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Scan 60
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.
1by different amateurs in Paris until the present time. A superb bass-viol, on the back of which is represented the plan of Paris in the fifteenth century, is now the property of M. Vuillaume, but previously belonged to the late J. M. Raoul, King's Counsellor, and Advocate in the Court of Cassation. This amateur—a violoncellist of some merit, who has published several compositions and a Method for the Violoncello—endeavoured to resuscitate the bass-viol, to which he gave the name of heptachord. A notice on the labours of M. Raoul on this subject has appeared in the Revue Musicale by the author of this work (tome ii, pp. 56—61).
3In gradually approaching the middle of the sixteenth century, we find Venturi Linarolli, who worked at Venice in 1520; Peregrino Zanetto, of Brescia, in 1540; and Morglato Morella, of Mantua, perhaps a pupil of Dardelli, and of whom instruments are known bearing the date 1550. It thus appears that these old masters made nothing but viols of all kinds and sizes, most of which have been destroyed to form tenor violins, and to repair ancient instruments which are still in use. Modern violin makers have always sought after them for this purpose.
5The first period of Italian viol-making, of which we have just spoken, was succeeded by that of the creation of the violin, and its relatives of deeper pitch—the alto, the violoncello, the bass (of somewhat larger dimensions than the preceding), and the quint-bass, or primitive double-bass. The first in date, among the artists of this second period, is Gaspard or Gasparo di Salo, so
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