Books › the history of the violin, 1864 › scan 220
Scan 220
the history of the violin, 1864
9 lines. Read by computer on 28 September 2026. Printed page 198. See the scan on archive.org.
1who had himself written a work on the Poetry, Music and Instruments of the French, as mentioned in his Glossary (2—33), but which was never published,) possessed three basses of this maker, having necks curiously carved. The first had seven strings tuned thus:—
3On the back was a representation of Paris in the sixteenth century, executed in different coloured wood, and on the front was St. Luke, after Raphael. The second had this inscription within, "Gaspard Duiffoprugcar a la Coste Sainct Sebastien, à Lyons." On the back was a representation of the Moses of Michael Angelo; a salamander, the device of Francis I. was carved on the neck. The third had the figure of St. John, after Raphael, on the back, and on the finger-board the following lines, which were frequently used by this maker:—
5 "Viva fui in sylvis, sum durâ occisa securi,
6 Dum vixi, tacui: mortua dulcè cano,"
8This couplet is said to have been on the violin of Palestrina, which was probably therefore one by this maker. The late celebrated tenor player, Hill, left some manuscript collections towards the history of the violin; he does not in general give any authorities, and his dates and names are in several cases doubtful; but his anecdotes and particular descriptions may probably be depended on. He says that Mons. Cartier had a beautiful bass-viol and an alto-viol of this maker; but the most interesting instrument made by him was a violin of large pattern, the only one known, having his name and the date 1539; this date, however, must be wrong. The tone was powerful and penetrating; the head of a fool
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