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 . s, de jouer aux cabarets, etc., ... a peine de prison, andthe author appends the following footnote, II y avait cependant une exception en faveur de ceux quine jouaient que du rebec. Le rebecetait un violon grossier qui avaitprecede lusage de ceiui que nousconnaissons. II avait la forme dunbattoir echancre par les quatres angles,au lieu detre arrondi comme le violon,et netait monte que de trois co
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 . s, de jouer aux cabarets, etc., ... a peine de prison, andthe author appends the following footnote, II y avait cependant une exception en faveur de ceux quine jouaient que du rebec. Le rebecetait un violon grossier qui avaitprecede lusage de ceiui que nousconnaissons. II avait la forme dunbattoir echancre par les quatres angles,au lieu detre arrondi comme le violon,et netait monte que de trois cordes :mi, la, re. 11 parait, par une sentencedu prevot de Paris, du 2 mai 1664,quil y avait des hautes-contres, destailles, et des basses de rebec. Cetinstrument sest maintenu en Francejusqrra la fin du dix-septieme siecleet y fut long-temps dun usage connait ces vers de la 10e satire deRegnier,— 0 Muse ! je tinvoque, emmielle-moi le bee,Et bande de tes mains les nerfs de monrebec The last relic that survived of thisform of fiddle was the Sordino(French, pochette ; German, Taschcn-geige) of the dancing-masters ofthe seventeenth and early eighteenthcentury. Mersennus in his De In-. strument!* s Harmonicis » 2 gives a Fig. 23.—Pera or (M. Mersennus.) very good illustration of a uperaor poche of the date 1648 (Fig. 23),and this shape did not alter very muchtill the eighteenth century, when it was practically is in the South Kensington Museum a great beauty of thisdate, made in ivory with a wooden belly, the head a carved,female bust, the bow ivory, and the case leather stamped andgilt. Both the instrument and the bow are fifteen inches long. 1 F. J. Feds, Curiosites Historiques de la Musique (Paris, 1830), p. 294. 2 ; Harmonieorum Libri xii, in quibus agitatur de sonorum natura, etc., . .orbisque totius harmonicis instrumentis (Lutetise Parisioram, 1648). THE AKCFSTRY OF THE VIOLIN. M From this time they would seem to have given way to t
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