Books › the history of the violin, 1864 › scan 282
Scan 282
the history of the violin, 1864
4 lines. Read by computer on 28 September 2026. Printed page 260. See the scan on archive.org.
1attracted his notice, and an arrangement was made not to sell the same until a friend of his had seen it. On his return home the circumstance was mentioned to James Crossdill, who ultimately bought the violoncello at a very small cost; and on its being cleaned and put in order, it was acknowledged a genuine Barak Norman, of superior quality of tone, having much power, although so small in size; the varnish was of a brown colour, but not so dark as that in general use. This instrument became a special favourite with the owner, who frequently used the same in his professional duties, and being the instructor to the Prince of Wales, afterwards George IV. it was taken to Carlton House on some occasion, when the tone much pleased the Prince, who expressed a desire to possess it; however the professor withstood several liberal offers. At a subsequent period a page was sent for this instrument, as the Prince wished to use the same that evening. The result was that the violoncello was never returned; and His Royal Highness stated that Crossdill might keep an Amati violoncello which had cost seventy guineas in lieu of it. About this time also a sinecure place of one hundred pounds per annum became vacant, which was given to Crossdill as the amende honorable to sooth the disappointment and loss, which sinecure he retained until his decease.
3A violoncello made by Barak Norman in 1718 was, in the year 1790, considered of the value of fifteen guineas, since that time they have realized much larger sums. Nathaniel Crosse, or Cross: it is not known by whom this maker was instructed; his style greatly resembles that of Steiner, the fluting round the edge where the purfle is inlaid is very acute, and his instruments are beautifully worked in all particulars. The printed label used by him previous to becoming a partner with Barak
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