CHAPTER XI. THE VIOLIN. It is now two hundred years, since Anthony Wood speaks of the first violin being introduced into a concert of viols at Oxford; which instrument, upon close inspection, was pronounced by all the connoisseurs present to be a mere bauble, never likely to be used in the performance of music with any success. Though it resembled the viol in many respects, yet, as it was stripped of its frets, in the opinion of these judges, it was an instrument that could not be handled with any truth or certainty. But the very removal of these mechanical helps has conferred upon it a power of expression never contemplated by our forefathers.* The violin had its origin in *The frets upon a viol were narrow ridges of wood, just raised above the finger-board, crossing it at right angles, and were so placed, Italy, about the year 1600; but those which are esteemed of the greatest value were made at a later period, about 1650, at Cremona, by the family of A. and J. Amati, and their contemporary Stradvarius, of the same place. These instruments are found to be very much superior to any that have been made since that time, which acknowledged excellence is chiefly attributed to their age.* The Amati is rather smaller in size than the violins of the present day, and is easily recognised by its peculiar sweetness of tone. The Stradivari is larger and louder; and is so highly esteemed, that many have been sold for the sum of two hundred guineas.† The violin has not altered its shape for the last 180 years; yet the method of performing upon it has been highly improved. At intervals it seems to that the finger casually falling between the frets, the string was stopped in tune. In the guitar they still remain as a guide to ignorance, and an impediment to taste and expression. * It is an opinion confirmed by experience, and confessed by the rest of Europe, that the brilliant sky of Italy communicates to musical instruments an inexpressible delicacy, which they do not possess in other climes.-Arteaga. † During the siege of Valenciennes, General Bosville was in treaty with a French musician in the enemy's camp, for a Cremona violin, and as soon as the bargain was struck, the instrument was sent for by a flag of truce. The latter circumstance, of the flag of truce, got into the newspapers, and raised the funds two per cent.! Parke, in his memoirs, informs us, General Bosville being very tall, Colonel Freemantle said good-humoredly to him, 'When you go into 'battle, Bosville, be sure to keep your head down, or you will be 'popped off presently, while a little fellow, such as I, may escape.' This pleasantry was prophetic, for General Bosville, in the first engagement he was in, was shot through the head. have waited for the advance of the art, and more especially for the cultivation of the female voice. Under the hands of Corelli and Tartini it aimed at no other effects than had previously been produced by the organ and harpsichord; such as double stops and arpeggio passages, which it was ill adapted to perform. As science improved, it relinquished these impossibilities, and in the hands of Geminiani and Giardini partook more of passion and simplicity. When the era had arrived in which Haydn begun to animate the art with natural sounds and infiections, music made by rule was abandoned for that which was simple and melodious. Then the violin began to develope its powers. The great range of its effects entitle it to the first consideration among musicians, as the best means of expressing the thoughts of the composer; but the period at which it made the greatest advances towards perfection was soon after the cultivation of the female voice. From this beautiful auxiliary it received its first lessons in pathos and feeling, and in return it has taught the voice grace and execution. The compass of the violin is more extensive than that of the voice within its range it has a scale of four octaves, and as each string differs so much in quality of tone, it may be considered as possessing in many instances a fourfold effect. But the most striking powers of the instrument may be said to reside in the bow, and such are the vast variety of accents to be produced by a skilful management of it, that a single |