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 218
Scan 218
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
6 lines. Read by computer on 29 August 2026. Printed page 197. See the scan on archive.org.
1of many makers; but his books are very inaccurately printed, and his dates, and even frequently his names, are very confused and not to be depended on.
3Pietro Dardelli, of Mantua, about 1500, made good rebeccs, violas, and viols da gamba, some of which, Fetis states, still to exist in the cabinets of the curious; and Morglato Morella, perhaps his pupil, of the same place, about 1550, made the same class of instruments. There were also Venturi Linelli or Linarolli, at Venice, 1520; and Peregrino Zanetto, at Brescia, 1540; with Lauxmin Possen, about the same time in Bavaria, who was maker for the chapel at Munich. Jean Kohl was "luthier" to the Court at Munich in the latter half of the century; and Fetis states that, from some old accounts, he was paid two florins for a lute. Jean Meusiedler and Jean Gerle are mentioned as celebrated makers at Nuremberg, about 1540. These makers were probably more particularly confined to the manufacture of violas and lutes, &c., than of violins; but the term "luthier," as is well known, applies to makers of violins and violas, as well as lutes.
5There was, however, a celebrated maker of violins as well as of viols, Gaspard Duiffoprugcar, born in the Italian Tyrol in the latter end of the fifteenth century, who flourished in the former part of the sixteenth. He was established at Bologna in 1510, but went to Paris in 1515, by invitation from Francis I.; the climate, however, not agreeing with him he moved to Lyons, where he is said to have died about 1530. He made several instruments for the Chapel and Chamber of Francis, some of which are still to be found in the possession of amateurs. They are said to have had a powerful and penetrating tone. Choron states (1817) that Mons. Roquefort, at Paris, well known as a literary man, (and,
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