was a gun-maker, and considered
by al! of them to be " a very ingenious man, and occa-
sionally made fiddles." A violín was seen in 1850, said
to be his make, and with sorne degree of truth could be
ti·aced back. The work was rude and unfinished, the
model very high, resembling the Steiner, but the outline
approached nearer to thc pattem of the Amati. It was
much decayed and worm-eaten, and if strings had been
to the instrument, it is doubtful if it would have borne
tuning to try the tone-. This violín was possessed by
Joseph Rook, a violín maker and performer, who lived
in Rickergate, Carlisle. He had been intimate with
Joseph F orster, grandson (if we are correct with the
identity) of tbis said J olm, from the first year of the
present century.
Not only were many of the facts just enumerated
known to the family, but it can be added that J ohn
Forster was of stature more than six feet, also of atbletic
frame of body, with grcat muscular development.
Presuming tbe identity of John Foster or Forster is
established, then William Forster was the son of the
previous named John; but as there are four in this
family of the same Christian name connected with violín
making, a number will be attached to eacb for the
advantage of any required reference. It cannot be
positively asserted whetber William Forster (l) was born
in Brampton; it is · believed to be so, but there is no
proof; however he must soon have located there. He
was born about 1713-14, and by the books of the old

BIS ron V OF THE VIOLIN. 293
church of tbat town he married in 173G; his first wife,
who died in the prime of lifc, being only forty-four years
of ago; but she had borne him a son who added lustre
to the name in after years. This William Forster ( 1)
was a sp!nning-whecl maker by tradc; also repaired and
made violins. In thc formcr vocation he gained sorne
celebrity, as the following extract from a letter of Joseph
Rook, written in Nov. 1850, wben he was in his se>enty-
seveuth year, shows :- " I can give no more of the history
of your ancestors at I3rampton than I htwe aiready given
you, only your grcat grandfathe r William was a noted
maker of spinning-whecls as well as violín maker, and
bis son Josepb, my old acquaiutan ce, practised making
wheels so long as they were in use in the countr·y, but it
is many years since tbcy were put out of use by the
invcntion of machinery ."
Whether in or about 1775-7 he was pressed in pecu-
niary circumstances,- or whether the lovc of the drama
tempted him to accept, as inmates or lodgcrs, a family
connected witb tbe tbeatrical company then performing
at Brampton, yet it was in bis house that Miss Harriot
Mcllon was born ! T his inf01·mation is obtained, or
ratber, it should be stated, corroborated by one that
became employed in the seque! of events (the fact being
known to tbe family); tberefore it had better be given
in his own lang uage, wt·itten D ecember 1850, although
thcrear e sorne trifiing inaccuracies which, at his age, may
be overlooked :-" • • • • I must endeavour to exert
myself and will give an account of a. remat·kable circum-
stance that happencd in your G. Grandfathcr's H ouse
at Brampton. Upon a time a Company of Itinerant
Comedians were at Brampton, and one of them of th e
namc of Melon antl his , ;y-ife had an apar tment in your
G. Grandfath er's H ouse duri ng thcir stay at Brampton.

294 II!STORY OF THF. \'IOLIN •
.Mrs. Melon was brought to bed of a Daughter, tbe Chilu

was Baptizcd at Brampton ; they lcft and nothing was
beard of them afterwurds. About Oct'. 19, 1824, a L ady
with a Splcndid Equipage containing a numbcr of Car-
r iages and Scrvants of cvcry description anived at thc
Howard Arms in scarch of her Register, and the Lady
in question was l\1'". Coutts ; that sorne time after that
became Dutchess of S"'. Albans. Shc ínquired íf your
G. GrauUfather was living, [and] shc gave such a
descríptíou as the peoplc soon kncw it was Willm.
}'orstcr; a certain proof that hcr Fathcr and Mothct·
hacl talked about your G . Grandfathe r repeatedly ; she
wcnt to see the place where shc first drew brcath in, and
saw Jo; aud had sorne conversation with him. Shc no
doubt would ask him many things and understanding
that he played thc Violín she dcsircd him to raise her a
Band of a few Violins and Violoncdls and go to Cm·lisle
where she gave a splendid Breakfast to all thc Gcntcel
peoplc in Carlislc and the ncighbourhood. Wc werc
vcrry handsomlcy rcwarded for our trouhle: a Guinea a
picce for us in Carlisle and somcthing handsom for
J oseph for coming from Brampton. Thc Splendíd doo,
was on the 21 of Oct'. 1824, at the Bush Ion, Carlisle.
About mid-day shc set off for London with all ber
retinue. 1 consider this something marvelous but an
absolutc truth as good a subject foro. Novel as ever Sir
W. Scott ha d.
"Your &e
"S. A. Forstcr." " J osEPn RooK.
A violín of tbis maker is posscssed by one of the
writers of tbis book, and 1t has a lo.bel inside thus :-
,, Willio.m Forster
Violín Maker
in Brampton. "

The work is not of a bigh class; tbe tone deserves
commendation, although more quality could be desired.
The varnish is alcobolic, and not very transparent, nor
is the instrument purfleu; but on the whole it is an evident
improvement on the fiddle seen of bis father's make. The
following is a copy of the inscription cngraved on the
tomb-stone, in thc burial-ground of the old parish church
of Brampton, about a mile, or little more, from tbe Town
Foot : -
"In memory of \Vm. Forster
Violín Maker of Brampton
who died Marcb 4'h. 1801
aged 87 years."
Being rccorded on this grave-stone as a víolin-maker,
and the spinuing-wheel b·ade not being mentioned, may
probably have arisen from the celebrity his son, William,
had achieved in L ondon as a maker of musical instru-
ments of tbe violín genus.

296 IUSTORY OF THE VlOLIN.
CHAPTER XXII.
ILLIAM FORSTER, the second of this

.,.,,"' name, but tbe first who gave renown to itas
a maker of violins, violas, violoncellos, and
double basscs, became one of Euglaud's
greatest artists, and received the patronage of royalty
and many of the nobility. He was also greatly appre-
ciated by the professors of these instruments ; and is
better known in tbe musical world, and amongst the
trade, as " Old Forster."
From a memorandum written by bis son, William
Forster (3), in one of bis old account-books, stating tbat
" my father died on the 14 D ec'. 1808, aged 68, on the
4'h of May last," it is considcred, in the absence of more
positive information, tbat tbis date may be correct, but
no corroborative proof could be fouud in the book of
tbe register of birtbs belonging to the old cburch of
Brampton, Cumberland. However, there is a baptismal
register at the Presbyterian Chapel of that town, " 1739,
May 5~', William, lawful Son to William Foster, Bramp-
ton," which no doubt relates to this person ; therefore he
would be rather older thl!n stated by the son.
William Forster (2) was instructed by bis father in
making spinning-w heels and violins, both of which trades
he followed during the earlicr years of his life, and fur-
ther obtained employment by playing the violín at the
'
HISTORY OF 'fHE VIOLIN. 297
various merry-mak ings and otber festi vities of the locality.
Report says he excelled in the performanc e of reels; and
the elder branches of the surviving family know that in
aftor years, when trying violins which bad either been
mado or repaired, the owners would frequently request
to have one of thcm played. He also composed severa!
Scotch recls, sorne of which were published by himself,
whcn it was the custom of each music establishm ent at
Christmas time to bring out a book of dance-tune s for
the new year.
Whether it was ambition that first occasioned him to
come to London in tho hope of bettering his fortunes,
o1· whether, as somo pcrsons sa.y, it was an avcrsion of bis
parcnt to the female whom he lo,·cd, and who ultimately
became bis wife, that induced him to leave bis nati,·e
place, we are unable to say; the most probable cause
may be the disrespcet shown to the memory of his
motber by the other parent manying a second wife only
four months after tho death of the first. The time of bis
lcaving Brampton is not known ; but if tbe above sup-
positions be correct, then it would be about J 759, he
bcing between twenty and twenty-onc years of age;
whatever the irritating cause may have been, it must
ha ve be en felt most acutely, as he left witb little or no
pccuniary resources, and engaged bimself to a drover to
assist in bringing cattle to the south.
The neighbourh ood of the Commcrcia l Road and
Prcscott Street, Goodman's Fields, is said to be the
first locality he rcsided in; and, not beiug able to
get employmen t in either business which be had learned,
he at lengtb obtaincd work as a gun-stock makcr, occa-
sionally making violins and selling thom to the music
shops. T he privations and sufferings enclured during
this period of bis life he was always of opinion caused
u

298 H TS TORY OF TliE VIOLIN.
the aggra vated dyspepsia ancl other constitutional evils

which were never eradicated; indeed, it is questionable if
sorne of tbe present generatíon are not suffcrers from the
interna! debility then created, which has descended to
thcm, although their own struggles in lite haYe been
sufli cicnt to cause it. Ultimatcly he gained permanent
cmployment ata music-shop on Tower Hill, kept by a
porson named Beck ; and the violins made by him being
much approved of, with a quick sale of them, he solicitcd
for greater rernuneration ; the employer refusing to ac-
cede, he left him and carne westward to a house on the
right-hand sido, and about the middle of Duke's Court,
St. Martin's L ane, Charing Cross. The houses are all
now pulled clown, and the National Picture Gallery
erectcd partly on the si te; he pitched bis tent here for a
time, and a.fterwards resided in St. Mar ti n's L ane, near
to ancl on the same side as May's Buildings. The fol·
lowing is a copy of the label uscd at that periocl :-
" Williarn Forstcr,
Violín Maker
in S'. Martín 's L ane. London
17G2."'
W hile residi ng here, a Colonel W est, of the Grenadier

G uards, who was the fatber of thc late Temple West, of
Malvern L odge, Worcestershire, E squiro, gave him an
arder fo r a new violín, to be madc sim ilar to a pattern
thcn shown, which he completeu so successfully that the
colonel becarne a kind, gcncrous, Ulltl sincere patron.
H e also, bcing an amateur dcsirous of improving the
violín, had numerous expcrimcnts tricd in the man ufac-
ture of such instrurnents, which this artisan executed for
him. The advantages thus gained were always grate-
fully acknowlcdged by William Forstcr (2) as being of

essential assistance and advancement to him in the art.
H e always felt pleasure in stating that bis first real suc-
cess in life was through Colonel \Ves t.
Detwcen the years 1762 and 1 782 bis skill and exer·
tions had been rewarded, and he had become a music-
seller and publishcr; he had also changed his residence.
Somctimo during the above period a diffcront label had
bcen used in tho instruments, particularly thc violon-
collos, aud it bears ovidence of boing part of a title-page
of somo work published by him, which probably had not
bcen successful ; he therefore used tbe name as a Iabel,
whicb is in a written character, with sorne ornamental
engraving cut through, that is neithcr useful, nor, in this
particular, any cmbcllishment. In those instruments
where this label is used, it will generall y be found that
the name William Forster, in tbe Roman letter, is placed
also on the insicle of the short bouts, just above the lining
which is attached to the sidos and the back. It is the
same prin ting taken off the Jabel uscd in 1762, as will
bo reudily sccn by the ornamental flourishes corres-
ponding anrl now cut through. At wbat time he first
was honoured by working for royalty we are unable to
state, as the account-books before the 14th Novembcr,
1773, have either been destroyed or lost; and tbose
books whicb still exist were kept imperfcctly. H owever,
thcrc is proof of bis living in S t. Martin's Lane in 1i81,
and he ma.y havo moved to 348, Strand, in 1784-5. The
following copy of a label or card will show he had this
high patronage before changing his rcsidence to the more
public thoroughfare; and it also shows that the varnish
he uscd had become celebrated aud specially refcrred to:
" William Forster

Violín, Voloncello, T enor & Dow-maker

300 HISTORY OF THE VlOLIN .
Also Music Seller,

To their Royal Highnesses the
Prince of Wales and Duke of Cumberland
Opposite the Cburch S'. Martín 's Lane. London.
N.B.
The above Instruments are made in the best manncr
and finished with the original varnish
and a Copy of every Capital Instrumcnt in Englantl
roa.y be bad."
The house was the corner of Duke's Court, and believed
to be that one nearest to Charing Cross. The Duke
of Cumberland here mentioned was the brothe1· of
George III., who died in September 1790. He was a
great patron of musical art, and performed on the violin.
An incident occurred at the house above stated with this
Prince, who had called to try a violín that had bcen
repaired. Whilst amusing himself in playing various
pieces to test the quality of tone, a noisy peel struck up
from "the bells of Saint Martin's," which sadly inter-
fered with his power of resolving any improvement or
not ; he therefore said, hastily, " confound tbose bells ; I
cannot hear a note for them ; " and immediately opened
the door at the end of the shop, leading to the sitting-
room, on the table of which had been placed the family
dinner, which was one of humble quality, but yet gave
forth savoury exbalations. With al! promptness and
courtly ease he exclaimed, "Forster, what a nice dinner
you have, 1'11 have sorne witb you," and drew a chair to
the table, and, pcrhaps for tbe first time in bis life, par-
took of-shall it be named? Yes; black puddings !
In 1781 negotiations were commcnced, through thc
kind assista.nce of General Jerningham, with that gcnius
and improver of modcrn instrumental music, Guiscppc,

niSTORY OF THE VIOLJN. 301
01·, as he has always signed his lcltcrs, Joseph H aydn.
A grccmcnts and other documents were drawn up and
signcd for the supply of certain pieccs of music, as
sonatas, tríos, quartets, and sinfonías. Thcse transac-
tions, no doubt, will be of intercst to the lovers of music,
thcrcforc they are now made public, togethcr with sorne
originallcttcrs conncctcd with tbe wo rks of this intelli-
gcnt composcr. The open ing of commercial transac-
tions bctwecn Guiscppc Haydn and William Forster (2)
is copicd from thc account of the solicitor, named J ames
Mainstone; Lhc first entry bcars date 17th August, 178 1.
" Attcnding ~fr. Forster in confcrence on a contract,
intcnded to be entered into by Mr. Forster with l\Ir.
H aydn, for Mr. Forster's purchasing of him and printing
his compositions, and advising thereon."
" T aking lnstructions for drawing Agrccm" between
J\fr. Haydn ancl him, for the sale and purchase of Mr.
H aydn's Musical Compositions by Mr. Forstcr."
" Drawing same, fo. 15."
" Attending to read over and scttlc same."
" Engrossing same for Execution."
" Attcnding and advising 1\Ir. F orstcr as to the mode
of cxccution of same by i\I r. H aydn, and which he was
to communicate to Gent. J erningham, who had under-
takcn to get it signed by l\1r. Haydn at Vienna."
Thc document alluded to in tho abovc, no doubt, was
scnt to General Jcrningham, as thc following answcr is
clicitcd by it : -
" Sm,-I receivecl your favour 21 ins'·, & scnd you here
encloscd a. lcttcr for Mr. Guiscppo Ila.ydcn, to whom I
havc wt·ote very circomstantially, and inclosed to bim a
procuration which he is to get drawn up either in F rcnch,
Gcnnan, o1· L attin, and authenticatcd by two witnesses,

302 BISTORY OF THE VIOLIN.
anda publick notary, which gives it full force in all Coun-

tries; you may depend on it that wbat I have sent to
Mr. Hayden is to the full as strong a-s the letter of At-
torney yo u sent me in which tbcrc 's nothing but a repe-
tition of words.
" If you receive from Hayden a letter for me, send it
to L ady Jerningham's in Grovener square, she will take
care I gett it; when Hayden has sent you bis procuration
to print his musick, lett me know it, and am,
" Sir,
" Y our most obed'- hum b1e Serv'·
,, CHARLES J ER:-IINGHAM.
" Cnwsey, A1tgust 2-1th, 1781."
This letter is addressed to Mr. William Forster, Mu-

sical Instrument Maker, Duke's Court, St. Martin's Lane,
London ; and has also written upon it-
" A Monsieur.
" Monsieur Juiseppe Hayden
de Chappelle de S : A' Le Prince
Esterhazy de Galantha
en Autriche. A Viennc."
THE AGREEMENT.
" J e reconnois d'avoir re~u de Monsieur Guillaume
Forster, Marchand et Imprimeur de Musique; demeurant
dans le Strand a Londres la Somme de Soixante et dix
livres Sterlins, pour les Simphonies, Sonates, et autre
pieces de ma composition ci-dessous mentionées, et qui
comencent de cette fa~on Savoir. No. 1 une Simphonie
a plaisieurs lnstruments qui comence ainsi :-

HIS'l'ORY OF THE VIOLIN. 303
Alle_qrQ. .¡Jt.
No. 4. - . "==!
==-!==~
.:;.
~=-~
l 1 1.: J 1::::1-
:::::¡:::::¡:
.._7·.::; :-t .._-7-::¡ :'!·
1
- -- -~=
-rr:, : ··-
• •
No. 5.
Viv(lce ..~.
~-al '
" Trios a 2 Flutes travcrsieres et Violoncello qui

comencent de cette manier : -

304 III S TORY OF THE YIOLI N.
" P remier Rccucil de trois Sonates, pour le Cla \·ecin,

avec l'accompag d'un Violon :-
..../
No. l.
@fe S 1y ·J
Adagio.
~ 1
.• •-· •
No. 2.
i.J Alfo. con bric.
1~ = ~ -~ ~
i~~~
~-=
gr~1.:-:-~.-,.z_
1 ~_L_!:!_~ - - .
·-=~r-r
~=t::: F
l
~-n
t=O
1
Adagio non tanto. JL. ---..
~2 '1 tjj E~ ¡ ~ ~ ~-~-E

-r L-
-
¡=r--,.:"':-= ~-
" Second Recueil de 3 au b·es Sonates, pout· le Clave-
cin, avec l'accompag d'un Violon.

HlSTORY OF THE YIOLlN. 305
No. 2. No. 3.
" Et je certifie, ct déclare a tout le monde qui j'ai

vendu au dit Monsieur Guillaum Forster les dites Sim-
phonies, Sonatas et nutres pi~ces, et que jo lui ai envoie
les manuscripts aux dates suivantes, savoir : -
"Les six Sonates pour deux flOtes traversieres et
violoncello, le 31 de May 1784.
"Le Simphonies marquees ci-dessus No. 1 et 2 par
Monsicur le General de J erningham, le 19 de J uin
1784.
"Les Simpbonies Ko. 4, 5, et 6, avee le dit premier
Recuoil de 3 Sonatas, pour le clavecin, le 25 d'Octobre
1784.
"Les Simphonies marquées ci-dcssus No. 7, 8, et 9,
le 8 de Novcmbrc 178-1.
" Et le dit Seeond Recueil de 3 Sonatas pour le cla-
vccin le 28 d'Octobrc 1785.
" J e certifie aussi, et déclare, qu'il m'en paya le prix
con ven u, entre lui moi ; ct qui mont.oit cu tout a la ditte
some de soixante et dix lines Sterlins, par des lettres
d'Echange sur Vicnne; qu 'il m' a remis pour cet effet
(a l'ecception du prix de dcux Simphonies No. l et 2,

306 BISTORY OF TBE VIOLIN.
le prix des quelles il paya pour mon compte a ~Ionsieur

le General de J erningham, alors a Londres). Et je
certifie et déclarc de plus, que le dit Guillaum Forster
est le seul Propriétaire des di tes pieces; que je luí ai
ainsi vendu, ct que jo lui ai cedé et transporté tous mes
droits et toutes mes prctensions la-dessus. En fois de
quoi j'ai souscrit mon nom a cet Ecrit a Estcrbaz ce.
1786. "GursEPP E liAYDN,
"hlnestro di Cnpclln di S. Alt. S.
il príncipe Estcrhazy." L.S.
T he following exhibit is also written on the same

documen t:-
" D. Forster ag'. Longman & an'.
"This paper writing was shcwn toJos. Haydn at the
time of bis exam•. in this Court bcforo J A. EmE."
T here is next a lctter from Haydn in German rclating
to the sale of sorne symphonies, and pianoforte sonatas,
together with the composition, known as " The Last
W ords." The following is a translation of it :-
" Srn, " Estornz, thc 8th .A.pril, lí8i.

" After a long silence I must at length inquire after
your health, and at the same time inform you of thc
following new musical works which are to be bad of me:
namely, six grand symphonies, a grand concerto for
pianoforte, three short divertimentos for pianoforte for
beginners, with violín and bass ; one sonata for piano-
forte alone.
"An cntire new work, consisting ofpurcly instrumental
music, divic.led into seven sonatas, of which each sonata
lasts from seven to eight minutes, together with au
introduction, and at the end a terremoto or earthquake.
These sonatas are composed in accordance with the

words which our Saviour Christ spoke upon the cross ·
these seven words are- '
1st words, P ater, dimitte illis, quía nesciunt quid
faciunt.
2nd words, Hodie mecum eris in Paradiso.
3rd words, M ulier, ecce filius tuus.
4th words, Deus meus, Deus meus, ut dereliquisti me ?
5th words, Sitio.
6th words, Consummatum est.
7th words, In manus tuas commendo spiritum meum.
" Immediately after follows the conclusion; namcly,
the Earthquake.
" Each sonata, or each subject, is produced simply by
instrumental music, in such a manner as to lea.ve the
deepost impression on the mind of tbe most unmusical.
The whole work lasts somcwhat more than a.n hour, but
there is after each sonata sorne pause, that one may be
able to tbink on the next following subject. AH tbe
sonatas together contain somewhat more than four of
my symphonies. The whole will be contained in thirty-
seven pages.
"Also, I have threc more pretty notturnos, quite new,
with violín obligato, not at ail difficult, with a fiute,
violoncello, two violins ripieno, two French horns, viola,
and contre-bass.
" If you should wish to have sorne of tbese musical
pieces, you will have the kindness to let me know, and at
the same time also the price wbich you are willing to give
me for them, as soon as possible. The seven sonatas are
already nearly copied out fair upon soft papet·, and wait-
ing an early answer. I aro, with much esteem,
" Your most obedient Servant,
"Jos~::ra HAYDN.

308 lliSTORY OF THE YIOLIN.
" I beg you will answer me in thc Frcnch language.

" I hopo to visit you at thc cnd of this year, but as 1
havo not yet rcceived an answcr from lVlr. Bremner, I
shall go for this wintor to Wegel Argagicrs ; meauwhile
I thank you for thc accornmodation you havo offercd
me."
Then are the tlu·cc following letters in rcnch : -
" M o xSIE v n,
"Je vous envoie la musique composée d'apres les sept
dcrnieres parolcs que Jesus Crist prononccs sur la croi
pour les quelles je laisse avotre disposition de m'envoyer
ce que vous jugerez que j'ai rnérite.
" J'espére que j'aurai peut-etre le satisfaction de Yous
voir cet hiver en attendant. Jc suis tres parfaitcment,
" :Monsieur,
"Votre tres-humbl e et
obeiss'. Serviteur,
"JosEPH HAYDN.
"Estorz, le 28 Junii, 787."
" :MoNSIEUR ,
" J 'espére que vous avez re~u ma lcttre, & la musique
UC sept paro]es; je VOUS fair a S3\'0Ír, que je Compasé
Six quartets et six sinfonie, qui ne sont pas encare sorti
de ma main. Si vuos vuole les achté vous meme, aye
la bonté de me lo faire savoir par la premicr occasion,
je vous donne toutcs les douze pieces pour viut-cinq
guines. Je suis avec tout l'estime possible
" Votre tres-humbl c Sen-it.
" J OSEPII HADYN.
" Estorz, le 8th Aoút, 7Si ."
This is add ressed
"To :Mr. Forster, Musical Instrumen t Macker To the
Prince of Walcs, No. 34G in the Strand, L ondon."

HISTORY OF THE VlOLlN . 309
" MoNsmun,
" J'ai reyu votre lettre a vec un grand plaisir. J e vous
fais savoir, que j'ai reyu de Mons. le Général Jerningham
• • , o "
cmq gume; mms vous venez vous meme, que pour une
tel musique comme les Septs Paroles j'ai plus mérite;
vous pourrez bien encore me donner au moins cinq
guiné. Je vous envoies en attendant six quattuors pour
lesquels vous aurez la bonté en égard au contrat de
m'envoier vingt guiné sitót qu'il sera possible. Je ne
manquerai pas de vous envoier les Six. Sinfonies par la
primier occasione. J'attend bientot une r éponse de vous,
ct jc suis avec toute l' estime possible,
" Monsieur,
'' Votre tres-humble obéiss'.
"Scrviteur,
"JosEru HAYDN.
"Estoraz, le 20 7b••. 787."
The nex.t is a letter in Gcrman, datcd the 28th of

F ebruary, 1788, of which the following is a translation:
"Estornz, Jan. 28th, 788.

