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 . Fig. 21.—Gigue from the Cathedralat Mans. (Fourteenth century.) Fig. 22.—Diecantus. Sixteenthcentury. (M. Agricola.) the head thrown back1 (Fig. 21), and Agricola, in the sixteenthcentury (vide note \ p. 48), gives a set of four of a similar butvery much improved shape and condition, which may be judgedfrom the discantus (Fig. 22). They were used as late as theseventeenth century, and they were il
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 . Fig. 21.—Gigue from the Cathedralat Mans. (Fourteenth century.) Fig. 22.—Diecantus. Sixteenthcentury. (M. Agricola.) the head thrown back1 (Fig. 21), and Agricola, in the sixteenthcentury (vide note \ p. 48), gives a set of four of a similar butvery much improved shape and condition, which may be judgedfrom the discantus (Fig. 22). They were used as late as theseventeenth century, and they were illustrated by Mersennus2in their last and most improved form. The rebec is speciallymentioned among the rules of the Roi des Violons, an 1 C. E. H. de Coussemaker, Histoire de lHarmonie au moyen age(Paris, 1852). 2 M. Mersennus, u De instrumentis Harmonicis. Harmonicorum Liori xii,in quibus agitator de sonorum natura, causis, et effectibus (Paris, 1648). 4 50 VIOLIN-MA111SU : AS IT WAS AND IS. antique office of high emolument in France. We find l amongthe rules of the corporation of musicians, confirmed by LouisXIV. in 1658 (la Confrerie de St. Julien des Menestriers), thefollowing . . i
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1885
