Scan 69
The violin: its famous makers and their imitators, 1884
4 lines. Read by computer on 28 September 2026. Printed page 21. See the scan on archive.org.
1the courts of her princes, about the middle of the fifteenth century. The love of melody then, as now, was deeply rooted in the nature of her people. Musical composition, however, of a high order, and able executants, were to be found elsewhere, and in Flanders in particular, and there the principal music and musicians were sought by the Italian dilettanti. To this fortuitous combination of melody and musical learning we owe the greatest achievements in the art of music. Upon it was raised the work of Palestrina, Scarlatti, and Corelli, which their distinguished followers utilized with such judgment and effect. The progress and development of the Madrigal in Italy may be said to have been co-equal with that of the Viol, for which its music served, and to which the Italians gave the same beauty of form and exquisite refinement. The ingenuity and skilfulness of the early German Viol makers was not less speedily recognised by the Italians than was the learning and power manifested by the Flemish motet writers. The work of the Italians with regard to both the Madrigal and the Viol was artistic in the highest degree, and such as could alone have been accomplished by men nourished on the teachings of the Renaissance, and surrounded by its chief glories.
3There is evidence of German influence over the Italian Viol manufacture at the end of the fifteenth century, in the German-sounding names of makers located in Italy, and likewise in the character and
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