"Mv DEAR Mn. FonsTER,
"Are you notannoyed with me, that on my account you
have had trouble with Mr. Longman. 1 will satisfy you
another time on that point. 1t is not my fault, but that
usurer, Mr. Artaria. So much 1 promise you, tbat as
long as I live neither Artaria nor Longman shall rcceive
anything from or through me. 1 am too bonourable
and upright to annoy or injure you. So much, however,
you will of yourself plainly perceive, that whoever will
bave six new pieces from me must give more than 20
guineas. I have, in fact, sorne time ago concluded a
contract with somebody wbo pays me for cvery 6 pieces

lOO and more guineas. Another time l will write you

more. Meanwhile I am with all respect,
" Y our obedient servant,
"JosEPH HAYDN.
" 'ro Mr. Forster, i\Iusical I nstrumcnt Mackcr
to tbe Princc of \ Vales, No. 348, in thc
Strand, London."
On the fiy-leaf of one of the old account-books for

1786 is written, "The dates of the years when Haydn's
works carne," which are as follows : -
Aug'. 22, 1781 • Haydns
•
Ov'. N• l
.J une 20, 1782 D• D• 2
Feb1• 14, 1784 D• D• " 4
•
24, 1784 D• D • " !5
May" 6, 1784 D• D• " 6
July 6, 1784
• "
D • Trios, op. 38
Nov'. 22, 1784 D• Ov'. N• 7
26, 1784 D• D • ,, 8
"
Dec'. 6, 1784 D• D• 9
Jan 1• 3, 1785 " 40
D• Sonatas,op.
Dec'. 26, 1785 • • D• op. 42
"
The above are alluded to in the agreement, and the
terms for which they were composed there specified.
The following compositions arrived as under : -
" J uly 16, 1787. Recd. of Haydn M.S.S. of the Cr uci-
fixion published with the title of 'Passione.' T en
guineas was paid for this instrumental piece ; and
the Postage cost fifteen shillings.
"5 Oct'. 1787 . Received the M.S.S of Haydn's quar-
tets, op. 44. Twenty guineas was paid for these; and
the Postage cost twenty shillings."
On the 3rd December, 1787, there is an entry of

"Paid Postage of six Overtures from Haydn f2. 5. O."
It is supposed these are the sinfonías Nos. 10 to 15.
Perhaps sorne extenuating reasons shoulu be offered
why the classical composition of the "Passione" should
ha ve received so small a remuneration as ten guineas;
small, indeed, does tbis amount appear, compared with
the sums gi ven for trifling sougs, when we bear of as
mucb as fifty pounds being paid to a fashionable and
favoured composer for a mere bailad. However, Jet it
be remembercd tbat the name of Haydn was little known
at that period except by those who cultivated the science ;
also, tbat instrumental music was not mucb apprcciated.
Perhaps it is not yet sufficiently admired by the Bt·itish
public, although greatly advanced-first, through the
exertions of a Committee of English Musical Professors
who gave promenade conccrts, el la Jlrfus(l1·d, at the
Lyceum Theatre, about the year 1836-7, and in troduced
a sinfonía and overturcs during the evening's perform-
ance, interspersed with waltzes, quadrilles, and other
light pieces. The 6rst season or two was remunerative
to the common wealth; but soon after they ceascd to be
so, or were given up from other causes. Soon after, a
professor, named Eliason, a violin-player, made a similar
venture, but success did not attend his rule, be búnging
J ulíen to this country to conduct them. At lcngth con-
certs of tbis class were carried on under the management
of J ulien, who ultimately introduced vocal music, omit-
ting sorne of the classical instrumental pieces, which
gave a new and greater delight to the audience ; conse-
quently they were very successful. But now the rising
taste is fully shown by "the rush" for a place at the
"Monday Night Popular Concerts,'' where the music that
is performed consists only of the most classical compo-
sitions, performed by a few professors of the highest

312 IIJSTOR Y OF TIIE VIOLIN .
standin g in the art. But to roturo from this digression ;

tho "Passi one" is a largo, o1·, as tbo trade would say,
"hoav y work," from tbe numbc r of platos require d, and
all other expenses attend ant on bringin g it before the
public ; the probable cost in 1786-7 would be as hcro
enumc rated : -
.f. S. d.
65 Pewter platos, at 1s. 6d. per plate . 4 17 6
Engmv ing the same, at 4s. Gd. do. . 14 12 6
Coppc r title and cngrav ing . . 1 ll 6
66 quires of perfect papor for 75
copies, at ls. . 3 6 o
Printin g 75 copies, at Js. 2d. 4 7 6
28 15 o
Cost of tbe manus cript • 10 10 o
lVJ aking in the aggreg ate • í39 5 o
Fifty copies was tbe first numbe r whicb was printed ;
and about the year 1817-18 anotbc r twcnty-five were
struck off, making a total of seventy-five copies ; the
full price of each copy was fifteen shillin gs; but many
of those first printed were sold to subscr ibers for 1Os. 6d.
each, and it is questio nable if any of the remain ing copies
realize d more than the t1·ade price of twclve sbillings,
therefcn·c averag ing them at the last sum a total of forty-
five pounds would be the rosult. H owever it is known
that severa! copies of those last printed were disposed of
as waste paper, thcrefore no very profita ble trade specu-
lation. Publis hing orches tral and other instrum ental
music in Englan d was not, nor is it at this time, a suc-
cessful advent ure; but Willia m Forste r (2) apprec iated
the merit of Haydn 's music and bazard ed tbe result;
being the first in this countr y to introdu ce the works of

ll!STORY OF TllE VlOLlN. 313
tbis talentcd composer to public notice. It may be in-
tcrcsting to give a condensed list of thc numet·ous works
of Joscph Ilaydn, published by him and bis son William
Forstcr (3), the plates being all destroycd.
Sinfonías known by letters from A to W . 23
Do. numbcred 1 to 15 . 15
Do. , 1 to 1:l, with a star . 12
Do. Op. 10, Three; Op. 12, Four; Op.
15, Six; Op. 29, Thrcc; Op. 31,
Six; and Op. 35, Six 28
D o. The London, or the celcbratcd in the
key of D . 1
Do. La Chassc, thc Concertante and the
Toy . . . 3
Do. Thc Passione . 1
Somo of which sinfonías wcro also known by other desig-
nations, as " The Candle one," lcttcr B, in which cach
pcrformcr cxtinguishcs tho light at his dcsk aml retires
from tito orchcstra. In letter F, tho fourth striug is
lowercd in onc of tho movements. Lcttcr L, the minuet
and trio for tho second parts of each havo thc same notes
revcrscd or played backwards. Lctt.cr Q, it is said, was
the cxerciso gi..-en in to the Collcgc at Oxford when the
Doctor's degree was presented. No. 14, La Reine de
Fr·ance. No. 4 witb star, The Roxalana. Thc T oy, in
which children's toys are used with thc other instruments.
Quartcts-Op. 33, Six; Op. 44, Six; Op. 65,
Six; Op. 72, Three; Op. 74, T hroo . 24
Violín Solos, Six; Duet-Violin and Violon-
cello, One; Trios- F lutc, Violín and Vio-
loncollo, Six; Sonatas, with accompanimcnts
for Violín and Violoncello-Op . 40, Tbree;
Op. 42, Tbrcc ; Op. 4 3, T hree . 22
X

Being one hundred and twenty-nine pieces besides a few

others of lesser importance.
The Steiner pattern was the one adopted by William
Forster (2) to work by, in 1762; and for several yeat·s
later it was more or less uscd ; bowever, about ten years
afterwards the Amati outline was employed, but the
modcl was high and swollcn, ancl very dcficicnt in the
elegant ensemble of those instruments construeted tbrough
the remaining years of bis lifc.
The violins of the first period were coloured of a brown
tin t, as if produced with dilutc walnut stain and then
varnished. The violoncellos are of a dark red with a
blackish tinge, and much stronger of gum than that uscd
for the treble instruments. The cxact period is not known
when such finP. varnish was uscd by this maker; but a
·violoncello was made in 1772 for the chcmist who had
assistcd him in the knowledge of thc method to dissolvc
the gum amber; thercforc the improvement, probably
may date from that year ; although the varnish on this
particular instrument is not to be compared for beauty
ot· richness of colour with those of later times. A further
notice will be taken of tbis violoncello when rclating its
history.
The violas and violoncellos of this makcr werc the
most esteemed, he was not as successful with the violins,
although many of them are very good ; aml thc reasons
may be that sufficient attcntion was not paid to the various
thickncsses of the gauging connected with the height of
the model used; however it is ccrtain the violins had
not such fine tone as the other instruments. Many violas
could be enumerated of known excellence, as the one
made for Dr. Walcot, alias Peter Pindar; also, for Bar-
tolozzi, the celcbrated cngmver ; and another made for
M r. Henry LefRer, a professor, formerly of the Ita.lian

IUSTOR Y OF THE VlOLIN . 315
Opera, and husband to the celebrated singer of that
name. This viola is now possessed by Gordon Gairdn er,
Esq. of Hamilton Terrace, St. J ohn's Wood ; and others
could also be named . Many violonccllos could have
attention drawn to them for their special excellencies,
but a fcw only will bo notice d; and a rcference to the
list of the instruments made, which will soon be specified,
will more fully deYelope the namcs of eminent persons
and profcssors of high repute that had them. Rober t
Lindley used one at thc Italian Opera for nearly forty
years; he named it " The Eclips e." This violoncello is
now in the possession of Mr. Charle s Lucas, thc princip al
of the R oyal Academy of Music. James Crossdill hada
famous one. Cervetto thc younger had one that was
burned when the I talian Opera House, Haymarket, was
destroyed by fire on thc 17th June, 1789. The regret felt
at the loss of this instrum ent was so acute, that he rctired
from the profession, being sure he never could have
anothcr violoncello that would suit bis purposes so well.
The faet may be explained thus :- When a young man
he proeur ed the instrum ent, and with tbe professional
practisc it ripene d in tone as he ripene d in years, there-
fore was g reatly admired and appreciated. But it would
tire to fill up space with the many fine violoncellos that
could be brough t to notice. There were only four double
basses made by William Forstm· (2), three of which
were made by the command of his Majesty Georg e III. ;
and some interes t was cxcited regard ing one of them,
which will be seen by the two following letters from
professors in the king's prívate band. Mr. H. Niebour
was the person who hud to play upon it when eompleted.
"Sm,- You will probably receive a letter from Mr.

Niebour concer ning a double-bass upon a much larger

31G HJSTO UY OF THB \'10LJ .N .
scale than the one we alrea dy have. I hopo you will

have no objection to attem pt tbe making it. His Ma-
jcsty, from thc specimcn you ha ve g ivcn, has a vcry high
opinion of what you could produce on an enlar ged scale.
" I am, Sir,
" Your sincere friend,
" And bumblc sena nt,
" H. CO)IP TO:-ó .
" Gariboldi has, I understand, one coming from Italy ;

do not let us be outdone. I shall not be in town till
Tuesday ncxt, I wish to sce you on thc abovc subject,
and 'vill call on yo u on W cduesday. Gct m y tenor
finished and sent homc by that time. Don 't forget Ni co-
l ay .s t enor. ..
No date was to the above lcttcr, but it may have bccn
reccived abou t the time tbe following one was written.
11 Windsor, hl:¡ 4tlt, Sí (l í87).
" SIR ,-lly his Airu·esly's orde r you are to forro a
plan for a new double-bass; it is to be at lcast four
inches widcr, if not more, than that which you made, and
the depth according. You are to make it as well as
possible-s o as not to Jet ancy excccd it in Eng land -
as Garr iboldie has scnt to Itally for an uncommon largo
one, so you are desircd to excrt your utmost skill, and
exceed both in goodncss and size by thc performance at
the Abby next year. I shall be glad of my violincello
as soon as possiblc.
" Am with respe ct,
" Sir, your hum'•. ser'.
" JI. NH:uoun. "
The body of a fifth double-bass was madc, but from
some cause was laid usiclc ; however it was complctecl in

HISTORY OF THE HOLIN. 317
Octobcr, 1822, for Mr. Samucl Dcacon, of Leicester,
who, it is belie,·ed, still retains it. All thc doublc-basses
wcre made of the samc shape as thc violonccllo ; not
tapcrcd off and bcvellcd at the foro end of thc sidos, and
tho back for greatcr convenience to thc pcrformer, but
at thc samc time a probable injury to the tone.
Provious to giving the Jist of instruments made by
William Forstcr (2), assisted by bis son and workmen,
it will be proper to mention that it can only approximate
to correctness from tho deficiency in thc account-books
bcfore referred to. It is with somo difficu lty that the
list in its present state has bccn accomplishcd ; but, as
fru· as enumeratcd, it may be relied on. Thc numbers
on the instruments do not assist to arrive at satisfactory
conclusions, as they are occasionally marked for those
madc in each year, at other times altogcthcr omitted,
and sometimos markcd in succession from year t.o year.
Tbree distinct classcs of work were adoptcd ; but thc
stylc, to a certain cxtont, was rctained through all of
them ; therefore known as from this makCJ·. The com-
moncst instrumcnt s wcrc not purfled, and they had oil
varnish of an inferior quality ; and in latcr times,
when the name bccamc famous, few of this class werc
made in consequencc of thc deceit and fraud practised
by persons getting thcm purfled, and selling them as
"genuino Forster's," for a largor sum than they were
really worth.
The next class was much better fiuished ; they were
al! purfled, and a superior varnish used; thcrcfore formed
an intermedia te iustrumcnt to the next or highcst style
of workmansbip, in which everything was ombodied to
conduce to excellence, to beautiful appearancc, and to
the finest tone.
The earliest or first entry that is mct with in the old
•
3 18 HISTOR Y OF THE VIOLIN .
account-books now in existence is on the 14th November,

1773 :-
1773. Violin--Mr. Cole. T enor- Mt-. Mainstone.
1774. Violin s-Mr. Crosdi ll; Mr. Hay; Mr. Stonc.
Teno1 ·-Mr. Stone, of O kebampton. Violoncellos -
Mr. Ritcha rds; Col1• Hamilton.
1775. Violin s-Mr. Mineh ouse, Ciare Hall, Cam-
bridge ; Mr. H awkes, Steinc r copy. Tenor -The Rev.
Mr. Waller.
1776. Violi n- Mr. H ackwood. Violon cello -Mr.
Skardo n.
1777. Tenor - The Rev". Mr. North.
1778. Double Bass- The R evd. Mr . Hodgson.
1779. Tite account-books m·e lost or dest?'0,1J Cd.
1780. Tenor -G. M. Molineux, Esq'". Violoncello
- The Rev<~. Mr. Hodgson.
1781. Tenor -Mt·. Hawkes.
1782. Kits-Mr. B ishop (three) . V1'olin s-Mr. G.
Burcbell, Musician, Mancbester; Mr. Mains tone, At-
torney, Essex S'. Strand ; Mr. Edmun d Lee, Dublin
(three ); Mr. A . F oster, Wbiteh aven, Cumberland (four);
T enor- Mr. Edmun d L ee, D ublin . Violon cellos -His
Royal Highness thc P rince of Wales (two).
1783. Violin s-Mr. Jones (two) ; Colonel Edger ton;
Mr. Sykes ; Dr. Pollock ; Mr. Wilson, Kensiu gton.
T enors -Mr. Checr c; Mr. Borgbi . Violon celtos- Mr.
Ashley ; Mr. Gray, Marsham Street, Westminstcr ;
R evd. J. G. H onning ton, Eaton ; Mr. Role, Jesus Col-
lege, Cambr idge; Mr. Cervct to; Mr. G. Lewis, Moss
H ills, Lcominster, Herefordshirc .
1784. K its- Mr. Bishop . Violins - Mr. Ware ; Mr.
Cousins (two); Mr. Johnst on; Mrs. Gibbs ; Mr. Emly,
at Mr. Gilber t's, Bodali n, Cornwall. Tenor s-Captain
Armst rong; R ev 4 • Mr. R okeby ; Mr. Ayres, Woolwich.

Violoncellos-Mr. W ebb, Temple ; Mr. Dixon, Felstead,
Essex; Revd. Mr. Savery; Mr. Yatman; Shaw, Esq'•.,
Nortb Stl·eet, opposite Whitfield's Tabernacle ; Mr.
J ohnston.
1785. Violins-Mr. Warler; Mr . Compton (two);
Mr. Cole ; Sir J ohn Palmer; Revd. Mr. North; Mr.
Ware (tlm~e) ; Mr. Smith, Grange Court ; one sold in
thc shop; Mr. lVIarsh, Attorney at Law, Canterbury ;
Mr. Dale. Tenors-Mr. Compton (two) ; L ongman;
Mr. Abbot; Sir Jolm Palmer; Lord Rivers; Mr. Hol-
croft, 46, Upper Mary-le-bone Strcet, neat· Tichfield S•.,
Oxford Road ; Mr. Jcremiah Clark, Organist, Birming-
ham; Mr. Panton. VioloncelLos-Mr. Dorrien ; Mr.
Broadwoorl; one sold in the shop; Mr. Compton ; .Mr.
Tucker; Sir John Palmer; Rev'1• Mr. Savery, Ply-
mouth ; Mr. Bradstreet, S"'. J ohn 's College, Cam-
bridge ; Robert Williams, Esq'., Trinity College, Cam-
bridge, by orrler of D'. Bostock; Mr. Griesbach.
1786. Violins-Revd . Mr. Savery (two); Mr. Barrett,
Organist, N orthampton ( two); Mr. W. Dale ; Mr. Ed.
Clay, King Strect, Covent Gardcn ; Honb1• . lVIr. Cham-
pion Dymocke, N•. 120, New Bond Strcet; Mr. Hol-
croft, Upper Mary-le-bone S'., Tichfield Stt·eet, Oxford
Road, (two); Lord Malden; Mr. Wood, D evonshire
Street ; Brimner; Mr. Smith, Grange Court. Teno7's
-Captain Lucas; Mr. Nathaniel Dance; M r. Dymoke;
Mr. Clarke, Organist, Birmingham ; L ord Malden ;
General J erningham ; Mr. Jackson, Clerkenwell Close;
Mr. Mitchcll; Mr. Compton. VioloncelLos- Mr. Smith,
Grangc Court; Mr. Claget; Mr. Bartolozzi; Mr. Comp-
ton; Colonel Edgerton, G'. Gcorge Sh·eet, Hanover
Square; Mr . Vinicombe; Mr. Borghi; Revd. 1vlr. T own-
ley; Mr. D ance; Mr. Tucker; Mr. Roper, Hertford
S'., May Fair.

1787. Violins-M r. Smith, Grangc Court; Mr. Eley,

fot· Lady Nudcgate; Revd. Mr. SaYery (two); Mr.
Blakc. Teno¡·s-M r. Stephenson (two); Mr. Baum-
gartcn, sent to thc Ox Inn, for him at Liverpool. This
Viola was paid for by the M.S.S. of bis fivc celebrated
Fugues for the Organ; Mr. S'. Ledgcr. Violoncellos-
Mr. Hare; :Mr. Gordon, N•. 3 Bass; Mr. Cen-etto for
Mr. Randel, Southampton Strcet, Bloomsbury ; D'. Cha'.
Bostock, Weverley Abbey, near Farnham, Surrcy; Mr.
Johnstone ; Mr. Oliphant, Sloane Square; Mr. Corfe,
Salisbury ; His Grace the D uke of Richmond ; Mr .
Holcroft; Mr. Huntcr, Kings Arm Ynrd, N•. 4 Bass;
Mr. Morse. Douóle Bass-His Majcsty King George
the tbird.
1788. Violins-M r. Kellncr for Mr. Orandler; Richd.
Dupuis, Esq'". Queen's Dragoon Guards; Thc Rcv•. D'.
Cha.•. Bostock; Mr. E mley. Tenors- Gcorge Don·ien,
Esq". N•. 19, Somerset Street, Portman Square; Cap'.
Cooper, 75, Lambs Conduit Street; Mr. Lanzoni; D'.
Cba'. Bostock; Mr. Pcnningto n; Captain Lucas; íVlr.
John Skynner, Birmingham. Violoucellos-Mr. Den-
son, sent to Salisbury; Revd. Mr. Savcry; Mt·. John
Skynncr, Birmingha m ; Mr. Pickering ; Mr. Clark,
Dirmingha m; Mr. Buckley, Manchcstcr, N•. 5 Bass;
Sheldon, Esq" ., Sunning, near Reading, Berks; Mr.
Shaw; Mr. Iscard.
1789. Violins-M r. Fuller, 5, Dover Strcet; Captain
Cooper, Lamb's Conduit Street; Mr. Blakc for Mr.
Rogers, Stamford; Mr. wm. Griesbach; Mr. Wcbb;
Mr. Stephenson; Rev'1• Dean Palmer, Great Torrington ,
Dcvon; Prado, Esq'., Twickcnha m. Tenors-R ev•.
Mr . Savery; Mr. Fullcr, 5, Dover Strect. Violoncellos
-Mr. T bo' . Smith, Emanuel College; Mr. Stewar t,
Hill Street., Berkcley Square; Mr. H. A. Hole, Exeter;

Lord Delewar; the Rev". Mr. Lewin, Bushey Mill, W at-
ford; Mr. C01·fe, Salisbury; Mr. Cervetto, a new Steiner
copied Bass, N•. 1 ; Miss Abrams; R ev". Dean Palmer,
Great T orrington, Devon ; Major Price, Tiverton, De-
von; Revd. Mr. Morres, " Tindsor. DoubLe B ass- His
Majesty King George the third, a large Double Bass.
1790. VioLins- Mr. Smith for Mr. Cater; Mr. Smitb ;
R ev". Mr. Wright; Miss Abrams; Mr. N ewbery, Sur-
geon of His Majesty's Ship A ssútance, Portsmoutb;
Mr. J. B. Pierson. 1enors-Mr. Hunter, Kings Arm
Yard, Coleman Stt·eet; Mr. Smitb for Mr. Cater; Mr.
Tho•. Shaw, D rury Lane Theatre; Miss Abrams; Mr.
P apendick. VioloncclLos-Earl of Uxbridge; Mr. Al-
dersey; Mr. Cervetto (two), N ... 2 and 3 made in 1789,
Steiner copies; P eter Shaw, E sq•.; Mr. Role, N•. 2,
1790; Mr. J. B. Pierson ; R. Sheldon, Esq'., Skitty
Ha.U, near Swansea.
1791. Violins-Mr. Scheeuer, 11, Upper John Street,
Tottenham Court Road ; Charles Shaw L efevere, Esq.
Bedford Square; Captain Henry, T euterden, Kent (two);
Mr. Blake for Mr. Rogers, Lincoln (two); Mr. Holcroft,
Steiner copy; Mr. Yatman.
1791. Tenor-Lord Balgonie. VioloncelLos-Mr .
Twining, Jun'. Strand; Mr. Otlcy; Mr. Fuller; Peter
Shaw, Esq•.; Lord Archibald Hamilton; Mr. Yatman.
1792. Vioüns- Mr. Barrett, Organist, Northampton;
Lord Archibald Hamilton; Mr. French.
1792. Tcnors- Captain Henry, Tenterden, Kent;
Mr. Yatmau, Percy Street. VioloncelLos-Nir. E ley
(two); Captain Henry, T enterden, Kent; Dr. Eden,
R ed Lion Street, Clerkenwell; Mr. Cervetto.
1793. Violins-Mr. Yatman; Revd. Mr. Lewin; Mr.
H . Potter, 39, Margaret Street, Cavendish Square; also
another for Mr. G. Nicholls. T enor-Mr. Morse.

