Books › De fidiculis bibliographia: being an attempt towards a bibliography of the violin and all other instruments played with a bow in ancient and modern times, 1890 › scan 509
Scan 509
De fidiculis bibliographia: being an attempt towards a bibliography of the violin and all other instruments played with a bow in ancient and modern times, 1890
11 lines. Read by computer on 29 August 2026. No printed page number was found. See the scan on archive.org.
1concert given by Mr. Edgar Haddock (son of the owner of the instrument) in 1892, at which he played upon it. It was better known as "The Gillott Strad," and I think it is a pity to have changed its name.
3162a. HAJDECKI, Alexander. Die Italienische | Lira da Braccio. | Eine Kunst-Historische studie zur | Geschichte der Violine | nebst eine | Anhang | mit Nachrichten über einige der ältesten Violenbauer | von | A. Hajdecki.
4[Quotation.] "Le Violon de l'ancien luthier, est | sans contredit un véritable object [sic] —d'art et non l'ouvrage d'un simple | artisan."
5Prince Ioussoupow.
7Mostar (Bosnia), 1892. (For the Author.)
8V. M. Radovic. Large 8vo. pp. vi and 62 and iv.
10The object of this work is to disprove the theory put forward by Herr Ruhlmann, M. Vidal, Mr. Engel, M. Mordret, Signor Piccolellis, and myself that the viola is the immediate ancestor and progenitor of the violin. In his "Einleitung," Major Hajdecki advances all the arguments against his case with a fidelity and scholarship that are little short of marvellous. Chapter I. is a most careful study of the viols and a comparison between them and the viola and the violin, headed, "The Violin is not derived from the Viola." Chapter II. goes into the actual ancestry of the violin, deriving it directly from the Lira da Braccio, which the author states to have been an actual four-stringed violin. Chapter III. deals with the first makers of the violin, and the originators of the true violin-shape, and in it he quotes me against myself with startling ingenuity! The author gives us a very remarkable essay on pictorial representations of the early viols, concluding with interesting notes on attempted alterations of the recognized shapes. These three chapters are resumed in a most
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