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Scan 56
Notice of Anthony Stradivari, 1864
6 lines. Read by computer on 24 September 2026. No printed page number was found. See the scan on archive.org.
1This is, indeed, the real compass of the violin, from the fourth open string of the instrument to the use of the fourth finger on the first string; because the shift was then, and even for a considerable time afterwards, wholly unknown. Now, this compass does not agree with that of any viol known. However, although the violin evidently existed from that time, it was doubtless but little used in Italy; for its name does not appear in the enumeration and analysis of the instruments given by Cerreto in his book printed in 1601*. The first certain use of the violin occurs in Monteverde's Orfeo, which was performed at Mantua in 1607†; but even the author's own words lead us to believe that this modification of the viol did not originate in Italy: for, in the enumeration of his orchestra, which precedes the introductory symphony, he mentions—besides ten viole da brazzo (arm viols), three bassi da gamba (leg basses), and two contra-bassi di viola (double bass viols)—duoi violini piccoli alla francese (two little violins of the French sort). However this may be, we find the violin soon afterwards, in the form now known, in the Theatrum Instrumentorum, seu Sciagraphia, of Michael Prætorius, published at Wolfenbuttel in 1620. The curves [in the sides], the corners and the purfling, are all like those of our violin. Sound-holes of the ff shape have been substituted for those made like J C; the neck, free (dégagé), narrow and rounded, has there taken the place of the broad, flat
3* Lib. iv, cap. viii—xi, pp. 313—335.
5† L'Orfeo, favola in musica da Claudio Monteverde, maestro di capella della serenissima repubblica (di Venezia), rappresentato in Mantova l'anno 1607. Venice, 1615. 2nd edition.
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