Scan 266
A dictionary of old English music & musical instruments 1923, 1923
10 lines. Read by computer on 19 September 2026. Printed page 236. See the scan on archive.org.
1used in the Chapel Royal, and at the concerts of Thomas Britton, the musical coalman, the Gamba was extensively used.
3Although it is not intended to make of this work one of biography, it is necessary to mention two men who played a very important part in the later history of the Bass-Viol. Each was representative of a certain class of composer and performer: the one appealing to the serious musician, and the other—though himself a great musician—to the more popular taste: one of them Christopher Simpson, and the other John Jenkins. The former by his sound musicianship and amazing technique said what was probably the last word in the development of viol-music. He published a good deal of educational music, the chief being his Compendium (1665, 1667, and seven later editions, the last appearing near the end of the Eighteenth Century), and his Division-Violist (first edition, 1659), a purely technical work on the Viol and its handling in Divisions. Jenkins was typical of the "old-fashioned school," and though not so profoundly learned as Simpson, secured the affectionate regard of all his contemporaries by his geniality, originality, and charm.
5The Bass-Viol, the last of a great and noble race, died none too easily. Thomas Mace, in the last quarter of the Seventeenth Century, did his utmost to defend the older instrument against the "scolding violins," but it was too late. A few good players still remained, and a post was open for a violist in the Chapel Royal until the middle of the Eighteenth Century; but the glory had departed, and the place of the Gamba was taken by the bass of the violin family.
7VIOL DE GAMBOYS. v. VIOLS.
9VIOLET, VIOLLETT: Undoubtedly derived from the Italian Violetta, a Small Viol. Although the meaning of the term is quite clear, it is not always easy to know exactly what instrument is referred to when the word was used in the Seventeenth Century. In its earliest uses this diminutive of Viola was certainly applied to a high-pitched treble-viol; later it named the small French violins, possibly also the Kits. It is to be found occasionally as a designation for the Viola d'Amore, but this last-named instrument was far too little used here to require special treatment at this place. Why he should have
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