Books › The Violin and its Music, 1881 › scan 41
Scan 41
The Violin and its Music, 1881
8 lines. Read by computer on 3 September 2026. Printed page 21. See the scan on archive.org.
1instrument in a perfect state, having the same name and put to the same use, namely, the rendering of dance music, as a rude stringed instrument, centuries earlier, would seem to have had its origin in its rude namesake.
3Whether the modern Geige or Violin, having four strings tuned in fifths, originated with the Germans or the Italians, is a question not easily answered. The Italians have the advantage of existing evidence in Violins by the Brescian and Cremonese makers, whereas no such evidence existing or recorded can be used for the Germans. In written music for the instrument the Italians possess a similar advantage. Though these facts cannot be disputed, I am disinclined to admit that Italy is entitled to claim the whole merit of perfecting the instrument.
5It must not be forgotten that the earliest steps in all the arts are for the most part pre-historic. We know much of Corelli, a little of his immediate predecessors, and nothing of those beyond. It is precisely the same with the makers of Violins. The names and works of Gaspard di Salo and Andreas Amati are familiar to us, but we are left in comparative ignorance of the founders of Italian Viol making. We have nothing but indirect evidence to guide us to a knowledge of this manufacture; such testimony, however, in its bearings upon the question, is not wanting in interest, and is worthy of our attention.
7Starting with the direct evidence of the Italians,
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