Books › The story of the violin, 1904 › scan 216
Scan 216
The story of the violin, 1904
10 lines. Read by computer on 3 September 2026. Printed page 174. See the scan on archive.org.
1CHAPTER III.
3VIOLIN ART IN ITALY (continued).
5BESIDES the Roman and Piedmontese schools of violin-playing—each more or less distinguished from the other by the art-characteristics of their founders—other smaller centres sprang up here and there in Italy.
7Already before and during Corelli's life-time, Bologna, Florence, Bergamo, etc., had distinguished themselves by giving birth to violinists of talent and by fostering the young art. From Bologna, we have seen, hailed Laurenti (1644-1726), Bassani (1657-1716), and Vitali; from Florence, the older Veracini; from Bergamo, Carlo Antonio Marini, etc. Corelli's influence had further stimulated the keen interest and activity in violin-playing all over Italy. Men and women learned the lovely instrument. Amateurs rivalled professionals in playing and composing for it, and the Church, like a good mother (be it with an eye not oblivious of her own glorification), lent everywhere a helping hand to spread its use and joy.
9Some of the larger churches were genuine nurseries of instrumental music; St. Anthony at Padua in Tartini's time, for instance, employed no less than sixteen
The computer misreads some letters and numbers. Where a name matters to you, read the scan.