322 HISTOR Y OF THE VIOLIN .
1793. Violon ceLlos - Mr. Armst rong, A pothcc ary, P or t-

man Square ; Mr. Scola. ; Mr. E ley ; M r. Ccn·ct to.
1794. Violin s-Mr . Cole, Carlto n llousc ; Revd. :\Ir.
Clark, Bedale , Y orkshi re ; M r. Frcnch ; .Mr. Smith,
Broml cy.
1794. T enors -Although no tenors appcar to ha.ve
been sold in this ycar, yet thcre is nn entry worthy of
rcmark . " D r . II(l.ydn . P alling in order and striug-
ing a tenor." Violour:eltos- Mr. Lindle y; Mr. Attwoo d.
1i95. Violin s- Mr. Blake for Darc, E sq•. Not-
tingha m Place ; Captai n Boden ; Captai n Chalm ers;
:iVh. l\icks.
1795. T en.or -Cap tain Chalm crs. Vio/ou cellos- His
M ajcsty Georg c thc Third ; Willia m Franks, Esq•. Beech
Hill; Mr. W arc, Sen'. ; Dr. Brown , Artille ry Lanc;
Mr. Attwoo d ; wm . Shel<lon, Esq•. ; l\Ir. Elcy; Captai n
Chalmcrs.
1796. V1:otins - Mr. French ; Colono! S t. Ciare, 25,
R eg'.
1796. Violoncel/os- Mr. Brant, H ighbur y T en·ace,
Islington ; R evd. H. A. H olc, Exeter .
1797. Tenors - Mr. Bright , Stradiu arius copy, largo ;
Dr. Walcot.
1797. Violoncellos- Mr. Yatma n (two) ; wm. Shel-
don, E sq.
1798. V1:olins -Revd. Mr, Vinicombe, a mu te violín;
Mr. Osbald iston, Twick enham ; Mr. G. Ashley , Stradiu -
arius copy ; Mr. Ba uch.
1798. T enor- Mr. Corson. Violoncello-Mr. L inley.
1799. Violins- Rcvd. Mr. Chudlc igh ; Mr. Blake, 7,
N ottingh am Stt·eet, 1\farylebone, for Mrs. Farhill , 43,
M ortimc1· Strect, C:.w endish Sq•. ; Mr. Blakc, for Mr.
D eanc, 21, Nottin gham Place, Marylc bonc; Mr. Yat-
man, a mute violín. Violoncellos- Hovd. Mr. Poolc, at

Mr. Ruscombi Poo1e's, attorney at law, Bridgewater,
Somersetshire.
l 800. Violins-Mr. T. Blake, 55, Hans Place, Sloane
Strect (two).
1800. Tenor- Mr. Yatman.
1801. Violins- Mr. Frencb, for tbe Grotto Concert;
Mr. Yatman.
180 l. Tenor-Mr. French, for the Grotto Concert.
1802. VioHn-Mr. B. Blake,55, Hans Place, K.nights-
bridge.
1803. Tenor-Mr. Corson, Brentford. Violonceflo-
Revd. H. A. Hole.
1804. Tenor-Revd. D•. Nicholas.
1805. Violoncelto-Mr. Yatman; Double Bass-His 1
Majesty George the Tbird.
1806. Violoncello-Revd. H. A. Hole.
A statement has been made public and believed to be
correct, although no entry appears in the account books
to prove it, that the last violoncello, and probably the
last instrument made by William Forster (2), was manu-
facturad by exprcss wish for Mr. Crossdill; and it was
one of the vio1oncellos offered at the sale of his musical
property, on the 9th May, 1826. "Lot 6. A violoncello-
of the long Stradiuarius pattern-by Forster, Sen., the
very last instrument manufacturad by that justly cele-
brated maker, and most highly valued by Mr. Crossdill,
witb bow, in a most excellent dove-tail case, covered with
leather, brass nails, lock and key."
lt was bought for forty-six guineas by Thos. Dodd,
the dealer in musical instruments, for Edward Prior,
Esq. late of York Terrace, Regent's Park. Henry Hill,
in. bis manuscripts alluding to this William Forster, writes
that he was " a highly and justly esteemed maker of
violoncellos, &c. &c.; it is said he was not original! y

bred to the occupation, but carne to it by chance o1·

accidental prcfcrence ; if so, he must bave possessed a
r are talent, for his instruments are second' in merit to
none, but the best Europe has ever known; especially
his amber colou1·ed violoncellos , they are renowned for
mellowness, a volume and power of tone, equalled by
few, surpassed by none. His dark red coloured are not so
much admired, though the differencc in mcrit is scarcely
discernible. He was not so successful with his violins
and altos; he does not nppear to bave given the same
care and judgment to their production ; he followed the
g 1·and Amati in his forms and motlel without being a.
mere copyi.st, antl hada rare exccllcncc in the facture of
the violoncello pcculiarly his own. Thc expression -<t
true Forster tone-is not a.jeu:r d'esprit."
Willíam F orster (2) died at the residence of bis son,
N o. 22, York Strcet, W cstmínstcr, on tho 14 tb Dec.
1808, and was buricd, on the 2 1st of the same month,
in thc family g rave at the Church of St. Martin's in tbe
Fields, Charing Cross, on tbe north sidc, ncar to the
steps, and opposite to his former residence, the corner
of Duke's Court. A black marble slab once marked
the spot, but it has been taken away, antl probably the
ashes of the dead wcre desecrated and blown hitber and
thithcr at the time the altcrations of that locality took
place, and the ncighbourb ood altcred to its present ap-
pearance.
HISTORY OF .A. VIOLONCELLO MADE BY

WILLIAM FOSTER (2).
1'his violoncello was made in or about the yea.r 1772,
and is well known in the musical circlo under two names
or designations- " Thc R evd. Mr. H olc's or Crossdill's
violoncello." It is of thc Amati outline, with a very

IIISTORY OF THE VIOLIN. 325
bigh and unusual model, and was originally manufac-
tured for Mr. Charles Alexandcr, a chemist, who had
greatly assisted the maker in tbe method of dissolving
the gums amber and copal for varnishcs. At the time
the order was given, it was promised that if a better
instrument could be supplicd than any hitherto made, it
should now be produced for the essential services ren-
dered. How or when this violoncello became the pro-
perty of Mr. Hugh Reinagle, of Oxford, is not known,
but we arrive at positive information regarding it by an
article in an old newspaper- " The General Aclve1·túer
for Tuesday, 6 November, 1787"-which has been pre-
served by the family as bcing identified with this instru-
ment, ancl as the paragraph is amusing, it is given ver-
batim. " The rage for musí e was never more conspicuous
than now. A few days ago, a violoncello, made by
Forster, was sold for the sum of one hundred guineas
and an Amati bass, worth at least fifty guineas, in ex-
change. The lJurcbaser was M1·. Kole (Hole), an ama-
teur, in whose praise much has been, though too much
cannot be said. This valuable instrument was fonnerly
the property of Mr. Hugh Reinagle, the celebrated bass
player, whose death has been universally lameuted by
the musical cognoscenti. At his demise it was bought
by Mr. Gunn, who has now sold it. To such a nicety
is the manufacture and sale of musical instruments now
brought, that a fiddle, like a race-horse, must have a
pedigree, and his whole get announced, befo re any at-
tcntion will be given to it." The Rev. H. A . Hole was
one of the bcst amateur performers on the violoncello·of
the da.y, and it is remarkable he should have bcen so, as
the two first joints of thc forefiuger on the left hand had
been amputated, in consequence of mortification having
set in; therefore he was compelled to ·use thc thumb from

the first position; he must also ha ve possessed great

courage, for aftcr thc opcration of takiug off th9 first joint
by the surgeons in attcndance , he, from symptoms ex-
perienced, wi!>hcd them to operate on thc sccond joint,
which they decmcd useless; wbcn on thcir rctiring to
partake of somo rcfreshment, he cxcuscd hirnself, and
wcnt to bis dressing-room and cut off the injured part,
with bis penknifc, at the sccond joint, and thcn returncd
to the surgcons to havo the wound propcrly dressed. On
medica! examinatio n of the j oint he had operated on,
they acknowledged that diseasc had takcn place, and
that at some future time it must have becn amputated .
So choice was he of this violoncello that, when he tra-
vellcd with it, he endeavoure d, if possible, to securc an
insidc place in the mail or stage coach ; but there were
times wben ít was otherwise conveycd, and on one of
these the instrumont received the fracture in thc back,
with other injuries not of such serious naturc ; however
whcn it was repaired, William Forster (2), and other
pcrsons did not considcr the tone at all affccted, although
dctrimenta l to its appearance. The following letter will
explain Mr. Hole's feelings regarding the injuries:-
" Bytbistimo you have received myold and oncefamous
violoncollo. It is a melancltoly accident, and as you did
not as usual enter it at 500/. val ue, I cannot recover any
compensation from the carrier. He has made this pro-
position, that he will pay all expenses of repairing; and
you will please to state to me the real damage done to
the value of the .instrument, if ít were to be sold, that I
may attempt to rccover it, or ha ve sorne allowance. You
will please to repair it as soon as possible, & not send to
me, as I shall be in London in Marcb.
" Yours vcry truly,
"January 13, 1798. " 1-I. A. HoLE.

"P.S.-Le st it should come to a law suit, you should
also tako Lindlcy's cvidcuce, addiug the loss sustaincd
by tho accident, or any othcr person clsc you think
right."
From tho date of the nbovc lctter, the link of interest
in this violoncello is now lost, until 1814, when Mrs.
H olo sends a letter to \rilliam Forster (3), dated from
the "Vicnrage H ouse, OkPhampton, Devon, l\1ay 29th,
181 4," a portion of whioh is as follows : -
" I wish to ask your ndvicc in regard to my late hus-
band's violoncell o-1 mean the fine instrwnent madc by
your falhcr which Mr. Ilolc bougllt of Mr. Roinngle,
and which he so highly valued. l\1r. Holo was offered
for it, somo years ago, 500/. If I could get a vm·y large
sum for it, I might be induced to scll it; but, as 1 am
perfoctly aware of tho vcry great value of it, I wíll not
part with it otherwise. • • • • •
" I remain, Mr . Forstor,
" Y' ob' hu1 Ser'
" S. IIoLE."
It will be observed, that the widow stntes the \•iolon-
cello was "bought of 1\It-. Reinagle." The previous
cxtract from the old ncwspapcr says Mr . Gunn. It is
not in our powcr to provo which Professor it rcally was
that sold the instrumcnt to the Rev. H . A . Holo; indeccl,
it littlc matters, as both wcrc eminent roen of thc period.
Pm·haps the newspapcr claims tbc greatest reliance,
b eing printed at or about the time wben tbe violoncello
changcd ownership ; and l\Irs. Hole's rcmark is made
in l $ 14.
'V e now arrive at thc commencement of a correspond-
encc bctwccn Mrs. U ole and M r. J ames Crossdill relative
to the disposal of thc violoncello ; ther e is a.lso a letter

to William Forster (3) which corroborates the sale. 'fhe

thrce letters are as follows :-
" 111rs. Holo,

" Mrs. Hornc's,
" u~oridgc Ú!)rumon.
" SJR,
" I take the liberty of troubling you with a letter in
conscquence of a convcrsation which I had with l\Ir.
J ames beforc you Ioft Denham, when Mrs. J in-
formed me of your most kind and fri cndly offer of taking
M1·. H ole's violonccllo undcr your caro, and of disposing
of it to the best advantage. I bcg to assure you that I
fccl tbc kindness of this otfer, which I shaH be happy to
accept. .Mr. Robert Holc (Mr. Holc's brother) has
made several inquiries amongst bis profcssional friends
as to the value of thc violoncello. Thcy all agrce in
saying, that for so very fine an instrumcnt we should
scarcely be justificd in parting with it for less than two
hunrlred guineas. Mr. Hole, I know, rcfuscd a much
larger sum for it sorne years ago. As I am afraid of
sending the violoncello to London by a public carriage,
and my daughter gocs to L ondon in my mothcr's car-
ri:-~ge on Monday ncxt, the 23rd, will you pcrmit me to
SCJl(l it on tbat day in the carriagc, and it shall be de-
posited safely at Mr. Thompson 's bctween twelve and
one o'clock? I shall esteem ita favour if you will ha ve
the goodness to inform me, before the 23rd, if I may
take this liberty.
" I rcmain, sir,
" Y' ob' hu' ser'
" S. HoLE.
" J¡in . 16, 1815."
The above letter is addrcssed to

1 '1
HISTORY OF THE VIOLI:-1 . 32!)
" - Crosdale, Esq.

" at- Thompson's, E sq.
" Grosvenor Square,
" London."
The next letter is datcd,
" ~!ay 22nd, 1815,
" Sm, " c~bl'idgc Common.
" I bcg to return you my most sincere thanks for
your very kind and fricndly exertions, and for the great
trouble which you hase takcn about thc violonccllo .
Dclievc me, it affords me grcat pleasurc that the instru-
mcnt is in your hands. It was highly valued by my
dcar and much lamcntcd Mr. Hole, and I am ccrtain
that thcre is no pcrson he would so much ha,·e wished
to have itas yoursclf. I called this morning at :;\{eg:rs.
H all and Co. Uxbridgc, that I might be ablc to acknon·-
ledge to you the rcccipt of tbe 70/. for thc violoncello,
but tho clerks informed me that no intimation hatl bcen
reccived from Mcssrs. Mastorman and Co. of the 70l.
lodged in their hands, the reason of which is, that tbey
recoivo communications from them only on a Thursday,
and on tbat day, thcreforc, I shall reccivc the money.
Wisbing you a long continuance of hcalth to use tbe
violoncello, whieh will, I dare say, sometimos rcmind
you of your departcd fricnd,
11
I remain, sir,
" Y' much obliged and
" Faithful hu1 ser'
" M ay 22-" " S. R oLE.
Addrcsscd to
"James Crosdill, Esq.
11
- Thompson's, Esq.
11
Grosvenor Squarc,
" L ondon."
y

330 HISTOR Y OF THE VIOLI N.
The following lctter written to Willia m Forste r (3)

and dated 21 May, 1815 :-
" Mrs. R ole.
" ~Irs. Horoe's,
" Ncnr U xbridge,
" Middlcscx.
" Mn. FonST En,
" I ha ve a Yery beautif ul violoneello here of tbe late
Rev. H. A. Hole's of your fat.her' s making . As I keep
two fot· my son, I wisb to disposc of this. I have sold
the fine instrum cnt, about wbieh I wrote to you, to Mt·.
Crosdalc. Will you take this, or dispose of it for me?
I will not part with it under 25l. Mr. Monza ni has
offer cd to disposc of it for me, but as you are an old
acquai ntance of the late Mt'. Hole's , and it is your
father' s instrum cnt, I prefcr makin g you the first offer
of it. Let me know immed iately whethe r you will take
it, or clispose of it for me, and I will send it up to you
safely by the coaeh. I am not certain , but I think Mr.
R ole ealled the instrum ent a Steine t·.
" I am, Mr. Forste r,
" Y ours, &c.
" S. HoLE."
Mr. J ames Crossd ill had retired from the musical pro-
fcssion severa l years before the purcha se of this famous
instrum cnt, and aftcr bis death all his remuin ing violon-
cellos, scven in numbe r, were sold by auetion on the 9th
M ay, 1826, at which time Robert Lindle y, the cele-
brated violoncellist of tbe day, bought it for fifty guinea s.
Two or t\n·ee gentlemen had attend ed the auction with
the intenti on of buying this well-known violonc ello; but
on Lindle y nam ing thc first pricc for it, fifty guineas, no
person then prescn t would compe te; and, on thc auction ect·
announ cing the purcha ser's name, grcat approb ation was

HISTORY OF TU'E VIOLIN. 331
sbown, and tbe room resounded with plaudits. Fortu-
natcly for Mr. Robcrt Lindley thc pcrson scnt, by com-
mand of George IV., to buy this and tii'O other violon-
ccllos, was absent in tho ante-room, talking ll'ith sorne
acquaintance, whcn Lot 2 was put up; therefore the
opportunity of buying was lost. He (;\1r. Kramer,
Master of the King's Pri,•atc Wind Instrumen t Band),
lcarning that bis chancc was gonc, offcred :Mr. Lindley
100/. for his bargain, but it was not acccptcd. After
dclighting the musical public with his performances and
extraordin ary quality of tone on this instrument for nine
or ten years, with thc fine and glorious swceping chords
when accompanying thc Recitativas, of which style be
claims to be the original, and with the lcading notes
for the singer, wbich notes sung with the Yocalist,
always mcrited a portion of the a.pplause. No doubt
many persons remembcr, with feelings of exquisito plea-
sure, bis accompanimonts to Handel's ai r, "O L iber ty ! "
al so Haydn's "In nativo worth ; " and Mozart's " Batti,
Batti ; " but abo ve al! that unri valled performance of
tbe violoncello obligato to Dr. Pepush's cantata" Alexis,"
which, in the original composition, is only a simple semi-
quaver movement ; but, with his new reading, it became
a pe•·formance of wondcr and excellence. l'v!any othcr
parts, in orchestral picces in which the violoncello was
mado prominent could also be enumeratcd, ll'hich caused
Bcrnat·d Romberg, a contempor ary and rival, to ac-
knowlcdge "he was grcat in the orchcstra, grcat as an
accompanyist, and grcat as a soloist." About 1835-6,
1\lr. Lindlcy sold this violoncello to Captain West, of
the 1st Regiment of Royal Life Guards, for 2001. in
moncy, a violonccllo valucd at 30t., anda picture consi-
dercd worth 1OOl. During tbis OIYnership, Monsieur
Scrvais playecl on thc violoncello at París, aml delighted

-indeed , if report speaks true, astonish ed-the Pari-

sians with the fulness of tone produccd, being so dif-
ferent from that thin and hard quality of tone which
they had bcen accustomcd to hear. Captain W est stated
that Onslow and other celc~rated musical composers had
endeavoured to persuade him to sell thc instrument to
Servais. Be this as it may, the violonccllo again came
into the English market, and was purchaacd by the late
Frederick Perkins, Esq., of Chipstead Place, Scvcn
Oaks, Kent, about the year 1839 ; but this date cannot
be positivcly asserted, although believed not to be much
in enor. This fine violoncello is now the property of
Lieutenant-Gene ral Sir Hope Grant, G.C.B.

CIIAPTE R XXIII.
ILLIAM FORSTER, the third of this name

as a violin-mak er, was tbe son of the pre-
vious William Forster (2), and was bom
on thc 7th January, 1764, in Prescott
Stt·eet, Goodman's Ficlds; it is believed the house was
No. 12. He must havo cvinced an early talent as a
workman, for the first violin in tbe list of the best in-
struments he made is entered in the ycar 1779 ; but
precocious talent, in general, seldom ad vanees ; at first
it bursts forth like thc bright rays of thc sun from behind
a dense cloud; the pt·aises thcn bestowed, and the flattery
gi,·cn, make it conclude it is perfection, and produce
a self-confidence and sufficiency that often load to idle-
ness, and consequent ly it ceases to exert mental energies,
and thc probability is its possessor becomes of lymphatic
temperamc nt, and movcs not onwards to keep pace with
the world's advanceme nt. However, thcre may be a
cause in this instance why he became averse to the con-
finement aud toil of the work-room. H e was fond of the
drama, and associatcd with prívate tbeatricals. It has
bccn told to one of thc family, by the late Mr. Charles
W odarch, a cousin of the K cm bies, and formerly the leader
of thc orchestra. of Covcnt Garden T heatre, that he had
talent for acting, and tbat he had seen him perform the

1
'
characters of Scrub, in "The Bcaux's Stratagcm ;" and

Fribblc, in the farce of "Miss in hcr Teens;" and tbat
in thc former cbaracter he considered him better than the
public's great favouri te, Mr. Keeley.
It would appear, by a statcment in M r. James Main-
stonc's bill of' costs, that tbc fathcr and son had been
partncrs at one period ; but the naturc of the compact is
so strangc that it can scarcely be believcd; and the only
thing which entitles it to credcncc is an ohl catalogue
which is supposed to haYe been printcd bcfore 1787, as
H a.ydn's quartets, op. 44, are not inscrtcd. There is no
proof of this partnersliip by books of accounts, or by know-
ledge of thc eldcr branchcs of the present family; but
there is full cviuence of tbe son having al! tbe music
portian of the business, with liberty to obtain work in
his own behalf, by the books which commence l7thJuly,
1786, bcing the day aftcr his mal'l'iago, the father having
his own account-books and customcrs through all the
years tha.t had previously passed, a.nd continued until bis
dcath.
The following extract made from thc account of the
lawyer :-
" 1783. Oct'. 1". Attending and taking Instructions
for drawing agreement between Mt·. Forster Sen'. and
Mr. Forstcr J un'. for the former scn·ing tbe latter during
three years under a special Contract."
"Drawing Articles of Agrecmcnt accordingly fo 18."
"7'11• Attending the P arty to read over and settle
same."
"Nov'. l. Engrossing samc two pal'ts. Stamps.
Attending Ex.ecution."
Should this contnrct ha ve bccn actcd on, which is very
doubtful, it shows how much a pa1·cnt will yield to the
wishes of a son, who was the only surviving offspring.

The work of William Forste r (3) was of high fiuish
and ncatncss, but he did not take an intercs t in his voca-
tion, though tbere are sorne of thc instruments made by
bim excecdíngly good in tone. Ilc was gcnerally deno-
minatc d "Youn g Forste r," and thc labels put into thc
instrum ents were signcd William Forstcr, J un'., thc J un'.
beiug addcd with a pcn, as also the year in whích tbe
instrument was madc, and thc numbe r of it. These
particu lars were also written insidc the instrumeut, on
both vibrating platos, and at thc tail-pin, undcr the var-
nish. Some persons ha.,•e often obliterated the J un'. at
this place, no doubt for disbonest purposes, as thc instru-
ments of thís maker do not command so large a price as
those of his father.
The followiug is a copy of an original label, the Royal
Arms at one comer , and the Princc of Wales's Feathe rs
on the opposite corncr :-
" Willia m F orstcr J un' .
Violin , V ioloncc llo, Tenor & Bow-m aker
18 10 Also Music Seller N•. 43
To their R oyal H ighncsses the
Prince of Walcs and the Duke of Cumbe rland."
The labcl used in later years had the Feathc rs of the

Prince of \Vales on one coroer , and the Lion upon the
Crown, surrou nded by the Garter , on thc other síde,
the paper of the label beiug much narrowcr than the
former labcl ; the numbe r of instt·ument, the ycar, and
the Jun'. to be addcd with a pen : -
"Willi am F orster
Violín, Violoncello, T enor & Bow-maket·
to thcir Royal H ighnesses the Prince of Wales
& Duke of Cumbcrland. London."

Aftcr pioneering througb the account-books of this

violin-makcr from 1786 to 1816 it is fo und that a list of
the instrumcnts manufactured cannot be produced evcn
approaching tolerable accuracy, therefore it is aban-
doncel. Four diffcrent classcs of instruments were made
by \ Villiam Forster (3), assisted by his son and work-
men; and about the year 1786-7 the Germau fiddles, of
cheap and common workmanship, were introducecl into
England, it is belie1·ed, by Astor, of Wych Street, Strand,
of whom tales could be told councctcd with German docks
ancl German musical wiud instruments; ancl en tries are
seen in the books for fiddles as low as nine shillings,
which were mostly sold to dcalers; but others have par-
ticipated in the low p rices. Moreover, there are many
exchanges and re-purchases of instruments, so that it is
very probable the same instrumeut may have been dis-
posed of more than once.
A ll these circumstances bafll.e the endeavour to pro-
duce a similar list to that previously given of the instru-
ments made by his fat.her. There is a book, however,
in the writing of William Forster (3), still preser ved,
which has sorne account of the instruments made by hi m.
It is imperfect as regards the numbers, particularly of
the second-class violins and tenors, and tbere is no men-
tion of the violoucellos of inferior workmansbip. The
follo wing are the entries, with slight alteration in the
arrangement : -
"Number of best Violins made by W 01

• Forster J un'.
Put down to the ycnr
Forster, J un' . N"'. 1, 2, 3, and 4 . . ] 779
)) , 5, 6, 7, and 8 . 1780
, 9 and 10 . • 1782
"
)) , 11, 12, 13, and 14 1783

Pul down lo the yenr
Forster, J un'. N ••. 15, 16, 17, 18, and 19 . . 1784
, , 20, 21, and 22, this Jast of small
.
SIZC • 1785
•13
,.," " -
, 24, 25, and 26 .
1789
1793
, " 27' 28, 29, 30, 31, 32, 33, 34,
35, 36, 37, 38, 39, and 40 . . 1813
, 41, 42, and 43, all three of
" small size . 1814
In anothcr part of thc book is insortcd, "Violins at
.f3 3s. Od."
Put dowil to the year
Forstor, J un'. N •. 1 • • 1782
, 2 and 3 1783
" , 4 1789
"
Many more of this olass violín bave boen soen entered
iu thc account-books as disposed of, so far as they were
oxamined.
Thc best tcnors woro made as follows :-
Pul down to thc yenr
Forster, J un'. N ••. 1, 2, and 3 . 1783
, 4, 5, 6, 7, 8, 9, and 10 1784
" , 1 1 und 12 . 1785
",, , 13 and 14 . 1786
, 15 1787
," " 16, 17, 18, 19, and 20 1789
, " 21 • • • . 1793
, 22 1794
" 1795
" 23 •
" , 24 and 25 ] 798
"
T hcn follow " Tcnors at :e3 3s. Od."
For~ ter, jun. Nos. 1 and 2, made in tbe year 1783,

338 HISTORY OF THE VIOLlN.
and No. 3 in thc year 1789. The same remark as

made on the violins of this class, can bo applied to tbe
tenors.
With the list of violoncollos mado of the first class
thcre has been taken a little more cure; but ít is far
f¡·om perfect; and no account whatever of instrument s
of fi,·c guineas Yaluc a nd less has been kept, although
numcrous entries in the account-bo oks provc that such
wcre made and sold.
"Best violoncellos made by Wm. Forster, jun."
K o. rut down to the ycnr
1, for Mr. Clay . 1787
2, Sold to Mr. Hook-3, for Mr. Tillard 1788
4, Sold to Mr. Cartwrigh t . 1789
5, . . . . 1791
6, :Mr. Crouch-7 and 8, 1792
9, lO, 11, aud 12 1795
13, Crouch- 14, Col1• Hawker . 1797
15, Lindley- 16, Y atman 1797
17, Day . . . . 1798
18, Majar Botbwcll- 19, James L effier 1801
20, Rev. Mr. Landon-a nd 21, Lieut. Hcaviside 1801
22, Crosdill- 23, H enry Bedford, Esq. . 1804
24, Sold to Oxford-an d 25, Lord Aylesford. 1804
26, Col1• Bothwell- 27, Crosdill 1805
28, Lord Aylosford . . . 1806
29, 1807
Ahout tbis time the eldest son, William Forstor (4),
was becoming perfcctcd in tbe art; and thcrc is a remark
writtcn on tbe margin, " T be first violonccllo made by
my son was made for Charles Ashley." This instru-
ment, it is believed, was thc violonccllo known in the
musical circle as thc " Blood Red Knig ht."
The following No. 30 shows that the son eitber assisted

