Scan 59
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 1 October 2026. Printed page 23. See the scan on archive.org.
1are in the Museum of the Academy of Music at Bologna, and a third is in my possession. They have labels printed in Roman letters, and doubtless belong to the end of the fifteenth century. These instruments serve to illustrate the condition of the art of Viol-making in Italy at that period. They are rude in form and workmanship, and present a marked contrast to the high artistic work associated with the Italians in other branches of industry. This rudeness is indicative of this particular manufacture being of recent importation, and of its having been received from Germany, and partly perhaps from the Low Countries, where instrumental music was cultivated chiefly by the people, in which case utility would naturally have priority of design and workmanship. With the introduction of Viols, in connection with the Madrigal, into the palaces of Italy, together with their increased use in connection with the service of the Church, a demand speedily arose for instruments of elegant design and finished workmanship, in keeping with the high standard raised by Italian artists in every direction. The work on the Viol by Silvestro Ganassi, published at Venice in 1543, furnishes us with ample proof of the advance made by the Italians in Viol-making since Brensius worked. We see from a representation of a Viol in the above-mentioned work that the sound-holes are better formed; the scroll is artistically designed, and the whole harmonious. These steps towards
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