Scan 517
The violin: its famous makers and their imitators, 1909
8 lines. Read by computer on 27 September 2026. Printed page 439. See the scan on archive.org.
1person, I will endeavour to divest myself of every partiality, and speak of him as he really was. Gainsborough's profession was painting, and music was his amusement—yet, there were times when music seemed to be his employment, and painting his diversion.
3"When I first knew him he lived at Bath, where Giardini had been exhibiting his then unrivalled powers on the Violin. His excellent performance made Gainsborough enamoured of that instrument; and conceiving, like the servant-maid in the Spectator, that the music lay in the Fiddle, he was frantic until he possessed the very instrument which had given him so much pleasure—but seemed much surprised that the music of it remained behind with Giardini. He had scarcely recovered this shock (for it was a great one to him) when he heard Abel on the Viol da Gamba. The Violin was hung on the willow; Abel's Viol da Gamba was purchased, and the house resounded with melodious thirds and fifths from 'morn to dewy eve!' Many an Adagio and many a Minuet were begun, but none completed; this was wonderful, as it was Abel's own instrument, and, therefore, ought to have produced Abel's own music!
5"Fortunately my friend's passion had now a fresh object—Fischer's Hautboy¹—but I do not recollect
7¹ Fischer was a celebrated Oboe-player. He made his first appearance in London in 1768. Gainsborough painted two portraits of him, one of which is at Hampton Court.
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