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Scan 922
Grove's dictionary of music and musicians;, 1907
17 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 859. See the scan on archive.org.
1was, from before 1838 to after 1855, doing a similar trade in sheet songs in St. Paul's Churchyard.
3CHARLES HENRY PURDAY, well known as a composer and a writer, was born at Folkestone, Jan. 11, 1799 (Brit. Mus. Biog.). He was a lecturer on musical matters, and at one time a vocalist of some repute. He directed much energy to the amendment of the law in relation to musical copyright, and he acted for some time as conductor of psalmody to the Scotch Church in Crown Street, Covent Garden, composing and editing a number of works of sacred music. Some of his secular songs, and his fine tune to 'Lead, kindly light,' attained considerable popularity. He was a contributor to the present Dictionary. Died in London, April 23, 1885.
5PURDIE, ROBERT, the founder of an extensive music-publishing business in Edinburgh. He is first heard of in 1804 as a music-teacher in Jollie's Close, Edinburgh, off the Canongate, but in 1805 he had removed to a better district, St. James' Square. In 1808 he opened a music shop at 35 Princes Street, and here he commenced the issue of sheet music. In 1813 the number of the premises changed to 71, and in 1828 it was again renumbered as 83.
7He quickly became the leading music-publisher in the Scottish capital; and besides a great deal of sheet music his imprint is on a well-known collection of Scottish songs, 'The Scottish Minstrel,' in six vols., edited by R. A. Smith, 'The Irish Minstrel,' and on similar works. On the failure of Nathaniel Gow, Purdie, in conjunction with Alexander Robertson, another Edinburgh publisher, reissued the Gow publications. Robert Purdie was succeeded near the year 1837 by his son John, and the business was carried on until about 1887.
9PURFLING. The inlaid line of plane wood, formed of three slips, of which the centre one is stained black, the two outer being left white, following the outlines of musical instruments of the violin and guitar type, which, owing to its utility in preserving the edges from chipping, is all that is left of the redundant ornamentation so skilfully employed by the ancient lute and viol makers. Some of the earlier makers, notably Jacob of Amsterdam, purfled with whalebone, but the true artists used, and still use, the three stripe sunk together into a carefully cut groove, and finished off when the glue is dry with a small gouge. 'Purfling' may be bought ready made, i.e. the three stripes ready glued together for inlaying, but this strains and buckles at the sharper bends with deplorable results upon the ultimate effect. (See VIOLIN-MAKING.) Some of the lavish decoration, purfled and otherwise, of former times is to be seen on modern Italian guitars and mandolines, but when, in the second half of the 16th century, viols began to give place to the violin, and makers turned their attention seriously to improving the tone qualities of the instrument, they gradually dispensed with the customary embellishments, deeming them a hindrance to their purpose. Bit by bit the dexterous inlayings in wood, ivory, mother-of-pearl, and gems, so dear to the heart of the ancient viol-maker, were rejected, but not without regret for their somewhat meretricious charm. The great makers, though cognisant of their dangers, could not wholly resist these graceful adornings. Gasparo da Salò made a violin, we are told, of which the head, finger-board, tailpiece, and bridge were carved by Benvenuto Cellini. Maggini strove to replace the ebony and ivory embellishments by purfled designs of elegant patterns, within the regulation line of purfling as we know it to-day. Amati made a couple of violins which were decorated at each corner and on the sides, at the blocks, with designs in black, of a fleur-de-lys, inlaid with precious stones, while other instruments, notably some of Andreas Amati, bear painted armorial bearings and inscriptions. Even Stradivarius himself ornamented some of his best violins with beautiful designs painted in black, or inlaid with ebony, and also, as in the case of the 'Rode' (1722), with a double line of purfling, enclosing a diamond pattern in mother-of-pearl. In Germany another relic of the old viol style of ornamentation was preserved by Jacobus Steiner, namely, the carved head. This form of decoration was also more popular in England than inlaying, though Barak Norman closely imitated the gracefully purfled designs of Maggini. Modern violin-makers confine themselves mostly to slight decorations of the tail-piece and pegs, though the Manchester maker Walter Mayson ornaments the backs of his finer violins with delicate carvings.—Hill, Antonio Stradivari; Hart, The Violin; Heron-Allen, Violin-making; Meredith Morris, British Violin-makers; Maugin & Maigne, Manuel du Luthier. one of two readings
