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18th century Aberdeenshire amateur amber amongst ancient Andrew Anno Anthony Antonius Stradivarius appears arching artist back and breast Bass bass-bar beautiful belly Bergonzi Brescia bridge Carlo Bergonzi celebrated centre colour construction Cremona Crwth curve Double-Bass edges Edinburgh excellent f holes fecit fibres Fiddle Fiddler finest finger-board finished flat Formerly the property four strings French maker GAGLIANO Giovanni give glass-paper glue glued Guadagnini imitator inches instru Italian Jacob Stainer Johann John Joseph Guarnerius Label length London longitudinal Maggini mass of air ment merit Milan Mittenwald neck Nicholas Amati nodal lines old Violins Ole Bull Paganini Paris perfect piece plate played possession produced proper pupil purfling rosin Salo Savart Scottish scroll sides sonority sound sound-post Stainer Strad Stradivarius surface tables tail-piece Tenor thickness tone unison varnish Venice vibrations Viol Violin Violin-makers Violinist Violoncello Vuillaume whilst wood yellow
Page 46 - For woman is not undevelopt man, . But diverse : could we make her as the man, Sweet Love were slain: his dearest bond is this, Not like to like, but like in difference. Yet in the long years liker must they grow; The man be more of woman, she of man; He gain in sweetness and in moral height, Nor lose the wrestling thews that throw the world; She mental breadth, nor fail in childward care...
Page 225 - You scrapers that want a good fiddle well strung, You must go to the man that is old while he's young ¡ But if this same fiddle you fain would play bold, You must go to his son, who'll be young when he's old. There's old Young and young Young, both men of renown, Old sells and young plays the best fiddle in town. Young and old live together, and may they live long, Young to play an old fiddle, old to sell a new song.
Page 202 - Nick, in shape o' beast; A towzie tyke, black, grim and large, To gie them music was his charge: He screw'd the pipes and gart them skirl Till roof and rafters a
Page 214 - The sunshine painted with a squirt). Of books but few — some fifty score For daily use, and bound for wear; The rest upon an upper floor; Some little luxury there Of red morocco's gilded gleam, And vellum rich as country cream. Busts, cameos, gems — such things as these, Which others often show for pride...
Page 224 - There is nothing, I think, in which the power of art is shown so much as in playing on the fiddle. In all other things we can do something at first. Any man will forge a bar of iron, if you give him a hammer ; not so well as a smith, but tolerably. A n'.an will saw a piece of wood, and make a box, though a clumsy one ; but give him a fiddle and a fiddlestick, and he can do nothing.
Page 25 - England, mention is made of a " stranger, which seeing a quintessence (beside the Foole and the Maid Marian) of all the picked youth, strained out of a whole endship, footing the Morris about a May-pole, and he not hearing the minstrelsie for the fidling, the tune for the sound, nor the pipe for the noise of the tabor, bluntly demaunded if they were not all beside themselves, that they so lip'd and skip'd without an occasion.
Page 26 - Night approaching, we were all in high spirits : our violins were playing soft airs, and we were comfortably regaling ourselves: God knows how we were joking about the poor governor and his fortifications, both of which we promised ourselves to take in less than twenty-four hours.
Page 29 - Such ridiculous work they make of their Reformation, and so zealous are they against all Mirth and Jollity, as they would pluck down the Sign of the Cat and Fiddle too, if it durst but play so loud as they might hear it...