Books › A special loan exhibition of musical instruments, manuscripts, books, portraits, and other mementoes of music and musicians, formed to commemorate the tercentenary of the granting by King James I of a charter of incorporation to the Worshipful company of musicians in 1604 .., 1904 › scan 10
Scan 10
A special loan exhibition of musical instruments, manuscripts, books, portraits, and other mementoes of music and musicians, formed to commemorate the tercentenary of the granting by King James I of a charter of incorporation to the Worshipful company of musicians in 1604 .., 1904
4 lines. Read by computer on 1 October 2026. No printed page number was found. See the scan on archive.org.
1to Mr. Adolph Schloesser, Mr. J. E. Street and Mr. Randegger, acknowledgments in this respect are especially due.
3So far as the making of musical instruments is concerned, it may be thought by some that little is to be learned from an exhibition of ancient examples of the art. But that would be to take a very superficial view of the matter. The violin, it is true, remains practically unchanged since Andreas Amati made at Cremona in 1564 a violin shown in this collection. Apart from size that instrument in its lines and form constitutes the standard of violin-making for the craftsman of to-day. It is by the study of such instruments that the eye is best trained and that inspiration is caught. The chances of seeing them are rare, and must inevitably become rarer, and therefore such an opportunity as is now afforded should not be neglected. This observation applies more particularly to this Exhibition because, in the collection of stringed instruments exhibited, an effort has been made to illustrate the evolution of the violin, and specimens are to be seen here which have never been shown before. With keyboard instruments too the external form has altered but little from former days; but the modern worker can always learn something from those who have gone before if only an opportunity is afforded him of examining their craftsmanship. As a striking example of this truth we may cite the Ruckers harpsichord lent by the Countess of Dudley, the case of which can be studied as an object lesson of the highest value. Though it was not within the purpose of the present Exhibition to show instru-
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