10PURFLING. The inlaid line of plane wood, formed of three slips, of which the centre one is stained black, the two outer being left white, following the outlines of musical instruments of the violin and guitar type, which, owing to its utility in preserving the edges from chipping, is all that is left of the redundant ornamentation so skilfully employed by the ancient lute and viol makers. Some of the earlier makers, notably Jacob of Amsterdam, purfled with whalebone, but the true artists used, and still use, the three stripe sunk together into a carefully cut groove, and finished off when the glue is dry with a small gouge. 'Purfling' may be bought ready made, i.e. the three stripes ready glued together for inlaying, but this strains and buckles at the sharper bends with deplorable results upon the ultimate effect. (See VIOLIN-MAKING.) Some of the lavish decoration, purfled and otherwise, of former times is to be seen on modern Italian guitars and mandolines, but when, in the second half of the 16th century, viols began to give place to the violin, and makers turned their attention seriously to improving the tone qualities of the instrument, they gradually dispensed with the customary embellishments, deeming them a hindrance to their purpose. Bit by bit the dexterous inlayings in wood, ivory, mother-of-pearl, and gems, so dear to the heart of the ancient viol-maker, were rejected, but not without regret for their somewhat meretricious charm. The great makers, though cognisant of their dangers, could not wholly resist these graceful adornings. Gasparo da Salò made a violin, we are told, of which the head, finger-board, tailpiece, and bridge were carved by Benvenuto Cellini. Maggini strove to replace the ebony and ivory embellishments by purfled designs of elegant patterns, within the regulation line of purfling as we know it to-day. Amati made a couple of violins which were decorated at each corner and on the sides, at the blocks, with designs in black, of a fleur-de-lys, inlaid with precious stones, while other instruments, notably some of Andreas Amati, bear painted armorial bearings and inscriptions. Even Stradivarius himself ornamented some of his best violins with beautiful designs painted in black, or inlaid with ebony, and also, as in the case of the 'Rode' (1722), with a double line of purfling, enclosing a diamond pattern in mother-of-pearl. In Germany another relic of the old viol style of ornamentation was preserved by Jacobus Steiner, namely, the carved head. This form of decoration was also more popular in England than inlaying, though Barak Norman closely imitated the gracefully purfled designs of Maggini. Modern violin-makers confine themselves mostly to slight decorations of the tail-piece and pegs, though the Manchester maker Walter Mayson ornaments the backs of his finer violins with delicate carvings.—Hill, Antonio Stradivari; Hart, The Violin; Heron-Allen, Violin-making; Meredith Morris, British Violin-makers; Maugin & Maigue, Manuel du Luthier. one of two readings
12PURITANI DI SCOZIA, I. Opera in two acts; words by Count Pepoli, music by Bellini. Written for Grisi, Rubini, Tamburini, and Lablache, and produced at the Théâtre des Italiens, Paris, Jan. 25, 1835. In London, at the King's Theatre, as 'I Puritani ed i Cavalieri,' May 21, 1835.
14PURITAN'S DAUGHTER, THE. 'A grand romantic drama' in three acts; words by J. V. Bridgeman, music by Balfe. Produced at the English Opera-House, Covent Garden, London, Nov. 30, 1861 (Pyne and Harrison).
16PYE, KELLOW JOHN, the son of a merchant, was born at Exeter, Feb. 9, 1812. His musical tendencies showed themselves early. He entered the Royal Academy of Music, in February 1823, immediately after its foundation, and took the first pianoforte lesson ever given within its
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