Books › Notice of Anthony Stradivari, the celebrated violin-maker, known by the name of Stradivarius:, 1864 › scan 30
Scan 30
Notice of Anthony Stradivari, the celebrated violin-maker, known by the name of Stradivarius:, 1864
4 lines. Read by computer on 28 September 2026. Printed page 8. See the scan on archive.org.
1sycamore fig-tree (figuier-sycomore), worked round and then curved, to which is attached and stretched a hank of the same hair [as that used for the strings].
3The instruments already described fall not, properly speaking, within the domain of art; they belong to music of a primitive and popular kind, the instinctive expression of a feeling which has everywhere preceded genuine art. In the same category must be ranged, as mere varieties, certain other instruments made on the same principle, the diversity in the forms of which appears to have originated only in fancy. Such is the rebáb of the Arabs, which does not enter into any combination of instruments used at concerts in eastern countries, and which serves no other purpose than to guide the voice of the poets and story-tellers in their chanted recitations. The body of the rebáb consists of four sides, on which are stretched two pieces of parchment, which thus form the belly and the back. This combination of parts presents the appearance of a trapezoid, of which the summit is parallel to the base, and the two sides are nearly equal. The neck is cylindrical, and formed of a single piece, including the head. The foot consists of an iron rod fixed into the neck, which passes through the instrument. The rebáb is placed on this foot, like the kemângeh à gouz. There are two kinds of rebáb, both of which have the same form: the first is called the poet's rebáb, and has only one string; the other, which has two, is named the singer's rebáb. To say the truth, the rebáb is nothing but a modification of the Indian rouana—a modification which consists only in the form of the body of the instrument. The rebáb
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