HISTORY OP THE VIOLIN. 339
in or made the whole, as it has "Bill No. 2" attached.
to it, and a similar remark continues to severa! other
instruments : -
No. Put >lown ro tbe year
30, Bill No. 2-31, Bill No. 3, L ord L ewisham 1807
32, Bill No. 4, Gladstane s-33, Bill No. 5,
Hole . . . . 1807
34, Dill No. 6-35, Dill No. 7, Blake, Bath . 1807
36, Bill No. 8- 37, Dill No. 9, Ccrvctto . . 1809
38, B and G No. 10-39, B and G No. 11,
Captain Dcacon 18 10
40, B and G No. 12- 41, B and G No. 13
-42, B anc.l G No. 14 1810
43, G, and 44, Bill No. 15 . . 1810
45, 46, 47, Lindlcy-4 8, 49, 50, 51, 52, Mr.
Bedford, Stcinct· pattern- 53, Lindlcy,
Steiner pattem, and 54 . . . 1811
55, 56, 57, the two last had by Mr. Lindley,
and of the Steiner pattern- 58, Lord
Aylesford -59, Steiner pattern- 60,
61, 62, and 63, these four last werc of
the Stradiuariu s pattern . . . 18 12
64, 65, 66, and 67, thc two last had by Lind-
ley, and of the Steiner pattern . . 18 13
68, 69, 70, 71, thcsc four were tbe Stradiua-
rius pattcm . 18 14
72, Bill (No. 1G) for Iscard- 73, Bill ( 1 7~
Stradiuariu s pattern . 1815
74, Bill and Andrew, Steiuer patteru . 1823
Five or six. double-basses, of sccond-class workmanship,
were made chiefly for lctting out on hirc; and there
was one of the best work finished for a pei'Son named
1\ll'Calla, which instr ument was dcstroyed cither when
thc Royalty T heatre, at the east par t of London, was

340 HlSTO!lY OF THE VIOLIN.
burned down in 1826, or crusbcd to pieces when tbe

roof of the Brunswick Theatre unfortunately fell in,
killing severa] of the performers whilst at rebearsal, on
the 28th Feb. 1828. Tite latter is believed to be the
cause of its destruction. These double-basses wcre all
rnade of the sarne sbape as violoncellos. Some interest
rnay be attached to the violoncello marked No. 26, 1805.
It was made of the long Stradiuarius pattern, similar to
Mara·s celebrated violoncello of that Italian rnaker, and
was first sold to Colonel Bothwell. Ultimately Itobert
Lindley bought it of Messrs. Withers and Co., and the
tone is so grand and fine that it becarne the favourite
violoncello. It is the instrumcnt on which he performcd
when he rnade his last public appearancc, and played the
celebrated trio of Corelli with Charles Lucas and James
Howell, at the Philharmonic Concert in thc scasou of
1850. From the commanding tone of this violoncello,
and its being made in the year J805, Lindlcy named
this instrument " Nelson," being the year in which this
great Admira] fell at the battle of Trafalgar.
This violoncello is now the property of A. Allan
Webbe, Esq. of Hereford Street, Park Lane, who pur-
chased it of the younger son of Robert Lindlcy, soou
after the decease of bis talented parent.
William Forster (3) was a person fond of speculating
in houses, for which he had not judgment or ability, and
much too amiable and kind, although of hasty temper,
to be the landlord of such small houses as were pur-
chased. Better property was occasionally bought., but
something unlucky was always attached to it; so that
the wbole of these transa<:tions may be considered a
complete failure. But the clímax wbich brought ruin
upon him was entering into a gr ocery business, about
1815-16, with another person of whom he had little

IIISTORY OF TIIE VIOLIN. 341
knowledge. The consequences may be arrived at very
easily. These misfortunes compelled the sacrifica of the
freehold and leasehold propcrty, also wbat money rc-
mained in the funds, all of which descended to him from
the father, and were absorbed to liquidate large debts,
greatly to the dctriment of a family of thirteen children
t.hen living, corisisting of nine daughters and four sons;
one son bad died in tbe early part of this century by an
accident through the carelessness of the nurse. A broken
spirit and the despondency whicb existed in tbe latter
years of tbe life of W. Forster (3), were very painful to
witness; and at length death relieved him of mental and
bodily suffcrings on the 24th J uly, 1824, and he was
buried a few days afterwan ls in the family grave, in the
churchyard of Saint Martin's in the Fields.
W e ha ve now arri ved at the fourth and last of the
name of William Forster that have been makers of
violins, tenors, and violoncellos. He was the eldest son
of the previous W. Forster (3), and was born the 14th
of December, 1788, at No. 348, Strand; he possessed
gootl mechanica.l abilities, with mental endowment for
invcntion; but this last qualification was chiefly em-
ployed u pon articles of plcasure and enjoyment, although
many brancbes of thc business were improved and faci-
litated by him. He little cared whethcr it was wood or
metal be was workiug, all were made obedient to bis
manipulation. He was an excellcnt workman, and the
instruments be made were beautifully finished. But the
workroom had little inducements for him; athletic and
rural sports absorbed bis thoughts, and having a basty
temper little could be accomplisbed with him at borne.
H e was instructed in violin-making partly by bis grand-
father and father ; but his wild career could not be sub-
dued, and a.t length it was deemed advisable to place him

342 IIISTORY OF THE VlOLIN.
from home, and Thomas Kennedy undertook tbe task,

:md by humouring his foibles, gained more ~ontrol over
him than perhaps any other person, exccpt bis mother.
He retm:ned home again, but soon left it and joined the
theatrical company of the late - T•·otter, Esq. of
W ortbing, who had thc Kent and Susscx circuit; sorne-
times acting on the stage, and at otbcrs playing tbe
violonccllo in the orchestra. At W orthing, he indulged
with other persons in athlctic pastimcs; and in one of
these trials of strcn gth received some intornal injury,
from which, perhaps, he never thoroughly rccovered.
He made very few instrument s on his own account, pro-
bably twelvc or fifteen . T wo or tbree of these were
violins, and one violoncello of the best class ; the latter
instrument was made for the late Mr. James Brooks, a
professor on the violoncello, the remainder bcing of in-
ferior workmansh ip for wholesale orders. He, howe..-er,
would occasionall y rcpair instrumcnts ; but having,
generally, an cngagemen t as a violoncello player either
at tbe Sans Pareil, Sadlers' W ells, or the Surrey
T heatre, then callcd the Circus, he little sought for that
kind of employmen t. During this pcriocl of bis life
fisbing was the absorbing desire, ancl he would take
every opportunit y to walk to some favoured spot at
Wooclford in Esscx, or to places on thc rivcr Wanclle
ccl ebratecl for thc sport.
It is said that he pcrformed clown at the Sans Pareil
Theatre during thc whole of one Chrislmas holiclay-time,
under the name of Signor Paulo, who was too ill and
unablc to fulfill his engagemen t. His wild carcer
wcakened his constitutio n ; and being recommend ed to
go .out of town for chan rrc, he accc¡Jtcd an eno·ao·emen
~ b ,:,
t
as violoncellis t at Chcltcnham . On a lcisure evening,
whilst playing a game of chcss or clrafts, a fit of apoplexy

deprived him of life, almost instantly, on the 8th Octo-
ber, 1824, in the prime of manhood, being only thirty-
six ycars of age.
The parLiculars regarding Gilkes pcrhaps should be
insertcd here ; but it is deemed ad visable to carry the
family namc to a close, as the one next mentioned, who
yet strugglcs with the " battle of life," is the last of the
racc that is likcly to be violiu, viola, and violoncello
makcr.
Simon Andrew Forster is the fourth son of William
Forstcr (3), and was born on the 13th May, 1801, at No.
348, Strand, the house which was known as the Courier
Newspaper Office, and pu1led down fot· the approaches
to Water loo Bridge from Catherine Strcet. H e is in-
debted to his father and brothet· William Forster ( 4),
particularly tbc latter, for the knowledgc acquired in
making violins, tenors, and violoncellos, &c. Gilkcs also
has a small claim, but very small, of imparting instruc-
tion. It was not to his intercst to do so, therefore the
progrcss in early years was not very rapid. However,
at that pcriod, perhaps thc work-room may have been
ncglectcd, as music was studied as a profcssion in the
choir of Westminster Abbey, which gave the right of
education in W estminster School. N otwithstanding
Gilkes did not do his duty, when it is taken into con-
sideration how much bis position in lifc was advanced
by thc improved knowledge imparted to him in the style
of work of the family , and the recoipt of wages at the
time from the parent. This deficicncy was fully rccti-
ficcl by thc attentions of thc father and brother, after
Gilkcs had ceascd to work for thc house.
A list will now follow of the best instruments, and the
yeat.. in which thcy were made, also tbe name of the
person who first purchased them. The label used in
•
344 lHSTO:RY OF THE VIOLIN.
them was as follows, and the initials signed on thc oppo-

site corner to the number-
" S. A. Forster
Violín, Tenor & V ioloncello Maker
N•. London."
T he name and London are engraved in tbe old English
lettcr, and the other part in the written character. It
is also written with a pen, "S. A. Forster, Lonclon," ancl
the numbcr of the instrument by the tailpin, under the
varnish, and on both vibrating plates inside the instru-
ment. In most instances the dates take place from the
time the bocly of the instrument was put together, and
not always finished in sequence.
No. Violins of the First Class.

1, Mr. George Key 1828
2, Charles Rowland, Esq'•. . 1830
3, Stowel Chuclleigh, Esq'•.-4, R . H. W .
Ingra~n, Esq'•. . 1835
5, Ivlr. HenryThorn- 6, Mr. William Cramer 1839
7, J. W . Cochrane, Esq'•.-(t/ás m:olin had
tite p1·ize medat awarded at the Great
E.t·hibition cif 1851) 1839
8, Unsold- 9, Mr. Thomas Key-10, Sir
James Emerson Tennant-11, Unsold-
and 12, Mr. Thomas Key 1839
13, Mr. Richard Stannard- 14, Rev<~. R. G.
Buckston . 1844
15, J ames Uglow, Esq...-ancl l 6 to 26 are still
unfinished . 1844
No. Violas or T enors of the F irst Class.

1, James R eynolds, Esq,..-2, doubtful 1839
3, Frederick ,Tames Rawlins, Esq•·•. 1840

HISTORY OF THE VIOLl N. 345
No.
4, William Da vis, Esq'".-5,J ohn Beardmore ,
Esq....-6 and 7, Unsold-8 , 9, and 10,
still unfinishcd- and 11, Captain Ed-
ward J . Ottley- (this viola had the
prize medat awarded at the Great E.'t·-
hibition of 185 1) . . J 843
From No. 3 to 11 are instrument s all of vcry large
.
S IZO.
Violoncellos of the First Class.
From N o. 1 to 12 werc marked when thc instrument
was varnished, thereforc shows sorne i rrcgularity in the
complction of them ; but from N o. 13 thcy were num-
bered when the body of thc instrument was put together.
No.
1, 1\fr. J ohn Smith . . -1825
2, Rober t Lindley, Esq.- and 3, Mr. Joh n
Smith . 18:26
4, Dr. Boisragon • 18 27
5, Mr. Acraman 1828
1o, Colon el J ohn Montague 1830
8, James Forstc1·-a nd 9, l\fr. \Villiam Glan-
vill . 183 1
6, Colonel W hitby-7, Revd. Dr. Barrctt-
and l J, M r. Thomas Binfield, for W.
C ull, Esq••. . 1832
J 2, C hristopher Rawlins, Esq••. . . 1835
13 Mr. T. J . Noble-14 , H onb'•. Major L cggc,
' for the Bishop of Oxford-15 , Stowel
C hudleigh, Esq•.-16 and 17, E. Wool-
lett, E sq... - 18, Sir Richard Bulkcly
Phillipps, Bar t.- Hl, Henry K night,
E sq"'.-20, Honh'•. Major L egge (this
was a ve ry small violoncello for thc son ;
z
••
No. it has since been cut dowu and con-

verted into a tenor) . • 1836
21' Frederick Perkins, Esq'•.-22, Charles
Lucas, Esq'•. . 1836
23, Mr. H enry Tborn . • • 1836
24, - - Gribblc, Esq. . . 1837
25, R. H. W. Jngram, Esq'•. . . . 1838
26, James Lintott, jun'. Esq•.- 27, Gcorge J.
Eyre, Esq"'. . . . . . 1839
28, William Davis, Esq••. -29, Waltcr Pettit,
Esq'•. . . . . 1839
30, Honb1• . Arthur La:scelles- 31, Captain Ed-
ward J. Ottlcy-an d 32, Captain IIun-
ter Blair . . . . . 1839
33, James Ilowell, Esq'•.-34 , 35, 36 and 37
are still unfinished -and 38, J oseph
Laing Oldham, Esq.-(thi s violoncello
h.ad the pri::e meda/ awarded at the
Greal Etdtibition of 185 1) . . . 184 1
No.
Double Basses of the First Class.
l, Mr. ·Boulcott. . . 1833
2, Mr. S. J. Noble--an d 3, Frcdcrick Pcr-
kins, Esq•. • 1835
4, Samucl Brook, Esq••. . • 1836
5, Unsolcl • 18
From these largc instrument s being ]u)avy and cum-
bersome to handle in tl1e working of thcm, it became
imperatiYe to bavc a!>sistancc, evcn in sorne cssential
parts, through debility of constitution.
The second class instrumcnt s had only this writing at
thc tail pin, '' Forstcr, N o.--;" aml alcoholic varnishes
have been usecl with all of thcm. The mcmory will not
assist to statc cxactly how many instrumcnts of this class

lllSTORY OF THF. YIOLIN. 347
ha ve been made; pcrhaps not more than twenty-four
violins, four or fi ve tenors, and about ten violoncellos.
A correct account of thcse has not becn kept, as the
intercst in tbem cxpcrienccd a check by the cheap and
vcry common instrumcnts from Germany, Fa·ance, and
othcr countries, which sadly interfcred with the welfare
of thc English artizan, who could not compete in price, as
this class of foreign goods could be purchascd for a less
sum than the matcrials cost for making thcm .
Thc foregoing facts have taken a long time to collect
and aJTange, antl tho details from thcit· length may be
dccmcd to require sorne apology. It was considered,
however, that they might be useful to the rising genera-
tion, and toa fu tu re age. At the present time we shoulu
be much gratified t.o know how many instrument s bad
becn made by the Amati, the Stradiuariu s, and the Guar-
nerius families, and especially by Josepb Guarneriu's, as
his instrument s are in great request. Many boast of
possessing one, yet when examined and compared how
different the style of work, and quality of tbe varnisb,
so that even the tales told about the prison and the
kccper's daughtcr scarcely justify tbe dissimilarity.
George Pearce was born in W arminster, on the 16th
Novcmber, 1820, and carne to London with his parents
in thc fourth year of his age. H e entered into tbe ser-
vice of Simon Andrew Forster, as an crrand boy, in J uly
1834, and soon evinced a mechanica l talcnt, and showed
expertness in tbe use of the tools ; he was, therefdrc, in-
structed in tbe art of violin-making, and became a very
ncat and first·rate workman. As years advancecl, how-
o,·er, he sclectcd companions of vitiated minds and
dcbased habits, and he was consequently discharged in
J uly, 1844, for neglcct of his dutics. Be ult.imately
gaincd employmcnt as a fret-cutter at Mcssrs. Broad-

348 HISTORY OF THE VJOLJN.
wood's pianoforte manufactor y, where he continued until

the 3rd J uly, 185G, on which da.y he dicd through his
own act and deed by swallowing poison, and was buricd
at the Victoria Ccmetrv, •
Betlmal Grccn. on the 9th of
the same montb. It is not known whcthcr any instru-
ments were made by hiro on bis own account, but he for-
warded many of thosc of bis employer, and in one in-
stance only did he make a first-class instrument all
through, which was a ''iolin ; but he was fully capable
to execute work of the highest finish. He was not
related to James and Thomas Pearce bcfore noticed.
It will now be requisito to re trace a fcw years to gi ve
tho particulars of Samuel Gilkes, who was born in 1787,
at a village namcd lVIorton Pinkney, ncar to Blisworth,
Northampt onshire, and was sent to London to learn
fiddle-mak ing of the clder Charles Harriss alluded to in
a former part of tbis work, and complcted his term of
apprentice ship about 1809-l O. In the course of thc
latter year be bccame journeyma n to William Forster
(3), aucl at length, being initiatcd into tho style of
work of bis employer, we find, by the roma1·k B and G
in bis list of instrumcnt s made, that Gilkes assisted in
making the violouccllo No. 38, wbicb appcars to be the
first instrument he had joined with othcrs in making, aucl
continued to do so during the wbole of his engogemen t,
which lasteJ for nine or ten years, sometimos alone, at
others assisting, but always under thc survcillanc e of his
superior, who minutely examined the gauging befare tbe
instrument s wcre put together. It will be well to take
special notice of the ycar 181 O, fot·, after he bad com-
menced business on his own behalf, at 34, James StJ·eet,
Buckingha m Gato, W cstminster, a report was frcely
propagated by sorne one that Gilkcs was tbe pupil of
Old Forster (2), and, strange to relate, it went so far as

JIIST ORY OF TIIE Vl OLl !\ . 349
to stat e tha t he had imp arted to bim, in prcference to the
family, thc mcthod of mak ing the fine varnish . The
dat e of 1S 1O is sufficicnt to falsify thcse statements, as
William F orster (2) dicd in 1808, and it is most probable
tha t Gilkes had ncver secn him. Samucl Gilkes became
an excelle nt workman, and reccivcd mu ch patronage
dur ing bis own career, both as a mak or and dealcr,
which, however, was of sho rt duration, for he died in
November 1827, at his residcnce, previously given, and
was buriod in his nati vo villagc. IIo madc inst rum ents
of thre e or four diffcrent classcs, and supplicd mauy to
mu sic sellcrs and uealcrs in the count1·y ; but we are
unablc to stat c thc num bcr or qua lity of thosc manufac-
tured. Th c labcl used was as follows : -
" Gil kes

From F orst er's
Violín, and Violoncello .Makcr
34 Jam es Strcet, Buckin gha m Gat e
\V cstm inst er. "
I-lis son, William Gil kes, who was boro in G1·cy Coa t
Stre ct, T othill Ficlds, We stm instcr, abo ut 181 1, was
taug ht violin-making by the father, and succeeded bim
at his residence, but subsequently was in Dar tmo uth
Str ect ; howeve r, he did not long continuo as a mak er
of musical inst rum ents, giv ing a pre ference to por_
forming on the violín in quadrille bands, and occasion.
ally at the atres. At lcng th the business was giv en up
altogcther, and he accepted sorne appointment on board
one of the ships of the Pen insular and Ori enta l Steam
Nav iga tion Company. No inst rum ent has bccn seen
mad e by William Gil kes, therefore an opinion can not be
offercd as to bis capabilities of wor kmanship.
J ohn Ha rt was bor n 17t h D ecembe r, 180 5, in Wcst-

350 IIISTORY OF THE VIOLJN.
minstcr, near to thc Green Coat School, and was ap-

prenticed to Samucl Gilkcs, in May 1820, and his term
of scrvitude had uot long expired wben bis master died.
From that time he could not obtain m ueh cmployrnent in
the vocation he had lcarned, consequently he accepted
an cngagcrncnt at Lang's Shooting Gallcry, ncxt door
to the Haymarke t Thcatre, and in time thc house be
now resides in was oponed as a depot for guns and
pistols, with a fcw violins interspersed. At lengtb the
Joe Mauton's, the Purday's, and the guns of other
makers, had to givo place to violins, violas, and violon-
cellos, with Italian names, he having becomo a dealer in
them, and no person in a similar business- if report can
be relied on- has had greater success in their journey
through life. He has sons, but whethcr they have been
taught to make violins is not known. Dcaliog in this
class of property bcing far more remunerativo than
making it, we may infer the former claims the prefer-
ence. The label uscd by him : -
" J ohn Hart
Maker
14 Princcss Street, Leicester Squaro
Loudon. Anuo 18-"
Before concluding with the Forster school it will be
requisito to give ono other name, although he was not a
pupil, but at first only an amateur maker, and ultimately
partly obtained a living by working at the business, and
adopted the style of the Forster family, probably from
the half-brotber of William F orster (2) being bis ac-
quaintance. His name was J oseph Rook, late of Rickcr-
gate, Carlisle, who was born 7th J une, 1777, at Calbeck,
Cumberland. As a youth, he sortccl coppcr ore, and in
1795 worked as a farm-servant to a Mr. Scott, of Halt-

••
niSTORY OF THE VIOLIN. 351

cliff, near Ilcskct New Markct, who was also an amateur
fiddle-makc•·, and from whom sorne knowledge was
gained. In 1800 he went to Carlisle to r eside, and was
engaged at thc thcatre to play the violín, and became
acquaintcd with Joseph F orstcr in consequcncc of being
madc onc of thc musicians to thc corporation ; both also
belonged to the band at the winter asscmblics. In
J une 1807, J oseph Rook was appointed vicar-choral at
the cathedral, and held tbat office uutil 25th December,
1840, when a retiring pension was given to him, which,
in Novembcr 1850, he still cnjoyed, and it is believed it
was continucd until bis dcath, which took place in Sep-
tembcr 1852, and bis body was interred at St. .Mary's
Church, Carlisle.
In a letter, dated 7th December, 1850, alluding to
violins, he \vrites- " I nevcr made many ; I have made
Twelve Tcnnors, and Five Violoncellos; no Double
Basses. I marked my name with a small stamp,
"'J. Rook
Carlisle .'
I generally wrote my name in the inside of the Bellys
with a black lead pencil.''
He could not supply a label, having mislaid or lost
them. Only violins of this maker have beco seen, the
work of which was very neat, and the tone pure, but
weak ; the varnish of a brownish yellow colour, and
transpar cnt.

