Books › A descriptive catalogue of the musical instruments in the South Kensington museum, preceded by an essay on the history of musical instruments, 1874 › scan 363
Scan 363
A descriptive catalogue of the musical instruments in the South Kensington museum, preceded by an essay on the history of musical instruments, 1874
8 lines. Read by computer on 14 September 2026. Printed page 337. See the scan on archive.org.
1being the director for the evening of the Ancient Concert, had some music of the sixteenth century performed on instruments of that period, some of which were sent over by M. Fétis from Brussels for the purpose, Mr. Cawse lent this viol-da-gamba, which was played on by Mr. Richard Hatton. In the course of the evening he was desired to attend and show the instrument to the Queen, who examined it carefully, and expressed herself much pleased with it."
3This instrument was probably made by Tielke in Hamburgh. There are two instruments of the guitar kind made by Joachim Tielke, which were highly ornamented with mythological figures and precious stones, almost exactly like the present viola da gamba; one of these instruments dated, according to an engraved inscription, from the middle of the sixteenth century, and the other dated more than a century later. The Tielke family was very celebrated, and we find in old German books glowing accounts of their magnificent lutes ornamented with elaborate designs in silver, gold, and jewels. It appears, therefore, probable, that the name of Joachim Tielke was kept up through several generations, just as is now done by musical instrument makers who have obtained a high reputation; and thus the apparent discrepancy in the dates of Joachim Tielke's works, above noticed, may perhaps be satisfactorily accounted for.
5Attention must also be drawn to the old viola da gamba bow, placed near this instrument. Such a bow is now extremely scarce; but it may be known to musical inquirers from representations in some old pictures. It was held in a peculiar manner, as may be seen in the illustration, Fig. 103, copied from 'The Division Viol,' by Christopher Simpson, London, 1667, which nearly corresponds with the rule given by John Playford in his 'Brief Introduction to the Art of Descant,' London, 1683:—"Hold the bow betwixt the ends of your thumb and forefinger, an inch below the nut, the thumb and forefinger resting on the wood, the ends of your second and third fingers staid upon the hair, by which you may poise and keep up your bow. Your bow being thus fixed, you must draw it over one string, and then another, in a right angle, about two or three inches above the bridge, making each several string yield a clear sound without touching the other."
7As to tuning, Playford gives the following singular rule:—"When you begin to tune, raise your treble or smallest string as high as conveniently it will bear without breaking. Then stop only your second or small mean in F, and tune it till it agree in unison with your treble open. That done, stop your third in F, and make it agree with your second open. Then stop your fourth in E, and make it agree with your third
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