Scan 345
The violin, its famous makers and their imitators, 1887
6 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1Behind Paolo Veronese is seated Tintoretto, playing an instrument identical with that in the hands of the painter of the picture. On the opposite side of the table is Titian, with the point of his bow almost touching the dog, playing the fundamental tones on the Violono. He apparently displays an amount of real relish for his task, which bespeaks a knowledge of the responsibility belonging to the post of Basso. The ecclesiastic seated next to Titian, wearing the chain and crucifix, is performing on a Soprano Viol. The instruments, in short, are Italian Viols, the Tenors of which were strung with six strings, and the Violono, or Bass, with six or seven. It is this order of Viols to which reference is made in the work of Ganassi del Fontego, and they are, therefore, distinct from the four-stringed Viols made at Brescia and Mantua.
3The earliest player on the Violin of whom we have any account worthy of attention was Baltazarini, a native of Piedmont. He removed to France in the year 1577, whither he was sent by Marshal de Brissac to superintend the music of Catherine de Medici. He was probably the introducer of Italian dances into Paris, and he delighted the court as much by his skill on the Violin as by his writing of ballet music.
5During the last half of the 16th century a new species of music made way in Italy which exercised a marked effect on the progress of the Violin, namely, that of the concert orchestra. It was chiefly cultivated at Venice and Ferrara. At the latter place the Duke of Ferrara maintained a great number of musicians in his service. At this period there were no concerts of a public character; they were given in the palaces of the wealthy, and the performers were chiefly those belonging to their private bands.
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