Books › the history of the violin, 1864 › scan 334
Scan 334
the history of the violin, 1864
67 lines. Read by computer on 28 September 2026. Printed page 312. See the scan on archive.org.
1standing in the art. But to return from this digression; the "Passione" is a large, or, as the trade would say, "heavy work," from the number of plates required, and all other expenses attendant on bringing it before the public; the probable cost in 1786-7 would be as here enumerated:—
3<table>
4 <tr>
5 <th></th>
6 <th></th>
7 <th>£</th>
8 <th>s.</th>
9 <th>d.</th>
10 </tr>
11 <tr>
12 <td>65 Pewter plates, at 1s. 6d. per plate</td>
13 <td></td>
14 <td>4</td>
15 <td>17</td>
16 <td>6</td>
17 </tr>
18 <tr>
19 <td>Engraving the same, at 4s. 6d. do.</td>
20 <td></td>
21 <td>14</td>
22 <td>12</td>
23 <td>6</td>
24 </tr>
25 <tr>
26 <td>Copper title and engraving</td>
27 <td></td>
28 <td>1</td>
29 <td>11</td>
30 <td>6</td>
31 </tr>
32 <tr>
33 <td>66 quires of perfect paper for 75 copies, at 1s.</td>
34 <td></td>
35 <td>3</td>
36 <td>6</td>
37 <td>0</td>
38 </tr>
39 <tr>
40 <td>Printing 75 copies, at 1s. 2d.</td>
41 <td></td>
42 <td>4</td>
43 <td>7</td>
44 <td>6</td>
45 </tr>
46 <tr>
47 <td colspan="4"></td>
48 <td>28 15 0</td>
49 </tr>
50 <tr>
51 <td>Cost of the manuscript</td>
52 <td></td>
53 <td>10</td>
54 <td>10</td>
55 <td>0</td>
56 </tr>
57 <tr>
58 <td>Making in the aggregate</td>
59 <td></td>
60 <td>£39</td>
61 <td>5</td>
62 <td>0</td>
63 </tr>
64</table>
66Fifty copies was the first number which was printed; and about the year 1817-18 another twenty-five were struck off, making a total of seventy-five copies; the full price of each copy was fifteen shillings; but many of those first printed were sold to subscribers for 10s. 6d. each, and it is questionable if any of the remaining copies realized more than the trade price of twelve shillings, therefore averaging them at the last sum a total of forty-five pounds would be the result. However it is known that several copies of those last printed were disposed of as waste paper, therefore no very profitable trade speculation. Publishing orchestral and other instrumental music in England was not, nor is it at this time, a successful adventure; but William Forster (2) appreciated the merit of Haydn's music and hazarded the result; being the first in this country to introduce the works of
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