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Scan 53
Old Violins And Their Makers, 1883
2 lines. Read by computer on 3 September 2026. Printed page 39. See the scan on archive.org.
1caused almost equally everywhere; while the Duke of Savoy, promoting all sorts of industries among his own subjects, became, as it were by accident, a kind of rival of Duke Cosmo of Medici. The temporal state of the Church became quieter. The military system of the country was reformed, and what, perhaps, most conduced to its pacification in rendering assaults and invasions from without more difficult and less frequent, new and strong fortifications were erected about the same time in a number of towns in Piedmont, Savoy, and elsewhere. With all these aids to security and tranquillity, Italy enjoyed more than half-a-century of prosperous repose, and, although the rivalry between the houses of Savoy and Medici gave an immense impetus to art of all kinds—the higher forms making gigantic strides—and Emanuel Filiberto almost equally with Duke Cosmo became a patron of learning and the encourager of art, the rapid development of that of violin making towards the end of the sixteenth century, on through the seventeenth, and part of the eighteenth, is, I think, mainly, if not entirely, due to the abnormal increase in churches, conventual establishments, and palaces, which was initiated towards the end of the sixteenth century; for about that time the celebrated architects, Palladio and Scamozzi, flourished, and a vast number of churches and palaces were erected by them or from their designs in all parts of Italy. Hosts of new religious orders were instituted, drawing into their ranks great numbers of the people, which, indeed, is considered by some native writers on the period to be one of the chief explanations of the slow increase of population noticeable during that time. The musical portions of the religious services
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