Hoffmans of the viola pomposa in , the existence of the viola da spalla, and the theoretical tenor violin, it would make sense to see variations around this general theme. The viola da spalla seems to be identical. Of interest however, is a copper-plate engraving from by the Huguenot engraver Bernard Picard produced in Paris showing as similar-sized an instrument as it is possible to estimate on the basis of an engraving. It is not possible to determine whether the other subject in the engraving is dancing or singing, but he is certainly giving a performance accompanied by the cello.
I would argue towards a cantata or accompanied song because having a hat in your hand would go against concepts of French court dancing.
The History of the Violin
Whilst it would be attractive for this instrument, I think it is a misreading, and the frontispiece merely states that the suites are for violoncello without a bass accompaniment. Crucially, although there has been a tendency to add a fifth string to Barak Norman smallish cellos this example from has a pure four-string head which has been untouched. Dimensions Length of Back: Meanwhile the lack of any professional purpose after music became more standardised means that the reasons that enable their preservation diminish also. In this case, wear to the back makes it clear that it hung on the wall for a long period of time as a curiosity, and overall it is in a remarkably clean and good condition.
However, we do not see instruments of this size in museums, and antique fractional-sized instruments invariably survive in poor condition. It is simply tremendously rare as an eighteenth-century specimen notwithstanding who made it.
Apprentices
The MIMO website lists only five instruments that they classify as violoncello piccolo out of violoncellos, none of which are representative of the mainstream of professional instrument making. The original label is in its undisturbed original location. Note that the linen strips supporting the two joins in the back are beneath the label.
Note further the location of the cross at the top of the label. An inked cross is also visible through the treble soundhole, apparently serving as a signature identifying the workmanship as by Nathaniel Cross. Given an evidently precarious situation for him, with Barak Norman incapacitated and in which he left for Piccadilly later in the year, it is possible that the purpose of this cross was to identify work amongst the shop stock that he had full title to as the maker. You are commenting using your WordPress.
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The back and belly of the instrument. The back is bent in three staves, and the outline is original, something between a viol and a cello.
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Michael Heale Whilst the Barak Norman workshop is famous for viols, it is also very significant for violin family instruments. The arching is slightly too bold, and it retains a Stainer outline despite an overall Italianate theme.
Frederick, Prince of Wales with his sisters by Philip Mercier, No such instruments are known to have survived from France. Cursive script is void on the stamp used by Joseph Collingwood on the back of some of his instruments. Collingwood, who worked at the sign of the Golden Spectacles on London Bridge around the period seems to have retailed a variety of different sorts of instrument. To see our latest stock, visit my website, www. Update on UK Ivory Bill Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in: Their importance is considered equal to those of the Bergonzi , Guarneri , and Stradivari families.
Wes Brandt - Viol Maker
He standardized the basic form, shape, size, materials and method of construction. The first violin was ordered by Lorenzo de' Medici in His letter to Amati stated the instrument was to be "made of the highest quality materials like that of a lute, but simple to play". What became of this first violin is not known. A number of his instruments survived for some time, dating between Amati made the first Cello called "The King" in [1] [ clarification needed ] and Of these 38 instruments ordered, Amati created violins of two sizes, violas of two sizes and large-sized cellos.
They were in use until the French revolution of and only 14 of these instruments survived.
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His work is marked by selection of the finest materials, great elegance in execution, soft clear amber, soft translucent varnish, and an in depth use of acoustic and geometrical principles in design. Andrea Amati was succeeded by his sons Antonio Amati c. He was the most eminent of the family.
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He improved the model adopted by the rest of the Amatis and produced instruments capable of yielding greater power of tone. Of his pupils, the most famous were Antonio Stradivari and Andrea Guarneri , [3] the first of the Guarneri family of violin makers. There is much controversy regarding the apprenticeship of Antonio Stradivari.