Bow & Bridge Violin and bow makers, as the old books printed them

Books › The History of the Violin: And Other Instruments Played on with the Bow from the Remotest Times to the Present, Also, an Account of the Principal Makers, English and Foreign, with Numerous Illustrations, 1864 › scan 159

Scan 159

The History of the Violin: And Other Instruments Played on with the Bow from the Remotest Times to the Present, Also, an Account of the Principal Makers, English and Foreign, with Numerous Illustrations, 1864

4 lines. Read by computer on 29 August 2026. Printed page 137. See the scan on archive.org.

1others connected with these masques, and otherwise engaged by the court, and the names of the leading persons. As in 1610, at a masque given by Queen Anne, Thomas Lupo, who was a distinguished performer on the instrument, had 5l. for setting the dances to the violins; the ten violins that continually practised to the queen, 20l., and four more that were added at the masque, 4l. In the Prince's Masque and Barriers, 1611, the same Thomas Lupo again had 5l. for setting the dances; the company of violins, 32l., and Thomas Lupo the elder, Alexander Chisan, and Rowland Rubidge, violins, 10l. In a court masque in 1613, where the celebrated Inigo Jones had 50l. for superintending, the same Thomas Lupo had 10l. and John Copery, who we may assume was the skilful John Coperario, or Cooper, was paid 20l.; and ten of the king's violins received 10l. On the 23rd Nov. 1607, there is a warrant to pay Daniel Farrant, one of the king's musicians, for the violins, 46l. per annum. On the 22nd March, 1608, Alex. Chesham (the same, no doubt, as Alexander Chisan) was appointed one of his Majesty's musicians for the violins; and on the 6th February, 1612, Horatio Lupo had a grant of the place of the musician on the violin for life. Charles Guerolt and Thomas Giles appear at different times as instructors in music of Prince Henry, with annuities of 100 marks each. This prince, it is known, died young; but whether in consequence of a cold taken at the time of the visit of the Count Palatine to marry his sister Elizabeth, or from other causes hinted at, it is foreign to our purpose to inquire into.
3Charles I. was not only a great patron of music, but also a fine player on the bass-viol or viol da gamba himself, especially in "those incomparable phantasies

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