Books › the history of the violin, 1864 › scan 275
Scan 275
the history of the violin, 1864
5 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 253. See the scan on archive.org.
1with certain qualifications, to complete the collection of instruments requisite for the various performances (p. 246): "After all this, you may add to your press, a pair of violins, to be in readiness for any extraordinary jolly, or jocund consort occasion; but never use them, but with this proviso, viz. Be sure you make an equal provision for them, by the addition, and strength of basses; so that they may not out-cry the rest of the musick (the basses especially), to which end, it will be requisite, you store your press with a pair of lusty full-sized theorboes, always to strike in with your consorts, or vocal musick; to which that instrument is most naturally proper."
3The first maker of violins in England to whom we have any guide, is Jacob Rayman, about 1641; but no record is known to indicate of whom he learned the art. It has been asserted by some persons that he made violins of a large size, but those which have been seen are small, and not of an elegant outline or model; the fore-bout being wide, the short-bout long, and out of all proportion with the lower part of the instrument. However, he was a maker of talent and ability: the tone was clear, penetrating and silvery; not possessing the reedy quality of the Cremona violins, but partaking more of the Brescia character; and his instruments were highly prized. In the extracts from the catalogue of musical instruments for sale, the property of Thomas Britton, "the small-coal man," who died in 1714, lot 8, a violin is stated as "an extraordinary Rayman;" and in a note Sir J. Hawkins remarks, "The tenor violins made by him" (Rayman) "are greatly valued." Notwithstanding the purfling is done indifferently, yet the work, generally, was neat and good, the fluting at the edge where the purflé is inlaid is deep and acute. The sound hole is rather small, like that one of two readings
4The first maker of violins in England to whom we have any guide, is Jacob Rayman, about 1641; but no record is known to indicate of whom he learned the art. It has been asserted by some persons that he made violins of a large size, but those which have been seen are small, and not of an elegant outline or model; the fore-bout being wide, the short-bout long, and out of all proportion with the lower part of the instrument. However, he was a maker of talent and ability: the tone was clear, penetrating and silvery; not possessing the reedy quality of the Cremona violins, but partaking more of the Brescia character; and his instruments were highly prized. In the extracts from the catalogue of musical instruments for sale, the property of Thomas Britton, "the small-coal man," who died in 1714, lot 8, a violin is stated as "an extraordinary Rayman;" and in a note Sir J. Hawkins remarks, "The tenor violins made by him" (Rayman) "are greatly valued." Notwithstanding the purfling is done indifferently, yet the work, generally, was neat and good, the fluting at the edge where the purflle is inlaid is deep and acute. The sound hole is rather small, like that one of two readings
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