Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . being the laterand improved form of the latter, and certainly the similarity of 1 J. Ruhlmann, Geschichte der Bogeninsfrumente (Brunswick, 1882), 2 M. Gerbert, De Cantu et Musica Sacra, 1774. THE WELSH CRWTH. 63 names is worthy of remark (though it must be borne in mindthat, as I have said before, names have not unfrequently beentransferred from one instrument to another ; similarity of namesis of
Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . being the laterand improved form of the latter, and certainly the similarity of 1 J. Ruhlmann, Geschichte der Bogeninsfrumente (Brunswick, 1882), 2 M. Gerbert, De Cantu et Musica Sacra, 1774. THE WELSH CRWTH. 63 names is worthy of remark (though it must be borne in mindthat, as I have said before, names have not unfrequently beentransferred from one instrument to another ; similarity of namesis of very little practical value to the antiquary). A crvvth orcrwdl of the thirteenth century from Worcester Cathedral(Fig. 35) given by Garter,3 shows a very great improvement,being adorned with a tail-piec?, sound-holes, and bow of veryrational and practical construction, besides being held like amodern violin. And a somewhat similar but more cumbrousspecimen from the Cathedral at Amiens (Fig. 36), dating fromthe same century, is given by M. de Coussemaker (vide note l,p. 49). The principal authority on the crwth is Ed. Jones,3 whogives the most accurate descriptions and illustrations of this.
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1885
