Scan 464
The violin: its famous makers and their imitators, 1884
12 lines. Read by computer on 28 September 2026. Printed page 370. See the scan on archive.org.
1with an age of dedications, thus addressed the Merry Monarch:—
3"May it please your Majesty, I had not assum'd the confidence of laying ye following compositions at your sacred feet, but that, as they are the immediate results of your Majestie's Royal favour and benignity to me (which have made me what I am), so I am constrained to hope I may presume amongst others of your Majestie's over-obliged and altogether undeserving subjects that your Majesty will, with your accustomed clemency, vouchsafe to pardon the best endeavours of your Majestie's
4Most humble and obedient subject and servant,
5H. PURCELL.
7Charles II. is said to have understood his notes, and to sing in (in the words of one who had sung with him) a plump bass, but that he only looked looked upon music as an incentive to mirth, not caring for any that he could not "stamp the time to." The endeavour of his accomplished and gifted young organist to lead the King and his people to admire what he terms "the seriousness and gravity" of Italian music, and "to loathe the levity and balladry of our neighbours," was indeed worthy of England's greatest musician.
9In the year 1678, Thomas Britton, known as the "musical small-coal man," gave concerts in this country, and a long series it was, extending over a period of forty-six years. The shape the movement took was that of a musical club, which was maintained at Britton's expense.
11The concert-room of Tom Britton was over his coal-shop in Aylesbury Street, leading from
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