Bow & Bridge Violin and bow makers, as the old books printed them

Books › Grove's Dictionary of Music and Musicians, 1928 › scan 195

Scan 195

Grove's Dictionary of Music and Musicians, 1928

24 lines. Read by computer on 12 September 2026. Printed page 155. See the scan on archive.org.

1the 'Sarasate,' 1724; the 'Rode,' 1722; the 'Deurbroucq,' 1727; the 'Kiesewetter,' 1731; the 'Habeneck,' 1736; the 'Muntz,' 1736 (both of these show the shaky hand of the veteran master).
3Violas: The 'Tuscan,' 1690, preserved in the Municipal Institute, Florence—it bears Stradivari's monogram stamped on the mortice of the neck, the original finger-board, tail-piece, tail-nut, and bridge; two violas, 1696, belonging to the quintet of inlaid instruments for some years owned by King Philip IV. of Spain; the 'Archinto,' 1696 (named after Count Archinto who owned a Quartet of Strads); the 'Macdonald,' 1701; Paganini's viola, 1731, which inspired Berlioz to write his symphony 'Harold in Italy.'
5Violoncellos: The 'Archinto,' 1689; the 'Tuscan,' 1690; the 'Aylesford,' 1696; the 'Cristiani,' 1700; the 'Servais,' 1701; the 'Gore-Booth,' 1710; the 'Duport,' 1711; the 'Adam,' 1713; the 'Batta,' 1714; the 'Piatti,' 1720; the 'Baudiot' and 'Gallay,' 1725, comprise some of the finest instruments made by Stradivari (see also QUARTETS OF INSTRUMENTS).
7BIBL.—ALFONSO MANDELLI, Nuove indagini su Antonio Stradivari; W., A F. & A. HILL, Antonio Stradivari; VINCENZO LANCETTI, Biografia cremonese; CARL SCHULZE, Stradivaris Geheimnis; HORACE PETHERICK, Antonio Stradivari; FEDERICO SACCHI, Gli strumenti di Stradivari (Estratto della Gazzetta Musicale), Milano, anno 1892; ÉDOUARD ROCHE, Stradivarius; JULIET VON LEPFEL GUITZ (née Buchanan Austin), Ein Stradivarius; ANONYMOUS (Enrico Stradivari), Cenni sulla celebre scuola cremonese, Cremona, 1872; F. J. FÉTIS, Antonio Stradivari luthier célèbre, Paris, 1856 (English translation by John Bishop, London, 1864); H. R. HAWES, My Musical Life, pp. 314-28, Stradivarius of Cremona, his House; C. READE, Cremona Violins (vide Readiana); ANON., A Short Account of a Violin by Stradivari dated 1690; W. E. HILL & SONS, The Tuscan Strad; E. J. PAYNE, The Violins of Stradivari, pp. 202-4; Musical Standard, vol. xxxiv., London, 1888; GIOVANNI DI PICCOLELLIS, Liutai antichi e moderni; JULES GALLAY, (1) Les Luthiers italiens aux XVIIe et XVIIIe siècles, Paris, 1869 (only 500 copies printed); (2) Les Instruments des écoles italiennes; RICHARD G. WHITE, Antonius Stradivarius (The Atlantic Monthly), Boston, vol. xlv. p. 253, 1880; The Stradivarius case at the Violin Loan Exhibition (Musical Star), Edinburgh (secular), No. 167, July 1885; J. M. FLEMING, The Stradivarius Violin, the Emperor, London, 1891; JOSEPH PEARCE (jun.), Violins and Violin-makers; A. VIDAL, Les Instruments à archet; G. HART, The Violin; The Salabue Strad (the Messie), W. E. Hill & Sons, London, 1891; LOUIS PERRARD, Le Violon, son histoire; VON LUTGENDORFF, Die Geigen- und Lautenmacher; GEORGE ELIOT, Stradivari (poem); LONGFELLOW, Tales of a Wayside Inn; ROBERT FISSORE, Les Maitres luthiers.
9E. H.-A.
11(2) FRANCESCO (b. Cremona, Feb. 1, 1671; d. May 11, 1743), son of the above by his first wife, née Francesca Feraboschi.
13(3) OMOBONO (b. Cremona, Nov. 14, 1679; d. June 8, 1742), also a son by the first wife. Both were interred in the Villani vault. They were the only members of Stradivari's family who embraced their father's profession, and although their work is not without merit, their brilliant and long-lived father entirely eclipsed them. During the latter years of Stradivari's life there is little doubt that they assisted him, probably in conjunction with Carlo Bergonzi, in constructing his violins. This would account for those specimens of the great master's work that frequently gave rise to controversy. But for the hand of the vandal these 'doubtful' instruments would bear the label 'sotto la disciplina d'Antonio Stradivari,' by which inscription he distinguished the instruments made in co-operation with his sons. These tickets have, however, in almost every case, been removed, and fresh ones, bearing Antonio Stradivari's name alone, inserted. Of the two brothers, Francesco was the better luthier. His work is not without originality, the outline of his ff holes in particular differing greatly from that of his father. A picture of one of his violas is included in George Hart's The Violin.
15E. H.-A.
17STRAETEN, EDMOND VAN DER (b. Oudenaarde, Flanders, Dec. 3, 1826; d. there, Nov. 25, 1895), distinguished Belgian musician and writer on music, was educated for the law, first at Alost, and afterwards in the University of Ghent.
19On his return to Oudenaarde he continued the cultivation of his taste for music, in combination with numismatics and archaeology, the last-named pursuit powerfully influencing the determination of his career. While in his native town he organised and directed performances of excerpts from operatic works, and in 1849 himself set to music a three-act drama, entitled 'Le Proscrit.' At this early age he began that research in the rich musical archives of his native country which he later gave to the public in his literary works. Van der Straeten next became secretary to Fétis, who was then director of the Brussels Conservatoire, at the same time continuing his studies in harmony and counterpoint, the latter under Fétis, with whom he entered into active collaboration, in cataloguing the historical section of the Royal Library and contributing numerous articles to Fétis's biographical dictionary. He thus spent fourteen years in preparation for his own historical productions. During this time he acted as musical critic to Le Nord, L'Écho du Parlement and L'Étoile belge, and wrote, as well, in various reviews. His early books are Coup d'œil sur la musique actuelle à Oudenaarde (1851); Charles Félix de Hollandre (1854); Les Carillons d'Oudenaarde (1855); Recherches sur la musique à Oudenaarde avant le XIXe siècle (1856); Examens des chants populaires des Flamands de France (1858); Jacques de Goüy (1863); and J. F. J. Janssens (1866).
21The first volume of his great work, La Musique aux Pays-Bas, appeared in 1867, and the eighth in 1888; it marks the period of his entire devotion to the publication of his archaeological discoveries. He had formed an important library of materials for the musical history of the Low Countries, and had also collected musical instruments bearing upon his studies, including his beautiful Jean Ruckers clavecin of 1627, figured in his third volume.
23The Belgian Government now charged van der Straeten with artistic and scientific missions which involved his visiting Germany, Italy, France and Spain. He visited Weimar in 1870, for the model representations of Wagner's operas, and his reports are alike distinguished

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