CHAPTER XXIV.
~~NOTHER northern name now claims atten-

tion. Alexaudcr Keunedy was born in Scot-
land, but neither the date nor the locality is
" • precise!y known. However, a surviving re-
latí ve states that he clied about 1785-6, and was consi-
dered to be ninety years of age. His work was very
good, both inside and outside, and tbe purfliug excellent.
The Steiuer model was followecl minutely, and spirit
varnish of a brownish yellow colour was used. He only
made violins. The following was written inside a violín
of this maker, but portions of it had been effaced by
.
sorne repa1rs :-
" Alexander Kennedy, Musical
In made this JanY 3'd. 1742/ 3
This Violín A. Kennecly Living in Oxford
Market. 17 42/ 3."
And a written label was used in a violín of rather latcr
date, thus :-
" Alexander Kenncdy, Musical Instrument
Maker, Living in Market Strect in Oxford
Road, London. 1749."
T he foregoing makcr instructecl a nephew, J ohn Ken-
nedy, who, in the t:arlier part of his life, resided in
Cooper's Gardens, near Shoreditch Church; afterwa.rcls
in Houghton Street and Clement's Lane, Ciare Market;

RISTORY OF THE \"IOLDI. 353
and lastly, in L ong Allcy, Sun Street, Moorficlds, where
he dicd in adverso ci rcumstances about 1816, agcd eighty-
six years, and was buried at Shoreditcb Church. Tbe
ago is doubtful, as ho was considered an oldcr person by
thoso who had been intimate with him. Violins and
tcnors were the only insti'Uments be ruado, and all were
of thc high model or Steiner pattern.
At one period he was in full employ, having two or
three assistants, and chiefly made instrumcnts for tbe
musie publishers, and written labels wero used. Tbe
prosent Tbomas K onnody (tho son) statcs that no vio-
loncellos were madc by bis fathet·, and it is ve1·y doubtful
if any were made by bis workmen.
Thomas Kennedy was bom in Houghton Street, Ciare
Market, on tbe 21st January, 1784, and was the eldest
son of the previous John Kennedy by the third wife.
He was apprentieed to Thomas Powell, the violin-maker,
17th Juno, 1795; but he is more indebted to his father
for thc knowledge of thc business, and hccame a ncat
and good workman. In making the common class instru-
ments he was exceedingly quick and rapid in every
departmen t. At the commenccm ent of'thc present cen-
tury he occasionally worked for William Forster (3),
but soon entered business on bis own account in Princes
Street, W estminstor, and at length locatod at 364,
Oxford Street, at which place he lived for thirty-thre e
ycars.
In J une 1849 he was enabled to gi ve up business,
and retired to Cummin's Place, P entonville, where bis
active mind and good bcalth still enable bim to reap
amusement from bis prcvious vocation. He was much
cmployod by Messrs. Goulding, D ' Almaine, and Co.,
ancl other music-houses. The exact numbcr of instru-
ments tbat were made by him is not known, but he says

354 IIISTOR\' OI' THE YIOLIN.
"he must ha ve mado at least 300 violoncellos, and the

othcr instruments in proportion ; perhaps not quite so
many." Although be married very early, yet he has had
no family; conscquontly he will be thc last of this race as
violin-makers.
Associated with the name of Kennedy, as fiddle-
makers, are James Brown, the elder and younger, both
of whom, in early life, were silk-wea.vers, particularl y
thc fatber, and Ji ved in the locality of Shoreditch. About
1804 an intimacy arose with thc Kcnnedy family,
wherehy James Bt·own the clder acquircd sorne know-
ledge of fiddlc-making; and, being madc more perfect
in the use of the tools by Tbomas Kennedy, he at lcngtb
became a repairer and maker of instruments for fu turo
support. About 1830 be slipped down the stairs of bis
dwelling-house, in Wheeler Street, Spitalfields, and brokc
one of the ancles ; the fracture beiug most severe, the
relativos were advised to take bim to the hospital.
vVithin a week of thc accident, mortificalion set in, and
he died at tbe agc of sevcnty-five years, in September
1830 or 1834; thc son does not remember tbe date
accurately, but be thinks the former year; and he says
they (father and son) resided in Wbceler Strect for forty-
six years, but not always in the same house. James
Brown, the younger, was boro Novomber l i86, and
learned to make tiddlcs of his father; but, to assist in
other branches of tho trade, he was mostly employed in
making the ,·a.rious hows for the instruments. Since tbe
death of his fatber, thc greater attention has been gi,·en
to the manufacture of violins, violoncellos, and double
basses. This person died in 18GO at his residence in
White Lion Stroot, Norton Folgate, in his seventy-fourth
yoar. The fatbcr :md son were good average workmcn,
but no marked style of finish. A son of this last person

BISTORY OF THE VIOLIN. 355
lcarncd to make instrument s of bis father; but, when
about twenty years of ago, he quitted the business to
play the contra-basso at theatres; and it is believed
he now has sorne professional engagcmcn t in Australia,
as succoss did not attcnd his exertions at " tbo Diggins."
In the early part of tho cighteenth century there were
thrco pcrsons of the following names: Edmund Airton,
or Aireton, H enry Hill, and J oseph Hill, who became
violin-makcrs, but it is uot known for ccrtainty which
of thcm claims the seniority, nor can it be told who
iustructcd thcm; but the stylo of work is remarkably
similar, also the colour and quality of the varnish the
samc on most of the illStrumcnts which ha ve been seen;
thcrcforc it is probable all three loarncd of thc same
master. From a circumstance wbich occurrcd in re-
moving a label, dated 173.'5, out of a genuina violoncello
macle by Pe ter 'V amslcy, on the uudcrncath si de of
which was written Edmund Airton, it is probable that
thc fathcr of the first of thc above three names was a
workman in the employ of Wamsley, altbough notbing
is known of him, who surrcptitiously wrote his name on
the mastcr·s label provious to attaching it to thc violon-
cello. The date will not allow of its bciug the person
fit·st named, thercforc it will be considered that Edmund
Airoton claims the priority from fami ly connections.
Littlc is known of this makcr, although he was an excel-
lcnt workman, and produccd instrumcnts of a high
ordcr, both for tone and ncat finishing. About 1805, he
was rcsiding in Hog Lane, now bctter known as Crown
Strcot, Soho; and Thomas Kennedy says, "be was abnut
eighty years of age, Ul)d that the shop had more the
appcarancc of a general dealer than a maker of violins,
tcnors, and violoncellos ; " also, he further positively
statcd the name was spclled "AiretQu."

356 HISTORY OF 'filE VIOLIN .
The few instrnments wbich ha.ve been seen show that

he made inferior as well as bighly-finished ones; the
violins and tenors were of tho Stradiuarius pattern, and
of the lower class work, with a glossy varnish, evidently
nlcoholic, made more dnctile by admixture of a soft
gum, or, what is more probable, with Venice turpcntine.
The most perfect specimen that we know of this make1·
is a violoncello, formerly the property of the late Robert
Lindley, who sold it to George J. Farsyde, Esq., of
Fylingdales, near Whitby, Yorkshire, in whose pos-
session it still remains, and is fully appreciatcd. This
instrument has an oil varnish of yellow colour, with a
slíght tinge of red, tbe pattern rather long, and the
model high. The bead has a peeulíarity which dcte-
riorates from its gracefulness by the volute or scroll
having nearly a whole turn more than is usual ; they are
not, however, all made in that form. It would appcar
that he occasionally worked for tbe trade, as a violon-
cello of this maker has been seen stamped on the back,
undor the button, with letters exoeeclingly small, and one
name above thc otber, tbus :-
" Torris
and
Barnes."
Also, a spurious label of "Banks" was placcd inside.
If conclusions may be drawn from the dates which
are known, then William Hill will be the elder of two
brothers who settled in London, and in the year 1741
was residing in Poland Street. Henry Hill, a relative,
in his MSS., gives copies of two labels that were used,
thus : -
" William Hill, Maker, in Poland Street,
near Broad Street. 1741."

H!STORY OF TIIE VIOL!N. 357
And "William Hill, Makcr, in Poland Strect,
nea.r Broad Street, Carnaby Market. 177-."
The work of this maker so much rescmbles that of
Etlmund Aireton ahnost in every partieula1·, except the
volnte of the head, that rnany persons would be dcceived.
The vamish is a beautiful transparen t yellow colour; no
doubt of oil. The tone is not rich in quality, although
good ; and if both vibrating-plates, particularly the
upper one, were thickeued in the centre, advantageo us
r esults wonld be obtained ; or, first, fo1· externa! appli-
auces, ruay be tried a Parisian bridge of the present form
of i\ ubert's make, which, there is littlc doubt, would
prove beneficia!, and ruake the tone more rich in qua-
lity. These suggestions may be applied to all the vio-
loncellos of this family-name ; but an exception has to
be made with the present \Villiam E. H ill, whose work
is not sufficiently known to offer an opioion. Joseph
Hill was brother to the former William Hill, and the
grandson, in bis MSS., states that J oseph IIill lived in
Dovcr Street, Piccadilly, and afterwards in the Hay-
markct, which dwelling was destroyed by fire, with the
loss of all the stock in trade. Aftcr that calamity,
he resided in the locality of Lock's Fielcls, Newington,
Surrey, about 1792-3, and his death is belicved to be in
1794. The printed label used was as follows :-
" J oseph Hill, Maker,
At tbe H arp and Flute,
in tbe Hay Market,
17 London 69."
The last figure put in with a pen. T here are also copies
of writtcn labels, at the samc place, in 1772. Thc g ranel-
son further states that th is maker " enjoyecl a high repu-
tation in bis day for his instruments, which have consi-

derable merit, tho' not of the highest order; his violon-

cellos and contra-bassi are deservedly hcld in much
esteem. T here were many of the same fa~ily violin-
makers, but uone who enjoyed (or) so highly reputed as
William and Josepb;" botb of whom, on tbe authority
of the present William Ebsworth Hill, carne from
Bromsgrove, Worcestcrshire. There were two sons of
the former J oseph Hill, named Josepb and Lockey
Hill, who perhaps should have been placed in the list
of fiddle-makers for t.he trade and music publisbcrs, for
such were their general cmployments ; but, for rea-
sons previously stated, it has been preferred to keep each
school separate. J oseph Hill died about 1840, and
Lockey Hill about 1845. l\fr. Henry Hill, an excellent
performer on the viola, wbo, for scveral years prcvious
to bis death, held the highest place in the profession,
was a son of the abovc ·Lockey Hill. The present
William Ebsworth Hill is another son of Lockey Hill,
and may be considered to be self-taught in making
violins, although related to a maker, he having been too
young to have reaped any advantage from the knowledgc
of bis father.

CHAPTER XXV.
ENJAl\llN BANKS was born in the early

},::.,~ part and dicd in tbe lattcr part of the eigh-
teenth century. His parents' narnes were
George and Barbary; but there is no evi-
dence to show that his fathcr was a musical ínstrurnent
maker. As a portien of tho infonnation obtained re-
garding this clever workman ís from a grandson, Mr.
B. T. Banks, we will quote his own letter : -
"Juno 23'd, 1841. Though I have made many in-
quiries both bcfore and since my return from London,
I havo not been able to gain any information respecting
my late grandfather and uncle, until this week, or I
should certainly have written to you sooner. The
enclosed I have copied from a leaf which I suppose be-
longed to the old family Bible about a hundred years ago.
You will perceive that the first is my grandfather and the
other my uncle. Should I be able to learn the exact time
when the latter died I will immediately let you know."
A copy of the paper enclosed in the aboYe letter :
" Benjamín Banks, ÜJe son of George and Barbary
Banks, born J ul y 14th, l727. Died Fev·. 18'\ 1795."
" Benjamín Banks, one of thc sons of the above Benj".
Banks. Born Sep•. 13'\ 1754. Died about 1818."
It is generally believed that the first-named Benjamín
Banks was born in Salisbury; that he rcsided in Cathe-
rine Street of that city is evident ft·om the various labels

360 UISTORY OF TIIE VIOLIN.
put into the instrumcnt s made by him. His burial-plac c

is supposed to be tbe parisb chu1·ch of Saint Thomas,
Sarum . Although no trace can be obtainod from whom
he learned the tmde, it may, as in many other instanccs
with violín makers, be an innate lovc of the art which
urged him onwards, so tbat be ultimately became one
of England's bcst manufactur ers. Too much cannot be
said in praise of this justly celcbrated makcr of violins,
violas, and violonccllos. The work of all thc better class
of instrument s, both inside and out, is cxcellcnt; the
tone good of all, but that of the violonccllos in particular
is full, sonorous, and much esteemed by the professors.
H e mostly workcd from the pattern of the Amati, both
in model and outlinc; the style of finishing is vcry
marked and decided, so that persons at all conversant
with musical instrument s of tbis class can easily tell the
maker. Mucb anxiety seemed to be shown that he, as
t.he maker, should be known ; for many of his instru-
ments have labels in various parts of them; also they
are stamped upon in several places either with the name,
or B . B., but no fixcd plan of marking them seemed
adhcrcd to. One labcl used was-
" Benjamín Banks,
Fecit,
Salisbury."
Other printcd labcls have been uscd at various dates
thus-
"Made by Bcnj". Banks,
Cathcrinc Street, Salisbury, 1773. ''
Another-
" Benjamín Banks Musical Instrumen t
Maker. I n Cathcrine Strcet, Salisbury, 1780."
And frequently thcy are stamped on the back or lower

HISTOR Y OF THE VJOLIN . 361
vibrating plato, undcr tho button, "B. Banks, Sarum."
This makcr was not succcssful with the varnish put on
thc various instrum ents; there is a want of brilliancy in
thc colouring, and a sad dcfect in thc metbod of applica-
tion, which dcstroyed thc grain of thc upper vibrati ng
plate and ga.ve it a whitc appearancc, or, as thc trade
would pronounce, "thc grain was killcd." Thc colours
of bis Yarnish were a dccp red with a blackish tinge,
aud a ycllow brownish red ; thc latter sccmed prcfcn ed
for thosc instrumeuts of special makc or order. One of
tbc writers of this book has a violonccllo of this maker ,
ha.ving thc latter colourcd varnish, and the quality of
tone is very fine : it is of the Steinc r model, but rathct·
long, and thc Steine r souud hole is used. It was a.
presen t to him from his valued fricnd, that eminen t per-
former, the late R obert L indley . A violín by tbe same
maker is in possession of Mr. Charle s Lucas, the Yarnish
ou which has rather more red in it. No contra-basso
or. double-bass has bceu seen of this maker , and it is
doubtful if he or any of the family cver madc onc.
T here is a class of instruments, more particu larly vio-
loncellos, which wcre made for Longm an and Broderip,
the music publishers, by this Benjam ín Banks, a.ncl pro-
bably assistod by his sons or other workm en; the pattern
of which is long and more of the Steiner modcl ; the
work mucb inferio r, and a red varnish used baving all
the appear ance of the tint being produced by an aqueous
extract. The names of L ongma n and Broder ip are
stamped on the back, under the button, but no writing
or label to indicat e by wbom the instrum ents wcre made;
the sty le, however, e ven in these instrumeuts is easily
recognized. The averag e pricc of this maker 's best vio-
loucellos, bctwecu 1790 and 1794, was from ten to twelYc
guinea s; and in the first half of tho present ccntur y sorne
AA

362 IHSTOR Y OF TIIE YJOI.IN .
of thcm ha ve rcalized as much as fifty pounds. Fashion,

however, has now declared agains t these cxcellent instru-
ments of the Banks family, and all Englis h manufacture
must gi\·e place to those with foreign names.
About the year 1826 a violoneello of this maker was
in possession of the Pembr oke family, whieh was macla
entirel y from the wood of a cedar of Leban on which
formcrly grew in Wilton Park, but had bcen blo»>n down,
and a portion of it was used for the purpose above stated.
The tone was not good, from the wood being too dense
for the upper vibrating platc; but it may be considered
a curiosity, and as such no doubt tbe earl who orderc d
it to be made considered it. His lonlship having had a
sil ver plate let into the under vibrating plate, or baek,
on which was engraved the particu lars regard ing the
trce, also tbe name of the insh·ument maker. Althou gh
this violoncello was scen at the town r esidence of the
Dowagcr Countcss of Pembroke in Privy Gardcns,
Whiteh all, thcre is evcq probability that it may be now
at Wilton Housc, near Salisb ury; and if it could not be
sccn with facility at the family mansion, there is much
to admire and elevate the mind by vicwing the fine col-
lection of choice paintings of the old masters, and a quad-
rangle contain ing sculptu re of a high ordcr.
Benjamín Banks, the younger. There was sorne doubt,
at one time, whethcr or no this Benjam ín Bauks, the
second son of thc former of that name, was a maker of
musical instrum ents; for we lcarn that about the latter
part of the last centur y he was connected with a person
named Cahusac, in a boot anrl shoe shop, on Fish Street
Hill. There appcar to have been interm arriage s be-
tween thc families of Banks aocl Cahusac, and Cahusac
and Banks. Ultima tely he became associated either with
bis father-in-law, or a son of the same, in the musical

HISTOR Y OP THE VIOLIN . 363
establishment of Astor, in Cornhill, and one of the Cahu
sacs succccded to tbat business. From the circumstance
of bis being connected with a musical business, and tbc
violin makers general\ y considering tbere was an old and
young Benjamín Banks wbo were manufacturers, it was
inferred that be could work at the business, and tbese
suppositions bave provcd correct. In Septembcr, 1857,
a violonccllo was sccn, the propcrty of Mr. John Hard-
ing, sun·eyor, living in Salisbury, which had written on
the insidc of the uppcr vibrating plate at the hind bout
of the first stt·ing sidc, the follow ing-
" .Madc by Bent. Banks,
No. 30, Sherra rd Strcet,
Golden Square. Londo n.
From Salisbury."
A writtcn label also was inside the instrument, the same
as the a:bove, but omitting "From Salisbury." I t can
be asserted, almost with certainty, that the elder Benja-
mín Banks never resided in Londo n; therefore 1ve con-
elude the above label alludes to the younger of that
name, who having tricd musical instmm ent-ma king in
London, and not succeeding, became connected witb the
shoe shop. He was born on the 13th September, 1754,
as previously stated. After bis residence in Salisbury
and Londoo, he retired to Liverpool, where bis two
brothers, James and Hcnry, wcre living, probably about
l 8 14, for in tbe month of March in that year he bought
a grave at Saint Mary's Churcb, Edge Hill. He died
on the 22nd Januar y, 1820, and at tbe time of his death
was residing in Hawk Street, Liverpool. Upon the
grave-stone it is engraved that his age was sixty-eight
years; in the Book of Burials it is stated as sixty-five;
the lattcr co!'responds with the time of his birth given by
the nephew.

3G4 l!I STORY OF THE VIOLJ:-'.
As the two brothers, James and H enry 13auks, appcar

to have been associatcd together, or partners in the
musical business soon, if not immediatcly, after the death
of the father, thcy will not be scparated in this account.
James Banks was the fourth son, and Henry Banks the
sixth son of the first-named Benjamín Banks, both of
whom were boro in Salisbury. James seemed to inherit,
as an artisan, all thc cxcellencies of his parent. He
worked from the sume patterus, the style of finishing
being similar and thc tint of varnisb thc same; but occa-
sionally the r ed-colourcd vamish hnd more black in it
than was usccl by the father. Henry Banks clicl not
work at the violín trade, but was a pianoforte tuner ami
repaircr. T here are numerous labcls in instruments
showing thcy were in trade together; and in 1802 they
had also become music-sellers. Tbe following is a copy
of a label at that period : -
"James aucl Henry Banks,
Musical Instrumcn t Makcrs,
ancl Music Sellers,
18 Salisbury, 02 ."
The caprice of thc pareut, regarding the marking of
instrumcnts, descended to the sous, as we find a ditferent
label used two years afterwards :-
"James ancl Henry Banks,
Salisbury. 1804."
And, "J. & H. Banks" stamped on the blocks and otber
parts of the various instrument s. They carried on their
various departmcn ts of business in Catherine Strect,
Salisbury, until 1811, wben they sold thc same to Mr.
Alexander Lucas, the father of the present Mr. Charles
Lucas, the P rincipal of the Royal Academy of Music,
and went to reside in Liverpool. Thcy first locatecl in

IIIS'l'ORY OF TI! E YIOLIN. 365
Church Strcet, opposite Saiut Peter's Church ; the site,
or rathcr a portian of that on which Compton Housc
now stands; afterwards they mo,·ed to Bold Street in
the samo town. A 'Velsbman narued Wíllíam Davis, or
Da.vies, who was living in Líverpool in thc year 1849,
had bocn in thc employ of these two brothers as a porter
in or about 18 18, and he spoke in high commcndation
of thcír kindness, and stateu, "thcy had a good business,
were tho bcst masters be ever had cithcr befare ot· since.
H enry was a. capital tuner of pianos, and was frequently
f¡·om homc for a fortnight travelling about the country,
and went as far as Wales to tune ínstrumcnts. He díd
not work at the violín making, but was connected with
the pianoforte department. The hands of James, when
ho knew hím, were much contr actcd, yct he was an ex-
cellent ropa.irer of violins, &c. O it leas beautiful
to see how he Tepairecl them . -AII thrco are buried at
Saint M ary's Church, E dge Hill, ancl I holpod to put
them into thc grave." A son of the abo ve Ilemy Banks,
whose namo is also Henry, and had an office at No. 2,
Mcrsey Chambers, Liverpoól, about 1849-50, COITobo-
rates m ueh of that asserted by D a vis, a.nd al so said, "bis
father did not work at tbe violín tradc, and tbat bis uncle
was tbe maker of violins, tenors, and violoncellos; tbat
the contraction in the hands was ca.usod by gout, and
that his uncle was never marricd." He also saicl that
" vcry fcw, if any instruments wcre made at L iverpool;
but somo may have been finishcd therc that were pre-
viously bcgun." James and H enry Danks solcl the good-
will of thcir business to two brothcrs nnmed Palmer, who
found in a ccllar a number of unfioishcd instruments of
thc violín class, which were solcl by thcm in that state ;
but it was not known to wbom they wore disposed. On
the tombstone at tbe church beforc·namod it is engraved

366 lllSTORY OF TBE YlOLIN.
that James Banks died 15th June, 1831, aged seventy-

fi ve ycars. Sorne error exists hcre, unless a. period of
nearly tbrcc years occun·cd between bis birtb and
christcning, as tbat ceremony took place on the 7th Sept.
1758, at St. Thomas' Church, Sarum. Henry Banks
d ied ou the l 6th Oct. 1830, aged sixty years. The
church Book of Burials of the uate 23 Oct. 1830, states
tbe agc to be fifty-six, but the former age is nearcr
conectness, he being christeneu 2nu Jan. 1771 . At the
time of bis decease he was residing in George Street.
He was found drowned in tbe Princes Dock, and it is
said he could not havo bcen very long in the water, as
bis watch was still in action when thc body was dis-
covered. The various extracts from tbe books of St.
Thomas' Church, Salisbury, wcrc kindly made by the
late Mr. J. T. Biddlecombe, thc clerk to the church,
who further stated thcre were no memoranda or notices
takcn at what period the birth of cit.ber James or Henry
Banks took place. He was an intimate acquaintance of
the Banks family when they li ved in Salisbury.
It has been said by an elUerly gentleman, now de-
ccased, who well knew the Banks family before tbey
wcnt to reside at Li vcrpool, that the clder Benjamín
Banks (the father) had an apprcntice named Wheeler,
who he bclicved carne to L ondon to obtain employment
or commcnce business himself as a maker of violins, &c.
Nothing whatever is known of him, not· has any instru-
mcnt beco secn to establish a name worthy of his in-
structor. There are many violonccllos with the label of
James and Henry Banks which may be considered
gcncrally very good; and two in particular are in the
posscssion of Mr. Charles Lucas, which bave a full and
powcrful tone, of excellent quality, and were uscd by
him whcn principal violonccllist at tbe Royal I ta.lian
Opera, Corcnt Gardcn,

lUSTOllY OF Tl!E VIOLIN. 3G7
CHAPTER XX VI.
HERE are roan y violins, tenors, violoncellos,

and double-basses, having labcls in them,
as made by T. Dodd. This, however, is
not correct, as he was not the maker of
them ; but he was the head of tbis musical business,
thereforc all the instrurnents had bis name attached.
Several of this family have bccn associatcd with violin-
bow-making aud covering of musical strings. Tbe
father of the above Thornas Dodd, named Edward, was
boro at Sheffield, but bis occupatiou is uot known. He
died in 1810, at a house in Salisbury Court, Fleet
Street, and was buried at St. Bride's Church, in that
locality, being of the great age of 105 ycars. Thomas
Dodd was the third son of this Edward, and appears to
ha ve been either unsettled or· unsuccessful in the various
businesses be adopted for support. At first he was a.
brewer, and from 1786 to 1789 there is evidence he was
a violín bow-maker, residing in Blue Bell Alley, Mint
Street, Southwark. In or about 1798, he commenced as
a dealer in and maker of violins in N cw Street, Covent
Gardeo, the corner of Bedford Bury, aud then employed
a young roan named Bernhard Fendt to make the various
instruments ; and in March of tho same year J ohn
Frederick L ott was engaged to assist, although not
educated in the art of making violins. More will be
stated of these two persons presently. In 1809, T. Dodd
left this abode and moved to 92, St. Martin's Lane,
Charing Cross, the corner of Cecil Court; and about

368 UIS1'0RY OF 1'HE VIOLIN.
1823-4 be lcft this house and went to No. :3, Berner's

Stt·cet, Oxford Strcct, whcrc he vcnturcd on making
harps, which hada mechanica l improvomc nt of an index
in tho metal-plato, at the hoad of the instrument , showing
what pedals wcre clown. These harps wcro patroni7.ed
and used by Di7.i, thc celobrated performcr of that day.
After this, pianoforte- making engagcd his attention; but
it is said, with all thcsc numerous ad \·entures, success did
not attcnd bis efforts. The time of his death is not accu-
ratcly known. A nophew states he was buried at St.
Giles's-in-t he-Fields. An oval label was used at first,
as follows : -
"T. Dodd,
Violín, Violoncello,
& Dow Maker,
New Strect,
Covent Garden.''
And when residing in St. Martin's Lanc tho label had
the representat ion of a violín or violonccllo, with the
bow placed obliquely under two of tho strings, occu-
pying the centrfl, and the other particulars engravcd
parallel witb tbe instrument :-
"Dodd 1\l!aker
92 Saint Martin's Lane.
'"O
~
P? ::l. ::;!.,
n e: ~
. "' n<+
~

HISTOnY OF THE VIOLIN. 369
From tbis establishment emanated numetous imitatious,
both of English aud foreigu violiu-makers, as well as
thosc with bis own name.
Two sons of Thomas Dodd, namcd Thomas and
Edward, wcrc instructed in violin-making by Bernhard
Fendt. Thomas had ability as a workman, and died in
the earl y part of tbis ccntury, whilst bis father was rc-
siding in St. Martin's Lane. Edward appears to have
given more attention to the manufacture of the barp and
pianoforte, and was accidentally drowned on the 2Dth of
April, 1843, in prescnce of one of bis sons, "a youth
whom he had just apprenticed to the sea, and who was
going away that evening."
Perhaps, before quitting tbis family- name, sorne notice
is due, and sbould be taken, of Jolm Dodd, the eele-
brated violin-bow-maker, the Tow·te of England. He
was the eldest-son of the first-named Edward, and in
early years was a gun-lock fi tter, afterwards a money-
scale maker, but ended in being England's best bow-
maker. It is considered that at one period, 1786-9, .. e
lived in Southwark; afterwards he went to Kew, in Sur-
rey, and residcd there severa! years; at length he moved
to Richmond, in the samc county, where he died, and
was buried at the Old ChUI·ch of that place.
Bernhard F endt was born at Inspruck, in the T yrol,
about 1775-6, whieh place he left at the age of seven
years, and went to r eside in París with his uncle Fendt,
or Fent, as the name is spelled in Francc, of whom he
learned to make violins and violoncellos, &c. Very few
facts of bis early years are known by the surviving reJa-
ti ves, nor can they state when he first came to England;
we, however, learn from other sources that he was en-
gaged by Thomas Dodd, and entered into his employ in
J anuary 1798, and remained there for eleven years ;

