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. 11.—Nofre, or Nefer. (AncientEgyptian.) •^HE ANCESTRY OF THE VIOLIN. 4b hair is by no means essential to the existence of a bow. Of thehigh antiquity of the nofre (signifying, when used as a hiero-glyphic, good, 2) there is no doubt, for we find it among theinstruments used at concerts of the eighteenth dynasty (—1289), and it occurs also in papyri of the date 2000,and even earli
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. 11.—Nofre, or Nefer. (AncientEgyptian.) •^HE ANCESTRY OF THE VIOLIN. 4b hair is by no means essential to the existence of a bow. Of thehigh antiquity of the nofre (signifying, when used as a hiero-glyphic, good, 2) there is no doubt, for we find it among theinstruments used at concerts of the eighteenth dynasty (—1289), and it occurs also in papyri of the date 2000,and even earlier. Mr. Chappell states that representations of itare found dating from the fourth dynasty. Some fragmentsof a nofre were found in a tomb at Thebes by Mr. Madox<on the neck of which some of these frets (which were formedof camel-gut tied round the finger-board) were still remaining,This most interesting relic is in the British Museum, and isfigured by M. Mr. Chappell3 gives many mostinteresting figures and descriptions of this instrument ; on page. Fig. 12.—Trigonon. (Assyrian.) 320 he reproduces one with three bridges, and a carved head,being played with a plectrum; and on p. 62 he gives twofigures of its use as a hieroglyphic, with two cross bars (orpegs) in the head, and one of them with a perfect bridge andtail-piece. His illustrations are from the u Denkmaler ofLepsius, and are of the fourth dynasty, in the reign of Chephren(or Suphis II.), who erected the second great pyramid. Thiswould give the instrument an antiquity of 3124 accord-ing to Lepsius, or of 2083 according to Sir GardnerWilkinson. 1 S. Birch, u An Introduction to the Study of the Egyptian Hieroglyphics r(London, 1857), p. 225. 2 F. J. Fetis, Histoire Generale de la Musique Tome i., p 271. 3 W. Chappell, The History of Music, vol. i. (all published) (London, » 44 VIOLIN-MAKING : AS IT WAS AND IS. Mr. Engel] gives a figure from an Assyrian slab in theBritish Museum, of about B.
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1885
