Scan 195
The violin, its famous makers and their imitators, 1887
6 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Cremonese nobleman—"The other day I made a present of the two Violins and the Violoncello which you made for me to His Highness the Prince of Tuscany;¹ and I assure you, to my great satisfaction, he has accepted them with such pleasure that more I could not expect. The members of his orchestra — and he possesses a select number—were unanimous in expressing their great appreciation, declaring the instruments quite perfect, and, above all, exclaiming with one voice that they had never heard a Violoncello with such an agreeable tone. For the highly flattering reception with which my present has been received by His Highness, and which I cannot sufficiently describe, I am principally indebted to the care which you have used in the manufacture of the instruments. At the same time I hope to have by this present shown you my appreciation, and of having acquired the merit of practically bringing to the knowledge of such a personage the truth of your great skill, which will procure you, undoubtedly, many orders from this exalted house. To prove this, I have now to request you to begin at once two Tenors, one Tenor and the other Contralto, which are wanted to complete the concerto."² In the collection of relics of the society of dramatic authors, and again opened as a theatre, which still exists, and is called Teatro Filodrammatico. The Marquis Ariberti was appointed by Joseph I., Emperor of Austria, to the title of Lieutenant-Marshall; he was a member of the High Council of State in Milan. He was buried in the church, which, as above mentioned, was afterwards used as a theatre. (See Lancetti, "Biografia Cremonese," I vol., Milano, 1819.) one of two readings
2Cremonese nobleman—"The other day I made a present of the two Violins and the Violoncello which you made for me to His Highness the Prince of Tuscany;¹ and I assure you, to my great satisfaction, he has accepted them with such pleasure that more I could not expect. The members of his orchestra—and he possesses a select number—were unanimous in expressing their great appreciation, declaring the instruments quite perfect, and, above all, exclaiming with one voice that they had never heard a Violoncello with such an agreeable tone. For the highly flattering reception with which my present has been received by His Highness, and which I cannot sufficiently describe, I am principally indebted to the care which you have used in the manufacture of the instruments. At the same time I hope to have by this present shown you my appreciation, and of having acquired the merit of practically bringing to the knowledge of such a personage the truth of your great skill, which will procure you, undoubtedly, many orders from this exalted house. To prove this, I have now to request you to begin at once two Tenors, one Tenor and the other Contralto, which are wanted to complete the concerto."² In the collection of relics of the society of dramatic authors, and again opened as a theatre, which still exists, and is called Teatro Filodrammatico. The Marquis Ariberti was appointed by Joseph I., Emperor of Austria, to the title of Lieutenant-Marshall; he was a member of the High Council of State in Milan. He was buried in the church, which, as above mentioned, was afterwards used as a theatre. (See Lancetti, "Biografia Cremonese," I vol., Milano, 1819.) one of two readings
4¹ Cosimo III. de Medici.
5² A chest of Viols, Mace tells us, in his "Musick's Monument," 1676, consisted of two Basses, two Tenors, and two Trebles. A Concerto of Violins in Italy, according to the letter of Ariberti, consisted of one Bass, two Tenors (Contralto and Tenor) and two Violins. The term
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