370 BISTORY OF THE VIOLtN.
after that period he went to old John Betts, and conti-

nucd tbere until the death of bis master, in 1823. He
thcn became tho workman to tbe nephew, J ohn Vernon,
wit.h whom he staycd until this person's decease. Bcrn-
hard Fendt was a workman of high mcrit, and at the
commencement of his career in England the style of
work was tbat known as of Tyrol. A quartett of instm-
ments of this maker was purchased by l\Ir. Henry N.
Turner, of Upper Belgrave Place, Pimlico, at Dodd's
house, about 1800- 1, which shows the charactcr of the
work in a decided manner. However, of late years, his
great excellencc consisted in the fine imitatious of the
Italian and other violin-makers. H e may be consiclered
to ha ve formcd a school, as there wcrc four sons ancl onc
granclson instructecl in the art, as well as the elder L>tt
and two of his sons; also Jobn N. Lcntz. All these
persons may be consirlered as indebtcd to him, as tbe first
cause, for their know lcclge of violin-making, and, with the
exception of the lattcr pcrson, they werc all cxcellent work-
men. A daughter of Bernhard Fcndt statcs that her
fathcr died in Aylesbury Street, Clerkcnwell, about
1832-3, and was buried in Clerkcnwc ll Church-ya rd;
also that his age was considcred to be fifty-se>en years.
Bernhard Simon, or Simmon Fendt, was the eldest
son of the foregoing Bernhard Fendt, and was born in
1800. He was taught violin-making by his father, pro-
bably in the workshop of Old John Betts, with whom he
remained until the dcath of thc latte1· in 1823. Soon
after this he was either engaged as workman, or became
a partner with Farn, who commcnccd as a deale1·
in violins in Lombard Street, City; but, this person
dying a few years aftorwards, he thcn j oined with George
Purdy, a profcssor of dancing and fencing, ancl com-
mcnccd business in Finch L ane, City, in September

HISTORY OF 'fHE VIOLx:.;. 371
1832, the firm being known as Purdy and F endt. In

Juno 1843 they also oponed a house of business in Oxen-
don Street, Haymarkc t; and about 1850 both these places
wcre closed, and the business concontrat ed in 74, Dean
Strcct, Soho. B ernhard Simmon Fendt dicd 6th March,
1852, at 7, Smitb Strr.et, Brompton, and it is said he
was interred in tbe burial-grou nd of Pentonville Cbapel
on the 12th of tbe same montb, aged fi fty-two years.
A doubt arises if the burial-place be correct, altbougb
stated by a relativo, as the son, who diod in the same
ycar as the parent, was buried at the Brompton Cemetry.
Mattin Fendt was thc second son of thc clder Bern-
hard Fendt, and was boro in July 1812. H e learned to
make violins under thc guidance of his father, and during
thc wbole of bis short life was employed by Arthur Betts,
thc brother of Old J ohn Betts. Martín Fendt died in
Bell Alley, Coleman Strect, City, in J uly 1845, aged
thirty-three , and is buried in a cbm-chyan l near to that
locality, ·tbe na me of which is not known. J acob Fendt
was the third son of the fotmer Bernhard Fendt, and
was born about 18 15. H e was instructed in violin-
making by his eldest brother, and occasionall y worked
for W. D avis, of Coventry Street, baving succeeded G.
F. Lott at that establishm ent. He was also employed, at
somo other period, by Turner, the dealcr in violins, whilst
rcsiding in the Poultry. J acob Fendt died about October
1849, in Blue Anchor Com-t, Whitecross Stt·eet, Finsbury,
and bis age considered to be thirty-four or thírty-five
ycars.
Thc fourth son, Francis F endt, was also instructed in
violin-ma king by his eldest brothcr, and for sorne tiine
continued to work fot· tbe firm (Purdy and F cndt) . I n
185G, he was residing in Liverpool, obtaining a very
prccarious subsistence. Whether he be alive now is

372 lllSTORY OF THE YIOLDI.
not known, ncitber can the time of bis birtb be ascer-

taincd.
William Fcnclt was the sccond son of Bcrnharcl Simmon
Fendt, and was born in 1833, in Finch Lanc, City. He
lcarncd violin-making of bis father, and became an
cxpcrt workman. He died in bis twcnticth year, at 7,
Smith Stt·eet, Brompton, in 1852, and was buried in thc
Brompton Cemctry.
As thc youngest son of John Frederick Lott states
that his father died on the 13th A pril, 1853, aged seventy-
cight, he would have bccn born in l 775. Previous to
cntering the cmploy of Thomas Dodd, in March, 1798,
he had been a chair maker, therefore his knowledge of
violin-mak ing was acquircd of Bcrnhard F endt. For
severa! years previous to his death, he carried on the
musical business in King Stt·eet, Sevcn Dials, at wbich
place he died, and was buried in thc church-yar d of
Saint Giles-in-th e-Fickls. He was celcbratcd for making
double-basses.
There are two sons of this person, the oldest named
George Frederick Lott, born about 1800-1, and the
younger of thc samc name as the fatb e1·. Both of them,
at different periods, wcre in the employ of W. Davis of
Coventry Strcet; ami much of the adventurou s lifc of
the younger, in aftcr years rnay be rcad in the novel,
"Cream," and "Jack of all Trades,'' by Charles Readc.
The two sons are still Ji ving.
J ohann Nicolaus Lentz was a German, from thc Tyrol,
and in tbe latter part of tbe last ccntury had bcen ser-
vant toa gentleman in Duke StTeet, St. Jamcs's. Beiog
an acquaiotan ce of Bcmhard Fcndt, be had picked up
somo knowledge of violín and violonccllo.making, and
in consequcnce he began as a maker in the early part of
this century. The varnisb used by bim was similar to

HISTORY OF THE VIOLI N. 373
that upon the instruments known as Dodd 's and the
elder Lott. The printetl label, which has been seen,
was as follows, tbe date being put in with a pen : -
" Johann Nicolaus Lentz, Fecit
near the Church, Chelsea. 1803."
The names of the two violin makers which follow,•
Matthew Hardie and his son Thomas Hardie, perhaps,
in a strict sense, should not be placed in this section;
they were, howevcr, clever workmen, especially the elcler,
and endcavouretl by attention to the gauging to accom-
plish great power of tone in the violins, tenors, and vio-
loncellos which they made. Although tbe work was not
at all times as neat as could be desired to rank them as
first-rate workmen, yet thcy frequently gaiued the object
thcy tried for, and could execute first-class work if the
mind was n ot under the baneful infiuence of whiskey.
Matthew Hardie was held in much esteem as a violin
maker in his locality, and was livi ng in " The Calton,"
Edinburgh, in the latter balf of the last and the bcgin-
ning of thc present century, .about the point where the
Water loo Bridge now crosses that street. He died · in
the workhouse of S t. Cuthberd 's, or W est Chm·ch parish,
about lS25-6, and it is believetl that he was interred in
the burial ground of the Grey F riars Church of Edin-
burgh .
Thomas Hardie, the son of the former Matthew, was
born in 1804, and it is believed learnecl violin-making
of bis fatber ; he was a clever workman, but his dissolute
and intemperate habits lost bim the employ he could
have commanded, and of late years the utmost penury
was the penalty. He died on the 19th January, 1856,
aged fifty-two, and his death was caused by falling "clown
a stair in the lawn market;" and through the kind exer-

374 IIISTO RY OF THE VIOL IN.
tions of a perso n who knew him, a smal l subscription

was raised, and he was buried in the grou ml of thc Grey
Friar s Church of Edin burg h, where the father is sup-
posed to be ioter red.
The place at which the fatal accid ent occu rred was
such "tha t the most sobc1· perso n migh t have fallen
there, thc door of the housc from which he emer ged
open ing at once upon a stair without any landi ng-p lace."
Char les Read e appe ars to ha ve draw n the pictu re of this
person in bis novel of " Chri stie J ohnstone, " at p. 122,
unde r the name of Thom as Ilarvey, but too much intel -
lcct has bcen assig ned to him.
Ther e was a violín makc r connccted with Matt hew
H ardie, namc d J ohn Blair , but nothi ng is known of his
abili ty as a workman.
Wbe tber or no the cbam bcr doublc-bass can be called
an im·ention, oran enlar gcd violo nccllo strun g differently,
or whichever way it may be considered , the meri t of the
adaptation is due to an amateur on thc violonccllo, name d
Barr aud, who held an appo intm ent in tbe Trea sw·y, and
the instr umen t is gene rally known as the Bana ud bass.
Thesc instr umen ts were first made abou t 1820, and
became rather popu lar, but soon lost their favouritism,
partl y arising from thc excessive press ure requ ired on
the string s, to produce anyth ing like a musical sound.
It was tuned an octave below the violoncello, therefore
the strin gs were necessarily largo and hcavy. Whe n
first intro duce d to the publi c onl y three covcrcd strin gs
were applied, but latte rly all four were cover ed with
wire, the fourth being double covo1·ed. Thcse instr u-
ments worc first made for the inventor by J ohn Mon ison,
thcn by Thom as K ennedy, and lastly by Samuel Gilkcs,
who increased the dimeusions of thcm.
A furth er modification of this instr umen t was intro-

duccd in November, 1844, by 1\lr. Thomas William
Ilancock, one of the violoncello perfo1·mers at the Royal
Italian Opera, under the namc of thc "basso di camera,"
at a special meeting convened for that and other pur-
poses, of the Queen Square Select Socicty, in the presence
of many amateurs and professors of music, who gave a
unanimous vote of approval. Thcse instruments were
mado at W. Davis's, in Coventry Strect, Haymarket.
It was tuned two octaves bclow thc violín, which
method gave the G one note lowcr than the present
modo of tuning the double-basscs of three strings; but
this also had its difficulties to the amateur by causing
transposition, and still requiring additional pbysical
cncrgics, although not so great as thc one first invented.
Mr. Hancock has recently adoptcd another mode of
stringing whicb renders the instrument less difficult to
the amateur, tbe description of which he has kindly
supplicd fot· our guidauce : -
" Tho mode of tuning was originally two octaves below
thc violín, ancl the same number of strings were used, the
two lowest, however, being covered ones; but Mr. Han-
cock, fiodiug the highest string gavc a compass unneces-
sary for the performance of musie written for the contra
basso (for which the basso di camera was introduccd as a
substituto for chamber music), has reduced the number of
strings to thrce, consequently the higher string is now A,
tho second D, and the third G, one note lower than the
double-buss; tbis alteration leavcs a compass sufficiently
ex ton si ve, as the octave to the first string is reached with
the saroe facility as on the violoncollo, and with the same
smoothness. By the r emoval also of the first string E,
amateurs on the violoncello are at once enabled t.o apply
their knowlcdge of that instrumcnt to the basso di camera,
which wasnotquitc soeasyin thean-angement firstadopted.

3i6 HISTORY OF THE VIOL IN.
Size and character of the strings now used.

First . A ver y large violoncello, second or small double-
bass first.
Second. The usual violoncello fourth covered with
wire of the small<1r size.
Thú ·d. A violoncello second, or double-bass first,
covcred with wire of the largest size used for violoncello
fourths, and the string altogether to be about ~ of an
inch thick.
Dimensions oj the basso di camera.
luches.
Length of the body . • 36
Breadtb of do. fore end 16~
Do. hind end 21
Do. across the sound boles . 11
Depth of the sides . • 7
Length of the neck . 12t
L ength of the string from the nut to the
bridge . . 31
Machine pegs are desirable for instruments of this
class."

HISTOllY OF THE VIOLIN. 377
CHAPTER XXVII.
~~~~AMES of violín and fiddle makers, also

dealers of the ninetcentb century, not pre-
viously noticed. Tbe style or character of
tbe work of tbe greater numbcr of them is
not known : -
ABsAl\1, TaoMAS, originally a joiner by trade, then
roade cases for violins, and at length made fiddles for
Pickarcl, of L eeds, 1810-1849. Label usecl :-
" Macle by
Thomas Absam,
W akefielcl, Feb1• 14,
1833."
AsKEY, SAMUEL, of London, at first was a tinmau,
ancl John Morrison taught him to make fiddles; about
1825, he worked for George Corsby ; died in or near
1840 by falling clown a cellar.
BALLANTINE, of. Edinburgh ; but, in 1856, he was
living in Glasgow .
BooTH, W lLLIAM, Sen., born 1779, and at first was a
hairdresser . In 1809, he commenced as a maker and
repairer of fiddles, and then lived in Leeds. It is
believed he died in 1857 or 1858 : -
" wm. Booth maker
Leeds. 1828."
Boo·ru, \VILLIAM, Jun., son of the former, born at
BB

378 HIST ORY OF THE VJOLIN.
L eeds in 181G. Aftet· being engaged by Ilenri Gugel

from 1834 to 1838, be returned to L eeds, and com-
menced business as an instrume nt maker in the latter
year. He was a clover workman, but g t·eatly affiicted
' in health. Died 1st J une, 1856, agcd tbirty·nine years,
and buried at the Burmantof ts Cemetry.
Bnow:-<, AxTHOi\Y, it is said, learned violin-mak ing of
J oseph Panor mo, otbers state of J ohn Morrison, and be-
carne celebrated for his guitars. In 1855, he was living
in Rosomond Strect, Clet·kenwe ll; but since that period
he has been to "the diggings," and has returned with a
little of the mineral riches of that lancl. He is not r e-
lated to tbe other family of similar name.
CoLE, JA)IES, of .Yianchester, learned a portion of tbe
business with - Tarr, afterwards with George Crask, a11
of the same locality. A label was used until the year
l 858, but now discontinu ed; and at this period the
various instruments are stamped insido " J. Cole."
Consn y, - , of N orthampton , may be living, but very
doubtful.
Co nssv, GEORGF., of Princes Street, Sobo, L ondon.
I t is believed he is a brother of the first named, and both
were instructed in the musical business by the father.
N othing is kn own of thc paren t.
CnAsK, GEORGE, of Salford, Manchoste r.
DAvrs, RteHATtD. This person has becn alludcd to
under the name of the firm, Norris and B arnes. He
entercd their employ in a humble capacity, tbe latter
part of the eighteenth centur y, and was shopman when
Norris died, in 1818, he tben succeeded to the business
more as a dealct· than a manufactu rer, ha ving little
knowledge of the use of the tools. H e rcti red from
business in favour of his cousin W'illiam Da vis, and went
to Bussage, near Stroud, Gloucestershirc, his native place,

HISTORY OF TH'E VIOLIN . 379
and died there in April, 1836, ancl was interrecl at the
parish church of Bisley.
The cousin continued the business until Dccember,
1846, more as a dealer and repairer of violins, for he
cannot be considered a maker, and brought Charles
Maucotcl from France to this country to work for him,
At the above period he sold the business to Eclward
Withers, and retired to Bussage, where he still resides.
DEARLOVE, MAnK, of Leeds, from 1812 to 1820, or
perhaps longer; however, he was not oríginally taught the
business. Thcre is a son of this pcrson named Mark
Wílliam Dearlove that may still be living, who occa-
sionally employed T. Abson, John Gough, and Charles
Fryer-the latter hecame a partner with him, and died
about 1840. Copy of label :-
" Dearlove and Fryer,
l\1 usical Instrument
Manufacturers,
Boar Lane, Leeds,
1828."
DELANY, JoHN, of Dublin, used two kinds of labels,
one of them very small, th us : -
" Made by John Delany,
No. 17, Britain Street,
Dublin. 1808."
In the other, which is much larger, he is overfiowing
with good-will to the human family and self-love to bis
own abilities, which were most doubtful if realizecl :-
" Made by J obn Delany
In order to perpetuate his memory
in future ages. Dublin,
1808.
Liberty to all the world,
black ancl white."

380 IUSTORY OF THE YIOLIN.
DEl\:-;Is, J ESSE, was apprenliced to J ohn Crowtber
about 1805, and aftcrwards turned over to Matthew
Furber to complete his instruction. He was living in
Eweherst Street, Vvalworth Common, in Feb. 1855, and
was then sixty years of age.
DonANT, WILLTAM, of 63, Winfielcl Street, Brick
L anc, Spitalfields, in the year 1S 14.
:EGL1NOTON. The copy of a label that has been seen
in a fiddle of inferior workmanship, and bad cbequered
purfle. The tone was very good :-
" Eglington. F ecit,
Drury Lane,
London. 1802 ."
F ARN, was merely the dea.ler, and is mentioned under
the name of Bembard Simmon Fcndt.
FEnOUSON AND SoN, living in Edinburgh at tbe be-
ginning of this century.
Fmnr, G., of Leeds, pupil ofWm. Booth, Sen. Copy
of the labcl used :-
" G. Firth,
N o. 1 1O, Briggate,
Leeds. 1836."
Gmns, JAMES, was a maker employed by J . .Morrison,
G. Corsby, and S. Gilkes. Died about 1845, at No.
2, New Street, New Cut, L ambeth, and buried in the
Churchyard in W aterloo Bridge Road, Lambeth.
GouoH, W ALTER, brother to - Gough, the leader of
somo of the minor tbeatres. Dicd about 1830.
HIOGINS, P. H., of Montreal, was an exhibitor in the
Great Exhibition of 1851.
J'ANSON, EnwARD PoPPLEWELL, of Manchester, pupil
of William Booth, Jun.
MAcGEORGE, of Edinburgh, about the period of :Mat-
thew Hardie.

HISTORY OF THE VIOLJ N. 381
1\!ACINTOSH, of Dublin. Scc Pcrry and Wilkinson.
PEnnv, Tuo:~-IAS, and W ILKINSON, WILLIAM, of Dublin.
T he violins bearing the namc of this firm are very
neat and well made; but it is not known if tbey were
workmen themselves. The clder Tobin, who was an
excc\lent workman, is said to be a pupil of the first
namc, and did much work for Old J ohn Betts. Latterly
he kept a shop in W est Street, Sobo. H e died in g reat
poverty in the poor-house of Shoreditch.
There was another pupil namcd Macintosh, and said
to be the successor of P erry, who died between 1830 and
18 40. Copy of label, tbe date of which is doubtful,
either 1817 or 1827, used by the firm, in which the long
bow appcars drawn to the fullcst extcnt, as regards the
numbcr of instruments manufactured :-
" Made by
Tho'. Perrv and wm. Wilkinson,
•
Musical Instrument Makcrs,
No. 4, Anglcsca Strcct,
No. 436 1. Dublin. 18 17 or 1827."
And in a label dated 182 1 tbe number is put in as
reacbing 4534 .
STIRUAT, D., of Edinburg h, considered by somo per-
sons to be a good workman. Copy of label : -
" D . Stirbat. Fecit,
Edinburgh. 18 1 ."
Spacc left to put in the last figure of the year.
STunoE, H., has resided in several places. In 18 11
he livcd in Stephen Avenuc, Clare Streot, Bristol; and
in 1853 his labels sbow he was living in Huddersfield,
stating on one of them he was from London, and on tbe
othet· from Bristol. He is consider ad to be only a re-
pairer of instruments.

TAnn, , of l\Iancheste r, was formcrly a cabinet
maker, thcn a fitldlc maker; and in l8<i5 took to pho-
tography. It is snid he excelled with his doublc-bass es.
ToBIN, RICHARD. See Perry and Wilkinson.
TunN'ER, JonN ALVEY, of 19, Poultry, City, and
lattcrly of Cornhill. He was only a dcalcr, and died in
February, 1862.
\VITHERS, EowAno, can only be considered as the
dealer, and purchased the business of William Da'"is in
D ecember, 1846, first cmploying Charl es Maucotel as a
workman, then Boullangic r, both of whom ha ve left him
and commenced on thcir own account. The business is
still carried on by Edward \Vithers, in Coventry Strcet,
H aymarket, wherc in 1851 -2 was introduced an Ameri-
can alteration in the mode of making violins, Yiolon-
cellos, &c., known as \Vm. B. Tilton's Patcnt, which
consisted of bcvclling the blocks at each end of tbe
instrument that both vibrating platcs sbould be more
free, aud the required support was givcn by letting in a
bar of wood into the blocks the whole lcngth of the in-
strument. Although in sorne few instances an improve-
ment was perceptible , yct it may be considcred a failure,
and is now laid aside.
WrLKINSON, WxLLIA:'If. See Perry and Wilkinson.
NA.MES OF FOREIGNERS THA.'l' lUVE LOCATED 1~

EXGLA.t..'\D A.S \'IOLIN MA.KERS.
PANORMO, V I!\CENT, who is generally alluded to as
Old Panormo, was born on the 30th November, 1734,
in a village namcd Momeale, a few miles from Palermo,
in Sicily. IIe was cndowed with much mechanica l
ability, and, unassisted, from sixtccn ycars of age took
dclight in making various description s of musical instru-

BISTORY OF THE VIOLlN. 383
meuts. The eldcst son of tho above- namod , Francis
P anormo , who attaine d his sevent y-fourt h yoar in 1842,
has statod that bis fatbor mado many dcscrip tions of
instrum ents; but most oxcelle d in violins, violoncellos,
doublo-basses, and hautboys. Vincen t Panorm o becam e
a r esidont in SCYCral part~ or Italy, France, Euglan d,
and lrcland . T hc first time he came to Englan d was in
1772, the second in 1789, being driven from F rance by
the Revolution, whoro it is said " he was doing well."
The violins, violoncollos, and double ·basses of tbis maket·
aro desorvcdly much ostcemed, and valucd for their
puro and Italian quality of tone and app•·ec iatcd by tho
professors on thesc instrum cnts. He died in Londo n
abou t 18 13.
In tbo MSS. of Hill is givon tho copy of tho following
labels : -
"Vin~enzo P anormo me fece Marsiglia, 1760, Sicily; "
and " Vi ncenzo Panorm o, Londra . 1791."
Thero was anotho r son of tbo above V incent, namcd
JosEPn PA!Wn:uo, who was a good workm an and tho-
roughl y knew the theory of ' 'iolin-m aking. A t o no
period he resided in New Compton Street, afterw ards in
King Sll·eet, Sobo. He died about twenty -five years
since in the greate st destitu tion.
P ANORMO, GEono E L EWIS, was anothe r son of the
former Vinceu t, and became cclcbra ted for his guitars ,
and was in the highes t esteem as a bow maker ; he was
then )j,,ing in Oxford Stroet, and latterly in High Street,
Saint Giles-in-thc-F iclds. The lime of his doath cannot
be stated with accura cy, probab ly ten or twelve years
.
smce.
Somo persons assert there was anothe r son of Vincen t,
namcd Edwar d Panormo, who, at times, r esided in Ire-
•
land and London. W e do not know him, and it may
probably allude to a grandson of Vincent, who of late
years has been living in the latter city ; thc precise
locality, however, is not known, as he ha.s changed bis
abode rnany times within the last few years.
lVIAucoTEL, CHARLES, was born at :Mirecourt, lst Nov.
1807, and learned violin·making of a relative, by mar-
riage, of his mother, whose name was Bloise Mast. I n
1834 he located in París, and was employed by Gand ;
ultirnately he was engaged by W . Davis, of 34, Coventry
Street, and carne to L ondon in Dec. 1844, and worked
at that house for two years. On tbe disposal of tbe
business to Edward Witbers be remained in the employ
about eighteen months, and then left and comrnenced on
bis own account at No. 8, Rupert Street, Haymarket.
He retired from business about August, 1860, partly
through impaired healtb ; but it is generally belicved the
r eal cause was that a relativc had left him property.
H e was a good workman, and knew well the vocation he
followed.
Copy of the label used, with space left to add tbe 1ast
figure of tbe year :-
" Carolus Maucotelus
fecit Londini, J85 C·¡-lVI."
CHARLEs, THEREss, carne from Mirecourt, and on bis
card is printed "from Maucotel ;" for several years past
h e has been established on his own behalf as a violin
maker, and now resides in King Street, Sobo.
ÜHANOT, whose business is now in \Vardour Stl·eet,
Sobo, was engaged as workman to Maucotel, and on the
latter re tiring he commenced on his own account.
BouLLANGIEn, at one time was in the employ of Ed-
ward Withers, but now has an establishment of his own
in D ean Street, Soho.

INDEX.
~~~~DEL, pcrforroer, 183. Bede, or Pseudo-Bede, 52.

