Books › A popular account of ancient musical instruments and their development, as illustrated by typical examples in the Galpin collection at Hatfield, Broad Oak, Essex, 1897 › scan 68
Scan 68
A popular account of ancient musical instruments and their development, as illustrated by typical examples in the Galpin collection at Hatfield, Broad Oak, Essex, 1897
2 lines. Read by computer on 30 September 2026. Printed page 50. See the scan on archive.org.
1the great poet, Hugh Rebec, Simon Catline, and James Soundpost must have been rebec players. The rebec became a street instrument after the introduction of the viol and violin. When played at village festivals it was accompanied by the drum and tambourine. Some curious laws relating to the rebec were in vogue in France, even as late as the last century. In 1742 Guignon, who was styled Roi des Violons (King of Violins), issued an order prohibiting street musicians from using the violin. The notice was as follows:—"Il leur sera permis d'y jouer d'une espèce d'instrument à trois cordes seulement et connu sous le nom de Rebec sans quils puissent se servir d'un violon à quatre cordes sous quelque pretexte que ce soit," which means in English that street musicians were only allowed to play upon a three-stringed instrument called a rebec, and upon no pretext whatever were they to use a violin with four strings. As far back as 1628 the instruments of the
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