The history of the violin, and other instruments played on with the bow from the remotest times to the presentAlso, an account of the principal makers, English and foreign, with numerous illustrationsBy William Sandys and Simon Andrew Forster . to the violin ; we havegiven a representation of one ofhis figures of the barbiton ma-jor (Fig. 55). From his accountof the fingering of the violin,it would seem as if the shiftwas not then known; but indescribing the barbiton major he says the frets donot exceed eight, which would imply that it was inuse. When it was first ventured on it was considered
The history of the violin, and other instruments played on with the bow from the remotest times to the presentAlso, an account of the principal makers, English and foreign, with numerous illustrationsBy William Sandys and Simon Andrew Forster . to the violin ; we havegiven a representation of one ofhis figures of the barbiton ma-jor (Fig. 55). From his accountof the fingering of the violin,it would seem as if the shiftwas not then known; but indescribing the barbiton major he says the frets donot exceed eight, which would imply that it was inuse. When it was first ventured on it was considered atriumph of skill, and the performer did not attemptbeyond the C, or ut, on the first string, and if such apassage was expected, the audience would say softly,^^GareVut; if the performer failed he was hissed, but ifsuccessful was greeted with bravos and gives a description with a figure of what hecalls the lyre, having eight frets and fifteen strings, ofwhich the bow must necessarily have struck several atthe same time. The shape is somewhat unmanageable,being like a violoncello with an additional part at thelower end; probably it was not much in use. He de-scribes the monochord, and that singular instrument, now. FIG. 54. HISTORY OF THE VIOLIN. 123
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Keywords: ., bookcentury1800, bookdecade1860, booksubjectviolin, bookyear1864