~ Abrinces, king's versi- Bergonzi, maker~, 236.
fier, 73. Betts, makers, 270.
Adenez le Roi, 81. Beverley, minslrels, 84.
Adye, W. L. Esq., bis Bibliothéque de l'Ecole des Charles,
violín , 233. 79.
Agrícola, lllartin, 47. 8, 93 -4. Bigati, nnecdote of, 174.
Ai1'eton, moker, 355. Blancbinus, 16.
Albaní, makers, 214. Blegabres, Blret.b gabreat, 25, 36, 40.
Albinus, or Alcuin, 41. Bolles, maker, 250.
Aldred, maker, 2~0. Bouanni, Gabinetto, 165.
Alexnndre Roman d', 40. Bourdclot, anecdotc of; 163.
Alleyn, inst.r uments of, 144. Bow, introcluction of, 20, 49, 158.
Amati, makers, 201-8. Ditto, lengtb of, 159.
Amphicordium, 95. Ditto, makers, 158-60, 369.
Anncrcon, 12. B>·itton, iustruments, 263, 257-8.
Anthony Now Now, 109. Brossnrd, instrumeuts namcd by, 130.
Arabian and .A.frican instruments, Brown, makers, 364.
11- 12. Brut, Romao de, 25, 36.
Armin, " Ncst ofNinnies." 108. Bull, Ole, bis violin, 200.
Arehed viall, 152. Buruey's H istory, 18, 115-16, 146.
Arnold le Vielleux, 65.
Arnold, St. performer, 66. CARnÉ, account of instrumcnts, 165.
Artusi, 4.5. Cnrter, ancient sculpture, 29, 67-8,
84, 91 -2.
BAKER, maker, 257. Castrucci, perfor mer, 179.
Baltaza•·, 100. Cnt an<l fidille, 135.
Baltznr, 146, 152-3. Ccrone, instruments named by, 11 7.
Banks, makers, 359. Cerreto, tbe like, 116.
Bannister, 'VntTa.nt to buy Cremona Cervetto, performers, 1'83.
violins, 154. Cbanot, experiments by, 1S6.
Barbiton, 12, 11 9, 121-3. Chappcll, Wm., F .S.A ., bis valuable
Bnrncs, maker, 268. work, &c. 21, 36.
Barraud, charnber bass, 374. Cbnrlcs J., per former, 137.
B:u-rett, maker, 262. Ditto, band, 138.
Ba..toloccius, Hebrew instrnments, 7. Charles Ir., four and twcnty fiddler~,
B:c~s-viol, lttrge, 93. 146.
Daucl, cxperiments by, 186. Charles IX. of France, 98, 202.
~·

386 INDEX.
Charles DC of France, purchasc of Edward II., musicians, 65-6, 73.

Cremona violins, 99. Edwarcl III., ditto, 66, 74-5.
Cbaucer, 28, 37, 44. Edward IV., ditto, 76.
Cbelys, 95 -6, 154, 167. Edwnrd VI., ditto, 102.
Col in l\luset, 44, 58 . Egyptian instrumcnts, 18, 20.
Conductor, 16, 6.8-9, 177-8. Elizabeth, ruusiciaos, 103.
Constantinus Africanus, 24. Ditto, her dancing, 12G.
Contre-Basse, 168. Ely Cathcdrnl, 67.
Contre-Bass·geig, 117. Epigoniuru, 13.
Corbet, his instruments, 176. Eric King, nnccdote, lO.
Cornisb Drama, ancient, 29. Esquit.nnux, vioJiu, 11.
Cortusio, curious will, 85. Evelyn l\lemoirs, 153-4.
Coryat, T ., account of music, 141. Exeter Cathedral, ruinstrel gallcry,
Coussemak.cr, Mons. de, 22, 28-9, &c., 68.
41-2, 45, 47-8, 62- 3, 66, 83-4.
Crosse, mnker, 260. Ft:r<DT, mnkcrs, 369.
Crowd, crwth, 20, 28 -9, 30-4, 109, Fetis, Mons., referred to, 21,197, 199,
132, 144. 208, 210, 222, 229, 232.
Curtís, Sir Wm., instrumcnts of, 202, Fiddle, fidulo., fythele, 28-31,36, 53,
206, 209, 228-9, 231-2. 106-7, 110, 119, 132-3, 151.
Cytbara., citbara, 12, 22-3, 36. . Fiddlers, 31, 106-9, 133.
Ditto, four aod twenty,l25, 146.
D ' AGll<COURT, 67. 84. Forster, Dr., 196, 199,205,208, 214,
Dauuey, Scottish melodies, 30, 103, 216, 2 ¡9, 234, 238, 271, 284.
249. Forster family, makers, 284.
Daverouns, Roht., Yiolist., 65. Forster, J ohn, 290.
Dcgrevant, Sir, Romance of, 27. Forster, W m. ( 1), 292.
De Muris, Joh., 39. Forstcr, Wm . (2), 296.
Det.Ails, omission of, 66, 83, 141. Forster, Wm. (3), 209, 333.
Diana, performcl', anecdote, 172. ForsteJ", \\'m. (4), 341.
Dicord, 13, 58. Forster, S. A., 343.
Di Salo Gaspar, maker, 199. Forster School, 34 7.
D odd, bow-makers, 160, 369. Francis I. band, 97.
Dodd, mak.ers, 367. Frets, 91.
Doo i, instrument, 95. Frey Hans, mnker, 87.
Doran, Dr., Court fools, 108. Froschouer, 93.
Double-bass, large, 165.
Dragonetti, 194. GuuRtus, 9 1.
D rama, first musical, 114-16. Gregliano, n111kcrs, 235.
Dramatic an<l poetic early pieces, in- Galilei, V., account of instrurncnts,
struments named in, 25, 105·7, 97. 24.8 .
114, 132, 134-136. Gnnd, maker, 247.
Drnyton, Polyolbion, 133. Gurland~, John de, 38.
Dubourg, performer, 180. Gcmininni, 180.
Dubourg, the violín, 169, 278 . Ge1·asenus, 16.
D uilfoprugcnr, maker, 197. Gerbert, " De Cantu," &c. 22-4, 5 1,
Duke, maker, 269. 69, !Gl.
Ger.;on, 24, 44.
E ARLE, Microcosmogrnphy, 133. Gigue, 25-7, 46-8, 57, 119.

INDEX. 387
Gilkcs, makcr, 348. Jchan le Vidsulx, 80.
Gori, Tbcsnttrus, 152. Jcnlryns, J., performer, 147-8.
Grnmmoot, Duc de, anccdote, 125. John, K ing of Frnnce, payments to
Grnncino, makcrs, 213. musicinu~, 75.
Grecks, no bowed instru.mcnts, 12. John, St., Cirencester, 91.
Gros-Guillaume, &c., 47. John of Snlisbury, 24.
Gundagnini, mnkcrs, 236. Johnson, maker, 267.
Gunrncrius fumily, 231-4. Joncs, Rclics of Bards, 30.
Jouglet, pcrformer, 65.
HAUIII'Ct.r, J. O., F .S.A., fairy my- Jubnl, father of music, 6.
thology, 38.
II•mdcl, 178. ICENs.eov fnmily, makers, 352.
Hardic, mnker, 373. Replcr, music of sphercs, 10.
llnrc, maker, 263. Kerlin, J., maker, 87.
llarp, Egyptinn, 18. Reyed instrumeols to imitate
llart, mnkcr, 349. stringed, 152, 164, 246.
IIawc~, Pastime of Plensure, 30.
Kinnor, a. 7.
Dawkin'sllistory, 16, 158, 173,221, Kirchcr, instrumenta named by, 6,
249, 251, 253. 124.
Baydn, dcalinv witb Wm. Fot!ter Kit, tbe, lOó, 119, 132-3, 168.
(2), 300.
Klotz, makcrs, 218.
Ditto, nnecdote, 125.
Ditto, lelters, 306-10.
IIcncl, carved on instruments, 46. LADORD'E, Histoirc de i\1usiquc, .11 ,
Hcnri nus vi~les, maker, 66. 17, 43, 68, 95, 161-2, 167.
llcnry lV., musicions, &c.,.75. L1•ynrd, his rcsenrches, 19.
Hcnry V., Iba like, 76. Lcntz, maker, 372.
ITcnry VI., the like, 76. Leprincc performer, anecdote, 171.
Hcnry VII., tbe like, 77. Lewis, mnkcr, 258.
Hcory Vill., tbe like, 45, 78, 101. Lidel, Mons., his barytone, 131.
Ditto, bis iostrumcnts, 102. Lindlcy, R., account of, 191.
H cnry U!. of Francc, 99. Lintcrcolo, 166.
Hcnry IV. of France, bis band, 98. Lott fnmily, maket!, 372.
llill, Hcnry, performer, bis MSS., Louis X I ., anecdote of, 88.
198, 206, 233, 251, 323. Louis X liT., nnccdotc of, 124.
Hill family, makers, 356. Louis XlV., anccdote of, 115.
llolc, Rcv., bis violoncello, 324. Lupot La Cbclonomie, 241.
Howcll's Lcttcrs, 5, 60. Luscinius, 95.
H ume, R., nJnker, 249. Lutc, Ea~tern, 8.
Ly•·a, Viol, 148.
IcJH.AND, violín, 11. Lyn Tcutonica, 23.
Inrlinn Rngns mentioned, 9.
Inst•·uction• du Comité, &c., 42, 1>7, !I!AC}J," llfusick's Monnment," 157,
64. 203, 218, 260-3.
Magndis, 13.
J AnNOVlCK, performer, anecdotes of, lllnggini, makers, 211.
172. lllakers, ancient corporation of, 98.
Jay, mnkcrs, 250-1, 258, 265. Makers, Englisb, 248, el seq.
Jcbru> le Tooueleur, 8 1. Ditto, },'orcign, rc.ident, 384.

388 I NDEX.
l\Inkers, Frencb, 65,211, 2l5, 240-1, N otker, 21, 24.

2-17.
Ditto,Germau, 197,201 215-16 O.<TEs, Jnck, anecdote of, 108.
242. , ' Oli"i~ri, nnect.lote of, iíO.
Ditto, If.:llinn, 197, 201,215-16 Opcrn, first English, li6.
242. ' Diuo, in Frnncc, 115.
Ditto, Midwalders, 219. Oporinus, 92.
l\Iara, pcrformcr, nnccdotes of, 228-9. Orchestrll$, 146, 162-3, 177-8.
Marais, pcrformer, anccdote ot; 124. Ott Jeon, waker, 87.
Margueritc, Quccn, 96. Otto's work referred to, 222, 2-16.
Matburine, anecdotc of, 97.
l\Iattcis, pcrformcr, 153-4. p AGAND<l, ISS.
1\Iaugard, pcrformcr, nnccdotc of, Pampbilon, ruaker, 255.
129. Pnnormo, bow n1aker, 160.
Me!! Davis, pcrformer, 153.
Parker, maker, 256.
M elross Cburcb, crwth, 30.
Passenan~, nnecdote from, 179.
Jlfersennus, 93, 119-23. Pnvllll dance, 143.
1\Iillin, Gnlerie, &c., 14. Pectis, 13.
1\Iinstrcl's Gnllcries, 68.
Pcmbcrton, ronker, 255.
Ditto, Corporntion, 44, 78.
Pepys's Diury, 149-152.
Di tto, kings of, 81.
Performers, 56, 65, 73-7, 79, 80-1,
Ditto, somc nccount of, 72. 96, 99, 100, 102-3, 125, 127-8
Monochord, 25, 27-8, 30, 58, 166.
1\Iontagnunu, mnkcr, 239.
-
131 · 8, 153-4,169,170-5,187,189'
190. '
Montevcrdc, 97.
Ditto, payments to, 65, 73-80,
Montfaucon, 13, 14.
86, 101-3, 134, 137-8, 151.
Moravin, Jerome de, 45, 63. P eterborough Cnthedral, llír. Strick-
llforgnn, Bishop, 30. lund's ceiling of, 55 -6.
l\(or1cy, Practicnl llfusic, 113.
Piers Ploughman's Visioo, 37.
Music, Acndcmy of, in Frnncc, 82.
Playford, 156.
Dit.to, cfTcct of on nnimnls, 3.
Plectrum, 14, !5.
Musical Publications, 110, 130, 142,
Poche, 118-20, 165, 168.
! 58. P oisot, Histoire, 98.
Musical Socicty of London, 177.
Pollnitz, Baron de, 164.
Musicinns, Corporation of, 76, 140,
Potier, 1\Ionuroens, 42-3,61-2, 66-7,
161. 83, 92.
Ditto, cxcmpt from subsidies,
Pra!torius, 1\1., 117.
103, 138. Price of lnstruments, 103-4, 139,
llfusonii Pbilosophi Opus, instru- 154, 158, 222, 229, 230, 233, 250,
ments namcd, 13.
256-7' 260, 263, 265, 268, 323,
325, 329-31, 361 -2.
NEOMES, 59.
Promptoriurn Par~ulorum, 40.
Negbinotb, 7.
Psaltcrion Sautry, 21, 25-7, 29, 30.
Nineveb, instrumcnt•, 19.
Pugnani, anecdote of, 170.
N orman, B., mnkcr, 258.
Norris, maker, 268.
Northumberland H ousebold Dook, RA UELAIS,46.
45, 78. Rnbere, king's minstrel, 54.
Notntion, 16, 59, 87, 112. Rayman, mnker, 253.

I NDEX. 389
Rebec, rubebe, 12, 27-8, 30, 43·6, Tboms, W. J ., F.S.A., Notes oa
101, 165. Fiddle, 38.
Rhcims, musician's housc, 63. Todini, instrumcnt, 130.
R ichard U ., payments to musicians, Toulnton, Bott.éc de, 22, 11 4.
75. Tourtc, bow mnke1-, 159.
Ricbclieu, Cardinal, anecdoteof, 126. Troubndours referrcd to, 70.
Rimbault, Dr., 142, 148. Troveors, Les Dcux Ribauz, 40.
Rolla, pcrformer, anccdote of, 171. Trumpet, marine, 124, 166.
Romn.ns, no genuine repre.sent:.Ltion Tubbs, bow mnkers, 160.
of bow, 12, 14.
Roquefort, 43, 198. UaquoART, maker, 25-!.
Ross, makers, 251.
Rote, 21-2, 24-9, 30, 41-3.
VENA~TJU8 Fortunntus, 20.
Rousseau Traité, 6, 16, 18.
Veracini, nnecdotc of, 170.
Ruggeri family, makers, 212. V idaulx, J chnn le, performer, 80.
Russinu instrumenta, 12. V ielle, 25 -7, 40.
Vinesauf, Geom•ey de, 38.
SAVART1 cxperiments, 186. Viol, 30, 40, 43, ~0-7, 61-8,74, 80,
Schetky, account of, 184. 83-5,91-5, 98,101-4, 109,114 -19,
Shaltue-player, dcatb of Wolsey's, 123, 125, 130, 133, 138-9, 140-1,
78. 144, 147, 154-8, 161, 165-8, 176,
Sbnw's Dresses, &c., 43, 54. 250-1.
Sbift uscd, 122, 169. Ditto, chests of. 116, 250·1.
Simpson, divi$ÍOn vio!, 154. Ditto, tuning of, 94·5, 116.
Smitb's bnrmonics, 1, 150. Viol dn gt1mba, 97, 105, 11 4, 141.
Smith, mo.ker, 251, 267. Viol d'amour, 168.
Soisson, enumelled basin, 64. Viola pomposo, 164.
Sordino, 166, 168. Violetta m>rinn, 179.
Spence, as to spurious antiquities, Violett<!, 168.
14. Violín, 11, 31, 81, 90, 95, 99, 100-1,
Steiner family, 219. 103-4, IOG-7, 114-15, 117- 19, 122,
Storioni, mnker, 238. 130, 132, 137-8,140,145 , 147, 1.54,
Stradiunrius family, 224-6. 156-8, IGI-3, 165, 167, 189, 222,
Strings, 64, 111, 124, 154, 236. 229-30.
Ditto, cxperimenls with, 111. Ditto, k ings of, SI .
Strutt's hlanners, &c., 63, 63, 84-5, V ioloncello, 117, 119, 121, 130,162-4,
140. 168.
Symbola Divinn, 124. Violono, 97, 165.
Syanphooie, cbyfonie, 25-7, 29, 30, Viotti, performcr, nnecdotes of, 128,
40. 181.
Volker, musical wnrrior, 38.
Vows of tbe lleron, 74.
TA&J>IEU de Terascon, improvcd ,·io-
V uillaume, müer, 247.
loncello, 108.
Tny lor, Water Poet., 141.
Tempcst, orcbestra. for, 146. 'VWhistlecrnft'smnker,
.U.MSLE T 1 263.
History, 53.
Tems, P astour Le, 26.
l 'bompsoo, mnkers, 266. Wilkiuson, Sir G., .A.ncicnt Egyp-
tin.ns, 18.

390 INDEX .
Wood, .A., account ofmusic, 147-8. Youssoupow, Princc, bis Luthomo-

Worce.stcr Catbedral, crwt.h, 29. nograpbie, 11, 199, 200,205, 210-
Wright, T., F .S ..A., History of Do- IJ, 214 -15, 221, 224, 226, 233,
mestic Manners, 72. 236-7.
Wynne, W . G., Esq., bis crwth, 34.
Z.<ccoNt Pratica di Musica, 90.
Y OltK Cat.hedral, screen, 68. Zwiuglius, a perforroer, 97.
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cloth, 10/6.
TH.E TROUBADOU R AS MUSICIAN, Past and Prcscnt. ny

C. A. HARRIS. 2/6.
THE WORLD 'S .EAI~LI EST MUSIC. Traced to.lts Beginnings
in Ancient Lands. By collccted Evidences of Relics, Records,
History and Musical lnstruments, from Orecce, Etruria,
Egypt, China. through Assyria and Babylonia to the PrimiLive
Home, the Land of Akkad and Sumer. By HERMANN SM.rrn.
1 With sixly-fivc lllustrations, nearly 400 pages. Crown Svo,
cloth, 25/-.

BOOKS ABOUT MUSICIANS AND
TH EIR WORKS
FROM MENDELSSOHN TO WAGNER. Bcing the Memoirs of
J. W . Davison, forty years Music Critic of The Times, compiled
by his son, HENRY DAVISON, from Memoranda and Docu-
ments. With 52 portraits of Musicians and lmportant Letters
(previously unp\Jblished) of Mendclssohn, Bcrlioz, Gounod,
.lullicn, Macfarren, Sterndale Bcnnctt, etc. lndex, 539 pages,
Svo, cloth, 42/- .
MUSIC ANO MUSICIANS. Essays and Criticisms. by ROBERT

SCHUMAt-.N. Translatcd. Editcd and Annota ted by F. R.
RtTTER. Two volumes. crown 8vo, cloth. 35/- each.
Schumann ·s literary gifts and intcrests almost equaUed his
musicul ones. From bo:;hood he was dra\\n to litcra ry cxpression,
and his writings on music belong to the best among the romantic
litcrmurc of the 19th ' -emury. The same ñrc. poetry, directness of
cxprcssion. the samc inventivencss wc love in his compositions,
also a ni males his prose.
M USICAL MEMORIES. Dy WtLLIAM SPARK, Mus.Doc. (/are

Organisr o/1/re Tawn Hall, Leed.>). Third Edition. With
s ixtcen Portraits. Thick crown 8vo, cloth, 10/- .
REE VES' DICTIONARY OF M USICf ANS. Biographical

Accounts of about 2.500 Notewo rthy Musicians o f the Past
and Present. Edited by EDMUNOSTOUNE 0 UNCAN and Qthers.
Crown 8vo, cloth, 7/6, paper covers, 4/-.
S KETCHES OF El'CLISH GLEE COMPOSERS. Historical,

Biograph ical and Critica!. Fro m about 1735- 1866. By D .
BAPTtE. Post Svo, cloth, 10/- .
SOME MUSICAL RECOLLECriONS OF FrF"TY YEARS.

By RICHARD 1-fo FFMAN. With Memoir by MRs. HoFFMAN.
lllus trated with many Portraits. Crown 8vo, cloth, 10/-.
An intcresting book of reminisccnces by :1 promincnt Anglo-
American pianist and composcr (183 1- 1909). He studicd under
Plcyel, Mosclielcs, Rubinstein and Liszl, und bccamc a concert
pinnist in New York, and a lso tourcd with Jcnny Lind. Hoffman
composed and published many pianoforte picces of thc brilliant
lcind in vogue at the time.

BOOKS ABOUT MUSICI ANS 7
STUDIE S IN RUSSIA MUSIC. Critical Essays on the most

importan t of Rimsky-Korsako v's operas, Borodin' s "Prince
lgor," Dargomlzhsky's "Stone Gucst," etc.; with chapters o n
Glinka, Mussorgsky, Balakirev and Tschaikovsky. By GERALD
AOIV,HAM. 92 music cxamples. 350 pages, dcmy Svo, cloth,
25/-.
ON RUSSL<\N MUSIC. CTitical and Historical Studies of Glinka's
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Compositions by Borodin, Rinuky-K orsakov, Tchaikovsky,
Mussorgsky, Glazunov, and various other Aspects of Russian
Music. By GERALD AsRAHAM . With Frontispiece and 88 Music
Examples. Demy Svo, cloth, 21/-.
The above two books complement one another, and together
forma valuable survcy of Russian music of the period 1836to 1910.
The operas of Rimsky-Korsakov are studied fully, also Borodin' s
"Prince lgor", Glinka's operas and Balakirev 's music. Gerald
Abraham is Professor of Music at Liverpool University, and is the
chief English authority on Russian music.
TJJE SYMPH.ONY WR ITERS SINCE BEETHO VEN. Critica!
Essays on Schubcrt, Schumann, Glltz, Brahnu, Tchaikovsky,
Urückner, Berlioz. LiS2t. Strauss, Mahlcr, Mcndelssohn,
Saint-Saens, etc. By FELIX Ww<GARTNER. Translate d by A.
BLES. Twelve PonrailS. Secoml lmpressio11. With Chapter
added by D. C. PARKER on Wcingartner's Symphony No. S.
Crown Svo, cloth, 16/-.
WITH THE GREAT COMPO SERS. A Series of Pen Pictures,
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CuMBERLAND. Portraits. Cr. 8vo, cloth, 10/-.
Deals with Chopin, Haydn, Mendclssohn, Pa¡¡anini. Beethoven,
Handcl, Rossini, Schubcn , Liszt. Rcrlioz, Mozart, Wagner
Tchnikovsky, C herubini, Wolf, Borodin, Schuman n. Sullivan.
HOW TO PLAY DACH'S 48 PRELUD ES AND FUGUES . A

Guide Book for the use of Piano StudenlS as an aid to the
Unravelling and 1nterpretation of these Mastcrpicces, ensuring
a more l ntelligent Keyboard Rcndcring. By C. W. WtLKINSON.
Crown 8vo, cloth, 10/-.
BALf'E, HIS Uf'E ANO WOR.K. By WM. ALEXAND ER BARRITT.
Ovcr 300 pages. Crown 8vo, cloth, 21/-.

l
8 BOOKS ABOUT MUSJCJANS
BEETHOVEN. By RICHARD WAGNER. With a Supplement from

!he Philosophical Works of Arthur Schopenhauer. Translated
by EOWARD DANNREUTHER. Third Edition. Crown Svo,
cloth, 18/-. )
BEETHOVEN AND lUS PIANO WORKS (Sonatas, Coocertos, 1

Variations, etc.). Descriptive and Analytic Aid to their Under-
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of Principal Editions and Bibliography. 3 illustrations, 45
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BEETHOVEN'S PIANOFORTE SONATAS Explained for tbe

Lovers of the Musical Art. By ERNST voN ELTERLEIN. Trans-
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1
NOTES ON THEINTERPRETATION OF 24 FAMOUS PIANO
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BEETHOVEN'S PIANO SONATAS. A Dcscriptive Com-

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Outline of the Dcvclopment ofthe Sonata Form in Beethoven's
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By RuoOLF KASTNER. Translated by GERALD ABRAHAM.
55 pagcs, post 8vo, paper, 3/6.
A CRITICAL STUDY OF BEETHOVEN'S NINE SYMPHON-

ms, with a Few Words on His Tríos and Sonatas, a Criticism
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BEETHOVEN'S NINE SYMPHONlES Fully Described and

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and Rhythmic Features, Epitomical Tablcs, etc. Illustrated by
637 Musical Examples. By EowtN EVANS. Cloth, Vol. 1 (Nos.
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BEETHOVEN'S SYMPHONlES CriticaUy Discussed by ALEX-

ANDER TEETGEN. With Preface by ]OHN BROAOHOUSE. Second
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BOOKS ABOUT MUSICI ANS 9
TirE 0unCAI. . W R111NGS OP H ECTOR B ERUOZ

)
A CRITICAL STUOY OF BEETHOVEN'S N1NE SYM-

PHONIE S, with a few Words on his Trias and Sonatas, and a
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GLUCK AND HlS OPERAS , with an Account of their Relatioo
10 Musical Art. Portrait. Crown 8vo, cloth, 21{-.
MOZAR T, WEBER AND WAGNER, with various o ther Essays

on Musical Subjecr... Q-own 8vo, cloth, 21{-.
The above three books form a full and readable translatioo by
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Berlioz issued under the tille of " A Travers Chant."
1
BOROD IN THE COMPO SER ANO HJS MUSIC. A Descriplive

and Critica! Annlysis of bis Works nnd a Study of bis Value
asan Art Force. With many references to the Russian Kouchka
Circle of Five- Balakirev, Moussorgsky, César Cui, Rimsky-
Korsakov, and Borodin. By GERALD ABRAHAM . With music
cxamples and S Portraits. Crown Svo, cloth, 25/- .
LIFE OF JOHAN ' ES BRAHMS. By Ft.ORENCE MAv. Second

Edition, Revised. Two Volumes, demy 8vo, cloth, 42{-.
This work still rcmains the most compreheosive single work on
the composer publishcd. It is bascd on material gathered at first
hand during the course of severa! visiLS to the Contincnt, and its
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recollections aod impressions of Brahms, wbicb were the result of
personal contact with and actual study under the grent master.
VOCAL WORKS OF BRAHMS. ln the Order of their Opus

Number with Biographical, Analytical and other explanatory
details, Review of Criticism, Special Translations nnd copious
lnformation. By EowtN EVANS. Oemy 8vo, cloth, 42/-. (The
companion volumes on the Piano, Organ and Chamber and
Orchestral Works are out or print.)

