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Scan 278
the history of the violin, 1864
10 lines. Read by computer on 28 September 2026. Printed page 256. See the scan on archive.org.
1manufactured the violin as known at the present day: not that the gift above noticed is such an instrument; nevertheless, whoever made it must have seen one of more graceful form and of greater elegance; without all the elaborate and useless ornamental carving, most detrimental to tone and practical utility.
3A maker named Thomas Cole was living about the same time as the three just noticed; but no instrument has been preserved to this time to support his title as a workman. The label was as follows:—
5"Thomas Cole, near Fetter Lane in Holborn. 1672."
7Daniel Parker, of London, 1714-15. This maker evidently was a pupil of one of the previous persons who lived in the latter half of the seventeenth century, and by the scroll or volute of the head it would probably be Urquhart or Pamphilon; however he has shown himself a person not inclined to adhere to old instructions, but to progress in the art, and he made a first step towards improvement both in the outline and model.
9Violins are the only instruments known of this maker, neither viola or violoncello has been seen, and the general character of the body of the instrument approached to the shape and form of the Amati school, however not quite so elegant. The varnish may be alcoholic, of an unpleasant brick-dust red colour, thickly laid on the instrument and not agreeable to the eye. The figure of the wood is generally handsome, the tone very good, clear, and powerful. About 1793 the violins of this maker were valued at five guineas, and in the beginning of the first half of the present century they have realized twelve and fifteen guineas, but now are again reduced in amount, from the desire of performers to possess
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