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THE VIOLIN:

SOME ACCOUNT OF THAT

LEADING INSTRUMENT,

AND ITS

MOST EMINENT PROFESSORS,

FROM ITS EARLIEST DATE TO THE PRESENT TIME;

WITH

HINTS TO AMATEURS, ANECDOTES, ETC.

BY

GEORGE DUBOURG.

FOURTH EDITION,

REVISED AND CONSIDERABLY ENLARGED.

LONDON:

ROBERT COCKS AND CO.

PUBLISHERS TO THE QUEEN,

NEW BURLINGTON STREET;

SIMPKIN, MARSHALL AND CO. STATIONERS'-HALL COURT.

MDCCCLII.

174. f. 9.

LONDON:

PRINTED BY J. MALLETT,

WARDOUR STREET.

PREFACE

TO THE PRESENT EDITION.

AFTER a lapse of nearly sixteen years since this little work first appeared in print, I have been called upon to prepare it anew for the press, incorporating with it the additional matter necessary for the extension of the subject to the present time.

My new readers may like to know, at the outset, what is the intended scope of the following pages. This is soon explained. My object has been to present to the cultivators of the Violin, whether students or proficients, such a sketch (however slight) of the rise and progress of that instrument, accompanied with particulars concerning its more prominent professors, and with incidental anecdotes, as might help to enliven their interest in it, and a little to enlarge what may be called their circumstantial acquaintance with it. This humble object has not been altogether, I trust, without its accomplishment; and here, while commending my renovated manual to the indulgent notice of the now happily increasing community of violin votaries, I would not forget to acknowledge, gratefully, the liberal and generous appreciation with which, when it first ventured forth, it was met by the public press, and introduced into musical society.

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Brighton, August, 1852.

G. D.

CONTENTS.

CHAPTER I.

ORIGIN AND EARLY HISTORY OF THE VIOLIN.

The Fiddle Family- the Epigonion-the Semicon- the Plec-
trum-the Magadis and Sambuce-Orpheus and the lyre-
the Plectrum an implement of percussion, not a bow-the
Egyptian Chelys-Orpheus at Versailles-the fidicula of the
Latin Dictionary-Welch claims-Crowd and Crowder-In-
strument of the Saxon Glee-men-Strutt's sports and pastimes
-Italy-Successive stages of the invention-the Sounding-
board the neck-the bow-the Rebec-the viol-conver-
sion of the viol into the violin-the tenor viol, &c.-chest
of viols-Cremona fiddles - Hieronymus Amati
Galilei's
dialogues claim of the Neapolitans -violins and organs in
Verona in 1580-Corelli's Violin, and Annibale Caracci—-
Piccoli Violini alla Francese-Monteverde's Orfeo-Mersen-
nus-the Barbiton-the Kit-the Musurgia of Luscinius-the
Rebec and Viol-di-Gamba - Violars accompanying the trou-
badours-Saxon word Fidle, German Videl, Icelandic Fidla,
&c.-Fythelers of the old English romances—passage from
the Life of St. Christopher-Chaucer and the Canterbury
Tales - Absolon, the parish clerk- the ribible- the violin
in low esteem before the Restoration-minstrels included
among rogues, vagabonds, and sturdy beggars-Percy's re-
liques-King of the minstrels-Butler's Hudibras - Crowdero
-France-sculptures on the portal of Notre Dame, in
Paris-the Decameron-Michele Todini-the first to introduce
the Double Bass-Arms of the Town of Alzei-Inhabitants
called Fiddlers-Cushion Dance described-Hone's table book
-Miss Hutton's Oakwood Hall-Punch and the fiddler-
'a regularly educated Zany'-Purcell's catches - Epigram
upon Young, father and son-Anthony à Wood's Auto-
biography-the Restoration favourable to music-the Violin
introduced at Court-Matthew Lock, master to the Court
band-Cambert, Lulli's predecessor-the music of the drama:
act tunes-arrival of Nicolo Matteis first music-engraving
in England-Musick's Monument,' and Thomas Mace.-
pp. 1, et seq.

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