10 BOOKS A.BOUT MUSICIANS
LJFE OF C HERUBINI. By F. J. CROWEST. (Great Musicians

Series.) Crown Svo, cloth, 6/-.
CHOPIN'S GREATER WORKS (Prcludes, Dallnds, NoclUrnes.

Polonaiscs, Mazurkas). How they should be Understood. Bv J.
KLECZYNSKt. lncluding Chopin's Notes for a " Mcthod· of
Mcthods." T ranslatcd by N. JANOTIIA. Sccond Edition.
With music cxamples. Crown 8vo, cloth, 10/-.
HOW TO PLAY CHOPIN. The Works of Chopin, thcir Proper

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cloth, 7/6.
Contains the cream or Chopin's instruclions 10 his own pupil<.
To admirers of Chopin and players of his music we should say this
book is indispensable.
PREDE RJC CHOPTN, Critical and Apprecialive Essay. By J. W.

0AVISON. 8vo, 3/6.
CHO PTN THE COMPOSER ANO HJS MUSlC. An Analytic

Critique of Famous T raditions and Jnterprctat ions, as exhibitcd
in thc Playing of Great Pianists, Pasl a nd Prcsent. By JoHN F .
PORTE. With ponrait. 193 pages, crown 8vo, cloth, 10/6.
HANDBOOK TO CHOPTN' S WORKS. A Oetailcd Account of

a ll the Compositions of Chopin. Shon Anulyses for Piano
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known Musical Authors. Chronological List of Works, etc.
By G. C. A. JONSO:-<. Second Edition. Crown 8vo, cloth, 18/-.
"Here in one compact volume is all that is necessary lo know
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HANOEL'S MESSLo\H. The Oratorio and its History. A Hand-

book of Hints and Aids to its Public Performance, 'vith useful
Notes on each Movemenl, as wcll as Numcrous Refcrcnces
and much Original lnformation. By J. ALt.ANSON DENSON.
Doards, 6/6; paper, 4/-.
U SZT, COMPOSER, ANO HIS PIANO WORKS. Dcscriptive

Guide and Critical Analysis, writtcn in a popular and concise
stylc. By HERBERT WESTERBY, Mus./Jac., Lon., etc. 5 illustra·
tions, 24 music examples. 336 pp .. crown 8vo, clolh, 21/-.

1
BOOK S ABOU T MUSI CIAN S 11
ANALYSIS OF MEND ELSS OHN' S ORGAN WORKS. A

Study of tbeir Structural Features. By JOSEPH W. G. HATHA·
WAY, Mus.B. Oxon. 127 Music Examples. Portra it and
Facsímiles. Crown 8vo, cloth, 12/6.
HOW 1'0 INTER PRET MENO ELSSO HN 'S "SON GS WITH ·

OUT WORDS" (the oelebrated "Liede r ohne Worte").
/1. Readable and Useful Guide for All. Gives the Piano
Students helpful lnsight into the first Principies of Form in
Music. By CHARI.ES W. Wri.KINSON. With portra it and
facsím ile of MS. Crown 8vo, cloth, 6/- ; paper, 3/6.
MOZA RT: a Commemorative Address read before the Posiúvist

Society. By V. LUSHINGTON. 8vo, 3/-.
Moz.art and Religio n.
THE SONATA: lts Form and Meaniog, as Exemplified in the

Piano Sonatas by Mour t. A Descriptive Analysis, with
Musical Examples. By F. HELENA MARK S. 8vo, cloth, 18/-.
QüES TlON S ON MOZA RT'S SONATAS. By F. HEI.ENA

~ARKS. Aid and Comp anion to the Study of the /l.uthor's
work, "The Sonata : lts Form and Meaning as Exemplified
in the Piano Sonatas by Moz.art." Paper covers, 2/6.
RACHMANINOFF. An Ei<hilarating Biographical Study of this

Genius of the Keyboard. By WATSON LYLE. Preface by UFF
PoutSHNOFF. Two Portraits and List of Works. Crown Svo,
cloth, 18/-.
FRANZ SCHU BERT, Man and Composer. A Vh~d Story of

a Charm ing Pcrsonality. By C. WH1TAKER·WtLSON. With
Original Translations into English of eight Well-known
Schubert Songs, together with the Music for thc Voice.
Portraits and Illustrations of Schubert and his Friends.
HENRY SMART'S ORGAN COMP OSIT! ONS ANALYSED.

By J. BROADHOUSE. Crown Svo, cloth, 7/6.
WAGN EI~'S TEACHINGS BY ANALOGY. His Views on

Absolu te Music and of the Relations of Articulate and Tonal
Specch, with Special Rcfere ncc 10 "Oper a and Drama ." By
J;owtN EvANS. Crown Svo, cloth, 6/-; paper, 3/6.

12 BOO KS ABOU T MUS ICIA NS
WAG NER' S Ring des Nibelungen. The Story of Wagner's "Ringb."

for Eoglish Readers. By N. Ku..BURN, Mus.Boc., Conro
Crowo Svo, papcr, 2/-.
HOW TO UND ERSTAND WAGNER' S "RIN G OF THE
NIBE LUNG ." Being lhe Story and a Deser ipth•e AoaJysis
of tbe "Rhei ngold ," the "Valk yr," "Sieg fried" aod the "Dus k
of the Gods ." With Musical Exnmples of thc Leading Motives
of Each Dram a. By GuSTA VE Koooe. Togct her with a Sketch
of Wagn er's life. By N. KlLBU RN, Mus.Bac. Canrab. Sevenlh
Ediúo n. Crow o Svo, clolh, 12/6.
Description and analysis go hand in hand witb the narra tion of
thc story. Musical exam ples a re s iven as nids to the idcotifica-
tioo of the leading motives and an index makes it easy for any
reade r to tu m up any partic ular motiv e instantly.
WIT AND MIRT H: OR PILI.S TO PURC E MEL ANCHOLY.

Edited by THOMAS D 'URFEY. lntrod uction by CYRUS L.
DAY. A facsimile repro ductio n of the 1876 reprint of the
origin al cdiúo n of 1719-20. This is a famo us collec tion
of songs, poem s and bal lads. all with music, a few datin g
from thc Eli zabet han perio d, but the major ity from the
sccon d half of the 17th centu ry. Three Volumes, !8.
OUT· OF-P RINT BOOKS.

Positi vo Mieroñches ean be supplied of lhe following books whcre
tbe printe d cditions are out of print They must be used in
conju nction witb a rcadc r (usually found in large libraries).
HJSTORY OF THE VIOL ONC ELLO , Viola da Gamb a, 1915. etc.,

witb Biographies of aJJ the Most Emin cnt Playe rs,
By E. VAN OER STRAETEN, 50/-.

ORCHESTRAL
T HE CONDUCI'OR. T HE THEORY OF HIS ART. By HEcroR
BERUOZ. Translated by J. BROADHOUSE. With 41 Diagrams
and Examplcs. Crown 8vo, cloth, 8/6; papcr covers, 5/-.
INSTR UMENTS ANO ART OF THE ORCH ESTRA. An Ju-

troductory Study. Wilh Tablc s howing Range of each Instn.J -
ment. By P. W. DE Councv-SMALE, Mus.Oac. 8vo, boards, 6/-.
MET.HOD OF lNSTRUMENTATIO N. How to Wríte for the

Orchcstra and Arrange an Orchcstml or Band Score. JUus-
tratcd witb Music Examples and various large folding Otatu
aod lodex. By EDWJN EvANS. Demy 8vo, cloth, two volumeo;.
Vol. l. How to Write for Strings, Arrangement of Scoriog and
Preparation of Pans. Witb Charu. 10/-.
Vol. 11. How to Write for Wood, Brass and Drums, and
Arraoge a Band Score. Wilh large folding Charts. 10/-.
NOTES ON CONDUCTOR$ ANO CONDUCI'lNG. By T. R.

CROOER, F.R.G.S., F.Z.S., also the Organising and Con-
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tions of the various "Beats" and Pino of the Orchestra.
Rcviscd and Eolarged. Crown 8vo, paper covers, 3/6.
O N CONDUCTING. By RICHARD WAONER. Translated by E .

DANNREUTHER. Crown 8vo, boards, 12/6.
ORCHESTRAL ANO BM'D INSTRUMENTS. A Short Account

of tbe lnstruments uscd in the Orclwstra, and in Brass and
Military Bands. By G . F. BROADHEAO, Mus.B. Dunelm,
L.Mru. T. C. L. With 24 Tllustrative Music Examples. Post
8vo, cloth, 5/-, paper covers. 3/-.
ORCHESTRAL WIND INSTRUMENTS, Ancient aod M odern

Being an Account of tbe Origin nnd Evolution of Wind
lnstrumeots from the Earlicst Times. By U. DAUBENY. 11
pintes illustratiog 61 lnstrumcnts or Pa rts. 8vo, cloth, 25/-.
PRACTICAL GUIDE FOR THE CONDUCI'OR and Useful

Notes for lhe Orchestra. By F. W. DE MASSI·HARDMAN. With
Music Examples and Diagrams. 3/-.

OR GA N
ART OF ORGAN ACCOMPANIMENT Avo IN THE CHURCH

SERVlCES. Whnl toD o and wha t lo id : being a Gui de
10 the Organist in the effective rcndering of
lhe Music. By
WALTER L. TwiNNING, P.R.C.O. Boards, 3{6.
THE CHU RCH ORGAN. An lntroduction ro the Study40di of Modern
Organ Building. By NOELA. BONAVIA·HUNT. With agrams.
first publ ishe d in 1920.
A reprint of the well-known boo k
Dem y 8vo, clot h, 25{- .
THE EARLY ENG LlS H ORGAN BUILDEofth RS and their Works,
from the Fifteeoth Century lo the Period e Gre at Rebellion
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THE INF LUE NCE OF THE ORGAN IN HlS TOR2/-. Y. By DuoLeY
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INTERNATIONAL REP ERT Offi E GUIDE (H istorical. Educa-
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Works. By HeRBERT WESTERBY. 4to, cloth , 75/-.
as of
Describes rhe best Organ Music of foreign countries as well
Britain and America.
fully iUustrated by
A large and bcautifully presented qua rto wo rk,seve
thirty-six plates on fine art paper, comprisl ng n- English and
ons of thc
sixteen foreign organs. th.irty-one portraits, and illustrati
houses of Bach and Handel.
LEC TUR E ON THE PED AL ORGAN. lts History, Dcsign and
8vo
Control. By ThOMAS CASsoN. With folding Diagram .
boards,.8{6.
MO DER N ORGAN BUILDING. By WALTERand & THOMAS LEWtS
(Organ Builders). Practical Explaoatioo Descriptioo of
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and Cbapters on Tuning, Voicing, etc. Thir d Edition, Rc-
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MO DER N ORGAN TUNING, The How and Why, Clearly
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Explaining the Nat ure of the Organ Pipe and the Syst
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Evo lutio n of the Diatonic Scale from the ek Tetrnchord.
By HeRMANN S~UTH. Crown 8vo, cioth , 15/-.
NEW ORGAN PRI NCI PLE S ANO THE JR sing INT ERP REf ATI ON.
A Guide to and Suggcstions on Pbra and Registration
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With 54 music cxamples . Dem y 8vo, pape covers, 4/-.

ORG AN 15
THE ORG AN FIFTY YEARS HENCE. A Study of its Develop-

ment in thc Light of its Past History and Presc nt Tendcncies.
By FRANCIS BVROilSS, F.S.A., Seo/., 1908. Oem y 8vo. 3/6.
ORGr\!"1 OF THE ANC IENT S FRO M EAS TER N SOU RCE S

1 (Hebrew, Syriac and Arabic). By HENRY GEOROE FARMER,
M.A. , Ph.D., Camegie Research Fellow. Forcword by CANON
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REF ORM lN ORG AN BUU .DIN G. By THOMAS CASSON. Dcmy
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SOM E CONTII'.'EJ"<TAL ORG ANS and their Makers. With
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Switzcrlan d. By JAMES l. WEOOWOOO. Post 8vo, board s, 8/6.
TEC HNIC S OF ORG AN TEA CHIN C. A Hand book which
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together with Test Questions. By R. A. JEYONS. Boards, 3/6.
TEC HNIC S OF THE ORG AN. An Illuminative Treat i<e on

many PoinLS and Difficulties conn ected thcrewith. Special
Trea tmcn t of Rhyt hm, Minimisation of the Use of Accessories,
Extemporisatioo. Expressivc Regulation of Orga n Tone and
Accompanimenl. By EOWIN EVANS, F.R.C.O. With ovcr 100
Musi c Exam ples. 4to, 15/-.

•
PIANO
THE APPR OACH TO LJSZ T. A Cours e of Mode m Tonal -

Technique for the Piano , in the form of Grade d Studies from
the Moderately Difficult to the Maste r Stage. By HEIU!ERT
WESTERBY, Mus.Bac. Lond., F.R.C.O., etc. Folio , S/6.
Pretimina.ry Studies in Touc h and Phrasing in all Keys.
&sed on the Scales and Broke n Chord s.
1ntcnn ediate Studi cs in Sequentinl, Wrist and Prep....-atory
Arpcggio Work in the Black and Wh ite Kcy Positions.
Advaneed Sequentinl Studies on the Black Keys, with
Sixteen Exeerpts from Liszt's Piano Work s. The Master
Work s: Firty- dght Excerpts from Liszt.
THE ART O F TUNI NG THE PIAN OFORTE. A New Compre-
hensive Treat ise to enabl e the Musician to Tune bis Piano
upon tbe Systern founded on the Tbeor y of Equal Temp crn-
mcnt. By HERMANN SMITH. New Editio n, Reviscd. Crow n
8vo, board s, 8/6.
THE ARTI ST AT T HE PIAN O. E.ssays on the Art of Musical
lnterp retati on. By GOORGE WOOOIIOUSE. 8vo, cloth, 6/-.
The celebratcd pianist, Padcr ewsk.!.,. after reading the mnnuscript
k-
of lhis stimu lating volume, wrote : " 1 he booklet is quite a rcmarof
able work and a really valua ble contri bution to the philos ophy
pianlstic art."
THE BYRD- ORGAN BOOK, for Piano or Organ. A Collection

of 21 Pieccs (Pavans, Galliards, etc.), by Williarn Byrd, 1543-
1623, edited frorn the Virginal MSS., and now first published
in Mode ro Notat ion. By M. H. Gl.YN. 7/6.
DELl VERY IN THE ART OF PIAN OFORTE PLA YlNG, On-
Rhytl un, Measure, Phrasing, Temp o. By C. A. ERREN
FECHTER. Crow n 8vo, cloth, 6/- .
THE DEPPE FING ER EXER CISE S for Rapid ly Devcl opingged, an

Artist ic Touc h in Piano forte Playing, Carcfully Arrnn
Classilied and Explained by AMY FAY (Pupi l of Tausi g,
Kullak, Liszt and Depp c). Folio, Engli sh or Conti nenta l
Fingering, 2/- .
EXTEMPO RISTNG AT TliE PIAN O MADE EASY. A Manu al

for Beginners in Musical Cornposition. Hints and Aids for
the "From Brain to Keyb oard" Comp oser. By REv. E. H.
M ELLING, F.R.C.O. 8vo, 2/-.

PIAN O 17
HOW TO ACCO MPA NY AT THE PIAN O. By EoWJN E\'ANS.

(Plain Accom panim ent. Figur ated Accom panim ent and
Practica! Harm ony for Accompanist.s.) 172 Music Examples.
Crow n 8vo, cloth, 7/6.
HOW TO PLAY 11 0 FAVO URIT E PIAN O SOLO S. Being the
4 Series comp lete in 1 vol. of ··wcli -Know n Piano Solos : How
to Play them with Unde rstand ing, Expression and EITcct.'" By
CitARLES W. WtLKINSON. Crow n 8vo, cloth , 12/6.
HOW TO STUD Y THE PIAN OFOR TE WOR KS OF 1 HE
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22 TEC HNIC AL AND THE ORE TICA L
STU DIES IN HISTORICAL FACTS ANO M USiCAL FORPre- M.

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VIOLIN AND
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ADVJCE TO VIOLu"' STUDENTS. Containiog Information of
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AIDS TO ELEMENTARY VIOLJN PLA YING. By JEFFREY
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ART OF VIOLONCELLO PLAYING. Tutor in Tbree Books.
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BIOGRAPHICAL DICTIONARY OF FIODLERS. Jncluding
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BOW INSTRUMENTS, their Form and Constructioo. Practica!
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GERMAN VIOLIN MAKERS. By FRlDOLIN HAMMA. A Critica!
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Fridolin Hamma's book is one of the most important cooiribu-
t ions of our time to violín Jiterature, a work wbich no connoisseur
or m~ker sh.o uld miss.

24 V/OLIN AND STRJNGED INSTRUMEN TS
THE HISTORY OF THE VIOL!N aod other Instrumen!S Played

on with the Bow from the Remotest Times to the Prcsent.
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Forster was a skilled and experienced instrument worker, !he
techoical notes to be diseovered in the pages of this book in which
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H OW T O RECOME A PROFESSIONAL VIOLJ N IST. By
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HOW TO MAKE A V!OLIN. By J. BROAOHOUSE. Revised
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CoNTENTS: lntroduction- The Pans of the Violin-ün the
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Purfling-The Neck- The Fioger-board -The Nut and String
Guard-Vamis hing and Polishiog-Var nishes nnd Colouring
Matter- The Varnish- A Mathematical Method of Constructing
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JN FORMATION FOR f>LA YERS, Owners, Dealers and Makers
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A MUSICAL 200. Twenty-four JlltLStrations displaying lbe

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ÜEORGE. Cloth, 6/- ; paper, 3/6.

VIOUN AND STRJNGED /i'vSTRU.'dEN TS 25
NOTABLE VIOLIN SOLOS: How w Pl3y Thcm. Thrcc Series

(coosisting of 44 dcscriprive Articles in all). By E. VAN DER
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NOTICE OF ANTHONY STRADIVAR l. Wilh a Theoretical
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author by 1be grcal violín maker Vuillaume.
OLO VIOLINS ANO VTOUN LOR.E, Famous Makers of Cre-
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PLAYING AT SIGHT FOR VIOLINISTS nnd Others in an
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70 PR.EPARATORY VIOLIN EXERCISES for Deginners in tbe
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TONAL SCALES A D ARPEGGIOS FOR VIOLIN. lntro-

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•

26 VJOLIN AND STRJNGED JNSTRUMENTS
TREATISE ON THE STRUCTURE ANO PRESERVATION OF

THE Vl OLIN and all othcr Bow Instruments. By JACOB
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VIOLIN AND CELLO BUILDING ANO REPAIRING. By
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required oí them. He has carricd out innumerable repairs to
violins, bows and
. ceBos, and
. is cntircly practica!.
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28 VOCAL
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Examples and Exercises and Chapters on Choir-Organization.
Compiled for the Use of Choirmasters. Jly GEOROE T. Ft.EM-
INO. Crown 8vo, cloth, 5/- : paper, 2/6.
TWELVE I.ESSONS O N BREATHING ANO BREATH
CONTROL for Singers, Speakers and Teachers. By GEORGE E.
THORP. Crown Svo, paper covers, 3/-.
TWENTY LESSONS ON THE OEVELOPMENT OF THE
VOICE. For Singers, Speakers and Teachers. By G. E.
"I'HORP. Crown 8vo, limp cloth, 2/6.
THE VOICE ANO SINGJNG. Practically Explnined. Condensed

but Comprchensive Treatise, designed principally for Students
and Amateurs, by an Experienced Singer and Teacher (C. W.
PALMER). Cloth, 5/-; paper, 2/6.
VOCAL SCJENCE ANO ART. Hints on Production of Musical

Tone. By REV. CHAs. Gro. The Boy's Voice, Muscular
Relaxation, Art of Deep Breathing, Elocution for Ordination
Candidates. Crown 8vo. cloth, 6/-.
VOCAL SUCCESS, o r Thinking and Fccling in Specch and Song,
including a Chapter on Ideal Brcathing for Health. By the
REv. CHAS. Gm. Crown Svo, cloth, S/- ; papcr covers, 2/6.
VOJCE PROOUCTION FOR ELOCUTION ANO SINGING.

By Rl!v. E. H. MELLINO. Music Examplcs. 31 pages, f'cap Svo,
cloth, 4/- ; paper covers, 2/-.
Printed in Creat Flritain by 66 a

Lowe a nd Brydonc (Printcrs)~mr ndon, N.W.1o
''( WOAo
o ~19
~ ~
¡.... t1'
' 02 5 SEP 1968 ;x¡
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© Biblioteca Nacional de España

This well-known book by William

© Biblioteca Nacional de España

© Biblioteca Nacional de España

HISTORY OF THE VIO LIN,

BOW FROM THE REMOTEST TIMES

ALSO, AN ACCOUNT OP TaE PRINCIPAL MAKER8, ENOLISH AND

POREIOS, WITB 1'iUMEROU8 ILLUSTIIATION8.

SIMON ANDR EW FORST ER.

u Omniutn rorum principia pautt eunt, aed euis progresa~

The righl af T,.,..,aMn i1 r<RMJ<d.

© Biblioteca Nacional de España

© Biblioteca Nacional de España

(wiT R 1' HRM 1881 0N)

NOBI LITY AND GENTRY OF Tl:IE SOCIETY OF

1 WAN DEni NO MINSTHELS.

© Biblioteca Nacional de España

~~~~·A VIN G for man y yea rs past been in the

© Biblioteca Nacional de España

© Biblioteca Nacional de España

thanks to that disting uished wr iter, Mons. de Cousse -

"Fclix qni potuit rc•·um coguosccrc causas.''

© Biblioteca Nacional de España

Greek and Romnn Instrumenta - Spurious Roman

© Biblioteca Nacional de España

© Biblioteca Nacional de España

llfnkcrs in Sevcntcenth Century-Fre nch-Itolinn -Gcrman-

English Mnkcrs, from Rnyman lo Betts . . . . . . . . 248

© Biblioteca Nacional de España

© Biblioteca Nacional de España

•'I""V\M ITH says, at the commencement of bis

© Biblioteca Nacional de España

pitch depcnds on thc length, thiclmcss, and tension of

© Biblioteca Nacional de España

© Biblioteca Nacional de España

to pay no attention to the trum pet marine, and looked as

© Biblioteca Nacional de España

© Biblioteca Nacional de España

© Biblioteca Nacional de España

© Biblioteca Nacional de España

work, "De Cantu et Musid. Sacra," mentions arnong

© Biblioteca Nacional de España

vocalist to sing it, whcn, although cvcry precaution was

The celebrated astronomcr Kcpler, bad a fanciful

© Biblioteca Nacional de España

© Biblioteca Nacional de España

that of the giraffc, had a bowed instrument that may

© Biblioteca Nacional de España

© Biblioteca Nacional de España

or barp-shaped instrumcnt , having twenty strings, held

© Biblioteca Nacional de España

" N ce plcch·urrt dcxtrft cythn•·nm tcnuissc sinislrfi

© Biblioteca Nacional de España

instrument; as, cytbara Barbara, cythara Teutonica.,

© Biblioteca Nacional de España

© Biblioteca Nacional de España

HE Egyptians were musical from the earlicst

© Biblioteca Nacional de España

© Biblioteca Nacional de España

ages were established in our country. The bow, we

© Biblioteca Nacional de España

T he chrot ta must have bcen know n on the Conti nent