Books › the history of the violin, 1864 › scan 180
Scan 180
the history of the violin, 1864
8 lines. Read by computer on 28 September 2026. Printed page 158. See the scan on archive.org.
1is turned about; the stops in every one are touched with the left hand." He gives two representations of the viol; we have represented the largest of them (Fig. 57). The instrument translated harp, is more like the hurdy-gurdy, and the nablium or psaltery like the harp, but the figures are not clear.
3Hawkins gives a list of instruments bought for the use of the Music School at Oxford, about 1667, which included "2 violins, with their bowes and cases, bought of Mr. Comer in the Strand; cost 12l. 10s. and are at 2d hand."
5There were numerous publications for the varieties of the violin and viol in the last part of this century. Matteis had his compositions engraved on copper plates for the use of his scholars and others, and made much money by them. Baltzar also composed for the violin, viol, and "harpsicon;" also for lyra-violin, treble-violin, and bass. Playford in 1655 published "Court Ayres; or Pavins, Almaines, Corants, and Sarabands, Treble and Basse, for Viols or Violins;" and in 1662, something similar; John Jenkins, Davis Mell, and John Bannister being among the composers. John Jenkins, about 1660, published twelve sonatas for two violins and bass, with thorough bass for the organ, which are said to have been the first of the sort known in England. Matthew Lock and Henry Purcell both composed trios of the same description.
7There appears to have been an improvement in the bow in this century. It was originally made of reed or some light and flexible wood, and in the earlier times was much curved, somewhat similar to our double-bass bow, and frequently of awkward make, with a strand
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