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Scan 111
Old Violins And Their Makers, 1883
4 lines. Read by computer on 30 September 2026. Printed page 97. See the scan on archive.org.
1theorising into the discussion, and in this regard two old French proverbs might be united, and applied without offence to the conclusions of Dr. Schebek—"La famine amène la peste et la fantaisie fait la loi à la raison."
3Germany has, at any rate, many claims to an early acquaintance with the violin, and it is, indeed, in the literature of that country where the first serious modern references to musical instruments of that kind are made. M. Vidal gives an illustration of a kind of viol with elliptical side scoops, which he has taken from an engraving of 1517, by, he says, Albrecht Dürer, whose father-in-law, by the way, was a lute maker. This engraving is not, however, by Dürer, but by Hans Burgkmair; and although it is, perhaps, of subsidiary importance and somewhat outside the scope of this book, as it happens to contain one of the early representations of the violin, it may not be uninteresting to give some details of its history. "Le Triomphe de l'Empereur Maximilien," of which an edition was published in Vienna in 1796, was, at first, done in miniature. An impression was made on 109 parchment leaves, of which, I believe, there are originals in the National Library in Paris. It was subsequently engraved on wood in 135 plates, forty of which were discovered at the castle of Ambras in the Tyrol—a very ancient and picturesque place, containing many relics of early times. During the wars of the Revolution it was despoiled of its treasures, but a considerable portion of them are still to be seen in Vienna. One of the most astounding relics yet remaining at Ambras is a bit of the rope with which Judas hanged himself, accompanied by a certificate as to how it was obtained. The other
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